Music: AS and A Level Specification

GCE
AS and A Level Specication

Music
For exams from June 2014 onwards
For certification from June 2014 onwards
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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.
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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
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.
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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?
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2 Specifcation at a Glance
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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
Externally Assessed Coursework
60 marks
Unit 3 MUSC3
Performing: Interpreting Musical Ideas
1016 minutes Internally Assessed
80 marks
AS
Award
1271
A2 Examinations
Unit 4 MUSC4
Music in Context
20% of A Level
2 hours 15 minutes written examination
100 marks
Unit 5 MUSC5
Composing: Developing Musical Ideas
15% of A Level
Externally Assessed Coursework
60 marks
Unit 6 MUSC6
Performing: A Musical Performance
15% of A Level
1015 minutes Externally Assessed
60 marks
A Level
Award
2271
+ AS A2 = A Level
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3 Subject Content and Assessment Criteria
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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
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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:
from 1940 to 1980
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
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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
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
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
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.
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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.
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:
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.
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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.
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.
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:
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.
form and structure
tonality
rhythm
melody and harmony
timbre and texture
performance detail
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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.
of some of the compositional techniques in
relation to the selected task.
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.
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
performance detail will be lacking, or if present,
wholly inappropriate to the music.
Briefs B and C
6051 marks:
imaginative.
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/
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.
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5041 marks:
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
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:
of some aspects of structure, development,
texture and timbre, in relation to the selected task.
sound sources will be mostly competent and
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:
relation to structure, development, tonality, use of
melody, harmony and rhythm, texture and timbre.
The score/chart/annotation will contain limited
2011 marks:
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
The score/chart/annotation will contain
inaccuracies and/or inconsistencies relating to
performance detail.
101 marks:
The piece will demonstrate a very limited
and rudimentary understanding of structure,
and rhythm, texture and timbre.
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.
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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) 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
and candidates must demonstrate some appropriate
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use of effects and some use of the stereo
feld/panning at mixdown.
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.
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3
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
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
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
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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
Communication and projection of the performance
Level of Demand
4 marks:
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:
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:
65 marks:
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
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43 marks:
21 marks:
expression or performance detail. At the lower mark,
Communication
97 marks:
65 marks:
conviction in the performance and the candidate will
show awareness of the occasion and the audience.
43 marks:
on occasions and, for the lower mark, the candidate
may show little awareness of occasion or audience.
21 marks:
Interpretation
97 marks:
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:
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.
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.
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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.
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
hardware to produce an authentic recording but only
partial success in their implementation.
21 marks:
Limited understanding of the measures needed to
hardware to produce an authentic recording and little
or no evidence of success in their implementation.
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.
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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.
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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
1910 1950.
Two essay questions will be set on each of the AoS
3ac. Candidates will answer one question on the
selected AoS.
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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
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.
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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
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.
form and structure
tonality
rhythm
melody and harmony
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timbre and texture
performance detail
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
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.
form and structure
tonality
rhythm
melody and harmony
timbre and texture
performance detail
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
Text
3
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:
imaginative.
and secure handling of, compositional techniques
with a clear understanding of the chosen style.
The writing for the chosen instruments/voices/
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:
of most of the compositional techniques within the
context of the style 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:
of some of the compositional techniques in
relation to the selected task.
sound sources will be mostly competent, and
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.
with some detail and accuracy, with a sound use
of technical language.
1511 marks:
relation to the compositional techniques.
There will be some inaccuracies in the notation
in relation to pitch and rhythm, and performance
detail, though present, may not be wholly
appropriate.
which lacks detail and is not always accurate, with
some use of technical language.
106 marks:
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
51 marks:
techniques.
Substantial miscalculations in notation will be
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.
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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:
imaginative.
and secure handling of, structure, development,
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 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.
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 score/chart/annotation will be largely accurate
and detailed, bearing a close resemblance to
performance detail.
which is mostly detailed and accurate with a good
4031 marks:
of some aspects of structure, development,
texture and timbre, in relation to the selected task.
sound source(s) will be mostly competent and
The score/chart/annotation will contain some
with some detail and accuracy, with a sound use
of technical language.
3021 marks:
relation to structure, development, tonality, use of
melody, harmony and rhythm, texture and timbre.
sound source(s) will be partially successful and
The score/chart/annotation will contain limited
which lacks detail and is not always accurate with
some use of technical language.
2011 marks:
demonstrate a basic understanding of structure,
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
The score/chart/annotation will contain
inaccuracies and/or inconsistencies relating to
performance detail.
The review provides a limited evaluation of the
process which is mainly descriptive, with some
101 marks:
techniques.
sound source(s) will demonstrate signifcant
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
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
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.
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.
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.
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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
3
The Solo Performance is assessed on:
Level of Demand
Communication and projection of the
performance
Level of Demand
6 marks:
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:
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
techniques. The standard expected will equate to
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:
139 marks:
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
85 marks:
41 marks:
expression or performance detail. At the lower marks,
Communication
1814 marks:
139 marks:
conviction in the performance.
85 marks:
on occasions.
41 marks:
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Interpretation
1814 marks:
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:
Sequencing is assessed on:
A well-balanced recording with the use of
appropriate timbres
Evidence of close attention to performing and
expressive detail
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.
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
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
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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
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
hardware to produce an authentic recording but only
partial success in their implementation
31:
Limited understanding of the measures needed to
hardware to produce an authentic recording and little
or no evidence of success in their implementation.
multi-track close microphone recording
is assessed on:
Balance
Dynamic range, including use of compression
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.
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.
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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.
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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
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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.
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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
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.
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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
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
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.
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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.
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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
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
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
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
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
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
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
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
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

For updates and further information on any of our specications, to find answers or to ask a question:

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
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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.
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