S A M P L EMUSIC PERFORMANCEAural and written examination
Day Date Reading time: *.** to *.** (15 minutes) Writing time: *.** to *.** (1 hour 30 minutes)
QUESTION AND ANSWER BOOK
Structure of bookSection Number of
questionsNumber of questions
to be answeredNumber of
marks
A 3 3 30B 10 10 50C 7 7 20
Total 100
• Studentsarepermittedtobringintotheexaminationroom:pens,pencils,highlighters,erasers,sharpenersandrulers.
• StudentsareNOTpermittedtobringintotheexaminationroom:blanksheetsofpaperand/orcorrectionfluid/tape.
• Nocalculatorisallowedinthisexamination.
Materials supplied• Questionandanswerbookof20pages,includingblankmanuscriptforroughworkonpage15• AnaudiocompactdisccontainingmusicalexcerptsforSectionsAandBInstructions• Writeyourstudent numberinthespaceprovidedaboveonthispage.• Youmaywriteatanytimeduringtherunningoftheaudiocompactdiscandafteritstops.• AllwrittenresponsesmustbeinEnglish.
Students are NOT permitted to bring mobile phones and/or any other unauthorised electronic devices into the examination room.
©VICTORIANCURRICULUMANDASSESSMENTAUTHORITY2017
Version3–January2018
SUPERVISOR TO ATTACH PROCESSING LABEL HEREVictorian Certificate of Education Year
STUDENT NUMBER
Letter
MUSICPERFORMANCE(SAMPLE) 2 Version3–January2018
SECTION A – Question 1 –continued
SECTION A – Listening and interpretation
Instructions for Section AAnswerallquestionsinpenorpencilinthespacesprovided.AnaudiocompactdiscwillruncontinuouslythroughoutSectionA.
Question 1 (8marks)Work:‘WhentheRiverRunsDry’byHunters&CollectorsPerformers:Hunters&CollectorsAlbum:Ghost Nation(WhiteLabelRecords/MushroomRecords,1989)
Theexcerptwillbeplayedthreetimes.Therewillbesilentworkingtimeafterthesecondand thirdplayings.
Firstplaying(1′48″)–10secondsofsilenceSecondplaying(1′48″)–3minutesofsilence
a. Describehowtheperformerscreateexcitementandenergythroughtheiruseoftonecolour. 4marks
Version3–January2018 3 MUSICPERFORMANCE(SAMPLE)
SECTION A – continuedTURN OVER
Thirdandfinalplaying(1′48″)–4minutesofsilence
b. Describethewaysinwhichtheperformershaveusedarticulationtocreatecharacterintheirperformance. 4marks
MUSICPERFORMANCE(SAMPLE) 4 Version3–January2018
SECTION A – Question 2 –continued
Question 2 (10marks)Work:‘TheEvidenceofLove’byPhillipPietruschkaPerformers:PhillipPietruschkaandensembleAlbum:Itinerant Labours(CajidMedia,2007)
Theexcerptwillbeplayedtwice.Therewillbesilentworkingtimeaftereachplaying.Firstplaying(2′50″)–2minutesofsilence
Secondandfinalplaying(2′50″)–6minutesofsilence
Discusshowtheperformers’approachtodynamics,articulationandphrasingcontributestocreatingexpressiveoutcomesinthisperformance.
MUSICPERFORMANCE(SAMPLE) 6 Version3–January2018
SECTION A – Question 3 –continued
Question 3 (12marks)Thisquestionrelatestoexcerptsfromthework‘WithEveryBreathITake’, composedbyCyColeman,fromthe1989musicalCity of Angels.
Interpretation AWork:‘WithEveryBreathITake’Performers:KayMcClellandandorchestraAlbum:City of Angels(OriginalBroadwayCastRecording;SonyMusicEntertainmentInc.,1990)
Interpretation BWork:‘WithEveryBreathITake’Performers:RachelleFerrellandbandAlbum:First Instrument(BlueNoteRecords,1995)
Theexcerptswillbeplayedtwice.Therewillbesilentworkingtimeaftereachplayingofthepairofexcerpts.
FirstplayingofInterpretationA(1′33″)–30secondsofsilenceFirstplayingofInterpretationB(1′53″)–2minutesofsilence
SecondandfinalplayingofInterpretationA(1′33″)–30secondsofsilenceSecondandfinalplayingofInterpretationB(1′53″)–7minutesofsilence
Discussthewaysinwhichtheapproachtakeninthetwointerpretationstowardstwoofthefollowingelementsofmusichasresultedindifferentexpressiveoutcomes:• tempo• dynamics• phrasing• embellishmentand/orornamentation
MUSICPERFORMANCE(SAMPLE) 8 Version3–January2018
SECTION B – continued
Question 4 (3marks)Listentothefollowingintervals.Eachintervalwillbeplayedtwice.Eachintervalmaybeplayedharmonicallyand/ormelodically,eitherascendingordescending.Identifythesizeandthequalityofeachinterval.
Firstplaying–5secondsofsilenceSecondandfinalplaying–5secondsofsilence
1.
2.
3.
Question 5 (3marks)Listentothefollowingscalesand/ormodes.Eachscaleormodewillbeplayedtwice,ascendingand/ordescending.Identifyeachscaleand/ormodeform.
Firstplaying–5secondsofsilenceSecondandfinalplaying–5secondsofsilence
1.
2.
3.
SECTION B – Music language (aural)
Instructions for Section BAnswerallquestionsinpencilinthespacesprovided.AnaudiocompactdiscwillruncontinuouslythroughoutSectionB.
Version3–January2018 9 MUSICPERFORMANCE(SAMPLE)
SECTION B – continuedTURN OVER
Question 6 (4marks)a. Listentothefollowingfour-barmelody.Themelodywillbeplayedtwice.Therhythmofthe
melodyisprovided.Atwo-barcount-inwillprecedeeachplaying.
34/ œ ™ œ
jœ œ œ ™ œ
jœ œ œ œ œ œ œ œ œ ˙
Firstplaying–5secondsofsilenceSecondandfinalplaying–5secondsofsilence
i. Identifythesizeandthequalityoftheintervalsmarkedwithabracket. 2marks
•
•
ii. Identifythetonalityofthemelody. 1mark
b. Listentothefollowingfour-barmelody.Themelodywillbeplayedtwice.Therhythmofthemelodyisnotprovided.Atwo-barcount-inwillprecedeeachplaying.
Identifythetonalityofthemelody. 1mark
Firstplaying–5secondsofsilenceSecondandfinalplaying–5secondsofsilence
Question 7 (4marks)Listentothefollowingtriads/chords.Eachtriad/chordisinrootposition.Eachtriad/chordwillbeplayedtwice,inblockharmonyand/orasanarpeggio.Identifythequalityofeachtriad/chord.
Firstplaying–5secondsofsilenceSecondandfinalplaying–5secondsofsilence
1.
2.
3.
4.
MUSICPERFORMANCE(SAMPLE) 10 Version3–January2018
SECTION B – continued
Question 8 (4marks)Listentothefollowingchordprogression.Thechordprogressionbeginsonthetonicchordandwillbeplayedthreetimes,withsilentworkingtimebetweeneachplaying.Eachchordisinrootpositionandtheprogressionendswithacommoncadence.Thefirsttwochordsaregiven.Aone-barcount-inwillprecedeeachplaying.Identifythebassnoteandthequalityofchords3and4intheblankspacesoftheharmonicgridbelow.
Firstplaying–5secondsofsilenceSecondplaying–5secondsofsilence
Thirdandfinalplaying–5secondsofsilence
Harmonic grid 1. 2. 3. 4.
Bass note B G
Quality major minor
Question 9 (8marks)Listentothefollowingchordprogression.Thechordprogressionbeginsonthetonicchordandwillbeplayedfivetimes,withsilentworkingtimebetweeneachplaying.Eachchordisinrootposition.Thefirsttwochordsandthelasttwochordsaregiven.Aone-barcount-inwillprecedeeachplaying.Identifythebassnoteandthequalityofchords3–6intheblankspacesoftheharmonicgridbelow.
Firstplaying–5secondsofsilenceSecondplaying–5secondsofsilenceThirdplaying–5secondsofsilenceFourthplaying–5secondsofsilence
Fifthandfinalplaying–5secondsofsilence
Harmonic grid 1. 2. 3. 4. 5. 6. 7. 8.
Bass note E C B E
Quality minor major dom7 minor
Version3–January2018 11 MUSICPERFORMANCE(SAMPLE)
SECTION B – continuedTURN OVER
Question 10 (4marks)Listentothefollowingfour-barworkforoboeandvioloncello.Theworkwillbeplayedfourtimes.Atranscriptionofthisworkisprintedbelow;however,thenotationismissingforbar4oftheoboepart.Therhythmofthemissingoboepartisgiveninthetopline.Atwo-barcount-inwillprecedeeachplaying.Transcribethemissingmelodyforbar4oftheoboepart.
Firstplaying–20secondsofsilenceSecondplaying–20secondsofsilenceThirdplaying–20secondsofsilence
Fourthandfinalplaying–30secondsofsilence
oboe
violoncello
ob.
vc.
3
44
44
44
/
&bb
?bb
/
&bb
?bb
œ œ ™ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ ™ œ œ œ œ œ
œ ™ œ œ œ œ œ œ œ œ
œ œ œ œ œ œJ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Version3–January2018 13 MUSICPERFORMANCE(SAMPLE)
SECTION B – Question 11–continuedTURN OVER
Question 11 (8marks)Listentothefollowingeight-barmelody.Themelodywillbeplayedfivetimes.Atranscriptionofthismelodyisprintedonpage14;however,thenotationismissingforbar2oftheelectricguitarpart,bar3ofthetrumpetpartandbar7oftheelectricbasspart.Therhythmofthemissingnotationisgiveninthetopline.Atwo-barcount-inwillprecedeeachplaying.Transcribethemissingmelodyfor:• bar2oftheelectricguitarpart• bar3ofthetrumpetpart• bar7oftheelectricbasspart.
Firstplaying–20secondsofsilenceSecondplaying–20secondsofsilenceThirdplaying–20secondsofsilenceFourthplaying–30secondsofsilence
Fifthandfinalplaying–30secondsofsilence
MUSICPERFORMANCE(SAMPLE) 14 Version3–January2018
SECTION B – continued
°
¢
°
¢
°
¢
percussion
perc.
electric guitar
elec. gtr.
electric bass
tpt. in C
trumpet in C
elec. bass
perc.
elec. gtr.
tpt. in C
elec. bass
3
5
68
68
68
68
/ ∑
&###
&‹
###
?###
2
/ ∑2
&###
&‹
###
?###
/ ∑ ∑
&###
&‹
###
?###
œ œ œ œ œ ™
œ ™ œ œJ œ ™ œ œ œ œ œ œ œ
œ ™ œ œ œJ
œ
œ œ œ ™ œ ™ œ ™
œ œ œ œ œ
œJ œ œ œ œ
œ ™ œ œ œ œ œ œ œ œ ™ œ ™
œ ™œ ™ œ
j œ œ ™
œ œ œ œ œ ™ œ œ œœ œ œ ™ œ œ
œ ™ œ ™ œ ™ œ# ™
œ œ œ œ œ œ œœ œ œ œ
j
°
¢
/ ∑
&###
2
&‹
###
?###
œ œj
œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œJ œ
œ œ œœ œ œ œ
j œ œ œ œ œ ™
œ œj œ ™
perc.
tpt. in C
elec. gtr.
elec. bass
Version3–January2018 15 MUSICPERFORMANCE(SAMPLE)
SECTION B – continuedTURN OVER
Blankmanuscriptforroughworkifrequired
MUSICPERFORMANCE(SAMPLE) 16 Version3–January2018
SECTION B – continued
Question 12 (4marks)Listentothefollowingfour-barexcerpt.Theexcerptwillbeplayedthreetimes.Atwo-barcount-inwillprecedeeachplaying.Transcribethemissingrhythmicnotationforbars3and4ofthesnaredrumpart.
Firstplaying–15secondsofsilenceSecondplaying–15secondsofsilence
Thirdandfinalplaying–20secondsofsilence
snare drum
tambourine
s.d.
tamb.
°
¢
°
¢
3
44
44
/3
/
/
/
œ œ œ œ œ œ œ œ œ œ ™ œ œ œ ™ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Version3–January2018 17 MUSICPERFORMANCE(SAMPLE)
END OF SECTION BTURN OVER
Question 13 (8marks)Listentothefollowingeight-barexcerpt.Theexcerptwillbeplayedfivetimes.Atwo-barcount-inwillprecedeeachplaying.Transcribethemissingrhythmicnotationfor:• bars3and6ofthetaikodrumpart• bar4ofthecowbellpart.
Firstplaying–15secondsofsilenceSecondplaying–15secondsofsilenceThirdplaying–20secondsofsilenceFourthplaying–20secondsofsilence
Fifthandfinalplaying–20secondsofsilence
cowbell
taiko drum
cow.
taiko d.
cow.
taiko d.
°
¢
°
¢
°
¢
4
7
64
64
/
/2
/
/2
/
/
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ™ ˙ œ œ œ œ œ œ
œ œ œ œ œ ˙ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ ™ œjœ œ œ œ œ œ œ
˙ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ ˙ ™ ˙ ™
MUSICPERFORMANCE(SAMPLE) 18 Version3–January2018
SECTION C – continued
SECTION C – Music language (written)
Instructions for Section CAnswerallquestionsinpencilinthespacesprovided.
Question 14 (2marks)Identifythesizeandthequalityofeachinterval.
?&ww
ww
1. 2.
Question 15 (3marks)Writeeachintervalusingsemibrevesineitherthetreblecleforthebassclef.
?
major3rdaboveB minor6thbelowF# minor2ndbelowC#
OR
&
major3rdaboveB minor6thbelowF# minor2ndbelowC#
Question 16 (2marks)a. Identifythefollowingscaleormodeform. 1mark
?w w w w w w# w# w
Scaleormodeform
b. Identifythescaleormodeformofthefollowingmelody. 1mark
24&œ ™ œœ œ œ œ œ ™
œ œ œ œ œ œ œœ œ œ œ ™ œ œ ™ œœ œ œ œ œ œ œ œ
Scaleormodeform
Version3–January2018 19 MUSICPERFORMANCE(SAMPLE)
SECTION C – continuedTURN OVER
Question 17 (3marks)Writeadescendingmixolydianmodeontheprintedstavebelow.Themodeshould:• bewritteninminims• beginontheprintednote.
? ˙b
Question 18 (2marks)Identifythequalityofeachofthefollowingchords.
44& ?wwww
wwww
1. 2.
Question 19 (3marks)Writeanythreeofchords1–5below.Usetrebleclef.Anexamplehasbeenprovided.
44
44
&b
?b
www
w w w w w w
piano
Dminor 1. A7 2. Ehalfdim 3. B major7 4. Gminor 5. Amajor
MUSICPERFORMANCE(SAMPLE) 20 Version3–January2018
END OF QUESTION AND ANSWER BOOK
Question 20 (5marks)Usethefollowingnotationtoanswerthequestionsbelow.
soprano saxophone
marimba
electric guitar
bass guitar
drum set
°
¢
{
f mp f p
f mp f p
mp ff p
mp p f p
mpp f p
44 34
44 34
44 34
44 34
44 34
&# ∑
> > U
&#
. . . . . . . . . . . . . . . . .> . .>. .
> . . . . .
&‹
# ∑. . . > >
> > > >>
U
>
∏∏∏∏
?# ∑> > >
> U
/ ∑> > U
œœœ œœ ™ œœ ‰ œ#Jœ œœ œœ ™ œœ
œ œ œ œ œ œ œ ™ œJœ# œ œœ œœ ™ œ œ
œœœ œœœ œœœ#œœœœœœ œœœ œœ
œœœœ
œœœ œœœ œœœ#œœœœœœ œœœ œœ
œœœœ
œœœ
œœœ œœ
œ# œ œ œœœ™™™
œœœjœœœ# œœ
œœœœœ œœ œ œ œœœ œœœ œœœ
œ#
œœœ œœœ#œœœ œJ œœ ™™œ œ œ#
œœœ œœ
œ#™™™ Œ
œœ œœ œœ œ œœ œ œ
œ Œ
˙̇˙
Œ˙ ™ œ œ œ
œ#j
˙ ™ ˙ œ Œ ˙
Œ œœ œ œ œ œœ œ œœ œ œœ œ œ œœ ™™ œJ
œ œœ ™™ œJœ Œ ˙
a. Identifythescaleormodeform. 1mark
b. Identifythebracketedintervalbetweenbars4and5inthesopranosaxophonepart. 1mark
c. Whatisthecorrecttimesignatureforbar3? 1mark
d. Whatisthecorrecttimesignatureforbar4? 1mark
e. Identifythefinalchordinthemarimbapart. 1mark