A2 Mark Scheme - May-june 2007

GCE A2 Music Summer 2007

Mark Schemes Issued: October 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

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A2 3: Part 2

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ADVANCED 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] THURSDAY 31 MAY, MORNING

MARK SCHEME

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1

1

Carl Orff, Carmina Burana, Tanz

AVAILABLE MARKS

(a) [1] each for six of the following features: • brass [12] chordal introduction [12]/fanfare [12] • timpani [12] snare drum [12] • allegro, fast tempo • strings only • changing metre • syncopation • major tonality • dissonant chords • predominant tonic/dominant harmony • pizzicato strings, multiple stopping • opening melodic idea features repetition, repetition [12]/limited pitch range • two solo violins, violins/solo violin [12] paired in thirds, present a new melodic idea [12] • accompanied by a tonic pedal, pedal [12], double bass stops playing • ternary like structure of the A section, loud-soft-loud [6] (b) [1] each for three of the following: • slower tempo • solo flute presents melody, flute [12] • dotted rhythm at opening of melody • changing metre, syncopation • timpani accompany, outline tonic and dominant chords, timpani [12] • turn-like/scalic (idea at the end of the melody), imitated [12] by violins [12] • A A structure of this section • major tonality • softer dynamics [3] (c) [1] each for four of the following: • opening melody now in unison, brass [12]/horns [12] and trombones [12] • accompaniment now in upper strings/all strings • contrasting melody now presented in the horns, horns [12] • accompanied by falling octave figure/ostinato, in the strings [12] • final return of the opening melody is faster, presented by trumpets [12] and flutes [12] • off beat accompaniment now in woodwind [12] and brass [12] • bass drums [12] on the beat, cymbals [12] off the beat • music speeds up towards the end • final unison phrase, with added glockenspiel [12]/bells [12], snare drum [12] • timpani play throughout [4] (d) 1937 (allow 1910–1960)

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[1]

2

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2

Mendelssohn, Violin Sonata, Opus 4, F minor, Poco Adagio, Bars 1–26 (a) turn

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[1]

(b)

[ 12 ] for rhythm, [ 12 ] for pitch

[8]

(c) dominant/Eb major

[1]

(d) diminished [12] seventh

[1]

(e) [1] each for two of the following: • (solo) violin takes over the melody • right hand melody more decorated • left hand accompaniment introduces two notes alternating

[2]

(f) [1] each for three of the following: • violin and right hand paired in 3rds/6ths • dialogue/call and response [12], between piano and violin [12] • rising register of the piano (right hand) • piano (left hand) pedal like [12], repetition [12] of a decorative motive [12] based around the dominant note [12] • ends on a dominant seventh chord, dominant chord [12], imperfect cadence, in dominant key [1] • cadenza-like figuration at end, improvisatory like [12], virtuosic [12] • ascending sequence, sequence [12] • rising chromatic lines, chromatic [12] • appoggiaturas [3] (g) 1823 (allow 1800–1850)

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[1]

3

17

3

Thomas Campion, Never weather-beaten Sail (Verse 1) Parry, Songs of Farewell, Never Weather-Beaten Sail (Bars 1–30)

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(a) alto [12]/countertenor, male alto

[1]

(b) viols (strings [ 12 ])

[1]

(c) [1] each for four of the following: Harmony/tonality • Major tonality • Perfect cadences [12] (end of Line 1, 2 and 4) • Imperfect cadence [12] (end of Line 3) • Modulation [12] on “longs to” and “sweetest Lord” • Use of suspension [12] to decorate the final cadence • Final cadence bare fifth/no third in the chord • Mostly primary triads, tonic/dominant based [12]

[4]

Melody [1] each for two of the following: • Lines 1 and 2 set to the same music • Use of (falling) sequence (Line 3), (rising) sequence (Line 4), sequence [12] • Melody mostly conjunct movement, limited range

[2]

(d) 1613 (allow 1590–1640)

[1]

(e) [1] each for five of the following: • full/mixed voice choir [12]/5 part choir/two soprano lines/SSATB/SATB • opening minor/modal tonality • use of suspension on “limbs”, suspension [12] • Lines 1 and 2 – homophonic settings, homophonic [12] • modulation to dominant, tierce de picardie [1], on “slumber more”/ end of Line 2 [12] • Line 3 imitative setting, features a rising diminished fifth interval, melismatic in Line 3, melisma [12], imitation [12] polyphonic [12] • Line 4 imitative setting • a capella • wider dynamic range/specific detailed comment on dynamics, e.g. diminuendo at end (maximum [1]) [5] (f) 1916 (allow 1890–1940)

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[1]

4

15

4

Malcolm Arnold, Dance No. 3 from “Solitaire”

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[1] for each of the following: • slow tempo • single descending notes/arpeggio [12] on the harp, harp [12] • string tremolo accompaniment, string [12], tremolo [12] • opening melody played by (solo) bassoon, bassoon [12] • modal like tonality, minor [12] • melodic features – opening rising fourth, falling fifth at the end of the phrase, decoration/ornamentation at the end of the phrase • entry of ww [12] chords [12] • melody played at different pitches, melody repeated [12] • some modulation • unison [12] strings [12], take over the melody [12] • accompanied by off beat [12] chords [12] in brass [12] • gong • melody taken over by piccolo, piccolo [12] • woodwind [12] play a quaver/scalic [12] accompaniment/counter melody [12] • timpani roll accompanies, timpani [12] • octave [12] strings [12] take over the melody/melody reappears [12] • accompanied by harp [12], broken chords [12] 4/quadruple metre • 4 • overlapping of phrases at cadence points/end/beginning of melody • rall at end • accurate comment on dynamics (e.g. soft opening) – maximum [1] • legato throughout [14] • dissonance [12], more specific comment [1]

14

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 Summer 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

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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

3

Now look at Question 3. Pause 1 minute Here is the music for Question 3. You will hear two extracts from two settings of the following text. Extract A will be played three times with pauses between hearings followed by Extract B played three times. Here is Extract A for the first time. Pause 30 seconds Here is Extract A for the second time. Pause 30 seconds Here is Extract A for the third and last time. Pause 30 seconds Here is Extract B for the first time. Pause 30 seconds Here is Extract B for the second time. Pause 30 seconds Here is Extract B for the third and last time. Pause 30 seconds

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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] THURSDAY 31 MAY, AFTERNOON

MARK SCHEME

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CONTEXT FOR MARKING Each answer should be marked out of 30 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 (27 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 and/or cultural context and to provide appropriate musical examples to support points being made or positions taken. Knowledge and understanding will generally be applied to and set within the context of the question. At the lower end 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.

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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: 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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11

(Answer one question)

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Set Works George Gershwin: Piano Concerto in F 1

(a) Identify and comment on the different musical styles used by Gershwin in his Piano Concerto in F. Refer to specific passages to illustrate your answer. Answers should identify and comment on some of the following musical styles and sources used by Gershwin: • popular music and jazz styles and musical features such as syncopation, accents, 7th and 9th, added sixth and chromatic chords, chromatic inner voices, use of the orchestra and solo instruments (muted brass, piano glissandi, strumming banjo effect on strings) • blues style with 12 bar blues, “blues” melodies, melodic features such as flattened 3rds and 7ths, 4 bar phrasing • 1920s Charleston style and rhythm to represent the young enthusiastic spirit of American life (e.g. Mt. 1 bar 5) • ragtime style (Mt. 1 Fig. 15), cakewalk rhythm • Hollywood lyricism and 32 bar popular song style (for example, Mt. 2, Moderato Cantabile and Mt. 2 Espressivo con moto section in Eb major) • nocturne style of the second movement with its feeling of improvisation • Classical style – 3 movement form – elements of sonata, binary, ternary, rondo forms – dialogue between soloist and orchestra [27] Quality of Written Communication

[3]

Or (b) Choose and comment on four passages (each lasting approximately twenty bars) which illustrate the main characteristics of Gershwin’s style in his Piano Concerto in F. Answers and passages chosen for discussion should highlight some of the following characteristics of Gershwin’s musical style: • influence of popular musical styles of the 1920s, jazz, dance hall, ragtime etc. • rhythmic features, for example, the use of syncopation, accents, cakewalk rhythms, 3 + 3 + 2 rhythmic subdivision, use of ostinati, cross rhythms, motor rhythms • melodic features such as blues 3rd and 7th • harmonic features such as the use of 7th, 9th, chromatic and added 6th chords • free handling of form and structure • multiplicity of motivic ideas and thematic material and elaborate developmental reworking of ideas • orchestration, instrumental colour and effects such as stride figurations, piano glissandi, jazzy use of brass and wind, dynamic percussive writing

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12

• •

changes of tempi unusual tonal schemes, range of modulation and lack of tonal definition at times [27]

Quality of Written Communication

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[3]

13

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30

Berg: Violin Concerto 2

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(a) Identify and comment on striking features of the second movement of Berg’s Violin Concerto (Allegretto, Bars 104–257). Answers may highlight the following features: • the movement portrays the vision of a carefree and youthful girl and rustic exuberance • dance-like and rustic quality of the music • the use of Austrian-like melodies and rhythms • the use of an amorous Carinthian folk tune played by the horn (Bar 214) and then solo trumpet accompanied by a serene solo violin countermelody highlighting the whole tone segment of the series – features a rustic effect in the wind through “overblowing” • scherzando idea (Bar 104) – two note chords in 6/8 in the clarinets accompanied by pizzicato strings immediately imitated by the solo violin and oboes • 6/8 wienerische (Bar 111) motive in the violins, features thirds and sixths and leaps characteristic of a Viennese waltz • rustico motive (Bar 114) – a peasant-like yodelling figure with sweeping semiquaver arpeggios based on an inverted form of the series • ma tranquillo figure (Bar 118) – delicate, dreamy character in the solo violin • Trio 1 (Bar 137) – a mood of unrestrained high spirits and a more energetic theme with upward and downward leaps of a sixth in the violins accompanied by a triplet bassoon motive, repeated by the solo violin with triple stopping – climax with a thundering waltz rhythm in the brass and a swinging bass line • Trio 2 (Bar 155) – meno mosso, return to calmer music and a serene, dream-like quality with more lyrical and less agitated material, gentle swaying movement in the flutes, cadenza-like passage on the solo violin • Cadenza-like writing in solo violin (Bar 169) in return of Trio 1. • Juxtaposition of tonalities (Gb major and C major – Bar 214) • Coda – animated, brass stretto, final chord (G minor with added major 7th) [27] Quality of Written Communication

[3]

Or (b) Choose and comment on four passages (each lasting approximately twenty bars) which illustrate Berg’s use of the orchestra in his Violin Concerto. Answers should comment on four contrasting passages which illustrate some of the following: • Berg’s use of a large orchestra which includes a saxophone, 3 clarinets and bassoons, 4 horns, 2 trombones, a tuba, timpani, harp and number of percussion • the full involvement of the orchestra in the musical happenings • equal role of the orchestra to the solo violin in presenting essential thematic ideas • the use of the orchestra to exploit fully the interplay and opposition of the two forces – orchestra and solo violin A2U32S7

14

• • • •

the use of the orchestra to produce a wide range of orchestral colouring, imaginative sonorities and instrumental effects soloistic treatment of individual instruments within the orchestra use of the orchestra to produce a variety of textures, e.g. combinations of instruments, doubling of melodic ideas, contrapuntal passages use of the orchestra to contribute to the programmatic element of the work and to portray different and changing moods and emotions [27]

Quality of Written Communication

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[3]

15

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30

Bartók: Concerto for Orchestra 3

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(a) Comment on Bartók’s approach to form and structure in the fifth movement of his Concerto for Orchestra. Answers should make reference to the following aspects of form and structure: • the movement has elements of sonata, rondo and fugue and does not reflect a single form or structure • the short introduction is fanfare-like and ambiguous in terms of tonality • the exposition presents rich thematic material including a presto string idea with a perpetuum mobile character, descending four note pattern, scalic figures, a mysterious emotional dolce melody and a closing idea suitable for development as a fugue • the development features a fugal exposition which begins in the bassoon and based on the opening of the movement; inversion of the fugue subject in the trumpets, rhythmic diminution of the fugue subject in divided strings, stretto in woodwind over triple counterpart in harps, further stretto in clarinets and bassoons • recapitulation opens in F sharp before shifting to the tonic key of F and perpetuum mobile returns in a simpler form, transition has relatively little material in common with that of the exposition • coda is extensive with scale passages, return of the first fugue subject, an augmented version of the second fugue subject in trumpets and trombones and a brief reference to the fourth movement [27] Quality of Written Communication

[3]

Or (b) Choose and comment on four passages (each lasting approximately twenty bars) from Bartók’s Concerto for Orchestra which illustrate the folk-like features of his style. Answers should select four appropriate passages which illustrate some of the following folk-like features: • rhythmic features – dance rhythms, folk rhythms, off-beat accents, scotch-snap rhythms • melodic features – folk-like contours, use of intervals rooted in Hungarian folk music, for example, 4th, augmented fourth, tritone, simplicity of melodic ideas, phrasing, small melodic range, quotes Hungarian folk song • tonal/harmonic features – absence of major/minor tonality at times, use of pentatonic, whole note, modal, acoustic, octatonic scales, scales without a fixed final note, use of chords/triads built on 4ths, pentatonic chords • metre – irregular metre, changes of metre • textural features – homophonic textures, ostinato-like figures, use of pedals, drones • use of instruments – for example, syncopated, pizzicato string accompaniment characteristic of Yugoslavian round dance (Mt. 2), quadruple stopping pizzicato bass to imitate the sound of a gypsy band) Mt. 5 introduction, Mt. 3 night music passage) A2U32S7

16

•

developmental techniques – repetition of motives, interpolation of bars, removal of bars, extension of intervals within a theme or motive [27]

Quality of Written Communication

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[3]

17

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Gerry Murphy: Dialects for uilleann pipes and orchestra 4

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(a) Identify and comment on musical features of Gerry Murphy’s Dialects for uilleann pipes and orchestra which show it to be a twentieth century work. Answers should highlight the fusion of classical and traditional Irish styles and some of the following musical features: • use of the solo alto tin whistle and pipes • use of dance forms such as single jig, double jig, hornpipe-like idea, reel-like dance • use of the lament • thematic links between movements • structure and form of the movements, often the solo pipes lead the opening of a movement or section • inclusion of cadenza-like passages within movements • unbroken link between movements three and four • element of improvisation • Irish Traditional features such as ornamentation • use of the uilleann pipes as a solo instrument • use of percussion such as the Mt. 2 tapping figure on the woodblock and use of the hi-hat and cymbal. Mt. 3 hi-hat cross rhythms, off-beat rimshots on the snare drum, Mt. 4 timpani imitates a bodhran accompaniment to the jig • soloistic treatment of instruments • frequent changes of metre • fusion of musical styles • 4 movement structure and inclusion of a scherzo • examples of dissonance • melodic features such as augmented fourths, chromatic motifs, short fragmentary idea, alternation between major and minor 3rds • cross rhythms [27] Quality of Written Communication

[3]

Or (b) Identify and comment on striking features of the fourth movement of Gerry Murphy’s Dialects for uilleann pipes and orchestra. Answers should identify some of the following features: • unbroken link from the third movement to the fourth, a single held D on the pipes • opening Planxty theme • inclusion of cadenzas • virtuosity and technical demands of the solo writing • reference to and use of thematic material from the first movement – lament, nobilmente theme and jig • contrapuntal writing, for example, the return of the Nobilmente theme is accompanied by the Planxty in counterpoint • timpani imitation of a bodhran • frequent changes of metre and tonality in the coda • forceful syncopation

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• •

strong tutti passages use of drone in the lower strings

[27]

Quality of Written Communication

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[3]

19

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30

(Answer one question)

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

(a) Choose and comment on three pieces by one of the following composers to illustrate his contribution to music of the sixteenth century. Orlando di Lasso

Giovanni Gabrieli

Thomas Tallis

Answers may make reference to the following: Orlando di Lasso • contributed to the repertoire of masses, motets, passions, settings of the magnificat, motets, madrigals, chansons, Lieder • a versatile cosmopolitan figure who combined various national styles in his music (Italian, German, French) • use of parody techniques (masses and settings of the magnificat) • use of borrowed material • sectionalised approach to form • skilful scoring for voices, imaginative and varied chordal textures, echo effects, homophony, chordal declamation, antiphony • pictorial and dramatic treatment of the text, expressive word painting • contrapuntal writing, use of imitation, voice pairing Giovanni Gabrieli • output includes sacred choral music (expanded the motet), instrumental music, organ music, ensemble music (such as canzonas and sonatas) • “cori spezzati” – polychoral writing, exploration of performance forces of 2–5 part choruses with different combinations of high/low voices and instrumental timbres, use of dialogue, increased use of solo voices • methods of achieving contrast, forerunner of the “concerto” • interesting sonorities and rich textures • development of simpler homophonic texture • florid, virtuosic writing in upper parts of an ensemble • sectional approach to form, rondo-like structures, use of da capo Thomas Tallis • composed anthems, motets, lamentations, antiphons, masses, hymns, responses • his music reflects the religious and political upheavals of the period • bridges early and late sixteenth century English style • contribution to the Anglican musical repertoire, in particular the development of the anthem and service • simple syllabic, homophonic style for setting English texts, more polyphonic style for setting Latin texts • use of canon/canonic techniques • use of repetition • use of plainsong/cantus firmus in his masses • smaller contribution to consort music repertoire [27] Quality of Written Communication A2U32S7

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Or

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(b) Comment on how the music of the following composers was influenced by political and religious changes in the sixteenth century. Refer to specific works to illustrate your answer. Orlando di Lasso

Giovanni Gabrieli

Thomas Tallis

Answers should outline the following political and religious changes and exemplify these by reference to specific musical examples: Historical events and influences such as: • The Reformation • The Counter-Reformation • The Council of Trent • Changes in the monarchy Musical examples discussed should exemplify changes in musical style which were a result of these events and influences: • music was to promote a greater sense of congregational worship and participation • emphasis on enhancing and expressing the specific meaning of the text • music became more syllabic rather than melismatic to allow audibility of the words • general simplicity of style, less repetition of phrases • less contrapuntal textures, more homophony and simplified polyphony to allow the words to be heard clearly • use of English rather than Latin • less complex rhythms, verbal rhythm of the text influencing the metre and rhythm • more unity with fewer abrupt changes • use of suspensions for promoting tension at cadence points • rise in the composition of anthems and services [27] Quality of Written Communication

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20th Century Music focusing on the work of Aaron Copland, Ralph Vaughan Williams and Dmitri Shostakovich. 6

(a) Comment on the contribution of the following composers to the twentieth century symphonic repertoire. Copland

Shostakovich

Vaughan Williams

Answers should make reference to some of the following: Copland • neoclassical style of some symphonies (Nos. 2 and 3) • reflect the influence of jazz (Dance Symphony) • influence of folk song/dance (Third Symphony) • nationalistic influences and patriotism (Symphony No. 3 – Fanfare for the Common Man) • thematic unity and economy of some symphonies (Short Symphony/ Symphony No. 3) • arrangements of earlier works (Organ Symphony No. 1) Vaughan Williams composed nine symphonies • use of a choir and/or soloists (No. 1 – soprano and baritone soloist and chorus, No. 3 – soprano soloist, No. 7 – wordless female choir) • free structures and form (No. 2) • use of folk-like material and features such as modality, pentatonic elements (No. 2) • use of a programme (London Symphony No. 2, No. 7) • thematic links to other works (No. 5 – link to his opera, The Pilgrim’s Progress, No. 7 – thematic links to the film, Scott of the Antarctic) • alteration to the traditional four movement format (No. 5) • expansion of orchestra (No. 6 – use of a saxophone, No. 7 – includes an organ, piano, wind machine, large percussion section, No. 9 – use of a flugelhorn and three saxophones) • inclusion of an extra movement (No. 7 – five movements) • thematic links between movements (No. 7 – use of the opening thematic idea) Shostakovich composed 15 symphonies • changes to the traditional symphonic structures • single movement work (Nos. 2, 3, 11) • 3 movement form (Nos. 4 and 6) • 5 movement form (No. 8 includes two scherzos) • use of a chorus and/or soloists (Nos. 2, 3, 13, 14) • nationalistic elements (Nos. 2, 3, 13, 14) • programmatic works (No. 7 “The Leningrad”, No. 11 “The Year 1905”, No. 12 “The Year 1917, No. 13 “Babi Yar”) • linking of movements (No. 8) • re-ordering of movements (Nos. 8, 11) • use of unusual forms, for example, No. 8, Mt. 4 is a passacaglia • expansion/reduction of the orchestral forces, for example No. 2 includes a factory hooter, No. 12 requires a large percussion section, No. 14 is scored for string orchestra and percussion

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use of musical themes from other works and from works by other composers, for example, No. 15

[27]

Quality of Written Communication

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[3]

Or (b) Choose and comment on three pieces by one of the following composers to illustrate their musical output. Copland

Shostakovich

Vaughan Williams

Answers may highlight the following output of their chosen composer: Copland • Symphonies – Short Symphony • Orchestral suites • Ballets – Billy the Kid, Appalachian Spring • Film scores – Of Mice and Men, The City, Our Town • Piano concerto, Clarinet Concerto • Songs – 12 Poems of Emily Dickinson Shostakovich • 15 symphonies • 15 string quartets • concertos for piano and violin and cello • suites – two jazz suites • film scores • opera • sonatas – viola sonata Vaughan Williams • symphonies – Pastoral Symphony, London Symphony • orchestral music – Norfolk Rhapsody, Fantasia on a Theme of Thomas Tallis • solo concertos • film scores • suite – Flos Campi for solo viola, chorus and orchestra • choral music – Mass in G minor • opera – Hugh the Drover, Sir John in Love • song settings – Linden Lea, On Wenlock Edge, Three Shakespeare Songs [27] Quality of Written Communication

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23

[3]

30

Total

60