ccea gcse specification in music...- florence and the machine: cosmic love. content learning...

GCSE

For first teaching from September 2017For first assessment in Summer 2019For first award in Summer 2019Subject Code: 7010

CCEA GCSE Specification in

Music

Contents

1 Introduction 3

1.1 Aims 41.2 Keyfeatures 41.3 Priorattainment 51.4 Classificationcodesandsubjectcombinations

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2 Specification at a Glance

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3 Subject Content 7

3.1 Component1:PerformingandAppraising 73.2 Component2:Composing 93.3 Component3:ListeningandAppraising 10 4 Scheme of Assessment 14

4.1 Assessmentopportunities 144.2 Assessmentobjectives 144.3 Assessmentobjectiveweightings 144.4 Qualityofwrittencommunication 154.5 Reportingandgrading 154.6 Externalassessment

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5 Grade Descriptions

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6 Guidance on Controlled Assessment 19

6.1 Controlledassessmentreview 196.2 Skillsassessedbycontrolledassessment 196.3 Levelofcontrol 196.4 Tasksetting 196.5 Tasktaking 206.6 Taskmarking 216.7 Internalstandardisation 226.8 Moderation 226.9 Drafting/Redrafting

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7 Curriculum Objectives 23

7.1 Cross-CurricularSkillsatKeyStage4 237.2 ThinkingSkillsandPersonalCapabilitiesatKeyStage4

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8 Links and Support 27

8.1 Support 278.2 Examinationentries 278.3 Equalityandinclusion 278.4 Contactdetails 28

Appendix 1

GlossaryofTermsforControlledAssessmentRegulations29

Appendix 2

AssessmentCriteriaandMarkBands–Component1:PerformingandAppraising

31

Appendix 3

LevelofDemand:GuidanceforSelectedNon-GradedInstruments38

Appendix 4

AssessmentCriteriaandMarkBands–Component2:Composing42

SubjectCodeQAN

7010603/1222/1

ACCEAPublication©2017

Thisspecificationisavailableonlineatwww.ccea.org.uk

CCEAGCSEMusicfromSeptember2017

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1 Introduction

ThisspecificationsetsoutthecontentandassessmentdetailsforourGCSEcourseinMusic.Wehavedesignedthisspecificationtomeettherequirementsof:

• NorthernIrelandGCSEDesignPrinciples;and• NorthernIrelandGCEandGCSEQualificationsCriteria.FirstteachingisfromSeptember2017.WewillmakethefirstawardbasedonthisspecificationinSummer2019.Thisspecificationisalinearcourse.Theguidedlearninghours,asforallourGCSEs,are120hours.ThespecificationsupportstheaimoftheNorthernIrelandCurriculumtoempoweryoungpeopletoachievetheirpotentialandtomakeinformedandresponsibledecisionsthroughouttheirlives,aswellasitsobjectives:

• todeveloptheyoungpersonasanindividual;• todeveloptheyoungpersonasacontributortosociety;and• todeveloptheyoungpersonasacontributortotheeconomyandenvironment.Ifthereareanymajorchangestothisspecification,wewillnotifycentresinwriting.Theonlineversionofthespecificationwillalwaysbethemostuptodate;toviewanddownloadthispleasegotowww.ccea.org.uk


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1.1 Aims

Thisspecificationaimstoencouragestudentsto:

• engageactivelyinstudyingmusic;• developtheknowledge,understandingandskillsneededtocommunicateeffectivelyasmusicians,including:- performingskills,individuallyandinagroup,tocommunicatemusicallywithfluencyandcontrol;and

- composingskillstoorganisemusicalideasandmakeuseofappropriateresources;

• recognisetheinterdependenceofmusicalknowledge,understandingandskillsandmakelinksbetweentheintegratedactivitiesofperforming,composing,listeningandappraising;

• developawarenessofmusictechnologiesandtheiruseincreatingandpresentingmusic;

• reflectcriticallyandmakepersonaljudgementsontheirownmusicandthemusicofothers;

• progresstofurtherstudy,forexampleAdvancedSubsidiary(AS)andAdvancedlevel(Alevel);

• developparticularstrengthsandinterests,therebyencouraginglifelonglearningandprovidingaccesstomusic-relatedandothercareers;

• engagewith,andextendtheirappreciationof,thediverseheritageofmusictopromotepersonal,social,intellectualandculturaldevelopment;and

• continuetodevelopasindividualsandascontributorstosociety,theeconomyandtheenvironmentthroughactiveengagementinmusicalactivities.

1.2 Key features

Thefollowingareimportantfeaturesofthisspecification.

• ItoffersopportunitiestobuildontheskillsandcapabilitiesdevelopedthroughthedeliveryoftheNorthernIrelandCurriculumatKeyStage3.

• Itincludestwoexternallyassessedcomponentsandoneinternallyassessedcomponent.

• Itincludesthethreefundamentalmusicalactivities:- performingandappraising;- composing;and- listeningandappraising.

• Itpromotesknowledge,understandingandappreciationofpastandcontemporarymusicalstyles,traditionsandcontexts.

• Itaccommodatestheneedsandinterestsofawidevarietyofstudents.


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1.3 Prior attainment

Studentsdonotneedtohavereachedaparticularlevelofattainmentbeforebeginningtostudythisspecification.However,thisspecificationbuildsontheknowledge,understandingandskillsdevelopedthroughtheKeyStage3Musiccurriculum.Werecommendthatstudentspossesssomeskillsinvocalorinstrumentalperformance.1.4 Classification codes and subject combinations

Everyspecificationhasanationalclassificationcodethatindicatesitssubjectarea.Theclassificationcodeforthisqualificationis7010.Pleasenotethatifastudenttakestwoqualificationswiththesameclassificationcode,schools,collegesanduniversitiesthattheyapplytomaytaketheviewthattheyhaveachievedonlyoneofthetwoGCSEs.ThesamemayoccurwithanytwoGCSEqualificationsthathaveasignificantoverlapincontent,eveniftheclassificationcodesaredifferent.Becauseofthis,studentswhohaveanydoubtsabouttheirsubjectcombinationsshouldcheckwiththeschools,collegesanduniversitiesthattheywouldliketoattendbeforebeginningtheirstudies.


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2 Specification at a Glance

ThetablebelowsummarisesthestructureofthisGCSEcourse.

Content Assessment Weightings

Availability

Component1:PerformingandAppraising

ExternalexaminationassessedbyavisitingexaminerStudentspresentonesoloandoneensembleperformance.Thecombineddurationoftheperformancesshouldbenolongerthan6minutes.Studentsdiscussandevaluateperformanceswiththevisitingexaminer.Discussionlastsapproximately3minutes.

Total:35%

Performances:30%

Discussion:5%

Thisisalinearqualification.FromSummer2019

Component2:Composing

ControlledassessmentStudentscreatetwocompositions.Oneisinresponsetoapre-releasestimulusandoneisfreechoice.Teachersmarkthetasks,andwemoderatetheresults.

30%

Component3:ListeningandAppraising

Externalwrittenexamination1hour30minutesStudentsanswerquestionsbasedonfamiliarandunfamiliarmusicrelatingtotheAreasofStudy.

35%


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3 Subject Content

Wehavedividedthiscourseintothreecomponents.Thecontentofeachcomponentandtherespectivelearningoutcomesappearbelow.3.1 Component 1: Performing and Appraising

Studentspreparepiecesforsoloperformanceandforensembleperformance.Theydiscussandappraiseboththeirperformancesandthoseofothers.

Content

LearningOutcomes

Performing(AO1)

Studentsshouldbeableto:

• createasoloandensembleperformancewithtechnicalcontrolandaccuracy;

• interpretandcommunicatethecomposer’sintentionswithanappropriatesenseofstyle;

Soloperforming

• createasoloperformancethatdemonstratesunderstandingofandappliesstylisticfeaturesappropriatetothechosenprogramme;

• createasoloperformancethatmakesappropriateuseoftempo,contrastingdynamics,articulationandphrasing;

Ensembleperforming

• createanensembleperformancethatdemonstratesunderstandingofandappliesstylisticfeaturesappropriatetothechosenprogramme;

• demonstrateasenseofensembleinperformance;

• achieveappropriatebalancebetweenpartsinanensemble;• performwithasenseofdynamicsinanensemble;

Appraising(AO4)

• commentperceptivelyonthemusictheyperform;and• appraiseanddiscusstheirperformance.


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Content

LearningOutcomes

Appraising(cont.) Studentsshouldbeableto:

• discussthefollowingaspectsoftheirprogramme:- therationalefortheirchoices;- thetitle,composerandstylisticcontent;- thetechnicalchallengestheyencounteredwhilepreparingandhowtheyovercamethem;and

- thestylisticconventionsofthepieces;and

• discussdetailsofrecordingsand/orperformancestheyhavelistenedtoandhowthesehaveinfluencedtheirfinalperformance.


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3.2 Component 2: Composing

Studentscomposetwopiecesofmusic.Theywriteoneoftheseinresponsetoapre-releasestimulus.Theyrecordtheircompositionsandprovideascore,aleadsheetorawrittenaccountoftheirwork.Forfulldetailsofassessment,seeSection6.4andAppendix4.

Content

LearningOutcomes

Composing(AO2)


• createanddevelopmusicalideas;• understand,controlandmakeuseofmusicalresourceseffectively;and

• makeconsistentandeffectiveuseofthefollowingwithinachosenstyleorgenre:- structure;- harmony;- texture;- rhythm;- timbre;and- musictechnology.


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3.3 Component 3: Listening and Appraising

Studentsbuildontheknowledge,understandingandappreciationofmusicgainedthroughComponents1and2.Theydeveloptheirunderstandingoftherelationshipbetweenmusicanditscontexts.Theylistentoandappraisefamiliarandunfamiliarmusicbyarangeofcomposers,bothmaleandfemale,withinthefourcompulsoryAreasofStudy:1. WesternClassicalMusic1600–1910- Handel:ForUntoUsaChildisBornfromMessiah- Mozart:HornConcertoNo.4,thirdmovement- Berlioz:SymphonieFantastique,fourthmovement

2. FilmMusic- Coates:March(TheDamBusters)fromTheDamBusters- Williams:SupermanThemefromSuperman- Horner:YoungPeterfromTheAmazingSpider-Man

3. MusicalTraditionsofIreland- Beoga:PreludePolkas:PreludePolka,Paddy’sPolkaNo.2andMillstreamReel- Stonewall:FifeMedley:BoysofBelfastandTheGirlILeftBehind

4. PopularMusic1980–presentday- Eurythmics:SweetDreams(AreMadeofThis)- Ash:BurnBabyBurn- FlorenceandtheMachine:CosmicLove.

Content

LearningOutcomes

Listening(AO3)


• demonstrateknowledgeandunderstandingofstylisticconventionsandtherelationshipbetweenmusicanditssocialandhistoricalcontexts;

Knowledgeandunderstanding

• demonstrateandapplymusicalknowledgeandunderstandingwhendiscussingfamiliarandunfamiliarmusic;

Appraising(AO4)

• usesubject-specificmusicalvocabularyintheirresponses;and

• makeevaluativeandcriticaljudgementsonfamiliarandunfamiliarmusic.


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Content

LearningOutcomes

Appraising(AO4)(cont.)


• applyknowledgeandunderstandingofperformanceandcompositionaltechniquesanddeviceswhenlisteningandappraising;and

Musicalelements

• commentperceptivelyonthefollowingmusicalelementsinrelationtothesetworksandunfamiliarmusicfromtheAreasofStudy:- melody:

sequence,ostinato,riff,melisma,ornamentation,leitmotifs,major,minor,modalandpentatonicmelodies,intervals,repetition,chromaticism,passingnotes,phrasing,articulation,augmentationanddiminution;

- harmony:diatonic,tonicanddominantpedals,cadences(perfect,imperfect,plagalandinterrupted),modulationstothedominant,relativemajorandrelativeminorandpowerchords;

- tonality:major,minor,modalandkeysignaturestofoursharpsorflats;and

- formandstructure:binary,ternary,rondo,through-composed,themeandvariations,symphony,programmemusic,concerto,oratorio,opera,overture,aria,recitative,cadenza,chorus,strophic,intro,outro,verse,chorus,break,middle8,solo,drumfill,reel,jig,polka,hornpipe,slipjig,air,marchandstrathspey.


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Content

LearningOutcomes

Musicalelements(cont.)


• commentperceptivelyonthefollowingmusicalelementsinrelationtothesetworksandunfamiliarmusicfromtheAreasofStudy:- timbre:

instruments,voicesandperformancetechniquesusedineachofthesetworksandtypicaloftheAreasofStudy(forexampleBaroque,ClassicalandRomanticorchestrasinWesternClassicalMusic1600–1910,oruseofelectronicmedia,synthesizersandeffectsinpopularmusicfrom1980tothepresentday),SATBchoir,organ,Irishtraditionalinstruments(fiddle,tinwhistle,uilleannpipes,harp,accordion,concertina,banjo,guitar,mandolin,bouzouki,fife,Lambegdrum,bodhránandScottishbagpipes),performancetechniquesappropriatetothestyleorinstrument(forexamplearco,pizzicato,fingerpickingandpalmmuting),anduseofeffects(includingEQ,panning,reverbanddistortion);

- texture:unison,monophonic,homophonic,polyphonic,contrapuntal,imitation,callandresponse,acappellaandvocallayering;

- tempo,metreandrhythm:simpleandcompoundtime,regularmetres,changeinmetre,commonItalianterms(forexamplelento,largo,andante,allegro,prestoandvivace),rubato,syncopation,dottedrhythms,triplets,swingrhythmsandBPM;and

- dynamicsandarticulation:gradationofdynamics(pp,p,mp,mf,f,ffandtheirrespectiveItalianterms),crescendoanddiminuendo;

CompulsoryAreasofStudy1.WesternClassicalMusic1600–1910

• demonstrateknowledgeandunderstandingofWesternClassicalmusic1600–1910bystudyingthesetworksforthisAreaofStudy;and

• demonstrateknowledgeandunderstandingoftheBaroque,ClassicalandRomanticperiods(choralandorchestral),referringtotheappropriatemusicalelementslistedpreviously.


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Content

LearningOutcomes

1.WesternClassicalMusic1600–1910(cont.)


• useappraisingskillstoanalysefamiliarandunfamiliarchoralandorchestralmusic1600–1910,referringtotheappropriatemusicalelementslistedpreviously;

2.FilmMusic

• demonstrateknowledgeandunderstandingoffilmmusicbystudyingthesetworksforthisAreaofStudy;

• demonstrateknowledgeandunderstandingoforchestralfilmmusicinthetwentiethandtwenty-firstcentury,referringtotheappropriatemusicalelementslistedpreviously;

• useappraisingskillstoanalysefamiliarandunfamiliarorchestralfilmmusic,referringtotheappropriatemusicalelementslistedpreviously;

3.MusicalTraditionsofIreland

• demonstrateknowledgeandunderstandingofmusicaltraditionsofIrelandbystudyingthesetworksforthisAreaofStudy;

• demonstrateknowledgeandunderstandingofIrishtraditionalandUlsterScotsmusic,referringtotheappropriatemusicalelementslistedpreviously;

• useappraisingskillstoanalysefamiliarandunfamiliarinstrumentalandvocalIrishtraditionalandUlsterScotsmusic,referringtotheappropriatemusicalelementslistedpreviously;

4.PopularMusic1980–presentday

• demonstrateknowledgeandunderstandingofpopularmusicfrom1980tothepresentdaybystudyingthesetworksforthisAreaofStudy;

• demonstrateknowledgeandunderstandingofpopularmusicfrom1980tothepresentday(punkrock,newwave,Britpop,alternativerock,rockandelectronica),referringtotheappropriatemusicalelementslistedpreviously;and

• useappraisingskillstoanalysefamiliarandunfamiliarpopularmusicfrom1980tothepresentday,referringtotheappropriatemusicalelementslistedpreviously.


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4 Scheme of Assessment

4.1 Assessment opportunities

Fortheavailabilityofexaminationandcontrolledassessment,seeSection2.Thisisalinearspecification;candidatesmusttakealltheassessmentsattheendofthecourse.Candidateswhowishtoimprovetheiroverallgrademustretakethequalification.Theymustretakeallexternallyassessedcomponents,andtheycaneitherretakethecontrolledassessmentcomponentsorreuse(carryforward)thecontrolledassessmentmarkstheyhavealreadybeenawarded.Ifcandidatesretakeacontrolledassessmentcomponent,theymustcompletethetask(s)setfortheseriesinwhichtheyareseekinganewgrade.Forup-to-datedetailsontasks,seeyoursubjectmicrositeatwww.ccea.org.uk4.2 Assessment objectives

Therearefourassessmentobjectivesforthisspecification.Candidatesmust:

AO1 performwithtechnicalcontrol,expressionandinterpretation;AO2 composeanddevelopmusicalideaswithtechnicalcontrolandcoherence;AO3 demonstrateandapplymusicalknowledge;andAO4 useappraisingskillstomakeevaluativeandcriticaljudgementsaboutmusic.4.3 Assessment objective weightings

ThetablebelowsetsouttheassessmentobjectiveweightingsforeachassessmentcomponentandtheoverallGCSEqualification.

AssessmentObjective

ComponentWeighting(%) OverallWeighting(%)

ExternalAssessment

ControlledAssessment

ExternalAssessment

Component1 Component2 Component3

AO1 30 30

AO2 30 30

AO3 20 20

AO4 5 15 20

TotalWeighting 35 30 35 100


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4.4 Quality of written communication

InGCSEMusic,candidatesmustdemonstratetheirqualityofwrittencommunication.Theyneedto:

• ensurethattextislegibleandthatspelling,punctuationandgrammarareaccuratesothatmeaningisclear;

• selectanduseaformandstyleofwritingthatsuittheirpurposeandcomplexsubjectmatter;and

• organiseinformationclearlyandcoherently,usingspecialistvocabularywhereappropriate.

Qualityofwrittencommunicationisassessedinresponsestoquestionsandtasksthatrequireextendedwriting.4.5 Reporting and grading

WeawardGCSEqualificationsonagradescalefromA*toG,withA*beingthehighest.Theninegradesavailableareasfollows:

Grade A* A B C* C D E F GIfcandidatesfailtoattainagradeGorabove,wereporttheirresultasunclassified(U).4.6 External Assessment

Component 1: Performing and Appraising

ExternalassessmentforComponent1consistsoftwoperformancesandanevaluativediscussion.PerformingCandidatesperformatleasttwopiecesofmusic.Theyperformoneasasoloandoneaspartofanensemble.Thecombineddurationofthesoloandensembleperformancesshouldbenolongerthan6minutes.

• Thesoloperformanceshouldbeatleast2minuteslongandmaybeaccompaniedbyaliveaccompanistorbackingtrack.

• Theensembleperformanceshouldbeatleast1minutelongandmustfeatureatleasttwomusicians,includingthecandidate.Thepartperformedbythecandidatemustbeindependentenoughtoallowtheexaminertojudgetheirensembleskills.


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AppraisingCandidatesdiscusstheirperformanceswithanexternalexaminer.Thisdiscussionlastsnolongerthan3minutesandcentreson:

• thecandidate’srationalefortheirchoices;• thetitle,composerandstylisticcontentoftheprogramme;• thetechnicalchallengesencounteredinpreparingtheirprogramme;and• thestylisticconventionsofthechosenpieces.Theexaminermakesacompleteanduneditedrecordingoftheperformances.Fortheassessmentcriteria,seeAppendix2.Forguidanceonthelevelofdemandforselectednon-gradedinstruments,pleaserefertoAppendix3.Component 3: Listening and Appraising

AssessmentforComponent3isthroughoneexternallyassessedlisteningandappraisingexaminationlasting1hour30minutes.Theexaminationpaperhasthreesections:

• SectionA:listeningquestionsbasedonthesetworks;• SectionB:listeningquestionsbasedonunfamiliarmusicfromtheAreasofStudy;and

• SectionC:oneextendedwritinglisteningquestionbasedonasetwork.Theexaminationincludesthefollowingstylesofquestions:

• shortresponse,factualquestionsbasedontheextracts;• descriptiveextendedwritingbasedonthesetworks;• opinion-basedquestionsdrawingonmusicalknowledgeandunderstandingintheAreasofStudy;

• notation,melodycompletionandidentificationbasedonmainthemes;• pitchidentification;• completionofrhythms;• instrumentandvoicerecognition;• timesignaturerecognition;and• identificationandreorderingofthemesormotifsfromtheextracts.


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5 Grade Descriptions

Gradedescriptionsareprovidedtogiveageneralindicationofthestandardsofachievementlikelytohavebeenshownbycandidatesawardedparticulargrades.Thedescriptionsmustbeinterpretedinrelationtothecontentinthespecification;theyarenotdesignedtodefinethatcontent.Thegradeawardeddependsinpracticeupontheextenttowhichthecandidatehasmettheassessmentobjectivesoverall.Shortcomingsinsomeaspectsofcandidates’performanceintheassessmentmaybebalancedbybetterperformancesinothers.

Grade

Description

A ForAO1,candidatesperformindividuallyandaspartofanensemblewithasenseofstyleandcommandoftheresourcesused.Theymakeappropriateuseoftempogradation,dynamicsandbalance.ForAO2,candidatescomposemusicthatshowsacoherentandimaginativedevelopmentofmusicalideasandconsistencyofstyle.ForAO3,candidatesconfidentlyandaccuratelydemonstrateandapplymusicalknowledgetoarangeofstylesandgenres.ForAO4,candidatesmakecriticaljudgementsabouttheirownandothers’musicusinganaccurateandextensivemusicalvocabulary.

C ForAO1,candidatesperformindividuallyandaspartofanensemblewithcontrol,makinguseofphrasinganddynamicsappropriatetothestyleandmoodofthemusic.ForAO2,candidatescomposemusicthatshowsanabilitytodevelopmusicalideasanduseconventions,musicstructuresandresourceswithinastyleorgenre.ForAO3,candidatesadequatelydemonstrateandapplymusicalknowledgetoarangeofstylesandgenres.ForAO4,candidatesmakecriticaljudgementsabouttheirownandothers’musicusingamusicalvocabulary.


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Grade

Description

F ForAO1,candidatesperformindividuallyandaspartofanensemblewithsomecontroloftheresourcesused.ForAO2,candidatescomposemusicthatshowssomeabilitytoorganisemusicalideasanduseappropriateresourceswithinastyleorgenre.ForAO3,candidatesdemonstratelimitedabilitytoapplymusicalknowledgetoarangeofstylesandgenres.ForAO4,candidatesdescribemusicalfeaturesusingsimplemusicalvocabularyandoffersomejustificationoftheopinionstheyexpress.


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6 Guidance on Controlled Assessment

6.1 Controlled assessment review

Wewillreviewourcontrolledassessmenttaskseveryyeartoensurethattheycontinuetosetanappropriatechallengeandremainvalid,reliableandstimulating.6.2 Skills assessed by controlled assessment

Teachersmustassessthefollowingcoreskillsthroughthecontrolledassessmentofbothcompositions:

• creation,organisationanddevelopmentofideas;and• understanding,controlanduseofresources.

Teachersmustassessthreeofthefollowingskillsthroughthecontrolledassessmentofeachcomposition(pleasenotethatuseofharmonymustbeassessedinCompositionA):

• useofharmony;• textureandaccompaniment;• rhythmicinterest;• expressiveinterest;and• useoftechnology.6.3 Level of control

RulesforcontrolledassessmentinGCSEMusicaredefinedforthethreestagesoftheassessment:

• tasksetting;• tasktaking;and• taskmarking. 6.4 Task setting

Thelevelofcontrolfortasksettingismedium.Thismeansthatwesetthetasks.Centreshavetheopportunitytocontextualisethecontrolledassessmenttaskstosuittheirspecificcircumstances.Thisincludestheavailabilityofandaccesstoresources.Wewillprovidecentreswithdetailsofcontrolledassessmenttasksandguidanceonhowtocompleteandsubmitthem.


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Component 2: Composing

Forthesecontrolledassessments,candidatescomposetwopiecesofmusic.CompositionACandidateschoosetheirownbrief,compositionalstyleandresources.CompositionBThisisaresponsetoapre-releasestimulusprovidedinSeptemberoftheacademicyearinwhichthecandidatetakestheassessment.CandidateswriteCompositionBinresponsetooneofthefollowing:

• ashortmelodicfragment;• arhythmicmotif;or• achordsequence.SubmittingthecompositionsCandidatessubmitbothcompositionsintheformofarecordedperformance(whichmaybeliveorsequenced)andoneofthefollowing:

• ascoreoutliningperformancedirectionthroughmusicalnotationand,forexample,useoftempo,dynamicsandinstrumentaltechniques;

• aleadsheetoutliningadetailedframeworkthatallowsforamusicalperformance,forexampleamelodylinewithchordsymbolsandlyrics,whereappropriate;or

• awrittenaccount(nolongerthan600words)usingtheproformaavailableatwww.ccea.org.uk

RecordingsshouldbesubmittedonCDformattedforaudioplayback.6.5 Task taking

Therearedifferentlevelsofcontrolinthetasks,forexampleresearch–limitedcontrolandoutcome–highcontrol.

AreasofControl DetailofControl

Authenticity • Teachersmustensurethatcandidatesareawareofanythirdpartycopyrightorintellectualpropertyissuesintheirwork.

• Theymustsignadeclarationtocertifythat,tothebestoftheirknowledge,alltheworkthatcandidateshavesubmittedforassessmentistheirown.


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AreasofControl DetailofControl

Feedback

• Teachersmustguideandsupervisecandidatesto:- monitorprogress;- preventplagiarism;- ensureworkiscompletedinaccordancewiththisspecification’srequirements;and

- ensureworkcanbeassessedinaccordancewiththeproceduresandmarkingcriteria.

TimeLimit/WordLimit

• Thecombinedlengthofbothcompositionsshouldbe3–6minutes.

• Candidateshave25hourstocompletethiscomponent.

Collaboration • Candidatesmustworkindependentlywhencompletingbothcompositions.

Resources • Candidatesmayuseacousticinstrumentsand/orelectronicmedia.

• Candidatesmayusenotation,sequencingandmultitrackingsoftwaretocompletetheircompositions.

6.6 Task marking

Thelevelofcontrolfortaskmarkingismedium. Teachersmarkthecontrolledassessmenttasksusingassessmentcriteriathatweprovide.Theyshoulduseprofessionaljudgementtoselectandapplythecriteriaineachsuccessivemarkbandappropriatelyandfairlytocandidates’work.Theyshouldfollowa‘bestfit’approachwhenselectingacandidate’smark,makingallowanceforbalancingstrengthsandweaknessesineachresponse.Teachersmustensurethattheworktheymarkisthecandidate’sown.Forup-to-dateadviceonplagiarism,oranykindofcandidatemalpractice,seeSuspectedMalpracticeinExaminationsandAssessments:PoliciesandProceduresontheJointCouncilforQualificationswebsiteatwww.jcq.org.uk


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6.7 Internal standardisation

Centreswithmorethanoneteachinggroupmustcarryoutinternalstandardisationofcontrolledassessmenttasksbeforesubmittingtheirmarkstous.Thisistoensure,asfaraspossible,thateachteacherhasappliedtheassessmentcriteriaconsistentlywhenmarkingassessments.Centresmayneedtoadjustanindividualteacher’smarking:

• tobringassessmentsintolinewiththoseofotherteachersinthecentre;and• tomatchthestandardsestablishedattheagreementtrial.Ifmarksdochange,centresmustamendthetotal/finalmarkontheirCandidateRecordSheet.6.8 Moderation

Centresmustsubmittheirmarksandsamplestousbythedeadlineweseteachyear.Wemayadjustcentres’markingtobringtheassessmentofthecandidates’workintolinewithouragreedstandards.Weissuefullinstructionseachyearon:

• ourmoderationprocedures; • whichsampleswerequire;and • thedeadlinesforsubmittingmarksandsamplestous. Teachersandcentrestaffmaycontactusatanystageiftheyrequireadvice,assistanceorsupportrelatingtoanyaspectofcontrolledassessment.6.9 Drafting/Redrafting

Teachersmustnotcorrectcandidates’workindetailandreturnittothemtowriteupafaircopy.Responsibilityfordraftingapieceofworktowardscompletionliesentirelywiththecandidate.Onceacandidatehassubmittedthecontrolledassessmentandithasbeenawardedamark,thatmarkisfinal.Thecandidatemaynotcarryoutfurtherwork.SeeAppendix1foraglossaryofcontrolledassessmentterms.Formoredetails,seetheJointCouncilforQualificationsdocumentInstructionsforConductingControlledAssessments,availableatwww.jcq.org.uk


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7 Curriculum Objectives

ThisspecificationbuildsonthelearningexperiencesfromKeyStage3asrequiredforthestatutoryNorthernIrelandCurriculum.ItalsooffersopportunitiesforstudentstocontributetotheaimandobjectivesoftheCurriculumatKeyStage4,andtocontinuetodeveloptheCross-CurricularSkillsandtheThinkingSkillsandPersonalCapabilities.Theextentofthedevelopmentoftheseskillsandcapabilitieswillbedependentontheteachingandlearningmethodologyused. 7.1 Cross-Curricular Skills at Key Stage 4

Communication


• communicatemeaning,feelingsandviewpointsinalogicalandcoherentmanner,forexamplethroughtheirperformanceforanaudienceontheirchosen

instrumentandthroughtheirconversationwiththevisitingexaminerabouttheir

chosenperformancepieces;• makeoralandwrittensummaries,reportsandpresentations,takingaccountofaudienceandpurpose,forexamplethepresentationofcompositionideas

throughascore,leadsheetorwrittenaccount;• participateindiscussions,debatesandinterviews,forexamplediscussionwith

thevisitingexamineraboutthechoiceofperformancematerial;• interpret,analyseandpresentinformationinoral,writtenandICTformats,forexampleinresponsetoquestionsonAreasofStudy,familiarandunfamiliar

musicinthewrittenexamination,andintheirsummativeinformationintheir

score,leadsheet,compositionorwrittenaccount;and• exploreandrespondimaginativelyandcreativelytoavarietyoftexts,forexamplethedevelopmentofcreativeandimaginativeideasdrawnfromthe

stimulusmaterialandappliedtocomposition.


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UsingMathematics


• usemathematicallanguageandnotationwithconfidence,forexamplein

describingintervalsandreadingtrebleandbassclef;• usementalcomputationtocalculate,estimateandmakepredictionsinarangeofsimulatedandreal-lifecontexts,forexampleincompletingmelodiesfrom

mainthemes;• selectandapplymathematicalconceptsandproblem-solvingstrategiesinarangeofsimulatedandreal-lifecontexts,forexamplecreatingchordsequences

andmelodiesincomposition;• interpretandanalyseawiderangeofmathematicaldata,forexamplein

identifyingchordsandcadences;• assessprobabilityandriskinarangeofsimulatedandreal-lifecontexts,forexampleinplanningandcreatingacomposition;and

• presentmathematicaldatainavarietyofformatswhichtakeaccountofaudienceandpurpose,forexampletimingofperformances.

UsingICT

Studentsshouldbeabletomakeeffectiveuseofinformationandcommunicationstechnologyinawiderangeofcontextstoaccess,manage,selectandpresentinformation,includingmathematicalinformation,forexample:

• usetechnologyintheresearchontheAreasofStudyandonthematerials

selectedforperformanceandcomposition;• experienceliveandrecordedmusicandunderstandtheuseofdigitaltechnology

inthedesignanddeliveryofmusic;• explorearangeofmusicsoftwaresuchasLogicProandGarageBandornotation

softwaresuchasSibeliusinthecreationandpresentationoftheircomposition;• exploretheeffectsofmultimediaandICTonmusic;• recordperformanceworkusingdigitaltechnology;and• createscores,leadsheetsorwrittenaccounts.


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7.2 Thinking Skills and Personal Capabilities at Key Stage 4

Self-Management


• planwork,forexampleresearchtheAreasofStudyandcompletethescore,lead

sheetorwrittencommentaryforcomposition;• setpersonallearninggoalsandtargetstomeetdeadlines,forexamplecompilea

rehearsalscheduleforperformance;• monitor,reviewandevaluatetheirprogressandimprovetheirlearning,forexampleevaluatetheirprogresswhenpreparingforperformance,andcreatea

studyplanforthewrittenexamination;and• effectivelymanagetheirtime,forexampleworkindividuallytoprepare

performancepiecesfortheexaminationandcompletecompositionswithinthe

25hourtimeframe.

WorkingwithOthers


• learnwithandfromothersthroughco-operation,forexamplethrough

rehearsingandperformingaspartofanensemble;• participateineffectiveteamsandacceptresponsibilityforachievingcollectivegoals,forexamplethroughthegrouprehearsalfortheensembleperformance;and

• listenactivelytoothersandinfluencegroupthinkinganddecision-making,takingaccountofothers’opinions,forexamplethroughgroupnegotiationofthe

choiceofmaterialfortheensembleperformance.


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ProblemSolving


• identifyandanalyserelationshipsandpatterns,forexampleidentifylinks

betweenthecompositionalstylesstudiedandthecreativeelementofthecourse;• proposejustifiedexplanations,forexampleuseresearchfindingstojustify

decisionsaboutthechoiceofmaterialsforperformance;• reason,formopinionsandjustifytheirviews,forexamplejustifyperformance

ideastothevisitingexaminer,offertheirownconclusionsabouttheir

performanceanddemonstrateunderstandingofthebackgroundoftheirpiece;• analysecriticallyandassessevidencetounderstandhowinformationorevidencecanbeusedtoservedifferentpurposesoragendas,forexample

analysehowchangingonepieceofinformationaffectstheoutcomefor

composition;• analyseandevaluatemultipleperspectives,forexampleanalysedifferentset

worksfromtheAreasofStudy;• exploreunfamiliarviewswithoutprejudice,forexampleinresponsetoquestions

onunfamiliarmusicinthewrittenexamination;• weighupoptionsandjustifydecisions,forexamplemakingdecisionsaroundthe

choiceofadditionalcriteriaforcomposition;and• applyandevaluatearangeofapproachestosolveproblemsinfamiliarandnovelcontexts,forexamplemakingdecisionsaboutinstruments,form,structure

andoverallcontextwhenrespondingtoquestionsonunfamiliarmusicinthe

writtenexamination.

AlthoughnotreferredtoseparatelyasastatutoryrequirementatKeyStage4intheNorthern Ireland Curriculum,Managing Information andBeing Creative may alsoremainrelevanttolearning.


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8 Links and Support

8.1 Support

Thefollowingresourcesareavailabletosupportthisspecification:

• ourMusicmicrositeatwww.ccea.org.ukand• specimenassessmentmaterials.Wealsointendtoprovide:

• pastpapers;• planningframeworks;• ChiefExaminer’sreports;• PrincipalModerator’sreports;• planningframeworks;• centresupportvisits;• supportdaysforteachers;• agreementtrials;• portfolioclinics;• controlledassessmentguidance;• aresourcelist;and• exemplificationofexaminationperformance.

8.2 Examination entries

EntrycodesforthissubjectanddetailsonhowtomakeentriesareavailableonourQualificationsAdministrationHandbookmicrosite,whichyoucanaccessatwww.ccea.org.ukAlternatively,youcantelephoneourExaminationEntries,ResultsandCertificationteamusingthecontactdetailsprovided.8.3 Equality and inclusion

Wehaveconsideredtherequirementsofequalitylegislationindevelopingthisspecificationanddesignedittobeasfreeaspossiblefromethnic,gender,religious,politicalandotherformsofbias.GCSEqualificationsoftenrequiretheassessmentofabroadrangeofcompetences.Thisisbecausetheyaregeneralqualificationsthatpreparestudentsforawiderangeofoccupationsandhigherlevelcourses.Duringthedevelopmentprocess,anexternalequalitypanelreviewedthespecificationtoidentifyanypotentialbarrierstoequalityandinclusion.Whereappropriate,wehaveconsideredmeasurestosupportaccessandmitigatebarriers.Wecanmakereasonableadjustmentsforstudentswithdisabilitiestoreducebarrierstoaccessingassessments.Forthisreason,veryfewstudentswillhaveacompletebarriertoanypartoftheassessment.


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Itisimportanttonotethatwhereaccessarrangementsarepermitted,theymustnotbeusedinanywaythatunderminestheintegrityoftheassessment.YoucanfindinformationonreasonableadjustmentsintheJointCouncilforQualificationsdocumentAccessArrangementsandReasonableAdjustments,availableatwww.jcq.org.uk8.4 Contact details

Ifyouhaveanyqueriesaboutthisspecification,pleasecontacttherelevantCCEAstaffmemberordepartment:

• SpecificationSupportOfficer:NolaFitzsimons(telephone:(028)90261200,extension2235,email:[email protected])

• SubjectOfficer:JohnTrueman(telephone:(028)90261200,extension2609,email:[email protected])

• ExaminationEntries,ResultsandCertification(telephone:(028)90261262,email:[email protected])

• ExaminerRecruitment(telephone:(028)90261243,email:[email protected])

• Distribution(telephone:(028)90261242,email:[email protected])

• SupportEventsAdministration(telephone:(028)90261401,email:[email protected])

• Moderation(telephone:(028)90261200,extension2236,email:[email protected])

• BusinessAssurance(ComplaintsandAppeals)(telephone:(028)90261244,email:[email protected]@ccea.org.uk).


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Appendix 1

Glossary of Terms for Controlled Assessment Regulations

Term Definition

Component

Adiscrete,assessableelementwithinacontrolledassessment/qualificationthatisnotitselfformallyreportedandforwhichtheawardingorganisationrecordsthemarksMaycontainoneormoretasks

Controlledassessment

Aformofinternalassessmentwherethecontrollevelsaresetforeachstageoftheassessmentprocess:tasksetting,tasktaking,andtaskmarking

Externalassessment

Aformofindependentassessmentinwhichquestionpapers,assignmentsandtasksaresetbytheawardingorganisation,takenunderspecifiedconditions(includingdetailedsupervisionandduration)andmarkedbytheawardingorganisation

Formalsupervision(Highlevelofcontrol)

Thecandidatemustbeindirectsightofthesupervisoratalltimes.Useofresourcesandinteractionwithothercandidatesistightlyprescribed.

Informalsupervision(Mediumlevelofcontrol)

Questions/Tasksareoutlined,theuseofresourcesisnottightlyprescribedandassessableoutcomesmaybeinformedbygroupwork.Supervisionisconfinedto:

• ensuringthatthecontributionsofindividualcandidatesarerecordedaccurately;and

• ensuringthatplagiarismdoesnottakeplace.Thesupervisormayprovidelimitedguidancetocandidates.

Limitedsupervision(Limitedlevelofcontrol)

Requirementsareclearlyspecified,butsomeworkmaybecompletedwithoutdirectsupervisionandwillnotcontributedirectlytoassessableoutcomes.


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Term Definition

Markscheme Aschemedetailinghowcreditistobeawardedinrelationtoaparticularunit,componentortask

Normallycharacterisesacceptableanswersorlevelsofresponsetoquestions/tasksorpartsofquestions/tasksandidentifiestheamountofcrediteachattracts

Mayalsoincludeinformationaboutunacceptableanswers

Task Adiscreteelementofexternalorcontrolledassessmentthatmayincludeexaminations,assignments,practicalactivitiesandprojects

Taskmarking Specifiesthewayinwhichcreditisawardedforcandidates’outcomes

Involvestheuseofmarkschemesand/ormarkingcriteriaproducedbytheawardingorganisation

Tasksetting Thespecificationoftheassessmentrequirements

Tasksmaybesetbyawardingorganisationsand/orteachers.Teacher-settasksmustbedevelopedinlinewithawardingorganisationspecifiedrequirements.

Tasktaking Theconditionsforcandidatesupportandsupervision,andtheauthenticationofcandidates’work

Tasktakingmayinvolvedifferentparametersfromthoseusedintraditionalwrittenexaminations.Forexample,candidatesmaybeallowedsupervisedaccesstosourcessuchastheinternet.

Unit Thesmallestpartofaqualificationthatisformallyreported

Maycompriseseparatelyassessedcomponents

Appendix 2 Assessment Criteria and Mark Bands – Component 1: Performing and Appraising Component1:PerformingandAppraisingSoloPerformance(30marks)

Criteria MarkBand1 MarkBand2 MarkBand3 MarkBand4

Technicalcontrolandaccuracy

(15marks)

• Theperformancedemonstrateslimitedtechnicalcontrol.

• Theperformancedemonstratessometechnicalcontrol.

• Theperformancedemonstratesgoodtechnicalcontrolappropriatetothedemandsandstyleofthemusic.

• Theperformanceisconfidentanddemonstratesverygoodtechnicalcontrolappropriatetothedemandsandstyleofthemusic.

• Theperformancecontainsmanyinaccuraciesthatdisrupttheflowofthemusic.

• Theperformancecontainsinaccuraciesbutstillmanagestosustaintheoverallflowofthemusic.

• Theperformanceislargelyaccurate,withsomeerrorshavinglimitedimpactontheoverallperformance.

• Theperformanceisaccurateandfluentthroughout;anyminorerrorsdonotimpactontheoverallsuccessoftheperformance.

• Intonation(whererelevant)ispoor.

• Intonation(whererelevant)issecureinplaces.

• Intonation(whererelevant)ismostlysecure.

• Intonation(whererelevant)issecureformostoftheperformance.

(1–3marks) (4–7marks) (8–11marks) (12–15marks)

CCEA GCSE Music from

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Component1:PerformingandAppraisingSoloPerformance(30marks)(cont.)


Expressiveinterpretationandsenseofstyle(tempo,dynamics,articulation,phrasingandcommunication)

(12marks)

• Aperformancethatdemonstratesalimitedunderstandingofthestylisticfeaturesofthechosenprogramme.

• Aperformancethatdemonstratessomeunderstandingofthestylisticfeaturesofthechosenprogramme.

• Aperformancethatdemonstratesgoodunderstandingofthestylisticfeaturesofthechosenprogramme.

• Aperformancethatdemonstratesverygoodunderstandingandconvincinglyappliesstylisticfeaturesappropriatetothechosenprogramme.

• Theperformancehasnoclearsenseofdirectionandmakeslimitedand/orinappropriateuseoftempo,dynamics,articulationandphrasing.

• Theperformancehassomesenseofdirectionandmakessomeuseoftempo,dynamics,articulationandphrasing.

• Theperformancehasasenseofdirectionandmakesgooduseoftempo,dynamics,articulationandphrasing.

• Theperformancehasastrongsenseofdirectionandmakeseffectiveuseoftempo,dynamics,articulationandphrasing.



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Component1:PerformingandAppraisingSoloPerformance(30marks)(cont.)


Levelofdemand

(3marks)

• MusicbelowGrade1. • MusicequivalenttoGrade1.

• MusicequivalenttoGrade2.

• MusicequivalenttoGrade3orabove.

• Simplemusicthatplacesmodestdemandsontheperformer,includingnovariationinmelodicand/orrhythmicpatterns.

• Musicrequiringamoderatelevelofdemand,includingsomevariationinmelodicand/orrhythmicpatternsandanarrowpitchrange.

• Morechallengingmusic,includingmoredifficultkeys,requiringagreaterdegreeoftechnicalability,awiderpitchrangeandgreatervariationinmelodicandrhythmicideas.

• Verychallengingmusicrequiringahighleveloftechnicalexpertisetoaccommodatemoredifficultkeysand/ormodulations,alargepitchrange,morecomplexmelodicandrhythmicideas,andvariedtextures.

(0marks) (1mark) (2marks) (3marks)

Awardzeroforworknotworthyofcredit.


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Component1:PerformingandAppraisingEnsemblePerformance(30marks)


Technicalcontrolandaccuracy

(12marks)

• Aperformancethatdemonstrateslimitedtechnicalcontrol.

• Aperformancethatdemonstratessometechnicalcontrol.

• Aperformancethatdemonstratesgoodtechnicalcontrol,appropriatetothedemandsandstyleofthemusic.

• Aperformancethatisconfidentanddemonstratesverygoodtechnicalcontrolappropriatetothedemandsandstyleofthemusic.

• Theperformancecontainsmanyinaccuraciesthatdisrupttheflowofthemusic.

• Theperformancecontainsinaccuraciesbutstillmanagestosustaintheoverallflowofthemusic.

• Theperformanceislargelyaccurate,withsomeerrorshavinglimitedimpactontheoverallsuccessoftheperformance.

• Theperformanceisaccurateandfluentthroughoutandanyminorerrorsdonotimpactontheoverallsuccessoftheperformance.

• Intonation(whererelevant)ispoor.

• Intonation(whererelevant)issecureinplaces.

• Intonation(whererelevant)ismostlysecure.

• Intonation(whererelevant)issecureforthemajorityoftheperformance.



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Component1:PerformingandAppraisingEnsemblePerformance(30marks)(cont.)


Senseofensemble,balanceanddynamics

(15marks)

• Aperformancethatdemonstratesalimitedsenseofensemble.

• Amutuallysupportiveperformancethatdemonstratessomesenseofensemble.

• Aperformancethatdemonstratesagoodsenseofensemblewhileperformingamoredifficultindividualpart.

• Aperformancethatdemonstratesastrongsenseofensembleandleadershipthroughsensitivitytotheotherperformers.

• Theperformancedemonstratesapoorbalancebetweenindividualpartsanddynamicrangedoesnotcontributetotheperformanceasawhole.

• Theperformanceachievessomesenseofbalanceandawarenessofhowthecandidate’spartrelatestothepieceasawhole.Thereissomeabilitytomakedynamicadjustmentsthroughouttheperformance.

• Theperformanceachievesagoodsenseofbalancethroughthecandidate’sowncontribution.Gooddynamicbalanceisachievedthroughappropriateadjustmentsthroughouttheperformance.

• Thereisanexcellentbalancebetweenpartsandwell-handleddynamiccontrastsaddtotheoveralleffectivenessoftheperformance.



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Component1:PerformingandAppraisingEnsemblePerformance(30marks)(cont.)


Levelofdemand • MusicbelowGrade1. • MusicequivalenttoGrade1.

• MusicequivalenttoGrade2.

• MusicequivalenttoGrade3orabove.

(3marks) • Simplemusicthatplacesmodestdemandsontheperformer,includingnovariationinmelodicand/orrhythmicpatterns.

• Musicrequiringamoderatelevelofdemand,includingsomevariationinmelodicand/orrhythmicpatternsandanarrowpitchrange.

• Morechallengingmusicrequiringagreaterdegreeoftechnicalabilitytoperforminmoredifficultkeys,awiderpitchrangeandgreatervariationinmelodicandrhythmicideas.

• Verychallengingmusicrequiringahighleveloftechnicalexpertisetoaccommodatemoredifficultkeysand/ormodulation,alargepitchrange,morecomplexmelodicandrhythmicideas,andvariedtextures.




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Component1:PerformingandAppraisingEvaluativeDiscussion(10marks)


Evaluativediscussion

(10marks)

• Limitedabilitytodiscussthechosenprogramme’stechnicalchallengesand/orpointsofinterpretation.

• Someknowledgeofthechosenprogrammeandsomeabilitytodiscusstechnicalchallengesand/orpointsofinterpretation.

• Goodknowledgeofthechosenprogrammeandgoodabilitytodiscussindetailthetechnicalchallengesand/orpointsofinterpretation.

• Excellentknowledgeofthechosenprogrammeandexcellentabilitytodiscussanalyticallythetechnicalchallengesand/orpointsofinterpretation.




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Appendix 3 Level of Demand: Guidance for Selected Non-Graded InstrumentsTraditional Irish Instruments


Levelofdemand

(3marks)

• Norangeofpieces. • Arangeofpiecessuchasballadsand/ormarches.

• Amorevariedprogramme,includingjigsandreels.

• Slowairsandmoredifficultjigsandreels.

• Noornamentation. • Simpleornamentation,suchasgracenotesandcuts.

• Morecomplexornamentation,suchassimpleturns,slidesanddoublegracenotes.

• Awiderangeofappropriateornamentation,suchasrolls,crannsandtripletgracenotes.



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Scottish Bagpipes


Levelofdemand

(3marks)

• Majortuningissues. • Someabilitytotunedrones.

• Someabilitytofocusonthequalityoftonebyreasonablyaccuratetuningofdronesandhandlingofreeds.

• Abilitytofocusonthequalityoftonebytuningdrones,understandingthefunctionofthebridleandsettingthechanterreed.

• Co-ordinationispoor. • Someabilitytoco-ordinatebreath,fingersandarmpressure.

• Competentcontrolofbreath,fingersandarmpressuretoensureappropriatephrasing.

• Fluentbreath,fingerandarmco-ordinationtomatchtechnicalrequirements.

• Uneventone. • Limitedevennessoftoneandsimpletonguing,producingslurredandseparatenotes.

• Tonalbalancebetweenopenandpinchednotes,andcompetenttonguing,producingstaccatoandshortlegatophrases.

• Goodtone,withcleartonguingandabilitytosustainmoreextendedlegatophrases.



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Accordion (trebleandbasskeyboards,freebasskeyboard,pianoorbuttonkey)


Levelofdemand

(3marks)

• Noco-ordinationbetweenhands.

• Abilitytoco-ordinatehands.

• Someabilitytouseregistersandtheuseofreedstocontrolpitchandtone.

• Competentuseofregisterstovarypitch,octavesand/ortoneproduction,whereappropriate.

• Limiteduseoffundamentalandmajorchordrows.

• Useoffundamentalandmajorchordrows(Stradellabasssystems).

• Awiderrangeofpitchandcorrectfingercontrol(freebasskeyboards),andmoreextendeduseofchordrows,forexamplecounterbass,minorand7thchordrows(Stradellabasssystems).

• Controlofregisterstovarypitchand/oroctavesoverawiderrange(freebasskeyboards),andabilitytousethefullrangeofchords(Stradellabasssystems).

• Articulationandphrasingislimited.

• Bellowstechniqueproducesadequatearticulationofsound,simplephrasingandarestricteddynamicrange.

• Bellowstechniquetoproducemoreprecisetone,somevariedarticulationandawiderdynamicrange.

• Bellowstechniqueproducesqualitytone,variedarticulation,sustainedphrasingandawiderdynamicrange.



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Turntable/Decks


Levelofdemand

(3marks)

• Stiltedmovementbetweentwoturntables.

• Fluidmovementbetweentwoturntablesandabilitytodropmix.

• Moreskilledmixingoftworecords,forexamplebeatmatching.

• Fluentmixingoftworecordswithdifferenttempi,forexamplebeatmixing.

• Anunevenmatchofthevolumelevels.

• Asmoothmatchofthevolumelevels.

• Asmoothmatchofthephrasingofthemusiconeachrecord.

• Agreaterdegreeofpersonalinterpretationthroughscratchingorbackspinning,thusimprovisingsomeadditionalrhythms.



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Appendix 4 Assessment Criteria and Mark Bands – Component 2: Composing Compulsorycriteria:bothmustbeassessedinCompositionAandCompositionB(18marks)

CompulsoryCriteria MarkBand1 MarkBand2 MarkBand3 MarkBand4

Creation,organisationanddevelopmentofideas

(10marks)

• Musicalideasshowlimitedstyle,creativity,balancedphrasing,shapeandfluency.

• Musicalideasshowsomesenseofstyle,creativity,balancedphrasing,shapeandfluency.

• Musicalideasshowagoodsenseofstyle,creativity,balancedphrasing,shapeandfluency.

• Musicalideasshowastrongsenseofstyle,creativity,balancedphrasing,shapeandfluency.

• Thereislimiteddevelopmentofmusicalideas.

• Thereissomedevelopmentofmusicalideas.

• Thereisgooddevelopmentofmusicalideasinlinewiththeoverallstructureofthemusic.

• Thereisstylisticandimaginativedevelopmentofmusicalideasinlinewiththeoverallstructureandgenreofthemusic.

• Limitedstructuralinterestwithnoclearform.Themusiclacksdirectionandisdisorganised.

• Somestructuralinterestandmusicalcoherencewithinarecognisedform.Themusicshowssomedirection.

• Goodstructuralinterestandmusicalcoherencewithinarecognisedform.Themusicshowsdirectionandhasasenseofcompleteness.

• Themusicisorganisedwithsophisticationintoaclearstructureand/orform.Thereiscleardirectionandpurposetothemusicandithasasenseofcompleteness.



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Compulsorycriteria:bothmustbeassessedinCompositionAandCompositionB(18marks)(cont.)

CompulsoryCriteria MarkBand1 MarkBand2 MarkBand3 MarkBand4

Understanding,controlanduseofresources

(8marks)

• Writingforthechoseninstrumentsand/orvoicesislimitedand/orinappropriate.

• Writingforthechoseninstrumentsand/orvoicesshowssomeunderstanding.

• Writingforthechoseninstrumentsand/orvoicesshowsgoodunderstandingandisidiomatic.

• Strongwritingforthechoseninstrumentsand/orvoices;thecompositionisidiomatic,imaginativeandstylistic.




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Additionalcriteria:threeofthefivecriteriabelowmustbeassessedinCompositionAandCompositionB.(12marks)

AdditionalCriteria MarkBand1 MarkBand2 MarkBand3 MarkBand4

(1) Useofharmony(MustbeassessedinCompositionA)

(4marks)

• Limitedunderstandingofharmonywithinthechosenstyle.

• Someunderstandingofprimarychords,functionalharmonyandharmonicpulsewithinthechosenstyle.

• Goodunderstandingofprimarychords,progressionsandharmonicpulsewithinthechosenstyle.

• Excellentunderstandingofchords,progressionsandharmoniccolourwithinthechosenstyle.

(1mark) (2marks) (3marks) (4marks)

(2) Textureandaccompaniment

(4marks)

• Limitedand/orinappropriateuseoftexture.Theaccompanimentstyleissimpleand/orinappropriateforthechosengenre.

• Someuseoftexturetocreateandmaintaininterestandvariety.Theaccompanimentstyleismostlyappropriateandunchangedthroughout.

• Gooduseoftexturetocreateandmaintaininterestandvariety.Theaccompanimentstyleismostlyinteresting,appropriateandshowssomevariation.

• Effectiveandresourcefuluseoftexturetocreateandmaintaininterestandvariety.Theaccompanimentstyleisinteresting,imaginativeandvaried.


(3) Rhythmicinterest

(4marks)

• Limitedrhythmicinterestwithinthecomposition.Thewritingisnotinkeepingwiththechosengenre.

• Somerhythmicinterestwithinthecomposition,withsomecontrastingideasanddevelopment.Thewritingisnotalwaysinthestyleofthechosengenre.

• Goodrhythmicinterestwithinthecomposition,showingvarietyanddevelopment.Thewritingisinthestyleofthechosengenre.

• Rhythmicideasarewellchosenandfullydeveloped,andshoworiginality.Thereisasenseofidiomaticwritingwithinthechosengenre.



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Additionalcriteria:threeofthefivecriteriabelowmustbeassessedinCompositionAandCompositionB(12marks)(cont.)

AdditionalCriteria MarkBand1 MarkBand2 MarkBand3 MarkBand4

(4) Expressiveinterest

(4marks)

• Thechoiceofsuitabletimbres,dynamicsandarticulationisunsuccessfuland/orinappropriateforthechosengenre.

• Thechoiceoftimbres,dynamicsandarticulationissatisfactoryandshowssomeconsiderationofthechosengenre.

• Thechoiceoftimbres,dynamicsandarticulationisappropriatetothechosengenre,showingvariationandawarenessofthecapabilitiesofthechoseninstrumentsand/orvoices.

• Timbres,dynamicsandarticulationhavebeenwellchosenandhandledsensitivelywithinthechosengenre,showingvariation,gradationsandfullawarenessofthechoseninstrumentsand/orvoices.


(5) Useoftechnology

(4marks)

• Limitedattentionisgiventothecapturingandmixingofthemusic.Limitedsenseofbalanceandblendbetweenparts.

• Someattempthasbeenmadetocaptureandmixthecompositionappropriately.Somesenseofbalanceandblendbetweenparts.ThereissomeawarenessofEQ,panningandothereffectsbutthesemayhavebeenappliedinappropriately.

• Instrumentsarecapturedsuccessfullyandthefinalrecordingofthecompositioniswellmixed.Goodsenseofbalanceandblendbetweenparts.Theuseofeffects,includingEQ,panningandreverb,iscontrolledandappliedsuccessfullythroughout.

• Instrumentsarecapturedwithexpertiseandthefinalrecordingisstylisticallymixedwithsophisticationandcreativity.Partsarebalancedandblendedeffectively.Theuseofeffects,includingEQ,panningandreverb,ishighlysuccessful,demonstratingahighlevelofauralawareness.




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