Music 1 2023 HSC exam pack

Students should:

• select repertoire that matches their technical ability and highlights musical strengths
• demonstrate stylistic understanding through, the use of appropriate expressive techniques
• be aware of the total musical outcome if a combination of instruments is presented, for example, voice and guitar
• check balance to ensure the positioning of the markers has been considered
• tune instruments carefully and check equipment prior to the examination
• consider stamina and changes of ensemble when establishing order of performance pieces in their program.

In better performances, students were able to:

• present a refined, engaging and sustained musical outcome in an exam appropriate performance environment, for example, one free of complicated, ambient and/or staged lighting setups
• display attention to fluency, technical accuracy and stylistic details
• personalise the interpretation of chosen repertoire, for example, to demonstrate deeper understanding of style rather than imitate an original artist
• demonstrate structural understanding through the use of contrast and expressive detail
• communicate musical expression through purposeful physical movement, where appropriate
• show awareness of the performance space, including amplification equipment, availability and choice of microphones, and acoustically reverberant rooms and halls, where possible
• seek assistance with the placement, organisation and readiness of supporting equipment, instruments and personnel to enable a smooth delivery of the program
• present well-rehearsed repertoire that highlights solo skills and/or ensemble interaction.

Areas for students to improve include:

• performing in ways that allow for an exploration of musical ideas, variety, contrast and personal expression, for example, changes in articulation and ornamentation of a repeated passage
• ensuring sound checks are pre-planned, short and focused. For example, a specific section of a piece where balance and volume levels may be an issue for both performer and examiner or sound level checks from a front-of-house and examiner perspective as opposed to foldback speakers
• being familiar with exam conditions, protocols, transitions between pieces, and details of the performance summary sheet. For example, having a plan to work through a program of performances or ensuring three different topics are listed on the summary sheet
• choosing backing tracks that provide adequate musical support and/or minimise the doubling of parts, where appropriate
• tailoring aspects of the music, such as solo material, if choosing to be double-marked
• engaging with ensemble members to enable a cohesive ensemble delivery, for example, interacting with each ensemble member meaningfully during the performance, where appropriate
• checking tuning of instruments prior to, and between performances if required
• avoiding brief and repetitious repertoire that does not allow for exploration of musical material
• rehearsing in the venue prior to the exam with attention to balance, blend and appropriate volume, for example, checking different instrumental configurations and settings that may affect the musical outcome from an examiner’s perspective
• ensuring, when double-marked, both performers demonstrate equivalent musical roles.

Students should:

• add all details necessary to realise the score as intended, including a title, tempo and other performance directions such as dynamics and expressive devices
• check that the score follows notation conventions, especially when the score has been created by playing directly into recording software
• consider the technical capabilities of each instrument, including their range, agility and expressive techniques
• ensure the score shows everything heard on the recording, such as solo passages, fills and vocal techniques.

In better responses, students were able to:

• create and organise musical ideas in a sophisticated manner, such as melodic and rhythmic development and interplay between parts
• explore the capabilities of the performing media using straight forward writing and highly detailed scoring, including range, register and appropriate expressive techniques
• show a detailed understanding of style through the appropriate and perceptive use of the concepts of music
• explore complex harmonic language with the inclusion of chord extensions, interesting voicing and stylistically appropriate use of dissonance
• include comprehensive performance directions in the score, for example, varied articulations and expressive devices, as well as rhythm, for TAB notation
• use musical resources efficiently, for example, developing musical ideas using a range of compositional devices
• transition seamlessly between sections of the composition.

Areas for students to improve include:

• using repetition and development of ideas in ways that maintain musical interest. For example, varying a repeated pattern using stylistic ornamentations and articulations
• developing their understanding of harmonic language in the chosen style
• considering the relationships between instruments and the roles of each layer. For example, understanding the difference between melody, harmony and bass lines
• exploring textural interest and variety, for example, changing the density between sections
• using dynamics and expressive techniques that enhance the musical outcome, such as muting, harmonics, bends, tapping and picking when using TAB notation
• following notation conventions for the chosen style, ensuring that the material can be reproduced, rather than relying on loops or samples
• specifying clearly if an electronic or synthesised instrument is intended, especially if the parts are beyond the capabilities of a live musician.

Students should:

• provide a structured outline summary using the (M2) form, copied for use by the student and the examiners
• ensure the summary sheet (M2) content can be discussed within the 10-minute time frame
• prepare the viva with a well-defined musicological focus
• practise the skill of two-way discussion in response to short musical excerpts.

In better responses, students were able to:

• clearly articulate a chosen topic, title, and/or musicological focus, that is, one that engages the student freely in ways that show depth of listening and musical understanding
• provide thoughtful and streamlined outline summaries to help guide the discussion, for example, headings, terminology and symbols that will be articulated in the viva as opposed to prose descriptions that are read out
• discuss a realistic range of edited musical excerpts, within the time given and in detail, with appropriate links to musical concepts
• draw conclusions between multiple musical observations, to establish a coherent line of thought or argument, and be ready for a broader discussion, if time permits
• use a chosen instrument or voice in a practical demonstration to support the discussion, for example, a solo riff or aspects of technique explored by a performer through selected repertoire.

Areas for students to improve include:

• expanding on discussion points, linked to listening excerpts, and avoiding non-musical information
• using the best available sound equipment, ensuring excerpts are downloaded for playback and of an appropriate length, and being aware of unwanted material such as online advertising encroaching on the given time
• using supporting material, such as annotated score excerpts as opposed to extra notes, cue cards or digital slides
• providing a coherent approach to the topic that allows for depth of understanding, for example, developing accurate metalanguage to discuss musical features and styles
• responding to questions, sustaining a musicological focus and selecting an achievable area of interest, for example, organising the summary sheet in ways that prompt a range of questions, and being able to respond to these fluently.

Students should:

• read the question carefully to ensure important components of the question are not missed
• have a clear understanding of key words in the question and recognise the intent of the question and its requirements
• develop a plan to assist with the logical sequencing of information
• use relevant concepts and terminology, where appropriate, to support the response
• present a logical and cohesive response addressing the question
• engage with any stimulus material provided and refer to it in the response
• review the response to ensure it addresses the question requirements.

Question 1

In better responses, students were able to:

• identify specific details of duration including irregular metre and notation of rhythms to support points made in the response
• use appropriate musical terminology correctly when giving examples
• provide detail regarding the layers of sound and their rhythmic contribution to the piece
• notate rhythm using traditional or graphic notation that showed an understanding of the two-bar ostinato pattern
• write clearly and coherently with a well-structured response that outlined the use of duration, for example, using appropriate terminology and metalanguage.

Areas for students to improve include:

• referring to detailed musical examples as evidence
• outlining changes in the use of duration as the piece progresses, for example, the ways that different musical layers combine through the use of duration
• focusing on the concept of duration rather than presenting irrelevant information
• differentiating between points made in ways that build an overall response to the question
• using graphic notation and/or diagrams that are relevant to the question and easy to read and interpret.

Question 2

In better responses, students were able to: 

• outline the structure of the excerpt, for example, introduction, verse 1, verse 2, chorus, and explain how interest is maintained in relation to the chosen musical concepts
• provide musical examples appropriate to their observations and use musical terminology accurately and appropriately
• elaborate upon statements and provide musical examples and observations from the excerpt
• support the response with rhythmic notation, melodic contours and/or diagrams or tables
• identify the instrumentation accurately including the synthesiser, backing vocals and heavily manipulated vocal echo/sound
• give more detailed descriptions of the instruments and how they are played
• demonstrate excellent knowledge of instruments, techniques and tone colour, in particular
• incorporate a number of concepts in their discussion
• link their response to musical interest and select concepts that will best demonstrate their ideas.

Areas for students to improve include: 

• structuring the answer in a sequential manner, for example, introduction or section A
• using correct music terminology, for example, the four-bar riff, ostinato or bass (kick) drum pattern
• adding more detail to the response by describing how the guitar is being played. For example, strumming or playing a riff of alternating pitches, rather than simply referring to the guitar entry
• focusing on important musical details rather than explaining the entire excerpt broadly without specific detail.

Question 3

In better responses, students were able to: 

• describe the changes in texture throughout the excerpt by breaking it down into sections
• identify the performing media by using appropriate comparisons or descriptions, such as the method of sound production, if the name was unknown
• demonstrate a thorough understanding of texture, including overall density and texture types, roles such as melody and accompaniment, and relationships between layers such as parallel and unison
• discuss and compare the roles of each layer. For example, the drone of the bowed fiddle against the rhythmic role of the plucked fiddle
• identify relationships between different layers and sections. For example, the main melodic motif was passed from the bowed strings to the hummed voices, while the lyrics section followed the same melody but with more rhythmic variety
• use musical terminology with precision. For example, the opening is homophonic, while multiple versions of the same melody create heterophony
• demonstrate aural awareness through detailed and accurate descriptions of musical material. For example, the introduction consisted of sustained notes a fifth apart, the plucked fiddle entered with a repeated long-short rhythmic pattern
• include appropriate links to other concepts, such as changes in tone colour, dynamics and register
• use well-labelled tables, diagrams and graphics to support their musical observations, including texture charts and graphic notation of the main melodic motif.

Areas for students to improve include: 

• developing a thorough understanding of texture, rather than focusing only on changes in density or performing media
• identifying the sections of the excerpt and referring to them specifically in their response, so that the whole excerpt is covered adequately
• distinguishing between texture and other concepts, especially tone colour
• applying terminology accurately, especially texture terms such as monophonic, homophonic and polyphonic
• looking for links between sections or layers, for example, the repeated melody
• writing in as much detail as possible about what they can hear in the excerpt, to demonstrate their aural awareness
• focusing on musical features and avoiding overly subjective or narrative descriptions.

Question 4

In better responses, students were able to:

• offer a comprehensive analysis using different examples of performing media including contrasting melodic, harmonic and rhythmic devices
• structure a response using detailed descriptions of how contrast is used
• identify and describe in detail various instances of contrast as exhibited by the performing media across all concepts
• identify and describe meta-structural patterns and features regarding the use of performing media in the creation of contrast
• use appropriate meta-language to describe the various instances of contrast using accurate examples and correct use of terminology
• specifically address contrast through a detailed analysis of the key events, consistently drawing links between the different sections of the song.

Areas for students to improve include:

• identifying sound sources, for example, triangle or xylophone instead of glockenspiel, or incorrect identification of oboe, clarinet and bass clarinet tone colours
• referring to complex rhythms or subdivisions of the beat. For example, changing rhythmic patterns and note values that were incorrectly identified as a change in tempo, which only occurred with a ritardando at the end of the excerpt
• analysing musical excerpts in their entirety as opposed to placing emphasis on mood and emotions. For example, providing a chronological list or ‘shopping list’ of musical events that do not refer back to the question
• using musical language to describe the excerpt as opposed to providing a general description or impression. For example, referring to how the music resembles a story, film or ‘jungle’ theme.