Music 2 2022 HSC exam pack

Students should:

• choose repertoire that is appropriate to their level of technical ability
• ensure accuracy of intonation by tuning carefully and checking between performances
• practice performing on a regular basis in the exam venue, where possible
• ensure balance and positioning in relation to the markers is checked prior to the exam.

In better performances, students were able to:

• convey and sustain stylistic understanding and personal expression
• choose repertoire to highlight their practical strengths
• present programs that demonstrate balance and communication between the accompanist and/or ensemble
• consider stamina and changes when establishing the order of pieces.

Areas for students to improve include:

• selecting repertoire that reveals technical strengths and musical understanding at a highly developed level
• preparing performances that avoid repetitive interpretation
• pre-planning of sound checks and consideration of the examiners’ position in the space.

Sight singing

Students should:

• decide where in their program they want to complete the sight singing
• know in advance whether they want to read the treble or bass clef melody
• use the two-minute preparation time effectively, including vocalisation.

In better performances, students were able to:

• establish the tonality and sing confidently
• give attention to difficult intervals and passages to ensure accurate pitch
• retain tonal centre and choose an appropriate tempo
• keep a pulse to ensure fluency of metre.

Areas for students to improve include:

• practising past sight singing examples
• singing the major or minor scale, including modal variants
• identifying and working through difficult intervallic passages, both ascending and descending
• practising singing in a variety of metres and rhythmic vocabulary.

Core

In better responses, students were able to:

• develop and sustain musical ideas adhering to the chosen style
• successfully explore and develop musical ideas, use interplay between parts/voices and create smooth transitions between sections
• write idiomatically for chosen sound sources and provide appropriate performer directions and articulation markings
• explore textural variety and provide interest through melodic, harmonic and rhythmic compositional devices.

Areas for students to improve include:

• considering compositions are playable by the chosen performing media
• developing and extending musical ideas as a focus for the use of compositional techniques such as repetition and textural layering
• using extended techniques demonstrating stylistic awareness of the mandatory topic
• reviewing scores prior to submission to ensure adherence to score conventions and performance directions.

Elective

In better responses, students were able to:

• display idiomatic writing for performing media connected to a broad range of listening experiences
• use the features of musical style applicable to the chosen topic as a stimulus for original ideas
• employ a holistic use of the musical concepts, including dynamics and articulations
• demonstrate balance in both structure and part-writing
• develop ideas displaying structural cohesion through seamless transitions in modulation sections and/or time signatures.

Areas for students to improve include:

• utilising A4 portrait orientation when using composition software
• having a focus on musical material in programmatic works
• ensuring the chosen performing media can play what is written
• composing a well-structured work fitting within the time limit and stylistically representing the chosen topic.

In better responses, students were able to:

• use correct and concise musical language referring to score extracts accurately
• remain focused on musicological observations, writing in a clear context demonstrating developed analytical skills
• choose a narrow focus that enables detailed observations
• structure the extended response demonstrating understanding of the chosen topic.

Areas for students to improve include:

• choosing a musicological focus that is not reliant on historical, biographical and/or programmatic content
• checking sources carefully and making sure footnotes and bibliographies are accurate
• annotating and labelling the score and audio examples to ensure links to the musicological focus are clear.

Students should:

• read the question carefully to ensure important components are not missed
• have a clear understanding of key words in the question and recognise the intent and its requirements
• develop a plan for an extended response assisting with the logical sequencing of information
• use relevant concepts and terms, where appropriate
• present a logical and cohesive response addressing the question
• engage with any aural and visual stimulus material provided and refer to it in the response
• review the response ensuring it addresses the question requirements
• practice and develop skills in melodic dictation.

Question 1

In better responses students were able to:

• outline both dynamic and expressive techniques with specific reference to the score (a)
• describe pitch, particularly pitch patterns and repetition, considering the implications of the natural harmonics evident in the excerpt (b)
• explain all uses of duration, referencing performing media and using notation to provide clarity (c).

Areas for students to improve include:

• using terminology that is connected to musical concepts
• providing specific score reference, for example, bar numbers and instrument names
• articulating music concepts in response to aural and visual stimuli.

Question 2

In better responses, students were able to:

• notate the pitch and rhythm of the played melody with accuracy using the bass clef (a)
• identify and notate the use of the tonic and dominant relationship between bar 1-2, bar 4–5 and bar 8–9 (a)
• correctly identify and notate large and small intervals within the melody (a)
• make connections between the instruments, how their sound was produced and the effect this has on the structure and textures of the excerpt (b)
• use authentic tone colour descriptions linked to the sound of the instrument(s) (b).

Areas for students to improve include:

• recognising the different lengths of notes played within the melody, for example, bar 5 (a)
• differentiating between scalic movement in melodies and larger intervals including 3rds and 4ths (a)
• being aware of a broader vocabulary to describe the treatment of instruments in different musical styles (b)
• understanding playing techniques used by composers in the given excerpt (b)
• articulating how tone colour changed in the excerpt, referencing using of instruments (b).

Question 3­­

In better responses, students were able to:

• use terms correctly with score references to effectively support statements (a, b)
• explain how a variety of compositional devices contributed to the musical interest, focusing on tension, release and contrast (b)
• correctly identify textural terms and support these with specific reference to the score using bar numbers and vocal registers (a)
• draw on a range of musical concepts to explain musical interest (b).

Areas for students to improve include:

• using evidence to support statements about musical interest (b)
• identifying score references that connect to the source of musical interest in the excerpt (b)
• using accurate terms to identify rhythmic devices (a)
• accurately identifying chord structures and key signatures relating to harmonic progressions and relationships (b).

Question 4

In better responses, students were able to:

• respond to the question with reference to cultural contexts demonstrating conceptual detail and link this understanding to appropriate musical features and examples
• support musical statements with well-chosen quotes and/or musical descriptions
• present an organised response with clear knowledge and depth of understanding of the question with appropriately chosen concepts of music
• sustain depth, using musical terminology, to show a detailed discussion of two mandatory topic works.

Areas for students to improve include:

• providing an explicit reference to the question and selecting relevant concepts from appropriate works for discussion
• avoiding generalisations and broad statements which result in a loss of depth and detail of the musical analysis
• relating the musical examples to features of cultural contexts, rather than discussions about programmatic elements or titles of the chosen works
• providing relevant quotes and/or musical observations in addressing the question
• balancing the discussion of two works with appropriate detail of both works.