90269

902690
2
For Supervisor’s use only

Level 2 Music, 2008

90269 Demonstrate an understanding of the materials
and processes of music in a range of scores

Credits: Two
2.00 pm Thursday 27 November 2008

Check that the National Student Number (NSN) on your admission slip is the same as the number at the
top of this page.

Pull out Resource Booklet 90269R from the centre of this booklet. Refer to the music extracts in the Resource
Booklet to answer the questions in this booklet.

You should answer ALL the questions in this booklet.

If you need more space for any answer, use the page(s) provided at the back of this booklet and clearly
number the question.

Check that this booklet has pages 2–11 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.

For Assessor’s
use only Achievement Criteria

Achievement Achievement
Achievement
with Merit with Excellence
Identify and describe the Analyse the materials and Analyse and explain the
materials and processes of processes of music in a range of materials and processes of
music in a range of scores. scores. music in a range of scores.

Overall Level of Performance

© New Zealand Qualifications Authority, 2008

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

You are advised to spend 60 minutes answering the questions in this booklet. Assessor’s
use only

QUESTION ONE

SCORE EXTRACT A: “Poi E” by Dalvanius Prime and Ngoi Pewhairangi

Refer to page 2 in the Resource Booklet to answer questions (a) – (d).

(a) This extract is based on the 10-bar theme sung in bars 6–15. The theme is made up of two
phrases.

(i) Identify the bar in which the second phrase starts, and state the length of this phrase.

The second phrase of the theme starts in bar and is bars long.

(ii) Focus on the structure of the two phrases of the theme. Describe and analyse TWO
similarities and TWO differences between the phrases.
Support your answer with musical evidence from the score.

What are the structural similarities between the phrases?

(1)

(2)

What are the structural differences between the phrases?

(1)

(2)

(b) Variations (different versions) of a two-bar motif from the melodic theme are used a number
of times in the extract. One variation is shown below.

      
 

Other similar variations of this motif can be found throughout the extract.
• Write ONE variation of the motif on the stave below.
• Give the bar numbers of ONE place in which this variation is heard.




Bars:

Music 90269, 2008

 3

(c) There are TWO different textures used in the extract. Identify the bar numbers of a passage Assessor’s
use only
in which EACH texture is used, and explain what makes the passage an example of this
texture.

(i) The texture is monophonic from bar to bar

This passage is monophonic because:

(ii) The texture is homophonic from bar to bar

This passage is homophonic because:

(d) In bar 23 the extract concludes with a perfect cadence in the key of E major. In the keyboard
score below, write out the cadence using Roman numerals to indicate the chord progression,
and add in the bass and right-hand harmony parts. Bar 22 has been included to assist you.
• Write the chord indications in the boxes, using Roman numerals.
• Add the bass part.
• Add the right-hand harmony part in piano style (ie three-note chords, as in bar 22).

A B E

#### œ œ œ œ œ œ œ œ
22

& œ œ œ œ ˙
ta - ku po - i po - ro ti - ti ta - ku poi e.
#### ˙ ˙˙˙
& ˙˙

? ####
Keyboard

w
Chord: IV

Music 90269, 2008

 4

This page has been deliberately left blank.

Music 90269, 2008

 5

QUESTION TWO Assessor’s

use only

EXTRACT B: Sonata in E minor, BWV 1034 by J. S. Bach

Refer to page 3 in the Resource Booklet to answer questions (a) – (e).

(a) Identify in English the THREE instruments that play this extract.

(1)

(2)

(3)

(b) The extract modulates through several different keys. Complete the unshaded parts of the
table below by identifying the key centre in the specified bar, and the relationship of this
key to the tonic key. Some answers have been given for you.

Bar no. Key centre Relationship to the tonic key

1 E minor Tonic

15

16

18 Flattened leading-note major

25

(c) Look at the chords in bars 7–11 labelled 1 – 6 and highlighted on the score. Complete the
unshaded parts of the table below by identifying the chords, in relation to the tonic key, using
Roman numerals. One example has been given for you.

Bar no. Chord no. Chord

7 1

2 Ic
8
3

4
10
5

11 6

Music 90269, 2008

 6

(d) Several compositional devices are used in bars 13–19. These include: Assessor’s
use only
A a repeated tonic note (in relation to the tonic key) in the treble
B a repeated dominant note (in relation to the tonic key)
C a repeated subdominant note (in relation to the tonic key) in the bass
D a descending sequence that uses only notes from the key of D major
E imitation between parts at the perfect 5th (ie a perfect 5th apart).

Circle ONE example of EACH of these devices on the extract below and label each with the
appropriate letter from the list above.

For copyright reasons, this resource cannot be reproduced here.

See Resource Booklet 90269R, page 3.

Music 90269, 2008

 7

(e) This work is from the Baroque period. Using musical evidence from the score, explain what Assessor’s
use only
makes it representative of the music of this period.
Select any THREE musical elements from the list below, and give TWO different pieces of
evidence for each:
• melody
• rhythm
• texture
• timbre.

You may use the staves to show the musical evidence.

(i) Musical element:

(1)

(2)

(ii) Musical element:

(1)

(2)

(iii) Musical element:

(1)

(2)

Music 90269, 2008

 8

QUESTION THREE Assessor’s

use only

EXTRACT C: “God Rest Ye Merrier, Gentlemen” arr. by Austin Ralphson

Refer to pages 4 – 8 in the Resource Booklet to answer questions (a) – (d).

(a) Printed below are the opening bars of the Trombone 2 part. The part has been transcribed
into the tenor clef on staff A, but several errors have been made.
• Circle the transcription errors on staff A.
• Re-write the part, correctly, on staff B.

 1
              
  
Trombone 2 
pp legato mp

A                    

  
pp legato mp

(b) In this extract there are two different time signatures. For each:
• give the Italian or English name for the time signature OR its numerical description
• identify the bar-number where the time signature first appears
• describe how a conductor would beat the time signature.

Time signature (1):

Bar it first appears:

Describe in words, or draw a diagram in the box to show how a conductor would beat this
time signature:

Time signature (2):

Bar it first appears:

Describe in words, or draw a diagram in the box to show how a conductor would beat this
time signature:

Music 90269, 2008

 9

Assessor’s
(c) Look at the chords in bars 1–18 labelled 1 – 7 and highlighted on the score. Complete the use only
unshaded parts of the table below by identifying the chords using jazz / rock notation. One
example has been given for you.

Bar no. Chord no. Chord

1 1

6 2

9 3

11 4

5 Eb

18 6

(d) Bars 19–38 contrast with the opening section. Give THREE different examples of the way
the element of rhythm influences this section. Support your answer with evidence from the
score.

(1)

(2)

(3)

Music 90269, 2008

 10

Extra paper for continuation of answers if required. Assessor’s

use only
Clearly number the question.

Question
number

Music 90269, 2008

 11

Extra paper for continuation of answers if required. Assessor’s

use only
Clearly number the question.

Question
number

Music 90269, 2008