2011 MUSIC IN CONTEXT

Transcription

1 External Examination MUSIC IN CONTEXT Tuesday 15 November: 1.30 p.m. Time: 1½ hours Pages: 7 Questions: 10 Examination material: one 7-page question booklet one 16-page script book one SACE registration number label Approved dictionaries may be used. Instructions to Students 1. You will have 10 minutes to read the paper. You must not write in your script book or question booklet during this reading time but you may make notes on the scribbling paper provided. 2. This paper consists of questions on the ten core topics: Topic 1. Bach: Music and Patronage Topic 2. Beethoven: Music Finds Its Voice Topic 3. Schubert: The Romantic Voice Topic 4. Stravinsky: A New Musical Direction Topic 5. Contemporary Australian Indigenous Music Topic 6. The Blues: Of Sadness and Joy Topic 7. Duke Ellington: Pianist, Composer, and Bandleader Topic 8. Miles Davis: Jazz Comes of Age Topic 9. The Beatles and the Beach Boys: Soundtracks of a Generation Topic 10. Contemporary Australian Music. 3. Answer two questions, each on a different topic. One must be an (a) question (an essay) and the other must be a (b) question (short-answer/extended-paragraph responses). 4. Write your answers in the script book provided, clearly indicating the question number in the margin at the beginning of each answer. 5. All questions are of equal value. You should spend equal time on each question. 6. You may use unmarked scores, transcriptions, or charts in writing your answers. 7. Attach your SACE registration number label to the box on the front cover of your script book. 8. Write the numbers of the questions you have answered in the box on the front cover of your script book (e.g. Question 4(b)).

2 Topic 1. Bach: Music and Patronage 1. Answer only one of the following questions, (a) or (b). (a) With reference to the set work, explain how the music of J.S. Bach exemplifies stylistic features of the late Baroque period. (b) With reference to Brandenburg Concerto No. 5: (i) identify and explain Bach s use, in any one movement, of: (1) canon. (2) inversion. (ii) name the two groups that the harpsichord belongs to, and its specific role in each. (iii) define and give an example of: (1) homophony. (2 marks) (2) polyphony. (2 marks) (iv) and with reference to the following musical extract: (1) name the section of the fi rst movement (from which this extract has been taken). (1 mark) (2) name the key of this extract. (1 mark) (3) name and explain the ornament. (2 marks) (v) write an extended paragraph in which you explain why most of Bach s secular output was written at Cöthen. (7 marks) 2

3 Topic 2. Beethoven: Music Finds Its Voice 2. Answer only one of the following questions, (a) or (b). (a) Write a musical analysis of the fourth movement of Beethoven s Symphony No. 6 ( Pastoral ). In your answer refer to melody, rhythm, harmony, instrumentation, texture, and form. (b) With reference to movements 1 and 4 of Symphony No. 6 ( Pastoral ): (i) explain the musical use of the following motif in the first movement: (ii) describe the ways in which Beethoven represents elements of nature in the fourth movement. (iii) list three ways in which this symphony differs from the standard Classical symphony. (iv) write an extended paragraph in which you discuss the structure of the fi rst movement. Topic 3. Schubert: The Romantic Voice 3. Answer only one of the following questions, (a) or (b). (a) With reference to the set works, discuss Schubert s contribution to the genre of Lied. (b) With reference to Der Erlkönig, Gretchen am Spinnrade, and Heidenröslein : (i) define the terms strophic and through-composed, and give an example of each from the set works. (ii) give four examples of the ways in which the music of Gretchen am Spinnrade reflects the text. (iii) list three characteristics of Lieder. (iv) in an extended paragraph, write a musical analysis of Der Erlkönig. 3 PLEASE TURN OVER

4 Topic 4. Stravinsky: A New Musical Direction 4. Answer only one of the following questions, (a) or (b). (a) Discuss Stravinsky s treatment of folk tunes in the first tableau of Petrouchka. (b) With reference to the first tableau of Petrouchka: (i) explain how the music represents the people at the fair. (7 marks) (ii) define: (1) glissando. (1 mark) (2) con sordino. (1 mark) (iii) list three folk tunes used, and give an example of how one of them relates to the story. (iv) define monophony, and give an example of it in the set work. (v) in an extended paragraph, identify and describe innovative ways in which Stravinsky uses rhythm. (2 marks) Topic 5. Contemporary Australian Indigenous Music 5. Answer only one of the following questions, (a) or (b). (a) Compare and contrast the stylistic features demonstrated in the set works by the Saltwater Band, the MERRg, and Yothu Yindi. In your answer refer to melody, rhythm, harmony, instrumentation, texture, and form. (b) (i) (1) List three characteristics of reggae style. (2) Discuss the elements of reggae in Tamilla and Reggae Music. (6 marks) (ii) Give four examples that show how the music reflects the text in Treaty and No There Weren t. (iii) In an extended paragraph, write a musical analysis of one of the set works. 4

5 Topic 6. The Blues: Of Sadness and Joy 6. Answer only one of the following questions, (a) or (b). (a) The blues have been described as expressions of the human spirit. Explain how this description is evident in the music of Robert Johnson, John Lee Hooker, and B.B. King. (b) (i) List four guitar techniques used by John Lee Hooker in Boom Boom. (ii) List two vocal techniques used in Sweet Home Chicago. (iii) (1) Briefly outline the origins of call and response. (2) Compare and contrast the use of call and response in the set works of John Lee Hooker, B.B. King, and Eric Clapton. (iv) With reference to the set works, write an extended paragraph in which you compare and contrast the blues styles of Robert Johnson and Eric Clapton. (2 marks) (6 marks) Topic 7. Duke Ellington: Pianist, Composer, and Bandleader 7. Answer only one of the following questions, (a) or (b). (a) Ellington s music is fundamentally his own, shaped by his taste and musical thinking (Sidney Finkelstein, quoted in Ken Rattenbury, Duke Ellington: Jazz Composer, Yale University Press, London & New Haven, 1990, p. 14). Discuss this statement with reference to musical styles, arranging techniques, and instrumentation in the set works. (b) (i) How does Duke Ellington portray the sounds of Africa in Ko-Ko? (2 marks) (ii) Describe four different trumpet techniques used by Bubber Miley in Take It Easy. (iii) How did Ellington break away from the traditional big band style? (iv) Name three elements of the blues that are found in one or more of the set works. (v) Write an extended paragraph in which you discuss the use of the rhythm section in Ko-Ko. (6 marks) 5 PLEASE TURN OVER

6 Topic 8. Miles Davis: Jazz Comes of Age 8. Answer only one of the following questions, (a) or (b). (a) Davis claims that he is now only doing what he has always done move ahead, take the music forward, submit to the personal curse that is his need for change (Stanley Crouch, quoted in Ian Carr, Miles Davis: The Definitive Biography, HarperCollinsPublishers, London, 1999, p. 525). Discuss how this need for change is reflected in the set works. (b) (i) Name the elements of bebop style evident in Now s the Time. (ii) Which compositional techniques does Miles Davis use in developing the main motif in the first solo in Petits Machins? (iii) What characteristics of modal jazz are evident in So What? (iv) What improvisational techniques could be used over limited chord changes? Give examples from the set works. (v) Write an extended paragraph in which you compare and contrast the harmonic structure and rhythmic elements in Now s the Time and Petits Machins. (5 marks) Topic 9. The Beatles and the Beach Boys: Soundtracks of a Generation 9. Answer only one of the following questions, (a) or (b). (a) Compare and contrast the stylistic features of A Day in the Life and God Only Knows. In your answer refer to melody, rhythm, harmony, instrumentation, texture, and form. (b) (i) Name the producers for the Beatles and the Beach Boys, and outline the contributions they made to the production of the set works. (6 marks) (ii) Discuss the recording techniques used in A Day in the Life and She s Leaving Home. (iii) Name three techniques used by the Beach Boys to create their own sound for the folksong Sloop John B. (iv) Write an extended paragraph in which you discuss the unconventional use of instrumentation in Within You, Without You and Wouldn t It Be Nice. (6 marks) 6

7 Topic 10. Contemporary Australian Music 10. Answer only one of the following questions, (a) or (b). (a) Write a musical analysis of Communion from Sculthorpe s Requiem. In your answer refer to melody, rhythm, harmony, instrumentation, texture, and form. (b) (i) With reference to Martin Wesley-Smith s Songs for Snark Hunters: (1) discuss the use of rhythm and metre. (6 marks) (2) define the term a cappella and name one song in which it is used. (2 marks) (3) name the children s songs that are used in this work. (2 marks) (4) name the compositional techniques that Martin Wesley-Smith uses to incorporate these children s songs in this work. (2 marks) (ii) With reference to Peter Sculthorpe s Requiem: (1) describe how the Dies Irae depicts a day of wrath. (2 marks) (2) explain how and where the Dies Irae is incorporated in the work. (iii) Write an extended paragraph in which you discuss the similarities and differences between Elena Kats-Chernin s Russian Rag and traditional rag style. SACE Board of South Australia PLEASE TURN OVER

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