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GCSE

Specification

Music
For exams June 2014 onwards
For certification June 2014 onwards

GCSE
Specification

Music
4270

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5 Language of examinations 21 5.1 Availability of assessment units and certification 20 5.4 Prior learning 19 4.4 Internal standardisation of marking 25 6.7 Factors affecting individual candidates 26 6.4 How can I find out more? 4 2 Specification at a Glance 5 3 Subject Content 6 3.6 Submitting marks and sample work for moderation 25 6.8 Examination Series 23 6 Controlled Assessment Administration 24 6.5 Annotation of controlled assessment work 25 6.1 Aims and learning outcomes 18 4.8 Retaining evidence 26 1 .7 Awarding grades and reporting results 21 5.6 Qualification titles 21 5.4 Unit 4: Composing Music 16 4 Scheme of Assessment 18 4.3 How do I start using this specification? 4 1.3 Teacher standardisation 25 6.2 Entries 20 5.1) Contents 1 Introduction 3 1.2 Why choose Music? 3 1.4 Access arrangements and special consideration 20 5.3 Unit 3: Performing Music 12 3.2 Assessment Objectives 18 4.3 Private candidates 20 5.5 Access to assessment: diversity and inclusion 19 5 Administration 20 5.2 Malpractice 24 6.2 Unit 2: Composing and Appraising Music 9 3.1 Unit 1: Listening to and Appraising Music 7 3.3 National criteria 19 4.1 Why choose AQA? 3 1. GCSE Music for certification from June 2014 onwards (version 1.1 Authentication of controlled assessment work 24 6.

2 Consortium arrangements 27 7. and Health and Safety Considerations 29 C Overlaps with other Qualifications 30 D Wider Key Skills 31 2 . Ethical. Moral. Sustainable Development. Social.GCSE Music for certification from June 2014 onwards (version 1.3 Post-moderation procedures 27 Appendices 28 A Grade Descriptions 28 B Spiritual.1 Moderation procedures 27 7. Economic and Cultural Issues. Legislative.1) 7 Moderation 27 7.

we want to reward and and teachers.1 Why choose AQA? AQA is the UK’s favourite exam board and more AQA provides a comprehensive range of support 1 students receive their academic qualifications from services for teachers: AQA than from any other board. composing and appraising their music. AQA is an educational charity focused on the needs of the learner. which has t a more accessible approach to the formal listening been designed to enable candidates to enjoy and skills by assessing them in different ways in two appreciate the benefits of being involved in playing units: through the written paper unit and through music. If you are an existing customer then we thank you for your support. All our income goes towards operating and improving the quality of our specifications. We don’t aim to profit from education – we want you to. are accessible These controlled assessments set out manageable to candidates conditions for candidates and teachers whilst carrying out the performing and composing tasks. an appraisal of one of their own compositions. This new Music specification will be familiar to many It provides: centres currently offering GCSE Music. delivered on time for teachers and students t are affordable and value for money. broader Areas of Study which are appealing. It features: There are two Controlled Assessments – so teachers t new. and as they lead directly from KS3. are still involved in the candidates’ assessments. 3 . skills and understanding in a way performing. 1. The new Areas of Study will enable groups of any size teachers and candidates to use a wider variety of t the choice of music technology and/or acoustic music than previously. recognise their ability and enthusiasm Teachers will find that this specification is exciting t the opportunity to perform individually and in and more flexible. It retains the t more flexibility for candidates and teachers by popular aspects of the current AQA specification offering choices that enable them to demonstrate but offers candidates exciting new opportunities for their knowledge. presented by senior examiners Our GCSEs: t personalised support for Controlled Assessment t enable students to realise their full potential t 24 hour support through our website and online t contain engaging content Ask AQA t are manageable for schools and colleges t past question papers and mark schemes t are accessible to students of all levels of ability t comprehensive printed and electronic resources t lead to accurate results. We know preparation for a music-related career that most candidates choose music because t more straightforward assessment for candidates they want to perform. making music and understanding music. examinations and support services. GCSE Music for certification from June 2014 onwards (version 1. that suits them best The Specification offers: t a solid foundation for AS and A level as well as t a greater weighting given to performing. whilst maintaining the familiar music in performing and composing musical language and retaining aspects of the current t a wider choice in composing. But why is AQA so t access to subject departments popular? t training for teachers including practical teaching AQA understands the different requirements of strategies and approaches that really work each subject by working in partnership with teachers. If you are thinking of moving to AQA then we look forward to welcoming you.1) 1 Introduction 1.2 Why choose Music? We have listened to teachers and candidates to t more flexibility for candidates produce this GCSE Music specification. specification.

http://www.aqa. We will send copies to your Exams Officer and they are also available on our website (http://www. You can let us know by completing the appropriate Intention to Enter and Estimated Entry forms. http://coursesandevents.uk/admin/p_entries.aqa. A small minority is not. for your convenience. at approved AQA centres.org.uk/qual/cpd/index. such as t Almost all centres in England and Wales use mark schemes.aqa.4 How can I find out more? Ask AQA Teacher Support You have 24-hour access to useful information and Details of the full range of current Teacher Support answers to the most commonly-asked questions at and CPD courses are available on our web site at http://www. Then we can make sure that you receive all the material you need for the examinations.uk/rn/askaqa.php).php If your centre is new to AQA.org. This is particularly important where examination material is issued before the final entry deadline. details of AQA or have used AQA in the past and are teacher support meetings.org. etc.3 How do I start using this specification? 1 Already using the existing AQA Music Not using the AQA specification specification? currently? t Register to receive further information.org.uk t Tell us that you intend to enter candidates. GCSE Music for certification from June 2014 onwards (version 1. you There is also a link to our fast and convenient online can submit a query for our team.aqa.php If the answer to your question is not available.1) 1. please contact our Information will be available electronically or in centre approval team at print.aqa. 1. centreapproval@aqa.org.uk/rn/askaqa. past question papers.php http://web. Our target response booking system for all of our courses at time is one day.org.uk/training 4 .

GCSE Music for certification from June 2014 onwards (version 1. 5 .1) 2 Specification at a Glance Unit 1: Listening to and Appraising Music 42701 Music 4272 Written Paper – 1 hour – 80 marks – 20% 2 plus Unit 2: Composing and Appraising Music 42702 Extermally assessed – 40 marks – 20% plus Unit 3: Performing Music 42703 Controlled Assessment – 60 marks – 40% plus Unit 4: Composing Music 42704 Controlled Assessment – 30 marks – 20% For assessments and subject awards after June 2013 there is a requirement that 100% of the assessment is terminal.

chromatic. through-composed. cross-rhythm t gradation of dynamics as follows: t dotted rhythms. arch-shape Tièrce de Picardie t sonata. imperfect..1) 3 Subject Content Musical language/content Melody t intervals within the octave The musical references made below under the heading The organisation of sound form the basis for the t conjunct. melody with improvisation accompaniment. including staff notation. irregular. layered t performance practice. disjunct. da capo aria. p.. minuet & trio. ff t tempo. canonic. interpretation. purpose t commission. octaves. whole tone. concertos. polyphonic/contrapuntal t amateur/professional performance t imitative. including the use of technology. terms & symbols t consonant. Performer & Audience – to relative major or minor t intention. t pulse double-stopping. and use of techniques such as reverb. sequence. chromatic t common signs. modal notation suitable to the occasion. triplets. riff t phrasing. 3 These will be explored through three Strands chamber groups. modal t ground bass. t augmentation. exploration of all Areas of Study within GCSE Music. GCSE Music for certification from June 2014 onwards (version 1. minor and dominant seventh chords using Roman numerals /chord symbols t strophic. crescendo. continuo. pop and vocal music of Learning: t generic families of instruments as found in world a) The Western Classical Tradition music b) Popular Music of the 20th & 21st centuries t timbre. syncopation – pp. cadenza t use and identification of key up to 4 sharps and 4 flats Unit 2 only: t modulation: – to dominant/subdominant in major or minor key Composer. diminution. mp. acciaccaturas. rubato – cresc. scherzo & trio t identification of major. drone t binary. The organisation of sound distortion and chorus t instrumental techniques including con arco/with Rhythm & Metre a bow. free Dynamics t augmentation. bi-rhythm t drum fills – sfz. con sordino/muted. appoggiaturas teaching and learning – should be centred on them. diminuendo t polyrhythm. scalic. broken chords. c) World Music synthesised and computer-generated sounds. sampling. minor. t unison. t rondo. dissonant Structure & Form t pedal. theme & variations. sforzando Harmony – ‘hairpins’ t diatonic. diminution. ornamentation The five Areas of Study for all of the units in this specification are: t ostinato. arpeggio The whole musical experience of this course – both t passing notes. interrupted. pentatonic. call & response t cadences: perfect. f. antiphonal 6 . major. plagal. single melody line. dim. tremolo/tremolando t simple & compound time t vocal techniques such as falsetto and vibrato t regular. cyclic Tonality t popular song forms t tonal. use. ternary. pizzicato/plucked. inversion t slide/glissando/portamento. triadic. t blue notes Candidates will be expected to be able to understand t diatonic. hemiola. mf.. articulation AoS1 Rhythm & Metre t pitch bend AoS2 Harmony & Tonality t improvisation AoS3 Texture & Melody AoS4 Timbre & Dynamics Timbre AoS5 Structure & Form t instruments and voices singly and in combination as found in music for solo instruments. patronage Texture t technical/emotional demands t harmonic/homophonic.

b) Popular Music of the 20th & 21st centuries c) World Music The Western Classical Tradition Within each strand. Candidates respond to questions The sonata based on short musical excerpts drawing on music b) Popular Music of the 20th & 21st centuries from all five Areas of Study. Recorded excerpts of Blues music will be provided on a CD. AoS2 Harmony & Tonality These are not set works but one of these. R’n’B. GCSE Music for certification from June 2014 onwards (version 1. 35 The concerto t Shostakovich Piano Concerto No. t private. 2 in F Music for voices Op. candidates will develop Music of India an understanding of the organisation of sound. The following pieces are given as examples of music AoS for the whole specification are based on the that could be used as starting points for candidates Musical Elements: to gain insight into the way composers have used the AoS1 Rhythm & Metre Areas of Study.1) Occasion. utility and skills to enable them to link the Areas of Study to the Strands of Learning. The Concerto a) The Western Classical Tradition t Haydn Trumpet Concerto in E flat Baroque orchestral music t Tchaikovsky Violin Concerto No. or an AoS3 Texture & Melody example of your choice. 102 7 . candidates could explore Baroque Orchestral Music any music from the following areas to gain an t Vivaldi ‘Spring’ from “The Four Seasons” understanding of how composers have used the t Bach Brandenburg Concerto No. Through their Music of Africa exploration of these five AoS. t the necessary listening skills which will enable t appreciate/understand how composers use the them to respond to questions in the Listening and Areas of Study. 1 in D Op. understanding t sacred. concert t live. public. should be used to exemplify the AoS4 Timbre & Dynamics characteristics of the Areas of Study and the relevant AoS5 Structure & Form elements of The organisation of sound. which apply to each genre within the three Strands of Learning.1 Unit 1: Listening to and Appraising Music 3 Assessment is through a terminal examination marked Chamber music by AQA examiners. Questions will be: Popular music of the 1960s t objective tests Rock music. Hip-Hop t structured responses Music Theatre t extended responses. secular. Time & Place t the necessary levels of knowledge. media The Strands of Learning are to be used to enable t internet students to: t performing conventions t understand and recognise how the elements of music as listed in The organisation of sound are The teaching should enable students to gain: used in the Areas of Study. recorded. These will be explored through the three strands: A detailed analysis and precise knowledge of dates of a) The Western Classical Tradition composition and specific composers are not required. Questions BWV 1047 will focus on listening skills related to the AoS and not t Handel Water Music on the specific genres of the strands. 2 in F Elements of Music as listed in the five AoS. Appraising paper t knowledge of the Areas of Study as indicated by the terms listed under The organisation of sound above 3. Film music 1 hour 20% of the total marks 80 marks c) World Music Candidates explore the five Areas of Study (AoS) Music of the Caribbean through the three Strands of Learning.

114 D 667 ‘The Trout’ t Stravinsky 8 Miniatures for 15 Players Popular Music of the 20th and 21st Centuries Blues t Johnson ‘Come on in my kitchen’ Robert Johnson t King/Josea ‘You upset me Baby’ BB King 3 t Clapton ‘Sunshine of your Love’ Cream Popular Music of the 1960s t Lennon/McCartney ‘She loves You’ Beatles t Jagger/Richards ‘I Can’t get no Satisfaction’ Rolling Stones t Bennett/Welch ‘Summer Holiday’ Cliff Richard Rock Music. 3 minor Op. R’n’ B. 35 ‘Emperor’ t Schubert Piano Quintet Op. 76 No.1) Music for Voices The Sonata t Gibbons ‘The Silver Swan’ t Scarlatti Piano Sonata in G minor ‘Cat’s t Puccini ‘Nessun Dorma’ from “Turandot” Fugue’ t Orff Carmina Burana t Beethoven Violin Sonata No.5 in F Op. 24 ‘Spring’ Chamber Music t Chopin Piano Sonata No. 2 in B flat t Haydn String Quartet in C Op. Vol 2: Latin & t lndia – The Rough Guide to the Music of lndia North America/Caribbean/lndia/Africa/Asia/Pacific t The Sounds of India: Ravi Shankar Music of Africa t Africa – The Very Best of Africa: Various artists t South Africa – The Rough Guide to the Music of South Africa t Africa – The Spirit of Africa: Various Artists 8 . GCSE Music for certification from June 2014 onwards (version 1. Hip-Hop t Page/Plant ‘Stairway to Heaven’ Led Zeppelin t West ‘Gold Digger’ Kanye West t Ne-Yo ‘Take A Bow’ Rihanna Music Theatre t Schwartz ‘Defying Gravity’ Wicked t Bart ‘I’m reviewing the Situation’ Oliver t Lloyd-Webber ‘Any Dream Will Do’ Joseph and the Amazing Technicolor Dreamcoat Film Music t Williams “Star Wars” t Marianelli “Atonement” t Zimmer “Gladiator” World Music Music of the Caribbean Music of India t World of Music: Caribbean Various Artists t lndia – The Very Best of lndia Various Artists t The Rough Guide to World Music.

There must be a link to In preparing candidates for this Unit. Candidates’ work must be monitored preferences in listening and appraising. Candidates have up to candidates to work to their strengths. t Research and preparation may be completed A (ii) A musical score. In many 20 hours of Supervised Time in which to cases. five Areas of Study (10%). as a consequence. both.  t BDPNCJOBUJPOPGTPNFPSBMMPGUIFTF In all circumstances. in libraries or appropriate to the particular genre of music through internet research. it must be possible to respond development of musical ideas in the music and. time under informal supervision to complete the composition and up to 2 hours controlled The composition and appraisal are externally assessed time under formal supervision to complete the and must be submitted to the AQA Examiner as follows: appraisal. Candidates are required to compose one piece The composition submitted for Unit 2 must be of music and must choose two or more of the different from that submitted for Unit 4. This must be in a format that complete the recordings. it is one of the three strands.  t UBC Teachers must make clear on the Candidate Record  t BXSJUUFOBDDPVOUEFUBJMJOHUIFTUSVDUVSFBOE Form the amount of help and guidance given to content of the music candidates. successfully within two areas. This will be completed in The task an appraisal booklet. 9 . This will be as follows: B. the task in relation to the selected Areas of Study There is no time limit in terms of the duration will encourage this and whilst it is recognised that of the composition but candidates should be many compositions will explore most. ICT or a combination of informal supervision. can be played on an external device such as t Candidates must complete the composition. supplied by AQA. which will be announced anticipated that teachers will assist in helping annually by AQA. the score should accurately reflect the intentions of the candidate and bear close resemblance to the music presented in the recording. It is important that candidates remember that there must be a link to the strand. A (i) A recording of the final completed t Additional time may be allowed in order to composition. The nature of is able to authenticate it as the candidate’s own. candidates may wish to utilise their complete the composition.2 Unit 2: Composing and Appraising Music 20% of the total marks 40 Marks (2 x 20) B. presented. Candidates appraise the process and the outcome of the composition in relation to the Areas of t 2014 – The Western Classical Tradition Study and indicate the link to the strand (10%). where necessary. under using live performers. t 2015 – Popular Music of the 20th and 21st Centuries Candidates have up to 2 hours of Controlled t 2016 – World Music Time for the appraisal which must be undertaken as an individual exercise under formal supervision. A written appraisal of the process of composition and the final outcome.1) 3. if not all of 3 aware of the need to demonstrate sufficient the Areas of Study. GCSE Music for certification from June 2014 onwards (version 1. in creating during this period by the teacher so that he/she and developing the composition. This might include set understood to be any written format that is tasks to be completed at home. a score is under limited supervision. very short pieces may not allow for this. with CD or mini-disc. under informal skills and aptitudes in performing and/or their supervision. In this case. A. The recording may be made the exception of research and preparation. Task supervision and control The strand will be published annually on the AQA t Candidates have up to 20 hours supervised website. This could include: t Teachers may help with the research and  t TUBGGOPUBUJPO preparation of the composition but the final  t HSBQIJDOPUBUJPO presented work must be the work of the candidate.

though some details may be entirely their own work. this means required. t The score is accurate and contains detailed t Writing for instruments. voices and sound sources completed composition must be the individual demonstrates understanding of the techniques work of the candidate. sources demonstrates some understanding of the techniques required. 16 –13 0 t The composition is imaginative and largely satisfying. voices and sound sources t the appropriate and idiomatic use of instruments. t The candidate demonstrates the successful and imaginative creation of musical ideas in relation to 3 –1 the Areas of Study and strand. style of the music. t appropriate uses of musical elements. It must be possible be missing. t The composition is musically stimulating. 6 –4 techniques and conventions. t The composition works but at a basic level. The candidate’s work shows no evidence of the t The candidate demonstrates a sound sense of skills being assessed. incomplete. t The composition is very rudimentary. should be a strong correlation between the music t The candidate demonstrates some understanding presented in the recording and the presented score. Areas of Study and strand. voices and other sound sources t The score shows some musical ideas clearly. t a sense of musical balance t There are some limitations in the handling of the t the creation and development of musical ideas musical ideas. A The Composition t The score shows some accuracy but may contain The composition will be assessed in the light some omissions and/or inaccuracies. t Writing for instruments. with consideration of the musical aspects detailed below: t The candidate demonstrates limited understanding of the musical ideas in relation to t the imaginative use of sound the Areas of Study and strand. 10 . Assessment Criteria t There is a competent handling of the musical ideas. There t The composition is largely effective. t Writing for instruments. t Writing for instruments. voices and sound sources 20 –17 appears simplistic and may lack finish. may present inconsistencies in their deployment. voices and sound sources performance directions appropriate to the chosen lacks understanding. following six bands of assessment in combination t There may be some incoherence in the handling with the musical aspects listed above. Strengths in one or more aspects may balance t The candidate demonstrates a basic relative weaknesses elsewhere. t The score is inaccurate and incomplete. but the score will candidate’s intentions. t There is a sense of completeness in the music and t The candidate demonstrates a rudimentary there is evidence of development of the musical understanding of the ideas in relation to the ideas. voices and sound The task will be marked by an AQA Examiner. t There is a sense of wholeness in the music with some development of the musical ideas. that candidates may work with other musicians t The score contains sufficient detail to reflect the in producing the recording. understanding of the musical ideas presented in Compositions will be marked according to the relation to the Areas of Study and strand. within the presentation of the score to be able to understand how the performances of those 12 –10 other than the candidate have taken place. of musical ideas. t The score shows inconsistencies and is not interesting and satisfying. In practice. accurately presented. 3 of the selected Areas of Study and its success 9 –7 measured against the realisation of key elements t The composition is partially effective.1) t Candidates may work with others but the final t Writing for instruments. t an understanding of the chosen medium t Writing for instruments. voices and sound sources t Musical ideas lack coherence and may appear is idiomatic. devices. understanding of musical ideas in relation to the Areas of Study and strand. of the musical ideas in relation to the Areas of Study and strand. GCSE Music for certification from June 2014 onwards (version 1.

t Some musical vocabulary associated with the Areas 20 –16 of Study and strand is used appropriately. in the composition. intrusive. t Musical vocabulary associated with the 15 –11 Areas of Study and strand may be sparse or t Appraisals at this level demonstrate a broad inappropriately used. t details of the difficulties encountered during the t There is some understanding of the composing task and how they were overcome process and an understanding of how the music has t comments on what makes the composition been created. Study and the strand. t an explanation of why the candidate chose the Areas of Study and the focus within the strand for 10 –6 their composition t Appraisals at this level demonstrate some t details of the process of composition and how the understanding of the success of the composition in final recording was achieved relation to the Areas of Study and strand. but they will be infrequent. t details of the Areas of Study chosen and the focus within the strand t There may be errors in spelling. though the candidate’s t There is a detailed and accurate description of the meaning will be discernible. The appraisal should address the following points: t The candidate uses musical vocabulary relevant to the chosen task accurately and in context. t The candidate uses a wide range of relevant t Knowledge of musical elements. understanding of the success of the composition in t Errors in spelling.1) B The Appraisal t The candidate demonstrates a broad knowledge of the essential musical elements. grammar and punctuation may be relation to the Areas of Study and strand. t Appraisals at this level demonstrate a thorough t Errors in spelling. making the answer difficult to follow. and conventions relating to the Areas of Study t There will be few. is little or no awareness of problems or difficulties characteristics and conventions relating to the encountered with little or no evidence of remedies Areas of Study and strand. t There is an accurate description of the composing 0 process and a clear understanding of how the music has evolved. grammar and punctuation. errors in spelling. characteristics musical vocabulary. 11 . if any. grammar and punctuation. t the relationship of the composition to its context. characteristics The appraisal must include a consideration of the and conventions relating to the Areas of Study success of the composition in relation to the Areas of and strand. characteristics Marks are awarded for the candidate’s ability to and conventions relating to the Areas of Study appraise the success of the process of composing and strand. Problems t Appraisals at this level demonstrate limited and difficulties are readily acknowledged and understanding of the success of the composition in solutions identified. grammar and punctuation understanding of the success of the composition in may be noticeable and intrusive and suggest a relation to the Areas of Study and strand. GCSE Music for certification from June 2014 onwards (version 1. weakness in these areas. t Comments on the composing process focus on technical demands but lack understanding of how t The candidate demonstrates a thorough ideas have been created and developed. composing process and a sound understanding 5 –1 of how the music has been developed. and the outcome (the final completed recording). solutions suggested. There knowledge of the essential musical elements. There is some awareness of problems successful in relation to the Areas of Study and and difficulties encountered although remedies and strand solutions may not always be in evidence. t The candidate demonstrates that s/he has some 3 knowledge of musical elements. There is an awareness The candidate’s work shows no evidence of the of problems and difficulties encountered and skills being assessed. These are clearly evidenced relation to the Areas of Study and strand. and strand are limited or entirely lacking. Any weakness in the composition has been identified. or solutions.

1 Music presenting a range of challenges equivalent N. There should be at least three parts and candidates must perform at least one of the parts in real or step time. recorder and then manipulating the inputted data to 0 Straightforward and undemanding music. Assessment Criteria a) (i) Individual Performance Max 30 marks In both Individual and Group performances. intricacy of rhythm and complexity of chords Controlled Assessment Advisers will be available to or texture. The recordings must be in a format range of challenges equivalent to pieces graded that can be played on an external device such as CD above 4 by the examining boards: i. the Each candidate should perform two different pieces: candidate’s part must be clearly identifiable aurally to a) one for ‘Individual Performance’/‘Technology. requiring a or mini-disc. The recordings may be made at any higher degree of technical facility than at level 2.e. without 3 assessed. Task supervision and control In both performances. GCSE Music for certification from June 2014 onwards (version 1.e. i. requiring a moderate degree of technical t an accompanied solo facility but with increased challenges in terms of t a performance where the candidate has a the command of the instrument/voice and the substantial solo part. Level of Demand Both performances must be recorded and sent to an 3 Complex and demanding music. There are moderate demands in rhythmic complexity An individual performance is defined as one person and/or melodic patterns and in the duration of the playing/singing/maintaining an independent melodic/ piece. achieve a satisfactory performance in terms of the presenting few technical challenges. Doubling is only acceptable if the individual direct supervision.e. more live players including the candidate. range of performance techniques required. boards: i. assessed as an individual. backing tracks are permitted. of a) (ii) Technology-based Performance relatively short duration and in easier keys. this includes ‘rapping’ in all of its forms and to pieces graded at 3 (or 2) by the examining ‘turntablism’.B. 12 . presenting challenges in areas such as tempo. sustained throughout a performance of Candidates perform a piece of music in which they are reasonable duration. provided that these have not been submitted for assessment in either Unit 2 or Unit 4. The music chosen can be: 2 Music presenting a range of challenges equivalent t an unaccompanied solo (where this is the to pieces graded at 4 by the examining boards: intended nature of the piece) i.e. supervision and the teacher must assess Candidates may perform their own compositions the live performance. the teacher and the moderator. Where a candidate performs within a large ensemble. assessment criteria. Music at this level requires increased provide guidance to centres. and Groups may be conducted but not by the teacher b) one for ‘Group Performance’. presenting a AQA moderator. music of a fairly simple nature. lasting no more assessing the performance. time during the course. doubling of the part to be The level of control for performing is set at medium. assessed is permissible where this is musically appropriate and is in line with the conventions of the This means that research and preparation should chosen genre and does not obscure the part to be be completed under limited supervision. than five minutes. moderator. rhythmic part. key.3 Unit 3: Performing Music 40% of the total marks 60 marks b) Group Performance Candidates perform individually or through ICT and as The group performance must consist of two or part of a group.e. Candidates are encouraged to candidate’s part can be aurally identified without listen to as many similar performances as possible to affecting the balance of the ensemble and if the inform their approach to their own performance. command of the instrument/voice and a variety of a) (i) Individual Performance performance techniques in a style appropriate to the piece. Tempo. based Performance’.1) 3. range and rhythmic/melodic patterns will place This consists of using a sequencer and/or multi-track only modest demands on the performer. candidate’s part is clearly audible to the teacher and Final performance must be completed under formal. direct. lasting no more than five minutes. i.

The music is likely to and expressive detail be simple and undemanding. band. At the top compromise the tempo. At the top of this band. The music is 0 likely to be simple and undemanding. The music is likely to be complex and demanding. 9 –7 a) (ii) Technology-based A committed. assured. Technical demands may appropriate) and rhythm. the outline of the music is appreciable to application of the composer’s expressive and the listener but. though with increasing loss of integrity towards the lower end of this mark band. there is a sense of the character of the music. increasing in number as marks move are met. The tempo is appropriate and Accuracy mastery of the techniques demanded by the music is evident. delay. 6 –4 Occasional slips not affecting the fluency of the performance result in a mark at the lower end of this The performance has style and tempo appropriate band. there is only rudimentary sensitivity to the interpretative demands of the music. The performance shows only limited conviction and Candidates are expected to give details of the the candidate may fail to impose him/herself upon the equipment used and of the recording process. The music is A secure performance in terms of pitch (including likely to be complex and demanding. such as reverb. Towards the lower end. The candidate demonstrates a high This performance is assessed on: level of involvement in the music. at the lower marks. 0 6 –5 The candidate’s work shows no evidence of the skills Excellent accuracy of pitch and rhythm with close being assessed.1) The remaining 27 marks are awarded for Interpretation t Accuracy 9 –7 t Communication The candidate shows a mature understanding of t Interpretation both period and style. in the performance. where demands of the music. t care taken to ensure a good balance demonstrates a generally assured level of t use of an appropriate dynamic range commitment and an overall sense of conviction t use of panning to obtain a clear recording and. At the lower end of the (including intonation. 3 –1 3 –1 A performance inhibited by slips/inaccuracies/ There is limited sensitivity to the interpretative miscalculations of pitch (including intonation. at the top of this band. Fluency is poor. performance. where appropriate) and rhythm. The candidate’s work shows no evidence of the skills 0 being assessed. although less A reasonably secure performance in terms of pitch so as marks are reduced. Slips and/or inaccuracies tend to compromise the In general. intonation. GCSE Music for certification from June 2014 onwards (version 1. 13 .. the where necessary. the majority of the composer’s expressive and 6 –4 performance directions are observed. the music may be performance directions. where appropriate) and rhythm. The candidate observes the composer’s 9 –7 expressive and performance directions. to separate sounds that utilise performance lacks some conviction and commitment similar frequency ranges on occasions. At the lower end of this barely recognisable. Towards the lower end of this band. to the music for the most part. band. convincing and well-projected Performance Max 30 marks performance. 3 lower down this band. There is little or no of this band. the Accuracy of pitch and rhythm including performance may be an anxious experience for both evidence of close attention to performing the candidate and the listener. resulting in a musically satisfying performance. The candidate’s work shows no evidence of the skills Communication being assessed. the techniques demanded by the music overall flow. t accuracy of pitch and rhythm including evidence of close attention to performing and expressive 6 –4 detail A performance which. t awareness of style required including use of 3 –1 effects where appropriate. attention to all performing and expressive details.

recording. mark. recorded performance. The candidate’s role within the ensemble may be Judicious use of panning to gain a clear and effective within limited parameters and remain consistent. the required style is broadly in evidence and effects are used generally well. phrasing and tempo. 3 6 –5 4 –3 An excellent sense of balance throughout the recording. degree of technical facility but with increased challenges in terms of the command of the Use of panning to obtain a clear recording and. sustained throughout a 2 –1 performance of reasonable duration. requiring a higher degree of technical facility than at level 2. though 4 –3 with occasional miscalculations. the recording is characterised by a lack of being assessed. such as reverb. presenting challenges in areas such 4 –3 as tempo. instrument/voice and the range of performance where necessary. For the upper mark. Music at this level requires where there are sections in which the dynamic range is increased command of the instrument/voice and miscalculated and/or very limited. there are 0 inconsistencies in the application of performing and expressive detail at the top of this band while. adversely affect the impact of large sections of the role within the ensemble. requiring a moderate being assessed. Awareness of style required including use of 0 effects where appropriate. key. but perhaps varying. 2 –1 2 –1 Little or no evidence of the use of panning to obtain a More significant errors for the upper mark clear recording. 0 0 The candidate’s work shows no evidence of the skills The candidate’s work shows no evidence of the skills being assessed. 1 where most of the inappropriate use of effects. Complete awareness of the stylistic requirements of Care taken to ensure a good balance the music with appropriate use of effects throughout the performance. 14 . Articulation. i. phrasing and use of shading is largely successful. attention to articulation. 2 –1 2 –1 The performance of the music is basic with little Generally poor balance: 2 will be awarded where or no sense of the required style. delay The candidate’s work shows no evidence of the skills 6 –5 being assessed.. intricacy of rhythm and complexity Occasional miscalculations of dynamic with 3 awarded of chords or texture. and significant lapses for the lower. to separate sounds that utilise techniques required. b) Group Performance Max 30 marks Use of an appropriate dynamic range Level of Demand 6 –5 3 Music presenting a range of challenges equivalent Excellent management of dynamics in ways to pieces graded above 4 by the examining boards: completely appropriate to the music. balance where 3 is awarded. at the lower mark. the panning is less clear and less effective. increasing to include some sections of poor and sections where effects are misjudged or lacking. detail is obscured. Occasional miscalculations of balance where 4 is there is inconsistency in achieving the required style awarded. for the lower impinge upon fluency at the lower mark. at the The candidate’s work shows no evidence of the skills bottom. There is little or important features are unclear.e. There are moderate similar frequency ranges demands in rhythmic complexity and/or melodic 6 –5 patterns and in the duration of the piece. The candidate Often inappropriate choice/use of dynamics which has a consistently important. a variety of performance techniques in a style appropriate to the piece. GCSE Music for certification from June 2014 onwards (version 1. 2 Music presenting a range of challenges 0 equivalent to pieces graded at 4 by the The candidate’s work shows no evidence of the skills examining boards: i.1) 4 –3 4 –3 There are a few minor slips which will increase and may Some evidence of use of panning though. being assessed.e.

Fluency is poor. showing a good understanding Communication and Interpretation of the nature of ensemble playing. intonation and responsiveness to others. increasing loss of integrity towards the lower end 0 Straightforward and undemanding work. the character of the music. The remaining 27 marks are awarded for 3 –1 t Accuracy The performance shows only limited conviction and the candidate may fail to impose him/herself t Communication and Interpretation upon the performance. intonation and dynamics. performance. At the bottom of this band. the candidate and the listener. 9 –7 3 –1 A performance showing complete unity of purpose A performance inhibited by slips/inaccuracies/ in all aspects of ensemble playing. Occasional expressive and performance directions and the slips not affecting the fluency of the performance performance may be an anxious experience for both result in a mark at the lower end of this band. there will be only rudimentary 9 –7 sensitivity to the interpretative demands of the music. range and rhythmic/melodic patterns and commitment on occasions. most of these areas. If appropriate) and rhythm.e. where appropriate) and rhythm.1) 1 Music presenting a range of challenges equivalent the performance. there is little candidate observes the composer’s expressive and or no evidence of responsiveness. Marks to the listener but. A secure performance in terms of pitch (including There is little or no application of the composer’s 3 intonation. at the lower marks. demonstrates a generally assured level of The candidate’s work shows no evidence of the skills commitment and an overall sense of conviction in being assessed. the techniques The candidate’s role within the ensemble presents demanded by the music are met. music of a fairly simple nature. At the bottom 9 –7 of this band marks reflect an inconsistent level of A committed. demonstrated in timing. Performances at performance directions. the outline of the music is appreciable positively to any difficulties which may occur. 0 6 –4 The candidate’s work shows no evidence of the skills There is a generally high level of responsiveness to being assessed. At the lower end of this band. of although less so as marks are reduced. the music may towards the bottom of this band reflect success in be barely recognisable. The tempo is appropriate and mastery of the member(s) of the ensemble but the response will techniques demanded by the music is evident. The majority of the composer’s to pieces graded at 3 (or 2) by the examining expressive and performance directions are observed boards: i. the candidate shows the ability to react of this band. overall flow. Towards the relatively short duration and in easier keys. where timing. GCSE Music for certification from June 2014 onwards (version 1. 15 . of this mark band. 6 –4 0 A reasonably secure performance in terms of pitch (including intonation. at the top of this band. In general. The performance has style and presenting few challenges. The candidate demonstrates a high 3 –1 level of involvement in the music. concentrate on his/her own part to the exclusion of other ensemble considerations. including balance. convincing and well-projected responsiveness. though with few challenges. assured. The music is likely to be simple and undemanding. where appropriate) and rhythm. increasing in number as marks move Sense of Ensemble lower down this band. 6 –4 0 A performance which. The candidate’s work shows no evidence of the skills Slips and/or inaccuracies tend to compromise the being assessed. The be uneven. Technical Accuracy demands may compromise the tempo. The music is likely to be this level include those where the candidate tends to complex and demanding. tempo appropriate to the music for the most part. There is a sense of place only modest demands on the performer. miscalculations of pitch (including intonation. The candidate shows a mature understanding of both period and The candidate shows some awareness of the other style. At the top necessary. There is limited sensitivity to t Sense of Ensemble the interpretative demands of the music. lower end. the performance lacks some conviction Tempo. the other performers.

This assessment will be subject to moderation by AQA. presented in the recording and the presented score. In practice. The recording may be made using live guidance given to candidates. this means appropriate to the particular genre of music that candidates may work with other musicians presented. Candidates also complete a Candidate Record Form detailing the nature of their chosen task and the The piece will be assessed in the light of the selected Areas of Study explored in the composition. Teachers must make clear on the be played on an external device such as CD or Candidate Record Form the amount of help and mini-disc. t Additional time may be allowed in order to complete the recordings. A recording of the final completed presented work must be the work of the composition. There content of the music should be a strong correlation between the music t a combination of some or all of these. t Teachers may help with the research and The composition must be submitted as follows: preparation of the composition but the final 1. This must be in a format that can candidate. candidate’s choosing. performers. The task Task supervision and control Candidates are required to compose one piece of music which explores two or more of the five Areas t Candidates have up to 25 hours in which to of Study. criteria. This might include set development of musical ideas in the music and as a tasks to be completed at home. The provide guidance to centres.1) 3. if not all of the Areas of Study. Areas of Study and its success measured against the realisation of key elements with consideration of the Submissions should be sent to the AQA moderator. terms of the duration of the composition but candidates t Research and preparation may be completed should be aware of the need to demonstrate sufficient under limited supervision. 16 . with This must be undertaken as an individual exercise the exception of research and preparation. It must be possible t graphic notation within the presentation of the score to be able t tab to understand how the performances of those t a written account detailing the structure and other than the candidate have taken place. a score is completed composition must be the individual understood to be any written format that is work of the candidate. very short pieces may not allow for this. GCSE Music for certification from June 2014 onwards (version 1. the score should accurately reflect the intentions of the candidate and bear close Assessment Criteria resemblance to the music presented in the recording. There is no time limit in informal supervision. but the score will t staff notation be entirely their own work. The t the appropriate and idiomatic use of instruments. t Candidates may work with others but the final 2. Candidates have up to 25 hours of Controlled Assessment in which to complete the composition. In all circumstances. This could include: in producing the recording. It is recognised that control and coherence. t Candidates must complete the composition. candidates may wish to utilise their skills and aptitudes in performing t the creation and development of musical ideas and/or their preferences in listening and appraising t an understanding of the chosen medium in creating and developing the composition. Teachers will mark and assess the final presented The composition submitted for Unit 4 must be composition according to a single set of assessment different from that submitted for Unit 2. different centres will have widely differing resources Controlled Assessment Advisers will be available to and musical experiences for their candidates. This may be in any style or genre of the complete the composition. in libraries or consequence. where necessary. under 3 under informal supervision. nature of the set task will allow for this diversity and enable centres to work to their strengths. A musical score. techniques and conventions. musical aspects detailed below: In preparing candidates for this Unit. nature of the task in relation to the selected Areas of voices and other sound sources Study will encourage this and whilst it is recognised t appropriate uses of musical elements. devices. In this case. ICT or a combination of both.4 Unit 4: Composing Music 20% of the total marks 30 marks that many compositions will explore most. it must be possible to respond Creating and developing musical ideas with technical successfully within two areas. through internet research. In many cases. it is anticipated t the imaginative use of sound that teachers will assist in helping candidates to work t a sense of musical balance to their strengths.

imaginative creation of musical ideas in relation to the Areas of Study selected. GCSE Music for certification from June 2014 onwards (version 1. 25–21 t The score shows inconsistencies and is not t The composition is imaginative and largely satisfying. Compositions will be marked according to the t The candidate demonstrates limited following six bands of assessment in combination understanding of the musical ideas in relation to with the musical aspects listed above. t Writing for instruments. skills being assessed. 0 20–16 The candidate’s work shows no evidence of the t The composition is largely effective. 10–6 t There is a sense of completeness in the music t The composition works but at a basic level. appears simplistic and may lack finish. required. t The composition is musically stimulating. t There are some limitations in the handling of the 30–26 musical ideas. voices and sound sources relation to the Areas of Study selected. the Areas of Study selected. t There is a competent handling of the musical ideas. of Study. be missing. candidate’s intentions. and there is evidence of development of the t The candidate demonstrates a basic musical ideas. t There may be some incoherence in the handling t The score is accurate and contains detailed of musical ideas. voices and sound sources t Musical ideas lack coherence and may appear demonstrates understanding of the techniques incomplete. t Writing for instruments. voices and sound sources style of the music. t The candidate demonstrates a sound sense of 5–1 understanding of musical ideas in relation to the t The composition is very rudimentary. voices and sound sources t The score contains sufficient detail to reflect the lacks understanding. may present inconsistencies in their deployment. performance directions appropriate to the chosen 3 t Writing for instruments. t The candidate demonstrates the successful and t The score shows some musical ideas clearly. 17 . t The composition is partially effective. Areas of Study selected. t The candidate demonstrates a rudimentary t There is a sense of wholeness in the music with understanding of the ideas in relation to the Areas some development of the musical ideas presented. is idiomatic. accurately presented. t The score shows some accuracy but may contain some omissions and/or inaccuracies. voices and sound sources demonstrates some understanding of the techniques required. understanding of the musical ideas presented in t Writing for instruments. t Writing for instruments. voices and sound sources interesting and satisfying. t Writing for instruments. though some details may t The score is inaccurate and incomplete. t The candidate demonstrates some understanding of the musical ideas in relation to the Areas of Study selected.1) Strengths in one or more aspects may balance relative 15–11 weaknesses elsewhere.

using evaluating music using musical terminology. In GCSE specifications which require candidates to produce written material in English. t evaluate their own and others’ music t understand and appreciate a range of different kinds of music. self-discipline. emotional awareness. expression and t ensure that text is legible and that spelling.2 Assessment Objectives (AOs) The following assessment objectives will be assessed Quality of Written Communication (QWC) in the context of the content and skills set out in Section 3 (Subject Content). In this specification QWC will be assessed in Unit 1 by means of specialist vocabulary. learners and as critical and reflective thinkers with aesthetic sensitivity. and in Unit 2 via the appraisal. specialist vocabulary when appropriate. punctuation and grammar are accurate so that meaning is clear AO2 Composing skills: creating and developing t select and use a form and style of writing musical ideas with technical control and appropriate to purpose and to complex subject coherence. matter AO3 Listening and appraising skills: analysing and t organise information clearly and coherently. moved and changed by encourage candidates to: following a broad. They should prepare learners to including the ability to make music individually and make informed decisions about further learning in groups opportunities and career choices.1 Aims and learning outcomes GCSE specifications in music should encourage GCSE courses based on this specification should candidates to be inspired. self-confidence and t develop their own musical interests and skills self-motivation.1) 4 Scheme of Assessment 4. 4. Weighting of Assessment Objectives The table below shows the approximate weighting of each of the Assessment Objectives in the GCSE Units. GCSE Music for certification from June 2014 onwards (version 1. candidates must: AO1 Performing skills: performing/realising 4 with technical control. interpretation. coherent. satisfying and worthwhile t actively engage in the process of music study in course of study and to develop broader life-skills order to develop as effective and independent and attributes including critical and creative thinking. where appropriate. Unit Weightings (%) Controlled Overall Weighting of Assessment Objectives Assessment AOs (%) 1 2 3 4 AO1 Performing skills 40 40 AO2 Composing skills 10 20 30 AO3 Listening /Appraising skills 20 10 30 Overall weighting of Units (%) 20 20 40 20 100 18 . cultural enquiring minds understanding.

If this was the case.5 Access to assessment: diversity and inclusion GCSEs often require assessment of a broader range reviewed again to ensure such competences were 4 of competences. very few candidates ethnic origin. For this reason. Wales and for Controlled Assessment Northern Ireland: Common Criteria t Code of Practice t The requirements for qualifications to provide access to Levels 1 and 2 of the National t The GCSE Qualification Criteria Qualification Framework. 4. prepare candidates for a findings of this process were discussed with groups wide range of occupations and higher level courses. t The Arrangements for the Statutory Regulation t The Subject Criteria for Music including the rules of External Qualifications in England. This is because they are general included only where essential to the subject.4 Prior learning There are no prior learning requirements. However. GCSE Music for certification from June 2014 onwards (version 1. who represented the interests of a diverse range of candidates. The qualifications and. religion.1) 4. 4. The revised GCSE qualification and subject criteria were reviewed to identify whether any of the Reasonable adjustments are made for disabled competences required by the subject presented a candidates in order to enable them to access the potential barrier to any candidates regardless of their assessments. gender.4. disability or sexual will have a complete barrier to any part of the orientation. the situation was assessment. 19 . Further details are given in Section 5. any requirements set for entry to a course following this specification are at the discretion of centres.3 National criteria This specification complies with the following. as such.

Reasonable Adjustments and Special paper for a candidate with a visual impairment. it is given after the examination. Where we do this.4 Access arrangements and special consideration We have taken note of equality and discrimination Access arrangements legislation and the interests of minority groups in developing and administering this specification. We follow the guidelines in the Joint Council These arrangements must be made before the for Qualifications (JCQ) document: Access examination. injury or indisposition at the time of the examination. we can produce a Braille Arrangements. 5.org.3 Private candidates This specification is not available to private candidates. at the same time as they enter for the subject award. We can give special consideration to candidates who have had a temporary illness. GCSE Music for certification from June 2014 onwards (version 1.uk) or you can follow the link Special consideration from our website (http://www. This is published on the JCQ website (http://www. You should use the following entry GCSE certification – 4272 codes for the units and for certification. Consideration: General and Vocational Qualifications. 5 Unit 1: 42701 Candidates have to enter all the assessment units at Unit 2: 42702 the end of the course.1 Availability of assessment units and certification Examinations and certification for this specification are available as follows: Availability of Units Availability of Certification 1 2 3 4 June 2012 ✔ ✔ ✔ ✔ ✔ Jan 2013 June 2013 ✔ ✔ ✔ ✔ ✔ Jan 2014 June 2014 ✔ ✔ ✔ ✔ ✔ Ofqual’s revisions to the Code of Practice mean assessment) will only be available once a year in June that from June 2014: assessments (both external with 100% of the assessment being taken in the assessments and moderation of controlled examination series in which the qualification is awarded.aqa.org.2 Entries Please refer to the current version of Entry Unit 3: 42703 Procedures and Codes for up to date entry Unit 4: 42704 procedures. We can make arrangements so that candidates with special needs can access the assessment. 5.1) 5 Administration 5. 20 . 5.uk).jcq. For example.

Candidates who fail to reach the minimum standard for grade G will be recorded as U (unclassified) and will not receive a qualification certificate. For each unit. 5. We will publish the minimum raw mark for each grade. for each unit.1) Applications for access arrangements and special consideration should be submitted to AQA by the Examinations Officer at the centre. 5. A. Unit 1 – Listening to and Appraising Music Unit 2 – Composing and Appraising Music (maximum uniform mark = 80) (maximum uniform mark = 80) 5 Grade Uniform Mark Range Grade Uniform Mark Range A* 72–80 A* 72–80 A 64–71 A 64–71 B 56–63 B 56–63 C 48–55 C 48–55 D 40–47 D 40–47 E 32–39 E 32–39 F 24–31 F 24–31 G 16–23 G 16–23 U 0–15 U 0–15 21 . E. the uniform mark corresponds to a grade as follows.7 Awarding grades and reporting results The GCSE and GCSE short course qualifications will be graded on an eight-grade scale: A*. GCSE Music for certification from June 2014 onwards (version 1. B. when we issue candidates’ results. C.6 Qualification titles The qualification based on this specification is: t AQA GCSE in Music 5. We will report a candidate’s unit results to centres in terms of uniform marks and qualification results in terms of uniform marks and grades. D.5 Language of examinations We will provide units for this specification in English only. F and G.

GCSE Music (maximum uniform mark = 400) Grade Uniform Mark Range A* 360–400 5 A 320–359 B 280–319 C 240–279 D 200–239 E 160–199 F 120–159 G 80–119 U 0–79 22 . GCSE Music for certification from June 2014 onwards (version 1.1) Unit 3 – Performing Music Unit 4 – Composing Music (maximum uniform mark = 160) (maximum uniform mark = 80) Grade Uniform Mark Range Grade Uniform Mark Range A* 144–160 A* 72–80 A 128–143 A 64–71 B 112–127 B 56–63 C 96–111 C 48–55 D 80–95 D 40–47 E 64–79 E 32–39 F 48–63 F 24–31 G 32–47 G 16–23 U 0–31 U 0–15 We calculate a candidate's total uniform mark by adding together the uniform marks for the relevant units. We convert this total uniform mark to a grade as follows.

controlled assessment unit result(s) following the initial moderation and aggregation during the lifetime of the specification. GCSE Music for certification from June 2014 onwards (version 1.1) 5. the end of the course.8 Examination series Candidates have to enter all the assessment units at As a consequence of the move to linear assessment. at the same time as they enter candidates will be allowed to carry forward their for the subject award. 5 23 .

candidates’ research). Details of any These actions constitute malpractice. or the use of. 6. Copies of the their books to another candidate. then the candidate’s work cannot be The completed Candidate Record Form for each accepted for assessment. authentication statement for a particular candidate.1 Authentication of controlled assessment work In order to meet the requirements of the Code If teachers/assessors have reservations about signing of Practice AQA requires: the authentication statements. Where suspected malpractice in controlled assessments is identified by a centre after t lend work to other candidates. Malpractice in controlled assessments discovered the Internet or other sources without prior to the candidate signing the declaration of acknowledgement and attribution. should be consulted about the procedure to be followed. there candidate entered for each unit must sign the is no evidence that the work has been properly declaration of authentication. during the external moderation process. 6.uk/). authentication. specification The authentication statement should be signed t centres to record marks of zero if candidates and information given on the relevant form. cannot confirm the authenticity of work submitted t If the teacher/assessor is unable to sign the for assessment. for which work which is not the candidate’s own must be a penalty (for example disqualification from the recorded on the Candidate Record Form or other examination) will be applied. the candidate has signed the declaration of t allow other candidates access to. authentication need not be reported to AQA. All teachers who have assessed the work of any If. the Examinations Officer Regulations concerning malpractice. candidate should be attached to his/her work. but should be dealt with in accordance with the centre’s t submit work typed or word-processed by a third internal procedures. authenticated.org. 24 .1) 6 Controlled Assessment Administration The Head of Centre is responsible to AQA for ensuring that controlled assessment work is conducted in accordance with AQA’s instructions and JCQ instructions. t include work copied directly from books. to treat such cases very seriously. the following points of t candidates to sign the Candidate Record Form guidance should be followed. AQA will set the associated mark(s) to zero. to confirm that the work submitted is their own t If it is believed that a candidate has received t teachers/assessors to confirm on the additional assistance and this is acceptable within Candidate Record Form that the work assessed the guidelines for the relevant specification. GCSE Music for certification from June 2014 onwards (version 1. the Head of Centre must submit full their own independently sourced source material details of the case to AQA at the earliest opportunity.2 Malpractice Teachers should inform candidates of the AQA If malpractice is suspected. appropriate place. the is solely that of the candidate concerned and was teacher/assessor should award a mark which conducted under the conditions laid down by the represents the candidate’s unaided achievement. AQA would expect centres person without acknowledgement. Candidates must not: t submit work which is not their own. 6 (this does not mean that candidates may not lend The form JCQ/M1 should be used. but candidates form can be found on the JCQ website should be prevented from plagiarising other (http://www.jcq.

One person must be responsible identifying differences in marking standards. this is to be done.uk of entry or by contacting the subject team. they should contact you have told us you are a new centre. 25 . to AQA and the moderator on the mark forms Centres will normally be notified which candidates’ provided.aqa. AQA will also contact centres if: t the moderation of controlled assessment work from the previous year has identified a serious misinterpretation of the controlled assessment requirements. GCSE Music for certification from June 2014 onwards (version 1. If a centre is If your centre is new to this specification. a representative to one of the meetings. This person should sign t discussing any differences in marking at a the Centre Declaration Sheet to confirm that internal training meeting for all teachers involved in the standardisation has taken place.uk/deadlines.4 Internal standardisation of marking Centres must standardise marking to make sure that Internal standardisation may involve: all candidates at the centre have been marked to the t all teachers marking some trial pieces of work and same standard.3 Teacher standardisation AQA will hold annual standardising meetings for t inappropriate tasks have been set. It is likely that during the lifetime of this specification AQA will move to online teacher standardisation. precisely as possible where the teacher considers that the candidates have met the criteria in the specification. At these meetings we will provide centre’s marks. t summative comments on the work.php). t referring to reference and archive material such as previous work or examples from AQA’s teacher standardising meetings. assessment. in developing appropriate controlled assessment tasks and using In these cases. for controlled t a significant adjustment has been made to a assessment. centres will be expected to send the marking criteria. we will contact you to invite you to a meeting. or 6. or teachers.org. you must unable to attend and would like a copy of the written send a representative to one of the meetings.6 Submitting marks and sample work for moderation The total mark for each candidate must be submitted http://www.org.1) 6. for internal standardisation. either by the subject administration team at submitting an intention to enter and/or an estimate music@aqa. by Electronic Data Interchange (EDI) or work is required in the sample to be submitted to through the e-Portfolio system (only available for the moderator (please refer to section 7. 6.1 for further certain units/components) by the specified date (see guidance on submitting samples). support in contextualising the tasks. usually in the autumn term. If materials used at the meeting.5 Annotation of controlled assessment work The Code of Practice states that the awarding body Work could be annotated by either of the following 6 must require internal assessors to show clearly how methods: the marks have been awarded in relation to the t key pieces of evidence flagged throughout the marking criteria defined in the specification and that work by annotation either in the margin or in the the awarding body must provide guidance on how text. referencing The annotation will help the moderator to see as precise sections in the work. 6. For all other centres. attendance is optional.

for controlled assessment work. GCSE Music for certification from June 2014 onwards (version 1. under secure conditions. enquiry about results. The work may be returned 6 26 . how it occurred. 6. Centres should contact AQA at the earliest possible stage for advice about appropriate arrangements in individual cases. Forms attached. AQA should be notified immediately of a scheme of controlled assessment work. to allow for the possibility of an case it is required by AQA. If it occurs late in the course it may be possible to arrange for the moderator to assess the work through the ‘Educated Elsewhere’ procedure.1) 6. AQA must be informed the opportunity is given for them to make up missed through comments on the Candidate Record Form controlled assessments. so that such help can be taken into account when time session may be organised for candidates who moderation takes place. from the the work must remain under secure conditions in time it is assessed. Centres should use the JCQ move takes place. If an enquiry about a result has been made. and who was courses of action depend on the stage at which the responsible for the loss. are absent at the time which the centre originally Candidates who move from one centre to another arranged. with Candidate Record results. An alternative supervised. during the course sometimes present a problem for If work is lost.7 Factors affecting individual candidates Teachers should be able to accommodate the Where special help which goes beyond normal occasional absence of candidates by ensuring that learning support is given.8 Retaining evidence The centre must retain the work of all candidates to candidates after the deadline for enquiries about including CDs/mini-discs. If the move occurs early in the form JCQ/LCW to inform AQA Centre and Candidate course the new centre should take responsibility Support Services of the circumstances. Possible the date of the loss.

work of additional candidates in the centre. where candidates from different different co-ordinators for different specifications.3 Post-moderation procedures On publication of the results. the centres must inform AQA by completing the AQA will allocate the same moderator to each centre JCQ/CCA form.1) 7 Moderation 7. 7. archive or standardising purposes.php). order. In some cases it the moderator by the specified deadline (see may be necessary for the moderator to call for the http://www. we will provide centres at the time results are issued. 7 27 . giving feedback on the with details of the final marks for the controlled accuracy of the assessments made. in the consortium and the candidates will be treated The centres concerned must nominate a consortium as a single group for the purpose of moderation. In order Centres entering fewer candidates than the minimum to meet this possible request. GCSE Music for certification from June 2014 onwards (version 1. the inspection of a sample of candidates’ work. for any adjustments to the marks. but where major discrepancies are found. If there are arrangements (i.org. and the reasons assessment work. Centres entering larger numbers of Forms of every candidate entered for the examination candidates will be notified of the candidates whose and be prepared to submit it on demand. centres must retain sample size and centres submitting through the under secure conditions and have available the e-Portfolio system should submit the work of all of controlled assessment work and Candidate Record their candidates.e.2 Consortium arrangements If there is a consortium of centres with joint teaching behalf of all centres in the consortium. roll).1 Moderation procedures Moderation of the controlled assessment work is by Following the re-marking of the sample work.uk/deadlines. The centre will receive a report. sent by moderator’s marks are compared with the centre post or electronically through the e-Portfolio system marks to determine whether any adjustment is from the centre to a moderator appointed by AQA. after the examination. we reserve the right to alter the order of merit. The candidates’ work will be returned to the centre We may retain some candidates’ work for awarding. a centres have been taught together but where they copy of the JCQ/CCA form must be submitted for are entered through the centre at which they are on each specification.aqa. Mark work will be required in the sample to be submitted adjustments will normally preserve the centre’s rank for moderation. co-ordinator who undertakes to liaise with AQA on 7. needed in order to bring the centre’s assessments The centre marks must be submitted to AQA and to into line with standards generally.

They make critical judgements about their own and others’ music. making expressive use of phrase and dynamics appropriate to the style and mood of the music. have command of the resources they use and make appropriate gradations of tempo. and explore the potential of musical structures and resources.1) Appendices A Grade Descriptions Grade descriptions are provided to give a general indication of the standards of achievement likely to have been shown by candidates awarded particular grades. dynamics and balance. C and explore the potential of musical structures and resources. Shortcomings in some aspects of the candidates’ performance may be balanced by better performances in others. Candidates perform/realise music with control. They compose music that shows an ability to develop musical ideas and use conventions. A They compose music that shows a coherent and imaginative development of musical ideas and consistency of style. make improvements to their own work and offer some justification of the opinions they express. Grade Description Candidates explore the expressive potential of musical resources and conventions used in selected genres and traditions. using an accurate and extensive musical vocabulary. They describe musical features using a simple musical vocabulary. Candidates perform/realise music with some fluency and control of the resources used. The descriptions should be interpreted in relation to the content outlined in the specification. They compose music that shows some ability to organise musical ideas and use F appropriate resources in response to a brief. A 28 . They perform/realise with a sense of style. The grade awarded will depend in practice upon the extent to which the candidate has met the assessment objectives (see Section 4) overall. using a musical vocabulary. They make critical judgements about their own and others' music. they are not designed to define that content. GCSE Music for certification from June 2014 onwards (version 1.

Ethical. and composing may be affected by their resulting knowledge and experience. Moral. assessment requirements where they relate directly to the specific content of the specification and have Environmental Education been identified in Section 3: Content.1) B Spiritual. including those particularly relevant to the education of students at Key Stage 4. performing. Sustainable Development. Economic and Cultural Issues. t such issues have affected the composition of different genres of music for specific purposes Avoidance of Bias t music can reflect these aspects of society t to appreciate the impact that such issues have AQA has taken great care in the preparation of this had on the composers. specification and specimen units to avoid bias of any kind. have been AQA has taken account of the 1988 Resolution of the identified and taken into account in the preparation Council of the European Community in preparing this of this specification. Popular Music of the 20th and 21st Report “Environmental Responsibility: An Agenda for Centuries and World Music – candidates have the Further and Higher Education” 1993 in preparing this opportunity to consider how: specification and associated specimen units. Social. In turn. AQA has taken account of the 1988 Resolution of Through the three strands – The Western Classical the Council of the European Community and the Tradition. and Health and Safety Considerations AQA has taken great care to ensure that any wider European Dimension issues. Legislative. GCSE Music for certification from June 2014 onwards (version 1. candidates’ own appraisal. B 29 . They will only form part of the specification and associated specimen units.

GCSE Performing Arts and GCSE Perfoming Arts (Double Award).1) C Overlaps with other Qualifications There are limited overlaps with graded examinations Study in depth. In Expressive Arts and Performing Arts. GCSE Music for certification from June 2014 onwards (version 1. GCSE Expressive Arts. As such the overlaps of subject There are also limited overlaps of subject content content are not substantial. focusing on activities in Listening and in performing and theory but these are viewed as Appraising. however. Composing and Performing. the specification provides opportunities to study defined Areas of C 30 . the emphasis is multi-disciplinary. with a clear complementary to the experience of music which this emphasis on the integration of these musical areas. In Music. between GCSE Music. specification offers.

the Head of Centre and Key Skills coordinator. GCSE Music for certification from June 2014 onwards (version 1. the June 2012 series. website: t Wider Key Skills The AQA Wider Key Skills t Key Skills Levels 1. However. t Key Skills Level 4 The last series available to http://web. Further updates to this information will be posted on the website as it becomes available. at least. This t This information is correct at the time of is a brief outline of that information. certification in the following series: January. The last The final opportunity for candidates to enter for a portfolio moderation took place in June 2011.php test and portfolio was June 2010 with the last certification in the June series 2012. please call the Skills same subject found in other documents on the AQA Funding Agency helpdesk on 0845 377 5000. 2 or 3 Key Skills test or portfolio was June 2011 with the last certification in 2012. D 31 . Copies of the letters have also been sent to away from home. There are various support and June 2012. t Basic Skills Adult Literacy Levels 1 and 2. The Administration Handbook funds for learners aged 16-18 administered by for the Key Skills Standards 2012 has further the Young People’s Learning Agency (YPLA). learners only. centres may t Currently the Skills Funding Agency funds claim proxies for Key Skills components and/or Basic Skills in literacy and numeracy for adult. It is correct as publication.aqa. Adult Numeracy Levels 1 and 2 AQA Basic Skills qualifications will now be available until. March 19 plus. details.uk/qual/keyskills/ candidates entering for the Key Skills Level 4 wider_noticeboard. 2 and 3 Test and Portfolio qualifications are no longer available.1) D Wider Key Skills The replacement of Key Skills with Funding Functional Skills We have received the following advice on the funding The Key Skills qualifications have been replaced of learners undertaking these qualifications: by the Functional Skills. level 1. All Examination Officers in centres offering These include EMA (until the end of the 2010/11 AQA Key Skills and Wider Key Skills have been sent academic year).org. Care to Learn and discretionary a letter outlining the details of the end dates of these learner support hardship funding for learners living subjects. If you would like to check the funding at August 2011 and replaces the information on the provision post-June 2011.

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The classification code for this specification is 7010. schools and colleges are very likely to take the view that they have achieved only one of the two GCSEs. Devas Street. Centres should be aware that candidates who enter for more than one GCSE qualification with the same classification code will have only one grade (the highest) counted for the purpose of the School and College Performance Tables.aqa. To obtain free specification updates and support material or to ask us a question register with Ask AQA: www.uk/ebooking Copyright © 2012 AQA and its licensors. MIG0487.08 The Assessment and Qualifications Alliance (AQA) is a company limited by guarantee registered in England and Wales (company number 3644723) and a registered charity (registered charity number 1073334). Centres may wish to advise candidates that. .uk/ask-aqa/register Support meetings are available throughout the life of the specification. The same view may be taken if candidates take two GCSE specifications that have different classification codes but have significant overlap of content.GCSE Music Teaching from September 2012 onwards Qualification Accreditation Number: 500/4666/4 Every specification is assigned a national classification code indicating the subject area to which it belongs. Manchester M15 6EX. Candidates who have any doubts about their subject combinations should check with the institution to which they wish to progress before embarking on their programmes. if they take two specifications with the same classification code.org.aqa. Registered address: AQA. All rights reserved. Further information is available at: http://events.org.