As Mark Scheme - Jan 2007

GCE AS 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

AS 3: Part 1

1

AS 3: Part 2

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ADVANCED SUBSIDIARY (AS) General Certificate of Education 2007

Music Assessment Unit AS 3: Part 1 Test of Aural Perception assessing

Module 1: Making and Responding to Music with Understanding [ASP31] wEDNESDAY 24 jANUARY, MoRNING

MARK SCHEME

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1

Corelli, Concerto Grosso Op. 6 No. 8, third movement, Allegro and second Adagio [1] each for any six of the following points: Allegro • Basically homophonic • Concertino and ripieno doubling/together throughout • Oscillating semiquavers/triadic quaver figures/repeated quavers used in combination • Continuo chords Adagio • Basically polyphonic • Distinction between concertino and ripieno • More elaborate concertino writing with ripieno accompaniment • Concertino only • Concertino and ripieno playing identical material • Violins only of both concertino and ripieno • Imitative textures at start • Overlapping figures for violins 1 and 2 in coda • Continuo spread chords at cadence

2

AVAIlABlE MARKS

[6]

6

[1] each for any six of the following points: • Use of small Classical orchestra comprising strings, two clarinets and two bassoons • Soloist accompanied initially by strings only – Light, lively texture – Repeated quaver figures common • Dialogue [12] between horn (with woodwind) and strings/orchestra • Considerable modulation; characteristic of development section • Return to tonic key (E flat major) at end of extract – Start of recapitulation – Restatement of Theme 1 by orchestral strings • General Classical characteristics, e.g.: – Strong diatonic harmonies; with emphasis on tonic and dominant – Balanced (four-bar) phrases – Triadic or scalic basis of melody – Strong bass line – Use of pedal note – Appoggiatura (sometimes chromatic) in melody [6] – Use of sequence [12] and repetition [12]

6

Mozart, Horn Concerto No. 3 in E flat, K447, first movement, bars 85–115

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Beethoven, Piano Concerto No. 5 in E flat, third movement, bars 93–139 [1] each for any six of the following points: • Solo piano [12] plays rondo theme [12] – Rhythmic ambiguity of theme – Supported by (dominant) pedal on horns – Brief pizzicato string accompaniment • Dialogue between piano and orchestra; between sections of orchestra • Strings echo piano phrase • Semiquaver figuration for piano – Based initially on rondo theme – Virtuosic [12] scale figuration [12] • String accompaniment based on phrase from rondo theme – Imitative texture – Unison statement • Modulation [12], to minor key [12], to (C) major [12] • Virtuosic triadic figuration for piano – Emphasises dominant seventh of new key • Restatement of rondo theme in new key – Pizzicato string accompaniment • Full range of the piano used • Sequence [12] – in context [1] • Dynamic contrast [12] • Virtuosity [12] • 6/8 metre [12] • Allegro/fast tempo [12]

4

AVAIlABlE MARKS

[6]

6

Mendelssohn, Violin Concerto in E minor, second movement, bars 529–544 (a) Romantic

[1]

(b) [1] each for any six of the following points: • Rising semitone motif; initiative in opening bars; chromatic movement; diminished chord; tonal uncertainty; link from first movement • Gradual addition of instruments; imitative entries • Woodwind [12] followed by strings [12]; identification of individual woodwind instruments [12] • String accompaniment pattern of flowing (broken chord) quavers • Establishment of tonic key (C major), major [12] – By means of perfect cadence: Ic-V7-I chord sequence • Solo violin [12], plays main/lyrical theme [12] – Structured in two-bar phrases • 6/8 metre [12] • Andante/slow speed [12] • Triadic/arpeggio – like basis of the main theme [6]

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Rossini, Gloria in excelsis Deo from Messe Solennelle

AVAIlABlE MARKS

(a) [1] for any three of the following points: • Scored for organ [12], strings [12] and timpani [12] • Homophonic [12] chords [12] for full orchestra ensemble [12]/organ [12] and bass [12] • Antiphonal/question and answer/alternate [12] with rising/falling [12] scalic [12] figures for strings [12] • Passage repeated sequentially • Use of silent pauses • Major key [3] (b) [1] each for any four of the following points: • Dotted rhythm on “Gloria”; on monotone • Phrase falls stepwise; rises as arpeggio • Major key [12] • Unison [12] statement by female voices [12]; unaccompanied [12] • Homophonic [12] statement by full choir [12]; in harmony; unaccompanied [12] • Homophonic [12] “Gloria” statements by full choir [12]; orchestral accompaniment (related to introduction) • Repetition [12] • Rhythmic augmentation • Perfect cadences • High tenor range

[4]

(c) [1] each for any four of the following points: • Solo bass/baritone • Melody features repeated notes; triplet rhythms; accurate comments on melodic contour • Ends on low note • Accompanied by (low) strings • Strings (and bassoon) alternate between two chords; tonic and subdominant • Major key [12] • Modulation before Line 4 [4] (d) [1] each for any two of the following: • Sung by trio of soprano, tenor and bass, more voices join in [12] • Dialogue/imitation between voices • New (major) key • More prominent brass

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[2]

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6

Haydn, String Quartet Op. 76 No. 2, second movement, bars 1–15

AVAIlABlE MARKS

(a) [12] per correct note

[4]

(b) A major/dominant; perfect

[2]

(c) Repetition; sequence

[1]

(d) [1] each for any two of the following: • Ornamentation/demisemiquavers/turn/trill in first violin part • Arco (lower) strings

[2]

(e) String quartet

[1]

(f) (i) Classical

[1]

(ii) Balanced/symmetrical [12] two-/four-bar phrases; emphasis on tonic and dominant in harmony; melodies based on scales and triads; use of sforzando 7

[1]

12

[1] each for any ten of the following points: • Traditional quality of voice/vocal performance – Use of ornamentation by singer – Improvisatory style • Improvisatory quality of instrumental accompaniment • Sporadic, rather than continuous, nature of instrumental parts in places • Use of cymbals [12] and drums [12] in rolls or flurries • Harp [12]: accompanying passage • Violin [12] part: higher, solo, decorative passage • Delicate piano [12] figurations • Use of glissando on, e.g. violin and bass • Basic quadruple metre; sense of metrical freedom • Slow speed [12] • Extension of Line 4: – Rising [12] sequence [12]; repetition [12]; ornamentation on final “I” – Build-up of intensity in dynamics and texture in Line 4 • Extensive instrumental postlude: – Less intense: quiet dynamics and more delicate texture contrast with earlier section – Emphasis on sustained (tonic) chord – Use of pedal notes – Unresolved chord at end • Range of dynamics [10]

10

Total

60

The Water is Wide, traditional, arranged and performed by Steeleye Span

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Music Transcript 1

This is the Northern Ireland Council for the Curriculum, Examinations and Assessment General Certificate of Education, Advanced Subsidiary Level Music January 2007 Assessment Unit AS 3 Part 1, Test of Aural Perception.



Now look at Question 1. Pause 15 seconds Here is the music for Question 1. You will hear the extract three times with pauses between hearings. Here is the extract for the first time. Pause 30 seconds Here is the extract for the second time. Pause 30 seconds Here is the extract for the third and last time. Pause 40 seconds

2

Now look at Question 2. Pause 15 seconds Here is the music for Question 2. You will hear the extract three times with pauses between hearings. Here is the extract for the first time. Pause 30 seconds Here is the extract for the second time. Pause 30 seconds Here is the extract for the third and last time. Pause 40 seconds

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Now look at Question 3. Pause 15 seconds Here is the music for Question 3. You will hear the extract three times with pauses between hearings. Here is the extract for the first time. Pause 30 seconds Here is the extract for the second time. Pause 30 seconds Here is the extract for the third and last time. Pause 40 seconds

4

Now look at Question 4. Pause 15 seconds Here is the music for Question 4. You will hear the extract three times with pauses between hearings. Here is the extract for the first time. Pause 30 seconds Here is the extract for the second time. Pause 30 seconds Here is the extract for the third and last time. Pause 40 seconds

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5

Now look at Question 5. Pause 30 seconds Here is the music for Question 5. You will hear the extract three times with pauses between hearings. Here is the extract for the first time. Pause 30 seconds Here is the extract for the second time. Pause 30 seconds Here is the extract for the third and last time. Pause 40 seconds

6

Now look at Question 6. Pause 30 seconds Here is the music for Question 6. You will hear the extract three times with pauses between hearings. Here is the extract for the first time. Pause 30 seconds Here is the extract for the second time. Pause 30 seconds Here is the extract for the third and last time. Pause 40 seconds

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Now look at Question 7. Pause 30 seconds Here is the music for Question 7. You will hear the extract three times with pauses between hearings. Here is the extract for the first time. Pause 30 seconds Here is the extract for the second time. Pause 30 seconds Here is the extract for the third and final 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 SUBSIDIARY (AS) General Certificate of Education 2007

Music Assessment Unit AS 3: Part 2 Written Examination assessing

Module 1: Making and Responding to Music with Understanding [ASP32] wEDNESDAY 24 jANUARY, 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 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 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 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 area of study. There is some attempt to relate the content of the answer to the context of the question.

[14]–[20]

An answer which displays breadth and some depth of knowledge and understanding of the area of study and ability to include some musical examples of support and exemplify comments. The content of the answer will generally be related to the demands of the question.

[21]–[27]

An answer which displays a competent grasp of the 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 made or positions taken. Knowledge and understanding will be applied to and set within the context of the question.

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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 three 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 little evidence of 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)

AVAILABLE MARKS

Compulsory area of study: The Concerto (approximately 1700–1897) 1

(a) Comment on form and structure in the Romantic concerto. Illustrate your answer by commenting on works you have studied. Answers may refer to: Continued use made of established three-movement format: • Fast first movement in sonata form • Slow second movement, lyrical in mood, making use of a range of forms, e.g. ternary • Fast, often dance-like, third movement, often in rondo form Changes to this overall format made by some composers, e.g.: • Movements played without a break (e.g. Mendelssohn’s Violin Concerto) • Single-movement structures (e.g. Liszt’s Piano Concerto No. 2) • Addition of fourth movement (e.g. Brahms’s Piano Concerto No. 2) • Thematic relationships between movements (e.g. Mendelssohn’s Piano Concerto No. 1) Innovations in first-movement structure, e.g.: • Introduction of the solo instrument in the opening bars of the first movement • Single exposition section in first movement (e.g. Mendelssohn’s concertos): a particularly common first-movement structure in the Romantic period • Fantasy-type structure involving thematic transformation in first movement (e.g. Robert Schumann’s piano concerto) • Change to traditional position of cadenza (e.g. before the recapitulation in the first movement of Mendelssohn’s Violin Concerto) • Increased tendency for composers to write out cadenza rather than relying on soloists’ improvisation [27] Quality of written communication

[3]

(b) Outline ways in which the concerto changed and developed during the period 1700 to 1897. Illustrate your answer by referring to works you have studied. Answers may refer to: Form and structure • Baroque period – Initial popularity of the concerto grosso – Later dominance of the solo concerto – Initially six or more movements, in the style of the suite or sonata (e.g. Corelli) – Later standard three-movement structure (e.g. J. S. Bach, Vivaldi) – Use of binary, ternary and through-composed forms for Baroque concerto movements, e.g. concerti grossi by Corelli – Use of ritornello form during the Baroque period, e.g. concertos by Vivaldi ASP32W7 2513.01

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•

•

Classical period – Three-movement structures – Use of sonata form (generally double-exposition) for first movements – Cadenza towards end of first movement – Some use of links between movements, e.g. in Beethoven’s fifth piano concerto – Other forms (e.g. ternary, rondo, sonata-rondo) for second and third movements Romantic period – Some deviation from standard three-movement structure, e.g. concertos by Liszt – Move from double- to single-exposition sonata form; other variants on sonata form – Changes to nature and position of cadenza – Increasing length of concerto

AVAILABLE MARKS

Element of virtuoso display • Increasingly demanding solo parts in concertos throughout the period, reflecting developing levels of instrumental technique; e.g. violin concertos by Vivaldi, Beethoven, Mendelssohn, Brahms, Tchaikovsky • Cadenza: opportunity for solo display, sometimes improvised, e.g. in concertos by Mozart, later usually notated by the composer • Emerging cult of the virtuoso performer, particularly during the Romantic period; e.g. concertos by Paganini and Liszt Instrumentation • Favoured solo instruments: initially violin, later piano; place of other solo instruments • Role of harpsichord: continuo function in Baroque period, later abandoned • Increasing size of orchestra: compare, for instance, Corelli’s string orchestra and harpsichord continuo with Tchaikovsky’s strings, double woodwind, four horns, two trumpets, three trombones and timpani in his first piano concerto [27] Quality of written communication

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[3]

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(Answer one question) Optional area of study: Oratorio 2

(a) Outline the contribution of one Baroque composer to the oratorio tradition. Illustrate your answer with examples from works you have studied. Answers may refer to: Handel • Established English oratorio tradition; also composed some Italian oratorios • Overall output of 17 oratorios, including Saul, Israel in Egypt, Messiah, Samson, Solomon, Theodora • Libretti generally based on Old Testament subject matter • Performed in concert settings • Structured in three acts; concertos often performed between acts • Important role for chorus; considerable stylistic variety between and within choruses: – Simple homophonic textures, massive chordal effects, fugal and other imitative textures • Arias and ensembles in Italian operatic style – Generally in da capo, binary or, occasionally, strophic form • Considerable use of word-painting and symbolism • French overture generally used as opening orchestral movement – Other orchestral movements – Expressive use of orchestral instruments • Use of borrowed material, from his own works and that of others J. S. Bach • Composed three oratorios: the Christmas Oratorio, the Easter Oratorio and the Ascension Oratorio – Performed during church services – Structured in a number of sections, to be performed over several days – Similar stylistically to secular cantatas – Include chorales as well as choruses • Two Passion settings (St Matthew and St John) also survive – Based on biblical texts, with characters represented by soloists – Uses “turba” choruses, chorales and “madrigal” pieces Schütz • Oratorio-type works include the Resurrection History, the Christmas History, three Passions and the Seven Last Words • The Histories: – Include recitative-style parts for the Evangelist – Begin and end with oratorio-like motets – Use wind and string instruments to add supporting colour to characters • The Passions: – Are scored for unaccompanied voices – Contrast solo narratives or soliloquies with four-voice “turba” choruses – Use church modes

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AVAILABLE MARKS

•

The Seven Last Words: – Sets the role of Christ for tenor voice in concertato style, with two instruments and continuo – Scores other Gospel passages for different voice combinations and continuo – Begins and ends with chorale verses in motet style and five-part instrumental pieces [27]

Quality of written communication

[3]

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(b) Identify the main musical characteristics of the oratorio genre. Illustrate your answer with examples from works you have studied. Answers may refer to: The extended scale of the work • May be divided into a number of acts, as in opera (e.g. Handel’s Messiah, in three parts, the first telling the Christmas story, the second the Easter story and the third that of the redemption of the world) Usual instrumental and vocal forces: • SATB chorus • Vocal soloists (often four: soprano, alto, tenor and bass) • Orchestra Relationship with the musical forms and styles of opera: Chorus (often more emphasis on the chorus in oratorio than in opera) • – Reflective (e.g. final chorus, O My Soul, from L’enfance du Christ) – Vivid descriptions of dramatic events (e.g. the Chorus of Flies from Handel’s Israel in Egypt) Recitative, used to tell the story swiftly (e.g. Messiah’s four successive • recitatives, There were shepherds, And lo! the Angel of the Lord, And the Angel said unto them and And suddenly there was with the Angel) Aria and ensemble • • Instrumental accompaniment, overture (including striking examples such as the Representation of Chaos from Haydn’s The Creation) and/or interludes (e.g. The Repose of the Holy Family in L’enfance du Christ, the Pastoral Symphony in Messiah) The sacred nature of the text or subject matter: • Religious subjects (e.g. Handel’s Messiah, Mendelssohn’s Elijah) • Spiritual subjects (e.g. Handel’s Semele, Tippett’s A Child of our Time) • Inclusion of dramatic, narrative and/or contemplative elements Performance in concert, without scenery, costumes or action (although the earliest oratorios were sometimes acted out, with costumes and scenery) [27] Quality of written communication

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Optional area of study: The Evolution of Jazz (approximately 1890–1929) 3

(a) Comment on the importance of Chicago as a centre for the development of jazz. Illustrate your answer by referring to specific recordings. Answers may refer to: Chicago as a focus for jazz development: • Decline of employment opportunities in the south • Economic boom in northern cities • Tendency of New Orleans jazz players to travel to Chicago General stylistic tendencies such as: • Changes in use of instruments – Increasing use of trumpet rather than cornet – Introduction of saxophone – Developing techniques on piano and guitar – Introduction of string bass as replacement for tuba • Increasing importance, musical prominence and, eventually, virtuosity of the solo – Increasing imagination and boldness within the solo • Increasing harmonic sophistication, influenced by players trained in European “classical” tradition • Increasing emphasis on arrangement as well as improvisation • Influence of big-band scoring, e.g. use of parallel harmonies • Use of popular songs as basis for jazz • General development of the musical foundations laid in the New Orleans style Performers such as: Jelly Roll Morton (in Chicago 1912–1913) • Composed and arranged tunes for small band • Music structurally complex; influenced by ragtime structures • Balance between improvisation and rehearsed arrangement • Used stop time techniques and surprising instrumental changes • E.g. Black Bottom Stomp, Grandpa’s Spells, Smoke-house Blues Small New Orleans-influenced bands (e.g. those of King Oliver) • Used “developed” New Orleans style • Integrated, flowing 4/4 rhythms; ragtime rhythmic influence gone • New Orleans style polyphony in ensembles, with clear differentiation of instrumental roles • Solos in some, but not all, recordings • E.g. Dippermouth Blues Louis Armstrong (in Chicago 1922–1924, 1925–1929) • Virtuosic cornet and trumpet techniques • Influential improvisational style with complex rhythms, daring melody/harmony, sensitive ensemble interplay and sophisticated structures • E.g. West End Blues, Weather Bird

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AVAILABLE MARKS

Bix Beiderbecke • Playing influenced by white jazz and European Romantic music • Clear, lyrical, relaxed, unvirtuosic cornet style • Also influential in improvisation, particularly in phrasing and use of complex harmonies • E.g. Singin’ the Blues The Chicagoans (white Mid-Western jazz musicians) • Exciting, unsubtle rhythmic drive • Rough, raucous instrumental styles • More melodic role for clarinet • More chaotic, spontaneous and individualistic ensemble improvisation [27] • E.g. Nobody’s Sweetheart Quality of written communication

[3]

(b) Outline the contribution of two of the following to the development of jazz up to 1929. Illustrate your answer by referring to specific recordings. Louis Armstrong

Bix Beiderbecke

Duke Ellington

Bessie Smith

Answers may refer to: Louis Armstrong (1901–1971) • Cornet/trumpet player, born in New Orleans, later working in Chicago and New York • Created an influential style of solo jazz improvisation which included: – Virtuosic cornet and trumpet techniques – Vital, complex, often free rhythm – Daring melodic/harmonic style, with effective use of dissonance – Sensitive and inventive interplay with other band members – Structural sophistication, including development of thematic material • Increased the importance of the soloist and decreased that of the ensemble • Pioneered an influential vocal style specific to jazz and influenced by his approach to instrumental performance; may also have invented scat singing • Contributed to jazz’s increasing rhythmic complexity • Enhanced the artistic standing and quality of jazz • Left a substantial legacy of recorded performances, e.g. Chimes Blues, Heebie Jeebies, Potato Head Blues, Muskrat Ramble, West End Blues, Weather Bird, Mahogany Hall Stomp, Ain’t Misbehavin’, Black and Blue, St. Louis Blues Bix Beiderbecke (1903–1931) • White cornet player from Iowa • Familiar with the music of the ODJB, Louis Armstrong, the NORK and the Oliver band • Played for the Wolverines, Jean Goldkette bands and for Paul Whiteman • Recorded in small groups, often with saxophonist Trumbauer • Playing can be heard on recordings such as Jazz me Blues, Riverboat Shuffle, Tiger Rag, Tia Juana (all with the Wolverines), At the Jazz Band Ball/Jazz me Blues, Royal Garden Blues/Goose Pimples, Sorry/ Since my Best Gal Turned me Down ASP32W7 2513.01

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•

• • •

Style influenced by white jazz and by European Romantic music; affected by the element of conflict between these styles Playing characterised by: – Relaxed, precise, swinging rhythm – Concentration on middle register – Clear, full, bell-like, unchanging tone without “dirty” effects – Little use of pitch inflections and blue notes – Lyrical, relaxed, unvirtuosic style – Unusual embouchure and unconventional fingerings Admired for his: – Ability to transform original melodies into effective new solos by means of improvisation – Pioneering ways of playing slow to medium-tempo ballads – Use of complementary (question and answer) phrasing – Interest in complex harmonies (chord extensions, added sixths, augmented and diminished chords) and development of melodic style arising from these Also composed some striking piano music (In a Mist, Flashes, Candlelight, In the Dark) Was a major influence on the Chicago jazz musicians and on white New York players Also a long-term influence on later “cool” jazz

Duke Ellington (1899–1974) • Composer, bandleader and pianist • Born in Washington; worked in New York • Possibly the most important composer in jazz history – Overall output estimated at about 2000 pieces – Work shows concern for musical form – Effective orchestration • Developed elaborate and distinctive style of arranging for band during his years at the Cotton Club in Harlem (1927–1931) – Distinctive timbral colours, tonal effects and unusual voicings – Sensitive to particular styles and timbres of individual players, e.g. Bubber Miley and Tricky Sam Nanton – Particularly successful at placing solos within an arrangement • Talented jazz pianist – Produced rich, deep tone – In early years often relied on stylistic clichés • Did not reach the height of his talent until the late 1930s • Examples such as East St. Louis Toodle-oo, Black and Tan Fantasy, Creole Love Call, Awful Sad, The Mooche Bessie Smith (1894–1937) • Jazz and blues singer, originally from Tennessee • Early career touring the South, followed by success in the North • Singing characterised by: – Full tone and well developed technique – Accurate intonation, with effective use of slides and off-pitch notes – Broad phrasing – Expressiveness, emotional directness and intensity – Sophisticated use of rhythm: flowing, varied, considerable use of anticipation and between-the-beat phrasing ASP32W7 2513.01

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AVAILABLE MARKS

• • • • •

Significant as a performer of both jazz and blues, forming a bridge between the two styles Duets with Louis Armstrong are particularly remarkable Early recordings made the Southern blues style accessible to Eastern jazz musicians (e.g. Down-hearted Blues) An important influence on all subsequent jazz singers Made almost 200 recordings, including St. Louis Blues, Cake Walkin’ Babies, J C Holmes Blues, Baby Doll, Back Water Blues, After You’ve Gone, Alexander’s Ragtime Band, Nobody Knows when you’re Down and Out [27]

Quality of written communication

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Optional area of study: Folk Traditions of Ireland and Scotland 4

AVAILABLE MARKS

(a) Comment on the use of the fiddle in folk music in Ireland and Scotland. Illustrate your answer by referring to specific examples. Answers may refer to: Ireland • Playing position and bow hold • Tendency to remain in first position • Vibrato used only in very limited instances • Occasional instances of non-standard tuning, e.g. to GDGD • Types of ornamentation, e.g.: – Triplets, trebles, cuts and rolls – Double stopping – Drone effects – Slides • Regional styles, e.g.: – Sligo: dominant style, relaxed, light and bouncy, features rolls etc. – Donegal: loud and bright, featuring staccato bowing and limited ornamentation – Sliabh Luachra: unique repertoire; duet style, with one fiddle playing at a lower octave • Solo and group performance • Repertoire of dance tunes, slow airs etc. • Influential performers, e.g. Michael Coleman, Tommy Peoples, Pádraig O’Keeffe Scotland • Types of ornamentation, e.g. grace notes, Scotch snaps • Regional styles, e.g.: – Shetland – West Highlands • Repertoire of dance tunes, slow airs, slow strathspey etc. • Published collections of tunes by known composers • Influential performers, e.g. James Scott Skinner, Hector MacAndrew, Angus Grant, Aly Bain [27] Quality of written communication

[3]

(b) Comment on the sean-nós tradition in Irish folk music. Illustrate your answer by referring to specific examples. Answers may refer to: • •

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Sean- nós as the oldest form of singing in Ireland: an unbroken tradition of solo song Sung in Irish – Words are often deeply poetic – Often deals with love, loss or longing – Some songs are humorous Generally unaccompanied 22

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•

• • • •

Much use of ornamentation: – Melismatic – Intervallic – Rhythmic – Lengthening of notes – Style varies according to region Vocal style: – Nasalisation – Use of the glottal stop – Use of sliding pitch – Absence of vibrato or dynamic variety Forms used, e.g. ABACA or ABCA Highly personal and expressive art form Performing etiquette and tradition Influential performers, e.g. Seán ’ac Dhonncha, Iarla Ó Lionáird, Finola Ó Siochrú

Quality of written communication

ASP32W7 2513.01

23

AVAILABLE MARKS

[27] [3]

30

Total

60