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Pearson Edexcel Level 3 GCE MUSIC Advanced COMPONENT 3: Appraising QP JUNE 2024 $12.99   Add to cart

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Pearson Edexcel Level 3 GCE MUSIC Advanced COMPONENT 3: Appraising QP JUNE 2024

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Pearson Edexcel Level 3 GCE MUSIC Advanced COMPONENT 3: Appraising QP JUNE 2024

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Pearson Edexcel Level 3 GCE
Monday 10 June 2024
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reference 9MU0/03
Music 🞍 🞍


Advanced
COMPONENT 3: Appraising

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Pearson Edexcel Level 3 GCE MUSIC Advanced COMPONENT 3: Appraising QP JUNE 2024
Instructions
• Use black ink or ball-point pen. You may use pencil for rough work in Question 4.
• Fill in the boxes at the top of this page with your name, centre number and
candidate number.
• Answer all questions in Section A. In Section B answer Question 5 and either
Question 6(a) or 6(b) or 6(c) or 6(d).
• Answer the questions in the spaces provided
– there may be more space than you need.

Information
• The total mark for this paper is 100.
• The marks for each question are shown in brackets
– use this as a guide as to how much time to spend on each question.

Advice

•• Read each question carefully before you start to answer it.
Check your answers if you have time at the end.
• You may listen to excerpts as many times as you wish.
• yourareanswers.
You reminded of the importance of clear and orderly presentation in


Turn over


P75875A
©2024 Pearson Education Ltd.
F:1/1/1/1/1/1/1/1/1

, SECTION A
Answer ALL questions. Write your answers in the spaces provided.




DO NOT WRITE IN THIS AREA
Some questions must be answered with a cross in a box . If you change your mind about an
answer, put a line through the box and then mark your new answer with a cross .

1 Berlioz, Symphonie Fantastique: Movement I
Listen to Track 1 and refer to Excerpt 1 in the Resource Booklet.
(a) Identify three features of the harmony and texture in bar 1.
(3)

A Diminished 7th chord

B Dominant 7th chord
C Homophonic

D Imitation

E Octaves




DO NOT WRITE IN THIS AREA
F Polyphonic
G Suspension

(b) Identify the chord heard at bar 4 beats 1 to 2.
(1)

. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . . . .. . .. . .. . ... . . .. . .. . .


(c) Identify the two melodic intervals heard in the 1st violin part.
(2)
(i) Bar 5 beats 1 to 2

. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . . . .. . .. . .. . ... . . .. . .. . .


(ii) Bar 5 beats 2 to 3 DO NOT WRITE IN THIS AREA

. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . . . .. . .. . .. . ... . . .. . .. . .


(d) Identify the cadence heard at bars 9 to 10.
(1)

. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . . . .. . .. . .. . ... . . .. . .. . .


(e) Identify the cadence heard at bars 17 to 18.
(1)

. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . . . .. . .. . .. . ... . . .. . .. . .




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, (f) ) Explain how the composer creates sadness and uncertainty in bar
23. (3)
DO NOT WRITE IN THIS AREA




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(g) Describe how the excerpt is typical of music from the Romantic period.
(3)

. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . . . . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . . .. . .. . ... . . .. . .. . .. .



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DO NOT WRITE IN THIS AREA




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(Total for Question 1 = 14 marks)
DO NOT WRITE IN THIS AREA




3
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, 2 Elfman, Batman Returns: Batman vs the Circus
Listen to Track 2 and refer to Excerpt 2 in the Resource Booklet.




DO NOT WRITE IN THIS AREA
(a) Explain how the composer creates suspense in bars 1 to 3.
(4)

. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . . . . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . . .. . .. . ... . . .. . .. . .. .



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(b) Identify the melodic interval heard in the trumpet part in bar 4 beats 1 to 2.
(1)

. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . . . .. . .. . .. . ... . . .. . .. . .




DO NOT WRITE IN THIS AREA
(c) Explain how the composer creates surprise at bar 7.
(3)

. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . . . . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . . .. . .. . ... . . .. . .. . .. .



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(d) Describe the rhythm at bars 13 to 17.
(3)

. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . . . . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . . .. . .. . ... . . .. . .. . .. .



. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . . . . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. .. . . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . .. . . .. . .. . ... . . .. . .. . .. .
DO NOT WRITE IN THIS AREA


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