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NCEA Level 2 Music (90269) 2011 — page 1 of 7
Assessment Schedule – 2011
Music: Demonstrate an understanding of the materials and processes of music in a
range of scores (90269)
Evidence Statement
Each question part should be marked holistically. If the candidate does not quite meet the requirement for
Achievement or Merit, then the marker may look for evidence from a higher level (Merit or Excellence) in that
question part to contribute to the awarding of the lower grade.
Question
ONE
(a)
Achievement
Achievement with Merit
Score Extract A: “Dirge for a Soldier” by Kurt Weill
(i) Identifies BOTH keys:
• Major key: F major
• Minor key: D minor
(ii) Describes ONE way the first
chord is unusual, eg:
• The Ab makes it an F
minor chord, which does
not (help to) establish the
key indicated by the key
signature.
• The chord suggests the
tonic minor key.
(b)
Achievement with Excellence
(i) Identifies the texture AND
gives a correct description:
(ii) Identifies the texture AND
gives a correct description:
• Texture: monophonic
• Texture: homophonic
• The men are singing in
unison / all singing the
same pitches.
• The girls are singing in
(three) parts and have the
same rhythm, but different
pitches
AND
(iii) Explains a challenge for the
choral director, eg:
• The notation specifies a
change from three to two
parts in bar 23, with no
indication whether one
voice rests or if the choir
divides into two equal
parts.
(iii) Identifies BOTH keys, giving
ONE different piece of
evidence in support of each:
A – D minor
•
Perfect cadence (V–I)
in bars 8–9
•
Raised / sharpened
leading note (C♯) in bar 8
B – E minor
•
Perfect cadence (V7–
I) in bars 19–20
•
Raised / sharpened
leading note (D♯) in
bar 19.
(iv) Describes TWO ways the
piano texture contrasts with
the voice parts, eg:
• In bars 1–16:
- the piano RH has
chords in rhythmic
unison with the voices
(homophonic texture, in
contrast to the
monophonic texture of
the unison voices)
- the piano LH has drumlike dotted figures and
trills that intersperse the
notes of the vocal
melody.
• In bars 17–24:
- the piano has a
(thinner) 2-part texture
which contrasts with the
(thicker) chords of the
vocal part
- the piano RH decorates
/ has a countermelody
to the vocal melody
- the piano LH has
constant quaver
movement, contrasting
with the mainly crotchet
movement of the vocal
NCEA Level 2 Music (90269) 2011 — page 2 of 7
melody.
Question One cont’d
Question
(c)
Achievement
(i) Draws a diagram with
accurate bar numbers (see
below).
Achievement with Merit
(ii) Identifies TWO musical
elements and describes
how they are used to
achieve contrast EITHER
within the second section,
eg:
• Timbre
- The vocal melody is
contrasted against the
piano accompaniment.
• Articulation
- The legato style of the
accompaniment is not
maintained in vocal
parts.
OR between the second
section and the outer
sections, eg:
• Pitch
- The girls’ voices are
higher in pitch than the
men’s.
• Rhythm
- The dotted quaver +
semiquaver rhythm that
predominates in the
men’s melody only
appears later in the
girls’ melody.
• Melody
- The range of the
melody is narrower in
the second section (a
major 6th, compared to
a compound minor 3rd).
• Tonality
- The key is D major
(instead of F major /
D minor).
Other responses possible.
Example diagram for (i):
Section A
Section B
Section A1
Bars 1–16
Bars 17–24
Bars 25–40
Achievement with Excellence
(iii) Explains TWO ways that
bars 1–16 are structured,
eg:
• bars 1–8 contrast
rhythmically and
melodically with bars 9–
16
• first phrase (bars 1–4)
ends on C chord
(dominant of F)
• second phrase (bars 5–8)
is the same as the first,
transposed a minor 3rd
lower; ends on A major
(dominant of D)
• third phrase (bars 9–12)
introduces contrasting
rhythm and melody; ends
with a (perfect) cadence
in D (minor)
• fourth phrase (bars 13–
16) has the same rhythm
as the third; ends with a
perfect cadence in
D (minor)
• rhythmic and melodic
motifs are used in the
vocal and accompanying
parts
• the opening rhythmic
motif (bar 1) is subject to
augmentation (bar 9).
NCEA Level 2 Music (90269) 2011 — page 3 of 7
Question One cont’d
Question
(d)
Achievement
(i) Describes how ONE
element contributes to the
“military” feel, eg:
• Rhythm
Achievement with Merit
(ii) Describes how TWO
different elements
contribute to the “dirge-like”
feel, eg:
- The dotted (semiquaver
+ quaver) rhythm is a
characteristic march
rhythm.
• Tempo
- The up-beat
demisemiquavers in the
piano LH imitate the
characteristic drum
“drag”.
• Tonality
• Metre
- Common time is
characteristic of
marches.
Other responses possible.
- The tempo (Andante
sostenuto) is a slow
walking pace.
- The music is mostly in a
minor key.
• Melody
- The range of the first
phrases is very narrow,
and hovers around a
central tone.
Other responses possible.
Achievement with Excellence
(iii) Explains THREE (of four)
examples of word painting,
eg:
• “Drawn to the earth”
- The descending minor
3rd suggests a fall
“earthwards”.
• “roll, roll the drum”
- The piano LH imitates a
drum-roll.
• “bolder”
- The octave leap is
surprising, emphasises
the word.
- The word is at the peak
of a crescendo to mf,
the loudest dynamic
marking in the song.
- The beat of silence in
all parts which follows
adds emphasis to the
words.
• “leave him where he’s
lying”
- The top vocal line
maintains the same
pitch (A), suggesting
that he is lying flat,
unmoving.
Other responses possible.
NCEA Level 2 Music (90269) 2011 — page 4 of 7
Question
TWO
(a)
Achievement
Achievement with Merit
Achievement with Excellence
Score Extract B: First movement of String Quintet No. 1 by Johannes Brahms
(i) Identifies one instance of
any THREE compositional
devices (see over):
(ii) Any TWO of:
• Identifies ONE unusual
feature, eg:
(1) Bar 33, violin 1 or 2
(iii) Explains how TWO types of
articulation contribute to a
specified effect, eg:
• Staccato marks (all parts,
bars 28–33): help to
“lighten” the dense / dark /
bass-heavy texture.
- Violin II: The dotted
quaver + semiquaver
pattern is usually
grouped in (crotchet)
beats
(2) Bar 33, cello
(3) Bar 28, viola
(4) Bars 32–33, any except
cello
• Marcato (accent) marks
(viola parts, bar 33): draw
attention to the long / offbeat notes.
- Viola I: A bar of quavers
in common time is
usually grouped 4 + 4.
(5) Bar 31, violin 1 or 2, or
viola 2.
• Explains ONE reason why
the notes are grouped
irregularly, eg:
- The first quaver of the
bar is the last note of
the previous phrase
- The grouping gives
prominence to the
viola’s triple stopping,
and the violin part is
grouped similarly to
match.
• Correctly rewrites the
music, with accurate note
alignment and stem
direction (see below).
Rewritten groupings in (ii)
° b œ. ≈ nœ. ≈ œ ≈
&
#œ. œ. . œ#œ. ≈ œ.
.
#œ
¢B b n œœ. œ.
f
f
œ. #œ
œ
. # œ. .
œ. n œ
.
° b œ. ≈ nœ. . ≈ . œ ≈
&
#œ œ . œ#œ. ≈ œ.
.
#œ
¢B b n œœ. œ.
f
f
œ. #œ
œ
. # œ. .
œ. n œ
.
NCEA Level 2 Music (90269) 2011 — page 5 of 7
Question Two cont’d
Compositional devices in (i)
œ.
°
J
&b ‰
28
Violine I
Violine II
Bratsche I
Bratsche II
Violoncell
5
31
° b ‰ œ.
&
Œ
Ó
œ.
& b J ≈nœ. #œ. ≈ œ. œ.
f
3 j
#œ
Bb n œ
œ
œ. œ. . #œ. # œ.
f
j
B b #nœœ ‰ Œ
Ó
.
?
‰
¢ b œj
.
Œ
‰
.. .. bœ.. b 4œ
œ
œ nœ
.
œ
œ
œ
b
& Jæ æ æ æ æ æ æ
5
4
. .
bœ.
.
‰ œ bœ œ œ.
J
f
f
‰. œr œ. ≈nœ œ ≈bœ. œ. ≈ œ. nœj ‰ Œ
..
.
.
f
1 œ.
œ. . œ. n œ. œ. . œ. # œ.
nœ
œ
1 œ.
œ
n œ œ nœ œ # œ
œ œ
æ æ æ æ æ æ æ æ
.
.
œ. œ. œ. bœ nœ. œ. nœ. œ
Bass line matches chord
indications
Bass line matches chord
indications
AND
AND
Inner parts are correct for final
cadence (see below).
Inner parts (pitches and
rhythms) are correct for final
cadence AND any TWO other
consecutive chords (see below).
°
&b
?
¢ b
Ϫ
˙
˙
˙
f
.
œ
‰ ‰ œj nœ. œ. œ. bœ œ. œ œ. nœ.
œ. œ
j
J .
#œ. . œ. nœ.
.
. n œ. # œ.
.
j
‰. œr œ. ≈nœ. œ. ≈bœ œ. ≈ œ. nœ. ‰ Œ
Ó
.
Bb j ‰
œ.
4
5 ..
nœ œ
nœ b œ
œ .. bœ.. bœ
œ #œ
œ
œ
n
œ
œ
Bb ‰
œ
œ
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
. .
.
? b ‰. œr bœ. ≈ œ. œ. ≈bœ. œ. ≈ œ. œ. ≈bœnœ. ≈ œ. nœ. ≈ œnœ ≈ œ.
.
¢
(b)
Ó
œ. œ. . . œ
J ≈ nœ ≈ œ . ≈ œ œ. ≈ œ.
.
..
≈ œ#œ ≈ œ œ. j œ œ.. œ.. œ œ œ #œ
. . . æ ææ ææ æ æ
Ó
4.
.
b
.
.œ bœ œ œ. œ. n œ
œ.
J ‰ Œ
œ. œ. œ. œ. œ. œ. # œ.
œj œ
œ
œ œ
œ œ
œ œ
œ œ
œ œ œœ
œ
œ
œ
œ
œ
œ
œ
œ
Ó
n œ. . .
≈ n œ ≈ œ œ. ≈ œ. œ. ≈#œ.
J ≈nœ. nœ. ≈ œ. œ ≈
≈
. œ. œ. #œ.
>
œ >œ.
œ. # œ.
J
J
œ. >œ.
J
œ >
J œ.
#œ. 2
J nœ
.
.
nœ. œ
.
œ
œ
.
œ. . œ
f
Bass line and inner parts
(pitches, rhythms, and stems)
are correct with smooth voicing
(with allowance for minor errors)
œ
œ
œ
œ
œ
œ
œ
œ
NCEA Level 2 Music (90269) 2011 — page 6 of 7
Question
THREE
(a)
Achievement
Achievement with Merit
Achievement with Excellence
Score Extract C: “Bohemian Rhapsody” by Queen (arr. for concert band)
(i) Identifies BOTH tuned
percussion instruments:
(iii) Describes TWO functions of
the percussion parts, eg
they:
• timpani
• add colour
• bells
AND
• provide sound effects
(ii) Explains the meaning of the
note in the timpani part, eg:
• play on the beat to help
the ensemble stay in time
(iv) Identifies the strong beats in
bar 9 as 1 and 4, with ONE
piece of supporting
evidence, eg:
• the beats are clearly
grouped as 3+2 in many
parts, shown by the
dotted minim + minim rest
(eg Bass Clarinet)
• reinforce the change of
metre.
• Bb, Eb, and F are the
pitches to which each of
the three timpani are
tuned.
• In Percussion I, the ride
cymbal has hits on the
strong beats in bars 10
and 11, so the hits on
beats 1 and 4 of bar 9
must indicate they are
strong beats too.
Other responses possible.
(b)
(i) Identifies FOUR (of four)
transcription errors (see
below).
(ii) Identifies THREE (of four)
chords, including the correct
inversions (see below).
(iii) Inserts the correct key
signature
AND
Makes no more than TWO
errors in pitch (see below).
Transcription in (i)
23
Trombone 1, 2
Staff A
? b Œ
b
˙œ . b œ œ
n œœ ˙˙
Œ
B bb Œ ˙œ . bœ œ Œ nœœ ˙˙
œœ œ
‰œ œ
J
∑
œœ
‰œ œœœœ
J
‰ œj œ œ œ œ
∑
‰ jœ œœ œ œ
œ œ
∑
a2
∑
a2
f
f
Chords in (ii)
Jazz / rock chord
(1)
C7
(2)
F7/C
(3)
Bb
(4)
Gm
(5)
Bb7/F
°
Transposition in (iii)
b
& b 45 ˙
˙
b
# 5˙
&
¢ 4˙
œœ
‰
44 bœ œ
œ œ œœ #n œœ œœ œœ
œ
œ
œ
bœ œ œ
œœ ‰ nœœ œœ œœ 44 bœœ œœ œœ ##œœ œœ œœ
NCEA Level 2 Music (90269) 2011 — page 7 of 7
Judgement Statement
Eight opportunities are offered to show evidence of Achievement, Achievement with Merit, or Achievement with
Excellence.
Achievement
Achievement with Merit
Achievement with Excellence
5A
5M
5E