2005 HSC Music 2 paper

Describe ONE way in which the four bar melody at the commencement of the excerpt is developed.

Joseph Haydn — Symphony No. 96 in D major, 4th movement; excerpt bars 102–239 (bars 102–142 played ONCE for parts a & b); Score Attachment A

Identify the following chords (eg C min., C maj.). Bar 108 beat 1: … Bar 109 beat 2: …

Joseph Haydn — Symphony No. 96 in D major, 4th movement; bars 102–142 played ONCE for parts a & b; Score Attachment A

Outline the structure of bars 102–158.

Joseph Haydn — Symphony No. 96 in D major, 4th movement; bars 102–158 played TWICE for part c; Score Attachment A

Outline TWO ways in which Haydn uses contrast in this section of the movement.

Joseph Haydn — Symphony No. 96 in D major, 4th movement; final section bars 188–239 played TWICE for part d; Score Attachment A

Part (a) is a melody dictation. Bars 33–38 will be played SIX times for you to notate the cello part in bars 34–37 in the treble clef.

Nigel Sabin — Resting Point (1990) for cello and piano; melody dictation, bars 33–38 played SIX times (notate cello bars 34–37 in the treble clef); inline staff printed in the exam paper (no score attachment for part a)

Describe Sabin’s use of silence and expressive techniques in bars 20–33.

Nigel Sabin — Resting Point (1990) for cello and piano; bars 20–33 (played THREE times); Score Attachment B (printed landscape)

With reference to specific bars and instruments, explain THREE ways the motif is used in bars 87–183. Bar number(s): … Instrument(s): … Explanation: … (×3)

Aaron Copland — Vitebsk (1929) for piano trio (violin/cello/piano); excerpt bars 87–183 (played TWICE for part a; motif shown inline, original form bars 28–32); Score Attachment C

Describe the relationships between the instruments in bars 138–170. In your answer, refer to specific bar numbers.

Aaron Copland — Vitebsk (1929) for piano trio (violin/cello/piano); bars 138–170 played FOUR times; Score Attachment C

With reference to specific keys and chords, describe Copland’s use of tonality in bars 170–177.

Aaron Copland — Vitebsk (1929) for piano trio (violin/cello/piano); bars 170–177 played THREE times; Score Attachment C

Composers both break with and maintain musical conventions in their work. With reference to specific concepts of music, critically examine this statement in relation to at least TWO works you have studied from the Mandatory Topic Music of the last 25 years (Australian focus).

Extended response — Mandatory Topic: Music of the last 25 years (Australian focus); at least TWO studied works