91242 Sample Assessment Schedule

Level 3 Music 91422 (3.7) — page 1 of 9

SAMPLE ASSESSMENT SCHEDULE

Music 91422 (3.7): Analyse a substantial music work

Assessment Criteria

Achievement / Achievement with Merit / Achievement with Excellence
Analyse a substantial music work involves identifying and explaining musical elements and features, compositional devices, and representation, in order to understand the style and structure of the work. / Critically analyse involves discussing how musical features contribute to the expressive qualities and intent of the work. / Perceptively analyse involves evaluating how musical features are integrated to communicate the expressive qualities and musical meaning of the work.

Evidence Statement

Q / Achievement / Achievement with Merit / Achievement with Excellence
1 (a) / Diagram or explanation includes:

name of form eg ternary; sonata
main sections
intro, bridge(s) and coda) where appropriate.

/ Diagram or explanation includes: (in addition to Achievement evidence):

some detail of sub-sections eg 1st subject; answering phrase
some detail of instrumentation
reference to at least three keys or modulations.

/ Diagram or explanation includes: (in addition to Merit evidence):

perceptive detail of sub-sections
detailed analysis of length of sections
two ways contrast is achieved.

1 (b) / Explanation of tonality includes the main keys of each section and their relationships. / Explanation of tonality includes the main keys of each section and their relationships with musical evidence eg bar numbers, position within the work. / Explanation of tonality includes the main keys of each section, and their relationships with notated musical evidence.

All the evidence for the model answers is based on an analysis of the first movement of Schubert’s Unfinished Symphony.

Q 1 (a) Diagram of the structure of Unfinished Symphony – Schubert.

Structure: Sonata Form
Exposition (Bars 1–110) / Development (Bars 110–217) / Recapitulation (Bars 208–368)

introduction: B minor; bars 1–8; theme stated by cellos and basses
1stsubject: B minor; bars 9–38: theme (bar 13) stated by oboes and clarinets
bridge passage: bars 38–42; horns; modulates to G major;section is unusually short
2nd subject: G major: theme enters bar 44 on cellos with asyncopated woodwindaccompaniment
codetta:7 bars linking either back to repeat of intro or on to development.

development mostly of theme from introduction
some new material eg dotted rhythms and glissandi on strings near end of development.

1stsubject: B minor; bars 208–252;similar to exposition but modulates to F# minor at end
bridge passage: bars 252–256; horns; modulates to D major
2nd subject: bars 256–328; similar to exposition but in D major
coda: bars 328–368; based on introduction; B minor.

Level 3 Music 91422 (3.7) — page 1 of 9

Q 1 (b) The importance of tonality and key relationships in Unfinished Symphony – Schubert.

Achieved

Schubert uses different tonalities to provide contrast within the movement. The key of the introduction and first subject is B minor. The tonality of the second subject in the exposition is G major (submediant major). In the recapitulation the second subject is in D major (mediant major). The development begins with a restatement of the theme of the introduction in E minor (subdominant minor).

Merit

Schubert uses unusual tonalities to provide contrast within the movement. The key of the introduction and first subject is B minor. The usual tonality of the second subject in the exposition would be D major (relative major). In this symphony the second subject is in G major (submediant major), which is not a related key. In the recapitulation the second subject is in D major (mediant major), whereas normally it would also be in the tonic (B minor). The development begins with a restatement of the theme of the introduction in E minor (subdominant minor), and modulates less frequently than is usual.

Excellence

Schubert’s tonalities are somewhat unusual. The key of the introduction and first subject is B minor. The usual tonality of the second subject in the exposition would be D major (relative major). In this symphony the second subject is in G major (submediant major), which is not a related key. The bridge passage is a modulating section to take the music from the key of the first subject to that of the second. Schubert is able to do this in just four bars. The horns play D (the mediant of B minor but the dominant of G major, and the passage ends with a perfect cadence in D major (see example below). In the recapitulation, the first subject modulates to F# minor and the bridge passage modulates to D major, the key of the second subject. It would be more usual for the second subject to remain in D major.

Not Achieved / NØ / No response; no relevant evidence.
N1 / ONE piece of achieved evidence.
N2 / TWO pieces of achieved evidence.
Achievement / A3 / THREE pieces of achieved evidence.
A4 / FOUR pieces of achieved evidence.
Merit / M5 / THREE pieces of merit evidence.
M6 / FOUR pieces of merit evidence.
Excellence / E7 / THREE pieces of excellence evidence.
E8 / FOUR pieces of excellence evidence.

Level 3 Music 91422 (3.7) — page 1 of 9

Q / Expected Coverage / Achievement / Achievement with Merit / Achievement with Excellence
2 / Development of thematic material as appropriate to the particular work through the use ofEITHER
rhythm eg

syncopation
ostinato
regular / irregular rhythms
repetition, imitation, sequence
straight / swung rhythm

OR
melody eg

melodic range
melodic contour
tessitura
repetition, imitation, sequence
melodic decoration.

/ Identification and description analysing FOUR ways that EITHER rhythm OR melody is used for thematic development. / Detailed explanation analysing FOUR ways that EITHER rhythm OR melody is used for thematic development with accurate musical evidence. / Pertinent and comprehensive explanation analysing FOUR ways that EITHER rhythm OR melody is used for thematic development with accurate well-chosen notated musical evidence.

Q 2 Melodic development of themes in Unfinished Symphony– Schubert.

Achieved

(1)Schubert develops the theme of the introduction near the beginning of the development section by using imitation. Part of the theme is stated by the cellos and imitated a bar later by the violins.

(2)When the theme of the introduction is first stated, the cellos and basses play it. In the development section, the full orchestra plays it.

(3)Schubert first develops the second subject by repetition. The theme is played by cellos, then repeated by the violins

(4)Schubert also develops the second subject by fragmentation. Part of the theme is played firstly by cellos, then by violins.

Merit

(1)Schubert mainly develops the theme from the introduction in the development section. After restating the theme in E minor, he fragments the theme using only the first three notes, then adds another two. He then uses imitation by stating the theme in the violins and violas in one bar, and in the cellos in the next bar.

(2)Four bars later he inverts the first three notes of the same theme and repeats it. He then uses diminution to further develop the theme (notes of shorter value).

(3)After the second subject is stated by the cellos, it is repeated twice by the violins. On the second repetition Schubert develops the melody by a sudden modulation to A minor. The last part of the melody is up a tone and ends without the last note.

(4)In bar 73, Schubert develops the melody of the second subject using fragmentation and imitation. A motif based on the third bar of the second subject is played first by the cellos and violas and imitated a bar later by the violins.

Excellence

(2)Schubert again fragments the introduction theme in the development (bar 238), but this time he uses the first three notes and inverts them. Each group of three notes is repeated twice, but each time in notes of smaller duration (diminution).

(3)After the cellos state the second subject, the violins repeat it twice. On the second repetition Schubert develops the melody by a sudden modulation to A minor. The last part of the melody is up a tone and ends without the last note (see annotated example below).

Level 3 Music 91422 (3.7) — page 1 of 9

(4)In bar 73, (development section) Schubert develops the melody of the second subject using fragmentation,imitation and sequence. A motif based on the third bar of the second subject is played first by the cellos and violas, and imitated sequentially a bar later by the violins. Schubert overlaps each statement of the motif and continues the sequence with different articulation (staccatissimo instead of legato).

Level 3 Music 91422 (3.7) — page 1 of 9

Q / Achievement / Achievement with Merit / Achievement with Excellence
3 / Explanation of FOUR ways elements and / or features and / or structural devices of the chosen work are typical and / or atypical of other works in the same genre and /or era and /or style, with some musical evidence. / Pertinent explanation of FOUR ways elements and / or features and / or structural devices of the chosen work are typical / atypical of at least ONEother work in the same genre / era / style, with pertinent musical evidence supporting an argument. / Pertinent and perceptive explanation of FOUR ways elements and / or features and / or structural devices of the chosen work are typical / atypical of at least ONEother work in the same genre / era / style, with convincing musical evidence supporting an argument.

Q 3 Four ways that Schubert’sUnfinished Symphony is typical and /or atypical of other works

Achieved

(1)Most symphonies of the period had four movements. This symphony has only two.

(2)The Unfinished Symphony is typical of other symphonies of the period, with the first movement being in sonata form.

(4)The instrumentation of Unfinished Symphony is typical of symphonies of the early Romantic period – strings with double woodwind, a few brass instruments and timpani.

Merit

(1)Most symphonies of the period had four movements. The first movement is fast, the second slow, the third a scherzo and trio, and a final fast movement. This symphony has only two.

(2)The Unfinished Symphony is typical of other symphonies of the period with the first movement being in sonata form. Some symphonies by Beethoven began with an introduction (eg Beethoven’s Symphony 1) and some did not (eg Eroica Symphony).

(3)Schubert’s modulations are more adventurous than is usual in a symphony of this period. For example, the second subject of a symphony in a minor key would usually be in the relative major (D major). The second subject of Unfinished Symphony is in the submediant major (G major). He also modulates less in the development section. It is mostly in E minor.

(4)The instrumentation of Unfinished Symphony is typical of symphonies of the early Romantic period – a string-based orchestra with double woodwind, a few brass instruments, and timpani added for orchestral colour.

Excellence

(1)Most symphonies of the period had four movements. The first movement is fast (allegro), the second slow, the third a scherzo and trio, and a final fast movement. This symphony has only two. The first movement (allegro moderato) is perhaps slightly slower than is usual, and also unusual is that the movement is in triple rather than quadruple time.

(2)The Unfinished Symphony is typical of other symphonies of the period with the first movement being in sonata form. Some symphonies by Beethoven began with a slow introduction (eg Symphony 1) and some did not (eg Eroica Symphony). What is unusual about Unfinished Symphony is that the introduction is the same tempo as the rest of the movement.

(3)Schubert’s modulations are more adventurous than is usual in a symphony of this period. For example, the second subject of a symphony in a minor key would usually be in the relative major (D major). The second subject of Unfinished Symphony is in the submediant major (G major). His modulations are often unexpected. For example, in the passage after the bar’s rest in the music quoted above (point 3 on tonality) the music modulates to C minor, an unrelated and very remote key.

(4)The instrumentation of Unfinished Symphony is typical of symphonies of the early Romantic period – a string-based orchestra with double woodwind, a few brass instruments and timpani added for orchestral colour. In the brass section Schubert follows the lead of Beethoven, who was the first to use trombones in a symphonic score. However, Beethoven sometimes used a piccolo in addition to the two flutes, but Schubert does not.