Download 91242 Sample Assessment Schedule

Level 3 Music 91422 (3.7) — page 1 of 9
SAMPLE ASSESSMENT SCHEDULE
Music 91422 (3.7): Analyse a substantial music work
Assessment Criteria
Achievement
Analyse a substantial music work involves identifying
and explaining musical elements and features,
compositional devices, and representation, in order to
understand the style and structure of the work.
Achievement with Merit
Achievement with Excellence
Critically analyse involves discussing how musical
features contribute to the expressive qualities and
intent of the work.
Perceptively analyse involves evaluating how musical
features are integrated to communicate the expressive
qualities and musical meaning of the work.
Evidence Statement
Q
1 (a)
Achievement
Diagram or explanation includes:
 name of form eg ternary; sonata
 main sections
 intro, bridge(s) and coda) where appropriate.
Achievement with Merit
Achievement with Excellence
Diagram or explanation includes: (in addition to
Achievement evidence):
Diagram or explanation includes: (in addition to
Merit evidence):
 some detail of sub-sections eg 1st subject;
answering phrase
 perceptive detail of sub-sections
 some detail of instrumentation
 two ways contrast is achieved.
 detailed analysis of length of sections
 reference to at least three keys or modulations.
1 (b)
Explanation of tonality includes the main keys of
each section and their relationships.
Explanation of tonality includes the main keys of
each section and their relationships with musical
evidence eg bar numbers, position within the work.
Explanation of tonality includes the main keys of
each section, and their relationships with notated
musical evidence.
All the evidence for the model answers is based on an analysis of the first movement of Schubert’s Unfinished Symphony.
Q 1 (a) Diagram of the structure of Unfinished Symphony – Schubert.
Structure: Sonata Form
Exposition (Bars 1–110)
Development (Bars 110–217)
Recapitulation (Bars 208–368)
 introduction: B minor; bars 1–8; theme stated by cellos and
basses
 development mostly of theme from
introduction
 1st subject: B minor; bars 208–252; similar to exposition
but modulates to F# minor at end
 1st subject: B minor; bars 9–38: theme (bar 13) stated by
oboes and clarinets
 some new material eg dotted rhythms and
glissandi on strings near end of
development.
 bridge passage: bars 252–256; horns; modulates to D
major
 bridge passage: bars 38–42; horns; modulates to G major;
section is unusually short
 2nd subject: bars 256–328; similar to exposition but in D
major
Level 3 Music 91422 (3.7) — page 2 of 9
 2nd subject: G major: theme enters bar 44 on cellos with a
syncopated woodwind accompaniment
 codetta: 7 bars linking either back to repeat of intro or on to
development
.
 coda: bars 328–368; based on introduction; B minor.
Level 3 Music 91422 (3.7) — page 3 of 9
Q 1 (b) The importance of tonality and key relationships in Unfinished Symphony – Schubert.
Achieved
Schubert uses different tonalities to provide contrast within the movement. The key of the introduction and first subject is B minor. The tonality of the second subject in the
exposition is G major (submediant major). In the recapitulation the second subject is in D major (mediant major). The development begins with a restatement of the theme of
the introduction in E minor (subdominant minor).
Merit
Schubert uses unusual tonalities to provide contrast within the movement. The key of the introduction and first subject is B minor. The usual tonality of the second subject in
the exposition would be D major (relative major). In this symphony the second subject is in G major (submediant major), which is not a related key. In the recapitulation the
second subject is in D major (mediant major), whereas normally it would also be in the tonic (B minor). The development begins with a restatement of the theme of the
introduction in E minor (subdominant minor), and modulates less frequently than is usual.
Excellence
Schubert’s tonalities are somewhat unusual. The key of the introduction and first subject is B minor. The usual tonality of the second subject in the exposition would be D
major (relative major). In this symphony the second subject is in G major (submediant major), which is not a related key. The bridge passage is a modulating section to take
the music from the key of the first subject to that of the second. Schubert is able to do this in just four bars. The horns play D (the mediant of B minor but the dominant of G
major, and the passage ends with a perfect cadence in D major (see example below). In the recapitulation, the first subject modulates to F# minor and the bridge passage
modulates to D major, the key of the second subject. It would be more usual for the second subject to remain in D major.
Not Achieved
NØ
No response; no relevant evidence.
N1
ONE piece of achieved evidence.
N2
TWO pieces of achieved evidence.
A3
THREE pieces of achieved evidence.
A4
FOUR pieces of achieved evidence.
M5
THREE pieces of merit evidence.
M6
FOUR pieces of merit evidence.
Achievement
Merit
Level 3 Music 91422 (3.7) — page 4 of 9
E7
THREE pieces of excellence evidence.
E8
FOUR pieces of excellence evidence.
Excellence
Level 3 Music 91422 (3.7) — page 5 of 9
Q
2
Expected Coverage
Development of thematic material as appropriate to the particular work
through the use of EITHER
rhythm eg
 syncopation
 ostinato
 regular / irregular rhythms
Achievement
Identification and description
analysing FOUR ways that
EITHER rhythm OR melody is
used for thematic development.
Achievement with Merit
Achievement with Excellence
Detailed explanation analysing
FOUR ways that EITHER rhythm
OR melody is used for thematic
development with accurate
musical evidence.
Pertinent and comprehensive
explanation analysing FOUR
ways that EITHER rhythm OR
melody is used for thematic
development with accurate wellchosen notated musical
evidence.
 repetition, imitation, sequence
 straight / swung rhythm
OR
melody eg
 melodic range
 melodic contour
 tessitura
 repetition, imitation, sequence
 melodic decoration.
Q 2 Melodic development of themes in Unfinished Symphony – Schubert.
Achieved
(1) Schubert develops the theme of the introduction near the beginning of the development section by using imitation. Part of the theme is stated by the cellos and imitated a
bar later by the violins.
(2) When the theme of the introduction is first stated, the cellos and basses play it. In the development section, the full orchestra plays it.
(3) Schubert first develops the second subject by repetition. The theme is played by cellos, then repeated by the violins
(4) Schubert also develops the second subject by fragmentation. Part of the theme is played firstly by cellos, then by violins.
Merit
(1) Schubert mainly develops the theme from the introduction in the development section. After restating the theme in E minor, he fragments the theme using only the first
three notes, then adds another two. He then uses imitation by stating the theme in the violins and violas in one bar, and in the cellos in the next bar.
(2) Four bars later he inverts the first three notes of the same theme and repeats it. He then uses diminution to further develop the theme (notes of shorter value).
(3) After the second subject is stated by the cellos, it is repeated twice by the violins. On the second repetition Schubert develops the melody by a sudden modulation to A
minor. The last part of the melody is up a tone and ends without the last note.
Level 3 Music 91422 (3.7) — page 6 of 9
(4) In bar 73, Schubert develops the melody of the second subject using fragmentation and imitation. A motif based on the third bar of the second subject is played first by the
cellos and violas and imitated a bar later by the violins.
Excellence
(1) Schubert mainly develops the theme from the introduction in the development section. After restating the theme in E minor, he fragments the theme using only the first
three notes, then adds another two. He then uses imitation by stating the theme in the violins and violas in one bar, and in the cellos in the next bar.
(2) Schubert again fragments the introduction theme in the development (bar 238), but this time he uses the first three notes and inverts them. Each group of three notes is
repeated twice, but each time in notes of smaller duration (diminution).
(3) After the cellos state the second subject, the violins repeat it twice. On the second repetition Schubert develops the melody by a sudden modulation to A minor. The last
part of the melody is up a tone and ends without the last note (see annotated example below).
Level 3 Music 91422 (3.7) — page 7 of 9
(4) In bar 73, (development section) Schubert develops the melody of the second subject using fragmentation, imitation and sequence. A motif based on the third bar of the
second subject is played first by the cellos and violas, and imitated sequentially a bar later by the violins. Schubert overlaps each statement of the motif and continues the
sequence with different articulation (staccatissimo instead of legato).
Not Achieved
Achievement
Merit
Excellence
NØ
No response; no relevant evidence.
N1
ONE piece of achieved evidence.
N2
TWO pieces of achieved evidence.
A3
THREE pieces of achieved evidence.
A4
FOUR pieces of achieved evidence.
M5
THREE pieces of merit evidence.
M6
FOUR pieces of merit evidence.
E7
THREE pieces of excellence evidence.
E8
FOUR pieces of excellence evidence.
Level 3 Music 91422 (3.7) — page 8 of 9
Q
Achievement
Achievement with Merit
3
Explanation of FOUR ways elements and / or
features and / or structural devices of the chosen
work are typical and / or atypical of other works in
the same genre and /or era and /or style, with some
musical evidence.
Pertinent explanation of FOUR ways elements and
/ or features and / or structural devices of the
chosen work are typical / atypical of at least ONE
other work in the same genre / era / style, with
pertinent musical evidence supporting an argument.
Achievement with Excellence
Pertinent and perceptive explanation of FOUR
ways elements and / or features and / or structural
devices of the chosen work are typical / atypical of
at least ONE other work in the same genre / era /
style, with convincing musical evidence supporting
an argument.
Q 3 Four ways that Schubert’s Unfinished Symphony is typical and /or atypical of other works
Achieved
(1) Most symphonies of the period had four movements. This symphony has only two.
(2) The Unfinished Symphony is typical of other symphonies of the period, with the first movement being in sonata form.
(3) Schubert’s modulations are more adventurous than is usual in a symphony of this period. For example, the second subject of a symphony in a minor key would usually be
in the relative major (D major). The second subject of Unfinished Symphony is in the submediant major (G major).
(4) The instrumentation of Unfinished Symphony is typical of symphonies of the early Romantic period – strings with double woodwind, a few brass instruments and timpani.
Merit
(1) Most symphonies of the period had four movements. The first movement is fast, the second slow, the third a scherzo and trio, and a final fast movement. This symphony
has only two.
(2) The Unfinished Symphony is typical of other symphonies of the period with the first movement being in sonata form. Some symphonies by Beethoven began with an
introduction (eg Beethoven’s Symphony 1) and some did not (eg Eroica Symphony).
(3) Schubert’s modulations are more adventurous than is usual in a symphony of this period. For example, the second subject of a symphony in a minor key would usually be
in the relative major (D major). The second subject of Unfinished Symphony is in the submediant major (G major). He also modulates less in the development section. It is
mostly in E minor.
(4) The instrumentation of Unfinished Symphony is typical of symphonies of the early Romantic period – a string-based orchestra with double woodwind, a few brass
instruments, and timpani added for orchestral colour.
Excellence
(1) Most symphonies of the period had four movements. The first movement is fast (allegro), the second slow, the third a scherzo and trio, and a final fast movement. This
symphony has only two. The first movement (allegro moderato) is perhaps slightly slower than is usual, and also unusual is that the movement is in triple rather than
quadruple time.
(2) The Unfinished Symphony is typical of other symphonies of the period with the first movement being in sonata form. Some symphonies by Beethoven began with a slow
introduction (eg Symphony 1) and some did not (eg Eroica Symphony). What is unusual about Unfinished Symphony is that the introduction is the same tempo as the rest
of the movement.
Level 3 Music 91422 (3.7) — page 9 of 9
(3) Schubert’s modulations are more adventurous than is usual in a symphony of this period. For example, the second subject of a symphony in a minor key would usually be
in the relative major (D major). The second subject of Unfinished Symphony is in the submediant major (G major). His modulations are often unexpected. For example, in
the passage after the bar’s rest in the music quoted above (point 3 on tonality) the music modulates to C minor, an unrelated and very remote key.
(4) The instrumentation of Unfinished Symphony is typical of symphonies of the early Romantic period – a string-based orchestra with double woodwind, a few brass
instruments and timpani added for orchestral colour. In the brass section Schubert follows the lead of Beethoven, who was the first to use trombones in a symphonic
score. However, Beethoven sometimes used a piccolo in addition to the two flutes, but Schubert does not.
Not Achieved
Achievement
Merit
Excellence
NØ
No response; no relevant evidence.
N1
ONE piece of achieved evidence.
N2
TWO pieces of achieved evidence.
A3
THREE pieces of achieved evidence.
A4
FOUR pieces of achieved evidence.
M5
THREE pieces of merit evidence.
M6
FOUR pieces of merit evidence.
E7
THREE pieces of excellence evidence.
E8
FOUR pieces of excellence evidence.