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
AS 3: Part 1 1
AS 3: Part 2 11
v
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]
MONDAY 4 JUNE, MORNING
MARK
SCHEME
ASP31S7P ASP31S
1
1 Corelli, Concerto Grosso Op. 6 No. 8, third movement, first Adagio and Allegro AVAILABLE
MARKS
2 Mozart, Horn Concerto No. 3 in E flat, K447, first movement, bars 28–60
(b) • Statement of Theme 1/main melody/first subject [12]; in tonic key [12];
in (solo) horn [12]
• New/following material (Bar 40) [12]; introduced by (solo) horn [12]
• Statement of Theme 2/second subject [12]; in dominant key [12];
in strings/violins [12]
• Melodic material presented by horn or violins [12]
• Accompanied by strings [12]; repeated quaver figuration [1]
• Melodic features – arpeggios [1]; chromatic [12] (rising) appoggiaturas [1];
specific comment on use of repetition [1]; sequence [1]; 2 or 4 bar
phasing [1]; trill [12]
• Major key [12]; modulates to dominant [12]; via dominant of dominant [1]
• Harmony based on primary triads [1]; use of pedal [12], in final bars [12],
in lower strings [12]; first subject ends perfect cadence
• Detailed comment on instruments of the orchestra [1]; woodwind
reinforce phrase endings [1]; comment on the challenging nature of solo
part of natural horn [1]
• Theme 1/first subject in extended version
• Strings/violins echo horn [12] in extension section [12]
• New material (Bar 40) – dialogue between horn and violins [12]
• Theme 2/second subject echoed by horn [12] in extension section [12] [6] 7
ASP31S7 2
3 Beethoven, Piano Concerto No. 5 in E flat, third movement, bars 173–220 AVAILABLE
MARKS
ASP31S7 3
5 Handel, Chandos Anthem No. 10, The Lord is My Light and My Salvation AVAILABLE
MARKS
(b) [1] for the following points up to a maximum of three for each part
of the question:
• “Trembled”
– Trill-like figuration for voices and instruments/melisma
– Repeated notes for instruments
– Use of crescendo [3]
• “Lightnings”
– Sudden loud/accents/abrupt, short setting
– Full choir, in contrast to male voices only/female voice added
– Comment on melodic contour [3]
• “Thunder”
– Long passage [12]
– Male voices/use of lower pitch
– Doubled by instruments
– Melismatic
– descending [12] sequence [12]
• “And destroyed them”
– loud
– full choir/female voices added
– homophonic; syllabic
– abrupt followed by silence [3]
(a)
[4]
ASP31S7 4
(c) [1] each for any two of the following: Bars 8, 9, 10 [2] AVAILABLE
MARKS
Total 60
ASP31S7 5
1 This is the Northern Ireland Council for the Curriculum, Examinations and Assessment
General Certificate of Education, Advanced Subsidiary Level Music June 2007
Assessment Unit AS 3 Part 1, Test of Aural Perception.
Here is the music for Question 1. You will hear the extract three times with pauses between
hearings.
Pause 30 seconds
Pause 30 seconds
Pause 40 seconds
Pause 15 seconds
Here is the music for Question 2. You will hear the extract three times with pauses between
hearings.
Pause 30 seconds
Pause 30 seconds
Pause 40 seconds
ASP31S7 6
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.
Pause 30 seconds
Pause 30 seconds
Pause 40 seconds
Pause 15 seconds
Here is the music for Question 4. You will hear the extract three times with pauses between
hearings.
Pause 30 seconds
Pause 30 seconds
Pause 40 seconds
ASP31S7 7
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.
Pause 30 seconds
Pause 30 seconds
Pause 40 seconds
Pause 30 seconds
Here is the music for Question 6. You will hear the extract three times with pauses between
hearings.
Pause 30 seconds
Pause 30 seconds
Pause 40 seconds
ASP31S7 8
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.
Pause 30 seconds
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
ASP31S7 9
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]
MONDAY 4 JUNE, AFTERNOON
MARK
SCHEME
ASP32S7P ASP32S
11
CONTEXT FOR MARKING
Each answer should be marked out of 30 marks distributed between the two criteria as follows:
knowledge and understanding of the 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 Area of Study Applied to the Context of the Question
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.
[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.
ASP32S7 12
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
[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.
ASP32S7 13
(Answer one question) AVAILABLE
MARKS
1 (a) Comment on different types of concerto composed during the Baroque period.
Illustrate your answer by referring to works you have studied.
Concerto grosso
• Features solo group (concertino) and larger orchestral group (ripieno)
(e.g. works by Corelli, Handel and J.S. Bach)
• Concertino heard in alternation, contrast and combination with ripieno
• Initially in several movements, similar to the contemporary sonata or
suite (e.g. works by Corelli and Handel)
• Later in three movements (Vivaldi and J.S. Bach)
• Binary, ternary, through-composed and ritornello structures used for
individual movements
Solo concerto (e.g. works by Torelli, Handel, Vivaldi and J.S. Bach)
• Features solo instrument and orchestra
• Solo instrument heard in alternation, contrast and combination with
orchestra
• Increasing virtuosity of solo parts
• Some use of the cadenza as a vehicle for solo display (e.g. some
concertos by Handel and Vivaldi)
• Eventual common use of three-movement structure
• Frequent use of ritornello form, with modulatory solo episodes, for
outer movements
• Contrasting second movement, often with reduced orchestral scoring
Orchestral/Ripieno concerto
• Features orchestral ensemble only, without soloist(s)
• Contrasts passages for tutti (full ensemble) with passages for a smaller
subgroup, either constant or variable in composition
• Structured as solo concerto, with ritornello form used for outer
movements
• Examples by Vivaldi, J.S. Bach (including Brandenburg Concertos
Nos. 3 and 6) and Handel [27]
ASP32S7 14
(b) Identify the main musical characteristics of the concerto genre between AVAILABLE
MARKS
1700 and 1897. Illustrate your answer by referring to works you have studied.
ASP32S7 15
(Answer one question) AVAILABLE
MARKS
2 (a) Choose three oratorios, each composed during a different period. Comment
on the musical style and features of each oratorio.
ASP32S7 16
• Harmonic devices, e.g.: AVAILABLE
MARKS
– Use of major or minor chords
– Use of consonance or dissonance (e.g. expressive use of dissonance
in Haydn’s The Creation)
• Vocal timbre and techniques, e.g.:
– Choice of vocal resources
– Ornamentation, such as trills
• Textural techniques, e.g.:
– Unison, homophonic or polyphonic passages or movements
– Use of imitation
– Use of antiphony (e.g. in Lift Up your Heads, O ye Gates from
Messiah)
• Use of dynamics (e.g. the fortissimo C major chord on “And there was
light” in The Creation) [27]
ASP32S7 17
Optional area of study: The Evolution of Jazz (approximately 1890–1929) AVAILABLE
MARKS
3 (a) Comment on blues features in jazz of the period up to 1929. Illustrate your
answer by referring to specific recordings.
Musical structures
• Use of the blues scale, modality (e.g. flattened thirds in King Oliver’s
three-chorus solo in Dippermouth Blues)
• Twelve-bar blues form (used in numerous jazz standards, e.g. the work
of Jelly Roll Morton; less common in big-band jazz)
– Strophic structures
– Chordal substitutions sometimes made
– Some tunes, such as King Oliver’s Riverside Blues, use more than
one twelve-bar sequence
• Call and response techniques, sense of dialogue
• Structural “open-endedness”: the feeling that a piece has no set number
of verses and could go on forever
Performance practices
• Use of improvisation, a fundamental element of the blues (e.g. collective
improvisation in New Orleans jazz; later examples of solo improvisation
by Louis Armstrong etc.)
• Use of vocalised tone (e.g. Franklin Street Blues, recorded by Louis
Dumaine’s Jazzola Eight)
– Bent notes and blue notes transferred to wind and brass instruments
(e.g. Johnny Dodd’s piercing blue notes on Lonesome Blues)
– Vocal timbre and rasp mimicked on trumpet and trombone,
including use of mutes (e.g. King Oliver’s solo on Dippermouth
Blues, Bubber Miley’s growl technique on Creole Love Call)
• Emotional intensity [27]
(b) Comment on ways in which jazz changed and developed during the period up
to 1929. Illustrate your answer by referring to specific recordings.
ASP32S7 18
Changing approaches to form: AVAILABLE
MARKS
• Blues-based forms
• Multithematic works based on ragtime forms
• Influence of the popular song
Improvisation style:
• Original collective improvisation based closely on the orginal tune or
harmony (e.g. ensemble choruses in Dippermouth Blues)
• Increasing rhythmic and melodic freedom (e.g. solos by Louis Armstrong
in West End Blues)
• Increasing independence from the original tune
ASP32S7 19
Optional area of study: Folk Traditions of Ireland and Scotland AVAILABLE
MARKS
Melody
• Use of modes (Ionian, Mixolydian, Dorian and then Aeolian are most
frequently used)
• Popular keys (with one or two sharps)
• Inflection of notes (use in both sharpened and unsharpened forms;
particularly on the seventh and fourth degrees of the scale)
• Predominance of particular melodic motifs
• Ornamentation as an element of melody; types of ornamentation peculiar
to specific instrumental or vocal styles
• Limited pitch range of melody
Rhythm
• Common metres for songs (3/4, 4/4 and 6/8)
• Common metres and rhythm patterns for instrumental dances, including
reel, jigs and hornpipe
• Rhythmic effects created by percussion instruments, e.g. bodhrán
• Use of rubato in slow airs and in the sean-nós style
Structure
• Song structures, e.g. AABA for Gaelic airs and ABBA for English
language songs
• 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 [27]
(b) Comment on the use of ornamentation as a feature of the folk music traditions
of Ireland and Scotland. Illustrate your answer by referring to specific
examples.
Ireland
• Grace notes, single and double (including pat, tip and cut)
• Triplet: upwards or downwards run of three grace notes
• Roll, long and short
• Slide (fiddle, voice)
• Double stopping (fiddle)
• Treble: long note divided into three shorter notes (especially fiddle)
• Pop: stressing a note by lifting the chanter from the knee (uilleann pipes)
ASP32S7 20
• Crann: staccato effect on chanter’s low D (uilleann pipes) in alteration AVAILABLE
MARKS
with different grace notes
• Run: filling in of intervals
• Variation as a form of ornamentation
• Use of rubato in solo performance
Scotland
• “Movements”: ripples of notes of increasing complexity used to vary
pìobaireachd (Highland bagpipe)
• Grace notes
• Highly ornamented singing style of travellers [27]
Total 60
ASP32S7 21