A2 Mark Scheme - Jan 2007

GCE A2 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. 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.

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CONTENTS

Page

A2 3: Part 1

1

A2 3: Part 2

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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

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A2P31J

1

1

Handel, The Utrecht Jubilate, “O be Joyful in the Lord”, solo and chorus (a) [1] for five of the following: • timpani [12], roll [12], tonic/dominant notes • high/Baroque [12] trumpet [12], held sustained notes [12] • string orchestra, violin [12], doubled by oboes, oboes [12] • continuo bass, organ [12] filling harmonies • antiphonal/question and answer/dialogue [12] effect between upper strings and lower strings/oboe • sequence [12] falling • perfect cadence [12] in tonic key • major tonality • 4/4 metre • fanfare like • ornamentation/trills at cadences, trills [12], ornamentation [12]

AVAILABLE MARKS

[5]

(b) [1] for five of the following: • (solo) alto voice • reduced orchestral accompaniment at times, continuo only, organ and solo cello • vocal line repeats (trumpet) melody of the introduction • strings enter to imitate the voice, imitation [12] • use of extended melisma on “be joyful all ye lands”, melisma [12] • modulation to the dominant, modulation [12] • dialogue between solo voice and solo trumpet on “all ye lands”, paired in thirds/tenths • voice slow trill like effect/ornamentation on final syllable, ornamentation [12] • major tonality [5] • descending sequence on “all”, sequence [12] (c) [1] each for three of the following: • use of four part chorus/SATB, full/mixed chorus [12] • modulates to minor tonality/dominant, modulates [12] • full orchestral accompaniment • instrumental doubling of the vocal lines • tierce de picardie effect • use of suspension • homophonic • perfect cadences • dialogue between choir and orchestra

[3]

(d) 1713 (allow 1700–1760)

[1]

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2

Holst, St Paul’s Suite, Finale, The Dargason Figure 1–6 [1] each for 14 of the following: • first playing in the violins, unaccompanied • repeated in the violins • accompanied by decorated, dominant pedal, decoration [12], pedal [12], drone [12] • addition of a drone/pedal in lower strings, tonic and dominant notes, drone/pedal [12] • theme presented in the violas • accompanied by pizzicato strings, marking the beat • with sequential [12] descending [12] arpeggio [12] line • (loud) tutti strings passage • theme in the violins, paired in sixths • with drone [12] bass, homophonic, tonic pedal, pedal [12] • use of minor chords to harmonise the theme • countermelody [12] in cello, Greensleeves, played against the theme [12] in the violas [12] • modal like harmony • violins enter to double the countermelody, an octave higher • tutti passage, theme in violins, paired in octaves/thirds/sixths • accompanied by descending [12], scalic [12] bass line • theme in violins • accompanied by double/triple stopping, of tonic chord, in lower strings • theme transfers to lower strings • accompanied by violin trills, on dominant note • presto tempo • major tonality [14] • final bars feature duplet rhythm/syncopation, syncopation [12]

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AVAILABLE MARKS

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3

Haydn, String Quartet, Op. 33, No. 3, “The Bird”, Adagio, Bars 1–22 (a) imperfect cadence

AVAILABLE MARKS

[1]

(b)

8 notes – [12] for pitch, [12] for rhythm

[8]

(c) diminished dominant [12] seventh

[1] [1]

(d) suspension Bar 11 dominant pedal Bar 14–15

[1] [2]

(e) [1] each for three of the following: • falling sequence, sequence [12] • modulation [12] through the (relative) minor, dominant • rising octaves acciacaturas • scotch snap rhythm in violin • violin plays unaccompanied • violins play in octaves • ends with a perfect cadence [12] into the dominant • repeated notes in bass part/cello

[3]

(f) string quartet

[1]

(g) 1785 (allow 1760–1810)

[1]

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Harris and Young, Sweet Sue

AVAILABLE MARKS

(13 × [1]) for each of the following: • fanfare-like opening • opening rhythmic features – anacrusis and triplet figure • homophonic [12] brass passage, brass [12] • muted on repeat/echo effect • slower, solo oboe passage • accompanied by sustained [12] wind [12] chords [12] • (final) low note [12] in tuba [12] • solo violin [12] enters, in dialogue/duet, with oboe • improvisatory-like/free tempo • (slow) trill-like motive • accompanied by (sustained) wind [12] chords [12] • piano [12] rising arpeggio/spread chord • high/sustained violin note • single note on the vibraphone, vibraphone [12] • muted brass briefly take over the melody, brass [12] • accompanied by a rising and falling arpeggio motive, in the bass clarinet, clarinet [12] • strings [12] and oboe [12] take over the melody • final 5 notes of the phrase repeated, repetition [12], imitation [12] • falling sequence, through muted brass/wind, sequence [12] • (final) low [12] tuba [12] note, and tutti chord • two slow chords lead to next contrasting section • 4/4 steady tempo, 4 bar phrasing • muted brass melody • jazz decorations/effects/glissandi/note bends • banjo strums chords on the beat, banjo [12] • piano [12] chords, pizzicato double bass, double bass [12], emphasises root and fifth of the chord • swing-like/jazz-like beat • brushes [12] on the snare drum [12], then cymbal [12] • major tonality [13]

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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. 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 first 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

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. Here is the extract for the first 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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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. Here is the extract for the first 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

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. Here is the extract for the first 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, after which you will be allowed five minutes to check your answers before the examination ends. Pause 5 minutes

This is the end of the recording.

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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

A2P32J

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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 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 cultural context and to provide appropriate musical examples to support points being or positions taken. Knowledge and understanding will be applied to set within the 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.

and/or made context [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.

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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)

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Set Works George Gershwin: Piano Concerto in F 1

(a) Comment on Gershwin’s approach to form and structure in his Piano Concerto in F. Refer to specific passages to illustrate your answer. Answers should comment on Gershwin’s use of three movement form (fast slow-fast) and free handling and use of traditional classical forms and structures such as: • very free version of sonata form in the first movement with • unusual orchestral introduction which presents the main ideas to be used later in the work • opening of the exposition and originality of the piano’s first entrance • abundance of musical ideas in the exposition • unusual tonality of the second subject in F major • repeat of the first subject material in F minor to produce a ternary feel • unorthodox treatment of material in the development section and introduction of a new thematic idea in the piano • range of modulation to remote keys in the development section • set of variations in the development • lack of tonal definition and unclear restatement of material in the recapitulation • combination of thematic ideas in the recapitulation • second movement structure of three distinct sections with a rondo-like element • B section strongly contrasts with the opening A section in terms of rhythmic vitality and exploration of tonal areas • third relationship between tonal centres • loose use of rondo form in the third movement with a recurring motoristic theme, elements of which appear in the episodes • recapitulation and reworking of themes from both the first and second movements • tonal structure and use of key centres related to other movements • contrasting episodes, for example, middle section with jazzy trumpet melody and hoe-down, 4 part fugato on the hoe-down melody in brass and strings • coda which includes a repetition of thematic motives from the first movement [27] Quality of Written Communication

[3]

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

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• • • • • • • • • •

3+3+2 rhythmic subdivision pattern 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

Quality of Written Communication

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AVAILAbLE MArKS

[27] [3]

13

30

berg: Violin Concerto 2

AVAILAbLE MArKS

(a) Comment on musical features of the third movement of Berg’s Violin Concerto which help to establish a tragic mood. Answers should make reference to some of the following musical features: • in the introduction, the use of rubato, dramatic unaccompanied cadenza for the solo violin, use of harp and timpani hammer blow effects and roll, agitated solo violin figures punctuated by strident orchestral chords • features of the A section such as the change to molto ritmico, domination of the menacing hauptrhythm repeated twelve times, strongly discordant and syncopated in the horns, woodwind and percussion cries, agitated wide ranging arpeggios in the solo violin encompassing the full range of the instrument, use of triple and quadruple stopping to enhance the brutality of the theme, syncopated intensity of the orchestra • features of the B section include the use of the whole tone phrase of Bach’s chorale in retrograde, domination of the solo violin in a free cadenza-like manner culminating in a solo cadenza featuring a four part canon on the wienerische idea which becomes increasingly complex and agitated • features of the second A section including the return of the opening dissonance, long crescendo, solo violin rushing up and down the entire range of the instrument, imitation of the syncopated rhythm in different parts of the orchestra, use of pedal note and tremolando effects Hohepunkt or climax of the entire work (Bar 125) – an immense • catastrophe, fff, tutti climax as the orchestra hammers out a nine note chord (almost every note of the series heard at once) in a discordant clash over a pedal F to represent death, dramatic low notes in the solo violin after the orchestral discord [27] Quality of Written Communication

[3]

Or (b) Comment on Berg’s approach to form and structure in his Violin Concerto. Refer to specific passages to illustrate your answer. Answers should make reference to the following: • the concerto is structured in two main parts with each part consisting of two movements • the overall structure and form has a programmatic basis and symbolic significance – the first two movements are designed to portray the character of Manon while the third suggests her suffering and death and the finale is a prayer of deliverance and peace for her soul • the first movement, Andante, is palindromic or symmetrical arch form with the main sections ABA. The central B section is connected to the A sections by two bridging sections which features a leaping figure. The B section features a new version of the series, rhythmic variants, diminution, augmentation and imitation. The return of the A section is shortened and the closing bars take up the opening fifths idea from the introduction to become the accompaniment of the scherzando melody in the following Allegretto

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• • •

the second movement is designed as a scherzo with two trios and follows 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]

Quality of Written Communication

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[3]

15

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bartok: Concerto for Orchestra 3

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(a) Comment on the variety of textures and timbres in Bartok’s Concerto for Orchestra. Refer to specific passages to illustrate your answer. Answers should comment on appropriate passages which highlight the following variety of textural and timbral writing: • homophonic textures (Mt 5 tranquillo Bar 449, harmonisation in block chords) • ostinato-like accompanimental writing and figures – Mt 4, finale • use of pedals (Mt 1 introduction, Mt 3 bass pedal notes) • use of drones (finale Bar 196 in bassoons and lower strings) • use of imitation, contrapuntal passages • fugal writing (Mt 1 development section – brass fugato, Mt 5 fugato based on the opening of the movement starting in the bassoon) • combinations of instruments, for example the pairing of instruments in the Mt 2 scherzo – bassoons in sixths, oboes in 3rds, clarinets in 7ths, flutes in 5ths and muted trumpets in major 2nds • instrumental effects • imaginative sonorities • use of percussion • soloistic treatment of individual instruments for example: • Mt 1 improvisatory -like oboe melody, drone-like accompaniment, high muted strings, strumming effect on harp • Mt 2 pizzicato strings, muted violin glissandi, tremolandi, multiple divisions, tone cluster trills, continuous side drum, harp glissandi, brass chorale • Mt 3 harp glissandi, sul ponticelli writing, muted horns, solo pizzicato cellos, timpani rolls • Mt 5 pizzicato perpetuum mobile strings passage, gypsy-like orchestration [27] Quality of Written Communication

[3]

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. Answers should highlight some of the following musical features: • melodic features such as: – pentatonic outline – use of intervals of 4ths, 2nds – semitonal motives – melody based on two oscillating pitches, eastern-like effect – inversion of the first subject • harmonic features such as: – pedal notes – chains of second inversion triads – chord with added sixth (Bar 208) – chord shifts, for example, A@ to A minor (Bar 396) A2U32W7 2549.01

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•

• •

•

rhythmic features such as: – 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)

Quality of Written Communication

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AVAILAbLE MArKS

[27] [3]

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Gerry Murphy: Dialects for uilleann pipes and orchestra 4

AVAILAbLE MArKS

(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. Answers should identify and comment on the following: 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 Quality of Written Communication

[27] [3]

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. Answers should highlight the changing moods of the individual movements and sections and describe how these are achieved: • Mt 1 ranges from a sorrowful, haunting lament to a violent outburst • Mt 2 is calm and quiet • Mt 3 is a scherzo, dance-like, energetic and busy with a few more majestic bars before a more tense close • Mt 4 – a feeling of bitter despair leads to the soothing of grief Relevant musical features of each passages should be highlighted for example, melodic, tonal, rhythmic, harmonic, textural, timbral, instrumental features. • Mt 1 – extended passage for solo pipes, use of drones, minor third interval, use of the jig dance form, chromatic writing, syncopated figure, tutti orchestral climax, unusual tonality at end of the movement

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• • •

Mt 2 – slow harmonic change, use of solo alto tin whistle, pipes, use of 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]

Quality of Written Communication

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[3]

19

AVAILAbLE MArKS

30

(Answer one question)

AVAILAbLE MArKS

Areas of Study 16th Century Music focussing on the work of Orlando di Lasso, Giovanni Gabrieli and Thomas Tallis 5

(a) Comment on the contribution of the following composers to the sixteenth century mass. Refer to specific works to illustrate your answer. Orlando di Lasso

Thomas Tallis

Answers may highlight the individual contribution of the following composers to the sixteenth-century mass repertoire: 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] Quality of Written Communication

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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. Orlando di Lasso

Giovanni Gabrieli

Thomas Tallis

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] Quality of Written Communication

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20th Century Music focussing on the work of Aaron Copland, ralph Vaughan Williams and Dmitri Shostakovich 6

AVAILAbLE MArKS

(a) Comment on how the music of one of the following composers was influenced by his native country. Copland

Shostakovich

Vaughan Williams

Answers should make reference to the music of one of the following: 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] Quality of Written Communication

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Or

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(b) Comment on the various influences on the musical styles of two of the following composers. Refer to specific works to illustrate your answer. Copland

Shostakovich

Vaughan Williams

Answers should make reference to two of the following composers: Copland was influenced by: • American jazz music – syncopated rhythms, harmonic idioms etc. • Mexican music – El Salon Mexico • Popular style and use of folk tunes/elements in his ballets and film music • Patriotic events and influences, for example, Fanfare for the Common Man • American poets in the use of texts for his songs and choral works • Neo-classical works were influenced by Stravinsky and Prokofiev • Debussy and Ravel in his short solo pieces, ballets and symphonies Vaughan Williams was influenced by: • folk music as revealed in his nationalistic works • neo-classical style and use of early literary and musical forms of the Elizabethan era (for example, Fantasia on a Theme of Thomas Tallis) • choral writing for amateur singers • political and historical events (for example, Sinfonia Antarctica) • Ravel in his orchestral colouring and parallel harmony • Stimuli from the film industry • commissioned and celebratory events Shostakovich was influenced by: • Political changes and influences which limited musical experimentation, inspired programmatic works • Western European poetry (revealed in his vocal/choral music and Symphony No. 14) • Jazz music • Avant-garde influence of contemporary composers • Nationalism elements in the use of Russian writers and historical events, Russian folksong arrangements • Film industry [27] Quality of Written Communication

A2U32W7 2549.01

23

[3]

30

Total

60