CCEA GCSE Specification in Music...• progress to further study, for example Advanced Subsidiary (AS) and Advanced level (A level); • develop particular strengths and interests,

GCSE

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

CCEA GCSE Specification in

Music

Contents

1 Introduction 3

1.1 Aims 41.2 Keyfeatures 41.3 Priorattainment 51.4 Classificationcodesandsubjectcombinations

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2 Specification at a Glance

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3 Subject Content 7

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

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

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5 Grade Descriptions

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6 Guidance on Controlled Assessment 19

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

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7 Curriculum Objectives 23

7.1 Cross-CurricularSkillsatKeyStage4 237.2 ThinkingSkillsandPersonalCapabilitiesatKeyStage4

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8 Links and Support 27

8.1 Support 278.2 Examinationentries 278.3 Equalityandinclusion 278.4 Contactdetails 28

Appendix 1

GlossaryofTermsforControlledAssessmentRegulations29

Appendix 2

AssessmentCriteriaandMarkBands–Component1:PerformingandAppraising

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Appendix 3

LevelofDemand:GuidanceforSelectedNon-GradedInstruments38

Appendix 4

AssessmentCriteriaandMarkBands–Component2:Composing42

SubjectCodeQAN

7010603/1222/1

ACCEAPublication©2017

Thisspecificationisavailableonlineatwww.ccea.org.uk

CCEAGCSEMusicfromSeptember2017

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1 Introduction

ThisspecificationsetsoutthecontentandassessmentdetailsforourGCSEcourseinMusic.Wehavedesignedthisspecificationtomeettherequirementsof:

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

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


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1.1 Aims

Thisspecificationaimstoencouragestudentsto:

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

- composingskillstoorganisemusicalideasandmakeuseofappropriateresources;

• recognisetheinterdependenceofmusicalknowledge,understandingandskillsandmakelinksbetweentheintegratedactivitiesofperforming,composing,listeningandappraising;

• developawarenessofmusictechnologiesandtheiruseincreatingandpresentingmusic;

• reflectcriticallyandmakepersonaljudgementsontheirownmusicandthemusicofothers;

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

• developparticularstrengthsandinterests,therebyencouraginglifelonglearningandprovidingaccesstomusic-relatedandothercareers;

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

• continuetodevelopasindividualsandascontributorstosociety,theeconomyandtheenvironmentthroughactiveengagementinmusicalactivities.

1.2 Key features

Thefollowingareimportantfeaturesofthisspecification.

• ItoffersopportunitiestobuildontheskillsandcapabilitiesdevelopedthroughthedeliveryoftheNorthernIrelandCurriculumatKeyStage3.

• Itincludestwoexternallyassessedcomponentsandoneinternallyassessedcomponent.

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

• Itpromotesknowledge,understandingandappreciationofpastandcontemporarymusicalstyles,traditionsandcontexts.

• Itaccommodatestheneedsandinterestsofawidevarietyofstudents.


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1.3 Prior attainment

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

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


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2 Specification at a Glance

ThetablebelowsummarisesthestructureofthisGCSEcourse.

Content Assessment Weightings

Availability

Component1:PerformingandAppraising

ExternalexaminationassessedbyavisitingexaminerStudentspresentonesoloandoneensembleperformance.Thecombineddurationoftheperformancesshouldbenolongerthan6minutes.Studentsdiscussandevaluateperformanceswiththevisitingexaminer.Discussionlastsapproximately3minutes.

Total:35%

Performances:30%

Discussion:5%

Thisisalinearqualification.FromSummer2019

Component2:Composing

ControlledassessmentStudentscreatetwocompositions.Oneisinresponsetoapre-releasestimulusandoneisfreechoice.Teachersmarkthetasks,andwemoderatetheresults.

30%

Component3:ListeningandAppraising

Externalwrittenexamination1hour30minutesStudentsanswerquestionsbasedonfamiliarandunfamiliarmusicrelatingtotheAreasofStudy.

35%


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3 Subject Content

Wehavedividedthiscourseintothreecomponents.Thecontentofeachcomponentandtherespectivelearningoutcomesappearbelow.3.1 Component 1: Performing and Appraising

Studentspreparepiecesforsoloperformanceandforensembleperformance.Theydiscussandappraiseboththeirperformancesandthoseofothers.

Content

LearningOutcomes

Performing(AO1)

Studentsshouldbeableto:

• createasoloandensembleperformancewithtechnicalcontrolandaccuracy;

• interpretandcommunicatethecomposer’sintentionswithanappropriatesenseofstyle;

Soloperforming

• createasoloperformancethatdemonstratesunderstandingofandappliesstylisticfeaturesappropriatetothechosenprogramme;

• createasoloperformancethatmakesappropriateuseoftempo,contrastingdynamics,articulationandphrasing;

Ensembleperforming

• createanensembleperformancethatdemonstratesunderstandingofandappliesstylisticfeaturesappropriatetothechosenprogramme;

• demonstrateasenseofensembleinperformance;

• achieveappropriatebalancebetweenpartsinanensemble;• performwithasenseofdynamicsinanensemble;

Appraising(AO4)

• commentperceptivelyonthemusictheyperform;and• appraiseanddiscusstheirperformance.


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Content

LearningOutcomes

Appraising(cont.) Studentsshouldbeableto:

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

- thestylisticconventionsofthepieces;and

• discussdetailsofrecordingsand/orperformancestheyhavelistenedtoandhowthesehaveinfluencedtheirfinalperformance.


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3.2 Component 2: Composing

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

Content

LearningOutcomes

Composing(AO2)


• createanddevelopmusicalideas;• understand,controlandmakeuseofmusicalresourceseffectively;and

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


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3.3 Component 3: Listening and Appraising

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

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

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

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

Content

LearningOutcomes

Listening(AO3)


• demonstrateknowledgeandunderstandingofstylisticconventionsandtherelationshipbetweenmusicanditssocialandhistoricalcontexts;

Knowledgeandunderstanding

• demonstrateandapplymusicalknowledgeandunderstandingwhendiscussingfamiliarandunfamiliarmusic;

Appraising(AO4)

• usesubject-specificmusicalvocabularyintheirresponses;and

• makeevaluativeandcriticaljudgementsonfamiliarandunfamiliarmusic.


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Content

LearningOutcomes

Appraising(AO4)(cont.)


• applyknowledgeandunderstandingofperformanceandcompositionaltechniquesanddeviceswhenlisteningandappraising;and

Musicalelements

• commentperceptivelyonthefollowingmusicalelementsinrelationtothesetworksandunfamiliarmusicfromtheAreasofStudy:- melody:

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

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

- tonality:major,minor,modalandkeysignaturestofoursharpsorflats;and

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


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Content

LearningOutcomes

Musicalelements(cont.)


• commentperceptivelyonthefollowingmusicalelementsinrelationtothesetworksandunfamiliarmusicfromtheAreasofStudy:- timbre:

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

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

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

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

CompulsoryAreasofStudy1.WesternClassicalMusic1600–1910

• demonstrateknowledgeandunderstandingofWesternClassicalmusic1600–1910bystudyingthesetworksforthisAreaofStudy;and

• demonstrateknowledgeandunderstandingoftheBaroque,ClassicalandRomanticperiods(choralandorchestral),referringtotheappropriatemusicalelementslistedpreviously.


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Content

LearningOutcomes

1.WesternClassicalMusic1600–1910(cont.)


• useappraisingskillstoanalysefamiliarandunfamiliarchoralandorchestralmusic1600–1910,referringtotheappropriatemusicalelementslistedpreviously;

2.FilmMusic

• demonstrateknowledgeandunderstandingoffilmmusicbystudyingthesetworksforthisAreaofStudy;

• demonstrateknowledgeandunderstandingoforchestralfilmmusicinthetwentiethandtwenty-firstcentury,referringtotheappropriatemusicalelementslistedpreviously;

• useappraisingskillstoanalysefamiliarandunfamiliarorchestralfilmmusic,referringtotheappropriatemusicalelementslistedpreviously;

3.MusicalTraditionsofIreland

• demonstrateknowledgeandunderstandingofmusicaltraditionsofIrelandbystudyingthesetworksforthisAreaofStudy;

• demonstrateknowledgeandunderstandingofIrishtraditionalandUlsterScotsmusic,referringtotheappropriatemusicalelementslistedpreviously;

• useappraisingskillstoanalysefamiliarandunfamiliarinstrumentalandvocalIrishtraditionalandUlsterScotsmusic,referringtotheappropriatemusicalelementslistedpreviously;

4.PopularMusic1980–presentday

• demonstrateknowledgeandunderstandingofpopularmusicfrom1980tothepresentdaybystudyingthesetworksforthisAreaofStudy;

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

• useappraisingskillstoanalysefamiliarandunfamiliarpopularmusicfrom1980tothepresentday,referringtotheappropriatemusicalelementslistedpreviously.


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4 Scheme of Assessment

4.1 Assessment opportunities

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

Therearefourassessmentobjectivesforthisspecification.Candidatesmust:

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

ThetablebelowsetsouttheassessmentobjectiveweightingsforeachassessmentcomponentandtheoverallGCSEqualification.

AssessmentObjective

ComponentWeighting(%) OverallWeighting(%)

ExternalAssessment

ControlledAssessment

ExternalAssessment

Component1 Component2 Component3

AO1 30 30

AO2 30 30

AO3 20 20

AO4 5 15 20

TotalWeighting 35 30 35 100


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4.4 Quality of written communication

InGCSEMusic,candidatesmustdemonstratetheirqualityofwrittencommunication.Theyneedto:

• ensurethattextislegibleandthatspelling,punctuationandgrammarareaccuratesothatmeaningisclear;

• selectanduseaformandstyleofwritingthatsuittheirpurposeandcomplexsubjectmatter;and

• organiseinformationclearlyandcoherently,usingspecialistvocabularywhereappropriate.

Qualityofwrittencommunicationisassessedinresponsestoquestionsandtasksthatrequireextendedwriting.4.5 Reporting and grading

WeawardGCSEqualificationsonagradescalefromA*toG,withA*beingthehighest.Theninegradesavailableareasfollows:

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

Component 1: Performing and Appraising

ExternalassessmentforComponent1consistsoftwoperformancesandanevaluativediscussion.PerformingCandidatesperformatleasttwopiecesofmusic.Theyperformoneasasoloandoneaspartofanensemble.Thecombineddurationofthesoloandensembleperformancesshouldbenolongerthan6minutes.

• Thesoloperformanceshouldbeatleast2minuteslongandmaybeaccompaniedbyaliveaccompanistorbackingtrack.

• Theensembleperformanceshouldbeatleast1minutelongandmustfeatureatleasttwomusicians,includingthecandidate.Thepartperformedbythecandidatemustbeindependentenoughtoallowtheexaminertojudgetheirensembleskills.


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AppraisingCandidatesdiscusstheirperformanceswithanexternalexaminer.Thisdiscussionlastsnolongerthan3minutesandcentreson:

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

AssessmentforComponent3isthroughoneexternallyassessedlisteningandappraisingexaminationlasting1hour30minutes.Theexaminationpaperhasthreesections:

• SectionA:listeningquestionsbasedonthesetworks;• SectionB:listeningquestionsbasedonunfamiliarmusicfromtheAreasofStudy;and

• SectionC:oneextendedwritinglisteningquestionbasedonasetwork.Theexaminationincludesthefollowingstylesofquestions:

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

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


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5 Grade Descriptions

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

Grade

Description

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

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


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Grade

Description

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


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6 Guidance on Controlled Assessment

6.1 Controlled assessment review

Wewillreviewourcontrolledassessmenttaskseveryyeartoensurethattheycontinuetosetanappropriatechallengeandremainvalid,reliableandstimulating.6.2 Skills assessed by controlled assessment

Teachersmustassessthefollowingcoreskillsthroughthecontrolledassessmentofbothcompositions:

• creation,organisationanddevelopmentofideas;and• understanding,controlanduseofresources.

Teachersmustassessthreeofthefollowingskillsthroughthecontrolledassessmentofeachcomposition(pleasenotethatuseofharmonymustbeassessedinCompositionA):

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

RulesforcontrolledassessmentinGCSEMusicaredefinedforthethreestagesoftheassessment:

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

Thelevelofcontrolfortasksettingismedium.Thismeansthatwesetthetasks.Centreshavetheopportunitytocontextualisethecontrolledassessmenttaskstosuittheirspecificcircumstances.Thisincludestheavailabilityofandaccesstoresources.Wewillprovidecentreswithdetailsofcontrolledassessmenttasksandguidanceonhowtocompleteandsubmitthem.


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Component 2: Composing

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

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

• ascoreoutliningperformancedirectionthroughmusicalnotationand,forexample,useoftempo,dynamicsandinstrumentaltechniques;

• aleadsheetoutliningadetailedframeworkthatallowsforamusicalperformance,forexampleamelodylinewithchordsymbolsandlyrics,whereappropriate;or

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

RecordingsshouldbesubmittedonCDformattedforaudioplayback.6.5 Task taking

Therearedifferentlevelsofcontrolinthetasks,forexampleresearch–limitedcontrolandoutcome–highcontrol.

AreasofControl DetailofControl

Authenticity • Teachersmustensurethatcandidatesareawareofanythirdpartycopyrightorintellectualpropertyissuesintheirwork.

• Theymustsignadeclarationtocertifythat,tothebestoftheirknowledge,alltheworkthatcandidateshavesubmittedforassessmentistheirown.


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AreasofControl DetailofControl

Feedback

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

- ensureworkcanbeassessedinaccordancewiththeproceduresandmarkingcriteria.

TimeLimit/WordLimit

• Thecombinedlengthofbothcompositionsshouldbe3–6minutes.

• Candidateshave25hourstocompletethiscomponent.

Collaboration • Candidatesmustworkindependentlywhencompletingbothcompositions.

Resources • Candidatesmayuseacousticinstrumentsand/orelectronicmedia.

• Candidatesmayusenotation,sequencingandmultitrackingsoftwaretocompletetheircompositions.

6.6 Task marking

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


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6.7 Internal standardisation

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

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

Centresmustsubmittheirmarksandsamplestousbythedeadlineweseteachyear.Wemayadjustcentres’markingtobringtheassessmentofthecandidates’workintolinewithouragreedstandards.Weissuefullinstructionseachyearon:

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

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


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7 Curriculum Objectives

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

Communication


• communicatemeaning,feelingsandviewpointsinalogicalandcoherentmanner,forexamplethroughtheirperformanceforanaudienceontheirchoseninstrumentandthroughtheirconversationwiththevisitingexaminerabouttheir

chosenperformancepieces;• makeoralandwrittensummaries,reportsandpresentations,takingaccountofaudienceandpurpose,forexamplethepresentationofcompositionideasthroughascore,leadsheetorwrittenaccount;

• participateindiscussions,debatesandinterviews,forexamplediscussionwiththevisitingexamineraboutthechoiceofperformancematerial;

• interpret,analyseandpresentinformationinoral,writtenandICTformats,forexampleinresponsetoquestionsonAreasofStudy,familiarandunfamiliar

musicinthewrittenexamination,andintheirsummativeinformationintheir

score,leadsheet,compositionorwrittenaccount;and• exploreandrespondimaginativelyandcreativelytoavarietyoftexts,forexamplethedevelopmentofcreativeandimaginativeideasdrawnfromthe

stimulusmaterialandappliedtocomposition.


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UsingMathematics


• usemathematicallanguageandnotationwithconfidence,forexampleindescribingintervalsandreadingtrebleandbassclef;

• usementalcomputationtocalculate,estimateandmakepredictionsinarangeofsimulatedandreal-lifecontexts,forexampleincompletingmelodiesfrommainthemes;

• selectandapplymathematicalconceptsandproblem-solvingstrategiesinarangeofsimulatedandreal-lifecontexts,forexamplecreatingchordsequencesandmelodiesincomposition;

• interpretandanalyseawiderangeofmathematicaldata,forexampleinidentifyingchordsandcadences;

• assessprobabilityandriskinarangeofsimulatedandreal-lifecontexts,forexampleinplanningandcreatingacomposition;and

• presentmathematicaldatainavarietyofformatswhichtakeaccountofaudienceandpurpose,forexampletimingofperformances.

UsingICT

Studentsshouldbeabletomakeeffectiveuseofinformationandcommunicationstechnologyinawiderangeofcontextstoaccess,manage,selectandpresentinformation,includingmathematicalinformation,forexample:

• usetechnologyintheresearchontheAreasofStudyandonthematerialsselectedforperformanceandcomposition;

• experienceliveandrecordedmusicandunderstandtheuseofdigitaltechnologyinthedesignanddeliveryofmusic;

• explorearangeofmusicsoftwaresuchasLogicProandGarageBandornotationsoftwaresuchasSibeliusinthecreationandpresentationoftheircomposition;

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


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7.2 Thinking Skills and Personal Capabilities at Key Stage 4

Self-Management


• planwork,forexampleresearchtheAreasofStudyandcompletethescore,leadsheetorwrittencommentaryforcomposition;

• setpersonallearninggoalsandtargetstomeetdeadlines,forexamplecompilearehearsalscheduleforperformance;

• monitor,reviewandevaluatetheirprogressandimprovetheirlearning,forexampleevaluatetheirprogresswhenpreparingforperformance,andcreatea

studyplanforthewrittenexamination;and• effectivelymanagetheirtime,forexampleworkindividuallytoprepareperformancepiecesfortheexaminationandcompletecompositionswithinthe

25hourtimeframe.

WorkingwithOthers


• learnwithandfromothersthroughco-operation,forexamplethroughrehearsingandperformingaspartofanensemble;

• participateineffectiveteamsandacceptresponsibilityforachievingcollectivegoals,forexamplethroughthegrouprehearsalfortheensembleperformance;and

• listenactivelytoothersandinfluencegroupthinkinganddecision-making,takingaccountofothers’opinions,forexamplethroughgroupnegotiationofthechoiceofmaterialfortheensembleperformance.


26

ProblemSolving


• identifyandanalyserelationshipsandpatterns,forexampleidentifylinksbetweenthecompositionalstylesstudiedandthecreativeelementofthecourse;

• proposejustifiedexplanations,forexampleuseresearchfindingstojustifydecisionsaboutthechoiceofmaterialsforperformance;

• reason,formopinionsandjustifytheirviews,forexamplejustifyperformanceideastothevisitingexaminer,offertheirownconclusionsabouttheir

performanceanddemonstrateunderstandingofthebackgroundoftheirpiece;• analysecriticallyandassessevidencetounderstandhowinformationorevidencecanbeusedtoservedifferentpurposesoragendas,forexampleanalysehowchangingonepieceofinformationaffectstheoutcomefor

composition;• analyseandevaluatemultipleperspectives,forexampleanalysedifferentsetworksfromtheAreasofStudy;

• exploreunfamiliarviewswithoutprejudice,forexampleinresponsetoquestionsonunfamiliarmusicinthewrittenexamination;

• weighupoptionsandjustifydecisions,forexamplemakingdecisionsaroundthechoiceofadditionalcriteriaforcomposition;and

• applyandevaluatearangeofapproachestosolveproblemsinfamiliarandnovelcontexts,forexamplemakingdecisionsaboutinstruments,form,structureandoverallcontextwhenrespondingtoquestionsonunfamiliarmusicinthe

writtenexamination.

AlthoughnotreferredtoseparatelyasastatutoryrequirementatKeyStage4intheNorthern Ireland Curriculum,Managing Information andBeing Creative may alsoremainrelevanttolearning.


27

8 Links and Support

8.1 Support

Thefollowingresourcesareavailabletosupportthisspecification:

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

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

8.2 Examination entries

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

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


28

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

Ifyouhaveanyqueriesaboutthisspecification,pleasecontacttherelevantCCEAstaffmemberordepartment:

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

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

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

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

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

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

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

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


29

Appendix 1

Glossary of Terms for Controlled Assessment Regulations

Term Definition

Component

Adiscrete,assessableelementwithinacontrolledassessment/qualificationthatisnotitselfformallyreportedandforwhichtheawardingorganisationrecordsthemarksMaycontainoneormoretasks

Controlledassessment

Aformofinternalassessmentwherethecontrollevelsaresetforeachstageoftheassessmentprocess:tasksetting,tasktaking,andtaskmarking

Externalassessment

Aformofindependentassessmentinwhichquestionpapers,assignmentsandtasksaresetbytheawardingorganisation,takenunderspecifiedconditions(includingdetailedsupervisionandduration)andmarkedbytheawardingorganisation

Formalsupervision(Highlevelofcontrol)

Thecandidatemustbeindirectsightofthesupervisoratalltimes.Useofresourcesandinteractionwithothercandidatesistightlyprescribed.

Informalsupervision(Mediumlevelofcontrol)

Questions/Tasksareoutlined,theuseofresourcesisnottightlyprescribedandassessableoutcomesmaybeinformedbygroupwork.Supervisionisconfinedto:

• ensuringthatthecontributionsofindividualcandidatesarerecordedaccurately;and

• ensuringthatplagiarismdoesnottakeplace.Thesupervisormayprovidelimitedguidancetocandidates.

Limitedsupervision(Limitedlevelofcontrol)

Requirementsareclearlyspecified,butsomeworkmaybecompletedwithoutdirectsupervisionandwillnotcontributedirectlytoassessableoutcomes.


30

Term Definition

Markscheme Aschemedetailinghowcreditistobeawardedinrelationtoaparticularunit,componentortask

Normallycharacterisesacceptableanswersorlevelsofresponsetoquestions/tasksorpartsofquestions/tasksandidentifiestheamountofcrediteachattracts

Mayalsoincludeinformationaboutunacceptableanswers

Task Adiscreteelementofexternalorcontrolledassessmentthatmayincludeexaminations,assignments,practicalactivitiesandprojects

Taskmarking Specifiesthewayinwhichcreditisawardedforcandidates’outcomes

Involvestheuseofmarkschemesand/ormarkingcriteriaproducedbytheawardingorganisation

Tasksetting Thespecificationoftheassessmentrequirements

Tasksmaybesetbyawardingorganisationsand/orteachers.Teacher-settasksmustbedevelopedinlinewithawardingorganisationspecifiedrequirements.

Tasktaking Theconditionsforcandidatesupportandsupervision,andtheauthenticationofcandidates’work

Tasktakingmayinvolvedifferentparametersfromthoseusedintraditionalwrittenexaminations.Forexample,candidatesmaybeallowedsupervisedaccesstosourcessuchastheinternet.

Unit Thesmallestpartofaqualificationthatisformallyreported

Maycompriseseparatelyassessedcomponents

App

endi

x 2

Ass

essm

ent C

riter

ia a

nd M

ark

Ban

ds –

Com

pone

nt 1

: Per

form

ing

and

App

rais

ing

Compo

nent1:Perform

ingandApp

raisingSoloPerform

ance(3

0marks)

Crite

ria

MarkBa

nd1

MarkBa

nd2

MarkBa

nd3

MarkBa

nd4

Technicalcon

troland

accuracy

(15marks)

•Thepe

rformance

demon

strateslim

ited

technicalcon

trol.

•Thepe

rformance

demon

stratessome

technicalcon

trol.

•Thepe

rformance

demon

stratesgood

technicalcon

trol

approp

riatetothe

demandsand

styleof

themusic.

•Thepe

rformanceis

confiden

tand

demon

stratesvery

good

techn

icalcon

trol

approp

riatetothe

demandsand

styleof

themusic.

•Thepe

rformance

containsm

any

inaccuraciesthat

disrup

ttheflo

wofthe

music.

•Thepe

rformance

containsinaccuracies

butstillm

anagesto

sustaintheoverall

flowofthe

music.

•Thepe

rformanceis

largelyaccurate,w

ith

someerrorshaving

limited

impactonthe

overallperform

ance.

•Thepe

rformanceis

accurateand

flue

ntthrougho

ut;anym

inor

errorsdono

tim

pact

onthe

overallsuccess

ofthe

perform

ance.

•Intonation

(whe

rerelevant)ispo

or.

•Intonation

(whe

rerelevant)issecurein

places.

•Intonation

(whe

rerelevant)ismostly

secure.

•Intonation

(whe

rerelevant)issecurefo

rmostofthe

performance.

(1–3m

arks)

(4–7m

arks)

(8–11marks)

(12–15

marks)

CCEA GCSE Music from September 2017

31

Compo

nent1:Perform

ingandApp

raisingSoloPerform

ance(3

0marks)(cont.)

Crite

ria

MarkBa

nd1

MarkBa

nd2

MarkBa

nd3

MarkBa

nd4

Expressiv

einterpretatio

nan

dsenseofstyle

(tem

po,dynam

ics,

articulation

,phrasing

andcommun

ication)

(12marks)

•Aperform

ancethat

demon

stratesa

limited

und

erstanding

ofthe

stylistic

featuresofthe

cho

sen

programme.

•Aperform

ancethat

demon

stratessome

unde

rstand

ingofthe

stylisticfeaturesof

thechosen

programme.

•Aperform

ancethat

demon

stratesgood

unde

rstand

ingofthe

stylisticfeaturesof

thechosen

programme.

•Aperform

ancethat

demon

stratesvery

good

und

erstanding

andconvincingly

appliesstylistic

featuresapp

ropriate

tothe

cho

sen

programme.

•Thepe

rformancehas

noclearsen

seof

directionandmakes

limited

and

/or

inapprop

riateuseof

tempo

,dynam

ics,

articulation

and

phrasing.

•Thepe

rformancehas

somesenseof

directionandmakes

someuseoftem

po,

dynamics,articulation

andph

rasing.

•Thepe

rformancehas

asenseofdirection

andmakesgoo

duse

oftem

po,dynam

ics,

articulation

and

phrasing.

•Thepe

rformancehas

astrongsen

seof

directionandmakes

effectiveuseof

tempo

,dynam

ics,

articulation

and

phrasing.

(1–3m

arks)

(4–6m

arks)

(7–9m

arks)

(10–12

marks)


32

Compo

nent1:Perform

ingandApp

raisingSoloPerform

ance(3

0marks)(cont.)

Crite

ria

MarkBa

nd1

MarkBa

nd2

MarkBa

nd3

MarkBa

nd4

Levelofd

eman

d

(3m

arks)

•Musicbelow

Grade

1.

•Musicequ

ivalen

tto

Grade

1.

•Musicequ

ivalen

tto

Grade

2.

•Musicequ

ivalen

tto

Grade

3orabove.

•Simplemusicthat

placesm

odest

demandsonthe

performer,including

novariation

inmelod

icand

/or

rhythm

icpatterns.

•Musicreq

uiringa

mod

eratelevelof

demand,includ

ing

somevariationin

melod

icand

/or

rhythm

icpatternsand

anarrow

pitchrange.

•Morechallenging

music,includingm

ore

difficultkeys,

requ

iringagreater

degreeoftechn

ical

ability,awiderpitch

rangeandgreater

variationinm

elod

icandrhythm

icideas.

•Verychallenging

musicreq

uiringahigh

leveloftechn

ical

expe

rtiseto

accommod

atemore

difficultkeysand

/or

mod

ulations,alarge

pitchrange,m

ore

complexm

elod

icand

rhythm

icideas,and

varied

textures.

(0m

arks)

(1m

ark)

(2m

arks)

(3m

arks)

Awardzerofo

rworkno

tworthyofcred

it.


33

Compo

nent1:Perform

ingandApp

raisingEn

semblePe

rform

ance(3

0marks)

Crite

ria

MarkBa

nd1

MarkBa

nd2

MarkBa

nd3

MarkBa

nd4

Technicalcon

troland

accuracy

(12marks)

•Aperform

ancethat

demon

strateslim

ited

technicalcon

trol.

•Aperform

ancethat

demon

stratessome

technicalcon

trol.

•Aperform

ancethat

demon

stratesgood

technicalcon

trol,

approp

riatetothe

demandsand

styleof

themusic.

•Aperform

ancethatis

confiden

tand

demon

stratesvery

good

techn

icalcon

trol

approp

riatetothe

demandsand

styleof

themusic.

•Thepe

rformance

containsm

any

inaccuraciesthat

disrup

ttheflo

wofthe

music.

•Thepe

rformance

containsinaccuracies

butstillm

anagesto

sustaintheoverall

flowofthe

music.

•Thepe

rformanceis

largelyaccurate,w

ith

someerrorshaving

limited

impactonthe

overallsuccessofthe

performance.

•Thepe

rformanceis

accurateand

flue

ntthrougho

utand

any

minorerrorsdo

not

impactontheoverall

successofthe

performance.

•Intonation

(whe

rerelevant)ispo

or.

•Intonation

(whe

rerelevant)issecurein

places.

•Intonation

(whe

rerelevant)ismostly

secure.

•Intonation

(whe

rerelevant)issecurefo

rthemajorityofthe

performance.

(1–3m

arks)

(4–6m

arks)

(7–9m

arks)

(10–12

marks)


34

Compo

nent1:Perform

ingandApp

raisingEn

semblePe

rforman

ce(3

0marks)(cont.)

Crite

ria

MarkBa

nd1

MarkBa

nd2

MarkBa

nd3

MarkBa

nd4

Senseofensem

ble,

balancean

ddyna

mics

(15marks)

•Aperform

ancethat

demon

stratesa

limited

sen

seof

ensemble.

•Am

utuallysup

portive

performancethat

demon

stratessome

senseofensem

ble.

•Aperform

ancethat

demon

stratesagood

senseofensem

ble

whileperform

inga

moredifficult

individu

alpart.

•Aperform

ancethat

demon

stratesastrong

senseofensem

ble

andleadership

throughsensitivityto

theothe

rpe

rformers.

•Thepe

rformance

demon

stratesapo

orbalancebe

tween

individu

alpartsand

dynamicrangedoe

sno

tcontribu

tetothe

performanceasa

who

le.

•Thepe

rformance

achievessom

esense

ofbalanceand

awaren

essofhow

the

cand

idate’spart

relatestothe

pieceas

awho

le.The

reis

someabilitytomake

dynamicadjustm

ents

througho

utthe

performance.

•Thepe

rformance

achievesagoo

dsense

ofbalancethrou

ghthecand

idate’sow

ncontribu

tion

.Goo

ddynamicbalanceis

achieved

throu

ghapprop

riate

adjustmen

tsthrougho

utthe

performance.

•Thereisanexcellent

balancebe

tween

partsandwell-

hand

leddynamic

contrastsaddtothe

overalleffectivene

ssofthe

perform

ance.

(1–3m

arks)

(4–7m

arks)

(8–11marks)

(12–15

marks)


35

Compo

nent1:Perform

ingandApp

raisingEn

semblePe

rforman

ce(3

0marks)(cont.)

Crite

ria

MarkBa

nd1

MarkBa

nd2

MarkBa

nd3

MarkBa

nd4

Levelofd

eman

d•Musicbelow

Grade

1.

•Musicequ

ivalen

tto

Grade

1.

•Musicequ

ivalen

tto

Grade

2.

•Musicequ

ivalen

tto

Grade

3orabove.

(3m

arks)

•Simplemusicthat

placesm

odest

demandsonthe

performer,including

novariation

inmelod

icand

/or

rhythm

icpatterns.

•Musicreq

uiringa

mod

eratelevelof

demand,includ

ing

somevariationin

melod

icand

/or

rhythm

icpatternsand

anarrow

pitchrange.

•Morechallenging

musicreq

uiringa

greaterde

greeof

technicalabilityto

performinm

ore

difficultkeys,awider

pitchrangeand

greatervariationin

melod

icand

rhythmic

ideas.

•Verychallenging

musicreq

uiringahigh

leveloftechn

ical

expe

rtiseto

accommod

atemore

difficultkeysand

/or

mod

ulation,alarge

pitchrange,m

ore

complexm

elod

icand

rhythm

icideas,and

varied

textures.

(0m

arks)

(1m

ark)

(2m

arks)

(3m

arks)

Awardzerofo

rworkno

tworthyofcred

it.


36

Compo

nent1:Perform

ingandApp

raisingEvalua

tiveDiscussio

n(10marks)

Crite

ria

MarkBa

nd1

MarkBa

nd2

MarkBa

nd3

MarkBa

nd4

Evalua

tivediscussio

n

(10marks)

•Limited

abilityto

discussthechosen

programme’s

technicalchallenges

and/orpointsof

interpretation

.

•Someknow

ledgeof

thechosen

programmeandsome

abilitytodiscuss

technicalchallenges

and/orpointsof

interpretation

.

•Goo

dknow

ledgeof

thechosen

programmeandgood

abilitytodiscussin

detailthetechnical

challengesand

/or

pointsof

interpretation

.

•Excellentkno

wledge

ofthe

cho

sen

programmeand

excellentabilityto

discussanalyticallythe

technicalchallenges

and/orpointsof

interpretation

.

(1–2m

arks)

(3–5m

arks)

(6–8m

arks)

(9–10marks)

Awardzerofo

rworkno

tworthyofcred

it.


37

App

endi

x 3

Leve

l of D

eman

d: G

uida

nce

for S

elec

ted

Non

-Gra

ded

Inst

rum

ents

Trad

ition

al Ir

ish

Inst

rum

ents

Crite

ria

MarkBa

nd1

MarkBa

nd2

MarkBa

nd3

MarkBa

nd4

Levelofd

eman

d

(3m

arks)

•Norangeofpieces.

•Arangeofp

iecessuch

asballadsand

/or

marches.

•Am

orevaried

programme,includ

ing

jigsandreels.

•Slow

airsandmore

difficultjigsandreels.

•Noornamen

tation

.•Simpleornamen

tation

,suchasgraceno

tes

andcuts.

•Morecomplex

ornamen

tation

,such

assim

pleturns,slides

anddo

ublegrace

notes.

•Awiderangeof

approp

riate

ornamen

tation

,such

asrolls,crann

sand

tripletgraceno

tes.

(0m

arks)

(1m

ark)

(2m

arks)

(3m

arks)


38

Scot

tish

Bag

pipe

s

Crite

ria

MarkBa

nd1

MarkBa

nd2

MarkBa

nd3

MarkBa

nd4

Levelofd

eman

d

(3m

arks)

•Majortun

ingissues.

•Someabilitytotune

dron

es.

•Someabilitytofocus

onthe

qualityofton

ebyreasonablyaccurate

tuningofd

rone

sand

hand

lingofreeds.

•Abilitytofo

cuson

the

qualityofton

eby

tuningdrone

s,un

derstand

ingthe

function

ofthe

bridle

andsettingthe

chanterreed

.

•Co

-ordinationispoo

r.•Someabilityto

co-ordinatebreath,

fingersand

arm

pressure.

•Co

mpe

tentcon

trolof

breath,fingersand

armpressureto

ensureapp

ropriate

phrasing.

•Flue

ntbreath,finger

andarmco-ordination

tom

atchtechn

ical

requ

irem

ents.

•Une

ventone

.•Limited

evenn

essof

tone

and

sim

ple

tonguing,produ

cing

slurredandseparate

notes.

•To

nalbalance

betw

eenop

enand

pinche

dno

tes,and

compe

tentton

guing,

prod

ucingstaccato

andshortlegato

phrases.

•Goo

dtone

,withclear

tonguingand

abilityto

sustainmoreextend

edlegatophrases.

(0m

arks)

(1m

ark)

(2m

arks)

(3m

arks)


39

Acc

ordi

on (trebleandbasskeybo

ards,freebasskeybo

ard,piano

orbu

tton

key)

Crite

ria

MarkBa

nd1

MarkBa

nd2

MarkBa

nd3

MarkBa

nd4

Levelofd

eman

d

(3m

arks)

•Noco-ordination

betw

eenhand

s.•Abilitytoco-ordinate

hand

s.•Someabilitytouse

registersandtheuse

ofreedstocontrol

pitchandtone

.

•Co

mpe

tentuseof

registerstovarypitch,

octavesand/orton

eprod

uction

,whe

reapprop

riate.

•Limited

useof

fund

amen

taland

majorcho

rdrow

s.

•Useoffun

damen

tal

andmajorcho

rdrow

s(Stradellabass

system

s).

•Awiderrangeofp

itch

andcorrectfin

ger

control(freebass

keyboards),and

more

extend

eduseofcho

rdrows,fo

rexam

ple

coun

terbass,m

inor

and7thchordrows

(Stradellabass

system

s).

•Co

ntrolofregistersto

varypitchand

/or

octavesoverawider

range(freebass

keyboards),and

ability

tousethe

fullrangeof

chords(Stradellabass

system

s).

•Articulationand

phrasingislimited

.•Be

llowstechniqu

eprod

ucesade

quate

articulation

ofsou

nd,

simpleph

rasingand

arestricted

dynam

icrange.

•Be

llowstechniqu

eto

prod

ucemoreprecise

tone

,som

evaried

articulation

and

awiderdynam

icrange.

•Be

llowstechniqu

eprod

ucesqualitytone

,varied

articulation,

sustaine

dph

rasingand

awiderdynam

icrange.

(0m

arks)

(1m

ark)

(2m

arks)

(3m

arks)


40

Turn

tabl

e/D

ecks

Crite

ria

MarkBa

nd1

MarkBa

nd2

MarkBa

nd3

MarkBa

nd4

Levelofd

eman

d

(3m

arks)

•Stilted

movem

ent

betw

eentw

oturntables.

•Fluidmovem

ent

betw

eentw

oturntablesand

ability

todropmix.

•Moreskilled

mixingof

tworecords,fo

rexam

plebe

atmatching.

•Flue

ntm

ixingoftwo

recordswithdifferen

ttempi,forexample

beatm

ixing.

•Anun

even

matchof

thevolumelevels.

•Asmoo

thm

atchofthe

volumelevels.

•Asmoo

thm

atchofthe

phrasingofthe

music

oneachrecord.

•Agreaterdegreeof

person

alinterpretation

throu

ghscratchingorback

spinning,thu

sim

provisingsome

addition

alrhythms.

(0m

arks)

(1m

ark)

(2m

arks)

(3m

arks)


41

App

endi

x 4

Ass

essm

ent C

riter

ia a

nd M

ark

Ban

ds –

Com

pone

nt 2

: Com

posi

ng

Compu

lsorycrite

ria:b

othmustbe

assessedinCom

position

Aand

Com

position

B(1

8marks)

Compu

lsoryCriteria

MarkBa

nd1

MarkBa

nd2

MarkBa

nd3

MarkBa

nd4

Crea

tion,organ

isatio

nan

dde

velopm

ento

fidea

s

(10marks)

•Musicalideasshow

limited

style,creativity,

balanced

phrasing,

shap

ean

dflu

ency.

•Musicalideasshow

somesenseofstyle,

creativity,b

alan

ced

phrasing

,sha

peand

fluen

cy.

•Musicalideasshow

ago

odsen

seofstyle,

creativity,b

alan

ced

phrasing

,sha

peand

fluen

cy.

•Musicalideasshow

astrong

sen

seofstyle,

creativity,b

alan

ced

phrasing

,sha

peand

fluen

cy.

•Th

ereislimited

developm

entof

musicalideas.

•Th

ereissom

ede

velopm

entof

musicalideas.

•Th

ereisgoo

dde

velopm

entof

musicalideasinline

withtheoverall

structureofthe

music.

•Th

ereisstylistican

dim

aginative

developm

entof

musicalideasinline

withtheoverall

structurean

dgenreof

themusic.

•Limited

structural

interestwithno

clear

form

.The

musiclacks

directionan

dis

disorgan

ised

.

•Somestructural

interestand

musical

cohe

rencewithina

recogn

ised

form

.The

mu sicsho

wssome

direction.

•Goo

dstructural

interestand

musical

cohe

rencewithina

recogn

ised

form

.The

musicsho

wsdirection

andha

sasenseof

completen

ess.

•Th

emusicisorgan

ised

withsoph

istication

into

aclearstructurean

d/or

form

.The

reisclear

directionan

dpu

rpose

tothe

musicand

ithas

asenseof

completen

ess.

(1–3

marks)

(4–5

marks)

(6–7

marks)

(8–1

0marks)


42

Compu

lsorycrite

ria:b

othmustbe

assessedinCom

position

Aand

Com

position

B(1

8marks)(cont.)

Compu

lsoryCriteria

MarkBa

nd1

MarkBa

nd2

MarkBa

nd3

MarkBa

nd4

Unde

rstand

ing,co

ntrol

anduseofre

sources

(8m

arks)

•Writingfo

rthechosen

instrumen

tsand

/or

voicesislimited

and/orinapprop

riate.

•Writingfo

rthechosen

instrumen

tsand

/or

voicessho

wssome

unde

rstand

ing.

•Writingfo

rthechosen

instrumen

tsand

/or

voicessho

wsgood

unde

rstand

ingandis

idiomatic.

•Strongwritingfo

rthe

chosen

instrumen

tsand/orvoices;the

compo

sition

isidiomatic,imaginative

andstylistic.

(1–2m

arks)

(3–4m

arks)

(5–6m

arks)

(7–8m

arks)

Awardzerofo

rworkno

tworthyofcred

it.


43

Additio

nalcriteria:threeofthe

fivecriteriabe

lowm

ustbe

assessedinCom

position

Aand

Com

position

B.(12m

arks)

Additio

nalC

riteria

MarkBa

nd1

MarkBa

nd2

MarkBa

nd3

MarkBa

nd4

(1)

Useofharmon

y(M

ustbe

assessedin

Compo

sition

A)

(4m

arks)

•Limited

und

erstan

ding

ofharmon

ywithinthe

chosen

style.

•Someun

derstand

ingof

prim

arychords,

function

alharmon

yan

dha

rmon

icpulsewithin

thechosen

style.

•Goo

dun

derstand

ingof

prim

arychords,

prog

ressionsand

harm

onicpulsewithin

thechosen

style.

•Excellentund

erstan

ding

ofcho

rds,progression

san

dha

rmon

iccolou

rwithinthechosen

style.

(1m

ark)

(2m

arks)

(3m

arks)

(4m

arks)

(2)

Texturean

daccompa

nimen

t

(4m

arks)

•Limited

and

/or

inap

prop

riateuseof

texture.The

accompa

nimen

tstyleis

simplean

d/or

inap

prop

riateforthe

chosen

gen

re.

•Someuseoftextureto

createand

maintain

interestand

variety.The

accompa

nimen

tstyleis

mostlyap

prop

riatean

dun

chan

gedthroug

hout.

•Goo

duseoftextureto

createand

maintain

interestand

variety.The

accompa

nimen

tstyleis

mostlyinteresting,

approp

riatean

dshow

ssomevariation.

•Effectivean

dresourcefuluseof

texturetocreatean

dma intaininterestand

variety.The

accompa

nimen

tstylei s

interesting,im

aginative

andvaried

.

(1m

ark)

(2m

arks)

(3m

arks)

(4m

arks)

(3)

Rhythm

icin

terest

(4m

arks)

•Limited

rhythmic

interestwithinthe

compo

sition

.The

writing

isnotinkee

ping

withthechosen

gen

re.

•Somerhythm

icinterest

withinthecompo

sition

,withsomecontrasting

ideasan

dde

velopm

ent .

Thewriting

isnotalways

inthe

styleofthe

chosen

gen

re.

•Goo

drhythm

icinterest

withinthecompo

sition

,show

ingvarietyan

dde

velopm

ent.The

writing

isinthe

styleof

thechosen

gen

re.

•Rh

ythm

icideasarewell

chosen

and

fully

develope

d,and

sho

woriginality.The

reisa

senseofidiomati c

writing

withinthe

chosen

gen

re.

(1m

ark)

(2m

arks)

(3m

arks)

(4m

arks)


44

Additio

nalcriteria:threeofthe

fivecriteriabe

lowm

ustbe

assessedinCom

position

Aand

Com

position

B(1

2marks)(cont.)

Additio

nalC

riteria

MarkBa

nd1

MarkBa

nd2

MarkBa

nd3

MarkBa

nd4

(4)

Expressiv

einterest

(4m

arks)

•Th

echoiceofsuitable

timbres,d

ynam

icsan

darticulation

isun

successfuland

/or

inap

prop

riateforthe

chosen

gen

re.

•Th

echoiceoftim

bres,

dyna

micsan

darticulation

issatisfactoryand

sho

ws

someconsiderationof

thechosen

gen

re.

•Th

echoiceoftim

bres,

dyna

micsan

darticulation

isap

prop

riatetothe

chosen

gen

re,sho

wing

variationan

daw

aren

ess

ofthe

cap

abilitiesofthe

chosen

instrumen

tsan

d/orvoices.

•Timbres,d

ynam

icsan

darticulation

havebe

enwellcho

senan

dha

ndled

sensitivelywithinthe

chosen

gen

re,sho

wing

variation,grada

tion

san

dfullaw

aren

essof

thechosen

instrumen

tsan

d/orvoices.

(1m

ark)

(2m

arks)

(3m

arks)

(4m

arks)

(5)

Useofte

chno

logy

(4m

arks)

•Limited

atten

tion

isgiventothe

cap

turing

andmixingofthe

music.

Limited

sen

seofb

alan

cean

dblen

dbe

twee

npa

rts.

•Someattempthasbee

nmad

etocap

tureand

mixthe

com

position

approp

riately.Som

esenseofbalan

ceand

blen

dbe

twee

npa

rts.

Thereissom

eaw

aren

essofEQ,

pann

ingan

dothe

reffectsbu

tthesemay

havebee

nap

plied

inap

prop

riately.

•Instrumen

tsare

captured

successfully

andthefin

alrecording

ofthe

com

position

iswellm

ixed

.Goo

dsense

ofbalan

ceand

blend

betw

eenpa

rts.The

use

ofeffects,including

EQ,

pann

ingan

dreverb,is

controlledan

dap

plied

successfullythrou

ghou

t.

•Instrumen

tsare

captured

withexpe

rtise

andthefin

alrecording

isstylisticallym

ixed

with

soph

istication

and

creativity.Partsare

balanced

and

blend

e deffectively.The

useof

effects,includ

ingEQ

,pa

nningan

dreverb,is

high

lysuccessful,

demon

strating

ahigh

levelofa

uralawaren

ess.

(1m

ark)

(2m

arks)

(3m

arks)

(4m

arks)

Awardzerofo

rworkno

tworthyofcr

edit.


45

Documents

CCEA GCSE Specification in Music...• progress to further study, for example Advanced Subsidiary (AS) and Advanced level (A level); • develop particular strengths and interests,