AQA-2270-W-SP-14

GCEAS and A Level Specification

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

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GCE Music for exams from June 2014 onwards (version 2.7)

Contents

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

2 SpecificationataGlance 4

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

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

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

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

7 Moderation 397.1 ModerationProcedures 397.2 Post-moderationProcedures 39

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

Verticalblacklinesindicateasignificantchange or additiontothepreviousversionofthisspecification.

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1 Introduction

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

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

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

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

• EthicsAQA is a registered charity. We have no shareholders to pay. We exist solely for the good of education in the UK. Any surplus income is ploughedbackintoeducationalresearchandourservicetoyou,ourcustomers.Wedon’tprofitfrom education, you do.

Ifyouareanexistingcustomerthenwethankyouforyoursupport.IfyouarethinkingofmovingtoAQAthenwelookforwardtowelcomingyou.

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

WebelieveyouwillfindtherevisedGCEMusicspecificationis:

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

• Accessible– easytofollow,withachoiceof Areas of Study

• Approachable– onlyonecentre-assessedunit.

InproducingthisspecificationwehaveconformedtospecifiedSubjectCriteriaandrespondedtoteachers’suggestionsandrequestsby:

• increasingchoicesincomposingsubmissions

• increasingchoicesinperformingsubmissions

• reducingtheassessmentburdenonteachers–fiveofthesixunitsareexternallyassessed.

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

• GCSE

• performancequalificationsfromotherorganisations

• theirownexperience.

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

• usemusictechnology

• improvise

• presentconventionalsubmissionsinstaffnotation

• acquiremusictechniquesoftheWesternClassicalTradition.

Units3and6(performanceunits)enablecandidatestodemonstratetheirskills:

• assoloists

• inensembles

• byperformingonasecondinstrument

• byusingmusictechnology.

WebelieveourrevisedGCEMusicspecificationenables candidates to choose a path best suited to theirneeds.Thiscouldbewithinthemusicindustry,academic study or for interest. It will give them a life-long enjoyment and understanding of music as a listener or performer, at any level.

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1.3 HowdoIstartusingthisspecification?AlreadyusingtheexistingAQAMusicspecification?• Registertoreceivefurtherinformation,suchas

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

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

NotusingtheAQAspecification currently?• AlmostallcentresinEnglandandWalesuseAQA

or have used AQA in the past and are approved AQA centres. A small minority are not. If your centre is new to AQA, please contact our centre approval team at [email protected]

AskAQAYouhave24-houraccesstousefulinformationandanswerstothemostcommonly-askedquestionsathttp://www.aqa.org.uk/rn/askaqa.php

If the answer to your question is not available, you can submit a query for our team. Our target response time is one day.

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

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

IfyouneedtocontacttheTeacherSupportteam,[email protected]

1.4 HowcanIfindoutmore?

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2 SpecificationataGlance

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AS Examinations

Unit 1 – MUSC1 Influences on Music

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

Available in June only

Unit 2 – MUSC2 Composing: Creating Musical Ideas

30%ofAS,15%ofALevel ExternallyAssessedCoursework 60marks


Unit 3 – MUSC3 Performing: Interpreting Musical Ideas

40%ofAS,20%ofALevel 10–16minutesInternallyAssessed 80marks


ASAward 1271

A2 Examinations

Unit 4 – MUSC4 Music in Context

20%ofALevel 2 hours 15 minutes written examination 100marks


Unit 5 – MUSC5 Composing: Developing Musical Ideas

15%ofALevel ExternallyAssessedCoursework 60marks


Unit 6 – MUSC6 Performing: A Musical Performance

15%ofALevel 10–15minutesExternallyAssessed 60marks


ALevelAward2271

+AS A2 = ALevel

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3 Subject Content and Assessment Criteria

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

TheorganisationofsoundsForm

• binary,ternary,fugue,passacaglia,ritornello

• rondo,arch-form,variations,minuetandtrio

• sonata,sonata-rondo,scherzoandtrio

• dacapoaria,strophic,through-composed,cyclic

Harmony

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

• consonant,dissonant

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

• suspensions,falserelation,pedal,drone

• cadences,tiercedaPicardie

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

Instrumentation and Timbre

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

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

• dynamics

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

Melody

• intervals,conjunct,disjunct,triadic,bluenotes

• diatonic,chromatic,pentatonic,wholetone,noterow

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

• slide/glissando/portamento,ornamentation

• ostinato,riff

• phrasingandarticulation

Rhythm and Metre

• pulse

• regular,irregular,additive,freerhythm,isorhythm,polyrhythms

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

• tempo,rubato,accentuation

Texture

• harmonic/homophonic,contrapuntal,polyphonic,heterophonic

• imitative,fugal,canonic,layered

• unison,octaves,singlemelodyline,melodywithaccompaniment, antiphonal

Tonality

• tonal,atonal,bitonal

• major,minor,modal,useandidentificationofkey

• modulation

ThecontextofmusicComposer, Performer and Audience

• intention,use,purpose,stimulus

• patronage,commission

• technical/emotionaldemands

• amateur/professional,performancepractice,interactive media

• interpretation,improvisation

Occasion, Time and Place

• sacred/secular

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

• performingconventionsandresources

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

MusicalstylesandgenresStyles

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

Genres

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

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

AoS1 TheWesternClassicalTradition (compulsory)

AoS2a ChoralMusicintheBaroquePeriod

AoS2b MusicTheatre:astudyoftheMusical from 1940 to 1980

AoS2c BritishPopularMusicfrom1960tothe present day.

TheseAoSwillbesetbyAQA.ThefocusofAoS1,andAoS2a–c,maychangeeverythreeyears.

ThroughtheirexplorationoftwoAoSandasetwork,candidateswilldevelopanunderstandingof:

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

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

• musicalstylesandgenres.

Study will involve listening to music from within the two AoS, study of scores and gaining an awareness of the context in which the music was composed.

Assessment will be by written paper with some questionsusingaCDofmusicalexcerpts.Theexamination paper will last 1 hour 45 minutes and be markedbyAQAexaminers.

Thequestionpaperwillhavethreesections.

SectionA:Listening–approximately30minutes

Thissectionwillconsistofstructuredlisteningquestions with or without a score and will require responsescoveringsomeofthefollowing:

• cadences–perfect,plagal,imperfect,interrupted

• chordidentification–tonic,dominant,subdominant, dominant seventh in root position and1st/2ndinversions,cadential6/4

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

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

• completionofadiatonicmelody

• tonality–modulationstothedominant,subdominant, relative minor

• instrumentation–thosefoundinthestandard

symphonyorchestraandinjazzandpopmusic,instrumentaltechniquesincludingpizzicato,arco

• texture–harmonic/homophonic,contrapuntal/polyphonic, imitative, unison, single melody line

• ornamentation–trill,turn,mordent

• timesignatures

• intervals–major,minorandperfect

• melodic/rhythmicdevices–sequence,ostinatopattern, riff, passing note.

Themusicusedinthissectioncanbedrawnfromany period of musical history and will be used toassesslisteningskillsratherthanhistoricalknowledge.

SectionB:HistoricalStudy:TheWesternClassicalTradition–compulsoryAreaofStudy(AoS1)

TheAoS‘TheWesternClassicalTradition’isthecompulsoryAoSforthisspecification.Boththefocusandthesetworkmaychangeeverythreeyears.

Set work: Beethoven, Symphony No.1, 1st and 2nd movements.

Study will focus on these two movements from the setwork.

Candidateswillbeabletotakeanunmarkedcopyofthesetworkscoreintotheexaminationroom.

Candidates answer one essay question from a choice of two.

AoS1TheWesternClassicalTraditionwillbecarriedforward to A2, Unit 4.

SectionC:HistoricalStudy–AreasofStudy2a–c

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

AoS2a ChoralMusicintheBaroquePeriod

AoS2b MusicTheatre:astudyoftheMusical from 1940 to 1980

AoS2c BritishPopularMusicfrom1960tothe present day.

TwoessayquestionswillbesetoneachoftheAoS2a–c.Candidateswillanswerone question on the selected AoS.

3.1 Unit1MUSC1InfluencesonMusic

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IneachAoS2a–c,thelistofComposers of the genre is intended as a guide, not as an indication that all composers listed must be studied or that this list excludes study of other composers within the period andgenrespecified.

EITHER

AoS2a Choral Music in the Baroque Period

Candidatesstudysettingsforchoirandsoloists:

• thecantata

• theoratorio

• anthemsandmasses.

Composersofthegenremightinclude:JSBach,Charpentier, Handel, Vivaldi.

OR

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

Candidatesshouldlookatsignificantmusicalsfromwithinthisperiod,withreferenceto:

• solosongs

• ensembles

• musicforthechorus

• musicfordance.

Composersofthegenremightinclude:RodgersandHammerstein,Bernstein,LloydWebber.

OR

AoS2c British Popular Music from 1960 to the present day

CandidatesstudythedevelopmentofBritishPopularMusic within these dates including consideration of the:

• useofvoicesandinstruments

• useofmelody,harmonyandtexture

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

• increaseintheuseofpopularmusicforsocialcomment

• useofmulti-tracking,mixingandotherstudiotechniques to enhance recording.

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

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

Brief A Compositional techniques

BriefB Freecompositionorpastichein response to a given genre

Brief C Arranging.

Thebriefswillbereleasedon1Novemberintheexamination year and compositions will be externally assessed by AQA. Candidates should be offered a maximum of 20 hours, supervised in the centre, in which to complete their compositions.

ForsupervisionofthecontrolledtimeinMUSC2seesection6.1.

EITHER MUS2A

Brief A: Compositional techniques

Candidates must respond to both questions in this brief.

Question 1 Harmonisation of a 16 bar diatonic melody

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

Candidates will show understanding of and the ability tohandle:

• perfect,plagal,imperfectandinterruptedcadences

• rootposition,1stand2ndinversionchords

• passingnotes

• modulationtothedominant,subdominantandrelativeminor/major

• conventionalprogressionssuchascadential6/4

• useofthedominant7th.

Question 2 Controlling Texture

Candidatesaregivenupto24barsofkeyboardaccompaniment and should show their ability to control texture by creating a piece of music using the given chords in two parts in a style of the candidate’s choicefortwomelodicinstruments/voices.

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

Candidates should demonstrate understanding of andtheabilitytohandletechniquessuchas:

• melodicwriting

• useofcounterpoint

• imitation.

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

OR MUS2B

Brief B: Free composition or pastiche in response to a given genre

Candidates will respond to one of four given musical genres:

Vocal music

Small ensemble

Electronic music

Keyboard music.

Thesefourgenreswillremainthesameeachyear.Thecompositionshouldlast3–6minutes.Withineach genre, candidates can choose to compose in an appropriate diatonic style.

Candidates should demonstrate understanding of andtheabilitytohandle:

• structureanddevelopment

• appropriatetonality

• useofmelody

• harmonyandrhythm

• texture,timbreandexpression.

Thecompositionwillalsodemonstratetheabilitytohandle:


• harmonyinrootposition,1stand2ndinversionchords

• modulationtoanappropriaterelatedkeyincludingdominant,sub-dominant,relativeminor/major

• useofthedominant7thchord.

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

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

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

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

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

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

• formandstructure

• tonality

• rhythm

• melodyandharmony

• timbreandtexture

• performancedetail

• theprocessofrealisation.

Recordingscanbemadeusingacousticinstruments/voicesand/orICTtechnology.

OR MUS2C

Brief C: Arranging

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

Candidateswillbegivenafolksongmelodyandtext, consisting of verse and chorus which may bearrangedvocallyand/orinstrumentallyforanyappropriategroupofvoicesand/orinstruments/and/orICTsoundsources.Thearrangementwilllast3–6minutesandthefolksongmayconsistofmorethanoneverse.Thearrangementmaybedoneinanymusical style appropriate to the setting.

Candidates should demonstrate understanding of andtheabilitytohandle:

• harmonyappropriatetothemelody

• developmentofmusicalideaswithinthestructure

• useofcountermelody

• controloftexture

• appropriateuseofvocaland/orinstrumentaltimbresand/orICTsoundsources.

Thecompositionwillalsodemonstratetheabilitytohandle:


• harmonyinrootposition,firstandsecondinversion chords

• modulationtoanappropriaterelatedkeyincludingdominant,sub-dominant,relativeminor/major

• useofthedominant7thchord.

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



• tonality

• rhythm





Recordingscanbemadeusingacousticinstruments/voicesand/orICTtechnology.

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AssessmentCriteriaforUnit2(max60marks)

Brief A (for each question)

Themarksforcompositionaltechniqueswillbeawardedaccordingtothefollowingcriteria.Thereare30marksforeachquestion.

30–26marks:

• Thepiecewillbestimulating,inventiveandimaginative.

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

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

• Theexpressivefeaturesofthemusicwillbeimmediately apparent to the listener.

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

25–21marks:

• Thepiecewillbemusicallyinterestingandsatisfying.

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

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

• Notationwillbemostlyaccurateinrelationtopitchand rhythm and contain performance directions appropriate to the music.

20–16marks:

• Thepiecewillbeeffective.

• Thecandidatewilldemonstrateanunderstandingof some of the compositional techniques in relationtotheselectedtask.

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

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

15–11marks:

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

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

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

10–6marks:

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

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

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

5–1marks:

• Thepiecewilldemonstrateaverylimitedandrudimentary understanding of the compositional techniques.

• Therewillbesignificantareasthatareincompleteandmuchofthepiecewilllackcoherence.

• Thewritingforinstruments/voicesandelectronicsoundsourceswilldemonstratesignificantweaknessesthatwillinhibittheexpressivequalities of the music.

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

Briefs B and C

60–51marks:


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

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


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

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50–41marks:


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

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

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

40–31marks:


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

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

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

30–21marks:

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

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

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

20–11marks:

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

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

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

10–1marks:

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


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

• Thescore/chart/annotationwillbelargelyinaccurate and will contain only rudimentary detail relating to the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail.

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3.3 Unit 3 MUSC3 Interpreting Musical Ideas Candidates offer two performances chosen from the following:

(a) a solo performance on an instrument

(b) a solo performance on voice

(c) a solo performance on a second instrument

(d) an ensemble performance

(e) atechnology-basedperformance1–Sequencing

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

Eachacousticperformanceshouldlast5–8minutes.

Thisunitwillbeinternallyassessedandexternallymoderated.

Foreachperformance,candidatesmaysubmitasingle piece or a programme of shorter pieces.

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

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

A soloisdefinedasaperformancewherethecandidate’spartis:

• asingleunaccompaniedpart

• apartwhichisaccompaniedbypiano,guitar(orsimilar),abackingtrackorasmallunitofotherplayers.

Theaccompanimentmustnotdetractfromthecandidate’s performance or double the part to be assessed.

Thesoloperformancesshouldenablethecandidateto demonstrate technical, expressive, interpretative andcommunicativeskillsappropriatetosoloperformance.

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

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

Thecandidate’spartmustnotbedoubled.

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

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

Other members of the ensemble need not be examination candidates.

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

Theminimumrequirementisforfourindependentparts, the piece must be 32 bars or more in length, sometempocontrolfor‘classical’musicorsomeuseofdrumkitforpopandjazzplusamoderatelevelofdynamic variation.

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

Creditwillbegivenfor:

• accuracyofpitchandrhythm

• awell-balancedrecording

• evidenceofcloseattentiontoperformingandexpressive detail

• awarenessofstylerequired

• abilitytomakeuseofthevariousfacilitiesavailablewithin the hardware and software to produce a valid result.

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

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

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

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

Creditwillbegivenforevidenceof:

• caretakentoensuregoodbalance

• useofanappropriatedynamicrange

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

• useofeffectswhereappropriate,suchasreverb,delay.

• qualityofrecordingacrossawiderangeoffrequencies.

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TheSoloPerformanceisassessedon:• LevelofDemand

• Accuracyofpitchandrhythmplusobservanceof expressive and performance directions as indicatedonthescore/leadsheet

• Communicationandprojectionoftheperformance

• Interpretationofthemusic,showingawarenessofits style and character.

LevelofDemand4marks:

Thechosenprogrammewillmakehighdemandsofthecandidate.ThestandardexpectedwillequatetoGrade 5 or its equivalent.

3marks:

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

2marks:

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

1mark:

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

Accuracy12–10marks:

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

9–7marks:

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

occasionalhesitationorlossoffluency.Themajorityof the composer’s expressive and performance directions will have been observed.

6–4marks:

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

3–1marks:

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

Communication12–10marks:

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

9–7marks:

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

6–4marks:

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

3–1marks:

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

Interpretation12–10marks:

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

9–7marks:

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

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

6–4marks:

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

3–1marks:

Therewillbeonlyarudimentarysensitivitytotheinterpretative demands of the music.

TheEnsemblePerformanceis assessedon:• LevelofDemand

• SenseofEnsemble





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

3marks:

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

2marks:

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

1mark:

Thechosenprogrammewillmakefewdemandsofthecandidate.Thepart(s)willbetechnically

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

SenseofEnsemble9–7marks:

A performance showing complete unity of purpose in all aspects of ensemble playing, including balance, timing, intonation and responsiveness to others, including, if necessary, the ability to react positively toanydifficultieswhichmayoccur.Markstowardsthebottomofthisbandwillreflectsuccessinmostofthese areas.

6–5marks:

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.

4–3marks:

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

2–1marks:

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

Accuracy9–7marks:


6–5marks:

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

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4–3marks:


2–1marks:

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



6–5marks:

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

4–3marks:

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

2–1marks:




6–5marks:

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

4–3marks:

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

music.Technicaldemandsmaycompromisethetempo.

2–1marks:


TheTechnology-basedperformance1 –Sequencingisassessedon:• Accuracyofpitchandrhythm

• Useoftimbres,balanceandpanningtechniques

• Evidenceofcloseattentiontoperformingandexpressive detail

• Awarenessofstylerequired

• Abilitytousethefacilitiesavailablewithinthesoftware and hardware to produce a valid result.

Candidates will be expected to give details of equipment used during the sequencing process and the facilities available within the hardware and software.

Accuracyofpitchandrhythm8–7marks:

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

6–5marks:

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

4–3marks:

Moresignificanterrors,affectingtheoverallsenseofensemble.

2–1marks:

Significantlapses,resultinginanunmusicalperformance.

Useoftimbre,balanceandpanningtechniques8–7marks:

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

6–5marks:

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

4–3marks:

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

2–1marks:

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

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Evidenceofcloseattentiontoperformingandexpressivedetail8–7marks:

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

6–5marks:

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

4–3marks:

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

2–1marks:

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

Awarenessofstylerequired8–7marks:

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

6–5marks:

Broadly successful creation of required style.

4–3marks:

Some sense of the required style but achieved inconsistently.

2–1marks:

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

Abilitytousethefacilitiesavailablewithinthesoftwareandhardwaretoproduceavalidresult8–7marks:

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

6–5marks:

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

4–3marks:

Some understanding of the measures needed to usethefacilitiesavailablewithinthesoftwareand/or

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

2–1marks:

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

TheTechnology-basedperformance2–multi-track/closemicrophonerecordingisassessedon:• Balance

• Dynamicrange,includinguseofcompression

• Manipulationofmixingdesk

• Useofeffects,suchasreverb,delay,etc.

• Qualityofrecordingacrossawiderangeoffrequencies.

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

Balance8–7marks:

Excellent sense of balance throughout the recording.

6–5marks:

Occasional miscalculations as to balance, increasing whereamarkof5isawarded.

4–3marks:

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

2–1marks:

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

DynamicRange,includinguseofcompression8–7marks:

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

6–5marks:

Occasionalmiscalculationsofdynamicand/oramorelimited dynamic range.

4–3marks:

Sections where the dynamic range is miscalculated and/orverylimited.

2–1marks:

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

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Manipulationofmixingdesk8–7marks:

Excellentuseofmixingdeskwhichenablesallaspects of the recording to be appreciated.

6–5marks:

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

4–3marks:

Sectionswheretheuseofthemixingdeskismisjudged, inappropriate or very limited.

2–1marks:

Generallylittleuseofthemixingdeskwithlittleornoalterations from the original mix achieved.

Useofeffectssuchasreverb,delay,etc8–7marks:

Judicious and appropriate use of effects throughout the piece.

6–5marks:

Occasional miscalculations as to the use of effects.

4–3marks:

Sectionswhereeffectsaremisjudgedorlacking.

2–1marks:

Littleorinappropriateuseofeffects.

Qualityoftherecordingacrossawiderangeoffrequencies8–7marks:

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

6–5marks:

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

4–3marks:

Sections where the level of care and attention to mattersofequalisationaremisjudgedorlacking.

2–1marks:

Littleorinappropriateuseofequalisationforsignificantsectionsoftherecording.

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

AoS1 TheWesternClassicalTradition (compulsory)

AoS3a English Choral Music in the 20th century

AoS3b Chamber Music from Mendelssohn to Debussy

AoS3c FourdecadesofJazzandBlues 1910–1950.

TheseAoSwillbesetbyAQA.ThefocusofAoS1,andAoS3a–c,maychangeeverythreeyears.

ThroughtheirexplorationoftwoAoSandasetwork,candidateswilldevelopanunderstandingof:

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

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

• musicalstylesandgenres.

Study will involve listening to music from within the two AoS, study of scores and gaining an awareness of the context in which the music was composed.

Assessment will be by written paper with some questions using a CD of musical excerpts.

Theexaminationpaperwilllast2hours15minutesandbemarkedbyAQAexaminers.

Thequestionpaperwillhavethreesections.

SectionA:Listening–approximately45minutes

Thissectionwillconsistofstructuredlisteningquestions with or without a score and will require responsescoveringsomeofthefollowing:

• cadences–perfect,plagal,imperfect,interruptedinthetonicandrelatedkeys

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

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

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

• completionofamelodycontainingsomechromatic notes

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

• instrumentation–thosefoundinthestandardsymphonyorchestraandinjazzandpopmusic,instrumentaltechniquesincludingpizzicato,arco,con sordino, double stopping

• texture–harmonic/homophonic,contrapuntal/polyphonic, imitative, unison, single melody line, octaves

• ornamentation–trill,turn,mordent,portamento

• harmonicdevices–tonicanddominantpedals,cycleoffifths,suspension,sequence

• timesignatures,includingcompoundtimeand5/7beats in a bar

• intervals–major,minor,perfect,augmented,diminished

• melodic/rhythmicdevices–sequence,ostinato, riff, passing note, accented passing note, appoggiatura, chromatic appoggiatura, augmentation, diminution, polyrhythms, portamento, hemiola, suspension.

SectionB:HistoricalStudy:TheWesternClassicalTradition–compulsoryAreaofStudy(AoS1)

TheAoS‘TheWesternClassicalTradition’isthecompulsoryAoSforthisspecification.Boththefocusandthesetworksmaychangeeverythreeyears.

Set works 2014 and until further notice:

• Elgar–SymphonyNo.1

or

• Shostakovich–SymphonyNo.5

Studywillfocusononeofthetwosetworks.

Candidateswillbeabletotakeanunmarkedcopyoftheirchosensetworkscoreintotheexaminationroom.

Candidates answer one essay question from a choice of two.

SectionC:HistoricalStudy–AreasofStudy3a–c

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



AoS3c FourdecadesofJazzandBlues 1910–1950.

TwoessayquestionswillbesetoneachoftheAoS3a–c.Candidateswillanswerone question on the selected AoS.

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IneachAoS3a–c,thelistofComposers of the genre is intended as a guide, not as an indication that all composers listed must be studied or that this list excludes study of other composers within the period andgenrespecified.

EITHER


Candidates study the development of English choral musicinthe20thcenturywithreferenceto:

• anthemsandmasssettings

• oratoriosandotherorchestralsettingsofwords.

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

OR


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

• trios,quartets,quintets,etc


• structure

• melodyandharmony.

Composersofthegenremightinclude:Mendelssohn,Brahms,Tchaikovsky,Dvor

v

ák,Debussy

OR

AoS3c Four decades of Jazz and Blues 1910 to 1950

FromDixielandtotheculminationoftheSwingera:

• twelve-barblues

• ‘Swing’

• ‘Bebop’

• musicforBigBand

• orchestral/instrumentalmusicdrawingonJazzandBluesinfluences.

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

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

Brief A Compositional techniques

BriefB Freecompositionorpastichein response to a chosen brief

Brief C Arranging.

Thebriefswillbereleasedon1Novemberintheexamination year and compositions will be externally assessed by AQA. Candidates should be offered a maximum of 20 hours, supervised in the centre, in which to complete their compositions.

ForsupervisionofthecontrolledtimeinMUSC5seesection6.1.

EITHER MUS5A

Brief A: Compositional techniques

Candidates must respond to both questions in this brief.

Question 1

Harmonisation of a Bach chorale melody

Candidates will be given a Bach chorale melody to harmonise stylistically.

In addition to the techniques studied for Unit 2, the melody should allow candidates to show understanding of and the ability to handle as appropriate:

• accentedpassingnotesandsuspensions

• notesofanticipation

• chromaticharmony

• diminished7th

• majorandminor7th

• 3rdinversionchords

• characteristictreatmentofcadences.

Question 2

The Classical String Quartet

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

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

• modulation

• varietyintexture.

Submissions must be made as a score in staff notation with an accompanying review and a recording on either CD or mini-disc. Recordings can bemadeusingacousticinstruments/voicesand/orICTtechnology.

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

OR MUS5B

Brief B: Free Composition or pastiche

Candidates compose a substantial, single, piece inanystyleorgenre,foranyvoice/instrumentorcombinationofvoicesand/orinstrumentsusingacousticand/orelectronicsoundsources.Thepieceshouldlast5–8minutes.Itcanconsistofasinglemovement or may consist of up to three separate, related sections, but the total playing time should not exceed8minutes.Thecandidate’sintentionshouldbe made clear.

Candidates should show their understanding of and abilitytohandle,asappropriate:

• structureanddevelopment

• modulation

• tonality

• melody,harmonyandrhythm

• texture,timbreandexpression

• characteristicsofthechosenstyle/genre.

Withinthecompositiontherewillbeevidenceof:

• accentedpassingnotesand/orsuspensions


• diminished7th



• appropriatetreatmentofcadences.

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



• tonality

• rhythm


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

OR MUS5C

Brief C: Arranging

Candidatesdemonstratetheirarrangingskillsinresponse to a brief given by AQA.

Thebriefwillconsistofarrangingapieceofpopular‘classical’musicselectedbyAQAfromanymusicalperiodfromthebaroqueonwards.Thearrangementshouldbeinarecognisedpop,rockorjazzstyleandshouldlast5–8minutes.Thearrangementcanbefor any group of instruments and may include voices, but must include parts for a rhythm section consisting ofdrumkitand/orpercussion,doublebassorbassguitarandguitarand/orkeyboard.Thesecanbeeither acoustic instruments or electronic sound sources or a combination of both.

Candidatesshoulddemonstratetheirabilitytohandle:

• rhythmicdevelopmentoftheoriginalthematicideas including metre change

• developmentofmelodicandharmonicideaswithin the structure

• solopassagesandimprovisation

• appropriateuseofvocaland/orinstrumentaltimbresand/orICTsoundsources.

Withinthearrangement,thereshouldbeevidenceof:

• accentedpassingnotesand/orsuspensions


• diminished7th



• appropriatetreatmentofcadences.

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



• tonality

• rhythm





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

Examplesofstudyworks:

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

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

Bach:Preludeno.1fromThe Well Tempered Clavier

JacquesLoussier:Preludeno.1.Focus on Jacques Loussier,DeccaFOS–R5/6,1967

Mussorgsky:Pictures at an Exhibition

EmersonLakeandPalmer:Pictures at an Exhibition, Island Records, 1971

JohannPachelbel:Canon in D major

TheFarm:Altogether Now, 1990

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Brief A (for each question)

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

30–26marks:


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

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


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

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

25–21marks:


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

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

• Notationwillbemostlyaccurateinrelationtopitchand rhythm and contain performance directions appropriate to the music.

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

20–16marks:


• Thecandidatewilldemonstrateanunderstandingof some of the compositional techniques in relationtotheselectedtask.

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

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

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

15–11marks:

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

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

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

• Thereviewprovidesanevaluationoftheprocesswhichlacksdetailandisnotalwaysaccurate,withsome use of technical language.

10–6marks:

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

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

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

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

5–1marks:

• Thepiecewilldemonstrateaverylimitedandrudimentary understanding of the compositional techniques.


• Thewritingforinstruments/voices/electronicsoundsourceswilldemonstratesignificantweaknessesthatwillinhibittheexpressivequalities of the music.

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

• Thereviewisadescriptionoftheprocesswithalimited use of technical language.

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Briefs B and C

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

60–51marks:• Thepiecewillbestimulating,inventiveand

imaginative. • Thecandidatewilldemonstrateafirmgraspof,

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

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


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

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

50–41marks:• Thepiecewillbemusicallyinterestingand

satisfying. • Thecandidatewilldemonstrateanunderstanding

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

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

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

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

40–31marks:• Thepiecewillbeeffective.• Thecandidatewilldemonstrateanunderstanding

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

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

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

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

30–21marks:• Thepiecewillbepartiallyeffectiveandcomplete

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

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

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

• Thereviewprovidesanevaluationoftheprocesswhichlacksdetailandisnotalwaysaccuratewithsome use of technical language.

20–11marks:• Thepiecewilllackeffectivenessandwill

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

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

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

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

10–1marks:• Thepiecewilldemonstrateaverylimitedand

rudimentary understanding of the compositional techniques.


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

• Thescore/chart/annotationwillbelargelyinaccurate and will contain only rudimentary detail relating to the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail.

• Thereviewisadescriptionoftheprocesswithalimited use of technical language.

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

(a) soloacousticperformances–lasting10–15minutes

(b) technology-based performances

(c) one solo performance and one technology-based performance–thesoloperformancetobeatleast5 minutes.

Thepieceswillbechosentoshowvarietyofstyle,technique,periodand/orapproach.

Candidates may perform their own compositions ifthesemakesufficienttechnicalandexpressivedemands on them.

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

SoloacousticperformancesAsoloisdefinedasaperformancewherethecandidate’spartis:

• asingleunaccompaniedpart

• apartwhichisaccompaniedbypiano,guitar(orsimilar),abackingtrackorasmallunitofotherplayers.

Theaccompanimentmustnotdetractfromthecandidate’s performance or double the part to be assessed.

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

Therecordingofeachpieceormovementmustbeacompleteperformance(i.e.asingletake).

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

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

ofrecordedaudioandMIDIsequencedtracks,thenumberofeachtrackbeingatthediscretionofthecandidate.

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

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

Creditwillbegivenfor:

• accuracyofpitchandrhythm

• awell-balancedrecording

• evidenceofcloseattentiontoperformingandexpressive detail

• awarenessofstylerequired

• abilitytomakeuseofthevariousfacilitiesavailablewithin the hardware and software to produce a valid result.

Technology2:multi-track/closemicrophonerecording

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

Theminimumrequirementisforsixindependentinstruments, one of which must be a vocalist, the piece must be 48 bars or more in length, and candidates must demonstrate some appropriate use of both time-based and dynamic effects, and use of thestereofield/panningatmixdown.

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

Creditwillbegivenforevidenceof:

• caretakentoensuregoodbalance

• useofanappropriatedynamicrange

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

• useofeffectswhereappropriate,suchasreverberation, delay.

• qualityofrecordingacrossawiderangeoffrequencies.

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

Theprogrammeofsoloacousticperformancesisexternallymarkedholisticallyoutof60usingtherelevant assessment criteria.

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

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

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TheSoloPerformanceisassessedon:• LevelofDemand





Thechosenprogrammewillmakehighdemandsofthecandidate.Thestandardexpectedwillbegreaterthan Grade 7 or its equivalent.

5marks:

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

4marks:

Thechosenprogrammewillmakeareasonablerange of technical demands upon the candidate. ThestandardexpectedwillequatetoGrade6oritsequivalent.

3marks:

Thechosenprogrammewillmakeanarrowerrangeof demands upon the candidate while still requiring a degree of technical expertise and command of the instrument/voiceacrossavarietyofperformancetechniques.ThestandardexpectedwillcombineelementsofGrades6and5ortheirequivalent.

2marks:

Thechosenprogrammewillmakesomedemandsupon the candidate while requiring a more limited degree of technical expertise and command of the instrument/voiceacrossavarietyofperformancetechniques.ThestandardexpectedwillequatetoGrade 5 or its equivalent.

1mark:

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

Accuracy18–14marks:


13–9marks:

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

8–5marks:


4–1marks:

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



13–9marks:

Thecandidatewilldemonstratesomelevelofcommitment and the performance will be generally assured.Therewillstillbeanoverallsenseofconviction in the performance.

8–5marks:

Theperformancewilllackconvictionandcommitmenton occasions.

4–1marks:


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13–9marks:

Theperformancewillhavestyleandtempoappropriate to the music. At the lower end of the band, the performance will retain a sense of the character of the music. In general, the techniques demanded by the music will be met though with some loss of integrity at times.

8–5marks:

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

4–1marks:


TheTechnology-basedperformance1 –Sequencingisassessedon:• Accuracyofpitchandrhythm

• Awell-balancedrecordingwiththeuseofappropriate timbres

• Evidenceofcloseattentiontoperformingandexpressive detail

• Awarenessofstylerequired

• Abilitytoadaptsoftwareandhardwareasnecessary 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.

Accuracyofpitchandrhythm12–10marks:

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

9–7marks:

A few minor slips which do not inhibit the overall musicalityorfluencyoftherecording

6–4marks:

Moresignificanterrors,affectingtheoverallsenseofensemble

3–1marks:

Significantlapses,resultinginanunmusicalperformance

Useoftimbre,balanceandpanningtechniques12–10marks:

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

9–7marks:

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

6–4marks:

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

3–1marks:

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

Evidenceofcloseattentiontoperformingandexpressivedetail12–10marks:

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

9–7marks:

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

6–4marks:

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

3–1marks:

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

Awarenessofstylerequired12–10marks:

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

9–7marks:

Broadly successful creation of required style

6–4marks:

Some sense of the required style but achieved inconsistently

3–1marks:

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

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Abilitytousethefacilitiesavailablewithinthesoftwareandhardwaretoproduceavalidresult12–10marks:

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

9–7marks:

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

6–4marks:

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

3–1:

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

TheTechnology-basedperformance2– multi-trackclosemicrophonerecordingisassessedon:• Balance

• Dynamicrange,includinguseofcompression

• Manipulationofmixingdesk

• Useofeffects,suchasreverb.,delay,etc.

• Qualityoftherecordingacrossawiderangeoffrequencies.

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

Balance12–10marks:

Excellent sense of balance throughout the recording.

9–7marks:

Occasional miscalculations as to balance, increasing whereamarkof7isawarded.

6–4marks:

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

3–1marks:

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

DynamicRange,includinguseofcompression12–10marks:

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

9–7marks:

Occasionalmiscalculationsofdynamicand/oramorelimited dynamic range.

6–4marks:

Sections where the dynamic range is miscalculated and/orverylimited.

3–1marks:

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

Manipulationofmixingdesk12–10marks:

Excellentuseofmixingdeskwhichenablesallaspects of the recording to be appreciated.

9–7marks:

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

6–4marks:

Sectionswheretheuseofthemixingdeskismisjudged, inappropriate or very limited.

3–1marks:

Generallylittleuseofthemixingdeskwithfewornoalterations from the original mix achieved.

Useofeffectssuchasreverb.,delay,etc12–10marks:

Judicious and appropriate use of effects throughout the piece.

9–7marks:

Occasional miscalculations as to the use of effects.

6–4marks:

Sectionswhereeffectsaremisjudgedorlacking.

3–1marks:

Littleorinappropriateuseofeffects.

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Qualityoftherecordingacrossawiderangeoffrequencies12–10marks:

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

9–7marks:

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

6–4marks:

Sections where the level of care and attention to mattersofequalisationaremisjudgedorlacking.

3–1:

Littleorinappropriateuseofequalisationforsignificantsectionsoftherecording.

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4 Scheme of Assessment

4.1 AimsASandALevelcoursesbasedonthisspecificationshouldencouragecandidatesto:

• extendtheskills,knowledgeandunderstandingneeded to communicate through music and to takepartinmakingmusic

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

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

• recognisetheinterdependenceofmusicalskills,knowledgeandunderstandingandthelinksbetweentheactivitiesofperforming/realising,composing and appraising.

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

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

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

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

QualityofWrittenCommunication(QWC)InGCEspecificationswhichrequirecandidatestoproducewrittenmaterialinEnglish,candidatesmust:

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

• selectanduseaformandstyleofwritingappropriate to purpose and to complex subject matter

• organiseinformationclearlyandcoherently,usingspecialist vocabulary when appropriate.

InthisspecificationQWCwillbeassessedinUnits1and 4 by means of extended writing.

WeightingofAssessmentObjectivesforASThetablebelowshowstheapproximateweightingofeachoftheAssessmentObjectivesintheASunits.

Assessment Objectives Unit Weightings (%) Overall weighting of AOs (%)

Unit 1 Unit 2 Unit 3

AO1 40 40

AO2 30 30

AO3 30 30

Overall weighting of units (%) 30 30 40 100

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4.3 National CriteriaThisspecificationcomplieswiththefollowing.

• TheSubjectCriteriaforMusic

• TheCodeofPracticeforGCE

• TheGCEASandALevelQualificationCriteria

• TheArrangementsfortheStatutoryRegulationofExternalQualificationsinEngland,WalesandNorthernIreland:CommonCriteria

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

WeightingofAssessmentObjectivesforALevel

ThetablebelowshowstheapproximateweightingofeachoftheAssessmentObjectivesintheASandA2units.

Assessment Objectives Unit Weightings (%) Overall weighting of AOs (%)

Unit1 Unit2 Unit3 Unit4 Unit5 Unit6

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 ChallengeSynopticassessmentrequirescandidatesto:

• makeconnectionsbetweendifferentaspectsofmusical activities

• applytheskills,knowledgeandunderstandingdescribed in the assessment objectives to unfamiliar music

• demonstrateauralperceptionandauraldiscrimination.

Thesynopticassessmentinthisspecificationandtherequirements 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 knowledgeandunderstandingtounfamiliarmusicbyrelating a selection of previously unheard music to styles, genres and traditions experienced in a range ofdifferentactivities,makingjudgementsbasedontheidentificationofmusicalcharacteristics.

Theywillalsoberequiredtodemonstrateauralperception and aural discrimination by comparing and contrasting different musical excerpts.

Candidates are required to apply their increasing breadthanddepthofknowledgeandunderstanding,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 logwithinaclearlydefinedbriefthatreferstotheuseand selection of resources, structural and expressive featuresandcontextualinfluences.

InUnit6,candidatesofferaperformanceofmusicwhich shows an awareness of stylistic conventions andcontextualinfluenceswithtechnicalandexpressive control.

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4.6 AccesstoAssessmentforDisabledStudentsAS/ALevelsoftenrequireassessmentofabroaderrangeofcompetences.Thisisbecausetheyaregeneralqualificationsand,assuch,preparecandidates for a wide range of occupations and higher level courses.

TherevisedAS/ALevelqualificationandsubjectcriteria 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 whereessentialtothesubject.Thefindingsofthisprocess 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.Forthisreason,veryfewcandidateswill have a complete barrier to any part of the assessment.

Candidates who are still unable to access a significantpartoftheassessment,evenafter

exploring all possibilities through reasonable adjustments, may still be able to receive an award. Theywouldbegivenagradeonthepartsoftheassessmenttheyhavetakenandtherewouldbeanindicationontheircertificatethatnotallthecompetences had been addressed.

Candidates with hearing impairments may be restricted when required to demonstrate aural perceptionskills.Candidateswithahearingimpairment 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.

Performinghasbeenbroadenedtobecomeperforming/realising.Thismeansthatcandidateswithaphysicalimpairmentmaydoa‘performance’usingcomputer-generated sounds.

Thiswillbekeptunderreviewandmaybeamendedin the future.

5 Administration

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5

5.3 PrivateCandidatesThisspecificationisnotavailabletoprivatecandidates.

5.2 EntriesPleaserefertothecurrentversionofEntry Procedures and Codes for up to date entry procedures.Youshouldusethefollowingentrycodesfortheunitsandforcertification.

Unit1–MUSC1

Unit2–MUS2AorMUS2BorMUS2C

Unit3–MUSC3

Unit4–MUSC4

Unit5–MUS5AorMUS5BorMUS5C

Unit6–MUSC6

AScertification–1271

ALevelcertification–2271

5.1 AvailabilityofAssessmentUnitsandCertificationAfterJune2013,examinationsandcertificationfor thisspecificationareavailableinJuneonly.

5.4 Access Arrangements and Special ConsiderationWehavetakennoteofequalityanddiscriminationlegislation and the interests of minority groups in developingandadministeringthisspecification.

We follow the guidelines in the Joint Council forQualifications(JCQ)document:Access Arrangements, Reasonable Adjustments and Special Consideration: General and Vocational Qualifications.ThisispublishedontheJCQwebsite(http://www.jcq.org.uk)oryoucanfollowthelinkfrom our website (http://www.aqa.org.uk).

AccessArrangementsWecanmakearrangementssothatcandidateswith disabilitiescanaccesstheassessment.Thesearrangements must be made before the examination.Forexample,wecanproduceaBraillepaper for a candidate with a visual impairment.

SpecialConsiderationWe 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 ExaminationsOfficeratthecentre.

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5.8 Re-sits and Shelf-life of Unit ResultsUnit results remain available to count towards certification,whetherornottheyhavealreadybeenused,aslongasthespecificationisstillvalid.

Each unit is available in June only. Candidates may re-sit a unit any number of times within the shelf-life ofthespecification.Thebestresultforeachunitwillcounttowardsthefinalqualification.Candidates

whowishtorepeataqualificationmaydosobyre-takingoneormoreunits.Theappropriatesubjectawardentry,aswellastheunitentry/entries,mustbe submitted in order to be awarded a new subject grade.

Candidateswillbegradedonthebasisoftheworksubmitted for assessment.

5.5 LanguageofExaminationsWe will provide units in English only.

5.6 QualificationTitlesQualificationsbasedonthisspecificationare:

• AQAAdvancedSubsidiaryGCEinMusic,and

• AQAAdvancedLevelGCEinMusic.

5.7 Awarding Grades and Reporting ResultsTheASqualificationwillbegradedonafive-pointscale:A,B,C,DandE.ThefullALevelqualificationwillbegradedonasix-pointscale:A*,A,B,C,DandE.TobeawardedanA*candidateswillneedtoachieveagradeAonthefullALevelqualificationandanA*ontheaggregateoftheA2units.

ForASandALevel,candidateswhofailtoreach the minimum standard for grade E will be recorded asU(unclassified)andwillnotreceiveaqualificationcertificate.Individualassessmentunitresultswillbecertificated.

6 CourseworkAdministration

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6

TheHeadofCentreisresponsibletoAQAforensuringthatcoursework/portfolioworkisconductedinaccordance with AQA’s instructions and JCQ instructions.

6.1 SupervisionandAuthenticationofCourseworkInordertomeettheregulators’CodeofPracticeforGCE,AQArequires:

• candidatestosigntheCandidateRecordForm(CRF)toconfirmthattheworksubmittedistheirown, and

• teachers/assessorstoconfirmontheCRFthattheworkassessedissolelythatofthecandidateconcerned and was conducted under the conditionslaiddownbythespecification.

SupervisionofthecontrolledtimeinMUSC2andMUSC5During the course of study for Units 2 and 5 candidateswillperformtaskswhichgivethemopportunities to practise composition and arranging. Candidates’ ongoing development and improvement inthesetaskswillbeundertheguidanceoftheirteachers. However, the guidance candidates receive fromteachersmustbeofageneralnatureiftheworkis to be authenticated as the candidate’s own, or it must be declared where the guidance becomes more specific.

Thefollowingpointsshouldbenoted.

1. Throughoutthecourseofstudycandidatesshouldcarry out research and practice compositional and arrangingtasks.

2. Unseen briefs for Units 2 and 5 will be released to centreson1November.WorksubmittedforbothUnits 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. Thewholeofthecontrolledtimemustbesupervised 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 shouldbethecandidates’ownunaidedwork.

6. Inaddition,candidatesmustbetoldthat:

• workproducedduringthe20hoursofcontrolled time must be their own

• workforsubmissionmustnotbedownloadedfrom the internet

• theymaynothaveaccesstotheirworkotherthan during the 20 hours of controlled time

• workmaynotberemovedfromthecentre

• theywillberequiredtosignadeclarationauthenticatingworkastheirown.

7. Teachersarerequiredto:

• supervisecandidatesatalltimesduringthe20hours of controlled time

• verifythatallcandidates’workhasbeencompleted under supervised and controlled conditions

• confirmthatallmaterialsubmittedforassessmentisthecandidate’sownwork.

ThecompletedCRFforeachcandidatemustbeattachedtohis/herwork.Allteacherswhohaveassessedtheworkofanycandidateenteredforeach component must sign the declaration of authentication.Failuretosigntheauthenticationstatement may delay the processing of the candidates’ results.

Theteachershouldbesufficientlyawareofthecandidate’sstandardandlevelofworktoappreciateifthecourseworksubmittedisbeyondthetalentsofthe candidate.

In most centres teachers are familiar with candidates’ workthroughclassandhomeworkassignments.Wherethisisnotthecase,teachersshouldmakesure that allcourseworkiscompletedunderdirectsupervision.

In all cases, some direct supervision is necessary toensurethatthecourseworksubmittedcanbeconfidentlyauthenticatedasthecandidate’sown.

• Ifitisbelievedthatacandidatehasreceivedadditional assistance and this is acceptable within theguidelinesfortherelevantspecification,theteacher/assessorshouldawardamarkwhichrepresents the candidate’s unaided achievement. Theauthenticationstatementshouldbesignedand information given on the relevant form.

• Iftheteacher/assessorisunabletosigntheauthentication statement for a particular candidate,thenthecandidate’sworkcannotbeaccepted for assessment.

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6 CourseworkAdministration

6

6.2 MalpracticeTeachersshouldinformcandidatesoftheAQARegulations concerning malpractice.

Candidates must not:

• submitworkwhichisnottheirown;

• lendworktoothercandidates;

• allowothercandidatesaccessto,ortheuseof,their own independently-sourced source material (this does not mean that candidates may not lend theirbookstoanothercandidate,butcandidatesshould be prevented from plagiarising other candidates’ research);

• includeworkcopieddirectlyfrombooks,the internet or other sources without acknowledgementoranattribution;

• submitworktypedorword-processedbyathirdpersonwithoutacknowledgement.

Theseactionsconstitutemalpractice,forwhichapenalty(egdisqualificationfromtheexamination)willbe applied.

Ifmalpracticeissuspected,theExaminationsOfficershould be consulted about the procedure to be followed.

Wheresuspectedmalpracticeincoursework/portfoliosisidentifiedbyacentreafterthecandidatehas signed the declaration of authentication, the Head of Centre must submit full details of the case to AQAattheearliestopportunity.TheformJCQ/M1should be used. Copies of the form can be found on theJCQwebsite(http://www.jcq.org.uk/).

Malpracticeincoursework/portfoliosdiscoveredprior to the candidate signing the declaration of authentication need not be reported to AQA, but should be dealt with in accordance with the centre’s internal procedures. AQA would expect centres to treatsuchcasesveryseriously.Detailsofanyworkwhich is not the candidate’s own must be recorded onthecoursework/portfoliocoversheetorotherappropriate place.

6.3 TeacherStandardisationWe will hold annual standardising meetings for teachers, usually in the autumn term, for the courseworkunits.Atthesemeetingswewillprovidesupportindevelopingappropriatecourseworktasksandusingthemarkingcriteria.

Ifyourcentreisnewtothisspecification,youmustsend 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

• themoderationofcourseworkfromthepreviousyearhasidentifiedaseriousmisinterpretationofthecourseworkrequirements,

• inappropriatetaskshavebeenset,or

• asignificantadjustmenthasbeenmadetoacentre’smarks.

In these cases, centres will be expected to send a representativetooneofthemeetings.Forallothercentres, attendance is optional. If you are unable to attendandwouldlikeacopyofthematerialsusedat the meeting, please contact the subject team at [email protected].

6.4 InternalStandardisationofMarkingCentresmuststandardisemarkingwithinthecentretomakesurethatallcandidatesatthecentrehavebeenmarkedtothesamestandard.Onepersonmustberesponsibleforinternalstandardisation.Thisperson should sign the Centre Declaration Sheet to confirmthatinternalstandardisationhastakenplace.

Internalstandardisationmayinvolve:

• allteachersmarkingsometrialpiecesofworkandidentifyingdifferencesinmarkingstandards;

• discussinganydifferencesinmarkingatatraining meeting for all teachers involved in the assessment;

• referringtoreferenceandarchivematerialsuchaspreviousworkorexamplesfromAQA’steacherstandardising meetings;

but other valid approaches are permissible.

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6.5 AnnotationofCourseworkTheCodeofPracticeforGCEstatesthattheawarding body must require internal assessors to showclearlyhowthemarkshavebeenawardedinrelationtothemarkingcriteriadefinedinthespecificationandthattheawardingbodymustprovide guidance on how this is to be done.

Theannotationwillhelpthemoderatortoseeasprecisely as possible where the teacher considers that the candidates have met the criteria in the specification.

Workcouldbeannotatedbyeitherofthefollowingmethods:

• keypiecesofevidenceflaggedthroughouttheworkbyannotationeitherinthemarginorinthetext;

• summativecommentsonthework,referencingprecisesectionsinthework.

6.6 SubmittingMarksandSampleWorkforModerationThetotalmarkforeachcandidatemustbesubmittedtoAQAandthemoderatoronthemarkformsprovided or by Electronic Data Interchange (EDI) by

thespecifieddate.Centreswillbeinformedwhichcandidates’workisrequiredinthesamplestobesubmitted to the moderator.

6.7 FactorsAffectingIndividualCandidatesTeachersshouldbeabletoaccommodatetheoccasional absence of candidates by ensuring that theopportunityisgivenforthemtomakeupmissedassessments.

Ifworkislost,AQAshouldbenotifiedimmediatelyofthe date of the loss, how it occurred, and who was responsible for the loss. Centres should use the JCQ formJCQ/LCWtoinformAQACandidateServicesof the circumstances. Where special help which goes beyond normal learning support is given, AQA mustbeinformedthroughcommentsontheCRFsothatsuchhelpcanbetakenintoaccountwhenmoderationtakesplace(seeSection6.1).

Candidates who move from one centre to another during the course sometimes present a problem for a schemeofinternalassessment.Possiblecoursesofactiondependonthestageatwhichthemovetakesplace. If the move occurs early in the course the new centreshouldtakeresponsibilityforassessment.Ifit occurs late in the course it may be possible to arrangeforthemoderatortoassesstheworkthroughthe‘EducatedElsewhere’procedure.Centresshouldcontact AQA at the earliest possible stage for advice about appropriate arrangements in individual cases.

6.8 RetainingEvidenceandRe-usingMarksThecentremustretaintheworkofallcandidates,withCRFsattached,undersecureconditions,fromthe time it is assessed, to allow for the possibility of anenquiryaboutresults.Theworkmaybereturned

to candidates after the deadline for enquiries about results. If an enquiry about a result has been made, theworkmustremainundersecureconditionsincase it is required by AQA.

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7

7 Moderation

7.1 ModerationProceduresModerationofthecourseworkisbyinspectionofa sampleofcandidates’work,sentbypostfromthecentretoamoderatorappointedbyAQA.Thecentre marksmustbesubmittedtoAQAandtothemoderatorbythespecifieddeadline(seehttp://www.aqa.org.uk/deadlines.php). We will let centresknowwhichcandidates’workwillberequiredin the sample to be submitted for moderation.

Followingthere-markingofthesamplework,themoderator’smarksarecomparedwiththecentremarkstodeterminewhetheranyadjustmentis

needed in order to bring the centre’s assessments into line with standards generally. In some cases it may be necessary for the moderator to call for theworkofothercandidatesinthecentre.Inorder to meet this possible request, centres must retain under secure conditions and have available thecourseworkandtheCRFofeverycandidateentered for the examination and be prepared to submititondemand.Markadjustmentswillnormallypreserve the centre’s order of merit, but where major discrepancies are found, we reserve the right to alter the order of merit.

7.2 Post-moderationProceduresOnpublicationoftheAS/ALevelresults,wewillprovidecentreswithdetailsofthefinalmarksforthecourseworkunit.

Thecandidates’workwillbereturnedtothecentreaftermoderationhastakenplace.Thecentrewillreceive a report with, or soon after, the despatch ofpublishedresultsgivingfeedbackonthe

appropriatenessofthetasksset,theaccuracyofthe assessments made, and the reasons for any adjustmentstothemarks.

Wereservetherighttoretainsomecandidates’workfor archive or standardising purposes.

Appendices

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A

A PerformanceDescriptionsTheseperformancedescriptionsshowthelevelofattainment characteristic of the grade boundaries at ALevel.TheygiveageneralindicationoftherequiredlearningoutcomesattheA/BandE/UboundiesatASandA2.Thedescriptionsshouldbeinterpretedinrelationtothecontentoutlinedinthespecification;theyarenotdesignedtodefinethatcontent.

Thegradeawardedwilldependinpracticeuponthe 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.

ASPerformanceDescriptions–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, awarenessofoccasion makingcreativeuseof expressiveandcontextual and/orensemble musicaldevices, aspectsofmusic (performing/realising). conventionsand (appraising). resources(composing/ arranging).

A/B Candidates Candidates Candidates boundary characteristically: characteristically: characteristically: performance presentmusically producecoherent makecriticaljudgements descriptions convincing and generally compositions that show about music heard and fluentperformancesthat anabilitytomanipulate showabreadthof showmusical musicalideas,andmake understandingacross understanding. use of musical devices the genres, styles and and conventions in traditions studied. relation to the chosen genre, style and tradition.

E/U Candidates Candidates Candidates boundary characteristically: characteristically: characteristically: performance perform with a sense produce compositions comment on music descriptions ofcontinuityusing thatmakesomeuse heardshowingsome 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.

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Appendices

A

A2PerformanceDescriptions–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, awarenessofoccasion makingcreativeuseof expressiveandcontextual and/orensemble musicaldevices, aspectsofmusic (performing/realising). conventionsand (appraising). resources(composing/ arranging).

A/B Candidates Candidates Candidates boundary characteristically: characteristically: characteristically: performance presentmusically producemusically makeandjustifypersonal descriptions convincingandfluent convincingcompositions judgementsonmusic performances that show that show musical heard and show some musicalunderstanding imagination,andmake depthofunderstanding and personal interpretation. effective use of musical within the genres, styles devices and conventions and traditions studied inrelationtothechosen makingconnections genre, style and tradition. between the structural, expressive and contextual aspects of music.

E/U Candidates Candidates Candidates boundary characteristically: characteristically: characteristically: performance presentgenerallyfluent producecompositions commentinsomedetail descriptions performancesshowing thatmakecreativeuse onmusicheard,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.

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B

B Spiritual, Moral, Ethical, Social and other IssuesThestudyofmusicoutlinedinthisspecificationaims 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.Thisunderstandingwillenhancetheirability to appreciate music through listening and performing and to create music through composing andperformingwhichreflectsknowledgeofculturaland spiritual contexts and sensitivity to the values and conventions of others.

EuropeanDimensionAQAhastakenaccountofthe1988ResolutionoftheCouncil of the European Community in preparing this specificationandassociatedspecimenunits.

EnvironmentalEducationAQAhastakenaccountofthe1988Resolutionof the Council of the European Community and the Report“EnvironmentalResponsibility:AnAgendaforFurtherandHigherEducation”1993inpreparingthisspecificationandassociatedspecimenunits.

AvoidanceofBiasAQAhastakengreatcareinthepreparationofthisspecificationandspecimenunitstoavoidbiasofanykind.

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C

C OverlapswithotherQualificationsCandidatesenteredforAQAASGCEinMusicand/orAQAAdvancedLevelGCEinMusicmaynotbe entered at the same sitting for any other GCE examination having the title Music.

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D

D KeySkillsKeySkillsqualificationshavebeenphasedoutandreplacedbyFunctionalSkillsqualificationsinEnglish,MathematicsandICTfromSeptember2010.

GCE Music (2270) For exams from June 2014 onwardsQualification Accreditation Number: AS 500/2449/8 - A Level 500/2452/8

For updates and further information on any of our specifications, 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 . 1073334Registered address: AQA, Devas Street, Manchester M15 6EX.

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register with ASK AQA at:http://www.aqa.org.uk/help-and-contacts/ask-aqa

Every specification is assigned a discounting code indicating the subject area to which it belongsfor performance measure purposes.The discount codes for this specification are:AS A Level 7010

The definitive version of our specification will always be the one on our website,this may differ from printed versions.

LF1

AQA-2270-W-SP-14

Documents

unit results

musical ideas

musc4 music

onwards1gce music

students achievements

synoptic assessment

assessment objectives

assessment structures