GCE. Music. AS and A Level Specification. For exams from June 2014 onwards For certification from June 2014 onwards

Transcription

1 GCE AS and A Level Specification Music For exams from June 2014 onwards For certification from June 2014 onwards

2 Contents GCE Music for exams from June 2014 onwards (version 2.8) 1 Introduction Why choose AQA? Why choose Music? 2 1. How do I start using this specification? 1.4 How can I find out more? 2 Specification at a Glance 4 Subject Content and Assessment Criteria 5.1 Unit 1 MUSC1 Influences on Music 6.2 Unit 2 MUSC2 Creating Musical Ideas 8. Unit MUSC Interpreting Musical Ideas 12.4 Unit 4 MUSC4 Music in Context 19.5 Unit 5 MUSC5 Developing Musical Ideas 21.6 Unit 6 MUSC6 A Musical Performance 25 4 Scheme of Assessment Aims Assessment Objectives 1 4. National Criteria Prior Learning Synoptic Assessment and Stretch and Challenge Access to Assessment for Disabled Students 5 Administration Availability of Assessment Units and Certification Entries 4 5. Private Candidates Access Arrangements and Special Consideration Language of Examinations Qualification Titles Awarding Grades and Reporting Results Re-sits and Shelf-life of Unit Results 5 6 Coursework Administration Supervision and Authentication of Coursework Malpractice 7 6. Teacher Standardisation Internal Standardisation of Marking Annotation of Coursework Submitting Marks and Sample Work for Moderation Factors Affecting Individual Candidates Retaining Evidence and Re-using Marks 8 7 Moderation Moderation Procedures Post-moderation Procedures 9 Appendices 40 A Performance Descriptions 40 B Spiritual, Moral, Ethical, Social and other Issues 42 C Overlaps with other Qualifications 4 D Key Skills 44 Vertical black lines indicate a significant change or addition to the previous version of this specification. 1

3 1 Introduction Why choose AQA? It s a fact that AQA is the UK s favourite exam board and more students receive their academic qualifications from AQA than from any other board. But why does AQA continue to be so popular? Specifications Ours are designed to the highest standards, so teachers, students and their parents can be confident that an AQA award provides an accurate measure of a student s achievements. And the assessment structures have been designed to achieve a balance between rigour, reliability and demands on candidates. Support AQA runs the most extensive programme of support meetings; free of charge in the first years of a new specification and at a very reasonable cost thereafter. These support meetings explain the specification and suggest practical teaching strategies and approaches that really work. Service We are committed to providing an efficient and effective service and we are at the end of the phone when you need to speak to a person about an important issue. We will always try to resolve issues the first time you contact us but, should that not be possible, we will always come back to you (by telephone, or letter) and keep working with you to find the solution. Ethics AQA is a registered charity. We have no shareholders to pay. We exist solely for the good of education in the UK. Any surplus income is ploughed back into educational research and our service to you, our customers. We don t profit from education, you do. If you are an existing customer then we thank you for your support. If you are thinking of moving to AQA then we look forward to welcoming you. 1.2 Why choose Music? Our specification will provide candidates with the knowledge and experience required for all forms of further and higher education. It will give them understanding, and encourage appreciation, of all music genres in all contexts. We believe you will find the revised GCE Music specification is: Appealing Accessible Areas of Study chosen for their interest to all candidates and with much scope to use music technology easy to follow, with a choice of Areas of Study Approachable only one centre-assessed unit. In producing this specification we have conformed to specified Subject Criteria and responded to teachers suggestions and requests by: increasing choices in composing submissions increasing choices in performing submissions reducing the assessment burden on teachers five of the six units are externally assessed. Units 1 and 4 (written units) are similar in structure and format to those in our former GCE Music specification. They aim to build on the knowledge and skills candidates have gained through: GCSE performance qualifications from other organisations their own experience. Units 2 and 5 (composing units) offer opportunities for candidates to: use music technology improvise present conventional submissions in staff notation acquire music techniques of the Western Classical Tradition. Units and 6 (performance units) enable candidates to demonstrate their skills: as soloists in ensembles by performing on a second instrument by using music technology. We believe our revised GCE Music specification enables candidates to choose a path best suited to their needs. This could be within the music industry, academic study or for interest. It will give them a life-long enjoyment and understanding of music as a listener or performer, at any level. 2

4 1. How do I start using this specification? Already using the existing AQA Music specification? Register to receive further information, such as mark schemes, past question papers, details of teacher support meetings, etc, at Information will be available electronically or in print, for your convenience. Tell us that you intend to enter candidates. Then we can make sure that you receive all the material you need for the examinations. This is particularly important where examination material is issued before the final entry deadline. You can let us know by completing the appropriate Intention to Enter and Estimated Entry forms. We will send copies to your Exams Officer and they are also available on our website Not using the AQA specification currently? Almost all centres in England and Wales use AQA or have used AQA in the past and are approved AQA centres. A small minority are not. If your centre is new to AQA, please contact our centre approval team at centreapproval@aqa.org.uk How can I find out more? Ask AQA You have 24-hour access to useful information and answers to the most commonly-asked questions at If the answer to your question is not available, you can submit a query for our team. Our target response time is one day. Teacher Support Details of the full range of current Teacher Support meetings are available on our website at There is also a link to our fast and convenient online booking system for Teacher Support meetings at If you need to contact the Teacher Support team, you can call us on or us at teachersupport@aqa.org.uk

5 2 Specification at a Glance AS Examinations Unit 1 MUSC1 Influences on Music 0% of AS, 15% of A Level 1 hour 45 minutes written examination 80 marks Available in June only AS Award Unit 2 MUSC2 Composing: Creating Musical Ideas 0% of AS, 15% of A Level Externally Assessed Coursework 60 marks Available in June only Unit MUSC Performing: Interpreting Musical Ideas 40% of AS, 20% of A Level minutes Internally Assessed 80 marks Available in June only A2 Examinations Unit 4 MUSC4 Music in Context 20% of A Level 2 hours 15 minutes written examination 100 marks Available in June only A Level Award 2271 Unit 5 MUSC5 Composing: Developing Musical Ideas 15% of A Level Externally Assessed Coursework 60 marks Available in June only Unit 6 MUSC6 Performing: A Musical Performance 15% of A Level minutes Externally Assessed 60 marks Available in June only AS + A2 = A Level 4

6 Subject Content and Assessment Criteria Musical Language/Content The musical references made below form the basis for the exploration of all Areas of Study within AS and A2. The whole musical experience of the course both teaching and learning should be centred on them. Not all elements will apply universally and their selection and coverage will depend on the composers, contexts, traditions and works being studied. The organisation of sounds Form binary, ternary, fugue, passacaglia, ritornello rondo, arch-form, variations, minuet and trio sonata, sonata-rondo, scherzo and trio da capo aria, strophic, through-composed, cyclic Harmony diatonic, chromatic, functional, non-functional, harmonic rhythm consonant, dissonant essential/unessential notes, passing notes, auxiliary notes, acciaccaturas, appoggiaturas suspensions, false relation, pedal, drone cadences, tierce da Picardie identification of chords using Roman numerals (I, IVb, etc) or chord symbols, inversions, seventh chords, added note chords, diatonic and chromatic discords, note clusters, circle of fifths Instrumentation and Timbre instruments singly and in combinations, as found in concertos, symphonies, chamber groups, in jazz and pop music timbre, including the use of technology, synthesised and computer-generated sounds, sampling dynamics instrumental techniques including pizzicato, con arco, con sordino, staccato, spiccato, col legno, double-stopping Melody intervals, conjunct, disjunct, triadic, blue notes diatonic, chromatic, pentatonic, whole tone, note row augmentation, diminution, fragmentation, inversion, retrograde, sequence, motivic development slide/glissando/portamento, ornamentation ostinato, riff phrasing and articulation Rhythm and Metre pulse regular, irregular, additive, free rhythm, isorhythm, polyrhythms augmentation, diminution, hemiola, cross-rhythm, dotted rhythm tempo, rubato, accentuation Texture harmonic/homophonic, contrapuntal, polyphonic, heterophonic imitative, fugal, canonic, layered unison, octaves, single melody line, melody with accompaniment, antiphonal Tonality tonal, atonal, bitonal major, minor, modal, use and identification of key modulation The context of music Composer, Performer and Audience intention, use, purpose, stimulus patronage, commission technical/emotional demands amateur/professional, performance practice, interactive media interpretation, improvisation Occasion, Time and Place sacred/secular private/public, media, concert, live/recorded, internet performing conventions and resources opportunities for hearing the music then and now, why is this piece a product of its time? Musical styles and genres Styles for example Baroque, Classical, Early and Late Romantic, Nationalism, Impressionism, Neo-classicism, Serialism Genres for example oratorio, concerto grosso, opera, aria, chorus, concerto, symphony, chamber groupings, lied 5

7 .1 Unit 1 MUSC1 Influences on Music Candidates should acquire, explore and apply musical language and context by the consideration of two Areas of Study (AoS) from: AoS1 The Western Classical Tradition (compulsory) AoS2a Choral Music in the Baroque Period AoS2b Music Theatre: a study of the Musical from 1940 to 1980 AoS2c British Popular Music from 1960 to the present day. These AoS will be set by AQA. The focus of AoS1, and AoS 2a c, may change every three years. Through their exploration of two AoS and a set work, candidates will develop an understanding of: the organisation of sounds (form, harmony, instrumentation and timbre, melody, rhythm and metre, texture and tonality) the context of music (composer, performer and audience, occasion, time and place) musical styles and genres. Study will involve listening to music from within the two AoS, study of scores and gaining an awareness of the context in which the music was composed. Assessment will be by written paper with some questions using a CD of musical excerpts. The examination paper will last 1 hour 45 minutes and be marked by AQA examiners. The question paper will have three sections. Section A: Listening approximately 0 minutes This section will consist of structured listening questions with or without a score and will require responses covering some of the following: cadences perfect, plagal, imperfect, interrupted chord identification tonic, dominant, subdominant, dominant seventh in root position and 1st/2nd inversions, cadential 6/4 compositional techniques, e.g. sequence, pedal, imitation, canon, ostinato, riff technical terms, e.g. appoggiatura, passing note, note of anticipation completion of a diatonic melody tonality modulations to the dominant, subdominant, relative minor instrumentation those found in the standard symphony orchestra and in jazz and pop music, instrumental techniques including pizzicato, arco texture harmonic/homophonic, contrapuntal/ polyphonic, imitative, unison, single melody line ornamentation trill, turn, mordent time signatures intervals major, minor and perfect melodic/rhythmic devices sequence, ostinato pattern, riff, passing note. The music used in this section can be drawn from any period of musical history and will be used to assess listening skills rather than historical knowledge. Section B: Historical Study: The Western Classical Tradition compulsory Area of Study (AoS1) The AoS The Western Classical Tradition is the compulsory AoS for this specification. Both the focus and the set work may change every three years. Set work for 2015 and until further notice: Haydn, Symphony No.104 in D major London, 1st and rd movements. Study will focus on these two movements from the set work. Candidates will be able to take an unmarked copy of the set work score into the examination room. Candidates answer one essay question from a choice of two. AoS1 The Western Classical Tradition will be carried forward to A2, Unit 4. Section C: Historical Study Areas of Study 2a c Centres will choose a second AoS from three set by AQA as follows: AoS2a AoS2b AoS2c Choral Music in the Baroque Period Music Theatre: a study of the Musical from 1940 to 1980 British Popular Music from 1960 to the present day. Two essay questions will be set on each of the AoS 2a c. Candidates will answer one question on the selected AoS. 6

8 In each AoS 2a c, the list of Composers of the genre is intended as a guide, not as an indication that all composers listed must be studied or that this list excludes study of other composers within the period and genre specified. EITHER AoS2a Choral Music in the Baroque Period Candidates study settings for choir and soloists: the cantata the oratorio anthems and masses. Composers of the genre might include: J S Bach, Charpentier, Handel, Vivaldi. OR AoS2b Music Theatre: a study of the Musical from 1940 to 1980 Candidates should look at significant musicals from within this period, with reference to: solo songs ensembles music for the chorus music for dance. Composers of the genre might include: Rodgers and Hammerstein, Bernstein, Lloyd Webber. OR AoS2c British Popular Music from 1960 to the present day Candidates study the development of British Popular Music within these dates including consideration of the: use of voices and instruments use of melody, harmony and texture move from a traditional instrumental backing group (i.e. lead, rhythm and bass guitars plus drum kit) to the use of synthesised sounds and other instrumental effects increase in the use of popular music for social comment use of multi-tracking, mixing and other studio techniques to enhance recording. Singers/groups of the genre might include: The Beatles, The Rolling Stones, Pink Floyd, Oasis, Blur. 7

9 .2 Unit 2 MUSC2 Creating Musical Ideas Candidates demonstrate their ability to create and develop musical ideas with technical control and expressive understanding, making creative use of musical devices, conventions and resources in response to one of three briefs as follows: Brief A Brief B Brief C Compositional techniques Free composition or pastiche in response to a given genre Arranging. The briefs will be released on 1 November in the examination year and compositions will be externally assessed by AQA. Candidates should be offered a maximum of 20 hours, supervised in the centre, in which to complete their compositions. For supervision of the controlled time in MUSC2 see section 6.1. EITHER MUS2A Brief A: Compositional techniques Candidates must respond to both questions in this brief. Question 1 Harmonisation of a 16 bar diatonic melody Candidates are given a traditional 16 bar diatonic melody in a major or minor key and will harmonise this using four-part harmony. Candidates may compose for a group of any four melodic instruments/ voices. Candidates will show understanding of and the ability to handle: perfect, plagal, imperfect and interrupted cadences root position, 1st and 2nd inversion chords passing notes modulation to the dominant, subdominant and relative minor/major conventional progressions such as cadential 6/4 use of the dominant 7th. Question 2 Controlling Texture Candidates are given up to 24 bars of keyboard accompaniment and should show their ability to control texture by creating a piece of music using the given chords in two parts in a style of the candidate s choice for two melodic instruments/voices. Any instrument or group of instruments or selection of electronic sound sources may be used. Candidates should demonstrate understanding of and the ability to handle techniques such as: melodic writing use of counterpoint imitation. Submissions must be made as a score in staff notation with a recording on either CD or mini-disc. Recordings can be made using acoustic instruments/ voices and/or ICT technology. OR MUS2B Brief B: Free composition or pastiche in response to a given genre Candidates will respond to one of four given musical genres: Vocal music Small ensemble Electronic music Keyboard music. These four genres will remain the same each year. The composition should last 6 minutes. Within each genre, candidates can choose to compose in an appropriate diatonic style. Candidates should demonstrate understanding of and the ability to handle: structure and development appropriate tonality use of melody harmony and rhythm texture, timbre and expression. The composition will also demonstrate the ability to handle: perfect, plagal, imperfect and interrupted cadences harmony in root position, 1st and 2nd inversion chords modulation to an appropriate related key including dominant, sub-dominant, relative minor/major use of the dominant 7th chord. 1 Vocal Music This can include music for unaccompanied voices or can include a piece for voice(s) with any appropriate instrumental backing. Where unaccompanied voices are used, there is no upper limit to the number but the minimum number must be two. 2 Small Ensemble Any small ensemble of instruments is permissible. This can include traditional ensembles such as string/ wind/brass quartet or mixed ensembles. The minimum number of instruments in the ensemble must be two. 8

10 Electronic Music This can include any electronic sound source including loops and samples. Where samples are used, it is expected that there will also be a significant amount of original material composed by the candidate. 4 Keyboard Music This can include music for a single keyboard or up to four keyboards of the same or different types. In this context, tuned percussion instruments such as xylophone, vibraphone or marimba can also be included, and also electronically produced keyboard sounds through the use of ICT. Submissions must be made as a recording on either CD or mini-disc and include an appropriate score and/or chart and/or annotation. An annotation is defined as a substantial piece of writing which may include diagrams and/or sections of notation that will accurately describe the process of composition referring to elements such as: form and structure tonality rhythm melody and harmony timbre and texture performance detail the process of realisation. Recordings can be made using acoustic instruments/ voices and/or ICT technology. OR MUS2C Brief C: Arranging Candidates show their ability to arrange music in response to a brief. Candidates will be given a folk song melody and text, consisting of verse and chorus which may be arranged vocally and/or instrumentally for any appropriate group of voices and/or instruments/ and/ or ICT sound sources. The arrangement will last 6 minutes and the folk song may consist of more than one verse. The arrangement may be done in any musical style appropriate to the setting. Candidates should demonstrate understanding of and the ability to handle: harmony appropriate to the melody development of musical ideas within the structure use of countermelody control of texture appropriate use of vocal and/or instrumental timbres and/or ICT sound sources. The composition will also demonstrate the ability to handle: perfect, plagal, imperfect and interrupted cadences harmony in root position, first and second inversion chords modulation to an appropriate related key including dominant, sub-dominant, relative minor/major use of the dominant 7th chord. Submissions must be made as a recording on either CD or mini-disc and must include an appropriate score and/or chart and/or annotation. An annotation is defined as a substantial piece of writing which may include diagrams and/or sections of notation that will accurately describe the process of composition referring to elements such as: form and structure tonality rhythm melody and harmony timbre and texture performance detail the process of realisation. Recordings can be made using acoustic instruments/ voices and/or ICT technology. 9

11 Assessment Criteria for Unit 2 (max 60 marks) Brief A (for each question) The marks for compositional techniques will be awarded according to the following criteria. There are 0 marks for each question marks: The piece will be stimulating, inventive and imaginative. The candidate will demonstrate a firm grasp of, and secure handling of, compositional techniques with a clear understanding of the chosen style. The writing for the chosen instruments/voices/ electronic sound sources will be highly idiomatic. The expressive features of the music will be immediately apparent to the listener. Notation will be accurate in relation to pitch and rhythm and contain detailed performance directions appropriate to the music marks: The piece will be musically interesting and satisfying. The candidate will demonstrate an understanding of most of the compositional techniques within the context of the style of the music. The writing for instruments/voices/electronic sound sources will be appropriate in relation to the expressive qualities of the music. Notation will be mostly accurate in relation to pitch and rhythm and contain performance directions appropriate to the music marks: The piece will be effective. The candidate will demonstrate an understanding of some of the compositional techniques in relation to the selected task. The writing for instruments/voices/electronic sound sources will be mostly competent and there will be an attempt to convey some of the expressive features of the music. There may be some inaccuracies in the notation in relation to pitch and rhythm, but the intentions will be largely clear with some attempt to include appropriate performance detail marks: The piece will be partially effective and complete but will demonstrate limited understanding in relation to the compositional techniques. The writing for instruments/voices/electronic sound sources will be partially successful and the expressive qualities of the music will be unconvincing and tend to be contrived. There will be some inaccuracies in the notation in relation to pitch and rhythm, and performance detail, though present, may not be wholly appropriate marks: The piece will lack effectiveness and will demonstrate a basic understanding of some of the more rudimentary aspects of the compositional techniques leading to sections of incoherence. There will be some areas that are incomplete and the writing for instruments/voices/electronic sound sources will demonstrate a lack of understanding in relation to the expressive qualities of the music. Frequent miscalculations in notation will be evident in relation to pitch and rhythm and performance detail will be sparse and often inappropriate to the music. 5 1 marks: The piece will demonstrate a very limited and rudimentary understanding of the compositional techniques. There will be significant areas that are incomplete and much of the piece will lack coherence. The writing for instruments/voices and electronic sound sources will demonstrate significant weaknesses that will inhibit the expressive qualities of the music. Substantial miscalculations in notation will be evident in relation to pitch and rhythm and performance detail will be lacking, or if present, wholly inappropriate to the music. Briefs B and C marks: The piece will be stimulating, inventive and imaginative. The candidate will demonstrate a firm grasp of, and secure handling of, structure, development, tonality, use of melody, harmony and rhythm, texture, timbre, and a clear understanding of the chosen style. The writing for the chosen instrument(s)/voices/ electronic sound sources will be highly idiomatic. The expressive features of the music will be immediately apparent to the listener. The score/chart/annotation will be accurate and detailed, accurately reflecting the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail. 10

12 50 41 marks: The piece will be musically interesting and satisfying. The candidate will demonstrate an understanding of structure, development, tonality, use of melody, harmony and rhythm, texture and timbre, within the context of the style of the music. The writing for instrument(s)/voices/electronic sound sources will be appropriate in relation to the expressive qualities of the music. The score/chart/annotation will be largely accurate and detailed bearing a close resemblance to the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail marks: The piece will be effective. The candidate will demonstrate an understanding of some aspects of structure, development, tonality, use of melody, harmony and rhythm, texture and timbre, in relation to the selected task. The writing for instrument(s)/voices/electronic sound sources will be mostly competent and there will be an attempt to convey some of the expressive features of the music. The score/chart/annotation will contain some detail relating to the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail marks: The piece will be partially effective and complete but will demonstrate limited understanding in relation to structure, development, tonality, use of melody, harmony and rhythm, texture and timbre. The writing for instrument(s)/voices/electronic sound sources will be partially successful and the expressive qualities of the music will be unconvincing and tend to be contrived. The score/chart/annotation will contain limited detail relating to the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail marks: The piece will lack effectiveness and will demonstrate a basic understanding of structure, development, tonality, use of melody, harmony and rhythm, texture and timbre leading to sections of incoherence. There will be some areas that are incomplete and the writing for instrument(s)/voices/ electronic sound sources will demonstrate a lack of understanding in relation to the expressive qualities of the music. The score/chart/annotation will contain inaccuracies and/or inconsistencies relating to the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail marks: The piece will demonstrate a very limited and rudimentary understanding of structure, development, tonality, use of melody, harmony and rhythm, texture and timbre. There will be significant areas that are incomplete and much of the piece will lack coherence. The writing for instrument(s)/voices/electronic sound sources will demonstrate significant weaknesses that will inhibit the expressive qualities of the music. The score/chart/annotation will be largely inaccurate and will contain only rudimentary detail relating to the music in the recording in relation to pitch, rhythm, form and structure, timbre, texture and performance detail. 11

13 . Unit MUSC Interpreting Musical Ideas Candidates offer two performances chosen from the following: (a) a solo performance on an instrument (b) a solo performance on voice (c) a solo performance on a second instrument (d) an ensemble performance (e) a technology-based performance 1 Sequencing (f) a technology-based performance 2 Multi-track/close microphone recording. Each acoustic performance should last 5 8 minutes. This unit will be internally assessed and externally moderated. For each performance, candidates may submit a single piece or a programme of shorter pieces. Candidates may perform their own composition if this makes sufficient technical and expressive demands on the candidate. Candidates must submit a score or lead sheet/ detailed guide or recording of the original work with the recording of their performance and a Candidate Record Form (CRF). A solo is defined as a performance where the candidate s part is: a single unaccompanied part a part which is accompanied by piano, guitar (or similar), a backing track or a small unit of other players. The accompaniment must not detract from the candidate s performance or double the part to be assessed. The solo performances should enable the candidate to demonstrate technical, expressive, interpretative and communicative skills appropriate to solo performance. The solo performance may include improvisation. In such cases, the candidate must make clear the basis of the improvisation e.g. a melodic fragment, a scale, a chord progression, a rhythmic idea. An ensemble is defined as a performance where the candidate will normally play within a group of three or more performers where the demands of the parts are of roughly equal difficulty. It is accepted that duets at an appropriate standard for, e.g. pianists, will enable them to demonstrate the necessary ensemble skills if the part chosen contains passages where the candidate fulfils the roles of both melody player and accompanist in the course of the piece. Additionally, the candidate may demonstrate ensemble skills by accompanying one or more other performers. The candidate s part must not be doubled. An ensemble performance will enable the candidate to demonstrate technical, expressive, interpretative and communicative skills appropriate to ensemble performance. The ensemble performance may include improvisation. In such cases, the candidate must make clear the basis of the improvisation: e.g. a melodic fragment, a scale, a chord progression, a rhythmic idea. Other members of the ensemble need not be examination candidates. Technology 1: Sequencing Candidates will use a combination of sequencing and multi-tracking/close microphone recording to create one or more pieces of music. The music can be in any style but must include at least four vocal/ instrumental parts. Candidates will submit a combination of recorded audio and MIDI sequenced tracks, the number of each track being at the discretion of the candidate. The minimum requirement is for four independent parts, the piece must be 2 bars or more in length, some tempo control for classical music or some use of drum kit for pop and jazz plus a moderate level of dynamic variation. Candidates must provide a recording on CD/minidisc and details of the equipment used, including the use made of the various facilities available within the hardware and software, should be provided. Credit will be given for: accuracy of pitch and rhythm a well-balanced recording evidence of close attention to performing and expressive detail awareness of style required ability to make use of the various facilities available within the hardware and software to produce a valid result. Technology 2: multi-track/close microphone recording Candidates will submit a multi-tracked/close microphone recording based on an initial recording of four or more independent vocal and/or instrumental parts. The candidate may be one of the performers or may perform all the vocal/instrumental parts. The submission must include the candidate s initial recording and the final mix. The minimum requirement is for four independent parts, the piece must be 2 bars or more in length, and candidates must demonstrate some appropriate 12

14 use of effects and some use of the stereo field/panning at mixdown. Candidates must provide a recording on CD/minidisc and details about the equipment used and the recording process should be provided. Credit will be given for evidence of: care taken to ensure good balance use of an appropriate dynamic range use of panning to obtain a clear recording and, where necessary, to separate sounds that utilise similar frequency ranges use of effects where appropriate, such as reverb, delay. quality of recording across a wide range of frequencies. 1

15 Assessment Criteria for Unit (max 80 marks) The Solo Performance is assessed on: Level of Demand Accuracy of pitch and rhythm plus observance of expressive and performance directions as indicated on the score/lead sheet Communication and projection of the performance Interpretation of the music, showing awareness of its style and character. Level of Demand 4 marks: The chosen programme will make high demands of the candidate. The standard expected will equate to Grade 5 or its equivalent. marks: The chosen programme will make a substantial range of technical demands upon the candidate though these will be within more limited parameters than those expected for the top mark. The standard expected will combine elements of both Grade 5 and Grade 4 or their equivalent. 2 marks: The chosen programme will make a narrower range of demands upon the candidate while still requiring a degree of technical expertise and command of the instrument/voice across a variety of performance techniques. The standard expected will equate to Grade 4 or its equivalent. 1 mark: The chosen programme will make few demands of the candidate. The part(s) will be technically straightforward. The standard expected will combine the elements of Grade 4 or its equivalent and just below. Accuracy marks: At the top of the band, there will be no discernible flaws. Otherwise, inaccuracies will be limited to a very occasional slip; at the lower end, there may be occasional slips but these will not affect the overall fluency of the performance. Intonation will be virtually secure. The candidate will have observed the composer s expressive and performance directions. 9 7 marks: At the top of this band, the performance should be largely accurate and slips or inaccuracies will not affect the overall fluency. At the lower end, there may be more slips and intonation, rhythm and/or tempo may become more problematic, leading to the occasional hesitation or loss of fluency. The majority of the composer s expressive and performance directions will have been observed. 6 4 marks: A performance which achieves consistency in most elements but which may lack variety, technical competence or fluency. There may be more frequent slips and/or more consistent misreading of the notation or performance detail. The basic outline of the music should be appreciable to the listener. In general, the composer s expressive and performance directions will have been observed. 1 marks: A performance which attempts to convey some features of the music accurately but achieves only limited consistency and fluency. There will be little or no application of the composer s directions for expression or performance detail. At the lower marks, the music may be scarcely recognisable. Communication marks: A committed, assured, convincing and well-projected performance. The candidate will demonstrate total involvement in the music. 9 7 marks: The candidate will demonstrate some level of commitment and the performance will be generally assured. There will still be an overall sense of conviction in the performance and the candidate will show awareness of the occasion and the audience. 6 4 marks: The performance will lack conviction and commitment on occasions and, towards the lower end of this band, the candidate may show little awareness of occasion or audience. 1 marks: The performance will have only limited conviction and the candidate may fail to impose him/herself upon the performance, leading to an anxious experience for performer and listener. Interpretation marks: The candidate will show a mature understanding of both period and style. The tempo will be appropriate and mastery of the techniques demanded by the music will be evident. 9 7 marks: The performance will have style and tempo appropriate to the music. At the lower end of the band, the performance will retain a sense of the 14

16 character of the music. In general, the techniques demanded by the music will be met though with some loss of integrity at times. 6 4 marks: At the upper end of this band, the candidate will show a general understanding of the style and character of the music. Towards the lower end, there will be limited sensitivity to the interpretative demands of the music. Technical demands may compromise the tempo. 1 marks: There will be only a rudimentary sensitivity to the interpretative demands of the music. The Ensemble Performance is assessed on: Level of Demand Sense of Ensemble Accuracy of pitch and rhythm plus observance of expressive and performance directions as indicated on the score/lead sheet Communication and projection of the performance Interpretation of the music, showing awareness of its style and character. Level of Demand 4 marks: The chosen programme will make high demands of the candidate. This will result partly from the technical difficulty of the part(s) the candidate plays and partly from the role(s) of the part(s) within the ensemble. The standard expected will equate to Grade 5 or its equivalent. marks: The candidate is likely to play a more consistent role within the ensemble. The chosen programme will still make a substantial range of technical demands upon the candidate though these will be within more limited parameters than those expected for the top mark. The standard expected will combine elements of both Grade 5 and Grade 4 or their equivalent. 2 marks: The chosen programme will make a narrower range of demands upon the candidate while still requiring a degree of technical expertise and command of the instrument/voice across a variety of performance techniques. Overall, the candidate s role within the ensemble will be more straightforward. The standard expected will equate to Grade 4 or its equivalent. 1 mark: The chosen programme will make few demands of the candidate. The part(s) will be technically straightforward and the candidate s role within the ensemble will present few challenges. The standard expected will combine the elements of Grade 4 standard or its equivalent and just below. Sense of Ensemble 9 7 marks: A performance showing complete unity of purpose in all aspects of ensemble playing, including balance, timing, intonation and responsiveness to others, including, if necessary, the ability to react positively to any difficulties which may occur. Marks towards the bottom of this band will reflect success in most of these areas. 6 5 marks: A performance showing a generally high level of responsiveness to the other performers, showing a good understanding of the nature of ensemble playing, demonstrated in timing, intonation, dynamics and responsiveness to other performers. 4 marks: A performance showing a good level of responsiveness to the other performers and generally achieving good ensemble in timing, intonation and dynamics for the majority of the performance. For the lower mark, the level of responsiveness will be present inconsistently. 2 1 marks: A performance showing some awareness of other performers but where the response to the ensemble demands is uneven and where responsiveness is generally less secure. For the lower mark, the performance will show little or no responsiveness to the other performers and demonstrate limited understanding of ensemble playing. Performances at this level will include those where the candidate tends to concentrate on his/her own part to the exclusion of other ensemble considerations. Accuracy 9 7 marks: At the top of the band, there will be no discernible flaws. Otherwise, inaccuracies will be limited to a very occasional slip; at the lower end, there may be occasional slips but these will not affect the overall fluency of the performance. Intonation will be virtually secure. The candidate will have observed the composer s expressive and performance directions. 6 5 marks: At the top of this band, the performance should be largely accurate and slips or inaccuracies will not affect the overall fluency. At the lower mark, there may be more slips and intonation, rhythm and/or tempo may become more problematic, leading to the occasional hesitation or loss of fluency. The majority of the composer s expressive and performance directions will have been observed. 15

17 4 marks: A performance which achieves consistency in most elements but which may lack variety, technical competence or fluency. There may be more frequent slips and/or more consistent misreading of the notation or performance detail. The basic outline of the music should be appreciable to the listener. In general, the composer s expressive and performance directions will have been observed. 2 1 marks: A performance which attempts to convey some features of the music accurately but achieves only limited consistency and fluency. There will be little or no application of the composer s directions for expression or performance detail. At the lower mark, the music may be scarcely recognisable. Communication 9 7 marks: A committed, assured, convincing and well-projected performance. The candidate will demonstrate total involvement in the music. 6 5 marks: The candidate will demonstrate some level of commitment and the performance will be generally assured. There will still be an overall sense of conviction in the performance and the candidate will show awareness of the occasion and the audience. 4 marks: The performance will lack conviction and commitment on occasions and, for the lower mark, the candidate may show little awareness of occasion or audience. 2 1 marks: The performance will have only limited conviction and the candidate may fail to impose him/herself upon the performance, leading to an anxious experience for performer and listener. Interpretation 9 7 marks: The candidate will show a mature understanding of both period and style. The tempo will be appropriate and mastery of the techniques demanded by the music will be evident. 6 5 marks: The performance will have style and tempo appropriate to the music. For the lower mark, the performance will retain a sense of the character of the music. In general, the techniques demanded by the music will be met though with some loss of integrity at times. 4 marks: For the upper mark, the candidate will show a general understanding of the style and character of the music. For the lower mark, there will be limited sensitivity to the interpretative demands of the 16 music. Technical demands may compromise the tempo. 2 1 marks: There will be only a rudimentary sensitivity to the interpretative demands of the music. The Technology-based performance 1 Sequencing is assessed on: Accuracy of pitch and rhythm Use of timbres, balance and panning techniques Evidence of close attention to performing and expressive detail Awareness of style required Ability to use the facilities available within the software and hardware to produce a valid result. Candidates will be expected to give details of equipment used during the sequencing process and the facilities available within the hardware and software. Accuracy of pitch and rhythm 8 7 marks: Excellent accuracy of pitch and control of all rhythmic elements to produce a musically satisfying recording. 6 5 marks: A few minor slips which do not inhibit the overall musicality or fluency of the recording. 4 marks: More significant errors, affecting the overall sense of ensemble. 2 1 marks: Significant lapses, resulting in an unmusical performance. Use of timbre, balance and panning techniques 8 7 marks: Judiciously chosen timbres set within a well-balanced and effective recording. 6 5 marks: Appropriate timbres, mostly well-balanced and with some evidence of use of panning. 4 marks: A recording where most timbres are well-chosen but where there are inconsistencies in the balance and only limited use of panning. 2 1 marks: Mostly inappropriate choice of timbres and little sense of balance or evidence of use of panning.

18 Evidence of close attention to performing and expressive detail 8 7 marks: Comprehensive evidence of close attention to all aspects of performing and expressive detail to create a musical performance. 6 5 marks: Effective use of performing and expressive detail, with broadly successful articulation, phrasing and use of shading. 4 marks: Some attempts, not always successful, to use performing and expressive detail to produce a musical performance. There may be inconsistencies in the application of dynamics, articulation, phrasing and tempo. 2 1 marks: Limited or no attention to performing and expressive detail, resulting in a recording characterised by a lack of dynamic contrast and inconsistencies in articulation, phrasing, shading and tempo. Awareness of style required 8 7 marks: Complete awareness of the stylistic requirements of the music and the ability to achieve this through the careful editing of data. 6 5 marks: Broadly successful creation of required style. 4 marks: Some sense of the required style but achieved inconsistently. 2 1 marks: A basic transcription of the music with limited or no sense of the required style. Ability to use the facilities available within the software and hardware to produce a valid result 8 7 marks: Complete understanding of measures needed to use the facilities available within the software and/or hardware to produce an authentic recording. 6 5 marks: Broad understanding of the measures needed to use the facilities available within the software and/ or hardware to produce an authentic recording and mostly successful application of these facilities. 4 marks: Some understanding of the measures needed to use the facilities available within the software and/or hardware to produce an authentic recording but only partial success in their implementation. 2 1 marks: Limited understanding of the measures needed to use the facilities available within the software and/or hardware to produce an authentic recording and little or no evidence of success in their implementation. The Technology-based performance 2 multi-track/close microphone recording is assessed on: Balance Dynamic range, including use of compression Manipulation of mixing desk Use of effects, such as reverb, delay, etc. Quality of recording across a wide range of frequencies. Candidates will be expected to give details of the equipment used and the recording process. Balance 8 7 marks: Excellent sense of balance throughout the recording. 6 5 marks: Occasional miscalculations as to balance, increasing where a mark of 5 is awarded. 4 marks: Sections of poor balance; areas where important features are unclear. 2 1 marks: Generally poorly balanced; much of the detail of the music is obscured. Dynamic Range, including use of compression 8 7 marks: Excellent management of dynamics in ways completely appropriate to the music. 6 5 marks: Occasional miscalculations of dynamic and/or a more limited dynamic range. 4 marks: Sections where the dynamic range is miscalculated and/or very limited. 2 1 marks: Mostly inappropriate choice/use of dynamics/ dynamics which adversely affect the impact of large sections of the performance. 17

19 Manipulation of mixing desk 8 7 marks: Excellent use of mixing desk which enables all aspects of the recording to be appreciated. 6 5 marks: Occasional miscalculations in the use of the mixing desk, to the extent that there are restrictions on its effectiveness in separating parts. 4 marks: Sections where the use of the mixing desk is misjudged, inappropriate or very limited. 2 1 marks: Generally little use of the mixing desk with little or no alterations from the original mix achieved. Use of effects such as reverb, delay, etc 8 7 marks: Judicious and appropriate use of effects throughout the piece. 6 5 marks: Occasional miscalculations as to the use of effects. 4 marks: Sections where effects are misjudged or lacking. 2 1 marks: Little or inappropriate use of effects. Quality of the recording across a wide range of frequencies 8 7 marks: An excellent recording with clear use of a wide range of frequencies. 6 5 marks: Occasional miscalculations as to the use of a wide frequency range. 4 marks: Sections where the level of care and attention to matters of equalisation are misjudged or lacking. 2 1 marks: Little or inappropriate use of equalisation for significant sections of the recording. 18

20 .4 Unit 4 MUSC4 Music in Context Candidates should acquire, explore and apply musical language and context by the consideration of two Areas of Study (AoS) from: AoS1 AoSa AoSb AoSc The Western Classical Tradition (compulsory) English Choral Music in the 20th century Chamber Music from Mendelssohn to Debussy Four decades of Jazz and Blues These AoS will be set by AQA. The focus of AoS1, and AoS a c, may change every three years. Through their exploration of two AoS and a set work, candidates will develop an understanding of: the organisation of sounds (form, harmony, instrumentation and timbre, melody, rhythm and metre, texture and tonality) the context of music (composer, performer and audience, occasion, time and place) musical styles and genres. Study will involve listening to music from within the two AoS, study of scores and gaining an awareness of the context in which the music was composed. Assessment will be by written paper with some questions using a CD of musical excerpts. The examination paper will last 2 hours 15 minutes and be marked by AQA examiners. The question paper will have three sections. Section A: Listening approximately 45 minutes This section will consist of structured listening questions with or without a score and will require responses covering some of the following: cadences perfect, plagal, imperfect, interrupted in the tonic and related keys chord identification tonic, dominant, subdominant, dominant seventh in root position and 1st/2nd inversions, cadential 6/4, diminished 7th, augmented 6th, secondary 7ths, dominant 7th in rd inversion compositional techniques, e.g. sequence, pedal, imitation, canon, ostinato, riff technical terms, e.g. appoggiatura, passing note, note of anticipation completion of a melody containing some chromatic notes tonality modulations to the dominant major, dominant minor, subdominant, relative minor, major of the relative minor, tonic minor, modality, atonal and 12-note music, whole tone scale, bitonality instrumentation those found in the standard symphony orchestra and in jazz and pop music, instrumental techniques including pizzicato, arco, con sordino, double stopping texture harmonic/homophonic, contrapuntal/ polyphonic, imitative, unison, single melody line, octaves ornamentation trill, turn, mordent, portamento harmonic devices tonic and dominant pedals, cycle of fifths, suspension, sequence time signatures, including compound time and 5/7 beats in a bar intervals major, minor, perfect, augmented, diminished melodic/rhythmic devices sequence, ostinato, riff, passing note, accented passing note, appoggiatura, chromatic appoggiatura, augmentation, diminution, polyrhythms, portamento, hemiola, suspension. Section B: Historical Study: The Western Classical Tradition compulsory Area of Study (AoS1) The AoS The Western Classical Tradition is the compulsory AoS for this specification. Both the focus and the set works may change every three years. Set works 2014 and until further notice: Elgar Symphony No. 1 or Shostakovich Symphony No. 5 Study will focus on one of the two set works. Candidates will be able to take an unmarked copy of their chosen set work score into the examination room. Candidates answer one essay question from a choice of two. Section C: Historical Study Areas of Study a c Centres will choose a second AoS from three set by AQA as follows: AoSa century English Choral Music in the 20th AoSb Chamber Music from Mendelssohn to Debussy AoSc Four decades of Jazz and Blues Two essay questions will be set on each of the AoS a c. Candidates will answer one question on the selected AoS. 19