WJEC GCE Music
First teaching: 2016
Specification Highlights
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Learners have the option to specialise in performing or composing at
A level for 8% of the qualification
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Two optional strands of study at A2 level focus on the music of Welsh
performers and/or composers
•
Features women composers/performers
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The specifications have a good balance of set works and wider
listening topics
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There is a good balance of “classical” and “popular” music
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The specifications prepare learners for a wide range of music
degrees including popular and classical courses
Overview of specification
AS Music
A2 Music
Unit 1: Performing 12% (30%)
Externally assessed between March and May
by a visiting examiner
Two pieces
6-8 minutes
Unit 4: Performing 22% or 14%
Externally assessed between March and May
by a visiting examiner
Two or three pieces
6-8 minutes or 10-12 minutes
Unit 2: Composing 12% (30%)
Externally assessed by WJEC
Two compositions
3-6 minutes
Unit 5: Composing 14% or 22%
Externally assessed by WJEC
Two or three compositions
3-6 minutes or 5-9 minutes
Unit 3: Appraising 16% (40%)
Listening and appraising exam
1 hour 30 minutes
Unit 6: Appraising 24%
Listening and appraising exam
2 hours 15 minutes
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
GCE Music Assessment Objectives Option A
AO1
Unit 1
AO2
12% (30%)
6% (15%)
10% (25%)
14%
14%
Unit 6
34%
16% (40%)
22%
22%
Unit 5
Total
12% (30%)
12% (30%)
Unit 3
Overall
AO4
12% (30%)
Unit 2
Unit 4
AO3
26%
4%
20%
10%
30%
24%
100%
GCE Music Assessment Objectives Option B
AO1
Unit 1
AO2
12% (30%)
6% (15%)
10% (25%)
22%
22%
Unit 6
26%
16% (40%)
14%
14%
Unit 5
Total
12% (30%)
12% (30%)
Unit 3
Overall
AO4
12% (30%)
Unit 2
Unit 4
AO3
34%
4%
20%
10%
30%
24%
100%
Subject Content
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 chosen areas of study
• Understanding and use of musical elements will be assessed in all units.
Subject Content
Musical Context
• Through the four areas of study, learners will gain knowledge and understanding of
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 units
Subject Content
Musical Language
• Learners will gain knowledge and understanding of musical language through the
areas of study including:
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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 Units 3 and 6, although it
is hoped that learners will also develop their knowledge and
understanding of musical language through Units 1, 2, 4 and 5.
Units 1 and 4: Performing
AS Performing
(12%) 60 marks
A2 Performing
Option A (22%) 90 marks
A2 Performing
Option B (14%) 60 marks
Standard equivalent to grade 5
Standard equivalent to grade 6
Standard equivalent to grade 6
Minimum of 6 minutes
Minimum of 10 minutes
Minimum of 6 minutes
Minimum of two pieces
Minimum of three pieces
Minimum of two pieces
One piece must link to an area
of study
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
Assessment of Units 1 and 4
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•
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Externally assessed by a visiting examiner (AS and A2
assessments will be on the same day or over two days
for larger cohorts)
Each piece is marked out 30 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.
Assessment of Units 1 and 4
•
Each column within the assessment grid focuses on a
specific aspect of performance and is marked out of 10
•
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 timbre (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.
AS Composing
(12%) 54 marks
A2 Composing
Option A (14%) 54 marks
A2 Composing
Option B (22%) 90 marks
Two compositions
Two compositions
Three compositions
One composition to a brief set
by WJEC using the techniques
and conventions of the
Western Classical Tradition of
at least 1 minute duration
One composition to a brief set
by WJEC using the techniques
and conventions of the
Western Classical Tradition of
at least 1 minute duration
One composition to a brief set
by WJEC using the techniques
and conventions of the
Western Classical Tradition of at
least 1 minute duration
One free composition for
which the learner sets their
own brief of at least 2 minutes
duration
One free composition for
One free composition for which
which the learner sets their
the learner sets their own brief
own brief of at least 2 minutes of at least 2 minutes duration
duration
One composition linked to a
second different area of study
for which the learners sets their
own brief of at least 2 minutes
duration
Composing to a brief
• The WJEC composition briefs will be
released annually on September 1 st.
•
Set briefs will always contain information about the
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The composition briefs are designed to allow any
occasion and/or the audience
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, two for miniatures and two for a section of a longer piece.
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:

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
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structure
tonality
harmony
texture
melody
rhythm
thematic manipulation
developmental devices.
What does a free composition involve?
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•
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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).
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
The composing log
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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 Units 2 and 5
•
•
The Western Classical piece is marked
out of 18 marks and all other
compositions are out of 36 marks.
Learners are assessed on

Creating musical ideas

Developing musical ideas

Technical and expressive control of musical elements
Areas of study A and E
The Western Classical Tradition
Area of study A
Area of study E
The Western Classical
Tradition (Part 1)
Either: The symphony (17601830)
Or: Religious Choral Music
(1730-1800)
The Western Classical
Tradition (Part 2)
Either: The symphony (18301910)
Or: Religious Choral Music
(1800-1890)
Either: Symphony Number 103
Drum roll Haydn (movements
1 and 2)
Or: Requiem Mozart (requiem,
dies irae, tuba mirum and rex
tremendae)
Either: Symphony number 1
Brahms (movement 4)
Or: Requiem Verdi (dies irae)
The Western Classical Tradition
Learners choose either:
The Symphony 1760-1830-1910 including
Symphony Number 103, Drum Roll, Haydn, Movements 1 and 2
Number 1, Movement 4, Brahms
or:
Religious Choral music 1730-1800-1890 including
Requiem, Mozart (Requiem, Dies Irae,
Tuba Mirum and Rex Tremendae)
Requiem, Verdi (Dies Irae)
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
Symphony
Composers
Historical Context
Haydn/Mozart/Beethoven/
Mendelssohn/Schubert/Brahms/
Berlioz/Bruckner/Dvorak/Mahler
Effect of commissions
Decline of patronage
Rise of public concerts
Growth of programme symphony
Genres:Passion/oratorio/cantata/mass
(requiem)
Structures:
Instrumental and vocal
forces
Different textural combinations
Chorus/aria/kyrie/gloria/credo/
Relationship between voices and
orchestra
sanctus/benedictus/agnus dei
Larger forces/new sonorities
Choral
Composers
Context
Handel/Haydn/Mozart/Beethoven/
Mendelssohn/Schubert/Brahms/
Faure
Religious commissions
Religious function
Relationship between words and
music
Areas of study B, C and D
Learners choose one from:
 Rock and Pop 1965-1990
 Musical Theatre Porter,
Rodgers, Schonberg and
Lloyd-Webber
 Jazz 1940-1956
Use of Musical Elements in Pop Music
Sonority
Effects
Falsetto
Scat
Sonority
Effects
Falsetto
Scat
Funk
Strong rhythmic groove of
bass & drums prominent
Heavy downbeat emphasis
on alternate bars
Rhythmic/danceable music
Electric guitar, Electric bass,
Hammond organ & drums
Use of “horn” section to
play rhythmic stabs
Little emphasis on melody
Funky bass line most
prominent
Syncopated guitar riffs
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
Musical Theatre
Cole
Porter
Richard
Rodgers
Musical
Theatre
ClaudeMichel
Schonberg
Porter
Andrew
Lloyd
Webber
• Anything Goes, So In Love, Paris, Gay Divorce,
Kiss me Kate, Can-Can, Rosalie, High Society
1891-1964
Rodgers
• Oklahoma, Carousel, South Pacific, The King
and I, Flower Drum Song, The Sound of Music,
Cinderella
1902-79
Schonberg
• Les Miserables, Miss Saigon, Martin Guerre,
The Pirate Queen
b.1944
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
Integration of
dance, song,
and drama
Mature themes
and thought
provoking plots
More emphasis
on orchestral
colour
Richard
Rodgers
Formula cast:-
Increased use of
underscore to
extend scenes
S & B leads
A & T support
Melodic and
rhythmic
characterisation
Big band
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•
•
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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
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•
•
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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
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•
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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
Area of study F: Music of the twentieth and
twenty-first centuries
• Learners choose one strand from list A and
one strand from list B
• Two of the strands have a distinct Welsh focus
• List B strands build upon knowledge and
understanding from areas of study B, C and D
at AS
• List A strands explore developments in
classical music.
Either
Or
Strand 1: Impressionism
including one set work:
• Reflets Dans L’eau Debussy
and two subsidiary pieces:
• Colloque Sentimental
Debussy
• Mother Goose Ravel
Strand 2: Chamber Music in
Wales including one set
work:
• Night Dances Plowman
and two subsidiary pieces:
• Tango Passacaglia
Wilson-Dickson
• Ariel Samuel
Either
Or
Or
Strand 3: Popular Music in
Wales featuring:
• The Manic Street
Preachers
• Gruff Rhys
• Super Furry Animals
• Kizzy Crawford
Strand 4: American Musical
Theatre featuring:
• Stephen Sondheim
• Stephen Schwartz
Strand 5: Jazz Legends
featuring:
• Duke Ellington
• Miles Davis
Unit 3: Appraising
Examination
72 marks
• Section 1: Area of study B, C or D
• An aural perception question with or
without a score (17 marks)
• A question assessing knowledge and understanding of the
wider context of the area of study (10 marks)
Unit 3: Appraising
Examination
72 marks
• Section 2: Area of study A
• Skeleton score question (10 marks)
• Analysis of set work (20 marks)
• A comparison of two symphonies/choral pieces (15 marks)
Unit 6: Appraising
Examination
80 marks
• Section 1: Strand 1 or 2
• Analysis of the main set work including a comparison
of a given aspect of style/musical element with one or
both of the subsidiary pieces (20 marks)
Unit 6: Appraising
Examination
80 marks
• Section 2: Strand 3 or 4 or 5
• An aural perception question on an un prepared extract
(10 marks)
• A question assessing in-depth knowledge and
understanding of the composers’ musical style (10 marks)
Unit 6: Appraising
Examination
80 marks
• Section 3: Area of study E
• A skeleton score question (10 marks)
• Analysis of the set work (15 marks)
• Essay on the development of the symphony/choral music
(15 marks)
Preparing for the Appraising Exam
•
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
Preparing for the Appraising Exam
•
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
Preparing for the Appraising Exam
•
Things to remember about the exam:
 the dictation question will require learners to write pitch and rhythm at A2
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 A2
Preparing for the Appraising Exam
Exam technique
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•
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•
•
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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)
Preparing for the Appraising Exam
Understanding the marking scheme
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•
•
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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.
Assessment of Units 3 and 6
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
Assessment of Units 3 and 6
AO4 Use appraising skills to make evaluative and critical
judgements about music
•
Some AO4 questions will require a longer response, however,
there may still be some multiple choice questions which require
critical judgement or evaluation where learners must consider
more than one musical feature at a time
•
Typical AO4 command words will include, describe, explain,
compare, contrast, complete (missing pitch or rhythm), find the
difference
Resources for Teachers
Supporting teaching and learning
• We are planning a number of resources to support
teaching and learning. These include:
Detailed notes on set works with student questions
Practice questions for areas of study B, C and D
A composing resource
Teacher’s guide
Term plans
Facebook
Resources for Teachers
Supporting teaching and learning
wjec.co.uk/qualifications/music/
Free subject specific resources available for all to download from our website
resources.wjec.co.uk
Free WJEC digital resources to support the teaching and learning of a broad range
of subjects.
oer.wjec.co.uk
Our free Online Exam Review allows teachers to analyse item level data, critically
assess sample question papers and receive examiner feedback
EXAMINING FOR WJEC
• 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
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 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
WE LOOK FORWARD TO WORKING WITH YOU
Any Questions?
Contact our specialist Subject
Officers and administrative support
team for your subject with any
queries.
[email protected]
[email protected]
[email protected]
@wjec_cbac
wjec.co.uk