sample answers for music 2 exam

HSC HSC Musi Mus i c 2 Ex Ex am

Musicology and Aural Skills Marking Guidelines  – Written Examination Question 1 (a) Marking Criteria Demonstrates a detailed understanding of each instruments role in obtaining interest with referral to the selected score.

Demonstrates a basic understanding of the instruments role in obtaining interest with little referral to the selected score .

Mark

2 1

Sample Answer - Interest is gained through the suspense created within the high melodic passing notes played within the piano as shown throughout the score with particular focus in bars 1-8. These melodic phrases create a bright and very light approach to the piece. - The violin carries a bold and dramatic feel throughout the piece by create a suspenseful interest that involves long dragged and slur notes in contrast to the quick moving melodic phrase played by piano. The violin adds to the interest of the piece through chromaticism within the melodic layer of the piece and can be seen within bar 11.  Answers could include: include: - Passing Melodic Phrases within Piano part bars 1-8. - Chromaticism within the violin long motifs shown through bars 9,11,13. - Addition of notes to build texture demonstrated in bars 16-17 with a change from the bass clef to treble clef in the piano part. - The effect of the contrast between the two instrumental roles and the tone colour creates an opposing feel with dramatic and suspenseful interest. - *Increase of tempo only slightly in bar 27 with louder dynamics to counter for the dramatic change change in the piece. - *Regular constant contrast of chords playing in different registers within the piano bassline from bar 27 onwards.

*Beyond selected area for listening.

Question 1 (b) Marking Criteria Provides a detailed response that identifies the expressive technique used with specific reference to the score .

Provides a basic understanding of the expressive technique with little referral to the score.

Mark

2 1

Sample Answer - Glissando that creates a suspenseful preparation for change within the piece as it leads to a dynamically louder and bolder part of the piece as shown in bars 25 to 27.

Answers could include: - Ascending slide to doubled notes tha t end ‘part a’. - Gradual slide to a new part that is bolder and dynamically louder overall. Question 1 (c) Marking Criteria Explores the composer’s use of tone colour and texture in detail with specific reference to the selected score Explores the composer’s use of tone colour and texture in some detail with reference to the selected score. Explores the composer’s use of tone colour and texture with little detail and reference to the selected score. Provides limited exploration of the use of tone colour and texture

Mark 4

3 2 1

Sample Answer - Texture and tone colour work well together within this piece to convey unity between the two instruments piano and violin. The piano creates a light and suspenseful colouring through a high range melodic motif shown in bars 1-8 that counteracts counteracts with the low, bold and dramatic feeling created by the violin’s long and expressive phrases. - Overall both instruments build in dynamics to achieve a well-rounded texture that is achieved through simple passing notes within the treble stave of the piano, short motif’s that incorporate chromaticism  within the violin and a bass line that contrasts between low and mid register as shown within bar 27.  Answers could include: include: - Piano = Bright texture with light and simple melodic movements that flow upwards and downwards in a step like motion. - The texture builds among reoccurring phrases that allow for textural dynamics and contrast between parts. - Piano = Addition of notes throughout the melodic sequence contributes to the texture by creating a harmonic layer and more interest. - Transition of note values from longer lengths to short lengths in the piano bass then to more rhythmic sequences that uphold the position of a rhythmic pulse.

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Violin = eerie sound, long legato notes running together and slurring in some parts, chromaticism chromaticism with slight note changes half way through a phrase as shown in bar 9. Glissando in bar 25 that leads to the Part B. Texture is bold and increases throughout the piece among the violin part.

Question 2 (a) Marking Criteria Notates in detail the selected phrase with substantial accuracy Notates some detail of the selected phrase with reasonable accuracy Notates the selected phrase with basic accuracy Notates the phrase with limited accuracy

Mark 4 3 2 1

Sample Answer

Question 2 (b) Marking Criteria

Explores through a detailed explanation how the composer uses compositional devices with specific reference to the musical excerpt. Adequately explores how the composer uses compositional devices with reference to the musical excerpt . Provides a basic explanation of how the composer explores compositional devices with some reference to the musical excerpt. Makes limited reference to the composers use of compositional devices and rarely refers to the musical excerpt.

Mark

4 3 2 1

Sample Answer - Paul Stanhope creates a various amount of compositional devices from the baroque period that highlights the significance of the canon, musical variations and free timing ‘chant’ music that is dynamically challenging. The vocals range from soprano and alto tenor singers sliding into falsetto voice parts to make fuller harmonic textures. These harmonic texture involve unison phrases, storystory- telling and call & response within the vocalist ’s performance. Expressive techniques are shown within this piece through the vocalist ability to create trills, slides effectively to higher contribution to the composer’s c reation of sacred unison singing and ranges and contribution canons.

 Answers could include: include: - Call & Response - Sacred Music = Canon/ unison singing/ chant like tone/ word painting. - Dynamic Vocal capabilities (Female/ Male) Falsetto, trills, doubling of harmonies. - Word Painting thr ough dynamic changes to particular words like “NOT” & “Sleep”.

Music 2 – Mapping Grid

Written Paper: Musicology and Aural Skills Question 1 (a) 1 (b) 1 (c)

Marks 2 2 4

2 (a) 2 (b)

3 4

Content Texture – Melodic Interest Dynamics & Expressive Techniques Tone Colour & Texture

Melodic & Rhythmic Dictation Compositional Devices

Musical Excerpt  – Sequence “Still Life” – Elena Kats-Chernin 1.

Familiarisation Playing (Bars 1-36) First Playing (Bars 1-18) – 1 minute pause Second Playing (Bars 19-36)  – 2 minute pause Third Playing (Bars 19-36)  – 4 minute pause

2.

“Agnus Dei” – Paul Stanhope

Melodic Dictation First Playing (Bars 1-4)  – 30 second pause Second Playing (Bars 1-4) – 1 minute pause Third Playing (Bars 1-4)  – 2 minute pause

Fourth Playing (Bars 1-11) – 2 minute pause Fifth Playing (Bars 1-11)  – 3 minute pause

Syllabus Outcomes H2, H5 H2, H5, H7 H2, H7

H2, H4 H2, H5, H6