Download NCEA Level 3 Making Music (90777) 2012 Assessment

NCEA Level 3 Making Music (90777) 2012 — page 1 of 4
Assessment Schedule – 2012
Making Music: Demonstrate aural skill across a range of musical styles and genres
(90777)
Evidence Statement
Question
ONE
(a)
Achievement
Achievement with Merit
“Popcorn”
EITHER
EITHER
(i)
(i)
Identifies the main timbre
AND
(ii)
(b)
Achievement with Excellence
Describes the timbre
AND
Identifies TWO musical
features of the introduction
(ii)
Describes THREE
musical features of the
introduction
OR
OR
Identifies TWO compositional
devices used to structure ONE
(of 3) sections of the music.
Describes TWO compositional
devices used to structure the
music in each of TWO (of 3)
sections of the music.
Explains how TWO
compositional devices are used
to structure the music in each of
TWO (of 3) sections of the
music, and gives ONE relevant
and accurate musical example.
(a) Extract 1
(i) Main timbre
 Synthesiser (electronic / synthesised)
(ii) Musical features of the introduction
 A (tonic pedal) note is sustained / held through the whole introduction
 Percussion (tambourine) plays on the crotchet beats
 A one-bar riff / ostinato / rhythmic motif begins in the bass in bar 3 (heard four times)
 The last part of the bass riff is a diminution of the opening motif
 Other responses possible
(b) Extract 2
Development of the opening motif, and the use of compositional devices to structure the extract
(do not accept evidence repeated between sections)
 Section (2)
- Tonality
- A minor third higher than Section (1) / D major rather than B minor / relative major
- Melody
- The melody is the opening motif / melody played at a higher pitch (a 5th higher), eg:
- Sustained notes ( / countermelody) follow the contour of the melody at a lower pitch (a 6th
lower)
 Section (3)
- Rhythm
- The opening motif is repeated, but syncopated, eg
- A (snare) drum (and shaker) motif begins
-
Melody
NCEA Level 3 Making Music (90777) 2012 — page 2 of 4
- Sustained notes follow the contour of the melody, at pitch, then an octave higher
 Section (4)
- Texture
- Polyphonic
- Each part is rhythmically different
- Rhythm
- The opening motif is syncopated, as in Section (2)
- The (snare) drum (and shaker) motif continues
Other responses possible
Question
TWO
(a)
Achievement
Achievement with Merit
Achievement with Excellence
Fantasia and Fugue in G minor, BWV 542
Identifies FOUR (of 5) textures,
and describes how THREE of
the textures are used
AND
(b)
Explains how melody and
harmony are used to provide
contrast in ONE section
Explains how melody and
harmony are used to provide
contrast in TWO sections
OR
(c)
Transcribes TWELVE pitches,
with no more than FOUR
rhythmic errors.
Transcribes FOURTEEN
pitches, with no more than TWO
rhythmic errors.
(a) Extract 1
Textures, and how each is used
 Texture (1): Homophonic: Melody with (sustained) chords
 Texture (2): Monophonic: Melody in the bass register (played in octaves)
 Texture (3): Homophonic: Perfect cadence (chords)
 Texture (4): Monophonic: Fugue subject (accept “a single melodic line”)
 Texture (5): Polyphonic: Fugue answer with countersubject above (accept “two rhythmically
independent melodies”)
(b) Extract 2
How melody and harmony are used to provide contrast

Section (1)
-

Chords interrupted by decorated melody containing scales and arpeggios
Section (2)
- Scalic melody over (dominant) pedal in bass
 Section (3)
- Melody is imitated immediately producing a contrapuntal texture. Rate of chord change is
much faster
Other responses possible, but must include detail
(c) Extract 3
There are four contours, and 17 pitches to transcribe.
NCEA Level 3 Making Music (90777) 2012 — page 3 of 4
Question
THREE
(a)
Achievement
Achievement with Merit
Achievement with Excellence
“Jupiter” from The Planets / “World in Union”
Extract 1
TWO of:
(i)
Identifies ONE group of
instruments playing the melody
at the beginning:
 strings (except double bass)
(do not accept the
identification of a single
instrument, eg “violins”)
 brass.
(ii)
Describes how the pitch of the
repeated melody is altered:

(iii)
(b)
each time the melody is
heard, it is played an octave
higher.
Explains that the extract lacks a
final cadence / ends on a sus
chord.
Extract 2
Identifies FIVE chords in the
correct inversion (see below).
There are eight chords to be identified.
Identifies SEVEN chords in the
correct inversion (see below).
NCEA Level 3 Making Music (90777) 2012 — page 4 of 4
Question Three cont’d
Question
Achievement
(c)
Achievement with Merit
Achievement with Excellence
Extract 3
Transcribes the music (see
below) including:
Transcribes the music (see
below) including:
 Dd time signature
 Dd time signature

no more than
FOUR errors of pitch or
rhythm (allow sustained notes
instead of rests)


mostly correct
word alignment


correct stem
directions.
no more than
TWO errors of pitch or rhythm
(allow sustained notes instead
of rests)
correct word
alignment

correct stem
directions.
Judgement Statement
Achievement
Achievement with Merit
Achievement with Excellence
3A
2M+1A
2E+1A
OR
OR
1M+1A
2E