Music For exams from June 2014 onwards For certification from June 2014 onwards 1 GCE Music for exams from June 2014 onwards (version 2.7) Contents 1 Introduction 2 1.1 Why choose AQA? 2 1.2 Why choose Music? 2 1.3 How do I start using this specifcation? 3 1.4 How can I fnd out more? 3 2 Specifcation at a Glance 4 3 Subject Content and Assessment Criteria 5 3.1 Unit 1 MUSC1 Infuences on Music 6 3.2 Unit 2 MUSC2 Creating Musical Ideas 8 3.3 Unit 3 MUSC3 Interpreting Musical Ideas 12 3.4 Unit 4 MUSC4 Music in Context 19 3.5 Unit 5 MUSC5 Developing Musical Ideas 21 3.6 Unit 6 MUSC6 A Musical Performance 25 4 Scheme of Assessment 31 4.1 Aims 31 4.2 Assessment Objectives 31 4.3 National Criteria 32 4.4 Prior Learning 32 4.5 Synoptic Assessment and Stretch and Challenge 32 4.6 Access to Assessment for Disabled Students 33 5 Administration 34 5.1 Availability of Assessment Units and Certifcation 34 5.2 Entries 34 5.3 Private Candidates 34 5.4 Access Arrangements and Special Consideration 35 5.5 Language of Examinations 35 5.6 Qualifcation Titles 35 5.7 Awarding Grades and Reporting Results 35 5.8 Re-sits and Shelf-life of Unit Results 35 6 Coursework Administration 36 6.1 Supervision and Authentication of Coursework 36 6.2 Malpractice 37 6.3 Teacher Standardisation 37 6.4 Internal Standardisation of Marking 37 6.5 Annotation of Coursework 38 6.6 Submitting Marks and Sample Work for Moderation 38 6.7 Factors Affecting Individual Candidates 38 6.8 Retaining Evidence and Re-using Marks 38 7 Moderation 39 7.1 Moderation Procedures 39 7.2 Post-moderation Procedures 39 Appendices 40 A Performance Descriptions 40 B Spiritual, Moral, Ethical, Social and other Issues 42 C Overlaps with other Qualifcations 43 D Key Skills 44
Vertical black lines indicate a signifcant change or addition to the previous version of this specifcation. 2 GCE Music for exams from June 2014 onwards (version 2.7) 1 Introduction 1 1.1 Why choose AQA? Its a fact that AQA is the UKs favourite exam board and more students receive their academic qualifcations from AQA than from any other board. But why does AQA continue to be so popular? Specifcations Ours are designed to the highest standards, so teachers, students and their parents can be confdent that an AQA award provides an accurate measure of a students achievements. And the assessment structures have been designed to achieve a balance between rigour, reliability and demands on candidates. Support AQA runs the most extensive programme of support meetings; free of charge in the frst years of a new specifcation and at a very reasonable cost thereafter. These support meetings explain the specifcation and suggest practical teaching strategies and approaches that really work. Service We are committed to providing an effcient and effective service and we are at the end of the phone when you need to speak to a person about an important issue. We will always try to resolve issues the frst time you contact us but, should that not be possible, we will always come back to you (by telephone, email or letter) and keep working with you to fnd the solution. Ethics AQA is a registered charity. We have no shareholders to pay. We exist solely for the good of education in the UK. Any surplus income is ploughed back into educational research and our service to you, our customers. We dont proft from education, you do. If you are an existing customer then we thank you for your support. If you are thinking of moving to AQA then we look forward to welcoming you. 1.2 Why choose Music? Our specifcation will provide candidates with the knowledge and experience required for all forms of further and higher education. It will give them understanding, and encourage appreciation, of all music genres in all contexts. We believe you will fnd the revised GCE Music specifcation is: Appealing Areas of Study chosen for their interest to all candidates and with much scope to use music technology Accessible easy to follow, with a choice of Areas of Study Approachable only one centre-assessed unit. In producing this specifcation we have conformed to specifed Subject Criteria and responded to teachers suggestions and requests by: increasing choices in composing submissions increasing choices in performing submissions reducing the assessment burden on teachers fve of the six units are externally assessed. Units 1 and 4 (written units) are similar in structure and format to those in our former GCE Music specifcation. They aim to build on the knowledge and skills candidates have gained through: GCSE performance qualifcations from other organisations their own experience. Units 2 and 5 (composing units) offer opportunities for candidates to: use music technology improvise present conventional submissions in staff notation acquire music techniques of the Western Classical Tradition. Units 3 and 6 (performance units) enable candidates to demonstrate their skills: as soloists in ensembles by performing on a second instrument by using music technology. We believe our revised GCE Music specifcation enables candidates to choose a path best suited to their needs. This could be within the music industry, academic study or for interest. It will give them a life-long enjoyment and understanding of music as a listener or performer, at any level. 3 GCE Music for exams from June 2014 onwards (version 2.7) 1 1.3 How do I start using this specifcation? Already using the existing AQA Music specifcation? Register to receive further information, such as mark schemes, past question papers, details of teacher support meetings, etc, at http://www.aqa.org.uk/rn/askaqa.php Information will be available electronically or in print, for your convenience. Tell us that you intend to enter candidates. Then we can make sure that you receive all the material you need for the examinations. This is particularly important where examination material is issued before the fnal entry deadline. You can let us know by completing the appropriate Intention to Enter and Estimated Entry forms. We will send copies to your Exams Offcer and they are also available on our website http://www.aqa.org.uk/admin/p_entries.html Not using the AQA specifcation currently? Almost all centres in England and Wales use AQA or have used AQA in the past and are approved AQA centres. A small minority are not. If your centre is new to AQA, please contact our centre approval team at centreapproval@aqa.org.uk Ask AQA You have 24-hour access to useful information and answers to the most commonly-asked questions at http://www.aqa.org.uk/rn/askaqa.php If the answer to your question is not available, you can submit a query for our team. Our target response time is one day. Teacher Support Details of the full range of current Teacher Support meetings are available on our website at http://www.aqa.org.uk/support/teachers.html There is also a link to our fast and convenient online booking system for Teacher Support meetings at http://events.aqa.org.uk/ebooking If you need to contact the Teacher Support team, you can call us on 01483 477860 or email us at teachersupport@aqa.org.uk 1.4 How can I fnd out more? 4 GCE Music for exams from June 2014 onwards (version 2.7) 2 Specifcation at a Glance 2 AS Examinations Unit 1 MUSC1 Infuences on Music 30% of AS, 15% of A Level 1 hour 45 minutes written examination 80 marks Available in June only Unit 2 MUSC2 Composing: Creating Musical Ideas 30% of AS, 15% of A Level Externally Assessed Coursework 60 marks Available in June only Unit 3 MUSC3 Performing: Interpreting Musical Ideas 40% of AS, 20% of A Level 1016 minutes Internally Assessed 80 marks Available in June only AS Award 1271 A2 Examinations Unit 4 MUSC4 Music in Context 20% of A Level 2 hours 15 minutes written examination 100 marks Available in June only Unit 5 MUSC5 Composing: Developing Musical Ideas 15% of A Level Externally Assessed Coursework 60 marks Available in June only Unit 6 MUSC6 Performing: A Musical Performance 15% of A Level 1015 minutes Externally Assessed 60 marks Available in June only A Level Award 2271 + AS A2 = A Level 5 GCE Music for exams from June 2014 onwards (version 2.7) 3 Subject Content and Assessment Criteria 3 Musical Language/Content The musical references made below form the basis for the exploration of all Areas of Study within AS and A2. The whole musical experience of the course both teaching and learning should be centred on them. Not all elements will apply universally and their selection and coverage will depend on the composers, contexts, traditions and works being studied. The organisation of sounds Form binary, ternary, fugue, passacaglia, ritornello rondo, arch-form, variations, minuet and trio sonata, sonata-rondo, scherzo and trio da capo aria, strophic, through-composed, cyclic Harmony diatonic, chromatic, functional, non-functional, harmonic rhythm consonant, dissonant essential/unessential notes, passing notes, auxiliary notes, acciaccaturas, appoggiaturas suspensions, false relation, pedal, drone cadences, tierce da Picardie identifcation of chords using Roman numerals (I, IVb, etc) or chord symbols, inversions, seventh chords, added note chords, diatonic and chromatic discords, note clusters, circle of ffths Instrumentation and Timbre instruments singly and in combinations, as found in concertos, symphonies, chamber groups, in jazz and pop music timbre, including the use of technology, synthesised and computer-generated sounds, sampling dynamics instrumental techniques including pizzicato, con arco, con sordino, staccato, spiccato, col legno, double-stopping Melody intervals, conjunct, disjunct, triadic, blue notes diatonic, chromatic, pentatonic, whole tone, note row augmentation, diminution, fragmentation, inversion, retrograde, sequence, motivic development slide/glissando/portamento, ornamentation ostinato, riff phrasing and articulation Rhythm and Metre pulse regular, irregular, additive, free rhythm, isorhythm, polyrhythms augmentation, diminution, hemiola, cross-rhythm, dotted rhythm tempo, rubato, accentuation Texture harmonic/homophonic, contrapuntal, polyphonic, heterophonic imitative, fugal, canonic, layered unison, octaves, single melody line, melody with accompaniment, antiphonal Tonality tonal, atonal, bitonal major, minor, modal, use and identifcation of key modulation The context of music Composer, Performer and Audience intention, use, purpose, stimulus patronage, commission technical/emotional demands amateur/professional, performance practice, interactive media interpretation, improvisation Occasion, Time and Place sacred/secular private/public, media, concert, live/recorded, internet performing conventions and resources opportunities for hearing the music then and now, why is this piece a product of its time? Musical styles and genres Styles for example Baroque, Classical, Early and Late Romantic, Nationalism, Impressionism, Neo-classicism, Serialism Genres for example oratorio, concerto grosso, opera, aria, chorus, concerto, symphony, chamber groupings, lied 6 GCE Music for exams from June 2014 onwards (version 2.7) 3 Candidates should acquire, explore and apply musical language and context by the consideration of two Areas of Study (AoS) from: AoS1 The Western Classical Tradition (compulsory) AoS2a Choral Music in the Baroque Period AoS2b Music Theatre: a study of the Musical from 1940 to 1980 AoS2c British Popular Music from 1960 to the present day. These AoS will be set by AQA. The focus of AoS1, and AoS 2ac, may change every three years. Through their exploration of two AoS and a set work, candidates will develop an understanding of: the organisation of sounds (form, harmony, instrumentation and timbre, melody, rhythm and metre, texture and tonality) the context of music (composer, performer and audience, occasion, time and place) musical styles and genres. Study will involve listening to music from within the two AoS, study of scores and gaining an awareness of the context in which the music was composed. Assessment will be by written paper with some questions using a CD of musical excerpts. The examination paper will last 1 hour 45 minutes and be marked by AQA examiners. The question paper will have three sections. Section A: Listening approximately 30 minutes This section will consist of structured listening questions with or without a score and will require responses covering some of the following: cadences perfect, plagal, imperfect, interrupted chord identifcation tonic, dominant, subdominant, dominant seventh in root position and 1st/2nd inversions, cadential 6/4 compositional techniques, e.g. sequence, pedal, imitation, canon, ostinato, riff technical terms, e.g. appoggiatura, passing note, note of anticipation completion of a diatonic melody tonality modulations to the dominant, subdominant, relative minor instrumentation those found in the standard symphony orchestra and in jazz and pop music, instrumental techniques including pizzicato, arco texture harmonic/homophonic, contrapuntal/ polyphonic, imitative, unison, single melody line ornamentation trill, turn, mordent time signatures intervals major, minor and perfect melodic/rhythmic devices sequence, ostinato pattern, riff, passing note. The music used in this section can be drawn from any period of musical history and will be used to assess listening skills rather than historical knowledge. Section B: Historical Study: The Western Classical Tradition compulsory Area of Study (AoS1) The AoS The Western Classical Tradition is the compulsory AoS for this specifcation. Both the focus and the set work may change every three years. Set work: Beethoven, Symphony No.1, 1st and 2nd movements. Study will focus on these two movements from the set work. Candidates will be able to take an unmarked copy of the set work score into the examination room. Candidates answer one essay question from a choice of two. AoS1 The Western Classical Tradition will be carried forward to A2, Unit 4. Section C: Historical Study Areas of Study 2ac Centres will choose a second AoS from three set by AQA as follows: AoS2a Choral Music in the Baroque Period AoS2b Music Theatre: a study of the Musical from 1940 to 1980 AoS2c British Popular Music from 1960 to the present day. Two essay questions will be set on each of the AoS 2ac. Candidates will answer one question on the selected AoS. 3.1 Unit 1 MUSC1 Infuences on Music 7 GCE Music for exams from June 2014 onwards (version 2.7) 3 In each AoS 2ac, the list of Composers of the genre is intended as a guide, not as an indication that all composers listed must be studied or that this list excludes study of other composers within the period and genre specifed. EITHER AoS2a Choral Music in the Baroque Period Candidates study settings for choir and soloists: the cantata the oratorio anthems and masses. Composers of the genre might include: J S Bach, Charpentier, Handel, Vivaldi. OR AoS2b Music Theatre: a study of the Musical from 1940 to 1980 Candidates should look at signifcant musicals from within this period, with reference to: solo songs ensembles music for the chorus music for dance. Composers of the genre might include: Rodgers and Hammerstein, Bernstein, Lloyd Webber. OR AoS2c British Popular Music from 1960 to the present day Candidates study the development of British Popular Music within these dates including consideration of the: use of voices and instruments use of melody, harmony and texture move from a traditional instrumental backing group (i.e. lead, rhythm and bass guitars plus drum kit) to the use of synthesised sounds and other instrumental effects increase in the use of popular music for social comment use of multi-tracking, mixing and other studio techniques to enhance recording. Singers/groups of the genre might include: The Beatles, The Rolling Stones, Pink Floyd, Oasis, Blur. 8 GCE Music for exams from June 2014 onwards (version 2.7) 3 3.2 Unit 2 MUSC2 Creating Musical Ideas Candidates demonstrate their ability to create and develop musical ideas with technical control and expressive understanding, making creative use of musical devices, conventions and resources in response to one of three briefs as follows: Brief A Compositional techniques Brief B Free composition or pastiche in response to a given genre Brief C Arranging. The briefs will be released on 1 November in the examination year and compositions will be externally assessed by AQA. Candidates should be offered a maximum of 20 hours, supervised in the centre, in which to complete their compositions. For supervision of the controlled time in MUSC2 see section 6.1. EITHER MUS2A Brief A: Compositional techniques Candidates must respond to both questions in this brief. Question 1 Harmonisation of a 16 bar diatonic melody Candidates are given a traditional 16 bar diatonic melody in a major or minor key and will harmonise this using four-part harmony. Candidates may compose for a group of any four melodic instruments/ voices. Candidates will show understanding of and the ability to handle: perfect, plagal, imperfect and interrupted cadences root position, 1st and 2nd inversion chords passing notes modulation to the dominant, subdominant and relative minor/major conventional progressions such as cadential 6/4 use of the dominant 7th. Question 2 Controlling Texture Candidates are given up to 24 bars of keyboard accompaniment and should show their ability to control texture by creating a piece of music using the given chords in two parts in a style of the candidates choice for two melodic instruments/voices. Any instrument or group of instruments or selection of electronic sound sources may be used. Candidates should demonstrate understanding of and the ability to handle techniques such as: melodic writing use of counterpoint imitation. Submissions must be made as a score in staff notation with a recording on either CD or mini-disc. Recordings can be made using acoustic instruments/ voices and/or ICT technology. OR MUS2B Brief B: Free composition or pastiche in response to a given genre Candidates will respond to one of four given musical genres: Vocal music Small ensemble Electronic music Keyboard music. These four genres will remain the same each year. The composition should last 36 minutes. Within each genre, candidates can choose to compose in an appropriate diatonic style. Candidates should demonstrate understanding of and the ability to handle: structure and development appropriate tonality use of melody harmony and rhythm texture, timbre and expression. The composition will also demonstrate the ability to handle: perfect, plagal, imperfect and interrupted cadences harmony in root position, 1st and 2nd inversion chords modulation to an appropriate related key including dominant, sub-dominant, relative minor/major use of the dominant 7th chord. 1 Vocal Music This can include music for unaccompanied voices or can include a piece for voice(s) with any appropriate instrumental backing. Where unaccompanied voices are used, there is no upper limit to the number but the minimum number must be two. 2 Small Ensemble Any small ensemble of instruments is permissible. This can include traditional ensembles such as string/ wind/brass quartet or mixed ensembles. The minimum number of instruments in the ensemble must be two. 9 GCE Music for exams from June 2014 onwards (version 2.7) 3 3 Electronic Music This can include any electronic sound source including loops and samples. Where samples are used, it is expected that there will also be a signifcant amount of original material composed by the candidate. 4 Keyboard Music This can include music for a single keyboard or up to four keyboards of the same or different types. In this context, tuned percussion instruments such as xylophone, vibraphone or marimba can also be included, and also electronically produced keyboard sounds through the use of ICT. Submissions must be made as a recording on either CD or mini-disc and include an appropriate score and/or chart and/or annotation. An annotation is defned as a substantial piece of writing which may include diagrams and/or sections of notation that will accurately describe the process of composition referring to elements such as: form and structure tonality rhythm melody and harmony timbre and texture performance detail the process of realisation. Recordings can be made using acoustic instruments/ voices and/or ICT technology. OR MUS2C Brief C: Arranging Candidates show their ability to arrange music in response to a brief. Candidates will be given a folk song melody and text, consisting of verse and chorus which may be arranged vocally and/or instrumentally for any appropriate group of voices and/or instruments/ and/ or ICT sound sources. The arrangement will last 36 minutes and the folk song may consist of more than one verse. The arrangement may be done in any musical style appropriate to the setting. Candidates should demonstrate understanding of and the ability to handle: harmony appropriate to the melody development of musical ideas within the structure use of countermelody control of texture appropriate use of vocal and/or instrumental timbres and/or ICT sound sources. The composition will also demonstrate the ability to handle: perfect, plagal, imperfect and interrupted cadences harmony in root position, frst and second inversion chords modulation to an appropriate related key including dominant, sub-dominant, relative minor/major use of the dominant 7th chord. Submissions must be made as a recording on either CD or mini-disc and must include an appropriate score and/or chart and/or annotation. An annotation is defned as a substantial piece of writing which may include diagrams and/or sections of notation that will accurately describe the process of composition referring to elements such as: form and structure tonality rhythm melody and harmony timbre and texture performance detail the process of realisation. Recordings can be made using acoustic instruments/ voices and/or ICT technology. 10 GCE Music for exams from June 2014 onwards (version 2.7) 3 Assessment Criteria for Unit 2 (max 60 marks) Brief A (for each question) The marks for compositional techniques will be awarded according to the following criteria. There are 30 marks for each question. 3026 marks: The piece will be stimulating, inventive and imaginative. The candidate will demonstrate a frm grasp of, and secure handling of, compositional techniques with a clear understanding of the chosen style. The writing for the chosen instruments/voices/ electronic sound sources will be highly idiomatic. The expressive features of the music will be immediately apparent to the listener. Notation will be accurate in relation to pitch and rhythm and contain detailed performance directions appropriate to the music. 2521 marks: The piece will be musically interesting and satisfying. The candidate will demonstrate an understanding of most of the compositional techniques within the context of the style of the music. The writing for instruments/voices/electronic sound sources will be appropriate in relation to the expressive qualities of the music. Notation will be mostly accurate in relation to pitch and rhythm and contain performance directions appropriate to the music. 2016 marks: The piece will be effective. The candidate will demonstrate an understanding of some of the compositional techniques in relation to the selected task. The writing for instruments/voices/electronic sound sources will be mostly competent and there will be an attempt to convey some of the expressive features of the music. There may be some inaccuracies in the notation in relation to pitch and rhythm, but the intentions will be largely clear with some attempt to include appropriate performance detail. 1511 marks: The piece will be partially effective and complete but will demonstrate limited understanding in relation to the compositional techniques. The writing for instruments/voices/electronic sound sources will be partially successful and the expressive qualities of the music will be unconvincing and tend to be contrived. There will be some inaccuracies in the notation in relation to pitch and rhythm, and performance detail, though present, may not be wholly appropriate. 106 marks: The piece will lack effectiveness and will demonstrate a basic understanding of some of the more rudimentary aspects of the compositional techniques leading to sections of incoherence. There will be some areas that are incomplete and the writing for instruments/voices/electronic sound sources will demonstrate a lack of understanding in relation to the expressive qualities of the music. Frequent miscalculations in notation will be evident in relation to pitch and rhythm and performance detail will be sparse and often inappropriate to the music. 51 marks: The piece will demonstrate a very limited and rudimentary understanding of the compositional techniques. There will be signifcant areas that are incomplete and much of the piece will lack coherence. The writing for instruments/voices and electronic sound sources will demonstrate signifcant weaknesses that will inhibit the expressive qualities of the music. Substantial miscalculations in notation will be evident in relation to pitch and rhythm and performance detail will be lacking, or if present, wholly inappropriate to the music. Briefs B and C 6051 marks: The piece will be stimulating, inventive and imaginative. The candidate will demonstrate a frm grasp of, and secure handling of, structure, development, tonality, use of melody, harmony and rhythm, texture, timbre, and a clear understanding of the chosen style. The writing for the chosen instrument(s)/voices/ electronic sound sources will be highly idiomatic. The expressive features of the music will be immediately apparent to the listener. The score/chart/annotation will be accurate and detailed, accurately refecting the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail. 11 GCE Music for exams from June 2014 onwards (version 2.7) 3 5041 marks: The piece will be musically interesting and satisfying. The candidate will demonstrate an understanding of structure, development, tonality, use of melody, harmony and rhythm, texture and timbre, within the context of the style of the music. The writing for instrument(s)/voices/electronic sound sources will be appropriate in relation to the expressive qualities of the music. The score/chart/annotation will be largely accurate and detailed bearing a close resemblance to the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail. 4031 marks: The piece will be effective. The candidate will demonstrate an understanding of some aspects of structure, development, tonality, use of melody, harmony and rhythm, texture and timbre, in relation to the selected task. The writing for instrument(s)/voices/electronic sound sources will be mostly competent and there will be an attempt to convey some of the expressive features of the music. The score/chart/annotation will contain some detail relating to the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail. 3021 marks: The piece will be partially effective and complete but will demonstrate limited understanding in relation to structure, development, tonality, use of melody, harmony and rhythm, texture and timbre. The writing for instrument(s)/voices/electronic sound sources will be partially successful and the expressive qualities of the music will be unconvincing and tend to be contrived. The score/chart/annotation will contain limited detail relating to the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail. 2011 marks: The piece will lack effectiveness and will demonstrate a basic understanding of structure, development, tonality, use of melody, harmony and rhythm, texture and timbre leading to sections of incoherence. There will be some areas that are incomplete and the writing for instrument(s)/voices/ electronic sound sources will demonstrate a lack of understanding in relation to the expressive qualities of the music. The score/chart/annotation will contain inaccuracies and/or inconsistencies relating to the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail. 101 marks: The piece will demonstrate a very limited and rudimentary understanding of structure, development, tonality, use of melody, harmony and rhythm, texture and timbre. There will be signifcant areas that are incomplete and much of the piece will lack coherence. The writing for instrument(s)/voices/electronic sound sources will demonstrate signifcant weaknesses that will inhibit the expressive qualities of the music. The score/chart/annotation will be largely inaccurate and will contain only rudimentary detail relating to the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail. 12 GCE Music for exams from June 2014 onwards (version 2.7) 3 3.3 Unit 3 MUSC3 Interpreting Musical Ideas Candidates offer two performances chosen from the following: (a) a solo performance on an instrument (b) a solo performance on voice (c) a solo performance on a second instrument (d) an ensemble performance (e) a technology-based performance 1 Sequencing (f) a technology-based performance 2 Multi-track/close microphone recording. Each acoustic performance should last 58 minutes. This unit will be internally assessed and externally moderated. For each performance, candidates may submit a single piece or a programme of shorter pieces. Candidates may perform their own composition if this makes suffcient technical and expressive demands on the candidate. Candidates must submit a score or lead sheet/ detailed guide or recording of the original work with the recording of their performance and a Candidate Record Form (CRF). A solo is defned as a performance where the candidates part is: a single unaccompanied part a part which is accompanied by piano, guitar (or similar), a backing track or a small unit of other players. The accompaniment must not detract from the candidates performance or double the part to be assessed. The solo performances should enable the candidate to demonstrate technical, expressive, interpretative and communicative skills appropriate to solo performance. The solo performance may include improvisation. In such cases, the candidate must make clear the basis of the improvisation e.g. a melodic fragment, a scale, a chord progression, a rhythmic idea. An ensemble is defned as a performance where the candidate will normally play within a group of three or more performers where the demands of the parts are of roughly equal diffculty. It is accepted that duets at an appropriate standard for, e.g. pianists, will enable them to demonstrate the necessary ensemble skills if the part chosen contains passages where the candidate fulfls the roles of both melody player and accompanist in the course of the piece. Additionally, the candidate may demonstrate ensemble skills by accompanying one or more other performers. The candidates part must not be doubled. An ensemble performance will enable the candidate to demonstrate technical, expressive, interpretative and communicative skills appropriate to ensemble performance. The ensemble performance may include improvisation. In such cases, the candidate must make clear the basis of the improvisation: e.g. a melodic fragment, a scale, a chord progression, a rhythmic idea. Other members of the ensemble need not be examination candidates. Technology 1: Sequencing Candidates will use a combination of sequencing and multi-tracking/close microphone recording to create one or more pieces of music. The music can be in any style but must include at least four vocal/ instrumental parts. Candidates will submit a combination of recorded audio and MIDI sequenced tracks, the number of each track being at the discretion of the candidate. The minimum requirement is for four independent parts, the piece must be 32 bars or more in length, some tempo control for classical music or some use of drum kit for pop and jazz plus a moderate level of dynamic variation. Candidates must provide a recording on CD/mini- disc and details of the equipment used, including the use made of the various facilities available within the hardware and software, should be provided. Credit will be given for: accuracy of pitch and rhythm a well-balanced recording evidence of close attention to performing and expressive detail awareness of style required ability to make use of the various facilities available within the hardware and software to produce a valid result. Technology 2: multi-track/close microphone recording Candidates will submit a multi-tracked/close microphone recording based on an initial recording of four or more independent vocal and/or instrumental parts. The candidate may be one of the performers or may perform all the vocal/instrumental parts. The submission must include the candidates initial recording and the fnal mix. The minimum requirement is for four independent parts, the piece must be 32 bars or more in length, and candidates must demonstrate some appropriate 13 GCE Music for exams from June 2014 onwards (version 2.7) 3 use of effects and some use of the stereo feld/panning at mixdown. Candidates must provide a recording on CD/mini- disc and details about the equipment used and the recording process should be provided. Credit will be given for evidence of: care taken to ensure good balance use of an appropriate dynamic range use of panning to obtain a clear recording and, where necessary, to separate sounds that utilise similar frequency ranges use of effects where appropriate, such as reverb, delay. quality of recording across a wide range of frequencies. 14 GCE Music for exams from June 2014 onwards (version 2.7) 3 Assessment Criteria for Unit 3 (max 80 marks) The Solo Performance is assessed on: Level of Demand Accuracy of pitch and rhythm plus observance of expressive and performance directions as indicated on the score/lead sheet Communication and projection of the performance Interpretation of the music, showing awareness of its style and character. Level of Demand 4 marks: The chosen programme will make high demands of the candidate. The standard expected will equate to Grade 5 or its equivalent. 3 marks: The chosen programme will make a substantial range of technical demands upon the candidate though these will be within more limited parameters than those expected for the top mark. The standard expected will combine elements of both Grade 5 and Grade 4 or their equivalent. 2 marks: The chosen programme will make a narrower range of demands upon the candidate while still requiring a degree of technical expertise and command of the instrument/voice across a variety of performance techniques. The standard expected will equate to Grade 4 or its equivalent. 1 mark: The chosen programme will make few demands of the candidate. The part(s) will be technically straightforward. The standard expected will combine the elements of Grade 4 or its equivalent and just below. Accuracy 12 10 marks: At the top of the band, there will be no discernible faws. Otherwise, inaccuracies will be limited to a very occasional slip; at the lower end, there may be occasional slips but these will not affect the overall fuency of the performance. Intonation will be virtually secure. The candidate will have observed the composers expressive and performance directions. 97 marks: At the top of this band, the performance should be largely accurate and slips or inaccuracies will not affect the overall fuency. At the lower end, there may be more slips and intonation, rhythm and/or tempo may become more problematic, leading to the occasional hesitation or loss of fuency. The majority of the composers expressive and performance directions will have been observed. 64 marks: A performance which achieves consistency in most elements but which may lack variety, technical competence or fuency. There may be more frequent slips and/or more consistent misreading of the notation or performance detail. The basic outline of the music should be appreciable to the listener. In general, the composers expressive and performance directions will have been observed. 31 marks: A performance which attempts to convey some features of the music accurately but achieves only limited consistency and fuency. There will be little or no application of the composers directions for expression or performance detail. At the lower marks, the music may be scarcely recognisable. Communication 1210 marks: A committed, assured, convincing and well-projected performance. The candidate will demonstrate total involvement in the music. 97 marks: The candidate will demonstrate some level of commitment and the performance will be generally assured. There will still be an overall sense of conviction in the performance and the candidate will show awareness of the occasion and the audience. 64 marks: The performance will lack conviction and commitment on occasions and, towards the lower end of this band, the candidate may show little awareness of occasion or audience. 31 marks: The performance will have only limited conviction and the candidate may fail to impose him/herself upon the performance, leading to an anxious experience for performer and listener. Interpretation 1210 marks: The candidate will show a mature understanding of both period and style. The tempo will be appropriate and mastery of the techniques demanded by the music will be evident. 97 marks: The performance will have style and tempo appropriate to the music. At the lower end of the band, the performance will retain a sense of the 15 GCE Music for exams from June 2014 onwards (version 2.7) 3 character of the music. In general, the techniques demanded by the music will be met though with some loss of integrity at times. 64 marks: At the upper end of this band, the candidate will show a general understanding of the style and character of the music. Towards the lower end, there will be limited sensitivity to the interpretative demands of the music. Technical demands may compromise the tempo. 31 marks: There will be only a rudimentary sensitivity to the interpretative demands of the music. The Ensemble Performance is assessed on: Level of Demand Sense of Ensemble Accuracy of pitch and rhythm plus observance of expressive and performance directions as indicated on the score/lead sheet Communication and projection of the performance Interpretation of the music, showing awareness of its style and character. Level of Demand 4 marks: The chosen programme will make high demands of the candidate. This will result partly from the technical diffculty of the part(s) the candidate plays and partly from the role(s) of the part(s) within the ensemble. The standard expected will equate to Grade 5 or its equivalent. 3 marks: The candidate is likely to play a more consistent role within the ensemble. The chosen programme will still make a substantial range of technical demands upon the candidate though these will be within more limited parameters than those expected for the top mark. The standard expected will combine elements of both Grade 5 and Grade 4 or their equivalent. 2 marks: The chosen programme will make a narrower range of demands upon the candidate while still requiring a degree of technical expertise and command of the instrument/voice across a variety of performance techniques. Overall, the candidates role within the ensemble will be more straightforward. The standard expected will equate to Grade 4 or its equivalent. 1 mark: The chosen programme will make few demands of the candidate. The part(s) will be technically straightforward and the candidates role within the ensemble will present few challenges. The standard expected will combine the elements of Grade 4 standard or its equivalent and just below. Sense of Ensemble 97 marks: A performance showing complete unity of purpose in all aspects of ensemble playing, including balance, timing, intonation and responsiveness to others, including, if necessary, the ability to react positively to any diffculties which may occur. Marks towards the bottom of this band will refect success in most of these areas. 65 marks: A performance showing a generally high level of responsiveness to the other performers, showing a good understanding of the nature of ensemble playing, demonstrated in timing, intonation, dynamics and responsiveness to other performers. 43 marks: A performance showing a good level of responsiveness to the other performers and generally achieving good ensemble in timing, intonation and dynamics for the majority of the performance. For the lower mark, the level of responsiveness will be present inconsistently. 21 marks: A performance showing some awareness of other performers but where the response to the ensemble demands is uneven and where responsiveness is generally less secure. For the lower mark, the performance will show little or no responsiveness to the other performers and demonstrate limited understanding of ensemble playing. Performances at this level will include those where the candidate tends to concentrate on his/her own part to the exclusion of other ensemble considerations. Accuracy 97 marks: At the top of the band, there will be no discernible faws. Otherwise, inaccuracies will be limited to a very occasional slip; at the lower end, there may be occasional slips but these will not affect the overall fuency of the performance. Intonation will be virtually secure. The candidate will have observed the composers expressive and performance directions. 65 marks: At the top of this band, the performance should be largely accurate and slips or inaccuracies will not affect the overall fuency. At the lower mark, there may be more slips and intonation, rhythm and/or tempo may become more problematic, leading to the occasional hesitation or loss of fuency. The majority of the composers expressive and performance directions will have been observed. 16 GCE Music for exams from June 2014 onwards (version 2.7) 3 43 marks: A performance which achieves consistency in most elements but which may lack variety, technical competence or fuency. There may be more frequent slips and/or more consistent misreading of the notation or performance detail. The basic outline of the music should be appreciable to the listener. In general, the composers expressive and performance directions will have been observed. 21 marks: A performance which attempts to convey some features of the music accurately but achieves only limited consistency and fuency. There will be little or no application of the composers directions for expression or performance detail. At the lower mark, the music may be scarcely recognisable. Communication 97 marks: A committed, assured, convincing and well-projected performance. The candidate will demonstrate total involvement in the music. 65 marks: The candidate will demonstrate some level of commitment and the performance will be generally assured. There will still be an overall sense of conviction in the performance and the candidate will show awareness of the occasion and the audience. 43 marks: The performance will lack conviction and commitment on occasions and, for the lower mark, the candidate may show little awareness of occasion or audience. 21 marks: The performance will have only limited conviction and the candidate may fail to impose him/herself upon the performance, leading to an anxious experience for performer and listener. Interpretation 97 marks: The candidate will show a mature understanding of both period and style. The tempo will be appropriate and mastery of the techniques demanded by the music will be evident. 65 marks: The performance will have style and tempo appropriate to the music. For the lower mark, the performance will retain a sense of the character of the music. In general, the techniques demanded by the music will be met though with some loss of integrity at times. 43 marks: For the upper mark, the candidate will show a general understanding of the style and character of the music. For the lower mark, there will be limited sensitivity to the interpretative demands of the music. Technical demands may compromise the tempo. 21 marks: There will be only a rudimentary sensitivity to the interpretative demands of the music. The Technology-based performance 1 Sequencing is assessed on: Accuracy of pitch and rhythm Use of timbres, balance and panning techniques Evidence of close attention to performing and expressive detail Awareness of style required Ability to use the facilities available within the software and hardware to produce a valid result. Candidates will be expected to give details of equipment used during the sequencing process and the facilities available within the hardware and software. Accuracy of pitch and rhythm 87 marks: Excellent accuracy of pitch and control of all rhythmic elements to produce a musically satisfying recording. 65 marks: A few minor slips which do not inhibit the overall musicality or fuency of the recording. 43 marks: More signifcant errors, affecting the overall sense of ensemble. 21 marks: Signifcant lapses, resulting in an unmusical performance. Use of timbre, balance and panning techniques 87 marks: Judiciously chosen timbres set within a well-balanced and effective recording. 65 marks: Appropriate timbres, mostly well-balanced and with some evidence of use of panning. 43 marks: A recording where most timbres are well-chosen but where there are inconsistencies in the balance and only limited use of panning. 21 marks: Mostly inappropriate choice of timbres and little sense of balance or evidence of use of panning. 17 GCE Music for exams from June 2014 onwards (version 2.7) 3 Evidence of close attention to performing and expressive detail 87 marks: Comprehensive evidence of close attention to all aspects of performing and expressive detail to create a musical performance. 65 marks: Effective use of performing and expressive detail, with broadly successful articulation, phrasing and use of shading. 43 marks: Some attempts, not always successful, to use performing and expressive detail to produce a musical performance. There may be inconsistencies in the application of dynamics, articulation, phrasing and tempo. 21 marks: Limited or no attention to performing and expressive detail, resulting in a recording characterised by a lack of dynamic contrast and inconsistencies in articulation, phrasing, shading and tempo. Awareness of style required 87 marks: Complete awareness of the stylistic requirements of the music and the ability to achieve this through the careful editing of data. 65 marks: Broadly successful creation of required style. 43 marks: Some sense of the required style but achieved inconsistently. 21 marks: A basic transcription of the music with limited or no sense of the required style. Ability to use the facilities available within the software and hardware to produce a valid result 87 marks: Complete understanding of measures needed to use the facilities available within the software and/or hardware to produce an authentic recording. 65 marks: Broad understanding of the measures needed to use the facilities available within the software and/ or hardware to produce an authentic recording and mostly successful application of these facilities. 43 marks: Some understanding of the measures needed to use the facilities available within the software and/or hardware to produce an authentic recording but only partial success in their implementation. 21 marks: Limited understanding of the measures needed to use the facilities available within the software and/or hardware to produce an authentic recording and little or no evidence of success in their implementation. The Technology-based performance 2 multi-track/close microphone recording is assessed on: Balance Dynamic range, including use of compression Manipulation of mixing desk Use of effects, such as reverb, delay, etc. Quality of recording across a wide range of frequencies. Candidates will be expected to give details of the equipment used and the recording process. Balance 87 marks: Excellent sense of balance throughout the recording. 65 marks: Occasional miscalculations as to balance, increasing where a mark of 5 is awarded. 43 marks: Sections of poor balance; areas where important features are unclear. 21 marks: Generally poorly balanced; much of the detail of the music is obscured. Dynamic Range, including use of compression 87 marks: Excellent management of dynamics in ways completely appropriate to the music. 65 marks: Occasional miscalculations of dynamic and/or a more limited dynamic range. 43 marks: Sections where the dynamic range is miscalculated and/or very limited. 21 marks: Mostly inappropriate choice/use of dynamics/ dynamics which adversely affect the impact of large sections of the performance. 18 GCE Music for exams from June 2014 onwards (version 2.7) 3 Manipulation of mixing desk 87 marks: Excellent use of mixing desk which enables all aspects of the recording to be appreciated. 65 marks: Occasional miscalculations in the use of the mixing desk, to the extent that there are restrictions on its effectiveness in separating parts. 43 marks: Sections where the use of the mixing desk is misjudged, inappropriate or very limited. 21 marks: Generally little use of the mixing desk with little or no alterations from the original mix achieved. Use of effects such as reverb, delay, etc 87 marks: Judicious and appropriate use of effects throughout the piece. 65 marks: Occasional miscalculations as to the use of effects. 43 marks: Sections where effects are misjudged or lacking. 21 marks: Little or inappropriate use of effects. Quality of the recording across a wide range of frequencies 87 marks: An excellent recording with clear use of a wide range of frequencies. 65 marks: Occasional miscalculations as to the use of a wide frequency range. 43 marks: Sections where the level of care and attention to matters of equalisation are misjudged or lacking. 21 marks: Little or inappropriate use of equalisation for signifcant sections of the recording. 19 GCE Music for exams from June 2014 onwards (version 2.7) 3 3.4 Unit 4 MUSC4 Music in Context Candidates should acquire, explore and apply musical language and context by the consideration of two Areas of Study (AoS) from: AoS1 The Western Classical Tradition (compulsory) AoS3a English Choral Music in the 20th century AoS3b Chamber Music from Mendelssohn to Debussy AoS3c Four decades of Jazz and Blues 19101950. These AoS will be set by AQA. The focus of AoS1, and AoS 3a c, may change every three years. Through their exploration of two AoS and a set work, candidates will develop an understanding of: the organisation of sounds (form, harmony, instrumentation and timbre, melody, rhythm and metre, texture and tonality) the context of music (composer, performer and audience, occasion, time and place) musical styles and genres. Study will involve listening to music from within the two AoS, study of scores and gaining an awareness of the context in which the music was composed. Assessment will be by written paper with some questions using a CD of musical excerpts. The examination paper will last 2 hours 15 minutes and be marked by AQA examiners. The question paper will have three sections. Section A: Listening approximately 45 minutes This section will consist of structured listening questions with or without a score and will require responses covering some of the following: cadences perfect, plagal, imperfect, interrupted in the tonic and related keys chord identifcation tonic, dominant, subdominant, dominant seventh in root position and 1st/2nd inversions, cadential 6/4, diminished 7th, augmented 6th, secondary 7ths, dominant 7th in 3rd inversion compositional techniques, e.g. sequence, pedal, imitation, canon, ostinato, riff technical terms, e.g. appoggiatura, passing note, note of anticipation completion of a melody containing some chromatic notes tonality modulations to the dominant major, dominant minor, subdominant, relative minor, major of the relative minor, tonic minor, modality, atonal and 12-note music, whole tone scale, bitonality instrumentation those found in the standard symphony orchestra and in jazz and pop music, instrumental techniques including pizzicato, arco, con sordino, double stopping texture harmonic/homophonic, contrapuntal/ polyphonic, imitative, unison, single melody line, octaves ornamentation trill, turn, mordent, portamento harmonic devices tonic and dominant pedals, cycle of ffths, suspension, sequence time signatures, including compound time and 5/7 beats in a bar intervals major, minor, perfect, augmented, diminished melodic/rhythmic devices sequence, ostinato, riff, passing note, accented passing note, appoggiatura, chromatic appoggiatura, augmentation, diminution, polyrhythms, portamento, hemiola, suspension. Section B: Historical Study: The Western Classical Tradition compulsory Area of Study (AoS1) The AoS The Western Classical Tradition is the compulsory AoS for this specifcation. Both the focus and the set works may change every three years. Set works 2014 and until further notice: Elgar Symphony No. 1 or Shostakovich Symphony No. 5 Study will focus on one of the two set works. Candidates will be able to take an unmarked copy of their chosen set work score into the examination room. Candidates answer one essay question from a choice of two. Section C: Historical Study Areas of Study 3ac Centres will choose a second AoS from three set by AQA as follows: AoS3a English Choral Music in the 20th century AoS3b Chamber Music from Mendelssohn to Debussy AoS3c Four decades of Jazz and Blues 1910 1950. Two essay questions will be set on each of the AoS 3ac. Candidates will answer one question on the selected AoS. 20 GCE Music for exams from June 2014 onwards (version 2.7) 3 In each AoS 3ac, the list of Composers of the genre is intended as a guide, not as an indication that all composers listed must be studied or that this list excludes study of other composers within the period and genre specifed. EITHER AoS3a English Choral Music in the 20th century Candidates study the development of English choral music in the 20th century with reference to: anthems and mass settings oratorios and other orchestral settings of words. Composers of the genre might include: Elgar, Walton, Britten, Howells, Vaughan Williams. OR AoS3b Chamber Music from Mendelssohn to Debussy Candidates study a range of Chamber Music written in this period. This includes: trios, quartets, quintets, etc timbre and texture structure melody and harmony. Composers of the genre might include: Mendelssohn, Brahms, Tchaikovsky, Dvor v k, Debussy OR AoS3c Four decades of Jazz and Blues 1910 to 1950 From Dixieland to the culmination of the Swing era: twelve-bar blues Swing Bebop music for Big Band orchestral/instrumental music drawing on Jazz and Blues infuences. Composers/artists of the genre might include: Jelly-Roll Morton, Ravel, Gershwin, Duke Ellington, Count Basie, Benny Goodman, Glenn Miller, Charlie Parker, Louis Armstrong. 21 GCE Music for exams from June 2014 onwards (version 2.7) 3 3.5 Unit 5 MUSC5 Developing Musical Ideas Candidates demonstrate their ability to create and develop musical ideas with technical control and expressive understanding, making creative use of musical devices, conventions and resources in response to one of three briefs as follows: Brief A Compositional techniques Brief B Free composition or pastiche in response to a chosen brief Brief C Arranging. The briefs will be released on 1 November in the examination year and compositions will be externally assessed by AQA. Candidates should be offered a maximum of 20 hours, supervised in the centre, in which to complete their compositions. For supervision of the controlled time in MUSC5 see section 6.1. EITHER MUS5A Brief A: Compositional techniques Candidates must respond to both questions in this brief. Question 1 Harmonisation of a Bach chorale melody Candidates will be given a Bach chorale melody to harmonise stylistically. In addition to the techniques studied for Unit 2, the melody should allow candidates to show understanding of and the ability to handle as appropriate: accented passing notes and suspensions notes of anticipation chromatic harmony diminished 7th major and minor 7th 3rd inversion chords characteristic treatment of cadences. Question 2 The Classical String Quartet Candidates are expected to complete part of a movement of a string quartet. This will allow candidates to demonstrate their understanding of, and the ability to handle as appropriate: the development of thematic ideas through the use of sequence, imitation, inversion, augmentation and diminution modulation variety in texture. Submissions must be made as a score in staff notation with an accompanying review and a recording on either CD or mini-disc. Recordings can be made using acoustic instruments/voices and/or ICT technology. The review (500 words max) should be an evaluation of the success of the fnal submission in relation to the brief and to appropriate stylistic conventions and contextual infuences of the period. OR MUS5B Brief B: Free Composition or pastiche Candidates compose a substantial, single, piece in any style or genre, for any voice/instrument or combination of voices and/or instruments using acoustic and/or electronic sound sources. The piece should last 58 minutes. It can consist of a single movement or may consist of up to three separate, related sections, but the total playing time should not exceed 8 minutes. The candidates intention should be made clear. Candidates should show their understanding of and ability to handle, as appropriate: structure and development modulation tonality melody, harmony and rhythm texture, timbre and expression characteristics of the chosen style/genre. Within the composition there will be evidence of: accented passing notes and/or suspensions chromatic harmony diminished 7th major and minor 7th 3rd inversion chords appropriate treatment of cadences. Submissions must be made as a recording on either CD or mini-disc and include an appropriate score and/or chart and/or annotation and a review. Recordings can be made using traditional instruments/voices and/or ICT technology. An annotation is defned as a substantial piece of writing which may include diagrams and/or sections of notation that will accurately describe the process of composition referring to elements such as: form and structure tonality rhythm melody and harmony 22 GCE Music for exams from June 2014 onwards (version 2.7) 3 timbre and texture performance detail the process of realisation. The review (500 words max) should be an evaluation of the success of the fnal submission in relation to the brief and with reference to the contextual aspect of the composition. OR MUS5C Brief C: Arranging Candidates demonstrate their arranging skills in response to a brief given by AQA. The brief will consist of arranging a piece of popular classical music selected by AQA from any musical period from the baroque onwards. The arrangement should be in a recognised pop, rock or jazz style and should last 58 minutes. The arrangement can be for any group of instruments and may include voices, but must include parts for a rhythm section consisting of drum kit and/or percussion, double bass or bass guitar and guitar and/or keyboard. These can be either acoustic instruments or electronic sound sources or a combination of both. Candidates should demonstrate their ability to handle: rhythmic development of the original thematic ideas including metre change development of melodic and harmonic ideas within the structure solo passages and improvisation appropriate use of vocal and/or instrumental timbres and/or ICT sound sources. Within the arrangement, there should be evidence of: accented passing notes and/or suspensions chromatic harmony diminished 7th major and minor 7th 3rd inversion chords appropriate treatment of cadences. Submissions must be made as a recording on either CD or mini-disc and include an appropriate score and/or chart and/or annotation and a review. Recordings can be made using traditional instruments/voices and/or ICT technology. An annotation is defned as a substantial piece of writing which may include diagrams and/or sections of notation that will accurately describe the process of composition referring to elements such as: form and structure tonality rhythm melody and harmony timbre and texture performance detail the process of realisation. The review (500 words max) should be an evaluation of the success of the fnal submission in relation to the brief and with reference to the contextual aspect of the composition. Examples of study works: Brahms: Symphony No 3 in F. 3rd Movement, Poco Allegretto Santana: Love of my Life from the album Supernatural, Arista Records, 1999 Bach: Prelude no. 1 from The Well Tempered Clavier Jacques Loussier: Prelude no. 1. Focus on Jacques Loussier, Decca FOS R 5/6, 1967 Mussorgsky: Pictures at an Exhibition Emerson Lake and Palmer: Pictures at an Exhibition, Island Records, 1971 Johann Pachelbel: Canon in D major The Farm: Altogether Now, 1990 23 GCE Music for exams from June 2014 onwards (version 2.7) Text 3 Assessment Criteria for Unit 5 (max 60 marks) Brief A (for each question) The marks for compositional techniques for Unit 5 will be awarded to show achievement in a more complex task than is required by the same mark band of Unit 2 assessment criteria. There are 30 marks for each question. 3026 marks: The piece will be stimulating, inventive and imaginative. The candidate will demonstrate a frm grasp of, and secure handling of, compositional techniques with a clear understanding of the chosen style. The writing for the chosen instruments/voices/ electronic sound sources will be highly idiomatic. The expressive features of the music will be immediately apparent to the listener. Notation will be accurate in relation to pitch and rhythm and contain detailed performance directions appropriate to the music. The review provides a detailed and accurate evaluation of the process with an extensive use of technical language. 2521 marks: The piece will be musically interesting and satisfying. The candidate will demonstrate an understanding of most of the compositional techniques within the context of the style of the music. The writing for instruments/voices/electronic sound sources will be appropriate in relation to the expressive qualities of the music. Notation will be mostly accurate in relation to pitch and rhythm and contain performance directions appropriate to the music. The review provides an evaluation of the process which is mostly detailed and accurate with a good use of technical language. 2016 marks: The piece will be effective. The candidate will demonstrate an understanding of some of the compositional techniques in relation to the selected task. The writing for instruments/voices/electronic sound sources will be mostly competent, and there will be an attempt to convey some of the expressive features of the music. There may be some inaccuracies in the notation in relation to pitch and rhythm, but the intentions will be largely clear with some attempt to include appropriate performance detail. The review provides an evaluation of the process with some detail and accuracy, with a sound use of technical language. 1511 marks: The piece will be partially effective and complete but will demonstrate limited understanding in relation to the compositional techniques. The writing for instruments/voices/electronic sound sources will be partially successful and the expressive qualities of the music will be unconvincing and tend to be contrived. There will be some inaccuracies in the notation in relation to pitch and rhythm, and performance detail, though present, may not be wholly appropriate. The review provides an evaluation of the process which lacks detail and is not always accurate, with some use of technical language. 106 marks: The piece will lack effectiveness and will demonstrate a basic understanding of some of the more rudimentary aspects of the compositional techniques leading to sections of incoherence. There will be some areas that are incomplete and the writing for instruments/voices/electronic sound sources will demonstrate a lack of understanding in relation to the expressive qualities of the music. Frequent miscalculations in notation will be evident in relation to pitch and rhythm, and performance detail will be sparse and often inappropriate to the music. The review provides a limited evaluation of the process which is mainly descriptive, with some use of technical language. 51 marks: The piece will demonstrate a very limited and rudimentary understanding of the compositional techniques. There will be signifcant areas that are incomplete and much of the piece will lack coherence. The writing for instruments/voices/electronic sound sources will demonstrate signifcant weaknesses that will inhibit the expressive qualities of the music. Substantial miscalculations in notation will be evident in relation to pitch and rhythm and performance detail will be lacking, or, if present, wholly inappropriate to the music. The review is a description of the process with a limited use of technical language. 24 GCE Music for exams from June 2014 onwards (version 2.7) 3 Briefs B and C The marks for the composition/arrangement for Unit 5 will be awarded to show achievement in a more complex task than is required by the same mark band of Unit 2 assessment criteria: 6051 marks: The piece will be stimulating, inventive and imaginative. The candidate will demonstrate a frm grasp of, and secure handling of, structure, development, tonality, use of melody, harmony and rhythm, texture, timbre, and a clear understanding of the chosen style. The writing for the chosen instrument(s)/voice(s)/ electronic sound source(s) will be highly idiomatic. The expressive features of the music will be immediately apparent to the listener. The score/chart/annotation will be accurate and detailed, accurately refecting the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail. The review provides a detailed and accurate evaluation of the process with an extensive use of technical language. 5041 marks: The piece will be musically interesting and satisfying. The candidate will demonstrate an understanding of structure, development, tonality, use of melody, harmony and rhythm, texture and timbre, within the context of the style of the music. The writing for instrument(s)/voice(s)/electronic sound source(s) will be appropriate in relation to the expressive qualities of the music. The score/chart/annotation will be largely accurate and detailed, bearing a close resemblance to the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail. The review provides an evaluation of the process which is mostly detailed and accurate with a good use of technical language. 4031 marks: The piece will be effective. The candidate will demonstrate an understanding of some aspects of structure, development, tonality, use of melody, harmony and rhythm, texture and timbre, in relation to the selected task. The writing for instrument(s)/voice(s)/electronic sound source(s) will be mostly competent and there will be an attempt to convey some of the expressive features of the music. The score/chart/annotation will contain some detail relating to the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail. The review provides an evaluation of the process with some detail and accuracy, with a sound use of technical language. 3021 marks: The piece will be partially effective and complete but will demonstrate limited understanding in relation to structure, development, tonality, use of melody, harmony and rhythm, texture and timbre. The writing for instrument(s)/voice(s)/electronic sound source(s) will be partially successful and the expressive qualities of the music will be unconvincing and tend to be contrived. The score/chart/annotation will contain limited detail relating to the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail. The review provides an evaluation of the process which lacks detail and is not always accurate with some use of technical language. 2011 marks: The piece will lack effectiveness and will demonstrate a basic understanding of structure, development, tonality, use of melody, harmony and rhythm, texture and timbre leading to sections of incoherence. There will be some areas that are incomplete and the writing for instrument(s)/voice(s)/ electronic sound source(s) will demonstrate a lack of understanding in relation to the expressive qualities of the music. The score/chart/annotation will contain inaccuracies and/or inconsistencies relating to the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail. The review provides a limited evaluation of the process which is mainly descriptive, with some use of technical language. 101 marks: The piece will demonstrate a very limited and rudimentary understanding of the compositional techniques. There will be signifcant areas that are incomplete and much of the piece will lack coherence. The writing for instrument(s)/voice(s)/electronic sound source(s) will demonstrate signifcant weaknesses that will inhibit the expressive qualities of the music. The score/chart/annotation will be largely inaccurate and will contain only rudimentary detail relating to the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail. The review is a description of the process with a limited use of technical language. 25 GCE Music for exams from June 2014 onwards (version 2.7) 3 3.6 Unit 6 MUSC6 A Musical Performance Candidates offer two (or more) contrasting pieces to form a short programme for either acoustic performance and/or performance via music technology chosen from: (a) solo acoustic performances lasting 1015 minutes (b) technology-based performances (c) one solo performance and one technology-based performance the solo performance to be at least 5 minutes. The pieces will be chosen to show variety of style, technique, period and/or approach. Candidates may perform their own compositions if these make suffcient technical and expressive demands on them. Candidates must submit a score or lead sheet/ detailed guide or recording of the original work with the recording of their performance and a Candidate Record Form (CRF). The recorded performances will be externally assessed. Solo acoustic performances A solo is defned as a performance where the candidates part is: a single unaccompanied part a part which is accompanied by piano, guitar (or similar), a backing track or a small unit of other players. The accompaniment must not detract from the candidates performance or double the part to be assessed. The solo performances should enable the candidate to demonstrate appropriate technical, expressive, interpretative and communicative skills. Solo performances may include improvisation. In such cases, the candidate must make clear the basis of the improvisation: e.g. a melodic fragment, a scale, a chord progression, a rhythmic idea. The recording of each piece or movement must be a complete performance (i.e. a single take). Technology-based performances Where a candidates submission consists of Technology 1 only or Technology 2 only, there must be two performances in order to demonstrate the required variety. Technology 1: Sequencing Candidates will use a combination of sequencing and multi-tracking/close microphone recording to create one or more recordings. At least one recording should be of a pop/rock/jazz ensemble with at least six vocal/instrumental parts, with the inclusion of a drum kit. Candidates will submit a combination of recorded audio and MIDI sequenced tracks, the number of each track being at the discretion of the candidate. The minimum requirement is for six independent parts, the piece must be 48 bars or more in length, classical style submissions will feature a solo part, pop/jazz submissions will feature a vocal line, evidence of use of sound sources other than GM (e.g. plug-ins or sound module), plus at least one VSTi. Candidates must provide a recording on CD/mini- disc and details of the equipment used, including the use made of the various facilities available within the hardware and the software. Credit will be given for: accuracy of pitch and rhythm a well-balanced recording evidence of close attention to performing and expressive detail awareness of style required ability to make use of the various facilities available within the hardware and software to produce a valid result. Technology 2: multi-track/close microphone recording Candidates will use multi-tracking/close microphone recording to produce one or more recordings based on initial recordings of six parts which must include independent vocal and instrumental lines. The candidate may be one of the performers or may alternatively perform all the vocal/instrumental parts. The submission will include the candidates initial recording and the fnal mix. The minimum requirement is for six independent instruments, one of which must be a vocalist, the piece must be 48 bars or more in length, and candidates must demonstrate some appropriate use of both time-based and dynamic effects, and use of the stereo feld/panning at mixdown. Candidates must provide a recording on CD/mini- disc and details of the equipment used and the recording process. Credit will be given for evidence of: care taken to ensure good balance use of an appropriate dynamic range use of panning to obtain a clear recording and, where necessary, to separate sounds that utilise similar frequency ranges use of effects where appropriate, such as reverberation, delay. quality of recording across a wide range of frequencies. 26 GCE Music for exams from June 2014 onwards (version 2.7) 3 Where a candidate presents a performance which contains both acoustic and technology-based elements, they may choose either Technology Performance 1 or Technology Performance 2. The programme of solo acoustic performances is externally marked holistically out of 60 using the relevant assessment criteria. The programme of technology-based performances is, when all the pieces are the same type, externally marked holistically out of 60 using the relevant assessment criteria. When a programme comprises mixed types, ie one solo performance and one technology-based or two different technology types, then each type is externally assessed and marked out of 60 using the relevant criteria on the next pages. These marks are added together and divided by two to give the fnal overall mark. 27 GCE Music for exams from June 2014 onwards (version 2.7) 3 Assessment Criteria for Unit 6 (max 60 marks) The Solo Performance is assessed on: Level of Demand Accuracy of pitch and rhythm plus observance of expressive and performance directions as indicated on the score/lead sheet Communication and projection of the performance Interpretation of the music, showing awareness of its style and character. Level of Demand 6 marks: The chosen programme will make high demands of the candidate. The standard expected will be greater than Grade 7 or its equivalent. 5 marks: The chosen programme will make a substantial range of technical demands upon the candidate although these will be within more limited parameters than those expected for the top mark. The standard expected will equate to Grade 7 or its equivalent. 4 marks: The chosen programme will make a reasonable range of technical demands upon the candidate. The standard expected will equate to Grade 6 or its equivalent. 3 marks: The chosen programme will make a narrower range of demands upon the candidate while still requiring a degree of technical expertise and command of the instrument/voice across a variety of performance techniques. The standard expected will combine elements of Grades 6 and 5 or their equivalent. 2 marks: The chosen programme will make some demands upon the candidate while requiring a more limited degree of technical expertise and command of the instrument/voice across a variety of performance techniques. The standard expected will equate to Grade 5 or its equivalent. 1 mark: The chosen programme will make few demands of the candidate. The part(s) will be technically straightforward. The standard expected will be less than Grade 5 or its equivalent. Accuracy 18 14 marks: At the top of the band, there will be no discernible faws. Otherwise, inaccuracies will be limited to a very occasional slip; at the lower end, there may be occasional slips but these will not affect the overall fuency of the performance. Intonation will be virtually secure. The candidate will have observed the composers expressive and performance directions. 139 marks: At the top of this band, the performance should be largely accurate and slips or inaccuracies will not affect the overall fuency. At the lower end, there may be more slips and intonation, rhythm and/or tempo may become more problematic, leading to the occasional hesitation or loss of fuency. The majority of the composers expressive and performance directions will have been observed. 85 marks: A performance which achieves consistency in most elements but which may lack variety, technical competence or fuency. There may be more frequent slips and/or more consistent misreading of the notation or performance detail. The basic outline of the music should be appreciable to the listener. In general, the composers expressive and performance directions will have been observed. 41 marks: A performance which attempts to convey some features of the music accurately but achieves only limited consistency and fuency. There will be little or no application of the composers directions for expression or performance detail. At the lower marks, the music may be scarcely recognisable. Communication 1814 marks: A committed, assured, convincing and well-projected performance. The candidate will demonstrate total involvement in the music. 139 marks: The candidate will demonstrate some level of commitment and the performance will be generally assured. There will still be an overall sense of conviction in the performance. 85 marks: The performance will lack conviction and commitment on occasions. 41 marks: The performance will have only limited conviction and the candidate may fail to impose him/herself upon the performance, leading to an anxious experience for performer and listener. 28 GCE Music for exams from June 2014 onwards (version 2.7) 3 Interpretation 1814 marks: The candidate will show a mature understanding of both period and style. The tempo will be appropriate and mastery of the techniques demanded by the music will be evident. 13 9 marks: The performance will have style and tempo appropriate to the music. At the lower end of the band, the performance will retain a sense of the character of the music. In general, the techniques demanded by the music will be met though with some loss of integrity at times. 85 marks: At the upper end of this band, the candidate will show a general understanding of the style and character of the music. Towards the lower end, there will be limited sensitivity to the interpretative demands of the music. Technical demands may compromise the tempo. 41 marks: There will be only a rudimentary sensitivity to the interpretative demands of the music. The Technology-based performance 1 Sequencing is assessed on: Accuracy of pitch and rhythm A well-balanced recording with the use of appropriate timbres Evidence of close attention to performing and expressive detail Awareness of style required Ability to adapt software and hardware as necessary to effect a valid result. Candidates will be expected to give details of equipment used during the sequencing process and the facilities available within the hardware and software. Accuracy of pitch and rhythm 1210 marks: Excellent accuracy of pitch and control of all rhythmic elements to produce a musically satisfying recording 97 marks: A few minor slips which do not inhibit the overall musicality or fuency of the recording 64 marks: More signifcant errors, affecting the overall sense of ensemble 31 marks: Signifcant lapses, resulting in an unmusical performance Use of timbre, balance and panning techniques 1210 marks: Judiciously chosen timbres set within a well-balanced and effective recording 97 marks: Appropriate timbres, mostly well-balanced and with some evidence of use of panning 64 marks: A recording where most timbres are well-chosen but where there are inconsistencies in the balance and only limited use of panning 31 marks: Mostly inappropriate choice of timbres and little sense of balance or evidence of use of panning Evidence of close attention to performing and expressive detail 1210 marks: Comprehensive evidence of close attention to all aspects of performing and expressive detail to create a musical performance 97 marks: Effective use of performing and expressive detail, with broadly successful articulation, phrasing and use of shading 64 marks: Some attempts, not always successful, to use performing and expressive detail to produce a musical performance. There may be inconsistencies in the application of dynamics, articulation, phrasing and tempo 31 marks: Limited or no attention to performing and expressive detail, resulting in a recording characterised by a lack of dynamic contrast and inconsistencies in articulation, phrasing, shading and tempo Awareness of style required 1210 marks: Complete awareness of the stylistic requirements of the music and the ability to achieve this through the careful editing of data 97 marks: Broadly successful creation of required style 64 marks: Some sense of the required style but achieved inconsistently 31 marks: A basic transcription of the music with limited or no sense of the required style 29 GCE Music for exams from June 2014 onwards (version 2.7) 3 Ability to use the facilities available within the software and hardware to produce a valid result 1210 marks: Complete understanding of measures needed to use the facilities available within the software and/or hardware to produce an authentic recording 97 marks: Broad understanding of the measures needed to use the facilities available within the software and/ or hardware to produce an authentic recording and mostly successful application of these facilities 64 marks: Some understanding of the measures needed to use the facilities available within the software and/or hardware to produce an authentic recording but only partial success in their implementation 31: Limited understanding of the measures needed to use the facilities available within the software and/or hardware to produce an authentic recording and little or no evidence of success in their implementation. The Technology-based performance 2 multi-track close microphone recording is assessed on: Balance Dynamic range, including use of compression Manipulation of mixing desk Use of effects, such as reverb., delay, etc. Quality of the recording across a wide range of frequencies. Candidates will submit a multi-tracked/close microphone recording based on an initial recording of six or more independent vocal and/or instrumental parts. The candidate may be one of the performers. The submission will include the initial recording and the fnal mix. Candidates must additionally provide information about the equipment used and the recording process. Balance 1210 marks: Excellent sense of balance throughout the recording. 97 marks: Occasional miscalculations as to balance, increasing where a mark of 7 is awarded. 64 marks: Sections of poor balance; areas where important features are unclear. 31 marks: Generally poorly balanced; much of the detail of the music is obscured. Dynamic Range, including use of compression 1210 marks: Excellent management of dynamics in ways completely appropriate to the music. 97 marks: Occasional miscalculations of dynamic and/or a more limited dynamic range. 64 marks: Sections where the dynamic range is miscalculated and/or very limited. 31 marks: Mostly inappropriate choice/use of dynamics/ dynamics which adversely affect the impact of large sections of the performance. Manipulation of mixing desk 1210 marks: Excellent use of mixing desk which enables all aspects of the recording to be appreciated. 97 marks: Occasional miscalculations in the use of the mixing desk, to the extent that there are restrictions on its effectiveness in separating parts. 64 marks: Sections where the use of the mixing desk is misjudged, inappropriate or very limited. 31 marks: Generally little use of the mixing desk with few or no alterations from the original mix achieved. Use of effects such as reverb., delay, etc 1210 marks: Judicious and appropriate use of effects throughout the piece. 97 marks: Occasional miscalculations as to the use of effects. 64 marks: Sections where effects are misjudged or lacking. 31 marks: Little or inappropriate use of effects. 30 GCE Music for exams from June 2014 onwards (version 2.7) 3 Quality of the recording across a wide range of frequencies 1210 marks: An excellent recording with clear use of a wide range of frequencies. 97 marks: Occasional miscalculations as to the use of a wide frequency range. 64 marks: Sections where the level of care and attention to matters of equalisation are misjudged or lacking. 31: Little or inappropriate use of equalisation for signifcant sections of the recording. 31 GCE Music for exams from June 2014 onwards (version 2.7) 4 4 Scheme of Assessment 4.1 Aims AS and A Level courses based on this specifcation should encourage candidates to: extend the skills, knowledge and understanding needed to communicate through music and to take part in making music engage in and extend their appreciation of the diverse and dynamic heritage of music, promoting spiritual and cultural development develop particular strengths and interests encouraging lifelong learning and providing access to music-related and other careers recognise the interdependence of musical skills, knowledge and understanding and the links between the activities of performing/realising, composing and appraising. 4.2 Assessment Objectives (AOs) The Assessment Objectives are common to AS and A Level. The assessment units will assess the following Assessment Objectives in the context of the content and skills set out in Section 3 (Subject Content). AO1 Interpret musical ideas with technical and expressive control and a sense of style and awareness of occasion and/or ensemble (performing/realising) AO2 Create and develop musical ideas with technical control and expressive understanding making creative use of musical devices, conventions and resources (composing/arranging). AO3 Demonstrate understanding of, and comment perceptively on, the structural, expressive and contextual aspects of music (appraising). Quality of Written Communication (QWC) In GCE specifcations which require candidates to produce written material in English, candidates must: ensure that text is legible and that spelling, punctuation and grammar are accurate so that meaning is clear select and use a form and style of writing appropriate to purpose and to complex subject matter organise information clearly and coherently, using specialist vocabulary when appropriate. In this specifcation QWC will be assessed in Units 1 and 4 by means of extended writing. Weighting of Assessment Objectives for AS The table below shows the approximate weighting of each of the Assessment Objectives in the AS units. Assessment Objectives Unit Weightings (%) Overall weighting of AOs (%) Unit 1 Unit 2 Unit 3 AO1 40 40 AO2 30 30 AO3 30 30 Overall weighting of units (%) 30 30 40 100 32 GCE Music for exams from June 2014 onwards (version 2.7) 4 4.3 National Criteria This specifcation complies with the following. The Subject Criteria for Music The Code of Practice for GCE The GCE AS and A Level Qualifcation Criteria The Arrangements for the Statutory Regulation of External Qualifcations in England, Wales and Northern Ireland: Common Criteria 4.4 Prior Learning We recommend that candidates should have acquired the skills and knowledge associated with a GCSE Music course or equivalent. Weighting of Assessment Objectives for A Level The table below shows the approximate weighting of each of the Assessment Objectives in the AS and A2 units. Assessment Objectives Unit Weightings (%) Overall weighting of AOs (%) Unit 1 Unit 2 Unit 3 Unit 4 Unit 5 Unit 6 AO1 20 15 35 AO2 15 15 30 AO3 15 20 35 Overall weighting of units (%) 15 15 20 20 15 15 100 4.5 Synoptic Assessment and Stretch and Challenge Synoptic assessment requires candidates to: make connections between different aspects of musical activities apply the skills, knowledge and understanding described in the assessment objectives to unfamiliar music demonstrate aural perception and aural discrimination. The synoptic assessment in this specifcation and the requirements for Stretch and Challenge are met in both the practical and written units of A2, drawing on all Assessment Objectives. In Unit 4, candidates will be required to apply their knowledge and understanding to unfamiliar music by relating a selection of previously unheard music to styles, genres and traditions experienced in a range of different activities, making judgements based on the identifcation of musical characteristics. They will also be required to demonstrate aural perception and aural discrimination by comparing and contrasting different musical excerpts. Candidates are required to apply their increasing breadth and depth of knowledge and understanding, in extended written form, through critical comment, discussion or evaluation of two different and contrasting areas of study. In Unit 5, candidates create a composition including a log within a clearly defned brief that refers to the use and selection of resources, structural and expressive features and contextual infuences. In Unit 6, candidates offer a performance of music which shows an awareness of stylistic conventions and contextual infuences with technical and expressive control. 33 GCE Music for exams from June 2014 onwards (version 2.7) 4 4.6 Access to Assessment for Disabled Students AS/A Levels often require assessment of a broader range of competences. This is because they are general qualifcations and, as such, prepare candidates for a wide range of occupations and higher level courses. The revised AS/A Level qualifcation and subject criteria were reviewed to identify whether any of the competences required by the subject presented a potential barrier to any disabled candidates. If this was the case, the situation was reviewed again to ensure that such competences were included only where essential to the subject. The fndings of this process were discussed with disability groups and with disabled people. Reasonable adjustments are made for disabled candidates in order to enable them to access the assessments. For this reason, very few candidates will have a complete barrier to any part of the assessment. Candidates who are still unable to access a signifcant part of the assessment, even after exploring all possibilities through reasonable adjustments, may still be able to receive an award. They would be given a grade on the parts of the assessment they have taken and there would be an indication on their certifcate that not all the competences had been addressed. Candidates with hearing impairments may be restricted when required to demonstrate aural perception skills. Candidates with a hearing impairment may show aural perception by interpretation of a musical score rather than actually listening to the music but would not be able to assess performance of the music. Performing has been broadened to become performing/realising. This means that candidates with a physical impairment may do a performance using computer-generated sounds. This will be kept under review and may be amended in the future. 5 Administration 34 GCE Music for exams from June 2014 onwards (version 2.7) 5 5.3 Private Candidates This specifcation is not available to private candidates. 5.2 Entries Please refer to the current version of Entry Procedures and Codes for up to date entry procedures. You should use the following entry codes for the units and for certifcation. Unit 1 MUSC1 Unit 2 MUS2A or MUS2B or MUS2C Unit 3 MUSC3 Unit 4 MUSC4 Unit 5 MUS5A or MUS5B or MUS5C Unit 6 MUSC6 AS certifcation 1271 A Level certifcation 2271 5.1 Availability of Assessment Units and Certifcation After June 2013, examinations and certifcation for this specifcation are available in June only. 5.4 Access Arrangements and Special Consideration We have taken note of equality and discrimination legislation and the interests of minority groups in developing and administering this specifcation. We follow the guidelines in the Joint Council for Qualifcations (JCQ) document: Access Arrangements, Reasonable Adjustments and Special Consideration: General and Vocational Qualifications. This is published on the JCQ website (http://www.jcq.org.uk) or you can follow the link from our website (http://www.aqa.org.uk). Access Arrangements We can make arrangements so that candidates with disabilities can access the assessment. These arrangements must be made before the examination. For example, we can produce a Braille paper for a candidate with a visual impairment. Special Consideration We can give special consideration to candidates who have had a temporary illness, injury or indisposition at the time of the examination. Where we do this, it is given after the examination. Applications for access arrangements and special consideration should be submitted to AQA by the Examinations Offcer at the centre. 35 GCE Music for exams from June 2014 onwards (version 2.7) 5 5.8 Re-sits and Shelf-life of Unit Results Unit results remain available to count towards certifcation, whether or not they have already been used, as long as the specifcation is still valid. Each unit is available in June only. Candidates may re-sit a unit any number of times within the shelf-life of the specifcation. The best result for each unit will count towards the fnal qualifcation. Candidates who wish to repeat a qualifcation may do so by re- taking one or more units. The appropriate subject award entry, as well as the unit entry/entries, must be submitted in order to be awarded a new subject grade. Candidates will be graded on the basis of the work submitted for assessment. 5.5 Language of Examinations We will provide units in English only. 5.6 Qualifcation Titles Qualifcations based on this specifcation are: AQA Advanced Subsidiary GCE in Music, and AQA Advanced Level GCE in Music. 5.7 Awarding Grades and Reporting Results The AS qualifcation will be graded on a fve-point scale: A, B, C, D and E. The full A Level qualifcation will be graded on a six-point scale: A*, A, B, C, D and E. To be awarded an A* candidates will need to achieve a grade A on the full A Level qualifcation and an A* on the aggregate of the A2 units. For AS and A Level, candidates who fail to reach the minimum standard for grade E will be recorded as U (unclassifed) and will not receive a qualifcation certifcate. Individual assessment unit results will be certifcated. 6 Coursework Administration 36 GCE Music for exams from June 2014 onwards (version 2.7) 6 The Head of Centre is responsible to AQA for ensuring that coursework/portfolio work is conducted in accordance with AQAs instructions and JCQ instructions. 6.1 Supervision and Authentication of Coursework In order to meet the regulators Code of Practice for GCE, AQA requires: candidates to sign the Candidate Record Form (CRF) to confrm that the work submitted is their own, and teachers/assessors to confrm on the CRF that the work assessed is solely that of the candidate concerned and was conducted under the conditions laid down by the specifcation. Supervision of the controlled time in MUSC2 and MUSC5 During the course of study for Units 2 and 5 candidates will perform tasks which give them opportunities to practise composition and arranging. Candidates ongoing development and improvement in these tasks will be under the guidance of their teachers. However, the guidance candidates receive from teachers must be of a general nature if the work is to be authenticated as the candidates own, or it must be declared where the guidance becomes more specifc. The following points should be noted. 1. Throughout the course of study candidates should carry out research and practice compositional and arranging tasks. 2. Unseen briefs for Units 2 and 5 will be released to centres on 1 November. Work submitted for both Units is externally assessed by AQA. 3. Candidates have a maximum of 20 hours of controlled time to complete their composition in response to the chosen AQA brief. 4. The whole of the controlled time must be supervised by a teacher. 5. Any research, compositional and arranging practice in response to the brief must be carried out during the 20 hours of controlled time and should be the candidates own unaided work. 6. In addition, candidates must be told that: work produced during the 20 hours of controlled time must be their own work for submission must not be downloaded from the internet they may not have access to their work other than during the 20 hours of controlled time work may not be removed from the centre they will be required to sign a declaration authenticating work as their own. 7. Teachers are required to: supervise candidates at all times during the 20 hours of controlled time verify that all candidates work has been completed under supervised and controlled conditions confrm that all material submitted for assessment is the candidates own work. The completed CRF for each candidate must be attached to his/her work. All teachers who have assessed the work of any candidate entered for each component must sign the declaration of authentication. Failure to sign the authentication statement may delay the processing of the candidates results. The teacher should be suffciently aware of the candidates standard and level of work to appreciate if the coursework submitted is beyond the talents of the candidate. In most centres teachers are familiar with candidates work through class and homework assignments. Where this is not the case, teachers should make sure that all coursework is completed under direct supervision. In all cases, some direct supervision is necessary to ensure that the coursework submitted can be confdently authenticated as the candidates own. If it is believed that a candidate has received additional assistance and this is acceptable within the guidelines for the relevant specifcation, the teacher/assessor should award a mark which represents the candidates unaided achievement. The authentication statement should be signed and information given on the relevant form. If the teacher/assessor is unable to sign the authentication statement for a particular candidate, then the candidates work cannot be accepted for assessment. 37 GCE Music for exams from June 2014 onwards (version 2.7) 6 Coursework Administration 6 6.2 Malpractice Teachers should inform candidates of the AQA Regulations concerning malpractice. Candidates must not: submit work which is not their own; lend work to other candidates; allow other candidates access to, or the use of, their own independently-sourced source material (this does not mean that candidates may not lend their books to another candidate, but candidates should be prevented from plagiarising other candidates research); include work copied directly from books, the internet or other sources without acknowledgement or an attribution; submit work typed or word-processed by a third person without acknowledgement. These actions constitute malpractice, for which a penalty (eg disqualifcation from the examination) will be applied. If malpractice is suspected, the Examinations Offcer should be consulted about the procedure to be followed. Where suspected malpractice in coursework/ portfolios is identifed by a centre after the candidate has signed the declaration of authentication, the Head of Centre must submit full details of the case to AQA at the earliest opportunity. The form JCQ/M1 should be used. Copies of the form can be found on the JCQ website (http://www.jcq.org.uk/). Malpractice in coursework/portfolios discovered prior to the candidate signing the declaration of authentication need not be reported to AQA, but should be dealt with in accordance with the centres internal procedures. AQA would expect centres to treat such cases very seriously. Details of any work which is not the candidates own must be recorded on the coursework/portfolio cover sheet or other appropriate place. 6.3 Teacher Standardisation We will hold annual standardising meetings for teachers, usually in the autumn term, for the coursework units. At these meetings we will provide support in developing appropriate coursework tasks and using the marking criteria. If your centre is new to this specifcation, you must send a representative to one of the meetings. If you have told us you are a new centre, either by submitting an estimate of entry or by contacting the subject team, we will contact you to invite you to a meeting. We will also contact centres if the moderation of coursework from the previous year has identifed a serious misinterpretation of the coursework requirements, inappropriate tasks have been set, or a signifcant adjustment has been made to a centres marks. In these cases, centres will be expected to send a representative to one of the meetings. For all other centres, attendance is optional. If you are unable to attend and would like a copy of the materials used at the meeting, please contact the subject team at music@aqa.org.uk. 6.4 Internal Standardisation of Marking Centres must standardise marking within the centre to make sure that all candidates at the centre have been marked to the same standard. One person must be responsible for internal standardisation. This person should sign the Centre Declaration Sheet to confrm that internal standardisation has taken place. Internal standardisation may involve: all teachers marking some trial pieces of work and identifying differences in marking standards; discussing any differences in marking at a training meeting for all teachers involved in the assessment; referring to reference and archive material such as previous work or examples from AQAs teacher standardising meetings; but other valid approaches are permissible. 38 GCE Music for exams from June 2014 onwards (version 2.7) 6 6.5 Annotation of Coursework The Code of Practice for GCE states that the awarding body must require internal assessors to show clearly how the marks have been awarded in relation to the marking criteria defned in the specifcation and that the awarding body must provide guidance on how this is to be done. The annotation will help the moderator to see as precisely as possible where the teacher considers that the candidates have met the criteria in the specifcation. Work could be annotated by either of the following methods: key pieces of evidence fagged throughout the work by annotation either in the margin or in the text; summative comments on the work, referencing precise sections in the work. 6.6 Submitting Marks and Sample Work for Moderation The total mark for each candidate must be submitted to AQA and the moderator on the mark forms provided or by Electronic Data Interchange (EDI) by the specifed date. Centres will be informed which candidates work is required in the samples to be submitted to the moderator. 6.7 Factors Affecting Individual Candidates Teachers should be able to accommodate the occasional absence of candidates by ensuring that the opportunity is given for them to make up missed assessments. If work is lost, AQA should be notifed immediately of the date of the loss, how it occurred, and who was responsible for the loss. Centres should use the JCQ form JCQ/LCW to inform AQA Candidate Services of the circumstances. Where special help which goes beyond normal learning support is given, AQA must be informed through comments on the CRF so that such help can be taken into account when moderation takes place (see Section 6.1). Candidates who move from one centre to another during the course sometimes present a problem for a scheme of internal assessment. Possible courses of action depend on the stage at which the move takes place. If the move occurs early in the course the new centre should take responsibility for assessment. If it occurs late in the course it may be possible to arrange for the moderator to assess the work through the Educated Elsewhere procedure. Centres should contact AQA at the earliest possible stage for advice about appropriate arrangements in individual cases. 6.8 Retaining Evidence and Re-using Marks The centre must retain the work of all candidates, with CRFs attached, under secure conditions, from the time it is assessed, to allow for the possibility of an enquiry about results. The work may be returned to candidates after the deadline for enquiries about results. If an enquiry about a result has been made, the work must remain under secure conditions in case it is required by AQA. 39 GCE Music for exams from June 2014 onwards (version 2.7) 7 7 Moderation 7.1 Moderation Procedures Moderation of the coursework is by inspection of a sample of candidates work, sent by post from the centre to a moderator appointed by AQA. The centre marks must be submitted to AQA and to the moderator by the specifed deadline (see http:// www.aqa.org.uk/deadlines.php). We will let centres know which candidates work will be required in the sample to be submitted for moderation. Following the re-marking of the sample work, the moderators marks are compared with the centre marks to determine whether any adjustment is needed in order to bring the centres assessments into line with standards generally. In some cases it may be necessary for the moderator to call for the work of other candidates in the centre. In order to meet this possible request, centres must retain under secure conditions and have available the coursework and the CRF of every candidate entered for the examination and be prepared to submit it on demand. Mark adjustments will normally preserve the centres order of merit, but where major discrepancies are found, we reserve the right to alter the order of merit. 7.2 Post-moderation Procedures On publication of the AS/A Level results, we will provide centres with details of the fnal marks for the coursework unit. The candidates work will be returned to the centre after moderation has taken place. The centre will receive a report with, or soon after, the despatch of published results giving feedback on the appropriateness of the tasks set, the accuracy of the assessments made, and the reasons for any adjustments to the marks. We reserve the right to retain some candidates work for archive or standardising purposes. Appendices 40 GCE Music for exams from June 2014 onwards (version 2.7) A A Performance Descriptions These performance descriptions show the level of attainment characteristic of the grade boundaries at A Level. They give a general indication of the required learning outcomes at the A/B and E/U boundies at AS and A2. The descriptions should be interpreted in relation to the content outlined in the specifcation; they are not designed to defne that content. The grade awarded will depend in practice upon the extent to which the candidate has met the Assessment Objectives (see Section 4) overall. Shortcomings in some aspects of the examination may be balanced by better performances in others. AS Performance Descriptions Music Assessment Assessment Assessment Objective 1 Objective 2 Objective 3 Assessment Interpret musical ideas Create and develop Demonstrate Objectives with technical and musical ideas with understanding of, and expressive control and a technical control and comment perceptively sense of style and expressive understanding on, the structural, awareness of occasion making creative use of expressive and contextual and/or ensemble musical devices, aspects of music (performing/realising). conventions and (appraising). resources (composing/ arranging). A/B Candidates Candidates Candidates boundary characteristically: characteristically: characteristically: performance present musically produce coherent make critical judgements descriptions convincing and generally compositions that show about music heard and fuent performances that an ability to manipulate show a breadth of show musical musical ideas, and make understanding across understanding. use of musical devices the genres, styles and and conventions in traditions studied. relation to the chosen genre, style and tradition. E/U Candidates Candidates Candidates boundary characteristically: characteristically: characteristically: performance perform with a sense produce compositions comment on music descriptions of continuity using that make some use heard showing some appropriate tempi and of musical ideas and understanding across showing some show some understanding the genres, styles understanding of the of musical devices and traditions studied. music chosen. and conventions in relation to the chosen genre, style and tradition. 41 GCE Music for exams from June 2014 onwards (version 2.7) Appendices A A2 Performance Descriptions Music Assessment Assessment Assessment Objective 1 Objective 2 Objective 3 Assessment Interpret musical ideas Create and develop Demonstrate Objectives with technical and musical ideas with understanding of, and expressive control and a technical control and comment perceptively sense of style and expressive understanding on, the structural, awareness of occasion making creative use of expressive and contextual and/or ensemble musical devices, aspects of music (performing/realising). conventions and (appraising). resources (composing/ arranging). A/B Candidates Candidates Candidates boundary characteristically: characteristically: characteristically: performance present musically produce musically make and justify personal descriptions convincing and fuent convincing compositions judgements on music performances that show that show musical heard and show some musical understanding imagination, and make depth of understanding and personal interpretation. effective use of musical within the genres, styles devices and conventions and traditions studied in relation to the chosen making connections genre, style and tradition. between the structural, expressive and contextual aspects of music. E/U Candidates Candidates Candidates boundary characteristically: characteristically: characteristically: performance present generally fuent produce compositions comment in some detail descriptions performances showing that make creative use on music heard, showing some understanding of of musical ideas and some understanding the overall shape, show understanding across the genres, direction and style of the of musical devices and styles and traditions music chosen. conventions in relation to studied. the chosen genre, style and tradition.
42 GCE Music for exams from June 2014 onwards (version 2.7) B B Spiritual, Moral, Ethical, Social and other Issues The study of music outlined in this specifcation aims to extend candidates understanding of the diverse and dynamic heritage of music and of the essential role it has played and continues to play in the spiritual, moral, social and cultural lives of people from around the world, both in the past and in the present. This understanding will enhance their ability to appreciate music through listening and performing and to create music through composing and performing which refects knowledge of cultural and spiritual contexts and sensitivity to the values and conventions of others. European Dimension AQA has taken account of the 1988 Resolution of the Council of the European Community in preparing this specifcation and associated specimen units. Environmental Education AQA has taken account of the 1988 Resolution of the Council of the European Community and the Report Environmental Responsibility: An Agenda for Further and Higher Education 1993 in preparing this specifcation and associated specimen units. Avoidance of Bias AQA has taken great care in the preparation of this specifcation and specimen units to avoid bias of any kind. 43 GCE Music for exams from June 2014 onwards (version 2.7) C C Overlaps with other Qualifcations Candidates entered for AQA AS GCE in Music and/ or AQA Advanced Level GCE in Music may not be entered at the same sitting for any other GCE examination having the title Music. 44 GCE Music for exams from June 2014 onwards (version 2.7) D D Key Skills Key Skills qualifcations have been phased out and replaced by Functional Skills qualifcations in English, Mathematics and ICT from September 2010. GCE Music (2270) For exams from June 2014 onwards Qualication Accreditation Number: AS 500/2449/8 - A Level 500/2452/8
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Copyright 20 AQA and its licensors. All rights reserved. 13 AQA Education (AQA), is a company limited by guarantee registered in England and Wales (company number 3644723), and a registered charity . 1073334 Registered address: AQA, Devas Street, Manchester M15 6EX. http://www.aqa.org.uk/professional-development For information on courses and events please visit: register with ASK AQA at: http://www.aqa.org.uk/help-and-contacts/ask-aqa Every specification is assigned a discounting code indicating the subject area to which it belongs for performance measure purposes. The discount codes for this specification are: AS A Level 7010 The definitive version of our specification will always be the one on our website, this may differ from printed versions. LF1