DRAFT CCEA GCE Specification in Music

DRAFT CCEA GCE Specification in Music For first teaching from September 2016 For first award of AS level in Summer 2017 For first award of A level in Summer 2018 Subject Code: [ ] Early Ideas Document for Consultation – November 2014
[Please follow plain English guidelines when customising this template, in line with the statement on our website at www.ccea.org.uk > About Us > Our Performance > Plain English We review all our specifications before submitting them for accreditation to ensure they follow these guidelines as far as possible.] Subject Code QAN AS Level QAN A Level ???? ???/????/?
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A CCEA Publication © 2014 This specification is available online at www.ccea.org.uk Early Ideas Document for Consultation – November 2014
Contents
1
Introduction
1.1 1.2 1.3 1.4 1.5 1.6 Teaching CCEA specifications Learning through GCE Music Aims Key features Prior attainment Classification codes and subject combinations 2
SpecificationataGlance
3
SubjectContent
3.1 3.2 3.3 3.4 Unit AS 1: [Title] Unit AS 2: [Title] Unit A2 1: [Title] Unit A2 2: [Title] 4
SchemeofAssessment
4.1 4.2 4.3 4.4 4.5 4.6 4.7 Assessment opportunities Assessment objectives Assessment objective weightings Quality of written communication Synoptic assessment at A2 Higher order thinking skills Reporting and grading 5
PerformanceDescriptions
6
Guidanceon[External] Assessment
6.1 6.2 Assessment for Unit [AS 1, etc.]: [Name of unit] Assessment for Unit [A2 1, etc.]: [Name of unit] 7
GuidanceonInternalAssessment[ifrelevant]
7.1 7.2 7.3 7.4 7.5 7.6 7.7 Skills assessed by internal assessment Setting the tasks Taking the tasks Marking the tasks Internal standardisation Moderation Internal assessment review 8
LinksandSupport
8.1 8.2 Support Curriculum objectives Early Ideas Document for Consultation – November 2014
8.3 8.4 8.5 8.6 Skills development Examination entries Equality and inclusion Contact details Early Ideas Document for Consultation – November 2014
1
Introduction
This specification sets out the content and assessment details for our Advanced Subsidiary (AS) and Advanced GCE courses in Music. First teaching is from September 2016. Students can take:  the AS course as a final qualification; or  the AS units plus the A2 units for a full GCE A level qualification. We assess the AS units at a standard appropriate for students who have completed the first part of the full course. A2 units have an element of synoptic assessment (to assess students’ understanding of the subject as a whole), as well as more emphasis on assessment objectives that reflect higher order thinking skills. The full Advanced GCE award is based on students’ marks from the AS (40 percent) and the A2 (60 percent). The guided learning hours for this specification, as for all GCEs, are:  180 hours for the Advanced Subsidiary level award; and  360 hours for the Advanced level award. We will make the first AS awards for the specification in 2017 and the first A level awards in 2018. The specification builds on the broad objectives of the Northern Ireland Curriculum. If there are any major changes to this specification, we will notify centres in writing. The online version of the specification will always be the most up to date; to view and download this please go to www.ccea.org.uk 3 Early Ideas Document for Consultation – November 2014
1.1 TeachingCCEAspecifications
WhychooseCCEA?
We are Northern Ireland’s leading awarding organisation. It’s our mission ‘to enable the full potential of all learners to be achieved and recognised’. We understand the vital role that education will play in the social, economic and political well‐
being of Northern Ireland, and our qualifications reflect the aims of the Northern Ireland Curriculum. More students here receive their GCSE and GCE qualifications from us than from any other awarding organisation. Your students will gain top quality, portable qualifications. We work with schools, subject organisations, employers and representatives from further and higher education to ensure that our specifications meet their needs. You can be confident that our qualifications have met rigorous requirements for validity, reliability, comparability, manageability and minimising bias before their accreditation for teaching, as well as maximising students’ opportunities in Northern Ireland and beyond. You benefit from local support. As well as providing free workshops, seminars and conferences, our staff can visit you in your centre. We also publish a range of online, print, video and interactive materials. If you have any questions or you can’t find the information you need, you can get in touch by phone or email. Our specifications reflect your views. CCEA specifications for first teaching in 2016 take into account the feedback we’ve received from professionals through consultation and the recommendations of the 2013 Review of GCSE and A Level Qualifications commissioned by the Department of Education in Northern Ireland. We take our responsibilities seriously – in all areas of our work. At CCEA we want to manage our business in a way that is environmentally responsible, as well as contributing to the community and society. We aim to ensure that our corporate values and ethics reflect best practice in all these areas, for example through our corporate and social responsibility policy, hosting events and fundraising throughout the year. Findoutmore
For more information about CCEA and the qualifications we offer, or to visit our music microsite, go to www.ccea.org.uk You can also contact us using the details at the end of Section [8]. 4 Early Ideas Document for Consultation – November 2014
1.2 LearningthroughGCE[Subject]
[Text in this section needs to be one page maximum – up to one column under each subheading.] WhychooseGCE[Subject]?
Contentoverview
[Use a conversational tone here to [Give a brief summary of the content at highlight the subject’s main selling AS level and A2, following the structure below.] points and appeal to prospective students as well as their teachers. Don’t duplicate text from elsewhere in the In the AS units, students [… add 1–2 paragraphs]. specification. However, avoid ‘This amazing, innovative qualification will Students who continue to A2 take students on a fascinating journey’! will/explore [… add 1–2 paragraphs]. Let the facts speak for themselves – see example on next page. [Include a very brief note on the nature Suggested structure: of assessment.] 1–2 short paragraphs describe the Find out more in Section 2 of this appeal of the general subject area. specification. 1 paragraph states who the subject is most likely to appeal to or suit best at GCE (for example students with particular strengths, interests or plans for the future). 1 paragraph mentions skills they’ll develop and how the subject will benefit students in further and higher education, and in the workplace.] 5 Early Ideas Document for Consultation – November 2014
1.3 Aims
This specification aims to encourage students to:  [include approximately eight bullet points, each beginning with a verb and focusing on an important aim; examples below];  develop [their interest/a lifelong interest] in [subject area];  draw together different areas of knowledge, skills and understanding;  develop higher order thinking skills, for example independent learning, creative thinking and problem‐solving, where appropriate;  apply their skills to work‐related scenarios;  work with others in groups;  carry out research and present their findings in different formats;  develop advanced study skills that help them prepare for third level education;  provide extended responses and evidence of quality of written communication; and  demonstrate through challenging internal and external assessments that they understand and can apply key concepts. 1.4 Keyfeatures
The following are important features of this specification. [Insert approx. 5–6 complete sentences to summarise key features of the specification. Examples below.]  It includes four assessment units: two externally assessed and two internally assessed [amend as appropriate].  It allows students to develop their subject knowledge, understanding and skills [in Entitlement Framework Applied subjects add: in relation to a work context].  Assessment at A2 includes more question types, more demanding evaluative tasks, extended writing, and synoptic assessment that encourages students to develop their understanding of the subject as a whole.  It can give students a sound basis for progression to higher education.  A range of support is available, including specimen assessment materials, exemplar schemes of work and teacher guidance. 1.5 Priorattainment
[Detail any prior attainment or experience recommended for students taking the course. Amend this example if appropriate:] Students do not need to have reached a particular level of attainment before beginning to study this specification. However, the specification builds on [some of the] knowledge, understanding and skills developed [in GCSE [subject]]. 1.6 Classificationcodesandsubjectcombinations
Every specification has a national classification code that indicates its subject area. The classification code for this qualification is [code]. 6 Early Ideas Document for Consultation – November 2014
Please note that if a student takes two qualifications with the same classification code, schools and colleges that they apply to may take the view that they have achieved only one of the two GCEs. The same may occur with any two GCE qualifications that have a significant overlap in content, even if the classification codes are different. Because of this, students who have any doubts about their subject combinations should check with the universities and colleges that they would like to attend before beginning their studies. 7 Early Ideas Document for Consultation – November 2014
2
SpecificationataGlance
The table below summarises the structure of the AS and A level courses: Content AS 1: Performing 1 Assessment Weightings 1) Solo Performance 2) Programme Note Externally assessed AS 2: Creating Music 1 AS 3: Responding to Music 1 Students select one of the following options: Opt. A: Composition task Opt. B: Sequenced Arrangement Task Opt C: Multi‐track Arrangement task Commentary Externally assessed 35% of AS 14% of A level 35% of AS 14% of A level 1) Test of Aural perception lasting 1 30% of AS hour 2) Written examination lasting 1 hour 12% of A level 15 minutes Externally Assessed A2 1: Performing 2 1) Solo Performance 2) Unprepared Performance Test 3) Programme Note 21% of A level Externally assessed A2 2: Creating Music 2 Students select one of the following options: Opt. A: Composition task Opt. B: Sequenced Arrangement Opt C: Multi‐track Arrangement task Commentary Externally Assessed 21% of A level A2 3: Responding to Music 2 1) Test of Aural perception lasting 1 hour 2) Written examination lasting 1 hr 30 minutes Externally Assessed 18% of A level 8 Early Ideas Document for Consultation – November 2014
3
SubjectContent
We have divided this course into six units: three units at AS level and three units at A2. This section sets out the content and learning outcomes for each unit. 3.1 UnitAS1:Performing
Assessment for this unit consists of a solo performance and an accompanying programme note. For more details, see Section 6. Content Learning Outcomes Performing (AO1) Students should be able to: 
create a performance with technical control and accuracy; 
interpret and communicate the composer’s intentions with an appropriate sense of style Reflecting and Evaluating (AO3)  comment perceptively on the music they perform  reflect, analyse and evaluate their preparation for performance 3.2 UnitAS2:CreatingMusic
Content Learning Outcomes Composing (AO2) Students should be able to:  Create, organise and develop musical ideas in line with their chosen brief;  Make consistent and effective use of harmony;  Control and use appropriate instrumental/music technology resources to realise their chosen brief Reflecting and  Write a coherent and reflective commentary on their 9 Early Ideas Document for Consultation – November 2014
Content Evaluating (AO3) Learning Outcomes compositions or music technology options. 3.2 UnitAS3:Respondingtomusic
In AS3 students must undertake two Areas of Study: one compulsory and the second one chose from three options. In addressing these areas of study students should gain an awareness of the relationship between music and its context, including the influences that maintain continuity and cause change. Assessment for this unit consists of one aural examination and one written examination that include both short and extended questions. For more details, see Section 6.’ Content Learning Outcomes Listening , Analysis and Appraising (AO3) (AO4) Students should be able to: 

make critical and discerning judgements about music and its performance; comment perceptively on: – melody: sequence, ostinato, riff, melisma, ornamentation (trill, acciaccatura etc), major/minor/pentatonic melodies, modal/whole tone melodies, inversion, augmentation, diminution, chromaticism; – tonality and harmony: use of major/minor tonality, modality, major/minor/diminished/dominant seventh chords, cadences, modulation to the dominant/subdominant/relative minor and to more remote keys, chromaticism, atonality, augmented sixth chords, suspensions, cadential second inversion chords, tierce de picardie, tonic/dominant pedal; – metre, tempo and rhythm: type of metre/tempo, regular/changing metres/tempi, rubato, syncopation, rhythmic ostinato, irregular and cross rhythms; – timbre and texture: voice types and instruments, a cappella, unison, monophonic/homophonic/ polyphonic textures, imitation, canon, drone and pedal, 10 Early Ideas Document for Consultation – November 2014
Content Learning Outcomes – vocal genres, song, musical, opera (recitative, aria, chorus), anthem, Mass; – instrumental genres, including concerto, dances (waltz, minuet, gigue etc.), symphony, sonata, overture, programme music, string quartet and other ensembles; – musical structures and established forms, including binary, ternary, ground bass, rondo, variation, fugue, strophic, through‐composed; – musical conventions used in different times and places and influences that maintain continuity and cause change; – the relationship between music and its social/cultural context; and – the impact of ICT on how music is heard;  Structure and present their thoughts, ideas and arguments in extended writing; and  Use specialist vocabulary relating to music and musical activity Compulsory Area of Study Students should develop knowledge and understanding of music through the study of the following set works: These set works are still to be confirmed. Possible works are
as follows: 1. Vivaldi: Concerto No. 1 in E major, Op. 8 La Primavera (Spring) or Handel: Music for the Royal Fireworks, Overture 2. Mozart: Symphony No. 41 in C major Jupiter, Finale 4th movement or Mozart: Clarinet Concerto in A major, 1st movement 11 Early Ideas Document for Consultation – November 2014
Content Learning Outcomes 3. Beethoven Symphony No. 5 in C minor, 1st movement
or Beethoven: Symphony No. 5 in C minor, 4th movement
or Schubert: Symphony no 5 in Bb major, 1st movement 4. Brahms: Variations on a Theme by Haydn or Tchaikovsky: Romeo and Juliet Overture or Berlioz: Symphonie Fantastique Optional Area of Study 1 The Orchestral Suites of Handel and Bach Students should develop knowledge and understanding of ……………and be able to comment on a range of appropriate musical examples. Students’ study should include the following: Optional Area of Study 2 The Overture 1770‐ 1870 Students should develop knowledge and understanding of ……………and be able to comment on a range of appropriate musical examples. Students’ study should include the following Optional Area of Study 3 The Musicals of Sondheim Students should develop knowledge and understanding of ……………and be able to comment on a range of appropriate musical examples. Students’ study should include the following: 3.3 UnitA21:Performing
Assessment for this unit consists of a solo performance, an unprepared sight‐
reading/improvisation task and an accompanying programme note For more details, see Section 6.’ 12 Early Ideas Document for Consultation – November 2014
Content Learning Outcomes Performing (AO1) Students should be able to: Reflecting and Evaluating (AO3)  comment perceptively on the music they perform  reflect, analyse and evaluate their preparation for performance  create a performance with technical control and accuracy;  interpret and communicate the composer’s intentions with an appropriate sense of style  create an unprepared performance based on unseen stimulus with accuracy 3.4 UnitA22:Composing
Content Learning Outcomes Composing (AO2) Students should be able to:  Create, organise and develop musical ideas in line with their chosen brief;  Make consistent and effective use of harmony;  Control and use appropriate instrumental/music technology resources to realise their chosen brief Reflecting and Evaluating (AO3)  Write a coherent and reflective commentary on their compositions or music technology options. 13 Early Ideas Document for Consultation – November 2014
3.2 UnitAS3:Respondingtomusic
In unit A2 3, all students must undertake two Areas of Study: one compulsory and the second one chosen from three options. In addressing these Areas of Study, students should gain an awareness of the relationship between music and its context, including the influences that maintain continuity and cause change. Students should develop more discriminating aural perception skills through their involvement in a wide range of activities related to composing, performing, and listening and appraising. They should continue to develop their knowledge and understanding of the impact of ICT on the way music is heard, created and performed. They should also develop the ability to make more extensive connections within and between different aspects of their musical experience, particularly in relation to the synoptic assessment requirements. Students should continue to have opportunities to undertake written assignments requiring extended prose in order to increase their skill in structuring and presenting thoughts, ideas and arguments in written format with appropriate music vocabulary and attention to quality of written communication Assessment for this unit consists of one aural examination and one written examination that include both short and extended questions. For more details, see Section 6.’ . Content Learning Outcomes Listening and Appraising Students should be able to: • make critical and discerning judgements about music and its performance; • comment perceptively on: – melody: sequence, ostinato, riff, melisma, ornamentation (trill, acciaccatura etc), major/minor/pentatonic melodies, modal/whole tone melodies, inversion, augmentation, diminution, chromaticism; – tonality and harmony: use of major/minor tonality, modality, major/minor/diminished/dominant seventh chords,
cadences, modulation to the dominant/ subdominant/relative minor and to more remote keys, chromaticism, atonality, augmented sixth chords, suspensions, cadential second inversion chords, tierce de picardie, tonic/dominant pedal; 14 Early Ideas Document for Consultation – November 2014
Content Learning Outcomes – metre, tempo and rhythm: type of metre/tempo, regular/changing metres/tempi, rubato, syncopation, rhythmic ostinato, irregular and cross rhythms; – timbre and texture: voice types and instruments, a cappella, unison, monophonic/homophonic/polyphonic textures, imitation, canon, drone and pedal, fugue and antiphony; ‐vocal genres, including song, musical, opera (recitative, aria, chorus), anthem, Mass; – instrumental genres, including concerto, dances (waltz, minuet, gigue etc.), symphony, sonata, overture, programme music, string quartet and other ensembles; – musical structures and established forms, including binary, ternary, ground bass, rondo, variation, fugue, strophic, through‐composed; – musical conventions used in different times and places and influences that maintain continuity and cause change; – the relationship between music and its social/cultural context; and – the impact of ICT on how music is heard;  Structure and present their thoughts, ideas and arguments in extended writing; and  Use specialist vocabulary relating to music and musical activity Compulsory Area of Study Students should deepen their knowledge and understanding of music for orchestra in the twentieth century through a detailed study of the following works: 1. Debussy: Jeu de Vagues from La Mer 2. Stravinsky: Concerto in Eb major Dumbarton Oaks 3. Bartok: Dance Suite 4. Bernstein: 3 Dance episodes from On the Town 15 Early Ideas Document for Consultation – November 2014
Content Learning Outcomes Student’s study of the works listed above should also contribute to their knowledge and understanding of: • twentieth century musical styles: impressionism, neoclassicism, nationalism and jazz influences; • forms: ternary, fugue, variation; and • the development of the orchestra and of individual instruments. Optional Area of Study 1 Vocal Music of Byrd Students should develop knowledge and understanding of ……………and be able to comment on a range of appropriate musical examples. Students’ study should include the following: Optional Area of Study 2 The Film Scores of John Williams (orchestral) Students should develop knowledge and understanding of ……………and be able to comment on a range of appropriate musical examples. Students’ study should include the following: Optional Area of Study 3 The Music of Shostakovich (instrumental) Students should develop knowledge and understanding of ……………and be able to comment on a range of appropriate musical examples. Students’ study should include the following: 4
SchemeofAssessment
4.1 Assessmentopportunities
Each unit is available for assessment in summer each year. It is possible to resit individual AS and A2 assessment units once and count the better result for each unit 16 Early Ideas Document for Consultation – November 2014
towards an AS or A level qualification. Candidates’ results for individual assessment units can count towards a qualification until we withdraw the specification. 4.2 Assessmentobjectives
There are four assessment objectives for this specification. Candidates must:  interpret musical ideas with technical and expressive control and an understanding of style and context (AO1)  create, develop and refine musical ideas with technical control and expressive understanding, making creative and coherent use of musical devices, conventions and resources (AO2)  use analytical, evaluative and reflective skills to make critical judgements about music (AO3)  demonstrate knowledge and understanding of musical elements, musical contexts and musical language (AO4) 4.3 Assessmentobjectiveweightings
The table below sets out the assessment objective weightings for each assessment unit and the overall AS and A level qualifications: Assessment Objective Assessment Unit Weighting AS 1 AS 2 AS 3 A2 1 A2 2 A2 3 AO1 30% 30% AO2 30% 30% AO3 5% 5% 15% 5% 5% 20% 15% 35% 30% AO4 Total 35% 35% 10% 35% 30% 4.4 Qualityofwrittencommunication
In AS and A level Music candidates must demonstrate their quality of written communication. They need to:  ensure that text is legible and that spelling, punctuation and grammar are accurate so that meaning is clear;  select and use a form and style of writing that suit their purpose and complex subject matter; and 17 Early Ideas Document for Consultation – November 2014
 organise information clearly and coherently, using specialist vocabulary where appropriate. Quality of written communication is assessed in responses to questions and tasks that require extended writing. 4.5 SynopticassessmentatA2
The A2 assessment units include some synoptic assessment, which encourages candidates to develop their understanding of the subject as a whole. In our GCE [subject], synoptic assessment involves:  [the text below is an example only; please amend or rewrite for your subject, beginning each point with an ‘‐ing’ form;]  building on material from the AS units;  bringing together and making connections between areas of knowledge and skills that they have explored throughout the course;  selecting and presenting work for examination that demonstrates their strengths in each area;  following their own lines of enquiry and recording and observing from primary sources; and  responding to one or more of the following:  a stimulus or scenario;  a design brief or problem; and/or  a task that requires them to produce a specific image, object or other outcome. 4.6 Higherorderthinkingskills
The A2 assessment units provide opportunities to demonstrate higher order thinking skills by incorporating:  [the text below is an example only; add to or delete points below as appropriate:]  a wider range of question types to address different skills, for example case studies and open‐ended questions;  more demanding evaluative tasks;  questions that require candidates to make more connections between sections of the specification; and  extended writing where appropriate. 4.7 Reportingandgrading
We report the results of individual assessment units on a uniform mark scale that reflects the assessment weighting of each unit. We award AS qualifications on a five grade scale from A to E, with A being the highest. We award A level qualifications on a six grade scale from A* to E, with A* being the highest. To determine candidates’ grades, we add the uniform marks obtained in individual assessment units. 18 Early Ideas Document for Consultation – November 2014
To be awarded an A*, candidates need to achieve a grade A on their full A level qualification and at least 90 percent of the maximum uniform marks available for the A2 units. If candidates fail to attain a grade E, we report their results as unclassified (U). The grades we award match the performance descriptions in Section 5 of this specification. 19 Early Ideas Document for Consultation – November 2014
5
PerformanceDescriptions
**Please note that details of the content to include in this section are to be confirmed.** This section describes the standards of achievement characteristic of candidates performing at the A/B and E/U grade boundaries for AS and A2 [subject]. The performance descriptions do not refer in detail to the specification content, but they must be interpreted within the contexts that the specification describes. In practice, most candidates’ profiles will appear uneven; shortcomings in some aspects of their performance in the assessment may be balanced by better performance in others. The requirement for all AS and A level specifications to assess candidates’ quality of written communication will be met through [all three assessment objectives/assessment objectives AO1 and AO3, etc.]. AS Performance Descriptions Grade Description AS A/B Grade Boundary For AO1, candidates characteristically:  [bullet points, e.g. ‘demonstrate detailed knowledge…’] For AO2, candidates characteristically:  [etc.] AS E/U Grade Boundary For AO1, candidates characteristically:  [bullet points, e.g. ‘demonstrate basic knowledge…’] For AO2, candidates characteristically:  [etc.] A2 Performance Descriptions Grade Description A2 A/B Grade Boundary For AO1, candidates characteristically:  [bullet points, e.g. ‘demonstrate detailed knowledge…’] For AO2, candidates characteristically:  [etc.] 20 Early Ideas Document for Consultation – November 2014
Grade Description A2 E/U Grade Boundary For AO1, candidates characteristically:  [bullet points, e.g. ‘demonstrate basic knowledge…’] For AO2, candidates characteristically:  [etc.] 21 Early Ideas Document for Consultation – November 2014
6
GuidanceonAssessment
There are six external assessment units in this specification, three at AS level and three at A2:  Unit AS1: Performing  Unit AS2: Creating Music  Unit AS3: Responding to Music  Unit A21: Performing  Unit A22: Creating Music  Unit A23: Responding to Music The external assessment focuses on candidates’ knowledge, understanding and analysis of the content of each unit. 6.1 AssessmentforUnitAS1Performing
AS 1 Performing Performance Requirements Performance Duration Technical Standards Each student should undertake:  a solo performance (90 marks)  provide a written programme note (15 marks) Students must present a balanced and varied solo performance. They must sing and/or play an instrument or instruments of their own choice. Students must submit a written programme note which outlines the following in relation to their performance programme:  rationale for choice of programme title/composer/stylistic context for each piece performed  technical challenges encountered in preparing their solo programme  stylistic conventions and details of interpretative aspects of the pieces they are performing  details of recordings they have listened to in and how these influenced their final performance 5‐7 minutes The standard of performance should be at a level equivalent to at least Grade 4 of the accredited graded music examination boards. Credit will be given to students performing above the minimum Grade 5 standard. 22 Early Ideas Document for Consultation – November 2014
A penalty system will be in place for programmes which are below the required minimum duration. Accompaniment If a student’s performance needs an accompaniment, a competent accompanist should be provided. If no live accompaniment is available, students may present may present a solo performance supported by a backing track which should not deter from the student’s performance. A student may be supported by a group of other student performers (for example, a pop group, traditional group) provided the student being examined is performing a substantial solo part and their part is not doubled by any other student. Marks and Assessment A visiting examiner will assess a student’s solo performance and award marks according to the following criteria:  Technical control and accuracy (16 marks)  Tempo and dynamics (8 marks)
 Phrasing and quality of tone (8 marks)  Sense of style and communication (8 marks)  Level of demand (5 marks) 0 ‐1 marks Below the required minimum standard 2 ‐3 marks At the required minimum Grade5 standard 4‐5 marks Above the required Grade 5 standard (Total 45 marks x 2 = 90) Written Programme Note (Total 15 marks) 6.2 AssessmentforUnitAS2OptionA:Composition
AS 2 Option A: Composition Composition Requirements Students complete one compulsory task and one optional task from a choice of three. Compulsory Task Harmonise an 8‐12 bar melody in four parts, in the style of a Bach Chorale Marks and Assessment We set this examination and an external examiner will 23 Early Ideas Document for Consultation – November 2014
Optional task assess it, using the assessment criteria and mark bands below (tbc) The composition should demonstrate knowledge and understanding of:  Perfect, plagal, interrupted and imperfect cadences  Root, first and second inversion chords  Passing notes  Modulations to related keys (dominant, subdominant, relative major/minor)  Use of the dominant 7th  Harmonic progressions such as the cadential 6/4 Students must compose one piece of music.  Song  Ternary Form  Theme and Variations Song: The song may be in any appropriate style. It should be in the structure of verse, chorus, verse, chorus with development of ideas clearly demonstrated on the return of sections. Ternary Form: The piece in ternary form may be vocal or instrumental but should be aligned to a named genre. There should be contrast between sections A and B and clear development of the initial ideas in the return of section A. Theme and Variations: Candidates should compose an original theme in binary form and present a series of two variations, showing clear development of ideas. One of the variations should modulate appropriately to the dominant or relative major/minor. Commentary: Candidates should include a commentary that outlines stylistic awareness of the genre, a brief analytical overview and reflection into the compositional process. The commentary should follow the outline provided by CCEA (max 1200 words) Folios must include a recording of the composition on CD 24 Early Ideas Document for Consultation – November 2014
and one of the following:  A full score using conventional staff notation  A lead sheet/chord chart (a lyrics sheet is not sufficient) 1 ½ ‐ 2 ½ minutes Composition Duration Marks and Assessment Our examiners will assess your students’ composition and will award marks according to the following criteria:  Creation of ideas  Development of ideas, form and structure  Use of texture and timbre  Harmonic handling AS 2 Option B: Sequenced Arrangement Task Task Submission Requirements Students must create a sequenced arrangement of a prescribed stimulus. The prescribed stimulus will include a melody and accompaniment chords. The sequenced arrangement must have at least four independent parts. Students are free to arrange the stimulus in any way they choose and in a musical style of their choice. Students are free to choose appropriate sequencing software and the method of data‐input (real or step‐time). All aspects of the sequenced arrangement process should be undertaken by the student alone. Students must submit: 
a standard MIDI file version of their sequenced arrangement; 
an audio recording of their completed work with optional score; and 
a written commentary which: − outlines the student’s intentions; − specifies the equipment used; − provides a brief analysis of the arrangement; 25 Early Ideas Document for Consultation – November 2014
− provides details of the compositional techniques used and the processes undertaken; and − comments on their choice of resources, and − describes the technology processes undertook to produce the recording (choice of sampled sounds, mixing, panning, use of specific techniques within the sequence to achieve a musical performance. Task Duration Marks and Assessment 1 ½ ‐ 2 ½ minutes Our examiners will assess your students’ work and will award marks according to the following criteria:  Development of ideas  Use of texture and timbre  Use of harmony  Organisation of Ideas (Form and structure)  Use of sequencing techniques  Use and control of technological resources (Mixing)  Commentary AS 2 Option B: Multi‐Track Arranging Task Task Submission Requirements Students must create a multi‐track recording of an arrangement of a prescribed stimulus. The prescribed stimulus will be a melody with lyrics. The arranged performance must have at least two independent vocal parts recorded using appropriate microphones and technique. There must be a minimum of four recorded tracks in total. Students are free to arrange the stimulus in any way they choose and in a musical style of their choice. All aspects of the arrangement and recording process should be undertaken by the student alone. Students must submit: 
an Audio CD with a rough‐mix stereo recording with all original tracks audible; 
an Audio CD with the final stereo mix‐down; and 
a detailed commentary which: 26 Early Ideas Document for Consultation – November 2014
Task Duration Marks and Assessment –
outlines the student’s intentions; –
specifies the equipment used; –
provides a brief analysis of the arrangement; –
provides details of the compositional techniques used and processes undertaken; –
comments on their choice and use of resources, and –
describes the entire production process including the planning, preparation, recording, mixing and mastering procedures the student undertook to produce the final recording. 1 ½ ‐ 2 ½ minutes Our examiners will assess your students’ work and will award marks according to the following criteria:  Development of ideas  Use of texture and timbre  Use of harmony  Organisation of Ideas (form and structure)  Recording processes and techniques  Use and control of technological resources (mixing)  Commentary 6.3 AssessmentforUnitA21Performing
A2 1 Performing Performance
Requirements
Each student should undertake:  a solo performance (90 marks)  a short unprepared sight‐reading task (15 marks)  provide a written programme note (15 marks) Students must present a balanced and varied solo performance. They must sing and/or play an instrument or instruments of their own choice. Students must perform a short unprepared sight reading task. Students will be given a short time in the examination 27 Early Ideas Document for Consultation – November 2014
Performance Duration
Technical Standards
Accompaniment
Marks and Assessment
room to look at the task prior to performing the task for the visiting examiner Students must submit a written programme note which outlines the following in relation to their performance programme:  Rationale for choice of programme and title/composer/stylistic context for each piece performed  technical challenges encountered in preparing their solo programme  stylistic conventions and details of interpretative aspects of the pieces they are performing  details of recordings they have listened to in and how these influenced their final performance  details of wide repertoire and any other piece(s) performed in a similar style 8‐10 minutes The standard of performance should be at a level equivalent to at least Grade 6 of the accredited graded music examination boards. Credit will be given to students performing above the minimum Grade 6 standard. A penalty system will be in place for programmes which are below the required minimum duration. If a student’s performance needs an accompaniment, a competent accompanist should be provided. If no live accompaniment is available, students may present may present a solo performance supported by a backing track which should not deter from the student’s performance. A student may be supported by a group of other student performers (for example, a pop group, traditional group) provided the student being examined is performing a substantial solo part and their part is not doubled by any other student. A visiting examiner will assess a student’s solo performance and award marks according to the following criteria: 28 Early Ideas Document for Consultation – November 2014
 Technical control and accuracy (16 marks)  Tempo and dynamics (8 marks)  Phrasing and quality of tone (8 marks)  Sense of style and communication (8 marks)  Level of demand (5 marks) 0 ‐1 marks Below the required minimum standard 2 ‐3 marks At the required minimum Grade5 standard 4‐5 marks Above the required Grade 5 standard (Total 45 marks x 2 = 90)
Unprepared Performance Criteria: 0‐1 marks 2‐3 marks 4‐5 marks x 3=Total 15 marks
Written Programme Note (Total 15 marks) (Mark bands including QWC) 6.4 AssessmentforUnitA22CreatingMusic
A2 2 Option A: Composition Composition Requirements Students complete one compulsory task and one optional task from a choice of three. Compulsory Task Harmonise an 12‐16 bar melody in four parts, in the style of a Bach Chorale Marks and Assessment We set this examination and an external examiner will assess it, using the assessment criteria and mark bands below (tbc) The composition should demonstrate knowledge and understanding of:  harmonic features outlined at AS and  modulations to more remote keys  performance directions such as dynamics, tempo changes and expression 29 Early Ideas Document for Consultation – November 2014
Optional task Composition Duration Students must compose one piece of music.  Song  Rondo Form  Theme and Variations Song: The song may be in any appropriate style. It should be in the structure of verse, chorus, verse, chorus, bridge, chorus with development of ideas clearly demonstrated on the return of sections and contrast in the bridge section. Rondo Form: The piece in rondo form may be vocal or instrumental but should be aligned to a named genre. There should be contrast between sections A, B and C with clear development of the initial ideas in the return of section A. Theme and Variations: Candidates should compose an original theme in binary form and present a series of three variations, showing clear development of ideas. One of the variations should modulate appropriately to the dominant or relative major/minor. An additional variation should modulate appropriately to a more remote key. Commentary: Candidates should include a commentary that outlines stylistic awareness of the genre, a brief analytical overview and reflection into the compositional process. Additionally at A2, connections must be shown to the chosen period, genre and the programme (if appropriate). The commentary should follow the outline provided by CCEA (max 1200 words) Folios must include a recording of the composition on CD and one of the following:  A full score using conventional staff notation  A lead sheet/chord chart (a lyrics sheet is not sufficient) 2‐3 minutes 30 Early Ideas Document for Consultation – November 2014
Marks and Assessment Our examiners will assess your students’ composition and will ward marks according to the following criteria:  Creation of ideas  Development of ideas, form and structure  Use of texture and timbre  Harmonic handling A2 2 Option B: Sequenced Arrangement Task Task Submission Requirements Composition Duration Marks and Assessment Students must create a sequenced arrangement of a prescribed stimulus. The prescribed stimulus will include a melody and accompaniment chords. The sequenced arrangement must have at least six independent parts. Students are free to arrange the stimulus in any way they choose and in a musical style of their choice. Students are free to choose appropriate sequencing software and the method of data‐input (real or step‐time). All aspects of the sequenced arrangement process should be undertaken by the student alone. Students must submit:  a standard MIDI file version of their sequenced arrangement;  an audio recording of their completed work with optional score; and  a written commentary which: − outlines the student’s intentions; − specifies the equipment used; − provides a brief analysis of the arrangement; − provides details of the compositional techniques used and the processes undertaken; and − comments on their choice of resources, and − describes the technology processes undertook to produce the recording (choice of sampled sounds, mixing, panning, use of specific techniques within the sequence to achieve a musical performance. 2 ½ ‐ 3 ½ ‐ minutes Our examiners will assess your students’ work and will award marks according to the following criteria:  Development of ideas 31 Early Ideas Document for Consultation – November 2014
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Use of texture and timbre Use of harmony Organisation of Ideas (Form and structure) Use of sequencing techniques Use and control of technological resources (Mixing) Commentary A2 2 Option B: Multi‐Track Arranging Task Task Submission Requirements Students must create a multi‐track recording of an arrangement of a prescribed stimulus. The prescribed stimulus will be a melody with lyrics. The arranged performance must have at least two independent vocal parts recorded using appropriate microphones and technique. There must be a minimum of six recorded tracks in total. Students are free to arrange the stimulus in any way they choose and in a musical style of their choice. All aspects of the arrangement and recording process should be undertaken by the student alone. Students must submit: 
an Audio CD with a rough‐mix stereo recording with all original tracks audible; 
an Audio CD with the final stereo mix‐down; and 
a detailed commentary which: –
outlines the student’s intentions; –
specifies the equipment used; –
provides a brief analysis of the arrangement; –
provides details of the compositional techniques used and processes undertaken; –
comments on their choice and use of resources, and –
describes the entire production process including the planning, preparation, recording, mixing and mastering procedures the student undertook to produce the final recording. 32 Early Ideas Document for Consultation – November 2014
Composition Duration Marks and Assessment 2 ½ ‐ 3 ½ ‐ minutes Our examiners will assess your students’ work and will award marks according to the following criteria:  Development of ideas  Use of texture and timbre  Use of harmony  Organisation of Ideas (Form and structure)  Recording processes and techniques  Use and control of technological resources (Mixing)  Commentary 8
LinksandSupport
8.1 Support
[Delete/amend/add to the lists below as appropriate to your subject] The following resources are available to support this specification:  our [subject] microsite at www.ccea.org.uk, where we will publish as many of our support materials as possible;  specimen assessment materials; and  guidance notes for teachers. We also intend to provide: 
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past papers and mark schemes; Chief Examiner’s reports; Principal Moderator’s reports; schemes of work; centre support visits; support days for teachers; portfolio clinics; agreement trials; a resource list; and exemplification of standards. 8.2 Curriculumobjectives
Northern Ireland Curriculum objectives are embedded in this specification. It enables students to explore and develop their understanding of [amend and/or expand on the bullet points as appropriate to customise them for this specification – below are examples only; check each word and delete ‘spiritual’, ‘economic’ etc. if not addressed in your subject]:  spiritual, moral, ethical, social, economic, cultural and legislative (including equality and disability discrimination) issues [by providing opportunities to…]; 33 Early Ideas Document for Consultation – November 2014
 sustainable development, health and safety considerations and European developments [through the … section in Unit …];  Cross‐Curricular Skills; and  Thinking Skills and Personal Capabilities. 8.3 Skillsdevelopment
This specification provides students with opportunities to develop key skills needed for the world of work [include and give brief examples from the specification content where possible; don’t include detailed exemplification here, although you may decide to provide detail in another document]: 
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application of number, for example …; communication, for example …; improving their own learning and performance, for example …; information and communication technology, for example …; problem solving, for example …; and working with others, for example …. 8.4 Examinationentries
Entry codes for this subject and details on how to make entries are available on our Qualifications Administration Handbook microsite, which you can access at www.ccea.org.uk Alternatively, you can telephone our Examination Entries, Results and Certification team using the contact details provided. 8.5 Equalityandinclusion
We have considered the requirements of equality legislation in developing this specification and designed it to be as free as possible from ethnic, gender, religious, political and other forms of bias. GCE qualifications often require the assessment of a broad range of competences. This is because they are general qualifications that prepare students for a wide range of occupations and higher level courses. During the development process, an external equality panel reviewed the specification to identify any potential barriers to equality and inclusion. Where appropriate, we have considered measures to support access and mitigate barriers. We can make reasonable adjustments for students with disabilities to reduce barriers to accessing assessments. For this reason, very few students will have a complete barrier to any part of the assessment. It is important to note that where access arrangements are permitted, they must not be used in any way that undermines the integrity of the assessment. You can find information on reasonable adjustments in the Joint Council for Qualifications 34 Early Ideas Document for Consultation – November 2014
document Access Arrangements and Reasonable Adjustments: General and Vocational Qualifications, available at www.jcq.org.uk 8.6 Contactdetails
If you have any queries about this specification, please contact the relevant CCEA staff member or department:  Specification Support Officer: [name] (telephone: (028) 9026 1200, extension XXXX, email: [email protected])  Subject Officer: [name] (telephone: (028) 9026 1200, email: [email protected])  Examination Entries, Results and Certification (telephone: (028) 9026 1262, email: [email protected])  Examiner Recruitment (telephone: (028) 9026 1243, email: [email protected])  Distribution (telephone: (028) 9026 1242, email: [email protected])  Support Events Administration (telephone: (028) 9026 1401, email: [email protected])  Information Section (including Freedom of Information requests) (telephone: (028) 9026 1200, email: [email protected])  Moderation (telephone: 9026 1200, extension 2236, email: [email protected])  Business Assurance (Complaints and Appeals Manager: Heather Clarke) (telephone: (028) 9026 1244, email: [email protected]). [IF you need to include any appendices, please note that:  the same text should not appear in both the specification and the specimen assessment materials – in general, if the text will apply throughout the lifetime of the specification it can be part of the spec; if it will change each year, include it in the SAMs only; and  you need to include a reference to each appendix somewhere in the main body of the specification, for example ‘See Appendix 1 for the assessment criteria for this unit.’] 35 Early Ideas Document for Consultation – November 2014