Professional Documents
Culture Documents
Music
January 2007
Mark Schemes
Issued: April 2007
NORTHERN IRELAND GENERAL CERTIFICATE OF SECONDARY EDUCATION (GCSE)
AND NORTHERN IRELAND GENERAL CERTIFICATE OF EDUCATION (GCE)
MARK SCHEMES (2007)
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.
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.
iii
CONTENTS
Page
A2 3: Part 1 1
A2 3: Part 2 9
ADVANCED SUBSIDIARY (AS)
General Certificate of Education
2007
Music
Assessment Unit A2 3: Part 1
Test of Aural Perception
assessing
Module 1: Making and Responding
to Music with Understanding
[A2P31]
MONDAY 15 JANUARY, MORNING
MARK
SCHEME
1
1 Handel, The Utrecht Jubilate, “O be Joyful in the Lord”, solo and chorus AVAILABLE
MARKS
A2U31W7 2548.01 2
2 Holst, St Paul’s Suite, Finale, The Dargason Figure 1–6 AVAILABLE
MARKS
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3 Haydn, String Quartet, Op. 33, No. 3, “The Bird”, Adagio, Bars 1–22 AVAILABLE
MARKS
(b)
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4 Harris and Young, Sweet Sue AVAILABLE
MARKS
Total 60
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Transcript
This is the Northern Ireland Council for the Curriculum, Examinations and Assessment
General Certificate of Education, Advanced Level Music January 2007
Assessment Unit A2 3 Part 1, Test of Aural Perception.
Here is the music for Question 1. You will hear the extract four times with pauses between hearings.
Pause 1 minute
Pause 1 minute
Pause 1 minute
Pause 1 minute
Pause 1 minute
Here is the music for Question 2. You will hear the extract four times with pauses between hearings.
Pause 1 minute
Pause 1 minute
Pause 1 minute
Pause 1 minute
A2P31W7P 2548.02
3 Now look at Question 3.
Pause 1 minute
Here is the music for Question 3. You will hear the extract four times with pauses between hearings.
Pause 1 minute
Pause 1 minute
Pause 1 minute
Pause 1 minute
Pause 1 minute
Here is the music for Question 4. You will hear the extract four times with pauses between hearings.
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 five minutes to
check your answers before the examination ends.
Pause 5 minutes
A2P31W7P 2548.02 7
ADVANCED
General Certificate of Education
2007
Music
Assessment Unit A2 3: Part 2
Written Examination
assessing
Module 1: Making and Responding
to Music with Understanding
[A2P32]
MoNDAy 15 jANuAry, AftErNooN
MArK
SCHEME
CONTEXT FOR MARKING
Each answer should be marked out of 24 marks distributed between the two criteria as follows:
knowledge and understanding of the set work/area of study applied to the context of the question (21
marks); and
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
Marks
[1]–[6] An answer which is limited by insufficient 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 insufficient 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 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.
A2U32W7 2549.01 10
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:
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.
A2U32W7 2549.01 11
(Answer one question) AVAILAbLE
MArKS
Set Works
Or
(b) Comment on the main rhythmic and melodic features of Gershwin’s Piano
Concerto in F. Refer to specific passages to illustrate your answer.
Answers may make reference to the following rhythmic and melodic features:
• importance of rhythm and colour in the first movement, popular dance
rhythms – Charleston, ragtime, cakewalk, swing rhythms
• use of syncopation, accents
A2U32W7 2549.01 12
• 3+3+2 rhythmic subdivision pattern AVAILAbLE
MArKS
• dynamic motor rhythms (opening of Mt 3)
• use of dotted rhythms, triplet rhythms
• use of polyrhythms
• use of ostinati, repetition of rhythmic patterns
• use of Blues scale, pentatonic scale, Blues 3rds and 7ths
• use of chromaticism
• 4 bar phrasing
• memorable melodies
• anacrusis featured in all the melodic material in the second
movement [27]
A2U32W7 2549.01 13
berg: Violin Concerto AVAILAbLE
MArKS
Or
(b) Comment on Berg’s approach to form and structure in his Violin Concerto.
Refer to specific passages to illustrate your answer.
A2U32W7 2549.01 14
• the second movement is designed as a scherzo with two trios and follows AVAILAbLE
MArKS
the arching structure set up in the first movement. The second trio (the B
section) forms the central pivot
• the third movement is in simple ABA form with an introduction which
has the character of a cadenza. In the B section there is a reference back
to Trio II and Viennese and rustico sections of the second movement
• the fourth movement is in three parts; the chorale, the two chorale
variations, the Carinthian Landler with Coda (Chorale). Final reference
to the material in the opening Andante to end the work [27]
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bartok: Concerto for Orchestra AVAILAbLE
MArKS
3 (a) Comment on the variety of textures and timbres in Bartok’s Concerto for
Orchestra. Refer to specific passages to illustrate your answer.
Or
(b) Identify and comment on the main musical features of the first movement
of Bartok’s Concerto for orchestra. Refer to specific passages to illustrate
your answer.
A2U32W7 2549.01 16
• rhythmic features such as: AVAILAbLE
MArKS
– irregular pulse typical of folk music
– hemiola effect (Bar 456–460)
– polyrhythmic at the end of the movement
• tonal features such as:
– modality (Bar 76 modal F minor, Bar 95 modal C minor)
– tonal shifts, for example Bar 424
• textural features such as:
– ostinati (Bar 58–75)
– use of canon, stretti, imitation, fugato
– drone
• timbral effects such as:
– tremolo muted upper strings (Introduction)
– off beat trumpets and timpani (Bar 58)
– open 5ths on strings (Bar 149)
– cimbalon effect on harp (Bar 438) [27]
A2U32W7 2549.01 17
Gerry Murphy: Dialects for uilleann pipes and orchestra AVAILAbLE
MArKS
4 (a) Identify and comment on melodic and rhythmic features of Gerry Murphy’s
Dialects for uilleann pipes and orchestra. Refer to specific passages to
illustrate your answer.
Melodic features:
• use of ornaments (triplets, cran, roll, popping)
• element of improvisation – ad lib writing
• chromatic writing, for example, rising motive in the upper woodwind
and strings in the fourth movement, coda
• range of the solo melodic writing, for example, limited range of a fifth
of the opening motive in the third movement
• short fragmentary melodic ideas
• use of repetition
• emphasis on intervals of a tone, major/minor third (Mt 3)
• thematic links between movements
• intervallic links – the use of the minor third
rhythmic features:
• forceful syncopation
• quick changes of metre
• cross rhythms (Mt 3 hi-hat)
• use of accents
• hornpipe-like rhythm on solo pipes in Mt 3
• jig-like rhythms
• repeated rhythms, ostinati, rock riff in Mt 3 [27]
Or
(b) Choose and comment on four passages (each lasting approximately twenty
bars) which illustrate how Gerry Murphy creates different moods in his
Dialects for uilleann pipes and orchestra.
A2U32W7 2549.01 18
• Mt 2 – slow harmonic change, use of solo alto tin whistle, pipes, use of AVAILAbLE
MArKS
the lament, sparse textures
• Mt 3 – fast jig theme on violas, snare drum jig-like rhythms,
hornpipe-like idea on the solo pipes
• Mt 4 – virtuosic nature of the writing, contrapuntal writing, strong tutti
passages, use of sforzando, forceful syncopation, energetic and frantic
coda, quick changes of metre and tonality in the coda [27]
A2U32W7 2549.01 19
(Answer one question) AVAILAbLE
MArKS
Areas of Study
16th Century Music focussing on the work of Orlando di Lasso, Giovanni Gabrieli
and Thomas Tallis
Orlando di Lasso
• composed about 50 masses which derive in some way or another from
pre-existent piece, mostly parody masses on his own and others’
chansons, motets and madrigals and magnificats
• often confined himself in his parody technique to extensive literal
quotation only in the Kyrie while alluding in other movements to his
model at the beginning or possibly at a few structurally important
passages in the middle of the mass
• striking transformation of simple material reflects his ability to raise the
level of music of lesser contemporaries
• adapted secular models in a wide range of styles from subtle, flowing
madrigals to polyphonic chansons – e.g. Missa “Qual donna attende”
based on Rore’s madrigal
• masses exhibit a wide range of styles from short syllabic masses (missae
breves), e.g. “Missa venatorum”, a work designed for a brief service on
days the court were hunting
• also composed densely polyphonic masses
Thomas Tallis
• wrote masses which reflect the influence of the changes in the monarchy
and changing musical styles
• masses reflect the move away from the florid composition of the early
sixteenth century and his simple and modest unnamed four part mass
sets the Gloria and Credo in an almost syllabic, chordal style with limited
use of extended melisma, clear text projection, much verbal repetition,
words “Sanctus, Sanctus, Sanctus” are set to three tiny chordal phrases
each ending with a pause
• composed a seven voice mass “Puer natus est nobis” during the brief
period which revived large scale composition, resourceful use of
imitation and choral antiphony, uses a slow moving cantus firmus, all
three movements begin in duple time, text repetition is fundamental in
all sections, main technique is imitation against the cantus firmus which
is present most of the time, modern style [27]
A2U32W7 2549.01 20
Or AVAILAbLE
MArKS
(b) Choose one of the following composers and comment on melodic and
textural features of his musical style. Refer to specific works to illustrate
your answer.
Answers may make reference to melodic and textural features of one of the
following composers:
Orlando di Lasso
• use of chordal declamation, often on short note values, marked by
clarity of harmony
• combination of different textures, imitative and chordal writing
• use of parody technique and extensive literal quotation
• short syllabic pieces and densely polyphonic pieces (e.g. masses)
• pictorial and dramatic treatment of text with expressive word painting
• motivic writing – use of short syllabic motives
Giovanni Gabrieli
• antiphonal textures
• polychoral writing, pairing of voices and duet textures
• development of simpler homophonic texture
• florid more virtuosic writing in the upper parts of an ensemble
• use of dialogue technique
Thomas Tallis
• development of simpler homophonic textures, often for setting English
texts, emphasis on the quality of sound and clarity of the words
• simple, syllabic chordal style with limited use of extended melisma,
much verbal repetition
• combination of different textures, imitative and chordal writing
• use of canon, canonic techniques
• use of repetition
• use of plainsong/cantus firmus in his masses
• reflection of the mood/meaning of the text, expressive treatment of
certain words [27]
A2U32W7 2549.01 21
20th Century Music focussing on the work of Aaron Copland, ralph Vaughan AVAILAbLE
MArKS
Williams and Dmitri Shostakovich
6 (a) Comment on how the music of one of the following composers was
influenced by his native country.
Copland’s music reveals the influence of his native country in the use of:
• American folk tunes (e.g. ballets) – direct quotation, manipulation of
melody or integration of characteristic folk qualities such as melodic
simplicity or diatonic harmony, e.g. Billy the Kid – use of cowboy songs,
features bare fifths and folk tunes
• traditional dance rhythms
• incorporates elements of American jazz, 20’s jazz, blues, swing style,
cool jazz, e.g. Music for the Theatre, Piano Concerto
• influence of Latin and South American music, e.g. El Salon Mexico –
integration of Mexican folksongs, irregular rhythms, accents
• use of modality within diatonic tonality/harmony
• use of American literature, e.g. Twelve Poems of Emily Dickinson
• music celebrating American ideals, e.g. Fanfare for the Common Man
Vaughan William’s music reveals the influence of his native country in the
use of:
• folk tunes and folksongs, e.g. Norfolk Rhapsody No. 1, Fantasia on
Greensleeves, English Folk Song Suite
• transcriptions and arrangements of folksongs, e.g. Folksongs of the Four
Seasons
• use of early English musical and literary forms and other non-musical
stimuli (e.g. London Symphony No. 2), settings of English literature, e.g.
Linden Lea, On Wenlock Edge, Three Shakespeare Songs
• use of modal and pentatonic harmonies and features
• use of distinctive melodic and harmonic ideas of traditional music
• use of English hymns
• music inspired by the English countryside
• music for amateur or general use, e.g. Household Music
• edition, arrangement and composition of music for hymns and carols
Shostakovich’s music reveals the influence of his native country in the use of:
• folk material and quotations from folk songs, e.g. Symphony No. 11,
each of the movements is subtitled and integrates authentic folk melodies
into the writing
• melody and harmony based on Russian diatonic modes
• works reflecting historical events, political figures and concern for
patriotic issues and commitment to Soviet ideology, e.g. Symphony
No. 2 “To October” commemorates the tenth anniversary of the October
revolution and includes a factory hooter
• Russian writers for libretti and texts, e.g. Pushkin Romances [27]
A2U32W7 2549.01 22
Or AVAILAbLE
MArKS
(b) Comment on the various influences on the musical styles of two of the
following composers. Refer to specific works to illustrate your answer.
Total 60
A2U32W7 2549.01 23