2016 MUSICAL STYLES. Wednesday 23 November: 1.30 pm Time: 1½ hours

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1 External Examination MUSICAL STYLES Wednesday 23 November: 1.30 pm Time: 1½ hours Pages: 13 Questions: 10 Examination material: one 13-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. Archie Roach: Contemporary Aboriginal 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. Sculthorpe: Twentieth-century 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)). SACE Board of South Australia 2016

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3 Topic 1. Bach: Music and Patronage 1. Answer only one of the following questions, (a) or (b). (a) Discuss the aspects of the musical style of Bach s Brandenburg Concerto No. 5 that are typical of the Baroque period. (b) Answer this question with reference to the Brandenburg Concerto No. 5. (i) With reference to the first movement: (1) name the form of the movement. (1 mark) (2) describe the function of the musical material in bars 1 7. (2 marks) (3) identify and describe the next two returns of this musical material after bars 1 7. (ii) Describe the two roles of the harpsichord, and give an example of each role in the first movement. (iii) Describe the stylistic features of the first 14 bars of the harpsichord cadenza. In your answer refer to compositional techniques and modulations. (5 marks) (iv) Write an extended paragraph in which you discuss the stylistic features of the second movement of Bach s Brandenburg Concerto No. 5. (9 marks) page 3 of 13 PLEASE TURN OVER

4 Topic 2. Beethoven: Music Finds Its Voice 2. Answer only one of the following questions, (a) or (b). (a) In the first movement of Beethoven s Symphony No. 6 ( Pastoral ), the composer exhibits an almost obsessive fascination with the theme in the opening four bars. Discuss this statement with reference to the set work. (b) Answer this question with reference to movements 1 and 4 of Symphony No. 6 ( Pastoral ). (i) With reference to the first movement: (1) name the form of the movement. (1 mark) (2) explain why this form is used. (2 marks) (ii) Identify the key at each of the following bars: (1) Bar 151. (1 mark) (2) Bar 193. (1 mark) (3) Bar 239. (1 mark) (iii) Describe Beethoven s use of harmony in the coda of the first movement. (iv) Refer to the fourth movement, and identify one example of each of the following musical features. In your answers name the instrument(s) and give a bar number for each example. (1) A chromatic scale. (2 marks) (2) Cross rhythm. (2 marks) (3) A dynamic indication that means always gradually becoming quieter. (2 marks) (v) Write an extended paragraph in which you discuss Beethoven s use of the cello and double bass in the fourth movement. (9 marks) page 4 of 13

5 Topic 3. Schubert: The Romantic Voice 3. Answer only one of the following questions, (a) or (b). (a) Compare and contrast the role of the piano in the three set works. (b) Answer this question with reference to the set works. (i) Name the term that best describes the form of: (1) Der Erlkönig. (1 mark) (2) Heidenröslein. (1 mark) (ii) With reference to the score of Heidenröslein : (1) state the function of the fi nal two bars. (1 mark) (2) name the tonic key. (1 mark) (3) describe Schubert s use of modulation. (iii) Describe the vocal line for the role of the narrator in Der Erlkönig. (iv) Describe the melodic features of the vocal line in Gretchen am Spinnrade. (5 marks) (v) Write an extended paragraph in which you analyse the piano accompaniment in Der Erlkönig. (8 marks) page 5 of 13 PLEASE TURN OVER

6 Topic 4. Stravinsky: A New Musical Direction 4. Answer only one of the following questions, (a) or (b). (a) In Petrouchka Stravinsky demonstrates a uniquely Russian musical language and a new direction for orchestral music. Discuss this statement with reference to the first tableau of Petrouchka. (b) Answer this question with reference to the first tableau of Petrouchka. (i) Give a brief outline of when and where the story of Petrouchka is set. (2 marks) (ii) Discuss Stravinsky s use of the perfect fourth interval. (3 marks) (iii) Discuss Stravinsky s orchestration of the string section in the Russian Easter song, Volochebniki, shown in the musical extracts below. (Use the version with which you are more familiar.) V. I. V. II. unis. V. I. (div.) Viole. Celli. div.a 2. V. II. (div.) C.B. Vla. (div.) Cello 1911 version 1947 version page 6 of 13

7 (iv) Describe how Stravinsky develops the theme in the 19-bar passage during the dance to Elle avait un jambe en bois. (3 marks) (v) The following musical extract is the flute solo in The Magic Trick scene. Name the arpeggiated chords indicated at (i), (ii), (iii), and (iv) below. (i) (ii) Fl. (iii) (iv) Fl. (vi) Write an extended paragraph in which you analyse Stravinsky s use of keyboard instruments in Petrouchka. (9 marks) page 7 of 13 PLEASE TURN OVER

8 Topic 5. Archie Roach: Contemporary Aboriginal Music 5. Answer only one of the following questions, (a) or (b). (a) Discuss how Archie Roach conveys his personal experience through the composition, performance, and recording of the set works. (b) Answer this question with reference to the set works. (i) Describe the accompaniment in Beautiful Child. (2 marks) (ii) Identify and describe the stylistic features of Wash My Soul in the River s Flow. (5 marks) (iii) Discuss how instruments and voices are used in Took the Children Away. (5 marks) (iv) Compare the instrumentation and harmony of Into the Bloodstream and Wash My Soul in the River s Flow. (v) Write an extended paragraph in which you discuss the historical and social context of the lyrics of the set songs. In your answer give examples of the lyrics. (9 marks) page 8 of 13

9 Topic 6. The Blues: Of Sadness and Joy 6. Answer only one of the following questions, (a) or (b). (a) The blues wouldn t be the same without the guitar. Discuss this statement with reference to the musical and technical features of the guitar solos and the guitar accompaniments in the set works. (b) Answer this question with reference to the set works. (i) With reference to Robert Johnson s Sweet Home Chicago : (1) describe the two main elements of the shuffl e played by Johnson. (2 marks) (2) name and describe two left-hand guitar techniques employed by Johnson. (ii) With reference to B.B. King s Why I Sing the Blues : (1) what is a chorus? (2 marks) (2) name the three main chords used in the song. (3 marks) (3) identify the two notes that do not belong in the following blues scale: (2 marks) (4) write a short paragraph in which you describe B.B. King s guitar style. (5 marks) (iii) Write an extended paragraph in which you compare and contrast the musical style of Eric Clapton and Muddy Waters. (7 marks) page 9 of 13 PLEASE TURN OVER

10 Topic 7. Duke Ellington: Pianist, Composer, and Bandleader 7. Answer only one of the following questions, (a) or (b). (a) Discuss Duke Ellington as a composer, bandleader, and pianist. In your answer refer to the set works. (b) Answer this question with reference to the set works. (i) Describe three features of Joe Tricky Sam Nanton s solo in Take It Easy. (3 marks) (ii) Identify two ways in which the influence of the blues is evident in East St Louis Toodle-oo. (2 marks) (iii) Compare and contrast the rhythm section in East St Louis Toodle-oo and Ko-Ko. (6 marks) (iv) Define the following terms, and give one example of each in the set works: (1) Pedal note. (2 marks) (2) Parallel voice leading. (2 marks) (3) Shout chorus. (2 marks) (v) Write an extended paragraph in which you analyse Duke Ellington s use of motifs in Ko-Ko. (8 marks) page 10 of 13

11 Topic 8. Miles Davis: Jazz Comes of Age 8. Answer only one of the following questions, (a) or (b). (a) Discuss how Miles Davis redefined jazz. In your answer refer to the set works. (b) (i) Name the following two scales, and identify the set work that is based on each scale. (1) (2) (2 marks) (2 marks) (ii) Discuss Miles Davis s use of motifs in Petits Machins. (iii) Discuss Miles Davis s note choice in his solo in Now s the Time. (iv) Compare and contrast the head of Now s the Time and Petits Machins. (3 marks) (6 marks) (v) So What created a new language of jazz. Write an extended paragraph in which you analyse this statement. (8 marks) page 11 of 13 PLEASE TURN OVER

12 Topic 9. The Beatles and the Beach Boys: Soundtracks of a Generation 9. Answer only one of the following questions, (a) or (b). (a) Discuss the extent to which the contributions of Brian Wilson and George Martin were integral to the creation of the set works. (b) Answer this question with reference to the set works. (i) Name two non-western instruments used in Within You, Without You. (2 marks) (ii) State two reasons why George Martin added strings to Within You, Without You. (2 marks) (iii) With reference to A Day in the Life, describe the method used to create: (1) the climax at the end of the fi rst section. (3 marks) (2) the fi nal chord. (3 marks) (iv) Describe the melody of the verse in Sloop John B. (5 marks) (v) Write an extended paragraph in which you analyse God Only Knows. In your answer refer to the song s form, vocal harmonies, and instrumentation. (10 marks) page 12 of 13

13 Topic 10. Sculthorpe: Twentieth-century Australian Music 10. Answer only one of the following questions, (a) or (b). (a) Discuss the various musical styles in the opening three movements of Peter Sculthorpe s Port Essington: for strings. (b) (i) Answer this question with reference to Movement 2, Theme and Variations: The Settlement. (1) Defi ne the term teneramente. (1 mark) (2) Name the following interval: Vla. (1 mark) (3) Name the broken chord below, found in the first line of the cadenza. a piacere Vlc. sempre (1 mark) (4) Discuss the presentation of the Aboriginal Djilile melody at fi gure 4. (6 marks) (5) Write an extended paragraph in which you analyse Sculthorpe s representation of the confl ict between the British settlement and the northern Australian bush. In your answer refer to the unusual string techniques employed from figure 7. (8 marks) (ii) With reference to Movement 4, Nocturnal: Estrangement, explain how Sculthorpe s music suggests that the British settlers at Port Essington were learning to live in harmony with the Australian bush. (iii) Name the arpeggiated chords indicated at (i), (ii), (iii), and (iv) below, in this passage from Movement 5, Arietta: Farewell. (i) (ii) (iii) (iv) Vlc. page 13 of 13 end of question booklet

2015 MUSICAL STYLES. Wednesday 18 November: 1.30 p.m. Time: 1½ hours

2015 MUSICAL STYLES. Wednesday 18 November: 1.30 p.m. Time: 1½ hours External Examination 2015 2015 MUSICAL STYLES Wednesday 18 November: 1.30 p.m. Time: 1½ hours Pages: 11 Questions: 10 Examination material: one 11-page question booklet one 16-page script book one SACE