Music 1 2025 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
• ensure the positioning of the markers has been considered when checking the balance of sound
• tune instruments carefully and check equipment before 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 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 a deeper understanding of style, rather than imitating 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
• present well-rehearsed repertoire that highlights solo skills and/or ensemble interaction.

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
• 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 has the solo part removed or muted
• 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 change in ensemble membership requiring a specific section of a piece to be checked where balance and volume levels may be an issue for both performer and examiner
• considering issues such as balance and blend in the ensemble mix, for example, being able to clearly hear the soloist in an ensemble presentation
• developing a strong understanding of the topics when considering repertoire choices, for example, a piece by Franz Liszt is best represented by the topic ‘Music of the 19th Century’
• 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 straightforward 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
• present a coherent, comprehensive score that successfully represents the chosen topic and includes, for example, effective transitions, unity and contrast.

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
• displaying evidence of musical understanding, stylistic intent and originality, rather than relying on imported or generated material copied directly into the composition without adaptation
• 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, such as a well-paced discussion that shows 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 range of edited musical excerpts, within the time given and in detail, including explanation of each musical excerpt prior to playing the audio example
• 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 speech, a 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 to 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 any unwanted material such as online advertising is removed to avoid encroaching on the allocated exam 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
• using the summary sheet effectively and as a guide for the discussion, for example, one prepared by the student that matches their understanding and can confidently be referred to in a discussion forum
• presenting a summary sheet with discussion points that can be expanded upon, as opposed to an overly dense summary sheet that is difficult to navigate or refer to
• being prepared for questioning and discussion that leads to an effective conclusion by practising the viva(s) with a range of people.

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 applicable, 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:

• address the question directly by explaining how variety was achieved, rather than simply describing where change occurred
• structure their response clearly using section headings, such as ‘Intro, Verse, Pre-chorus, Chorus’, with detailed observations for each
• use accurate and relevant musical terminology to describe features of variety, for example, increase in textural density, descending melodic contour, crescendo, syncopated rhythm, head voice, and belting
• provide specific examples with section or bar references, for example, in the pre-chorus, the hi-hat enters with a syncopated rhythm, creating rhythmic variety and driving the music forward
• describe instrumental roles and how they change to create variety, for example, the acoustic guitar maintains a rhythmic and harmonic role through fast strumming, while the electric guitar introduces arpeggiated chords for tonal contrast
• demonstrate understanding of how the concepts of music interrelate, linking changes in texture, pitch, and dynamics to overall variety
• identify expressive techniques, such as vocal tone colour shifts, ornamentation, vocal flips, and use of head and chest voice, to show contrast across sections
• identify the direction and register of melodic lines accurately, for example, the pre-chorus melody sits in a lower register, contrasting the higher range of the chorus
• use correctly labelled graphic or traditional notation to illustrate features, such as structure, texture, rhythmic patterns or dynamic variation
• describe the changing tone colours and layering throughout the excerpt, noting the introduction of additional instruments or backing vocals and their effect on variety.

Areas for students to improve include:

• providing explanations for how the musical features create variety, rather than listing changes, for example, extending ‘the drums come in’ to ‘the entry of drums adds rhythmic drive and increases textural density’
• ensuring music terminology is used correctly and with relevance, for example, fast tempo, rather than high tempo
• using technical language and maintaining analytical focus on musical techniques and their effect
• identifying and labelling instrumental layers and texture accurately, avoiding confusion between polyphony and increased textural density
• ensuring diagrams and graphic notation are relevant, clearly labelled, and supported by written explanation
• expanding brief or superficial statements by including evidence and explanation drawn from the excerpt
• maintaining a clear and logical structure that refers directly to the sections of the excerpt and the concept of variety
• differentiating between similar concepts, such as tempo and metre or texture and density, to demonstrate deeper understanding.

Question 2

In better responses, students were able to:

• expand on their ideas to demonstrate understanding of how musical features were used, for example, drum enters in the chorus, then vocals change to rapping
• support the discussion with accurate musical notation, particularly when describing the drum lines and rhythmic ideas, for example, accurately notating the example of a shuffle rhythm pattern
• present responses in a logical, cohesive structure that links concepts effectively
• refer to multiple concepts of music and correctly support ideas with appropriate instruments and/or sound sources
• refer to the similarities and differences of both excerpts and compare the same observations across both pieces, for example, the tempo and time signatures
• support their comparison with clear and correct notation, use music terminology correctly, and discuss a range of musical concepts in the comparison.

Areas for students to improve include:

• analysing musical features, rather than describing the meaning of lyrics
• writing responses that address similarities and differences in a coherent way
• explaining characteristics that align with an identified style in the response.

Question 3

In better responses, students were able to:

• relate style to aural observations cohesively, explaining cause and effect between musical features and stylistic characteristics
• reference multiple concepts of music in an integrated and well-structured response, either chronologically or by musical concept
• present responses neatly and legibly, showing clear organisation of ideas
• maintain logical sequencing and cohesion, linking each observation to the question focus
• demonstrate a clear understanding of style through accurate discussion of at least two concepts of music
• apply precise musical and jazz-specific terminology, for example, swing rhythm, walking bass, glissando, lip trills, bends, rather than generalised terms like ‘ornaments’
• support all observations with relevant musical evidence drawn directly from the excerpt
• identify instruments and their roles within the texture correctly
• include clearly labelled graphs, notation, or diagrams to demonstrate understanding of structure and features.

Areas for students to improve include:

• using clearly articulated expression in a structured response
• ensuring observations are based on analysis of the excerpt, with reference to style
• referring to the chosen excerpt in the response, as opposed to other popular versions or covers of the song that are not part of the question
• discussing musical observations relevant to the question and the piece
• ensuring diagrams are labelled, referenced, and aligned with points in the response.

Question 4

In better responses, students were able to:

• address all components of the question, including the roles of the performing media, their relationships to structure, and the interaction of other concepts of music
• demonstrate a clear understanding of the key word ‘describe’, using accurate and relevant musical terminology
• explain in detail the roles of each performing medium, showing how they contributed to the overall texture and structure of the excerpt
• present their ideas in a coherent, logically structured format, often using headings, tables, or diagrams to organise their observations effectively
• identify the structure of the piece accurately, noting repetitions, contrasting sections, and textural changes
• support their discussion with specific musical evidence, including notation or labelled diagrams where applicable
• incorporate other relevant concepts of music such as pitch, duration, rhythmic devices, expressive techniques, and tone colour to enhance the depth of their analysis
• make clear comparisons between sections, commenting on how the roles of the performing media changed across the piece
• distinguish between similar instrumental timbres, for example, timpani versus bongo drums, clarinet versus cor anglais, to show refined aural discrimination
• use graphics of standard notation and visual representations effectively, ensuring these are clearly labelled and directly linked to the written response
• maintain clarity and legibility throughout, demonstrating an organised and well-presented response.

Areas for students to improve include:

• addressing all aspects of the question when referring to roles, rather than focusing on one area such as instrumentation or structure
• applying an in-depth understanding of ‘performing media’, avoiding confusion with the broader concept of tone colour
• using tables, diagrams, and graphs purposefully, ensuring these are labelled clearly and integrated into the discussion
• describing how and why performing media change roles across sections, rather than simply listing instruments
• using correct musical terminology and avoiding paraphrasing the question or making unsupported generalisations
• articulating detailed observations about the use of performing media within the musical context, supported by relevant examples
• demonstrating a clearer understanding of textural change and its relationship to the structure and roles of the performing media.