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Pleаse trаce the blооd flоw through the 2 systems (fill in blаnks)-make sure you use the correct names for all parts: Vena cava → _______ → _______ → _______ → _______ → _______ →The Lungs Pulmonary veins→ _______ → _______ → _______ → _______ → _______ →The Body
DMA First Exаm–Fаll 2026 Scоre Essаy Questiоns DIRECTIONS: Answer the questiоns about TWO of the three pieces below. Follow the directions listed here exactly. Failure to do so will result in not passing the exam. SCORE ESSAY PIECE 1 (2 hours) Julio Segni da Modena, Ricercar No. 6 from Musica Nova: Accomodata per cantar et sonar sopra organi; et altri strumenti composta per diversi eccellentissimi musici SCORE RECORDING SCORE ESSAY (2 hours) Julio Segni da Modena, “Ricercar No. 6”, from Musica Nova: Accomodata per cantar et sonar sopra organi; et altri strumenti composta per diversi eccellentissimi musici (Venice, 1540) In at least 1,000 words, explain how this piece showcases idiomatic instrumental writing of the late Renaissance while also drawing on existing styles and models of vocal composition from the era. The most successful answers will: Identify and explain aspects of the work that show the continued influence of Renaissance-era vocal composition, including melody, harmony, texture, form, and more. Identify and explain aspects of the work that show new styles and practices drawn from instrumental idioms, styles, and conventions, including melody, harmony, texture, form, and more. Contextualize the balance between these two aspects in the larger history of Renaissance musical practices, including social functions, venues, and patrons and institutions. Make deliberate analytical and historical claims about the music rather than summarize its features Refer to specific places in the score (measure numbers or page numbers) as evidence for your claims SCORE ESSAY PIECE 2 (2 hours) Louis Théodore Gouvy (1819–1898) Symphony no. 1 in E-flat major, op. 9, movement 1 (1845) SCORE RECORDING In an essay of approximately 1000 words, describe three (3) ways in which the movement reinforces sonata form conventions and three (3) ways in which it resists them. In each case, be explicit about whose conventions you are invoking and where they come from. Throughout his life, Gouvy straddled both German and French musical scenes; contextualize his use of sonata form in light of that duality. Are its formal decisions best accounted for by national traditions? Why or why not? Support your argument with comparison to repertoire you know well. SCORE ESSAY PIECE 3 (2 hours) Alfred Schnittke, String Quartet No. 3, movement 1 SCORE RECORDING Discuss how the first movement of Schnittke’s Third String Quartet integrates both the “past” (i.e., musical quotations from earlier composers) and “present” (i.e., Schnittke’s original material) to create a coherent whole. Your response could describe the piece’s overall formal structure, its potential relationship with sonata form, the harmonic language of different sections, contrapuntal techniques, and motivic development throughout the movement. You may also consider the role of timbre and extended techniques. Which parameters serve as unifying factors, and which emphasize dissimilarity among sections written in different styles? Finally, reflect on what the use of polystylism and musical borrowing may signify in light of the composer’s life and his tormented relationship with the Soviet regime. Your essay should be approximately 1000 words.
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