Oxford Cambridge and RSA A Level Music
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INSTRUCTIONS • The Insert will be found inside this document. • Use black ink. • Complete the boxes above with your name, centre number and candidate number. • Write your answer to each question in the space provided. If additional space is required, use the lined page(s) at the end of this booklet. The question number(s) must be clearly shown. • If you have music examples as part of your answer, use the music manuscript page at the end of this booklet. The question number(s) must be clearly shown. • Do not write in the barcodes. • You may make your own notes on the Insert, but it will not be seen by the examiner. • Any suitable audio playback equipment may be used, including personal stereo players of good quality with both fast forward and reverse scan facilities: these should be fitted with fresh batteries if they cannot be powered from the mains electricity supply. INFORMATION • The total mark for this paper is 120. • The marks for each question are shown in brackets [ ]. • Quality of extended responses will be assessed in questions marked with an asterisk (*). • This document consists of 20 pages. Turn over © OCR 2018 [601/8242/8] DC (CE) 157134/4 Last name First name Candidate number Centre number Oxford Cambridge and RSA A Level Music H543/05 Listening and appraising Monday 18 June 2018 – Morning Time allowed: 2 hours 30 minutes You must have: • CD of listening extracts • Insert (inserted) • playback facilities with headphones for each individual candidate You may use: • a black pen • a pencil for all rough working *7017420747* OCR is an exempt Charity * H 5 4 3 0 5 *
Transcript of Oxford Cambridge and RSA A Level Music
INSTRUCTIONS• The Insert will be found inside this document.• Use black ink.• Complete the boxes above with your name, centre number and candidate number.• Write your answer to each question in the space provided. If additional space is
required, use the lined page(s) at the end of this booklet. The question number(s) must be clearly shown.
• If you have music examples as part of your answer, use the music manuscript page at the end of this booklet. The question number(s) must be clearly shown.
• Do not write in the barcodes.• You may make your own notes on the Insert, but it will not be seen by the examiner.• Any suitable audio playback equipment may be used, including personal stereo players
of good quality with both fast forward and reverse scan facilities: these should be fitted with fresh batteries if they cannot be powered from the mains electricity supply.
INFORMATION• The total mark for this paper is 120.• The marks for each question are shown in brackets [ ].• Quality of extended responses will be assessed in questions marked with an
asterisk (*).• This document consists of 20 pages.
Turn over© OCR 2018 [601/8242/8]DC (CE) 157134/4
Last name
First name
Candidatenumber
Centrenumber
Oxford Cambridge and RSA
A Level MusicH543/05 Listening and appraising
Monday 18 June 2018 – MorningTime allowed: 2 hours 30 minutes
You must have:• CD of listening extracts• Insert (inserted)• playback facilities with headphones for each individual
candidate
You may use:• a black pen• a pencil for all rough working
*7017420747*
OCR is an exempt Charity
* H 5 4 3 0 5 *
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© OCR 2018
SECTION A
Answer all the questions in this section.
1 8 Track 2 on your CD is a recording from Area of Study 1: Instrumental Music of Haydn, Mozart and Beethoven.
A skeleton score is provided: Extract 1 in the accompanying Insert.
The extract is from Mozart’s Serenade for Wind Octet, K.375.
(a) Identify the key (tonality) at the beginning of the extract. .................................................... [1]
(b) Identify the instrument playing the melody in bar 9 to bar 121.
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(c) Write the bass from bar 13 to bar 161 on the stave below. The rhythm of the bass (the lowest bassoon part) is printed above the stave.
You may write on the Insert but you must copy your final answer on the stave below. Examiners will see and mark only this answer.
°
¢
13
&
b
b
b
..
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b
b
b
˙™
œb˙ œ
œnœnœ œ
™œ
j
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˙
œ
j
E e e E e
Œ
E E e
[3]
(d) The melody in bar 262 to bar 301 is played in parallel harmony by the clarinet and bassoon. What is the interval between the two parts? Underline your answer.
thirds fifths sixths tenths [1]
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(e) The grid below shows the harmony in the passage from bar 362 to bar 381. Complete the grid by identifying the chords marked with an asterisk (*) in bar 362, bar 371 and bar 372.
Write your answer either in Roman numerals (in the key of B flat major) or in chord symbols.
Bar number Chord
362
371
372
381 Ib (B
Bar number Chord
362
371
372
381 Ib (Bb/D)
/D)
[3]
(f) Write the melody (in the oboe) from bar 39 to bar 411 on the stave below. The rhythm of the melody is printed above the stave.
You may write on the Insert but you must copy your final answer on the stave below. Examiners will see and mark only this answer.
39
&
b
b
b
3 3
œ Œ ≈
e e e e e e e e ™ e e e e e e e e e e
‰ œ
J
[4]
(g) Mozart wrote a number of ‘serenades’. Identify two features of the extract which are characteristic of Mozart’s serenades.
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2 8 Track 3 on your CD is a recording from Area of Study 2: Popular Song: Blues, Jazz, Swing and Big Band.
The extract is Nat King Cole’s recording of Day In, Day Out. The arrangement is by Billy May. The recording was made in 1961.
A lead sheet is provided in Extract 2 in the accompanying Insert. The words are by Johnny Mercer and the music by Rube Bloom.
The lyrics are below:
Day in, day out The same old voodoo follows me about, The same old pounding in my heart whenever I think of you, And darling, I think of you day in and day out.
Day out, day in, I needn’t tell you how my days begin. When I awake I awaken with a tingle, One possibility in view, That possibility of maybe seeing you.
Come rain, come shine, I meet you and to me the day is fine, Then I kiss your lips and the pounding becomes The ocean’s roar, a thousand drums. Can’t you see it’s love, can there be any doubt, When there it is, day in, day out.
(a) Briefly compare Nat King Cole’s vocal style in this song with the vocal style of one of the following singers in one song of your choice:
Fred Astaire Mel Tormé
Bing Crosby Joe Williams
Frank Sinatra
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(b) Describe the structure of the melody in the lead sheet.
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(c) Explain Billy May’s arrangement of Day In, Day Out, commenting on his treatment of the song and on his technique of writing for the band.
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SECTION B
Answer all the questions in this section.
3 Area of Study 1: Instrumental Music of Haydn, Mozart and Beethoven.
A full score for Extract 3 is in the accompanying Insert. The extract is part of the prescribed movement from Beethoven’s Symphony No. 3, ‘Eroica’, 1st movement.
There are two different recordings of the extract on your CD: Extract 3a (8 Track 4) and Extract 3b
(8 Track 5).
(a) Describe how rhythmic and melodic features (not the use of the orchestra) contribute to the build-up of tension from bar 1 to bar 54 and the release of tension from bar 55 to the end of the extract.
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(b) Compare the two recordings of the extract and comment on their similarities and differences. You may wish to refer to such aspects as:
• articulation• tempo• balance between the sections of the orchestra• the overall sound of each recording
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4 Area of Study 2: Popular song: Blues, Jazz, Swing and Big Band.
Extract 4 (8 Track 6) is Ev’ry Time We Say Goodbye, one of the prescribed tracks from Ella Fitzgerald’s album, The Cole Porter Songbook.
There is no score of this music.
(a) Describe Ella Fitzgerald’s vocal style and comment on the delivery and expression of the lyrics in her performance of Ev’ry Time We Say Goodbye.
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(b) Evaluate the significance of The Cole Porter Songbook in the career of Ella Fitzgerald.
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SECTION C
Answer two questions from this section.You must select questions from two different Areas of Study.
Write your answers on the lines starting on page 11. Make sure you clearly show which questions you are answering.
Area of Study 3: Developments in Instrumental Jazz 1910 to the present day.
5* Assess the influence of radio and recording on the growth of jazz up to 1940. Refer to the work of at least three jazz musicians in your answer. [25]
6* Explain one or more of the contrasting styles of jazz which developed after 1960, for example free jazz, avant-garde or jazz-rock fusion. Give detailed examples from the work of at least one musician who made a significant contribution to the development of the style(s). [25]
Area of Study 4: Religious Music of the Baroque Period.
7* Explain what the Anglican church in England and/or the Lutheran church in Germany expected of music for worship in the Baroque period. Refer to the musical characteristics found in the works of at least two composers. [25]
8* Compare and evaluate two works which demonstrate how Baroque composers of religious music exploited techniques of harmony and tonality for expressive and dramatic purposes. [25]
Area of Study 5: Programme Music 1820–1910.
9* Explain the challenges in composing a successful programme symphony, illustrating your answer with detailed references to the work of at least one composer of the period 1820 to 1910. [25]
10* Discuss the treatment of melody and thematic material in programme music from 1820 to 1910. Refer to at least three orchestral and/or solo pieces in your answer. [25]
Area of Study 6: Innovations in Music 1900 to the present day.
11* Explain the differences between two of the following styles of music. Illustrate your answer by comparing one work from each of your chosen styles.
Impressionism Expressionism Neo-classical [25]
12* Evaluate the success of one or two works composed since 1960 that make imaginative and innovative use of timbre and texture. [25]
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END OF QUESTION PAPER
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ADDITIONAL ANSWER SPACE
If additional space is required, you should use the following lined page(s). The question number(s) must be clearly shown in the margin(s).
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© OCR 2018
MANUSCRIPT PAPER
If you have music examples as part of your answer, use the music manuscript paper here. The question number(s) must be clearly shown.
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BLANK PAGE
PLEASE DO NOT WRITE ON THIS PAGE
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© OCR 2018
PLEASE DO NOT WRITE ON THIS PAGE
Oxford Cambridge and RSA
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