2011 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 2011 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 2011 Higher School Certificate examinations, the marking guidelines and other support documents 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 that 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 and ensure all candidates complete all required paperwork well in advance of the examination.
In better performances, candidates:
- demonstrated a high level of technical and interpretive 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 a 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 a 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 an 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)
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 10 minutes allocated.
- The summary outline should be prepared well in advance and should follow a logical discussion as planned by the candidate.
- Candidates should not talk over recorded examples during the discussion.
The summary outline sheet should be provided for the examiners and the candidate.
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 by 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 in summary format
- used incorrect musical terminology
- used generalisations rather than specific musical observations
- referred to musical examples that did not always support the discussion.
Composition elective
General comments
Candidates are to be reminded:
- to consider the capacities of chosen performing media, eg range
- to always include the rhythmic notation when using guitar TAB
- when submitting more than one composition, to ensure the recordings are labelled correctly
- to check that CDs have been recorded as audio files and not as MIDI files
- that complete scores are to be submitted – it is not necessary to submit a score in parts
- when using software programs to edit scores, to pay close attention to excessive leger lines, conventional notation, scoring layout and, in particular, drum kit notation
- that 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
- that scores could include bar numbers and page numbers – they should not include a candidate’s name or school
- the maximum time for a Music 1 Composition is four minutes.
In better responses, candidates:
- composed highly stylistic works with an excellent understanding of their chosen topic
- wrote idiomatically for the chosen performing media, demonstrating a thorough understanding of their capabilities
- used accurate, perceptive and detailed performance directions
- composed effective melodies that were supported by a clear understanding of instrument roles and textural 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
- composed works that were musically creative and stylistically convincing
- demonstrated an awareness of how balance and contrast provide interest in their works, especially through texture and structure
- successfully used a variety of compositional devices.
In weaker responses, candidates:
- did not consider all the concepts of music
- submitted compositions that lacked direction and development of ideas within the structure
- used overworked and repetitive ideas that cluttered the texture and harmony
- showed little understanding of lyric scansion
- could not sustain melodic interest, due to excessive repetition and/or lack of development
- used new material without linking ideas, resulting in poor structure and overall cohesion
- composed works that could not be reproduced accurately, eg guitar TAB without rhythmic notation, improvisations without notation, inaccurate notation and graphic scores without an appropriate legend
- demonstrated a poor understanding of score conventions and editing
- produced electronic scores without detailed or final editing.
Aural skills
Question 1
In better responses, candidates:
- understood the structure and concepts, providing examples with musical support and accurately identifying performing media
- demonstrated an understanding of genre-specific musical terminology and used it appropriately
- were articulate and focused in their answer, elaborating points clearly and with some detail
- provided well-structured responses in which the chronological order of each section was clearly identified
- expressed the answer through descriptions of structure and concepts
- accurately used traditional and graphic notation.
In weaker responses, candidates:
- provided brief and superficial responses
- wrote poorly structured answers and included irrelevant or poorly labelled diagrams
- confused the meaning of musical material and gave personal opinions rather than discussed concepts
- frequently used incorrect musical terminology, such as riff, monophonic and register
- repeated points in their answers
- made general statements about the musical excerpt and did not draw conclusions about relevant musical material
- restricted answers to a simplistic discussion of dynamics
- frequently confused the performing media, especially strings, brass and woodwind instruments
- provided narrative responses rather than factual musical observations
- did not relate points to the musical excerpt
- were unable to draw accurate conclusions.
Question 2
In better responses, candidates:
- focused on the concept referred to in the question (duration)
- used musical terminology accurately
- made specific reference to musical events from the excerpt
- clearly set out their answer, often with a focus on the excerpt’s structure
- could name and describe performance techniques for string instruments and correctly align them to events within the excerpt
- used accurate notation and clearly labelled diagrams to supplement their answers
- recognised the performing media as references for duration
- accurately referred to related concepts when describing musical interest in detail
- recognised and described important structural terms as they applied to the music, eg sections, theme, motif and ostinato.
In weaker responses, candidates:
- overly referred to the quickening tempo as a duration point
- confused descriptions of texture: polyphonic, homophonic and monophonic
- limited their responses to getting louder, faster and more dense
- used terminology inaccurately, often using a ‘scattergun’ approach
- made contradictory statements
- were unclear as to which part of the excerpt they were referring
- included confused and/or poorly labelled diagrams
- used inaccurate notation
- made generalisations rather than providing appropriate detail and description
- did not recognise that there was a main theme
- confused the accelerating tempo with time signature and note value changes
- wrote only brief responses that, in total, did not address the question.
Question 3
In better responses, candidates:
- answered both parts of the question using correct terminology and concise points
- effectively integrated graphic and diagrammatic cues to support their answers
- clearly understood the concept of texture, and were able to draw conclusions relating to the interaction of individual instruments
- identified textural changes and could use related concepts to describe these changes
- gave detailed analysis rather than relying on general description.
In weaker responses, candidates:
- misunderstood the concept of texture, making inaccurate and general statements
- relied on listing the sound sources rather than discussing their interaction
- used textural terms (eg monophony, polyphony, heterophony and homophony) inaccurately or without understanding how they were relevant to the excerpt
- made irrelevant statements in relation to Western and indigenous sound sources.
Question 4
In better responses, candidates:
- demonstrated a detailed understanding of the way in which repetition and contrast were achieved with reference to the concepts of music
- wrote to the point and constantly referred back to the question
- provided well-organised responses that facilitated an effective response, balancing both repetition and variety while covering a range of concepts
- described ways in which all or most performing media contributed to repetition and variety, referring to musical events in the excerpt
- demonstrated a high level of aural awareness, accurately describing details such as the guitar fill, the changing piano accompaniment, textural changes in the brass fills, and changes in vocal timbre
- used relevant terminology, such as accent, anacrusis, arpeggio, close harmony, countermelody, falsetto, fill, riff, ostinato, reverb and syncopation, in their answer
- provided clearly labelled diagrams that either addressed the question or supported the response.
In weaker responses, candidates:
- did not discuss how repetition and variety were achieved with reference to the concepts of music
- provided an imbalanced description of repetition and variety, or focused on a limited range of concepts
- provided lists of musical events that, while sometimes accurate, did not address the question
- demonstrated basic aural awareness and had difficulty identifying instruments, especially as to the role of performing media in contributing to repetition and variety
- provided brief, superficial responses that made generalisations and/or provided vague diagrams
- referred to the lyrics without a link to musical events
- made inaccurate or irrelevant comments, or used emotive language and made value judgements at the expense of musical analysis.
Music 2
Performance – core and elective
In better performances, candidates:
- selected an 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 a 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 that often affected their stamina and the musical outcome
- did not display a musical understanding of the genre
- displayed inconsistencies in tuning, tonal and pitch control.
Sight singing
Candidates are reminded that:
- the chord and starting note will only be performed ONCE at the start and ONCE immediately before 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
General comments
- Submitted works should reflect study of the mandatory topic.
- Time limits should be carefully adhered to.
- Compositions are to be original works and not arrangements.
- Scores should specify whether instruments are transposed or at sounding pitch.
- Adhere to the accepted ranges of selected performing media.
- Clearly indicate whether the intended performing media are synthesised and/or computerised.
- Annotations or notes made before the score should be kept to a minimum and used to provide essential score directions.
- Provide scoring details and technical requirements for electro-acoustic works, including, where applicable, chord voicing.
- Carefully consider appropriate score layout, which includes the names of performing media.
- Do not identify the school or candidate on the recording or score.
- Avoid clichéd or overused compositional devices.
- Recordings must be an accurate rendition of the score, including solos in improvised sections, stylistic nuances, and performance at realistic tempos.
In better responses, candidates:
- demonstrated an understanding of compositional devices, reflecting evidence of wide listening and analysis of the mandatory topic
- organised and developed ideas with a sense of nuance and interplay between chosen sound sources
- demonstrated an understanding of the chosen style and performing media
- produced scores that were carefully edited with clear and detailed performance directions
- used structures that were coherent and used smooth transitions
- understood instrumental timbres and idiomatic writing
- incorporated a developed harmonic language within the chosen style
- provided unity and contrast, and maintained stylistic integrity.
In weaker responses, candidates:
- chose performing media without a clear understanding of their capacities, range or technical requirements
- demonstrated a poor understanding of the selected style or genre
- did not convincingly link musical ideas or achieve structural coherence
- combined too many unrelated ideas within two minutes and/or used fragments that were repeated, overused and/or underdeveloped
- could not effectively link or develop melodic material
- did not fully manipulate a range of concepts
- submitted poorly edited scores, including inadequate performance directions, score conventions, note groupings and articulation
- submitted recordings that were an inaccurate rendition of the score.
Elective composition
General comments
- Candidates are not compelled to use the entire three minutes allowed.
- 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 selected instruments, eg piano pedalling, drum kit notation, phrase markings, essential string bowing and electronic instrument settings.
In the better responses, candidates:
- presented sophisticated and perceptive compositions
- creatively engaged with the musical materials, reflecting a deep understanding of their additional topic
- represented topics in refreshing ways, often augmented by original materials
- successfully linked musical ideas and demonstrated a clear sense of compositional intent
- organised their work in coherent, fluent and often inventive structures, maintaining momentum without overworking ideas
- manipulated texture, resulting in engaging interplay between parts
- considered expressive detail, dynamics, articulation and interpretative nuances as intrinsic to the score rather than as token additions
- clearly represented all 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 the weaker responses, candidates:
- applied the concepts in a simple or basic way
- showed a poor sense of structure, direction and harmonic understanding (both in counterpoint and harmonic progression)
- linked musical ideas in awkward and often disjointed ways
- demonstrated little understanding of the chosen performing media and their capacities
- presented scores that could not adequately be reproduced
- did not include dynamics, expressive detail, articulations and tempo markings
- presented programmatic works that could not sustain interest as an independent piece of music
- demonstrated an unconvincing connection with the chosen topic
- overly relied on repetition
- did not explore a range of concepts.
Musicology and aural skills
Question 1
- In better responses, candidates correctly identified the chord and explained the trill.
In weaker responses, candidates incorrectly identified the chord and/or did not explain the flat trill.
- In better responses, candidates made detailed observations about the use of duration in bars 1–14, which was supported by appropriate terminology and musical references to the score.
In weaker responses, candidates demonstrated a limited understanding of duration or made general observations that did not address the question.
- In better responses, candidates clearly explored both the dynamics and expressive techniques used in bars 15–23, using appropriate terminology and musical references.
In weaker responses, candidates reflected a general or inaccurate understanding of dynamics and expressive techniques.
- In better responses, candidates made detailed observations of how musical interest was created in bars 24–40 with accurate reference to the score.
In weaker responses, candidates demonstrated a limited understanding of musical interest or provided general comments with little reference to the score.
Question 2
- In better responses, candidates correctly applied musical terminology to describe three uses of pitch, providing accurate references to the score to support their answers.
In weaker responses, candidates made general observations about pitch range or register without identifying specific pitch features. Comments were often unsupported by specific reference to the score.
- In better responses, candidates identified and accurately notated the pitch and rhythm of the melody, reflecting an understanding of contour, metre, intervallic relationships, rhythmic subdivision, and tonality.
In weaker responses, candidates did not always accurately notate the pitch and rhythm, and were often unaware of pitch relationships and key rhythmic elements in the context of the excerpt.
Question 3
- In better responses, candidates described the relationship between the instruments and gave supporting examples from the score.
In weaker responses, candidates tended to describe the performing media without reference to the concepts of music.
- In better responses, candidates maintained a focus on tension and the various ways in which it was achieved with reference to the score and their own aural observations.
In the weaker responses, candidates gave general descriptions of the performing media without explaining how tension was created.
- In better responses, candidates clearly described the compositional devices that reflect music of the last 25 years with supporting references to the score.
In weaker responses, candidates included general statements with little reference to the compositional devices.
Question 4
General comments
- Candidates are reminded that drawing upon a wider selection of studied works will often support a more detailed response.
- The question required candidates to refer to unifying features found within significant works, allowing them the opportunity to discuss a number of concepts and to select the best and most relevant points from a cross-section of studied works.
- The discussion of the concepts of music allowed candidates to explore a variety of approaches from different genres, periods, composers and styles.
In better responses, candidates:
- addressed the question of unity and drew on significant works studied
- provided a range of observations that reflected detailed listening
- demonstrated a deep understanding of concepts and their use in the works studied
- used higher order skills, such as synthesis and comparison, to expand on their observations
- made overarching observations that were supported by relevant musical quotes to supplement discussion at a deeper level – quotes were often successfully annotated
- responded using appropriate terminology.
In weaker responses, candidates:
- offered general musical observations with limited reference to the question
- made limited references that did not strongly support the response
- used musical references and quotes either sparingly or poorly linked to observations
- demonstrated a poor or very limited understanding of concepts, which were applied in very general terms
- made extended explanations of unity without reference to specific musical examples
- demonstrated a poor understanding of musical terminology.
Musicology elective
General comments
- Candidates are encouraged to listen and analyse a wide array of works relating to the chosen topic before narrowing their musicological focus.
- Thorough research of primary and secondary source material is essential to the process of developing a good essay.
- Essays should have a clear musicological focus, which is based on original ideas.
- Essays that make use of comparisons are often stronger if each work is given similar attention.
- Word limits should be adhered to.
- Candidates should carefully edit and proofread their essays before final submission.
- Candidates must include page numbers and the word count in the essay.
In better responses, candidates:
- demonstrated original ideas and clear ownership of the topic area
- clearly explained and effectively annotated musical quotes
- were succinct and sustained a coherent sequence of arguments
- demonstrated a clear essay structure and detailed planning
- drew perceptive conclusions about the essay topic
- maintained a musicological focus throughout
- perceptively integrated primary and secondary sources
- understood the concepts of music and their relationships with the music chosen for analysis
- used appropriate musical terminology.
In weaker responses, candidates:
- wrote overly lengthy introductions
- relied heavily on secondary sources
- overly repeated points
- analysed the concepts of music in superficial or misunderstood ways
- chose simplistic or inadequate musical examples for evidence
- made poor connections or drew inadequate conclusions from primary sources
- focused on historical, sociological or cultural information
- incorporated primary sources that were not linked to the text
- selected a premise that was too wide to allow for a consistent argument and detailed analysis
- made assumptions or generalisations without providing appropriate musical support
- wrote essays that were poorly structured.
Music Extension
Performance
In better performances, candidates:
- explored a range of repertoires 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 a repertoire that was beyond their technical capacity and musical understanding
- performed a brief repertoire that 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.
Extension composition
General comments
- Candidates should not use overcrowded textures and sonorities that may not work in an acoustic performance.
- Candidates should edit computer-generated scores carefully and include, where appropriate, normal scoring conventions, eg percussion or guitar scoring.
- Candidates should listen to a wide variety of styles before developing a personal style for compositions.
- Musical considerations of the composition’s length do not compel candidates to fill all of the available time.
- Candidates should state whether an ensemble work (eg orchestra) is for acoustic or electronic performance, and write for that ensemble accordingly.
- Scores need to include necessary directions for instrumental techniques, eg piano pedalling, phrase markings, and essential string bowing.
- When composing in jazz/funk-influenced styles, candidates need to give equal consideration to melodic ideas as well as harmonic/rhythmic riffs.
In better responses, candidates:
- consistently demonstrated a strong sense of personal style and compositional intent
- harnessed a sophisticated command and manipulation of the concepts, which was sustained throughout the entire piece
- explored novel ideas and were willing to take musical risks, pushing stylistic boundaries
- demonstrated a very cohesive structure with seamless and well-paced transitions
- wrote opening musical ideas that were striking and memorable, and which were developed in effective ways
- chose performing media that enabled them to use idiomatic tone colours and textures as a structural device
- successfully integrated a range of performing techniques as an essential part of the composition
- perceptively integrated detail into the score layout and markings, including comprehensive expressive detail
- manipulated instrumental forces successfully as an engaging and integral part of the composition.
In weaker responses, candidates:
- relied heavily on repetitive figures without incorporating 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 with a program or film idea in mind, yet were unable to make the composition stand alone as a coherent piece of music
- demonstrated a clear intent to develop ideas but without sufficient technique or craft to achieve this
- experimented with textural and motivic contrast but their ideas became contrived or unconvincing
- included contrasting sections that were not successful and therefore affected the flow, direction and musical success of the composition
- did not fully explore the instrumental possibilities of register, sonority and articulation
- demonstrated a poor understanding of how to use texture and tone colour in the ensemble, leading to cluttered writing
- presented unedited scores
- used performance directions that did not convey or enhance the musical intent of the piece.
Extension Musicology
General comments
- Candidates should proofread and edit essays carefully before final submission.
- Candidates should include page numbers and the word count in the essay.
- Candidates should only include audio examples of a relevant length that relate to their essay.
- Candidates should ensure they use appendices and citations correctly.
In better responses, candidates:
- generated an original hypothesis that allowed them to demonstrate their musicological skills
- chose works that were relevant to support a well-defined hypothesis
- demonstrated a detailed and clear understanding of the concepts, writing with a sophisticated articulation of ideas
- maintained a clear line of thought throughout the essay
- used elaborated discussion with specific and closely aligned musical support
- successfully integrated primary and secondary sources
- demonstrated an insightful design in the planning of the essay
- accurately analysed musical examples and drew perceptive conclusions.
In weaker responses, candidates:
- chose poor musical examples to support their hypothesis
- did not clearly define their hypothesis, or the hypothesis was restrictive
- made repetitive and simplistic observations
- unnecessarily defined and illustrated elements in the introduction
- included works that were not always relevant to the argument
- included few or no musical examples
- overly relied on historical, sociological or cultural information.
NSW Government