Music 1 2024 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 of sound 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 performance 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, for example, one free of mistakes, showing highly developed skills, and an understanding of the expressive qualities of the chosen repertoire
• 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, for example, contemporary popular repertoire where techniques are selected and applied purposefully
• communicate musical expression through purposeful physical movement, for example, a music theatre piece where the expressive intent and lyrics are best conveyed with appropriate use of physical movement
• 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, for example, having a teacher guide the checking of sound levels in collaboration with the student
• present well-rehearsed repertoire that highlights solo skills and/or ensemble interaction, for example, performing the chosen repertoire in a mock-examination setup.

Areas for students to improve include:

• 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
• 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
• choosing backing tracks that provide adequate musical support and/or minimise the doubling of parts, for example, using a backing track that minimises the use of parts that are being performed by the student
• engaging with ensemble members to enable a cohesive ensemble delivery, for example, interacting with each ensemble member meaningfully during the performance, where appropriate
• avoiding brief and repetitious repertoire that does not allow for exploration of musical material, for example, a piece that is based on a single repeated riff or pattern
• 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
• checking tuning of instruments prior to, and between performances if required, without affecting the flow of the examination process
• 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.

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, for example, chords on piano that are playable
• 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.

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 and avoiding excessive doubling of layers
• 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 TAB notation effectively with regards to dynamics and expressive techniques, such as muting, harmonics, bends, tapping and picking, as well as rhythmic stems
• using drum notation effectively, such as correct voicing, correct stem directions and snare stems that do not collide with hi-hat or bass drum stems
• 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
• ensuring that score conventions are followed, for example, removing empty bars at the end of the submission, using portrait layout, including phrase marks, formatting with clean spacing between staves and layers, and being concerned with the playability of parts that affect the overall musical outcome
• paying attention to rest placement, note and rest groupings, and division of beat, for example, a 2-beat crotchet rest should not be cluttered with quaver or semiquaver rests
• ensuring imported material is used to establish stylistic intent whilst being integrated into the overall composition in ways that demonstrate musical understanding, for example, cleaning up imported unquantized parts or parts that have been generated by external sources
• laying out of scores in conventional instrument order, where appropriate.

Students should:

• prepare the viva voce with a well-defined musicological focus
• practise the skill of two-way discussion in response to short musical excerpts
• 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.

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 voce 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
• approaching the viva voce as a discussion between the student and examiners, as opposed to a prepared presentation such as reading a prepared speech, series of dot points or presentation slides
• responding to questions, sustaining a topic-related 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
• 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.

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:

• clearly outline structure using headings for each section with descriptive points for each element, for example, click enters on beats 2 and 4, providing a rhythmic layer
• provide clear descriptions of layers and instruments, using specific terminology, for example, male tenor vocal in the mid-range
• structure the response in a logical and planned way, for example, using headings such as Intro, Verse and Pre-chorus to refer to sections of the excerpt
• use relevant musical terminology to articulate a response, for example, melisma, syncopated rhythms, call and response, absence of metre, counter-melody, vocal echoing
• incorporate meaningful notation, such as labelled graphs and diagrams, and clearly described rhythmic or melodic patterns
• identify key features in each section, such as instrumentation, melodic ideas, textural layers, as well as rhythmic elements, vocal techniques and textural changes.

Areas for students to improve include:

• labelling and explaining diagrams or graphs rather than just listing instruments or observations
• focusing on detailed descriptions for each section, for example, the ways that texture and tone colour builds the structure
• developing consistency in responding by making relevant observations and providing justification for claims
• providing specific analytical points about the music and avoiding narrative or story-like responses
• expanding single-word responses with explanations to build depth in the analysis
• completing responses fully within the allocated time, especially when the musical excerpt is short in length.

Question 2

In better responses, students were able to:

• use correct musical language to explain the use of pitch in the excerpt, for example, the identification of dissonance between layers of sound
• articulate the relationship between pitch devices, such as pedal point, and the roles these play in the creation of tension in the excerpt
• articulate a variety of rhythmic devices, such as diminution and augmentation, and the ways these create tension in the excerpt
• use clear diagrams showing rhythm patterns and/or pitch range of the layers of performing media.

Areas for students to improve include:

• addressing the use of tension in the musical excerpt
• writing responses referring to two concepts or elements of music in the excerpt
• responding with reference to concepts or elements other than duration or pitch, such as dynamics or tone colour
• providing clear diagrams, including labels, that link to the written response
• using detailed and varied language with reference to pitch and duration and going beyond ‘high’ and ‘low’ pitch and ‘long’ and ‘short’ duration.

Question 3

In better responses, students were able to:

• explain the different ways dynamics are achieved, such as through texture building or thinning
• refer to a range of musical concepts or elements in their answers, while specifically addressing dynamics and expressive techniques, to explain the use of variety in the excerpt
• use appropriate terminology wherever possible, for example, SATB choir, section A, and ostinato
• use diagrams that illustrate the dynamic progression in the excerpt.

Areas for students to improve include:

• developing an understanding of different vocal techniques that impact dynamics and expressive techniques, such as belting, accent, legato, and vibrato
• maintaining focus on the main concepts or elements when answering the question, for example, discussing pitch and duration whilst referencing dynamics and expressive techniques
• understanding variety as it relates to change or development in the excerpt including explicit use of variety with reference to musical examples, and not relying on implicit references
• using precise musical terminology rather than general language like 'louder', 'quieter', 'short', 'smooth', or general descriptions such as 'abrasive brass stabs'
• using appropriate terminology that suits the style, for example, ‘choral’, ‘chorus’, ‘vocal ostinato’ and avoiding terms that suit contemporary or popular styles, such as 'BV' for backing vocals, 'riff' and ‘motif’
• distinguishing between 'ascending' and 'descending' and 'crescendo' and 'decrescendo' when describing dynamic and expressive changes
• creating diagrams that clarify and support the response, including labels where appropriate.

Question 4

In better responses, students were able to:

• connect other musical concepts to their discussions of tone colour and texture, providing a more comprehensive analysis, and including notation where necessary
• provide specific details on how the texture changed across each section, for example, noting that the chorus was the densest section due to the addition of all layers
• use precise tone colour descriptors, such as ‘raspy,’ 'palm muting’ or electronic effects
• clearly link texture and tone colour and their relationship
• describe the specific roles of each instrument and link these roles to other musical concepts where relevant
• use correct music terminology consistently, enhancing clarity and precision
• explain the relationship between musical layers, identifying patterns such as call and response or unison
• communicate how texture evolved across the sections, showing progression and its effect on the piece
• outline in detail how texture and tone colour were used, supported by relevant, specific examples that reflected a high level of aural skills
• analyse the layers in depth, comparing them and describing how they developed with each section.

Areas for students to improve include:

• labelling and explaining diagrams to clarify instrument roles and relationships
• directly answering the specific concepts asked in the question
• using accurate texture terminology, such as ‘homophonic,’ to improve precision
• ensuring point-form responses are descriptive, focusing specifically on texture and tone colour
• linking other music concepts, like structure, when describing changes in instrument roles to provide context
• avoiding general statements about instruments or the sound of the music, and instead describing specific actions in relation to texture and tone colour rather than personal emotional responses
• moving beyond generalised texture comments, such as ‘thin’ or ‘thick,’ to make detailed observations about individual layers.