Specimen Papers and Mark Schemes for Music For first AS Examination in 2009 For first A2 Examination in 2010 Subject Code: 7010
Contents Specimen Papers 1 Assessment Unit AS 2: Part 1 3 Assessment Unit AS 2: Part 2 11 Assessment Unit A2 1 15 Assessment Unit A2 2: Part 1 17 Assessment Unit A2 2: Part 2 25 Mark Schemes 29 Assessment Unit AS: Specimen Candidate Assessment Forms 31 Assessment Unit AS 2: Part 1 47 Assessment Unit AS 2: Part 2 53 Assessment Unit A2: Specimen Candidate Assessment Forms 65 Assessment Unit A2 2: Part 1 81 Assessment Unit A2 2: Part 2 87
Subject Code 7010 QAN 500/2618/5 QAN 500/2605/7 A CCEA Publication 2007 Further copies of this publication may be downloaded from www.ccea.org.uk
Specimen Papers 1
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71 Centre Number ADVANCED SUBSIDIARY (AS) General Certificate of Education 2009 Candidate Number Music Assessment Unit AS 2: Part 1 assessing Test of Aural Perception SPECIMEN PAPER TIME 1 hour INSTRUCTIONS TO CANDIDATES Write your Centre Number and Candidate Number in the spaces provided at the top of this page. Write your answers in the spaces provided in this question paper. Answer all five questions. INFORMATION FOR CANDIDATES The total mark for this paper is 54. Figures in brackets printed down the right-hand side of pages indicate the marks awarded to each question or part question. Three minutes reading time will be allowed before the recording is started. 3
1 You will hear an extract from a piece of vocal music. You will hear the extract four times with pauses between hearings. The text is as follows: 1 The trumpet s loud clangour excites us to arms; 2 Excites us to arms, to arms, to arms; 3 The trumpet s loud clangour excites us to arms; 4 With shrill notes of anger and mortal alarms; 5 With shrill notes of anger and mortal alarms. (a) Identify the metre of the music. [1] (b) Identify the tonality of the music. [1] (c) Identify the type of voice heard. Circle your answer. soprano alto tenor bass [1] (d) Identify three melodic features of the music. 1 2 3 [3] (e) Identify four features of the instrumental accompaniment. [4] (f) During which period was this music composed? Circle your answer. Baroque Classical Romantic Twentieth century [1] Total [11] 4
2 You will hear two extracts from the music for a film. You will hear Extract A four times, followed by Extract B four times, with pauses between hearings. Comment on ways in which the composer creates atmosphere in each extract. Extract A [5] Extract B [5] Total [10] 5
3 You will hear an extract from a concerto movement. You will hear the extract four times, with pauses between hearings. (a) Identify the solo instrument. [1] (b) (i) Which of the following forms is illustrated in this extract? Circle your answer. ternary ritornello variation [1] (ii) Give one reason for your answer. [1] (c) Describe the main features of the music. [6] (d) (i) During which period was this music composed? Circle your answer. Baroque Classical Romantic [1] (ii) Give one reason for your answer. [1] Total [11] 6
4 You will hear two extracts from one of your set works. You will hear Extract A once, followed by Extract B three times, with pauses between hearings. Extract A (a) During which period was this piece composed? [1] (b) Identify two characteristics of this period which can be heard in Extract A. 1 2 [2] Extract B (c) How is the theme from Extract A presented and varied in Extract B? [8] Total [11] 7
5 You will hear an extract from one of your set works. You will hear the extract four times, with pauses between hearings. Look at the outline score printed on the opposite page and the accompanying questions before the music begins. (a) Identify the instrument playing the melody in Bars 1 to 4. [1] (b) Identify the cadence at Bar 4. [1] (c) Identify a passage which includes a pedal note. Bar to Bar [2] (d) What is the overall form of this movement? [1] (e) Comment on the use of instruments in this extract. [6] Total [11] 8
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ADVANCED SUBSIDIARY (AS) General Certificate of Education 2009 Music Assessment Unit AS 2: Part 2 assessing Written Examination SPECIMEN PAPER TIME 1 hour 15 minutes INSTRUCTIONS TO CANDIDATES Write your Centre Number and Candidate Number on the Answer Booklet provided. Answer two questions. Answer Section A on the compulsory Area of Study and one other question in Section B on your chosen Area of Study. INFORMATION FOR CANDIDATES The total mark for this paper is 54, including a maximum of 3 marks for quality of written communication in your chosen area of study question. All questions carry equal marks, ie 27 marks for each question. 11
Section A Compulsory Area of Study Music for Orchestra, 1700 to 1900 1 Compulsory Area of Study: Music for Orchestra, 1700 to 1900 Mozart: Symphony No. 40, first movement, bars 138-168 Answer all the following questions using the score provided. (a) What is the overall form of this movement? [1] (b) Which two sections of the movement are included in this extract? [2] (c) What is the tonic key of the movement? [1] (d) Describe the bass line in Bars 160 to 164 and explain its function in relation to the passage beginning at Bar 164 Beat 4. [5] (e) Select and describe two short passages from the extract which feature interesting orchestration. [6] (f) Describe how Mozart uses the following developmental techniques in the extract. imitation antiphony fragmentation inversion [12] sequence modulation Total [27] 12
Section B Answer one question on your chosen Area of Study. Optional Areas of Study Chamber Music, 1750 to 1830 2 (a) Outline the development of the string quartet between 1750 and 1830. Refer to specific works to illustrate your answer. [27] or (b) Illustrate with musical examples Mozart s contribution to the chamber music tradition. [27] Music for Solo Piano, 1825 to 1890 3 (a) Select a programme of three pieces for solo piano, one by each of the following composers. Identify ways in which these pieces are typical of piano music composed between 1825 and 1890. [27] (b) Chopin Robert Schumann Liszt or Identify and describe Romantic characteristics in the solo piano music of one of the following composers. Illustrate your answer by referring to specific musical examples. Chopin Robert Schumann Liszt [27] The Musical, 1900 to Today 4 (a) Outline the contribution of Andrew Lloyd Webber to the twentieth century musical. Illustrate your answer by referring to specific musical examples. [27] or (b) Outline how the chorus is used to create dramatic effects in the twentieth century musical. Illustrate your answer with examples drawn from a range of musicals. [27] 13
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ADVANCED General Certificate of Education 2010 Music Assessment Unit A2 1 assessing Core Composition Task SPECIMEN PAPER TIME This work should be completed during the course and submitted to CCEA by 30 April. INFORMATION FOR CANDIDATES The total mark for this task is 116. 15
A2 1 Music Core Composition task Students are required to choose one of the following stimuli and create a composition which uses tonal harmony and lasts for 3-4 minutes. Students may choose the compositional style and resources. Completed compositions should be submitted at the end of April. A Melodic fragment B Lyrics Come the wild, wild weather, come the wind, come the rain. Come the little white flakes of snow, come the joy, come the pain, We shall still be together when our life story ends, For wherever we chance to go we shall always be friends. We may find while we re travelling through the years. Moments of joy and love and happiness, Reason for grief, reason for tears, Come the wild, wild weather, If we ve lost or we ve won, We ll remember these words we say till our story is done. Come the Wild Wild Weather, by Noel Coward, Methuen Drama an imprint of A&C Black Publishers NC Aventales AG. Included by kind permission of The Estate of Noel Coward C Non-musical stimulus Choose one of the following scenarios and compose some music for a TV documentary on The Titanic. (a) Construction at Harland and Wolff. (b) Setting sail from Southampton. (c) Sinking in mid-atlantic. The composition must be submitted in the form of a recorded performance, which may be live or sequences with optional score. The recording must be accompanied by a detailed commentary. 16
ADVANCED General Certificate of Education 2010 Music Assessment Unit A2 2: Part 1 assessing Test of Aural Perception SPECIMEN PAPER TIME 1 hour INSTRUCTIONS TO CANDIDATES Answer all five questions. INFORMATION FOR CANDIDATES The total mark for this paper is 60. 17
1 You will hear an extract from a piece of choral music. The extract will be played four times with pauses between hearings. The text is as follows: 1. Deo gracias! Deo gracias! 2. Adam lay I bounden, bounden in a bond. 3. Four thousand winter thought he not too long. 4. Deo gracias! Deo gracias! 5. And all was for an appil, an appil that he tok. 6. As clerkes finden written in their book. 7. Deo gracias! Deo gracias! 8. Ne had the appil take ben, The appil take ben, 9. Ne had de never our lady Aben hevene quene. 10. Blessed be the time that appil take was, 11. Therefore we moun singen. 12. Deo gracias! (a) Identify six musical features of the setting of Lines 1-9. 1 2 3 4 5 6 [6] (b) Comment on how Lines 10-12 form a musical climax to this piece. [5] (c) Suggest a possible date of composition. [1] Total [12] 18
2 You will hear extracts from two dances from a ballet suite by Tchaikovsky. Each dance will be played four times with pauses between hearings. Comment on the musical features of each extract which help portray its dance-like character, for example, rhythm, melody, harmony, tonality, texture and instrumentation as appropriate. Extract 1 [6] Extract 2 [6] Total [12] 19
3 You will hear an extract of music played four times with pauses between hearings. Comment briefly on features of the extract such as rhythm, melody, harmony, instrumentation, form and texture as appropriate. Relate these and other relevant features of the music to a consideration of the period of composition. [8] Type of composition Date of composition Possible composer [2] [1] [1] Total [12] 20
4 You will hear an extract from Stravinsky s Pulcinella Suite four times with pauses between hearings. Look at the printed score and accompanying questions before the music begins. (a) Name the instrument playing the melody in Bars 1-10. [1] (b) Name two other instruments accompanying the melody. [2] (c) Name the key in Bar 14. [1] (d) Identify the harmonic device in Bar 18. [1] (e) Identify a sequence. Bar to Bar [2] (f) Describe the music in Bars 29-32. [3] (g) This movement is which type of dance? [1] (h) This extract is an example of which twentieth century musical style? [1] Total [12] 21
5 You will hear the opening of Prélude a L après-midi d un faune by Debussy. The extract will be played four times with pauses between hearings. If modern music may be said to have had a definite beginning then it started with the opening of the Prélude a L après-midi d un faune by Debussy. (Griffiths) Identify musical features of the extract which justify the description modern for this work. Refer to rhythm, instrumentation, tonality, melody, texture and harmony as appropriate. [12] Total [12] 22
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ADVANCED General Certificate of Education 2010 Music Assessment Unit A2 2: Part 2 assessing Written Examination SPECIMEN PAPER TIME 1 hour 30 minutes INSTRUCTIONS TO CANDIDATES Write your Centre Number and Candidate Number on the Answer Booklet provided. Answer two questions. Answer Section A on the compulsory Area of Study and one other question in Section B on your chosen Area of Study. INFORMATION FOR CANDIDATES The total mark for this paper is 60, including a maximum of 3 marks for quality of written communication in your chosen Area of Study question. All questions carry equal marks, ie 30 marks for each question. 25
Section A Compulsory Area of Study Music for Orchestra in the Twentieth Century 1 Bartók: Concerto for Orchestra: Movement 4 Intermezzo, Bars 1-50 Answer all the following questions using the score provided. (a) (b) (c) (d) Name the interval which is a main feature of the opening oboe melody. Identify and explain the two string techniques or effects illustrated in this extract. Comment on Bartók s treatment of the opening melody in the extract. Identify features of the extract which show it to be a twentieth century work. [2] [4] [12] [12] Total [30] Section B Answer one question on your chosen Area of Study. Optional Areas of Study English Secular Vocal Music, 1580 to 1620 2 (a) Account for the popularity of the English Madrigal during the period 1580-1620. Refer to specific examples to illustrate your answer. [30] or (b) Thomas Morley said: You must in your music be wavering like the wind, sometimes wanton, sometimes drooping, sometimes grave and staid and the more variety you show the better shall you please. Consider how this variety of mood and emotion was achieved in English secular vocal music 1580-1620. Refer to specific examples to illustrate your answer. [30] 26
New Directions in Twentieth Century Music 3 (a) Comment on the range of twentieth century styles in the music of Karl Stockhausen. Refer to specific works to illustrate your answer. [30] or (b) Consider the range of new sounds explored in twentieth century music. Refer to specific works by Stockhausen, Boulez and Reich to illustrate your answer. [30] Jazz in the USA, 1930 to 1960 4 (a) Comment on how jazz in the USA in the 1930s reflects the influence of its social and cultural context. Refer to specific musical works/recordings to illustrate your answer. [30] or (b) Select three contrasting pieces which illustrate the development of jazz during the 1930s and 1940s. Comment on the following aspects of each piece: musical style scoring use of soloists [30] 27
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29 Mark Schemes
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Assessment Unit AS: Specimen Candidate Assessment Forms GCE AS Music 200_: AS Option A (AS) CANDIDATE ASSESSMENT FORM: Composition Task (AS) Examiner No. Centre Name: Title of Composition: Centre Number: Candidate Number: 7 1 Please ensure that the marks awarded for each criterion are in line with the descriptions set out in the mark bands. (i) Organisation and development of musical ideas (up to 17 marks available) MARKS (ii) (iii) Comment: Understanding, control and use of resources (up to 16 marks available) Comment: Sub-Total x 2 (up to 66 marks available) Commentary (up to 6 marks available) Comment: SPECIMEN (17) (16) (6) Please ensure that your calculations are correct. Final Total (up to 72 marks available) Please return to: GCE Processing, Clarendon Dock, 29 Clarendon Road, Belfast BT1 3BG 31
Free Composition AS Option A Composition Task Mark Scheme The Organisation and Development of Musical Ideas Marks should be awarded according to the mark bands stated below. Marks [1] [4] The composition will demonstrate limited development of musical ideas in relation to the stated intention or chosen brief. There will be some success in the organisation of the musical ideas and attention given to structure and style. [5] [8] The composition will demonstrate some ability to develop ideas in accordance with the chosen brief. There will be a satisfactory balance of phrases and sections. At the top end of the range there will be some sense of structure and satisfactory organisation of ideas. At the lower end, there will be a lack of structural coherence resulting from the imbalance and disorganisation of musical elements which contribute to its overall form. [9] [13] The overall impression will be of a competent realisation of the candidate s chosen brief. At the top end, there will be a good sense of form and structure through appropriate creation, organisation and development of musical ideas. The composition will have a clear sense of purpose and there will be an appropriate balance between maintaining unity and achieving variety. [14] [17] The composition will have a sense of wholeness and coherence with appropriate and imaginative manipulation and development of ideas. There will be a sense of personalised style and commitment to the task. The music will have a natural flow to focal points and climaxes. Understanding, Control and use of Resources Marks should be awarded according to the mark bands stated below. Marks [1] [4] The composition will demonstrate limited understanding of the expressive potential or control of the resources used. [5] [8] The composition will demonstrate some ability to create satisfactory vocal/instrumental parts. There may be an attempt to explore the timbral and textural potential of the resources chosen, even though outcomes are not always idiomatic. [9] [12] There will be evidence of imagination in attempting to use the resources. Word-setting or part-writing will be generally accurate in terms of metre and accent and generally successful in establishing or conveying appropriate mood. [13] [16] The composition will demonstrate an ability to create instrumental/vocal parts which are idiomatic and fluent, with some imaginative effects. Where appropriate, there will be a good match between words and music. There will be confident and purposeful use of texture and timbre to create mood and effect consistent with the chosen brief. Commentary SPECIMEN Marks should be awarded according to the mark bands stated below. Marks [1] [2] A commentary which provides an overview of the composition, but may be lacking the detail which demonstrates the candidate s ability to reflect critically on the compositional process. There is limited attention paid to spelling, punctuation and/or grammar. [3] [4] A reflective commentary which presents a good insight into the candidate s intentions and ideas about the composition. It demonstrates knowledge and understanding of the chosen style and the techniques used. Spelling, punctuation and grammar are mostly correct and there is an attempt to use an appropriate musical vocabulary. [5] [6] A comprehensive commentary which provides a very good insight into the candidate s work. It demonstrates good knowledge and understanding of the chosen style and the techniques used. Spelling, punctuation and grammar are of a consistently high standard and an appropriate musical vocabulary is used. 32
GCE AS Music 200_: AS Option A, B & C CANDIDATE ASSESSMENT FORM: Core Ensemble Performance (AS) Examiner No. Centre Name Candidate Name Centre Number Candidate Number 7 1 Programme Instrument Please ensure that the marks awarded for each criterion are in line with the descriptions set out in the mark bands. (i) Technical control and accuracy (up to 12 marks available) Examiner Use Only Wallet No. Disc No. Length of Programme SPECIMEN MARKS (12) (ii) Interpretation, sense of style and communication through the music (up to 12 marks available) (12) (iii) Sensitivity to other members of the ensemble (up to 12 marks available) (12) Sub-Total x 3 (up to 108 marks available) a (iv) Viva Voce (up to 6 marks available) (6) Sub-Total x 2 (up to 12 marks available) Total (a+b) (up to 120 marks available) b Minus Programme Length Penalty Final Total (120 maximum) Please ensure that your calculations are correct. Please return to: GCE Processing, Clarendon Dock, 29 Clarendon Road, Belfast BT1 3BG 33
Ensemble Performance AS Option A, B & C Core Ensemble Performance Note: The marks for each criterion are added together and then doubled. Marks should be awarded according to the mark bands below. Technical control and accuracy Marks [1] [2] A performance which contains many inaccuracies which disrupt the overall flow of the music, or where the technical demands of the music are mostly beyond the candidate s technical ability. [3] [5] A fairly competent performance which may contain inaccuracies but which generally manages to sustain the flow of the music. [6] [8] A performance which is mostly accurate across the full range of the programme in relation to pitch and rhythm, but which may contain minor lapses in other respects, eg intonation or articulation. [9] [10] A good technical control and accuracy displayed across the full programme. [11] [12] The candidate meets and sustains the technical demands of a programme above the minimum Grade 4 standard. Interpretation, sense of style and communication through the music [1] [2] A performance which may be technically proficient, but gives the overall impression of being rather pedestrian, perhaps through insufficient engagement or identification with the music itself, or through an inability to communicate with the listener. [3] [5] An appropriate sense of style and interpretation, with the ability to communicate compensating, to a large degree, for technical errors which arise during performance. [6] [8] A fluent performance which displays knowledge and understanding of the music being performed, including the ability to interpret and communicate accurately, the expressive content of the music. [9] [10] A very expressive performance which displays a strong sense of commitment to, and engagement with, the music, including sensitivity to nuance and the ability to convey a personal interpretation of the composer s intentions. [11] [12] The candidate meets and sustains the expressive demands of a programme above the minimum Grade 4 standard. Sensitivity to other members of the ensemble [1] [3] Limited identification with other members of the ensemble. [4] [6] Limited ability to take the lead or support other members of the group. SPECIMEN [7] [9] A sense of empathy with other members of the group and confidence in taking the lead or supporting other group members as necessary. [10] [12] A musical and sensitive contribution to the ensemble performance and confidence in taking the lead or supporting other group members as necessary. Viva Voce [1] Limited ability to discuss choice of programme and points of interpretation, through a lack of reflection and/or personal viewpoint. [2] [3] Some knowledge of the chosen programme and basic points of interpretation. [4] [5] A good knowledge of the chosen programme and the ability to discuss stylistic features, technique and points of interpretation. [6] A very good knowledge of the chosen programme and wider repertoire (A2 only), and the ability to hold a personal point of view and discuss in detail any aspects of the music. 34
GCE AS Music 200_: AS Option A, B & C CANDIDATE ASSESSMENT FORM: Core Solo Performance (AS) Examiner No. Centre Name Candidate Name Centre Number Candidate Number 7 1 (i) (ii) (iii) Programme Instrument Please ensure that the marks awarded for each criterion are in line with the descriptions set out in the mark bands. Technical control and accuracy (up to 18 marks available). Comment Interpretation, sense of style and communication through the music (up to 18 marks available). Comment Viva Voce (up to 6 marks available). Comment Sub-Total x 3 (up to 108 marks available) SPECIMEN Sub-Total x 2 (up to 12 marks available) Total (a+b) (up to 120 marks available) Examiner Use Only Wallet No. Disc No. Length of Programme MARKS (18) (18) (6) a b Minus Programme Length Penalty Final Total (120 maximum) Please ensure that your calculations are correct. Please return to: GCE Processing, Clarendon Dock, 29 Clarendon Road, Belfast BT1 3BG 35
Solo Performance AS Option A, B & C Core Solo Performance Technical Control and Accuracy Marks should be awarded according to the mark bands stated below. Marks [1] [4] A performance which contains many inaccuracies which disrupt the overall flow of the music, or where the technical demands of the music are mostly beyond the candidate s technical ability [5] [8] A fairly competent performance which contains inaccuracies, but which generally manages to sustain the flow of the music. The performance in a longer movement or across different pieces may be uneven. [9] [12] A performance which is mostly accurate across the full range of the programme in relation to pitch and rhythm, but which may contain minor lapses in other respects, eg intonation or articulation. [13] [16] Good technical control and accuracy displayed across the full programme. [17] [18] The candidate meets and sustains the technical demands of a programme above the minimum Grade 4 standard. Interpretation, Sense of Style and Communication Through the Music Marks should be awarded according to the mark bands stated below. Marks [1] [4] Some ability to colour the music, but interpretation and sense of style may be restricted by lack of variation in musical content or choice of programme. [5] [8] A performance which may give the overall impression of being rather pedestrian, perhaps through insufficient engagement or identification with the music itself, or through an inability to communicate with the listener. [9] [12] An appropriate sense of style and interpretation, with the ability to communicate compensating, to a large degree, for technical errors which arise during performance. [13] [16] A fluent performance which displays knowledge and understanding of the music being performed, including the ability to interpret and communicate, accurately the expressive content of the music. [17] [18] The candidate meets and sustains the expressive demands of a programme above the minimum Grade 4 standard. Viva Voce [1] Limited ability to discuss choice of programme and points of interpretation, through a lack of reflection and/or personal viewpoint. SPECIMEN [2] [3] Some knowledge of the chosen programme and basic points of interpretation. [4] [5] A good knowledge of the chosen programme and the ability to discuss stylistic features, technique and points of interpretation. [6] A very good knowledge of the chosen programme and wider repertoire (A2 only), and the ability to hold a personal point of view and discuss in detail any aspects of the music. 36
GCE AS Music 200_: AS Option B CANDIDATE ASSESSMENT FORM: Multi-track Recording Examiner No. Centre Name: Title of piece: Centre Number: Candidate Number: No of parts: 7 1 Please ensure that the marks awarded for each criterion are in line with the descriptions set out in the mark bands. (i) Technical control through clarity, blend, balance and focus of the individual parts (up to 17 marks available) (ii) (iii) Comment: Expressive impact of the final recording (up to 16 marks available) Comment: Commentary (up to 6 marks available) Comment: SPECIMEN Sub-Total x 2 (up to 66 marks available) MARKS (17) (16) Please ensure that your calculations are correct. Total (up to 72 marks available) (6) Please return to: GCE Processing, Clarendon Dock, 29 Clarendon Road, Belfast BT1 3BG 37
Multi-track Recording AS Option B Initial Recording of Tracks This section assesses the Approach, Methodology and Techniques of Recording Process including: Suitability of Room, Choice and use of Mics, Recording levels, Signal to Noise Ratio, Distortion, Implosives, Ensemble, Intonation and Accuracy of parts. Both the rough mix and the final mix submissions will be used in this assessment. Marks should be awarded according to the mark bands stated below. Marks [1] [5] Quality of individual tracks has been hampered by an inappropriate choice and use of venue and microphones. Tracks may contain noise, plosives or distortion. Aspects of the musical performance may not have been adequately addressed including note accuracy, intonation and sense of ensemble. [6] [11] Mostly consistent recording of individual tracks with appropriate use of available equipment. Most tracks will have been recorded cleanly without noise or distortion. Tracks will have a reasonable degree of musical accuracy in terms of note accuracy, intonation and sense of ensemble. [12] [17] Consistently clear recording quality throughout resulting from appropriate recording venue and best use of available mics. Individual tracks are clear and free of noise, distortion or implosives. Accuracy, intonation and sense of ensemble is of a high standard throughout. Expressive Impact of Final Mix This section assesses the components which contribute to the effectiveness and expressive quality of the final mix including: Balance, Equalisation (EQ), Choice and use of Effects, Panning, Distortion and Mastering. Considerations of texture and musical arrangement will also be assessed. Both submitted recordings will be used in this assessment. Marks should be awarded according to the mark bands stated below. Marks [1] [5] The overall quality and expressive features of this recording may be hampered by a lack of attention to aspects of the mix including EQ treatment, use of effects, panning and balance of parts. [6] [11] A reasonably successful recording, both musically and technically. Attention will have been given to the balance of parts, treatment of EQ, use of effects and stereo placement although this may not always be effective or appropriate. [12] [16] A successful recording, both musically and technically, resulting from effective and appropriate balance of parts, treatment of EQ, use of effects and stereo placement. The arrangement chosen for the final mix will enhance the expressive impact of the music. The overall quality of the final recording will demonstrate a high level of aural awareness. Commentary SPECIMEN [1] [2] A commentary which gives some indication of the work undertaken by the candidate and which demonstrates some knowledge of the recording process and the technology used. There is limited attention paid to spelling, punctuation and/or grammar. [3] [4] A commentary which provides a reasonable insight into the processes undertaken by the candidate to achieve the final result. It will demonstrate that the candidate has a useful knowledge of the technology used, the sequencing process and the challenges of the musical arrangement. Spelling, punctuation and grammar are mostly correct and there is an attempt to use an appropriate musical vocabulary. [5] [6] A comprehensive commentary which provides a very good insight into the recording process and the technology used by the candidate. It demonstrates a good knowledge and understanding of both the technology and the music. Spelling, punctuation and grammar are of a consistently high standard and an appropriate musical vocabulary is used. 38
GCE AS Music 200_: AS Option C (AS) CANDIDATE ASSESSMENT FORM: Optional Sequenced Arrangement Examiner No. Centre Name Centre Number 7 1 Title of composition Candidate Number Title of piece: No of parts: Please ensure that the marks awarded for each criterion are in line with the descriptions set out in the mark bands. (i) (ii) (iii) Organisation and development of musical ideas (up to 22 marks available) Understanding, control and use of musical resources (up to 22 marks available) Use of sequencing technology (up to 22 marks available) SPECIMEN Sub-Total (up to 66 marks available) MARKS (22) (22) (22) (iv) Commentary (up to 6 marks available) Please ensure that your calculations are correct. Total (up to 72 marks available) (6) Please return to: GCE Processing, Clarendon Dock, 29 Clarendon Road, Belfast BT1 3BG 39
AS Optional Sequenced Arrangement Task of set stimulus Marks should be awarded according to the mark bands stated below. Organisation and development of musical ideas [1] [5] Arrangements will demonstrate a limited ability to develop the ideas created or chosen for the work. There may be evidence of mechanistic note spinning or a lack of consideration for balance, structure and style. [6] [11] Arrangements will demonstrate some ability to develop ideas in accordance with the set task. There will be a satisfactory balance of phrases and sections. At the top end of the range there will be a good sense of form and structure through the appropriate creation, organization and development of musical ideas. At the lower end there will be a lack of structural coherence resulting from the imbalance and disorganization of musical elements which contribute to its overall form. [12] [17] A competent arrangement. At the top end there will be a good sense of form and structure through appropriate creation, organization and development of musical ideas. There will be appropriate balance between achieving variety and maintaining unity. At the lower end there will be lapses and imbalance. [18] [22] Arrangements will have a sense of wholeness and coherence with imaginative manipulation and development of ideas. There will be a sense of personalized style and commitment to the task. The music will have a natural flow to focal points and climaxes. Understanding, control and use of musical resources [1] [5] The arrangement will demonstrate limited understanding of the expressive requirements of the set task and/or control of the musical resources used. There will be little evidence of imagination in using the resources, or understanding of their textural or timbral potential. [6] [11] The arrangement will demonstrate some ability to create satisfactory instrumental parts but will be less successful in establishing or conveying appropriate mood, eg the inclusion of inappropriate content or effects. [12] [17] The arrangement will demonstrate an ability to create instrumental parts which are idiomatic and fluent, with some imaginative effects. There will be confident and purposeful use of texture and timbre to create mood and effect consistent with the task. [18] [22] The arrangement will demonstrate a high level of musical understanding through the imaginative, effective and idiomatic use of musical resources. There will be effective and resourceful use of texture, timbre and register, with sufficient variety to create interest while maintaining the natural flow of the music. Use of sequencing technology [1] [5] The submitted work will demonstrate a limited ability to utilize the sequencing software to advance the task. There will be little evidence of basic procedures such as copy & paste or quantization. [6] [11] The work will demonstrate some ability to employ sequencing techniques effectively. The individual parts will be mostly accurate with a reasonable balance maintained throughout. The phrasing and choice of tempo(s) will enhance the final arrangement. SPECIMEN [12] [17] The expressive characteristics of the arrangement will be enhanced by close attention to tempo variations, articulation, phrasing and dynamics. Appropriate panning and added effects such as reverb will enhance the final recording. [18] [22] A highly accurate sequenced arrangement with a mature understanding of the expressive characteristics of the music demonstrated by an advanced use of sequencing techniques. Control of tempo(s), dynamics, expression and added effects will demonstrate the candidate's high level of technical control and understanding. Commentary [1] [2] A commentary which gives some indication of the work undertaken by the candidate and which demonstrates some knowledge of the sequencing/arranging processes and the technology used. There is limited attention paid to spelling, punctuation and/or grammar. [3] [4] A commentary which provides a reasonable insight into the processes undertaken by the candidate to achieve the final result. It will demonstrate that the candidate has a useful knowledge of the technology used, the sequencing process and the challenges of the musical arrangement. Spelling, punctuation and grammar are mostly correct and there is an attempt to use an appropriate musical vocabulary. [5] [6] A comprehensive commentary which provides a detailed insight into the processes undertaken and equipment used by the candidate. It demonstrates a good knowledge and understanding of both the technology and the music. Spelling, punctuation and grammar are of a consistently high standard and an appropriate musical vocabulary is used. 40
GCE AS Music 200_: AS Option D (AS) CANDIDATE ASSESSMENT FORM: Core Composition (AS) Examiner No. Centre Name: Title of Composition: Centre Number: Candidate Number: 7 1 Please ensure that the marks awarded for each criterion are in line with the descriptions set out in the mark bands. (i) Organisation and development of musical ideas (up to 14 marks available) MARKS (ii) (iii) Comment: Understanding, control and use of resources (up to 13 marks available) Comment: Sub-Total x 4 (up to 108 marks available) Commentary (up to 6 marks available) Comment: SPECIMEN (14) (13) a (6) Please ensure that your calculations are correct. Sub-Total x 2 (up to 12 marks available) Final Total (a+b) (up to 120 marks available) b Please return to: GCE Processing, Clarendon Dock, 29 Clarendon Road, Belfast BT1 3BG 41
Free Composition AS Option D Core Composition Mark Scheme The Organisation and Development of Musical Ideas Marks should be awarded according to the mark bands stated below. Marks [1] [3] The composition will demonstrate limited development of musical ideas in relation to the stated intention or chosen brief. There will be some success in the organisation of the musical ideas and attention given to structure and style. [4] [7] The composition will demonstrate some ability to develop ideas in accordance with the chosen brief. There will be a satisfactory balance of phrases and sections. At the top end of the range there will be some sense of structure and satisfactory organisation of ideas. At the lower end, there will be a lack of structural coherence resulting from the imbalance and disorganisation of musical elements which contribute to its overall form. [8] [11] The overall impression will be of a competent realisation of the candidate s chosen brief. At the top end, there will be a good sense of form and structure through appropriate creation, organisation and development of musical ideas. The composition will have a clear sense of purpose and there will be an appropriate balance between maintaining unity and achieving variety. [12] [14] The composition will have a sense of wholeness and coherence with appropriate and imaginative manipulation and development of ideas. There will be a sense of personalised style and commitment to the task. The music will have a natural flow to focal points and climaxes. Understanding, Control and use of Resources Marks should be awarded according to the mark bands stated below. Marks [1] [3] The composition will demonstrate limited understanding of the expressive potential or control of the resources used. [4] [6] The composition will demonstrate some ability to create satisfactory vocal/instrumental parts. There may be an attempt to explore the timbral and textural potential of the resources chosen, even though outcomes are not always idiomatic. [7] [10] There will be evidence of imagination in attempting to use the resources. Word-setting or part-writing will be generally accurate in terms of metre and accent and generally successful in establishing or conveying appropriate mood. [11] [13] The composition will demonstrate an ability to create instrumental/vocal parts which are idiomatic and fluent, with some imaginative effects. Where appropriate, there will be a good match between words and music. There will be confident and purposeful use of texture and timbre to create mood and effect consistent with the chosen brief. Commentary SPECIMEN Marks should be awarded according to the mark bands stated below. Marks [1] [2] A commentary which provides an overview of the composition, but may be lacking the detail which demonstrates the candidate s ability to reflect critically on the compositional process. There is limited attention paid to spelling, punctuation and or/grammar. [3] [4] A reflective commentary which presents a good insight into the candidate s intentions and ideas about the composition. It demonstrates knowledge and understanding of the chosen style and the techniques used. Spelling, punctuation and grammar are mostly correct and there is an attempt to use an appropriate musical vocabulary. [5] [6] A comprehensive commentary which provides a very good insight into the candidate s work. It demonstrates good knowledge and understanding of the chosen style and the techniques used. Spelling, punctuation and grammar are of a consistently high standard and an appropriate musical vocabulary is used. 42
GCE AS Music 200_: AS Option D CANDIDATE ASSESSMENT FORM: Optional Ensemble Performance (AS) Examiner No. Centre Name Candidate Name Centre Number Candidate Number 7 1 Programme Instrument Please ensure that the marks awarded for each criterion are in line with the descriptions set out in the mark bands. (i) Technical control and accuracy (up to 11 marks available) Examiner Use Only Wallet No. Disc No. Length of Programme SPECIMEN MARKS (11) (ii) Interpretation, sense of style and communication through the music (up to 11 marks available) (11) (iii) Sensitivity to other members of the ensemble (up to 11 marks available) (11) Sub-Total x 2 (up to 66 marks available) a (iv) Viva Voce (up to 6 marks available) b Total (a+b) (up to 72 marks available) Minus Programme Length Penalty Final Total (72 maximum) Please ensure that your calculations are correct. Please return to: GCE Processing, Clarendon Dock, 29 Clarendon Road, Belfast BT1 3BG 43
Ensemble Performance AS Option D Optional Ensemble Performance Note: The marks for each criterion are added together and then doubled. Marks should be awarded according to the mark bands below. Technical control and accuracy Marks [1] [2] A performance which contains many inaccuracies which disrupt the overall flow of the music, or where the technical demands of the music are mostly beyond the candidate s technical ability. [3] [4] A fairly competent performance which may contain inaccuracies but which generally manages to sustain the flow of the music. [5] [7] A performance which is mostly accurate across the full range of the programme in relation to pitch and rhythm, but which may contain minor lapses in other respects, eg intonation or articulation. [8] [9] A good technical control and accuracy displayed across the full programme. The candidate meets and sustains the technical demands of an extended programme. [10] [11] The candidate meets and sustains the technical demands of a programme above the minimum Grade 4 standard. Interpretation, sense of style and communication through the music [1] [2] A performance which may be technically proficient, but gives the overall impression of being rather pedestrian, perhaps through insufficient engagement or identification with the music itself, or through an inability to communicate with the listener. [3] [4] An appropriate sense of style and interpretation, with the ability to communicate compensating, to a large degree, for technical errors which arise during performance. [5] [7] A fluent performance which displays knowledge and understanding of the music being performed, including the ability to interpret and communicate accurately, the expressive content of the music. [8] [9] A very expressive performance which displays a strong sense of commitment to, and engagement with, the music, including sensitivity to nuance and the ability to convey a personal interpretation of the composer s intentions. [10] [11] The candidate meets and sustains the expressive demands of a programme above the minimum Grade 4 standard. Sensitivity to other members of the ensemble [1] [2] Limited identification with other members of the ensemble. [3] [5] Limited ability to take the lead or support other members of the group. SPECIMEN [6] [8] A sense of empathy with other members of the group and confidence in taking the lead or supporting other group members as necessary. [9] [11] A musical and sensitive contribution to the ensemble performance and confidence in taking the lead or supporting other group members as necessary. Viva Voce [1] Limited ability to discuss choice of programme and points of interpretation, through a lack of reflection and/or personal viewpoint. [2] [3] Some knowledge of the chosen programme and basic points of interpretation. [4] [5] A good knowledge of the chosen programme and the ability to discuss stylistic features, technique and points of interpretation. [6] A very good knowledge of the chosen programme and wider repertoire (A2 only), and the ability to hold a personal point of view and discuss in detail any aspects of the music. 44
GCE AS Music 200_: AS Option D CANDIDATE ASSESSMENT FORM: Optional Solo Performance (AS) Examiner No. Centre Name Candidate Name Centre Number Candidate Number 7 1 Programme Instrument Please ensure that the marks awarded for each criterion are in line with the descriptions set out in the mark bands. (i) Technical control and accuracy (up to 17 marks available). Comment (17) (ii) Interpretation, sense of style and communication through the music (up to 16 marks available) Comment (16) Sub-Total x 2 (up to 66 marks available) a (iii) Viva Voce (up to 6 marks available). Comment Examiner Use Only Wallet No. Disc No. Length of Programme SPECIMEN MARKS b Total (a+b) (up to 72 marks available) Minus Programme Length Penalty Final Total (72 maximum) Please ensure that your calculations are correct. Please return to: GCE Processing, Clarendon Dock, 29 Clarendon Road, Belfast BT1 3BG 45
Solo Performance AS Option D Optional Solo Performance Technical Control and Accuracy Marks should be awarded according to the mark bands stated below. Marks [1] [4] A performance which contains many inaccuracies which disrupt the overall flow of the music, or where the technical demands of the music are mostly beyond the candidate s technical ability [5] [8] A fairly competent performance which contains inaccuracies, but which generally manages to sustain the flow of the music. The performance in a longer movement or across different pieces may be uneven. [9] [12] A performance which is mostly accurate across the full range of the programme in relation to pitch and rhythm, but which may contain minor lapses in other respects, eg intonation or articulation. [13] [15] Good technical control and accuracy displayed across the full programme. [16] [17] The candidate meets and sustains the technical demands of a programme above the minimum Grade 4 standard. Interpretation, Sense of Style and Communication Through the Music Marks should be awarded according to the mark bands stated below. Marks [1] [3] Some ability to colour the music, but interpretation and sense of style may be restricted by lack of variation in musical content or choice of programme. [4] [7] A performance which may give the overall impression of being rather pedestrian, perhaps through insufficient engagement or identification with the music itself, or through an inability to communicate with the listener. [8] [11] An appropriate sense of style and interpretation, with the ability to communicate compensating, to a large degree, for technical errors which arise during performance. [12] [14] A fluent performance which displays knowledge and understanding of the music being performed, including the ability to interpret and communicate, accurately the expressive content of the music. [15] [16] The candidate meets and sustains the expressive demands of a programme above the minimum Grade 4 standard. Viva Voce [1] Limited ability to discuss choice of programme and points of interpretation, through a lack of reflection and/or personal viewpoint. SPECIMEN [2] [3] Some knowledge of the chosen programme and basic points of interpretation. [4] [5] A good knowledge of the chosen programme and the ability to discuss stylistic features, technique and points of interpretation. [6] A very good knowledge of the chosen programme and wider repertoire (A2 only), and the ability to hold a personal point of view and discuss in detail any aspects of the music. 46
ADVANCED SUBSIDIARY (AS) General Certificate of Education 2009 Music AS 2 (Part 1) SPECIMEN PAPER MARK SCHEME 47
Handel: The Trumpet s Loud Clangour from Ode for St. Cecilia s Day, Bars 1 39 1 (a) 6/8; triple (b) Major (c) Tenor [1] [1] [1] (d) [1] mark each for any three of the following points: Melodic ornamentation/coloratura Melisma in vocal part Use of sequence (½) in context (1) Use of repetition (½) in context (1) [3] (e) [1] mark each for any four of the following points: Use of trumpet High/florid part Takes melodic role alongside tenor Dialogue with orchestra Presence of harpsichord; performs continuo role Baroque string orchestra; plus oboes Use of timpani Homophonic strings; unison passages (f) Baroque [4] [1] 48
Williams, E.T.: E.T. s Powers; Escape/Chase/Saying Goodbye 2 Extract A [1] mark each for any five of the following points: Harp glissandi Nature of violin melody; semitone movement Addition of horn echoes Flute/piccolo echoes/dialogue later in extract High/tremolo string (chords) sustained throughout extract Glockenspiel/chimes Uncertain tonality/dissonance Rhythm/metre not clearcut Use of repetition Improvisatory quality Final notes of phrases sustained Sparse texture (½) Slow tempo (½) Quiet dynamics (½) Limited instrumentation (½) [5] Extract B [1] mark each for any five of the following points: Use of full orchestra (½) Brass fanfares; rising sequence Strong bass line Sustained chord; discord; with tremolo; and timpani roll New strong theme on strings; new key; high pitched Metallic percussion Cymbal crash at start Strong dynamics (½) Clear tonality; major key Clear pulse Complex texture (½) [5] 49
Vivaldi, Concerto for Flautino, RV443, third movement, Bars 1-40 3 (a) Recorder [1] (b) (i) (ii) Ritornello Contrasting tutti/solo sections; recurring ritornello material [1] [1] (c) [1] mark each for any six of the following points: Virtuosity in solo part Wide pitch range/high notes Fast figuration; scales and broken chords Use of ornamentation Accompanied by string orchestra with harpsichord continuo Structured in alternation tutti/solo sections Ritornello form Key changes; to dominant; to minor key Much use of sequence (d) (i) Baroque [6] [1] (ii) Presence of harpsichord; solo recorder; use of ritornello form [1] 50