A2 Mark Scheme - May-June 2006

GCE A2

Summer 2006

Music

Mark Schemes

Issued: October 2006

iii

Foreword

Introduction

Mark Schemes are published to assist teachers and students in their preparation for

examinations. Through the mark schemes teachers and students will be able to see what

examiners are looking for in response to questions and exactly where the marks have been

awarded. The publishing of the mark schemes may help to show that examiners are not

concerned about finding out what a student does not know but rather with rewarding students

for what they do know.

The Purpose of Mark Schemes

Examination papers are set and revised by teams of examiners and revisers appointed by the

Council. The teams of examiners and revisers include experienced teachers who are familiar

with the level and standards expected of 16- and 18-year-old students in schools and colleges.

The job of the examiners is to set the questions and the mark schemes; and the job of the

revisers is to review the questions and mark schemes commenting on a large range of issues

about which they must be satisfied before the question papers and mark schemes are finalised.

The questions and the mark schemes are developed in association with each other so that the

issues of differentiation and positive achievement can be addressed right from the start. Mark

schemes therefore are regarded as a part of an integral process which begins with the setting

of questions and ends with the marking of the examination.

The main purpose of the mark scheme is to provide a uniform basis for the marking process

so that all the markers are following exactly the same instructions and making the same

judgements in so far as this is possible. Before marking begins a standardising meeting is held

where all the markers are briefed using the mark scheme and samples of the students’ work in

the form of scripts. Consideration is also given at this stage to any comments on the

operational papers received from teachers and their organisations. During this meeting, and

up to and including the end of the marking, there is provision for amendments to be made to

the mark scheme. What is published represents this final form of the mark scheme.

It is important to recognise that in some cases there may well be other correct responses which

are equally acceptable to those published: the mark scheme can only cover those responses

which emerged in the examination. There may also be instances where certain judgements

may have to be left to the experience of the examiner, for example, where there is no absolute

correct response – all teachers will be familiar with making such judgements.

The Council hopes that the mark schemes will be viewed and used in a constructive way as a

further support to the teaching and learning processes.

NORTHERN IRELAND GENERAL CERTIFICATE OF SECONDARY EDUCATION (GCSE)

AND NORTHERN IRELAND GENERAL CERTIFICATE OF EDUCATION (GCE)

MARK SCHEMES (2006)

v

CONTENTS

Page

A2 3: Part 1 1

A2 3: Part 2 9

ADVANCEDGeneral Certifi cate of Education

2006

MusicAssessment Unit A2 3: Part 1

Test of Aural Perceptionassessing

Module 1: Making and Respondingto Music with Understanding

[A2P31]

THURSDAY 1 JUNE, MORNING

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MARK SCHEME

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Music

Assessment Unit A2 3: Part 1 Test of Aural Perception

assessing

Module 1: Making and Responding to Music with Understanding

Mark Scheme

1 Bizet, L’Arlesienne Suite No. 2, Movement 4, Farandole, Bars 1–52

(a) [1] each for four of the following features: • homophonic texture • full orchestral statement/scoring in A • strong tonic/dominant bassline in timpani [1

2] and trumpets [12]

• canonic presentation (of the theme in A1), upper strings [12]/

upper woodwind [12], against lower strings [1

2]/lower woodwind [12], at a

distance of two beats, imitation [12], polyphonic [1

2] [4]

(b) [1] each for two of the following: • march-like • 4/4 metre • double dotted/dotted rhythm [2]

(c) [1] each for four of the following: • clear balanced four bar phrasing • falling and rising interval of a fourth, emphasis on tonic/dominant • stepwise movement, falling scalic motif, scalic [1

2] • added ornamentation [1

2], acciaccatura in A1 • detached/staccato style of playing [4]

(d) [1] each for six of the following: • duple metre • faster tempo • tambour/snareless side drum playing a quaver ostinato/repeated quavers, • snare drum/tambour [1

2] • dynamics – ppp [1

2] with crescendo [12]

• features solo fl ute [12] and clarinet [1

2], in octaves • accompanied by string [1

2] (chords) on the fi rst beat of the bar • features a glissando/grace note fi gure (in the violin accompaniment) • tonic pedal (in the bass throughout), pedal [1

2] • major tonality • conjunct/stepwise/scalic movement of the melody [6] 16

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2 Menuetto Bars 1–32 from Haydn’s String Quartet in C, Op. 74, No. 1

(a)

[12] rhythm, [1

2] pitch [6]

(b) Bars 1–4 tonic pedal (pedal [1]) [2]

Bars 11–12 syncopation/hemiola/repetition [2]

(c) Bars 10–11, 10–14 [2]

Bar 26 [2]

(d) string quartet [1]

(e) minuet [1]

(f) 1793 (allow 1770–1820) [1] 17

3 Handel, “Or let the Merry Bells Ring Round”, Air and Chorus

(a) [1] each for six of the following: • harpsichord [1

2] chord on fi rst beat • solo soprano • peal-like melody, octave leap upwards, followed by a descending scale, bell-like melodic contour • major tonality [1

2] • (unison) strings [1

2] echo/imitate the vocal melody, doubled by bells/ glockenspiel, bells/glockenspiel [1

2], imitation [12]

• f/p echo-like effects, terraced dynamics • opening melody played in semi-quavers/shorter note values/diminution • quadruple metre [6]

(b) [1] each for three of the following: • melisma • descending sequence • dotted rhythms • triplet rhythms/gigue-like • includes modulation to the dominant key [3]

(c) aria [1]

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(d) [1] each for four of the following: • entry of four part chorus/SATB, full/mixed chorus [1

2] • modulation/change of key [1

2] to subdominant • homophonic setting/texture [1

2], details of location [12]

• question and answer/antiphonal/dialogue effect/imitation, between AB and ST • unison return of descending scales, answered antiphonally • rallentando in closing bars • fi nal VIIb I cadence, perfect cadence [1

2] in dominant • change to simple metre [4]

(e) Handel (allow Purcell) [1] 15

4 Evelyn Glennie, “Robbin Harry” from “Rhythm Song”

[1] each for twelve of the following: • melody on solo xylophone, some parallel movement in 3rds/6ths, xylophone [1

2] • short introduction • question and answer/dialogue between ensemble and solo instrument • details of instrumentation – light drum kit, piano vamps, and fi lls, banjo strummed chords, tuba/sousaphone, saxophones, clarinet, (muted) trumpet [1

2] each • steady duple/quadruple metre • syncopated rhythms, cross rhythms, rag-like/charleston rhythms • steady, strong harmonic bass line, using root and fi fth of chord • decoration in solo xylophone [1

2], triple runs, rolls/tremelo • rising and falling chromatic scales, scales [1

2] • solo sections – saxophone takes the lead • abrupt shift of key upwards, modulation [1

2] to dominant • change to solo vibraphone • major tonality • portamento/glissando effects • blues 3rds and 7ths [12] 12

Total 60

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Music

Assessment Unit A2 3: Part 1Test of Aural Perception

assessing


Transcript This is the Northern Ireland Council for the Curriculum, Examinations and Assessment General Certifi cate of Education, Advanced Level Music Summer 2006Assessment Unit A2 3 Part 1, Test of Aural Perception.

1 Now look at Question 1.Pause 1 minute

Here is the music for Question 1. You will hear the extract four times with pauses between hearings.

Here is the extract for the fi rst time.

Pause 1 minute

Here is the extract for the second time.

Pause 1 minute

Here is the extract for the third time.

Pause 1 minute

Here is the extract for the fourth and last time.

Pause 1 minute

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2 Now look at Question 2.

Pause 1 minute



Pause 1 minute


Pause 1 minute


Pause 1 minute


Pause 1 minute


Pause 1 minute



Pause 1 minute


Pause 1 minute


Pause 1 minute


Pause 1 minute

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Pause 1 minute



Pause 1 minute


Pause 1 minute


Pause 1 minute

Here is the extract for the fourth and last time, after which you will be allowed fi ve minutes to check your answers before the examination ends.

Pause 5 minutes

This is the end of the recording.

ADVANCEDGeneral Certifi cate of Education

2006

MusicAssessment Unit A2 3: Part 2

Written Examinationassessing


[A2P32]THURSDAY 1 JUNE, AFTERNOON

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MARK SCHEME

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Music

Assessment Unit A2 3: Part 2 Written Examination

assessing

Module 1: Making and Responding to Music with Understanding

Mark Scheme

CONTEXT FOR MARKING

Each answer should be marked out of 24 marks distributed between the two criteria as follows:

Criterion 1 – content focused

knowledge and understanding of the set work/area of study applied to the context of the question (21 marks); and

Criterion 2 – quality of written communication

structure and presentation of ideas, including quality of language and appropriate musical vocabulary (3 marks).

The criteria have been set out in a way which will not discriminate against candidates who may have a high level of musical knowledge and understanding, but whose essay-writing skills may be of a lesser standard.

MARKING PROCESS

Knowledge and Understanding of the Set Work/Area of Study Applied to the Context of the Question

Marks should be awarded according to the mark bands stated below.

Marks

[1]–[6] An answer which is limited by insuffi cient breadth or depth of knowledge. The answer may contain irrelevant or incorrect details in relation to the question.

[7]–[13] An answer which displays some breadth, but limited depth of knowledge and understanding of the set work or area of study. There is some attempt to relate the content of the answer to the context of the question but the answer may make insuffi cient reference to appropriate musical examples.

[14]–[20] A competent grasp of the set work/area of study in terms of both breadth and depth. There will be evidence of the candidate’s ability to relate the music to its historical, social and/or cultural context and to provide appropriate musical examples to support points being made or positions taken. Knowledge and understanding will be applied to and set within the context of the question. At the lower end [14]–[16] of the range there may be some imbalance between breadth and depth of knowledge and understanding.

[21]–[27] An answer which displays a comprehensive grasp of the set work and area of study in terms of both breadth and depth of knowledge and understanding. There will be evidence of a thoughtful approach and the candidate’s appreciation of the music through an ability to analyse and comment perceptively on the set work; to place it within a wider musical context; and to support ideas and/or arguments with references to musical, social, cultural or historical contexts as appropriate. Variations within the band will relate to the quality of insight demonstrated through the answer.

Marks should be awarded also for the candidate’s ability to communicate effectively in written format. Each answer should be awarded up to 3 marks according to the following criterion:

Structure and Presentation of Ideas, Including Quality of Language and Appropriate Musical Vocabulary

Marks should be awarded according to the mark bands stated below

Marks

[1] There is limited attention paid to structure and presentation of ideas or to the quality of language, including spelling, punctuation, grammar or the use of appropriate musical vocabulary. Alternatively, there may be inconsistency within and/or across any of the areas.

[2] Ideas and/or arguments are expressed clearly and with correct use of spelling, punctuation, grammar and appropriate musical vocabulary. The answer may not be wholly satisfactory in terms of structure and/or presentation.

[3] Comments, ideas and arguments will be well-structured and presented. The standard of English will be good and include an appropriate and accurate musical vocabulary.

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(Answer one question)

Set Works

George Gershwin: Piano Concerto in F

1 (a) Identify and comment on musical features Gershwin’s Piano Concerto in F which show it to be a twentieth century work.

Answers should identify and comment on some of the following twentieth- century features: • popular elements • blues features – blues scale, tonality, 3rds and 7ths, use of popular song form • 1920’s Charleston rhythm • elements of ragtime style, cakewalk rhythm • jazzy use of woodwind, instrumental effects (e.g. brass use of mutes, piano glissando) • stride piano fi gurations • importance of rhythm and colour not structure and form • use of a large symphony orchestra with additional percussion including the “Charleston stick”, xylophone and bells • instrumental timbres and scoring – Mt. 2, opening trio of muted trumpet, clarinet and bass clarinet; cor anglais and bassoon before Figure 3; solo string quartet passage at Figure 12; originality of the piano’s fi rst entrance on a low C in Mt. 1 • rhythmic features and elements such as syncopation, 3 + 3 + 2 pattern, motor rhythms, cross rhythms, ostinatos, polyrhythms • free handling of sonata form – Mt. 1 unclear restatement of material and combination of thematic ideas in the recapitulation; Movement 3 – rondo form • unusual tonal schemes – second subject of Mt. 1 in F major • unorthodox treatment of material in the development section of Mt. 1 • harmonic features – use of seventh, ninth and added sixth chords [27]

Quality of written communication [3]

Or

(b) Identify the main thematic material of the fi rst movement of Gershwin’s Piano Concerto in F and comment on its use. Refer to specifi c passages in your answer.

Answers should make reference to the multiplicity of motivic ideas that are subject to continual development by Gershwin and highlight some of the ways in which they are used within the fi rst movement and possibly the second or third.

1. the opening bars of the work introduces a number of motivic ideas, intervals and rhythms which are used to construct the main melodic material of the fi rst movement and other movements – glissando, chromaticism, semitone, Charleston rhythm, triplet rhythm, e.g.

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• Charleston rhythm antiphonal use at Fig. 14 in the development section in clarinet, bassoon and piano

• rhythmic diminution of the rhythm in the piano at Fig. 22 (Variation 3 in the development section)

2. Bar 9 – bassoon presents a dotted pentatonic fi gure which outlines a broken seventh chord and is used extensively throughout the movement, e.g. • Fig. 2 pentatonic idea moves up sequentially by minor 3rds then by semitones • Fig. 3 repeated with fuller orchestration • Fig. 14 (development section) extension of pentatonic idea with blues 3rds and accompanied by an extension of the Charleston rhythm • Fig. 17 (development section) change of tonality to Ab major, pentatonic idea decorated chromatically and rhythmically • Fig. 25 (Variation 4) presented in Db major with 3 + 3 + 2 accompaniment in piano and pedal Db, features blues 7th, repeated in Eb minor with added woodwind • Fig. 26 repeated with added countermelody, faster tempo and features cakewalk rhythm • Fig. 32 expanded into piano chords to accompany opening bars of the 2nd subject in the violins/violas • Fig. 33 – cadenza features a triplet version of the pentatonic pattern

3. 1st subject (Fig. 4) links to the opening material with repeated notes and syncopation, minor 3rd interval and glissando and is used at: • Fig. 5 fuller scoring and added countermelody in the cor anglais and viola and sustained bass • Fig. 11 1st subject in F minor in the orchestra with piano countermelody • Fig. 29 appears in the recapitulation in the tonic key with added triplet chords in the piano

4. 2nd subject (Fig. 7) is a rhythmic development of the Charleston rhythm, also links to the fi rst subject and is used at: • Fig. 9 elaborated with the 3 + 3 + 2 rhythm pattern and added woodwind trills and glissandi • Fig. 31 (recapitulation) combines the two ideas from Figure 7 and 9 with shifting tonality every four bars • Fig. 32 presents the 2nd subject in augmentation in the violins and violas

5. New thematic idea presented in the development section is introduced in the piano-Ragtime like style and accompaniment and is used at: • Fig. 20 (Variation 2) new melody developed in violins and cor anglais, chordal accompaniment, moderate tempo and reduced texture • Fig. 21 fuller orchestration of the new theme and developed through inversion • Fig. 24 new theme in G minor moving to F major [27]

Quality of written communication [3] 30

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Berg: Violin Concerto

2 (a) Identify and comment on the striking features of the third movement (Allegro Bars 1–135) of Berg’s Violin Concerto

Answers should highlight some of the following striking features: • dramatic, sinister and strident nature of this movement to express tragedy and suggest suffering and death • opening strident discord in the orchestra which is built on all the notes of the basic series, answered by timpani hammer-blow effects and rolls • agitated, improvisatory cadenza-like passage for solo violin featuring an angular ascent to a top D • tempi change to molto ritmico • domination of the menacing hauptrhythm introduced in the horns, dissonant and syncopated, repeated twelve times to represent the brutal fate of death • hauptrhythm motive in the solo violin with distorted rhythm and use of triple and quadruple stopping to enhance the brutality of the theme • domination of the solo violin in the B section in a free cadenza-like manner culminating in a solo cadenza featuring a four part canon on a previous thematic idea – the wienerische motive – which becomes increasingly complex and agitated • delicate use of the orchestra to accompany the solo violin in this section • sudden return to the opening section and growing sense of climax to symbolise death with the solo violin rushing up and down the entire range of the instrument, tremolando effects, harp glissando • Hohepunkt or climax of the entire work (Bar 125) fff tutti passage with the orchestra hammering out a nine note chord in a discordant clash over a pedal F • dramatic low notes in the solo violin after the orchestral discord [27]


Or

(b) Choose and comment on four passages (each lasting approximately twenty bars) which illustrate Berg’s use of the violin as a solo instrument in his Violin Concerto. Refer to specifi c passages to illustrate your answer.

Answers should refer to some of the following:

• the solo violin is rarely silent in the concerto • the solo violin is used to present and develop essential thematic material • use of the solo violin to create mood and help portray the programmatic images of the work • Berg exploits the violin as a solo instrument to the full and consulted the performer Krasner on the performability of each section producing technically virtuosic solo writing featuring wide-ranging tessitura, double, triple and quadruple stopping, octaves, playing in the highest position, harmonics, arpeggios across the four strings, left hand pizzicato and a four part canon in the cadenza

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• the technical demands are not just a vehicle for virtuoso display but are designed to have an expressive impact as Berg explores the violin’s expressive range from lyrical to dramatic and declamatory • use of the solo violin to produce a wide range of sonorities through the use of: – the mute – Mt 2/164 – pizzicato – Mt 2/104 – harmonics – Mt 2/51 – non vibrato – Mt 2/157 – open strings – opening haunting passage – fl autando effect – Mt 2/200 – different types of articulation, e.g. martellato – Mt 2/6 [27]


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Bartok: Concerto for Orchestra

3 (a) Identify innovatory features of Bartok’s Concerto for Orchestra. Refer to specifi c passages to illustrate your answer.

Answers should make reference to some of the following innovatory features: • the overall form is organised into fi ve movements and displays an element of symmetry with two substantial outer movements, a central slow movement and two scherzo-like movements • form of individual movements, for example, Mt 2 is organised as a chain of independent sections/a chain of dances presented by couples of wind instruments paired in certain intervals leading to a central trio section • the tonal structure of the concerto – Mt 1 in F, Mt 2 in D, Mt 3 in C sharp, Mt 4 in B and Mt 5 in F • Bartok’s treatment of the whole orchestra as a virtuoso instrument and soloistic treatment of instruments – for example, the brass fugato in the development section of Mt 1, perpetuum mobile string passage in Mt 5, pairing of solo wind instruments in Mt 2, improvisatory-like oboe melody in Mt 1 • instrumental effects and sonorities, for example, strummed effects on the harp, tone-cluster trills, use of string harmonics • integration of the essence of folk music with forms of Western art music and expanded melodic, tonal, rhythmic and harmonic resources which refl ect the infl uence of the Hungarian folk tradition – for example, the use of intervals such as the tritone, use of pentatonic, whole tone, non- diatonic, acoustic, modal, octatonic scales, chords built on fourths, triads, whole tone, modal scales etc. [27]


Or

(b) Illustrate Bartok’s imaginative writing for the orchestra in the third movement of his Concerto for Orchestra.

Answers should refer to the following: • Bartok’s orchestral writing in this movement helps to create his “night music style” and the elegiac and funereal atmosphere of the movement • Bars 10–18 feature timpani rolls, harp glissandi, string tremolandi trills, narrow ranged oboe melody and rapid arpeggios in the woodwind to depict the nocturnal sounds of the natural world • sul ponticelli writing for violas to accompany the canonic writing in the woodwind and string sections • use of the piccolo to suggest the improvisatory sound of birdsong • link passage for full orchestra featuring melody in clarinets and violins accompanied by a texture of tremolo lower strings, harp and horn chords and distinct scotch snap rhythms in the trumpet • Bars 54–61 unusual scoring with muted horns playing sustained chords and sul ponticelli writing for upper strings both emphasising the interval of a tritone; oboes, clarinets and four solo pizzicato cellos presenting a semiquaver motive based on the reiteration of four pitches linking to the “arabic” melody of Movement 1, gong and timpani strokes and the re-entry of the piccolo with quasi-improvisatory interjections

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• chromatic melody in viola accompanied by tremolando fi gures in the harps and violins is repeated in octaves in the woodwind with orchestral of loud accompaniment of loud chords, pizzicato strings, harp glissandi and horn muted/unmuted scotch-snap fi gure at the end of each two bar phase • Bar 98 – dense orchestral writing to form the climax of the movement • Bar 99–111 a return to the impressionistic orchestral writing of the opening introduced by rapid arpeggios in the fl ute and clarinet which continues in a fi oritura like cadenza style accompanied by muted tremolo strings and re-entry of the piccolo to offer fragmentary utterances • Bar 112 – Coda’s calm ending is established with woodwind chords, divided string tremolo cluster chords, repeated high Bs in the piccolo and timpani rolls [27]


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Gerry Murphy: Dialects for uilleann pipes and orchestra

4 (a) Choose and comment on four passages (each lasting approximately twenty bars) from Gerry Murphy’s Dialects for uilleann pipes and orchestra which illustrate the main characteristics of his musical style.

Answers and passages chosen for discussion should highlight some of the following characteristics of his musical style: • Irish traditional features of his music such as the use of traditional instruments (the pipes and low whistle), dance forms (jig and hornpipe), lament, slow air and planxty, modes, ornaments, use of drones, element of improvisation • use of percussion – Mt 2 tapping fi gure on the woodblock and use of hi-hat and cymbal; Mt 3 hi-hat cross rhythms, off-beat rim shots on the snare drum; Mt 4 timpani imitate a bodhran accompaniment to the jig • orchestral accompanimental effects – Mt 2 mournful trombone chords, syncopated harp and woodwind chords; Mt 3 pizzicato rock riff in lower strings • use of ostinati – like ideas, pedals and drone-like accompaniments • use of counterpoint – Mt 2 canon between solo pipes and solo cello; Mt 3 fugal treatment of the jig theme in the strings and use of stretto; Mt 4 Nobilmente and Planxty themes in counterpoint • thematic links between movements – use of the opening lament, nobilmente theme and jig of the fi rst movement in the fourth movement • rhythmic features such as the use of syncopation, cross rhythms [27]


Or

(b) Comment on Gerry Murphy’s use of Irish dance forms in his Dialects for uilleann pipes and orchestra. Refer to specifi c passages to illustrate your answer.

Answers should make reference to the following dance forms and illustrate their use within the work: • 6/8 Allegretto jig presented in the solo pipes in Mt 1, brief variant of the jig theme in the strings at Bar 132, abrupt re-entry of the pipes with another variant of the jig at Bar 160, strings attempt to keep the jig going, fi nal combination of the jig and syncopated fi gure from Bar 99 to drive the movement to a tutti orchestral climax • solo pipes introduce a hornpipe-like idea in Mt 3 at Bar 17 accompanied by a hi-hat cross rhythm, three semiquaver motif in uppers strings and woodwind, and entry of a pizzicato rock riff in the lower strings • a fast 12/8 jig theme is introduced in Mt 3 in the violas in Eb minor and develops into a fugal exposition with the second entry on the 2nd violins and countersubject in the violas at Bar 52, third entry in the cellos at Bar 56 and fi nal entry in the 1st violins at Bar 60 • entry of the snare drum in Mt 3 to reinforce the jig rhythm at Bar 68 and reappearance of the jig theme in stretto in bassoons and basses • use of a reel-like idea (Planxty) in Mt 4, running 2/2 quaver idea introduced by solo pipes gradually rising in pitch and accompanied by a dominant sustained pedal in lower strings

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• return of the Planxty theme accompanied by woodwind chords at Bar 53 • use of the Planxty theme at Bar 65 in counterpoint with the Nobilmente theme from the fi rst movement now augmented in block chords in the woodwind • reappearance of the jig from the fi rst movement on the solo pipes accompanied by bodhran-like strokes on the timpani and then pizzicato string chords [27]


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(Answer one question)

Areas of Study

16th Century Music focusing on the work of Orlando di Lasso, Giovanni Gabrieliand Thomas Tallis

5 (a) Comment on the contribution of one of the following composers to the sixteenth century motet repertoire. Refer to specifi c works to illustrate your answer.

Orlando di Lasso Giovanni Gabrieli Thomas Tallis

Answers should highlight the individual contribution of one of the following composers to the sixteenth century motet repertoire as follows:

di Lasso

• composed over 500 motets which cover a wide range of moods, styles, techniques and expressive effect • output included motets composed for special occasions and ceremonial works • motets with texts ranging from playful to drinking songs and religious works • antiphonal voiced motets • later motets are virtuoso in invention and the handling of vocal textures • much use of chordal declamation • a few motets composed over a cantus fi rmus • emphasis on conveying the meaning of the text/mode through, for example, rhythm, texture, motives • use of madrigalian, pictorial devices • among his most famous motets are settings of “Seven Penitential Psalms” all structured in short, self-contained sections, for example, “De Profundis” consists of ten sections scored for 3–6 parts and built over a declamatory psalm tone used as a cantus fi rmus

Gabrieli

• many of his motets are set to texts which are sung on the major Venetian state festivals • motets for single choir are mostly early works • expanded the motet to greater proportions with 2, 3, 4 and even 5 choruses employed, each with a different combination of high and low voices • motets refl ect the development of a polychoral style (cori spezzati) • composed accompanied motets with the voices intermingling with instruments of different timbres • use of antiphony as instruments and voices answer one another and joining together for massive sonorous climaxes • his motets refl ect his fl air for interesting sonorities and richness of textures, for example, In Ecclesiis

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Tallis

• 1575 the collection entitled “Cantiones Sacrae” included 17 motets by Tallis • his motets tend to work on a modest scale relying on fairly rigid imitative and repetitive schemes with the concluding repetition of a long section, for example, Salvator Mundi in which the opening set of entries is repeated and virtually unchanged except Tallis devises additional material to support the restatements • 40 voice motet “Spem in Alium”, a composition for eight fi ve-voice choirs which, from time to time, all perform at once, exploit various antiphonal effects and employ a range of reduced imitative textures • his motets composed during the reign of Elizabeth reveal melodies that fi t with the rhythm of the words and present points of imitation in an order that enables their pace and shape to refl ect something of the meaning of the text • expressive treatment of certain words, for example, Lamentations, a sombre setting for 5 low voices ATTBB uses texture, tonality to refl ect the meaning of the text (change of tonality to set “plorans” – weeping) • his motets use canon and canonic techniques, for example, Miserere nostri, Salvator Mundi • use of adventurous tonal schemes in his motets, for example, In jejunio [27]


Or

(b) Choose and comment on three pieces, one by each of the following composers, to illustrate how expressive effects were achieved in sixteenth century music.

Orlando di Lasso Giovanni Gabrieli Thomas Tallis

Answers should comment on three pieces providing details of how expressive effect is achieved through the use of some of the following: • contrapuntal techniques, use of canon, imitation • varied and imaginative textures, for example, use of semi-chorus, echo effect, imitation, homophony, chordal declamation, antiphony • use of tonality, sudden changes of tonality, modulation, adventurous tonal schemes • use of/choice of voices or instruments • use of madrigalian and pictorial devices • number of performing forces – voices and/or instruments • register – low or high pitched settings • harmonic features, for example, use of chromaticism, suspensions, dissonance, false relations • melodic features, for example, repeated notes, choice of interval, decoration • choice or change of metre • rhythmic features, for example, cross accents, syncopation, dotted rhythm [27]


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20th Century Music focusing on the work of Aaron Copland, Ralph VaughanWilliams and Dmitri Shostakovich

6 (a) Identify and comment on twentieth century features in the music of the following composers. Refer to specifi c works to illustrate your answer.

Copland Shostakovich Vaughan Williams

Answers should highlight the fact that despite all three composers being considered conservative all were aware of their nationalistic heritage and radical changes taking place in contemporary music, experimenting with some of the basic elements of music as follows:

Copland

• was infl uenced by the neo-classical Stravinsky and Prokofi ev in terms of rhythm and sonority and this resulted in features such as interruptions, irregularities of metre and the spacing of simple chords • neo-classical works such as his second symphony, (“The Short Symphony”) and third symphony • some use of bitonality • diatonic harmony but with modal ambiguity, quartal and quintal sonorities • austere music of the early 1930’s • infl uence of Schoenberg and Boulez in the occasional use of serial techniques in, for example, Piano Quintet • jazz-like features Shostakovich

• as a young composer he rapidly developed his own unique idiom which refl ected trends in western European music – astringent, satirical and often dissonant, for example, his Second Symphony attempted to blend this modern style with Marxist ideology to commemorate the 10th anniversary of the Revolution • was offi cially directed by the state to avoid advanced techniques such as serialism which were regarded as “formalist” and to compose music that would give pleasure to the ordinary public • as a result his experiments were limited to structure and scoring • his harmonic language ranges from traditional tonality to polytonality and even atonality, for example, Violin Sonata 1968 features very stark, formal, tonal and atonal with the fi rst theme 12 tone; String Quartet 12 1968 has a similar tonal/atonal polarity, not serial but abandoning tonality in an effort to widen expressive possibilities • angular melodic lines • composed modal themes supported by dissonant harmonies but still essentially tonal

AVAILABLE MARKS

23A2U32S6P

Vaughan Williams

• his musical leanings were more towards the French Impressionist composers such as Debussy and Ravel, for example, on Wenlock Edge and String Quartet in G minor 1908–1909 reveal the infl uence of Ravel with dark atmospheres, less folk-like melodic writing and more chromatic harmony; A London Symphony 1912/1913 features sensuous, impressionist, block chords in the style of Debussy • neo-classical works such as Concerto for Violin 1924–1925 • neo-classical elements, features and forms such as modal harmonies refl ecting the Renaissance Period, for example, Fantasy on a Theme of Thomas Tallis based on a melody in the phrygian mode; use of melodies from 16th and 17th century and musical and literary forms of the Elizabethan era • experimentation with bi-tonality, for example, beginning of Flos Campi 1925 is typical of Vaughan Williams’ exploratory approach of the time • angular and dissonant, dark side to his musical style is illustrated in Job 1930 and Symphony No. 4 1931–1934 • use of unconventional instruments/voices [27]


Or

(b) Identify and comment on the stylistic features of one of the following composers. Refer to specifi c works to illustrate your answer.

Copland Shostakovich Vaughan Williams

Answers should comment on one of the above composers and refer to specifi c works to illustrate the stylistic features being discussed:

Copland

• melodic features such as triadic ideas and intervals, use of short motives, unusual phrasing, serial features, use of American folksong • rhythmic features such as march and dance rhythms, changing metres, strong syncopation, speech-like patterns, irregular or unexpected accents, polyrhythmic layering • harmonic features such as the use of diatonic harmony with modal ambiguity, quartal and quintal sonorities, chords based on intervals of a fi fth, third and triads, bold dissonance, chromatic harmonies, some use of bitonality • textural features such as the spacing of chords, bare to very full textures, clear transparent features • repetition and extension as means of thematic development • use of jazz-like features, for example, aspects of instrumentation, melody, harmony or rhythm • features of Latin and South American music

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24A2U32S6P

Shostakovich

• melodic features such as twelve-note motives, use of folk material, angular melodic lines, concerns for intervals of major and minor third • rhythmic features such as strong rhythms, infl uence of jazz, syncopated rhythms • harmonic features such as polytonality, atonality, use of dissonance, use of diatonic modes • contrapuntal devices and imitation • element of satire, pastiche and humour in his music • colourful, vibrant and intense handling of the orchestra • nationalistic and patriotic elements

Vaughan Williams

• melodic features such as use of folk songs and folk-like features, lyrical quality, English hymns and material from the 16th, 17th centuries, angular melodic lines, motivic cell-like writing, pentatonic melodies, emphasis on the interval of a fourth metric, fl exibility, shifting metric patterns • rhythmic features such as metric fl exibility, shifting metric patterns • harmonic features such as modally enriched diatonic harmony, pentatonic harmony, quartal harmony, juxtaposition of triads with roots a third apart, parallel motion chords, use of block chords, chromatic harmony, dissonance, exploitation of the false relation of third and sixth degrees of the scale • neoclassical elements and forms • sense of orchestral texture and spacing, eloquent use of solo instruments [27]


Total 60

A2 Mark Scheme - May-June 2006

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