AQA-2270-W-SP-14

GCEAS and A Level Specication

Music For exams from June 2014 onwardsFor certification from June 2014 onwards

1GCE Music for exams from June 2014 onwards (version 2.8)

Contents

1 Introduction 21.1 Why choose AQA? 21.2 Why choose Music? 21.3 HowdoIstartusingthisspecification? 31.4 HowcanIfindoutmore? 3

2 SpecificationataGlance 4

3 SubjectContentandAssessmentCriteria 53.1 Unit1 MUSC1 InfluencesonMusic 63.2 Unit 2 MUSC2 Creating Musical Ideas 8 3.3 Unit 3 MUSC3 Interpreting Musical Ideas 12 3.4 Unit 4 MUSC4 Music in Context 193.5 Unit 5 MUSC5 Developing Musical Ideas 213.6 Unit6 MUSC6 AMusicalPerformance 25

4 SchemeofAssessment 314.1 Aims 314.2 Assessment Objectives 31 4.3 National Criteria 324.4 PriorLearning 324.5 Synoptic Assessment and Stretch and Challenge 324.6 AccesstoAssessmentforDisabledStudents 33

5 Administration 345.1 AvailabilityofAssessmentUnitsandCertification 345.2 Entries 345.3 PrivateCandidates 345.4 Access Arrangements and Special Consideration 355.5 LanguageofExaminations 355.6 QualificationTitles 355.7 Awarding Grades and Reporting Results 355.8 Re-sits and Shelf-life of Unit Results 35

6 CourseworkAdministration 366.1 SupervisionandAuthenticationofCoursework 366.2 Malpractice 376.3 TeacherStandardisation 376.4 InternalStandardisationofMarking 376.5 AnnotationofCoursework 386.6 SubmittingMarksandSampleWorkforModeration 386.7 FactorsAffectingIndividualCandidates 386.8 RetainingEvidenceandRe-usingMarks 38

7 Moderation 397.1 ModerationProcedures 397.2 Post-moderationProcedures 39

Appendices 40A PerformanceDescriptions 40B Spiritual, Moral, Ethical, Social and other Issues 42C OverlapswithotherQualifications 43D KeySkills 44

Verticalblacklinesindicateasignificantchange or additiontothepreviousversionofthisspecification.


1 Introduction

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1.1 Why choose AQA?Its a fact that AQA is the UKs favourite exam board and more students receive their academic qualificationsfromAQAthanfromanyotherboard.But why does AQA continue to be so popular?

SpecificationsOurs are designed to the highest standards, so teachers, students and their parents can be confidentthatanAQAawardprovidesanaccurate measure of a students achievements. And the assessment structures have been designed to achieve a balance between rigour, reliability and demands on candidates.

SupportAQA runs the most extensive programme of supportmeetings;freeofchargeinthefirstyearsofanewspecificationandataveryreasonablecostthereafter.Thesesupportmeetingsexplainthespecificationandsuggestpracticalteachingstrategiesandapproachesthatreallywork.

ServiceWearecommittedtoprovidinganefficientandeffective service and we are at the end of the phonewhenyouneedtospeaktoapersonaboutan important issue. We will always try to resolve issuesthefirsttimeyoucontactusbut,shouldthatnotbepossible,wewillalwayscomebacktoyou(bytelephone,emailorletter)andkeepworkingwithyoutofindthesolution.

EthicsAQA 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 ploughedbackintoeducationalresearchandourservicetoyou,ourcustomers.Wedontprofitfrom education, you do.

Ifyouareanexistingcustomerthenwethankyouforyoursupport.IfyouarethinkingofmovingtoAQAthenwelookforwardtowelcomingyou.

1.2 Why choose Music?Ourspecificationwillprovidecandidateswiththeknowledgeandexperiencerequiredforallformsof further and higher education. It will give them understanding, and encourage appreciation, of all music genres in all contexts.

WebelieveyouwillfindtherevisedGCEMusicspecificationis:

Appealing AreasofStudychosenfortheir interest to all candidates and with much scope to use music technology

Accessible easytofollow,withachoiceof Areas of Study

Approachable onlyonecentre-assessedunit.

InproducingthisspecificationwehaveconformedtospecifiedSubjectCriteriaandrespondedtoteacherssuggestionsandrequestsby:

increasingchoicesincomposingsubmissions

increasingchoicesinperformingsubmissions

reducingtheassessmentburdenonteachersfiveofthesixunitsareexternallyassessed.

Units 1 and 4 (written units) are similar in structure and format to those in our former GCE Music specification.Theyaimtobuildontheknowledgeandskillscandidateshavegainedthrough:

GCSE

performancequalificationsfromotherorganisations

theirownexperience.

Units 2 and 5 (composing units) offer opportunities for candidatesto:

usemusictechnology

improvise

presentconventionalsubmissionsinstaffnotation

acquiremusictechniquesoftheWesternClassicalTradition.

Units3and6(performanceunits)enablecandidatestodemonstratetheirskills:

assoloists

inensembles

byperformingonasecondinstrument

byusingmusictechnology.

WebelieveourrevisedGCEMusicspecificationenables candidates to choose a path best suited to theirneeds.Thiscouldbewithinthemusicindustry,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.


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1.3 HowdoIstartusingthisspecification?AlreadyusingtheexistingAQAMusicspecification? Registertoreceivefurtherinformation,suchas

markschemes,pastquestionpapers,detailsofteacher support meetings, etc, at http://www.aqa.org.uk/rn/askaqa.php Information will be available electronically or in print, for your convenience.

Tellusthatyouintendtoentercandidates.Thenwecanmakesurethatyoureceiveallthematerialyouneedfortheexaminations.Thisisparticularlyimportant where examination material is issued beforethefinalentrydeadline.YoucanletusknowbycompletingtheappropriateIntentiontoEnter and Estimated Entry forms. We will send copiestoyourExamsOfficerandtheyarealsoavailable on our website http://www.aqa.org.uk/admin/p_entries.html

NotusingtheAQAspecification currently? AlmostallcentresinEnglandandWalesuseAQA

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 [email protected]

AskAQAYouhave24-houraccesstousefulinformationandanswerstothemostcommonly-askedquestionsathttp://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.

TeacherSupportDetailsofthefullrangeofcurrentTeacherSupportmeetings are available on our website at http://www.aqa.org.uk/support/teachers.html

ThereisalsoalinktoourfastandconvenientonlinebookingsystemforTeacherSupportmeetingsathttp://events.aqa.org.uk/ebooking

IfyouneedtocontacttheTeacherSupportteam,[email protected]

1.4 HowcanIfindoutmore?


2 SpecificationataGlance

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AS Examinations

Unit 1 MUSC1 Influences on Music

30%ofAS,15%ofALevel 1 hour 45 minutes written examination 80marks

Available in June only

Unit 2 MUSC2 Composing: Creating Musical Ideas

30%ofAS,15%ofALevel ExternallyAssessedCoursework 60marks


Unit 3 MUSC3 Performing: Interpreting Musical Ideas

40%ofAS,20%ofALevel 1016minutesInternallyAssessed 80marks


ASAward 1271

A2 Examinations

Unit 4 MUSC4 Music in Context

20%ofALevel 2 hours 15 minutes written examination 100marks


Unit 5 MUSC5 Composing: Developing Musical Ideas

15%ofALevel ExternallyAssessedCoursework 60marks


Unit 6 MUSC6 Performing: A Musical Performance

15%ofALevel 1015minutesExternallyAssessed 60marks


ALevelAward2271

+AS A2 = ALevel


3 Subject Content and Assessment Criteria

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MusicalLanguage/ContentThemusicalreferencesmadebelowformthebasisfor the exploration of all Areas of Study within AS and A2.Thewholemusicalexperienceofthecoursebothteachingandlearningshouldbecentredonthem. Not all elements will apply universally and their selection and coverage will depend on the composers, contexts,traditionsandworksbeingstudied.

TheorganisationofsoundsForm

binary,ternary,fugue,passacaglia,ritornello

rondo,arch-form,variations,minuetandtrio

sonata,sonata-rondo,scherzoandtrio

dacapoaria,strophic,through-composed,cyclic

Harmony

diatonic,chromatic,functional,non-functional,harmonic rhythm

consonant,dissonant

essential/unessentialnotes,passingnotes,auxiliary notes, acciaccaturas, appoggiaturas

suspensions,falserelation,pedal,drone

cadences,tiercedaPicardie

identificationofchordsusingRomannumerals (I, IVb, etc) or chord symbols, inversions, seventh chords, added note chords, diatonic and chromaticdiscords,noteclusters,circleoffifths

Instrumentation and Timbre

instrumentssinglyandincombinations,asfoundin concertos, symphonies, chamber groups, in jazzandpopmusic

timbre,includingtheuseoftechnology,synthesised and computer-generated sounds, sampling

dynamics

instrumentaltechniquesincludingpizzicato,conarco, con sordino, staccato, spiccato, col legno, double-stopping

Melody

intervals,conjunct,disjunct,triadic,bluenotes

diatonic,chromatic,pentatonic,wholetone,noterow

augmentation,diminution,fragmentation,inversion, retrograde, sequence, motivic development

slide/glissando/portamento,ornamentation

ostinato,riff

phrasingandarticulation

Rhythm and Metre

pulse

regular,irregular,additive,freerhythm,isorhythm,polyrhythms

augmentation,diminution,hemiola,cross-rhythm,dotted rhythm

tempo,rubato,accentuation

Texture

harmonic/homophonic,contrapuntal,polyphonic,heterophonic

imitative,fugal,canonic,layered

unison,octaves,singlemelodyline,melodywithaccompaniment, antiphonal

Tonality

tonal,atonal,bitonal

major,minor,modal,useandidentificationofkey

modulation

ThecontextofmusicComposer, Performer and Audience

intention,use,purpose,stimulus

patronage,commission

technical/emotionaldemands

amateur/professional,performancepractice,interactive media

interpretation,improvisation

Occasion, Time and Place

sacred/secular

private/public,media,concert,live/recorded,internet

performingconventionsandresources

opportunitiesforhearingthemusicthenandnow,why is this piece a product of its time?

MusicalstylesandgenresStyles

forexampleBaroque,Classical,EarlyandLateRomantic, Nationalism, Impressionism, Neo-classicism, Serialism

Genres

forexampleoratorio,concertogrosso,opera,aria,chorus, concerto, symphony, chamber groupings, lied


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Candidates should acquire, explore and apply musical language and context by the consideration of twoAreasofStudy(AoS)from:

AoS1 TheWesternClassicalTradition (compulsory)

AoS2a ChoralMusicintheBaroquePeriod

AoS2b MusicTheatre:astudyoftheMusical from 1940 to 1980

AoS2c BritishPopularMusicfrom1960tothe present day.

TheseAoSwillbesetbyAQA.ThefocusofAoS1,andAoS2ac,maychangeeverythreeyears.

ThroughtheirexplorationoftwoAoSandasetwork,candidateswilldevelopanunderstandingof:

theorganisationofsounds(form,harmony,instrumentation and timbre, melody, rhythm and metre, texture and tonality)

thecontextofmusic(composer,performerandaudience, occasion, time and place)

musicalstylesandgenres.

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 questionsusingaCDofmusicalexcerpts.Theexamination paper will last 1 hour 45 minutes and be markedbyAQAexaminers.

Thequestionpaperwillhavethreesections.

SectionA:Listeningapproximately30minutes

Thissectionwillconsistofstructuredlisteningquestions with or without a score and will require responsescoveringsomeofthefollowing:

cadencesperfect,plagal,imperfect,interrupted

chordidentificationtonic,dominant,subdominant, dominant seventh in root position and1st/2ndinversions,cadential6/4

compositionaltechniques,e.g.sequence,pedal,imitation, canon, ostinato, riff

technicalterms,e.g.appoggiatura,passingnote,note of anticipation

completionofadiatonicmelody

tonalitymodulationstothedominant,subdominant, relative minor

instrumentationthosefoundinthestandard

symphonyorchestraandinjazzandpopmusic,instrumentaltechniquesincludingpizzicato,arco

textureharmonic/homophonic,contrapuntal/polyphonic, imitative, unison, single melody line

ornamentationtrill,turn,mordent

timesignatures

intervalsmajor,minorandperfect

melodic/rhythmicdevicessequence,ostinatopattern, riff, passing note.

Themusicusedinthissectioncanbedrawnfromany period of musical history and will be used toassesslisteningskillsratherthanhistoricalknowledge.

SectionB:HistoricalStudy:TheWesternClassicalTraditioncompulsoryAreaofStudy(AoS1)

TheAoSTheWesternClassicalTraditionisthecompulsoryAoSforthisspecification.Boththefocusandthesetworkmaychangeeverythreeyears.

Set work for 2015 and until further notice: Haydn,SymphonyNo.104inDmajorLondon,1stand 3rd movements.

Study will focus on these two movements from the setwork.

Candidateswillbeabletotakeanunmarkedcopyofthesetworkscoreintotheexaminationroom.

Candidates answer one essay question from a choice of two.

AoS1TheWesternClassicalTraditionwillbecarriedforward to A2, Unit 4.

SectionC:HistoricalStudyAreasofStudy2ac

Centres will choose a second AoS from three set by AQAasfollows:

AoS2a ChoralMusicintheBaroquePeriod

AoS2b MusicTheatre:astudyoftheMusical from 1940 to 1980

AoS2c BritishPopularMusicfrom1960tothe present day.

TwoessayquestionswillbesetoneachoftheAoS2ac.Candidateswillanswerone question on the selected AoS.

3.1 Unit1MUSC1InfluencesonMusic


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IneachAoS2ac,thelistofComposers 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 andgenrespecified.

EITHER

AoS2a Choral Music in the Baroque Period

Candidatesstudysettingsforchoirandsoloists:

thecantata

theoratorio

anthemsandmasses.

Composersofthegenremightinclude:JSBach,Charpentier, Handel, Vivaldi.

OR

AoS2b Music Theatre: a study of the Musical from 1940 to 1980

Candidatesshouldlookatsignificantmusicalsfromwithinthisperiod,withreferenceto:

solosongs

ensembles

musicforthechorus

musicfordance.

Composersofthegenremightinclude:RodgersandHammerstein,Bernstein,LloydWebber.

OR

AoS2c British Popular Music from 1960 to the present day

CandidatesstudythedevelopmentofBritishPopularMusic within these dates including consideration of the:

useofvoicesandinstruments

useofmelody,harmonyandtexture

movefromatraditionalinstrumentalbackinggroup (i.e. lead, rhythm and bass guitars plus drumkit)totheuseofsynthesisedsoundsandother instrumental effects

increaseintheuseofpopularmusicforsocialcomment

useofmulti-tracking,mixingandotherstudiotechniques to enhance recording.

Singers/groupsofthegenremightinclude: TheBeatles,TheRollingStones,PinkFloyd,Oasis,Blur.


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3.2 Unit 2 MUSC2 Creating Musical IdeasCandidates demonstrate their ability to create and develop musical ideas with technical control and expressiveunderstanding,makingcreativeuseof musical devices, conventions and resources in response to oneofthreebriefsasfollows:

Brief A Compositional techniques

BriefB Freecompositionorpastichein response to a given genre

Brief C Arranging.

Thebriefswillbereleasedon1Novemberintheexamination 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.

ForsupervisionofthecontrolledtimeinMUSC2seesection6.1.

EITHER MUS2A

Brief A: Compositional techniques

Candidates must respond to both questions in this brief.

Question 1 Harmonisation of a 16 bar diatonic melody

Candidatesaregivenatraditional16bardiatonicmelodyinamajororminorkeyandwillharmonisethis using four-part harmony. Candidates may composeforagroupofanyfourmelodicinstruments/voices.

Candidates will show understanding of and the ability tohandle:

perfect,plagal,imperfectandinterruptedcadences

rootposition,1stand2ndinversionchords

passingnotes

modulationtothedominant,subdominantandrelativeminor/major

conventionalprogressionssuchascadential6/4

useofthedominant7th.

Question 2 Controlling Texture

Candidatesaregivenupto24barsofkeyboardaccompaniment 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 choicefortwomelodicinstruments/voices.

Any instrument or group of instruments or selection of electronic sound sources may be used.

Candidates should demonstrate understanding of andtheabilitytohandletechniquessuchas:

melodicwriting

useofcounterpoint

imitation.

Submissions must be made as a score in staff notation with a recording on either CD or mini-disc. Recordingscanbemadeusingacousticinstruments/voicesand/orICTtechnology.

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.

Thesefourgenreswillremainthesameeachyear.Thecompositionshouldlast36minutes.Withineach genre, candidates can choose to compose in an appropriate diatonic style.

Candidates should demonstrate understanding of andtheabilitytohandle:

structureanddevelopment

appropriatetonality

useofmelody

harmonyandrhythm

texture,timbreandexpression.

Thecompositionwillalsodemonstratetheabilitytohandle:


harmonyinrootposition,1stand2ndinversionchords

modulationtoanappropriaterelatedkeyincludingdominant,sub-dominant,relativeminor/major

useofthedominant7thchord.

1 VocalMusicThiscanincludemusicforunaccompaniedvoicesorcan include a piece for voice(s) with any appropriate instrumentalbacking.Whereunaccompaniedvoicesare used, there is no upper limit to the number but the minimum number must be two.

2 SmallEnsembleAny small ensemble of instruments is permissible. Thiscanincludetraditionalensemblessuchasstring/wind/brassquartetormixedensembles.Theminimumnumber of instruments in the ensemble must be two.


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3 ElectronicMusicThiscanincludeanyelectronicsoundsourceincluding loops and samples. Where samples are used,itisexpectedthattherewillalsobeasignificantamount of original material composed by the candidate.

4 KeyboardMusicThiscanincludemusicforasinglekeyboardoruptofourkeyboardsofthesameordifferenttypes.In this context, tuned percussion instruments such as xylophone, vibraphone or marimba can also be included,andalsoelectronicallyproducedkeyboardsoundsthroughtheuseofICT.

Submissions must be made as a recording on either CD or mini-disc and include an appropriate score and/orchartand/orannotation.

Anannotationisdefinedasasubstantialpieceofwritingwhichmayincludediagramsand/orsectionsof notation that will accurately describe the process ofcompositionreferringtoelementssuchas:

formandstructure

tonality

rhythm

melodyandharmony

timbreandtexture

performancedetail

theprocessofrealisation.

Recordingscanbemadeusingacousticinstruments/voicesand/orICTtechnology.

OR MUS2C

Brief C: Arranging

Candidates show their ability to arrange music in response to a brief.

Candidateswillbegivenafolksongmelodyandtext, consisting of verse and chorus which may bearrangedvocallyand/orinstrumentallyforanyappropriategroupofvoicesand/orinstruments/and/orICTsoundsources.Thearrangementwilllast36minutesandthefolksongmayconsistofmorethanoneverse.Thearrangementmaybedoneinanymusical style appropriate to the setting.

Candidates should demonstrate understanding of andtheabilitytohandle:

harmonyappropriatetothemelody

developmentofmusicalideaswithinthestructure

useofcountermelody

controloftexture

appropriateuseofvocaland/orinstrumentaltimbresand/orICTsoundsources.

Thecompositionwillalsodemonstratetheabilitytohandle:


harmonyinrootposition,firstandsecondinversion chords

modulationtoanappropriaterelatedkeyincludingdominant,sub-dominant,relativeminor/major

useofthedominant7thchord.

Submissions must be made as a recording on either CD or mini-disc and must include an appropriate scoreand/orchartand/orannotation.


formandstructure

tonality

rhythm

melodyandharmony

timbreandtexture

performancedetail


Recordingscanbemadeusingacousticinstruments/voicesand/orICTtechnology.

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GCE Music for exams from June 2014 onwards (version 2.8)

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AssessmentCriteriaforUnit2(max60marks)

Brief A (for each question)

Themarksforcompositionaltechniqueswillbeawardedaccordingtothefollowingcriteria.Thereare30marksforeachquestion.

3026marks:

Thepiecewillbestimulating,inventiveandimaginative.

Thecandidatewilldemonstrateafirmgraspof,and secure handling of, compositional techniques with a clear understanding of the chosen style.

Thewritingforthechoseninstruments/voices/electronic sound sources will be highly idiomatic.

Theexpressivefeaturesofthemusicwillbeimmediately apparent to the listener.

Notationwillbeaccurateinrelationtopitchand rhythm and contain detailed performance directions appropriate to the music.

2521marks:

Thepiecewillbemusicallyinterestingandsatisfying.

Thecandidatewilldemonstrateanunderstandingof most of the compositional techniques within the context of the style of the music.

Thewritingforinstruments/voices/electronicsound sources will be appropriate in relation to the expressive qualities of the music.

Notationwillbemostlyaccurateinrelationtopitchand rhythm and contain performance directions appropriate to the music.

2016marks:

Thepiecewillbeeffective.

Thecandidatewilldemonstrateanunderstandingof some of the compositional techniques in relationtotheselectedtask.

Thewritingforinstruments/voices/electronicsound sources will be mostly competent and there will be an attempt to convey some of the expressive features of the music.

Theremaybesomeinaccuraciesinthenotationin relation to pitch and rhythm, but the intentions will be largely clear with some attempt to include appropriate performance detail.

1511marks:

Thepiecewillbepartiallyeffectiveandcompletebut will demonstrate limited understanding in relation to the compositional techniques.

Thewritingforinstruments/voices/electronicsound sources will be partially successful and the expressive qualities of the music will be unconvincing and tend to be contrived.

Therewillbesomeinaccuraciesinthenotationin relation to pitch and rhythm, and performance detail, though present, may not be wholly appropriate.

106marks:

Thepiecewilllackeffectivenessandwilldemonstrate a basic understanding of some of the more rudimentary aspects of the compositional techniques leading to sections of incoherence.

Therewillbesomeareasthatareincompleteandthewritingforinstruments/voices/electronicsoundsourceswilldemonstratealackofunderstandingin relation to the expressive qualities of the music.

Frequentmiscalculationsinnotationwillbeevident in relation to pitch and rhythm and performance detail will be sparse and often inappropriate to the music.

51marks:

Thepiecewilldemonstrateaverylimitedandrudimentary understanding of the compositional techniques.

Therewillbesignificantareasthatareincompleteandmuchofthepiecewilllackcoherence.

Thewritingforinstruments/voicesandelectronicsoundsourceswilldemonstratesignificantweaknessesthatwillinhibittheexpressivequalities of the music.

Substantialmiscalculationsinnotationwillbeevident in relation to pitch and rhythm and performancedetailwillbelacking,orifpresent,wholly inappropriate to the music.

Briefs B and C

6051marks:


Thecandidatewilldemonstrateafirmgraspof,and secure handling of, structure, development, tonality, use of melody, harmony and rhythm, texture, timbre, and a clear understanding of the chosen style.

Thewritingforthechoseninstrument(s)/voices/electronic sound sources will be highly idiomatic.


Thescore/chart/annotationwillbeaccurateanddetailed,accuratelyreflectingthemusicintherecording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail.

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5041marks:


Thecandidatewilldemonstrateanunderstandingof structure, development, tonality, use of melody, harmony and rhythm, texture and timbre, within the context of the style of the music.

Thewritingforinstrument(s)/voices/electronicsound sources will be appropriate in relation to the expressive qualities of the music.

Thescore/chart/annotationwillbelargelyaccurateand detailed bearing a close resemblance to the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail.

4031marks:


Thecandidatewilldemonstrateanunderstandingof some aspects of structure, development, tonality, use of melody, harmony and rhythm, textureandtimbre,inrelationtotheselectedtask.

Thewritingforinstrument(s)/voices/electronicsound sources will be mostly competent and there will be an attempt to convey some of the expressive features of the music.

Thescore/chart/annotationwillcontainsomedetail relating to the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail.

3021marks:

Thepiecewillbepartiallyeffectiveandcompletebut will demonstrate limited understanding in relation to structure, development, tonality, use of melody, harmony and rhythm, texture and timbre.

Thewritingforinstrument(s)/voices/electronicsound sources will be partially successful and the expressive qualities of the music will be unconvincing and tend to be contrived.

Thescore/chart/annotationwillcontainlimiteddetail relating to the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail.

2011marks:

Thepiecewilllackeffectivenessandwilldemonstrate a basic understanding of structure, development, tonality, use of melody, harmony and rhythm, texture and timbre leading to sections of incoherence.

Therewillbesomeareasthatareincompleteandthewritingforinstrument(s)/voices/electronicsoundsourceswilldemonstratealackof understanding in relation to the expressive qualities of the music.

Thescore/chart/annotationwillcontaininaccuraciesand/orinconsistenciesrelatingtothe music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail.

101marks:

Thepiecewilldemonstrateaverylimitedand rudimentary understanding of structure, development, tonality, use of melody, harmony and rhythm, texture and timbre.


Thewritingforinstrument(s)/voices/electronicsoundsourceswilldemonstratesignificantweaknessesthatwillinhibittheexpressivequalities of the music.

Thescore/chart/annotationwillbelargelyinaccurate 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.

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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) atechnology-basedperformance1Sequencing

(f) atechnology-basedperformance2 Multi-track/closemicrophonerecording.

Eachacousticperformanceshouldlast58minutes.

Thisunitwillbeinternallyassessedandexternallymoderated.

Foreachperformance,candidatesmaysubmitasingle piece or a programme of shorter pieces.

Candidates may perform their own composition if this makessufficienttechnicalandexpressivedemandson the candidate.

Candidatesmustsubmitascoreorleadsheet/detailedguideorrecordingoftheoriginalworkwiththe recording of their performance and a Candidate RecordForm(CRF).

A soloisdefinedasaperformancewherethecandidatespartis:

asingleunaccompaniedpart

apartwhichisaccompaniedbypiano,guitar(orsimilar),abackingtrackorasmallunitofotherplayers.

Theaccompanimentmustnotdetractfromthecandidates performance or double the part to be assessed.

Thesoloperformancesshouldenablethecandidateto demonstrate technical, expressive, interpretative andcommunicativeskillsappropriatetosoloperformance.

Thesoloperformancemayincludeimprovisation.Insuchcases,thecandidatemustmakeclearthebasisof the improvisation e.g. a melodic fragment, a scale, a chord progression, a rhythmic idea.

An ensembleisdefinedasaperformancewherethecandidate will normally play within a group of three or more performers where the demands of the parts are ofroughlyequaldifficulty.Itisacceptedthatduetsatan appropriate standard for, e.g. pianists, will enable them to demonstrate the necessary ensemble skillsif the part chosen contains passages where the candidatefulfilstherolesofbothmelodyplayerandaccompanist in the course of the piece. Additionally, thecandidatemaydemonstrateensembleskillsbyaccompanying one or more other performers.

Thecandidatespartmustnotbedoubled.

An ensemble performance will enable the candidate to demonstrate technical, expressive, interpretative andcommunicativeskillsappropriatetoensembleperformance.

Theensembleperformancemayincludeimprovisation. In such cases, the candidate must makeclearthebasisoftheimprovisation:e.g.amelodic fragment, a scale, a chord progression, a rhythmic idea.

Other members of the ensemble need not be examination candidates.

Technology1:SequencingCandidates will use a combination of sequencing andmulti-tracking/closemicrophonerecordingtocreateoneormorepiecesofmusic.Themusiccan be in any style but must include at least four vocal/instrumentalparts.Candidateswillsubmitacombination of recorded audio and MIDI sequenced tracks,thenumberofeachtrackbeingatthediscretion of the candidate.

Theminimumrequirementisforfourindependentparts, the piece must be 32 bars or more in length, sometempocontrolforclassicalmusicorsomeuseofdrumkitforpopandjazzplusamoderatelevelofdynamic variation.

CandidatesmustprovidearecordingonCD/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.

Creditwillbegivenfor:

accuracyofpitchandrhythm

awell-balancedrecording

evidenceofcloseattentiontoperformingandexpressive detail

awarenessofstylerequired

abilitytomakeuseofthevariousfacilitiesavailablewithin the hardware and software to produce a valid result.

Technology2:multi-track/closemicrophonerecordingCandidateswillsubmitamulti-tracked/closemicrophone recording based on an initial recording of fourormoreindependentvocaland/orinstrumentalparts.Thecandidatemaybeoneoftheperformersormayperformallthevocal/instrumentalparts.Thesubmissionmustincludethecandidatesinitialrecordingandthefinalmix.

Theminimumrequirementisforfourindependentparts, the piece must be 32 bars or more in length, and candidates must demonstrate some appropriate

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use of effects and some use of the stereo field/panningatmixdown.

CandidatesmustprovidearecordingonCD/mini-disc and details about the equipment used and the recording process should be provided.

Creditwillbegivenforevidenceof:

caretakentoensuregoodbalance

useofanappropriatedynamicrange

useofpanningtoobtainaclearrecordingand,where necessary, to separate sounds that utilise similar frequency ranges

useofeffectswhereappropriate,suchasreverb,delay.

qualityofrecordingacrossawiderangeoffrequencies.

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TheSoloPerformanceisassessedon: LevelofDemand

Accuracyofpitchandrhythmplusobservanceof expressive and performance directions as indicatedonthescore/leadsheet

Communicationandprojectionoftheperformance

Interpretationofthemusic,showingawarenessofits style and character.

LevelofDemand4marks:

Thechosenprogrammewillmakehighdemandsofthecandidate.ThestandardexpectedwillequatetoGrade 5 or its equivalent.

3marks:

Thechosenprogrammewillmakeasubstantialrangeof technical demands upon the candidate though these will be within more limited parameters than thoseexpectedforthetopmark.Thestandardexpected will combine elements of both Grade 5 and Grade 4 or their equivalent.

2marks:

Thechosenprogrammewillmakeanarrowerrangeof demands upon the candidate while still requiring a degree of technical expertise and command of the instrument/voiceacrossavarietyofperformancetechniques.ThestandardexpectedwillequatetoGrade 4 or its equivalent.

1mark:

Thechosenprogrammewillmakefewdemandsofthecandidate.Thepart(s)willbetechnicallystraightforward.Thestandardexpectedwillcombinethe elements of Grade 4 or its equivalent and just below.

Accuracy1210marks:

At the top of the band, there will be no discernible flaws.Otherwise,inaccuracieswillbelimitedtoavery occasional slip; at the lower end, there may be occasional slips but these will not affect the overallfluencyoftheperformance.Intonationwillbevirtuallysecure.Thecandidatewillhaveobservedthecomposers expressive and performance directions.

97marks:

At the top of this band, the performance should be largely accurate and slips or inaccuracies will not affecttheoverallfluency.Atthelowerend,theremay bemoreslipsandintonation,rhythmand/ortempomay become more problematic, leading to the

occasionalhesitationorlossoffluency.Themajorityof the composers expressive and performance directions will have been observed.

64marks:

A performance which achieves consistency in most elementsbutwhichmaylackvariety,technicalcompetenceorfluency.Theremaybemorefrequentslipsand/ormoreconsistentmisreadingofthenotationorperformancedetail.Thebasicoutlineofthe music should be appreciable to the listener. In general, the composers expressive and performance directions will have been observed.

31marks:

A performance which attempts to convey some features of the music accurately but achieves only limitedconsistencyandfluency.Therewillbelittleor no application of the composers directions for expressionorperformancedetail.Atthelowermarks,the music may be scarcely recognisable.

Communication1210marks:

A committed, assured, convincing and well-projected performance.Thecandidatewilldemonstratetotalinvolvement in the music.

97marks:

Thecandidatewilldemonstratesomelevelofcommitment and the performance will be generally assured.Therewillstillbeanoverallsenseofconviction in the performance and the candidate will show awareness of the occasion and the audience.

64marks:

Theperformancewilllackconvictionandcommitmenton occasions and, towards the lower end of this band, the candidate may show little awareness of occasion or audience.

31marks:

Theperformancewillhaveonlylimitedconvictionandthecandidatemayfailtoimposehim/herselfupontheperformance, leading to an anxious experience for performer and listener.

Interpretation1210marks:

Thecandidatewillshowamatureunderstandingofbothperiodandstyle.Thetempowillbeappropriateand mastery of the techniques demanded by the music will be evident.

97marks:

Theperformancewillhavestyleandtempoappropriate to the music. At the lower end of the band, the performance will retain a sense of the

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character of the music. In general, the techniques demanded by the music will be met though with some loss of integrity at times.

64marks:

At the upper end of this band, the candidate will show a general understanding of the style and characterofthemusic.Towardsthelowerend,therewill be limited sensitivity to the interpretative demands ofthemusic.Technicaldemandsmaycompromisethe tempo.

31marks:

Therewillbeonlyarudimentarysensitivitytotheinterpretative demands of the music.

TheEnsemblePerformanceis assessedon: LevelofDemand

SenseofEnsemble




LevelofDemand4marks:

Thechosenprogrammewillmakehighdemandsofthecandidate.Thiswillresultpartlyfromthetechnicaldifficultyofthepart(s)thecandidateplaysandpartlyfrom the role(s) of the part(s) within the ensemble. ThestandardexpectedwillequatetoGrade5oritsequivalent.

3marks:

Thecandidateislikelytoplayamoreconsistentrolewithintheensemble.Thechosenprogrammewillstillmakeasubstantialrangeoftechnicaldemandsuponthe candidate though these will be within more limited parametersthanthoseexpectedforthetopmark.ThestandardexpectedwillcombineelementsofbothGrade 5 and Grade 4 or their equivalent.

2marks:

Thechosenprogrammewillmakeanarrowerrangeof demands upon the candidate while still requiring a degree of technical expertise and command of the instrument/voiceacrossavarietyofperformancetechniques. Overall, the candidates role within the ensemblewillbemorestraightforward.Thestandardexpected will equate to Grade 4 or its equivalent.

1mark:

Thechosenprogrammewillmakefewdemandsofthecandidate.Thepart(s)willbetechnically

straightforward and the candidates role within the ensemblewillpresentfewchallenges.Thestandardexpected will combine the elements of Grade 4 standard or its equivalent and just below.

SenseofEnsemble97marks:

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 toanydifficultieswhichmayoccur.Markstowardsthebottomofthisbandwillreflectsuccessinmostofthese areas.

65marks:

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.

43marks:

A performance showing a good level of responsiveness to the other performers and generally achieving good ensemble in timing, intonation and dynamics for the majorityoftheperformance.Forthelowermark,thelevel of responsiveness will be present inconsistently.

21marks:

A performance showing some awareness of other performers but where the response to the ensemble demands is uneven and where responsiveness isgenerallylesssecure.Forthelowermark,theperformance will show little or no responsiveness to the other performers and demonstrate limited understandingofensembleplaying.Performancesatthis level will include those where the candidate tends toconcentrateonhis/herownparttotheexclusionofother ensemble considerations.

Accuracy97marks:

At the top of the band, there will be no discernible flaws.Otherwise,inaccuracieswillbelimitedtoavery occasional slip; at the lower end, there may be occasional slips but these will not affect the overallfluencyoftheperformance.Intonationwillbevirtuallysecure.Thecandidatewillhaveobservedthecomposers expressive and performance directions.

65marks:

At the top of this band, the performance should be largely accurate and slips or inaccuracies will not affecttheoverallfluency.Atthelowermark,theremaybemoreslipsandintonation,rhythmand/ortempo may become more problematic, leading to the occasionalhesitationorlossoffluency.Themajorityof the composers expressive and performance directions will have been observed.

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43marks:

A performance which achieves consistency in most elementsbutwhichmaylackvariety,technicalcompetenceorfluency.Theremaybemorefrequentslipsand/ormoreconsistentmisreadingofthenotationorperformancedetail.Thebasicoutlineofthe music should be appreciable to the listener. In general, the composers expressive and performance directions will have been observed.

21marks:

A performance which attempts to convey some features of the music accurately but achieves only limitedconsistencyandfluency.Therewillbelittleor no application of the composers directions for expressionorperformancedetail.Atthelowermark,the music may be scarcely recognisable.

Communication97marks:

A committed, assured, convincing and well-projected performance.Thecandidatewilldemonstratetotalinvolvement in the music.

65marks:

Thecandidatewilldemonstratesomelevelofcommitment and the performance will be generally assured.Therewillstillbeanoverallsenseofconviction in the performance and the candidate will show awareness of the occasion and the audience.

43marks:

Theperformancewilllackconvictionandcommitmentonoccasionsand,forthelowermark,thecandidatemay show little awareness of occasion or audience.

21marks:

Theperformancewillhaveonlylimitedconvictionandthecandidatemayfailtoimposehim/herselfupontheperformance, leading to an anxious experience for performer and listener.

Interpretation97marks:

Thecandidatewillshowamatureunderstandingofbothperiodandstyle.Thetempowillbeappropriateand mastery of the techniques demanded by the music will be evident.

65marks:

Theperformancewillhavestyleandtempoappropriatetothemusic.Forthelowermark,theperformancewillretain 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.

43marks:

Fortheuppermark,thecandidatewillshowageneral understanding of the style and character of themusic.Forthelowermark,therewillbelimitedsensitivity to the interpretative demands of the

music.Technicaldemandsmaycompromisethetempo.

21marks:

Therewillbeonlyarudimentarysensitivitytotheinterpretative demands of the music.

TheTechnology-basedperformance1 Sequencingisassessedon: Accuracyofpitchandrhythm

Useoftimbres,balanceandpanningtechniques

Evidenceofcloseattentiontoperformingandexpressive detail

Awarenessofstylerequired

Abilitytousethefacilitiesavailablewithinthesoftware 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.

Accuracyofpitchandrhythm87marks:

Excellent accuracy of pitch and control of all rhythmic elements to produce a musically satisfying recording.

65marks:

A few minor slips which do not inhibit the overall musicalityorfluencyoftherecording.

43marks:

Moresignificanterrors,affectingtheoverallsenseofensemble.

21marks:

Significantlapses,resultinginanunmusicalperformance.

Useoftimbre,balanceandpanningtechniques87marks:

Judiciously chosen timbres set within a well-balanced and effective recording.

65marks:

Appropriate timbres, mostly well-balanced and with some evidence of use of panning.

43marks:

A recording where most timbres are well-chosen but where there are inconsistencies in the balance and only limited use of panning.

21marks:

Mostly inappropriate choice of timbres and little sense of balance or evidence of use of panning.

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Evidenceofcloseattentiontoperformingandexpressivedetail87marks:

Comprehensive evidence of close attention to all aspects of performing and expressive detail to create a musical performance.

65marks:

Effective use of performing and expressive detail, with broadly successful articulation, phrasing and use of shading.

43marks:

Some attempts, not always successful, to use performing and expressive detail to produce a musicalperformance.Theremaybeinconsistenciesin the application of dynamics, articulation, phrasing and tempo.

21marks:

Limitedornoattentiontoperformingandexpressivedetail, resulting in a recording characterised by a lackofdynamiccontrastandinconsistenciesinarticulation, phrasing, shading and tempo.

Awarenessofstylerequired87marks:

Complete awareness of the stylistic requirements of the music and the ability to achieve this through the careful editing of data.

65marks:

Broadly successful creation of required style.

43marks:

Some sense of the required style but achieved inconsistently.

21marks:

A basic transcription of the music with limited or no sense of the required style.

Abilitytousethefacilitiesavailablewithinthesoftwareandhardwaretoproduceavalidresult87marks:

Complete understanding of measures needed to usethefacilitiesavailablewithinthesoftwareand/orhardware to produce an authentic recording.

65marks:

Broad understanding of the measures needed to usethefacilitiesavailablewithinthesoftwareand/or hardware to produce an authentic recording and mostly successful application of these facilities.

43marks:

Some understanding of the measures needed to usethefacilitiesavailablewithinthesoftwareand/or

hardware to produce an authentic recording but only partial success in their implementation.

21marks:

Limitedunderstandingofthemeasuresneededtousethefacilitiesavailablewithinthesoftwareand/orhardware to produce an authentic recording and little or no evidence of success in their implementation.

TheTechnology-basedperformance2multi-track/closemicrophonerecordingisassessedon: Balance

Dynamicrange,includinguseofcompression

Manipulationofmixingdesk

Useofeffects,suchasreverb,delay,etc.

Qualityofrecordingacrossawiderangeoffrequencies.

Candidates will be expected to give details of the equipment used and the recording process.

Balance87marks:

Excellent sense of balance throughout the recording.

65marks:

Occasional miscalculations as to balance, increasing whereamarkof5isawarded.

43marks:

Sections of poor balance; areas where important features are unclear.

21marks:

Generally poorly balanced; much of the detail of the music is obscured.

DynamicRange,includinguseofcompression87marks:

Excellent management of dynamics in ways completely appropriate to the music.

65marks:

Occasionalmiscalculationsofdynamicand/oramorelimited dynamic range.

43marks:

Sections where the dynamic range is miscalculated and/orverylimited.

21marks:

Mostlyinappropriatechoice/useofdynamics/dynamics which adversely affect the impact of large sections of the performance.

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Manipulationofmixingdesk87marks:

Excellentuseofmixingdeskwhichenablesallaspects of the recording to be appreciated.

65marks:

Occasional miscalculations in the use of the mixing desk,totheextentthattherearerestrictionsonitseffectiveness in separating parts.

43marks:

Sectionswheretheuseofthemixingdeskismisjudged, inappropriate or very limited.

21marks:

Generallylittleuseofthemixingdeskwithlittleornoalterations from the original mix achieved.

Useofeffectssuchasreverb,delay,etc87marks:

Judicious and appropriate use of effects throughout the piece.

65marks:

Occasional miscalculations as to the use of effects.

43marks:

Sectionswhereeffectsaremisjudgedorlacking.

21marks:

Littleorinappropriateuseofeffects.

Qualityoftherecordingacrossawiderangeoffrequencies87marks:

An excellent recording with clear use of a wide range of frequencies.

65marks:

Occasional miscalculations as to the use of a wide frequency range.

43marks:

Sections where the level of care and attention to mattersofequalisationaremisjudgedorlacking.

21marks:

Littleorinappropriateuseofequalisationforsignificantsectionsoftherecording.

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3.4 Unit 4 MUSC4 Music in ContextCandidates should acquire, explore and apply musical language and context by the consideration of twoAreasofStudy(AoS)from:

AoS1 TheWesternClassicalTradition (compulsory)

AoS3a English Choral Music in the 20th century

AoS3b Chamber Music from Mendelssohn to Debussy

AoS3c FourdecadesofJazzandBlues 19101950.

TheseAoSwillbesetbyAQA.ThefocusofAoS1,andAoS3ac,maychangeeverythreeyears.

ThroughtheirexplorationoftwoAoSandasetwork,candidateswilldevelopanunderstandingof:

theorganisationofsounds(form,harmony,instrumentation and timbre, melody, rhythm and metre, texture and tonality)

thecontextofmusic(composer,performerandaudience, occasion, time and place)

musicalstylesandgenres.

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.

Theexaminationpaperwilllast2hours15minutesandbemarkedbyAQAexaminers.

Thequestionpaperwillhavethreesections.

SectionA:Listeningapproximately45minutes

Thissectionwillconsistofstructuredlisteningquestions with or without a score and will require responsescoveringsomeofthefollowing:

cadencesperfect,plagal,imperfect,interruptedinthetonicandrelatedkeys

chordidentificationtonic,dominant,subdominant, dominant seventh in root position and1st/2ndinversions,cadential6/4,diminished7th,augmented6th,secondary7ths,dominant7th in 3rd inversion

compositionaltechniques,e.g.sequence,pedal,imitation, canon, ostinato, riff

technicalterms,e.g.appoggiatura,passingnote,note of anticipation

completionofamelodycontainingsomechromatic notes

tonalitymodulationstothedominantmajor,dominant minor, subdominant, relative minor, major of the relative minor, tonic minor, modality, atonal and 12-note music, whole tone scale, bitonality

instrumentationthosefoundinthestandardsymphonyorchestraandinjazzandpopmusic,instrumentaltechniquesincludingpizzicato,arco,con sordino, double stopping

textureharmonic/homophonic,contrapuntal/polyphonic, imitative, unison, single melody line, octaves

ornamentationtrill,turn,mordent,portamento

harmonicdevicestonicanddominantpedals,cycleoffifths,suspension,sequence

timesignatures,includingcompoundtimeand5/7beats in a bar

intervalsmajor,minor,perfect,augmented,diminished

melodic/rhythmicdevicessequence,ostinato, riff, passing note, accented passing note, appoggiatura, chromatic appoggiatura, augmentation, diminution, polyrhythms, portamento, hemiola, suspension.

SectionB:HistoricalStudy:TheWesternClassicalTraditioncompulsoryAreaofStudy(AoS1)

TheAoSTheWesternClassicalTraditionisthecompulsoryAoSforthisspecification.Boththefocusandthesetworksmaychangeeverythreeyears.

Set works 2014 and until further notice:

ElgarSymphonyNo.1

or

ShostakovichSymphonyNo.5

Studywillfocusononeofthetwosetworks.

Candidateswillbeabletotakeanunmarkedcopyoftheirchosensetworkscoreintotheexaminationroom.

Candidates answer one essay question from a choice of two.

SectionC:HistoricalStudyAreasofStudy3ac

Centres will choose a second AoS from three set by AQAasfollows:



AoS3c FourdecadesofJazzandBlues 19101950.

TwoessayquestionswillbesetoneachoftheAoS3ac.Candidateswillanswerone question on the selected AoS.

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IneachAoS3ac,thelistofComposers 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 andgenrespecified.

EITHER


Candidates study the development of English choral musicinthe20thcenturywithreferenceto:

anthemsandmasssettings

oratoriosandotherorchestralsettingsofwords.

Composersofthegenremightinclude:Elgar,Walton,Britten, Howells, Vaughan Williams.

OR


Candidates study a range of Chamber Music written inthisperiod.Thisincludes:

trios,quartets,quintets,etc

timbreandtexture

structure

melodyandharmony.

Composersofthegenremightinclude:Mendelssohn,Brahms,Tchaikovsky,Dvorvk,Debussy

OR

AoS3c Four decades of Jazz and Blues 1910 to 1950

FromDixielandtotheculminationoftheSwingera:

twelve-barblues

Swing

Bebop

musicforBigBand

orchestral/instrumentalmusicdrawingonJazzandBluesinfluences.

Composers/artistsofthegenremightinclude: Jelly-RollMorton,Ravel,Gershwin,DukeEllington,Count Basie, Benny Goodman, Glenn Miller, Charlie Parker,LouisArmstrong.

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3.5 Unit 5 MUSC5 Developing Musical IdeasCandidates demonstrate their ability to create and develop musical ideas with technical control and expressiveunderstanding,makingcreativeuseof musical devices, conventions and resources in response to oneofthreebriefsasfollows:

Brief A Compositional techniques

BriefB Freecompositionorpastichein response to a chosen brief

Brief C Arranging.

Thebriefswillbereleasedon1Novemberintheexamination 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.

ForsupervisionofthecontrolledtimeinMUSC5seesection6.1.

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:

accentedpassingnotesandsuspensions

notesofanticipation

chromaticharmony

diminished7th

majorandminor7th

3rdinversionchords

characteristictreatmentofcadences.

Question 2

The Classical String Quartet

Candidates are expected to complete part of amovementofastringquartet.Thiswillallowcandidates to demonstrate their understanding of, andtheabilitytohandleasappropriate:

thedevelopmentofthematicideasthroughthe use of sequence, imitation, inversion, augmentation and diminution

modulation

varietyintexture.

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 bemadeusingacousticinstruments/voicesand/orICTtechnology.

Thereview(500wordsmax)shouldbeanevaluationofthesuccessofthefinalsubmissioninrelationtothe brief and to appropriate stylistic conventions and contextualinfluencesoftheperiod.

OR MUS5B

Brief B: Free Composition or pastiche

Candidates compose a substantial, single, piece inanystyleorgenre,foranyvoice/instrumentorcombinationofvoicesand/orinstrumentsusingacousticand/orelectronicsoundsources.Thepieceshouldlast58minutes.Itcanconsistofasinglemovement or may consist of up to three separate, related sections, but the total playing time should not exceed8minutes.Thecandidatesintentionshouldbe made clear.

Candidates should show their understanding of and abilitytohandle,asappropriate:

structureanddevelopment

modulation

tonality

melody,harmonyandrhythm

texture,timbreandexpression

characteristicsofthechosenstyle/genre.

Withinthecompositiontherewillbeevidenceof:

accentedpassingnotesand/orsuspensions

chromaticharmony

diminished7th

majorandminor7th

3rdinversionchords

appropriatetreatmentofcadences.

Submissions must be made as a recording on either CD or mini-disc and include an appropriate scoreand/orchartand/orannotationandareview. Recordings can be made using traditional instruments/voicesand/orICTtechnology.


formandstructure

tonality

rhythm

melodyandharmony

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timbreandtexture

performancedetail


Thereview(500wordsmax)shouldbeanevaluationofthesuccessofthefinalsubmissioninrelationtothe brief and with reference to the contextual aspect of the composition.

OR MUS5C

Brief C: Arranging

Candidatesdemonstratetheirarrangingskillsinresponse to a brief given by AQA.

ThebriefwillconsistofarrangingapieceofpopularclassicalmusicselectedbyAQAfromanymusicalperiodfromthebaroqueonwards.Thearrangementshouldbeinarecognisedpop,rockorjazzstyleandshouldlast58minutes.Thearrangementcanbefor any group of instruments and may include voices, but must include parts for a rhythm section consisting ofdrumkitand/orpercussion,doublebassorbassguitarandguitarand/orkeyboard.Thesecanbeeither acoustic instruments or electronic sound sources or a combination of both.

Candidatesshoulddemonstratetheirabilitytohandle:

rhythmicdevelopmentoftheoriginalthematicideas including metre change

developmentofmelodicandharmonicideaswithin the structure

solopassagesandimprovisation

appropriateuseofvocaland/orinstrumentaltimbresand/orICTsoundsources.

Withinthearrangement,thereshouldbeevidenceof:

accentedpassingnotesand/orsuspensions

chromaticharmony

diminished7th

majorandminor7th

3rdinversionchords

appropriatetreatmentofcadences.

Submissions must be made as a recording on either CD or mini-disc and include an appropriate scoreand/orchartand/orannotationandareview. Recordings can be made using traditional instruments/voicesand/orICTtechnology.


formandstructure

tonality

rhythm

melodyandharmony

timbreandtexture

performancedetail


Thereview(500wordsmax)shouldbeanevaluationofthesuccessofthefinalsubmissioninrelationtothe brief and with reference to the contextual aspect of the composition.

Examplesofstudyworks:

Brahms:Symphony No 3 in F.3rdMovement,PocoAllegretto

Santana:Love of my Life from the album Supernatural, Arista Records, 1999

Bach:Preludeno.1fromThe Well Tempered Clavier

JacquesLoussier:Preludeno.1.Focus on Jacques Loussier,DeccaFOSR5/6,1967

Mussorgsky:Pictures at an Exhibition

EmersonLakeandPalmer:Pictures at an Exhibition, Island Records, 1971

JohannPachelbel:Canon in D major

TheFarm:Altogether Now, 1990

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Brief A (for each question)

ThemarksforcompositionaltechniquesforUnit5willbe awarded to show achievement in a more complex taskthanisrequiredbythesamemarkbandofUnit2assessmentcriteria.Thereare30marksforeachquestion.

3026marks:


Thecandidatewilldemonstrateafirmgraspof,and secure handling of, compositional techniques with a clear understanding of the chosen style.

Thewritingforthechoseninstruments/voices/electronic sound sources will be highly idiomatic.


Notationwillbeaccurateinrelationtopitchand rhythm and contain detailed performance directions appropriate to the music.

Thereviewprovidesadetailedandaccurateevaluation of the process with an extensive use of technical language.

2521marks:


Thecandidatewilldemonstrateanunderstandingof most of the compositional techniques within the context of the style of the music.

Thewritingforinstruments/voices/electronicsound sources will be appropriate in relation to the expressive qualities of the music.

Notationwillbemostlyaccurateinrelationtopitchand rhythm and contain performance directions appropriate to the music.

Thereviewprovidesanevaluationoftheprocesswhich is mostly detailed and accurate with a good use of technical language.

2016marks:


Thecandidatewilldemonstrateanunderstandingof some of the compositional techniques in relationtotheselectedtask.

Thewritingforinstruments/voices/electronicsound sources will be mostly competent, and there will be an attempt to convey some of the expressive features of the music.

Theremaybesomeinaccuraciesinthenotationin relation to pitch and rhythm, but the intentions will be largely clear with some attempt to include appropriate performance detail.

Thereviewprovidesanevaluationoftheprocesswith some detail and accuracy, with a sound use of technical language.

1511marks:

Thepiecewillbepartiallyeffectiveandcompletebut will demonstrate limited understanding in relation to the compositional techniques.

Thewritingforinstruments/voices/electronicsound sources will be partially successful and the expressive qualities of the music will be unconvincing and tend to be contrived.

Therewillbesomeinaccuraciesinthenotationin relation to pitch and rhythm, and performance detail, though present, may not be wholly appropriate.

Thereviewprovidesanevaluationoftheprocesswhichlacksdetailandisnotalwaysaccurate,withsome use of technical language.

106marks:

Thepiecewilllackeffectivenessandwilldemonstrate a basic understanding of some of the more rudimentary aspects of the compositional techniques leading to sections of incoherence.

Therewillbesomeareasthatareincompleteandthewritingforinstruments/voices/electronicsoundsourceswilldemonstratealackofunderstandingin relation to the expressive qualities of the music.

Frequentmiscalculationsinnotationwillbeevident in relation to pitch and rhythm, and performance detail will be sparse and often inappropriate to the music.

Thereviewprovidesalimitedevaluationoftheprocess which is mainly descriptive, with some use of technical language.

51marks:

Thepiecewilldemonstrateaverylimitedandrudimentary understanding of the compositional techniques.


Thewritingforinstruments/voices/electronicsoundsourceswilldemonstratesignificantweaknessesthatwillinhibittheexpressivequalities of the music.

Substantialmiscalculationsinnotationwillbeevident in relation to pitch and rhythm and performancedetailwillbelacking,or,ifpresent,wholly inappropriate to the music.

Thereviewisadescriptionoftheprocesswithalimited use of technical language.

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Briefs B and C

Themarksforthecomposition/arrangementforUnit5 will be awarded to show achievement in a more complextaskthanisrequiredbythesamemarkbandofUnit2assessmentcriteria:

6051marks: Thepiecewillbestimulating,inventiveand

imaginative. Thecandidatewilldemonstrateafirmgraspof,

and secure handling of, structure, development, tonality, use of melody, harmony and rhythm, texture, timbre, and a clear understanding of the chosen style.

Thewritingforthechoseninstrument(s)/voice(s)/electronic sound source(s) will be highly idiomatic.


Thescore/chart/annotationwillbeaccurateanddetailed,accuratelyreflectingthemusicintherecording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail.

Thereviewprovidesadetailedandaccurateevaluation of the process with an extensive use of technical language.

5041marks: Thepiecewillbemusicallyinterestingand

satisfying. Thecandidatewilldemonstrateanunderstanding

of structure, development, tonality, use of melody, harmony and rhythm, texture and timbre, within the context of the style of the music.

Thewritingforinstrument(s)/voice(s)/electronicsound source(s) will be appropriate in relation to the expressive qualities of the music.

Thescore/chart/annotationwillbelargelyaccurateand detailed, bearing a close resemblance to the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail.

Thereviewprovidesanevaluationoftheprocesswhich is mostly detailed and accurate with a good use of technical language.

4031marks: Thepiecewillbeeffective. Thecandidatewilldemonstrateanunderstanding

of some aspects of structure, development, tonality, use of melody, harmony and rhythm, textureandtimbre,inrelationtotheselectedtask.

Thewritingforinstrument(s)/voice(s)/electronicsound source(s) will be mostly competent and there will be an attempt to convey some of the expressive features of the music.

Thescore/chart/annotationwillcontainsomedetail relating to the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail.

Thereviewprovidesanevaluationoftheprocesswith some detail and accuracy, with a sound use of technical language.

3021marks: Thepiecewillbepartiallyeffectiveandcomplete

but will demonstrate limited understanding in relation to structure, development, tonality, use of melody, harmony and rhythm, texture and timbre.

Thewritingforinstrument(s)/voice(s)/electronicsound source(s) will be partially successful and the expressive qualities of the music will be unconvincing and tend to be contrived.

Thescore/chart/annotationwillcontainlimiteddetail relating to the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail.

Thereviewprovidesanevaluationoftheprocesswhichlacksdetailandisnotalwaysaccuratewithsome use of technical language.

2011marks: Thepiecewilllackeffectivenessandwill

demonstrate a basic understanding of structure, development, tonality, use of melody, harmony and rhythm, texture and timbre leading to sections of incoherence.

Therewillbesomeareasthatareincompleteandthewritingforinstrument(s)/voice(s)/electronic sound source(s) will demonstrate a lackofunderstandinginrelationtotheexpressivequalities of the music.

Thescore/chart/annotationwillcontaininaccuraciesand/orinconsistenciesrelatingtothe music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail.

Thereviewprovidesalimitedevaluationoftheprocess which is mainly descriptive, with some use of technical language.

101marks: Thepiecewilldemonstrateaverylimitedand

rudimentary understanding of the compositional techniques.


Thewritingforinstrument(s)/voice(s)/electronicsoundsource(s)willdemonstratesignificantweaknessesthatwillinhibittheexpressivequalities of the music.

Thescore/chart/annotationwillbelargelyinaccurate 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.

Thereviewisadescriptionoftheprocesswithalimited use of technical language.

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3.6 Unit6MUSC6AMusicalPerformanceCandidates offer two (or more) contrasting pieces to form a short programme for either acoustic performanceand/orperformanceviamusictechnologychosenfrom:

(a) soloacousticperformanceslasting1015minutes

(b) technology-based performances

(c) one solo performance and one technology-based performancethesoloperformancetobeatleast5 minutes.

Thepieceswillbechosentoshowvarietyofstyle,technique,periodand/orapproach.

Candidates may perform their own compositions ifthesemakesufficienttechnicalandexpressivedemands on them.

Candidatesmustsubmitascoreorleadsheet/detailedguideorrecordingoftheoriginalworkwiththe recording of their performance and a Candidate RecordForm(CRF).Therecordedperformanceswillbe externally assessed.

SoloacousticperformancesAsoloisdefinedasaperformancewherethecandidatespartis:

asingleunaccompaniedpart

apartwhichisaccompaniedbypiano,guitar(orsimilar),abackingtrackorasmallunitofotherplayers.

Theaccompanimentmustnotdetractfromthecandidates performance or double the part to be assessed.

Thesoloperformancesshouldenablethecandidateto demonstrate appropriate technical, expressive, interpretativeandcommunicativeskills.Soloperformances may include improvisation. In such cases,thecandidatemustmakeclearthebasisoftheimprovisation:e.g.amelodicfragment,ascale,achord progression, a rhythmic idea.

Therecordingofeachpieceormovementmustbeacompleteperformance(i.e.asingletake).

Technology-basedperformancesWhere a candidates submission consists of Technology1onlyorTechnology2only,theremustbe two performances in order to demonstrate the required variety.

Technology1:SequencingCandidates will use a combination of sequencing and multi-tracking/closemicrophonerecordingtocreateone or more recordings. At least one recording shouldbeofapop/rock/jazzensemblewithatleastsixvocal/instrumentalparts,withtheinclusionofadrumkit.Candidateswillsubmitacombination

ofrecordedaudioandMIDIsequencedtracks,thenumberofeachtrackbeingatthediscretionofthecandidate.

Theminimumrequirementisforsixindependentparts, the piece must be 48 bars or more in length, classical style submissions will feature a solo part, pop/jazzsubmissionswillfeatureavocalline,evidence of use of sound sources other than GM (e.g. plug-insorsoundmodule),plusatleastoneVSTi.

CandidatesmustprovidearecordingonCD/mini-disc and details of the equipment used, including the use made of the various facilities available within the hardware and the software.

Creditwillbegivenfor:

accuracyofpitchandrhythm

awell-balancedrecording

evidenceofcloseattentiontoperformingandexpressive detail

awarenessofstylerequired

abilitytomakeuseofthevariousfacilitiesavailablewithin the hardware and software to produce a valid result.

Technology2:multi-track/closemicrophonerecording

Candidateswillusemulti-tracking/closemicrophonerecording to produce one or more recordings based on initial recordings of six parts which must include independent vocal andinstrumentallines.Thecandidate may be one of the performers or may alternativelyperformallthevocal/instrumentalparts.Thesubmissionwillincludethecandidatesinitialrecordingandthefinalmix.

Theminimumrequirementisforsixindependentinstruments, 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 thestereofield/panningatmixdown.

CandidatesmustprovidearecordingonCD/mini-disc and details of the equipment used and the recording process.

Creditwillbegivenforevidenceof:

caretakentoensuregoodbalance

useofanappropriatedynamicrange

useofpanningtoobtainaclearrecordingand,where necessary, to separate sounds that utilise similar frequency ranges

useofeffectswhereappropriate,suchasreverberation, delay.

qualityofrecordingacrossawiderangeoffrequencies.

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Where a candidate presents a performance which contains both acoustic and technology-based elements,theymaychooseeitherTechnologyPerformance1orTechnologyPerformance2.

Theprogrammeofsoloacousticperformancesisexternallymarkedholisticallyoutof60usingtherelevant assessment criteria.

Theprogrammeoftechnology-basedperformancesis, when all the pieces are the same type, externally markedholisticallyoutof60usingtherelevantassessment criteria.

When a programme comprises mixed types, ie one solo performance and one technology-based or two different technology types, then each type is externallyassessedandmarkedoutof60usingtherelevantcriteriaonthenextpages.Thesemarksareaddedtogetheranddividedbytwotogivethefinaloverallmark.

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TheSoloPerformanceisassessedon: LevelofDemand




LevelofDemand6marks:Thechosenprogrammewillmakehighdemandsofthecandidate.Thestandardexpectedwillbegreaterthan Grade 7 or its equivalent.

5marks:Thechosenprogrammewillmakeasubstantialrangeof technical demands upon the candidate although these will be within more limited parameters than thoseexpectedforthetopmark.Thestandardexpected will equate to Grade 7 or its equivalent.

4marks:Thechosenprogrammewillmakeareasonablerange of technical demands upon the candidate. ThestandardexpectedwillequatetoGrade6oritsequivalent.

3marks:Thechosenprogrammewillmakeanarrowerrangeof demands upon the candidate while still requiring a degree of technical expertise and command of the instrument/voiceacrossavarietyofperformancetechniques.ThestandardexpectedwillcombineelementsofGrades6and5ortheirequivalent.2marks:Thechosenprogrammewillmakesomedemandsupon the candidate while requiring a more limited degree of technical expertise and command of the instrument/voiceacrossavarietyofperformancetechniques.ThestandardexpectedwillequatetoGrade 5 or its equivalent.

1mark:Thechosenprogrammewillmakefewdemandsofthecandidate.Thepart(s)willbetechnicallystraightforward.Thestandardexpectedwillbelessthan Grade 5 or its equivalent.

Accuracy1814marks:At the top of the band, there will be no discernible flaws.Otherwise,inaccuracieswillbelimitedtoavery occasional slip; at the lower end, there may be occasional slips but these will not affect the overallfluencyoftheperformance.Intonationwillbevirtuallysecure.Thecandidatewillhaveobservedthecomposers expressive and performance directions.

139marks:At the top of this band, the performance should be largely accurate and slips or inaccuracies will not affecttheoverallfluency.Atthelowerend,theremaybemoreslipsandintonation,rhythmand/ortempo may become more problematic, leading to the occasionalhesitationorlossoffluency.Themajorityof the composers expressive and performance directions will have been observed.

85marks:A performance which achieves consistency in most elementsbutwhichmaylackvariety,technicalcompetenceorfluency.Theremaybemorefrequentslipsand/ormoreconsistentmisreadingofthenotationorperformancedetail.Thebasicoutlineofthe music should be appreciable to the listener. In general, the composers expressive and performance directions will have been observed.

41marks:A performance which attempts to convey some features of the music accurately but achieves only limitedconsistencyandfluency.Therewillbelittleor no application of the composers directions for expressionorperformancedetail.Atthelowermarks,the music may be scarcely recognisable.

Communication1814marks:A committed, assured, convincing and well-projected performance.Thecandidatewilldemonstratetotalinvolvement in the music.

139marks:Thecandidatewilldemonstratesomelevelofcommitment and the performance will be generally assured.Therewillstillbeanoverallsenseofconviction in the performance.

85marks:Theperformancewilllackconvictionandcommitmenton occasions.

41marks:Theperformancewillhaveonlylimitedconvictionandthecandidatemayfailtoimposehim/herselfupontheperformance, leading to an anxious experience for performer and listener.

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Interpretation1814marks:Thecandidatewillshowamatureunderstandingofbothperiodandstyle.Thetempowillbeappropriateand mastery of the techniques demanded by the music will be evident.

139marks:Theperformancewillhavestyleandtempoappropriate 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.

85marks:At the upper end of this band, the candidate will show a general understanding of the style and characterofthemusic.Towardsthelowerend,therewill be limited sensitivity to the interpretative demands ofthemusic.Technicaldemandsmaycompromisethe tempo.

41marks:Therewillbeonlyarudimentarysensitivitytotheinterpretative demands of the music.

TheTechnology-basedperformance1 Sequencingisassessedon: Accuracyofpitchandrhythm Awell-balancedrecordingwiththeuseof

appropriate timbres

Evidenceofcloseattentiontoperformingandexpressive detail

Awarenessofstylerequired Abilitytoadaptsoftwareandhardwareas

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.

Accuracyofpitchandrhythm1210marks:Excellent accuracy of pitch and control of all rhythmic elements to produce a musically satisfying recording

97marks:A few minor slips which do not inhibit the overall musicalityorfluencyoftherecording64marks:Moresignificanterrors,affectingtheoverallsenseofensemble

31marks:Significantlapses,resultinginanunmusicalperformance

Useoftimbre,balanceandpanningtechniques1210marks:Judiciously chosen timbres set within a well-balanced and effective recording

97marks:Appropriate timbres, mostly well-balanced and with some evidence of use of panning

64marks:A recording where most timbres are well-chosen but where there are inconsistencies in the balance and only limited use of panning

31marks:Mostly inappropriate choice of timbres and little sense of balance or evidence of use of panning

Evidenceofcloseattentiontoperformingandexpressivedetail1210marks:Comprehensive evidence of close attention to all aspects of performing and expressive detail to create a musical performance

97marks:Effective use of performing and expressive detail, with broadly successful articulation, phrasing and use of shading

64marks:Some attempts, not always successful, to use performing and expressive detail to produce a musicalperformance.Theremaybeinconsistenciesin the application of dynamics, articulation, phrasing and tempo

31marks:Limitedornoattentiontoperformingandexpressivedetail, resulting in a recording characterised by a lackofdynamiccontrastandinconsistenciesinarticulation, phrasing, shading and tempo

Awarenessofstylerequired1210marks:Complete awareness of the stylistic requirements of the music and the ability to achieve this through the careful editing of data

97marks:Broadly successful creation of required style

64marks:Some sense of the required style but achieved inconsistently

31marks:A basic transcription of the music with limited or no sense of the required style

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Abilitytousethefacilitiesavailablewithinthesoftwareandhardwaretoproduceavalidresult1210marks:Complete understanding of measures needed to usethefacilitiesavailablewithinthesoftwareand/orhardware to produce an authentic recording

97marks:Broad understanding of the measures needed to usethefacilitiesavailablewithinthesoftwareand/or hardware to produce an authentic recording and mostly successful application of these facilities

64marks:Some understanding of the measures needed to usethefacilitiesavailablewithinthesoftwareand/orhardware to produce an authentic recording but only partial success in their implementation

31:Limitedunderstandingofthemeasuresneededtousethefacilitiesavailablewithinthesoftwareand/orhardware to produce an authentic recording and little or no evidence of success in their implementation.

TheTechnology-basedperformance2 multi-trackclosemicrophonerecordingisassessedon: Balance Dynamicrange,includinguseofcompression Manipulationofmixingdesk Useofeffects,suchasreverb.,delay,etc. Qualityoftherecordingacrossawiderangeof

frequencies.

Candidateswillsubmitamulti-tracked/closemicrophone recording based on an initial recording ofsixormoreindependentvocaland/orinstrumentalparts.Thecandidatemaybeoneoftheperformers.Thesubmissionwillincludetheinitialrecordingandthefinalmix.Candidatesmustadditionallyprovideinformation about the equipment used and the recording process.

Balance1210marks:Excellent sense of balance throughout the recording.

97marks:Occasional miscalculations as to balance, increasing whereamarkof7isawarded.64marks:Sections of poor balance; areas where important features are unclear.

31marks:Generally poorly balanced; much of the detail of the music is obscured.

DynamicRange,includinguseofcompression1210marks:Excellent management of dynamics in ways completely appropriate to the music.

97marks:Occasionalmiscalculationsofdynamicand/oramorelimited dynamic range.

64marks:Sections where the dynamic range is miscalculated and/orverylimited.31marks:Mostlyinappropriatechoice/useofdynamics/dynamics which adversely affect the impact of large sections of the performance.

Manipulationofmixingdesk1210marks:Excellentuseofmixingdeskwhichenablesallaspects of the recording to be appreciated.

97marks:Occasional miscalculations in the use of the mixing desk,totheextentthattherearerestrictionsonitseffectiveness in separating parts.

64marks:Sectionswheretheuseofthemixingdeskismisjudged, inappropriate or very limited.

31marks:Generallylittleuseofthemixingdeskwithfewornoalterations from the original mix achieved.

Useofeffectssuchasreverb.,delay,etc1210marks:Judicious and appropriate use of effects throughout the piece.

97marks:Occasional miscalculations as to the use of effects.

64marks:Sectionswhereeffectsaremisjudgedorlacking.31marks:Littleorinappropriateuseofeffects.

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Qualityoftherecordingacrossawiderangeoffrequencies1210marks:An excellent recording with clear use of a wide range of frequencies.

97marks:Occasional miscalculations as to the use of a wide frequency range.

64marks:Sections where the level of care and attention to mattersofequalisationaremisjudgedorlacking.31:Littleorinappropriateuseofequalisationforsignificantsectionsoftherecording.

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4 Scheme of Assessment

4.1 AimsASandALevelcoursesbasedonthisspecificationshouldencouragecandidatesto:

extendtheskills,knowledgeandunderstandingneeded to communicate through music and to takepartinmakingmusic

engageinandextendtheirappreciationofthediverse and dynamic heritage of music, promoting spiritual and cultural development

developparticularstrengthsandinterestsencouraging lifelong learning and providing access to music-related and other careers

recognisetheinterdependenceofmusicalskills,knowledgeandunderstandingandthelinksbetweentheactivitiesofperforming/realising,composing and appraising.

4.2 Assessment Objectives (AOs)TheAssessmentObjectivesarecommontoASand ALevel.TheassessmentunitswillassessthefollowingAssessment Objectives in the context of the content andskillssetoutinSection3(SubjectContent).

AO1 Interpret musical ideas with technical and expressive control and a sense of style and awarenessofoccasionand/orensemble(performing/realising)

AO2 Create and develop musical ideas with technical control and expressive understandingmakingcreativeuseofmusical devices, conventions and resources (composing/arranging).

AO3 Demonstrate understanding of, and comment perceptively on, the structural, expressive and contextual aspects of music (appraising).

QualityofWrittenCommunication(QWC)InGCEspecificationswhichrequirecandidatestoproducewrittenmaterialinEnglish,candidatesmust:

ensurethattextislegibleandthatspelling,punctuation and grammar are accurate so that meaning is clear

selectanduseaformandstyleofwritingappropriate to purpose and to complex subject matter

organiseinformationclearlyandcoherently,usingspecialist vocabulary when appropriate.

InthisspecificationQWCwillbeassessedinUnits1and 4 by means of extended writing.

WeightingofAssessmentObjectivesforASThetablebelowshowstheapproximateweightingofeachoftheAssessmentObjectivesintheASunits.

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

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4.3 National CriteriaThisspecificationcomplieswiththefollowing.

TheSubjectCriteriaforMusic

TheCodeofPracticeforGCE

TheGCEASandALevelQualificationCriteria

TheArrangementsfortheStatutoryRegulationofExternalQualificationsinEngland,WalesandNorthernIreland:CommonCriteria

4.4 PriorLearningWe recommend that candidates should have acquiredtheskillsandknowledgeassociatedwithaGCSE Music course or equivalent.

WeightingofAssessmentObjectivesforALevel

ThetablebelowshowstheapproximateweightingofeachoftheAssessmentObjectivesintheASandA2units.

Assessment Objectives Unit Weightings (%) Overall weighting of AO

AQA-2270-W-SP-14

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