2009 HSC Notes from the Marking Centre – Music
Contents
- Introduction
- Music 1
- Music 2
- Music Extension
Introduction
This document has been produced for the teachers and candidates of the Stage 6 Music courses. It contains comments on candidate responses to the 2009 Higher School Certificate examinations, indicating the quality of the responses and highlighting their relative strengths and weaknesses.
This document should be read along with the relevant syllabuses, the 2009 Higher School Certificate examinations, the marking guidelines and other support documents which have been developed by the Board of Studies to assist in the teaching and learning of Music.
Teachers and students are advised that, in December 2008, the Board of Studies approved changes to the examination specifications and assessment requirements for a number of courses. These changes will be implemented for the 2010 HSC cohort. Information on a course-by-course basis is available on the Board’s website.
General comments
Teachers and candidates should be aware that examiners may ask questions that address the syllabus outcomes in a manner that requires candidates to respond by integrating their knowledge, understanding and skills developed through studying the course.
Candidates need to be aware that the mark allocated to the question and the answer space (where this is provided on the examination paper), are guides to the length of the required response. A longer response will not in itself lead to higher marks. Writing far beyond the indicated space may reduce the time available for answering other questions.
Candidates need to be familiar with the Board’s Glossary of Key Words which contains some terms commonly used in examination questions. However, candidates should also be aware that not all questions will start with or contain one of the key words from the glossary. Questions such as ‘how?’, ‘why?’ or ‘to what extent?’ may be asked or verbs may be used which are not included in the glossary, such as ‘design’, ‘translate’ or ‘list’.
Music 1
Performance – core and elective
In better performances, candidates:
- were very well prepared and chose repertoire tailored to their strengths, demonstrating high levels of technical and interpretive skill
- demonstrated high level awareness of ensemble including cohesion, balance and a clear understanding of role
- demonstrated effective use of balance and variety within each individual performance
- demonstrated an awareness of musical structure and momentum, with sustained energy and facility
- displayed consideration for expressive qualities, personal interpretation and dynamics within the style
- demonstrated a familiarity with the performance space including attention to appropriate sound levels and balance
- presented repertoire that highlighted the candidate’s musical strengths.
In weaker performances, candidates:
- focused on creating a diverse program rather than high-quality individual performances
- presented repertoire which was beyond their technical skills and tended to expose weaknesses rather than accentuate strengths
- chose repertoire that provided limited scope to demonstrate technical and interpretative skills, or very brief performances with similar limitations
- did not effectively understand their role within an ensemble
- were unable to sustain engagement and momentum for the duration of the piece
- did not adequately consider the stylistic, dynamic and/or expressive features of the repertoire.
General comments
- Ensure the Certification of HSC Course Topics (M8 form) is filled out appropriately and in detail and reflects THREE topics studied during the course; for example, writing ‘past papers’ in the aural column does not provide sufficient detail.
- Students must represent in their choice of electives each of the THREE topics studied in the HSC Course as nominated on the ‘Certificate of Course Topics Studied’ sheet (M8).
- The Core performance piece must represent ONE of the three topics studied in the HSC Course as nominated on the ‘Certification of Course Topics Studied’ sheet (M8).
- Ensure the use appropriate volume for the performance taking into consideration the performance space.
- Sound checks should be completed prior to the examination so that long delays do not occur. Only minor adjustments should be made between pieces.
- Multiple performance spaces slow the examination process and can place undue stress on the candidates.
- Times set for each candidate’s examination represent the total amount of time for that examination. Exams that extend beyond the allocated time may cause disruption to subsequent candidates and other people involved in their performances, for example accompanists and ensemble members.
- The candidate should ensure that their part is not doubled when using pre-recorded backing tracks as this is a breach of the examination rules.
- Tuning of pianos close to examination time is recommended.
- Examination venues should be free from extraneous sounds and interruptions.
- Teachers should contact the Board of Studies to seek advice regarding unusual sound sources.
- Only people directly involved in a performance are permitted to stay in the examination room. Sound mixers are allowed to set the levels but are not permitted to remain in the room during the performance.
- Ensure that all required forms are completed correctly and signed and the M10 timetable accurately informs the markers of any candidates being double marked. No more than two candidates will be examined concurrently.
- Teachers should ensure that there is adequate space and light for three markers.
- The examination schedule includes 15 minutes at the commencement of the exams for the examiners to set up and 15 minutes at the end to finalise the exam process.
- The set-up and removal of heavy equipment should be done before or after the examinations or during the lunch break only.
- Candidates will be examined on all instruments presented during the exam. For example, if a candidate sings and accompanies themselves on guitar, both voice and guitar will be marked as part of the same performance.
- Teachers should ensure that performances validly reflect Course Topic studied as presented on the M8 sheet.
- It is not necessary for candidates to announce or introduce each piece. All necessary repertoire information should be contained on the M5 sheet.
- Movement or use of costumes during a performance will have no bearing on the marking process.
- Remember that the examination schedule includes 15 minutes for the examiners to set up at the beginning of marking at each centre and an additional 15 minutes to finalise paperwork at the end of the examination.
Splitting the performance program
Teachers are reminded that examinations need to run to a strict schedule. A number of schools have split student programs unnecessarily, which has resulted in large time delays. The splitting of a student’s program should happen only in exceptional circumstances which may include:
- the availability of ensemble members
- the need to change between venues to facilitate the use of particular instruments and/or equipment.
Issues of endurance should be addressed throughout the course. Students should select repertoire which will allow them to sustain their level of performance throughout the performance program. They should have many opportunities to perform their entire program. In the case of Music 2 and/or Music Extension a student may use their sight singing test to break up their performance program.
Students tend to perform better when they are able to sustain the examination environment rather than stopping and starting throughout their program. Carefully selecting and ordering repertoire will assist candidates more than constant breaks within their program.
Musicology elective (viva voce)
In better responses, candidates:
- demonstrated engagement with the topic and presented a clear and consistent musicological focus
- presented a logical and concisely structured outline summary
- selected well-chosen musical examples to support discussion
- were able to draw musical conclusions and appropriately refer to the concepts of music and integrate their impact in the discussion
- used relevant primary resources such as recorded examples, demonstrations and scores to support the discussion.
In weaker responses, candidates:
- often demonstrated superficial knowledge of a broad topic area or chose a narrow focus area which limited the discussion
- presented summary sheets that were either disorganised or too detailed and did not direct the discussion
- used musical terminology incorrectly and/or used language that was descriptive rather than analytical
- focused on non-musical aspects of the chosen topic
- referred to musical examples that did not always support the discussion.
General comments
- Candidates should select topic areas that reflect personal interest and understanding.
- Candidates need to ensure they have had viva practice and are familiar with the examination process.
- Recorded examples need to be readily available for use in the discussion so that the examination is not delayed.
- Be aware that the summary sheet is an important tool in providing examiners with the scope for the discussion.
- The summary sheet should not contain ‘speech-like script’ notes.
Composition elective
In better responses, candidates:
- presented substantial works that allowed for the coherent development and extension of ideas
- organised seamless structural direction with the concepts of music manipulated to provide balance and variety
- demonstrated a highly sophisticated sense of style, especially in terms of harmonic language, melodic and expressive detail
- provided well-timed textural and rhythmic contrasts
- carefully considered the organisation of computerised scoring with appropriate dynamics and expressive markings
- displayed a thorough understanding of the performing media and implications for tone colour, with scoring conventions appropriately applied.
In weaker responses, candidates:
- demonstrated a poor understanding of style, with overworked ideas and a lack of structural cohesion
- did not clarify whether sound sources were intended to be synthesised or acoustic
- composed works with a limited harmonic understanding
- organised melodic and rhythmic material in a repetitious or disjointed manner
- lacked an understanding of scoring conventions, as regards quantising, ledger lines and score layout
- notated guitar tablature without providing the rhythmic pattern
- submitted incomplete scores, or a set of parts
- presented works that could not be reproduced from the score
- submitted scores with insufficient performance directions.
General comments
- Candidates should explicitly state whether an ensemble work (eg orchestral) is for acoustic or electronic performance, and write for that medium accordingly.
- Course topics should be carefully considered, with compositions being an appropriate representation of that topic.
- Careful attention needs to be given to the editing of rhythm to provide realistic groupings and correct metre.
- Editing of computer scores to limit the use of excessive ledger lines is necessary.
- Score conventions for layout need to be adhered to – for example, the positioning of instruments and voices.
- It is essential that page and bar numbers are provided on the score.
- Candidates need to check that files are properly converted and their recording is playable on standard audio equipment.
- Recordings need to match the score as closely as possible.
- Word scanning needs to reflect the text, its accents and syllables.
- Portfolios should not be submitted with the score, nor should the names of school or candidates be written on either score or recording.
- It is essential that scores be carefully checked prior to submission, ensuring that all pages are included and in the correct order.
Aural skills
Question 1
In better responses, candidates:
- identified up to four layers within the music in a detailed and descriptive analysis of the excerpt
- demonstrated an excellent understanding of musical terminology
- demonstrated an understanding of the relationship between the concepts, such as links between tone colour and texture
- incorporated other concepts of pitch and structure in order to expand more on texture and tone colour, for example, ‘high-pitched metallic tone colour’ and ‘first layer of sound provides melodic ostinato’
- provided well-structured responses in which the chronological order of each section was clearly identified.
In weaker responses, candidates:
- provided brief and superficial responses
- structured answers poorly and included irrelevant or poorly labelled diagrams
- could not identify the three key layers within the excerpt
- frequently used little or incorrect musical terminology
- often described the instruments’ origins rather than tone colour – for example, ‘Asian instrument’
- identified changes in texture by mentioning changes in layers but did not specify when these changes occurred
- described only one aspect of the question in detail, such as texture, without mentioning tone colour
- provided narrative story responses such as raindrops, peasants dancing, journeys, rather than factual musical observations
- did not relate point forms to the actual music.
Question 2
In better responses, candidates:
- provided well-organised, chronological sequential responses
- used clear and relevant diagrams and labelling
- used musical terminology effectively
- focused on pitch and related it to other concepts
- discussed the use of both voice and piano in the excerpt
- frequently correctly notated pitch including the melody, chords and bass line
- qualified subjective statements
- identified and clearly discussed many contrasts.
In weaker responses, candidates:
- provided poorly organised, repetitive and confused responses
- did not specify areas/sections to which they referred
- focused on pitch as high or low
- frequently made generalisations
- often discussed the lyrics or the performer rather than the concept
- provided irrelevant or poorly labelled diagrams.
Question 3
In better responses, candidates:
- provided well-structured responses and supported observations with detailed references to musical events
- used musical terminology effectively
- demonstrated a clear understanding of the concept of duration, including metre, rhythmic units, note lengths and differences in rhythmic phrases
- differentiated the rhythmic roles of the various layers of performing media
- accurately notated or described individual rhythmic patterns/motifs within the excerpts
- drew conclusions using references to other relevant concepts such as expressive techniques
- recognised the use of triplets in the vocal part
- recognised the use of vocal harmony in version one.
In weaker responses, candidates:
- provided very brief answers
- made little reference to the music or the question
- used inaccurate terminology
- focused on other musical concepts with little or no reference to duration
- made generalised statements without providing supporting evidence
- referred to duration as the actual length of the excerpt
- included diagrams that were irrelevant
- made value judgements or gave anecdotal comments relating to the lyrical content such as ‘sounds sad because the children were taken away’.
Question 4
In better responses, candidates:
- clearly addressed all aspects of the question and clearly identified and discussed chosen concepts
- identified and discussed how expressive techniques were used to achieve musical interest
- identified and discussed the chosen concept and how this concept helped to create musical interest
- provided a well structured response and supported observations with detailed reference to musical events
- correctly identified performing media
- demonstrated a thorough understanding and used musical terminology accurately.
- supported comments with detailed reference to music.
In weaker responses, candidates:
- did not address all aspects of the question, in particular failing to clearly identify and discuss one other concept or briefly mentioning several concepts
- used non-musical descriptions, often using storytelling and subjective commentary
- frequently referred to the mood of the piece
- listed performed media but did not mention their role within the excerpt
- had little detail in their answers and often repeated information
- presented poorly structured, sometimes incoherent answers
- did not identify performing media correctly, eg saxophone instead of trombone
- did not support their answers with musical examples.
General comments
- Candidates should be familiar with the concepts of music and the appropriate use of terminology.
- Candidates are advised to learn to spell commonly used words, such as piece, ostinato, guitar, repetition, accompaniment, harmonisation, saxophone, cymbals, rhythm, bass and syncopation.
- Diagrams, if included, should be labelled clearly and correctly and be relevant.
- Candidates should be advised to devise and follow a format in structuring their answers.
- Candidates need to listen to a wide variety of repertoire that reflects the breadth of topics in the syllabus in order to experience a range of concepts within different genres.
- Candidates should be encouraged to familiarise themselves with the tone colours, physical attributes and the way sound is produced by instruments, for example xylophones with wooden bars.
- Candidates should be encouraged to use objective terms when describing the quality of sound, such as reedy, nasal, metallic, etc. rather than more subjective language such as eerie, happy or mysterious.
- Candidates need practice and experience writing responses in a time format similar to exam situations.
Music 2
Performance – core and elective
In better performances, candidates:
- selected appropriate repertoire that allowed them to fully demonstrate their musical ability
- conveyed and sustained a stylistic understanding and a convincing performance
- demonstrated the requisite technical facility for the repertoire selected
- successfully explored the diversity that the Mandatory topic offered
- took time to tune and organise their piece prior to commencing the performance
- displayed secure and sustained intonation.
In weaker performances, candidates:
- did not select repertoire that allowed them to explore a range of expressive and technical opportunities
- presented performances where there were balance issues between the accompaniment and/or ensemble within the program
- presented pieces that were too long and often impacted upon their stamina and the musical outcome
- did not have the technical facility or musical understanding of the genre
- often did not convey any sense of musical structure or sustain momentum throughout the performance
- did not maintain secure tuning, particularly when performing within an ensemble.
General comments
- Candidates should be aware of the performance environment and learn to utilise the acoustic of this space.
- Candidates are advised to give consideration to the performance order and the length of each piece.
Sight singing
Candidates are advised to use two minutes preparation time and also to become familiar with the sight singing process.
Musicology and aural skills – written examination
Question 1
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In better responses, candidates correctly defined the terms F Lyd and comp, supported by score context and accurate listening.
In weaker responses, candidates incorrectly or only partially defined the terms F Lyd and comp using generalised terms unrelated to the listening and score context.
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In better responses, candidates described two convincing uses of duration, supported by appropriate terminology and musical references from the score.
In weaker responses, candidates did not identify the use of duration or used generalised terminology or referred to other musical concepts without reference to relevant musical examples.
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In better responses, candidates clearly identified pitch material and commented on its treatment using appropriate terminology and musical references.
In weaker responses, candidates reflected a generalised or inaccurate understanding of pitch material and the ways in which it changed or developed.
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In better responses, candidates drew upon a range of concepts to accurately describe two features of the relationship between the trumpet and the ensemble.
In weaker responses, candidates demonstrated a limited understanding of the relationship and did not provide support by drawing upon relevant concepts.
Question 2
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In better responses, candidates identified and accurately notated pitch and duration, reflecting an understanding of contour, metre, intervallic relationships, rhythmic subdivision, and tonality.
In weaker responses, candidates did not always accurately notate pitch and duration, and were often unaware of pitch relationships and key rhythmic elements within the context of the excerpt.
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In better responses, candidates clearly identified contrasts based on a range of concepts, using structural relationships to support their answers.
In weaker responses, candidates made broad and descriptive comments which were unsupported by specific musical references.
Question 3
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In better responses, candidates identified and defined two features related to the three major sections and/or minor structural characteristics that were manipulated within the excerpt.
In weaker responses, candidates used score markings rather than accurate observation to identify structural features and made descriptive comments which were unsupported by specific musical references.
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In better responses, candidates maintained a focus on pitch elements and clearly detailed the similarities and differences between the solo part and accompanying choir.
In the weakest responses, candidates used unrelated concepts, inaccurate descriptions of the accompaniment, or were too general in their descriptions of pitch material.
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In better responses, candidates clearly opposed contrasting points in the organisation of their answer and drew upon a range of concepts to identify significant differences between the excerpts.
In weaker responses, candidates included extraneous information, lacked concision, reflected poor understanding of concepts, and left conclusions to be inferred.
Question 4
In better responses, candidates:
- reflected perceptive and well-developed analytical skills to support clear arguments
- provided a range of observations that reflected detailed listening
- drew upon works from both the Mandatory and Additional topics
- demonstrated a deep understanding of concepts, their integration with other concepts, and their cause and effect relationships within the music
- used higher order skills such as synthesis and comparison to expand upon their observations
- made overarching observations, supported by relevant musical quotes to supplement discussion at a deeper level.
In weaker responses, candidates
- restricted discussion of concepts to adjectival or superficial descriptions of tone colour and texture
- made limited references to works that did not strongly address the question
- reflected discussion that was uneven across selected works and/or concepts
- used musical references either sparingly or poorly linked to observations
- demonstrated a poor or very limited understanding of concepts, which were applied in weak or misdirected ways
- provided introductions and conclusions that did not contribute new points to the discussion
- relied on chronological descriptions of the music.
General comments
- Candidates are reminded that drawing upon a wider selection of studied works will often support a more detailed response.
- The question required reference to two or more works, allowing students opportunities to select the best and most relevant points from a cross-section of studies works.
- The discussion of tone colour and texture is often highly descriptive and often limited to gradations of terms such as ‘thick’ and ‘thin’.
- Broad descriptions often do not provide the level of detail indicative of deep understanding.
Core composition
In better responses, candidates:
- demonstrated evidence of wider listening within the Mandatory topic, and focused listening with regard to specific ensemble and/or solo works
- developed ideas and explored them fully
- demonstrated an understanding of the chosen style and combination of instruments in ensemble works
- produced scores which were carefully edited, and with clear intentions on the score
- assembled sections and transitions into coherent structures
- wrote idiomatically for chosen instruments
- developed a distinctive sound world through the exploration of colour, texture and register.
In weaker responses, candidates:
- did not show a clear understanding of the capabilities or range of the chosen instruments
- did not demonstrate an understanding of the style or genre in which they were composing
- had difficulties in linking musical ideas, causing a lack of structural coherence
- tried to combine too many unrelated ideas within the two-minute framework
- relied on repetition rather than development of material
- demonstrated a lack of clear manipulation of the concepts of music in their compositions
- created short works which did not use the available time to fully explore their musical material
- submitted poorly edited scores, often computer-generated, which had inadequate performance directions and score conventions.
General comments
- Candidates are reminded that compositions are to be original and not arrangements.
- Candidates must state on the score the instrument(s) for which they are writing, and label every stave.
- Candidates should specify whether instruments are transposed or at sounding pitch.
- If candidates are writing for synthesised and/or computerised instrumental sounds, this should be clearly indicated on the score.
- Candidates should be encouraged to provide necessary performance directions, and omit lengthy program notes about their work.
- Candidates should include detail/scoring for electro-acoustic soundtracks, and any necessary technical requirements.
- Candidates should be encouraged to consider appropriate font and stave size for ease of following scores.
- Candidates should ensure that stylistic and performance nuances on the recording are also indicated on the score.
- CDs should be checked to ensure that they work, and that sound files have been converted accurately.
- Candidates’ identities should not be announced on the recording or printed on the score.
Composition elective
In better responses, candidates:
- presented sophisticated and perceptive compositions reflecting a deep understanding of the chosen style
- linked musical ideas successfully
- organised their work in coherent structures
- manipulated texture, resulting in engaging interplay between parts
- considered expressive detail and interpretative nuance; candidates were able to clearly represent their intentions on the score
- explored the full potential of their chosen performing media
- demonstrated the capacity to develop and extend melodic and harmonic ideas over the duration of the composition.
In weaker responses, candidates:
- applied the concepts in a simple or basic way
- demonstrated a poor sense of structure and direction
- linked musical ideas in awkward and often disjointed ways
- presented scores that could not adequately be reproduced
- did not include dynamics, expressive detail, articulations, tempo markings
- presented scores that still required substantial editing of the notation – for example quantising and correct drum notation
- often presented programmatic works that could not sustain interest as an independent piece of music
- demonstrated an unconvincing connection with the chosen topic
- tended to be overly-reliant on repetition as a compositional device.
General comments
- Candidates are reminded they are not compelled to use the whole three minutes they are allowed.
- Candidates should explicitly state whether an ensemble work (eg orchestral) is for acoustic or electronic performance, and write for that medium accordingly.
- Scores should include necessary directions for instrumental techniques, eg piano pedalling, phrase markings, and essential string bowing.
Musicology elective
In better responses, candidates:
- demonstrated perceptive and detailed analysis that was strongly connected to music concepts
- showed engagement with recordings and scores with a clear premise or argument
- supported the proposition throughout the essay, linking a series of points within a coherent and often hierarchical structure
- wrote in succinct and relevant language given the 1500-word limit
- supported general claims with specific examples based on primary sources
- ensured argument moved beyond description or observation, and presented a line of thought that was sustained through to the conclusion
- drew upon the requisite (mostly primary) sources where needed to support their arguments
- annotated musical examples in ways that connected each example with the points being made in the essay.
In weaker responses, candidates:
- attempted a premise or argument that was weak and led to contradictory, incoherent and disorganised articulation of ideas
- employed general, descriptive and irrelevant discussion that made only superficial observations, often using secondary sources
- lacked consistency in their analytical skills and were at times either misleading or wrong
- exposed omissions and included sweeping generalisations
- embellished the facts using inconsequential points to validate a claim
- tended to be descriptive or value-based rather than objectively focused
- used irrelevant or uncited musical quotes
- allowed highlighted quotes to stand alone, requiring substantial inferences to be made by the reader
- used a limited number of primary sources to make generalisations about the topic
- made only tenuous links between the argument and musical concepts
- provided little evidence of engagement with the music through listening, observation and the development of analytical skills
- made generalised comments that were historically and/or biographically based.
General comments
- Candidates showed narrow the chosen topic to ensure an adequate coverage within the 1500- word limit.
- There should not be a reliance on large slabs of consecutive quotes. Use specific and well- annotated examples to show a direct link to the discussion.
- Analysis of musical examples should lay the foundations for the chosen premise and should be integrated into the essay.
- Footnotes should not simply repeat the information to which they refer.
- Musical examples should be numbered and include instruments, bar lines, clefs, time signatures and key signatures.
- Essays need to be double-spaced.
- Headers, footers and bibliographies should not identify students, teachers or schools.
- Annotations of bibliographies are not necessary.
- Internet citations should appear in the bibliography or footnotes in the same way as other sources.
- Supporting material such as recording excerpts and score excerpts should be used to clarify evidence presented in the essay. Entire scores or recordings are not necessary.
Music Extension
Performance
In better performances, candidates:
- explored a range of repertoire that allowed them to demonstrate their facility and musical understanding
- performed with sophistication, poise and clear stylistic awareness
- showed a refined ensemble awareness and demonstrated their ability to adjust their role as the performance progressed
- performed pieces that showed sophistication combined with a mature level of communication
- used their time allowance effectively to highlight their musicality.
In weaker performances, candidates:
- selected repertoire beyond their technical capacity and musical understanding
- displayed a lack of adequate preparation with their accompaniment and/or ensemble
- had ongoing issues with tonal quality and intonation across the breadth of their program
- often had balance or ensemble shortfalls that recurred throughout the piece, eg blend, intonation and sustained melodic clarity.
General comments
- Overall the ensemble performances allowed the candidate to demonstrate a clear role, whereby their function was always sustained and integral in the performance.
- Brief repertoire did not allow the candidate to explore a full range of musical expression and interpretative ability.
Composition
In better responses, candidates:
- consistently demonstrated a strong sense of personal style that harnessed a sophisticated command and manipulation of the concepts which were sustained throughout the entire piece
- explored novel ideas and were willing to take significant musical risks
- demonstrated a very cohesive structure with seamless transitions, melodically, rhythmically and harmonically
- wrote opening musical ideas that were striking and memorable and which were developed convincingly
- used highly idiomatic exploration of tone colours and textures as structural devices
- successfully integrated a range of performing techniques as an essential part of the composition
- perceptively integrated professional-level detail into the score layout and its markings
- manipulated large instrumental forces successfully as an engaging and integral part of the composition.
In weaker responses, candidates:
- relied heavily on repetitive figures without using substantial development
- made poor harmonic choices that often led to either static or awkward harmonies
- used simple melodic ideas that tended to meander in contour, range, and phrasing
- established some sense of personal style but were unable to sustain it in a unified manner throughout the work
- demonstrated a clear intent to develop ideas but did not demonstrate sufficient technique or craft to achieve this
- attempted experimentation with textural and motivic contrast but became contrived or unconvincing
- did not fully explore the instrumental possibilities of register, sonority and articulation
- demonstrated poor understanding of how to use texture and tone colour within the ensemble, leading to cluttered writing
- presented unedited score layouts.
General comments
- Candidates are reminded that the use of computer software can often lead to overcrowded textures and sonorities that will not work in an acoustic performance.
- Candidates are reminded to edit any computer-generated score carefully so that normal scoring conventions are used (eg particularly percussion or guitar scoring) where appropriate.
- Candidates need to listen to a wide variety of styles and immerse themselves fully in the music before developing a personal style for their compositions.
- Candidates are reminded that musical considerations of the composition’s length do not compel them to fill all of the available time.
- Candidates should explicitly state whether an ensemble work (eg orchestral) is for acoustic or electronic performance, and write for that media accordingly.
- Scores need to include necessary directions for instrumental techniques eg piano pedalling, phrase markings, and essential string bowing.
Musicology
In better responses, candidates:
- established an effective hypothesis that allowed musicological evidence to be assembled towards an objective outcome within the 3000-word limit
- displayed evidence of wide reading and reference to a broad range of primary and secondary resources, including discographies, footnoting, and bibliographies
- wrote well-presented and formatted essays with editing that reflected care and attention to detail
- constructed succinct introductions that established the context in which the hypothesis could be successfully argued
- demonstrated a clear attempt to investigate a cross-section of music relevant to, and necessary for, an effective support of the hypothesis
- used highly developed language that clearly articulated arguments
- drew on an extensive range of topics in which they had an engaging interest
- successfully referred to primary sources in order to illustrate points and assemble evidence for their hypothesis.
In weaker responses, candidates:
- demonstrated an absence of primary sources and musical analysis
- provided excessive background detail that was heavily reliant on secondary sources and unnecessary to the points being made
- did not establish a clear hypothesis or fail to sustain the discussion across the essay
- presented a report or a series of observations rather than a musicological discussion
- tended to be overly reliant on secondary sources as the only source of information
- took an excessive amount of time to deal with the musicological focus
- used excessive manuscript quotes that lacked relevance to the discussion
- formatted manuscript quotes poorly – often missing important aspects of the musical context and/or did not annotate quotes sufficiently
- made generalisations without reference to score excerpts.
General comments
- Candidates showed an achievable hypothesis to ensure coverage within the 3000-word limit.
- Analysis of musical examples should lay the foundations for the hypothesis and should be annotated in ways that highlight the context of the excerpt.
- Essays should have page numbers, provide word counts – preferably in margins – and number audio excerpts.
- Editing and proofing of essays should be done in a timely manner to ensure a cohesive final result.
- Internet citations should appear in the bibliography or footnotes in the same way as other sources.
- Supporting material such as recordings and scores should be used to clarify evidence presented in the essay. Entire scores or recordings are not necessary.
2010046
NSW Government