www.studyguide.pk
June 2003
GCE AS LEVEL
MARK SCHEME
MAXIMUM MARK: 80, 120
SYLLABUS/COMPONENT: 8703/11, 8703/12
MUSIC
Paper 11 and Paper 12
http://www.xtremepapers.net
Page 1
Mark Scheme
AS LEVEL EXAMINATIONS - JUNE 2003
Syllabus
Paper
www.studyguide.pk
8703
11, 12
Part A: Listening
Part A: Listening (Related repertoire)
Components 11 and 12: Answer all the questions on either Side A Item 1 or Side B Item 2.
You can listen to both recordings before you choose, but no additional time is allowed for this. When
you have chosen which questions to answer you may listen to your chosen extract as many times as
you wish.
You are advised to spend approximately one hour on this section of the paper.
A skeleton score of both extracts is provided in the accompanying Insert.
Your answers are to be written either into the score itself or in the appropriate spaces on this paper:
the questions make it clear where you are to write your answers.
Side A Item 1
Side A of your tape contains an extract of music from repertoire related to the Prescribed Work:
Beethoven - Violin Concerto in D major, opus 61.
The music of the extract is taken from a movement of a piano quartet by Mozart.
MOZART, Piano quartet in G, K478, 3rd movement, bars 02-1112
1
The opening piano music (bar 02 to bar 81) reappears at bar 82 to bar 161. How is the music
changed in this repetition?
[4]
•
•
•
•
•
•
2
String scoring cf. piano
Melody now doubled at octave below (by viola)
Piano has new quaver decorative figure in accompaniment
Melody at end of section modified
Music ends with perfect cadence in G major (not modulating to D major)
Allow valid references to change of dynamics (p / f)
Briefly describe the function of the non-harmony notes in the printed melody at bar 21.
[2]
• Appoggiaturas/(Upper and lower) auxiliary notes (1)
• ref. to c-sharp as chromatic appoggiatura/auxiliary note (1)
3
In the passage from bar 222 to bar 261 the pianist plays an ornament not printed in the score.
Either write the sign for the ornament at the appropriate place on the score, or describe
precisely what is heard, identifying the location of the ornament (bar and beat).
• Turn (correct written ornament sign) or accurate description
• Bar 23 beat 2 (allow beat 4)
© University of Cambridge Local Examinations Syndicate 2003
[1]
[1]
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Syllabus
Paper
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8703
11, 12
The texture of the music changes at bar 332. Describe briefly some features of this change
in the passage up to bar 362.
[3]
•
•
•
•
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Mark Scheme
AS LEVEL EXAMINATIONS - JUNE 2003
Chordal/homophonic (allow ref. to discontinuation of quaver movement)
Antiphonal/answering/dialogue
Specific details: any two of strings/piano/tutti
Terraced dynamics: p / mf / ff
What chord occurs at the beginning of bar 37?
[2]
Tonic chord (1) second inversion/ 6/4 (1)/Ic (2)
6
On the score write in the piano right-hand melody from bar 60 to bar 63.
Completely accurate
No more than two errors
Three-six errors
Seven-ten errors
The basic melodic shape reproduced
Little or no accuracy
[5]
5
4
3
2
1
0
[NB. Ignore omission of quaver E in bar 61 - indistinct in recording. Accept semiquavers of
bar 62 notated as demisemiquavers if following a double-dotted crotchet]
7
Describe the piano figuration that occurs in bar 69.
• Arpeggio/broken chord (1)
• Descending (1)/A (major)/triplets (1)
8
In the boxes beneath the staves, indicate the chords that occur in the string phrase from
bar 71 to bar 74. The key at this point in the extract is D major.
Award 1 mark per chord and 1 mark for any inversion to a maximum of 6 marks.
© University of Cambridge Local Examinations Syndicate 2003
[2]
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Mark Scheme
AS LEVEL EXAMINATIONS - JUNE 2003
Syllabus
Paper
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8703
11, 12
What device occurs in the music from bar 87 to bar 90?
[2]
Dominant (1) pedal (1) (Sustained/repeated A = 1)/Melodic (1) sequence (1)
10
On the score, write in the melody played by the cello in bars 100 and 1011.
Completely accurate
No more than two errors
Three-six errors
Seven-ten errors
The basic melodic shape reproduced
Little or no accuracy
[5]
5
4
3
2
1
0
11 (a) In what key does the extract end?
D (major)
[1]
(b) What is the relationship of this key to the main key of the movement?
12
Dominant
[1]
How does Mozart create a feeling of increasing tension towards the end of the extract
(bar 101 to bar 111)?
[5]
•
•
•
•
•
•
•
•
•
•
Repeated perfect cadences
Rapid triplet flourishes
Chromatic ascent in the bass
Use of shorter note values
Virtuoso piano figuration
Use of diminished 7th chord
Ascending piano scale...
...above dominant pedal
Trill before final cadence
Use of crescendo
© University of Cambridge Local Examinations Syndicate 2003
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Mark Scheme
AS LEVEL EXAMINATIONS - JUNE 2003
Syllabus
Paper
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8703
11, 12
Side B Item 1
Side B of your tape contains an extract of music from repertoire related to the Prescribed Work:
Gershwin: Rhapsody in Blue.
This extract is taken from the opening section of a piece for chamber ensemble composed by Igor
Stravinsky and first performed in 1918. The ensemble includes the cimbalom: a Hungarian stringed
instrument similar to the zither.
STRAVINSKY, Ragtime for Eleven Instruments, bars 03-843
13
Briefly describe the texture of the music from the opening to bar 21.
Unison/octaves (2); homophonic (1)
14
15
At bar 44 the cimbalom plays the main theme. What performing technique is used by the
upper strings to play the accompanying chords?
Pizzicato (Plucking/detached = 1)
[2]
On the score, write in the missing melody line (played by the flute and 1st violin from bar
25 to bar 28). The rhythm of this passage is printed above the stave.
[5]
Completely accurate
No more than two errors
Three-six errors
Seven-ten errors
The basic melodic shape reproduced
Little or no accuracy
16
[2]
5
4
3
2
1
0
On the score, write the rhythm played by the snare drum at bar 39.
Completely accurate
One-two rhythmic errors
More than two rhythmic errors
No rhythmic accuracy
3
2
1
0
© University of Cambridge Local Examinations Syndicate 2003
[3]
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Mark Scheme
AS LEVEL EXAMINATIONS - JUNE 2003
The following dynamic markings have been omitted from the score in the passage from
bar 46 to bar 51. Write the markings at the appropriate points in the score.
p
Bar 49 OR Bar 51
f cresc. Bar 47 OR Bar 50
sff
Bar 48
18
[4]
Antiphonal/woodwind (later brass) contrasted with strings
Slow-moving minims (WW/brass)
Faster dottedisyncopated rhythms (in strings)
Punctuated by tutti sff chords
Discordant harmony (2nds/7ths/9ths) in the minim chords
On the score, write in the missing trumpet melody from bar 73 to bar 762.
Entirely accurate
No more than two errors of pitch and/or rhythm
Several errors of pitch and/or rhythm
The basic melodic shape reproduced with accurate rhythm
Only a few points of melodic and/or rhythmic accuracy
No melodic or rhythmic accuracy
20
[3]
(1)
(1)
(1)
Briefly describe the passage from bar 49 to bar 62, paying particular attention to ways in
which Stravinsky creates contrasts in the music.
•
•
•
•
•
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Syllabus
Paper
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8703
11, 12
[5]
5
4
3
2
1
0
From bar 52 to bar 72 the double bass plays a two-note pattern.
(a) Tick one box below to show which motif represents the two-note pattern most accurately. [1]
(b) Give the technical term that describes the use of this pattern.
Ostinato/riff
[1]
(c) Identify one other point in the extract where this technique is used in the double bass.
Bar(s): 5-9 OR 16-22
© University of Cambridge Local Examinations Syndicate 2003
[1]
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Mark Scheme
AS LEVEL EXAMINATIONS - JUNE 2003
Syllabus
Paper
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8703
11, 12
Identify two places where a performing technique associated with jazz is used in the
extract.
[4]
Award 1 mark for any valid bar reference and 1 mark for recognition of an appropriate jazz
technique, e.g.
• Bar 3 Glissandi (strings)
• Bar 24 Muted trumpet
• Bar 52 Glissandi (trombone)
22
Describe briefly Stravinsky's use of percussion in this extract.
•
•
•
•
•
23
Used to punctuate cadence figures (e.g. bar 48)
Snare drum - military figuration (e.g. flam at bar 106)
Bass drum adds emphasis with single notes on last beat of the bar (e.g. bar 64)
Antiphony side drum/bass drum (crotchets) at bar 94ff.
Stravinsky's use of special effects: soft-headed beaters, hard sticks, doubleheaded
sticks (mailloche)
Stravinsky called this piece Ragtime. What features of the music make this title
appropriate?
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•
•
•
•
•
•
[4]
Use of characteristic semiquaver-quaver-semiquaver "cakewalk" rhythm
Emphasis on rhythmic intricacy/syncopation/off-beat accents
Small ensemble cf. jazz band
Use of jazz performing techniques (e.g. brass and string glissandi)
Emphasis on percussion
Opening unison flourish (cf. Joplin rags)
Use of chromaticism in the melodic lines
© University of Cambridge Local Examinations Syndicate 2003
[5]
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Mark Scheme
AS LEVEL EXAMINATIONS - JUNE 2003
Syllabus
Paper
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8703
11, 12
Part B: Section 1 (Prescribed Works)
Clean, unmarked copies of the Prescribed Works must be used for this section.
Component 11: Answer either question 24 or question 25.
Component 12: Answer question 24 and question 25.
24
Prescribed Work 1: Side A, Item 2 on your tape: Beethoven: Violin Concerto in D major,
opus 61.
BEETHOVEN, Violin Concerto in D, Op.61, 3rd movement, bars 127-1736
In your score, find the passage in the third movement from bar 127 to bar 1736
(pages 73-77 in the score).
(a) What is the meaning of the term dolce marked in the Solo Violin at bar 127?
Sweetly (or reasonable alternative)
[1]
(b) What is the key at the beginning of this passage?
G (minor)
[1]
(c) The melody played by the Solo Violin at the start of the extract is repeated at bar 1346 to
bar 1422. Compare these two passages, noting similarities and differences in the music.
•
•
•
•
•
•
Violin melody transferred to 1st bassoon
Pitch two octaves lower
First passage has sustained string accompaniment
Second passage contains offbeat-string quaver idea
Second passage features pizzicato double bass
Solo Violin has elaborate semiquaver obbligato figure in second passage
(d) Describe briefly the music played by the oboes at bar 162 to bar 164, relating this to
melodic ideas heard earlier in the extract.
•
•
•
•
[4]
[3]
In 3rds
Based on Solo Violin theme from bar 143
Now without ornamentation
Only the first phrase of the melody is used
(e) In the blank stave below, write out the notes played by the horns in bars 171 and 172
at sounding pitch.
Award 1 mark for each correct pitch (octave displacement = 1)
© University of Cambridge Local Examinations Syndicate 2003
[3]
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Mark Scheme
AS LEVEL EXAMINATIONS - JUNE 2003
Syllabus
Paper
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8703
11, 12
(f) State the form of this movement and explain the place of this extract in it. Refer to themes,
keys and instruments in your answer.
Form: (Sonata) Rondo
[1]
Award 1 mark for any valid reference, e.g.
[7]
• ref. Episode structure of overall movement
• ref. positioning – after 2nd statement of the rondo theme
• ref. subdominant tonal centre of the extract (cf. tonality of other episodes in the
movement)
• Contrasting instrumentation tutti/episodes
• Thematic links between episodes
• Relationships between episodes and orchestral tuttis
• Beethoven's characteristic use of dynamic contrasts
25
Prescribed Work 2: Side B, Item 2 on your tape: Gershwin: Rhapsody in Blue.
GERSHWIN, Rhapsody in Blue, bars 138-171.
Study the section of the work from bar 138 to bar 171 (pages 22-29 in the score).
(a) Explain the term marcato printed at bar 138.
[1]
Marked (allow "accented" or any reasonable alternative)
(b) The key of the music at the start of this extract is G major. Mention one unusual feature of
the main melody at bar 138 to bar 144.
[1]
Modal/ref. unusual use of F natural in G-major tonality
(c) Briefly compare the first two main phrases of this extract (bar 138 to bar 141, and bar 142
to bar 145)
[2]
• First half of each phrase identical
• Second phrase inverts the motif
• ref. second phrase has ascending scale link to what follows
(d) On the blank stave below, write out the notes played by the 3rd horn at bar 153 at sounding
pitch:
[4]
Entirely accurate
One error of pitch
Two errors of pitch
No accuracy of pitch
3
2
1
0
© University of Cambridge Local Examinations Syndicate 2003
Page 9
Mark Scheme
AS LEVEL EXAMINATIONS - JUNE 2003
Syllabus
Paper
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8703
11, 12
(e) Briefly describe the music from bar 154 to bar 157, relating this to ideas heard earlier
in the extract.
•
•
•
Uses first half of theme only/theme truncated
Treated in ascending sequence
ref. to tonal centres: G major/B-flat major
(f) The music of bars 154-157 reappears at bar 166 to bar 171. Give two ways in which the
material has been changed.
•
•
•
•
[2]
Extended to three statements of the motif
Change of tonalities: now D-flat/E/G major
Harmony more chromatic than previous passage
Fuller scoring: now including full brass and violins
(g) What jazz techniques does Gershwin make use of in this work? Illustrate your answer
with reference to specific examples drawn from the work as a whole.
Award 1 mark for any valid reference to jazz technique, e.g.
•
•
•
•
•
•
•
•
[2]
Opening clarinet glissando
Rich chromatic harmony
"Blues" melodies
Use of trumpet mutes
Exploitation of high registers
Scoring includes aspects of jazz band instrumentation (e.g. banjo)
Strong emphasis on rhythmic syncopation
Main thematic material given to saxophones
© University of Cambridge Local Examinations Syndicate 2003
[8]
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Mark Scheme
AS LEVEL EXAMINATIONS - JUNE 2003
Syllabus
Paper
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8703
11, 12
Part B: Section 2 (Related Repertoire)
Component 11: Answer one of the following questions in the separate answer booklet provided.
Component 12: Answer two of the following questions in the separate answer booklet provided.
Section 2 - General marking criteria
17-20 marks
The essay will represent a cogent and coherent attempt to answer the question set
and points will be substantiated by frequent and precise references to the appropriate
musical repertoire. The writing will disclose a high degree of personal familiarity with a
relevant body of music.
13-16 marks
The essay will attempt to answer the question set, with observations supported by
several detailed references to the appropriate repertoire. Some references may be of
a generalised nature and views expressed may be a mixture of received opinion and
original perception. Overall the writing will suggest a thorough appreciation of the
topic.
10-12 marks
The writing will take the form of a more general survey of the topic, but the candidate
will attempt to relate the question set to precise details of the appropriate repertoire.
There will be considerable evidence of an attempt to link both received and personal
observations to specific features of music studied, and a high degree of personal
familiarity with the topic will be apparent.
7-9 marks
The essay will make an attempt to answer the question set by rather general
references to the repertoire in order to support the observations made by the
candidate. The argument may lack coherence and there may be little evidence of
overall structure in the writing, but the work will display some degree of personal
familiarity with/response to the topic and its musical repertoire.
4-6 marks
The writing will consist mainly of summaries of received opinion with only a few
attempts to support points by detailed references to the appropriate repertoire.
Understanding of stylistic and historical contexts will be patchy and occasionally
confused, although some awareness of the main features of the topic will be evident,
and there will be evidence of an attempt to articulate a personal response to the
music.
1-3 marks
The writing will betray confusion and will display very little sense of familiarity with the
appropriate repertoire or its historical context. Points may lack logical structure and
will probably represent a digest of received opinion. There will be little or no attempt
to support observations by reference to musical examples.
© University of Cambridge Local Examinations Syndicate 2003
Page 11
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Mark Scheme
AS LEVEL EXAMINATIONS - JUNE 2003
Syllabus
Paper
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8703
11, 12
A number of composers in the Classical and early Romantic periods attempted to portray
the natural world in their music. Show how this is achieved in any work(s) you have
studied.
[20]
Beethoven's "Pastoral" Symphony and/or Berlioz’s Symphonie Fantastique are likely to be
popular sources of material for candidates answering this question. Candidates should be
able to identify programmatic elements within the work(s) discussed, and the best answers
will cover a range of representative examples, revealing acute aural attentiveness and
attention to detail in their descriptions of the music. Suitable examples from the nonsymphonic world (e.g. material from Weber's Der Freischutz) may also provide useful
examples for discussion by candidates in answer to this question.
27
Write about the increasing element of emotion evident in music of Beethoven's time.
[20]
The best answers may be able to refer to the pre-Beethoven background of Sturm and
Drang, but most candidates should be able to point to at least the most significant
manifestations of emerging Romantic emotionalism in music. The music of Beethoven will
probably provide the main focal point for most answers, which should focus on specific
musical evidence to support the idea of increased emotional content. Answers may refer to
aspects of scoring, highlighting the greater contrasts available with an expanded orchestra,
the juxtaposition of contrasting tonal centres, or the effects of expanded structure and/or
increasing virtuosity in music of this period.
28
Choose two concertos you have studied and compare the relationship between soloist and
orchestra in these works.
[20]
This question allows candidates a free choice of works, and it is expected that at least two
contrasting concertos will be familiar material to most candidates. At a basic level answers
should be able to identify significant features of the relationship between soloist and
orchestra, but the best answers will explore various ways in which the relationship between
soloist and orchestra is exploited by composers, concentrating on features such as imitation,
antiphony and idiomatic writing.
29
Compare an instrumental work for small ensemble from Beethoven’s time with one from the
first half of the twentieth century, showing how each work exploits the potential of the group
of instruments for which it is written.
[20]
Answers should focus on specific details of scoring, timbre and instrumental sonority in order
to create an awareness of the ways in which composers from different centuries have
exploited the possibilities of small chamber resources. There is a wealth of material from the
Classical period, especially the works of Schubert and Beethoven, while the twentieth
century work may be from either the “classical” tradition (e.g. chamber pieces by Stravinsky,
Schoenberg, Webern) or from jazz repertoire. Credit any valid points relating to specific
instrumental detail, but the best answers will reveal aural sensitivity and a keen appreciation
of composers’ skills in terms of idiomatic writing and the exploitation of a wide range of
sonorities within a relatively small group of instrumentalists.
30
What are the main characteristics of vocal music (chamber, opera or musical) in either the
early nineteenth century or the first half of the twentieth century? Answer by reference to
vocal music you have studied.
[20]
© University of Cambridge Local Examinations Syndicate 2003
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Mark Scheme
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Syllabus
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8703
11, 12
This question allows candidates to write about music with which they should be familiar, and
it is expected that most answers should identify at least the most significant features of the
genre. The best answers will go further and explore in detail both vocal writing and aspects
of accompaniment, paying consistent attention to the aural effectiveness of the score.
Material from the twentieth century may include experimental writing such as Schoenberg’s
Pierrot Lunaire or music from the popular and developing stage music tradition.
31
Describe some of the main styles of jazz that were popular in the early 1900s. Illustrate your
answer by reference to works and/or recordings that you have studied.
[20]
Most candidates should be able to identify the main features of the most important aspects of
jazz music during the early part of the twentieth century. It is expected that ragtime, blues
and swing will form the starting point for investigations, but many able answers will be able to
point to stylistic features of offshoot branches of jazz repertoire, such as be-bop, boogiewoogie, cool jazz and hot jazz. Observations should be supported by references to specific
musical examples. The best answers will attempt to identify and assess the distinctive
qualities in a representative range of jazz genres.
© University of Cambridge Local Examinations Syndicate 2003