A Level
Music
Sample Assessment Materials
Pearson Edexcel Level 3 Advanced GCE in Music (9MU0)
First teaching from September 2016
First certification from 2018
Issue 3
Summary of Pearson Edexcel Level 3 Advanced GCE in
Music SAMs
Issue 3 changes
Issue
number
Issue date
Summary of changes made between previous
issue and this current issue
Page
number
3
August 2016
Amendments have been made to correct the command
word in question 1(a).
20
3
August 2016
Amendments have been made to correct the command
word in question 3(b).
23
3
August 2016
Question 5 has been reworded.
25
3
August 2016
The mark scheme for question 5 has been corrected.
71
Earlier issues show previous changes.
If you need further information on these changes or what they mean, contact us via our
website at: qualifications.pearson.com/en/support/contact-us.html.
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Original origami artwork: Mark Bolitho
Origami photography: Pearson Education Ltd/Naki Kouyioumtzis
ISBN 978 1 446 94030 3
All the material in this publication is copyright
© Pearson Education Limited 2016
Contents
Introduction1
Component 2 3
Component 3
19
General marking guidance
57
Component 3 Mark scheme
59
Introduction
The Pearson Edexcel Level 3 Advanced GCE in Music is designed for use in schools and
colleges. It is part of a suite of AS/A Level qualifications offered by Pearson.
These sample assessment materials have been developed to support this
qualification and will be used as the benchmark to develop the assessment students
will take.
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Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
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Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
Pearson Edexcel Level 3 GCE
Music
Advanced
Component 2: Composing
Free choice composition briefs
Sample assessment material for first teaching
September 2016
Paper Reference
9MU0/02
You do not need any other materials.
Instructions to Teachers
final write up and recording of the composition must be completed under
• The
teacher supervision.
choice compositions must be a minimum of 4 minutes in duration. The total
• Free
duration of both compositions must be a minimum of 6 minutes.
will need access to manuscript paper if writing their scores by hand, or
• Candidates
access to a computer if using software.
materials submitted must include:
• The
• Score/written account – ‘score’ refers to any of the following: a full score in
conventional staff notation; a lead sheet or chord chart; track sheets; written
account, tables or diagrams.
• Recording – a complete recording of both pieces on an audio CD or USB stick
• Completed authentication sheet – found in Appendix 2: Composition authentication
sheet of the specification
A complete recording of both pieces on an audio CD or USB stick must be
submitted.
CDs should be checked before sending, and carefully packaged so that they will not
be damaged in transit.
All assessment materials must be sent to the examiner to arrive by 15 May.
•
•
•
Information for Candidates
2: Composing is made up of two compositions: one in response to a
• Component
brief assessing technique and one free choice composition.
total mark for this component is 60.
• The
This
outlines six set briefs for the free choice composition. Candidates
• mustdocument
select one brief to respond to. This composition is marked out of 40.
composition briefs from Briefs assessing technique can be found in a
• Pearson-set
separate document.
are reminded that the minimum total duration of both compositions must be a
• You
minimum of 6 minutes.
are reminded of the importance of clear and orderly presentation of your score
• You
and recording.
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Composition Task
Free choice composition
You will compose one free choice piece. This can be a free composition, or to a brief
related to areas of study, as outlined in the specification.
If you choose a free composition, you may use your imagination and skills to compose
a piece of music. You can draw inspiration or starting points from the set works and
suggested wider listening, as well as your own interests and the world around you. You
should consider the role of the audience and/or occasion in your composition. The piece
composed may be for any instrument or voice, or combination of instruments and/or
voices, and in any style. The piece of music must be at least four minutes in duration.
This document only covers the Awarding Organisation’s set briefs relating to areas of
study.
Set brief
If you choose to compose to a brief, you must compose one piece of music based on one
of the six briefs linked to areas of study listed below.
•
•
The piece of music must be at least four minutes in duration.
You may write for one or more instrument(s), acoustic and/or amplified and/or
synthesised.
You must compose using one of the areas of study.
•
When composing, you should consider the following:
•
•
Type of occasion
Who is the audience
You can draw on your knowledge of the set works and wider listening that you have
studied to help you think about the ideas, techniques, structure, style and features of
your composition.
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Composition briefs
Select one of the following briefs, and compose your piece of music according to the
brief.
Brief 1 – Instrumental Music
Compose a piece of music based on sonata form that would be suitable for background
music at a formal occasion such as a wedding dinner.
Brief 2 – Vocal Music
Compose a song using a poem of your choice for use as opening music for a conference
about the protection of the environment. The setting of the song should reflect the
meaning of the text. You may re-order the words.
Brief 3 – Music for Film
Compose the title music for a science fiction action film. Choose instrumental timbres
and textures to create a suitable atmosphere. Musical elements such as harmony, melody
and rhythm should reflect the action.
Brief 4 – Fusions
Compose a piece for a string quartet that is based around an east European folk melody.
The piece will be played alongside a programme of Western classical pieces.
Brief 5 – Popular Music and Jazz
Compose a piece of music for a jazz musician to play at a live concert as an encore.
The solo part must be accompanied by at least 3 instruments.
Brief 6 – New Directions
Compose a piece of electronic music to open an electroacoustic music concert. Your
composition should explore the combination of human voice and natural sounds.
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Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
Pearson Edexcel Level 3 GCE
Music
Advanced
Component 2: Composing
Briefs assessing technique
Sample assessment material for first teaching
September 2016
Paper Reference
9MU0/02
You do not need any other materials.
Instructions to Teachers
composition and write up and recording of the composition must be completed
• All
under teacher supervision.
assessing technique compositions must be a minimum of 1 minute in
• Briefs
duration. The total duration of both compositions must be a minimum of 6 minutes.
will need access to manuscript paper if writing their scores by hand, or
• Candidates
access to a computer if using software.
materials submitted must include:
• •TheScore/written
account – ‘score’ refers to any of the following: a full score in
•
•
•
conventional staff notation; a lead sheet or chord chart; track sheets; written
account, tables or diagrams.
• Recording – a complete recording of both pieces on an audio CD or USB stick.
• Completed authentication sheet – found in Appendix 2: Composition
authentication sheet of the specification.
A complete recording of both pieces on an audio CD or USB stick must be
submitted.
CDs should be checked before sending, and carefully packaged so that they will not
be damaged in transit.
All assessment materials must be sent to the examiner to arrive by 15 May.
Information for Candidates
2: Composing is made up of two compositions: one in response to a
• Component
brief assessing technique and one free choice composition.
total mark for this component is 60.
• The
This
document outlines four set briefs for the Brief assessing technique composition.
• Candidates
must select one brief to respond to. This composition is marked out of
•
•
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20. Pearson-set composition briefs from Free choice composition can be found in a
separate document.
You are reminded that the minimum total duration of both compositions must be a
minimum of 6 minutes.
You are reminded of the importance of clear and orderly presentation of your score
and recording.
Turn over
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Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
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Composition Task
You must compose one piece of music based on one of the four briefs assessing
technique listed below.
•
The piece of music must be at least one minute in duration, unless the brief specifies
a longer minimum duration.
You may write for one or more instrument(s), acoustic and/or amplified and/or
synthesised, unless specific instructions are given in the brief.
•
When composing, you should consider the following:
•
•
Type of occasion
Who is the audience
You can draw on your knowledge of the set works and wider listening that you have
studied to help you think about the ideas, techniques, structure, style and features of
your composition.
2
8
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Composition Briefs
Select one of the following briefs, and compose your piece of music according to the
brief:
Brief 1 – Bach Chorale
Add alto, tenor and bass parts to complete the following two chorales, in the style of J.S.
Bach, for singing by the choir and congregation during the performance of a cantata.
1.
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Brief 2 – Two-part counterpoint
Complete, in an appropriate style, the following dance movement intended for private
performance in a domestic setting. Add the treble part in bars 5–7, 17–19 and 24–27, and
the bass part in bars 8–11 and 20–22.
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Brief 3 – Arrangement
Extend the melody below to form an arrangement suitable for playing in the welcome
area of an international arts festival.
Your arrangement must be a minimum of three minutes long, and may be in any style.
You may compose for vocal and/or acoustic and or amplified and/or synthesised forces.
Brief 4 – Dance Remix
Using the vocal A Level Music SAMS Brief 4 Vocal, create an original electronic dance remix
in suitable to play in a nightclub by a DJ. Your remix must be a minimum of three minutes
long.
You must use the entire vocal recording. You may edit and re-order the vocal part.
Your remix must contain sequenced parts. Your remix may record audio parts that you
have played yourself. Any recorded audio parts that you were not the performer must be
detailed on the Composing authentication sheet. If you use any pre-recorded loops and
samples they must be manipulated, shaped, edited and/or processed.
You must:
•
•
use original sound design such as synthesis, sample manipulation or creative effects.
produce a high quality stereo recording of your composition that pays attention to
EQ, dynamics, effects stereo field and balance.
The content of the stimulus audio file:
•
•
•
•
The audio file is aligned with the beginning of a bar to ensure that it plays in time.
The tempo is 131bpm.
The vocal was recorded in E minor.
This recording is dry with no EQ, compression or any other effects.
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Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
Write your name here
Surname
Other names
Pearson Edexcel
Level 3 GCE
Centre Number
Candidate Number
Music
Advanced
Component 3: Appraising
Sample assessment material for first teaching
September 2016
Time: 2 hours
Paper Reference
9MU0/03
You must have:
Resource booklet (enclosed)
CD and individual CD player
Total Marks
Instructions
black ink or ball-point pen. You may use pencil for rough work on
• Use
Question 4.
Fill
boxes at the top of this page with your name,
• centrein the
number and candidate number.
all questions.
• Answer
the questions in the spaces provided
• Answer
– there may be more space than you need.
Information
total mark for this paper is 100.
• The
marks for each question are shown in brackets
• The
– use this as a guide as to how much time to spend on each question.
Advice
each question carefully before you start to answer it.
• Read
to answer every question.
• Try
your answers if you have time at the end.
• Check
You
may
listen to excerpts as many times as you wish.
•
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SECTION A
Answer ALL questions. Write your answers in the spaces provided.
Some questions must be answered with a cross in a box . If you change your mind about an
answer, put a line through the box and then mark your new answer with a cross .
1 Vaughan Williams: On Wenlock Edge, No. 3
Listen to Track 1 of the CD and refer to Excerpt 1 in the resource booklet.
(a) Identify the performance direction given to the strings at the start of this excerpt.
(1)
A Col legno
B Con sord
C Pizzicato
D Sul tasto
(b) Name the mode of the vocal part in bars 5 to 9.
(1)
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................... . . . . . . . . . . . . . . . . . . . . .
(c) Name the instrument first heard in bar 9.
(1)
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................... . . . . . . . . . . . . . . . . . . . . .
(d) Explain the use of texture, rhythm and metre in bars 9 to 16.
(3)
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................... . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................... . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................... . . . . . . . . . . . . . . . . . . . . .
(e) Name the intervals in the vocal part between:
(i) bar 14, beat 3 and bar 15, beat 1
(2)
.................................................................................
(ii) bar 15, beat 2 and bar 15, beat 4, second quaver
...............................................................................
..
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(f ) State two ways in which the passage beginning at bar 19 differs from bars 1 to 4.
(2)
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
(g) Explain how melody and harmony are used to evoke the atmosphere of the text.
(4)
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
(Total for Question 1 = 14 marks)
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2 Debussy: Estampes, No 2
Listen to Track 2 of the CD and refer to Excerpt 2 in the resource booklet.
(a) Name two features of the rhythm in bars 15 and 16.
(2)
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
(b) Compare bars 29 and 32 with bars 17 and 20. Give one similarity and one
difference.
(2)
Similarity
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
Difference
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
(c) Identify the bars in which the following harmonic devices are heard.
Harmonic feature
(4)
Bar number(s)
Dominant pedal
False relation
Tonic pedal
Parallel chords in right hand
(d) Explain three ways that this piece is characteristic of impressionism in music.
(6)
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
(Total for Question 2 = 14 marks)
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3 Beatles: Eleanor Rigby
Listen to Track 3 of the CD and refer to Excerpt 3 in the resource booklet.
(a) Explain two features of the instrumental writing in bars 1 to 8.
(4)
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
(b) Describe two ways that the vocal line expresses a sad mood in bars 10 and 11.
(4)
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
(c) Identify intervals at the following points:.
(i) bar 20, beat 4
(2)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..............................................................................
(ii) bar 24, beat 4. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .............................................................................
(d) Describe the phrase structure of this excerpt.
(4)
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(Total for Question 3 = 14 marks)
*S49618A0514*
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
5
23
Turn over
4 Listen to Track 4 of the CD.
Complete the melody in bars 2 to 4.
(Total for Question 4 = 8 marks)
TOTAL FOR SECTION A = 50 MARKS
6
24
*S49618A0614*
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
SECTION B
Write your answers in the spaces provided.
5 Fusions
Listen to Track 5 of the CD.
The composer intended this music to be used as part of a ballet whose story is set in
the Far East.
Discuss how the composer met this intention, giving musical reasons for your answer.
Relate your discussion to other relevant works. These may include set works, wider
listening or other music.
(20)
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*S49618A0714*
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
7
25
Turn over
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8
26
*S49618A0814*
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
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(Total for Question 5 = 20 marks)
*S49618A0914*
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
9
27
Turn over
You must answer either (a) INSTRUMENTAL MUSIC or
(b) FUSIONS or (c) NEW DIRECTIONS
EITHER
6 (a) INSTRUMENTAL MUSIC
Evaluate Berlioz’s use of melody, harmony and instrumentation in his Symphonie
Fantastique, Movement I, in relation to the work’s programme.
Relate your discussion to other relevant works. These may include set works,
wider listening or other music.
(30)
OR
(b) FUSIONS
Evaluate the use of melody, instrumentation and structure in Se Quema la
Chumbambà showing how these elements create a piece of fusion music.
Relate your discussion to other relevant works. These may include set works,
wider listening or other music.
(30)
OR
(c) NEW DIRECTIONS
Evaluate Stravinsky’s use of rhythm, metre and sonority in the Introduction from
The Rite of Spring, in relation to other orchestral works from the first half of the
20th Century.
Relate your discussion to other relevant works. These may include set works,
wider listening or other music.
10
28
*S49618A01014*
(30)
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
Indicate which question you are answering by marking a cross in the box . If you change your
mind, put a line through the box and then indicate your new question with a cross .
Chosen question number: Question 6(a)
Question 6(b)
Question 6(c)
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*S49618A01114*
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
11
29
Turn over
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12
30
*S49618A01214*
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
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*S49618A01314*
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
13
31
Turn over
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
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. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . .................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . .
(Total for Question 6 = 30 marks)
TOTAL FOR SECTION B = 50 MARKS
TOTAL FOR PAPER = 100 MARKS
14
32
*S49618A01414*
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
Pearson Edexcel Level 3 GCE
Music
Advanced
Component 3: Appraising
Sample assessment material for first teaching
September 2016
Resource Booklet
Paper Reference
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CD Track Listing
2
34
Track Number
Question Number
Excerpt
1
1
Vaughan Williams: ‘On Wenlock Edge, No. 3
(Quartet and Piano)
2
2
Debussy: Estampes, No 2
3
3
Beatles: Eleanor Rigby
4
4
5
5
Fusions: Unfamiliar listening
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Excerpts to be used to answer Q1–3 and Q6
1 Vaughan Williams: On Wenlock Edge, No. 3
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2 Debussy: Estampes, No 2
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4
36
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3 Beatles: Eleanor Rigby
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5
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6 (a) Instrumental Music
Illustrative excerpt from Berlioz Symphonie Fantastique, Movement I
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Illustrative excerpt from Berlioz Symphonie Fantastique, Movement I
6
38
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Illustrative excerpt from Berlioz Symphonie Fantastique, Movement I
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39
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Illustrative excerpt from Berlioz Symphonie Fantastique, Movement I
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Illustrative excerpt from Berlioz Symphonie Fantastique, Movement I
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Illustrative excerpt from Berlioz Symphonie Fantastique, Movement I
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Illustrative excerpt from Berlioz Symphonie Fantastique, Movement I
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(b) Fusions
Illustrative excerpt from Familia Valera Miranda, Se Quema La Chumbambà
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Se Quema La Chumbambà
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Illustrative excerpt from Familia Valera Miranda,
Se Quema La Chumbambà
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Illustrative excerpt from Familia Valera Miranda,
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Illustrative excerpt from Familia Valera Miranda,
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Illustrative excerpt from Familia Valera Miranda,
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50
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(c) New Directions
Illustrative excerpt from Stravinsky, Introduction from The Rite of Spring.
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Stravinsky, Introduction from The Rite of Spring
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Stravinsky, Introduction from The Rite of Spring
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Stravinsky, Introduction from The Rite of Spring
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Stravinsky, Introduction from The Rite of Spring
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56
Pearson Edexcel Level 3 Advanced GCE in Music
S49619A
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
General marking guidance
•
•
•
•
•
•
•
•
•
All candidates must receive the same treatment. Examiners must mark the last
candidate in exactly the same way as they mark the first.
Mark schemes should be applied positively. Candidates must be rewarded for what
they have shown they can do rather than penalised for omissions.
Examiners should mark according to the mark scheme not according to their
perception of where the grade boundaries may lie.
All the marks on the mark scheme are designed to be awarded. Examiners should
always award full marks if deserved. Examiners should also be prepared to award
zero marks if the candidate’s response is not worthy of credit according to the mark
scheme.
Where some judgement is required, mark schemes will provide the principles by
which marks will be awarded and exemplification/indicative content will not be
exhaustive.
When examiners are in doubt regarding the application of the mark scheme to a
candidate’s response, a senior examiner must be consulted before a mark is given.
Crossed-out work should be marked unless the candidate has replaced it with an
alternative response.
Brackets around parts of words/phrases in this mark scheme indicate the possible
additional words/phrases candidates may write as their answer. They must not be
awarded twice for an answer relating to one bullet point
Where a word is underlined, that word must be included in the answer to be awarded
a mark for that point
How to award marks for the levels based mark scheme
(Questions 5 and 6)
For all questions marked using a Levels Based Mark Scheme, examiners should pay
particular attention to the initial rubric which precedes the indicative content section. This
rubric details the Assessment Objective and where applicable strand emphasis that should
be applied when making judgements within each band.
Finding the right level
The first stage is to decide which level the answer should be placed in. To do this, use a
‘best-fit’ approach, deciding which level most closely describes the quality of the answer.
Answers can display characteristics from more than one level, and where this happens
examiners must use their professional judgement to decide which level is most appropriate.
Placing a mark within a level
After a level has been decided on, the next stage is to decide on the mark within the level.
The instructions below tell you how to reward responses within a level. However, where a
level has specific guidance about how to place an answer within a level, always follow that
guidance.
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
57
Examiners should be prepared to use the full range of marks available in a level and not
restrict marks to the middle. Examiners should start at the middle of the level (or the
upper-middle mark if there is an even number of marks) and then move the mark up or
down to find the best mark. To do this, they should take into account how far the answer
meets the requirements of the level:
•
•
•
If it meets the requirements fully, markers should be prepared to award full marks
within the level. The top mark in the level is used for answers that are as good as
can realistically be expected within that level
If it only barely meets the requirements of the level, markers should consider
awarding marks at the bottom of the level. The bottom mark in the level is used for
answers that are the weakest that can be expected within that level
The middle marks of the level are used for answers that have a reasonable match to
the descriptor. This might represent a balance between some characteristics of the
level that are fully met and others that are only barely met.
58
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
Pearson Edexcel Level 3 Advanced GCE in Music
Component 3: Appraising – Mark scheme
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
59
General marking guidance
•
•
•
•
•
•
•
•
All candidates must receive the same treatment. Examiners must mark the last
candidate in exactly the same way as they mark the first.
Mark schemes should be applied positively. Candidates must be rewarded for what
they have shown they can do rather than penalised for omissions.
Examiners should mark according to the mark scheme not according to their
perception of where the grade boundaries may lie.
All the marks on the mark scheme are designed to be awarded. Examiners should
always award full marks if deserved. Examiners should also be prepared to award
zero marks if the candidate’s response is not worthy of credit according to the mark
scheme.
Brackets around parts of words/phrases in this mark scheme indicate the possible
additional words/phrases candidates may write as their answer. They must not be
awarded twice for an answer relating to one bullet point
Where a word is underlined, that word must be included in the answer to be awarded
a mark for that point
When examiners are in doubt regarding the application of the mark scheme to a
candidate’s response, the team leader must be consulted.
Crossed-out work should be marked unless the candidate has replaced it with an
alternative response.
How to award marks for the levels based mark scheme
(Questions 5 and 6)
For all questions marked using a Levels Based Mark Scheme, examiners should pay
particular attention to the initial rubric which precedes the indicative content section. This
rubric details the Assessment Objective and where applicable strand emphasis that should
be applied when making judgements within each band.
Finding the right level
The first stage is to decide which level the answer should be placed in. To do this, use a
‘best-fit’ approach, deciding which level most closely describes the quality of the answer.
Answers can display characteristics from more than one level, and where this happens
examiners must use their professional judgement to decide which level is most appropriate.
Placing a mark within a level
After a level has been decided on, the next stage is to decide on the mark within the level.
The instructions below tell you how to reward responses within a level. However, where a
level has specific guidance about how to place an answer within a level, always follow that
guidance.
60
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
Examiners should be prepared to use the full range of marks available in a level and not
restrict marks to the middle. Examiners should start at the middle of the level (or the
upper-middle mark if there is an even number of marks) and then move the mark up or
down to find the best mark. To do this, they should take into account how far the answer
meets the requirements of the level:
•
•
•
If it meets the requirements fully, markers should be prepared to award full marks
within the level. The top mark in the level is used for answers that are as good as
can realistically be expected within that level
If it only barely meets the requirements of the level, markers should consider
awarding marks at the bottom of the level. The bottom mark in the level is used for
answers that are the weakest that can be expected within that level
The middle marks of the level are used for answers that have a reasonable match to
the descriptor. This might represent a balance between some characteristics of the
level that are fully met and others that are only barely met.
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
61
SECTION A
Question
Number
Answer
Mark
1(a)
B
(1)
Question
Number
Answer
Mark
1(b)
Dorian mode (1)
(1)
Question
Number
Answer
Mark
1(c)
Cello/violoncello (1)
(1)
Question
Number
Answer
Mark
1(d)
A mark is awarded for each explanation of the use of a
musical element, to a maximum of three marks. If no
explanation is provided, no marks can be awarded for
identification of musical elements.
(Melody-dominated) homophony to keep the melodic line and /or
text clear (1)
Countermelody in cello to add musical variety (1)
(Quaver) triplets (in piano) and/or qunituplets (in cello) and/or
augmentation/crotchet triplets (at end) (in cello and piano) to
provide rhythmic interest (1)
Sustained notes in cello to provide a solid harmonic foundation (1)
Shift in time signature / one short bar to give metrical variety (1)
62
(3)
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
Question
Number
Answer
Mark
1(e)(i)
Major 7th (1)
(1)
Question
Number
Answer
Mark
1(e)(ii)
Augmented 4th (accept diminished 5th/tritone) (1)
(1)
Question
Number
Answer
Mark
1(f)
Any two of the following:
Additional note in cello (1) at first (1)
Pedal-point (1) creating (some) dissonance (1)
Dynamics different (1) / begins (slightly) louder (or with
accent) (1)
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
(2)
63
Question
Number
Answer
Mark
1(g)
A mark is awarded for a point and a further mark for a
development for each of melody and harmony, to a maximum
of four marks. If no development is provided, no more than
one mark can be awarded for either melody or harmony.
Melody
Narrow melodic range/meandering melody at the beginning
of the first vocal section (1) creates a sense of
distance/detachment / melancholy/ghostly atmosphere (1)
Increased range at ‘when I was man alive’ (1) contrast
implies that the first character is no longer alive (1)
Second vocal section begins at a higher pitch (1) more forceful
representing a living character (1)
Harmony
One minor chord sustained throughout the first vocal section (1)
suggests the stillness of death (1)
Increased rate of chord change /increased dissonance (1)
depicting increasing sense of movement/life (1)
Parallel harmony (at beginning and end) (1) suggests a pastoral
setting (1)
Accept other reasonable responses.
64
(4)
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
Question
Number
Answer
Reject
2(a)
Any two of the following:
Reference to tempo
(e.g. slowing down)
Dotted rhythm (1)
Mark
Triplets (1)
Cross-rhythm (1)
(2)
Question
Number
Answer
Mark
2(b)
One mark awarded for a similarity and one mark awarded for a
difference.
Similarity:
•
(almost) same rhythm (1)
•
same melodic shape (1)
Difference:
•
(4th) higher (1)
•
bars 29–32 (begin) on tonic (1)
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
(2)
65
Question
Number
Answer
Mark
2(c)
One mark available for correct bar number(s) per harmonic
feature. If incomplete bar numbers are given, award a mark
where the correct starting bar has been given.
Harmonic feature
Bar number(s)
Dominant pedal
b. 1 to 14 / 17 to 28
False relation
b.33
Tonic pedal
b.29 (to b.36)
Parallel chords in right
hand
b.17 to 20 / 29 to 32 /
33 to 36
(4)
66
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
Question
Number
Answer
2(d)
One mark is awarded for each point with a further mark for an
explanation of the point, to a maximum of six marks.
Mark
Answers might include:
Non-functional harmony (1) used for colour and not function (1)
Harmony often static (1) because it is not progressive or
functional (1)
Lack of traditional cadences (1) because harmony is nonfunctional and other forms of cadence are used (1)
Parallel chord movement (1) which is a distinctive feature of
impressionism’s interest in music of the past and from other
cultures (1)
Emphasis on novel timbre/sonority(1) which is a distinctive
feature of impressionism in music, equating timbre with rhythm,
melody and harmony as musical elements (1)
Influences from outside the Western classical tradition (1)
reflecting the cosmopolitan culture in which impressionism
developed (1)
(Suggestions of) whole-tone scale (bars 23-28) (1) to provide
tonal ambiguity (1)
Accept other reasonable responses
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
(6)
67
Question
Number
Answer
Mark
3(a)
One mark is awarded for each point with a further mark for an
explanation of the point, to a maximum of four marks.
Answers might include:
Detached chords (on the main beats) (1) contrasting with the
sustained bass line (1) and/or the staccato quavers (1)
Question and answer (1) between instruments (1)
Cello countermelody (1) to provide textural variety (1)
For (double) string quartet/octet (1) which is unusual in this genre
(1)
Accept other reasonable responses
Question
Number
Answer
3(b)
One mark is awarded for each point with a further mark for an
explanation of the point, to a maximum of four marks.
(4)
Mark
Answers might include:
Syncopation (1) avoiding the main beats (1)
Descending sequence (1) leading the melodic shape down (1)
Non-diatonic/modal C sharps (1) to create ambiguity in the
melodic line (1)
Accept other reasonable responses
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Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
Question
Number
Answer
Mark
3(c)(i)
Octave (1)
(1)
Question
Number
Answer
Mark
3(c)(ii)
Minor 10th/compound minor 3rd (1) / an octave and a minor
3rd (1)
Question
Number
Answer
3(d)
Students use their appraising skills to determine the structure
of the excerpt. Marks are awarded for description including
four of the following:
(1)
Mark
Repeated (4 bar introduction) (1)
Verse structure is 5 bar phrase:
•
3 bar vocal phrase (1)
•
plus 1 bar instrumental fill (1)
•
plus concluding vocal phrase, repeated (1)
Chorus structure is 4 bar phrase / 4 bar phrase is repeated
(1)
Modified AABB (1)
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
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69
Question
Number
Answer
4
There are 12 pitches and 12 durations to complete.
0
1
2
3
4
5
6
7
8
Mark
No work offered capable of assessment
1–3 pitches and/or note-lengths correct
4–6 pitches and/or note-lengths correct
7–9 pitches and/or note-lengths correct
10–12 pitches and/or note-lengths correct
13–15 pitches and note-lengths correct
16–18 pitches and note-lengths correct
19–21 pitches and note-lengths correct
22–24 pitches and note-lengths correct
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Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
SECTION B
Question
Number
Indicative content
5
AO4 (20 marks)
Mark
Ravel: Mother Goose (III Laideronnette, Impératrice des Pagodes)
Rhythm and metre
Duple (accept quadruple)
Disrupted by seemingly triple-time patterns
Syncopation
Melody
Pentatonic, hinting at exotic Chinese content
Varying phrase lengths
Glissando
Harmony
Initially static, based on pentatonic structures
Avoids common chords at start
Dissonance based on 2nds
Some whole-tone structures later
Chromatic elements enter later
Some parallelism
Texture
Melody and accompaniment
Ostinati prominent in first section, creating deliberately simple
effect
Gamelan type of sound underlines oriental sound
Reference could be made to other works that are a fusion of
Western and Oriental styles, e.g. Debussy’s Pagodes, Britten‘s The
Prince of the Pagodas, Puccini’s Turandot.
NB: Other valid points should be rewarded.
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
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71
Level
Level 1
Level 2
Level 3
Level 4
72
Mark
Descriptor
0
No rewardable material
1–4
•
Identification of elements in the unfamiliar piece, although there
are likely to be significant omissions in these.
•
Little attempt to link to other relevant works
•
Some basic musical vocabulary used with errors/inconsistency
•
Little justification/exemplification of the composer’s intentions
•
Identification of elements in the unfamiliar piece.
•
Attempts are made to refer to other works, with some
errors/inconsistency
•
Musical vocabulary used, but with some errors/inconsistency
•
Basic musical points used as justification/exemplifications of the
composer’s intentions
•
Description of elements in the unfamiliar piece.
•
Relevant works are used to basic points
•
Satisfactory use of musical vocabulary
•
Inconsistent musical justification/exemplification of the
composer’s intentions
•
Explanation of elements in the unfamiliar piece.
•
Relevant works are used to justify points
•
Competent use of musical vocabulary
•
Musical justification/exemplification provided to support
composer’s intentions with a few insignificant lapses
5–8
9–12
13–16
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
Level
Mark
Descriptor
Level 5
17–20
•
Thorough explanation of a range of elements in the unfamiliar
piece.
•
Relevant works are used to justify salient points
•
Excellent use of musical vocabulary
•
Full musical justification/exemplification provided to support
composer’s intentions
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
73
Question
Number
Indicative content
6(a)
AO3 (10 marks) / AO4 (20 marks)
Mark
Candidates must demonstrate a greater emphasis on
analysis/evaluation/making judgements (AO4).
Detailed programme applied to music that was intended to move
from dreamy melancholy to aimless joy, delirious passion and
religious solace (AO4).
The shifting moods and character (which could be individually
indicated and credited) are created by (AO3):
•
•
•
•
•
•
•
Flexible tempi and rhythm patterns
Polyrhythms and contrasting orchestral timbres
Irregular phrase lengths
Wide span
Some chromaticism
Heterophonic orchestral textures
Frequent pauses in opening section
Focus on melody and idée fixe (little harmonic
support on announcement) to focus on the character
of the individual in the programme (AO4)
Violin and flute combined to provide an individual
timbre for the individual character in the programme
(AO4)
Rising sequence (AO3)
Reference could usefully be made to other programme
symphonies, for example: (AO4)
•
Berlioz Harold in Italy
•
Mendelssohn Scotch Symphony
•
Liszt Faust Symphony
•
Tchaikovsky Manfred Symphony
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Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
Level
Level 1
Level 2
Level 3
Level 4
Mark
Descriptor
0
No rewardable material.
1–6
•
Shows limited awareness of contextual factors (AO3)
•
Makes little reference to texts with limited organisation of ideas.
Some basic musical vocabulary used with errors/inconsistency
(AO4)
•
Little attempt to link to other relevant works (AO4)
•
Makes general links between the music and the historical, social
and cultural context in which it was created and developed
(AO3)
•
Makes general points, identifying some musical elements with
general explanation of effects. Musical vocabulary is used but
with some errors/inconsistency (AO4)
•
Attempts are made to refer to other works, with some
errors/inconsistency (AO4)
•
Develops relevant links between the music and the historical,
social and cultural context in which it was created and
developed (AO3)
•
Offers a clear response using relevant musical examples.
Satisfactory use of musical vocabulary (AO4)
•
Relevant works are used to basic points (AO4)
•
Makes detailed links between the music and the historical, social
and cultural context in which it was created and developed
(AO3)
•
Constructs a controlled argument with fluently embedded
musical examples. Competent use of musical vocabulary (AO4)
•
Relevant works are used to justify points (AO4)
7–12
13–18
19–24
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
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76
Level
Mark
Descriptor
Level 5
25–30
•
Sophisticated links between the music and the historical, social
and cultural context in which it was created and developed
(AO3)
•
Presents a critical evaluative argument with sustained musical
examples. Excellent use of musical vocabulary (AO4)
•
Relevant works are used to justify salient points (AO4)
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
Question
Number
Indicative content
6(b)
AO3 (10 marks) / AO4 (20 marks)
Mark
Candidates must demonstrate a greater emphasis on
analysis/evaluation/making judgements (AO4)
The song, from Cuba, combines the following traditions:
•
•
•
European (specifically Spanish – the Spanish colonised
Cuba)
Latin American (e.g. use of cuatro)
African (transmitted via the slaves whom the colonists
imported) (AO3)
Melody
Vocal melodies are dependent on the minor key and simple
functional harmonic structure, both of which are essentially
European (simple alternation of Gm and D7 chords in G minor),
with some dissonant ninths (the E flats against D7 chords). (AO4)
Vocal melodies also (AO3):
•
•
•
•
contain many thirds, some of them outlining chord patterns
(e.g. bar 4 = broken G minor chord)
contain other small leaps and some stepwise movement
are partly improvised
have limited pitch range
Cuatro solo has:
•
•
more varied melodic line with bolder leaps, occasional chords,
and freer phrase structure than the vocal melodies (AO4)
rhythmic freedom suggestive of jazz, itself a fusion of Western
and African elements (AO4)
Instrumentation
Discussion/comparison of the different origins of the various
instruments (AO4)
Double bass is of European origin, while cuatro is Latin American,
and bongos Afro-Cuban. Claves and maracas are characteristic
chiefly of Caribbean and Latin American cultures (AO4)
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
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Question
Number
Indicative content
Mark
Structure
Essentially African-based call-and-response, but with Westernbased introduction (AO4)
(AO3 credits for locating sections)
•
•
•
•
•
•
•
•
Introduction with three four-bar phrases (Western periodic
phrasing) which are different treatments of the same
melody
Bars 13‒20: first Pregón (proclamation, verse or ‘call’)
passage, with two similar melodic phrases (both have
same words)
Bars 21‒24 (repeated): Coro (chorus or ‘response’)
passage, which is repeated after each Pregón passage
After this, Pregón and Coro alternate…
…with Pregón sometimes repeating the Coro melody and
lyrics rather than supplying a new verse
The final Coro has an extra repetition to bring the song to
an end
There is a cuatro solo part way through, with 30 four-bar
cycles
Cycles 22‒28 include bongo improvisations
Reference could usefully be made to any other works that use
similar ‘call and response’ structures (any such cross references
would be AO4)
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Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
Level
Level 1
Level 2
Level 3
Level 4
Mark
Descriptor
0
No rewardable material.
1–6
•
Shows limited awareness of contextual factors (AO3)
•
Makes little reference to texts with limited organisation of ideas.
Some basic musical vocabulary used with errors/inconsistency
(AO4)
•
Little attempt to link to other relevant works (AO4)
•
Makes general links between the music and the historical, social
and cultural context in which it was created and developed
(AO3)
•
Makes general points, identifying some musical elements with
general explanation of effects. Musical vocabulary is used but
with some errors/inconsistency (AO4)
•
Attempts are made to refer to other works, with some
errors/inconsistency (AO4)
•
Develops relevant links between the music and the historical,
social and cultural context in which it was created and
developed (AO3)
•
Offers a clear response using relevant musical examples.
Satisfactory use of musical vocabulary (AO4)
•
Relevant works are used to basic points (AO4)
•
Makes detailed links between the music and the historical, social
and cultural context in which it was created and developed
(AO3)
•
Constructs a controlled argument with fluently embedded
musical examples. Competent use of musical vocabulary (AO4)
•
Relevant works are used to justify points (AO4)
7–12
13–18
19–24
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
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80
Level
Mark
Descriptor
Level 5
25–30
•
Sophisticated links between the music and the historical, social
and cultural context in which it was created and developed
(AO3)
•
Presents a critical evaluative argument with sustained musical
examples. Excellent use of musical vocabulary (AO4)
•
Relevant works are used to justify salient points (AO4)
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
Question
Number
Indicative content
6(c)
AO3 (10 marks) / AO4 (20 marks)
Mark
Candidates must demonstrate a greater emphasis on
analysis/evaluation/making judgements (AO4)
Describing Stravinsky’s writing, for example: (AO3)
Rhythm and metre
•
•
•
•
•
•
Rhythmic complexity, wide variety of note values
(including unusual tied values)
Triplets, quintuplets and other ‘tuplets’ usually in proximity
or opposition to other values
However, occasional use of equal notes (especially the
semiquavers in violin I at the end)
Syncopations
Frequent changes of time signature/metre
Much is in simple duple (2/4) but with some simple triple
(3/4), although complex rhythms sometimes obscure the
metre
Sonority
•
•
•
•
•
•
•
Woodwind instruments much favoured
…with some complex multi-part textures
Some woodwind instruments used were not regular
members of the early 20th century orchestra
Unusually high bassoon solo at the beginning
The full orchestra (which is very large) is never used in the
Introduction
String sections are used separately, not all together, with
harmonics and divisi
Other special effects, such as flutter-tonguing
Explaining the intention and effect of the above, for example:
(AO4)
•
•
•
•
•
the music was designed to accompany a ballet about
scenes from Pagan Russia…
…which justified and/or prompted the creation of novel,
strange, and exotic effects…
in place of the regular metre, simple rhythms and less
extravagant orchestral forces characteristic of most
previous ballet scores
Stravinsky was building on his own recent achievements in
the field of ballet music, notably Petroushka
the outcome (if not the intention) was to shock the
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
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81
audience rather than provide conventional entertainment
Making overall comparisons and conclusions, with justifications,
about Stravinsky’s handling of sonority, where necessary in
relation to other orchestral scores of the time. These might
include Stravinsky’s own Firebird and Petroushka, scores by
recent Russian composers, richly-scored music by Richard Strauss
and Mahler, the symphonies of Mahler, and contemporary works
with less colourful orchestration such as symphonies by Sibelius.
(AO4)
Stravinsky’s handling of rhythm was highly original. A distinction
could be made between the Introduction to The Rite of Spring and
any other music from the same period. (AO4)
To a large extent, The Rite of Spring was for Stravinsky a
culmination rather than a stage in an ongoing process of
orchestral and rhythmic development. Nevertheless, some
references to later phases in Stravinsky’s career would be
relevant (e.g. some sonorities in The Symphony of Psalms recall
The Rite of Spring, even though this is ‘neo-classical’ sacred music
rather than ballet music). (AO4)
Level
Level 1
82
Mark
Descriptor
0
No rewardable material.
1–6
•
Shows limited awareness of contextual factors (AO3)
•
Makes little reference to texts with limited organisation of ideas.
Some basic musical vocabulary used with errors/inconsistency
(AO4)
•
Little attempt to link to other relevant works (AO4)
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
Level
Mark
Descriptor
Level 2
7–12
•
Makes general links between the music and the historical, social
and cultural context in which it was created and developed
(AO3)
•
Makes general points, identifying some musical elements with
general explanation of effects. Musical vocabulary is used but
with some errors/inconsistency (AO4)
•
Attempts are made to refer to other works, with some
errors/inconsistency (AO4)
•
Develops relevant links between the music and the historical,
social and cultural context in which it was created and
developed (AO3)
•
Offers a clear response using relevant musical examples.
Satisfactory use of musical vocabulary (AO4)
•
Relevant works are used to basic points (AO4)
•
Makes detailed links between the music and the historical, social
and cultural context in which it was created and developed
(AO3)
•
Constructs a controlled argument with fluently embedded
musical examples. Competent use of musical vocabulary (AO4)
•
Relevant works are used to justify points (AO4)
•
Sophisticated links between the music and the historical, social
and cultural context in which it was created and developed
(AO3)
•
Presents a critical evaluative argument with sustained musical
examples. Excellent use of musical vocabulary (AO4)
•
Relevant works are used to justify salient points (AO4)
Level 3
Level 4
Level 5
13–18
19–24
25–30
Pearson Edexcel Level 3 Advanced GCE in Music
Sample Assessment Materials – Issue 3 – August © Pearson Education Limited 2016
83
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