S A M P L EMUSIC PERFORMANCEAural and written examination

Day Date Reading time: *.** to *.** (15 minutes) Writing time: *.** to *.** (1 hour 30 minutes)

QUESTION AND ANSWER BOOK

Structure of bookSection Number of

questionsNumber of questions

to be answeredNumber of

marks

A 3 3 30B 10 10 50C 7 7 20

Total 100

• Studentsarepermittedtobringintotheexaminationroom:pens,pencils,highlighters,erasers,sharpenersandrulers.

• StudentsareNOTpermittedtobringintotheexaminationroom:blanksheetsofpaperand/orcorrectionfluid/tape.

• Nocalculatorisallowedinthisexamination.

Materials supplied• Questionandanswerbookof20pages,includingblankmanuscriptforroughworkonpage15• AnaudiocompactdisccontainingmusicalexcerptsforSectionsAandBInstructions• Writeyourstudent numberinthespaceprovidedaboveonthispage.• Youmaywriteatanytimeduringtherunningoftheaudiocompactdiscandafteritstops.• AllwrittenresponsesmustbeinEnglish.

Students are NOT permitted to bring mobile phones and/or any other unauthorised electronic devices into the examination room.

©VICTORIANCURRICULUMANDASSESSMENTAUTHORITY2017

Version3–January2018

SUPERVISOR TO ATTACH PROCESSING LABEL HEREVictorian Certificate of Education Year

STUDENT NUMBER

Letter

MUSICPERFORMANCE(SAMPLE) 2 Version3–January2018

SECTION A – Question 1 –continued

SECTION A – Listening and interpretation

Instructions for Section AAnswerallquestionsinpenorpencilinthespacesprovided.AnaudiocompactdiscwillruncontinuouslythroughoutSectionA.

Question 1 (8marks)Work:‘WhentheRiverRunsDry’byHunters&CollectorsPerformers:Hunters&CollectorsAlbum:Ghost Nation(WhiteLabelRecords/MushroomRecords,1989)

Theexcerptwillbeplayedthreetimes.Therewillbesilentworkingtimeafterthesecondand thirdplayings.

Firstplaying(1′48″)–10secondsofsilenceSecondplaying(1′48″)–3minutesofsilence

a. Describehowtheperformerscreateexcitementandenergythroughtheiruseoftonecolour. 4marks

Version3–January2018 3 MUSICPERFORMANCE(SAMPLE)

SECTION A – continuedTURN OVER

Thirdandfinalplaying(1′48″)–4minutesofsilence

b. Describethewaysinwhichtheperformershaveusedarticulationtocreatecharacterintheirperformance. 4marks

MUSICPERFORMANCE(SAMPLE) 4 Version3–January2018

SECTION A – Question 2 –continued

Question 2 (10marks)Work:‘TheEvidenceofLove’byPhillipPietruschkaPerformers:PhillipPietruschkaandensembleAlbum:Itinerant Labours(CajidMedia,2007)

Theexcerptwillbeplayedtwice.Therewillbesilentworkingtimeaftereachplaying.Firstplaying(2′50″)–2minutesofsilence

Secondandfinalplaying(2′50″)–6minutesofsilence

Discusshowtheperformers’approachtodynamics,articulationandphrasingcontributestocreatingexpressiveoutcomesinthisperformance.

Version3–January2018 5 MUSICPERFORMANCE(SAMPLE)

SECTION A – continuedTURN OVER

MUSICPERFORMANCE(SAMPLE) 6 Version3–January2018

SECTION A – Question 3 –continued

Question 3 (12marks)Thisquestionrelatestoexcerptsfromthework‘WithEveryBreathITake’, composedbyCyColeman,fromthe1989musicalCity of Angels.

Interpretation AWork:‘WithEveryBreathITake’Performers:KayMcClellandandorchestraAlbum:City of Angels(OriginalBroadwayCastRecording;SonyMusicEntertainmentInc.,1990)

Interpretation BWork:‘WithEveryBreathITake’Performers:RachelleFerrellandbandAlbum:First Instrument(BlueNoteRecords,1995)

Theexcerptswillbeplayedtwice.Therewillbesilentworkingtimeaftereachplayingofthepairofexcerpts.

FirstplayingofInterpretationA(1′33″)–30secondsofsilenceFirstplayingofInterpretationB(1′53″)–2minutesofsilence

SecondandfinalplayingofInterpretationA(1′33″)–30secondsofsilenceSecondandfinalplayingofInterpretationB(1′53″)–7minutesofsilence

Discussthewaysinwhichtheapproachtakeninthetwointerpretationstowardstwoofthefollowingelementsofmusichasresultedindifferentexpressiveoutcomes:• tempo• dynamics• phrasing• embellishmentand/orornamentation

Version3–January2018 7 MUSICPERFORMANCE(SAMPLE)

END OF SECTION ATURN OVER

MUSICPERFORMANCE(SAMPLE) 8 Version3–January2018

SECTION B – continued

Question 4 (3marks)Listentothefollowingintervals.Eachintervalwillbeplayedtwice.Eachintervalmaybeplayedharmonicallyand/ormelodically,eitherascendingordescending.Identifythesizeandthequalityofeachinterval.

Firstplaying–5secondsofsilenceSecondandfinalplaying–5secondsofsilence

1.

2.

3.

Question 5 (3marks)Listentothefollowingscalesand/ormodes.Eachscaleormodewillbeplayedtwice,ascendingand/ordescending.Identifyeachscaleand/ormodeform.

Firstplaying–5secondsofsilenceSecondandfinalplaying–5secondsofsilence

1.

2.

3.

SECTION B – Music language (aural)

Instructions for Section BAnswerallquestionsinpencilinthespacesprovided.AnaudiocompactdiscwillruncontinuouslythroughoutSectionB.

Version3–January2018 9 MUSICPERFORMANCE(SAMPLE)

SECTION B – continuedTURN OVER

Question 6 (4marks)a. Listentothefollowingfour-barmelody.Themelodywillbeplayedtwice.Therhythmofthe

melodyisprovided.Atwo-barcount-inwillprecedeeachplaying.

34/ œ ™ œ

jœ œ œ ™ œ

jœ œ œ œ œ œ œ œ œ ˙

Firstplaying–5secondsofsilenceSecondandfinalplaying–5secondsofsilence

i. Identifythesizeandthequalityoftheintervalsmarkedwithabracket. 2marks

•

•

ii. Identifythetonalityofthemelody. 1mark

b. Listentothefollowingfour-barmelody.Themelodywillbeplayedtwice.Therhythmofthemelodyisnotprovided.Atwo-barcount-inwillprecedeeachplaying.

Identifythetonalityofthemelody. 1mark

Firstplaying–5secondsofsilenceSecondandfinalplaying–5secondsofsilence

Question 7 (4marks)Listentothefollowingtriads/chords.Eachtriad/chordisinrootposition.Eachtriad/chordwillbeplayedtwice,inblockharmonyand/orasanarpeggio.Identifythequalityofeachtriad/chord.

Firstplaying–5secondsofsilenceSecondandfinalplaying–5secondsofsilence

1.

2.

3.

4.

MUSICPERFORMANCE(SAMPLE) 10 Version3–January2018

SECTION B – continued

Question 8 (4marks)Listentothefollowingchordprogression.Thechordprogressionbeginsonthetonicchordandwillbeplayedthreetimes,withsilentworkingtimebetweeneachplaying.Eachchordisinrootpositionandtheprogressionendswithacommoncadence.Thefirsttwochordsaregiven.Aone-barcount-inwillprecedeeachplaying.Identifythebassnoteandthequalityofchords3and4intheblankspacesoftheharmonicgridbelow.

Firstplaying–5secondsofsilenceSecondplaying–5secondsofsilence

Thirdandfinalplaying–5secondsofsilence

Harmonic grid 1. 2. 3. 4.

Bass note B G

Quality major minor

Question 9 (8marks)Listentothefollowingchordprogression.Thechordprogressionbeginsonthetonicchordandwillbeplayedfivetimes,withsilentworkingtimebetweeneachplaying.Eachchordisinrootposition.Thefirsttwochordsandthelasttwochordsaregiven.Aone-barcount-inwillprecedeeachplaying.Identifythebassnoteandthequalityofchords3–6intheblankspacesoftheharmonicgridbelow.

Firstplaying–5secondsofsilenceSecondplaying–5secondsofsilenceThirdplaying–5secondsofsilenceFourthplaying–5secondsofsilence

Fifthandfinalplaying–5secondsofsilence

Harmonic grid 1. 2. 3. 4. 5. 6. 7. 8.

Bass note E C B E

Quality minor major dom7 minor

Version3–January2018 11 MUSICPERFORMANCE(SAMPLE)

SECTION B – continuedTURN OVER

Question 10 (4marks)Listentothefollowingfour-barworkforoboeandvioloncello.Theworkwillbeplayedfourtimes.Atranscriptionofthisworkisprintedbelow;however,thenotationismissingforbar4oftheoboepart.Therhythmofthemissingoboepartisgiveninthetopline.Atwo-barcount-inwillprecedeeachplaying.Transcribethemissingmelodyforbar4oftheoboepart.

Firstplaying–20secondsofsilenceSecondplaying–20secondsofsilenceThirdplaying–20secondsofsilence

Fourthandfinalplaying–30secondsofsilence

oboe

violoncello

ob.

vc.

3

44

44

44

/

&bb

?bb

/

&bb

?bb

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 œ œ œ

œ œ œ œ œ œJ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

MUSICPERFORMANCE(SAMPLE) 12 Version3–January2018

SECTION B – continued

THIS PAGE IS BLANK

Version3–January2018 13 MUSICPERFORMANCE(SAMPLE)

SECTION B – Question 11–continuedTURN OVER

Question 11 (8marks)Listentothefollowingeight-barmelody.Themelodywillbeplayedfivetimes.Atranscriptionofthismelodyisprintedonpage14;however,thenotationismissingforbar2oftheelectricguitarpart,bar3ofthetrumpetpartandbar7oftheelectricbasspart.Therhythmofthemissingnotationisgiveninthetopline.Atwo-barcount-inwillprecedeeachplaying.Transcribethemissingmelodyfor:• bar2oftheelectricguitarpart• bar3ofthetrumpetpart• bar7oftheelectricbasspart.

Firstplaying–20secondsofsilenceSecondplaying–20secondsofsilenceThirdplaying–20secondsofsilenceFourthplaying–30secondsofsilence

Fifthandfinalplaying–30secondsofsilence

MUSICPERFORMANCE(SAMPLE) 14 Version3–January2018

SECTION B – continued

°

¢

°

¢

°

¢

percussion

perc.

electric guitar

elec. gtr.

electric bass

tpt. in C

trumpet in C

elec. bass

perc.

elec. gtr.

tpt. in C

elec. bass

3

5

68

68

68

68

/ ∑

&###

&‹

###

?###

2

/ ∑2

&###

&‹

###

?###

/ ∑ ∑

&###

&‹

###

?###

œ œ œ œ œ ™

œ ™ œ œJ œ ™ œ œ œ œ œ œ œ

œ ™ œ œ œJ

œ

œ œ œ ™ œ ™ œ ™

œ œ œ œ œ

œJ œ œ œ œ

œ ™ œ œ œ œ œ œ œ œ ™ œ ™

œ ™œ ™ œ

j œ œ ™

œ œ œ œ œ ™ œ œ œœ œ œ ™ œ œ

œ ™ œ ™ œ ™ œ# ™

œ œ œ œ œ œ œœ œ œ œ

j

°

¢

/ ∑

&###

2

&‹

###

?###

œ œj

œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œJ œ

œ œ œœ œ œ œ

j œ œ œ œ œ ™

œ œj œ ™

perc.

tpt. in C

elec. gtr.

elec. bass

Version3–January2018 15 MUSICPERFORMANCE(SAMPLE)

SECTION B – continuedTURN OVER

Blankmanuscriptforroughworkifrequired

MUSICPERFORMANCE(SAMPLE) 16 Version3–January2018

SECTION B – continued

Question 12 (4marks)Listentothefollowingfour-barexcerpt.Theexcerptwillbeplayedthreetimes.Atwo-barcount-inwillprecedeeachplaying.Transcribethemissingrhythmicnotationforbars3and4ofthesnaredrumpart.

Firstplaying–15secondsofsilenceSecondplaying–15secondsofsilence

Thirdandfinalplaying–20secondsofsilence

snare drum

tambourine

s.d.

tamb.

°

¢

°

¢

3

44

44

/3

/

/

/

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 œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Version3–January2018 17 MUSICPERFORMANCE(SAMPLE)

END OF SECTION BTURN OVER

Question 13 (8marks)Listentothefollowingeight-barexcerpt.Theexcerptwillbeplayedfivetimes.Atwo-barcount-inwillprecedeeachplaying.Transcribethemissingrhythmicnotationfor:• bars3and6ofthetaikodrumpart• bar4ofthecowbellpart.

Firstplaying–15secondsofsilenceSecondplaying–15secondsofsilenceThirdplaying–20secondsofsilenceFourthplaying–20secondsofsilence

Fifthandfinalplaying–20secondsofsilence

cowbell

taiko drum

cow.

taiko d.

cow.

taiko d.

°

¢

°

¢

°

¢

4

7

64

64

/

/2

/

/2

/

/

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 œ œ œ œ

œ œ œ œ œ œ œ œ œ ™ œjœ 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 œ

œ œ œ œ œ œ œ œ ˙ ™ ˙ ™

MUSICPERFORMANCE(SAMPLE) 18 Version3–January2018

SECTION C – continued

SECTION C – Music language (written)

Instructions for Section CAnswerallquestionsinpencilinthespacesprovided.

Question 14 (2marks)Identifythesizeandthequalityofeachinterval.

?&ww

ww

1. 2.

Question 15 (3marks)Writeeachintervalusingsemibrevesineitherthetreblecleforthebassclef.

?

major3rdaboveB minor6thbelowF# minor2ndbelowC#

OR

&

major3rdaboveB minor6thbelowF# minor2ndbelowC#

Question 16 (2marks)a. Identifythefollowingscaleormodeform. 1mark

?w w w w w w# w# w

Scaleormodeform

b. Identifythescaleormodeformofthefollowingmelody. 1mark

24&œ ™ œœ œ œ œ œ ™

œ œ œ œ œ œ œœ œ œ œ ™ œ œ ™ œœ œ œ œ œ œ œ œ

Scaleormodeform

Version3–January2018 19 MUSICPERFORMANCE(SAMPLE)

SECTION C – continuedTURN OVER

Question 17 (3marks)Writeadescendingmixolydianmodeontheprintedstavebelow.Themodeshould:• bewritteninminims• beginontheprintednote.

? ˙b

Question 18 (2marks)Identifythequalityofeachofthefollowingchords.

44& ?wwww

wwww

1. 2.

Question 19 (3marks)Writeanythreeofchords1–5below.Usetrebleclef.Anexamplehasbeenprovided.

44

44

&b

?b

www

w w w w w w

piano

Dminor 1. A7 2. Ehalfdim 3. B major7 4. Gminor 5. Amajor

MUSICPERFORMANCE(SAMPLE) 20 Version3–January2018

END OF QUESTION AND ANSWER BOOK

Question 20 (5marks)Usethefollowingnotationtoanswerthequestionsbelow.

soprano saxophone

marimba

electric guitar

bass guitar

drum set

°

¢

{

f mp f p

f mp f p

mp ff p

mp p f p

mpp f p

44 34

44 34

44 34

44 34

44 34

&# ∑

> > U

&#

. . . . . . . . . . . . . . . . .> . .>. .

> . . . . .

&‹

# ∑. . . > >

> > > >>

U

>

∏∏∏∏

?# ∑> > >

> U

/ ∑> > U

œœœ œœ ™ œœ ‰ œ#Jœ œœ œœ ™ œœ

œ œ œ œ œ œ œ ™ œJœ# œ œœ œœ ™ œ œ

œœœ œœœ œœœ#œœœœœœ œœœ œœ

œœœœ

œœœ œœœ œœœ#œœœœœœ œœœ œœ

œœœœ

œœœ

œœœ œœ

œ# œ œ œœœ™™™

œœœjœœœ# œœ

œœœœœ œœ œ œ œœœ œœœ œœœ

œ#

œœœ œœœ#œœœ œJ œœ ™™œ œ œ#

œœœ œœ

œ#™™™ Œ

œœ œœ œœ œ œœ œ œ

œ Œ

˙̇˙

Œ˙ ™ œ œ œ

œ#j

˙ ™ ˙ œ Œ ˙

Œ œœ œ œ œ œœ œ œœ œ œœ œ œ œœ ™™ œJ

œ œœ ™™ œJœ Œ ˙

a. Identifythescaleormodeform. 1mark

b. Identifythebracketedintervalbetweenbars4and5inthesopranosaxophonepart. 1mark

c. Whatisthecorrecttimesignatureforbar3? 1mark

d. Whatisthecorrecttimesignatureforbar4? 1mark

e. Identifythefinalchordinthemarimbapart. 1mark