Upload
lyxuyen
View
221
Download
5
Embed Size (px)
Citation preview
Music
Higher level and standard level
Specimen listening papers and scores booklet
For first examinations in 2011
CONTENTS
Music higher level and standard level specimen scores booklet
Music higher level paper 1 specimen paper Music standard level paper 1 specimen paper Music higher level and standard level paper 1 specimen markscheme
SPEC/6/MUSIC/BP1/ENG/TZ0/XX/SC
MUSICHIGHER LEVEL AND STANDARD LEVEL
SCORES BOOKLET – INSTRUCTIONS TO CaNdIdaTES
do not open this booklet until instructed to do so.This booklet contains the score required for the Listening Paper, Section B.
4 pages
SPECIMEN PaPER
SCORES BOOKLET
© International Baccalaureate Organization 2009
SPEC/6/MUSIC/BP1/ENG/TZ0/XX/SC– 2 –
String Quartet No. 8, Op. 110 – Movement I by D Shostakovich
SPEC/6/MUSIC/BP1/ENG/TZ0/XX/SC– 3 –
Turn over
SPEC/6/MUSIC/BP1/ENG/TZ0/XX/SC– 4 –
4 pages
SPEC/6/MUSIC/HP1/ENG/TZ0/XX
SPECIMEN PAPER
MUSICHIGHER lEvEllISTENING PAPER
INSTRUCTIONS TO CANDIDATES
• Do not open this examination paper until instructed to do so.• Section A: answer either question 1 or question 2. Answer question 3. Clean scores of the prescribed work/s must be used.• Section B: answer all the questions. The score required for question 5 is in the scores booklet provided. Questions 4 to 7 correspond to tracks 1 to 4 on the compact disc provided. You may listen to the extracts as many times as you wish.• Section C: answer question 8.
3 hours
© International Baccalaureate Organization 2009
–2– SPEC/6/MUSIC/HP1/ENG/TZ0/XX
SECTION A
Answer either question 1 or question 2.Answer question 3.
Question 1 refers to the work Violin Concerto II Allegro – Adagio by A Berg.Question 2 refers to the work Adiós Nonino by A Piazzolla.Question 3 refers to both works.
Justify your statements with arguments making clear reference to the piece/extract.Give location as specifically as possible. Use bar(s)/measure(s), rehearsal number(s), and instrument(s) involved for the work by Berg and in timings (minutes and seconds) for the work by Piazzolla.
Either
1. Violin Concerto II Allegro – Adagioby A BergAlbanBergadoptedserialismandfrequentlyuseditwithmethodsthatwerefoundedontonality.
DemonstrateanddiscusshowsuccessfulBergwasinreconcilinghisserialprocedureswithtonalconventionsofthepastasfoundinPartIIofhisViolinConcerto. [20 marks]
Or
2. Adiós Nonino by A PiazzollaAstorPiazzollawas thecreatorof the“Tango Nuevo”–anewmusical styledrawinguponelementsfromtraditionaltangoandothermusicalcultures.
Identify two (or more) musical elements that have roots in traditional tango andtwo(or more) elementsthatoriginatefromothercultures.
Demonstrate and discuss how thesemusical elements contribute to create thework’soverallstyle.
3. Violin Concerto II Allegro – Adagio by A Berg and Adiós Nonino by A PiazzollaInvestigate significant musical links between these two pieces by analysing andcomparingandcontrastingtheirtimbre/tonecolourandmelody.
[20 marks]
[20 marks]
–3–
Turn over
SPEC/6/MUSIC/HP1/ENG/TZ0/XX
SECTION B
Answer all the questions.Marks are awarded for accurate location and use of musical terminology.Analysis should include relevant musical:• elements: such as (but not limited to) duration, pitch, tonality, timbre/tone colour, texture, dynamics• structure: such as (but not limited to) form, phrases, motifs• context: such as (but not limited to) time, culture.
4. UnidentifiedPiece (noscoreprovided)
Analyse,examineanddiscussindetailwhatyouhearinthisextract. [20 marks]
5. String Quartet No. 8, Op. 110 – Movement I byDShostakovich (scoreprovided)
Withclearreferencetothescoreprovided,analyse,examineanddiscussindetailwhatyouhearinthisextract. [20 marks]
6. Futuristic Rhythm byDFieldsandJMcHugh (noscoreprovided)
Analyse,examineanddiscussindetailwhatyouhearinthisextract. [20 marks]
7. UnidentifiedPiece (noscoreprovided)
Analyse,examineanddiscussindetailwhatyouhearinthisextract. [20 marks]
–4– SPEC/6/MUSIC/HP1/ENG/TZ0/XX
SECTION C
Answer the following question.
8. SelectanytwooftheextractsfromSectionB.Investigateandevaluatetwo (or more)significant musical links between these extracts. Arguments must be fully justified,locatedandrelevanttothechosenextracts. [20 marks]
3 pages
SPEC/6/MUSIC/SP1/ENG/TZ0/XX
SPECIMEN PAPER
MUSICSTANDARD levellISTeNING PAPeR
INSTRUCTIONS TO CANDIDATES
• Do not open this examination paper until instructed to do so.• Section A: answer either question 1 or question 2. Answer question 3. Clean scores of the prescribed work/s must be used.• Section B: answer either question 4 or question 5. Answer both question 6 and question 7. The score required for question 5 is in the scores booklet provided. Questions 4 to 7 correspond to tracks 1 to 4 on the compact disc provided. You may listen to the extracts as many times as you wish.
2 hours 15 minutes
© International Baccalaureate Organization 2009
–2– SPEC/6/MUSIC/SP1/ENG/TZ0/XX
SECTION A
Answer either question 1 or question 2.Answer question 3.
Question 1 refers to the work Violin Concerto II Allegro – Adagio by A Berg.Question 2 refers to the work Adiós Nonino by A Piazzolla.Question 3 refers to both works.
Justify your statements with arguments making clear reference to the piece/extract.Give location as specifically as possible. Use bar(s)/measure(s), rehearsal number(s), and instrument(s) involved for the work by Berg and in timings (minutes and seconds) for the work by Piazzolla.
Either
1. Violin Concerto II Allegro – Adagioby A BergAlbanBergadoptedserialismandfrequentlyuseditwithmethodsthatwerefoundedontonality.
DemonstrateanddiscusshowsuccessfulBergwasinreconcilinghisserialprocedureswithtonalconventionsofthepastasfoundinPartIIofhisViolinConcerto. [20 marks]
Or
2. Adiós Nonino by A PiazzollaAstorPiazzollawas thecreatorof the“Tango Nuevo”–anewmusical styledrawinguponelementsfromtraditionaltangoandothermusicalcultures.
Identify two (or more) musical elements that have roots in traditional tango andtwo(or more) elementsthatoriginatefromothercultures.
Demonstrate and discuss how thesemusical elements contribute to create thework’soverallstyle.
3. Violin Concerto II Allegro – Adagio by A Berg and Adiós Nonino by A PiazzollaInvestigate significant musical links between these two pieces by analysing andcomparingandcontrastingtheirtimbre/tonecolourandmelody.
[20 marks]
[20 marks]
–3– SPEC/6/MUSIC/SP1/ENG/TZ0/XX
SECTION B
Answer either question 4 or question 5.Answer both question 6 and question 7.Marks are awarded for accurate location and use of musical terminology.Analysis should include relevant musical:• elements: such as (but not limited to) duration, pitch, tonality, timbre/tone colour, texture, dynamics• structure: such as (but not limited to) form, phrases, motifs• context: such as (but not limited to) time, culture.
Either
4. UnidentifiedPiece (noscoreprovided)
Analyse,examineanddiscussindetailwhatyouhearinthisextract. [20 marks]
Or
5. String Quartet No. 8, Op. 110 – Movement I byDShostakovich (scoreprovided)
Withclearreferencetothescoreprovided,analyse,examineanddiscussindetailwhatyouhearinthisextract. [20 marks]
6. Futuristic Rhythm byDFieldsandJMcHugh (noscoreprovided)
Analyse,examineanddiscussindetailwhatyouhearinthisextract. [20 marks]
7. UnidentifiedPiece (noscoreprovided)
Analyse,examineanddiscussindetailwhatyouhearinthisextract. [20 marks]
SPEC/6/MUSIC/BP1/ENG/TZ0/XX/M
7 pages
MARKSCHEME
Specimen
MUSIC
Higher Level and Standard Level
Listening Paper
– 2 – SPEC/6/MUSIC/BP1/ENG/TZ0/XX/M
Each question is worth [20 marks].
SECTION A
1. Violin Concerto II Allegro – Adagio by A Berg
2. Adiós Nonino by A Piazzolla
3. Violin Concerto II Allegro – Adagio by Berg and Adiós Nonino by Piazzolla
Question 1 or question 2
The arguments should refer to the appropriate prescribed work.
Arguments should be consistent and convincing in their display of musical understanding, and
should be backed up by clearly located evidence. Musical terminology should be effective in
its use.
Question 3 The arguments should refer to both prescribed works. The comparing and contrasting of significant
musical links must focus on timbre/tone colour and melody.
Arguments should be consistent and convincing in their display of musical understanding, and
should be backed up by clearly located evidence. Musical terminology should be effective in
its use.
– 3 – SPEC/6/MUSIC/BP1/ENG/TZ0/XX/M
SECTION B
4. Arrival of the Queen of Sheba (from the oratorio Solomon) by G F Handel (Unidentified piece)
(no score provided)
Musical elements
4/4 metre
strings, continuo, 2 oboes
striking descending bass line in the recurrent ritornello
extended use of sequence
chromaticism
modulation.
Musical structure
There are many possible interpretations of the structure of this excerpt. Here is one of them.
This is in ritornello concerto form.
0:00 Opening ritornello with echo effects between strings and oboes (modulates to the
dominant by bar/measure 4 and then back to the tonic).
0:33 Concertino (2 oboes in thirds with some imitation of material).
0:39 Ritornello.
0:43 Concertino – extended material.
0:51 Ritornello (dominant).
0:56 Concertino – repeat of the original material in the dominant.
1:02 Ritornello extended (the end of the original statement).
1:09 Concertino.
1:15 Ritornello.
1:22 Concertino – back in the tonic.
1:26 Ritornello.
1:31 Concertino – modulating to the relative minor.
1:39 Ritornello extended – sequence through a variety of keys, using the oboes as part of the
ensemble with independent parts to the strings.
2:00 Opening bars of the original ritornello in the tonic.
2:08 Concertino in the tonic.
2:14 Ritornello – rising chromatic sequence (chromatic bass line), modulating to the dominant.
2:22 Concertino.
2:31 Ritornello extended – modulating back to the tonic.
2:43 Tutti – repeat of opening ritornello in full.
Musical context
G F Handel
baroque
Ritornello form, using ripieno and concertino.
– 4 – SPEC/6/MUSIC/BP1/ENG/TZ0/XX/M
5. String Quartet No. 8, op. 110 – Movement I (bars 1–62) by D Shostakovich (Identified piece)
(score provided)
Musical elements
2 violins, viola and cello
C minor
extended tonality
conflict between C minor and C major
free chromaticism
imitation
statement of DSCH motive
development of DSCH motive: stretto imitation, transposition, fragmentation, unison,
harmonisation
pedal points
homophonic and polyphonic textures
countermelodies
suspensions.
Musical structure
There are many possible interpretations of the structure of this excerpt. Here is one of them.
However, candidates are not expected to give such detail.
Beginning: cello plays DSCH motive which is imitated in the viola in bar/measure 2 a perfect 5th
above: A-B♭-G-F#, followed in stretto imitation in the violin II preserving the DSCH pattern;
bar 5 – violin I enters with the pattern now transposed up a perfect 4th
: G-A♭-F-E.
Bar 8: viola enters with a solo statement of the DSCH motive transposed up a perfect 5th
:
A-B♭-G-F#.
Bar 11: (partial) unison statement of DSCH motive.
Bar 15: solo statement of DSCH motive in violin II which involves some rhythmic change.
Bar 23: harmonised version of the DSCH motive involving the following chords: dominant of
C minor, 1st inversion of C minor, F minor, and dominant of C minor; the dominant chord at
bar 25 is embellished with a ♭9-8 suspension – A♭-G over the G in the violin II. This
harmonisation of the DSCH motive resolves onto the tonic in C minor – simple bare 5th
:
C and G.
Bar 28: pedal points in the cello, viola and violin II which support free chromaticism in violin I;
this continues to bar 45.
Bar 46: DSCH motive presented in the cello, resolving at bar 50 with open 5th
: C and G, with
violin I and violin II imitating one another with the C-G-G-A♭-G pattern.
At bar 55 new material emerges with certain patterns being preserved. Now in C major.
Musical context
Shostakovich
1960
neoclassical
Russian
string quartet.
– 5 – SPEC/6/MUSIC/BP1/ENG/TZ0/XX/M
6. Futuristic Rhythm by D Fields and J McHugh (Identified piece)
(no score provided)
Musical elements
instruments: voice, cornet, trombone, clarinet, alto sax, tenor sax, baritone sax, piano, guitar and
drum kit
improvisation sections mixed with written out sections
predictable beat
4/4
fast tempo
major
use of jazz scales.
Musical structure
There are many possible interpretations of the structure of this excerpt. Here is one of them.
0:00 Introduction Total of 6 bars/measures. Led by trombone with limited participation of the drum kit.
0:08 1st strophe
Total of 32 bars. Instrumental with structure A-A-B-A, presented mainly by the saxophones.
0:46 Bridge Total of 4 bars. Piano solo.
0:52 2nd
strophe Total of 32 bars. Vocal with same structure as 1
st strophe (A-A-B-A). A guitar “obligato” is
present.
1:30 Modulatory bridge
Total of 2 bars. Piano solo.
1:34 3rd
strophe Total of 32 bars. Despite the improvisatory nature of this instrumental section, it follows the
A-A-B-A structure of the previous strophes:
A-A: cornet (16 bars)
B: trombone (8 bars)
A: cornet (8 bars).
2:13 4th
strophe Instrumental with rhythmic variation and presented mainly by the saxophones (only the beginning
is heard due to fade out).
Musical context
jazz from the era of the “Great Depression” (1929)
Frankie Trumbauer and his orchestra (showcasing Bix Beiderbecke on the cornet)
elements of Dixie (polyphonic collective improvisation over a “rhythm” section)
use of the “thirty-two bar form” structure (A-A-B-A) typical of Tin Pan Alley and early jazz.
– 6 – SPEC/6/MUSIC/BP1/ENG/TZ0/XX/M
7. Sancocho ’E Mapale by D Marulanda (Unidentified piece)
(no score provided)
Musical elements
instruments: electric bass, flute, clarinet, saxophone, female voice, backing vocals, drum set,
congas, many percussion instruments
female voice (main singer)
minor mode
juxtaposition of non-predictable beat and strong rhythmic drive with a 4/4 metre
clear delimited phrases and structural sections
sung in Spanish.
Musical structure
There are many possible interpretations of the structure of this excerpt. Here is one of them.
0:00 Introduction Voice and percussion (most probably congas). Unpredictable beat. While the voice has four
obvious phrases with tonal functions, there is an important rubato element that hides a clear beat.
The percussion performs basically a roll that does not offer any hint of a possible beat.
0:50 1st strophe
Total of 16 bars/measures. First eight bars beginning with an anacrusis in the leading female voice.
The melody is based on the same four-phrase melody of the introduction with the end of each
phrase punctuated by the woodwinds. The second eight bars include backing voices supporting the
main voice and more active participation of woodwinds.
1:15 Instrumental interlude Total of 16 bars. The first eight bars with predominance of melodic instruments elaborating on the
motives of the voice and ending each phrase with prominent syncopation. The second eight bars
are exclusively based on apparent percussion improvisation.
1:40 2nd
strophe Similar structure to that of the 1
st strophe but with different text.
2:06 Instrumental interlude
Similar structure to that of the first interlude.
2:31 3rd
strophe Similar structure to that of 1
st strophe but with different text (fade out).
Musical context
The song’s text makes reference to the cooking of a sancocho, which is a type of soup used in
Spanish and Latin American cuisine. However, the music is based on a Mapale which is a dance
from the Colombian culture that was introduced by the African slaves from Guinea.
The choreography is generally performed by a couple and has obvious erotic courtship
connotations supported by a fast rhythm and predominance of almost exclusively percussion
instruments and voices.
– 7 – SPEC/6/MUSIC/BP1/ENG/TZ0/XX/M
SECTION C
8. A choice of any two of the extracts from Section B
Question 8 The arguments should refer in a balanced way to both of the candidate’s chosen extracts
(taken from Section B). Arguments establishing musical links should be consistent and convincing
in their display of musical understanding, and should be backed up by clearly located evidence.
Musical terminology should be effective in its use.