8703 Music June 2003
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FOREWORD ....................................................................................................................... 1
MUSIC ................................................................................................................................. 2
GCE Advanced Subsidiary Level .................................................................................................................. 2
Papers 8703/11 and 8703/12 Written............................................................................................................ 2
Papers 8703/21 and 8703/22 Performing ..................................................................................................... 6
This booklet contains reports written by Examiners on the work of candidates in certain papers. Its contents
are primarily for the information of the subject teachers concerned.
http://www.xtremepapers.net
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8703 Music June 2003
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GCE Advanced Subsidiary Level
Papers 8703/11 and 8703/12
Written
General comments
The Paper produced a fairly wide range of marks and most candidates chose to answer questions on
“classical” rather than “modern” repertoire in all sections of the Paper.
Examiners were pleased to note that a significant number of scripts revealed appropriate and detailed
knowledge of the prescribed repertoire. It is important that candidates are able to demonstrate consistent
evidence of first-hand contact with an appropriate body of music and a sense of personal familiarity with the
repertoire.
As in previous sessions, Examiners were disappointed that some scripts appeared to suggest that in their
preparation for this Paper candidates had come into contact with very little music and consequently had
failed to develop a broad understanding of the styles and musical features outlined in the Syllabus. Relevant
and attentive listening is a basic requirement of this section of the examination. If candidates are to do well
in the Paper they must develop a secure sense of familiarity with both the prescribed works (where detailed
study is expected) and the related repertoire (where Examiners look for a more general appreciation of
stylistic and compositional features).
Comments on specific questions
Part A: Listening (Related Repertoire)
Mozart, Piano quartet in G, K478, 3rd movement, bars 02-1112
Question 1
Most answers referred to the scoring for strings in their answers to this question and some noted that the
second statement did not modulate to the dominant. There were also valid references to contrasts of
dynamics between the statements, but few candidates mentioned the new decorative quaver figuration given
to the piano or the doubling of the melody at an octave below.
Question 2
Examiners were disappointed that many candidates were unable to identify the non-harmony notes in bar 21
accurately. Credit was given for identification of appoggiaturas/upper and lower auxiliary notes, but only a
few scripts appreciated that the C-sharp was used as a chromatic appoggiatura.
Question 3
Most candidates answered this question accurately, although some answers revealed a degree of confusion
between the ornament heard in the recording (a turn) and a mordent.
Question 4
A number of candidates lost marks here because their answers did not refer to changes in the texture of the
music. Examiners were looking for specific references to use of antiphony and the adoption of a
chordal/homophonic texture at this point in the extract.
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Question 5
Many candidates identified the tonic chord accurately, but some answers failed to give its position (second
inversion) correctly. A number of candidates gave “chord V” as an answer, but the cliché Ic-V progression
characteristic of Mozart’s style should have been recognised aurally by candidates.
Question 6
Examiners were pleased that many candidates gained maximum or near-maximum marks in this question.
Melodic dictation was generally secure and represented a pleasing improvement in this area of the
examination.
Question 7
Most candidates identified the piano figuration accurately as descending arpeggios. Examiners also credited
less precise references to broken-chord figuration.
Question 8
Many candidates gained high marks in this question, suggesting that the “clues” evident in the printed
melodic line had been used effectively to guide candidates in their choice of chords. Some candidates failed
to perceive the move to a minor chord (VI) at the start of bar 72.
Question 9
Most candidates identified the use of a pedal note accurately, but for the full marks Examiners expected
recognition of the fact that the pedal was on the dominant degree of the scale. Examiners also credited
candidates’ references to Mozart’s use of melodic sequence.
Question 10
Some scripts gave completely correct answers to this question, but in general candidates’ accuracy of aural
perception was less secure here than in Question 6. This Paper expects candidates to be able to notate
both melodic and bass lines in the Part A extracts.
Question 11
Most candidates were able to perceive that the extract concluded in the dominant key of D major.
Question 12
The best answers to this question provided evidence that candidates had perceived specific features of the
music such as the use of repeated perfect cadences, shorter note values, virtuoso piano figuration, use of
th
diminished 7 chords, crescendo, and a chromatic ascent in the bass. Many candidates, however, chose to
give vague general comments that did not refer to specific musical detail and therefore could not be credited.
Stravinsky, Ragtime for eleven instruments, bars 03-843
Question 13
Most answers referred accurately to the unison/octave nature of the opening motif. Some scripts gave a less
precise description of the texture as homophonic.
Question 14
Almost all candidates recognised the use of pizzicato by the upper strings.
Question 15
Most answers showed some perception of the contour of the melodic line but relatively few candidates
notated the line with complete accuracy. Examiners were disappointed that some candidates had clearly not
appreciated the composer’s use of a descending sequence in the melody at this point in the extract.
Question 16
This question was answered accurately by almost all candidates. A few answers omitted the dotted rhythm
pattern, giving straight quavers in the notation.
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Question 17
Many scripts positioned the appropriate dynamic indications accurately.
Question 18
Answers that gained the highest marks here referred to specific musical points of contrast in the passage.
Examiners credited any valid mention of rhythmic, dynamic, harmonic or instrumental contrasts.
Question 19
Only a few scripts notated this melody with complete accuracy. The intervals in bar 75 proved a stumbling
block for many candidates, but here the melody moved only by small steps of a tone and a minor third. The
printed note C given half-way through bar 76 should have helped candidates to work out the ending
accurately by working backwards from that point.
Question 20
Almost all candidates identified the pattern accurately, although a few answers gave its inversion (pattern A).
Examiners were pleased to note that most answers identified Stravinsky’s use of this motif correctly as
ostinato, and the majority was able to locate a point where this technique was used in the passage.
Question 21
Most answers referred to the use of glissandi in the trombone, although few candidates mentioned that this
performing technique also occurred in the strings at bar 3. Very few candidates referred to the characteristic
jazz-band use of a muted trumpet (bar 24).
Question 22
Examiners were disappointed with candidates’ answers to this question for very few appeared to be able to
write confidently about the effective use of percussion in the extract. Features such as the punctuation of
cadence figures (bar 48), military figuration (bar 106), emphasis on the last beat of the bar (bar 64) or the
use of antiphony between side drum and bass drum (bar 94) were all points that could have been mentioned
here.
Question 23
The best answers to this question displayed effective contextual knowledge of early jazz styles and referred
to specific musical detail such as the characteristic unison opening and its use of the syncopated “cakewalk”
rhythm (which many candidates compared successfully with the introduction to Scott Joplin piano rags), the
presence of a small instrumental ensemble (with a strong emphasis on percussion) and the appearance of
specific performing techniques associated with early jazz.
Part B – Section 1: Prescribed Works
Question 24
Prescribed Work 1: Beethoven, Violin concerto in D, op.61, 3rd movement, bars 127-1736
(a)
Almost all candidates gave a valid meaning of dolce in answer to this question.
(b)
Most candidates identified the key at the opening of the extract (g minor) accurately.
(c)
Examiners looked for specific and detailed references to the music in candidates’ answers to this
question. Unfortunately many scripts gave very vague generalised points that were not credited.
Features that did receive credit included mention of the transfer of the 1st violin melody to the
bassoon at two octaves lower, the replacement of the earlier sustained string accompaniment with
off-beat quaver motifs, the addition of a pizzicato double bass line and the use of an elaborate
semiquaver obbligato line in the second passage.
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(d)
Many answers referred to the fact that the melody was based on the earlier solo violin theme (from
bar 143), but only a few answers noted the absence of earlier ornamentation or the fact that only
the first phrase of the melody is used in the passage from bars 162-164. Examiners also credited
reference to the melody being doubled in 3rds at this point in the movement.
(e)
Many candidates scored maximum marks in this question but Examiners were disappointed to note
that some candidates appeared to be unaware of the correct transposition interval for the horns in
a Prescribed Work.
(f)
This question required candidates to place the extract in context and it revealed weaknesses in
many candidates’ understanding of the overall structure of the 3rd movement of this concerto. A
surprising number of candidates were unaware that the movement was in (Sonata) Rondo form,
and only a few answers were able to place the extract in context with any specific degree of
accuracy. In this section of the examination, candidates are expected to have a detailed
knowledge of the prescribed work developed from close study of the score and consistent attentive
listening to the music.
Question 25
Prescribed Work 2: Gershwin, Rhapsody in Blue, bars 138-171
(a)
Most candidates provided a valid explanation of the term marcato here.
(b)
Only a few answers referred to Gershwin’s modal use of a melodic F-natural within a clear G-major
passage.
(c)
Most candidates mentioned that the first half of each phrase was identical and many scripts
referred to the ascending “link” at the end of the second phrase. Very few answers noted that the
second phrase also makes use of an inversion of the main motif.
(d)
Almost all candidates answered this question correctly.
(e)
Most candidates noted that the passage made use of only the first half of the theme and more
perceptive answers mentioned its treatment in ascending sequence. Only a few scripts made
specific references to the tonal centres of G major and B-flat major.
(f)
In this question many candidates chose to make general comments rather than concentrate on
specific musical detail. Examiners were looking for references to the fact that Gershwin extends
the material to three (rather than two) statements of the motif, mention of the changing tonal
centres (D-flat/E major/G major), the inclusion of more chromatic harmony than in the earlier
passage and the fuller scoring, including full brass and violins.
(g)
Many candidates answered this question successfully and were able to draw on specific detail from
their general knowledge of the Prescribed Work. The weakest answers concentrated only on the
most obvious features such as the use of trumpet mutes and glissandi, but more perceptive
answers referred to aspects such as the use of chromatic harmony, the emphasis on rhythmic
syncopation and the exploitation of high registers of typical jazz-band instruments such as trumpet
and clarinet.
Section 2: Related Repertoire
In this section, candidates are expected to show evidence of their familiarity with a range of repertoire related
to the Prescribed Works. It is important that candidates become thoroughly familiar with the related
repertoire as a result of careful study of detail and attentive repeated listening to the music.
Many candidates’ answers displayed secure contextual knowledge of a generalised nature, but relatively few
answers were able to support opinions by drawing on specific musical detail from the related repertoire. This
support is essential if candidates are to achieve marks in the higher bands of this section.
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Question 26
Several answers attempted to draw upon works that reflected the influence of the natural world, with
Beethoven’s “Pastoral” symphony being the most frequently-quoted work. The best answers were able to
show in some detail specific ways in which composers have used aspects such as melodic writing,
instrumentation, texture and structure to reflect aspects of nature. Many answers revealed a pleasing level
of general contextual knowledge, referring to programme music and the related influence of nature on early
Romantic writers and artists.
Question 27
This was a popular question but it produced responses of varying quality from candidates. Most candidates
were aware of the emotional turmoil of Beethoven’s life, but a number of weaker essays did not stray from
general biographical detail. More convincing answers were able to relate aspects of Beethoven’s music to
the interest in individual feelings evident during the early 19th century, and some perceptive candidates were
aware of early manifestations of musical emotionalism in the Sturm und Drang of pre-Beethoven times. The
best answers were able to draw on specific aspects of Beethoven’s use of instruments, harmony, tonality
and structure to support their observations.
Question 28
Only a few candidates chose to answer this question but in general the responses seen by Examiners did
not suggest a thorough understanding of detail in terms of the often subtle relationship between soloist and
orchestra in the Romantic concerto. Most candidates mentioned the use of virtuosity by the soloist and listed
structural features such as the double exposition, but only a few scripts explored beyond the surface detail of
the music. Most candidates chose to compare Beethoven’s Violin concerto with that by Mendelssohn.
Question 29
No candidates chose to answer this question.
Question 30
No candidates chose to answer this question.
Question 31
This was a popular question and it allowed candidates to draw on a wide range of musical experience in their
answers. Most candidates showed a good awareness of the styles of jazz that were popular in the early
1900s and their related instrumental groupings. Many essays suffered from a lack of detailed support,
however, and only a few candidates were able to provide consistent and specific references to performances
and recordings to support their general observations. A few answers displayed a degree of confusion in
describing the various forms of jazz, while some essays lapsed into lengthy and largely irrelevant histories of
early jazz (including developments that took place well before the early 1900s).
Papers 8703/21 and 8703/22
Performing
General comments
Moderators were pleased to note an increase in candidate entry for the examination again this year, and the
overall level of achievement in performing was encouraging. This Moderators’ Report contains comments
designed to help Centres prepare candidates effectively for the examination. In this session most candidates
opted for Option A (40% written paper and 60% performing).
Centres and candidates are reminded that all performances must be assessed against the specific criteria
printed in the syllabus. These cover four key areas of assessment: fluency and accuracy; the candidate’s
technical control of the instrument; the realisation of performance markings and related conventions; and the
candidates’ aural and stylistic understanding of the music being performed.
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In two of the assessment areas Moderators are required to consider Assessors’ judgements relating
specifically to a candidate’s reading of a musical score, and in this respect it is important that Centres
remember to include copies of all the pieces performed by candidates.
All Centres marked cassette tape boxes carefully with candidate names and numbers, but Moderators ask
Centres to ensure that a label giving the candidate’s name, Centre and candidate number is attached to the
cassette itself, so that problems do not arise if the tape and cassette box become separated in transit.
The syllabus mentions the use of videotape recordings, and these can be helpful to Moderators, but it is
important that the sound quality is checked to ensure that the video recorder microphone does not distort the
sound level when there are sudden changes of dynamics. In most cases it is extremely helpful if Centres
submit a good-quality audio recording alongside the videotape evidence.
Some Centres submitted recordings in CD or minidisc format. These provide high-quality recordings, but it is
important that Assessors check that all tracks have transferred successfully to the disc and will replay
accurately before submitting this evidence for Moderation.
Comments on specific questions
Section A
Solo Recital
Moderators were pleased with the overall standard of performing in this session, and all candidates produced
evidence of positive achievement in this section of the component.
Centres carried out administration effectively, although in some cases the assessment of performance was
generous. CIE can supply exemplification material (recordings and specimen mark sheets) to aid Assessors
in making judgements relating to candidates’ levels of achievement.
The title “Solo Performance” should not be taken to imply that a candidate must perform alone: in the case of
most music offered for assessment in this component the candidate (as soloist) is likely to be accompanied
by another instrument, most frequently the piano.
Centres are reminded that the music presented in this section must provide “evidence of music from more
than one period or style”. This means that a candidate cannot meet this requirement by presenting a recital
that consists of a single piece of music. In addition candidates are strongly encouraged to check the
complete duration of their recital programmes: several fell short of the minimum 10 minutes specified in the
syllabus.
Singers who choose to perform items from contemporary musicals need to be aware of the nature of the
piano accompaniment. If the singer’s melody is doubled consistently by the right-hand part of the piano
accompaniment this reduces the level of difficulty of the performing task presented by the candidate. In such
cases, accompanists are advised to judiciously edit out the melodic line in their accompaniments so that they
do not indirectly penalise the candidate.
Paper 8703/22 only.
Section B
Further Performing
Many of the comments above relate equally to candidates’ performances in Section B, but Centres are
reminded that Section B must provide evidence of further performing beyond that assessed in Section A.
This means that a candidate cannot satisfy the requirements of the syllabus simply by performing a further
piece of music using the same resources offered in Section A.
The minimum duration for Section B performance is 5 minutes, and the music presented should consist of
two or more contrasting pieces. In most cases candidates were able to provide completely convincing
evidence of performing beyond the styles and techniques displayed in Section A, but in a few cases there
was not sufficient distinction between the two sections.
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Candidates are reminded that ensemble performance requires an independent part for the candidate: there
should not be consistent doubling of the candidate’s line by any other part of the music. This is an equally
important point for singers who chose to perform songs from contemporary musical repertoire to consider
(see the comments made in Section A above).
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