1. Eduqas GCE Music First teaching: 2016 First assessment AS - 2017 A level - 2018

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 MusicA level Music Component 1: Performing (30%) Non-exam assessment Externally assessed by a visiting examiner A minimum of two pieces as either a soloist and/or as part of an ensemble 6-8 minutes Component 1: Performing (35% or 25%) Non-exam assessment Externally assessed by a visiting examiner A minimum of three (or two) pieces as a soloist and/or as part of an ensemble 10-12 minutes (6-8 minutes) Component 2: Composing (30%) Non-exam assessment Externally assessed Two compositions (one WCT) 4 ½ -7 minutes Component 2: Composing (25% or 35%) Non-exam assessment Externally assessed Two (or three) compositions (one WCT) 4-6 minutes (8-10 minutes) Component 3: Appraising (40%) Listening and appraising exam 1 hour 30 minutes The symphony plus one other area of study Component 3: Appraising (40%) Listening and appraising exam 2 hours 15 minutes The symphony plus two other areas of study

4. Subject Content Musical elements, contexts and language Musical Elements 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

5. 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

6. 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.

7. Comparison of Areas of study at AS and A level AS Areas of StudyA level Areas of Study The development of the symphony (1750- 1830) The development of the symphony (1750- 1900) 2 movements of 1 symphony4 movements of the same symphony plus general knowledge and understanding of second symphony One from: Rock and Pop (1960-1990) Musical Theatre (5 composers) Jazz (1920-1950) One from: Rock and Pop (1960-2000) Musical Theatre (6 composers) Jazz (1920-1960) One from Into the Twentieth century Into the Twenty-First century

8. Set works at AS and A level AS Set WorksA 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 Either:  Trio for Oboe, Bassoon and Piano, Movement 2, Poulenc  Three nocturnes, Number 1, Nuages, Debussy Or:  Asyla, Movement 3, Ecstasio, Thomas Ades  String Quartet number 2, Opus California, Movements 1 and 4, Sally Beamish

9. 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

10. Area of study A: The Development of the Symphony (compulsory) Learning Focus: the development of the orchestra, use of form and structure and musical elements/ language Types of question: set work analysis completing a skeleton score comparison of two symphonies (AS) aural perception with score (AS) essay on the development of the symphony (A level)

11. Area of study A...suggested lesson approach Analysis of set work  Start with stylistic background/score reading/transposing instruments/ sonata form/structural overview  Teach analysis in lesson and set annotation of score for homework  Analyse by section...discuss how elements are used  Set regular written tasks/tests  Regular focused listening to other symphonies (both in and out of class)...set tasks/keep diary/show chronological development Comparison Question  Respond to short listening extracts in class to learn how to recognise particular features  Set longer written comparisons for homework

12. Area of study A...suggested lesson approach Developing aural skills  Practice to build aural skills should be “little and often!”  Integrate opportunities for aural development with other work  Set homework tasks to “free up” valuable lesson time Essay Writing  Research tasks should be set  Essay writing practice should be encouraged by setting regular tasks (e.g. every half term)

13. Use of Musical Elements :- structure/tonality/texture/melodic development/harmonic language/ sonority/tempo/metre/dynamics Development of orchestra Decline of basso continuo Influence of Mannheim orchestra Increased importance of woodwind Larger forces/new sonorities Composers Haydn/Mozart/Beethoven/ Mendelssohn/Schubert/Brahms/ Berlioz/Bruckner/Dvorak/Mahler Historical Context Effect of commissions Decline of patronage Rise of public concerts Growth of programme symphony Symphony

14. 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

15. 60’s The Beatles The Shadows The Kinks The Who 70’s Abba Bee Gees Queen Beach Boys 80’s Culture Club Police Spandau Ballet Duran 90’s Take That Oasis Blur Stereophonics POP

16. 60’s Sam Cooke Otis Redding Aretha Franklin Four Tops 70’s James Brown Stevie Wonder The Temptations Marvin Gaye 80’s Luther Vandross Prince Michael Jackson Shalamar 90’s Mary J.Blige Whitney Houston Bobby Brown R.Kelly SOUL

17. Use of Musical Elements in Pop Music Strophic 12 bar blues 32 bar song verse/chorus Offbeat Shuffle Groove Irregular Tonality Blue notes Power chords 6ths/7ths Sonority Effects Falsetto Scat

18. Funk Strong rhythmic groove of bass & drums prominent Heavy downbeat emphasis on alternate bars Rhythmic/danceable music Little emphasis on melody Funky bass line most prominent Syncopated guitar riffs Electric guitar, Electric bass, Hammond organ & drums Use of “horn” section to play rhythmic stabs Often based on static single chord vamp Much use of extended chords...7ths,11ths,altered 9ths Mixed modes with blues scale James Brown Sly & the Family Stone Chaka Khan Red Hot Chilli Peppers

19. AOS (C) Musical Theatre Richard Rodgers Leonard Bernstein Stephen Sondheim Claude- Michel Schonberg Stephen Schwartz Andrew Lloyd Webber

20. Rodgers 1902-79 Oklahoma, Carousel, South Pacific, The King and I, Flower Drum Song, The Sound of Music, Cinderella Bernstein 1918-90 On the Town, Wonderful Town, West Side Story, Candide Sondheim b. 1930 Company, Follies, A Little Night Music, Sweeney Todd, Merrily We Roll Along, Into the Woods

21. Schonberg b.1944 Les Miserables, Miss Saigon, Martin Guerre, The Pirate Queen Lloyd Webber b.1948 Jesus Christ Superstar, Evita, Cats, Starlight Express, The Phantom of the opera, Sunset Boulevard, Whistle down the Wind, Love never Dies Schwartz b.1948 Godspell, Pippin, The Baker’s Wife, Children of Eden, Wicked

22. Richard Rodgers Integration of dance, song, and drama Mature themes and thought provoking plots Formula cast:- S & B leads A & T support Melodic and rhythmic characterisation Increased use of underscore to extend scenes More emphasis on orchestral colour

23. Stephen Sondheim Master of words and melody...wrote own lyrics Brought a dark, dramatic edge to the musical Versatile style...from operatic to popular Intricate and highly chromatic melodies Frequent dissonance and angular harmonies Use of complex vocal polyphony

24. AOS (D) JAZZ RagtimeDixielandEarly jazz Big bandBe-bop Cool jazz

25. Ragtime Mostly for piano (roots for “stride piano”) in 2 or 4 time Syncopated (ragged) RH melody LH bass on strong beats and chords on weak beats Usually structured with several 16 bar themes...often in I and IV Dixieland Originated in New Orleans from brass marches, quadrilles, ragtime and blues Front line usually consists of trumpet, trombone and clarinet Rhythm section originally used banjo, tuba, piano and drums Features polyphonic improvisation around main melody Early jazz Fusion of American brass band / African elements...led to Lindy Hop dance craze Chicago style (Louis Armstrong) introduced swing rhythms and scat singing Guitar replaced banjo and string bass replaced tuba in rhythm sections Focus on solo performance...not collective / polyphonic improvisation

26. Big band Larger ensemble (standard=17) required pre-arranged, written music Arrangements usually follow strophic form, with some improvised solos Each chorus is usually structured as a 12 bar blues or AABA song form. “Swing” gives a more supple rhythmic feel and often uses a walking bass Be-bop Shift from dance orientated to listening music...”musician’s music!” Challenging, faster-moving material to display instrumental virtuosity Chord based improvisation on advanced harmonic structure Intricate melodies with complex syncopation and asymmetrical phrasing Cool jazz Calmer, more relaxed tempo...with a much lighter tone Characterised by long, flowing linear melodic lines Improvisations emphasize melodic development Maintains elements of “classical” music

27. 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 These areas are intended for second year study and will be covered in more detail in future. Resources will be available from April 2016.

28. Area of Study E: Into the Twentieth Century The two set works for study in depth are:-  Trio for Oboe, Bassoon and Piano (Movement II)... Poulenc  Three Nocturnes (Number 1) Nuages...Debussy In order to gain a breadth of understanding of how music developed during the period 1895 – 1935, composers suggested for study are:- Debussy, Ravel, Schonberg, Berg, Webern, Stravinsky, Poulenc and Prokofiev

29. Area of Study F: Into the Twenty-first Century The two set works for study in depth are:-  Asyla, Movement 3, Ecstasio... Thomas Ades  String Quartet No.2 (Opus California) Movements 1 (Boardwalk) and 4 (Natural Bridges)...Sally Beamish In order to gain a breadth of understanding of how music developed during the period 1980 - present, composers suggested for study are:- Hans Werner-Henze, Witold Lutoslawski, Kaija Saairiaho, Sofia Gubaidulina, Sally Beamish, Judith Weir, Mark-Anthony Turnage and Thomas Ades

30. Areas of Study E and F Learners must demonstrate knowledge and understanding of:- Use of musical elements in composition Effect of audience, time and place Purpose and intention of composer/performer Related musical vocabulary and terminology Use of multi-media/ music technology (AOS F only)

31. 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 (1750- 1830) The development of the symphony (1830- 1900) Movements 1 and 2 of one symphonyMovements 3 and 4 of the same symphony plus general knowledge of second symphony One from: Rock and Pop (1960-1990) Musical Theatre (5 composers) Jazz (1920-1950) One from: Rock and Pop (1990-2000) Musical Theatre (1 composer) Jazz (1950-1960) One from Into the Twentieth century Into the Twenty-First century

32. Comparison of Component 3 exams at AS and A level AS Exam 88 marksA 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) Set work analysis question (15 marks) Essay on the development of the symphony (15 marks)

33. AO3 Demonstrate and apply musical knowledge Identify styles Recognise features Musical terms Exam terms... state, define, identify etc.. Written notes Verbal presentation Oral appraisal Questioning Recognise elements Class discussion of recording or performance Set individual listening task for HW (via youtube) Pupils keep a regular listening diary Build up a vocabulary log

34. AO4 Use analytical and appraising skills to make evaluative and critical judgements about music Development of genres and styles Stylistic features Individual research Set topics Regular monitoring Describe contrast Practise comparison questions Write up verbal class discussion Analyse next section Set short analysis HW tasks on set work Compare versions of similar material Describe music in context Extended comments and essay writing

35. 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 Assessment of Component 3

36. Component 2: Composing AS (30%), A level (25% or 35%) AS Composing (30%) 72 marks A level Composing Option A (25%) 72 marks A level Composing Option B (35%) 108 marks Two compositions Three compositions Minimum of 4 ½ minutesMinimum of 4 minutesMinimum 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

37. Preparing to teach composing  It is essential to teach compositional skills at the start of the course (see suggested term plan)  WCT harmony (including chords, cadences, tonality and modulation) gives a firm structural basis for set briefs and ‘free’ composition  Regular monitoring of the composing process is essential  Learners should keep a composing log book for ideas... even when studying a set work  Establish what the ‘free’ composition will be... through set tasks and/or individual research  Learners must be encouraged to create and develop musical ideas and show control of musical elements

38. Stage WCT Composition H A R M O N Y FocusTopic/ActivitiesContent 1 Melody  Listening to examples of different melodies  Identify melodic and rhythmic features  Composing a 16 bar melody  Construction of 16 bar melody/balanced phrases/ repetition /contrast and variation/ conjunct and disjunct movement/ triadic melodies 2 Structure  Listening to examples of various musical forms  Identify phrases / sections  Compose a short piece in a simple form  Extension of original melody into binary/ternary/rondo/ form  Use of contrast 3 Tonality and modulation  Listening to sonata form  Exploration of thematic contrast  Compose a contrasting theme to stage 1 melody  Develop a given opening idea  Understanding of Sonata form... S1 & S2 / transition /developing material/ key relationships etc 4 Texture  Listening to contrasting textures  Present one theme in three different ways  Homophonic/polyphonic/unison/ countermelody / imitation etc.. 5 Sonority  Study of idiomatic writings for different groupings  Contrasting writing for different groupings  Solo /antiphonal /tutti /etc Western Classical Tradition Composition Term Plan

39. Co-teaching AS and A level Component 2: Both AS and A level require learners to compose using the musical idioms from the Western Classical tradition. AS A level Simple forms such as binary/ternary/rondo Ensemble forces Complex forms such as sonata form Larger instrumental forces Western classical composition

40. 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

41. 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 Assessment of Component 2

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

43. Assessment of Component 1  Externally assessed (and recorded) by a visiting examiner  Each piece is marked out of 36 and adjusted according to the level of difficulty (see Appendix A)  Each of the 3 columns in the assessment grid (accuracy/technical control / expression & interpretation) is marked out of 12  Learners may choose to perform one of their own compositions, but should ensure that it demonstrates their highest performing skills  Appropriate music copies for all pieces must be provided for the examiner  Accompaniments may be live or a backing track  No performances should be conducted  Learners are not restricted to one instrument/voice  An audience is permitted in the assessment  The examiner will not be able to discuss marks with the teacher  It is essential to meet the minimum time requirement. Performances that fall below this will be awarded 0 marks

44. Comments from a visiting examiner A well organised exam session makes the whole experience far more enjoyable for both the examiner and the learners :- Ensure that all the necessary paperwork is completed and ready. Set up all the equipment needed in advance and provide a suitably placed table and chair for the examiner. Provide the correct copies of music for the examiner, with any repeats and alterations to the written music clearly marked. Indicate the appropriate grade of each piece, if known. Take care when organising timings...especially near break/lunch times. Make sure that any ensemble members who are not taking the exam are available at their given time. Arrange for all learners taking the exam to meet the examiner at the start of the session...this helps dispel any nerves and familiarises them with the process.

45. Preparing to teach Performing 1.Best practice is to provide regular opportunities to perform in front of others, both in class and on other occasions:- Group/class performance of a piece related to an AOS Use solo performances for appraisal purposes e.g. discuss structure, melodic/harmonic content, style etc.... Lunchtime/evening recitals, assemblies, other classes etc.. 2.Organise a ‘mock’ about a month before the exam date, to ensure that all students are on track...don’t take their word for it! 3.Individual practice should be done as homework...not during valuable lesson time.

46. 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

48. 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

49. APPLICATION PROCESS Complete an application using the on-line application system available on the Appointees page of the WJEC website Appointees Once you have completed the initial registration, please make sure that you validate your email 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

50. Any Questions? Contact our specialist Subject Officers and administrative team for your subject with any queries. Catherine.webster@eduqas.co.ukCatherine.webster@eduqas.co.uk (Subject Officer) Sara.evans@eduqas.co.ukSara.evans@eduqas.co.uk (Subject Support Officer) Catrin.budd@eduqas.co.ukCatrin.budd@eduqas.co.uk (Subject Support Officer) @eduqas eduqas.co.uk