Constitutional History. Women. 1066-1215 AND GENERAL. 1. Give a short account of the rise and progress of English towns, their influence, privileges, representation, and charters; with a description of the action, aim, and effect of their trade guilds. 2. Indicate the change in the character of the monarchy as developed by the Tudor sovereigns, accounting for its meeting, at first, with so little opposition. 3. What circumstances first caused the creation of a standing army? Give a brief history of the origin, growth, and permanent establishment of the same. 4. What were the main features of the policy and administration of Hyde, Earl of Clarendon? Account for the opposition they aroused. What causes brought about the Conventicle Act and the Five Mile Act, and what were the effects of those measures? Political Economy. 1. What is Aristotle's distinction between value in use and value in exchange of wealth? Account for his condemning interest as an unjust usurpation, and defending slavery as natural. What was his opinion of the ratio of population to territory? 2. Explain the term a measure of value. What are the obstacles which prevent a general measure of value, and what would be the advantages could such be obtained? What commodities have at different times been suggested as fitted to such a purpose? Account for none of them having been generally adopted. 3. Point out the fallacy of the statement,-that a rise of wages causes an equivalent rise of prices. Under what circumstances does the reduction of wages bring increased profit to the employer of labour? Music. Junior. 1. Explain the difference between a chromatic and a diatonic interval. Write twelve diatonic intervals in the key of F major, and shew how each, under different circumstances, might become chromatic. 2. What intervals are generally called perfect, and why? 3. What is meant by inversion of intervals, and how is their nature changed by inversion? 4. When are intervals said to be complementary to each other, and what is the difference between simple and compound intervals? 5. What sounds are respectively a minor-sixth above C sharp, a major-seventh below B flat, a diminished third above F sharp, an augmented second below E natural, a minor-seventh below D flat, and an augmented third above A natural? 6. Distinguish between duple, triple, and quadruple time, and say to which classes 3, 8, and time severally belong. 7. What major scale has the same signature as C sharp minor, and what minor scale has the same signature as G flat major. 8. Write, on the bass stave, one octave, ascending, of three major scales having not less than five. sharps or flats in their signatures; and one octave, ascending and descending, of the modern form of their relative minors. 9. Write the following in vocal score, using the soprano, alto, tenor, and bass staves: 10. Write the chromatic scales of D major and E flat major according both to Macfarren's and the ordinary method. Music. Senior. 1. What is meant by consecutive octaves and consecutive fifths? Are they always to be avoided in part-writing, and if not, when are they allowable? 2. By the breaking of what rule is a "false relation" formed? Write an example of a "false relation," and follow it by a corrected form of the same progression. 3. Say which notes should and which should not be doubled in writing the common chord and its inversions in four parts. 4. By what is the second inversion of a common chord most commonly followed, and when thus followed, what are the rules for the progression of the parts? Write an example. 5. In part-writing, which note of the scale has a fixed progression, and in consequence of this, which note of the following chord has frequently to be omitted? 6. What does an accidental standing alone under a bass note imply, and what does a stroke through a number indicate? 7. Write the following in vocal score, and thoroughly explain each chord. (Refer to the number of the chord, e.g. Ch. I. C. C. of F major in original position with root doubled.) 8. Write a short account of the life of Haydn, saying when and where he lived, who were his principal contemporaries, and what were his chief works. Music. Women. 1. Harmonize the following in four parts, and write the exercise in vocal score. separate stave: Write the ground notes below on a 2. Harmonize the following melody in four parts. Figure the bass: 3. Write several counterpoints in three parts to the following canto fermo. Use all the species, and combine them differently in each exercise. Place the canto fermo in all the parts alternately, and write always in vocal score: 4. (i) Define Resonance. What must be the difference in pitch of two sounds which will respectively produce the maximum resonance in an open pipe and a closed pipe of the same length.? (ii) Explain the principle of Helmholtz' Resonator, and say for what purpose a series of these would be available. (iii) Prove, by the proposition, "The vibrations of any instrument are excited by resonance only when vibrations of the same period are already present in the surrounding air," that the sounds of nearly all musical instruments are composite, and that the constituent sounds of which they are made up belong to a fixed series. (iv) What variations in the partial tones which make up a clang or composite sound will influence its quality? Bemarks and Comments on April Answers. We would recommend those who are able to obtain the book to read the Essay on Coriolanus, by Gervinus. They will then be able to explain the quotation thence borrowed (English Literature, p. 154, No. 1) which so many of our students have failed rightly to appreciate. We regret to notice in the language papers that the questions most frequently omitted are those which require the translation of English. As we consider no exercise more important, nor more likely to give a clear insight into a language, and appreciation of idioms, English and foreign, we hope that they will be attempted as often as possible. The Arithmetic Paper for the Higher Examination (Women's) has not been nearly as well done as usual this month. Perhaps it was a little more difficult than we are wont to give. We subjoin a short explanation of 11, which none had quite right; 13 and 14 were mostly failed in through want of accuracy. We never, unless we specially state to the contrary, wish decimals continued beyond the seventh place. Page 169, No. 11. At 3 o'clock the minute-hand is 15 min. behind the hour-hand; the rate of motion is 12 min. : 1 min., there fore the minute-hand gains 55 min. in 60 min. = 60 x 15 55 = 180 = 161 time in which the minute hand makes up the 15 min. it started behind, i.e. at 16min. after three they are together. In another equal period the minute-hand will be another 15 min. in advance, i.e. it will be at right angles at 32 min. In a third period of the same time it will be 30 min. in advance, i.e. exactly opposite at 49 min. past 3. |