S
OUTSTANDING SCHOLARSHIP
EXEMPLAR
New Zealand Scholarship
Music
Time allowed: Three hours
Total marks: 24
ANSWER BOOKLET
Write the answers to your two selected questions in this booklet. Begin
separate answers on pages 2 and 10.
Refer clearly in your written answer to any score annotations you make
in the Resource Booklet.
Section Question
Mark
A
Not
exemplified
B
Portfolio
TOTAL
/ 24
Assessor’s use only
If you need more room for any answer, use the extra space provided at the
back of this booklet.
Check that this booklet has pages 2 –18 in the correct order and that none of
these pages is blank.
YOU MUST HAND THIS BOOKLET TO THE SUPERVISOR AT THE END OF THE EXAMINATION.
NOTE: This exemplar is adapted from the 2011 Scholarship examinations.
© New Zealand Qualifications Authority, 2012. All rights reserved.
No part of this publication may be reproduced by any means without the prior permission of the New Zealand Qualifications Authority.
2
Section A: Individual score extracts
Question number:
2
Score extract:
11
Discuss the compositional techniques that the composer has used to enhance the meaning of the
words, and evaluate the effectiveness of the setting.
In this duet, “La ci darem la mano” (translated as “Here with our hands entwining”) from Act I of
Mozart’s widely acclaimed opera, Don Giovanni, Don Giovanni attempts to, and succeeds in, his
efforts of seducing Zerlina, who is initially hesitant but is eventually won over. Through his use of
texture, tempo, and modulation, characterised motifs, repetition, ornaments, and phrase lengths,
Mozart effectively portrays the playful and flirtatious setting of the game of courtship, as well as
the personalities and feelings of the characters of Don Giovanni and Zerlina. These compositional
techniques and how they enhance the meaning of the words, will be discussed in chronological
order of the sections of the duet.
A clear and articulate introduction that maps out
the main discussion points that are to follow.
From the beginning of the duet Mozart portrays Don Giovanni as a convincing and bold womaniser
through his simple melodies and persuasive text, against Zerlina’s hesitancies as Don Giovanni’s
melodic motifs are developed in her line. Mozart endows Don Giovanni with a simple yet bold
melody through the straight and definite rhythms and the balanced phrase structure. In bars
5–6 the text “lingering here” is emphasised by word painting, as the melody in these bars is a
direct repeat of the melody in bar 1, which shows the melody and therefore the characters to be
“lingering”. Don Giovanni’s next line, an offer, “Why not walk with me” is emphasised by beginning
the line in bar 6, rather than bar 7, which interrupts the “lingering” and presents a more attractive
option, as well as the appoggiatura on “-tiam”, which adds to the cajoling tone, as it introduces
the effect of a plea. Mozart’s use of a typically classical 4+4=8 bars balanced phrase structure
enhances the certainty of Don Giovanni’s text and of his motives. However, Zerlina is portrayed
as hesitant as Mozart develops the motifs which were introduced in Don Giovanni’s lines to create
Pertinent examples used to back up analysis.
New Zealand Scholarship Music Sample
ASSESSOR’S
USE ONLY
3
a different, and less confident, atmosphere. Unlike Don Giovanni who begins on the first beat
of bar 1, Zerlina begins with a semiquaver anacrusis, which is less definite than beginning on
the beat, emphasising her uncertainty. The melodic motif in bar 1 is developed in Zerlina’s line
in bar 9, as Mozart emphasises dotted rhythms, using the motifs to define the characteristics of
the characters. In bar 15 Zerlina’s melody imitates that of Don Giovanni, although in her case
the appoggiatura is left out. However, unlike the definitive V7–I perfect cadence between bars
7–8 which seal Don Giovanni’s certainty, the harmony employed in Zerlina’s line in bars 15-16
is slightly less definite, featuring a V7–Ib cadence and the melodic elaboration, a broken chord
on “cor” (heart) emphasises Zerlina’s questioning and her indecisive and inconclusive mindset.
This example illustrates the effectiveness of the text, as it leads into an extension of the phrase,
from bar 8 to bar 10 as Zerlina repeats the text, “should I obey my heart” to show her incongruous
feelings. The conviction of the V-I cadence at bars 17–18 suggest that Zerlina is starting to become
more convinced, yet the staccato chords in the orchestral accompaniment still convey an air of
uncertainty. Through the use of phrasing, harmony, and motivic development in the initial phrases
of the characters, Mozart establishes the initial mindsets of the characters as these techniques
enhance their text and the atmosphere it suggests.
Thinking that goes beyond the obvious is shown throughout here.
The final sentence summarises the overall analysis and brings it back to the question.
New Zealand Scholarship
 ,  ,  Music Sample
ASSESSOR’S
USE ONLY
Analysis shows insight and
originality throughout.
4
In the next phrase, the “discussion” between Don Giovanni and Zerlina becomes chromatic at
first, before Zerlina’s anxiety dominates as Mozart again implements phrase extension through
repetition. Don Giovanni returns in bar 19 with a melody that begins on the beat and is rhythmically
a development from his initial motif in bar 1, but this time Mozart utilises a leaping arpeggio-based
melody, in the dominant key of E major. This heightened key and enhanced melody reinforce Don
Giovanni’s ardent excitement as he urges Zerlina to “come to your noble lover!” This excitement
is further conveyed by the marcato articulation in the orchestra at the end of bars 20 and 24.
However, this excitement, with an mf dynamic, is undercut immediately by Zerlina, as the orchestra
now plays at a p dynamic, reflecting her anguish and sadness, “must poor Masetto suffer?”
This anxiety is further enhanced by the chromatic and elaborate melody, as well as the use of
successive semiquavers, and the demi-semiquavers in the orchestral accompaniment in bar 22,
which all contribute to the creation of an atmosphere of urgency and anxiety. Don Giovanni ignores
Zerlina’s worries and immediately returns with his argument and a repeat of the melody in bar 19,
“peasant you’ll be no longer”, which reinforces his certainty. Mozart again utilises phrase extension
and repetition to portray Zerlina’s worries, as well as employing staccato chords in the orchestra in
order to enhance Zerlina’s recitative-style melody as she frets that she wishes, “I were stronger”.
In bar 21 the repeated and chromatic semiquavers heighten her anxious mindset, and as bar 27 is
an exact repeat of bar 26, it seems to portray a disruption to her thinking, as she is metaphorically
going around in circles, an issue which is literally depicted in the music. This repetition extends
the overall phrase to an unbalanced 10 bars, and is extended even more to 11 bars with Don
Giovanni’s attempt to reassure Zerlina with the line “Dearest gently”, bringing the music back to a
calm and romantic mood and back to A major. Through the use of rhythmic, melodic, modulating,
and phrasing techniques Mozart effectively enhances Zerlina’s anxieties and Don Giovanni’s
cleverly manipulative ways of dealing with them.
Analysis shows perception.
Again, the final sentence draws the
analysis and argument back to the
question.
The dialogue which was introduced in bars 19–22 returns in bar 30, as the motifs which were
New Zealand Scholarship Music Sample
ASSESSOR’S
USE ONLY
5
introduced in bar 1 and developed in bar 10 are now intertwined. Don Giovanni and Zerlina now
share their phrases, but Don Giovanni plays the dominant role and begins each phrase. On
“deceive” the B is effective as the high note and interval of a descending perfect 5th emphasises
Zerlina’s concern about being deceived. Mozart’s use of key is also significant. Don Giovanni’s
melodies remain rooted in A major, while the higher and more excited E major is reintroduced for
Zerlina’s line. In bar 36 the appoggiatura on “tremble” enhances the meaning of the word. The
atmosphere becomes increasingly climatic as Mozart employs a long note on “should” as well
as a large interval of a 7th, illustrating Zerlina’s difficulty in deciding if she should succumb to Don
Giovanni by obeying her heart, an anxiety which is reflected in the virtuosic demi-semiquaver run
on “o-bey” in bar 39. Zerlina repeats the lines “Must poor Masetto suffer” and “dearly I hope I can
be stronger”, but this time the tonality remains in A major, showing Don Giovanni’s influence over
her. The contrapuntal effect of the vocal lines being interwoven heightens the dramatic effect of
the duet, leading to a climax and also summarising the mindsets of the characters up to this point.
Finally, a climax is reached in bar 49, after Don Giovanni’s passionate and insistent exclamations,
“My love! Be mine!”. This climax is achieved through the excitement of the combined lines and
through the suspenseful V7 harmony on which Zerlina’s “I will” rests.
Some perceptive and insightful analysis throughout this
paragraph, relating to harmony and vocal writing.
This shows evaluation of the composition.
New Zealand Scholarship
 ,  ,  Music Sample
ASSESSOR’S
USE ONLY
6
Finally, through a change in tempo from andante to allegro, in time signature from 2/4 to 6/8 and
ASSESSOR’S
USE ONLY
in texture from individuals singing to a unified melody in 3rds, Mozart effectively establishes Don
Giovanni’s success in seducing Zerlina. Now their unified and legato line, along with an exuberant
tempo and atmosphere, enhances the wholly positive language of their text. With no more
disturbing anxiety-creating semiquavers in the voice and the use of a simple crotchet / quaver
rhythm instead, a steady atmosphere is achieved through to the end of the duet.
Overall, Mozart’s use of texture, melody, rhythms, phrasing, and harmony of the vocal parts, as
well as the orchestra, serves to effectively enhance the intention of the texts of the characters,
producing an entertaining performance for an audience.
Analysis directly linked to evaluation.
General Points:
•
The question is fully addressed and focused on.
•
Confident and accurate use of terminology.
•
Analysis is always backed up directly by examples from the score.
•
A well organised and structured response.
New Zealand Scholarship Music Sample
7
7
SECTION B: Comparison of Unprepared Score Extracts
Question number:
Score extracts:
&
This section has not been exemplified.
New Zealand Scholarship Music Sample
ASSESSOR’S
USE ONLY