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NCEA Level 2 Music (91275) 2015 — page 1 of 5
Assessment Schedule – 2015
Music: Demonstrate aural understanding through written representation (91275)
Evidence Statement
Question
ONE
(a)
Sample Evidence
Chord Recognition
There are 12 chords and two cadences to be identified.
Trumpet
(concert pitch)
Dm
A
Dm
A
Dm
OR i
OR V
OR i
OR V
OR i
j
3
& b 4 œ œ™ œ ˙™
j
œ œ™ œ œ ˙
j
œ œ™ œ
A
Gm
A“4
A
Dm
Bb
Em 7
OR iv
OR V“4
OR V
OR i
OR VI
OR ii7
˙™
˙™
OR V
6
™
&b ˙
œ œ™ œ ˙™
J
Bb
œ œ ™ œ #˙ ™
J
Dm
Bb
Gm
Dm
Gm
Dm“4
Dm
OR i
OR VI
OR iv
OR V7 OR VI
OR i
OR iv
OR i“4
OR i
™
&b ˙
˙™
˙
#œ ˙ ™
˙™
˙™
A7
13
˙™
˙™
Cadence ①: Imperfect
Cadence ②: Plagal
(b)
There are 12 chords and two cadences to be identified.
Clarinet
(concert pitch)
E
A
OR I
OR IV
##4
& # #4
∑
Œ
E
C#m
A
F#m
B
E/G#
A
OR I
OR vi
OR IV
OR ii
OR V
OR Ib
OR IV
5
#### œ œ œ œ œ œ ˙
&
B
B7
C#m
OR V OR V7 OR vi
œ œ
œ œœœœœœ œ
∑
˙
œ œ œ œ œ œ œ œ
A
B
B7
OR IV
OR V
OR V7
E“4
E
OR I“4 OR I
8
œ œ œ œ
œ œ
˙
#### œ œ œ ˙
&
˙
w
Cadence ①: Imperfect
Cadence ②: Perfect
N1
Identifies any
TWO chords
(of 24).
N2
Identifies any
FOUR chords
(of 24).
A3
A4
Identifies any
EIGHT chords
(of 24).
Identifies any
TWELVE
chords (of 24).
N0/ = No response; no relevant evidence.
M5
Identifies
FOUR
progressions
of TWO
adjacent
chords.
M6
Identifies FIVE
progressions
of TWO
adjacent
chords.
E7
E8
Identifies
FOUR
progressions
of THREE
adjacent
chords.
Identifies FIVE
progressions
of THREE
adjacent
chords.
Identifies TWO
cadences
Identifies
THREE
cadences
NCEA Level 2 Music (91275) 2015 — page 2 of 5
Question
Sample Evidence
TWO
Melodic and Rhythmic Dictation
(a)
There are two phrases, and six melodic contours / melodic and rhythmic patterns to transcribe.
Phrases
5
Contours
##
& œœœœ œœ˙
Guitar
œ ™ œj œ
œ ˙ ˙
œ œ œ œ
Pa erns
10
##
&
œ œ œ œ œ œ
œ œ ˙
œ œ œ œ
œ œ œ œ œ œ
14
##
j
& œ™ œ œ œ
(b)
Œ
œœ œ œ œ œ
˙
œ
˙
˙™
There are two phrases, and six melodic contours / melodic and rhythmic patterns to transcribe.
Phrases
5
Contours
? bb œ œ œ
b
Bassoon
˙
œ œ œ
œ
˙
nœ
˙™
Pa erns
10
?b
bb
˙
œ
œ
˙
œ
˙
œ
œ
œ
14
œ nœ œ œ
œ
œ
? bb
b˙
˙™
nœ
œ
˙
Note that accurate identification of a contour requires that its first and last pitches are appropriate in
relation to the pitches that precede and follow it.
N1
Identifies ONE
contour (of 12).
N2
Identifies
FOUR
contours
(of 12).
A3
Identifies SIX
contours
(of 12).
N0/ = No response; no relevant evidence.
A4
Identifies
EIGHT
contours
(of 12).
M5
M6
E7
E8
Accurately
transcribes
FOUR patterns
(of 12).
Accurately
transcribes SIX
patterns
(of 12).
Transcribes
TWO phrases
(of 4)
accurately,
with allowance
for TWO
inexact pitches
or rhythms.
Transcribes
THREE
phrases (of 4)
accurately,
with allowance
for TWO
inexact pitches
or rhythms.
NCEA Level 2 Music (91275) 2015 — page 3 of 5
Question
THREE
(a) (i)
Sample Evidence
Achievement
with Merit
Achievement
Achievement
with Excellence
Elements and Expressive Features
Solo instruments:
• flute
Identifies BOTH
instruments.
• harp.
(ii)
Flute [or the instrument identified in (a) (i)]
Element: melody
• plays the melody twice, the second time an octave lower / extended by
repeating the last section.
Identifies a musical
element used by EACH
instrument.
Describes how a
musical element used
by EACH instrument is
used to structure the
introduction.
Identifies the use of a
simple time signature.
Identifies the use of a
compound time
signature.
Identifies BOTH
techniques heard in the
first section.
Identifies and
describes BOTH
techniques heard in the
first section.
Harp [or the instrument identified in (a) (i)]
Element: harmony
• accompanies the melody by playing chords / playing broken chords
(arpeggios) at the beginning, then by playing (strummed) chords / playing
chords that continue after the melody stops.
Other responses possible.
(iii)
Time signatures:
• first section – Fh
• second section – Dd or ç
(iv)
String technique used by first violins in the first section:
• arco – played with the bow
String technique used by cellos and basses in the first section:
• pizzicato – plucked (with the fingers)
OR
String technique used by upper strings in the second section:
• tremolo – played by moving the bow back and forward rapidly.
Identifies and describes
the technique heard in
the second section.
Precisely describes,
with underlined-type
detail, how a musical
element used by EACH
instrument is used to
structure the
introduction.
NCEA Level 2 Music (91275) 2015 — page 4 of 5
Question
Sample Evidence
Three
Countermelody:
(a) (v)
• the first time, a slow-moving countermelody is played by the upper strings
above the melody
• the second time, a pizzicato / scale passage countermelody is played by
the lower strings / a second flute plays below the melody
Achievement
Briefly explains how
TWO elements /
features are used in the
extract.
Achievement
with Merit
Explains how TWO
elements / features are
used differently each
time the melody is
heard.
• the third time, a dotted-rhythm countermelody is played by the lower strings
below the melody.
Achievement
with Excellence
Comprehensively
explains, with
underlined-type detail,
how TWO elements /
features are used
differently each time
the melody is heard.
Dynamics
• the first time, the dynamics are soft for the melody and very soft for the
accompanying instruments
• the second time, the dynamics are soft for all the instruments
• the third time, the dynamics are loud for all the instruments.
Instrumentation
• the first time, strings are used, lower strings playing the melody
• the second time, flutes and strings are used, flutes playing the melody and
strings accompanying
• the third time, (flutes and) strings are used, the (flutes and) upper strings
playing the melody and the lower strings accompanying.
(b) (i)
Solo instrument:
Identifies the instrument
• clarinet.
(ii)
Horn section instrument:
OR
• trumpet
Identifies the
instrument.
• played using a (straight) mute.
(iii)
Rhythmic feature: vamp / riff / ostinato
• the same rhythmic pattern is repeated throughout the extract by the
trumpets.
Rhythmic feature: syncopation
• each repeat of the ostinato begins with a (quaver) rest, throwing the accent
onto a beat that is not normally accented.
Other responses possible.
Identifies how the timbre
of the specified
instrument has been
changed.
Identifies and
describes ONE
rhythmic feature used in
the horn section.
Identifies and explains
how TWO rhythmic
features used in the
horn section.
NCEA Level 2 Music (91275) 2015 — page 5 of 5
Question
Sample Evidence
Three
Jazz technique: walking bass
(b) (iv)
• continuous (pizzicato / plucked) crotchets in mostly stepwise movement.
(v)
Compositional device: call and response
• one group of instruments (the saxophones) is answered by another (the
solo trumpet)
(vi)
Achievement
with Merit
Achievement
Identifies the technique.
Identifies and describes
the technique.
Identifies the
compositional device.
Identifies and describes
the compositional
device.
Elements that are the same:
Achievement
with Excellence
Identifies and explains
how ONE element is
similar and ONE is
different.
• rhythm – swung in both choruses / walking bass rhythm is the same
• metre – the metre is common time / Dd in both choruses
• tempo – the speed of the beat does not change.
Elements that are different:
• rhythm – the bass solo is in a regular rhythm, and the trumpet solo is more
rhythmically free
• instrumentation – bass with saxophones, piano, and drums in the first
chorus, saxophones and brass / trumpets and trombones in the second
chorus.
Other responses possible.
N1
N2
ONE piece of evidence
at any level.
THREE pieces of
evidence at any level.
A3
A4
FIVE (of ten) pieces of
evidence at any level.
SIX (of ten) pieces of
evidence at any level.
M5
M6
E7
E8
FIVE (of nine) pieces of
evidence at Merit or
Excellence level.
SEVEN (of nine) pieces
of evidence at Merit or
Excellence level.
TWO (of four) pieces of
evidence at Excellence
level.
THREE (of four) pieces
of evidence at
Excellence level.
N0/ = No response; no relevant evidence.
Cut Scores
Not Achieved
Achievement
Achievement with Merit
Achievement with Excellence
0–7
8 – 13
14 – 18
19 – 24