*Discuss each element of the unfamiliar work in turn, beginning with those which you can describe most effectively / those which are most relevant. For example:
1. Use of instruments and technology
2. Melody
3. Tempo Rhythm and Metre
4. Texture
5. Tonality and harmony
6. Structure (if possible)
*For each feature identified in the unfamiliar work:
a) Describe and contextualise
Describe: using musical vocabulary identify/describe the feature relating to the element of music
Contextualise: comment ‘…which is typical/atypical/advanced/conservative for that period/genre/style’
b) Effect
Comment ‘The effect of this is to…’ Describe the effect / composer’s intended effect of this feature on the music.
c) Comparison
Comment ‘This is similar to/different from X (composer & title) composed earlier/later/during the same/Baroque/Classical/Romantic period in which…’.
*You are encouraged to compare the unfamiliar work both with its related set work with other contrasting set works.
This piece of music for Piano Quintet was composed in the 1860s. Described as ‘at times anguished, at times demonic, at times tragic’, discuss how the elements of music are used by the composer to heighten the expressive qualities of this extract. Relate your discussion to other relevant works. These may include set works, wider listening or other music. (20 marks)
The following extract, unfamiliar listening extract 1, will be played as you answer the question above.
Discuss how this piece is a characteristic example of symphonic music of the early 19th century. Give musical reasons for your answer. Relate your discussion to other relevant works. These may include set works, wider listening or other music. (20 marks)
The following extract, unfamiliar listening extract 2, will be played as you answer the question above.
This song is a collaboration between artists influenced by a range of genres including hip hop and jazz. Discuss the evidence for this, referring to the artists’ use of the elements of music. Relate your discussion to other relevant works. These may include set works, wider listening or other music. (20 marks)
The following extract, unfamiliar listening extract 3, will be played as you answer the question above.
In this song the artist uses early digital technology to combine synthesised sounds with those created by traditional acoustic and electric instruments. Discuss how the artist’s use of the elements of music is characteristic of experimental popular music of the 1980s. Relate your discussion to other relevant works. These may include set works, wider listening or other music. (20 marks)
The following extract, unfamiliar listening extract 4, will be played as you answer the question above.
This song was released in the 1960s at a time when British popular music moved beyond imitating American Rock and Roll to develop its own distinctive sound. Discuss the artists' use of the musical elements in this song, and how they combine to create its distinctive sound. Relate your discussion to other relevant works. These may include set works, wider listening or other music. (20 marks)
The following extract, unfamiliar listening extract 5, will be played as you answer the question above.
The title of this work composed in 1953 is ambiguous, and can be translated both as ‘counterpoint’ and as ‘counter-action’. Describe how the composer uses the musical elements to create music which reacts against earlier styles and traditions. (20 marks)
The following extract, unfamiliar listening extract 6, will be played as you answer the question above.
In 1943 the composer of this work introduced his audiences to new and unfamiliar sounds inspired by the folk music of his homeland. Describe how the composer uses the elements of music to compose a piece typical of other 20th Century orchestral works. (20 marks)
The following extract, unfamiliar listening extract 6, will be played as you answer the question above.
*Whilst no compulsory time-length is given to complete Q5, the examiner recommends that candidates spend at least 70 minutes on Section B, which could be a minimum of 30 minutes on Q5 and 40 minutes on Q6.
*Q5 states, "Relate your discussion to other relevant works which may include set works and other music." It is a requirement of the question to write about examples of other music and this should occur frequently throughout the essay.
*The indicative content mark scheme is large and examiners are not expecting candidates to cover everything on the mark scheme. It would not be possible in the time allowed and candidates would not be able to create a meaningful discussion. Marking takes place using the levels-based mark scheme and never by adding up points.
The most successful essays:
*Are planned on the first page of Q5, considering each element in turn, for example: Melody, Harmony, Tonality, Structure, Sonority, Texture, Tempo, Metre and Rhythm, Dynamics.
*Use the eight (sic) musical elements as a check list.
*Make observations with use of technical musical vocabulary
*Explain the musical effect of that feature
*Link the musical feature to a specific relevant work (composer, title, movement if applicable) and explain how it is used in the linked piece, showing knowledge of that piece.
*Demonstrate a wide and interesting variety of other relevant works.
*Create a discussion by explaining how each musical feature links to the question and to other works as well as fulfilling the composers’ intentions.
*Organise each element into a paragraph, identifying the most important one or two musical observations to be made about each.
*Recognise that some elements will be of more musical interest than others and discuss those elements in more detail.
The least successful essays:
*Approach the essay by giving an account in chronological order
*This often leads to a pattern of repetition or omission of particular musical elements.
*Unnecessarily relate features to timings on the audio track.