S OUTSTANDING SCHOLARSHIP EXEMPLAR New Zealand Scholarship Music Time allowed: Three hours Total marks: 24 Section Question Mark ANSWER BOOKLET A B Not exemplified Write the answers to your two selected questions in this booklet. Begin separate answers on pages 2 and 10. Refer clearly in your written answer to any score annotations you make in the Resource Booklet. Portfolio TOTAL / 24 Assessor s use only If you need more room for any answer, use the extra space provided at the back of this booklet. Check that this booklet has pages 2 18 in the correct order and that none of these pages is blank. YOU MUST HAND THIS BOOKLET TO THE SUPERVISOR AT THE END OF THE EXAMINATION. NOTE: This exemplar is adapted from the 2011 Scholarship examinations. New Zealand Qualifications Authority, 2012. 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 Section A: Individual score extracts Question number: 2 11 Score extract: Discuss the compositional techniques that the composer has used to enhance the meaning of the words, and evaluate the effectiveness of the setting. In this duet, La ci darem la mano (translated as Here with our hands entwining ) from Act I of Mozart s widely acclaimed opera, Don Giovanni, Don Giovanni attempts to, and succeeds in, his efforts of seducing Zerlina, who is initially hesitant but is eventually won over. Through his use of texture, tempo, and modulation, characterised motifs, repetition, ornaments, and phrase lengths, Mozart effectively portrays the playful and flirtatious setting of the game of courtship, as well as the personalities and feelings of the characters of Don Giovanni and Zerlina. These compositional techniques and how they enhance the meaning of the words, will be discussed in chronological order of the sections of the duet. A clear and articulate introduction that maps out the main discussion points that are to follow. From the beginning of the duet Mozart portrays Don Giovanni as a convincing and bold womaniser through his simple melodies and persuasive text, against Zerlina s hesitancies as Don Giovanni s melodic motifs are developed in her line. Mozart endows Don Giovanni with a simple yet bold melody through the straight and definite rhythms and the balanced phrase structure. In bars 5 6 the text lingering here is emphasised by word painting, as the melody in these bars is a direct repeat of the melody in bar 1, which shows the melody and therefore the characters to be lingering. Don Giovanni s next line, an offer, Why not walk with me is emphasised by beginning the line in bar 6, rather than bar 7, which interrupts the lingering and presents a more attractive option, as well as the appoggiatura on -tiam, which adds to the cajoling tone, as it introduces the effect of a plea. Mozart s use of a typically classical 4+4=8 bars balanced phrase structure enhances the certainty of Don Giovanni s text and of his motives. However, Zerlina is portrayed as hesitant as Mozart develops the motifs which were introduced in Don Giovanni s lines to create Pertinent examples used to back up analysis.
3 a different, and less confident, atmosphere. Unlike Don Giovanni who begins on the first beat of bar 1, Zerlina begins with a semiquaver anacrusis, which is less definite than beginning on the beat, emphasising her uncertainty. The melodic motif in bar 1 is developed in Zerlina s line in bar 9, as Mozart emphasises dotted rhythms, using the motifs to define the characteristics of the characters. In bar 15 Zerlina s melody imitates that of Don Giovanni, although in her case the appoggiatura is left out. However, unlike the definitive V7 I perfect cadence between bars 7 8 which seal Don Giovanni s certainty, the harmony employed in Zerlina s line in bars 15-16 is slightly less definite, featuring a V7 Ib cadence and the melodic elaboration, a broken chord on cor (heart) emphasises Zerlina s questioning and her indecisive and inconclusive mindset. This example illustrates the effectiveness of the text, as it leads into an extension of the phrase, from bar 8 to bar 10 as Zerlina repeats the text, should I obey my heart to show her incongruous feelings. The conviction of the V-I cadence at bars 17 18 suggest that Zerlina is starting to become more convinced, yet the staccato chords in the orchestral accompaniment still convey an air of uncertainty. Through the use of phrasing, harmony, and motivic development in the initial phrases of the characters, Mozart establishes the initial mindsets of the characters as these techniques enhance their text and the atmosphere it suggests. Thinking that goes beyond the obvious is shown throughout here. The final sentence summarises the overall analysis and brings it back to the question. New Zealand Scholarship, Music Sample
Analysis shows insight and originality throughout. 4 In the next phrase, the discussion between Don Giovanni and Zerlina becomes chromatic at first, before Zerlina s anxiety dominates as Mozart again implements phrase extension through repetition. Don Giovanni returns in bar 19 with a melody that begins on the beat and is rhythmically a development from his initial motif in bar 1, but this time Mozart utilises a leaping arpeggio-based melody, in the dominant key of E major. This heightened key and enhanced melody reinforce Don Giovanni s ardent excitement as he urges Zerlina to come to your noble lover! This excitement is further conveyed by the marcato articulation in the orchestra at the end of bars 20 and 24. However, this excitement, with an mf dynamic, is undercut immediately by Zerlina, as the orchestra now plays at a p dynamic, reflecting her anguish and sadness, must poor Masetto suffer? This anxiety is further enhanced by the chromatic and elaborate melody, as well as the use of successive semiquavers, and the demi-semiquavers in the orchestral accompaniment in bar 22, which all contribute to the creation of an atmosphere of urgency and anxiety. Don Giovanni ignores Zerlina s worries and immediately returns with his argument and a repeat of the melody in bar 19, peasant you ll be no longer, which reinforces his certainty. Mozart again utilises phrase extension and repetition to portray Zerlina s worries, as well as employing staccato chords in the orchestra in order to enhance Zerlina s recitative-style melody as she frets that she wishes, I were stronger. In bar 21 the repeated and chromatic semiquavers heighten her anxious mindset, and as bar 27 is an exact repeat of bar 26, it seems to portray a disruption to her thinking, as she is metaphorically going around in circles, an issue which is literally depicted in the music. This repetition extends the overall phrase to an unbalanced 10 bars, and is extended even more to 11 bars with Don Giovanni s attempt to reassure Zerlina with the line Dearest gently, bringing the music back to a calm and romantic mood and back to A major. Through the use of rhythmic, melodic, modulating, and phrasing techniques Mozart effectively enhances Zerlina s anxieties and Don Giovanni s Again, the final sentence draws the cleverly manipulative ways of dealing with them. analysis and argument back to the Analysis shows perception. question. The dialogue which was introduced in bars 19 22 returns in bar 30, as the motifs which were
5 introduced in bar 1 and developed in bar 10 are now intertwined. Don Giovanni and Zerlina now share their phrases, but Don Giovanni plays the dominant role and begins each phrase. On deceive the B is effective as the high note and interval of a descending perfect 5 th emphasises Zerlina s concern about being deceived. Mozart s use of key is also significant. Don Giovanni s melodies remain rooted in A major, while the higher and more excited E major is reintroduced for Zerlina s line. In bar 36 the appoggiatura on tremble enhances the meaning of the word. The atmosphere becomes increasingly climatic as Mozart employs a long note on should as well as a large interval of a 7 th, illustrating Zerlina s difficulty in deciding if she should succumb to Don Giovanni by obeying her heart, an anxiety which is reflected in the virtuosic demi-semiquaver run on o-bey in bar 39. Zerlina repeats the lines Must poor Masetto suffer and dearly I hope I can be stronger, but this time the tonality remains in A major, showing Don Giovanni s influence over her. The contrapuntal effect of the vocal lines being interwoven heightens the dramatic effect of the duet, leading to a climax and also summarising the mindsets of the characters up to this point. Finally, a climax is reached in bar 49, after Don Giovanni s passionate and insistent exclamations, My love! Be mine!. This climax is achieved through the excitement of the combined lines and through the suspenseful V7 harmony on which Zerlina s I will rests. Some perceptive and insightful analysis throughout this paragraph, relating to harmony and vocal writing. This shows evaluation of the composition. New Zealand Scholarship, Music Sample
6 Finally, through a change in tempo from andante to allegro, in time signature from 2/4 to 6/8 and in texture from individuals singing to a unified melody in 3rds, Mozart effectively establishes Don Giovanni s success in seducing Zerlina. Now their unified and legato line, along with an exuberant tempo and atmosphere, enhances the wholly positive language of their text. With no more disturbing anxiety-creating semiquavers in the voice and the use of a simple crotchet / quaver rhythm instead, a steady atmosphere is achieved through to the end of the duet. Overall, Mozart s use of texture, melody, rhythms, phrasing, and harmony of the vocal parts, as well as the orchestra, serves to effectively enhance the intention of the texts of the characters, producing an entertaining performance for an audience. 7 Analysis directly linked to evaluation. General Points: The question is fully addressed and focused on. Confident and accurate use of terminology. Analysis is always backed up directly by examples from the score. A well organised and structured response.
7 SECTION B: Comparison of Unprepared Score Extracts Question number: Score extracts: & This section has not been exemplified.