2022 CCEA GCSE Music 7010 模拟试题及答案详解

The fourth movement of Berlioz's Symphonie Fantastique is titled 'Marche au supplice' (March to the Scaffold).
Final answer: 'Marche au supplice' (March to the Scaffold).

Correct answer — 'Marche au supplice'/March to the Scaffold [1].

The dramatic fanfare figures in this movement are provided by the brass family (e.g. trumpets, horns, trombones).
Final answer: brass.

Correct answer — brass [1].

The ominous, march-like character at the opening is established largely by the percussion family, including timpani and bass drum.
Final answer: percussion (timpani/bass drum).

Correct answer — percussion, referencing timpani/bass drum [1].

This type of ensemble takes its name from the fife, a small, high-pitched transverse flute.
Final answer: fife.

Correct answer — fife [1].

A piece made up of several short tunes joined together and performed without a break between them is called a medley.
Final answer: medley.

Correct answer — medley [1].

A fife and drum band typically includes a side drum (snare drum), which provides a steady marching pulse underneath the fife melody.
Final answer: side drum (snare drum).

Correct answer — side drum/snare drum [1].

Music composed specifically to accompany the action, dialogue or mood of a film is known as the underscore (or film score/incidental music).
Final answer: underscore (film score).

Correct answer — underscore/film score/incidental music [1].

Film composers often use a solo, intimate-sounding instrument, such as solo piano or solo violin, to represent a young or vulnerable character in a gentle underscore cue, since a single melodic line can suggest fragility or innocence more effectively than the full orchestra.
Final answer: e.g. solo piano.

Any one valid solo instrument [1].

A recurring musical idea associated with a particular character, place or idea throughout a film score is called a leitmotif.
Final answer: leitmotif.

Correct answer — leitmotif (recurring theme/motif) [1].

A typical guitar-based rock band, such as Ash, is built around: electric guitar(s), bass guitar, drum kit, and (lead/backing) vocals.
Final answer: electric guitar, bass guitar, drum kit, vocals.

Correct identification of the main instrumental/vocal roles (accept any clearly correct combination) [1].

This section, which contains the song's main hook and is repeated with the same lyrics each time, is called the chorus.
Final answer: chorus.

Correct answer — chorus [1].

A short, repeated melodic or rhythmic pattern, often played on guitar, is called a riff.
Final answer: riff.

Correct answer — riff [1].

Comparing the printed version (C4, E4, A4, F4) with the original (C4, E4, G4, F4) note by note: the first note (C4), second note (E4) and fourth note (F4) all match; the third note differs — it is printed as A4 but should be G4.
Final answer: the third note (A4) is incorrect; it should be G4.

Correct identification of the altered note (the third note) [1]; correct statement of the note it should be changed to (G4) [1].

The ornament commonly used by fife players in traditional tunes is a grace note (a short, quick auxiliary note decorating the main melody note).
Final answer: grace note.

Correct answer — B (grace note) [1].

Film composers typically build tension towards a dramatic moment using a gradual crescendo (a steadily increasing dynamic level), rather than a sudden or constant dynamic.
Final answer: gradual crescendo.

Correct answer — C (gradual crescendo) [1].

The introduction to 'Burn Baby Burn' is built around a driving, distorted electric guitar riff, which establishes the song's up-tempo rock character from the outset. The drum kit and bass guitar then join, reinforcing a strong, energetic rhythmic pulse and adding to the building sense of momentum and drive. This instrumental build-up establishes the song's high energy level before the lead vocal enters with the opening verse.
Final answer: a distorted electric guitar riff, joined by bass and drums, builds a driving, energetic rock groove before the vocal entry.

Any four valid, distinct descriptive points about the instrumentation and/or build-up of the introduction (e.g. distorted guitar riff; bass guitar entry; drum kit entry/rhythmic drive; overall energetic build before vocal entry) [1 mark each, max 4].

Berlioz creates a menacing, march-like atmosphere at the opening through features such as: quiet, low pizzicato notes in the strings/double basses; and soft but ominous timpani strokes establishing a steady, march-like tempo and pulse, gradually building tension before the full orchestra enters with the dramatic march theme.
Final answer: any two valid features, e.g. pizzicato strings and quiet timpani establishing a steady march pulse.

Any two valid orchestrational features [1 mark each, max 2].

Typical features of a fife and drum band medley include: a bright, high-pitched, often highly ornamented melody carried by the fifes; and a steady, driving drum accompaniment (e.g. side drums) that maintains a strict, regular march tempo throughout, giving the music its energetic, processional character.
Final answer: any two valid features, e.g. bright ornamented fife melody and steady march-tempo drum accompaniment.

Any two valid features [1 mark each, max 2].

Techniques a film composer might use to reflect emotional vulnerability include: writing for a solo, intimate-sounding instrument (such as solo piano or solo strings) playing a simple, lyrical melody, rather than the full orchestra; and using a slow tempo, sparse orchestral texture and soft dynamics, avoiding bold or aggressive instrumentation, to create a gentle, reflective mood.
Final answer: any two valid techniques, e.g. solo instrument with a simple melody, and slow tempo/soft dynamics/sparse texture.

Any two valid techniques [1 mark each, max 2].

Vocal style features typical of an up-tempo pop-rock song of this kind include: an energetic, rhythmically driven vocal delivery that matches the drive of the instrumental accompaniment; and the use of close vocal harmonies or layered backing vocals, particularly to reinforce the catchy melodic hook of the chorus.
Final answer: any two valid features, e.g. energetic rhythmic delivery and harmonised backing vocals on the chorus.

Any two valid features [1 mark each, max 2].

The clear, symmetrical, balanced phrase structure and the use of Alberti bass accompaniment are both strongly associated with the Classical period.
Final answer: Classical period.

Correct answer — Classical period [1].

This broken-chord accompaniment pattern is called an Alberti bass.
Final answer: Alberti bass.

Correct answer — Alberti bass [1].

A jig is typically written and performed in compound duple time, 6/8.
Final answer: 6/8.

Correct answer — 6/8 [1].

The melody is stated at the start of the extract by the solo tin whistle.
Final answer: tin whistle.

Correct answer — tin whistle [1].

A short, repeated melodic or rhythmic pattern, such as this string figure, is called an ostinato.
Final answer: ostinato.

Correct answer — ostinato [1].

A long, sustained note held underneath changing harmony or texture, such as this low brass note, is called a pedal note (pedal point).
Final answer: pedal note (pedal point).

Correct answer — pedal note/pedal point [1].

The string ostinato at the opening is based on a minor scale. A minor scale produces intervals (particularly the minor third) that give a darker, more unsettled harmonic quality than a major scale, and is conventionally used by film composers to signal tension, threat or negative emotion to the audience, contributing strongly to the extract's menacing, uneasy mood from the outset.
Final answer: minor; its darker harmonic quality is conventionally associated with tension/threat, reinforcing the menacing mood.

Correct answer — minor [1]; correct explanation of how the minor scale contributes to the tense/menacing mood [1].

This combination of synthesizer bassline, programmed drum machine and bright synth chords is most closely associated with the synth-pop style of the 1980s.
Final answer: the 1980s.

Correct answer — 1980s [1].

This drum pattern, where the snare (or drum machine equivalent) is emphasised on beats 2 and 4 of the bar, is called a backbeat. It is described this way because, in standard metre, beats 1 and 3 would normally be perceived as the strongest beats; by instead emphasising the 'weaker' beats 2 and 4, the backbeat creates a driving, syncopated feel that is characteristic of much pop, rock and dance music.
Final answer: backbeat; it emphasises the normally weaker beats (2 and 4) rather than beats 1 and 3, giving a driving, syncopated feel.

Correct term — backbeat [1]; correct explanation of why it is termed this way (emphasis on weaker beats 2 and 4) [1].

This extract most often uses terraced dynamics — sudden, stepped changes in dynamic level — rather than gradual crescendos/diminuendos.
Final answer: terraced dynamics.

Correct answer — B (terraced dynamics) [1].

When the accordion joins the tin whistle playing the same melody together, this creates a heterophonic (or unison) texture.
Final answer: heterophonic (unison).

Correct answer — B (heterophonic/unison) [1].

The single, loud, sharply accented chord at the climax is described as a sforzando chord.
Final answer: sforzando.

Correct answer — B (sforzando) [1].

The repeated, driving bassline throughout this extract is played by a synthesizer, not a conventional acoustic or electric bass instrument.
Final answer: synthesizer.

Correct answer — C (synthesizer) [1].

The extract begins with a single-line (monophonic) melody played by the solo tin whistle, at a moderate dynamic. As the accordion enters, playing the same melody alongside the whistle (in unison/heterophony), the texture thickens to two melodic lines moving together. The entry of the bodhrán then adds a percussive rhythmic layer underneath, marking the strong beats of the jig. As more instruments join together for the final repeat of the tune, the overall dynamic level increases, building to a fuller, louder texture than the opening.
Final answer: texture builds from a monophonic solo melody, to melody plus accordion (unison/heterophony), to melody plus accordion plus bodhrán, with the dynamic level increasing throughout to a fuller, louder final repeat.

Any four valid, distinct points describing the change in texture and/or dynamic across the extract (e.g. monophonic opening; accordion entry thickening texture; bodhrán adding rhythmic layer; overall dynamic increase/fuller final repeat) [1 mark each, max 4].

Tension is built through several techniques working together: the extract begins quietly (pianissimo) with a rapid, repeated string ostinato in a minor key and a sustained, menacing pedal note in the low brass, immediately establishing an uneasy atmosphere. As the chase progresses, both the tempo and the overall dynamic level gradually increase, and syncopated percussion hits are added, increasing the sense of rhythmic drive and urgency. This continuous build-up of pace, volume and rhythmic complexity culminates in a single, sudden, loud sforzando chord from the full orchestra at the moment the chase reaches its climax, immediately followed by a cut to silence, which provides a dramatic, sudden release of the accumulated tension.
Final answer: tension builds through a quiet, minor-key string ostinato and brass pedal note, a gradual increase in tempo/dynamics, and added syncopated percussion, culminating in one sudden loud sforzando chord followed by silence.

Any four valid, distinct points describing how tension is built (e.g. quiet ostinato/pedal note opening; gradual increase in tempo/dynamics; addition of syncopated percussion; climactic sforzando chord followed by silence) [1 mark each, max 4].

The lead vocal is supported by a layered synth-pop accompaniment texture: a repeated, driving synthesizer bassline provides the rhythmic and harmonic foundation of the four-chord progression; a drum machine adds a steady, programmed backbeat rhythm underneath; bright synthesizer chords fill out the harmony above the bassline; and a synthesized string-pad sound doubles or supports the vocal melody at points, adding a smoother, sustained textural layer.
Final answer: layered accompaniment of synth bassline (harmonic/rhythmic foundation), drum machine backbeat, synth chords (harmony), and string-pad doubling the vocal — any three or more valid, distinct layers.

Any four valid, distinct points describing instrumental layers in the accompaniment texture (e.g. synth bassline; drum machine backbeat; synth chords; string-pad doubling vocal) [1 mark each, max 4].

This extract's melody is built from two clearly balanced, symmetrical four-bar phrases (an antecedent phrase 'asking a question', answered by a consequent phrase), which is a hallmark of Classical-period melodic writing. By contrast, melodic material in the Baroque period (e.g. a fugue subject, or a ritornello theme) is typically more continuous and 'spun-out', built from irregular phrase lengths and continuous development of short motifs, rather than the clear-cut, symmetrical phrase pairs typical of the Classical style.
Final answer: the Classical-style melody here is built from balanced, symmetrical phrases, unlike the more continuous, irregular phrase structure typical of Baroque melodic writing.

Correct description of this extract's phrase structure (balanced/symmetrical) [1]; correct description of typical Baroque phrase structure (continuous/irregular/spun-out) [1]; correct, clearly stated point of difference/comparison [1].

Indicative content:
Melody:
• The main theme is bold and heroic in character, built from strong, wide ascending leaps that give it a triumphant, larger-than-life quality.
• The opening gesture has a fanfare-like quality, immediately establishing a sense of grandeur and heroism appropriate to the character of Superman.
• The melody is highly memorable and singable, constructed so that it can be easily recognised and recalled by the audience whenever it recurs in the film.
• A more lyrical, contrasting melodic idea appears in a middle section, offering a gentler, more tender contrast to the bold main theme.
Instrumentation and Timbre:
• The piece is scored for a full symphony orchestra, giving it a rich, powerful, cinematic sound.
• The brass section (trumpets, horns, trombones) is used prominently to state the main heroic theme, giving it a bright, bold, triumphant timbre.
• The strings provide rich harmonic support and, in places, play the more lyrical secondary melodic material.
• Timpani and other percussion reinforce the strong, march-like pulse, adding weight, energy and grandeur to the fanfare-like opening and climactic moments.
Structure:
• The piece opens with a bold, fanfare-like introduction that immediately establishes the heroic character of the main theme.
• The main theme is stated by the brass, in a march-like tempo with a strong, driving pulse throughout.
• A contrasting, more lyrical middle section provides a change of mood, often featuring the strings, before the music returns to material based on the opening.
• The opening heroic theme returns towards the end (a broadly ternary-like, 'theme returns' structure), building to a big, triumphant orchestral conclusion typical of John Williams's grand, symphonic film-scoring style.
Final answer: a well-organised account covering the bold, leaping, memorable main theme with a contrasting lyrical idea (melody); the full orchestra with prominent heroic brass, supportive strings and percussion reinforcing the march-like pulse (instrumentation/timbre); and the fanfare opening, brass-led main theme, contrasting middle section and triumphant return of the opening material (structure) — with at least four valid, distinct points made for each of the three elements.

Level 4 (10–12 marks): Four (or more) valid, well-explained points made for each of the three elements (melody, instrumentation/timbre, structure), showing excellent, detailed knowledge of the set work and highly accurate use of specialist musical vocabulary; the response is clearly organised and coherent.
Level 3 (7–9 marks): At least three valid points made for most of the three elements, showing good knowledge of the set work and appropriate use of specialist musical vocabulary; the response is reasonably well organised.
Level 2 (4–6 marks): At least two valid points made for some of the three elements, showing satisfactory knowledge of the set work and some use of basic specialist musical vocabulary; the response shows some organisation.
Level 1 (1–3 marks): At least one valid point made, showing limited knowledge of the set work and limited use of specialist musical vocabulary; the response may lack clear organisation.
Level 0 (0 marks): No creditworthy content.