2014 YEAR 10/11 MUSIC SEMESTER 2

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Name: Time Submitted: 2014 YEAR 10/11 MUSIC SEMESTER 2 Friday 28 November: 9.00 A.m. Time: 2 hours Examination material: One question and answer booklet (provided) Scrap Paper Bring your own:

1 Name: Time Submitted: 2014 YEAR 10/11 MUSIC SEMESTER 2 Friday 28 November: 9.00 A.m. Time: 2 hours Examination material: One question and answer booklet (provided) Scrap Paper Bring your own: Dictionary and Lead Pencil Section A: Aural 20 Section B: Theory 70 Section C: Music in 20 Context TOTAL 136 % Instructions to Students 1. You will have 10 minutes to read the paper. You must not write in your examination booklet during this reading time but you may make notes on the scribbling paper provided. 2. Use LEAD PENCIL only to answer your questions. 3. Recordings will be played for Section A and B 4. This examination is in THREE sections. SECTION A AURAL [ /30] This section should take approximately 20 minutes to complete. There are recordings for this section. You may write while the music is playing. SECTION B THEORY [ /70] APPROX This section should take approximately 40 minutes to complete. SECTION C MUSIC IN CONTEXT [ /20] This section should take approximately 60 minutes to complete. Answer ONE question ONLY. 5. Place your name on the examination booklet, and on all loose leaf paper used. 10/11 MUSIC EXAM SM P a g e 1

2 Section A AURAL [30] For this section, recordings will be played. You may write while the music is playing. 1. INTERVALS [20] a. For each of the following FIVE examples an interval will be played three times, followed by a 10 second pause each time, in which you are to indicate the type of interval by writing the quality and quantity in the space provided and writing the interval above the note on the stave below. [3 marks each] b. One example from each of the following 5 questions will be played twice, followed by a 10 second pause each time, in which you are to indicate the example that was played by circling the appropriate answer. [1 mark each] B 10/11 MUSIC EXAM SM P a g e 2

3 2. TRIADS [10] For each of the following FIVE examples, a broken chord (triad) will be played twice, followed by a 10 second pause each time, in which you are to indicate the type of chord by ticking the appropriate boxes. [2marks each] Question 1 Question 2 Question 3 Question 4 Question 5 Major Minor Major Minor Major Minor Major Minor Major Minor Root 1 st Inversion 2 nd Inversion Root 1 st Inversion 2 nd Inversion Root 1 st Inversion 2 nd Inversion Root 1 st Inversion 2 nd Inversion Root 1 st Inversion 2 nd Inversion 10/11 MUSIC EXAM SM P a g e 3

4 Section B THEORY [ /70] There are no recordings for this section MAJOR AND HARMONIC MINOR SCALES [24] 1. On the stave provided write the following scale: In the treble write one octave ascending of the scale of A major. Use accidentals in place of a key signature and mark the semitones. Use minims. [6] 2. On the stave provided write the following scale: In the treble, write one octave descending and ascending of the B Minor scale. Use accidentals instead of a key signature and mark the semitones. Use semibreves. [6] 3. Add a clef and accidentals to make this the scale of F sharp major. [6] 4. Name the two keys to which each of these signatures belongs. Write your answer in the space provided beneath the stave. (2 marks each) [6] 10/11 MUSIC EXAM SM P a g e 4

5 INTERVALS AND TRIADS [46] 1. Write these intervals above the given notes. (2 marks each) [10] 2. Name these intervals giving quality and quantity (number). Write your answers in the space provided below the stave. (2 marks each) [12] 3. Name these triads as tonic (I), subdominant (IV) or dominant (V), root or 1 st inversion and the key. All are in MAJOR keys. Write your answers in the space provided. (3 marks each) [12] 4. Write these triads, each with its key signature on the stave below. (3 marks each) [12] i. Tonic triad of D minor in root position ii. Dominant triad of E minor in first inversion iii. Dominant triad of C minor in first inversion iv. Subdominant triad of G minor in root position 10/11 MUSIC EXAM SM P a g e 5

6 Section C MUSIC IN CONTEXT [ /20] Choose ONE of the following three topics (questions) to answer. Clearly iden tify at the start of your response which question you have chosen. Remember to refer to Mozart s Piano Concerto No. 20 in D minor in your response, regardless of which question you choose. (500 words) Topic 1 The Classical era was the musical version of the French Revolution. Discuss the developments of music during the Classical era, specifically referring to changes in technology, world events and changes in musical style. Topic 2 The music of the Baroque was predominantly based in the church and for the glory of God, however in the Classical era, the musician was not just a puppet of the church composing cantatas for mass on Sundays. Discuss the role of the composer and musician during the Classical era. Topic 3 The classical concerto is similar, or equivalent to, the soloist and the accompanist but on a much grander scale. Explain this statement in relation to Mozart s Piano Concerto No. 20 in D minor, K /11 MUSIC EXAM SM P a g e 6

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11 Performance Standards for Stage 1 Music Practical Application Knowledge and Understanding Analysis and Reflection A B C D E Highly proficient use of creative skills, techniques, and/or processes. Confident and highly effective demonstration of musicianship in the development and/or presentation of creative works. Communication of musical ideas in a comprehensive and highly effective manner. Comprehensive and highly effective experimentation with, and exploration and consideration of, creative techniques. Highly proficient aural and visual identification of musical elements, stylistic features, and the structure of selected musical works. Proficient use of creative skills, techniques, and/or processes. Effective demonstration of musicianship in the development and/or presentation of creative works. Communication of musical ideas in a capable and effective manner. Very capable and effective experimentation with, and exploration and consideration of, creative techniques. Proficient aural and visual identification of musical elements, stylistic features, and the structure of selected musical works. Generally competent use of creative skills, techniques, and/or processes. Generally competent demonstration of musicianship in the development and/or presentation of creative works. Communication of musical ideas in a generally competent manner. Appropriate experimentation with, and exploration and consideration of, creative techniques. Generally competent aural and visual identification of musical elements, stylistic features, and the structure of selected musical works. Inconsistent use of some creative skills, techniques, and/or processes at a basic level. Inconsistent demonstration of some aspects of musicianship in the development and/or presentation of parts of one or more creative works. Partial communication of some musical ideas. Some experimentation with, and consideration of, one or more creative techniques. Aural and/or visual identification of some musical elements, and/or stylistic features, and/or aspects of the structure of selected musical works. Use of one or more creative skills, techniques, and/or processes to a limited level. Attempted demonstration of limited aspects of musicianship. Attempted communication of one or more basic musical ideas. Attempted consideration of one or more creative techniques, with little experimentation or exploration. Aural and/or visual identification of one or more musical elements. In-depth knowledge and well-informed understanding of core concepts, musical notation, and appropriate terminology. Thorough knowledge of relevant technologies and processes. Insightful and well-informed understanding of relevant social, cultural, and historical contexts. Detailed knowledge and well-informed understanding of core concepts, musical notation, and appropriate terminology. Some depth in knowledge of relevant technologies and processes. Well-informed understanding of relevant social, cultural, and historical contexts. Generally relevant knowledge and informed understanding of core concepts, musical notation, and mostly appropriate terminology. Knowledge of some relevant technologies and processes. Consideration and some understanding of relevant social, cultural, and historical contexts. Awareness and basic understanding of some core concepts, a restricted range of musical notation, and some terminology that may be appropriate. Awareness of one or more relevant technologies and processes. Some consideration of one or more relevant social, cultural, and historical contexts. Emerging recognition of one or more core concepts, and of a restricted range of musical notation and terminology. Emerging recognition of one or more relevant technologies and processes. Limited consideration of any relevant social, cultural, or historical contexts. An insightful, focused, and well-informed approach to analysis of, and reflection on, ideas about music. Perceptive and well-informed reflection on, and recognition of, music in context. A well-considered and informed approach to analysis of, and reflection on, ideas about music. Thoughtful and informed reflection on, and recognition of, music in context. Some consideration in planning and approaching an informed analysis of, and reflection on, ideas about music. Generally competent and informed reflection on, and recognition of, music in context. Recognition and use of some elements of analysis that are principally descriptive, with developing skills in reflection on ideas about music. Awareness and basic consideration of some aspects of ideas about music in context. Attempted description of one or more musical ideas. Emerging awareness of some aspects of music in context. 10/11 MUSIC EXAM SM P a g e 11

CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER 9...

CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER 9... Contents Acknowledgements...ii Preface... iii CHAPTER 1... 1 Clefs, pitches and note values... 1 CHAPTER 2... 8 Time signatures... 8 CHAPTER 3... 15 Grouping... 15 CHAPTER 4... 28 Keys and key signatures...