GCSE Music Specification Specification for first teaching in 2016

GCSE Music Specification Specification for first teaching in 2016
GCSE
MUSIC
Get help and support
Visit our website for information, guidance, support and resources at aqa.org.uk/subjects/8271
You can talk directly to the music subject team
(8271)
E: [email protected]
T: 01483 437 750
Specification
For teaching from September 2016 onwards
For exams in 2018 onwards
Version 1.1 20 April 2017
aqa.org.uk
G01295
Copyright © 2016 AQA and its licensors. All rights reserved.
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material from this specification for their own internal use.
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GCSE Music (8271). For exams 2018 onwards. Version 1.1
Contents
1 Introduction
5
1.1 Why choose AQA for GCSE Music
1.2 Support and resources to help you teach
2 Specification at a glance
2.1 Subject content
2.2 Assessments
8
3.1 Understanding music
3.2 Performing music
3.3 Composing music
4 Scheme of assessment
Aims and learning outcomes
Assessment components
Assessment objectives
Assessment criteria
5 Non-exam assessment administration
5.1 5.2 5.3 5.4 5.5 5.6 5.7 5.8 Supervising and authenticating
Submitting NEA evidence and marks to AQA
Avoiding malpractice
Teacher standardisation
Internal standardisation
Factors affecting individual students
School and college consortia
After moderation
6 General administration
6.1 6.2 6.3 6.4 6.5 6.6 6.7 6.8 7
7
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3 Subject content
4.1 4.2 4.3 4.4 5
5
Entries and codes
Overlaps with other qualifications
Awarding grades and reporting results
Re-sits and shelf life
Previous learning and prerequisites
Access to assessment: diversity and inclusion
Working with AQA for the first time
Private candidates
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Are you using the latest version of this specification?
•• You will always find the most up-to-date version of this specification on our website at
aqa.org.uk/8271
•• We will write to you if there are significant changes to this specification.
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GCSE Music (8271). For exams 2018 onwards. Version 1.1
1 Introduction
1.1 Why choose AQA for GCSE Music
Music is constantly evolving, inspiring creativity and expression in a way that no other subject can.
That's why we have designed a relevant and contemporary GCSE qualification that offers your students
the chance to study a wide range of musical genres, with more opportunities for practical learning. Our
GCSE brings theory, listening and composition to life in new and engaging ways, and links to the world
around us like never before.
We know that every student has different learning styles and musical tastes, which is why our GCSE
values all music styles, skills and instruments. Broaden your students’ minds and foster a love of all
music with a qualification that students of all abilities and backgrounds will enjoy.
You can find out about all our music qualifications at aqa.org.uk/music
A specification designed for you and your students
Our specification and assessments have been designed to the highest standards, so that your students
and parents can be confident that an AQA award provides an accurate measure of achievement.
The specification supports progression to further and higher education in music and related subjects,
and provides all students with a platform to inspire a lifelong interest and enjoyment of music.
1.2 Support and resources to help you teach
We’ve worked with experienced teachers to provide you with a range of resources that will help you
confidently plan, teach and prepare for exams.
Teaching resources
Visit aqa.org.uk/8271 to see all our teaching resources. They include:
•• schemes of work: a variety of ideas across all titles to help you plan your course with confidence
•• good practice guides: to help you to inspire and challenge students to think creatively
•• teacher guides: detailed guides for the study pieces with suggested activities to help you to support
your students in all areas of the specification
•• student guides: detailed guides specifically written for your students to complement the teacher
guides in supporting them in all the areas of study
•• suggested listening lists: detailed examples of the elements in the music for all areas of study to
help you prepare your students for the written exam
•• exemplification materials: to showcase sets of students' work supported by examiner
commentaries and guidance.
Support service
•• Training courses: to help you deliver AQA Music qualifications.
•• Subject expertise courses: for all teachers from newly qualified teachers who are just getting
started to experienced teachers looking for fresh inspiration.
•• Teacher standardisation: our teacher online standardisation (T-OLS) system allows teachers and
whole departments to work through exemplar and standardisation material quickly and easily.
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•• Music advisory service: each school or college is allocated a subject adviser. You can contact them
for one-to-one advice on any aspect of the subject, assessment and/or support with planning and
delivery of course content.
•• Subject community: this provides access to free resources and services offered by museums,
galleries, libraries and universities.
•• Support meetings: to help you with course delivery by offering practical teaching strategies and
approaches that really work.
•• Teacher network group: this group allows teachers to contact colleagues at other centres to share
ideas about resources and teaching strategies for the AQA specification.
Preparing for exams
Visit aqa.org.uk/8271 for everything you need to prepare for our exams, including:
•• past papers, mark schemes and examiners’ reports
•• specimen papers and mark schemes for new courses
•• Exampro: a searchable bank of past AQA exam questions
•• exemplar student answers with examiner commentaries.
Analyse your students' results with Enhanced Results Analysis (ERA)
Find out which questions were the most challenging, how the results compare to previous years and
where your students need to improve. ERA, our free online results analysis tool, will help you see where
to focus your teaching. Register at aqa.org.uk/era
For information about results, including maintaining standards over time, grade boundaries and our
post-results services, visit aqa.org.uk/results
Keep your skills up-to-date with professional development
Wherever you are in your career, there’s always something new to learn. As well as subject-specific
training, we offer a range of courses to help boost your skills.
•• Improve your teaching skills in areas including differentiation, teaching literacy and meeting Ofsted
requirements.
•• Prepare for a new role with our leadership and management courses.
You can attend a course at venues around the country, in your school or online – whatever suits your
needs and availability. Find out more at coursesandevents.aqa.org.uk
Help and support available
Visit our website for information, guidance, support and resources at aqa.org.uk/8271
If you'd like us to share news and information about this qualification, sign up for emails and updates at
aqa.org.uk/keepinformedmusic
Alternatively, you can call or email our subject team direct.
E: [email protected]
T: 01483 437 750
6
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GCSE Music (8271). For exams 2018 onwards. Version 1.1
2 Specification at a glance
This qualification is linear which means that students will sit all their exams and submit all their
non-exam assessment at the end of the course.
2.1 Subject content
Core content
1. Understanding music
2. Performing music
3. Composing music
2.2 Assessments
Component 1:
Understanding music
+
Component 2: Performing
music
+
Component 3: Composing
music
What's assessed
What's assessed
What's assessed
•• Listening
•• Contextual understanding
Music performance
Composition
How it's assessed
How it's assessed
How it's assessed
Exam paper with listening
exercises and written
questions using excerpts of
music.
As an instrumentalist and/
or vocalist and/or via
technology:
•• Performance 1: Solo
performance (36 marks)
•• Performance 2: Ensemble
performance (36 marks).
•• Composition 1:
Composition to a brief
(36 marks)
•• Composition 2: Free
composition (36 marks).
Questions
A minimum of four minutes
of performance in total
is required, of which a
minimum of one minute
must be the ensemble
performance.
A minimum of three minutes
of music in total is required.
•• Section A: Listening –
unfamiliar music
(68 marks)
•• Section B: Study pieces
(28 marks).
The exam is 1 hour and
30 minutes.
This component is worth
40 % of GCSE marks
(96 marks).
This component is 30 % of
GCSE marks (72 marks).
This component is 30 % of
GCSE marks (72 marks).
Non-exam assessment (NEA)
will be internally marked
by teachers and externally
moderated by AQA.
Non-exam assessment
(NEA) will be internally
marked by teachers and
externally moderated by
AQA. Performances must
be completed in the year of
certification.
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3 Subject content
Developing and applying the musical knowledge, understanding and skills set out in our GCSE
specification can ensure your students form a personal and meaningful relationship with music. They
will be encouraged to engage critically and creatively with a wide range of music and musical contexts,
and reflect on how music is used in the expression of personal and collective identities.
The Subject content is divided into the three components:
•• Understanding music
•• Performing music
•• Composing music.
3.1 Understanding music
The areas of study provide an appropriate focus for students to appraise, develop and demonstrate an
in-depth knowledge and understanding of musical elements, musical context and musical language.
The four areas of study can also provide a rich source of material for your students to work with when
developing performance and composition skills.
There are four areas of study:
1 Western classical tradition 1650 – 1910
2 Popular music
3 Traditional music
4 Western classical tradition since 1910.
3.1.1 Areas of study 1 – 4
Listening – unfamiliar music
Students must be able to listen attentively to unfamiliar music from all four areas of study to identify
and accurately describe musical elements, musical contexts and use musical language (including staff
notation).
Study pieces
For two areas of study (one of which must be Area of study 1 and the other a choice of one from Areas
of study 2 – 4), students must also be able to critically appraise the music from the specified study
pieces using knowledge and understanding of:
•• the effect of audience, time and place on how the study pieces were created, developed and
performed
•• how and why the music across the selected areas of study has changed over time
•• how the composer’s purpose and intention for the study pieces is reflected in their use of musical
elements
•• relevant musical vocabulary and terminology for the study pieces.
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GCSE Music (8271). For exams 2018 onwards. Version 1.1
3.1.2 Area of study 1: Western classical tradition 1650 – 1910
(compulsory)
For the purposes of this specification, the western classical tradition is defined as art music of (or
growing out of) the European tradition, normally notated, and normally intended for public performance.
Listening – unfamiliar music
Students must be able to listen attentively to unfamiliar music from the following styles/genres to
identify and accurately describe musical elements, musical contexts and musical language.
••
••
••
••
The Coronation Anthems and Oratorios of Handel.
The orchestra music of Haydn, Mozart and Beethoven.
The piano music of Chopin and Schumann.
The Requiem of the late Romantic period.
Study piece
Haydn: Symphony 101 in D major The Clock, movt. 2
Musical elements
The following table contains all the musical elements, for this area of study, that students must know
and understand to answer questions in Section A (Listening) and Section B (Study piece). Marks will
also be awarded for knowledge of other terms if relevant to this area of study in Section B (Study piece)
of the exam.
Element type
Element
Melody
••
••
••
••
••
Harmony
••
••
••
••
Tonality
••
••
••
••
conjunct, disjunct, triadic, broken chords, scalic, arpeggio
intervals within the octave
passing notes
diatonic, chromatic
slide/portamento, ornamentation including acciaccaturas,
appoggiaturas
•• ostinato
•• phrasing, articulation.
diatonic, chromatic
consonant, dissonant
pedal, drone
cadences: perfect, plagal, imperfect, interrupted and tièrce de
Picardie
•• identification of major, minor and dominant seventh chords using
chord symbols/roman numerals.
major, minor, and their key signatures to four sharps and flats
modulation to dominant, subdominant in major or minor keys
relative major or minor
tonic major or minor.
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Element type
Element
Structure
••
••
••
••
••
••
••
••
Sonority (Timbre)
•• instruments and voices singly and in combination as found in music,
including that for solo instruments, concertos, chamber groups
•• instrumental techniques such as arco, pizzicato, con sordino.
Texture
••
••
••
••
••
••
••
••
harmonic/homophonic/chordal
polyphonic/contrapuntal
imitative, canonic, layered
antiphonal
a cappella
monophonic/single melody line
melody and accompaniment
unison, octaves.
Tempo, metre and rhythm
••
••
••
••
••
••
••
••
••
••
••
simple and compound time
regular
anacrusis
common Italian tempo terms eg allegro, andante
pulse
augmentation, diminution
hemiola
semibreve, minim, crotchet, quaver, semiquaver
dotted rhythms, triplets, scotch snap
rubato, pause
tempo.
Dynamics and articulation
Gradation of dynamics as follows:
•• pp, p. mp, mf, f, ff including the Italian terms
•• cresc, crescendo, dim, diminuendo including hairpins
•• sfz, sforzando
•• common signs, terms and symbols.
10
binary and ternary
rondo
arch-shape
through-composed
theme and variations, sonata, minuet and trio, scherzo and trio
call and response
ground bass, continuo
cadenza.
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GCSE Music (8271). For exams 2018 onwards. Version 1.1
3.1.3 Musical language (Area of study 1)
Students must be able to use the musical language appropriate to this Area of study in the following
ways:
Reading staff notation
Students must be able to identify musical elements (as above) when reading short passages of
unfamiliar music in staff notation of up to 12 bars.
Writing staff notation
Students must be able to demonstrate the ability to write staff notation within short passages of up to
eight bars:
•• melodically up to four sharps and flats
•• rhythmically including simple and compound time.
Chords
Students must learn major and minor chords and be able to identify them in aural and written form.
Examples of relevant types of chords can be found in the musical elements table above.
Musical vocabulary and terminology
Students must be able to identify and apply appropriate musical vocabulary and terminology to music
heard and notated. The appropriate vocabulary required can be found in the table above.
3.1.4 Area of study 2: Popular music
For the purpose of this specification, popular music is defined as mainstream music including a number
of musical styles and genres including rock, pop, musical theatre, film and computer gaming music
from 1950 to the present.
Listening – unfamiliar music
Students must be able to listen attentively to unfamiliar music from the following styles/genres to
identify and accurately describe musical elements, musical contexts and musical language.
••
••
••
••
Music of Broadway 1950s to 1990s.
Rock music of 1960s and 1970s.
Film and computer gaming music 1990s to present.
Pop music 1990s to present.
Study piece
The Beatles: Sgt.Pepper’s Lonely Hearts Club Band – the following three tracks:
•• With a Little Help from my Friends
•• Within You, Without You
•• Lucy in the Sky with Diamonds.
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Musical elements
In addition to the musical elements listed for Area of study 1, students must know and understand
musical elements appropriate to this Area of study.
The following table contains all the musical elements, for this area of study, that students must know
and understand to answer questions in Section A (Listening) and Section B (Study piece). Marks will
also be awarded for knowledge of other terms if relevant to this area of study in Section B (Study piece)
of the exam.
Element type
Element
Melody
••
••
••
••
••
••
••
••
••
Harmony
•• power chords
•• chord symbols eg C7
•• stock chord progressions eg I VI IV V.
Tonality
•• pentatonic
•• modal
•• blues scale.
Structure
••
••
••
••
••
••
Sonority (Timbre)
•• standard contemporary instrument types eg electric guitar,
synthesisers
•• specific instrument types eg sitar, dilruba
•• instrumental techniques eg palm mute (pm), pitch bend, hammer-on
(ho), pull-off (po), slide guitar/bottleneck
•• drum kit components and techniques eg rim shot
•• vocal timbres eg falsetto, belt, rap, beat-boxing, scat singing
•• specific instrumental techniques eg slap bass
•• specific instrumental effects eg amplification, distortion
•• specific technological recording techniques eg automatic doubletracking (ADT) and direct input transformer (DIT).
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riff
pitch bend
melisma
hook
slide
glissando
improvisation
ostinato
blue notes.
intro/outro
verse
chorus
break
twelve-bar blues
drum fill.
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GCSE Music (8271). For exams 2018 onwards. Version 1.1
Element type
Element
Tempo, metre and rhythm
••
••
••
••
••
••
••
bpm (beats per minute)
mm (metronome marking)
groove
backbeat
syncopation
off-beat
shuffle, swing/swung.
3.1.5 Area of study 3: Traditional music
For the purpose of this specification, traditional music is defined as music that takes influences from
traditional sources including folk music and reinterprets them in a contemporary style, and traditional
music from traditional sources and cultures that is performed as intended by the composer.
Listening – unfamiliar music
Students must be able to listen attentively to unfamiliar music from the following styles/genres to
identify and accurately describe musical elements, musical contexts and musical language.
••
••
••
••
Blues music from 1920–1950.
Fusion music incorporating African and/or Caribbean music.
Contemporary Latin music.
Contemporary folk music of the British Isles.
Study piece
Santana: Supernatural – the following three tracks:
•• Smooth
•• Migra
•• Love of my Life.
Musical elements
In addition to the musical elements listed for Area of study 1, students must know and understand
musical elements appropriate to this Area of study.
The following table contains all the musical elements, for this area of study, that students must know
and understand to answer questions in Section A (Listening) and Section B (Study piece). Marks will
also be awarded for knowledge of other terms if relevant to this area of study in Section B (Study piece)
of the exam.
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Element type
Element
Melody
••
••
••
••
••
••
••
••
Tonality
•• modal
•• pentatonic.
Structure
••
••
••
••
Sonority (Timbre)
•• generic families of instruments as found in traditional/world music eg
steel drums
•• the use of technology, synthesised and computer-generated sounds,
sampling and the use of techniques such as reverb, distortion and
chorus
•• drone
•• vocal techniques eg falsetto, vibrato, rap.
Texture
•• a cappella
•• imitative
•• layered/layering.
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blue notes
pentatonic, whole tone, modal
slide/glissando/portamento, pitch bend, appoggiaturas
ostinato
riff
melody–scat
melisma
improvisation.
strophic, verse and chorus, cyclic
call and response
popular song forms
structure – 12/16 bar blues.
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GCSE Music (8271). For exams 2018 onwards. Version 1.1
Element type
Element
Tempo, metre and rhythm
••
••
••
••
••
••
••
••
••
••
••
••
••
••
••
••
••
••
••
••
••
irregular, free
skank
bubble
clave (Bo Diddley type beat)
augmentation, diminution
anacrusis
hemiola
bi-rhythm, cross-rhythm, polyrhythm
shuffle beat
backbeat
syncopation
off-beat
bossa nova
samba
salsa
tango
habanera
danzón
merengue
cha-cha-cha
rumba.
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3.1.6 Area of study 4: Western classical tradition since 1910
For the purpose of this specification, western classical tradition since 1910 is defined as music that
comprises modern, contemporary classical music, experimental and minimalist music as well as other
forms.
Listening – unfamiliar music
Students must be able to listen attentively to unfamiliar music from the following styles/genres to
identify and accurately describe musical elements, musical contexts and musical language.
••
••
••
••
The orchestral music of Copland.
British music of Arnold, Britten, Maxwell-Davies and Tavener.
The orchestral music of Zoltán Kodály and Béla Bartók.
Minimalist music of John Adams, Steve Reich and Terry Riley.
Study piece
Aaron Copland: Saturday Night Waltz and Hoedown from Rodeo.
Musical elements
In addition to the musical elements listed for Area of study 1, students must know and understand
musical elements appropriate to this Area of study.
The following table contains all the musical elements, for this area of study, that students must know
and understand to answer questions in Section A (Listening) and Section B (Study piece). Marks will
also be awarded for knowledge of other terms if relevant to this area of study in Section B (Study piece)
of the exam.
Element type
Element
Melody
•• ostinato
•• motifs
•• melisma.
Harmony
•• chromatic
•• dissonant
•• pedal.
Tonality
••
••
••
••
Sonority (Timbre)
•• specific families of instruments
•• use of technology, synthesised and computer-generated sounds
•• instrumental techniques eg vamping.
Texture
•• drones
•• imitative
•• layered/layering.
16
pentatonic
whole tone
modal
tonal ambiguity.
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Element type
Element
Tempo, metre and rhythm
••
••
••
••
••
••
••
••
irregular, free
augmentation, diminution
anacrusis
hemiola
rubato
bi-rhythm, cross-rhythm, polyrhythm
syncopation
off-beat.
3.1.7 Musical language (Areas of study 2 – 4)
Students must be able to use musical language appropriate to their selected area of study in the
following ways:
Reading staff notation
Students must be able to identify musical elements (as above) when reading short passages of staff
notation of up to 12 bars.
Chords and chord symbols
Students must learn major and minor chords and their associated symbols and be able to identify
them in aural and written form. Examples of relevant types of chords and symbols can be found in the
musical elements tables above.
Musical vocabulary and terminology
Students must be able to identify and apply appropriate musical vocabulary and terminology to music
heard and notated. The appropriate vocabulary required can be found in the tables relevant to the area
of study.
3.2 Performing music
Students must be able to perform live music using one or both of the following ways:
•• instrumental (including DJ)/vocal
•• production via technology.
One performance must be as a soloist and one performance must be as part of an ensemble lasting a
combined minimum of four minutes. The performance as part of an ensemble must last for a minimum
of one minute.
Repertoire will be determined by the student and teacher. It need not reference an area of study and
can be in any chosen style or genre.
Students must be able to interpret relevant musical elements as appropriate using resources (eg
microphones) and techniques (eg pizzicato) as appropriate to communicate musical ideas with accuracy
and expression and interpretation, including phrasing and dynamics appropriate to the style and mood
of the music.
If students choose to perform using non-standard instruments (ie for which there are no nationally
recognised accredited music grades) the requirements for instrumental/vocal must be followed.
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Please refer to Component 2: Performing music assessment grids for information about how to mark
performances.
In all cases, the recording of the performances must be accompanied by one or more of the following
documents, as appropriate to the type of performance:
•• notated score
•• lead sheet
•• guide recording
•• annotation.
3.2.1 Instrumental (including DJ)/vocal
Instrumental
(including
DJ)/vocal
performance type
Definition
Technical control
(accuracy)
Expression and
interpretation
Solo
A solo instrument/voice with
accompaniment / backing track
where the student has a substantial
solo part.
Pitch (including
intonation).
Tempo, dynamics,
phrasing and
articulation.
Rhythm and
fluency.
Unaccompanied instrumental/ vocal
solo.
Performance of pieces written
with an accompaniment intended
by the composer should not be
unaccompanied.
Ensemble
18
Music performed by the student in
conjunction with at least one other
musician (one of which must be the
student being assessed), in which
each player or singer has a unique
and significant role (ie that is not
doubled).
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GCSE Music (8271). For exams 2018 onwards. Version 1.1
Instrumental
(including
DJ)/vocal
performance type
Definition
Technical control
(accuracy)
Expression and
interpretation
Solo DJ
Using turntables (raw vinyl/CDJ) and/
or Digital DJ technology (software
controller/DVS) to manipulate tracks
and demonstrate an understanding
and use of a range of techniques.
There must be a minimum of
two tracks – beat matched, with
respect to the structure, tonality and
arrangement of the selected tracks.
Pitch.
Dynamics and
articulation.
Ensemble DJ
Rhythm, tempo
and fluency.
Using turntables (raw vinyl/CDJ) and/
or Digital DJ technology (software
controller/DVS) to perform with
one or more DJs/live musicians in
which each performer has a unique
and significant role (ie that is not
doubled). For the student being
assessed, there must be a minimum
of two tracks – beat matched, with
respect to the structure, tonality and
arrangement of the selected tracks.
3.2.2 DJing skills
Students must know, understand and be able to apply the following as appropriate to the level of
demand of the piece.
DJing skills and sound sources
Basic skills
••
••
••
••
cue stuttering
rewind/spin-back
drop-ins
E.Q. Blending or use of on board FX (eg filtering, flanger, delay
etc).
Intermediate skills
•• baby scratches
•• looping (using digital buttons)
•• hot cues – jumping to parts of the song during performance or
edited live
•• a cappellas – as a chosen sound source for 8 bars or more –
vocal must fit harmonically, rhythmically and structurally with
overall mix.
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19
DJing skills and sound sources
Advanced skills
••
••
••
••
••
advanced scratching – transforms
advanced scratching – flares
advanced scratching – chirps
advanced scratching – orbits
hot-cue drumming – using hot cue to trigger multiple sounds
to create something new
•• juggling – live looping using platters not buttons
•• a cappellas – as a chosen sound source for 32 bars or more –
vocal must fit harmonically, rhythmically and structurally with
overall mix.
Sound sources
••
••
••
••
••
••
tracks
scratch samples (allowing hot cue triggering or scratching)
loops
drum loops
bass loops
a cappellas (pre-separated vocals from another song).
For examples of DJ performances, please refer to e-AQA online standardisation materials.
3.2.3 Production
Technology
performance type
Definition
Technical control
(accuracy)
Expression and
sense of style
Solo
A complete performance of a
pre-existing piece using music
technology, sequencing and/or multitracking techniques to record a solo
performance of a minimum of three
tracks. At least one track must be
performed live in real time.
Pitch (including
intonation).
Dynamics,
articulation and
panning.
Ensemble
20
Rhythm and
balance.
A complete performance of a
pre-existing piece using music
technology, sequencing and/or
multi-tracking techniques to record
an ensemble performance of a
minimum of four tracks, three of
which must be performed by the
student and one or more tracks
performed by at least one other
musician in which each performer
has a unique and significant role (ie
that is not doubled). At least one
track must be performed live in real
time by the student and at least one
track must be performed live in real
time by at least one other member of
the ensemble.
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3.3 Composing music
Students must learn how to develop musical ideas, including extending and manipulating musical
ideas, and compose music that is musically convincing through two compositions. One must be in
response to an externally set brief (Composition 1) and the other a free composition (Composition 2).
The combined duration of the compositions must be a minimum of three minutes.
Compositions can be composed in any style or genre to best reflect the skills, strengths and interests of
the individual students.
Both compositions must be assessed on the student’s ability to demonstrate:
•• creative and effective selection and use of musical elements
•• appropriate selection and use of musical elements (to the compositional intention)
•• technical and expressive control in the use of musical elements.
Each composition must demonstrate selection and use of at least four types of musical element as
follows:
•• at least two of rhythm, metre, texture, melody, structure, form
•• at least two of harmony, tonality, timbre, dynamics, phrasing, articulation.
Please also refer to the full tables of musical elements in Subject content.
Students must be able to compose using methods appropriate to the style/genre of their composition
and may use a combination of vocal/instrumental and technology. This could include the use of score
writing software, sequencing software, studio multi-tracking or traditional techniques including hand
written notation and working through improvisation.
3.3.1 Documenting the composition
Programme note
Students must write a Programme note of approximately 150 words for each composition, which
clearly informs the assessor of the compositional intention, including the intended audience/occasion.
Students must also identify the types of musical element selected and provide details of any software
and hardware used in their compositional process.
In all cases the audio recording of the composition and Programme note must be accompanied by one
or more of the following documents:
•• staff notated score
•• lead sheet
•• aural guide.
Please refer to Component 3: Composing music assessment grid for information about how to mark
compositions.
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21
4 Scheme of assessment
Find past papers and mark schemes, and specimen papers for new courses, on our website at
aqa.org.uk/pastpapers
This specification is designed to be taken over two years.
This is a linear qualification. In order to achieve the award, students must complete all assessments at
the end of the course and in the same series.
GCSE exams and certification for this specification are available for the first time in May/June 2018 and
then every May/June for the life of the specification.
All materials are available in English only.
Our GCSE exams in Music include questions that allow students to demonstrate their ability to:
•• draw together their knowledge, skills and understanding from across the full course of study
•• provide original practical responses
•• provide short and extended written responses.
Synoptic assessment of GCSE Music should require students to:
•• develop a broad understanding of the connections between the knowledge, understanding and skills
set out in the specification as a whole
•• demonstrate their understanding of the relationships between theory and practice.
4.1 Aims and learning outcomes
Courses based on this specification should encourage students to:
•• engage actively in the process of music study
•• develop performing skills individually and in groups to communicate musically with fluency and
control of the resources used
•• develop composing skills to organise musical ideas and make use of appropriate resources
•• recognise links between the integrated activities of performing, composing and appraising and how
these inform the development of music
•• broaden musical experience and interests, develop imagination and foster creativity
•• develop knowledge, understanding and skills needed to communicate effectively as musicians
•• develop awareness of a variety of instruments, styles and approaches to performing and composing
•• develop awareness of music technologies and their use in the creation and presentation of music
•• recognise contrasting genres, styles and traditions of music, and develop some awareness of
musical chronology
•• develop as effective and independent learners with enquiring minds
•• reflect upon and evaluate their own and others’ music
•• engage with and appreciate the diverse heritage of music, in order to promote personal, social,
intellectual and cultural development.
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4.2 Assessment components
4.2.1 Component 1: Understanding music (Assessment objectives AO3
and AO4)
Understanding music is assessed through an externally marked exam in two sections lasting one hour
and thirty minutes. It is marked out of a total of 96 marks and constitutes 40 % of the total marks for the
qualification.
4.2.1.1 Section A: Listening (Assessment objectives AO3 and AO4)
Students will be assessed on their ability to evaluate the music heard in the exam and demonstrate
knowledge and understanding of musical elements and musical language (see Subject content).
Section A will consist of eight sets of linked questions covering all areas of study. Students must
answer all questions in this section.
Each question will contain excerpts of music from unfamiliar music representing the styles/genres
listed for each area of study.
Students will be played the excerpts a stated number of times (between two and four) depending on the
length and tempo of the excerpt and the nature of the question.
4.2.1.2 Section B: Contextual understanding (Assessment objective AO4)
Students will be assessed on their ability to analyse and evaluate music in written form, using
knowledge and understanding of musical elements and musical contexts to make critical judgements
about repertoire (study pieces) within the chosen areas of study.
This section will consist of four sets of linked questions (short and extended) one for each Area of
study 1 – 4. Students must answer two linked sets of questions, one of which must be Area of study 1:
Western classical tradition 1650 – 1910.
4.2.2 Component 2: Performing music (Assessment objective AO1)
Performance is internally marked by teachers and externally moderated by AQA, marked out of 72 and
constitutes 30 % of the total marks for the qualification.
Each student must select, following a discussion with their teacher, the pieces that the student will
perform during the assessment. Each student must perform two pieces lasting a combined minimum
time of four minutes. One performance must be as a solo and one performance as part of an ensemble.
Each student must perform for at least one minute as part of an ensemble.
If the student’s performance is less than four minutes it will not be accepted as assessment evidence.
Teachers must check the final performance for assessment of each student’s work, to ensure it meets
the minimum duration requirement.
There is no maximum duration for performances.
Performance must be through one or a combination of the following methods:
•• playing music
•• singing music
•• realising music using music technology.
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4.2.2.1 Administrative and assessment requirements for solo and ensemble performance
You are responsible for ensuring the following requirements are met in administering and assessing the
solo and ensemble performances:
•• performances should take place in a suitable venue in a live setting
•• performances should be recorded using good quality audio equipment
•• performances must be under the supervision of a teacher for authentication purposes
•• audio recordings of performances and production must be submitted complete and without postperformance editing or augmentation
•• performances must take place in the year of certification
•• performances must meet the specified minimum duration
•• a copy of either the score/s, lead sheet/s, annotation/s or guide recordings must be submitted with
the performance for assessment.
4.2.2.2 Assessment evidence
Audio recordings and performance documentation must be submitted as evidence as well as a signed
Candidate record form (CRF).
Assessment evidence for this component will be marked using the
Component 2: Performing music assessment grids for performance/production.
Audio recording of performance
Performances should be saved digitally and must be produced in accordance with the Guidance for
audio recording assessment on the AQA website.
Instrumental/vocal audio recordings of performances must be submitted complete and without postperformance editing.
Performances produced via technology must be submitted complete and in their final state as
completed by the student without any further editing or augmentation.
Each student's recording of the performance for assessment must be kept under secure conditions until
sent to AQA for assessment by the specified date given at aqa.org.uk/keydates
Performance documentation
The performance documentation is referred to when marking the audio recording of the performance,
using Component 2 assessment grids. Students must submit one or a combination of the following,
as appropriate, for each of the pieces performed for assessment.
Evidence type
Requirement
Notated score
Providing full performance information through musical notation.
Lead sheet
Providing a detailed framework giving structure and musical
substance from which a performance can be produced that meets the
composer's intentions.
Guide recording
(if no score or lead sheet
available)
If students have based their own performance on a recording of
another performance of the same piece, this must be submitted
digitally so that the file can be easily accessed by the examiner.
Annotation
Including details of the processes, devices and techniques used that
contributed to the final performance. Students must provide details of
any hardware and software used.
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4.2.3 Component 3: Composing music (Assessment objective AO2)
Each student must compose two pieces. One composition must be in response to an externally set
brief and the other composition must be freely composed by the student.
Both compositions must be assessed on the student’s ability to demonstrate:
•• creative and effective selection and use of musical elements
•• appropriate selection and use of musical elements (to the compositional intention)
•• technical and expressive control in the use of musical elements.
Each composition must demonstrate selection and use of at least four types of musical element as
follows:
•• at least two of rhythm, metre, texture, melody, structure, form
•• at least two of harmony, tonality, timbre, dynamics, phrasing, articulation.
4.2.3.1 Composition 1 – Composition to a brief
The composition must include at least four types of musical element (as above) and be in response to
one brief from a choice of four externally set briefs. The briefs will be released on or as near as possible
to 15 September of the year of certification. Students must be given the externally set briefs in their
entirety; they must not be edited, changed or abridged in any way.
Each brief will refer to a specific context (ie audience/occasion) and may include different stimuli, such
as:
•• a poem or a piece of text
•• photographs, images or film
•• notation.
4.2.3.2 Composition 2 – Free composition
Free compositions need not reference areas of study or a given brief but students should refer to the
suggested audience/occasion, and include a minimum of four types of musical element (as above).
4.2.3.3 Compositions 1 and 2
Together, the compositions must last a combined minimum time of three minutes.
If the student’s combined compositions are less than three minutes, they will not be accepted as
assessment evidence.
Marks are not awarded specifically for the duration of the composition. There is no specified maximum
duration for composition.
For each student, you are responsible for ensuring the following requirements are met in administering
the final compositions for assessment:
•• the final compositions for assessment of each student’s work meet the minimum duration
requirement
•• the audio recordings of the final compositions are recorded from start to finish
•• each student must be wholly responsible for the creation of their complete compositions and this
must be their own unaided work
•• the student is not required to perform the composition but may do so if they wish.
Please refer to Component 3: Composing music assessment grid for information on how the
component will be marked.
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4.2.3.4 Supervising students
Students must have sufficient direct supervision to ensure that the work submitted can be confidently
authenticated as their own.
You may provide guidance and support to students so that they are clear about the requirements of the
tasks they need to undertake and the marking criteria on which the work will be assessed.
You should encourage students to reflect upon and evaluate their own music, including considering the
success of meeting the brief/intent, during their composition process.
You are expected to follow the Joint Council for Qualifications (JCQ) instructions regarding the provision
of feedback to students.
See also Non-exam assessment administration
4.2.3.5 Assessment evidence
Audio recordings and composition documentation must be submitted as evidence for both
compositions as well as a signed Candidate record form (CRF).
The audio recordings are marked alongside the composition documentation, to derive the overall mark
for the component, using Component 3: Composing music assessment grid .
Audio recording of compositions
The student is not required to play on the recording but may do so if they wish.
The audio recordings of the final compositions for assessment must be:
•• recorded from start to finish
•• saved digitally
•• kept under secure conditions until sent to AQA for assessment by the specified date given at
aqa.org.uk/keydates
•• submitted complete and in their final state as completed by the student without any further editing or
augmentation.
Composition documentation
Programme note
For both compositions, students must provide a Programme note of approximately 150 words that
identifies:
•• the compositional intention, including the intended audience/occasion
•• the types of musical element selected
•• details of the software and hardware used in the compositional process.
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For both compositions, students must also provide one or more of the following which details the
composition’s structure and how musical elements have been used.
Evidence type
Requirement
Notated score
Providing full performance information through musical notation,
detailing, for example, dynamics, tempo, and techniques where
appropriate.
Lead sheet
Providing a detailed framework, giving structure and musical
substance from which a performance can be produced that meets
the composer's intentions, eg a melody line with chord symbols and
lyrics.
Aural guide
A written account providing a detailed guide through the aural
experience of the piece that will highlight structure and musical
elements, including the ways in which they have been explored.
Please note: if composition documentation is not submitted for assessment with the audio recording,
the audio recording of the final composition will still be accepted as assessment evidence. However,
this will compromise how clearly the evidence supports the mark awarded by the centre, meaning
centre marks are more likely to be adjusted at moderation.
4.3 Assessment objectives
Assessment objectives (AOs) are set by Ofqual and are the same across all GCSE Music specifications
and all exam boards.
The assessments will measure how students have achieved the following assessment objectives.
Assessment objectives
Weighting
AO1
Perform with technical control, expression and
interpretation.
30 %
AO2
Compose and develop musical ideas with technical
control and coherence.
30 %
AO3
Demonstrate and apply musical knowledge.
20 %
AO4
Use appraising skills to make evaluative and critical
judgements about music.
20 %
Assessment
objectives
Component 1
Understanding
music
AO1
Component 2
Performing
music
Component 3
Overall weighting
Composing music
30 %
AO2
30 %
30 %
30 %
AO3
20 %
20 %
AO4
20 %
20 %
Overall weighting
of components
40 %
30 %
30 %
100 %
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4.3.1 Assessment weightings
The marks awarded on the papers will be scaled to meet the weighting of the components. Students’
final marks will be calculated by adding together the scaled marks for each component. Grade
boundaries will be set using this total scaled mark. The scaling and total scaled marks are shown in the
table below.
Component
Maximum raw mark
Scaling factor
Maximum scaled
mark
Understanding music
96
1
96
Performing music
72
1
72
Composing music
72
1
72
Total scaled mark
240
4.4 Assessment criteria
The assessment criteria below must be applied to the assessment of students’ work for the performing
music and composing music components.
You should refer to standardisation materials available at aqa.org.uk/music for information regarding
assessment grids.
4.4.1 Marking to the correct standard
Online exemplification materials are provided on e-AQA with written commentaries which explain how
the marks have been awarded.
To ensure you use the assessment criteria grid to mark to the correct standard:
•• access the online exemplification materials provided before you mark your own students' work
•• ensure a senior music representative from your school, with responsibility for conducting internal
standardisation, completes online standardisation.
4.4.2 Level of response marking instructions
Level of response mark schemes are broken down into mark bands, each of which has a descriptor.
The descriptor indicates the quality that will be expected in the student’s evidence for that mark band.
4.4.2.1 Identifying the correct mark band
The work must be assessed against each criterion separately. Start at the lowest mark band and see
whether the evidence meets the descriptor for that mark band. If it meets the lowest mark band then go
to the next one and decide if it meets this mark band, and so on, until you have a match between the
mark band descriptor and the student's evidence.
4.4.2.2 For assessment grids with more than one mark per band
Instrumental (including DJ)/vocal assessment grids and Compositions 1 and 2 assessment grids have
three marks within each mark band. Once you have identified the correct mark band (as above), you
need to decide which mark to allocate within the band. The lower mark indicates that the student has
just met the requirement described in that particular band level descriptor. The next mark indicates that
evidence is clear. The higher mark indicates that evidence is convincing but that the student has not
quite met the requirements set out in the next band.
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4.4.2.3 Determine an overall mark
The marks for each criteria need to be added up, following the instructions below, to determine the final
overall mark for each component.
4.4.3 Component 2: Performing music assessment grids
The performance component is marked out of a total of 72 marks. Each of the performances is out of a
maximum of 36.
You are required to provide a mark for each of the assessment grids separately in accordance with the
assessment criteria and a total mark out of 72 must be provided for the component. The assessment
grid must be used to identify the student's level of performance in relation to each of the areas.
The marks are made up from the following assessment grids.
Instrumental (including DJ)/vocal
Mark (total of 36 per
performance)
Assessment criteria
6
Levels of demand
15
Technical control (accuracy)
15
Expression and interpretation
Production via technology
Mark (total of 36 per
performance)
Assessment criteria
6
Levels of demand
5
Accuracy
5
Expression
5
Balance
5
Panning/stereo separation
5
Appropriate use of effects
5
Sense of style
The assessment grids refer to the individual part performed by the student either as a soloist or as part
of an ensemble.
4.4.3.1 Levels of demand
The following assessment grid shows the marks which should be awarded for different levels of
demand for all performance types.
•• Instrumental/vocal grades refer to nationally recognised accredited music grades.
•• For non-standard instruments the levels of demand for instrumental/vocal must be used.
Teachers must refer to online exemplification materials which show how marks are awarded for each
level of demand across all performance types. Please refer to e-AQA
Both the common level descriptor and additional descriptors, as appropriate to the type of
performance, should be used to locate the correct mark.
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4.4.3.1.1 Levels of demand assessment grid
Total 6
marks
Instrumental/vocal
6
The music will be complex and technically demanding; the performance will demonstrate
a high level of command of the chosen resources.
The equivalent to
instrumental/vocal grade
five or above.
5
two basic skills
two intermediate skills
one advanced skill
two additional sound
sources.
There will be highly effective
use of variety of texture
and dynamics plus greater
complexity of rhythm within
two or more tracks.
Includes at least two of the
following:
•• vocal
•• instrumental
•• synthesised/midi.
••
••
••
••
two basic skills
two intermediate skills
one advanced skill
one additional sound
source.
There will be effective use
of variety of texture and
dynamics plus greater
complexity of rhythm within
one or more tracks.
Includes at least two of the
following:
•• vocal
•• instrumental
•• synthesised/midi.
The music will make a substantial range of technical demands; the performance will
demonstrate clear competence in the control of the chosen resources.
The equivalent to
instrumental/vocal grade
three.
30
••
••
••
••
Production via technology
The music will make a substantial range of technical demands; the performance will
demonstrate clear competence in the control of the chosen resources.
The equivalent to
instrumental/vocal grade
four.
4
DJ
••
••
••
••
two basic skills
one intermediate skill
one advanced skill
one additional sound
source.
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There will be moderately
effective use of variety of
texture and dynamics plus
some rhythmic variety
within the tracks.
Includes at least two of the
following:
•• vocal
•• instrumental
•• synthesised/midi.
GCSE Music (8271). For exams 2018 onwards. Version 1.1
Total 6
marks
Instrumental/vocal
3
The music will make a narrower range of technical demands while the performance will
still demonstrate a degree of command of the chosen resources.
The equivalent to
instrumental/vocal grade
two.
DJ
•• two basic skills
•• one intermediate skill
•• one additional sound
source.
Production via technology
There will be at least
two changes in texture
and dynamics plus some
rhythmic variety within the
tracks.
Includes at least two of the
following:
•• vocal
•• instrumental
•• synthesised/midi.
2
The music will make some demands within a more limited range of technical expertise
and command of the chosen resources.
The equivalent to
instrumental/vocal grade
one.
•• two basic skills
•• one additional sound
source.
There will be straightforward
rhythms and at least one
noticeable change of
texture and dynamic.
Includes at least one of the
following:
•• vocal
•• instrumental
•• synthesised/midi.
1
The music will make few demands and be technically straightforward in its use of the
chosen resources.
Below instrumental/vocal
grade one.
One basic skill or one
additional sound source.
There will be similar
timbres across the tracks,
straightforward rhythms
with no clear variety of
texture and/or dynamics
Includes at least one of the
following:
•• vocal
•• instrumental
•• synthesised/midi.
0
No work submitted or worthy of credit.
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Highly developed ability
to demonstrate technical
control, with high levels of
accuracy (pitch, rhythm,
tempo) and fluency.
Towards the lower end of
the band, inaccuracies will
become more noticeable.
Towards the lower end of
the band inaccuracies will
become more noticeable.
At the top of the band, there
will be no discernible flaws,
with just minor inaccuracies
towards the lower end.
12 Convincing Highly developed ability
to demonstrate technical
11 Clear
control, with high levels of
10 Just
accuracy (pitch, rhythm,
intonation) and fluency.
At the top of the band, there
will be no discernible flaws,
with just minor inaccuracies
towards the lower end.
Exceptional ability to
demonstrate technical
control, with excellent
accuracy (pitch, rhythm,
tempo) and fluency.
A more frequent lack of
sensitivity towards the
expressive and interpretative
demands of the music will
result in a mark at the lower
end of this band.
Highly developed ability to
demonstrate expression and
interpretation, with a highly
developed, secure sense of
style and attention to detail.
Lack of attention to small
expressive details will result
in a mark towards the lower
end of this band.
Exceptional ability to
demonstrate expression
and interpretation, with an
excellent and assured sense
of style and attention to
detail.
A more frequent lack of
sensitivity towards the
expressive and interpretative
demands of the music will
result in a mark at the lower
end of this band.
Arrangement of selected
tracks demonstrates highly
developed sensitivity
towards the expressive and
interpretative demands of
the music.
Highly developed ability to
demonstrate expression and
interpretation, with a highly
developed sense of style
and attention to detail.
Lack of attention to small
expressive details will result
in a mark towards the lower
end of this band.
Arrangement of selected
tracks demonstrates
excellent sensitivity
towards the expressive and
interpretative demands of
the music.
Exceptional ability to
demonstrate expression
and interpretation, with an
excellent sense of style and
attention to detail.
DJ
Instrumental/vocal
Instrumental/vocal
DJ
Expression and interpretation
Technical control (accuracy)
15 Convincing Exceptional ability to
demonstrate technical
14 Clear
control, with excellent
13 Just
accuracy (pitch, rhythm,
intonation) and fluency.
Marks
4.4.3.2 Instrumental (including DJ)/vocal assessment grid
4 Just
5 Clear
6 Convincing
7 Just
8 Clear
9 Convincing
Marks
Moderate ability to
demonstrate technical
control, with limited
accuracy (pitch, rhythm,
tempo) and fluency.
At the bottom of this band,
the basic outline of the
music will still be appreciable
to the listener.
At the bottom of this band,
the basic outline of the
music will still be appreciable
to the listener.
Regular inaccuracies in more
than one area will result in
marks towards the lower end
of this band.
Regular inaccuracies in more
than one area will result in
marks towards the lower end
of this band.
Moderate ability to
demonstrate technical
control, with limited
accuracy (pitch, rhythm,
intonation) and fluency.
Secure ability to
demonstrate expression
and interpretation, with a
moderately secure sense of
style and attention to detail.
Secure ability to
demonstrate technical
control, with moderate
accuracy (pitch, rhythm,
tempo) and fluency.
Secure ability to
demonstrate technical
control, with moderate
accuracy (pitch, rhythm,
intonation) and fluency.
Limited sensitivity towards
the expressive and
interpretative demands of
the music, becoming more
pronounced towards the
lower end of the mark band,
resulting in a performance
which has a limited sense of
character.
Moderate ability to
demonstrate expression and
interpretation, with a basic
sense of style and attention
to detail.
At the lower end of this
mark band, a moderate lack
of sensitivity towards the
expressive and interpretative
demands of the music will
inhibit how well the character
of the music is conveyed.
Instrumental/vocal
DJ
Instrumental/vocal
Arrangement of selected
tracks demonstrates limited
sensitivity towards the
expressive and interpretative
demands of the music,
becoming more pronounced
towards the lower end of
the mark band, resulting in
a performance which has a
limited sense of character.
Moderate ability to
demonstrate expression and
interpretation, with a basic
sense of style and attention
to detail.
At the lower end of this mark
band, a lack of sensitivity
towards the expressive and
interpretative demands of
the music will inhibit how
well the character of the
music is conveyed.
Arrangement of selected
tracks demonstrates
moderate sensitivity
towards the expressive and
interpretative demands of
the music.
Secure ability to
demonstrate expression
and interpretation, with a
moderately secure sense of
style and attention to detail.
DJ
Expression and interpretation
Technical control (accuracy)
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1 Just
2 Clear
3 Convincing
Marks
At the bottom of this
band, the basic outline of
the music will be barely
appreciable to the listener.
At the bottom of this
band, the basic outline of
the music will be barely
appreciable to the listener.
No work submitted or worthy of credit.
Limited ability to
demonstrate technical
control, with minimal
accuracy of pitch, rhythm,
tempo and fluency.
Limited ability to
demonstrate technical
control, with minimal
accuracy (pitch, rhythm,
intonation) and fluency.
Minimal sensitivity towards
the expressive and
interpretative demands of
the music, becoming more
pronounced towards the
lower end of the mark band,
resulting in a performance
which has virtually no sense
of character.
Limited ability to
demonstrate expression
and interpretation, with a
rudimentary sense of style
and minimal attention to
detail.
Arrangement of selected
tracks demonstrates minimal
sensitivity towards the
expressive and interpretative
demands of the music,
becoming more pronounced
towards the lower end of
the mark band, resulting
in a performance which
has virtually no sense of
character.
Limited ability to
demonstrate expression
and interpretation, with a
rudimentary sense of style
and attention to detail.
DJ
Instrumental/vocal
Instrumental/vocal
DJ
Expression and interpretation
Technical control (accuracy)
Highly developed
ability to
demonstrate
accuracy in
pitch, rhythm and
intonation.
Secure ability
to demonstrate
accuracy (pitch,
rhythm and
intonation) and
fluency.
3
Exceptional ability
to demonstrate
accuracy of
pitch, rhythm and
intonation.
5
4
Accuracy
Marks
Tonal qualities such
as vibrato and clear
diction in a vocal
recording will be
lacking at times.
Secure ability
to demonstrate
expressive detail,
with appropriate
dynamic range and
articulation.
Highly developed
ability to
demonstrate
expressive detail,
with appropriate
dynamic range and
articulation.
Exceptional ability
to demonstrate
expressive detail,
with appropriate
dynamic range and
articulation.
Expression
Misjudgments
of balance mean
features of the
music are unclear.
Secure ability to
demonstrate a
sense of balance.
Occasional
misjudgment of
balance resulting
in a slight loss of
clarity at times.
Highly developed
ability to
demonstrate a
sense of balance.
Exceptional ability
to demonstrate a
sense of balance
throughout the
recording.
Balance
4.4.3.3 Production via technology assessment grid
Secure ability
to demonstrate
use of effects
appropriately.
Misjudgment in use
of effects detracts
from the overall
performance.
Misjudgment in
use of panning
results in not all
parts being clearly
separated.
Occasional
misjudgment in the
use of effects.
Highly developed
ability to
demonstrate
use of effects
appropriately,
throughout the
piece.
Exceptional ability
to demonstrate
discerning
use of effects
appropriately,
throughout the
piece.
Use of effects
Secure ability
to demonstrate
use of panning
appropriately.
Occasional
misjudgment in
use of panning
still results in clear
separation of parts.
Highly developed
ability to
demonstrate
use of panning
appropriately.
Use of panning
results in
separation of all
parts which is
totally effective.
Exceptional ability
to demonstrate
use of panning
appropriately.
Panning/stereo
separation
Awareness
of stylistic
requirements
of the piece is
inconsistent
and detracts
from the overall
performance.
Secure ability to
demonstrate sense
of style.
Occasional lapses
in awareness
of stylistic
requirements of the
piece.
Highly developed
ability to
demonstrate sense
of style.
Awareness
of stylistic
requirements
is sustained
throughout the
piece.
Exceptional ability
to demonstrate
sense of style.
Sense of style
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Limited ability
to demonstrate
accuracy (pitch,
rhythm and
intonation) and
fluency.
No work submitted or worthy of credit.
0
Limited ability
to demonstrate
expressive detail
resulting in a
performance
lacking in
musicality.
Inconsistencies in
expressive detail
significantly detract
from the overall
performance.
1
Moderate ability
to demonstrate
expressive detail,
with appropriate
dynamic range and
articulation.
Expression
Moderate ability
to demonstrate
accuracy (pitch,
rhythm and
intonation) and
fluency.
Accuracy
2
Marks
Minimal evidence
of balance results
in a performance in
which most of the
detail is unclear.
Limited ability to
demonstrate a
sense of balance.
Misjudgments of
balance lead to a
significant number
of important
features being
unclear.
Moderate ability
to demonstrate a
sense of balance.
Balance
Limited ability
to demonstrate
use of effects
appropriately.
Minimal evidence
of use of effects
or effects used are
inappropriate.
Minimal evidence
of use of panning
results in no clear
separation of parts.
Misjudgment in
use of effects
significantly
detracts from
the overall
performance.
Misjudgments in
panning result in
unclear separation
of parts.
Limited ability
to demonstrate
use of panning
appropriately.
Moderate ability
to demonstrate
use of effects
appropriately.
Use of effects
Moderate ability
to demonstrate
use of panning
appropriately.
Panning/stereo
separation
Little or no
awareness of
the stylistic
requirements of the
piece.
Limited ability to
demonstrate sense
of style.
Limited awareness
of the stylistic
requirements of the
piece significantly
detracts from
the overall
performance.
Moderate ability to
demonstrate sense
of style.
Sense of style
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4.4.4 Component 3: Composing music assessment grid
Each assessment criteria must be marked separately to derive a mark (out of 18) using the composition
assessment grid. These marks must then be added together to derive the overall mark for each
composition (out of 36). The overall mark for each composition must then be added together to derive a
total mark for the component (out of 72).
Each criteria focuses on selection and use of six types of musical element:
Mark (total of 36 per
composition)
Assessment criteria
18
rhythm, metre, texture, melody, structure, form
18
harmony, tonality, timbre, dynamics, phrasing, articulation
Both compositions must be assessed on the student’s ability to demonstrate:
•• creative and effective selection and use of elements
•• appropriate selection and use of musical elements (to the compositional intention)
•• technical and expressive control in the use of musical elements.
Each composition must demonstrate selection and use of at least two types of musical element from
the choice of six for each criteria.
4.4.4.1 Indicative examples
To guide marking, indicative examples of musical elements which students may typically select and use
at the level of ability described in the mark band, are provided for each element type in each mark band.
Some elements are typically only selected and used at higher levels and others only at lower levels of
ability. As such the indicative examples provided are the same for the top three mark bands (10 – 18
marks), whilst progressively fewer examples are provided in the bottom three mark bands (1 – 9 marks).
The lists of indicative examples are not a ‘required range’ for the mark band, ie depending on the
student’s compositional intent, a narrower range of elements and/or other elements (that have not been
suggested) may have been selected and used.
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The selection and use of
elements is exceptionally
perceptive and insightful:
entirely appropriate to the
intentions for the music,
including the suggested
audience/occasion.
The composition sounds
finished with excellent
technical and expressive
control throughout.
The selection and use of
elements is exceptionally
perceptive and insightful:
entirely appropriate to the
intentions for the music,
including the suggested
audience/occasion.
Structure, form: eg rondo/
arch shape/theme and
variations/minuet and trio/
strophic/through composed/
sonata/ground bass/popular
song form/blues.
The composition sounds
finished with excellent
technical and expressive
control throughout.
Timbre and dynamics:
eg single instruments and/
or voices/instrumental
groupings and/or vocal
groupings/synthesised
sounds/computer-generated
sounds/crescendo and
diminuendo/reverb/tremolo/
distortion/vibrato/falsetto.
Selection and use of
elements (at least two of
harmony, tonality, timbre,
dynamics, phrasing
and articulation) is
exceptionally creative and
effective, demonstrating a
sophisticated understanding
of composition.
Rhythm, metre: eg change
of metre/compound time/
augmentation/diminution/
cross rhythm/syncopation/
dotted rhythms/triplets/
rubato/tempo change.
Texture, melody: eg
homophonic texture/
polyphonic texture/scalic,
triadic conjunct and disjunct
movement/ornamentation/
ostinato or riff/improvisation/
imitation/canon/antiphonal
texture/blue notes/passing
notes.
Harmony and tonality: eg
perfect, plagal, imperfect
and interrupted cadences/
major and minor tonality/
modal tonality/diatonic
harmony/inverted chords/
modulation/7th chords/
dissonance/pedal or drone/
chromatic harmony.
Descriptor
Indicative examples
Descriptor
Phrasing and articulation:
eg legato/staccato/tenuto/
marcato/accent/slurring/
arco/pizzicato/tonguing.
Indicative examples
Selection and use of harmony, tonality, timbre,
dynamics, phrasing, articulation
Selection and use of rhythm, metre, texture, melody,
structure, form
18 Convincing Selection and use of
elements (at least two of
17 Clear
rhythm, metre, texture
16 Just
melody, structure and form)
is exceptionally creative and
effective, demonstrating a
sophisticated understanding
of composition.
Marks
4.4.4.2 Compositions 1 and 2 assessment grid
The composition requires
very little more to sound
finished, with consistent
technical and expressive
control throughout.
The selection and use of
these elements is highly
perceptive and insightful:
clearly appropriate to the
intentions for the music,
including the suggested
audience/occasion.
Structure, form: eg rondo/
arch shape/theme and
variations/minuet and trio/
strophic/through composed/
sonata/ground bass/popular
song form/blues.
The composition requires
very little more to sound
finished, with consistent
technical and expressive
control throughout.
The selection and use of
these elements is highly
perceptive and insightful:
clearly appropriate to the
intentions for the music,
including the suggested
audience/occasion.
Selection and use of
elements (at least two of
harmony, tonality, timbre,
dynamics, phrasing and
articulation) is highly creative
and effective, demonstrating
a coherent understanding of
composition.
Rhythm, metre: eg change
of metre/compound time/
augmentation/diminution/
cross rhythm/syncopation/
dotted rhythms/triplets/
rubato/tempo change.
Texture, melody: eg
homophonic texture/
polyphonic texture/scalic,
triadic conjunct and disjunct
movement/ornamentation/
ostinato or riff/improvisation/
imitation/canon/antiphonal
texture/blue notes/passing
notes.
Descriptor
Indicative examples
Descriptor
Phrasing and articulation:
eg legato/staccato/tenuto/
marcato/accent/slurring/
arco/pizzicato/tonguing.
Timbre and dynamics:
eg single instruments and/
or voices/instrumental
groupings and/or vocal
groupings/synthesised
sounds/computer-generated
sounds/crescendo and
diminuendo/reverb/tremolo/
distortion/vibrato/falsetto.
Harmony and tonality: eg
perfect, plagal, imperfect
and interrupted cadences/
major and minor tonality/
modal tonality/diatonic
harmony/inverted chords/
modulation/7th chords/
dissonance/pedal or drone/
chromatic harmony.
Indicative examples
Selection and use of harmony, tonality, timbre,
dynamics, phrasing, articulation
Selection and use of rhythm, metre, texture, melody,
structure, form
15 Convincing Selection and use of
elements (at least two of
14 Clear
rhythm, metre, texture,
13 Just
melody, structure and
form) is highly creative and
effective, demonstrating a
coherent understanding of
composition.
Marks
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The selection and use of
these elements shows
secure perception and
insight: almost always
appropriate to the intentions
for the music, including
the suggested audience/
occasion.
The composition sounds
mostly finished, but with
some further work required:
technical and expressive
control is not always
consistent.
The selection and use of
these elements shows
secure perception and
insight: almost always
appropriate to the intentions
for the music, including
the suggested audience/
occasion.
Structure, form: eg rondo/
arch shape/theme and
variations/minuet and trio/
strophic/through composed/
sonata/ground bass/popular
song form/blues.
The composition sounds
mostly finished, but with
some further work required:
technical and expressive
control is not always
consistent.
Timbre and dynamics:
eg single instruments and/
or voices/instrumental
groupings and/or vocal
groupings/synthesised
sounds/computer-generated
sounds/crescendo and
diminuendo/reverb/tremolo/
distortion/vibrato/falsetto.
Selection and use of
elements (at least two of
harmony, tonality, timbre,
dynamics, phrasing
and articulation) shows
secure creativity and
effectiveness, demonstrating
a sound understanding of
composition.
Rhythm, metre: eg change
of metre/compound time/
augmentation/diminution/
cross rhythm/syncopation/
dotted rhythms/triplets/
rubato/tempo change.
Texture, melody: eg
homophonic texture/
polyphonic texture/scalic,
triadic conjunct and disjunct
movement/ornamentation/
ostinato or riff/improvisation/
imitation/canon/antiphonal
texture/blue notes/passing
notes.
Harmony and tonality: eg
perfect, plagal, imperfect
and interrupted cadences/
major and minor tonality/
modal tonality/diatonic
harmony/inverted chords/
modulation/7th chords/
dissonance/pedal or drone/
chromatic harmony.
Descriptor
Indicative examples
Descriptor
Phrasing and articulation:
eg legato/staccato/tenuto/
marcato/accent/slurring/
arco/pizzicato/tonguing.
Indicative examples
Selection and use of harmony, tonality, timbre,
dynamics, phrasing, articulation
Selection and use of rhythm, metre, texture, melody,
structure, form
12 Convincing Selection and use of
elements (at least two of
11 Clear
rhythm, metre, texture,
10 Just
melody, structure and form)
shows secure creativity and
effectiveness, demonstrating
a sound understanding of
composition.
Marks
7 Just
8 Clear
9 Convincing
Marks
The composition sounds
mostly finished, but
with some further work
required: occasionally lacks
coherence, technical and
expressive control is limited
and not always consistent.
The selection and use of
these elements is moderately
perceptive and insightful:
largely appropriate to the
intentions for the music,
including the suggested
audience/occasion.
Structure, form: eg binary/
ternary/strophic/through
composed/ground bass/
popular song form/twelve
bar blues.
Texture, melody: eg
single line melody/unison
and octaves/homophonic
texture/ostinato/riff.
The composition sounds
mostly finished, but
with some further work
required: occasionally lacks
coherence, technical and
expressive control is limited
and not always consistent.
The selection and use of
these elements is moderately
perceptive and insightful:
largely appropriate to the
intentions for the music,
including the suggested
audience/occasion.
Selection and use of
elements (at least two of
harmony, tonality, timbre,
dynamics, phrasing and
articulation) is moderately
creative and effective,
demonstrating a moderate
understanding of
composition.
Rhythm, metre: eg simple
or compound time/a regular
tempo/semibreves, minims,
crotchets, quavers and
semiquavers.
Selection and use of
elements (at least two of
rhythm, metre, texture,
melody, structure and form)
is moderately creative and
effective, demonstrating a
moderate understanding of
composition.
Descriptor
Indicative examples
Descriptor
Phrasing and articulation:
eg legato/staccato/accent/
slurring/arco/pizzicato/
tonguing.
Timbre and dynamics: eg
single instrumental, vocal
or synthesised/computergenerated sounds/group
instrumental, vocal or
synthesised/computergenerated sounds/changes
in dynamic.
Harmony and tonality: eg
major and minor chords,
perfect and imperfect
cadence, major tonality/
pedal.
Indicative examples
Selection and use of harmony, tonality, timbre,
dynamics, phrasing, articulation
Selection and use of rhythm, metre, texture, melody,
structure, form
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4 Just
5 Clear
6 Convincing
Marks
The composition sounds
unfinished: often lacking
coherence, basic and
infrequent technical and
expressive control.
The selection and use of
these elements shows
limited perception and
insight: sometimes
inappropriate to the
intentions for the music,
including the suggested
audience/occasion.
Structure, form: eg binary/
ternary/strophic/ground
bass/popular song form/
twelve bar blues.
Texture, melody: eg
single line melody/unison
and octaves/homophonic
texture/riff.
The composition sounds
unfinished: often lacking
coherence, basic and
infrequent technical and
expressive control.
The selection and use of
these elements shows
limited perception and
insight: sometimes
inappropriate to the
intentions for the music,
including the suggested
audience/occasion.
Selection and use of
elements (at least two of
harmony, tonality, timbre,
dynamics, phrasing
and articulation) shows
limited creativity and
effectiveness, demonstrating
a basic understanding of
composition.
Rhythm, metre: eg simple
time/a regular tempo/
semibreves, minims,
crotchets and quavers.
Selection and use of
elements (at least two of
rhythm, metre, texture,
melody, structure and form)
shows limited creativity and
effectiveness, demonstrating
a basic understanding of
composition.
Descriptor
Indicative examples
Descriptor
Phrasing and articulation:
eg legato/staccato/slurring.
Timbre and dynamics:
eg single and/or group
instrumental, vocal or
synthesised/computergenerated sounds/balance in
dynamic.
Harmony and tonality: eg
major and minor chords,
perfect and imperfect
cadence, major tonality/
pedal.
Indicative examples
Selection and use of harmony, tonality, timbre,
dynamics, phrasing, articulation
Selection and use of rhythm, metre, texture, melody,
structure, form
0
1 Just
2 Clear
3 Convincing
Marks
Although there are
creditworthy elements,
the composition sounds
incomplete: incoherent, very
little evidence of technical
and expressive control.
Although there are
creditworthy elements,
the composition sounds
incomplete: incoherent, very
little evidence of technical
and expressive control.
No work submitted or worthy of credit.
The selection and use of
elements shows minimal
perception and insight:
largely inappropriate to the
intentions for the music,
including the suggested
audience/occasion.
The selection and use of
elements shows minimal
perception and insight:
largely inappropriate to the
intentions for the music,
including the suggested
audience/occasion.
Structure, form: eg binary/
ternary.
Texture, melody: eg single
line melody/riff/unison and
octaves.
Selection and use of
elements (at least two of
harmony, tonality, timbre,
dynamics, phrasing and
articulation) shows minimal
creativity and effectiveness,
demonstrating a very
simplistic understanding of
composition.
Rhythm, metre: eg simple
time/regular tempo.
Selection and use of
elements (at least two of
rhythm, metre, texture,
melody, structure and
form) shows minimal
creativity and effectiveness,
demonstrating a very
simplistic understanding of
composition.
Descriptor
Indicative examples
Descriptor
Phrasing and articulation:
eg legato/staccato.
Timbre and dynamics: eg
single or group instrumental,
vocal or synthesised/
computer-generated sounds/
awareness of dynamic.
Harmony and tonality: eg
major and minor chords,
major tonality.
Indicative examples
Selection and use of harmony, tonality, timbre,
dynamics, phrasing, articulation
Selection and use of rhythm, metre, texture, melody,
structure, form
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5 Non-exam assessment
administration
The non-exam assessment (NEA) for this specification is performance and composition.
Visit aqa.org.uk/8271 for detailed information about all aspects of NEA administration.
The head of the school or college is responsible for making sure that NEA is conducted in line with our
instructions and Joint Council for Qualifications (JCQ) instructions.
5.1 Supervising and authenticating
To meet Ofqual’s qualification criteria and conditions, the requirements set out in
Assessment components of the specification must be adhered to. Evidence of authentication for each
student must include:
•• a Candidate record form (CRF), signed by the student and their teacher to confirm that all the
student’s non-exam assessment evidence submitted is their own work and was conducted under the
conditions laid down by this specification
•• audio recordings of each student's performance/composition, which identify the candidate by name
and candidate number.
Students must have sufficient direct supervision to ensure that the work submitted can be confidently
authenticated as their own. This means that you must review the progress of work during its production
to see how it develops.
Any work produced without supervision, for example outside of the classroom, should be compared to
work produced with supervision.
In comparing the student's work, consideration must be given to the consistency in levels of skill
demonstrated.
Work that cannot be confidently authenticated must not be included in the student's submission.
You are required to provide details of the support the student received on the CRF and sign the
authentication statement. If the statement is not signed, we cannot accept the student’s work for
assessment.
5.2 Submitting NEA evidence and marks to AQA
You must send all your students' NEA evidence (set out in Assessment components and
Supervising and authenticating) and marks to AQA for moderation by the specified date given at
aqa.org.uk/keydates
You must show clearly how marks have been awarded against the assessment criteria in this
specification. Your comments will help the moderator see, as precisely as possible, where you think the
students have met the assessment criteria. You must:
•• record your comments on the CRF
•• check that the correct marks are written on the CRF and that the total is correct.
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The moderator re-marks a sample of the evidence and compares this with the marks you have provided
to check whether any changes are needed to bring the marking in line with our agreed standards. Any
changes to marks will normally keep your rank order but, where major inconsistencies are found, we
reserve the right to change the rank order.
5.3 Avoiding malpractice
Please inform your students of the AQA regulations concerning malpractice. They must not:
•• submit work that is not their own
•• lend work to other students
•• allow other students access to, or use of, their own independently-sourced source material
•• include work copied directly from books, the internet or other sources without acknowledgement
•• submit work that is word-processed by a third person without acknowledgement
•• include inappropriate, offensive or obscene material.
These actions constitute malpractice and a penalty will be given (for example, disqualification).
If you identify malpractice before the student signs the declaration of authentication, you don’t need to
report it to us. Please deal with it in accordance with your school or college’s internal procedures. We
expect schools and colleges to treat such cases very seriously.
If you identify malpractice after the student has signed the declaration of authentication, the head
of your school or college must submit full details of the case to us at the earliest opportunity. Please
complete the form JCQ/M1, available from the JCQ website at jcq.org.uk
You must record details of any work which is not the student’s own on the front of the assessment
booklet or other appropriate place.
You should consult your exams officer about these procedures.
5.4 Teacher standardisation
We will provide support for using the marking criteria and developing appropriate tasks through teacher
standardisation.
For further information about teacher standardisation visit our website at aqa.org.uk/8271
In the following situations teacher standardisation is essential. We will send you an invitation to
complete teacher standardisation if:
•• moderation from the previous year indicates a serious misinterpretation of the requirements
•• a significant adjustment was made to the marks in the previous year
•• your school or college is new to this specification.
For further support and advice please speak to your adviser. Email your subject team at
[email protected] for details of your adviser.
5.5 Internal standardisation
You must ensure that you have consistent marking standards for all students. One person must manage
this process and they must sign the Centre declaration sheet to confirm that internal standardisation
has taken place.
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Internal standardisation may involve:
•• all teachers marking some sample pieces of work to identify differences in marking standards
•• discussing any differences in marking at a training meeting for all teachers involved
•• referring to reference and archive material, such as previous work or examples from our teacher
standardisation.
5.6 Factors affecting individual students
For advice and guidance about arrangements for any of your students, please email us as early as
possible at [email protected]
Occasional absence: you should be able to accept the occasional absence of students by making sure
they have the chance to make up what they have missed. You may organise an alternative supervised
session for students who were absent at the time you originally arranged.
Lost work: if work is lost you must tell us how and when it was lost and who was responsible, using
our special consideration online service at aqa.org.uk/eaqa
Special help: where students need special help which goes beyond normal learning support, please
use the CRF to tell us so that this help can be taken into account during moderation.
Students who move schools: students who move from one school or college to another during the
course sometimes need additional help to meet the requirements. How you deal with this depends
on when the move takes place. If it happens early in the course, the new school or college should
be responsible for the work. If it happens late in the course, it may be possible to arrange for the
moderator to assess the work as a student who was ‘Educated Elsewhere’.
5.7 School and college consortia
If you are in a consortium of schools or colleges with joint teaching arrangements (where students from
different schools and colleges have been taught together but entered through the school or college at
which they are on roll), you must let us know by:
•• filling in the Application for Centre Consortium Arrangements for centre-assessed work, which is
available from the JCQ website jcq.org.uk
•• appointing a consortium coordinator who can speak to us on behalf of all schools and colleges in the
consortium. If there are different coordinators for different specifications, a copy of the form must be
sent in for each specification.
We will allocate the same moderator to all schools and colleges in the consortium and treat the
students as a single group for moderation.
5.8 After moderation
We will return your students’ work to you after the exams. You will also receive a report when the
results are issued, which will give feedback on the appropriateness of the tasks set, interpretation of the
marking criteria and how students performed in general.
We will give you the final marks when the results are issued.
We may need to use some of your students’ work to meet Ofqual requirements for awarding, archiving
or standardisation purposes. Unless you specifically ask us to, we will not return your students’ work to
you after the exams.
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GCSE Music (8271). For exams 2018 onwards. Version 1.1
6 General administration
You can find information about all aspects of administration, as well as all the forms you need, at
aqa.org.uk/examsadmin
6.1 Entries and codes
You only need to make one entry for each qualification – this will cover all the question papers,
non-exam assessment and certification.
Every specification is given a national discount (classification) code by the Department for Education
(DfE), which indicates its subject area.
If a student takes two specifications with the same discount code:
•• further and higher education providers are likely to take the view that they have only achieved one of
the two qualifications
•• only one of them will be counted for the purpose of the School and College Performance tables – the
DfE's rules on 'early entry' will determine which one.
Please check this before your students start their course.
Qualification title
AQA entry code
DfE discount code
AQA GCSE in Music
8271
LF1
This specification complies with:
•• Ofqual General conditions of recognition that apply to all regulated qualifications
•• Ofqual GCSE qualification level conditions that apply to all GCSEs
•• Ofqual GCSE subject level conditions that apply to all GCSEs in this subject
•• all other relevant regulatory documents.
The Ofqual qualification accreditation number (QAN) is 601/8361/5.
6.2 Overlaps with other qualifications
There are no overlaps with any other AQA qualifications at this level.
6.3 Awarding grades and reporting results
The qualification will be graded on a nine-point scale: 1 to 9 – where 9 is the best grade.
Students who fail to reach the minimum standard for grade 1 will be recorded as U (unclassified) and
will not receive a qualification certificate.
6.4 Re-sits and shelf life
Students can re-sit the qualification as many times as they wish, within the shelf life of the qualification.
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47
6.5 Previous learning and prerequisites
There are no previous learning requirements. Any requirements for entry to a course based on this
specification are at the discretion of schools and colleges.
6.6 Access to assessment: diversity and inclusion
General qualifications are designed to prepare students for a wide range of occupations and further
study. Therefore our qualifications must assess a wide range of competences.
The subject criteria have been assessed to see if any of the skills or knowledge required present any
possible difficulty to any students, whatever their ethnic background, religion, sex, age, disability or
sexuality. If any difficulties were encountered, the criteria were reviewed again to make sure that tests of
specific competences were only included if they were important to the subject.
As members of the Joint Council for Qualifications (JCQ) we participate in the production of the JCQ
document Access Arrangements and Reasonable Adjustments: General and Vocational qualifications.
We follow these guidelines when assessing the needs of individual students who may require an access
arrangement or reasonable adjustment. This document is published on the JCQ website at jcq.org.uk
6.6.1 Students with disabilities and special needs
We can make arrangements for disabled students and students with special needs to help them access
the assessments, as long as the competences being tested are not changed. Access arrangements
must be agreed before the assessment. For example, a Braille paper would be a reasonable adjustment
for a Braille reader but not for a student who does not read Braille.
We are required by the Equality Act 2010 to make reasonable adjustments to remove or lessen any
disadvantage that affects a disabled student.
If you have students who need access arrangements or reasonable adjustments, you can apply using
the Access arrangements online service at aqa.org.uk/eaqa
6.6.2 Special consideration
We can give special consideration to students who have been disadvantaged at the time of the
assessment through no fault of their own – for example a temporary illness, injury or serious problem
such as the death of a relative. We can only do this after the assessment.
Your exams officer should apply online for special consideration at aqa.org.uk/eaqa
For more information and advice about access arrangements, reasonable adjustments and special
consideration please see aqa.org.uk/access or email [email protected]
6.7 Working with AQA for the first time
If your school or college has not previously offered any AQA specification, you need to register as an
AQA centre to offer our specifications to your students. Find out how at aqa.org.uk/becomeacentre
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GCSE Music (8271). For exams 2018 onwards. Version 1.1
6.8 Private candidates
This specification is available to private candidates, under condition that:
•• candidates attend an AQA school or college which will supervise and assess the production of
non-exam assessment evidence
•• any other requirements concerning the administration of non-exam assessments contained within
this specification are met.
A private candidate is someone who enters for exams through an AQA-approved school or college but
is not enrolled as a student there.
A private candidate may be self-taught, home-schooled or have private tuition, either with a tutor or
through a distance learning organisation. You must be based in the UK.
If you have any queries as a private candidate, you can:
•• speak to the exams officer at the school or college where you intend to take your exams
•• visit our website at aqa.org.uk/privatecandidates
•• email: [email protected]
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49
GCSE
MUSIC
Get help and support
Visit our website for information, guidance, support and resources at aqa.org.uk/subjects/8271
You can talk directly to the music subject team
(8271)
E: [email protected]
T: 01483 437 750
Specification
For teaching from September 2016 onwards
For exams in 2018 onwards
Version 1.1 20 April 2017
aqa.org.uk
G01295
Copyright © 2016 AQA and its licensors. All rights reserved.
AQA retains the copyright on all its publications, including the specifications. However, schools and colleges registered with AQA are permitted to copy
material from this specification for their own internal use.
AQA Education (AQA) is a registered charity (number 1073334) and a company limited by guarantee registered in England and Wales (company number
3644723). Our registered address is AQA, Devas Street, Manchester M15 6EX.
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