Professional Documents
Culture Documents
Music
Summer 2006
Mark Schemes
Issued: October 2006
NORTHERN IRELAND GENERAL CERTIFICATE OF SECONDARY EDUCATION (GCSE)
AND NORTHERN IRELAND GENERAL CERTIFICATE OF EDUCATION (GCE)
MARK SCHEMES (2006)
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
v
ADVANCED
General Certificate of Education
2006
Music
Assessment Unit A2 3: Part 1
Test of Aural Perception
assessing
Module 1: Making and Responding
to Music with Understanding
[A2P31]
THURSDAY 1 JUNE, MORNING
MARK
SCHEME
A2U31S6P A2P31S
1
Music AVAILABLE
MARKS
assessing
Mark Scheme
A2U31S6P 2
AVAILABLE
MARKS
2 Menuetto Bars 1–32 from Haydn’s String Quartet in C, Op. 74, No. 1
(a)
Bar 26 [2]
3 Handel, “Or let the Merry Bells Ring Round”, Air and Chorus
A2U31S6P 3
(d) [1] each for four of the following: AVAILABLE
1 MARKS
• entry of four part chorus/SATB, full/mixed chorus [ 2 ]
1
• modulation/change of key [ 2 ] to subdominant
1 1
• homophonic setting/texture [ 2 ], details of location [ 2 ]
• question and answer/antiphonal/dialogue effect/imitation, between AB
and ST
• unison return of descending scales, answered antiphonally
• rallentando in closing bars
1
• final VIIb I cadence, perfect cadence [ 2 ] in dominant
• change to simple metre [4]
Total 60
A2U31S6P 4
Music
assessing
Transcript
This is the Northern Ireland Council for the Curriculum, Examinations and Assessment
General Certificate of Education, Advanced Level Music Summer 2006
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
A2U31S6P 5
2 Now look at Question 2.
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
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
A2U31S6P 6
4 Now look at Question 4.
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
A2U31S6P 7
ADVANCED
General Certificate of Education
2006
Music
Assessment Unit A2 3: Part 2
Written Examination
assessing
Module 1: Making and Responding
to Music with Understanding
[A2P32]
THURSDAY 1 JUNE, AFTERNOON
MARK
SCHEME
A2U32S6P A2P32S
9
Music
assessing
Mark Scheme
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
Knowledge and Understanding of the Set Work/Area of Study Applied to the Context of the
Question
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 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.
A2U32S6P 10
[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
[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.
A2U32S6P 11
(Answer one question) AVAILABLE
MARKS
Set Works
Or
(b) Identify the main thematic material of the first movement of Gershwin’s
Piano Concerto in F and comment on its use. Refer to specific 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 first movement and possibly the second
or third.
A2U32S6P 12
• Charleston rhythm antiphonal use at Fig. 14 in the development AVAILABLE
MARKS
section in clarinet, bassoon and piano
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
2 (a) Identify and comment on the striking features of the third movement
(Allegro Bars 1–135) of Berg’s Violin Concerto
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 specific passages to illustrate your answer.
A2U32S6P 14
• the technical demands are not just a vehicle for virtuoso display but are AVAILABLE
MARKS
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
– flautando effect – Mt 2/200
– different types of articulation, e.g. martellato – Mt 2/6 [27]
A2U32S6P 15
Bartok: Concerto for Orchestra AVAILABLE
MARKS
Or
(b) Illustrate Bartok’s imaginative writing for the orchestra in the third
movement of his Concerto for Orchestra.
A2U32S6P 16
• chromatic melody in viola accompanied by tremolando figures in the AVAILABLE
MARKS
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 figure 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 flute and clarinet which
continues in a fioritura 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]
A2U32S6P 17
Gerry Murphy: Dialects for uilleann pipes and orchestra AVAILABLE
MARKS
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 figure 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 first 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 specific 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, final combination of the jig and syncopated figure 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 final 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
A2U32S6P 18
• return of the Planxty theme accompanied by woodwind chords at Bar 53 AVAILABLE
MARKS
• use of the Planxty theme at Bar 65 in counterpoint with the Nobilmente
theme from the first movement now augmented in block chords in the
woodwind
• reappearance of the jig from the first movement on the solo pipes
accompanied by bodhran-like strokes on the timpani and then pizzicato
string chords [27]
A2U32S6P 19
(Answer one question) AVAILABLE
MARKS
Areas of Study
16th Century Music focusing on the work of Orlando di Lasso, Giovanni Gabrieli
and Thomas Tallis
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 firmus
• 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 firmus
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 reflect 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 reflect his flair for interesting sonorities and richness of
textures, for example, In Ecclesiis
A2U32S6P 20
Tallis AVAILABLE
MARKS
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.
6 (a) Identify and comment on twentieth century features in the music of the
following composers. Refer to specific works to illustrate your answer.
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
Shostakovich
A2U32S6P 22
Vaughan Williams AVAILABLE
MARKS
Or
(b) Identify and comment on the stylistic features of one of the following
composers. Refer to specific works to illustrate your answer.
Answers should comment on one of the above composers and refer to specific
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
fifth, 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
A2U32S6P 23
Shostakovich AVAILABLE
MARKS
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, flexibility, shifting metric
patterns
• rhythmic features such as metric flexibility, 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
A2U32S6P 24