1996 HSC Music 2 paper

Extract 1 will be played SIX times for you to notate the soprano vocal line on the score below.

Ralph Morton — O Come, O Come, Emmanuel (1989); Extract 1, soprano vocal line. Score copyright-redacted inline (no usable attachment).

How is the pitch material from Extract 1 developed in Extract 2?

Ralph Morton — O Come, O Come, Emmanuel (1989); Extract 2 (vs Extract 1). No usable score attachment.

Extract 1, bars 1–10, will be played ONCE for you to answer part (a) (i)–(iv). (i) Name (in English) the brass instruments, and state how many players per part are required. (ii) In what key does the extract begin? (iii) Name the interval between the Alto and Violoncello parts in bar 6. (iv) Notate bars 1–3 of the Corni in D part at sounding pitch.

Michail Glinka — Kamarinskaja, opening section; Extract 1, bars 1–10. Score Excerpt: Kamarinskaja (separate booklet section).

Extract 1, bars 1–10, will be played ONCE again for you to answer part (b) (i) and (ii). (i) Name the chords and their positions in bars 7 and 9. (ii) Explain the phrase structure of bars 1–10.

Michail Glinka — Kamarinskaja, opening section; Extract 1, bars 1–10. Score Excerpt: Kamarinskaja.

Extract 2, bars 1–16, will be played TWICE for you to answer part (c). Describe TWO ways in which the musical material in bars 11–16 relates to bars 1–10.

Michail Glinka — Kamarinskaja; Extract 2, bars 1–16 (relating bars 11–16 to bars 1–10). Score Excerpt: Kamarinskaja.

Extract 3, bars 11–22, will be played TWICE for you to answer part (d) (i) and (ii). (i) Describe TWO ways in which the material of bars 11–16 is developed in bars 17–22. (ii) Name the cadence between bars 21–22 marked X X on the score, and state its key.

Michail Glinka — Kamarinskaja; Extract 3, bars 11–22. Cadence at bars 21–22 marked X X. Score Excerpt: Kamarinskaja.

Extract 4, bars 11–28, will be played ONCE for you to answer part (e). With specific reference to tone colour, discuss the composer’s use of the orchestra in this extract.

Michail Glinka — Kamarinskaja; Extract 4, bars 11–28. Score Excerpt: Kamarinskaja.

On which instrument is this piece performed?

Ian Shanahan — Cathy’s Song. Score Excerpt: Cathy’s Song (copyright-redacted in paper).

Outline the structure of this piece. Refer to specific bars.

Ian Shanahan — Cathy’s Song. Score Excerpt: Cathy’s Song (copyright-redacted in paper).

Discuss the composer’s use of register. Refer to specific bars.

Ian Shanahan — Cathy’s Song. Score Excerpt: Cathy’s Song (copyright-redacted in paper).

Comment on the organisation of tonality in bars 12–19 and in bars 20–26.

Ian Shanahan — Cathy’s Song; bars 12–26 (tonality of bars 12–19 and 20–26). Score Excerpt: Cathy’s Song (copyright-redacted in paper).

Describe TWO ways in which rhythm has been used to create interest.

Ian Shanahan — Cathy’s Song. Score Excerpt: Cathy’s Song (copyright-redacted in paper).

Select a work from the additional topic you studied in the HSC Course and discuss: Either • organisation of tonality; Or • dynamics and expressive techniques. The additional topics are as follows: • Traditional Music of a Culture; • Medieval Music; • Renaissance Music; • Baroque Music; • Classical Music; • Music in the Nineteenth Century; • Music 1900–70. Name of additional topic … Name of work … Composer …

Candidate-selected work from the additional topic studied (Traditional Music of a Culture; Medieval; Renaissance; Baroque; Classical; Nineteenth Century; Music 1900–70). No score; no recording.