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UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS
GCE Advanced Subsidiary Level
MARK SCHEME for the June 2005 question paper
8703 MUSIC
8703/11, 12
Paper 11 and Paper 12, maximum raw mark 80, 120
This mark scheme is published as an aid to teachers and students, to indicate the requirements of the
examination. It shows the basis on which Examiners were initially instructed to award marks. It does 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 2005 question papers for most IGCSE and GCE
Advanced Level and Advanced Subsidiary Level syllabuses and some Ordinary Level syllabuses.
http://www.xtremepapers.net
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Grade thresholds for Syllabus 8703 (Music) in the June 2005 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 2005
GCE AS LEVEL
MARK SCHEME
MAXIMUM MARK: 80, 120
SYLLABUS/COMPONENT: 8703/11, 8703/12
MUSIC
Paper 11 and Paper 12
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Page 1
Mark Scheme
GCE AS LEVEL – JUNE 2005
Syllabus
8703
Paper
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 trio by Haydn. The music
consists of a theme followed by one variation.
HAYDN, Piano Trio in F, Hob.XV:2 , 3rd movement, bars 0-182 and 372-542.
Theme (bar 0 to bar 18)
1
2
The tonic key of the theme is F major. Name the key to which the music modulates at
bar 9 and state the relationship of this new key to the tonic key of the theme.
[2]
Key
Relationship
C (major)
Dominant
On the score complete the violin melody from bar 6 to bar 92.
Entirely correct
One error of (relative) pitch and/or rhythm
Two and three errors of (relative) pitch but mainly
accurate rhythm
Four or five errors of (relative) pitch and/or rhythm
The general melodic shape produced but with
largely inaccurate intervals between notes
and several errors of rhythm
No melodic accuracy/very inaccurate rhythm
6
5
3
2
1
0
© University of Cambridge International Examinations 2005
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Page 2
3
Mark Scheme
GCE AS LEVEL – JUNE 2005
Paper
11/12
What type of cadence is heard during bar 13? Tick one box to indicate your answer. [1]
Perfect
4
Syllabus
8703
Plagal
Imperfect
Interrupted
The opening two bars make use of a progression of four piano chords (marked A, B, C
and D on the score) that is repeated in bars 3 and 4. On the score identify the chords in
the progression by writing in the boxes provided.
[9]
A
B
C
D
I/Tonic chord, root position
Ib/Tonic chord, 1st inversion
II7b/Supertonic 7th chord, 1st inversion
V/Dominant chord, root position
[Award 1 mark for each chord identified accurately
Award 1 mark for correct position (allow Ia as alternative to I)
Award 1 mark for recognition of a 7th]
5
In as much detail as you can, describe the overall structure of the theme. Consider
phrase structure, melody, key and harmony.
[6]
•
•
•
•
•
•
•
•
•
•
•
•
•
Binary (AB or AABB)
ref. unusual 9-bar phrases
ref. anacrusis
A modulates to the dominant
B opens in the dominant and returns to the tonic
Matching opening motifs in A and B
ref. return of A melody at end of B section
Addition of Ic at bar 172
Faster rate of chord change (Ic-V) at end of bar 17
Chord V suspended over tonic bass in bar 18
Use of melodic double (1) appoggiatura (allow suspension) at main cadences(1)
Repetition of harmonic pattern
Subtle use of sub-phrase divisions (e.g. three-note motifs) within main phrases
Variation (Bar 19 to bar 37)
6
How does the piano part in the Variation differ from the piano part from bar 1 to bar 18? [3]
•
•
•
•
•
•
•
No longer chordal
Piano RH has main melody at b.25-28 and 29-32
ref. demisemiquaver rhythms/faster rhythmic movement
Piano now has two-part texture
ref. ‘Alberti bass’/broken chord figuration
ref. LH high register/no longer doubling ‘cello’ after the first phrase
ref. RH melodic appoggiatura at b.32 is quaver-crotchet, cf. crotchet-quaver at b.16.
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Page 3
7
Mark Scheme
GCE AS LEVEL – JUNE 2005
Paper
11/12
On the score complete the ‘cello line from bar 25 to bar 28.
Entirely correct
One error of (relative) pitch
Two errors of (relative) pitch
Three errors of (relative pitch)
The general melodic shape produced but with
largely inaccurate intervals between notes
No melodic accuracy/very poor rhythm
8
Syllabus
8703
[5]
5
4
3
2
1
0
What playing technique is used by the violin in bar 29 and bar 30?
[1]
Double stopping
9
Give the number of one bar in which the piano plays a third inversion of a dominant 7th
chord in the tonic key (chord V7d in F).
[1]
Bar number:
Bar 29(2)
10 In what way is the cadence at the end of the Variation different from that of the cadence
at the end of the Theme?
[1]
No use of suspended harmony over tonic pedal/no appoggiatura in the Variation
11 This music was written during the early classical period. Explain what features of the
extract are typical of the classical style.
[5]
•
•
•
•
•
•
•
•
Regular phrase structure
Harmonic restraint – little use of complex chromaticism
Refinement of characteristic Ic-V cadences/’feminine’ endings/cadential appoggiaturas
Small chamber ensemble – designed for aristocratic entertainment
Predominance of string sound in ensemble
Fondness for variation structures/increasing elaboration
Regular rate of harmonic pulse
Limited rôle of the piano – not a fully-developed ‘Romantic’ instrument in terms of its
sonority and/or sustaining power
• Credit ref. to Alberti bass figuration
© University of Cambridge International Examinations 2005
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Page 4
Mark Scheme
GCE AS LEVEL – JUNE 2005
Syllabus
8703
Paper
11/12
Side B Item 1
Side B of your tape contains an extract of music from repertoire related to the Prescribed
Work: Stravinsky: The Rite of Spring.
This extract is part of a movement from an instrumental trio by Francis Poulenc.
POULENC, Trio for oboe, bassoon and piano, 2nd movement, bars 1-55.
12 Name the key at the start of the extract.
[1]
B-flat (major)
13 Describe briefly the music played by the piano from bar 1 to bar 4.
•
•
•
•
•
[4]
Single line melody (in RH)
Inner parts have semiquaver movement (1) undulating/oscillating (1)
ref. to intervals of 3rd or 6th
Repeated/pedal (1) notes on low B-flat/tonic (1) on the first beat of each bar (1)
Only two chords used
14 In the section from bar 1 to bar 16 give the bar and beat numbers of a passage where
the oboe and bassoon play in octaves.
[2]
Bar: 91 (1) to bar: 102 (2)
[1 mark for each correct bar, but only 1 mark if no beat numbers are specified]
15 The opening melody returns at bar 15. To what key has the music modulated by this
point?
[1]
D-flat (major)
16 On the score write in the oboe melody from bar 19 to bar 21.
Entirely correct
One error of (relative) pitch and/or rhythm
Two and three errors of (relative) pitch but mainly
accurate rhythm
Four or five errors of (relative) pitch and/or rhythm
The general melodic shape produced but with
largely inaccurate intervals between notes
and several errors of rhythm
No melodic accuracy/very inaccurate rhythm
6
5
3
2
1
0
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Page 5
Mark Scheme
GCE AS LEVEL – JUNE 2005
Syllabus
8703
Paper
11/12
17 In the passage from bar 23 to bar 35 the printed oboe line is ornamented in places. On
the score write in any two ornaments heard at the appropriate points in the music. [4]
Bar 271
Bar 281
Two grace notes (B and C#) at start of the bar [accept mordent]
Two grace notes (B and C#) at start of the bar [accept mordent]
Bar 322
Two grace notes (C# and D) between the first two oboe notes [accept
mordent]
Bar 341
Trill on dotted crotchet E in oboe at start of bar
[Award 1 mark for each correct location and 1 mark for the appropriate ornament]
18 On the score write the bassoon line in bars 24 and 25. The rhythm of this passage is
indicated above the stave.
[5]
Entirely correct
One error of (relative) pitch
Two errors of (relative) pitch
Three errors of (relative pitch)
The general melodic shape produced but with
largely inaccurate intervals between notes
No melodic accuracy/very poor rhythm
5
4
3
2
1
0
19 Describe briefly the way in which the piano part changes in the passage from bar 35 to
bar 36.
[4]
•
•
•
•
•
•
Block chords (in RH)
Extreme/fff dynamic level
Insistent semiquaver pedal notes/B
ref. key of B major
LH octaves (1) and octave leaps (1)
ref. use of accents
20 In as much detail as you can, comment on the music of the woodwind parts in the
passage from bar 41 to bar 51. Refer precisely to bar numbers in your answer.
[6]
•
•
•
•
•
Oboe plays return of main theme…
…now with altered harmony
Treated in sequence (higher)
Antiphony/imitation with bassoon
Use of pedal notes
[Award 1 mark for a valid description and 1 mark for precise location]
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Page 6
Mark Scheme
GCE AS LEVEL – JUNE 2005
Syllabus
8703
Paper
11/12
21 The opening piano music returns at bar 52. How is this statement different from its
appearance at the start of the extract?
[2]
•
•
•
•
Now in a different key (1) of F major (1)
Quieter dynamic level (now p cf. original mf)
Addition of acciaccaturas (in the LH)
Credit ref. to chromatic/semitone intervals
22 This music was composed in 1926. In what ways is it typical of music from the early
twentieth century?
[5]
•
•
•
•
•
•
•
•
Characteristic ‘blurring’ of conventional tonality
Small group of instrumentalists
Modulation to unrelated keys
Unconventional use of standard ternary form
Underlying melancholy mood characteristic of Poulenc
Fondness for use of double reed wind instruments
Juxtaposition of extremes of range and dynamics for effect
Strong melodic line but unconventional at times
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Page 7
Mark Scheme
GCE AS LEVEL – JUNE 2005
Syllabus
8703
Paper
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 23 or question 24.
Component 12: Answer question 23 and question 24.
23 Prescribed Work 1: Side A, Item 2 on your tape: Mozart: Clarinet Quintet, K.581
In your score find bar 42 to bar 65 of the first movement (pages 4 - 6).
(a) Explain the following terms as they are used in the passage:
(i) pizz. (bar 42)
Pizzicato/plucked
[1]
(ii) dolce (bar 49)
Sweetly/tenderly
[1]
(iii) sf (bar 56)
Suddenly loud/accented
[1]
(iv) tr (bar 64)
Trill/shake
[1]
(b) On the blank stave below write out the part played by the clarinet in bar 54 and bar
55 at sounding pitch. Do not use a key signature.
[4]
Completely accurate
No more than two errors of relative pitch
Half-correct/less than five errors of relative pitch
The general melodic shape reproduced
No melodic accuracy
4
3
2
1
0
(c) What chords are used at the following points in the extract?
(i) Bar 60:
Diminished 7th
[1]
(ii) Bar 61 – bar 622:
Ic/Tonic, 2nd inversion
[2]
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Page 8
Mark Scheme
GCE AS LEVEL – JUNE 2005
Syllabus
8703
Paper
11/12
(d) What is unexpected about the key of the music at bar 50 to bar 532?
[2]
• Now in the minor
• cf. earlier statement in the major
• e (minor)/dominant minor (2)
(e) Relate the music of the extract to the overall structure of the first movement of
Mozart’s Clarinet Quintet.
[2]
• 2nd Subject
• ...of the Exposition
• Overall structure of Sonata Form
(f)
In what ways does the music of this passage show that Mozart understood the
potential of the clarinet?
[3]
•
•
•
•
•
•
•
Lyrical melodic lines (b.49ff)
Melodic agility (b.50-53)
Expressive qualities (the ‘falling’ figures at ends of phrases – b.54ff)
Rapid runs/scale passages (b.61ff)
Nimble nature of clarinet trills (b.64)
Passages explore contrasts in clarinet registers (b.61-64)
Credit ref. to effective chromaticism
(g) Describe one passage from another movement of the work that shows Mozart
exploiting the possibilities of the clarinet.
[2]
[Award 1 mark for valid description and 1 mark for ref. to relevant feature(s) of the writing
for clarinet]
24 Prescribed Work 2: Side B, Item 2 on your tape: Stravinsky: The Rite of Spring
Study the section of the work from rehearsal figure 49 to rehearsal figure 54 (page 40
to page 45 of the Boosey & Hawkes Masterworks score or page 45 to page 50 of the
Dover score).
(a) Explain the meaning of the marking Sostenuto e pesante.
[2]
Sustained (1) and heavy/ponderous (1)
(b) Give the meaning of the following terms marked in the score:
(i)
(strings)
Down bow
[1]
(ii)
cant. (oboe & bassoon)
In a singing style
[1]
(iii) gliss (trombones)
Glissando/slide
[1]
(iv) a2 (piccolo)
Both instruments play (the same line)
[1]
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Page 9
Mark Scheme
GCE AS LEVEL – JUNE 2005
Syllabus
8703
Paper
11/12
(c) On the blank stave below, write out the music played by the piccolo trumpet at
bars 8 and 9 after rehearsal figure 53 at sounding pitch. Do not use a key
signature.
[4]
Entirely accurate
3 pitches accurate
2 pitches accurate
1 pitch accurate
No accuracy of pitch
4
3
2
1
0
(d) Briefly describe how Stravinsky makes use of melody in this passage.
•
•
•
•
•
•
[4]
Melodic ‘themes’ evolve gradually
Initial ‘cell’ of three crotchets
Expanded in repetition to two bars, then three bars
Eventually appears as an ‘full’ melodic theme at 53, played tutti
Transposed a semitone higher at end of section
Use of ‘subsidiary’ melodic fragments – e.g. motifs from the introduction (at 51) and
the ‘Round Dance’ theme (at 49 and 52)
(e) Give two ways in which Stravinsky creates a feeling of climax towards the end of
the extract.
[2]
•
•
•
•
•
Orchestral crescendo
Repetition of motifs
Raising of pitch/higher tessitura
Sudden rallentando at end
Increasing dissonance
(f) Identify one other section of The Rite of Spring where Stravinsky gradually
increases a feeling of tension in the music and describe how this effect is
achieved.
[4]
Award 1 mark for a clear identification of a valid section of the work
Award up to 3 marks for accurate description of appropriate musical evidence, e.g.:
•
•
•
•
Increase in orchestral forces
Increase in rhythmic complexity
Increase in melodic/contrapuntal complexity
Cumulative aural effect of multiple ostinato superimposed
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Page 10
Mark Scheme
GCE AS LEVEL – JUNE 2005
Syllabus
8703
Paper
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.
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Page 11
Mark Scheme
GCE AS LEVEL – JUNE 2005
Syllabus
8703
Paper
11/12
25 Describe how two contrasting works with which you are familiar have been influenced
by links with other art forms (e.g. dance, literature or painting).
[20 marks]
In answering this question candidates will probably draw material from either late-19th-century
impressionism or ballet music of the early part of the 20th century. For many candidates
Stravinsky’s Rite of Spring will form the focal point for an investigation of the relationships
between elements of dance and features of Stravinsky’s score. More knowledgeable
answers will be able to extend the survey to encompass related repertoire (e.g. other ballet
scores by Stravinsky or the output of other Russian ballet composers in the late 19th century).
Answers concentrating on Impressionism should display an understanding of the essential
features of the artistic movement in France and be able to demonstrate ways in which new
ways of responding to visual stimuli were mirrored in the music of composers such as
Debussy and Ravel. Observations should be supported by reference to specific features of
individual works. Reward valid comments relating to both musical and artistic content.
26 How did composers writing in the late-Classical and early-Romantic periods provide
wind instruments with an increasingly important rôle in their music? Refer to the work
of at least two composers in your answer.
[20 marks]
Candidates should display some awareness of the increasing amount of music being written
for wind instruments. Many examples will be drawn from chamber music, but relevant
references to orchestral developments (such as the expansion of woodwind timbre (most
notably with the invention of the piccolo and the clarinet) and knowledge of the emergence of
‘conventional’ double woodwind scoring) may also be cited in answer to the question.
Candidates should be aware of the improved capabilities of wind instruments during this
period (advances in instrument technology, especially in relation to the mechanics of a key
system, for example) and should be able to draw on a wealth of material such as the Mozart
wind serenades in order to provide support for points of argument. Candidates’ general
contextual knowledge should be linked to specific and precise references to features of works
they have studied. Credit any valid references to relevant Classical repertoire: in this
question candidates have a relatively free choice of repertoire, although their evidence should
not extend beyond the early Romantic periods (1850 at the latest). The best essays are
expected to provide some sense of an effective overview that makes clear the increasing rôle
given to the woodwind instruments within chamber sonority during the period in question.
27 In what ways did the music of some composers working in the late-19th and early-20th
centuries reflect their national identity? Refer to at least two composers in your
answer.
[20 marks]
Answers should reveal a good degree of familiarity with the output of ‘nationalist’ composers
during the period in question. Relevant contextual knowledge should be supported by
detailed reference to specific musical examples. Many candidates will draw on aspects such
as Stravinsky’s use of Russian folk elements in The Rite of Spring, the various programmatic
elements of Mahler’s Symphonies, or other nationalistic elements evident in the works of
composers such as Rimsky-Korsakov, Mussorgsky, Rakhmaninov and Prokofiev. Some
candidates may also choose to explore how composers have created a sense of national
identity in spite of political restrictions (for example, in relation to consideration of the work of
Shostakovich). Credit observations that reflect a secure understanding of the way in which
composers have sought to portray a sense of nationalism in their music and related
contextual comments to relevant folk traditions and/or social and political aspects.
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Page 12
Mark Scheme
GCE AS LEVEL – JUNE 2005
Syllabus
8703
Paper
11/12
28 In what ways was Mozart a typical Classical Viennese composer? Contrast his career
with that of one other Viennese composer of the period.
[20 marks]
Candidates should display some awareness of the busy musical life of Vienna in Mozart’s
day. They should also be aware of the effects of the patronage system and the effect it had
on Mozart’s career (comparing the relative security of employment under the Archbishop of
Salzburg with the precarious nature of Mozart’s later career. This could be contrasted with
Haydn’s long period of servitude at Esterhàza, or with Beethoven’s careful cultivation of key
supporters from the Viennese aristocracy, in spite of his unorthodox approach to society.
There should be some awareness of Mozart’s output throughout his career, and mention may
be made of his series of subscription concerts (notably the Lenten piano concerto
performances) or the resounding success of The Marriage of Figaro, which established
Mozart as a Viennese favourite. Candidates may also be aware of the ephemeral nature of
success in Mozart’s later career, and contrast this with Haydn’s relatively profitable retirement
or Beethoven’s later period of public adulation and the success of his ninth symphony in postNapoleonic Vienna. Knowledgeable candidates may choose to refer to Mozart’s notorious
fondness for living beyond his means and the additional financial problems caused by the ill
heath of his wife and children.
29 Compare composers’ writing for chamber ensemble in the classical period with that of
the late 19th and early 20th centuries, pointing out similarities and differences in
relation to at least two works that you know well.
[20 marks]
Most candidates should be familiar with at least one significant work for chamber ensemble in
each period, although the degree of comparison might be weighted toward one period
(according to the depth of candidate knowledge). Answers should display an awareness of
composers’ use of chamber resources and the aural effectiveness of their writing (in many
cases this will probably concentrate on music involving wind instruments, although this need
not be the case). Credit observations that show an awareness of the ways in which
composers achieved effective ensemble balance and contrast. The best answers will
produce some effective comparisons between the two periods, with points of observation
supported by references to specific relevant music examples.
© University of Cambridge International Examinations 2005