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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.
Examination papers are set and revised by teams of examiners and revisers appointed by the
Council. The teams of examiners and revisers include experienced teachers who are familiar
with the level and standards expected of 16- and 18-year-old students in schools and colleges.
The job of the examiners is to set the questions and the mark schemes; and the job of the revisers
is to review the questions and mark schemes commenting on a large range of issues about which
they must be satisfied before the question papers and mark schemes are finalised.
The questions and the mark schemes are developed in association with each other so that the
issues of differentiation and positive achievement can be addressed right from the start. Mark
schemes therefore are regarded as a part of an integral process which begins with the setting of
questions and ends with the marking of the examination.
The main purpose of the mark scheme is to provide a uniform basis for the marking process so
that all the markers are following exactly the same instructions and making the same judgements
in so far as this is possible. Before marking begins a standardising meeting is held where all
the markers are briefed using the mark scheme and samples of the students’ work in the form
of scripts. Consideration is also given at this stage to any comments on the operational papers
received from teachers and their organisations. During this meeting, and up to and including
the end of the marking, there is provision for amendments to be made to the mark scheme.
What is published represents this final form of the mark scheme.
It is important to recognise that in some cases there may well be other correct responses which
are equally acceptable to those published: the mark scheme can only cover those responses
which emerged in the examination. There may also be instances where certain judgements may
have to be left to the experience of the examiner, for example, where there is no absolute correct
response – all teachers will be familiar with making such judgements.
The Council hopes that the mark schemes will be viewed and used in a constructive way as a
further support to the teaching and learning processes.
iii
CONTENTS
Page
A2 3: Part 1 1
A2 3: Part 2 9
v
ADVANCED
General Certificate of Education
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
A2U31S7P A2P31S
1
1 Carl Orff, Carmina Burana, Tanz AVAILABLE
MARKS
A2U31S7 2
2 Mendelssohn, Violin Sonata, Opus 4, F minor, Poco Adagio, Bars 1–26 AVAILABLE
MARKS
(b)
A2U31S7 3
3 Thomas Campion, Never weather-beaten Sail (Verse 1) AVAILABLE
MARKS
Parry, Songs of Farewell, Never Weather-Beaten Sail (Bars 1–30)
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]
A2U31S7 4
4 Malcolm Arnold, Dance No. 3 from “Solitaire” AVAILABLE
MARKS
Total 60
A2U31S7 5
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.
Here is the music for Question 1. You will hear the extract four times with pauses between hearings.
Pause 1 minute
Pause 1 minute
Pause 1 minute
Pause 1 minute
A2U31S7 6
2 Now look at Question 2.
Pause 1 minute
Here is the music for Question 2. You will hear the extract four times with pauses between hearings.
Pause 1 minute
Pause 1 minute
Pause 1 minute
Pause 1 minute
Pause 1 minute
Here is the music for Question 3. You will hear 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.
Pause 30 seconds
Pause 30 seconds
Pause 30 seconds
Pause 30 seconds
Pause 30 seconds
Pause 30 seconds
A2U31S7 7
4 Now look at Question 4.
Pause 1 minute
Here is the music for Question 4. You will hear the extract four times with pauses between hearings.
Pause 1 minute
Pause 1 minute
Pause 1 minute
Here is the extract for the fourth and last time, after which you will be allowed five minutes to
check your answers before the examination ends.
Pause 5 minutes
A2U31S7 8
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
A2U32S7P A2P32S
9
CONTEXT FOR MARKING
Each answer should be marked out of 30 marks distributed between the two criteria as follows:
knowledge and understanding of the set work/area of study applied to the context of the question
(27 marks); and
structure and presentation of ideas, including quality of language and appropriate musical vocabulary
(3 marks).
The criteria have been set out in a way which will not discriminate against candidates who may have a
high level of musical knowledge and understanding, but whose essay-writing skills may be of a lesser
standard.
MARKING PROCESS
Knowledge and Understanding of the Set Work/Area of Study Applied to the Context of the
Question
Marks
[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.
A2U32S7 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
[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.
A2U32S7 11
(Answer one question) AVAILABLE
MARKS
Set Works
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.
Or
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
A2U32S7 12
• changes of tempi AVAILABLE
MARKS
• unusual tonal schemes, range of modulation and lack of tonal definition
at times [27]
A2U32S7 13
Berg: Violin Concerto AVAILABLE
MARKS
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.
A2U32S7 15
Bartók: Concerto for Orchestra AVAILABLE
MARKS
3 (a) Comment on Bartók’s approach to form and structure in the fifth movement
of his Concerto for Orchestra.
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, AVAILABLE
MARKS
removal of bars, extension of intervals within a theme or motive [27]
A2U32S7 17
Gerry Murphy: Dialects for uilleann pipes and orchestra AVAILABLE
MARKS
4 (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]
Or
A2U32S7 18
• strong tutti passages AVAILABLE
MARKS
• use of drone in the lower strings [27]
A2U32S7 19
(Answer one question) AVAILABLE
MARKS
Areas of Study
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
• 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]
(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.
Answers should outline the following political and religious changes and
exemplify these by reference to specific musical examples:
A2U32S7 21
20th Century Music focusing on the work of Aaron Copland, AVAILABLE
MARKS
Ralph Vaughan Williams and Dmitri Shostakovich.
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)
A2U32S7 22
• use of musical themes from other works and from works by other AVAILABLE
MARKS
composers, for example, No. 15 [27]
Or
(b) Choose and comment on three pieces by one of the following composers
to illustrate their musical output.
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]
Total 60
A2U32S7 23