Transcript One - Eduqas

Eduqas GCE AS/A level Music
First teaching: 2016
First assessment
AS - 2017
A level - 2018
Specification Highlights
•
Learners have the option to specialise in performing or composing at
A level for 10% of the qualification
•
One optional area of study at A level focuses on the music of living
composers, with four British composers on the list
•
The specifications have a good balance of set works and wider
listening topics
•
AS and A level classes can be taught together and/or learners can
complete an AS in year 1 and an A level in year 2
•
The specifications prepare learners for a wide range of music
degrees including popular and classical courses
Overview
AS Music
A level Music
Component 1: Performing (30%)
Component 1: Performing (35% or 25%)
Non-exam assessment
Externally assessed between March and May
by a visiting examiner
Non-exam assessment
Externally assessed between March and May
by a visiting examiner
Component 2: Composing (30%)
Non-exam assessment
Externally assessed
Component 2: Composing (35% or 25%)
Non-exam assessment
Externally assessed
Component 3: Appraising (40%)
Listening and appraising exam
1 hour 30 minutes
Component 3: Appraising (40%)
Listening and appraising exam
2 hours 15 minutes
Assessment Objectives
AO1
Interpret musical ideas through performing with technical and expressive
control and an understanding of style and context
AO2
Create and develop musical ideas with technical and expressive control
and coherence
AO3
Demonstrate and apply musical knowledge
AO4
Use analytical and appraising skills to make evaluative and critical
judgements about music
AS Assessment Objectives
AO1
Component 1:
Performing
AO2
AO4
30%
Component 2:
Composing
30%
30%
Total
30%
Component 3::
Appraising
Overall
weighting
AO3
30%
30%
15%
25%
40%
15%
25%
100%
A Level Option A Assessment Objectives
AO1
Component 1:
Performing
AO2
AO4
35%
Component 2:
Composing
25%
35%
Total
35%
Component 3::
Appraising
Overall
weighting
AO3
25%
25%
10%
30%
40%
10%
30%
100%
A Level Option B Assessment Objectives
AO1
Component 1:
Performing
AO2
AO4
25%
Component 2:
Composing
35%
25%
Total
25%
Component 3::
Appraising
Overall
weighting
AO3
35%
35%
10%
30%
40%
10%
30%
100%
Subject Content
Musical elements, contexts and language
Musical Elements
•
Through the areas of study, learners will gain knowledge and understanding of
musical elements and build on knowledge and understanding gained at GCSE
•
Musical elements are listed under each area of study with examples and there is an
additional vocabulary list at the back of the specification
•
All musical elements can be taught through the three chosen areas of study
•
Understanding and use of musical elements will be assessed in all three components
Musical Context
• Through the areas of study, learners will gain knowledge and
understanding of various musical contexts including:

the effect of purpose and intention (e.g. of the composer, performer,
commissioner) on how music is created, developed and performed in different
historical, social and cultural contexts

the effect of audience, time and place (e.g. venue, occasion) on how music is
created, developed and performed in different historical, social and cultural
contexts

how music from different historical, social and cultural contexts has changed
over time
• Understanding of musical context will be assessed in all three
components
Musical Language
• Learners will gain knowledge and understanding of musical language
through area of study A (The Development of the Symphony)
including:




•
reading and writing treble and bass clef staff notation in simple
and compound time
roman numerals and contemporary chord symbols including
extended chords
reading and writing key signatures to five sharps and flats (at
AS) and all key signatures at A level
musical vocabulary related to areas of study
Musical language will be explicitly assessed in Component 3,
although it is hoped that learners will also develop their
knowledge and understanding of musical language through
Components 1 and 2 and areas of study B-F.
Component 1: Performing
AS (30%), A level (35% or 25%)
AS Performing
(30%) 72 marks
A level Performing
Option A (35%) 108 marks
A level Performing
Option B (25%) 72 marks
Standard equivalent to grade 5
Standard equivalent to grade 6
Standard equivalent to grade 6
Minimum of 6 minutes
Minimum of 10 minutes
Minimum of 6 minutes
Minimum of two pieces
Minimum of three pieces
Minimum of two pieces
One piece must link to an area
of study
One piece must link to an area
of study
One piece must link to a
second different area of study
One piece must link to an area
of study
Pieces can be solo and/or
ensemble
One piece must be a solo and
all other pieces can be either
solo and/or ensemble
Pieces can be solo and/or
ensemble
Assessment of Component 1:
•
Externally assessed by a visiting examiner (A level and AS
assessments will be on the same day or over two days for larger
cohorts)
•
Each piece is marked out 36 and adjusted using the table in
Appendix A of the specification
•
The assessment will be recorded by the WJEC examiner
•
Appendix A of the specification contains guidance on how technical
control is assessed
•
If a learner plays an instrument not covered by the list, please
contact WJEC for advice
•
An audience is permitted in the assessment
•
The examiner will not be able to discuss marks with the teacher
Assessment of Component 1:
•
Each column within the assessment grid focuses on a specific aspect
of performance and is marked out of 12
•
Learners are assessed on

accuracy of pitch and/or rhythm, tempo and response to
performance directions

technical control of their instrument or voice including
intonation, their ability to control and manipulate sonority (tone
quality) and projection (dynamics)

expression and interpretation including understanding and
interpretation of style and period, communication with the
audience, ensemble skills and/or balance with pre-recorded
tracks
Component 2: Composing AS (30%), A level (25% or 35%)
AS Composing
(30%) 72 marks
A level Composing
Option A (25%) 72 marks
A level Composing
Option B (35%) 108 marks
Two compositions
Two compositions
Three compositions
Minimum of 4 ½ minutes
Minimum of 4 minutes
Minimum of 8 minutes
One composition to a brief
set by WJEC using the
techniques and conventions
of the Western Classical
Tradition
One composition to a brief
set by WJEC using the
techniques and conventions
of the Western Classical
Tradition
One composition to a brief
set by WJEC using the
techniques and conventions
of the Western Classical
Tradition
One free composition for
which the learner sets their
own brief
One free composition for
which the learner sets their
own brief
One free composition for
which the learner sets their
own brief
One composition linked to a
second different area of
study for which the learners
sets their own brief
Assessment of Component 2
•
Each piece is marked out of 36 using the assessment grid in Appendix B of the specification
•
The pieces may be composed at any time during the course apart from the piece composed to a brief set
by WJEC which must be composed during the final year of the course as briefs will not be released until
September 1st
•
All compositions must be submitted with a detailed score and a clear recording
•
All learners must complete a non- assessed composition log to authenticate the work. The log will
require details such as:




acknowledgements
the relationship between the score and the recording
process evidence
candidate and teacher signatures
Assessment of Component 2
•
Each column within the assessment grid focuses on a specific aspect of
composition and is marked out of 12
•
Learners are assessed on

Creating musical ideas

Developing musical ideas

Technical and expressive control of musical elements
Composing to a Brief
•
Set briefs will always contain information about the
occasion and/or the audience
•
The composition briefs are designed to allow any number
of different valid responses but always in a Western
Classical style
•
There will always be a choice of four briefs, covering a
variety of instrumental groupings and possible genres
•
It is recommended that each piece is long enough to
demonstrate development of ideas
Composing in a Western Classical Style
•
This is not a techniques exercise, e.g. a Bach Chorale or two part
counterpoint
•
This is a composition which uses the musical language and idioms of
the Western Classical tradition, demonstrating an appropriate use
and understanding of:








structure
tonality
harmony
texture
melody
rhythm
thematic manipulation
developmental devices.
What does a free composition involve?
•
•
•
This offers candidates the opportunity to explore any musical style of
their choosing
It could link to one of the areas of study (including a second WCT
composition)
It may explore any appropriate medium or genre
Learners must remember that this composition will also be judged
using the WJEC assessment criteria for composing, and therefore
should research their interests thoroughly, considering the following:

Planning (structure and organising)


Presenting (the initial material and its development)
Refining (adjusting and improving).
Areas of study highlights
• The areas of study enable teachers to follow an integrated
teaching and learning approach to the three assessed skill areas
by providing opportunities for learners to perform, compose and
appraise music within each area of study
• Learners develop a chronology of music through studying the
development of the symphony and one style of popular music
• At A level learners have the opportunity to engage with the music of
living composers from the UK and Europe
• Areas of study have been carefully designed to be comparable
across options and complementary between options. For example,
the symphony provides a foundation for the whole course and leads
in to a study of twentieth or twenty-first century music and the
popular music options provide contrast while developing the same
musical skills
Comparison of Areas of study at AS and A
level
AS Areas of Study
A level Areas of Study
The development of the symphony (17501830)
The development of the symphony (17501900)
2 movements of 1 symphony
4 movements of the same symphony plus
general knowledge of second symphony
One from:
• Rock and Pop (1960-1990)
• Musical Theatre (5 composers)
• Jazz (1920-1950)
One from:
• Rock and Pop (1960-2000)
• Musical Theatre (6 composers)
• Jazz (1920-1960)
One from
• Into the Twentieth century
• Into the Twenty-First century
Co-teaching areas of study at AS and A level
Model 1
AS Areas of Study (Year 1)
A level Areas of Study (Year 2)
The development of the symphony (17501830)
The development of the symphony (18301900)
Movements 1 and 2 of one symphony
Movements 3 and 4 of the same symphony
plus general knowledge of second symphony
One from:
• Rock and Pop (1960-1990)
• Musical Theatre (5 composers)
• Jazz (1920-1950)
One from:
• Rock and Pop (1990-2000)
• Musical Theatre (1 composer)
• Jazz (1950-1960)
One from
• Into the Twentieth century
• Into the Twenty-First century
Set works at AS and A level
AS Set Works
A level Set Works
Either:

Symphony Number 104 in D major,

‘London’, movements 1 and 2, Haydn

‘London', Haydn

Or:
Symphony Number 104 in D major,
Symphony Number 4 in A major, ‘Italian’,
Symphony Number 4 in A major, ‘Italian’,
Mendelssohn
movements 1 and 2, Mendelssohn
Either:
 Trio for Oboe, Bassoon and Piano,
Movement 2, Poulenc
 Three nocturnes, Number 1, Nuages,
Debussy
Or:
 Asyla, Movement 3, Ecstasio, Thomas Ades
 String Quartet number 2, Opus California,
Movements 1 and 4, Sally Beamish
Area of study A: The Development of the
Symphony (compulsory)
Learning Focus: the development of the orchestra, use of
structure and musical language
•
100% of teachers who responded to our survey requested that we include an
area of study based on orchestral music
•
This area of study allows learners to trace the development of the genre
through history
•
Detailed knowledge and understanding of musical elements and language is
required
•
Learners will undertake a detailed study of one of the set works
•
Learners should listen to a range of different symphonies and take
opportunities to hear them played live
•
This area of study provides progression from Area of Study 1: Forms and
Devices on the GCSE specification
Areas of study B-D: Popular Music
•
Three areas of study are offered to allow centres to choose an option which
suits their learners
•
Teachers have freedom to select artists, pieces, albums and musicals that
interest their learners
•
Some parameters are given:

Rock and Pop (pop, rock, soul, funk and folk)

Musical Theatre (Rodgers, Bernstein, Sondheim, Schonberg,
Lloyd-Webber and Schwartz)

Jazz (ragtime, dixieland, early jazz, big band, be-bop and cool
jazz)
•
The specification provides detailed information about what learners need to
know about musical elements, context and language and the level of
demand is comparable
Areas of study E-F: New Directions
•
Two areas of study are offered to allow centres to choose an option which
suits their learners
•
Area of study E, Into the Twentieth Century, focuses on Impressionism,
Expressionism (including Serialism) and Neo-classicism
•
Area of study F, Into the Twenty-first Century, focuses on the music of
living composers
•
Detailed information is provided in the specification outlining what learners
need to know and understand
•
The specification provides detailed information about what learners need to
know about musical elements, context and language and the level of
demand is comparable
•
Two set works are provided in each option to provide a focus for study
Comparison of Component 3 exams at AS and A level
AS Exam 88 marks
A level Exam 100 marks
Section 1: Areas of study B-D (40 marks)
• Two aural perception questions on unprepared
extracts (15 marks each)
• Question on wider context without extract (10
marks)
Section 1: Areas of study B-D (30 marks)
• One aural perception question on an
unprepared extract (10 marks)
• Comparison question on two different extracts
(20 marks)
Section 2: Areas of study E-F (30 marks)
• Analysis question on one of the two set works
(15 marks)
• Aural perception question on an unprepared
extract including links with the wider context
(15 marks)
Section 2: Area of study A (48 marks)
• Skeleton score question (pitch or rhythm
dictation) (10 marks)
• Set work analysis question (15 marks)
• Comparison question on two unprepared
symphonic extracts (10 marks)
• Aural perception unprepared extract with score
(13 marks)
Section 3: Area of study A (40 marks)
• Skeleton score question (pitch and rhythm
dictation (10 marks)
• Set work analysis question (15 marks)
• Essay on the development of the symphony (15
marks)
Comparison of Component 3 exams at AS and A level
AS Exam 88 marks
AO3
15%
33 marks
Demonstrate and
apply musical
knowledge
AO4
25%
55 marks
Use analytical and
appraising skills to
make evaluative and
critical judgements
about music
•
•
•
Wider context
questions
Pitch or rhythm
dictation
Comparison
A level Exam 100 marks
AO3
10%
25 marks
Demonstrate and
apply musical
knowledge
AO4
30%
75 marks
Use analytical and
appraising skills to
make evaluative and
critical judgements
about music
•
•
•
•
Comparison
Pitch and rhythm
dictation
Locating errors
Essay
AO3
•
AO3 Demonstrate and apply musical knowledge
•
AO3 style questions will include multiple choice, picking out features from
a piece of music and recall of knowledge
•
Typical command words will include name, state, identify, underline, give,
pick, insert, define
•
The unprepared extracts will contain some AO3 style questions
•
The set work analysis will contain some AO3 style questions
AO4
•
AO4 Use analytical and appraising skills to make evaluative and critical
judgements about music
•
AO4 questions often require a longer response and command words will
include, describe, explain, compare, contrast, complete (missing pitch or
rhythm), find the difference, analyse, evaluate
•
The comparison question, wider context questions and essays will target
AO4
Assessment of Component 3
•
Things to remember about the exam:
 the dictation question will require learners to write pitch and
rhythm at A level and pitch or rhythm at AS
 the dictation question will require learners to write either treble clef
or bass clef, not both at the same time
 the dictation question may be in simple time or compound time
 learners may be asked to write chord symbols in either
contemporary symbols or roman numerals
 Learners may be asked locate errors in pitch and/or rhythm at A
level
Assessment of Component 3
Exam Technique
•
•
•
•
•
•
Location on the score must be precise (bar 4, beat 3 or give line numbers
in the songs)
State/explain/describe two features (only the first two answers will be
accepted)
Describe features (learners may offer any number of features and
examiners will pick out correct answers)
Give the full name of the key (B minor is correct, B is not accepted)
Underline/tick (only one answer will be accepted. Where two or more
features are underlined/ticked the answer will be marked wrong, even if
one of the responses is correct).
Tick two (the first two ticks on the list will be marked)
Assessment of Component 3
Exam Technique
•
•
•
•
Features of interest (harmony)– these must be noteworthy or something
that happens consistently such as a chain of suspensions or circle of fifths
(not an individual isolated item such as a specific chord, unless it is an
unusual chord such as a Augmented 6th
The same applies to features of melody, rhythm etc
Use of instruments – description /explanation of what they play, not just a
list of instruments
Thematic material – refers to specific subjects or important melodies, not
countermelodies
Assessment of Component 3
Understanding the mark scheme
•
•
•
•
•
•
Unless otherwise stated, there is one mark for each correct response
Brackets are used to show alternative correct answers {…..}
Brackets are also used to show non-essential information (……)
/ is used to show an additional correct response
Indicative content is designed to be exhaustive, however, examiners are
instructed to use their professional judgement when marking something
not included on the mark scheme
Longer response questions will have an assessment grid describing levels
of achievement. In this case one mark per comment does not apply.
Resources for Teachers
Supporting teaching and learning
•
We are planning a number of resources to support teaching and learning which have
been tailor made for the specifications. These include:
 Practice questions
 Notes on set works
 Composition resource which links to the set works in Area of study F: Into the
Twenty-first Century
 Teacher’s guide including approaches to teaching the popular music genres
 Term plans
Resources for Teachers
Supporting teaching and learning
Visit our website to access qualification information and download key documents.
eduqas.co.uk/qualifications/music
Free Eduqas digital resources to support the teaching and learning of a broad range of
subjects.
resources.eduqas.co.uk
EXAMINING FOR WJEC EDUQAS
• We value the contribution you as experienced teachers and lecturers make in
assessing students’ work, ensuring that candidates are given a fair result
which accurately reflects their ability
• We appoint examiners to mark externally assessed work and moderators to
review the original marking of teachers for internally assessed components or
units
• We provide face-to-face training for examiners and moderators (appointees)
prior to assessment work commencing
• Our senior examiners and subject officers provide support and advice during
the assessment period
www.eduqas.co.uk/examiners
APPLICATION PROCESS
• Complete an application using the on-line application system available on the
Appointees page of the WJEC website
• Once you have completed the initial registration, please make sure that you
validate your email account so that you can complete the application process
• When you have completed your application, remember to click ‘submit’ on
the homepage, to complete the process
• Remember to inform your referee of your application, as sometimes delays
occur due to referees not completing the reference section
• On rare occasions, applicants may not be accepted due to a lack of relevant
teaching experience
• Applicants may re-apply once they have gained sufficient experience
• Some applicants will be approved, but may have to wait on the reserve list
until a suitable vacancy arises
Any Questions?
Contact our specialist Subject Officers and administrative team for your
subject with any queries.
[email protected] (Subject Officer)
[email protected] (Subject Support Officer)
[email protected] (Subject Support Officer)
@eduqas
eduqas.co.uk