<p> NCEA Level 1 Music (91094) 2016 — page 1 of 5 (i) Assessment Schedule – 2016 (ii) Music: Demonstrate knowledge of conventions used in music scores (91094) Assessment Criteria</p><p>Achievement Achievement with Merit Achievement with Excellence Demonstrating knowledge of Demonstrating in-depth knowledge Demonstrating comprehensive conventions involves: of conventions involves: knowledge of conventions involves: identifying and describing musical explaining musical elements and applying musical elements and elements and features. features. features. NCEA Level 1 Music (91094) 2016 — page 2 of 5</p><p>Evidence</p><p>Achievement Achievement Task Evidence Achievement with Excelle with Merit nce (a) (i) Time signature: Indicates a valid time Dd, (or Bb, ) signature for the ç Ç extract. (ii) “Fast” tempo marking: Indicates a valid Indicates an Allegro Italian tempo appropriate Italian marking. tempo marking.</p><p>(b) (i) Instrument A: trumpet (in B♭) Identifies the Gives musical is in the brass section of the instrument. evidence to support score layout (bracketed with the the identification. French horn) uses treble clef is a (B♭) transposing instrument (ii) Woodwind players: Identifies the number 8 of woodwind players specified in the (two each of flute, oboe, clarinet score. and bassoon) (iii) Instrument that does not play: Identifies the (solo) piano instrument that does not play in the score. (c) Opening key: Identifies the key. Gives musical Demonstrates C minor evidence to support comprehensive the identification. knowledge of key by Evidence including bold-type key signature of 3 flats evidence. opening outlines a C minor (tonic) chord B♮ in bar 5 dominant pedal (in bassoon and horns) in bars 5–8 Other responses possible. (d) (i) Texture in bars 1–4: Identifies and monophonic – all parts play in describes the (melodic) unison / octaves, in texture. rhythmic unison (ii) Change of texture in bars 5–8: Explains how the homophonic – all parts play in texture changes. rhythmic unison but have different pitches / play harmony / chords (iii) Change in another musical Demonstrates element in bars 5–8: comprehensive timbre – changes from strings knowledge of to wind and brass another musical element. pitch – changes to a higher register. Other responses possible. Task Evidence Achievement Achievement Achievement with Merit with Excelle NCEA Level 1 Music (91094) 2016 — page 3 of 5</p><p> nce (e) (i) Dynamics: Identifies or the strings play softly / quietly. describes the dynamics. (ii) Texture: Explains how the violins play the same melody an texture is in two octave apart parts, in octaves. violas and cellos play the same melody as the double basses an octave apart. (iii) Musical markings in string Indicates, using parts: appropriate crescendo in bars 11–14 terminology, all THREE markings in  in bar 15, beat 1 both violin parts. staccato markings on beats 2, 3, and 4 in bar 15. (f) Ties: Identifies an Explains the way bassoons – bars 9–10, 11–12 example of a tie that a tie AND a slur AND a slur. are played. Slurs: flute 1 – bars 13–14 strings – bars 9–14 Difference between tie and slur: Tie – notes of the same pitch are played / held for the duration of both without a break Slur – notes are played smoothly / legato / without breath or break (g) Violin I part in bars 9–10: Notates the pitches, Accurately notates with allowance for the pitches and TWO errors. performance markings (including accurate stem direction and alignment of dynamics). NCEA Level 1 Music (91094) 2016 — page 4 of 5</p><p>Achievement Achievement Task Evidence Achievement with Excelle with Merit nce (h) (i) Compositional device in Identifies ONE Explains how ONE bars 17–22: compositional compositional device sequence – the same music is device. is used. repeated a third higher. (ii) Compositional device in bars 24–29: (tonic) pedal / repetition – the same note (E♭) is repeated (under changing harmony).</p><p>(i) (i) New key: E♭ major Identifies the key. Gives musical Demonstrates key signature of three flats, but evidence to support comprehensive the identification. knowledge of key by no B♮ to suggest C minor including bold-type perfect / V–I cadence in evidence. E♭ major strings play an E♭ major (tonic) chord in bar 24 strings play an E♭ major (tonic) pedal in bars 24–29. (ii) Relationship to tonic key: States the relative major. relationship of the new key to the tonic. (j) (i) Viola part as it would be played: Notates the music as Notates the music as it would be played it would be played</p><p>OR AND (ii) Why the composer did not use Gives a reason for Gives a reason for this notation: the use of the the use of the because it takes up more space musical shorthand. musical shorthand. in the score / is slower to write out. (k) Differences when the opening Describes TWO bass riff is repeated in bars 31– differences. 33: no upbeat / anacrusis only one pitch (G) instead of G and C 3 bars long instead of 4. (l) Intervals: Identifies the Specifies the quality (iii) perfect 4th quantity of THREE and quantity of intervals. THREE intervals. (iv) major 2nd (v) major 2nd (vi) minor 3rd. NCEA Level 1 Music (91094) 2016 — page 5 of 5</p><p>Achievement Achievement Task Evidence Achievement with Excelle with Merit nce (m) (i) Why the scale is not D major: Explains the the music is in C major characteristics of the specified major key. D major requires F♯ and C♯. (ii) What would be needed to make Demonstrates the scale D minor: comprehensive knowledge of the D minor would require B♭ characteristics of a because the scale is ascending, minor key, in in the melodic minor, the B and ♭ context. C would be raised to B♮ and C♯. (n) Structure from end of verse 2: Identifies terms and Explains aspects of Gives a detailed and go to  / bar 3 for verse 3 signs relevant to the the structure of the accurate account of structure. score. the structure of the after bar 18, go to bar 3 for score. verse 4 skip bar 18 after bar 23, go to bar 34 for coda either: skip bar 43 and go to ending repeat bars 34–43 and fade out. (o) Comparison of bars 28 and 38: Identifies one Explains one Demonstrates in both, the rhythm of beats 1 similarity. difference AND comprehensive and 2 is the same explains how knowledge in a syncopation is used. comparison of the in both, the second quaver of melodic extracts. beat 2 is tied to beat 3 in bar 38, the last note (C) is anticipated by a semiquaver, and an extra note (B) is added. Other responses possible.</p><p>N1 N2 A3 A4 M5 M6 E7 E8</p><p>ONE (of 24) TWO (of 24) EIGHT (of 16) TEN (of 16) TEN (of 14) TWELVE (of FIVE (of 9) EIGHT (of 9) opportunity at opportunities Achievement Achievement Merit 14) Merit Excellence Excellence any level. at any level. opportunities. opportunities. opportunities. opportunities. opportunities. opportunities.</p><p>N= No response; no relevant evidence.</p><p>Cut Scores</p><p>Achievement Not Achieved Achievement Achievement with Merit with Excellence 0 – 2 3 – 4 5 – 6 7 – 8</p>