Published Mark Schemes for GCE A2 Music January 2010 Issued: April 2010 NORTHERN IRELAND GENERAL CERTIFICATE OF SECONDARY EDUCATION (GCSE) AND NORTHERN IRELAND GENERAL CERTIFICATE OF EDUCATION (GCE) MARK SCHEMES (2010) 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. The Purpose of Mark Schemes 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 A2 2: Part 1 1 A2 2: Part 2 9 v Newfi cation Speci ADVANCED General Certificate of Education January 2010 Music Assessment Unit A2 2: Part 1 assessing Test of Aural Perception [AU221] FRIDAY 22 JANUARY, MORNING MARK SCHEME 1 1 Bartók, Concerto for Orchestra, M. 4, Intermezzo Interrotto, Bars 40–69 AVAILABLE MARKS (a) violas [1] (b) up to two marks as follows: 1 1 • harp [2] chords [2] 1 1 1 1 • timpani [2] strokes [2] feature intervals of fourth [2] fifth [2] • circle of fifths [2] (c) up to two marks as follows: 1 1 • octave higher [2] in (first) violins [2] 1 1 1 • canonic/in canon [2] at a beat’s distance [2] in cor anglais [2] [2] (d) up to five marks as follows: • changing metre • irregular metre/beat • irregular phrasing • modal quality • prominent use of seconds [1], fourths [1] and tritone/augmented fourth [1] 1 • melody is from a folk song [2], Vincze’s aria “You are lovely, 1 you are my beautiful Hungary” [2] 1 1 1 • repetition [2] and extension [2] of motives [2] (development – no credit) [5] 1 1 (e) Intermezzo [2] Interrotto [2] [1] 11 2 2 Bach, Orchestral Suite No. 3 in D major, Gavotte I, (Bars 1–26) AVAILABLE MARKS (a) up to eight marks available as follows: 1 1 1 • predominance/dependence on strings [2], trumpets [2], timpani [2], 1 oboes [2] 1 1 • continuo [2] played by harpsichord [2] 1 • contrast of blocks of sound, alternation of tutti scoring [2] 1 with strings/oboes [2] 1 1 • emphasis on tonic [2] and dominant [2] 1 • binary form structure, with repeated sections [2] 1 1 1 • modulation [2] to the dominant [2] at end of first section [2], 1 1 1 1 1 to relative [2] minor [2] in second section [2], back to tonic [2] at end [2] 1 1 1 • trills [2] at end of phrases [2], use of appoggiatura [2] 1 1 1 1 • sequences [2] ascending [2] descending [2] harmonic [2] 1 1 1 • inversion [2] of opening melody [2] at beginning of second section [2] 1 1 • use of perfect cadences [2] and imperfect cadences [2] [8] (b) gavotte [1] (c) suite [1] (d) 1729 (allow 1700–1750) [1] 11 3 Bernstein, Symphonic Dances from West Side Story, Cha-Cha, Bars 545–566 (a) homophonic [1] (b) augmented fourth semitone [2] 1 (c) acciaccatura [1], grace note [2] [1] (d) up to five marks as follows: 1 1 1 1 1 1 • staccato [2] flute [2] piccolo [2] and high register [2] piano [2] chords [2] 1 1 1 • pizzicato [2] strings [2] (no credit for ‘plucked’) use of harmonics [2] 1 1 1 • off beat [2] finger [2] cymbals [2] 1 1 • soft hammers [2] on vibraphone [2] 1 1 • harp [2] arpeggios [2] 1 1 • use of percussion – maracas [2], tambourine [2] [5] (e) (i) Cha-Cha [1] (ii) three repeated quavers at the end of the phrase [1] 11 3 4 Haydn, Creation, “In the Beginning”, Bars 12–37 AVAILABLE MARKS (a) diminished seventh [1] (b) perfect cadence [1] (c) up to two marks available as follows: 1 1 • sung by SATB/mixed voice [2] choir [2] 1 1 • first entry in soprano/treble [2] delayed entry by ATB/rest of choir [2] 1 • homophonic texture [2] 1 • unison in line 4 [1], unison [2] [2] (d) up to four marks available as follows: 1 1 1 1 • strings [2] repeated [2] chords [2] in Line 3 [2] 1 1 1 1 • repeat [2] perfect cadence [2] after choir [2] in Line 3 [2] 1 1 • pizzicato [2] with location/between Lines 3 and 4 [2] 1 1 1 • entry of organ [2], timpani [2], trumpet/brass [2] 1 1 sustained line/pedal [2] end of Line 4/with location [2] [4] (e) (i) recitative [1] (ii) one of the following: • sparse orchestral accompaniment • continuo accompaniment only • chords punctutate the vocal line • declamatory style of singing • syllabic [1] (f) 1798 (allow 1770–1820) [1] 11 4 5 Stravinsky, Ebony Concerto, Mt. I 0.49 secs – 1.55 secs. AVAILABLE MARKS (a) clarinet trombone [2] (b) up to three marks available as follows: • syncopation • ostinato/riff • changing metre • shifting accents • repetition • cross rhythms [3] (c) (i) jazz [1] (ii) up to four marks as follows: 1 • use of call and response/question and answer [2] between 1 1 1 clarinets [2], saxophones [2] and trumpets [2] • walking bass 1 1 1 1 • ostinato [2] accompaniment [2] in muted [2] trumpets [2] 1 1 1 • ad lib/cadenza/improvisatory-like [2] solo [2] in clarinet [2] • big-band like scoring 1 1 • snare drum [2], bass drum [2] 1 • guitar [2] [4] 10 Total 54 5 Northern Ireland Council for the Curriculum, Examinations and Assessment General Certificate of Education, Advanced Level Music January 2010 Assessment Unit A2 2 Part 1, Test of Aural Perception. 1 Now look at Question 1. Pause 1 minute You will hear an extract from one of your set works. You will hear the extract four times with pauses between hearings. Here is the extract for the first time. Pause 1 minute Here is the extract for the second time. Pause 1 minute Here is the extract for the third time. Pause 1 minute Here is the extract for the fourth and last time. Pause 1 minute 2 Now look at Question 2. Pause 1 minute Here is the music for Question 2. You will hear an extract from a piece of instrumental music played four times with pauses between hearings. Here is the extract for the first time. Pause 1 minute Here is the extract for the second time. Pause 1 minute Here is the extract for the third time. Pause 1 minute Here is the extract for the fourth and last time. Pause 1 minute 6 3 Now look at Question 3. Pause 1 minute Here is the music for Question 3. You will hear an extract from one of your set works. You will hear the extract four times with pauses between hearings. Here is the extract for the first time. Pause 1 minute Here is the extract for the second time. Pause 1 minute Here is the extract for the third time. Pause 1 minute Here is the extract for the fourth and last time. Pause 1 minute 4 Now look at Question 4. Pause 1 minute Here is the music for Question 4. You will hear an extract from a piece of vocal music. You will hear the extract four times with pauses between hearings. Here is the extract for the first time.