As Mark Scheme - May-june 2006

GCE AS Music Summer 2006

Mark Schemes Issued: October 2006

NORTHERN IRELAND GENERAL CERTIFICATE OF SECONDARY EDUCATION (GCSE) AND NORTHERN IRELAND GENERAL CERTIFICATE OF EDUCATION (GCE) MARK SCHEMES (2006)

Foreword Introduction Mark Schemes are published to assist teachers and students in their preparation for examinations. Through the mark schemes teachers and students will be able to see what examiners are looking for in response to questions and exactly where the marks have been awarded. The publishing of the mark schemes may help to show that examiners are not concerned about finding out what a student does not know but rather with rewarding students for what they do know. 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.

iii

CONTENTS Page AS 1: Part 1

1

AS 3: Part 2

11

v

ADVANCED SUBSIDIARY (AS) General Certificate of Education 2006

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

Module 1: Making and Responding to Music with Understanding [ASP31] MONDAY 5 JUNE, MORNING

MARK SCHEME

ASU31S6P

ASP31S

1

Music

AVAILABLE MARKS

Assessment Unit AS 3: Part 1 Test of Aural Perception assessing Module 1: Making and Responding to Music with Understanding Mark Scheme 1

Corelli, Concerto Grosso Op. 6 No. 8, third movement, bars 77–83 [1] each for any six of the following points: • Division of players into two groups (concertino [12]; ripieno/string orchestra [12]) • harpischord/continuo [12] • Polyphonic texture – General doubling of parts (duplication of concertino parts by ripieno)… – Although solo/concertino cello part is a little more difficult • Major key [12], E major [1] • Adagio/slow speed [12] • Calm etc. mood [12] • Use of suspensions/appropriate reference to dissonance • (Coda section) includes imitative textures – Bass line uses falling scale – Final perfect cadence – Homophonic texture at end of extract – Ritardando at end [12] • accurate reference to melodic content • 4 [ 1] [6] 4 2

2

6

Mozart, Horn Concerto No. 3 in E flat, K447, first movement, bars 143–cadenza [1] each for any six of the following points: • Plays (first part of) Theme 2 • Holds pedal note (long/held note [12]) • Echoes orchestral material (second part of Theme 2)/shares thematic ideas with orchestra/dialogue with orchestra [12] – context and details provided [1] • (Falling) dominant seventh figure; accurate reference to melodic detail in context • Ends melodic idea triplet passage with a trill (trill [12]) • Triplet passage [12] • Horn is silent in bars immediately preceding cadenza • Begins cadenza [1]; improvised [12] • Opening idea echoes melodic material from within the movement (Theme 2) • Virtuosic qualities [12] • Natural horn • Handstopping • Uses the full range of the horn [6]

ASU31S6P

2

6

3

Beethoven, Piano Concerto No. 5 in E flat, third movement, bars 340–378 [1] each for any six of the following points: • Initial statement of rondo theme – By full orchestra [12] – In alternation with solo piano – In two-bar sections – In A flat major • Link passage on strings • New statement of rondo theme – By full orchestra [12] – In (repeated) semiquavers (not tremolo) – In E flat major – Timpani prominent; timpani [12] – Brass chords [12] • Solo bassoon melody; bassoon [12] • Horn pedal (during passage for solo piano); horn [12] • String accompaniment to solo piano – Pizzicato (lower) strings • Wind take over accompaniment/echo strings

4

AVAILABLE MARKS

[6]

6

Mendelssohn, Violin Concerto in E minor, second movement, bars 589–614 (a) Ternary

[1]

(b) [1] each for any six of the following points: • General intensity of expression • Use of full orchestra (though not particularly large for the Romantic period) • Detailed comment on nature of dynamics • Harmonic style – Use of diminished chords – Chromaticism • Lyrical/passionate melodic style – Extended melodic lines • Doubling of melody • Virtuosic nature of solo violin part – E.g. combination of melodic line and demisemiquaver accompaniment; (double stopping) – Use of high notes (e.g. high C in bar 614) • Performance features, e.g. use of vibrato, “sliding” effect [6]

ASU31S6P

3

7

5

Handel, Minuet from The Water Music, Suite No. 2 in G, bars 1–28 (a)

[3]

(b) D major/dominant; perfect

[2]

(c) Melody played by flute

[1]

(d) Trill

[1]

(e) [1] each for any two of the following points: • Bass line rises in steps • Homophonic texture [12] • Modulation/changes key [12] back to tonic; subdominant • Sequence [12] of four bars, rising sequence [1] • Flute/violin play together • Detailed comment on melodic material • Trill [12] • Opening theme is developed [12]

[2]

(f) (i) Baroque

[1]

(ii) Use of harpsichord/continuo; style of ornamentation 6

AVAILABLE MARKS

ˇ Dvovrák, The Noon Witch, bars 293–351 (a) [1] each for any eight of the following points: • Slow opening passage; sustained first note; initial semitone drop; contrasting registers • Low clarinet [12] melody • Bass clarinet [12] plays bass line • Violins/upper strings play tremolo • Brass [12] chordal/impassioned passage • Brass alternate with woodwind/strings • Melody doubled in octaves • Strong/impassioned melody • Rising pitch/rising sequence; sequence [12] • Timpani [12] rolls • Use of full orchestra • Change of mood to more lively section; increasing tempo [12] • Pizzicato strings • Lively woodwind passages • Use of triangle [12] • Entry of lower woodwind and strings • Use of repetition [12] • Changes of speed/rubato; changes of metre • Dynamic contrast/use of crescendo and diminuendo

ASU31S6P

4

[1]

11

• • • • •

Textural contrast/gradual build up of instruments Minor key [12] Chromaticism Modulation [12] Trills/ornamentation [12]

(b) (i) Romantic

[8] [1]

(ii) Use of full/large symphony orchestra; use of dynamics; nature of melody

ASU31S6P

AVAILABLE MARKS

5

[1]

10

7

Ebb/Kander, Mister Cellophane from Chicago, final sections

AVAILABLE MARKS

(a) (i) minor

[1]

(ii) major

[1]

(b) [1] each for any five of the following points: • Key change • Piano tremolo; high piano 1 • Swing rhythm/syncopation; jazz-style [2]; accented off-beats • Brushed cymbals; drumkit [12] • Tuba bass line; root-fifth pattern • Trumpet/trombone [12] countermelodies; Dixie pastiche; effects, e.g. glissandi, “dirty” notes • Singing style • Slower tempo [12]; speeds up [12] 1 • Increased dynamic [2]

[5]

(c) [1] each for any six of the following points: • “Never” and “even” sung separated – Chords by the band punctuate them • “Know” sung sustained/as a long note – Supported by a drum roll – Band’s chord finishes before singer’s note • “I’m there” sung more simply – In minor key • Violin plays melody (minor-key version of [chorus] tune) – Addition of glockenspiel/triangle – Inner part on clarinet/saxophone • Line 13 spoken • Final low note (tonic) • Slows down [12] 1 • Big band style [2]

[6]

(d) Musical

[1]

14

Total

60

ASU31S6P

6

Music Assessment Unit AS 3: Part 1 Test of Aural Perception assessing Module 1: Making and Responding to Music with Understanding Transcript This is the Northern Ireland Council for the Curriculum, Examinations and Assessment General Certificate of Education, Advanced Subsidiary Level Music June 2006 Assessment Unit AS 3 Part 1, Test of Aural Perception. 1

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

ASU31S6P

7

3

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

ASU31S6P

8

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

ASU31S6P

9

7

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.

ASU31S6P

10

ADVANCED SUBSIDIARY (AS) General Certificate of Education 2006

Music Assessment Unit AS 3: Part 2 Written Examination assessing

Module 1: Making and Responding to Music with Understanding [ASP32] MONDAY 5 JUNE, AFTERNOON

MARK SCHEME

ASP32S

ASP32S6P

11

Music

AVAILABLE MARKS

Assessment Unit AS 3: Part 2 Written Examination assessing Module 1: Making and Responding to Music with Understanding Mark Scheme 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 detail 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 to support and exemplify comments. The content of the answer will generally be related to the demands of the question.

ASP32S6P

12

[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.

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.

ASP32S6P

13

AVAILABLE MARKS

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

(a) Outline the contribution of one of the following composers to the concerto tradition. Illustrate your answer by commenting on works you have studied. Haydn

Mozart

Beethoven

Answers may comment on: Haydn Output • Surviving solo concertos include three for violin, one for cello, one for flute, one for trumpet, two for horn, two for keyboard, eight for organ and five for organ lyre • Composed one concerto for two horn soloists and one for violin and keyboard soloists Form and style • Haydn’s early concertos are conservative in form and style, showing the influence of C.P.E. Bach • The later trumpet concerto is much closer in form and style to the work of Mozart Mozart • The most important late eighteenth-century composer of concertos Output • Surviving concertos include five for violin, two for flute, one each for oboe, clarinet and bassoon, four for horn and 23 for keyboard • Keyboard concertos include one for two pianos and two for three pianos • Composed one concerto for flute and harp, along with concerto-type works for two violins and for violin and viola • Composed piano concertos to be performed by himself and by his pupils; composed other works for leading performers of his day, e.g. the clarinet concerto for Stadler and the horn concertos for Leutgeb Form • Continued to use the three-movement fast-slow-fast pattern established in the Baroque period • Developed and established a new first-movement form, influenced both by Baroque ritornello form and by the more contemporary sonata form (may be described as double-exposition sonata form) • Composed aria-like slow movements using a range of forms, e.g. romances, complex binary forms, rondos • Third movements usually in sonata rondo form; sometimes variations or sonata forms • Mozart’s treatment of form was far from static: it developed throughout his composing career, and while all his concertos adhere to these basic structural principles, no two are exactly alike

ASP32S6P

14

AVAILABLE MARKS

Style • Aspects of the concertos are related to operatic style, e.g. the nature of the melodic material and ornamental passages • His writing for solo instruments is idiomatic and expressive • Mozart contributed significantly to the development of keyboard figuration, e.g. using a wider range of the keyboard and providing a greater variety of left hand textures • He developed a more complex relationship between soloist and orchestra, especially in the later concertos • Wind instruments have a more prominent and important role in these works Beethoven Output • Composed five piano concertos, one violin concerto and the Triple Concerto, for violin, cello and piano soloists • His piano concertos were primarily vehicles for his own virtuoso keyboard skills Form • Beethoven retained the three-movement pattern used by Mozart and earlier composers • He based his first-movement form on that developed by Mozart, but introduced some innovations, e.g. passages for the soloist at the starts of the fourth and fifth piano concertos, although these continue in standard first-movement form (there are precedents for this in the work of C.P.E. Bach and in Mozart’s K271) • Second movements generally show the greatest formal range and originality • Third movements use rondo forms • In three concertos, the second and third movement are linked (a common practice of the time in a range of instrumental forms) Style • Beethoven used adventurous tonal schemes • His concertos became increasingly symphonic, in terms, for instance, of orchestral writing and of thematic and motivic development • The solo parts are highly virtuosic, but bravura passages often include thematic development • His orchestras, larger than Mozart’s, generally include double woodwind, horns, trumpets, timpani and strings • Soloist and orchestra are accorded equal status, as shown in the relationship and sense of dialogue between the two [27] Quality of written communication

ASP32S6P

[3]

15

AVAILABLE MARKS

or

AVAILABLE MARKS

(b) Choose and comment on three works composed during the period 1700–1897 which illustrate unchanging characteristics of the concerto. Answers may refer to: Contrast between soloist(s) and orchestra • E.g. contrast between concertino and ripieno textures in Corelli’s concerti grossi, or more dramatic contrast between soloist and orchestra in Romantic concertos such as Tchaikovsky’s first Piano Concerto Dialogue between soloist(s) and orchestra • E.g. exchange of thematic material between soloist and orchestra in Mozart’s concertos Element of display • Considerable level of virtuosity generally demanded of soloist(s), although this tended to increase during the course of the period • Cadenza as a vehicle for solo display, e.g.: – Improvised cadenza of Classical period – Notated Romantic cadenzas – Concertos with frequent cadenza-like passages throughout (e.g. Liszt’s second Piano Concerto) • Concerto has always been an important part of repertoire for virtuoso players • Role of performers in advising concerto composers on matters of technique Form and structure • Three-movement fast-slow-fast structure remained popular from the Baroque period onwards, although some composers have varied this, particularly in the Romantic period • Use of ritornello and sonata forms for fast movements • Binary, ternary and other frequently-used forms [27] Quality of written communication

ASP32S6P

[3]

16

30

AVAILABLE MARKS

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

(a) Identify the main features of the chorus throughout the history of the oratorio. Illustrate your answer with examples from works you have studied. Answer may refer to: Constitution of the chorus • An ensemble of soloists in early works, e.g. by Carissimi • Generally a full SATB choir • Number of parts, including double and triple choruses • Divisions of the chorus (e.g. semi-chorus of Angels and chorus of Souls in Elgar’s The Dream of Gerontius) Roles of the chorus (often changing within a work) • As narrator, or to comment on dramatic action (e.g. “The heavens are telling” in Haydn’s The Creation) • As participants in dramatic action (e.g. “Baal, we cry to thee” in Mendelssohn’s Elijah) • Structural function of choruses in defining sections of an oratorio Music for chorus • Examples of striking or effective choruses • Textural contrasts in choral writing (e.g. homophonic writing, use of imitation, antiphonal style and fugal passages in the choruses of Handel) • Examples of word-painting and other ways in which composers have illustrated the meaning of their texts • Musical style (e.g. use of chorales in Bach’s Christmas Oratorio; appropriation of spiritual styles for a similar structural purpose in the choruses of Tippett’s A Child of our Time) [27] Quality of written communication

[3]

or (b) Choose two oratorios based on Biblical events. Comment on ways in which the music of each oratorio conveys its subject matter. Answers may comment on works such as: J.S. Bach: St Matthew Passion etc. Schütz: Christmas Oratorio Handel: Esther, Saul, Israel in Egypt, Messiah etc. Haydn: The Creation Mendelssohn: St Paul, Elijah Berlioz: L’enfance du Christ Walton: Belshazzar’s Feast

ASP32S6P

17

AVAILABLE MARKS

Answers may refer to: Nature of oratorio • As an unstaged genre, the “story” is communicated entirely by the music, in comparison to opera, where elements of staging, costume and acting are also available Structure • Division of an oratorio into a number of sections, each telling part of the story (e.g. the three parts of Handel’s Messiah) • Use of recitative, aria, ensemble and chorus to further the action (e.g. recitatives in Bach’s St Matthew Passion) • Use of choral movements to comment on the action (e.g. “Achieved is the glorious work” in Haydn’s The Creation) Characterisation • Use of soloists for important dramatic roles (e.g. in Mendelssohn’s Elijah) • Use of the chorus to represent groups of characters in the action (e.g. as Persian officers in Handel’s Esther) Musical representation of the drama • Use of instrumental movements or passages to create atmosphere or set a scene (e.g. “The repose of the Holy Family” in Berlioz’s L’enfance du Christ) • Word-painting • Musical symbolism (e.g. use of instrumental colour in Walton’s Belshazzar’s Feast) • Use of musical intensity or contrasts to convey dramatic action (e.g. “Be not afraid”, “The Lord hath exalted thee” and “Woe to him” in Elijah) [27] Quality of written communication

[3]

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

(a) Comment on jazz styles in New York during the period 1890–1929. Illustrate your answer by referring to specific recordings. Answers may refer to: Piano styles • Harlem stride piano (e.g. James P. Johnson’s Carolina Shout) – Steady left hand in octaves/tenths and chords; melodic or chordal right hand • Early boogie-woogie – Repetitive left hand patterns in (generally uneven) quavers; blues-style improvisation in right hand Small group jazz • Blues and blues-influenced pieces (e.g. Jail-House Blues, Graveyard Dream Blues, Weeping Willow Blues, St Louis Blues, Careless Love Blues, Backwater Blues etc., performed by Bessie Smith and instrumentalists)

ASP32S6P

18

30

Larger groups • Early big-band jazz (e.g. Hop Off etc. by the Fletcher Henderson Orchestra, East St Louis Toodle-oo, Black and Tan Fantasy, Take it Easy, The Mooche etc. by Duke Ellington) – Importance of written band arrangements – Influence of “educated” musicians such as Paul Whiteman, Duke Ellington, Fletcher Henderson and Don Redman • Early examples of jazz in concert music (e.g. some Duke Ellington pieces at the Cotton Club) Other influences • Visits or removal to New York of musicians such as Louis Armstrong • Influence of European styles • Influence of the popular song • New York’s economic significance as the centre of the recording, publishing and entertainment industries [27] Quality of written communication

AVAILABLE MARKS

[3]

or (b) Comment on aspects of group performance in jazz of the period up to 1929. Illustrate your answer by referring to specific recordings. Answers may refer to: Group line-up and instrumental roles • New Orleans-style bands with: – Rhythm section: banjo or guitar, drums, double bass or tuba, sometimes piano; and: – Front line: cornet (took the lead with the tune), clarinet (added decorative line), trombone (filled in harmony and interjected melodies) • Developments: – Addition of second cornet, used for answering phrases and harmonies – Trumpet used increasingly rather than cornet – Increasing use of saxophone (late 1920s), sometimes to replace trombone – Addition of extra reed instruments – String bass taking over from tuba • Big bands of ten or more players – The Fletcher Henderson Orchestra (e.g. three trumpets, two trombones, three clarinets/saxes, piano, banjo, tuba, drums); scoring makes use of two “choirs”, reeds and brass – Duke Ellington’s Washingtonians (e.g. two trumpets, trombone, three clarinets/saxes, piano, banjo, tuba, drums) Group improvisation • New Orleans style, with clearly defined roles and pitch levels • Later, freer styles Ensembles as part of overall structure; contrast with solos Groups accompanying soloists [27] Quality of written communication ASP32S6P

[3] 19

30

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

(a) Choose one of the following groups and comment on the contribution made by their music to the folk tradition of Ireland. Illustrate your answer by referring to specific examples. Altan

The Chieftains

Planxty

Answers may refer to: • • • • •

Instruments/voices used Stylistic characteristics Influences on the group Significance of the group Important albums or pieces

Answers may comment on: Altan • Founded by Mairéad Ní Mhaonaigh (fiddle; from Gweedore in the Donegal Gaeltacht) and Frankie Kennedy (flute; from Andersonstown in West Belfast) • Influenced by Irish song, the Scottish-influenced dance music of Donegal and Cape Breton folk music • Band’s style characterised by effervescence and fluidity • Other players have included Ciarán Curran (cittern, bouzouki), Mark Kelly (guitar), Áine Ní Mhaonaigh (vocals), Paul O’Shaughnessy (fiddle), Ciarán Tourish (fiddle), Dáithí Sproule (guitar), Dermot Byrne (button accordion) • Albums include Altan, Horse with a Heart, The Red Crow, Harvest Storm, Island Angel, Blackwater, Runaway Sunday, Another Sky • Memorable performances include the Rathlin Island wedding song Dónal agus Morag, Drowsy Maggie, Tommy Peoples, Dúlamán The Chieftains • Hugely important in popularising Irish traditional music around the world and in pioneering musical methods and approaches • Pioneered bold fusion experiments, experimenting with Manx, Breton, Chinese and Galician traditional music • Worked with musicians from other musical fields (e.g. Van Morrison, James Galway, the Rolling Stones, Bonnie Raitt) • Original line-up of Paddy Moloney (uilleann pipes, tin whistle), Martin Fay (fiddle), Séan Potts (tin whistle), Michael Tubridy (flute, concertina), Davey Fallon (bodhrán) first recorded together in 1963 • Other players have included Seán Keane (fiddle), Peadar Mercier (bodhrán), Derek Bell (harp), Matt Molloy (flute) • Albums include The Chieftains, Chieftains 2–10, The Chieftains in China, A Celtic Wedding, Irish Heartbeat (with Van Morrison), The Long Black Veil, Santiago, Tears of Stone, Water from the Well

ASP32S6P

20

AVAILABLE MARKS

Planxty • Established in 1972 by Andy Irvine (mandolin, vocals), Dónal Lunny (bouzouki), Christy Moore (vocals), Liam O’Flynn (uilleann pipes) • Other players and guests have included Johnny Moynihan, Paul Brady, Matt Molloy, Nollaig Casey, James Kelly, Noel Hill, Tony Linnane, Bill Whelan • Music characterised by ensemble deployment of instruments, intricate, multi-layered accompaniments and smooth segues from song to song • Used innovative blends of instruments, also using guitar, bodhrán, whistle and synthesizer • Band members from a variety of musical backgrounds • Albums include Planxty, The Well Below the Valley, Cold Blow and the Rainy Night, After the Break, The Woman I Loved So Well, Words and Music • Memorable performances include The West Coast of Clare, As I Roved Out, The Jolly Beggar, The Lakes of Ponchartrain [27] Quality of written communication

[3]

or (b) Comment on the main characteristics of instrumental music in the Irish or Scottish folk tradition. Illustrate your answer by referring to specific examples. Answers may refer to: Ireland Instruments used • E.g. fiddle, flute, whistles, uilleann pipes, accordion, concertina, bodhrán, bouzouki, harp etc. Repertoire • Dance tunes, e.g. jigs, reels, hornpipes, polkas, slides etc. • Slow airs • Oral tradition Musical characteristics • Use of modes (Ionian, Mixolydian, Dorian and then Aeolian are most frequently used) • Popular keys (with one or two sharps) • Common metres and rhythm patterns for dance tunes Dance music structures – Generally two parts of equal length (eight bars for most dance types) – Lower pitched “tune” followed by higher pitched “turn” – Each part usually played twice, often with variation Performance practice • Ornamentation • Use of rubato in slow airs • Performance in sessions

ASP32S6P

21

AVAILABLE MARKS

Scotland Bagpipe tradition • Piobaireachd or ceól mór repertoire of laments, salutes, gathering tunes etc., • Ceól beag repertoire of marches, strathspeys, reels, jigs, hornpipes etc. Fiddle tradition • Repertoire of dance tunes and slower tunes Harp tradition • Repertoire of fiddle and pipe melodies • Reconstruction of ancient harp repertoire Ensemble music • Country bands (e.g. accordion, fiddle, piano, bass, drums) • More contemporary groups (e.g. bagpipes, fiddle, amplified or rock-style instruments) Musical characteristics • Use of modes, e.g. pentatonic and hexatonic, and double-tonic tunes • Rhythmic effects, e.g. dotted rhythms and Scotch snap • Common metres and rhythm patterns for dance tunes • Dance music structures – Generally two parts of equal length (eight bars for most dance types) – Lower pitched ‘tune’ followed by higher pitched ‘turn’ – Each part usually played twice, often with variation Performance practice • Ornamentation • Performance in folk clubs, at sessions and céilidhs [27] Quality of written communication

ASP32S6P

22

AVAILABLE MARKS

[3]

30

Total

60