T A S M A N I A N Music & Music Performance C E R T I F I ..._M… · Ostinato and Pedal Point were often confused. Question 2 Within the aural component in this exam, this was the

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T A S M A N I A N Music & Music Performance

C E R T I F I C A T E Subject Code: MSM5C & MSF5C O F E D U C A T I O N 2007 External Assessment Report

2007 External Assessment Report

Being new to the role of Chief Marking Examiner this year I found it a very valuable and positive experience overseeing candidate performance exams and marking scripts from the new 2007 music syllabi – MSF5C and MSM5C. Some new criteria (eg. performance folios) gave teachers and candidates new challenges, new performance times encouraged greater scrutiny of performable pieces and the re-wording of the syllabi saw a significant increase in the number of contemporary music candidates doing pre-tertiary examinations. Before moving onto the reports, I would like to thank all teachers who volunteered to examine this year. Your support and encouragement is fully appreciated as it makes the organisational issues easier to deal with. And for those teachers who did not examine, I strongly encourage you in 2008 to put your name on the examining list. It is one of the best Professional Developments you can do. It is with gratitude that I express our thanks and appreciation to Philipa Moyes who is stepping down as our ‘negotiated study’ examiner and to Barry Dudgeon who is passing on the moderator’s baton (no pun intended). Thankyou Philipa and Barry for your time and dedication over the years, you have both been an invaluable asset. Performance (MSM5C/MSF5C) The performance assessment process went smoothly again this year, with a very large element of Music Performance candidates being examined. There were one hundred and thirty two MSM5C candidates and eighty three MSF5C candidates. The examiners were impressed with the high degree of sophisticated and polished performances and with the ‘performance’ attitude that many candidates demonstrated. Ninety five percent of the performance programme times were within the new limits as set by the respective syllabi and by and large the rigour of programmes was not an issue. Although the performance option enables a mixture of solo and ensemble performances, few candidates included ensemble. It is great to see an increase of contemporary instruments being performed, and from this very positive increase a few issues began to develop which need to be addressed. The first is that in the music given to the examiners by the candidate, all guitar tablature needs to contain sufficient information for the examiners to measure accuracy of rhythm. Just note tablature alone is not enough – there needs to also be a rhythm line. The second issue that occurred in a few exams is the noise output by amplified instruments and drummers. On quite a few occasions candidates were asked to play softer. On one occasion, the drummer was so loud that after his exam, the examiners’ ears were ringing. Candidates must ensure they play at a respectable level, and do not exceed 95db as outlined in the guidelines. If the noise level exceeds these acceptable bounds in the exam, examiners have the right to walk out of the room and candidates risk not being assessed.

Music & Music Performance 2

Subject Code: MSM5C & MSF5C


Several different examining panels raised the problem of marking note and rhythmic accuracy when examining contemporary vocalists. In most cases, the notes and rhythms on the page represented just the ‘bare bones’ of what the vocalist sang (which is the contemporary style) and examiners found it difficult assessing accuracy. The recommendation for 2008, is that the guidelines be amended so that a singing programme contains at least two songs that are sung strictly as per the written music. Written Examination Paper This exam was well received by candidates and overall the questions were well answered. The introduction of tablature and drum notation in question 4 highlighted candidate weaknesses in this area. The standard of calligraphy was extremely good, but there was at least one candidate who still wrote in pen. Question 1 Very well answered. Modulation, Accelerando and Pizzicato scored the best responses where Ostinato and Pedal Point were often confused. Question 2 Within the aural component in this exam, this was the worst answered question. Problems included: (a) The whole bar rests were often missed out; (b) The upbeat note (bar 3 – vocal line) was often missed. Question 3 This was reasonably well answered. Note alignment and stem direction was good. Candidates when notating must take care where they write their notes. Accuracy of note placement is essential as it was difficult in a few cases to tell if the written note was on the line or in the space - it often incorporated both. Candidates need to use a sharp pencil. Question 4 The introduction of tablature and drum notation showed that many candidates did not understand where to write the notes. Other areas where problems occurred include:




(a) the writing of mp and rit where often omitted or candidates who did write them in the score wrote them on both piano lines;

(b) the identification of chords (e) was extremely poor, as was identifying the inversions; (c) the minor 6th (d) was often confused with a major 6th; (d) the mordent (h) was not well known nor described correctly, whereas almost everyone

got the trill correct; (e) the labelling of devices (i) was a mixed bag. Some candidates just wrote any device

(unrelated to the score); some candidates labelled their devices on the score poorly; some candidates incorrectly identified devices that didn’t exist (eg. Sequence).

On a positive, the performance instructions(c) were the best answered and showed many candidates knew their terminology. Quote of the day – Inversion – a different key is introduced for a while. Question 5 Mostly well answered. A lack of understanding between the time signature and the meter was still evident. One candidate came up with a new meter – Simple Tripe. Question 6 Generally well answered. Some candidates could not write a rhythm in 6/8 and several candidates struggled with keeping Lyric 2 fluent. Word stress points were a key issue in the 4/4 example and candidates still had incomplete bars at the end of lines. Question 7 The biggest problem was the strange array of instrument groupings and octave displacement. Question 8 Common problems: • didn’t use the first bar as a guide; • no sense of rhythmic flow; • A7 chord - many missed incorporating the 7th note; • F#m7 and B7 – many candidates missed the accidentals.




Question 9 Rhythmic flow and harmonic construction was good, but again the biggest problem was labelling. Many candidates wrote a device above a passage, but neglected to indicate on which bar or where the original commenced. Candidates are required to provide clear labelling of devices - eg. Augmentation of Bar 1, Sequence of previous two beats. The final chart of results is as follows:

Criterion Pitch Time Design

A

29-36 (81%) 20 candidates (13%)

29-34 (85%) 19 candidates (12%)

27.5-34 (81%) 22 candidates (14%)

B

22-28.5 (61%) 55 Candidates (36%)

21.5-28.5 (63%) 60 candidates (39%)

22-27 (65%) 60 candidates (39%)

C

14-21.5 (39%) 57 candidates (37%)

13.5-21 (40%) 59 candidates (38%)

13-21.5 (40%) 53 candidates (34%)

T

0-13.5 22 candidates (14%)

0-13 16 candidates (10%)

0-13 19 candidates (12%)

Folios: Composition/Arranging/Improvising There were thirteen folios submitted for assessment. Overall the compositions were of a very good standard. There were sincere efforts by candidates to extend themselves musically and explore sonorities, techniques and compositional devices not commonly familiar to them. Candidates who used computer based backgrounds needed to explore more traditional instruments for a more well rounded and complete folio. Most works containing graphic scores were very accurate. All folios were computer scored and no hand written compositions were submitted. Consequently vertical alignment and note groupings were not an issue and were very good. What became clear in viewing computer written scores was that candidates didn’t know the order of instruments. Correct orchestration still applies even whilst using notation software such as Sibelius. Scores A major concern to the examining panel was the lack of full scores. There were folios that just contained the performer’s parts which made it extremely difficult to view the works as a whole. Guitar compositions were the worst offenders. Full scores must be submitted.




Arrangements Another area of concern were folios that contained arrangements. NO original was supplied with the candidate arrangement. When arrangements are submitted, candidates MUST provide the original score/recording so that a comparison can be made. Candidate commentaries All commentaries this year were very good. Candidates need to be encouraged to explore outside their comfort zone. Some young composers highly skilled in a particular style or genre will achieve better results if there is an obvious attempt to explore genres/techniques/instrumentation/devices they have not been exposed to. Negotiated Study This year three folios were submitted, covering the following topics: • The history and development of the flute and its contribution to music in Western

Culture • Louis Armstrong and Jazz • Punk Rock: A study of its evolution, influence and diversity. Weaknesses in this year’s folios were evident in the paucity of musical analysis, insufficient accuracy of referencing, lack of organisation of material and poor standards of expression found in some candidates’ work. It is recommended that candidates undertaking this option allow adequate time to produce an effective folio. Performance Folio (MSF5C) This was the first year for MSF5C folio submissions, and generally they were well written. All folios were typed and presented with the guideline requirements generally adhered to. Folios that failed were generally a result of waffle, shallow or little ‘self reflection’ and a lack of in-depth content in the performance critiques. Given that before submitting their folios for external assessment, candidates would have presumably submitted critiques to their teachers for assessment and comment during the course of the year, it is to be expected that many candidates received strong external ratings for this criterion. The examining panel recommends the guidelines be amended to include. • An exact word count for all critiques and personal reflection;




• A statement of the candidate’s instrument in the self-reflection; • In the ‘critique of others’, the better candidates incorporated a variety of concerts and

concerts from a different events; • Folios should be subdivided into headings; • The layout should be double line spacing; • All named pieces should be in Italics. The examining panel also recommends an amendment to the guidelines stating all critiques submitted for external assessment be from live performances. No DVD or ‘youtube’ critiques. The final words of wisdom are from some of our candidates: Critique of rock performance – ‘…the other band members were performing and Anthony was offstage gettin’ amped’ A drummer’s self reflection – ‘Usually when I play solos I have no idea what I’m doing’ (same drummer) –’I let everything come out naturally without thinking’

All correspondence should be addressed to: Tasmanian Qualifications Authority

PO Box 147, Sandy Bay 7006 Ph: (03) 6233 6364 Fax: (03) 6224 0175

Email: [email protected] Internet: http://www.tqa.tas.gov.au

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Tasmanian Certificate of Education

MUSIC

Senior $econdary 5C

External Assessment

2007

Time: Two Hours

On the basis of your pedormance in this examination, the examiners wil l provideresults on each of the following criteria taken from the syllabus statement:

Criterion I Demonstrate understanding of pitch and ways it can be used inmuslc.

Criterion 2 Demonstrate understanding of time and ways it can be used inmusic.

Criterion 3 Demonstrate understanding of design and ways it can be used inmusic.

Pages 20Questions; 9Attachment; Manuscript Paper (2 sheets)

(cl- L-opyright for part(s) of this examination nray he held by individuals and/or organisations other

than thc Tasmaniirn Qualif ications Authority.

3.

4.

Music

CANDIDATE INSTRUCTIONS

You MUST ensure that you have addressed ALL of the externally assessed criteria on this

examination paper.

L You must answer ALL questions. Section A is to be completed whilst listening to examplesplayed on a compact disc (CD).

You are asked to avoid making any sounds when responding to questions in Section A. You

must not tap, hum or sing while attempting the paper.

A separate score booklet has been provided for Question 4.

Marks may be deducted for errors in notation, including inaccurate copying.

5. All answers are to be completed in the format prescribed and in the spaces provided on thisexamination paper. Failure to do so may cost marks.

All answers involving music notation MUST be completed in pencil.

Manuscript paper will be provided for rough working out purposes.

All written responses must be in English.

MARKING SCHEME (for critics only)

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Criterion 2 nJ 4 f 6 7 I I TOTAL

Pitch 9 I 6 5 36Time 5 I I l 0 3 34

Desisn l 4 J 5 5 34

Page 2

Music

SECTION A

Question L

You wil l hear 7 short cornplete pieces or excerpts of music.

From the list provided, select the form or compositional device or playing technique used in eachexample and write its namc in the space provided.

Do not match the same form or compositional device or playing technique more than once.

You wil l hear the seven musical examples with a short pause between each. All seven wil l then berepeated.

After the second hearing, you will have 30 seconds before the commencement of Question 2.

Forms or compositional devices or playing techniques:

Pedal Point

Sequence

Accelerando

Ostinato

Meter Cluutge

Modultttiort

Pizzicato

O STIN +,TTMusical exanrple I

Musical example 2

Musical exarnple 3

Musical exarnple 4

Musical example -5

Musical examplc 6

Musical exarnplc 7

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Question 2

A Drama teacher at your school has requested that you record a sound effect and voice over for anupcoming musical prccluction. Fle describes what he wants is the sound of a man knocking on adoor and call ing out.

Here is an example o1'how the written notation should look. Listen to it now.

Example

Door Knock

Voice

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Your task is to write clown the sound cue as he demonstrates it to vou. Theyou are required to n0tate are:r Please let me in' I have to see vou now.

home?

words in the sound cue

You will hear the souncl cue played four times with a gap of approximately 20 seconds betweeneach hearing. Afler thc fourth hearing you will have one minute before the commencement ofQuestion 3.

There is a two bar corrnt- in.

Sound Cue for Musical

Door Knock

Voice

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Music

Question 3

The following piano piece using a Major Scale has some missing notes. Listen to the recording andcomplete the notation.

'l 'he correct note durations have been provided above each $taff.

You will first hear the scale played. This is then followed by the piano piece played four times witha gap of approximately 20 seconds between each hearing. After the fourth hearing you will haveone minute before the comnrencement of Question 4.

There is a two bar count-in.

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Question 4

Refer to the accompanying score for this question.

You will hear the piece entitled 'Latine' performed twice with a gap of 30 seconds between eachhearing. Follow the score carefully and complete the given tasks. Note, question (a-i) requires youto notate the drum kit part in bar 16.

After 3 minutes you will hear the whole piece again for a third and final time.

(a) Mark clearly on the score:

(i) the missing Drum Kit notation (enclosed in a box) in bar l6;

(ii) that for all instruments the tempo is to be 'held back' in bar 16.

(b) Name and describe the meter of the piece.

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Explain the meaning of the marked Performance Instructions.

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Question 4 (continued)

(e) Name the chords and their inversions/positions enclosed within a box in the score.

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Mark in clearly on the score the missing Bass Guitar TAB numbers (enclosed in boxes) inbars 13 and 14.

Clearly indicate on the score that all instrument parts are marked with an abbreviationindicating a'mod.erately soft' volume at bar 13.

r{Ornaments are used in bar 4 and 16. Name them and describe how thev are to be realised(performed).

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Page 7


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(i) Name and describe three different compositional devices the composer has used in thispiece. Mark clearly and label on the score one example of each of your $tated compositionaldevices.

Description

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Dg Device 2:

D? Device 3:

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SECTION

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Question 5

Each of the given one bar phrases has incorrect note groupings. In the staff provided under each

phrase:

(i) write the t ime signature;(ii) rewrite the phrase using correct groupings;(iii) provide the meter name/

An example has been done for You.

Example:

Beat Value: J. Meter: Compound DuPle

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Criterion I Marks

Page l0

Music

Question 6

Compose a rhythm to the two lyrics below, ensuring that the flow of the words is reflected in therhythm patterns you choose. Write the words under the rhythm, using hyphens and extension lineswhere required. For each lyric, you must use the time signature given.

Note:. You must complete both lyrics;' If your notation is to be interpreted in a way other than that which is written, please give an

indication of style and interpretation.

Lyr ic l :

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Temp'rature's rising, J'ever is high.Can't see no future when I can't see the sky.

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Question 7

You have been given the first four bars of an arrangement. From the list provided, choose four

instruments and transpose the original arrangementfor your selected group. Write next to

each line the instrument you have chosen. Ensure that in your new score that:. original pitch is maintained and all instruments stay within accepted range;. vertical alignment is maintained;. all petformance indicators are transferred.

Instrument List:Bb Instruments - Clarinet, Bass Clarirtet, Trumpet, Tenor SaxophoneF Instruments - French HornEb Instruments - Alto Saxophone, Baritone SaxophoneC Instruments - Bass Guitar, Double Bass

Original Arrangement

(Line 1)

(Line 2)

(Line 3)

(Line 4)

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Page 12

Music

Question I

Below is an incomplete score written in concert pitch. Complete the bass line and the two harmonyparts taking into consideration:

. the clear outl ining of the harmonic progression;

. close voice leading in the individual harmony l ines where possible.

Harmony I

Harmony 2

Bass Line

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Question 9

Add at least eight bars to the given phrase to make a complete melody.

You must use only two of the l isted composit ional techniques in your composit ion and clearlyindicate on your finished composition where each device has been employed by labelling theappropriate bars.

You may use either the treble staves or the bass staves provided.

Compositional Techniques:

. Sequence

. Syncopation

. Augmentation

. Diminution

. Retrograde

. Inversion

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Page 14


Music


.1.: 80

For Marker Only-________I-____--**

Criterion I Marks

Page I -5

Documents

T A S M A N I A N Music & Music Performance C E R T I F I ..._M… · Ostinato and Pedal Point were often confused. Question 2 Within the aural component in this exam, this was the