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. 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 7 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 8 17 21 22 22 23 27 28 44 44 44 45 45 45 46 46 46 47 47 47 47 47 48 48 48 49 Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 3 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. 4 Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 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. Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 5 •• 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 Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 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. Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 7 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. 8 Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 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. Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 9 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. Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 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. Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 11 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). 12 riff pitch bend melisma hook slide glissando improvisation ostinato blue notes. intro/outro verse chorus break twelve-bar blues drum fill. Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 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. Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 13 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. 14 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. Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 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. Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 15 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. Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration GCSE Music (8271). For exams 2018 onwards. Version 1.1 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. Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 17 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). Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 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. Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 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. Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration GCSE Music (8271). For exams 2018 onwards. Version 1.1 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. Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 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. 22 Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration GCSE Music (8271). For exams 2018 onwards. Version 1.1 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. Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 23 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. 24 Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration GCSE Music (8271). For exams 2018 onwards. Version 1.1 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. Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 25 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. 26 Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration GCSE Music (8271). For exams 2018 onwards. Version 1.1 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 % Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 27 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. 28 Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration GCSE Music (8271). For exams 2018 onwards. Version 1.1 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. Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 29 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. Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 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. Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 31 32 Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 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) GCSE Music (8271). For exams 2018 onwards. Version 1.1 Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 33 34 Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 0 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 GCSE Music (8271). For exams 2018 onwards. Version 1.1 Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 35 36 Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 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 GCSE Music (8271). For exams 2018 onwards. Version 1.1 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. Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 37 38 Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 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 GCSE Music (8271). For exams 2018 onwards. Version 1.1 Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 39 40 Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 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 GCSE Music (8271). For exams 2018 onwards. Version 1.1 Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 41 42 Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 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 GCSE Music (8271). For exams 2018 onwards. Version 1.1 Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 43 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. 44 Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration GCSE Music (8271). For exams 2018 onwards. Version 1.1 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. Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 45 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. 46 Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 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. Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 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 48 Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 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] Visit aqa.org.uk/8271 for the most up-to-date specification, resources, support and administration 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.
* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project
advertisement
© 2021