GCSE
Music
42702 Composing and Appraising Music
Report on the Examination
4270
June 2016
Version: v1.0
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REPORT ON THE EXAMINATION – GCSE MUSIC – 42702 – JUNE 2016
42702: Composing and Appraising Music
This Composing and Appraising unit divides the marks equally between its two components.
Therefore, it is important that students submit not only a good composition but also take great care
in the preparation and writing of their appraisal. As students are permitted to take notes and, if they
wish, a score of their composition into the examination situation when writing their appraisal under
supervision, they have the perfect opportunity to do well.
In this, the penultimate year for this specification, the strand was ‘World Music’, the second time it
had been used. Students have to choose a minimum of two Areas of Study (AoS) and give a link or
focus to a characteristic of the music from one of the three areas within the strand, Africa, India
and the Caribbean. After that, they are free to write in any style they wish, hopefully being able to
exploit their strengths as a composer. The majority of schools/colleges understand this but there
are still those who instruct their students to compose in the style of music from one of these three
areas. Unfortunately, this is often tied in to a very tight brief, some even going so far as to identify
instrumentation and elements to be included within the composition. The result of this is, invariably,
a piece which shows limited understanding on the part of the student. This is often understandable,
as most students do not have the in-depth experience of writing music in these styles. However,
where such a piece is written by a student with individual experience of the genre, it has resulted in
some wonderfully diverse pieces for instruments characteristic of these countries and music which
truly reflects its style.
Many students still link their work to a genre or a region, such as “reggae”, “calypso music” “African
music” or “Indian music”: these are not valid. Some simply write that the link is to use “generic
instruments”: this is too vague. Many find acceptable links, including syncopation, the use of
named generic instruments, specific chord progressions associated with a World Music genre, use
of call and response (as found in African music), and so on. In some cases, examiners had to rely
on the appraisal to identify acceptable links, especially in those cases where none was given on
the Candidate Record Form (CRF). Unfortunately, there were also examples of links which were
unrelated to the strand: these included Irish jigs, Chinese instruments and Japanese music. While,
for an example, an Irish jig can be composed given an appropriate link, it cannot be the link itself.
Similarly, instruments from China or Japan can be used within a composition, but the link must be
to something else. Whatever the link, it must be a major feature of the composition, thus enabling
students not only to write convincingly about why it was chosen, but also to be able to show how its
use contributed to the success of their piece.
There was, as ever, a very wide range of musical styles across the entry as a whole. There were
some imaginative and very successful pieces which demonstrated clear understanding of the how
to write for the chosen resources but also how to compose a piece which, to use the words of the
assessment criteria, really does “sound complete.”
Compositions
No single pairing of Areas of Study (AoS) was prominent this year and all were represented to
some extent, with most candidates choosing AoS which were appropriate to their compositions.
There were many examples of traditionally notated scores, even where students had used
Garageband. Although scores produced through Logic do not often include the detail found in
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Sibelius scores, it is quite acceptable for students to add performance and dynamic detail by hand:
in fact, this is to be encouraged as it helps demonstrate the student’s intentions. When using the
Logic format, it would be greatly appreciated if schools/colleges could reduce the size of the font
used such that scores do not run to 40 – 60 pages with just one or two bars per page. It is also
most helpful if instrument details could be added to the different lines of the score.
There were fewer submissions which included a screenshot and no further information: many were
well-annotated and augmented by musical excerpts, including melodic ideas, riffs and rhythms plus
a detailed outline of the form.
Scores submitted as separate instrumental parts are not at all easy to correlate when trying to
obtain an overview of the student’s intentions and should, wherever possible, be avoided.
The majority of recordings were of very high quality with few instances of CDs which would not
work on a conventional player, though some were not well balanced, despite the student writing at
length in their appraisal about the lengths they had gone to make sure that all parts could be
clearly heard.
While most students chose their AoS wisely, some were less successful, going, for example, for
AoS2 Harmony and Tonality when their composition used just three chords and remained in the
same key throughout or AoS5 Structure and Form with a simple Binary or Ternary form piece with
no development. Many candidates seem to think that they must choose, for example, AoS1
Rhythm and Metre, if their focus within the strand is syncopation. If they use this very little or they
do not make use of a reasonable range of other rhythmic devices, this is unlikely to be a wise
decision.
Schools/colleges are reminded that, as well as the descriptors within the mark bands, assessment
of compositions is underpinned by the ‘Musical Aspects’ listed above these bands. These cover
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the imaginative use of sound
a sense of musical balance
the creation and development of musical ideas
an understanding of the chosen medium
the appropriate and idiomatic use of instruments, voices and other sound sources
appropriate use of musical elements, devise, techniques and conventions.
Taking as an example the fifth bullet point here, it underlines the importance of writing to one’s
strengths, for resources which students have used before and can use well. Thus, it is not
idiomatic to write low-pitched triads for piano or to use only a limited range when an instrument can
cover, perhaps, three or more octaves. If writing a vocal part, it makes sense to work within the
comfortable range of the singer who will perform it.
The third bullet point focusses on the need not just to come up with musical ideas but to develop
them as the piece of music progresses. It is not sufficient merely to add more new ideas or simply
repeat an earlier one unchanged,
Although some compositions could be regarded only as basic or, at best, ‘partially effective’, there
were many where there was clear development of ideas within a cohesive structure. There was
obvious imagination as well as being supported by scores which exemplified the composer’s
intentions.
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Where a composition was linked to the use of African instruments and then used only percussion
instruments, it proved very difficult for students, many with only limited knowledge and
understanding of the culture, to compose a piece of music which really did use the instruments
idiomatically, show imagination and develop. Many were written in very short sections and it was
obvious that some students felt that either simply repeating a section or repeating it with minor
alterations constituted development. In fact, in some cases, it was obvious that some sort of
workshop had been delivered with this type of composition in mind and all students were then
directed to compose for a largely similar group of instruments. Even with such input, this approach
will rarely suit all students, some of whom will have developed their own style of composing by the
age of 16.
In a few schools/colleges, it was not at all clear how the final recording had been made in relation
to the information provided by the student, especially where other people had performed all the
parts. In such cases, further information had to be requested by the examiner and this often took
quite some time.
Overall, it was obvious, that there are some very talented composers taking GCSE Music and that
the allocated time was spent wisely and fruitfully, using a very wide range of resources, both
acoustic and software-based.
Overall, appraisals seemed to be longer this year. Of course, it should be born in mind that the
longer the appraisal, the greater the risk there is of repetition, even contradiction.
Many students were obviously well-prepared for this part of the assessment though there were
instances where many responses from within a school/college seemed to follow a very similar
format. It is a comment made virtually every year that the appraisal is not expected to be
particularly long: all depends on how it is structured and focussed. If hand-written, the number of
pages within the appraisal booklet should be sufficient; if word-processed, no more than three
pages should be needed.
Many students referred to what they had learnt from their research but gave no examples of what
this research had entailed; similarly, many wrote that they used a specific technique or
characteristic because it was typical of, for example, African music, a calypso, a reggae style, but
no examples of music in these genres were ever given. Some wrote that a drone was their link
because it was a characteristic of Indian music: again, and although this is true in many instances,
no example was given and, in fact, some students failed to show understanding of the term,
seeming to think that a sustained note under a single chord constituted a drone.
While the first two questions are quite straightforward in what they require, question 3 still produces
too many vague answers, with students failing to focus on the process of composition. Far too
often, it was a simple description of the stages of the composition, quite often in vague terms and
linked by “and then I”.
The process of composition must incorporate a clear explanation of the creative process: how
were ideas conceived, whether melodic or harmonic? Why were some ideas accepted and others
rejected? How were these basic building blocks of the composition extended and developed? What
governed choices of key, time signature, tempo, texture, instrumentation, structure and so on?
Some responses were extremely vague and many either omitted references to how the piece was
recorded or dealt with it very briefly, especially where the recording was taken from computer
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software. Students did not seem to understand the value of explaining the decisions they must
have taken as to balance, phrasing, articulation, even panning.
Most importantly, where others have been involved in the performance, it is absolutely vital that
their role is made clear. There were examples where students had made it clear that other
performers were involved because of their own inability to play one or more of the instruments
concerned but then declared that they had sung and / or explained the music, which was often
complex, to the individual performers. Similarly, where a student has declared that he / she is a
singer and was setting out to compose a song suited to their own voice and then, right at the end
of the appraisal, explains that someone else performed the song because it was outside their
range or because that other person has a better voice.
There was often an anomaly here as, on the Candidate Record Form, a student would say that no
help had been received and then, in the appraisal, go into detail about the help given.
As far as explaining problems encountered and how they were overcome, answers ranged from
those who had encountered no problems at all to those where the entire process seemed to have
been beset by problems.
Students are reminded that they should focus on issues to do with their composition rather than
spending a lot of space dealing with faulty software, corrupt data, or not being able to access a
computer.
In some instances, solutions came about following advice received, for example, from a teacher.
However, in any situation where advice was given, it is vital that students explain fully what they
were told and to what extent this solution was general advice or something extremely specific.
When discussing success, students must remember that this should be done with reference to
their composition, its use of the chosen AoS and of the focus within the strand. There are still some
students who think that a good reaction from their peers or members of their family is sufficient
here. It should also be pointed out that there is no place within the appraisal for comments on what
would have been done if there had been more time or if they were starting again. Weaker
responses either followed one or both of these routes or simply gave a list of their use of aspects of
the elements: this does not explain how such use was successful within the composition.
The better responses gave precise references within their piece to use of an aspect of the AoS or
link which added to the success of the music, clearly explaining why this was the case.
For the final question, regarding context, there are still some who do not understand this and
simply give a situation or occasion when the piece might be performed: this is not what is meant.
Some students simply omit this question altogether.
Through their choice of AoS and the link to the strand, students will normally have established the
genre within which they will be working: this is its context. Establishing how successful it has been
is simplified where exemplar pieces have been given, their characteristics clearly described and
details given as to which of these will be incorporated into this composition. Where this has been
done, accounting for its success is relatively straightforward with, again, specific references to the
music.
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REPORT ON THE EXAMINATION – GCSE MUSIC – 42702 – JUNE 2016
Administration
It was noticed by many examiners that the majority of the submissions arrived after the deadline
date of May 7. In a clear majority of cases, all information and work was included and, where there
were omissions, these were quickly rectified. For examiners, it is much simpler if scripts are
arranged in Attendance List order and the compositions placed on a composite CD, with a clear
track list, also in candidate order. It is unnecessary to submit more than one recording of a piece
as occurred in a few instances. Where this does happen, please make it clear which is to be
marked.
Where an appraisal is word-processed, there is no reason to submit the entire, empty appraisal
booklet: just the front cover with the details of centre and candidate plus the candidate’s signature
will suffice
Please do not send work in a file with the Candidate Record Form, the composition and the
appraisal each in a separate pocket: extracting and replacing these really adds to the examiner’s
workload. Similarly, the use of clear plastic pockets should be avoided where a candidate has
submitted a multi-page Logic score, as these are often so bulky that the pocket tears during transit.
Please do not use treasury tags to fasten all parts of a submission together: at the very least, this
invariably makes reading the even numbered pages of a score and the appraisal very difficult, if
not impossible.
Finally, teachers and students are to be congratulated on the diverse responses to this unit and the
amount of effort which must have gone into producing them.
Mark Ranges and Award of Grades
Grade boundaries and cumulative percentage grades are available on the Results Statistics
page of the AQA Website.
Converting Marks into UMS marks
Convert raw marks into Uniform Mark Scale (UMS) marks by using the link below.
UMS conversion calculator
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