w
w
Candidate
Number
ap
eP
m
e
tr
.X
w
Centre Number
om
.c
s
er
Candidate Name
CAMBRIDGE INTERNATIONAL EXAMINATIONS
General Certificate of Education Ordinary Level
6020/1
MUSIC
PAPER 1 Listening
OCTOBER/NOVEMBER SESSION 2002
2 hours
Candidates answer on the question paper.
TIME
2 hours
INSTRUCTIONS TO CANDIDATES
Write your name, Centre number and candidate number in the spaces at the top of this page.
You are to answer all questions in part 1 – Unprepared Listening – of the question paper. For each
question, tick one of the boxes to indicate the most appropriate answer, or write the answer in the
space provided. There will be one minute for you to look at the questions before you hear each extract
of music for the first time. At the end of part 1, there will be a chance to hear all of the extracts for the
last time separated by a gap of 1 minute between each.
In part 2 – Prepared Listening – answer either all the questions on Extract 5(a) Beethoven or on
Extract 5(b) Janáček. You will then have 30 minutes to answer Question 6 either (a) to (d) Beethoven
or (e) to (h) Janáček.
INFORMATION FOR CANDIDATES
The insert contains the scores for Extracts 1, 2, 5(a) and 5(b).
The number of marks is given in brackets [ ] at the end of each question or part question.
Turn to page 2 now.
You may find it useful to make notes on the music as you listen.
FOR EXAMINER’S USE
Section A
Section B
Section C
Section D
TOTAL
This question paper consists of 13 printed pages, 3 blank pages and an insert.
SP (NF/JG) S32063
© CIE 2002
[Turn over
For
Examiner’s
Use
2
PART 1: UNPREPARED LISTENING
Answer all the questions in this part of the examination paper.
Section A: Music of the Western tradition
(Baroque, Classical, Romantic and 20th-century styles)
Question 1 [15 marks]
The recording of Extract 1 will be played four times. A skeleton score of the extract is given in the
accompanying insert.
Write all your answers on this question paper, not in the insert.
(a) The passage played by the piano from bar 44 to bar 63 is the same as the passage from bar
14 to bar 33 apart from a difference in pitch. Briefly explain what this difference is.
..............................................................................................................................................[1]
(b) Complete the melody played by the piano in bar 7. Write your answer on the stave below.
The rhythm has been given to help you.
[2]
(c) Write the appropriate sign for the ornament played on the second beat of bar 10.
..............................................................................................................................................[1]
(d) On the first beat of each of bars 14 and 15 (marked X and Y in the score), identify the
harmony by naming each bass note and giving Roman numerals for the chords.
Bass note X .....................
Chord X ....................
Bass note Y .....................
Chord Y .....................
[4]
(e) As precisely as you can, describe the melodic line played in the treble stave on beats 2 and
3 in bar 18.
..................................................................................................................................................
..............................................................................................................................................[2]
6020/1/O/N/02
For
Examiner’s
Use
3
(f)
What sort of cadence is heard at bars 18/19 (marked Z)?
..............................................................................................................................................[1]
(g) What is the key of the music in the passage from bar 20 to bar 23?
..............................................................................................................................................[1]
(h) The orchestra re-enters quietly at bar 24. Suggest a suitable dynamic marking for the
passage from bar 26 to the end of the extract.
..............................................................................................................................................[1]
(i)
Which of the following periods seems to you to be the most likely one in which this music
was written? Answer by placing a tick in one box.
Baroque
(j)
Classical
Romantic
20th Century
[1]
Suggest the name of a probable composer for this music.
..............................................................................................................................................[1]
6020/1/O/N/02
[Turn over
For
Examiner’s
Use
4
Question 2 [15 marks]
The recording of Extract 2 will be played four times. A complete score of the extract is given in the
accompanying insert. Answer all the questions in the spaces provided on this question paper.
(a) Briefly describe the music that the woodwind instruments play in the first part of this extract
(bar 1 to bar 4) and explain the relationship between the woodwind and the violins.
..................................................................................................................................................
..................................................................................................................................................
..............................................................................................................................................[3]
(b) This opening melody is played again by the 1st and 2nd violins from bar 184 to bar 22 but it is
shared between them in a different way. Compare this playing of the melody with bars 1 to 4.
..................................................................................................................................................
..............................................................................................................................................[2]
(c) When the opening melody is repeated at bar 184 the accompaniment played by woodwind
and lower strings also differs from bars 1 to 4. In as much detail as you can, comment on the
differences in the way the accompaniment is scored in the passage from bar 184 to bar 22.
(You need not discuss the horn parts.)
..................................................................................................................................................
..................................................................................................................................................
..................................................................................................................................................
..................................................................................................................................................
..................................................................................................................................................
..............................................................................................................................................[6]
(d) Compare the music of the passage from bar 264 to the end of the extract with the
corresponding passage from earlier (bar 84 to bar 12). Mention briefly any two differences in
the music that is played.
..................................................................................................................................................
..............................................................................................................................................[2]
(e) In which period do you think this music was composed?
Answer by placing a tick in one box.
Baroque
(f)
Classical
Romantic
20th Century
[1]
Which of the following composers do you think is most likely to have composed this music?
Answer by placing a tick in one box.
Brahms
Copland
Handel
6020/1/O/N/02
Shostakovich
[1]
For
Examiner’s
Use
5
Question 3 [15 marks]
You will now hear three further extracts, for which no score is given. Each extract will be played
twice. Answer all the questions.
Extract 3(a)
(i)
Identify the period of this extract by placing a tick in one box.
Baroque
Classical
Romantic
20th Century
[1]
(ii) What features of the music in this extract are characteristic of this period?
..................................................................................................................................................
..................................................................................................................................................
..............................................................................................................................................[3]
(iii) Which of the following composers do you think most likely to have composed this music?
Answer by placing a tick in one box.
Schoenberg
Tchaikovsky
Verdi
Vivaldi
[1]
Extract 3(b)
(i)
Identify the genre of this music by placing a tick in one box.
Chorale prelude
String quartet
Symphonic poem
Violin concerto
[1]
(ii) Which of the following dates seems to you to be the most likely one for the composition of
this music? Answer by placing a tick in one box.
1628
1728
1828
1928
[1]
(iii) What features of the music led you to suggest this date?
..................................................................................................................................................
..................................................................................................................................................
..............................................................................................................................................[3]
6020/1/O/N/02
[Turn over
For
Examiner’s
Use
6
Extract 3(c)
(i)
Identify the genre and period of this music by placing a tick in one box.
Baroque church cantata
Classical comic opera
German Romantic opera
20th Century American musical
[1]
(ii) Suggest a likely composer by placing a tick in one box.
Bach
Mozart
Wagner
Lloyd-Webber
[1]
(iii) What main feature or features of the music in the extract led you to the identifications given
above?
..................................................................................................................................................
..................................................................................................................................................
..............................................................................................................................................[3]
6020/1/O/N/02
For
Examiner’s
Use
7
Section B: Music around the World
(traditional African, Chinese, Indian, Indonesian,
Japanese and Latin American music)
Question 4 [20 marks]
You will hear three extracts, for which no score is given. Each extract will be played twice. Answer
all the questions:
Extract 4(a)
(i)
Name the instrument playing the solo melody.
..............................................................................................................................................[1]
Describe this instrument.
..................................................................................................................................................
..............................................................................................................................................[2]
(ii) Name the accompanying instruments.
..................................................................................................................................................
..............................................................................................................................................[2]
(iii) From which culture or tradition does this music come?
Give one reason to support your answer.
..................................................................................................................................................
..............................................................................................................................................[2]
6020/1/O/N/02
[Turn over
For
Examiner’s
Use
8
Extract 4(b)
(i)
Describe the relationship between the solo voice part and the chorus part.
..................................................................................................................................................
..............................................................................................................................................[2]
(ii) Tick the box which best describes the texture of the chorus part at the start of the extract.
in 5ths
in 3rds
in unison
[1]
(iii) Describe the rhythm of the music.
..................................................................................................................................................
..............................................................................................................................................[2]
(iv) From which continent does this music come?
..............................................................................................................................................[1]
Extract 4(c)
(i)
Name the two instruments heard in this extract.
1.…………………………………
2.…………………………………
[2]
(ii) Describe how the two instrumental parts are related.
..................................................................................................................................................
..............................................................................................................................................[2]
(iii) From which country does this music come? Answer by placing a tick in one box.
China
Japan
Indonesia
[1]
(iv) Give two reasons to support your answer.
..................................................................................................................................................
..................................................................................................................................................
..............................................................................................................................................[2]
6020/1/O/N/02
For
Examiner’s
Use
9
PART 2: PREPARED LISTENING
SECTION C: Recorded extracts from Prescribed Works
Question 5 [15 marks]
Answer all the questions on either Extract 5 (a) or Extract 5 (b). Skeleton scores of both extracts
are given in the accompanying insert. Each extract will be played twice.
Extract 5(a)
This extract is taken from the last movement of Beethoven’s Symphony no. 3 in E flat major,
op.55. The skeleton score shows some of the woodwind and string music but no brass or
percussion parts.
(i)
Name the instrument that plays the theme in the passage from bar 1 to bar 8.
..............................................................................................................................................[1]
(ii) What playing technique is used by the cellos and basses in the same passage (bar 1 to
bar 8)?
..............................................................................................................................................[1]
Which woodwind instrument doubles this bass part?
..............................................................................................................................................[1]
(iii) Describe in detail one earlier statement of the musical idea heard in the bass line of the
orchestra from bar 1 to bar 8.
..................................................................................................................................................
..............................................................................................................................................[2]
(iv) Name one instrument which is heard for the first time in this extract in bars 9 to 16.
Instrument .............................................................
[1]
(v) What chord forms the basis of bars 17 to 20?
Chord ..............................................
[1]
(vi) Which of the following combinations of instruments plays the melody in the passage from bar
28 to bar 32? Answer by placing a tick in one box.
1st violins with flute an octave higher
Violas with cellos an octave lower
1st violins with 2nd violins an octave lower
Horn and bassoon in unison
[1]
6020/1/O/N/02
[Turn over
10
(vii) Suggest two ways in which Beethoven’s use of dynamic markings in this extract is typical of
the composer. Give one example to support each of your statements. Refer precisely to bar
numbers in your answer.
..................................................................................................................................................
..................................................................................................................................................
..................................................................................................................................................
..............................................................................................................................................[4]
(viii) Briefly describe the music which immediately follows this extract. (You do not need to be able
to refer to bar numbers or identify instruments.)
..................................................................................................................................................
..................................................................................................................................................
..............................................................................................................................................[3]
6020/1/O/N/02
For
Examiner’s
Use
For
Examiner’s
Use
11
Extract 5(b)
This extract is taken from the second movement of Janáček’s Sinfonietta.
(i)
Name the instruments which play the ostinato in bars 1–3.
..................................................................................................................................................
..............................................................................................................................................[2]
(ii) How is the melody in bar 1 related to the ostinato pattern?
..................................................................................................................................................
..............................................................................................................................................[2]
(iii) Which instruments play the ostinato at the beginning of the movement?
..............................................................................................................................................[1]
(iv) In which bar of the extract is the ostinato pattern played by flutes?
Bar number .................
[1]
(v) Identify two ways, other than instrumentation, in which Janáček varies the ostinato in this
extract.
..................................................................................................................................................
..............................................................................................................................................[2]
(vi) The tempo changes several times in this extract. Give bar numbers to show where any two
of these changes occur.
Bar ..........................
Bar .........................
[2]
(vii) What harmonic device occurs in bars 9–11?
..............................................................................................................................................[1]
(viii) Tick one box to describe the chord heard in bar 13.
minor
7th
major
[1]
(ix) Briefly describe some of the main features of the section which begins at the last bar of the
printed extract.
..................................................................................................................................................
..................................................................................................................................................
..............................................................................................................................................[3]
6020/1/O/N/02
[Turn over
12
SECTION D
More detailed study of one Prescribed Work
Question 6 [20 marks]
Answer all the questions either on the last movement of Beethoven’s Symphony no. 3 in E flat
major, op.55, or on the first, second and fifth movements of the Sinfonietta by Janáček. In this
section of the examination there are no recorded extracts or printed scores.
Beethoven: Symphony no. 3 in E flat major op. 55 (last movement only)
(a) Briefly explain how this symphony came to be called the ‘Eroica’.
..................................................................................................................................................
..............................................................................................................................................[2]
(b) Where in this movement does a slow section (poco andante) occur?
..................................................................................................................................................
..............................................................................................................................................[2]
(c) Give a short summary of the principal features of this slow section.
..................................................................................................................................................
..................................................................................................................................................
..................................................................................................................................................
..............................................................................................................................................[4]
(d) Biographers of Beethoven often divide his life and his composing into three periods. Briefly
describe how these periods are usually distinguished from one another, mentioning at least
one composition from each (apart from Symphony no. 3).
..................................................................................................................................................
..................................................................................................................................................
..................................................................................................................................................
..................................................................................................................................................
..................................................................................................................................................
..................................................................................................................................................
..................................................................................................................................................
..................................................................................................................................................
..................................................................................................................................................
..................................................................................................................................................
..................................................................................................................................................
............................................................................................................................................[12]
6020/1/O/N/02
For
Examiner’s
Use
For
Examiner’s
Use
13
Janáček: Sinfonietta (movements 1, 2 and 5)
(e) Suggest two reasons why the title Sinfonietta is appropriate to this work.
..................................................................................................................................................
..............................................................................................................................................[2]
(f)
The original version of the Sinfonietta was written for outdoor performance. What features of
the work do you think make it suitable for this?
..................................................................................................................................................
..................................................................................................................................................
..................................................................................................................................................
..............................................................................................................................................[4]
(g) The Sinfonietta is probably Janáček’s best-known work, but he wrote music in several genres
other than orchestral music. Identify one of these other genres, and name one work within it.
Genre .........................................
Title ......................................................
[2]
(h) Describe some of the ways in which the music of the Sinfonietta is typical of Janáček’s style.
..................................................................................................................................................
..................................................................................................................................................
..................................................................................................................................................
..................................................................................................................................................
..................................................................................................................................................
..................................................................................................................................................
..................................................................................................................................................
..................................................................................................................................................
..................................................................................................................................................
..................................................................................................................................................
..................................................................................................................................................
............................................................................................................................................[12]
6020/1/O/N/02
14
BLANK PAGE
6020/1/O/N/02
15
BLANK PAGE
6020/1/O/N/02
16
BLANK PAGE
6020/1/O/N/02