Study Guide

DMA Qualifying Examination I: Musicology

For Students Planning to Take the Exam on
10 September 2016

I. General Information
1.

The Musicology Qualifying Examination I is administered once each semester, on the same date
as the Music Theory Examination.

2.

Students are given three hours to complete the examination.

3.

No student is expected to answer every question correctly. Rather, the exam is graded on a
pass/fail basis. A score of 70% or higher signifies a passing grade.

4.

You will be notified of your exam results by the SoM Associate Director and administrative staff
approximately one week after the exam date (usually on the Monday one week after the exam).

5.

Students may take the exam a total of three times to obtain a passing score. The exam must be
retaken in its entirety; however, the student may choose to prepare different blocs (see below).
Students who do not pass the exam may consult the Musicology DMA Exam coordinator
concerning which blocs they did poorly on to facilitate their studying. Individual test questions
are not generally discussed with students following the exam.

II. Structure of the Examination

1.

The exam will total 100 points and will be graded either by the Musicology Faculty or by
computer.

2.

The examination comprises two tracks: a Western art music track and a Jazz studies track. Each
student must select one of these two tracks as the basis for his/her exam, as follows:
a.

The Western art music (WAM) track consists of 75 points distributed equally over three
chronologically related categories. Students adopting this track must prepare one question
bloc from each category, and will be administered questions totaling 25 points relating to
each bloc selected.
1) Middle Ages OR the Renaissance
2) Baroque era OR Classical era
3) Early Romantic era OR the long late Romantic era (ca. 18501913)

b.

The Jazz studies track consists of 75 points distributed equally across three topical blocs.
Students adopting this track must prepare all three blocs.

c.

25% of the exam (i.e., 25 points) will be shared across both the Jazz and WAM tracks.
This section will pertain to music since 1945, and may include questions on both jazz or
vernacular musics and developments in art music, to the extent reflected in the
preparatory materials.
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d.

If desired, WAM students may choose to prepare the Post Bop, the Avant Garde, and
Fusion module of the Jazz Studies track, with accompanying recorded selections, rather
than one of the three WAM blocs.

e.

New this year: Jazz students wishing to substitute a WAM bloc for one of the Jazz
studies blocs may do so if desired.

III. Preparation
1.

Attend one of the information sessions coordinated by the ADGS and Associate Director for
Academic Affairs in advance of the exam.

2.

Select the Jazz studies or Western art music (WAM) track. If you choose the WAM track, be sure
to also select three focus blocs, one from each of the three available categories. Or, select two
focus blocs plus the Post Bop module, as explained above.

3.

Consult the preparatory materials (readings, score excerpts, and accompanying recordings) posted
to the Librarys electronic reserves, found in other electronic databases, or available at the MPAL
circulation desk, as indicated. A complete list of these materials can be found on the pages below.
Thus, Jazz studies students should prepare the readings and works associated with that track, as
well as those for the Music since 1945 bloc. WAM students should prepare the readings and
works associated with the three blocs that they have selected, as well as those for the Music since
1945 bloc.

4.

Review the practice questions that will be provided as the exam date approachestypically by
one month before the exam date.

5.

Watch for an e-mail from the SoM administrative staff and/or the Musicology chair asking you to
a) verify that you do in fact plan to take the exam as scheduled (this will in turn prompt
an necessary audit of your coursework, to confirm that you have completed all
pre-Qual coursework requirements) and
b) identify those units that you have selected as your focus (so that we may prepare the
appropriate number of exams).

IV. Studying for the Exam

The remarks below provide guidance particularly for those studying for the WAM exam, but the basic
principles are also true for those pursuing the jazz track.
For each unit that you will study, including the Music since 1945 unit, you are responsible for ca. six
readings and six musical works or parts of works, available to you as scores and recordings. These
embrace a diversity of genres, styles, and idioms. The works and readings are related: the readings are
meant to provide context for your study of the assigned works, and almost always address those works
specifically (i.e., each reading selection typically corresponds to at least one work). Therefore, please
study the assigned works carefully, making sure that you understand their relationship to the readings, in
addition to their general musical features and socio-historical and artistic significance. Put differently, we
are asking you to understand each authors argument(s) as informed and illustrated by the artworks
(musical or otherwise) that he or she discusses.
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The readings themselves frequently draw upon and discuss pertinent primary source materials such as
additional music compositions, artworks, composers correspondence, theoretical treatises, poetry, and so
forth; these, too, are important in how they relate to the historical developments outlined or major points
underscored by the authors, if not also to the works that are the units focus. Some of the readings are
graduate-level textbook chapters directed at supplying you with a more comprehensive overview of a
particular era or development; others are narrower in scope, focusing in a more in-depth manner on a
particular genre, set of pieces, composition, etc. As you study, try to place this more in-depth material in
the context of the larger historical and stylistic developments addressed. For each reading that you do, you
might ask:
1) What composers, works, genres, artists, etc. does the author focus on?
2) How do these relate to the social, historical, or stylistic developments discussed in the article?
3) What is the authors thesis? The main topic(s) or central theme(s) of the chapter or article? What are
the authors key points or arguments?
4) How do the answers to the above questions relate to or otherwise inform our understanding of the
assigned piece(s)?
You may find it advantageous to outline the principal information presented in each reading and then
synthesize or merge these outlines to arrive at a more comprehensive view of the era in question.
However you choose to study, try to tack back and forth between the specifics (key points/characteristics)
of each reading/assigned work and what they signify about the stylistic era or genre(s) in question.
This exam is not meant to be an exercise in musical trivia. It does not require you to memorize minutiae
(such as precise dates, opus numbers, and so forth), although we do expect you to demonstrate a sense of
overall historical chronology (in terms of an eras stylistic developments and the concurrent evolution of
genres or composers compositional styles, if appropriate). Some exam questions will inevitably be
factual in nature, but these will focus on major points made in the assigned readings and/or will ask you
specifically about important features of the assigned works. Others may ask you to think conceptually and
interpretively about specific events, audio or score excerpts, graphic illustrations, literary passages, and so
forth, often by drawing comparisons with similar materials that may or may not be familiar to you. As
with any exam, you will find some questions more challenging than others, and it is not expected that you
will be able to answer them all correctly (but this is also by no means impossible!!!).
Whether you pursue the WAM or the Jazz Studies Track, exam questions will take any of the following
forms: multiple choice, matching, fill-ins, or T or F; some questions may have multiple parts for which
partial credit may be given, or may ask you to identify more than one possible answer as correct or
incorrect. As indicated above, some questions will pertain directly to the assigned audio/score excerpts;
others may pertain to similar works (examples that ask you to make a comparison, for example, as
described above) or to still other selections important to the assigned reading.
V. Tracks, Blocs, and Resources
Finding sources: Wherever possible we have indicated the location of the readings found in the lists
below. These are available in one of three forms: in electronic journals or databases to which the Library
subscribes (such as JSTOR), as photocopies (and sometimes, original hard copies) available as Reserves
at the MPAL circulation desk, organized in bloc-related binders for easy access, or through the Librarys
E-reserves, to which you will be given special access by registering for the exam. Please note that most
articles available in electronic journals are also available through the Librarys E-Reserves. Also, where
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something is in processing at the E-Reserves, an interim copy will be made available at the MPAL
Reserves. In many instances you may find the required score online in the IMSLP database; the library
staff has also linked the IMSLP scores to the E-Reserves. Those scores not already available online have
been placed on reserve at the MPAL circulation desk or E-Reserves. Recordings are accessible through
the Naxos Music Library or other online recording archives to which the MPAL subscribes, as
appropriate, as well as the MPAL holdings, YouTube, and Spotify.
A. Music since 1945 All students must prepare this bloc!
Readings
Auner, Joseph. 2013. Music in the Twentieth and Twenty-first Centuries, Chapters 915 (Music since
WWII). W.W. Norton & Co. With accompanying Anthology for Music in the Twentieth and
Twenty-First Centuries. This book is available at the Norton website as an online Ebook with
180-day access for $20.00 (as of 3 May 2016):
http://books.wwnorton.com/books/detail.aspx?ID=4294977352
Additionally, a physical copy of the book and/or photocopies of the required chapters can be
found on reserve at the MPAL circulation desk.
Score Selections (from the accompanying anthology)
Photocopies of the works below with Auners prefatory commentary and/or the book itself are on reserve
at the MPAL circulation desk.
1.
2.
3.
4.
5.
6.

15. Benjamin Britten, War Requiem, Requiem aeternam

16. Dmitri Shostakovich, String Quartet No. 8, third movement
18. Pauline Oliveros, Traveling Companions
20. Kaija Saariaho, Noa Noa
25. Steve Reich, Violin Phase
26. John Adams, Doctor Atomic, Act 1, Scene 3, Batter My Heart

B. Jazz Track
Jazz Studies students must prepare all three jazz track blocs. Jazz: The Smithsonian Anthology, a 5-CD set
of conventional jazz works, should be consulted as a repertory guide.
1. Early Jazz, Swing, and the Transition to Bebop
Readings
1. Gushee, Lawrence. 1994. The 19th Century Origins of Jazz. Black Music Research Journal 14(1):1
24. Online journal
2. Ake, David. 2002. Jazz Cultures, chapter 1. Berkeley: University of California Press. E-Reserves
3. Porter, Eric. 2002. What is this Thing Called Jazz?, chapter 1. Berkeley: University of California
Press. E-Reserves
4. Tucker, Sherrie. 2000. Swing Shift: All-Girl Bands of the 1940s, chapter 1. Durham: Duke
University Press. E-Reserves
5. DeVeaux, Scott. 1997. The Birth of Bebop, chapter 1. Berkeley: University of California Press. Link
to E-book provided at the E-Reserves.
2. Post Bop, the Avant Garde, and Fusion
Readings
1. Rosenthal, David. 1992. Hard Bop, 2584. New York: Oxford University Press. MPAL Reserves
2. Ramsey, Guthrie, Jr. 2003. Race Music, chapter 3. (Chapter 5 is also recommended.) Berkeley:
University of California Press. Online Book, available through the Library Catalog
3. Porter, Lewis. 1985. John Coltranes A love supreme: Jazz Improvisation as Composition. JAMS
38(3):593621. Online journal
4. Anderson, Iain. 2007. This is Our Music, chapter 2. Philadelphia: University of Pennsylvania Press.
MPAL Reserves
5. Fellezs, Kevin. 2011. Birds of Fire, introduction and chapter 1. Durham, N.C.: Duke University Press.
E-Reserves
6. Monson, Ingrid. 2000. Art Blakeys African Diaspora. In The African Diaspora: a Musical
Perspective, ed. Ingrid Monson. New York: Garland. E-Reserves
3. Jazz Ethnography and Theories of Musical Improvisation
Readings
1. Jackson, Travis. 2012. Blowin the Blues Away, chapters 3 and 5. (Chapter 4 is also recommended.)
Berkeley: University of California Press. MPAL Reserves
2. Monson, Ingrid. 1995. Saying Something, chapter 3. (Chapter 4 is also recommended.) Chicago:
University of Chicago Press. E-Reserves
3. Nettl, Bruno. 1974. Thoughts on Improvisation. Musical Quarterly 60(1):119. Online journal
4. Pellegrinelli, Lara. 2008. Separated at Birth: Singing and the History of Jazz. In Big Ears, ed.
Nichole T. Rustin and Sherrie Tucker, 3147. Durham, N.C.: Duke University Press. E-Reserves
5. Solis, Gabriel. 2009. Genius and the Narratives of Jazz History. In Musical Improvisation, ed.
Gabriel Solis and Bruno Nettl. Urbana: University of Illinois Press. E-Reserves
6. Solis, Gabriel. 2013. Thelonious Monk Quartet with John Coltrane at Carnegie Hall, 719. (Chapter 5
is also recommended.) New York: Oxford University Press. MPAL Reserves
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C. Western Art Music Track

Category 1. Medieval/Renaissance: Select One Bloc
Medieval Era
Readings
13. Taruskin, Richard and Christopher H. Gibbs. 2013. The Oxford History of Western Music, Chs. 13.
Oxford University Press. MPAL Reserves
4. Franco of Cologne. 1997. Ars Cantus mensurabilis. In Strunks Source Readings in Music History, Vol.
2: The Early Christian Period and the Latin Middle Ages, ed. James McKinnon. W.W. Norton &
Co. E-Reserves
5. Rankin, Susan. 2011. On the Treatment of Pitch in Early Music Writing. Early Music History
30:10575. Online journal
6. Aubrey, Elizabeth. 1996. Poetics and Music. Chapter 3 in her The Music of the Troubadours, 6679.
Bloomington: Indiana University Press. E-Reserves
Scores/Recordings:
1. Anon, Kyrie IV (Cunctipotens genitor deus). You may find this chant on p. 137 of the Liber Usualis,
available online here: http://media.musicasacra.com/pdf/liberusualis.pdf. You can find a troped
version of this chant on Wikimedia at the following url:
http://upload.wikimedia.org/wikipedia/commons/b/b0/Kyrie-and-trope.jpg.
2. Perotinus, Viderunt Omnes. IMSLP #30838
3. Bernard de Ventadorn, Can vei la lauzeta mover. In The Medieval Lyric: A project supported by the
National Endowment for the Humanities and Mount Holyoke College, ed. Howell D. Chickering
and Margaret Louise Switten, 6870. South Hadley, MA: The Medieval Lyric, 198889. EReserves
4. Hildegard von Bingen, Columba aspexit. In Sequentia de Sancto Maximino, 28. Bryn Mawr, PA:
Hildegard Publishing Co, 1992. E-Reserves (awaiting copyright clearancesee the MPAL
meanwhile or find the score on-line)
5. Guillaume de Machaut, Mass of Notre Dame, Kyrie. IMSLP #167815
6. Francesco Landini, Non avra ma pieta. From the Norton Anthology of Western Music, Vol. 1, J.
Peter Burkholder, ed. 6th edition, 158160. MPAL Reserves
Renaissance
Readings
13. Taruskin, Richard and Christopher H. Gibbs. 2013. The Oxford History of Western Music, Chs. 46.
Oxford University Press. MPAL Reserves
4. Borghetti, Vincenzo. 2008. Music and the Representation of Princely Power in the Fifteenth and
Sixteenth Century. Acta Musicologica 80, Fasc. 2: 179214. Online journal
5. Wegman, Robert. 1996. From Maker to Composer: Improvisation and Musical Authorship in the Low
Countries, 14501500. JAMS 49(3):40979. Online journal
6. Mei, Girolamo. 1998. Girolamo Mei: Letter to Vincenzo Galilei (1572). In Strunks Source Readings
in Music History, revised edition, Vol. 3: The Renaissance, ed. Gary Tomlinson, 48595. W.W.
Norton & Co. E-Reserves
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Scores/Recordings:
1. Chant, Ave regina coelorum. p. 398 of the Liber Usualis, available online at:
http://media.musicasacra.com/pdf/liberusualis.pdf
2. Dufay, Ave Regina coelorum III. From the Anthology of Renaissance Music, ed. by Allan W. Atlas, 35
41. W. W. Norton & Co., 1998. E-Reserves
3. Dufay, Missa lHomme Arm, Agnus Dei. IMSLP #139181
4. Johann Walter, Ein feste Burg ist unser Gott. From the Norton Anthology of Western Music, Vol. 1, J.
Peter Burkholder, ed. 6th edition, 23437. E-Reserves
5. Josquin, Miserere mei Deus. http://www2.cpdl.org/wiki/images/d/d9/Josquin-Miserere_a_5.pdf
6. Jacques Buus, Ricercare no. 4 from Il Primo Libro di Ricercare (Venice, 1547). E-Reserves;
Recording: Track 7 of Naxos catalogue number MMCD13015

Category 2. Baroque/Classic Eras: Select One Bloc

Baroque Era
Readings
1. Hill, John W. 2005. IntroductionMonarchy, Religion, and the Rhetoric of the Arts. In his Baroque
Music: Music in Western Europe, 1580-1750, 121. NY: W.W. Norton & Co. MPAL Reserves
2. *Heller, Wendy. 2014. Ancients and Moderns and Theatrical Baroque. In her Music in the
Baroque: Western Music in Context, 2038 and 3946 only. NY: W.W. Norton & Co. EReserves
3. Hill, John W. 2005. Music at the Court of Louis XIV to the Death of Lully. As above, 21656.
MPAL Reserves
4. Heller, Wendy. 2014. The London of Handel and Hogarth and Postlude and Prelude: Bach and the
Baroque. In her Music in the Baroque: Western Music in Context, 23571. W.W. Norton & Co.
E-Reserves
5. Rosand, Ellen. 1994. Venice, 15801680. The Early Baroque Era: From the Late 16th Century to
the 1660s, ed. Curtis Price, 75102. Upper Saddle River, NJ: Prentice-Hall. E-Reserves
6. Talbot, Michael. 2005. The Italian Concerto in the Late Seventeenth and Early Eighteenth Centuries.
In The Cambridge Companion to the Concerto, ed. Simon P. Keefe, 3552. Cambridge
University Press. E-Reserves
*Should you be interested, the Heller book (but not the accompanying anthology) is also available as an
E-book 180-day rental for $20.00 as of 3 May 2016. It is also available as an E-book.
Scores/Recordings
1. Claudio Monteverdi. Lamento della ninfa. In his Madrigali guerrieri et amorosi. See Hellers
Anthology for Music in the Baroque, 2333 (score with explanatory commentary) at the MPAL
Reserves; or IMSLP #282691, pp. 28997 of the .pdf. Hellers commentary (minus the score) is
also available at the E-Reserves.
2. Giovanni Gabrieli. In ecclesiis (ca. 1605). From his Symphoniae sacre . . . liber secundus . . . editio
nova (1615). Anthology of Baroque Music (accompanying the Hill texbook above, with his
commentary), No. 31. MPAL Reserves

3. Jean-Baptiste Lully. Alceste, ou le triomphe dAlcide, LWV 50 (1674), Act I. Anthology of Baroque
Music (accompanying the Hill texbook above, with his commentary), No. 80. MPAL Reserves; or
IMSLP #31270
4. George Frideric Handel. Saul, HWV 53 (1738), Act I, Scene 3, Nos. 2226. See Hellers Anthology for
Music in the Baroque, 22542 (score with explanatory commentary) at the MPAL Reserves; or
see IMSLP #17690 Hellers commentary is also available (minus the score) at the E-Reserves.
5. J.S. Bach. Brandenburg Concerto No. 5 in D Major, BWV 1050, mvt. 1. IMSLP #272348
6. Antonio Vivaldi. Lestro armonico, op. 3, no. 8, mvt. 1. IMSLP #299306

Classic Era
Readings
1. Taruskin, Richard and Christopher H. Gibbs. 2013. Mid-Eighteenth Century Stylistic Changes: From
Bachs Songs to the Comic Style. Chapter 12 in their The Oxford History of Western Music,
383410. Oxford University Press. MPAL Reserves
2. Will, Richard. 2013. The Symphony and the Classical Orchestra. In The Cambridge Companion to
the Symphony, ed. Julian Horton, 31328. Cambridge University Press; and Spitzer, John and
Neal Zaslaw. 2004. The Classical Orchestra. In The Birth of an Orchestra: History of an
Institution: 16501815, 33742 only (The end of the classical orchestra). Oxford: Oxford
University Press. E-Reserves
3. Robbins Landon, H.C. 1966. The Salomon Symphonies (London 179195). In Haydn Symphonies,
4964. London: BBC; and his 1976 Haydn: Chronicle and Works, vol.3: Haydn in England, 609
18. Bloomington: Indiana University Press. E-Reserves
4. Bauman, Thomas. 1990. Coming of Age in Vienna: Die Entfhrung aus dem Serail. In Mozarts
Operas, by Daniel Heartz, ed. Thomas Bauman, 6487. University of California Press. EReserves
5. Hunter, Mary. 1998. The Alla Turca Style in the Late Eighteenth Century: Race and Gender in the
Symphony and the Seraglio. In The Exotic in Western Music, ed. Jonathan Bellman, 4373.
Northeastern University Press. E-Reserves
6. Radice, Mark A. 2012. The Crystallization of Genres during the Golden Age of Chamber Music and
Classical Chamber Music with Wind Instruments. In Chamber Music: An Essential History,
2461. Ann Arbor: University of Michigan Press. E-Reserves
Scores/Recordings
1. C.P.E. Bach. Fantasia in C minor; and J.C. Bach. Sonata in D, Op. 5, No. 2, mvt. 1. C.P.E. Bach at
MPAL Reserves (from the Taruskin & Gibbs Anthology); J.C. Bach available at IMSLP #03895
2. Franz Joseph Haydn. Symphony No. 104, The London. IMSLP # 28911
3. W.A. Mozart. Symphony No. 41 in C major, K. 551, The Jupiter. IMSLP #100325
4. W.A. Mozart. Die Entfhrung aus dem Serail, Overture; Act I, no. 3 (Osmins Aria); Act II, no. 11
(Constanzes Aria); Act III, no. 21 (w/Janissary Chorus). IMSLP #06330
5. Franz Joseph Haydn. String Quartet in Eb major, op. 33. no. 2, The Joke. IMSLP #05278
6. W. A. Mozart. Clarinet Quintet in A major, K. 581. IMSLP #01455

Category 3. Early Romantic/Long Late Romantic Era: Select One Bloc

Early Romantic Era
Readings
1. Finson, Jon W. 2002. Nineteenth-Century Music: Overview and Background, and Operatic
Premises: Musical Drama in the First Part of the Nineteenth Century. In his Nineteenth-Century
Music: The Western Classical Tradition, 111 and 5789. Upper Saddle River, NJ: Prentice-Hall.
MPAL Reserves
2. Plantinga, Leon. 1984. Beethoven: The Late Years, 180927 and Beethovens Contemporaries:
Instrumental Music. In his Romantic Music: A History of Musical Style in the Nineteenth
Century, 50106. W.W. Norton & Co. E-Reserves
3. Youens, Susan 2003. A Wintery Geography of the Soul: Schuberts Winterreise. In Schuberts
Winterreise: A Wintery Journey in Poetry, Image and Song, xixxii. Madison: University of
Wisconsin Press. AND Youens, Susan. 1991. Gute Nacht, Auf dem Flusse, and Der
Leiermann. In her Retracing a Winters Journey: Schuberts Winterreise, 119130, 17686, and
295306. Ithaca: Cornell University Press. E-Reserves.
4. Kallberg, Jeffrey. 2004. Hearing Poland: Chopin and Nationalism. In Nineteenth Century Piano
Music, 2nd edition, ed. R. Larry Todd, 22157. NY: Routledge. E-Reserves
5. Todd, R. Larry. 1998. The Chamber Music of Mendelssohn. In Nineteenth Century Chamber Music,
ed. Stephen Hefling, 170207. NY: Routledge. E-Reserves
6. Holoman, D. Kern. 1997. Berlioz. In The Nineteenth Century Symphony, ed. R. Larry Todd, 10841.
Schirmer Books. E-Reserves
Scores/Recordings
1. Gaetano Donizetti. Lucia di Lammermoor, Act II, Finale. IMSLP #113042
2. Ludwig van Beethoven. String Quartet No. 14 in C minor, op. 131. IMSLP #51356
3. Franz Schubert. Die Winterreise, No. 1, Gute Nacht, No. 7, Auf dem Flusse, and No. 24, Der
Leiermann. IMSLP #60822
4. Frdric Chopin. Mazurka in F minor, op. 6, No. 1 and Nocturne in G minor, op. 15, No. 3 IMSLP
#29439 and #80733
5. Felix Mendelssohn. Octet in Emajor, op. 20, mvts. 3 and 4. IMSLP #10980
6. Hector Berlioz. Romo et Juliette, op. 17. IMSLP #81778
Long Late Romantic Era (ca. 1850 1915)
Readings
12. Finson, Jon W. 2002. The Life of the Concert Hall After Mid Century and The Diversity of
Nationalism. In his Nineteenth-Century Music: The Western Classical Tradition, 187282.
Upper Saddle River, NJ: Prentice-Hall. MPAL Reserves
3. Smaczny, Jan. 2003. Nineteenth-Century National Traditions and the String Quartet. In the
Cambridge Companion to the String Quartet, ed. Robin Stowell, 26687. Cambridge University
Press. E-Reserves
4. Abbate, Carolyn and Roger Parker. 2012. Young Wagner and VerdiOlder Still. In their A History
of Opera, 292314 and 37396. NY: W.W. Norton & Co. E-Reserves
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5. Watkins, Glenn. 1988. Debussy: Impressionism and Symbolism, and Exoticism: Importations from
Abroad. In his Soundings: Music in the Twentieth Century, 64103 and 11629. NY: Schirmer.
E-Reserves
6. Watkins, Glenn. 1988. Expressionism: The Path to Pierrot and Primitivism: The Road to the Rite.
In his Soundings: Music in the Twentieth Century, 170231. NY: Schirmer. E-Reserves
Scores/Recordings
1. Gustav Mahler. Symphony No. 3, mvt. 1. IMSLP #109863
2. Bedich Smetana. String Quartet No. 1 in E minor, From My Life, mvt. 4. IMSLP #10098
3. Camille Saint-Sans. Symphony No.3, avec orgue, mvt. 1, Sonata Allegro - Adagio. IMSLP #29120
4. Giuseppe Verdi. Aida, Act I, Scene 1, Celeste Aida, forma divina (Radamss aria) and Act IV,
Scene 2, Immenso Ftha/O terra addio (Aida, Radams, Amneris, with chorus). IMSLP
#42193 (Romanza begins p. 8) and IMSLP #42196 (score p. 424; .pdf p. 81)
5. Claude Debussy. Pellas et Mlisande, Act III, scene 2, and Act IV, scene 4. IMSLP #16926
6. Igor Stravinksy. Petrushka, Tableaux I and IV. Full score, original 1911 version, available at IMSLP,
but with no identification number

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