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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


Turn over


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


– 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 – Adagio by A Berg

Alban Berg adopted serialism and frequently used it with methods that were founded on tonality.

Demonstrate and discuss how successful Berg was in reconciling his serial procedures with tonal conventions of the past as found in Part II of his Violin Concerto. [20 marks]

Or

2. Adiós Nonino by A Piazzolla

Astor Piazzolla was the creator of the “Tango Nuevo” – a new musical style drawing upon elements from traditional tango and other musical cultures.

Identify two (or more) musical elements that have roots in traditional tango and two (or more) elements that originate from other cultures.

Demonstrate and discuss how these musical elements contribute to create the work’s overall style.

3. Violin Concerto II Allegro – Adagio by A Berg and Adiós Nonino by A Piazzolla

Investigate significant musical links between these two pieces by analysing and comparing and contrasting their timbre/tone colour and melody.

[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. Unidentified Piece

(no score provided)

Analyse, examine and discuss in detail what you hear in this extract. [20 marks]

5. String Quartet No. 8, Op. 110 – Movement I by D Shostakovich

(score provided)

With clear reference to the score provided, analyse, examine and discuss in detail what you hear in this extract. [20 marks]

6. Futuristic Rhythm by D Fields and J McHugh

(no score provided)



(no score provided)


– 4 – SPEC/6/MUSIC/HP1/ENG/TZ0/XX

SECTION C

Answer the following question.

8. Select any two of the extracts from Section B. Investigate and evaluate two (or more) significant musical links between these extracts. Arguments must be fully justified, located and relevant to the chosen extracts. [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


– 2 – SPEC/6/MUSIC/SP1/ENG/TZ0/XX

SECTION A


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 – Adagio by A Berg

Alban Berg adopted serialism and frequently used it with methods that were founded on tonality.

Demonstrate and discuss how successful Berg was in reconciling his serial procedures with tonal conventions of the past as found in Part II of his Violin Concerto. [20 marks]

Or

2. Adiós Nonino by A Piazzolla

Astor Piazzolla was the creator of the “Tango Nuevo” – a new musical style drawing upon elements from traditional tango and other musical cultures.

Identify two (or more) musical elements that have roots in traditional tango and two (or more) elements that originate from other cultures.

Demonstrate and discuss how these musical elements contribute to create the work’s overall style.

3. Violin Concerto II Allegro – Adagio by A Berg and Adiós Nonino by A Piazzolla

Investigate significant musical links between these two pieces by analysing and comparing and contrasting their timbre/tone colour and melody.

[20 marks]

[20 marks]

– 3 – SPEC/6/MUSIC/SP1/ENG/TZ0/XX

SECTION B


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


(no score provided)


Or

5. String Quartet No. 8, Op. 110 – Movement I by D Shostakovich

(score provided)

With clear reference to the score provided, analyse, examine and discuss in detail what you hear in this extract. [20 marks]

6. Futuristic Rhythm by D Fields and J McHugh

(no score provided)



(no score provided)


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].

SE C T I O N A

1. Violin Concerto I I Allegro – Adagio by A Berg 2. Adiós Nonino by A Piazzolla 3. Violin Concerto I I 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.


SE C T I O N 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.


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.


6. F uturistic Rhythm by D F ields 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 1st 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.


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 1st 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 1st 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.


SE C T I O N 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.

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Music Higher level and standard level - Wikispaces Music higher level and standard level specimen scores booklet Music higher level paper 1 specimen paper Music standard level paper