1. Eduqas GCE AS/A level Music
First teaching: 2016
First assessment AS
A level

2. Specification Highlights
Learners have the option to specialise in performing or composing at A level for 10% of the qualification
One optional area of study at A level focuses on the music of living composers, with four British composers on the list
The specifications have a good balance of set works and wider listening topics
AS and A level classes can be taught together and/or learners can complete an AS in year 1 and an A level in year 2
The specifications prepare learners for a wide range of music degrees including popular and classical courses

3. Overview AS Music A level Music Component 1: Performing (30%)
Non-exam assessment
Externally assessed between March and May by a visiting examiner
Component 1: Performing (35% or 25%)
Component 2: Composing (30%)
Externally assessed
Component 2: Composing (35% or 25%)
Component 3: Appraising (40%)
Listening and appraising exam
1 hour 30 minutes
2 hours 15 minutes

4. Assessment Objectives
AO1
Interpret musical ideas through performing with technical and expressive control and an understanding of style and context
AO2
Create and develop musical ideas with technical and expressive control and coherence
AO3
Demonstrate and apply musical knowledge
AO4
Use analytical and appraising skills to make evaluative and critical judgements about music

5. AS Assessment Objectives
AO1
AO2
AO3
AO4
Total
Component 1: Performing
30%
Component 2: Composing
Component 3:: Appraising
15%
25%
40%
Overall weighting
100%

6. A Level Option A Assessment Objectives
AO1
AO2
AO3
AO4
Total
Component 1: Performing
35%
Component 2: Composing
25%
Component 3:: Appraising
10%
30%
40%
Overall weighting
100%

7. A Level Option B Assessment Objectives
AO1
AO2
AO3
AO4
Total
Component 1: Performing
25%
Component 2: Composing
35%
Component 3:: Appraising
10%
30%
40%
Overall weighting
100%

8. Subject Content Musical elements, contexts and language
Through the areas of study, learners will gain knowledge and understanding of musical elements and build on knowledge and understanding gained at GCSE
Musical elements are listed under each area of study with examples and there is an additional vocabulary list at the back of the specification
All musical elements can be taught through the three chosen areas of study
Understanding and use of musical elements will be assessed in all three components

9. Musical Context
Through the areas of study, learners will gain knowledge and understanding of various musical contexts including:
the effect of purpose and intention (e.g. of the composer, performer, commissioner) on how music is created, developed and performed in different historical, social and cultural contexts
the effect of audience, time and place (e.g. venue, occasion) on how music is created, developed and performed in different historical, social and cultural contexts
how music from different historical, social and cultural contexts has changed over time
Understanding of musical context will be assessed in all three components

10. Musical Language
Learners will gain knowledge and understanding of musical language through area of study A (The Development of the Symphony) including:
reading and writing treble and bass clef staff notation in simple and compound time
roman numerals and contemporary chord symbols including extended chords
reading and writing key signatures to five sharps and flats (at AS) and all key signatures at A level
musical vocabulary related to areas of study
Musical language will be explicitly assessed in Component 3, although it is hoped that learners will also develop their knowledge and understanding of musical language through Components 1 and 2 and areas of study B-F.

11. Component 1: Performing AS (30%), A level (35% or 25%)
AS Performing
(30%) 72 marks
A level Performing
Option A (35%) 108 marks
Option B (25%) 72 marks
Standard equivalent to grade 5
Standard equivalent to grade 6
Minimum of 6 minutes
Minimum of 10 minutes
Minimum of two pieces
Minimum of three pieces
One piece must link to an area of study
One piece must link to a second different area of study
Pieces can be solo and/or ensemble
One piece must be a solo and all other pieces can be either solo and/or ensemble

12. Assessment of Component 1:
Externally assessed by a visiting examiner (A level and AS assessments will be on the same day or over two days for larger cohorts)
Each piece is marked out 36 and adjusted using the table in Appendix A of the specification
The assessment will be recorded by the WJEC examiner
Appendix A of the specification contains guidance on how technical control is assessed
If a learner plays an instrument not covered by the list, please contact WJEC for advice
An audience is permitted in the assessment
The examiner will not be able to discuss marks with the teacher

13. Assessment of Component 1:
Each column within the assessment grid focuses on a specific aspect of performance and is marked out of 12
Learners are assessed on
accuracy of pitch and/or rhythm, tempo and response to performance directions
technical control of their instrument or voice including intonation, their ability to control and manipulate sonority (tone quality) and projection (dynamics)
expression and interpretation including understanding and interpretation of style and period, communication with the audience, ensemble skills and/or balance with pre-recorded tracks

14. Component 2: Composing AS (30%), A level (25% or 35%)
AS Composing
(30%) 72 marks
A level Composing
Option A (25%) 72 marks
Option B (35%) 108 marks
Two compositions
Three compositions
Minimum of 4 ½ minutes
Minimum of 4 minutes
Minimum of 8 minutes
One composition to a brief set by WJEC using the techniques and conventions of the Western Classical Tradition
One free composition for which the learner sets their own brief
One composition linked to a second different area of study for which the learners sets their own brief

15. Assessment of Component 2
Each piece is marked out of 36 using the assessment grid in Appendix B of the specification
The pieces may be composed at any time during the course apart from the piece composed to a brief set by WJEC which must be composed during the final year of the course as briefs will not be released until September 1st
All compositions must be submitted with a detailed score and a clear recording
All learners must complete a non- assessed composition log to authenticate the work. The log will require details such as:
acknowledgements
the relationship between the score and the recording
process evidence
candidate and teacher signatures

16. Assessment of Component 2
Each column within the assessment grid focuses on a specific aspect of composition and is marked out of 12
Learners are assessed on
Creating musical ideas
Developing musical ideas
Technical and expressive control of musical elements

17. Composing to a Brief
Set briefs will always contain information about the occasion and/or the audience
The composition briefs are designed to allow any number of different valid responses but always in a Western Classical style
There will always be a choice of four briefs, covering a variety of instrumental groupings and possible genres
It is recommended that each piece is long enough to demonstrate development of ideas

18. Composing in a Western Classical Style
This is not a techniques exercise, e.g. a Bach Chorale or two part counterpoint
This is a composition which uses the musical language and idioms of the Western Classical tradition, demonstrating an appropriate use and understanding of:
structure
tonality
harmony
texture
melody
rhythm
thematic manipulation
developmental devices.

19. What does a free composition involve?
This offers candidates the opportunity to explore any musical style of their choosing
It could link to one of the areas of study (including a second WCT composition)
It may explore any appropriate medium or genre
Learners must remember that this composition will also be judged using the WJEC assessment criteria for composing, and therefore should research their interests thoroughly, considering the following:
Planning (structure and organising)
Presenting (the initial material and its development)
Refining (adjusting and improving).

20. Areas of study highlights
The areas of study enable teachers to follow an integrated teaching and learning approach to the three assessed skill areas by providing opportunities for learners to perform, compose and appraise music within each area of study
Learners develop a chronology of music through studying the development of the symphony and one style of popular music
At A level learners have the opportunity to engage with the music of living composers from the UK and Europe
Areas of study have been carefully designed to be comparable across options and complementary between options. For example, the symphony provides a foundation for the whole course and leads in to a study of twentieth or twenty-first century music and the popular music options provide contrast while developing the same musical skills

21. Comparison of Areas of study at AS and A level
AS Areas of Study
A level Areas of Study
The development of the symphony ( )
The development of the symphony ( )
2 movements of 1 symphony
4 movements of the same symphony plus general knowledge of second symphony
One from:
Rock and Pop ( )
Musical Theatre (5 composers)
Jazz ( )
Rock and Pop ( )
Musical Theatre (6 composers)
Jazz ( )
One from
Into the Twentieth century
Into the Twenty-First century

22. Co-teaching areas of study at AS and A level Model 1
AS Areas of Study (Year 1)
A level Areas of Study (Year 2)
The development of the symphony ( )
The development of the symphony ( )
Movements 1 and 2 of one symphony
Movements 3 and 4 of the same symphony plus general knowledge of second symphony
One from:
Rock and Pop ( )
Musical Theatre (5 composers)
Jazz ( )
Rock and Pop ( )
Musical Theatre (1 composer)
Jazz ( )
One from
Into the Twentieth century
Into the Twenty-First century

23. Set works at AS and A level
AS Set Works
A level Set Works
Either:
Symphony Number 104 in D major, ‘London’, movements 1 and 2, Haydn
Or:
Symphony Number 4 in A major, ‘Italian’, movements 1 and 2, Mendelssohn
Symphony Number 104 in D major, ‘London', Haydn
Symphony Number 4 in A major, ‘Italian’, Mendelssohn
Trio for Oboe, Bassoon and Piano, Movement 2, Poulenc
Three nocturnes, Number 1, Nuages, Debussy
Asyla, Movement 3, Ecstasio, Thomas Ades
String Quartet number 2, Opus California, Movements 1 and 4, Sally Beamish

24. Area of study A: The Development of the Symphony (compulsory)
Learning Focus: the development of the orchestra, use of structure and musical language
100% of teachers who responded to our survey requested that we include an area of study based on orchestral music
This area of study allows learners to trace the development of the genre through history
Detailed knowledge and understanding of musical elements and language is required
Learners will undertake a detailed study of one of the set works
Learners should listen to a range of different symphonies and take opportunities to hear them played live
This area of study provides progression from Area of Study 1: Forms and Devices on the GCSE specification

25. Areas of study B-D: Popular Music
Three areas of study are offered to allow centres to choose an option which suits their learners
Teachers have freedom to select artists, pieces, albums and musicals that interest their learners
Some parameters are given:
Rock and Pop (pop, rock, soul, funk and folk)
Musical Theatre (Rodgers, Bernstein, Sondheim, Schonberg, Lloyd-Webber and Schwartz)
Jazz (ragtime, dixieland, early jazz, big band, be-bop and cool jazz)
The specification provides detailed information about what learners need to know about musical elements, context and language and the level of demand is comparable

26. Areas of study E-F: New Directions
Two areas of study are offered to allow centres to choose an option which suits their learners
Area of study E, Into the Twentieth Century, focuses on Impressionism, Expressionism (including Serialism) and Neo-classicism
Area of study F, Into the Twenty-first Century, focuses on the music of living composers
Detailed information is provided in the specification outlining what learners need to know and understand
The specification provides detailed information about what learners need to know about musical elements, context and language and the level of demand is comparable
Two set works are provided in each option to provide a focus for study

27. Comparison of Component 3 exams at AS and A level
AS Exam 88 marks
A level Exam 100 marks
Section 1: Areas of study B-D (40 marks)
Two aural perception questions on unprepared extracts (15 marks each)
Question on wider context without extract (10 marks)
Section 1: Areas of study B-D (30 marks)
One aural perception question on an unprepared extract (10 marks)
Comparison question on two different extracts (20 marks)
Section 2: Areas of study E-F (30 marks)
Analysis question on one of the two set works (15 marks)
Aural perception question on an unprepared extract including links with the wider context (15 marks)
Section 2: Area of study A (48 marks)
Skeleton score question (pitch or rhythm dictation) (10 marks)
Set work analysis question (15 marks)
Comparison question on two unprepared symphonic extracts (10 marks)
Aural perception unprepared extract with score (13 marks)
Section 3: Area of study A (40 marks)
Skeleton score question (pitch and rhythm dictation (10 marks)
Essay on the development of the symphony (15 marks)

28. Comparison of Component 3 exams at AS and A level
AS Exam 88 marks
A level Exam 100 marks
AO3
15%
33 marks
AO4
25%
55 marks
10%
25 marks
30%
75 marks
Demonstrate and apply musical knowledge
Use analytical and appraising skills to make evaluative and critical judgements about music
Wider context questions
Pitch or rhythm dictation
Comparison
Pitch and rhythm dictation
Locating errors
Essay

29. AO3 AO3 Demonstrate and apply musical knowledge
AO3 style questions will include multiple choice, picking out features from a piece of music and recall of knowledge
Typical command words will include name, state, identify, underline, give, pick, insert, define
The unprepared extracts will contain some AO3 style questions
The set work analysis will contain some AO3 style questions

30. AO4
AO4 Use analytical and appraising skills to make evaluative and critical judgements about music
AO4 questions often require a longer response and command words will include, describe, explain, compare, contrast, complete (missing pitch or rhythm), find the difference, analyse, evaluate
The comparison question, wider context questions and essays will target AO4

31. Assessment of Component 3
Things to remember about the exam:
the dictation question will require learners to write pitch and rhythm at A level and pitch or rhythm at AS
the dictation question will require learners to write either treble clef or bass clef, not both at the same time
the dictation question may be in simple time or compound time
learners may be asked to write chord symbols in either contemporary symbols or roman numerals
Learners may be asked locate errors in pitch and/or rhythm at A level

32. Assessment of Component 3
Exam Technique
Location on the score must be precise (bar 4, beat 3 or give line numbers in the songs)
State/explain/describe two features (only the first two answers will be accepted)
Describe features (learners may offer any number of features and examiners will pick out correct answers)
Give the full name of the key (B minor is correct, B is not accepted)
Underline/tick (only one answer will be accepted. Where two or more features are underlined/ticked the answer will be marked wrong, even if one of the responses is correct).
Tick two (the first two ticks on the list will be marked)

33. Assessment of Component 3
Exam Technique
Features of interest (harmony)– these must be noteworthy or something that happens consistently such as a chain of suspensions or circle of fifths (not an individual isolated item such as a specific chord, unless it is an unusual chord such as a Augmented 6th
The same applies to features of melody, rhythm etc
Use of instruments – description /explanation of what they play, not just a list of instruments
Thematic material – refers to specific subjects or important melodies, not countermelodies

34. Assessment of Component 3
Understanding the mark scheme
Unless otherwise stated, there is one mark for each correct response
Brackets are used to show alternative correct answers {…..}
Brackets are also used to show non-essential information (……)
/ is used to show an additional correct response
Indicative content is designed to be exhaustive, however, examiners are instructed to use their professional judgement when marking something not included on the mark scheme
Longer response questions will have an assessment grid describing levels of achievement. In this case one mark per comment does not apply.

35. Resources for Teachers
Supporting teaching and learning
We are planning a number of resources to support teaching and learning which have been tailor made for the specifications. These include:
Practice questions
Notes on set works
Composition resource which links to the set works in Area of study F: Into the Twenty-first Century
Teacher’s guide including approaches to teaching the popular music genres
Term plans

36. Resources for Teachers
Supporting teaching and learning
Visit our website to access qualification information and download key documents.
eduqas.co.uk/qualifications/music
Free Eduqas digital resources to support the teaching and learning of a broad range of subjects.
resources.eduqas.co.uk

38. EXAMINING FOR WJEC EDUQAS
We value the contribution you as experienced teachers and lecturers make in assessing students’ work, ensuring that candidates are given a fair result which accurately reflects their ability
We appoint examiners to mark externally assessed work and moderators to review the original marking of teachers for internally assessed components or units
We provide face-to-face training for examiners and moderators (appointees) prior to assessment work commencing
Our senior examiners and subject officers provide support and advice during the assessment period

39. Application process
Complete an application using the on-line application system available on the Appointees page of the WJEC website
Once you have completed the initial registration, please make sure that you validate your account so that you can complete the application process
When you have completed your application, remember to click ‘submit’ on the homepage, to complete the process
Remember to inform your referee of your application, as sometimes delays occur due to referees not completing the reference section
On rare occasions, applicants may not be accepted due to a lack of relevant teaching experience
Applicants may re-apply once they have gained sufficient experience
Some applicants will be approved, but may have to wait on the reserve list until a suitable vacancy arises

41. Any Questions?
Contact our specialist Subject Officers and administrative team for your subject with any queries.
(Subject Officer)
(Subject Support Officer)
(Subject Support Officer)
@eduqas
eduqas.co.uk