8703 Music June 2004
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CONTENTS
FOREWORD ....................................................................................................................... 1
MUSIC ................................................................................................................................. 2
GCE Advanced Subsidiary Level .................................................................................................................. 2
Papers 8703/11 and 8703/12 Written Paper ................................................................................................. 2
Papers 8703/21 and 8703/22 Performing ..................................................................................................... 7
FOREWORD
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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MUSIC
GCE Advanced Subsidiary Level
Papers 8703/11 and 8703/12
Written Paper
General comments
Examiners were pleased to note the significant increase in the number of candidates for this paper in the
current session and the cohort produced a wide range of marks, with all candidates receiving credit for their
musical knowledge and understanding. In relation to the 2003 paper, a larger proportion of candidates
chose the ‘modern’ repertoire option, producing almost an even balance between the ‘classical’ and ‘modern’
choices in this component.
Many candidates performed well in at least one section of the paper, although there were disappointingly few
candidates who managed to achieve a strong performance in all three sections. In general, this session,
Examiners did not feel that candidates’ essay-writing techniques were appropriately developed: many essays
failed to address the specific question set and some were unable to show appropriate musical support by
referring to relevant examples of repertoire.
Attentive listening focused on detail is also essential in Section A of the paper which tests candidates’ aural
skills. Examiners were surprised that a number of candidates seemed to be unable to notate basic melodic
detail accurately in a skeleton score. Previous papers can be used to provide Centres and candidates with
appropriate material to aid the development of these important skills. It is vital that candidates learn how to
focus on relevant detail in the musical extracts they hear: too often answers contained very broad
generalisations that failed to mention specific musical evidence.
Comments on specific questions
Part A: Listening (Related Repertoire)
Side A Item 1: Beethoven, Piano concerto in c, 1st movement, bars 340-416
Question 1
Examiners were disappointed that many candidates gave E flat major as an answer to this question. This
suggested that only cursory attention had been paid to the music and that candidates had simply given an
answer based upon the opening key signature. The use of E natural and B natural in the opening bars
should have provided important clues for candidates to help them reach the correct answer of C major.
Similarly, many candidates failed to appreciate that the music moved to c minor at bar 27, although the detail
of the printed score gave clear evidence of the harmony in the notation of bars 26 and 27.
Almost all candidates identified the cadence in bar 8 accurately as imperfect.
Question 2
Examiners were disappointed that many candidates were unable to give more than a very general and often
sketchy description of the differences between statements of the main theme. Only a few answers referred
to specific detail such as the change in final cadences (imperfect changing to perfect). Answers to part (b) of
this question were much better, however, with most candidates providing clear evidence of relevant changes
in the orchestral texture.
Question 3
Most candidates answered this question accurately, although only a small number of scripts provided
detailed references to the beat as well as the bar number.
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Question 4
Almost all candidates were able to locate the points of melodic ornamentation, but there was a degree of
confusion in relation to the type of decoration used. Many scripts gave ‘trill’ as the answer. This was an
imprecise description of the ornamentation heard and Examiners were looking for the more precise term
‘mordent’ in candidates’ answers.
Question 5
Many answers identified the use of oboes, but few candidates appreciated the presence of bassoons. Many
scripts incorrectly recorded flutes in answer to this question.
Question 6
Examiners were pleased that many candidates gained maximum or near-maximum marks in this question.
Most answers were able to refer to appropriate changes in the reappearance of the musical material from
bars 36 to 40.
Question 7
Very few candidates received marks for this question. Aural perception of the underlying harmony of these
bars was not strong, in spite of the provision of bass notes in the skeleton score. Examiners accept that the
diminished 7th chord used in bars 52 and 53 is a complex one to recognise, but the remaining chords (lb at
bars 48-49 and IV at bars 50-51) are primary triads and should be well known aurally to candidates working
with harmony at this level.
Question 8
Many candidates gained high marks in this question, although some workings encountered problems dealing
with the positioning of rests in bars 58 and 59.
Question 9
Examiners were pleased that many candidates received significant levels of credit for this melodic notation
task. Many scripts gave completely correct answers, although many otherwise entirely accurate workings
failed to appreciate the use of a D flat in the stepwise descent of bar 69.
Question 10
Almost all candidates realised that the final section of the recorded extract came from the cadenza, and
many answers referred to virtuoso characteristics appropriate to this section of a concerto movement.
Question 11
Relatively few candidates mentioned Beethoven as the composer of the extract, with most favouring Mozart.
Those who did identify Beethoven were generally able to refer to his characteristic use of contrasting
dynamics, strong rhythmic drive and features of the piano technique that were more typical of the early
Romantic than the Classical period.
Side B Item 1: Louis Armstrong and His Hot Five, West End Blues, bars 64-68
Question 12
Most candidates identified the trumpet accurately. Examiners also credited references to the cornet.
Question 13
Examiners were pleased with candidates’ answers to this question. Most answers were able to refer to
details of instrumentation, but there were fewer specific references to aspects of the musical texture.
Question 14
Most answers showed some perception of the harmonic base in this extract and a significant number of
scripts gave completely correct answers to this question, indicating a pleasing degree of harmonic
awareness.
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Question 15
Almost all candidates identified the trombone accurately in this question.
Question 16
This question was answered accurately by almost all candidates, with most providing accurate locations of
the use of glissando. A few answers identified an appropriate technique in the first part of the question but
failed to couple this with an accurate location reference.
Question 17
Answers to this question were disappointing, with very few answers concentrating on specific details of
changes that took place in the accompaniment of the melody. Only a few scripts referred to the use of
tremolo in the piano part or to the addition of the characteristic sound of a bock-a-da-bock in the percussion
(an instrument found in several recordings featuring groups that performed before the emergence of the
standard drum kit).
Question 18
Examiners were pleased that many candidates gained high marks in this question and almost all answers
showed a secure appreciation of the melodic line. Several near-correct workings failed to include appropriate
accidentals (the D flats in bars 19 and 20).
Question 19
This question was answered quite well by most candidates: there was evidence that the antiphonal
exchanges between the voice and clarinet had been appreciated, although some answers failed to bring out
the contrasts between the increasing complexity of the vocal elaboration and the continuing simplicity of the
clarinet’s line.
Almost all candidates recognised the use of scat, and many were aware of its contextual link with
Louis Armstrong. A few answers became rather inaccurate in part (c) of the question, imprecisely referring
to the relationship between the parts as unison. In this section Examiners credited references to consonant
intervals (such as 3rds, 6ths or 10ths) between the lines.
Question 20
This was quite a demanding question and Examiners were very pleased that a number of candidates
received maximum or near-maximum marks for their answer. Several workings that began well failed to
discriminate accurately between semitone and whole-tone movement in the bass line.
Question 21
Notation of bass lines usually proves more difficult for candidates than notation of melodic lines, so
Examiners were pleased to see a significant number of entirely or near-correct answers to this question. The
main difficulties appeared to involve insufficient discrimination between whole-tone and semitone movement
in the bass part. Candidates need to check this type of line carefully to ensure that the two intervals are not
confused aurally.
Question 22
Many answers referred to the use of a sustained high B flat at the start of Chorus 5, but only a few answers
mentioned further changes such as the replacement of dotted patterns by regular semiquaver movement or
the fact that the melodic line in Chorus 5 was an octave higher in pitch than that of Chorus 1.
Question 23
Answers to this question frequently showed that candidates had been able to acquire a good general
knowledge of the characteristic features of early jazz. Most answers referred to appropriate detail such as
the use of a 12-bar blues harmonic sequence, the presence of front-line soloists and the use of performance
techniques primarily associated with jazz.
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Part B: Section 1: Prescribed Works
Prescribed Work 1: Side A Item 2: Mozart, Clarinet Quintet, K.581, 4th movement, bars 33-64
Question 24
(a)
Almost all candidates identified the interval between the parts accurately.
(b)
Use of accidentals caused problems for many candidates, with the result that, in spite of the correct
melodic contour of the line, most pitches were inaccurate. Candidates are encouraged to
undertake careful practice in transcribing lines for transposing instruments before sitting the paper
so that the mechanics of this procedure are understood thoroughly.
(c)
Only a few answers received full marks for this question. Many candidates referred to the use of
the same harmonic sequence in the repetition, but few candidates discussed the relative
positioning of chords I, V and VI within the overall structure.
(d)
Many answers referred to the use of dynamic contrasts of f and p, and a few noted that bar 41
represented the loudest point in the movement so far. Only a few answers referred to the aural
effect of the fp dynamic marked in the 2nd violin part.
(e)
Examiners were pleased that candidates were generally able to locate and discuss relevant uses of
chromaticism within the extract. Only a few seemed to be fully aware of the harmonic significance
of chromaticism within the overall tonal plan, and very few answers referred to the chromatic
alterations in the clarinet line at bar 38 and bar 46 as chromatic auxiliary notes.
(f)
Many candidates failed to provide specific detail from the music to support their observations in
answer to this question. Generally Examiners felt that candidates had not really thought about the
way in which Mozart shares ideas among instruments within the work. This is surprising, given the
intimate nature of much of Mozart’s chamber repertoire.
Prescribed Work 2: Side B, Item 2: Gershwin, Rhapsody in Blue, bars 38-90
Question 25
(a)
Most candidates identified the key (A major) accurately.
(b)
Many candidates gained full marks for this question, although the term non troppo f was clearly not
well understood by a significant number of candidates. It is important that candidates study the
precise meaning of terms that are printed in scores of the prescribed repertoire.
(c)
Most candidates gained some marks for this question, but only a few received the full allocation of
marks. Many answers meandered and failed to provide sufficient detail, while others concentrated
on details in the orchestral writing in answer to a question that clearly asked for information about
the piano writing. Features such as the ‘linear’ texture at bar 38, parallel chord movement at bar
39, the use of rich chromatic chords in bars 39 and 40, virtuoso display at bars 41 and 42, the
walking bass at bar 55, ‘thick’ chords at bar 68 and syncopation (also bar 68) all received credit
from Examiners.
(d)
Almost all candidates answered this question correctly.
(e)(i)
Most candidates were able to refer to Gershwin’s use of the main theme in the recorded extract.
The minor-key variant (bars 52 and 85) and the orchestral tutti at bar 72 were the most popular
occurrences chosen for mention by candidates.
(ii)
Examiners were pleased that candidates were able to locate other occurrences of the same theme
and describe these in some detail. The best answers gave accurate and concise descriptions of
specific musical features and avoided irrelevant generalisation.
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Part B: Section 2: Related Repertoire
Examiners expressed concern this session about candidates’ essay-writing technique: many knowledgeable
candidates failed to gain sufficient credit for their knowledge as a result of a poor focus in their writing.
Planning at the outset is vital if the writing is to be directed towards answering the question set by
Examiners. Frequently Examiners gained the impression that candidates were anxious to tell them
everything they had learned about a particular topic and this often resulted in a poor focus in relation to the
specific question on the paper. Question 31 suffered particularly in this respect, with many answers
avoiding the question completely (see the comments below).
In this section candidates are expected to show evidence of their familiarity with a range of repertoire related
to the Prescribed Works, but this knowledge must be applied to the question candidates face on the paper,
and their writing must be relevant and consistent in its focus on relevant musical detail.
Question 26
Only a few candidates chose to answer this question. In general, candidates’ knowledge of the Classical
quartet style was more informed than that of the early Romantic period. Only a few scripts were able to paint
a convincing picture of the differences between the two styles and suggest that the essential stylistic
differences had been understood fully.
Question 27
Answers to this question revealed a secure working knowledge of Mozart’s writing in his Clarinet Quintet but
candidates were generally less successful in drawing comparative detail from another work. This suggested
that only a narrow range of related repertoire had been studied in preparation for the paper. The most
popular work chosen for comparison was Mozart’s Clarinet Concerto and some answers were able to draw
upon telling points of similarity between the two pieces.
Question 28
Only a few candidates chose to answer this question but Examiners felt that answers displayed a good
working knowledge of relevant repertoire. There were some interesting points of comparison drawn between
Mozart’s use of the clarinet and the instrument performing within a more jazz-orientated style in
twentieth-century compositions. Many candidates who chose this question wrote with conviction and
reflected a strong sense of personal familiarity with the music discussed.
Question 29
Only a few candidates answered this question and many concentrated on the work of Debussy (much of
which was written during the late nineteenth century). Examiners were surprised that there were not more
references to the work of the Second Viennese School or to the output of a composer such as Messaien.
Relevant related repertoire would have revealed a great deal of information on composers’ approaches to
orchestral timbre in the twentieth century.
Question 30
This was a very popular question and most candidates were able to write about the increasing
cross-fertilisation between Europe and America in the early twentieth century. Much of the information
centred upon jazz-related influences, and Examiners were pleased that many candidates were able to refer
accurately to relevant detail in works such as Ravel’s Piano Concerto in G, Milhaud’s La Création du Monde
and Debussy’s The Little Nigar. Some candidates were also aware of composers who were influenced by
rhythms and sounds from Latin America and were able to refer to composers’ visits to Southern America and
the assimilation of stylistic features from countries such as Brazil into the European ‘classical’ tradition.
Question 31
Almost all answers to this question chose to discuss either an opera or a musical. It was clear from many
answers that candidates knew the music and were able to write with conviction about detail from their
chosen work. The main problem with answers to this question was the lack of focus. The question required
candidates to discuss choral writing, and Examiners stretched this term to include writing for vocal ensemble
(for example, in an end-of-Act operatic context). Unfortunately many candidates concentrated exclusively on
music written for solo voice or for vocal duet. This information was not relevant and Examiners were unable
to give it credit. Very few answers to this question suggested that candidates had acquired more than a
passing knowledge of detail in relation to the writing for chorus, in spite of the fact that many operas and
musicals make significant use of ‘crowd’ scenes. The need for careful planning to ensure an appropriate
focus before writing begins cannot be over emphasised.
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Papers 8703/21 and 8703/22
Performing
General comments
A wide range of music was presented by candidates who had, on the whole, prepared carefully for their
examination. The general level of attainment was relatively high, with a number of outstanding
performances. The majority of recitals were given to an appreciative and sometimes enthusiastic audience.
Most programmes met the requirements of the syllabus for music of ‘more than one period or style’ in the
Solo Recital, and a contrast between two pieces in the ‘Further Performing’. It should be noted, however,
that Part B requires candidates to choose one option: a handful of candidates mixed the options. It may
seem unreasonable to deny them the opportunity of demonstrating versatility, but their attention should be
directed towards the need to apply their skills and understanding to ‘a range of techniques’ within a single
option. One candidate demonstrated this particularly well by singing alto in one 3-part piece and 2nd
soprano in another which was quite different in style.
Several candidates performed an item that they had composed themselves: in a syllabus which offers no
other scope for candidates to develop their abilities as composers this is to be welcomed. The requirement
to submit a copy of the music, however, applies equally. As the item cannot be assessed on its merits as a
composition, the candidate should be certain that performing it will allow him/her to demonstrate an extra
dimension to their performing skills and understanding. This was certainly true for one candidate who
became evidently more engaged with his instrument - in a piece of his own which showed a good
understanding of its characteristic sounds and techniques - than he had been in the music of other
composers.
‘Solo’ is not usually to be interpreted as ‘without accompaniment’ (the exception being, of course, music that
was designed to be performed that way, e.g. Bach’s Unaccompanied Suites for cello, Debussy’s Syrinx for
flute). There are, understandably, very rare occasions when an accompanist is unexpectedly not available
for the examination: in music that was composed for solo instrument with accompaniment, the candidate is
almost inevitably disadvantaged (not just in the examination) if they do not have the opportunity to practise,
and perform with, an accompanist. In the case of instruments such as the bass guitar, or a jazz-style
saxophone, the ‘accompaniment’ may need to be provided by a small ensemble. Care must be taken that
the ‘solo’ nature of the candidate’s performance is not jeopardised; and that any ‘Further Performing’ is
essentially different in character. A backing track should only be used as a last resort, and its details must
be clearly recorded in a comment on the Assessor’s working mark sheet.
Marking was generally very accurate and thoughtfully executed but a problem encountered more than once
was that of finding the right level for a candidate who was noticeably less able than all the others at a
particular Centre. It frequently happens that, seen in the shade of more able peers, one candidate’s
shortcomings loom larger than his/her real achievements. For this reason, the lowest mark at some Centres
had to be raised. It was noticeable that comments on the performance of such less able candidates tended
to be couched in mainly negative terms: even if the level of achievement is modest, assessors must
endeavour to approach the process of judging it against the descriptors positively. It is helpful to the
Moderators if brief comments are made in support of the marks awarded: the remarks of a handful of
assessors were particularly well-focused but too many were over general. Comments should address
specific descriptors in the Assessment Criteria, illustrating in what ways these have been met. Two of the
criteria were sometimes problematic: ‘fluency and accuracy’ - it may help to ask ‘does the candidate really
know this piece?’ If the answer is ‘yes’, then some slips and fumbles which may be attributable to nerves (or,
possibly, technical inadequacies) can be forgiven; ‘technical control’ - under this heading account should be
taken of the ‘range’ and level of techniques demonstrated. The descriptors are designed to address the
marking of the programme as a whole; marking each item individually and then averaging is not advisable as
this almost invariably skews the final mark.
The standard of presentation was almost uniformly high. There was a fairly even mix of audio versus video
recordings (with some Centres very helpfully supplying both). In Solo Recitals most candidates were clearly
identified. In Ensembles it is important to make sure that the Moderator can identify the candidate: the
efforts of some Centres to make sure that this was so visually, and to annotate the copies of the music so
that it was clear which parts were performed by which candidates, were very much appreciated.
Several Centres had not completed the computer mark sheets (MS1): this is essential as this is the means
by which the Centre’s mark is put into the CIE computer system.
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