Level 1 Music (91094) 2016 - New Zealand …€¦ · (iii) Look at all three ... ˙ ˙˙ œ n œ™...
12
910940 1 SUPERVISOR’S USE ONLY 91094 © New Zealand Qualifications Authority, 2016. All rights reserved. No part of this publication may be reproduced by any means without the prior permission of the New Zealand Qualifications Authority. Level 1 Music, 2016 91094 Demonstrate knowledge of conventions used in music scores 2.00 p.m. Friday 25 November 2016 Credits: Four Achievement Achievement with Merit Achievement with Excellence Demonstrate knowledge of conventions used in music scores Demonstrate in-depth knowledge of conventions used in music scores Demonstrate comprehensive knowledge of conventions used in music scores Check that the National Student Number (NSN) on your admission slip is the same as the number at the top of this page. You should attempt ALL parts of the task in this booklet. If you need more room for any answer, use the extra space provided at the back of this booklet. Check that this booklet has pages 2–12 in the correct order and that none of these pages is blank. YOU MUST HAND THIS BOOKLET TO THE SUPERVISOR AT THE END OF THE EXAMINATION. ASSESSOR’S USE ONLY TOTAL
Transcript of Level 1 Music (91094) 2016 - New Zealand …€¦ · (iii) Look at all three ... ˙ ˙˙ œ n œ™...
910940
1SUPERVISOR’S USE ONLY
9 1 0 9 4
© New Zealand Qualifications Authority, 2016. All rights reserved.No part of this publication may be reproduced by any means without the prior permission of the New Zealand Qualifications Authority.
Level 1 Music, 201691094 Demonstrate knowledge of conventions
used in music scores
2.00 p.m. Friday 25 November 2016 Credits: Four
Achievement Achievement with Merit Achievement with ExcellenceDemonstrate knowledge of conventions used in music scores
Demonstrate in-depth knowledge of conventions used in music scores
Demonstrate comprehensive knowledge of conventions used in music scores
Check that the National Student Number (NSN) on your admission slip is the same as the number at the top of this page.
You should attempt ALL parts of the task in this booklet.
If you need more room for any answer, use the extra space provided at the back of this booklet.
Check that this booklet has pages 2–12 in the correct order and that none of these pages is blank.
YOU MUST HAND THIS BOOKLET TO THE SUPERVISOR AT THE END OF THE EXAMINATION.
ASSESSOR’S USE ONLY
TOTAL
EXTRACTS ONE, TWO, AND THREE
Refer to the score on pages 3, 5, and 7 to answer parts (a)–(j).
(a) (i) Suggest a suitable time signature for the piece.
(ii) The work is in a fast tempo. Indicate this on the score of Extract One, using an appropriate Italian word.
(b) (i) What instrument would play the part labelled “Instrument A”? Give TWO pieces of musical evidence from the score to support your answer.
Instrument:
(1)
(2)
(ii) How many woodwind players are needed to perform the piece?
(iii) Look at all three pages of the score (bars 1–29). Which instrument shown in the score does not play during these three pages?
Instrument:
(c) What is the key at the beginning of Extract One? Give TWO pieces of musical evidence from the score to support your answer.
Key:
(1)
(2)
(d) (i) Identify the texture in bars 1–4, and give musical evidence to support your answer.
Texture:
°
¢
°
¢
°
¢
{
Flutes
Oboes
Clarinets
in Bb
Bassoons
Horns
in F
[Instrument A]
Timpani
Solo Piano
Violin I
Violin II
Viola
Violoncello
Double Bass
p
p
p
p
p
p
p
p
&
b
b
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2
Music 91094, 2016
ASSESSOR’S USE ONLY
(ii) Explain how the texture has changed in bars 5–8.
(iii) Apart from texture, what other musical element has changed in bars 5–8? Give ONE piece of musical evidence from the score to support your answer.
Musical element:
Extract One Ludwig van Beethoven, Piano Concerto No. 3 (1801), bars 1–8
°
¢
°
¢
°
¢
{
Flutes
Oboes
Clarinets
in Bb
Bassoons
Horns
in F
[Instrument A]
Timpani
Solo Piano
Violin I
Violin II
Viola
Violoncello
Double Bass
p
p
p
p
p
p
p
p
&
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b
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&
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TEMPO
3
Music 91094, 2016
ASSESSOR’S USE ONLY
(e) Focus on the string parts only in Extract Two.
(i) How loudly is the string section to play at bar 9?
(ii) In bars 11 and 12 all four string parts are playing, but the texture is in only two parts. Give musical evidence to explain how this is the case.
(iii) On the score, add appropriate musical markings to the two violin parts to show:• the music is to get gradually louder from bar 11 to the end of bar 14• the first beat of bar 15 is to be played very loudly• beats 2, 3 and 4 of bar 15 are to be played short and detached.
(f) On the score, circle and label an example of:• a tie• a slur.
Explain the difference in the way that a tie and slur are played.
(g) In bars 9–10, violin I plays the same music as violin II, an octave higher. Notate the missing violin I music, including performance markings.
°
¢
Violin I
Violin II
9
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A]
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Vln. I
Vln. II
Vla.
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9
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4
Music 91094, 2016
ASSESSOR’S USE ONLY
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{
Fl.
Ob.
Cl.
(Bb)
Bsn.
Hn.
(F)
[Inst.
A]
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Solo
Pno.
Vln. I
Vln. II
Vla.
Vc.
D.B.
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9
sf sf
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p sf sf sf
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Extract Two Beethoven, Piano Concerto No. 3, first movement, bars 9–16
5
Music 91094, 2016
ASSESSOR’S USE ONLY
°
¢
°
¢°
¢
°
¢
°
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¢
Fl.
Ob.
Cl.
(Bb)
Bsn.
Hn.
(F)
[Inst.
A]
Timp.
Vln. I
Vln. II
Vla.
Vc.
D.B.
p p f
17
p f p f
p p f
p
p pf
p pf
p p f
p p f
Fl.
Ob.
Cl.
(Bb)
Bsn.
Hn.
(F)
[Inst.
A]
Vln. I
Vln. II
Vla.
Vc.
D.B.
25
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=
(h) (i) Identify the compositional device used in bars 17–22 in the violin I and II and viola parts, and give musical evidence to support your answer.
Compositional device:
(ii) Identify the compositional device used in bars 24–29 in the violoncello and double bass part, and give musical evidence to support your answer.
Compositional device:
(i) From bar 21 the piece changes key.
(i) What is the new key at bar 24? Give musical evidence to support your answer.
Key:
(ii) How is the new key at bar 24 related to the original key you identified in part (c)?
(j) Look at the viola part in bar 27.
(i) Write out the music as it would be played.
Viola
27
Bb
b
b
(ii) Explain why the composer chose not to use this notation.
6
Music 91094, 2016
ASSESSOR’S USE ONLY
°
¢
°
¢°
¢
°
¢
°
¢°
¢
Fl.
Ob.
Cl.
(Bb)
Bsn.
Hn.
(F)
[Inst.
A]
Timp.
Vln. I
Vln. II
Vla.
Vc.
D.B.
p p f
17
p f p f
p p f
p
p pf
p pf
p p f
p p f
Fl.
Ob.
Cl.
(Bb)
Bsn.
Hn.
(F)
[Inst.
A]
Vln. I
Vln. II
Vla.
Vc.
D.B.
25
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sf
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&
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1.
∑ ∑
&
b
b
b∑ ∑ ∑ ∑
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b
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=
Extract Three Beethoven, Piano Concerto No. 3, first movement, bars 17–29
7
Music 91094, 2016
ASSESSOR’S USE ONLY
™
™
™
™
™
™Voice
µ
Love
Love
Love
C
is
is
is
in
in
in
the
the
the
air,
air,
air,
Disco q = 122
ev
in
in
’ry
the
the
- where
whis
ri
- I
per
sing
-
-
look
of
of
the
the
a
trees;
sun;
round;-
Fma7
Love
Love
Love
C
is
is
is
in
in
in
the
the
the
air,
air,
air,
4
ev
in
when
’ry
the
the
- sight
thun
day
and
der
is
-
ev
of
near
’ry
the
ly
-
-
sound,
sea,
done,
Fma7
And
And
And
I
I
I
don’t
don’t
don’t
8
G
know
know
know
if
if
if
I’m
I’m
you’re an
being
just
il
fool
drea
lu-
ish,
ming,
sion,
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-
-
-
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G
know
know
know
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if
if
I’m
I
I
being
feel
see_it
wise,
sane,
true,
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it’s
it’s
you’re
11
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some
some
some
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thing
thing
thing
-
-
-
that
that
that
I
I
I
must
must
must
be
be
be
-
-
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C/G Gdim7 Dm7 G
1, 3.
15
name.
eyes.
Dm7 A¨7 G
Love
C
is in the air.
Fma7
2, 4.
19
Love is in the air. Oh,
Em
ooh,
Am7 G
26
™
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Love
C
is in the air.
31
Love is in the air. Oh,
Em
oh,
Am7 A¨7
ooh.
35
™
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G CRepeat and fade Optional ending
40
4
4&
Bass guitar
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1.,4.
2.
3.
%
VERSE
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(1)
&
(2)
&
(3)
lieve
lieve
lieve
in,
in,
in,
and
and
and
it’s
it’s
you’re
there
there
there
when
when
when
I
you
I
look
call
reach
in
out
out
(4)
your
my
for
eyes.
you.
&
Strings
∑ ∑ ∑ ∑
∑
Last time to Coda ØCHORUS
&
C Fma7
&
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∑? ∑ ∑
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CODA
&
∑
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&
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w
EXTRACT FOUR
Refer to the score on page 9 to answer parts (k)–(o).
(k) Look at the bass guitar riff in bars 1 and 2. Describe TWO differences in this riff when it returns later in the score.
(1)
(2)
(l) Describe the intervals bracketed and labelled (1) – (4) in bars 8–17. State both the quality and quantity of each interval (e.g. “perfect octave”).
(1) (2)
(3) (4)
(m) In bars 20–23 there is an ascending scale beginning and ending on D.
(i) Why is this not a D major scale?
(ii) What changes would be needed to make it a D minor scale?
(n) Verse 3 begins in bar 3. Give a detailed account of how the score is to be followed from here to the end of the song. Refer to bar numbers and labelled sections (e.g. “verse 1”) in your answer.
(o) Compare the vocal melody in bars 28 and 38 (highlighted on the score), commenting on the use of syncopation. How is bar 38 more complex than bar 28?
8
Music 91094, 2016
ASSESSOR’S USE ONLY
Extract Four George Young and Harry Vanda, “Love is in the Air” (1977), as performed by John Paul Young
9
Music 91094, 2016
ASSESSOR’S USE ONLY
10
Music 91094, 2016
ASSESSOR’S USE ONLY
QUESTION NUMBER
Extra space if required.Write the question number(s) if applicable.
11
Music 91094, 2016
ASSESSOR’S USE ONLY
QUESTION NUMBER
Extra space if required.Write the question number(s) if applicable.
91
09
4
Acknowledgements
Material from the following sources has been adapted for use in this examination:
Extracts One, Two and ThreeLudwig van Beethoven (ed. Wilhelm Altmann), Concerto No. 3 for Piano and Orchestra, Edition Eulenburg, No. 704 (Leipzig: Ernst Eulenburg, n.d.). http://imslp.org.
Extract FourGreat Southern Lands Songbook, Volume 1: Australia and New Zealand (Richmond North: Sasha Music Publishing, 2009).
12
Music 91094, 2016
