1998 HSC Music 2 paper

Describe the structure of Excerpt A.

Benjamin Britten — Quartet No. 2 (1945), Excerpt A; Score Attachment A

Outline THREE ways in which Excerpt B is different from Excerpt A.

Benjamin Britten — Quartet No. 2 (1945), Excerpts A & B; no score for Excerpt B

The first ten bars will be played SIX times for you to notate the clarinet melody at sounding pitch on the stave below.

Nigel Sabin — 'Walk, Don't Run' from Inner-City Counterpoints (1989), bars 1–10 (clarinet melody); notation stave printed inline

Describe THREE techniques the composer uses to develop the musical material.

Nigel Sabin — 'Walk, Don't Run' from Inner-City Counterpoints (1989), bars 1–32; no score

Explain the following performance directions that occur in the score. (i) (Bar 44, Stave 3) (ii) (Bar 50, Stave 5) (iii) (Bar 51, Stave 2) (iv) (Bar 52, Staves 4 and 5)

Nigel Sabin — 'Walk, Don't Run' from Inner-City Counterpoints (1989), bars 43–54; Score Attachment B

Comment on the organisation of the pitch material.

Nigel Sabin — 'Walk, Don't Run' from Inner-City Counterpoints (1989), bars 43–54; Score Attachment B

Composers must forge their own identities out of the many influences that play upon them and never close their ears to any part of the world of sound. Comment on this statement, referring to Sankanda and ONE other significant work you have studied from the Mandatory or Additional Topics.

Sankanda (1995) from the Lambarena Project — extended response (plus ONE other significant work studied from the Mandatory or Additional Topics); no score