2010 HSC Notes from the Marking Centre — Music
Contents
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 2010 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 2010 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.
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 marks 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 in excess of the space allocated 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
Teachers are reminded that they should carefully read the Music Practical Examinations Requirements document.
In better performances, candidates:
- demonstrated a high level of technical and interpretative skill
- demonstrated personal engagement throughout the performance
- demonstrated effective use of balance and variety within each performance (solo/ensemble) whereby the candidate’s role was clearly defined
- displayed an awareness of the overall musical structure and maintained momentum, with sustained energy and facility
- displayed a perceptive stylistic understanding through expressive and dynamic contrasts
- demonstrated a familiarity and an understanding of the performance space and equipment, including attention to appropriate sound levels and balance for each individual performance
- presented repertoire that highlighted the candidate’s musical strengths
- provided a supportive and integrated accompaniment that was secure in intonation and blend and re-tuned when necessary.
In weaker performances, candidates:
- presented musical content that lacked detail, variety and depth and which was often repetitious
- chose repertoire that provided limited opportunities to demonstrate technical and interpretative skills, including brief performances with musical limitations
- did not effectively demonstrate their role within the 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
- selected over-ambitious repertoire that exposed technical inconsistencies
- used poor-quality backing tracks which affected the overall musical outcome
- lacked rehearsal and familiarity in the chosen performance space
- displayed intonation insecurity within the ensemble.
Musicology elective (viva voce)
In better responses, candidates:
- demonstrated an engagement with the topic
- presented a clear and consistent musicological focus
- demonstrated a depth and breadth of their chosen area of study through making links with the broader topic area
- demonstrated evidence of wide listening to support the discussion of their focus area
- entered into a detailed discussion relevant to their chosen topic
- presented aural examples, practical demonstrations on instruments, and scores where relevant, to support and enhance the discussion.
In weaker responses, candidates:
- demonstrated superficial engagement with the topic area
- presented a scripted viva voce
- presented outline summary sheets that were an essay rather than summary format
- used incorrect musical terminology
- used generalisations rather than specific musical observations
- referred to musical examples that did not always support the discussion.
General comments
- Candidates should select topic areas in which they are engaged and which reflect their musical interests.
- Candidates need to ensure they have regular viva voce practice within the 10-minute time frame.
- Aural examples should be cued and organised for candidates to maximise the ten minutes allocated.
- Candidates should not talk over recorded examples during the discussion.
- The summary outline sheet should be provided for the examiners and the candidate.
Composition elective
In better responses, candidates:
- composed highly stylistic works with an excellent understanding of chosen topic
- wrote idiomatically for the chosen performing media, demonstrating a thorough understanding of their capabilities, using accurate, perceptive and detailed performance directions
- composed effective melodies that were supported convincingly through a clear understanding of the roles of the chosen performing media, incorporating successful use of interplay
- presented a clear and accurate score that provided keys/legends to explain unconventional scoring
- demonstrated an excellent knowledge of traditional musical conventions, with stylistic use of performance directions and dynamic shadings
- considered all the concepts when composing, demonstrating an intrinsic understanding of melodic, harmonic and rhythmic development, resulting in a work which was musically creative and stylistically convincing
- demonstrated an awareness of balance and contrast to provide interest in the works, in particular, through texture and structure
- successfully used a variety of compositional tools.
In weaker responses, candidates:
- did not consider all the concepts of music
- lacked development of ideas and direction within the structure
- used overworked repetitive ideas that cluttered the texture and harmony
- used new material without an understanding of linking ideas, resulting in poor structure and cohesion
- showed little understanding of lyric scansion
- did not sustain melodic interest, due to excessive repetition and/or lack of development
- composed works that could not be reproduced accurately, eg guitar TAB without its rhythm notated, improvisations without notation or with inaccurate notation and graphic scores without an appropriate legend
- demonstrated a lack of understanding of score conventions with poorly edited notation
- produced electronic scores without detailed or final editing.
General comments
Candidates should:
- consider the capabilities of the chosen performing media in terms of range, timbre and physical facility
- always include the rhythmic notation when using guitar TAB
- ensure the recordings are labelled correctly when submitting more than one composition
- check that CDs have been recorded as audio files and not as MIDI files
- submit full scores. It is not necessary to submit a score in parts
- edit scores when using software programs, paying close attention to excessive ledger lines, conventional notation, scoring layout and, in particular, drum kit notation.
Composition portfolios should be a record of the compositional process over the HSC year. They do not need to be submitted with the score and recording.
Scores should include bar numbers and page numbers. They should not include Candidate name or School name.
Maximum time for a Music 1 Composition is four minutes.
Aural skills
Question 1
In better responses, candidates:
- provided examples with musical support
- demonstrated an excellent understanding of musical terminology
- elaborated points clearly using musical terminology
- provided well-structured responses in which the chronological order of each section was clearly identified
- expressed the answer through discussion of concepts and structure.
In weaker responses, candidates:
- provided brief and superficial responses
- were confused by the meaning of musical interest and gave personal opinions rather than discussing concepts
- frequently used little or incorrect musical terminology
- made general statements about the musical excerpt but did not draw conclusions about musical interest
- provided narrative story responses 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 musical terminology effectively
- focused on pitch and duration and related them to other concepts
- discussed the use of both pitch and duration in the excerpt
- identified and clearly discussed many contrasts.
In weaker responses, candidates:
- provided poorly organised responses
- did not specify areas/sections to which they referred
- focused on pitch as high or low
- often confused the terms rhythm and beat
- frequently made generalisations
- frequently used terminology incorrectly or included terms which were irrelevant
- often wrote in narrative form with few specific references to musical events.
Question 3
In better responses, candidates:
- demonstrated an understanding of the concepts of tone colour and expressive techniques and used relevant terminology in their answer
- provided well-organised responses
- used terminology such as distortion, harmonics and palm muting appropriately, or used descriptive language to describe such features effectively
- integrated other concepts of music in their discussion of tone colour and expressive techniques, such as the impact of down-tuned pitch and dense textures on tone colour
- compared aspects of tone colour and expressive techniques, referring to musical events in both excerpts
- referred to both similarities and differences in their comparison.
In weaker responses, candidates:
- were unfamiliar with the concepts of tone colour and expressive techniques
- did not use appropriate language and terminology relevant to each
- described other concepts such as duration, pitch and texture, providing a response that did not address the question
- provided lists of tone colours and expressive techniques, without comparing the use of these in the two excerpts.
Question 4
In better responses, candidates:
- demonstrated an understanding of the way unity and contrast are achieved, with reference to the concepts
- used relevant terminology
- used terminology such as major key, jazz chords, solo techniques for piano, bass and drums, or used descriptive language to describe such tone colours effectively
- integrated concepts of music within discussion of each section
- described ways in which all or most performing media contributed to unity and/or contrast, referring to musical events in the excerpt.
In weaker responses, candidates:
- did not address the question
- provided lists of tone colours but did not discuss contrast (especially in Section B)
- provided brief, superficial responses that made generalisations.
Music 2
Performance – core and elective
In better performances, candidates:
- selected appropriate repertoire that demonstrated an expressive range and technical facility
- conveyed and sustained a stylistic understanding
- demonstrated the requisite technical facility for the repertoire selected
- successfully explored the diversity that the mandatory topic offered
- took time to prepare the space to enhance the performance
- displayed secure and consistent intonation
- displayed ensemble cohesion and rapport with accompanists.
In weaker performances, candidates:
- selected repertoire that did not allow demonstration of a full expressive range given the technical facility
- presented performances with balance issues between the accompaniment and/or ensemble
- presented performances that were repetitive in interpretation
- performed pieces that were too long and often affected their stamina and the musical outcome
- did not display musical understanding of the genre
- displayed inconsistencies in tuning, tonal and pitch control.
Sight singing
Most students attempted the task with confidence and had a sense of melodic shape and metre. Less-prepared students often appeared to have no prior experience of the procedure or how to use the two-minute preparation time to their advantage.
Candidates are reminded that:
- the chord and starting note will only be performed ONCE at the start and ONCE immediately
prior to the test - the test must be performed in the set key
- students are given the opportunity to choose to read the test in treble or bass clef
- students are given the opportunity to choose to hear the chord and starting note in treble or bass.
Core composition
In better responses, candidates:
- demonstrated an understanding of compositional devices, reflecting evidence of wider listening, performance and analysis within the mandatory topic
- demonstrated an ability to organise and develop ideas with a sense of nuance and interplay between chosen sound sources
- demonstrated an understanding of the chosen style and combination of media within ensemble works
- produced scores which were carefully edited, with clear and detailed performance directions (mostly computer generated)
- composed with coherence, using seamless transitions and fluidity in musical structures
- demonstrated an understanding of instrumental timbres and idiomatic melodic and motivic shaping
- demonstrated sophisticated harmonic language and melodic contours within the chosen style
- provided unity and contrast through the varied use of concepts while maintaining stylistic integrity.
In weaker responses, candidates:
- did not show a clear understanding of the capabilities, range or technical requirements of the chosen media
- 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, using fragments of ideas that were repeated, over-used and/or under-developed
- demonstrated a lack of clear manipulation of the concepts of music in their compositions
- submitted poorly edited scores, often computer-generated, including inadequate performance directions, score conventions, note groupings and articulation
- submitted recordings that were an inaccurate rendition of the score or were inconsistent with material presented.
General comments
- Candidates should ensure that submitted works reflect study of the mandatory topic.
- Candidates are reminded that compositions are to be original and not arrangements and should avoid the use of previously composed material.
- 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 ensure that annotations or notes prior to the score be kept to a minimum, unless these serve to explain the notation or provide performance directions ie drum key.
- 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, page layout, bar numbers and double siding of pages for ease of following scores, as well as ensuring that performing media are stated on the score, preferably on every stave.
- CDs should be checked to ensure that they work on CD players, and that sound files have been converted accurately.
- Recordings should be at adequate volume levels for playback.
- Candidate and school identities should not be announced on the recording or printed anywhere on the score.
- Candidates should avoid clichéd overuse of compositional devices; for example: chromatic scalic passages, repeated triplets or octaves in LH piano, glissandi as an expressive technique etc.
- Candidates should ensure that recordings are an accurate rendition of the score, including solos in improvised sections and stylistic nuances, and are performed at a realistic tempo for assessment of playability.
Composition elective
In better responses, candidates:
- presented sophisticated and perceptive compositions reflecting a deep understanding of their Additional Topic
- linked musical ideas successfully while demonstrating a clear sense of compositional intent
- organised their work in coherent structures without overworking ideas
- manipulated texture, resulting in engaging interplay between parts
- considered expressive detail and interpretative nuance as intrinsic to the score rather than as an afterthought; candidates were able to clearly represent their intentions on the score
- explored the full potential of their chosen performing media
- used dynamics and articulations as an intrinsic part of the composition rather than as an afterthought
- developed and extended melodic and harmonic ideas over the duration of the composition.
In weaker responses, candidates:
- applied the concepts in a simple or basic way
- showed a poor sense of structure and direction, often demonstrated by a poor sense of harmonic understanding (both in counterpoint and harmonic progression)
- linked musical ideas in awkward and often disjointed ways
- demonstrated little understanding of the capabilities of the chosen performing media
- 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, 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
- were often overly reliant on repetition as a compositional device
- printed scores that were cluttered on the page, leaving no room for dynamics and articulation.
General comments
- Candidates are not compelled to use the whole three minutes they are allowed.
- Candidates should explicitly state whether an ensemble work (eg orchestra) is for acoustic or electronic performance, and write for that medium accordingly.
- Scores should include necessary directions for instrumental techniques, eg piano pedalling, drum kit notation, phrase markings, essential string bowing and electronic instrument settings.
- Candidates should be judicious in the selection of the amount of text they choose for vocal settings.
Musicology and aural skills – written examination
Question 1
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In better responses, candidates correctly explained the terms double sharp and quintuplet, supported by reference to the score.
In weaker responses, candidates incorrectly or only named the symbols double sharp and quintuplet without reference to the score.
In better responses, candidates described in-depth and detailed knowledge of the concepts, supported by appropriate terminology and musical references from the score.
In weaker responses, candidates used generalised terminology or referred to some musical concepts, without reference to relevant musical examples.
-
In better responses, candidates clearly explored the concept of pitch 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 made accurate reference to the score, displaying an understanding of the term unity.
In weaker responses, candidates did not provide accurate score references to support general unifying features mentioned.
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.
In better responses, candidates clearly identified compositional techniques with accurate score references to support their answers.
In weaker responses, candidates identified general compositional techniques which were unsupported by specific musical references.
Question 3
In better responses, candidates described the relationship between the layers and gave supporting score examples.
In weaker responses, candidates tended to describe the performing media without considering the relationship between the layers.
In better responses, candidates maintained a focus on various ways interest was achieved with reference to aural observations.
In weaker responses, candidates gave general descriptions of the performing media without explaining how interest was achieved.
In better responses, candidates clearly outlined specific challenges with reference to a variety of concepts.
In weaker responses, candidates included general statements with little reference to specific challenges.
Question 4
In better responses, candidates:
- addressed the question and drew upon significant works studied
- provided a range of observations that reflected detailed listening
- demonstrated a deep understanding of concepts and their use within the works studied
- 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:
- offered general musical observations with limited reference to the question
- made limited references to works that did not strongly support the response
- used musical references either sparingly or poorly linked to observations
- demonstrated a poor or very limited understanding of concepts, which were applied in very general terms
- relied on works which were not significant and therefore offered restricted opportunity for discussion of concepts.
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 should 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 candidates, 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 an interactive role with the ensemble as the performance progressed
- performed pieces that showed sophistication combined with a mature level of communication
- demonstrated a maturity and focus in their performance that allowed for individual and stylistic interpretation.
In weaker performances, candidates:
- selected repertoire beyond their technical capacity and musical understanding
- performed a brief repertoire which did not allow exploration of a full range of musical expression and interpretative qualities
- 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
- demonstrated balance or ensemble shortfalls that recurred throughout the piece, ie blend, intonation and sustained melodic clarity.
Composition
In better responses, candidates:
- consistently demonstrated a strong sense of personal style and compositional intent that harnessed a sophisticated command and manipulation of the concepts which was 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
- chose performing media which enabled them to use highly idiomatic tone colours and textures as a structural device giving them scope for exploration
- 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 (eg cut and paste) 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
- chose to write imitating a pre-existing style (eg Baroque or 19th century) rather than engage with more contemporary compositional possibilities
- 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
- wrote contrasting sections just for the sake of having a contrasting section. This affected the flow, direction and musical success of the composition
- 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
- to edit any computer-generated score carefully so that normal scoring conventions are used (eg particularly percussion or guitar scoring) where appropriate
- to listen to a wide variety of styles and immerse themselves fully in the music before developing a personal style for their compositions
- that musical considerations of the composition’s length do not compel them to fill all of the available time
- that just because a computer can do certain tasks does not mean that they should use them without considering their musical effect
- that when composing in jazz/funk influenced styles they need to give equal consideration to melodic ideas as well as harmonic/rhythmic riffs.
Scores need to include necessary directions for instrumental techniques eg piano pedalling, phrase markings and essential string bowing.
Candidates should explicitly state whether an ensemble work (eg orchestra) is for acoustic or electronic performance, and write for that media accordingly.
Musicology
In better responses, candidates:
- established an effective and original hypothesis that allowed musicological evidence to be discussed within the 3000-word limit
- displayed evidence of wide reading and reference to a broad range of primary and secondary sources, including discographies, footnoting and bibliographies
- wrote well-presented and highly structured essays, with attention to editorial detail
- maintained musicological focus throughout the essay, resulting in convincing conclusions
- constructed succinct introductions that established the context in which the hypothesis could be successfully and logically argued
- demonstrated a clear attempt to investigate a cross-section of music relevant to, and necessary for, an effective support of the hypothesis
- used full quotations rather than one-bar extracts to support their observations
- clearly demonstrated full engagement with the topic
- successfully referred to primary sources in order to illustrate points and assemble evidence for the proof of their hypothesis.
In weaker responses, candidates:
- demonstrated an absence of primary sources and musical analysis, instead presenting a descriptive list of musical observations
- provided excessive historical detail that was heavily reliant on secondary sources and unnecessary to the points being made
- did not establish a clear hypothesis or direction for the discussion
- presented a report with a non-musicological focus
- tended to be overly reliant on the vocabulary of secondary sources, rather than using their own words
- were not succinct in their discussion and therefore limited the amount of new information that could be included within the word limit
- used excessive manuscript quotes that lacked relevance to the discussion
- formatted manuscript quotes poorly ie include clefs and instrument names – often missing important aspects of the musical context and/or did not annotate quotes sufficiently
- made generalisations without reference to score excerpts.
General comments
- It is in the best interest of the candidate to receive regular monitoring of portfolio and research guidance by the teacher.
- Candidates should establish 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 as outlined in the syllabus.
- Editing and proofing of essays are an important aspect of the process.
- 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.
20110257
NSW Government