2009 HSC Music 2 paper
10 questions, 35 marks. Every question has its recording. There are no marking guidelines for this year here.
Question 1(a)
2 marksGive the meaning of the following musical markings on the score. (i) F Lyd (bar 2) (ii) comp (bar 38)
Andrea Keller — Oh Charming Harlequin (2007); excerpt, Score Attachment A = bars 1–58 (whole excerpt bars 1–94 played once for familiarisation)
RecordingScoreQuestion 1(b)
2 marksDescribe the composer's use of duration using TWO examples from the score.
Andrea Keller — Oh Charming Harlequin (2007); excerpt bars 1–58; Score Attachment A
RecordingScoreQuestion 1(c)
2 marksComment on the treatment of the pitch material.
Andrea Keller — Oh Charming Harlequin (2007); excerpt bars 1–58; Score Attachment A
RecordingScoreQuestion 1(d)
2 marksDescribe TWO features of the relationship between the trumpet and the ensemble.
Andrea Keller — Oh Charming Harlequin (2007); bars 57–94 (there is no score attachment for bars 59–94)
RecordingQuestion 2(a)
5 marksDictationBars 1–11 will be played FIVE times for you to notate the pitch and duration of the euphonium part on the stave provided.
Percy Grainger — Colonial Song; bars 1–11, euphonium part; no Score Attachment (notation stave printed inline as the answer space)
RecordingQuestion 2(b)
3 marksDescribe how the composer creates contrast in this excerpt.
Percy Grainger — Colonial Song; bars 12–36; no Score Attachment
RecordingQuestion 3(a)
2 marksOutline TWO features of the musical structure.
Arvo Pärt — Agnus Dei from Berlin Mass (first of two Agnus Dei settings); Score Attachment B part (i)
RecordingScoreQuestion 3(b)
3 marksCompare the pitch material of the solo part with the accompanying choir parts.
David Fanshawe — Agnus Dei from African Sanctus (soprano solo, mixed chorus and pre-recorded tape); Score Attachment B part (ii)
RecordingScoreQuestion 3(c)
4 marksOutline some musical differences between the two settings.
Two settings of the Agnus Dei: Arvo Pärt (Berlin Mass) and David Fanshawe (African Sanctus); Score Attachment B parts (i) and (ii)
RecordingScoreQuestion 4
10 marksExtended responseDiscuss how the concepts of tone colour and texture have been manipulated by composers in two or more works you have studied. One work should come from the Mandatory Topic Music of the last 25 years (Australian Focus) AND one work from the Additional Topic. Use musical quotes where appropriate to support your answer. Note: The works included in Questions 1, 2 and 3 are not to be discussed in this answer.
Extended response (20 minutes); candidate's own studied works — one from the Mandatory Topic 'Music of the last 25 years (Australian Focus)' AND one from the Additional Topic; works from Questions 1–3 must not be discussed
Recording