Level 3 Making Music (90777) 2012

907770

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© New Zealand Qualifications Authority, 2012. 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 3 Making Music, 201290777 Demonstrate aural skill across a range

of musical styles and genres

9.30 am Monday 3 December 2012 Credits: Four

Check that the National Student Number (NSN) on your admission slip is the same as the number at the top of this page.

You will be given ten minutes to read and prepare before the audio recording begins to play. Read the questions and listen carefully to the instructions on the recording.

You should attempt ALL the questions in this booklet.

You may wish to answer in pencil while the recording is playing, but your completed answers must be in ink. You will have time to go over your answers in ink after the recording ends.

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 –10 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 Achievement Criteria

Achievement Achievement with Merit Achievement with ExcellenceDemonstrate aural skill in response to music from a range of styles and genres.

Demonstrate competent aural skill in response to music from a range of styles and genres.

Demonstrate comprehensive aural skill in response to music from a range of styles and genres.

Overall level of performance

It will take about 55 minutes to complete this assessment activity.

Each of the music extracts in this examination will be played a number of times, as indicated, with a pause of 30 seconds after each playing.

QUESTION ONE

You will hear extracts from a performance of the instrumental composition “Popcorn” by Gershon Kingsley. Following the second extract you will have two minutes to check your answers.

Extract 1 This extract, from the beginning of the piece, is 15 seconds long. It will be played TWICE. Complete part (a).

(a) (i) Identify the main timbre of the music.

(ii) Describe at least TWO musical features of the introduction before the opening motif is heard. (The opening motif is shown in the box at the bottom of the page.)

(1)

(2)

(3)

Extract 2 This extract, which continues on from Extract 1, is one minute long. It is made up of four sections, which will be heard with a brief pause between each. The extract will be played FOUR times. Complete part (b).

(b) Explain how the opening motif is developed, and how other compositional devices are used to structure the extract. Write your answers in the spaces on page 3, using the headings provided.• Give a different response for each heading.• Where appropriate, give musical evidence for your responses on the staves provided.Each section is eight bars long and made up of two phrases. Section (1), bars 1–8, is given below as an example.

Section (1)MelodyThe opening motif, in B minor, is introduced over the accompaniment from the introduction.

Opening motif:

44&##

œ œ œ œ œ œ œJRhythm and melodyThe second half of the phrase is based on a descending sequence.

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Making Music 90777, 2012

ASSESSOR’S USE ONLY

Section (2)Tonality

Melody

Section (3)Rhythm

Melody

Section (4)Texture

Rhythm

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QUESTION TWO

You will hear extracts from the Fantasia and Fugue in G minor for organ, BWV 542, by J. S. Bach. Following the third extract you will have two minutes to check your answers.

Extract 1 This extract is 55 seconds long and will be played THREE times. Complete part (a).

(a) Identify the textures used (eg monophonic) in the order that you hear them, and describe how the composer has used each texture (eg a melody over broken chords).

Texture (1):

Texture (2):

Texture (3):

Texture (4):

Texture (5):

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Extract 2 This extract, from the Fantasia, is 90 seconds long. It is made up of three sections, which will be heard with a brief pause between each. The extract will be played THREE times. Complete part (b).

(b) Explain ONE way the composer uses melody with harmony to provide contrast in each of the three sections.

Section (1)

Section (2)

Section (3)

Extract 3 This extract is the opening of the Fugue. It is 10 seconds long and will be played FIVE times. Complete part (c).

(c) Complete the missing melody line in bars 2 and 3 on the staves below.

Organ

3

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Œ ‰ œJ œ œ œ œ œœ

Œœ œ œ

œ‰

œ œ œ œ œ œ œ œœJ

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QUESTION THREE

You will hear extracts from two different arrangements of “Jupiter” from The Planets by Gustav Holst, and then an extract from a contemporary adaptation of the piece.

Extract 1 This extract, from the orchestral version of the work, is one minute 50 seconds long and will be played TWICE. The first eight bars of the theme are printed below. Complete part (a).

(a) (i) Identify ONE instrumental group that is playing the opening 8 bars of the melody.

(ii) The melody printed below is heard three times in the extract. Describe how the pitch is altered each time it is repeated.

(iii) Explain what is unusual about the harmony of the final chord of the extract.

Extract 2 This extract, the first eight bars of the music in Extract 1, from the composer’s own arrangement of the work for piano duet, is 20 seconds long. It will be played THREE times. Complete part (b).

(b) Identify the chords in bars 2– 4, and bars 7 and 8, using Roman numeral notation. Write your answers in the boxes beneath the staves. The first two chords have been written in for you.

Suite: The Planets (1916)Theme from Jupiter, the Bringer of Jollity

Gustav Holst, op. 32(1874–1934)

Andante maestoso

Piano

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œ œ œ œ œ œ ™ œ. œ œ œ œ œ œ œ œ

˙ œ œ œ œ œ œ ™ œ. œ œ œ œ œ œ œ œ ˙

IV V

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Extract 3 This extract is from the song “World in Union”, an arrangement of the melody you heard in Extracts 1 and 2. The lyrics and the vocal line are printed at the bottom of the page. Above them, for reference, is the equivalent passage from the original music, transposed to the same key as “World in Union”. The extract is 25 seconds long and will be played FOUR times. Complete part (c).

(c) The arranger of “World in Union” has made alterations to the metre, melody, and rhythm.• Complete the missing melody line on the staves below. The first three notes have been

written in for you.• Insert the time signature.• Add the missing lyrics beneath the appropriate melody notes. The first three words

have been written in for you

Suite: The PlanetsTheme from Jupiter, the Bringer of Jollity

(transposed to Bb major)Gustav Holst

4

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œ œ œ œ œ œ ™ œ. œ œ œ œ œ œ œ œ

˙ œ œ œ œ œ œ ™ œ. œ œ œ œ œ œ œ œ ˙

World in UnionLyrics and arrangement by

Charles John SkarbekThere’s a dream, I feel,

So rare, so real, All the world in union,

The world as one.

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There’s a dream,

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œU

œU

˙

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QUESTION NUMBER

Extra space if required.Write the question number(s) if applicable.

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QUESTION NUMBER

Extra space if required.Write the question number(s) if applicable.

Acknowledgements

Material from the following sources has been adapted for use in this examination:

Question OneExtracts Smash Hits of the 70s, various artists, 2009. Goldenlane Records (retrieved from iTunes

store).

Score Gershon Kingsley (arr. Sid Engel), Popcorn (London: Bourne Music, 1972).

Question TwoExtracts J. S. Bach, Great Organ Works, Peter Hurford (organ), 1994. Two compact discs: Decca

London 443 485-2.

Score http://www.imslp.org (accessed 28 September 2011).

Question ThreeExtract 1 The Planets, London Symphony Orchestra conducted by Sir Colin Davis, 2003. Compact

disc: LSO Live LSO0029

Extract 2 The Planets, York 2, 2001. Compact disc: Black Box BB1041.

Extract 3 World in Union: Rugby World Cup 2011 – The Official Album, various artists, 2011. Decca (retrieved from iTunes store).

Score http://www.imslp.org (accessed 4 October 2011).

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Level 3 Making Music (90777) 2012