Level 3 Music Studies, 2012

Transcription

1 90498Q Level 3 Music Studies, Compare and contrast music works 9.30 am Friday 30 November 2012 Credits: Eight QUESTION BOOKLET There are thirteen questions in this booklet. You should attempt THREE questions. Write your answers in Answer Booklet 90498A. Check that this booklet has pages 2 9 in the correct order and that none of these pages is blank. YOU MAY KEEP THIS BOOKLET AT THE END OF THE EXAMINATION. Achievement Criteria Achievement Achievement with Merit Achievement with Excellence Demonstrate knowledge and understanding of the social / historical / cultural background and the musical styles of the works, and compare and contrast them within each of three topics making appropriate links. Demonstrate detailed knowledge and understanding of the social / historical / cultural background and the musical styles of the works, and compare and contrast them within each of three topics making clear and coherent links. Demonstrate comprehensive knowledge and understanding of the social / historical / cultural background and the musical styles of the works, and compare and contrast them within each of three topics making clear, coherent and insightful links. New Zealand Qualifications Authority, All rights reserved. No part of this publication may be reproduced by any means without the prior permission of the New Zealand Qualifications Authority.

2 2 Fold this page out to read instructions pertaining to ALL questions.

3 3 You are advised to spend two hours answering the questions you choose from this booklet. INSTRUCTIONS There are questions on thirteen topics in this booklet. Answer THREE questions. In your response to EACH of the three questions, you must refer to at least TWO works. From this minimum of SIX works, at least TWO must be by New Zealand composers. Write your answers in Answer Booklet 90498A. At the beginning of each answer: indicate the question and topic (eg Question: One. Topic: New Zealand Composers. ) clearly state the title and composer / performer of each work to which your answer refers. Consider the information in the box below as you answer each of your three chosen questions. In this examination you are to demonstrate your knowledge and understanding of: the musical style(s) of each work you choose the social / historical / cultural background of each work you choose. You may write your answers in note form (eg bullet points) or in essay form. Refer to the music and give musical examples in your answers. You should: give at least THREE key points regarding musical style(s) for each work to which you refer, supporting these points with musical evidence give at least TWO key points relating to the social / historical / cultural context(s) of each work at least ONE link between works studied within a topic at least ONE relevant comment about the works in relation to the statement that introduces each question. When discussing musical styles, sure that you identify the key features that characterise the particular style. Features to be considered may include: melody rhythm tonality and harmony texture form mood instrumentation, timbre, and / or sound source dynamics and articulation. Leave this page folded out, and refer to it as you answer your chosen questions.

4 4 EITHER: QUESTION ONE: NEW ZEALAND COMPOSERS New Zealand music is very distinctive, and is a unique interpretation of the wide range of genres and cultures that have influenced it. Refer to at least TWO examples of music by New Zealand composers and: discuss the genres and / or cultures (from within or outside of New Zealand) that have influenced the works. AND / OR: QUESTION TWO: MUSIC OF THE TĀNGATA WHENUA For most people, Māori music is synonymous not with the older traditional forms, but with modern songs whose melodies are European in origin. Refer to at least TWO examples of music of the Tāngata Whenua and: discuss the social / historical / cultural context(s) of each work (including its purpose and function), making relevant links between them evaluate aspects of the music that are or are not uniquely characteristic of traditional Māori music. AND / OR: QUESTION THREE: MUSIC OF THE TAGATA PASIFIKA You have attended a community cultural festival featuring music of the Tagata Pasifika, and you have been asked to provide notes for a review of the performance. You have decided to begin with the following sentence: Cultures of the Tagata Pasifika are representative of peoples of many countries and territories from groups of island chains spread across much of the Pacific Ocean. In your notes, refer to at least TWO examples of music of the Tagata Pasifika and: discuss the social / historical / cultural context(s) of each work (including its purpose and function), making relevant links between them discuss aspects of the music that demonstrate the unique culture from which it comes, and that might have appealed to people attending the festival.

5 5 AND / OR: QUESTION FOUR: POPULAR MUSIC STYLES I believe in the tradition of great music solid songs, intelligent lyrics, superb accompaniment, and flawless production. Refer to at least TWO examples of popular music and: compare and contrast the musical style(s) of the works, noting similarities and differences between them and highlighting important features. Give specific musical examples to illustrate the points you discuss how the works are part of a tradition of great music. AND / OR: QUESTION FIVE: ART MUSIC WRITTEN SINCE 1900 You have been asked to introduce the works you have studied this year to a group of students who are to study them next year. You have decided to begin your presentation with the following sentence: A different aspect of each piece of music might be what initially attracts the listener s interest a melody, a rhythm, the harmony, the structure, or the instrumentation. Refer to at least TWO examples of art music written since 1900 and: give an overview of the works suggesting reasons the students might find them interesting. AND / OR: QUESTION SIX: JAZZ Don t play what s there, play what s not there. Refer to at least TWO examples of jazz and: discuss the extent to which the works allow the performer the freedom to create their own interpretation.

6 6 AND / OR: QUESTION SEVEN: FILM MUSIC Although the film-music composer is just a cog in the wheel, a movie is often nothing much at all without the soundtrack. Refer to at least TWO examples of film music and: discuss the importance of music in creating or adding to the overall impact of each film. AND / OR: QUESTION EIGHT: CHORAL MUSIC In the olden days, everybody sang. You were expected to sing as well as talk. It was a mark of the cultured man to sing, to know music. Refer to at least TWO examples of choral music and: evaluate the challenges of performance that each work brings to today s choirs. AND / OR: QUESTION NINE: THE SOLO PERFORMER All performers are travelling towards the same destination, which is communication with the listener. Refer to at least TWO examples of music for solo performance and: evaluate how successfully the performances of these works that you studied communicated the composer s intentions.

7 7 AND / OR: QUESTION TEN: MUSIC THEATRE It is essential to do everything possible to attract younger people to musical theatre, so they can see it is not some old-fashioned art form but somewhere to go to hear glorious music. Refer to at least TWO examples of music theatre and: discuss the role that music plays in each work. Comment on the musical style(s) of each work, noting similarities and differences between them and highlighting important features. Give specific musical examples to illustrate the points you discuss how elements of the music would entice younger people to attend a music theatre performance. AND / OR: QUESTION ELEVEN: ORCHESTRAL MUSIC In orchestral music, the composer s approach to the use of instrumentation often provides the most interest for the listener. Refer to at least TWO examples of orchestral music and: comment on the extent to which the use of instrumentation in the music generates and sustains the listener s interest. AND / OR: QUESTION TWELVE: INSTRUMENTAL ENSEMBLE MUSIC There is something about playing in a group that s music more special. You feel like you are connecting with people on a different level, one that can t be reached any other way. Refer to at least TWO examples of instrumental ensemble music and: comment on the extent to which the instrumentalists need to communicate with each other in performance of the music, and the extent to which they each take an independent role.

8 8 AND / OR: QUESTION THIRTEEN: WORLD MUSIC Each culture s music is unique and special to its people. Refer to at least TWO examples of world music and: compare and contrast the musical styles of the works, noting similarities and differences between them and highlighting important features. Give specific musical examples to illustrate the points you discuss the social / historical / cultural context(s) of each work (including its purpose and function), making relevant links between them discuss features of the music that are particular to its culture.

9 Acknowledgements Material from the following sources has been adapted for use in this examination: Question Two Mervyn McLean, Maori music (Auckland: Auckland University Press, 1996), p 309. Question Four Aretha Franklin, found on _Jazz_Singer.htm (accessed 25 July 2012). Question Six Miles Davis, found on (accessed 25 July 2012). Question Seven Peter Scholes, quoted in Sarah Shieff, Talking music (Auckland: Auckland University Press, 2002), p 173. Question Eight Leonard Bernstein, found on _Composer_Orchestra_Conductor.htm (accessed 25 July 2012). Question Nine William Dart, quoted in Sarah Shieff, Talking music, p

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