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UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS
GCE Advanced Subsidiary Level
MARK SCHEME for the June 2004 question papers
8703 MUSIC
8703/11, 12
Paper 11 and Paper 12, maximum raw mark 80, 120
These mark schemes are published as an aid to teachers and students, to indicate the requirements of
the examination. They show the basis on which Examiners were initially instructed to award marks. They
do not indicate the details of the discussions that took place at an Examiners’ meeting before marking
began. Any substantial changes to the mark scheme that arose from these discussions will be recorded
in the published Report on the Examination.
All Examiners are instructed that alternative correct answers and unexpected approaches in candidates’
scripts must be given marks that fairly reflect the relevant knowledge and skills demonstrated.
Mark schemes must be read in conjunction with the question papers and the Report on the Examination.
•
CIE will not enter into discussion or correspondence in connection with these mark schemes.
CIE is publishing the mark schemes for the June 2004 question papers for most IGCSE and GCE
Advanced Level syllabuses.
http://www.xtremepapers.net
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Grade thresholds taken for Syllabus 8703 (Music) in the June 2004 examination.
maximum
mark
available
minimum mark required for grade:
A
B
E
Component 11
80
54
46
28
Component 12
120
77
64
38
The thresholds (minimum marks) for Grades C and D are normally set by dividing the mark
range between the B and the E thresholds into three. For example, if the difference between
the B and the E threshold is 24 marks, the C threshold is set 8 marks below the B threshold and
the D threshold is set another 8 marks down. If dividing the interval by three results in a fraction
of a mark, then the threshold is normally rounded down.
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June 2004
GCE AS LEVEL
MARK SCHEME
MAXIMUM MARK: 80, 120
SYLLABUS/COMPONENT: 8703/11, 8703/12
MUSIC
Paper 11 and Paper 12
Page 1
Mark Scheme
MUSIC - JUNE 2004
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:
Mozart – Clarinet Quintet in A, K.581.
The music of the extract is taken from a movement of a piano concerto.
BEETHOVEN, Piano concerto in c, 1st movement, bars 340-416 [Extract length: 02’51”]
1
(a) The tonic key of the movement from which this extract is taken is c minor. Identify the
key the extract begins in, state the relationship of that key to the tonic and give the
number of the bar in which the music first reaches the key of c minor.
[3]
Key
Relationship
c minor bar
C major
Tonic major
Bar 27
(b) What sort of cadence is heard during bar 8?
[1]
Imperfect
2
(a) When the orchestra enters in bar 9 it echoes the theme played by the piano. Compare
the piano’s statement of the theme (bar 1 to 8) with that of the orchestra (bar 9 to bar
16) and outline one significant difference between the two passages. Refer precisely
to bar and beat numbers in your answer.
[2]
• 2nd passage ends with perfect cadence
• Decorative treatment of D/D sharps bar 3/bar 11
• Omission of chromatic/circle of 5ths segment bar 7/bar 15.
[1 mark for each valid description of difference + 1 mark for accurate location]
© University of Cambridge International Examinations 2004
Page 2
Mark Scheme
MUSIC - JUNE 2004
Syllabus
Paper
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8703
11, 12
(b) Briefly describe the main features of the orchestral texture in the second passage (bars
9 to 16).
[2]
•
•
•
•
3
Tune in vlns and upper WW
2nd violns/violas play quaver accompaniment
Timpani reinforce sfs
Brass provide sustained inner harmony.
When the piano re-enters (bar 164 ) on which part of the music already heard are its minim
chords based?
[2]
Bars 44 to 63 OR 124 to 144 [1 mark each for beginning and ending of either]
Bars 5 to 6 OR bars 13 to 14 (1)
4
5
Give the name of the ornament that decorates the first of every pair of quavers in bars 21
and 22. Explain how this ornament is realised in the performance and give the number of
one other bar in the extract where the same ornament is used.
Ornament:
Mordent
[1]
Realisation:
Rapid alternation of main note
and the note above it
[2]
One other use in bar:
Bar 26
[1]
Name the two pairs of woodwind instruments which play the passage from bar 232 to 251.
[2]
•
•
6
Compare carefully the music of the piano solo in the passage from bar 36 to 40 with the
passage from bar 42 to bar 45. Describe the principal similarities and differences.
[3]
•
•
•
•
•
•
7
Oboes [1]
Bassoons [1]
Semiquaver movement
Use of same notes
The second passage is in bass not treble
Three octaves lower
Differencess of accompaniment, e.g. tremolo
Different at end - 2nd passage modulates
On the score identify the harmonies of the broken chords at the places marked X (bars
48/49), Y (bars 50/51) and Z (bars 51/52).
[6]
• X
• Y
• Z
Ib
IV
Diminished 7th
[2 marks for each correct identification, however described]
© University of Cambridge International Examinations 2004
Page 3
8
Mark Scheme
MUSIC - JUNE 2004
Syllabus
Paper
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8703
11, 12
On the score complete the rhythm played by horns and trumpets from bar 57 to bar 59.
[3]
Completely accurate
No more than two errors
Less than one bar accurate
No rhythmic accuracy
3
2
1
0
(Allow dotted crotchets + no rests in bar 58)
9
On the score complete the melody line from bar 67 to bar 69.
Completely accurate
No more than two errors
The basic melodic shape reproduced
Little or no melodic accuracy
10
[3]
3
2
1
0
(a) After the end of the extract the music continues for a short period of time. Which of
the following terms best describes this section of the concerto? Answer by placing a
tick in one box.
[1]
Cadenza
Da capo
Ritornello
Transition
(b) Suggest some features of the music which are typical of this sort of section.
•
•
•
•
•
•
Orchestra pauses
...on 6/4
Soloist improvises
...on themes
Bravura/virtuoso display
Arpeggios.
© University of Cambridge International Examinations 2004
[4]
Page 4
11
Mark Scheme
MUSIC - JUNE 2004
Syllabus
Paper
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8703
11, 12
Suggest the name of a probable composer of this music and explain what features you
have heard in the extract that lead to this conclusion.
[4]
Composer:
Beethoven (1)
Features:
•
•
•
•
Aspects of dynamics (e.g. sfs)
Strong rhythmic drive
Piano technique more powerful and wider ranging than Mozart’s
Orchestration - e.g. symphonic in places, or use of horns.
[1 mark for each valid point + 1 mark for reference to specific example, to
maximum of further 3 marks.]
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 a recording made in 1928. The extract consists of 5 main sections
(choruses) as indicated in the skeleton score.
LOUIS ARMSTRONG & HIS HOT FIVE, West End Blues, bars 64-68, (June 29, 1928)
[Extract length: 03’06”]
12
Identify the solo instrument playing the melody line in Chorus 1.
[1]
Trumpet (allow Cornet)
13
Describe briefly the music of the accompaniment in Chorus 1, referring both to the
instruments playing and to the style and texture of the music.
•
•
•
•
•
14
[3]
Comping (2) / Crotchets (1) repeated/on every beat (1)
Detached / not legato
Played by banjo and piano (1)
Sustained notes/minims & semibreves (1) in bass/trombone line (1)
Clarinet (1) shadows trumpet at first (1) then plays a more sustained line (1)
This piece is in the key of E-flat major. On the score indicate one point at which each of
the following chords occur in Chorus 1 by writing the chord number beneath the stave: [3]
Chord I
Bars 1, 2, 3, 4, 7, 8, 11, 12
Chord IV
Bars 5, 6
Chord V7
Bars 9, 10
[1 mark for the correct location of each chord. Mark the first indication of the chord
only]
© University of Cambridge International Examinations 2004
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Mark Scheme
MUSIC - JUNE 2004
Syllabus
Paper
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8703
11, 12
What instrument takes over the melody in Chorus 2?
[1]
Trombone
16
Name one performing technique used by the soloist in Chorus 2 and give the bar and
beat where this technique is heard.
[2]
Technique:
Bar/beat.
Smear
Bar 224, 234
Slide / glissando
Bar 124-131, 134-141, 144-151, 164-171,
174-181, 182-183, 202-203, 232-233
[1 mark for valid technique; 1 mark for accurate location reference]
17
Describe two ways in which the accompaniment changes as Chorus 2 begins.
•
•
•
•
18
Addition of percussion
Bock-a-da-bock / metal rings/spoons/cups
Piano tremolo
Top note of piano line provides counter melody
On the score complete the melody of the solo line from bar 193 to bar 213. The rhythm of
this passage is indicated above the stave.
[4]
Completely accurate
No more than two errors
Three-five errors / half correct
The basic melodic shape reproduced
Very little or no melodic accuracy
19
[2]
4
3
2
1
0
Chorus 3 includes two solo lines: a clarinet and a male vocalist.
(a)
Describe the relationship between these two lines at the start of the Chorus (bar 244
to bar 26).
[2]
•
•
(b)
Imitation (voice follows clarinet)
Antiphony / dialogue / call and response
How does the relationship between the two parts change as the Chorus
progresses?
•
•
•
•
•
Imitation becomes less direct
Longer phrases
Increasing divergence: simple clarinet / complex vocalisations
Inversion on some clarinet motifs in voice
Voice utilises additional techniques , eg. pitch bending
© University of Cambridge International Examinations 2004
[4]
Page 6
(c)
Uses “nonsense” syllables / does not use words
Scat / ref. typical of Louis Armstrong
Elaborate / “flourishes”
Rapid notes / demisemiquavers
“Cascading”/falling motifs
High register
Single line / no chords
Use of octave doublings (at bar 41)
On the score complete the piano bass line from bar 413 to bar 424.
Completely accurate
No more than two errors
Three-five errors / half-correct
The basic melodic shape reproduced
Very little or no melodic accuracy
22
[1]
Chorus 4 is a piano solo. The skeleton score gives the piano left-hand part from bar 37
to bar 46. Briefly describe the main features of the piano right-hand part in this passage.
[3]
•
•
•
•
•
•
21
Both parts have same rhythm / homophonic
Descending chromatic figure
ref. to consonant interval between parts (3rds/6ths/10ths)
Describe the style of singing in this Chorus.
•
•
20
Syllabus
Paper
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8703
11, 12
What is the relationship between the two parts at the end of the Chorus (bar 352 to
bar 361)?
[2]
•
•
•
(d)
Mark Scheme
MUSIC - JUNE 2004
[4]
4
3
2
1
0
Compare the solo melody at the start of Chorus 5 with the solo melody at the start of the
extract and point out two ways in which the two statements are different.
[2]
•
•
•
High B-flat is extended (to form inverted pedal) in Chorus 5
Dotted rhythms of Chorus 1 replaced by regular semiquaver patterns in Chorus
5
Chorus 5 is octave higher than Chorus 1
© University of Cambridge International Examinations 2004
Page 7
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Mark Scheme
MUSIC - JUNE 2004
Syllabus
Paper
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8703
11, 12
This performance was recorded four years after the first performance of Gershwin’s
Rhapsody in Blue. The extract is an early example of recorded jazz. What features of the
music make it typical of its style and period?
[6]
•
•
•
•
•
•
•
•
•
•
•
•
Use of jazz techniques (smears, glissandi, swung rhythms)
Small group of instrumentalists
Use of “jazz” percussion section / rhythm section
Characteristic emphasis on frontline soloists / virtuoso technique
Use of regular 12-bar blues structure / harmonic pattern
Use of banjo
Alternation of soloists / each section has an individual “focus”
Drawing together of all soloists in final chorus
Use of scat singing
Syncopated rhythms
Use of “blue” notes, pitch bends, etc.
Use of swung rhythms.
© University of Cambridge International Examinations 2004
Page 8
Mark Scheme
MUSIC - JUNE 2004
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: Mozart: Clarinet Quintet, K.581
MOZART, Clarinet Quintet, K.581, 4th movement, bars 33-64
[Extract length: 02’16”]
In your score find Variations II and III, bar 33 to bar 64 (pages 34 - 37).
(a)
What is the interval between the parts played by Violin 2 and Viola in the first half-bar
of Variation II?
[1]
3rd
(b)
On the blank stave below write out the part played by the clarinet in bar 37 to bar
391 at sounding pitch. Do not use a key signature.
[4]
Completely accurate
No more than two errors of pitch
Half-correct; between three and six errors of pitch
Only two or three pitches accurate
No melodic accuracy
(c)
Explain clearly how the first half of Variation II is related to the harmonic framework of
the theme itself (bar 1 to bar 8 of the movement).
[3]
•
•
(d)
4
3
2
1
0
Use of same harmonic sequence (1)
Credit specific references to position of chords I, V and IV (3 max.)
Contrast the use of dynamic markings in Variation II with those of the theme and
Variation I.
•
•
•
[4]
Violin 1 contains f and p contrasts – dramatic, not heard before
Bar 41 – loudest point in the movement so far – all lower strings, not just a
single instrument
fp in Violin 2 adds pathos
[Award 1 mark for each dynamic marking, and 1 mark for a valid comment
on it.]
(e)
What melodic use does Mozart make of chromaticism in Variations II and III?
© University of Cambridge International Examinations 2004
[4]
Page 9
•
•
•
•
(f)
Mark Scheme
MUSIC - JUNE 2004
Syllabus
Paper
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8703
11, 12
As a “link” device in bars 12/13 of each Variation
Violin 2 ascending in bar 44
Descending in bars 58 and 60
D#s used in both Variations
Briefly compare the way Mozart shares melodic material and accompanying figures
between the five instruments in Variation III with one other variation (but not the
Theme, Variation II or the Coda).
[4]
•
•
•
•
•
Melodic variation in Viola at first in Variation III
Contrasting rhythms in other parts
1 mark for further valid discussion of Variation III (e.g. low clarinet at bar 5)
1 mark for broad identification of relation between melody &
accompaniment
1 mark for valid example
© University of Cambridge International Examinations 2004
Page 10
Mark Scheme
MUSIC - JUNE 2004
Syllabus
Paper
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8703
11, 12
25 Prescribed Work 2: Side B, Item 2 on your tape: Gershwin: Rhapsody in Blue
GERSHWIN, Rhapsody in Blue, bars 38-90
[Extract length: 02’06”]
Study the section of the work from bar 38 to bar 90 (pages 7-12 in the score).
(a) What is the key at the start of this extract?
[1]
A (major)
(b) Give the meaning of the following terms marked in the score:
(i)
tranquillo (bar 48)
Peacefully
[1]
(ii)
a2 (bar 72 – flutes & oboes)
Both instruments play (the same line)
[1]
(iii)
non troppo f (bar 75 - piano)
Not too loud
[1]
(c) Briefly describe the changing textures of piano writing in the passage from bar 38 to
bar 71.
[4]
•
•
•
•
•
•
•
•
Opening RH melody /thin LH texture (b.38)
Chromaticism in inner lines / ref. “linear” nature of the texture (b.38)
Parallel chord movement (cf. Debussy) / contrary motion (b.39)
Use of “rich” chromatic chords (characteristic of jazz harmony) (b.39/40)
Virtuoso technical display / cross-over hands (b.41/2)
Use of quaver “walking” bass (cf. early jazz) (b.55)
Thick marcato chords near end / ref. effective syncopation (b.68)
Powerful rhythmic effect of octave ascent at end (b.71)
(d) On the blank stave below, write out the notes played by the 1st and 2nd horns in bar 79
at sounding pitch:
[4]
Entirely accurate
3 pitches accurate
2 pitches accurate
1 pitch accurate
No accuracy of pitch
4
3
2
1
0
© University of Cambridge International Examinations 2004
Page 11
Mark Scheme
MUSIC - JUNE 2004
Syllabus
Paper
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8703
11, 12
(e) One of the main themes of Rhapsody in Blue appears at the start of this extract (bar 38
to bar 411).
(i)
Briefly describe how Gershwin makes use of the theme in the remaining part of
the recorded extract.
[4]
•
•
•
•
•
•
•
•
•
(ii)
Piano RH melodic line at b.38
Statements of theme separated by brief orchestral “vamps”
2nd part of the theme appears at b.48
Theme presented with thicker RH chords at b.52
Minor-key variant at b.52 / truncated
Orchestral tutti statement at b.72
Statements again separated by “vamps” (reduced instrumentation)
Orchestral minor-key variant at b.85
Extended / leads to powerful chords preparing for new theme at b.91
Describe one other point in the work where Gershwin makes use of the same
theme in a different way.
[4]
Award up to four marks for valid musical points relating to any other
appearance of the main theme, e.g.:
Bar 2:
Single-line melody / thin texture
Passed from solo clarinet to solo trumpet
Use of wha-wha mute
Concludes with orchestral tutti version of theme
Bar 228:
Melody in solo oboe and bassoon
Two octaves apart
Set against piano flourishes / pizzicato string chords
Leads into piano “cadenza” section
Bar 505:
Molto allargando statement of theme
Full orchestra – including full brass section
“Thick” texture of piano chords doubling melody
Shortened version of the theme concludes the work
String tremolo chords at end
Timpani roll to conclude
Aural effect of crescendo/diminuendo on final chord.
© University of Cambridge International Examinations 2004
Page 12
Mark Scheme
MUSIC - JUNE 2004
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.
Part B 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 International Examinations 2004
Page 13
Mark Scheme
MUSIC - JUNE 2004
Syllabus
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8703
11, 12
26 Outline the main developments in the string quartet during the Classical and early Romantic
periods. Refer to at least two works by different composers.
[20 marks]
In answering this question candidates will be expected to display a broad overview
of the development of the string quartet from Haydn’s early experiments in the genre
to Beethoven’s extension of the established structures of the quartet in the early
1800s. Answers may also refer to the quartet writing of Schubert and Mendelssohn
in support of early Romantic tendencies to treat the quartet in a more free manner
than Classical predecessor. Observations should be supported by reference to
specific features of individual quartets. Reward valid comments relating to both
objective (structural features, use of texture, tonal relationships) and subjective
(increasingly dramatic and emotional content in the quartet) features of the works
cited.
27 Discuss the characteristic features of slow movements in the Classical period by comparing
the second movement of Mozart’s Clarinet Quintet with at least one other slow movement
from any genre (this may be by Mozart or by another composer).
[20 marks]
Candidates have a relatively free choice in this question and should seek to draw
valid comparisons between Mozart’s slow-movement writing and that of the example
selected for comparison. Candidates should be rewarded for valid comments
relating to any relevant aspect of the music: for example, phrase construction and
structure, tonal/harmonic language and the rate of harmonic change, variety of
texture, etc. Credit only references to established Classical repertoire: in this
question candidates should not attempt to draw comparisons across the
Classical/early Romantic divide.
28 Compare Mozart’s use of the clarinet with its use in at least one piece of music (either
written or recorded) from the first half of the twentieth century.
[20 marks]
Answers should reveal a good degree of familiarity with Mozart’s writing for clarinet
(although this does not have to be related to the Clarinet Quintet: the question could
be answered effectively by referring to the Clarinet Concerto, for example). Credit
observations that reflect a secure understanding of the way in which Mozart makes
use of the instrument and answers that support valid comments by specific musical
examples. The 20th-century examples may be drawn from Classical and/or jazz
repertoire, although most candidates are likely to restrict comments to the clarinet
writing evident in Rhapsody in Blue. Answers should display an awareness of the
way in which composers/performers explored new ways of using the clarinet in the
early 1900s, mentioning features such as exploitation of the high clarino register,
effective use of glissandi and pitch-bending techniques, rapid alternation of
registers, etc.
© University of Cambridge International Examinations 2004
Page 14
Mark Scheme
MUSIC - JUNE 2004
Syllabus
Paper
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8703
11, 12
29 Many composers of the early twentieth century experimented with orchestral timbre. Show
how instrumental colour is important in two works you have studied from this period.
[20 marks]
This question allows candidates to write about a wide range of music with which
they should be familiar, and it is expected that most answers should identify some
aspects of orchestral “colour” in at least one significant work. Many answers will
concentrate on the work of the French impressionists, although the question could
be answered in a valid manner by considering the work of other European countries
or exploring the range of instrumental colours exploited by the early “symphonic”
jazz composers. Reward valid musical observations that are supported by specific
references to appropriate repertoire.
31 In the first half of the twentieth century Atlantic liners made it much easier for people to
move between Europe and the American continent. What effects did this have on
composers and performers? Illustrate your answer by references to works and/or
recordings that you have studied.
[20 marks]
Most candidates should be aware of the increasing cross-fertilisation between
Europe and the American continent during the early 1900s. Many answers will
concentrate on the influence of jazz in Europe and its reflection in specific works by
composers such as Debussy and Ravel. Some candidates may also be aware of
European composers journeying to the American continent (e.g. Milhaud’s visits to
South America) and the effects of exposure to a new culture in terms of musical
features such as exotic percussion, richer harmonies and more complex rhythms.
There may also be references to Broadway influence on London’s West End and/or
mention of the migration of composers such as Stravinsky, Schoenberg and
Korngold to America, working in the emerging film industry (also affecting
composers such as Walton and Auric). At all stages candidates’ observations should
be supported by reference to specific and appropriate music examples.
31 Give an account of the choral writing in either a choral work from the Classical period or an
act of an American stage work with music.
[20 marks]
Candidates’ answers should focus on aspects of choral writing rather than any
details of solo items within the works selected. Answers may chose to discuss
aspects of the writing such as use of texture (and possible associations with
dramatic/text representation), contrasting forces (including antiphonal and
polychoral effects), incorporation of spoken dialogue, recitative-like material, etc.
Reward supported observations that suggest first-hand familiarity with the work
selected. The best answers will display a consistent and perceptive focus on
detailed aspects of a composer’s manipulation of the choral forces in the selected
work.
© University of Cambridge International Examinations 2004