Assessment Schedule 2008 Music: Identify and describe fundamental materials of music (90016)

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1 NCEA Level 1 Music (90016) 2008 Page 1 of 8 Assessment Schedule 2008 Music: Identify and describe fundamental materials of music (90016) Evidence Statement Q Evidence One SCORE EXTRACT A: Blues for Brass by Antônio Carlos Neves Campos (a) Instrument: Tuba Correct response. (b) Ensemble: Quintet Correct response. (c) (d) Non-transposing instruments Trombone Tuba See table below. SEVEN correct Bar no. Symbol Italian term English meaning 1 f forte loud 12 mf mezzo-forte moderately loud 25 mp mezzo-piano moderately soft 13 / 30 crescendo getting (gradually) louder (e) (f) Intervals (1) major 2nd (2) perfect 5th (3) minor 3rd See table below. Bar no. Instrument Beats rest 12 Trombone 4 13 Trumpet French horn 2 ½ 15 Trombone 3 ½ 16 French horn 2

2 NCEA Level 1 Music (90016) 2008 Page 2 of 8 Q Evidence (g) No more than THREE errors (in total) in: pitch rhythm tails key signature performance markings. No more than ONE error (in total) in: pitch rhythm tails key signature performance markings. (h) (ii) Key C major Correct response. Correct response. (iii) Texture X: homophonic Reason: chordal, parts move together BOTH responses completely correct. (ii) Texture Y: monophonic Reason: one instrument, single line BOTH responses completely correct. (j) Symbol: double bar (line) Function: signals the end of a section of music Any THREE symbols and/or functions correct. Any FIVE symbols and / or functions correct. (ii) Symbol: crushed note / grace note / acciaccatura / ornament Function: adds colour; played just before the note it precedes (iii) Symbol: rehearsal letter / mark Function: allows the players (and / or conductor) to quickly find a significant point in the music

3 NCEA Level 1 Music (90016) 2008 Page 3 of 8 Q Evidence (k) (l) Features of blues piece: Blues scale (major / minor 3rd, raised 4th, flat 7th) Example: used throughout Syncopation / off-beat rhythms Example: used throughout Quavers written as straight eighths, but tempo indication specifies Jazz feel Example: used throughout Solo (notated) improvised section Example: Tuba, bars bar blues structure Example: bars 1 12 Walking bass Example: Tuba, bars Call and response Example: Tuba / others, bars 1 10 Articulation Example: accents, stabs, staccato used throughout See table below. ONE feature identified, and an example given. ONE correct response. TWO features identified, and an example given for each. THREE features identified, and an example given for each. Symbol Effect The note is held for less than its full length The note is accented The note is strongly / heavily accented The note is stressed / leaned on

4 NCEA Level 1 Music (90016) 2008 Page 4 of 8 Q Evidence (m) Contrasting elements in bars 25 32: Element: texture Contrast: the accompanying instruments fill the space of the tuba s held minim notes, giving rhythmic drive / unison chords contrast with the solo line ONE correct response. Element: rhythm Contrast: punches, triplets, contrast with the smooth line of the soloist Element: dynamics Contrast: accompanying instruments are softer Element: articulation Contrast: accents of accompaniment contrast with legato solo line Element: pitch Contrast: accompanying instruments much higher pitch than soloist. Other responses possible.

5 NCEA Level 1 Music (90016) 2008 Page 5 of 8 Q Evidence Two SCORE EXTRACT B: Since by man came death, from Messiah by G.F. Handel (a) Time signatures: Dd (b) Bar Italian term English meaning All FOUR responses completely correct. 1 Grave Very slow / solemn 8 Allegro Fast (c) (d) Italian / English term: a cappella / unaccompanied Correct response. Any THREE intervals and / or notated pitches completely correct. Interval: octave / perfect 8th (ii) Interval: major 7th (e) Minimum number of performers: 5 Correct response. (f) No more than ONE error (in total) in: pitch rhythm tails. (g) Keys: A minor ONE correct response. Any FOUR correct (ii) C major (iii) G major (iv) G minor (v) D minor (h) Chords: (1) IV / Dm / D minor BOTH responses correct. (2) I / Am / A minor (ii) Cadence: Plagal Correct response.

6 NCEA Level 1 Music (90016) 2008 Page 6 of 8 Q Evidence Two See tables below. Any FOUR correct Any SEVEN correct Any TEN correct Note: Must have voice part and at least one bar number correct Device Voice / part From Bar no. To An ascending scale of A minor Bass / 32 Vocal melisma Alto / tenor Soprano / tenor All parts Soprano / alto / bass All parts (SATB) A rising chromatic passage Soprano 3 6 (ii) Device Voice / part From Bar no. To (Pitch): contrary motion Soprano and bass (Harmonic): broken chord / arpeggio Keyboard reduction (j) Other responses possible eg piano style No more than TWO errors (in total) in: pitch rhythm tails. (k) Bars: (ii) Effect: a three-bar phrase is unbalanced the four-bar phrase has a built in rall creates tension by lengthening the passage. Other responses possible.

7 NCEA Level 1 Music (90016) 2008 Page 7 of 8 Q Evidence (l) Word-painting resurrection (bars 15 16) FIVE correct rising pitch suggests rising from the dead reaches the highest note in the extract major key reinforces the positive mood loud dynamics reinforce the positive mood syllabification of the word adds emphasis (ii) death (bars 6 7) longest note-value in the extract soft dynamics suggest the somber mood minor key reinforces the mood static texture / lack of movement reinforces the word Other responses possible. (m) See table below. FIVE correct Element Bars 1 7 Bars 8 17 Pitch of soprano part: melodic range and direction Rhythm Textural density Movement is upwards over a narrow pitch range (perfect 5th). Longer note values make it very slow moving, particularly in combination with the tempo marking. Thinner sound because it is voices-only / a cappella / unaccompanied. Movement is both upwards and downwards over the range of an octave. Mostly based on quavers and crotchets that move very quickly (allegro), driving the section along. Full sound because the keyboard part gives both upper and lower support beyond the pitch of the soprano and bass lines.

8 NCEA Level 1 Music (90016) 2008 Page 8 of 8 Judgement Statement Note: The assessor must take into account the quality as well as the quantity of the evidence provided when judging the appropriate level of candidate achievement. Evidence from a higher level may count towards evidence at a lower level, if required, when calculating the final grade to be awarded. The candidate may be awarded more than one piece of evidence for a question (eg in Question One (g), a candidate making only one error would receive both M and E). 22 opportunities are offered in: Question One (a), (b), (c), (d), (e), (f), (h), (h)(ii), (j), (k), (l), (m) Question Two (a), (b), (c), (d), (e), (f), (g),, (l), (m) 16 opportunities are offered in: Question One (g), (h)(iii),, (ii), (j), (k), (l), (m) Question Two (g), (h), (h)(ii),, (j), (k), (l), (m) 8 opportunities are offered in: Question One (g), (k), (l), (m) Question Two (g),, (l), (m) 11 A 8 M + 11 A 3 E + 8 M

Students' guide: Area of study 1 (The Western classical tradition 1650-1910)

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