GCE MARKING SCHEME
MUSIC
AS/Advanced
SUMMER 2011
INTRODUCTION
The marking schemes which follow were those used by WJEC for the Summer 2011
examination in GCE MUSIC. They were finalised after detailed discussion at examiners'
conferences by all the examiners involved in the assessment. The conferences were held
shortly after the papers were taken so that reference could be made to the full range of
candidates' responses, with photocopied scripts forming the basis of discussion. The aim of
the conferences was to ensure that the marking schemes were interpreted and applied in the
same way by all examiners.
It is hoped that this information will be of assistance to centres but it is recognised at the
same time that, without the benefit of participation in the examiners' conferences, teachers
may have different views on certain matters of detail or interpretation.
WJEC regrets that it cannot enter into any discussion or correspondence about these
marking schemes.
MUSIC MU3 PART 1
LIST A:
AREA OF STUDY 1: ORCHESTRAL MUSIC
1.
Beethoven: Symphony No.5 in C minor, 1st movement [bars 179-248]
(a)
Identify the main section heard in this extract.
Main section Development
[1]
(b)
State fully the key at the start of this extract (e.g., A major).
Key G minor/G major
[1]
(c)
During the extract some instrumental parts are occasionally marked zu 2 on
the score. What does this mean?
[1]
Meaning of zu 2 Both instruments play the one (same) part/line or in
unison
(d)
(i)
The theme used in the first four bars of this extract has been heard
earlier in the movement. Give the bar number and key in which this
theme was first presented.
[2]
Bar 59
(ii)
Key Eb major
Other than key and instrumentation, give one difference between the
statement of this material at the start of this extract and the earlier
appearance you have just mentioned.
[1]
•
N
ew arpeggio figure appended (1852-86)
•
s
ubjected to sequential repetition
•
l
ast note sustained
•
n
ew ideas of descending 3rds in lower strings [1] and repeated
notes in
WW/Brass [1]
•
s
pecific detailed dynamic reference
(e)
Give two ways in which Beethoven develops the extract’s opening material
later in the extract. Locate your answers by giving bar numbers.
[2+2]
•
•
•
•
•
•
4 bars curtailed to 3 (last note deleted) – e.g., 195-97
last 2 notes of this figure (rising major 2nd) detached
and subjected to antiphonal exchanges between wind and strings
(196-209)
from bar 210 this 2-note figure is itself split up
antiphonal statements now reduced to one bar
rising figure of a tone becomes a semitone
Credit accurate melodic development through modulation(named key)
1
2.
Mendelssohn: Violin Concerto in E minor, 1st movement [bars 473-end]
(a)
From which of the following main sections of the movement is the extract
taken?
[1]
Development
(b)
Coda
Exposition
[Underline one answer]
State fully the key of this extract (e.g., A major).
[1]
Key E minor
(c)
Comment on the thematic material used in the extract.
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•
•
•
•
•
•
•
(d)
[4]
Begins with transition theme (cf. bar 72)
after 2 bars melody altered and developed [1] by sequentially
repeating a 4-note idea [1] that is a permutation of bars 4743-752 [1]
repeated 8ve higher in bars 4813-88
bars 4853-88 repeated from bar 4893 with a different phrase ending
493-504 first 2 bars of transition theme passed between WW and
Strings
505 beginnings of first subject (Stgs) and transition theme (WW)
superimposed
513 – variant of opening 2 bars of transition theme
517-20 – 3-note fragment of transition theme repeated in 8ves in
Strings
itself answered by a variant of itself on WW
Give the bar number(s) where one example of each of the following can be
found in the extract.
[4]
Bars 493-505 (5172)
(i)
a tonic pedal
(ii)
antiphonal writing Bars 4933-952 (Fl/Ob) → 4953-4962 (Vlns 1/2) /
Bars 4973-992 → 4993-5002 (same instruments) / Bars 5032-510
(fl→ob→bsn)
(iii)
a perfect cadence
(iv)
a dominant 7th chord 3rd and 4th beats of bars 475-78, 480, 48386, 488-90, 492-93 / bar 494 / 4973-98 /499/ 5024th beat of bars 51720/ etc.
Bars 480-81; 492-93; 5203-521; 5004 - 501
2
AREA OF STUDY 2: VOCAL MUSIC
1.
Handel: Zadok the Priest [And all the people rejoiced]
(a)
State fully the tonic key of the music you hear (e.g., C major).
[1]
Tonic key D major
(b)
Which of the following words best describes the texture of the extract?
Monophonic
Contrapuntal
[Underline one answer]
(c)
Homophonic
State the three keys tonicised (i.e., touched on or briefly visited) during the
extract in the order in which they occur.
[3]
1 G major
(d)
Fugal
[1]
2 A major
3 B minor
Give the bar and, if appropriate, beat number (e.g., bar 134) of a diminished
chord in the extract.
[1]
Bar/beat number Bar 92/ bar 31
(e)
Mention two features of the word setting in the extract.
•
•
•
•
(f)
[2]
Mostly syllabic [1]
slightly more melismatic at ends of the 4-bar phrases [1] – e.g. bars
3-4, 11-12, 25-26
repetitions [1] of the final word of the line (“rejoic’d”) punctuated by
rests [1]
‘rejoiced’ rising
Give two ways in which Handel creates a unified composition out of the three
separate choruses of this anthem.
[2]
•
•
•
•
•
•
•
Imperfect cadences (dominant chords) at end of first two choruses
all choruses in same key
use of dotted rhythms in last two choruses
prominent use of tonic-dominant harmonies at start of third chorus
as used continually in the second chorus
persistent avoidance of firm confirmation of tonic key in first chorus
gives it an introductory feel
the tonic only being established more unequivocally in the second
chorus
all homophonic
3
2.
Haydn: Nelson Mass [Credo]
(a)
Give bar numbers where each of the following textures can be found in the
extract.
[3]
(i)
(ii)
(iii)
(b)
contrapuntal Accept any canonic passage
monophonic Bars 1-7
homophonic Bars 774-83 (accept any of the short orchestral
interludes)
Much of the music in this chorus could be described as a canon 2 in 1. What
does this mean? [1 mark for each relevant comment]
[2]
Canon for 2 (sets of) voices [1] (Imitation/round {1})who share the same
melodic line [1]. Two lines [1]
(c)
Give the bar numbers (and beat numbers where necessary – e.g., 143) where
an example of each of the following occurs in the extract:
[3]
(i)
a perfect cadence in the dominant key Bars 27 – 28/313-321//57-
58/65-66
(ii)
(iii)
a dominant 7th chord Bars 92 / 134 / 144 / 154 / 182 / 214 / 264 / 27 /
364 / 273-283 / 364 / 404 / 524 / 54/74-774 /82 etc.
a sequence in the vocal parts (also specify the vocal part)
Bars 19-22 (S/T)/20-24 (A/B) / sim. (503)51-54 / (513)54-55 / 644-683 / 684733
(d)
Comment on the use of percussion in the extract.
•
•
•
•
•
•
[2]
Timpani only
Timpani roll
restricted to tonic and dominant notes (D&A)
tend to emphasise tonic and dominant harmony at cadence points,
particularly perfect or imperfect cadences in D (e.g., bars 43-45, 5859, 75-7780-81, 823-83)
not used when music modulates to B or E minor
plays with the trumpets (brass)
4
AREA OF STUDY 3 – CHAMBER MUSIC
1.
Corelli: Sonata da Camera, Op.2, No.7 in F major [Preludio]
(a)
Comment on the structure of the first 8 bars of the movement. Refer to
phrases and tonality in your answer. [1 mark for each relevant comment] [3]
•
•
•
•
•
•
(b)
Give two features of the writing for the violins heard in the extract. Give bar
numbers where one example of each occurs.
[2+2]
•
•
•
•
•
(c)
(d)
Two 4-bar phrases
first phrase in tonic key (F major)
second is a transposition of the first
from tonic to dominant
1st phrase ends with an imperfect cadence on the dominant
2nd with imperfect cadence on the dominant of the dominant.
Brief imitation (bars 9-10/18)
frequent use of suspensions (bar 11/18/19)
crossing parts (bars 102-121
improvisatory flourishes (e.g. bars 7, 10-11, 13, 15, 20) (not indicated
on the score)
syncopation (bar 11/13 -15/18-19)
Give bar numbers (with beat numbers where appropriate – e.g., bar 134) of an
example of each of the following in the extract:
[2]
Bars 23 / 63 / 123 / 133 / 201
(i)
a supertonic 7th (ii7) chord
(ii)
a perfect cadence in the relative minor key
Bars 154-161
The score states that the sonata includes a part for cembalo. What instrument
is this?
[1]
Harpsichord
5
2.
Brahms: Clarinet Sonata in Eb major, Op. 120, No.2, 3rd movement
[This extract consists of the Theme and Variation 1]
(a)
Identify three interesting features of the clarinet melody in bars 1-4.
•
•
•
•
•
•
•
(b)
(c)
[3]
Consists of six statements of an initial ½- bar idea
consists of a dotted anacrusis and falling 3rds
second statement is a repetition in sequence - down a (perfect) 5th
third statement based on a slight re-ordering of the intervals of the
inversion of statement 1
also repeated sequentially – up a (perfect) 4th / 5th statement is an RI
version of the first
also repeated sequentially (down a minor 6th)
7th “phrase” is 1 bar long and is different both melodically and
rhythmically
State fully the key (e.g., C major) and cadence in the following bars:
(i)
Bar 103-105: Key G minor
Cadence Perfect
(ii)
Bar 143-144: Key Eb major
Cadence Plagal
Compare the texture of Variation 1 (bars 146-285) with that of the Theme.
State two differences.
[4]
[2]
Much thinner / 2 and 3-part rather than 4-6 / more contrapuntal
(linear)(not homophonic)
(d)
Give the location (by bar and beat number – e.g., bar 136) of a diminished 7th
chord in the extract.
[1]
Bar and beat number Bars 213 / 223 / 246 / 253 / (266) / 273 etc
6
LIST B:
AREA OF STUDY 4: MUSICAL THEATRE
1.
Loesser: Guys and Dolls: Fugue for Tinhorns [Bars 6-50]
(a)
Although entitled Fugue for Tinhorns, this piece is not actually a fugue. Give
two musical reasons why this is the case.
[2]
•
•
•
•
•
(b)
Statements of the theme do not follow the standard fugal procedure
of alternating tonic-dominant “keys”
no “free” episodes between statements of the “subject”
key does not change at all throughout, which would be expected of a
fugue
most fugues begin with an unaccompanied statement of the fugue
theme
this is a canon
State fully the key of the song (e.g. C major)
[1]
[1 mark for each relevant comment]
In Db major
(c)
Give a short account of the harmonic content of the whole song.
[2]
[1 mark for each relevant comment]
•
•
•
•
•
(d)
(e)
Same three chords used for most of piece
I [Db]maj7 ( or added 6th) – ii[Eb]m7 – V[Ab]7(9)
used as a chordal riff
harmony gets more complex towards the end – e.g., Fb9(#4) (bar 503/4)
[or whole-tone chord] – and Ab13(b9) in bar 54(3/4)
mostly diatonic
Give one example of each of the following in the song, providing bar and beat
[3]
numbers – e.g., bar 134.
(i)
a chromatic appoggiatura Bar 71 etc. 19 and 20/31 and 33/43 and
45
(ii)
unison vocal writing Bars 523-532
(iii)
a falling melodic sequence Bars 104-123 (131) / 154-183 / 184-211 /
244-263 etc.
Comment on the part played by the muted trumpet in the extract.
[1 mark for each relevant comment]
•
•
•
•
[2]
Partly doubles the vocal melody at times [1] – e.g., 263-272 and 281+2,
29-303 [1]
provides a mostly descending scalic countermelody [1] in, e.g., bars
19-22 [1]
glissando to final sfz chord [1] in bar 50 [1]
blue note [1] in 19 and 20/31 and 33/43 and 45 [1]
7
2.
Boublil and Schönberg: Les Misérables: On my own [Bars 1-18]
(a)
Complete the plan below to indicate the structure of the entire song.
Intro
Bars 1-2
A
3-10
A
3-10
B
11-18
A
19-26
Number of correct answers
5-6
2-4
0-1
(b)
A
27-34
[2]
Coda/C/Outro
35-38
Marks awarded
2
1
0
What differences do you hear between the instrumental accompaniment of
the first and second A sections?
[2]
[1 mark for each relevant comment]
First A section – synth (pad) /(sustained) chords / and (synth) harp /
arpeggio-based figures
Second A section - adds strings / sustained chords / and acoustic guitar
/ occasional arpeggio-based figures
(c)
(d)
Name the cadences in the following bars.
(i)
bars 33-34 Imperfect
(ii)
bars 37-38 Plagal
[2]
Comment on the harmony/tonality and vocal melody in section B (bars 1118).
[1 mark for each relevant comment]
•
•
•
•
•
•
•
•
•
•
•
•
•
•
[4]
Harmony/Tonality: Unexpected move from D major to Bb major in
bar 11
D harmonised by a Bb rather than the expected D major chord
C diminshed chord on second half of bar 11
Gm – bar 13
Eb – bar 14
another unexpected chord change from Eb major to E minor in bar
15
chord I-V
G is common to both chords
Bm7 – bar 16 / Am7 – bar 17
another slightly unusual move to C7 (dominant of the following F
major verse)
Vocal melody: 2-bar phrases
starts in a similar way to the opening of section A [1] especially with
its leap of a perfect 4th [1]
begins with conjunct movement (11-12) then becomes more disjunct
before reverting to conjunct movement again (both conjunct and
disjunct movement)
descending Bb major arpeggio bar 13
(award 2+2 or 3+1or 1+3 – redirect marks if necessary)
8
AREA OF STUDY 5: JAZZ, ROCK AND POP
1.
Duke Ellington: Take the A-Train [Bars 69-120]
(a)
(i)
Which of the following terms best describes the nature of the bass part
in the extract?
[1]
Walking bass
Drone bass
Ostinato bass
[Underline one answer]
(ii)
Give one feature typical of this type of bass part.
[1]
Moves steadily on each crotchet beat of the bar / often by step /
(chromatic) appoggiaturas
(b)
(i)
Describe fully the function of the first 4 bars of the extract.
[2]
[1 mark for each relevant comment]
To change key [1] from C to Eb major [I] [a key to be given for
mark]
(ii)
Comment on the rhythm/metre of these 4 bars.
[2]
[1 mark for each relevant comment]
•
•
•
Strong accents (syncopation) on every third beat of first three
bars [1] almost making the music sound like 3/4 bars [1]
each occurrence of the sequential phrases on saxophones is
on a different beat of the 4/4 bars [No credit for “regular
metre” unless reference to the apparent 3/4 bars is given]
jazz (swung) quavers or triplet feel
9
(c)
Compare the harmony and thematic content of bars 73-88 and 97-120. Write
your answers in the spaces provided in the boxes below.
[4]
Bars 73-88:(award max 2 marks)
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•
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•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
Melody – Both 8-bar phrases split between an arch-like melody on
saxes and an answering solo trumpet
first half is scalic (Eb major)
second half chromatic
trumpet solo is an improvised melody
in bars 73-80 the first half is chromatic, the second half diatonic
bars 81-88 mostly diatonic [1] and more rhythmically free [1]
credit gliss or ornamentation
ascending scalic runs
Harmony – Basic (mainly diatonic) harmony is Eb(6) – F7 – Fm7 –
Eb(7), each chord lasting 2 bars
each inversion of the Eb chord preceded by an “appoggiatura”
diminished 7th chord
more chromatic (complex) in bar 75 (F9/b9)(#11) chord) with parallel
chords on saxes
Fm9 in bars 77-78
Bars 97-120: (award max 2 marks)
Melody – Reverts to piece’s opening melody (cf. Bar 5) [award marks
for information on this melody – e.g., its triadic opening or
distinctive downward leap to the #4 (b5) of the chord] or chromatic
quavers
8-bar phrase repeated three times
ends with “Ellington tag” (bars 118-192)
solo trumpet improvises countermelody in bars 97-109
Harmony – Underlying harmony is almost identical to the 8-bar
phrases of bars 77-88 / change from Fm9 in 6th bar (102/110/118) to
F9 – cf. Bar 78
more chromatic in bar 1023/1103/1183 – E9(#11)
a tritone substitution for a Bb (dominant) chord
10
2.
Queen: Killer Queen [Bars 1-50]
(a)
Which of the following is the correct term for the time signature at the
opening of the extract? Underline your answer.
simple duple
(b)
simple quadruple
compound quadruple
Name the two chords found in bars 3 and 4.
First chord C minor
(c)
compound triple
[1]
[2]
Second chord Bb7
Give a brief outline of the structure of the first 26 bars of the extract. Provide
bar numbers in your answer.
[2]
[1 mark for each relevant comment – bar numbers must be correct]
Verse 1 – Bars 1-11(144) (Pre-chorus – bars 12-144) Chorus – bars 144-263
Intro (1-2) – Verse 1 (3 – 14) – Chorus (15-22) – Instrumental Bridge (2326)
(d)
(e)
Using bar and beat numbers (e.g., bar 103), give the location of one example
of each of the following in the extract.
[3]
(i)
an imperfect cadence
(ii)
a pedal point
(iii)
a sequence
Bars 9-11 / 222-23 / 33-35
Bars 5-62 / 23-242 / 27-303
Bars 12-13(143) / 20-21 / 36-383
Comment on the musical content of the short guitar solo towards the end of
the extract.
[2]
[1 mark for each relevant comment]
•
•
•
•
•
•
This is the second half of the chorus (cf. bars 20-26)
but the dominant–tonic progressions are immediately repeated
with the C major chord (bar 213-4) now a C minor chord (bars 4634
&473)
to compensate for the increased number of bars in the first half,
some chords are omitted
the bars containing the E¨/F chords reduced in number
guitar solo’s melody is based on the solo vocal part (or chords) of its
earlier counterpart (repeated melody)
11
AREA OF STUDY 6: WELSH SONGS
1.
Caryl Parry Jones: Pan ddaw yfory [Bars 1-30]
(a)
Name the three chords used in the song’s introduction in the order in which
they occur.
[3]
1st chord C (major)
(b)
2nd chord
Bm7
3rd chord
Esus4/Emin4
Give a bar number where material from the introduction appears later in the
extract.
[1]
Bars – 11 / 12 / 19(-201)
(c)
Give one word to describe the form of this song.
Strophic (accept verse or verse and chorus)
[1]
(d)
Comment on the phrase structure of the first verse (bars 5-12).
[2]
•
•
•
•
•
(e)
Four 2-bar phrases
aaab
all “a” phrases are harmonically identical
second andthird “a” phrases, particularly the second, slightly vary
the first melodically
“b” phrase is different both melodically and harmonically
Comment on the harmony and tonality of the song from which the extract is
taken.
[3]
[1 mark for each relevant comment]
•
•
•
•
•
•
Mostly modal
Aeolian E
dominant chords (B major rather than minor) at imperfect cadences
– e.g., bars 6, 273-28
cadences at end of each verse are modal – Bm7-Em
no change of key throughout
4-3 suspension with location/Bsus 4 in bar 18 (or similar – chord
with location)
12
2.
Mervyn Burtch: from Three Welsh Folk Songs: Cysga di, fy mhlentyn tlws
(a)
Complete the boxes below to indicate the structure of the song.
Introduction
Verse/Chorus 1
Interlude/Link(sim)
Verse/Chorus 2
[2]
Coda
[1 mark for one/two correct answers; 2 marks for all three correct
answers]
(b)
Which of the following describes the time signature at the beginning of the
song? Underline your answer.
[1]
simple quadruple
(c)
compound duple
simple duple
Give the precise tonality of the song – e.g., C major, E Lydian.
Tonality
(d)
compound triple
[2]
F# Aeolian (I for note and 1 for Aeolian)
Briefly describe the word setting in the song other than the hummed parts. [1]
Mainly syllabic
(e)
Name, or comment on, the cadence in bar 15.
[1]
Plagal cadence / final chord in first inversion rather than root position
(f)
Other than in dynamics and number of bars, give three differences between
the introduction (bars 1-5) and the coda (bars 30-33).
[3]
•
•
•
•
•
•
•
•
•
Introduction is tonally slightly ambiguous
could be in A major / coda is unequivocally in a modal F#
phrase endings differ
cadence to the first phrase could be imperfect in A
that to the coda is a plagal cadence in F# Aeolian
coda uses four voices instead of introduction’s three (bass added)
and is based mainly on bars 3-4 of the introduction
with slight alterations
e.g., some notes augmented
13
MUSIC MU3 PART 2
1.
The first extract is taken from the beginning of a movement for piano and two other
instruments – one woodwind, the other string.
(a)
Name the two instruments playing with the piano.
[2]
Woodwind instrument - clarinet
String instrument - viola
(b)
What is the time signature of the music? Choose from the list below.
[1]
2/2
(c)
6/8
[Underline one answer]
Which of the following tempo indications best describes the music you hear?
Andante
(d)
3/4
Presto
Lento
Allegretto
[Underline one answer]
[1]
Which of the following musical terms best describes the texture of the
majority of the extract?
[1]
Monophonic
Homophonic
Contrapuntal
Fugal
[Underline one answer]
(e)
In the latter part of the extract the string instrument states a new melody, at
first accompanied only by the piano. Give three features of the string writing.
[3]
Triple stopping (accept double or quadruple) / some use of dotted
(Scotch–snap) (Lombardic) rhythms / triplets / trill (or decoration) /
motivic repetition (in consequent phrase) / shortening of motif /
syncopation / first instance of music in a minor key in movement/scalic
movement (qualified)
(f)
From what you have heard, what do you consider to be the form of the
movement from which the extract is taken? Choose from the list below and
give one reason for your choice.
[2]
Ternary
Sonata
Rondo
Theme and variations
[Underline one answer]
Reason – Repetition of “main” theme with “episodes” between each
statement / one theme separated by episodes in contrasting keys
14
2.
The next extract falls into three distinct sections, the second of which is a short, loud
passage for full orchestra marked by cymbal crashes. Listen to the extract and
answer the questions below.
(a)
What is the time signature of the whole extract?
2/2
(b)
(i)
4/4
6/8
[Underline one answer]
Name the two woodwind instruments playing the melody at the very
start of the extract.
[2]
1 - oboe
(ii)
[1]
2 - flute
Which compositional device is used in their statement of this melody?
Imitation (accept canon)
(c)
[1]
What is the Italian term for the technique used by the string instruments as
they play the accompanying chords in the first two sections of the extract? [1]
Tremolando (or tremolo)
(d)
Which of the following words best describes the harmony of the opening
section?
chromatic
(e)
diatonic
atonal
modal
[Underline one answer]
[1]
Comment on the melody played by the trumpets in the second section.
[1]
Fanfare-like / consists of the notes of one (major) triad/natural harmonic
series/broken chords or arpeggios
(f)
(i)
In the third and final section name one of the two instruments that play
the melody
.[1]
Cor anglais / bassoon
(ii)
Both instruments play the same melody but at a different pitch. What
is the interval between the two instruments?
[1]
3rd
6th
5th
8ve
[Underline one answer]
(g)
In which of the three years listed below do you think the music was
composed?
1680
1780
1880
[Underline one answer]
[1]
15
3.
Next, you will hear a performance of a complete song, Die Nonne (The Nun). The
German text, together with an English translation, is printed below. The structure of
the song and its relationship to the text is also indicated.
A1: Piano only
A2: Piano and voice
Im Garten steht die Nonne
Bei Rosen in der Sonne.
Die ihr ein Kränzlein flechten
Zur Linken und zur Rechten.
B1: Piano only
B2: Piano and voice
Herüber aus dem Saale
Erklingt vom Hochzeitsmahle
Das Tanzen und das Singen;
Die Braut möcht’ jeder schwingen.
A3: Piano and voice
Sie kühlet hold umfangen
Am Fenster sich die Wangen;
Die Nonne schaut herüber,
Ihr gehn die Augen über:
C: Piano and voice
“Wie glüht im Rozenglanze
Sie unter’m weissen Kranze,
Und unter rother Rose
Erbleich’ ich Freudenlose.”
(a)
The nun stands in the garden
Alongside roses in the sun.
They wind for her a little wreath
To the right and to the left.
The sounds of dancing and singing
At the wedding feast
Waft over from the hall;
Everyone wants to dance with the bride.
In a sweet embrace, she cools
Her cheeks by the window;
The nun looks over,
Her eyes fill with tears:
“How she glows with roses
Beneath the white wreath,
And among the red roses
I turn pale, devoid of joy.”
Which type of voice sings the song?
[1]
Type of voice – Soprano/Mezzo-soprano
(b)
Name the song’s final cadence (on Freudenlose).
[1]
Final cadence - Imperfect
(c)
Compare the music of A1 and A2 (the nun’s music) with that of B1 and B2
(the bride’s music). Give four differences.
[4]
•
•
•
•
•
•
•
•
•
•
•
•
•
•
Different keys
A major to dominant / B major to rel. min.
A legato / B staccato
A p throughout / B louder / has cresc. / ends quiet OR more dynamic
variety
A dissonances (susps., appogs) / B no dissonance
A acc. quasi contrapuntal, stepwise / organ (hymn) –like NOT religious / 3
& 4 part texture / B mostly homophonic
B some monophonic (unison) moments
A 4 bar phrases / B 2 bar phrases
B some dotted rhythms / A no dotted rhythms
A all perfect cads. / B all imperfect
A constructed from identical phrases / B ends with new phrase
A longer introduction/B shorter introduction
B wider vocal range
B more angular vocal part
16
(d)
Give one way in which the music at the end of A3 (at Ihr gehn die Augen
über) differs from the music at the end of A1 and A2 (at Zur Linken und zur
Rechten).
[1]
Difference – Melody changes / harmony altered / includes parallel
diminished 7th chords / slows down appreciably
(e)
Give two musical features of Section C that distinguish it from the earlier
music in the song.
•
•
•
•
•
•
•
•
•
(f)
[2]
Longer notes (sustained) in piano part
(sustained, etc.)chords in piano
vocal part recitative-like (parlando)
more chromatic than previous music
variety of keys briefly tonicised
includes (double) appoggiaturas at cadence points
prominent use of diminished 7th chords
downward leap of diminished 7th on “ich Freu-”
slower (gets slower)(even slower) at end
Which of the following do you think is the composer of this song?
Vivaldi
Mozart
Schumann
[Underline one answer]
17
J.S. Bach
[1]
4.
Finally, you will hear part of a movement from a concerto grosso. A skeleton score is
given below.
18
(a)
Identify fully (e.g., C major) the key of the extract.
[1]
Key – Eb major
(b)
Complete the melody in bars 73-111. The rhythm has been given to you.
[3]
Mark according to the following table:
No. of correct pitches
9-10
5-8
1-4
0
(c)
Marks allocated
3
2
1
0
Name the cadence in bars 15-16.
[1]
Cadence - Imperfect
(d)
Name the key and cadence in bars 19-20.
Key – C minor
(e)
[2]
Cadence – Perfect
In each of the six boxes in bars 13- 4 enter a suitable chord for the given
melody. The chords you name should form an appropriate harmonic
progression.
[3]
Mark according to the following table:
The progression is entirely characteristic of the style [5/6]
Most chords are used stylistically [3/4]
Some chords are used stylistically [1/2]
No chords are used stylistically
19
3 marks
2 marks
1 mark
0 marks
MUSIC MU6 PART ONE (AURAL PERCEPTION)
1.
The first extract is from a piece for solo voice and large orchestra. The German text
and an English translation are provided. Listen to the music and answer the
questions below. [Die Glückliche Hand – Schoenberg]
Wie shön du bist! Ich bin so glücklich,
Weil du bei mor bist! Ich lebe wieder…
O du Schöne!
O! Du Süße, du Schöne!
Nun besitze ich dich für immer!
(a)
How beautiful you are! I am so glad when
you are near me; I live again…
Oh, you are beautiful.
Oh! You are sweet, you are beautiful!
Now I possess you for ever!
Give two features of the vocal writing in the extract.
[2]
Use of falsetto / melodically often conjunct [1] but with large leaps or
angular [1] / some portamenti / almost entirely syllabic vocal
setting/wide vocal range/short sporadic phrases
(b)
Give the musical term that best describes (i) the texture and (ii) the tonality of
the music.
[2]
(i)
(ii)
(c)
Give four features of the instrumental writing. It is important that you name
the instrument(s) whose part(s) you are describing.
[4]
•
•
•
•
•
•
•
(d)
Texture – Polyphonic / contrapuntal
Tonality - Atonal
Some employment of chamber music textures despite use of large
orchestra (some use of solo instruments, e.g., solo violin and cello)
much use of instrumental effects, e.g., col legno, pizz, tremolo, sul
pont, glissando, mutes, (on strings and brass) [allow 2]
trills on WW
fluttertonguing on flutes, bassoons and Fr Horns [1]
occasional use of “divisi” strings
extreme registers used in some instruments – e.g., violins and
double bassoon
flourishes in ww
Suggest a composer and school of composition for the extract.
Composer Schoenberg (Berg)
School of composition Expressionism/2nd Viennese School
20
[2]
2.
The next extract is for orchestra. Listen to the music and answer the questions
below. [Dance Suite – Bartók]
(a)
The opening melody is stated three times. Name the instrument(s) that
play(s) each statement.
First statement - Bassoon
[3]
Second statement - Clarinet
Third statement – Violins (or flute / clarinet)
(b)
Which type of scale is used for this opening melody?
[1]
Scale - Pentatonic
(c)
Comment on the rhythm/metre throughout the extract. Give two features. [2]
•
•
•
•
(d)
use of syncopation (strong off-beat accents)
some changes in metre, particularly in final section
in 2/4 where some bars are in 3/4 and 5/8. etc.
irregular metre at times
Name the interval that features prominently in the accompaniment during
much of the extract.
[1]
Interval – (Perfect) 5th /4th
(e)
Identify the keyboard instrument that accompanies the flute solo/trill that
occurs towards the end of the extract.
[1]
Keyboard instrument - Celesta
(f)
Suggest a composer and school of composition for the extract.
Composer Bartók (Kodaly)
School of composition Nationalism
21
[2]
3.
This extract combines influences from Neoclassicism and one other 20th century
style of music. [La Création du monde – Milhaud]
(a)
Give three musical features of the Neoclassical style heard in the extract. [3]
•
•
•
•
•
•
•
•
(b)
(i)
Contrapuntal (fugal) texture use of solo instruments (one player to
each part, even in the strings)
parallel triads [1] (diatonic [1]) with a dissonant melody [1]
some harsh dissonances, especially later on [not associated with the
jazz idiom of the time]
some hints of bitonality/ use of ostinato figures
some five beats long within a 4-beat time signature
Prominent wind
Regular phrasing
Unexpected key changes
Name the other 20th century style that has influenced the music.
[1]
Style – Jazz/Blues
(ii)
Give three features of this style heard in the extract.
•
•
•
•
•
•
•
•
(c)
[3]
Blues scale /blue notes/ major-minor 3rd and flattened 7th
choice of instruments – sax, trombone etc. /prominent
percussion/piano
jazz rhythms on percussion (syncopated rhythms)
occasional triplet (swing) rhythms typical of jazz
improvisatory feel
contrapuntal textures also associated with early jazz
some evidence of call and response-type writing between
instruments
glissando on trombone
Name one untuned percussion instrument playing at the start of the extract.
[1]
Side drum / tambourine / bass drum
(d)
Suggest a possible composer and date for the composition.
Composer – Milhaud, Stravinsky
22
[2]
Date – 1923 [Accept 1903-43]
4.
Finally, you will hear an extract from a song by Paul Simon, most of the melody of
which is printed below along with all of the lyrics. The music will be played six times.
Listen to the extract and complete the questions below. [Some folks’ lives - Simon]
23
(a)
Give the full name of the key (e.g., C major) at the start of the extract.
[1]
Key – E (major)
(b)
There are three errors in bars 18-29, two in pitch and one in rhythm. Circle
the notes that are incorrect and above each write what you actually hear in
the music. [Note – The G natural in bar 24 and the bar’s rest in bar 26 are
both correct.]
[6]
[See score provided]
[Accept any suitable correction of rhythm(s) in bars 23-27]
(c)
Name the cadence in bars 28-29.
[1]
Cadence - Perfect
(d)
The chord used in bars 30-32 is an A major chord. In the boxes provided on
the score write in full the name of the chord (e.g., C major, D7) heard in each
of the following bars:
[3]
(i)
(ii)
(iii)
(e)
Bars 33-34 - B minor
Bars 35-36 – E major (or E7)
Bar 37 – A major
Give the bar number of a tierce de Picardie in the extract.
[1]
Bar – 40/ 49
(f)
Write in the missing pitch and rhythm in bars 43-46.
Mark according to the following table:
Number of correct pitches/rhythms
20-22
17-19
14-16
11-13
8-10
5-7
3-4
1-2
0
24
Marks awarded
8
7
6
5
4
3
2
1
0
[8]
MUSIC MU6 - PART TWO (APPRAISING)
Option A: Ravel: Piano Concerto in G and a study of the orchestral tradition
You will hear two extracts from the first movement of Ravel’s Piano Concerto in G. Each extract
will be played three times with a one minute pause between playings. There will be a ten minute
pause after the final playing of each extract. You now have one minute to read the questions
below.
Question 1
(a)
Extract 1 [Bars 67-106]
(i)
From which of the following main sections of the movement is this first extract
taken? [Underline one answer]
[1]
Exposition
(ii)
(iii)
Development
Recapitulation
Coda
The extract contains material from the end of one subsidiary section and the
whole of another subsidiary section. Name these two sections.
[2]
Name of first subsidiary section
Transition [Tc]
Name of second subsidiary section
Second subject (group) [S2a/b]
Comment on the harmony employed in the short passage from the first
subsidiary section heard in the extract. Also comment on both the thematic
material and its accompaniment, relating it to earlier material where appropriate.
Harmony:
•
•
•
•
•
•
•
[3]
Consists of chords of F#7 → B7 (both with major/minor 3rd – or
#9/diminished 8ve)
First is the dominant of the second / which is itself then resolved to its
own tonic (E) for the next section
Change to B7 chord in bar 703/4 rather than on first beat of bar / perhaps
a subtle anticipation this melody’s change of metre (to 3/4) in the
recapitulation / V7 of V → V7 → I in E major / influence of jazz – blues 3rd
(#9)( “Hendrix chord”)
Use of b2 (Phrygian/Neapolitan/Andalusian flavour) / e.g., G natural in
bar 694 (piano) and C natural in bars 732-742 (Horn)
chromatic / dissonance / false relation – [not bitonal] credit once only
Gershwinesque
F#major
(allow 1 mark for location of one example)
Thematic material and accompaniment:
•
•
•
•
•
•
•
[4]
Thematic material is mostly conjunct
Use of b2 (Phrygian/Neapolitan/Andalusian flavour) / e.g., G natural
in bar 694 (piano) and C natural in bars 732-742 (Horn) credit once
only [allow 1 mark for location of example] / reminiscent of thematic
material from transition / (e.g., bars 44-48 – G natural) (Ta)
LH accompaniment is quite sparse (spasmodic) / consists of foxtrot
rhythm first heard in woodblock ( in bars 52-54) /anticipating its use
in piano starting in bar 55
Descending chromatic line in Horns (70-75 – from F#-B) also
noteworthy / sparse accompaniment slightly “masks” the underlying
harmony
Repetition of material from bar 55-60; transposed up a perfect 4th
Sustained note in horn
Gershwinesque (award once only)
[1 mark at least for relation to earlier material]
25
(iv)
The second subsidiary section in the extract contains two passages for solo
piano, which consist of contrasting musical material. Give a brief account of
these two solo passages, paying particular attention to their musical
differences. [You are not required to mention any orchestral material in your
answer.]
[8]
Key of both passages is E major / the first (75-871) is chromatic / while
the second (872-95) is almost entirely diatonic (modal)
First passage (75-83 (84-86 link))
• Basic underlying harmony is E(maj7) → E7 → A / thematic
material is mostly pentatonic / jazz-like harmony/ foxtrot rhythmic
interjections (RH) / hark back to preceding transition material / add a
contrasting layer
•
Consists of 3 phrases of diminishing lengths / 5, 4 and 3 bars
Second passage (84-86 link) 87-95)
•
•
•
•
•
•
•
•
•
Phrase lengths more “plastic” and less clear-cut, almost amorphous
/ further underlined by placement of piano’s bass notes on beats 2,
2, 1, 3, and 3 respectively of bars 88-92, with initial bar containing no
bass note at all / music is more rhapsodic
Homophonic texture / conceals individual (mostly conjunct) lines /
sometimes “hidden” between the piano’s RH and LH parts / use of a
perfect 5th at the start of the LH “figuration” in bars 88-92 is a
“sonic” feature that emphasises the music’s modal (archaic)
character
Music seems in a C# Aeolian mode (87-93/4) / (with a chromatic
(Dorian) A# in bar 89) / settles on the dominant of section’s tonic of E
major (95) / leads to a repeat of the second subject in bar 96
Appoggiaturas a feature
Underlying harmony of bars 88-92 is C#m →G#m →C#m →F#m
chords – i.e., tonic, dominant and subdominant within a modal C#
minor
Bars 84-86 have “linking” function / effecting a subtle transition
between the two disparate styles
Some use of parallel chords
Impressionistic harmony (87-95)
Influences of first subject (fig y and/or z)
(Allow max 2 marks for location)
26
(b)
Extract 2 [Bars 253(fig 29)-end]
NOTE BAR REFERENCES MAYBE +2
This extract is taken from the later stages of the movement.
(i)
Give three features of the writing for orchestra from the beginning of
the extract up to Fig.34. [Refer to instruments and bar/figure numbers
in your answer.]
[3]
Piano’s toccata-like material punctuated by pizzicato chords in
lower strings / sporadic at first, more frequent later (from bar 267)
•
•
•
(ii)
Comment on the music for the piano in the first 14 bars of the extract,
relating it to previous material.
[4]
•
•
•
•
(iii)
Rising 8ve motif (arco) introduced in strings in bars 279-86 /
doubles part of the piano’s RH figuration / more “developed”
version of this in Vlns/Vlas in bars 287-89
Triads in WW (+Vlas & 2nd Vlns) in bars 287-88 / a sustained
version of the harmony of the piano’s RH figuration in same
bars
Fragments of first subject in trumpet (bar 273, fig 31)
Toccata-like (motoric/mechanical/perpetuum mobile) / pedal A
in LH / above this is a reference to Ist subject material (cf.
bars 10-12, piccolo) / also used at start of development (bar
107)
First 12 bars are in three 4-bar phrases (rising sequences) /
second of which repeats the first with RH transposed an 8ve
higher / third phrase (261-64) repeats first phrase a semitone
higher / still over pedal A / final two bars (265-66) consist of a
further transposition of this phrase (starting on A) / but
eliminate the second and third bar of previous phrase
Dissonant (with piano’s continuing toccata-like figuration with
its implied A9 chord) F# major chord punctuates in bar 257 /
perhaps still echoing after previous use in piano’s RH in bars
250-52
Lowest register of the piano used
Give a brief account of the music between Figs.35 and 36 (bars 30310). What do you consider to be the function of these bars?
[5]
•
•
•
•
Initially related harmonically to opening bars of this section
(Fig.29)
Piano has rising arpeggio figures outlining notes of A9 chord
1-bar motif (bassoons etc.) is a variation of bars 4-52 / and of
toccata-like music of development section and start of coda /
repeated at same pitch over A9-D11 chords in bars 303-10 /
D11 chord is without its 3rd in a “pop-like” Am7/D voicing
Motif passed antiphonally among different WW and Brass
instruments / sustained chords and pizzicato in
strings/gradually layered
Function is to prepare more emphatically for return of the tonic
key/ with a VofV → V → I progression. [Reserve at least 1 mark
for information on the function of these bars]
27
(iv)
Comment on the music in the last three bars of the extract. In your
answer refer to how these bars relate to previous material? 4 +2 [6]
• Tutti statement of parallel major or minor triads harmonising a
descending G major scale / including (bar 3203-4) b2 and b3
degrees of the scale / these recall both the flattened
(Modal/Phrygian/Neapolitan/Andalusian-influenced)2nds of
transition material (cf. Figs. 4-5) / and “jazz-like” (bluesy)
major-minor 3rds found in same transition material in bars 5253/63-66 / and in the reminders of the same material in 2nd
subject – e.g., bars 78-79/82-83
• Parallel triads themselves recall those originally heard in bars
134-25 / and, more particularly, their counterparts in bars
immediately preceding these final bars – bars 311-18 / which
prefigure the “mixed mode” harmonic flavour of last three bars
/ with their alternation of F#→E and F→Eb major chords
• F# major chord that harmonises the leading-note in
descending scale briefly refers to “bitonal” use of that chord
at various points in movement, particularly in opening bars
[Reserve at least 2 marks for information on relation to previous
material]
28
(c)
You now have 15 minutes to answer the following question.
What changes to musical material presented in the first group and transition
in the exposition does Ravel make to corresponding material in the
recapitulation – i.e., between Fig.18 (bar 172) and Fig.26 (bar 230) in the
score? Include some reference to tonality/keys in your answer.
Fig.18/bar 172
- 182 corresponds with Fig.2/bar 25 of the exposition / but
here tonic chord of G has its 5th (dominant) in bass
(shortened)
Work’s opening “bitonal” flavour (G/F#) not so
pronounced here / found mainly in appoggiatura F#
major chords to tonic G major chords in/ for instance,
bars 172-79 in bassoons and horns (also in harp in
same bars)
Main theme now presented for 4 bars on piano / (which
was excluded in the exposition at Fig.2) / doubled by
piccolo from bar 1753 / orchestration slightly fuller than
in corresponding bars in exposition
Bars 183 - 198 Fig 21 bar
199- 203 Fig 22 bar
204- 215 Music suddenly veers to Bb major (1834)/ rather than B
minor (in bar 364) / also p rather than ff / orchestration
also altered – no strings in recapitulation / bass line
slightly more active here
This passage in exposition had moved from B minor to
an F# minor triad, setting up the F# major chord of bar
44 / in recapitulation, the Bb major chord slips down a
semitone to chord of A minor / setting up the A major
triad of start of transition material (Fig.20/bar 191)
Piano solo here contains slightly more decorative
figuration compared with its original triplet upbeats /
sustained As in the VCs/DBs also new
“Bluesy” melodic fragment (Tb) (Fig.21/bar 199 – cf.
Fig.5/bar 52) now entrusted to solo piano / whose triplet
figuration includes the main 5-note figure in diminution
“Foxtrot” music (Tc) (Fig.22/bar 204 – cf. bar 55)
completely recast / what had been a piano solo now
eliminates the soloist completely / instead, a solo harp
accompanies its own statement of the melody (in
harmonics [1]) with free-ranging glissandi / change of
time signature from 2/2 to 3/4 / foxtrot rhythm is
eliminated entirely
Brief change of chord from F#7 to B7 in bar 62 now
made far more explicit (bars 213-15) in the change to
D7 (second inversion) chord / melody in bars 204-15 is
accompanied by sustained A7 and D7 chords / voiced
in a succession of different string groupings / along
with harp harmonics
29
Bars 216 - 220 Bars 221 - 225 Bars 226 - 230 alternation of “bluesy” and “foxtrot” material (Tb&Tc)
(as in bars 63-74 in exposition) essentially with same
changes as mentioned above / A major/minor
arpeggios in piano in bars 216-20 are new
Scoring of bars 216-20 creates overall atmosphere very
different from that of exposition / with its string
glissandi and WW (piccolo/Eb clarinet) and Brass
(trumpet) fluttertonguing / now f/ff as compared with
the exposition’s “p” (52) and “mf espressivo” (63)
markings
Return of 3/4 “foxtrot” (Tc) melody (bar 221) / still over
an A7 chord / but now “transposed”, beginning on C
natural rather than G / involves increased dissonance /
passage possibly initially octatonic / using the
semitone-tone version on A (bars 221-25) / WW
glissando-like (scalic) figures here
Change to D7 chord (more prolonged / and more fully
voiced / than in exposition (cf. bars 213-15) / also more
chromatic (D7#9→D9→Db9) / but still with implicit
underlying series of ascending minor 3rds – G/Bb (22125) → A/C (226-28) → A#/C# (229)[ → B/D (2304)] / subtly
linking this section to the second subject (230) /
handled rather differently here than in exposition
Demisemiquaver arpeggios are new / transformed
gradually into chromatic scales / based on the
preceding harp glissandi / “sul SOL” direction in the
Ist Vlns (225-30) gives falling chromatic line a more
intense character and throwing it into greater relief
than its corresponding passage on muted horns in the
exposition (bars 67-751)
Alteration from “standard” chromatic scales in clarinet
in A in bar 226 to one with (difficult) 8ve leaps in oboe
in bars 227-28 / draws increased attention to the figure
and raises its profile from a purely decorative
accompanimental idea (a woodwind equivalent of harp
glissandi) to a more important, motivic feature
[14]
Any reference to the relative lengths of the transitions in exposition to
recapitulation (longer in recap) or 1st subject (shorter in recap)
(Allow max 4 marks for orchestration with location)
30
Question 2
Simon P. Keefe considers the concerto to be a genre that, throughout its history, has been
“in a continual state of change, reinventing itself in the process of growth and development.”
To what extent do you agree or disagree with this statement? Refer to Ravel’s Piano
Concerto in G major and other representative solo concertos from a variety of different eras
in your discussion.
[25]
Mark Criteria Relevant references to changes in representative solo concertos from a variety of
21eras are made. A convincing comparison with Ravel’s work will be made and the
25 argument (to whichever conclusion) will be made not on generalisations but through
a genuine knowledge and understanding of both Ravel and earlier, contemporary
and later examples.
Material is structured effectively and includes apt use of specialist vocabulary.
Spelling, punctuation and grammar are secure. A less secure essay on the whole, showing a reasonable contextual knowledge and
17comparison, but offering less specific knowledge of works. An otherwise good essay
20 but with only general comment regarding representative works from a variety of eras
would fall into this category.
Material is organised coherently and uses specialist vocabulary. Spelling,
punctuation and grammar are generally secure. A satisfactory though somewhat incomplete answer, with an insufficient level of
13relevant comparison. Answers in this category generally demonstrate only adequate
16 musical understanding and might show limited knowledge of the changes in the
genre throughout the different eras.
Some use of specialist vocabulary; spelling, punctuation and grammar are
reasonably secure. 9-12 The material included lacks conviction and accuracy, resulting in a less than
satisfactory answer, with little reference to representative works.
Scant use of specialist vocabulary; spelling, punctuation and grammar feature some
inaccuracies. Limited understanding shown and much uncertainty, failing to make any valid
5-8 comparisons or with many unsound judgements.
Little evidence of specialist vocabulary; spelling, punctuation and grammar are
weak. Very weak, showing little or no understanding of the Ravel and/or knowledge of the
0-4 development of the solo concerto in the relevant eras.
Little use of specialist vocabulary. Frequent errors in expression. 31
Option B: Shostakovich: String Quartet No.8 and a study of the chamber tradition
You will hear two extracts from the fourth movement of Shostakovich’s String Quartet No.8.
[Extract 1 will also include the end of the third movement.] Each extract will be played three
times with a one minute pause between playings. There will be a ten minute pause after the
final playing of each extract. You now have one minute to read the questions below.
Question 1
(a)
Extract 1 [Mvnt.3, bars 292 – Mvnt.4, bars 1-27]
(i)
Comment on the tonality and texture of the last ten bars of the third
movement (those in the extract).
Tonality:
•
•
[3]
End of movement does not bring closure by confirming tonic key of
G minor / perfect 4ths between G#→C#→G# suggest C# minor / key
a tritone away / alternatively (particularly in bars 2933 to end of
movement) G# minor / suggesting a Neapolitan key relationship /
tonalities a tritone and minor 2nd apart are both a feature of the
quartet
Final A# could be considered an enharmonic form of Bb (G minor’s
third degree) rather than supertonic of G# minor / movement ends
tonally indeterminately (deliberate absence of harmonic focus)
Texture - monophonic
(ii)
(iii)
[1]
The third and fourth movements contain a number of quotations from, or
allusions to, other music, some of which are by Shostakovich himself. Which
of Shostakovich’s works, already quoted in the third movement, is alluded to
at the start of the fourth movement? Also give the bar/beat numbers (e.g.
434) of one instance where this quotation occurred in the third movement.
Work alluded to Cello Concerto ( no.1), op.107 (opening)
[1]
Location in third movement Bars 1402-441 / 1442-1511 / 2702-2831
[2]
Give one example of a possible quotation from, or allusion to, a work not by
Shostakovich in the extract. State the movement (i.e., 3rd or 4th) and
bar/beat numbers in your answer.
Name of work/location Dies Irae plainchant – III - Bars 294-97 / IV - Bars
21-25 / OR
Beethoven’s String Quartet, Op.135 (rhythmic response to “Muss es
sein?” motif: IV – bars 1-2 / 7-8 etc. OR
Wagner’s Götterdämmerung (Siegfried’s Funeral Music): IV - Bars 1-2 /
7-8 etc.
Tchaikovsky: 6th Symphony [292-295]
[1 mark for work, 2 marks for bar numbers. Bar numbers for the
beginning and end of the quotation/allusion must be correct for both
marks to be awarded. No mark for naming correct movement!]
32
(iv)
Give an account of bars 1-27 of the fourth movement, paying particular
attention to harmony, tonality and the treatment of thematic material. [Except
for purposes of explanation, you should not refer to musical
allusions/quotations here. Neither is there any need to mention any
speculation or conjecture as to any programmatic intent by the composer.
[8]
•
•
•
•
•
•
•
•
“pp” A# in Ist Vln initially receives no harmonic resolution / three
lower instruments burst in with tonally ambivalent chords
(dissonant) / dissonant with Ist Vln’s muted part
Previous movement’s G minor key centre could still have some tonal
influence here, with F##-A being perceived aurally as G-A / Ist Vln’s
A# an enharmonic of Bb / making an incomplete G minor chord
(minus the 5th, D) / with an added, dissonant 9th (A) / F##-A notation
of the chords could also suggest a pared down (root and 6th only)
augmented 6th chord in C# minor
8ve/unison statement of a C# minor triad / covering a span of three
octaves / is an augmentation of triadic figure from the First Cello
Concerto / seems to support this key / contradicts G minor / also
suggests (in bars 7-8) that the chords are a reference to the
(orchestral) anapaest quavers that answer this triadic motif at start
of the concerto / here stated on the beat simultaneously with triadic
figure’s falling semitone rather than off the beat and in response to it
/ two “related” ideas differentiated by widely contrasted dynamics –
“pp” (con sord.) triadic figure opposed by “ff” chords
Further response by the Cello Concerto’s triadic figure follows / this
time outlining a G minor chord / tritone away from C# minor /
consonant with Ist Violin’s persistent A# / crescendo marking
through bars 10-12 did not feature in the C# minor statement
“Anapaest” chords change to D# and C# / still consist of two notes
a tone apart / could be taken, with earlier form of chord, as
remaining two notes of supposed augmented (French) 6th in C#
minor – A/C#/D#/F## / with dissonant Ist Vln A# / tritone
transposition of this chord gives same notes in both G and C#
minor (the same French 6th (enharmonically altered) functions in
both G and C# minor)
No dominant resolution to either key / merely another bar’s rest
against the sustained A# / then a further repetition of the “G minor”
triadic figure from the Cello Concerto
“Augmented 6th” chord from bars 13-14 reappears for the first bar of
two-bar response / unexpectedly, the second set of “anapaest”
chords consists of full, root position, cadential-sounding chord of
F# major / a tonality that is to be important later in the movement
For first time in movement Ist Vln’s still-sounding A# appears to
have received resolution
Slightly less detailed, more succinct, answer here might be: In these
first 20 bars Shostakovich seems to have been starkly juxtaposing two
contrasting tonalities (G minor and C# minor) / deliberately “mediating”
between them with a statement of a chord that is identical in sonority in
both keys / differing only in (enharmonic) notation / that G and Bb are
persistently notated as F## and A# suggests that C# minor is the real
tonic key of this fourth movement / forceful, if unconvincing, “cadence”
on F# major seems to point to that chord being the (major) subdominant
in that key / which turns out to be the case
33
•
Sustained A# (3rd of F# major triad in bar 20) persists,
unharmonised, for a further bar / then begins to move for first time in
movement / still unaccompanied
•
Its melodic line (bars 21-25, ending on an F##) briefly quotes the
Requiem Mass’ Dies Irae motif / sounds as though in G minor / slips
up a semitone to G# / possibly “bare bones” of a V of V → V
harmonic progression / sets up the movement’s first, unequivocal
dominant-tonic melodic motion
(Allow max 2 marks for location)
(b)
Extract 2 [Bars 117-end]
(i)
Comment on the harmony and tonality of the opening of the extract –
i.e., up to the cello solo. Also give a possible source of Shostakovich’s
musical allusion/quotation here.
Harmony and tonality
[3]
• Harmonically static / constructed over a dominant pedal in
F# (Vla/VC) / could also be construed as subdominant
harmony in C# / with pedal being a tonic pedal in that key
• Initially (bars 118-25) chord suggested is F# minor /
without root / moves to F# major chord in bars 126-32/F#
finally appears in 2nd Violin in bar 130
Possible source of quotation: Shostakovich - Symphony no.11,
3rd movement OR the revolutionary song, “Welcome, the Free
Word of Liberty”.
[1]
(Allow 1 mark for location)
34
(ii)
Give an account of the next section, beginning with the cello solo
(Fig.162/bar 1323).
[6]
•
C# pedal persists in Vla / harmony still relatively static /
consists of series of major 3rds in Ist and 2nd Vlns /
chromaticism created by auxiliary motion to E# and G## in
bars 130-36 and passing notes of bars 137-39 / impart an
almost tender, yearning quality / enhanced by VC’s high
register / auxiliary D# in bars 133-34 and lingering B# passing
note in bars 147-48 almost Wagnerian
•
This is in keeping with the musical allusion here, since it
quotes from Katerina Izmaylova’s music from Act 4 of
Shostakovich’s Lady Macbeth where, after being marched in a
prison gang through Siberia, she encounters her lover and,
unaware that he is no longer in love with her, she tells him
how much she has missed him. [Allow 2 marks only for this
information – 1 for the identification of the quotation from
Lady Macbeth, 1 for the circumstances surrounding it in the
opera.]
•
Harmonic basis for the whole of cello solo taken directly from
the opera / rhythms distort those of the original vocal melody
•
Key is F# major / has connotations of love and serenity in
Shostakovich’s music
•
Music is built on 4-bar units / three units followed by four /
elision between the two larger phrases in bar 144
•
Reaches a chord of C# minor in bars 139-49 / then moves to
chord of C# major in bars 144-47 / by means of Neapolitanlike harmonic progression
•
Uncomplicated dominant-tonic cadential harmony in bars
144-49 / though cadence at the end of the passage (bars 15359) hints at the music at start of section / chromatic inflection
of G# as G##
Allow max of 2 marks for location
35
(iii)
Compare the music of the final section of the extract (after the cello
solo) with its use elsewhere in the movement.
[8]
•
Ever-present pedal C# of cello solo is all that remains from bar 1592160 (Vla) / VC’s last pp echo of its previous p dolce 4-bar phrase
prepares for return of more chilling mood of First Cello Concerto’s
8ve/unison C# minor triadic figure / reduction to two voices in bars
161-62 in 2nd Violin and Cello with octave gap in between, filled only
by sustained pedal in Vla, seeming all the more ominous / with,
rather than without, crescendo markings
•
Anapaest rhythms follow as before / without pedal / motif’s A natural
of bars 1-2 etc. is replaced by A# of Ist Vln’s pedal note / so
dissonant content of chords is further reduced
•
Without foregoing persistent pedal chords’ ensuing bar rest
(extended by two more crotchet beats) is a moment of complete
silence
•
(Muted) Ist Vln begins to state opening of revolutionary song from
bars 743-80 / interjection by lower three instruments playing
anapaest chords (169) / dynamics much reduced / completely
contrasting instrumental sonority – p ˆˆ and pizzicato
•
Harmony here is a rather tonally indeterminate diminished chord F##-A#-C#
•
Ist Vln halts on revolutionary song’s D# / three lower instruments
repeat the enharmonic equivalent of the Cello Concerto’s G minor
triadic figure / against which Ist Vln’s sustained D# is again
dissonant
•
Consonant, though, with the next set of anapaest rhythms (bars 17778) / revert in both dynamics and sonority to those of bars 13-14
•
Again there is no harmonic resolution of the dissonant major 2nds /
Ist Vln’s D# becomes first note of another statement of Dies Irae
head motif (cf. bars 21-24) / this time sounds, and eventually notated,
in C minor
•
Bar 184 - notes 2-4 of this motif reveal themselves also to be notes 13 of the DSCH motif / motif’s final B natural suspended over into the
5th movement
Allow max 2 marks for location
36
(c)
You now have 15 minutes to answer the following question.
Give a concise analysis of bars 28-116 (Figs. 54-61), explaining how this
music fits into the overall structure of the fourth movement.
[14]
A1/Outburst 1
Fig.53
Bar 1
B/Arioso 1
Fig.54
Bar 28 Bar 28 begins with emphatic (ff/dominant-tonic)
affirmation of C# minor tonality / at first monophonic /
stated over 3 octave span by lower three instruments
No clear-cut C# minor tonality / introduces (bar 303)
notes outside that key / chromaticisms typical of
composer / example of Shostakovich’s use of modality
/ characterised by flattened notes / sometimes called
flatter-than-minor modal degrees / music fits in with
Alexandrian pentachord / part of a mode similar to
octatonic scale / music could be allusion to passacaglia
theme between Scenes 4 and 5 in Act 2 of The Lady
Macbeth of the Mtsenk District or Funeral Music from
Gotterdammerung
Arioso consists of eight 4-bar units / Ist Vln enters with
a chromatic counterpoint in bar 36
A2/Outburst 2
Fig.57
Bar 62
Bar 51 - 8ve/unison arioso begins to move away from its
modal structure / pair of minor 6ths in bars 51-522 (C#/A
→ B#/G#) lead to unexpected F# major triad in bar 53 / cf.
bar 20 Immediately contradicted by an F# minor triad in
next bar / turns out to have a subdominant (plagal-like)
function / music sinks back onto tonic C# minor triad in
bar 58 / with auxiliary plagal (subdominant) decoration in
Ist Vln (bars 59-60) / returns to starting point on G# /
sustained until bar 74 as dominant pedal / though C#
minor modally inflected (by notes belonging to
Alexandrian pentachord) in bars 72-74 – see below
Bar 62 (Fig.57) First Cello Concerto’s triadic figure (+
crescendo marking) and anapaest response recur /
repeated in bar 68 in diminution / also, for only time in
the movement, ff
Anapaest outbursts replicate the F##/A natural harmony
of movement’s opening / produce slightly more extreme
dissonance with pedal G#) / initial E of expected
statement of Cello Concerto’s dotted minim fragment in
C# minor proves to be first note of a statement (in dotted
minims) of DSCH motif, in Vla and VC only / transposed
to pitch level that reproduces notes belonging to the
Lady Macbeth passacaglia theme alluded to in bars 29 et
seq.
37
C/Arioso 2
Fig.58
Bar 75
Bars 743-103 (Figs.58-60) [Arioso 2] quote revolutionary
song, Tormented by Harsh captivity (Zamuchen
tyazholoy nevoley) / favourite of Lenin / contrasts starkly
with rest of movement in / its regular phrase structure /
its four 8-bar phrases with an almost classical sentence
structure / because melody falls entirely within the
Aeolian ( natural minor) mode / also its scoring
Move to G minor at end of Arioso 2 underpins what
sounds like a chromatically inflected echo of its last
phrase / Vla provides same type of chromatic
counterpoint to 2nd Vln’s melody as given to Ist Vln’s
playing of revolutionary song
D/Link
Fig.60
Bar 104 Throughout statement in Ist Vln, Vla and VC sustain an
8ve C# tonic pedal / 2nd Vln provides a chromatic [1],
harmonically conventional [1] counterpoint
Quotation ends with plagal cadence / preceded by more
subdominant harmony / in which VC is slightly out of
step with other instruments / its tonic C# bass note
arriving a bar later than expected (bar 107) / also lags
behind the Vla and 2nd Vln in bars 109-10 / highlights
both the C# tonic and VC part in general
VC again steps out of line with rogue C# in bar 114,
which, / moves back to correct G natural in next bar for
cadence in G minor / all instruments alight unexpectedly
on an 8ve/unison C# in bar 117/Fig.61
First part of link ends without any real tonal
reconciliation seeming to have been achieved
E/Arioso 3
Fig.62
Bar 132/133 A3/C/Outburst
3/Arioso 3
Fig.63
Bar 161 [Section D/Link could be subsumed under the previous (fourth) section above.]
Bars 28-116 consist of the B section (Arioso 2) through to middle of
transitional section D.
•
Tardy VC part throws tritone opposition between keys of C# and G minor
into even greater relief / continues to do so in following bars / only time in
movement that elements of two conflicting tonalities of G and C# minor
superimposed rather than juxtaposed
38
Question 2
Paul Griffiths considers the change from the idea of the Classical string quartet as a
conversation between four companions to its 20th century conception of an ensemble of
different instruments capable of being joined in different combinations as of huge importance
in its development. To what extent do you agree or disagree with this opinion? Refer to
Shostakovich’s 8th String Quartet and other representative string quartets from different eras
in your discussion.
[25]
Mark Criteria Relevant references to string quartets of different eras should be given. A
21convincing evaluation of Shostakovich’s work within this tradition will be made and
25 some detail should also be given as to where the work stands as regards Griffiths’
opinion. The argument (to whichever conclusion) will be made not on
generalisations but through a genuine knowledge and understanding of both
Shostakovich and earlier and contemporary examples.
Material is structured effectively and includes apt use of specialist vocabulary.
Spelling, punctuation and grammar are secure. A less secure essay on the whole, showing a reasonable contextual knowledge and
17comparison, but offering less specific knowledge of works from other eras. An
20 otherwise good essay but with only general comment regarding representative
works from each century would fall into this category.
Material is organised coherently and uses specialist vocabulary. Spelling,
punctuation and grammar are generally secure. A satisfactory though somewhat incomplete answer, with an insufficient level of
13relevant detail. Answers in this category generally demonstrate only adequate
16 musical understanding and might show limited knowledge of quartets from other
eras.
Some use of specialist vocabulary; spelling, punctuation and grammar are
reasonably secure. 9-12 The material included lacks conviction and accuracy, resulting in a less than
satisfactory answer, with little reference to works from other eras.
Scant use of specialist vocabulary; spelling, punctuation and grammar feature some
inaccuracies. Limited understanding shown and much uncertainty, failing to make any valid
5-8 comparisons or with many unsound judgements.
Little evidence of specialist vocabulary; spelling, punctuation and grammar are
weak. Very weak, showing little or no understanding of the Shostakovich and/or knowledge
0-4 of the development of the string quartet in the relevant eras.
Little use of specialist vocabulary. Frequent errors in expression. 39
Or,
Option C: William Mathias: This Worlde’s Joie and a study of the choral tradition
You will hear two extracts from the fourth movement (Winter (Death)) of This Worlde’s Joie.
Each extract will be played three times with a one minute pause between playings. There
will be a ten minute pause after the final playing of each extract. You now have one minute
to read the questions below.
Question 1
(a)
Extract 1 [Bars 7-48]
(i)
Briefly comment on the vocal and instrumental accompaniment to the
baritone solo from which the extract is taken (i.e., bars 9- 60/Figs.41-42). [4]
• Consists entirely of a static, “open” perfect 5th (Eb - Bb) / first
on full chorus only (bars 7-301) / sporadic 5ths on tubaphone mark
beginning of new section (bars 20-44) / choral texture reduced to S/A
only at start of new phrase within that section (T enter only briefly in
bars 43-44) / slightly more chilling atmosphere introduced here
• Bars 45-60 – addition of organ and orchestra, plus untuned
percussion (bass drum and tambourine) in bars 48-501/52-531, signal
varied reprise of first solo vocal section / orchestra briefly drop out
for two bars (53-54) / this highlights vocalist’s impassioned appeal in
these bars / re-enters in bar 55 / some doubling of choral parts in
bars 47, 51 and 59 (plus fuller orchestration) on solo vocal’s
climactic top Ebs
[Some information on the accompaniment’s part in helping to define the
structure of this section is required to obtain full marks]
40
(ii)
Give an account of the baritone’s vocal solo (again up to bar 60). You
should provide information on its melodic content, tonality and
structure in your answer.
[10]
•
•
•
•
•
(iii)
In a1 b a2 form / “a” sections in quasi recitative style / initially
unbarred, free rhythms / octatonic / Collection III - Eb
semitone-tone ordering / note longer notes on A natural
(“care” and “bare”) (bar 9), dissonant with the accompanying
5th / adds touch of word painting
Second phrase (bar 10) outlines “z cell” Eb-Fb-A-Bb /
remainder of section is barred / 8 bars in 2+2+1+1+2 format /
now reaches up to a (dissonant) top Fb / also used 8ve lower
with similar “sighing” melodic figure for “to naught” / it may
be significant that Mathias has cast these bars – at the
bleakest moment of the cycle of seasons/life – in Eb, a tritone
away from the work’s affirmative and joyous conclusion in A /
also juxtaposes chords of Eb and A “cadentially” in final bars
“b” section (bar 20) begins by repeating first two phrases of
3rd movement’s soprano solo (714-) / change of metre and
quicker tempo / sparse harmonic accompaniment also similar
to 3rd movement / first phrase is Mixolydian Eb / introduction
of A naturals in second phrase suggests move to Lydian Eb /
both the A natural and repeated Ds at start of next phrase (bar
303) help maintain increased dissonance introduced towards
the end of phrase 2 (26-27) / melodic material in this phrase is
new / almost totally scalic / final phrase (35-431) prepares for
return of octatonicism of reprise of section “a” in bar 45 /
introduction of more dissonances - Cbs and Fbs belonging to
Collection III
“a2” is a more extended and intense version of “a1” / soloist
begins by picking out notes of octatonic “z cell” / telling
diminished 8ve leap to “dust” in bars 464-47 / next four bars
repeat bars 45-48 with addition of some dotted rhythms / “z
cell’s” Fb and A natural reappear to end next phrases (53/54) /
form menacing semitonal clashes with accompaniment
Constituent notes of “z cell” presented throughout “a2”
section in different melodic permutations / in bars 573-59
Mathias reverts to declamatory version of motif from start of
this section, with its final expressive leap
Comment on the section from bars 61-75/Figs.42-45, placing the
music into the context of the movement up to this point.
•
•
•
•
[4]
In line with movement’s sense of decline, music
“degenerates” further, regressing even from previous
section’s simple, rudimentary accompaniment of a static,
bare 5th
Music lapses into repetitive single bar accompaniment /
repeated for nine bars / has no pitch content / assigned to
four untuned percussion instruments
Combined forces of mixed chorus and soloists similarly
reduced to speaking text in rhythmic unison / final words
(bars 73-74) entrusted to single voice (baritone soloist) / after
two bars’ rest in vocal parts
Percussive “heart beat” of music gradually peters out / in bar
75, on the text’s “It went and wit away”, we are left with
nothing but silence and total decline
41
(b)
Extract 2 [Bars 120-51]
(i)
Briefly compare and contrast the instrumental and vocal writing in the extract
up to bar 1402[12Fig.46]. Mention some of the musical features employed by
Mathias to create a suitable setting for the text. [Do not mention the harmony
or tonality at this point.]
[7]
•
•
•
(ii)
Comment on the harmony and tonality in the extract up to bar 140[12Fig.46].
In your answer show how the tonality of the music is organised and give one
example of similar tonal organisation elsewhere in the work, providing
bar/beat numbers.
[6]
•
•
(iii)
Homophonic throughout / syllabic word setting in chorus /
antiphonal use of vocal and instrumental groups / slightly different
material employed in each / both groups combine towards the end –
bars 1374-1402
Occasional use of syncopation provides necessary rhythmic
energy / judicious use of untuned percussion also effective, e.g.
cymbal crashes and rolls on side drums and tambourine / also
provides sonorities associated with battle being waged in text
Rather different rhythmic treatment of music of brass instruments
and chorus at times / brass employ martial, fanfare-like triplets /
dotted rhythms more a feature of the chorus / brass figures often
more chromatic / both brass and chorus “voiced” similarly, with
doublings between upper and lower ranges – e.g., S/A mostly
double T/B an octave higher / chorus divided at times (e.g., bars
134-35) in an attempt to match fuller textures of brass section
Harmony is quartal/quintal ( based on 4th /5ths) / brass make
occasional reference to “z cell” motive in their chromatic auxiliary
notes – e.g. bars 120, 121 and 125 / music of chorus is, on the
whole, more modally inflected / apart from bars 126-27, where they
duplicate the brass’ chromatic auxiliary notes
Section combines chromatically inflected modal harmony [1] with
octatonic elements [1] / govern overall tonal structure / whole
section is essentially an expansion of four descending perfect 5ths,
each a minor 3rd apart / G/D → E/B → C#/G# → Bb/F – which then
return to G/D in bars 136-40 / such partitioning of music into
diminished 7th-based minor 3rds is a typically octatonic procedure /
Collection I basis of the music / already used previously in the work
st
nd
– e.g., 1 movement (bars 197-201/217-225/233-236/240-58) and 2
7-18
movement Fig.28
Describe the music given to the Soprano solo and Boys Choir from bar
1394[13Fig.46] up to the end of the extract, comparing it with its use earlier in
the movement.
[5]
•
•
•
Music of Boys Choir first heard in bars 794 et seq / that of
Soprano solo comes from bars 104-19 / music is again modal –
Mixolydian /now transposed to G from its original D
Soloist sings the words of her opening phrase to the melody of
her second phrase there / boys repeat both text and melody of
their material from 874-91 / after the interjection by chorus and
orchestra, soloist and boys repeat their previous 4-bar phrase /
still in a modal D, and again taking off from a chord of G, / but
now transposed up a 5th / phrase extended by an exact
repetition of its last 2 bars
Boys Choir sing in unison / both their material and that of
soprano soloist is reminiscent of plainsong / music is very
linear here / producing some dissonances between the two
vocal protagonists
42
(c)
You now have 15 minutes to answer the following question.
Give an account of the music from bar 169/Fig.47 to the end of the movement,
relating it to music heard previously in the work. Your answer should include
information on the vocal and instrumental writing.
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
[14]
Sudden change from a first inversion chord of Eb major to an 8ve/unison E
natural / work’s final section begins with a statement of the Ist movement’s
“ritornello” material / with its falling perfect 4ths and major-minor 3rds / scalic
figures in the violins make the music more complex
Tonality mixes Mixolydian and Dorian modes / additional vocal material (a
melismatic [1] setting of Deo Gracias) adds to complexity / stretto entries –
S-T-A-B at a bar’s distance - suggest Aeolian mode on A / music is similar
in style to soloists’ previous music / more legato and less rhythmic as
compared with orchestral material / the conflicting modalities, with their
opposing and often dissonant G and G#s, generate harmonic tension
Music is constructed in 4-bar phrases / bar 17 - orchestra restates
“ritornello” material from bars 23-26 of Ist movement in its original E
Aeolian mode / vocal forces continue their previous material / now suggest
C Mixolydian mode
Bars 179 and 181/183 - A and B make initial move to comply with
orchestra’s modality / with introduction of C#s instead of C naturals
4-bar phrases continue to be norm from bar 185 / extra strand added soloists and boys’ chorus (doubled by organ and brass) introduce new
melody in 8ves / fits in with chorus’ modality
Bar 189 - choral stretto entries repeat those from 173-76 / soloists & boys’
chorus continue to mix sacred and secular material / then orchestra
concede, their “ritornello” material falling in almost completely with vocal
parts / pedal-like Es still persists at regular intervals
Varied repeats follow (bars 193-200) / some with addition of F# and Bb /
music for the soloists and boys’ choir is new / introduces the orchestra’s
F#s from 197
Eventually, choral stretto entries begin to be less strict / bass entry in bar
203 refuses to fall in with E-A pattern / starts instead on G-C / G/G#
discrepancies still persist between soloists and orchestra (e.g., bar 201) /
orchestra again begins to accede to vocal music / significantly, its
alternating 4ths and 3rds begin to ascend by step in bars 203-04 / creates
increasing energy
Bar 205 is crucial / all G#s cancelled in orchestra’s “ritornello” material /
pedal Es function as sort of dominant to a Mixolydian A / further integration
between choral and orchestral forces
Soloists and boys’ chorus begin their phrases in the same way as mixed
chorus / forming an extra (initial) stretto entry / all vocal and instrumental
groups share the same Mixolydian A tonality / correctly pitched imitative
entries reinstated in full chorus
4
Slight alteration in orchestra’s scalic figures (216 ) / begins to take music
into new tonal regions / vocal resources now share same text and music /
homophonic rather than contrapuntal / punctuated by four orchestral
chords, last of which finally relinquishes the persistent pedal E
Increased rhythmic interest helps provide sense of expectation / two 4-beat
bars (217-18) give the impression of consisting of two 3-beat bars followed
by a 2-beat anacrusis (on “Deo”) to a climactic “Gracias” in bar 219
Pedal E (via a G) gives way to an A (in the bass and inverted in bars 21923[1]) / joyous melismas break out in chorus in bars 221-23
Initially harmonies alternate between bare 5ths (A-E) and Eb major chords /
tritone difference a reminder of octatonic basis of good deal of the music
in the work as a whole / as well as reminding the listener, perhaps, of the
darkness of the decline earlier in the movement - a feeling reinforced by the
reappearance of the “z cell” figure reminiscent of that found both in the
baritone solo and in bars 120 et seq in this movement
3-4
Final reminder of “ritornello’s” falling perfect 4ths in bass (223 ) / last,
fleeting reference to work’s octatonicism (on Eb) / gives way to jubilant
spoken (shouted) “Deo Gracias” / persistently repeated tonic As in
orchestra
43
Question 2
Stanley Sadie is of the opinion that, since the end of the Baroque era, the cantata has
enjoyed no consistent independent existence, and the term has been applied to a wide
variety of works which generally have in common only that they are for chorus and
orchestra. To what extent do you agree or disagree with this? Refer to Mathias’ This
Worlde’s Joie and other representative cantatas from a variety musical eras in your
discussion.
[25]
Mark Criteria Relevant references to cantatas from various eras should be given. A convincing
20comparison with Mathias’ work will be made and the argument (to whichever
25 conclusion) will be made not on generalisations but through a genuine knowledge
and understanding of both Mathias and representative works from a variety of eras.
Material is structured effectively and includes apt use of specialist vocabulary.
Spelling, punctuation and grammar are secure. A less secure essay on the whole, showing a reasonable contextual knowledge and
17comparison, but offering less specific knowledge of work from a variety of eras. An
19 otherwise good essay but with only general comment regarding representative
works from each century would fall into this category.
Material is organised coherently and uses specialist vocabulary. Spelling,
punctuation and grammar are generally secure. A satisfactory though somewhat incomplete answer, with an insufficient level of
14relevant detail. Answers in this category generally demonstrate only adequate
16 musical understanding and might show limited knowledge of work from a variety of
eras.
Some use of specialist vocabulary; spelling, punctuation and grammar are
reasonably secure. The material included lacks conviction and accuracy, resulting in a less than
11satisfactory answer, with little reference to other works.
13 Scant use of specialist vocabulary; spelling, punctuation and grammar feature some
inaccuracies. 8-10 Limited understanding shown and much uncertainty, failing to make any valid
comparisons or with many unsound judgements.
Little evidence of specialist vocabulary; spelling, punctuation and grammar are
weak. Very weak, showing little or no understanding of Mathias and/or knowledge of
0-7 cantatas of the relevant eras.
Little use of specialist vocabulary. Frequent errors in expression. 44
MUSIC MU6(B) PART THREE (APPRAISING)
Either,
Ravel is considered as one of the foremost composers for the piano in the
twentieth century. Give an account of the composer’s music for solo piano,
explaining why it is so highly regarded and indicating which different aspects of
his musical style are in evidence in the music.
[25]
or,
(b)
In her book on the symphony, Louise Cuyler described Shostakovich as
the most successful Russian symphonist of the twentieth century. Give
an account of Shostakovich’s symphonies indicating how they exhibit the
different aspects of his musical style.
[25]
or,
(c)
Mathias’ music has occasionally been criticised for being too popular.
What features of Mathias’ musical style do you think could account for this
evaluation of his output, and to what extent do you agree with it? Support
your answer with reference to relevant works.
[25]
Mark Criteria 21A convincing presentation, which shows detailed knowledge and thorough
25 understanding of the chosen composer’s overall compositional musical style. Relevant
references to the required information are fully explained, with well detailed musical
examples (including quotes).
A very good response to the challenge of the extended research.
Material is structured effectively and includes apt use of specialist vocabulary. Spelling,
punctuation and grammar are secure. 17A less secure essay on the whole, showing a reasonable contextual knowledge and
20 understanding of the chosen composer’s overall compositional style, but offering less
specific information. An otherwise good essay, but with only general comment regarding
musical examples would fall into this category.
A good response to the challenge of the extended research.
Material is organised coherently and uses specialist vocabulary. Spelling, punctuation
and grammar are generally secure. 13A satisfactory though somewhat incomplete answer, with an insufficient level of relevant
16 detail and examples. Answers in this category might demonstrate an adequate
knowledge of the composer’s compositional style, but the material presented tends to
lack depth.
A reasonable response to the challenge of the extended research.
Some use of specialist vocabulary; spelling, punctuation and grammar are reasonably
secure. 9-12 A more limited answer, which does not fully meet the requirements of the chosen topic.
The material included lacks conviction and accuracy and musical detail, producing a
response which shows limited knowledge of the composer’s compositional style
A less than satisfactory response to the challenge of the extended research.
Scant use of specialist vocabulary; spelling, punctuation and grammar feature some
inaccuracies. 5-8 Limited understanding shown and much uncertainty, failing to make any valid
observations regarding the composer’s compositional style, or with many unsound
judgements. An essay lacking in musical substance and examples.
Rather an unsatisfactory response to the challenge of extended research.
Little evidence of specialist vocabulary; spelling, punctuation and grammar are weak. 0-4 Very weak, showing little or no understanding of the compositional and musical style of
the chosen composer. Lacks evidence of any appropriate research or preparation.
A poor response to the challenge of extended research.
Little use of specialist vocabulary. Frequent errors in expression. GCE Music MS Summer 2011/LG
45
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