gcse - xtreme · • encourages a range of ensemble work. • encourages the use of music...
TRANSCRIPT
GCSE
Edexcel GCSE in
Music
First examination 2008
Issue 2
February 2006
Specification
Ed
ex
cel
GC
SE i
n
Mu
sic
Edexcel Limit ed is one of t he leading examining and awarding bodies in t he UK and
t hroughout t he world. It incorporat es al l t he qual if icat ions previously awarded under
t he Edexcel and BTEC brands. We provide a wide range of qual if icat ions including
general (academic), vocat ional , occupat ional and specif ic programmes for
employers.
Through a net work of UK and overseas of f ices, our cent res receive t he support t hey
need t o help t hem del iver t heir educat ion and t raining programmes t o learners.
For furt her informat ion please cal l Cust omer Services on 0870 240 9800 (cal ls may be
recorded for t raining purposes) or visit our websit e at www.edexcel.org.uk
This specif icat ion guide is Issue 2. Key changes t o requirement s are sidel ined.
Cent res wil l be informed of any necessary fut ure changes t o t he specif icat ion. The
lat est issue can be found on t he Edexcel websit e, www.edexcel.org.uk
Acknowledgement s
This specif icat ion has been produced by Edexcel on t he basis of consult at ion wit h
t eachers, examiners, consult ant s and ot her int erest ed part ies. Edexcel recognises
and values al l t hose who cont ribut ed t heir t ime and expert ise t o t he development of
GCSE specif icat ions.
Aut horised by Jim Dobson
Prepared by Jane Anslow
Publ icat ions code UG017100
Al l t he mat erial in t his publ icat ion is copyright
© Edexcel Limit ed 2006
Contents
Introduction 1
Key feat ures 1
Summary of t he specif icat ion cont ent and scheme of assessment 2
Int roduct ion t o Areas of St udy 3
Availabil i t y of ext ernal assessment 3
Prior learning and progression 3
Forbidden combinat ions and l inks wit h ot her subj ect s 4
Specification aims and assessment objectives 5
Nat ional Qual if icat ions Framework crit eria 5
Aims 5
Knowledge, skil ls and underst anding 5
Assessment obj ect ives 5
Scheme of assessment 6
Relat ionship of assessment obj ect ives t o ext ernal assessment 6
Int ernal assessment moderat ion procedures 6
Qualit y of writ t en communicat ion (QoWC) 6
Awarding and report ing 6
Assessment language 6
Access arrangement s and special considerat ions 7
Specification content 9
Cont ent of Areas of St udy 9
Paper 1: Performing (30%) 18
Paper 2: Composing (30%) 24
Composit ion and arrangement t asks and sample briefs 29
Paper 3: List ening and appraising (40%) 33
Musical vocabulary 35
Internal assessment 41
Paper 1 — Performing 41
Paper 1A/ B — Performing 42
Levels of dif f icul t y for inst rument s, voice and sequencing 57
Paper 2 — Composing 83
Grade descriptions 95
The wider curriculum 97
Key skil ls 97
Spirit ual, moral, et hical, social and cul t ural issues 97
Educat ion for cit izenship 98
Informat ion and communicat ion t echnology (ICT) 98
Environment al educat ion, healt h and safet y educat ion and t he European
and global dimension 99
Textbooks and other teaching resources 101
Support and training 103
Training 103
Edexcel publ icat ions 103
Appendix 105
Appendix 1 — Key skil ls 107
Introduction
The revised Edexcel GCSE in Music is designed t o al low t he st udy of music t hrough
t he int egrat ion of performing, composing, l ist ening and appraising wit h opport unit ies
t o use music t echnology. It recognises t hat we l ive in an age of cul t ural diversit y and
t he Areas of St udy cover a wide range of music: classical music, world music, and
popular music. This f lexibly st ruct ured course al lows st udent s t o capit al ise on t heir
dif ferent int erest s. As an ext ension of classroom work done in Key St age 3 of t he
Nat ional Curriculum, it cat ers for a wide spect rum of musical abil i t ies and
requirement s. It gives st udent s t he opport unit y t o make music, bot h individual ly and
in groups, t o develop a l i fe-long int erest in music and t o progress t o furt her st udy.
Key features
• Cont inues t he philosophy of t he current syl labuses in music.
• Int egrat es performing, composing, l ist ening and appraising.
• Is f lexible and encourages a diversit y of approaches t o t he t eaching of music.
• Offers a broad range of Areas of St udy.
• Encourages a range of ensemble work.
• Encourages t he use of music t echnology in performance and as a composit ional
t ool.
• Is a good preparat ion for furt her musical st udy and a sol id foundat ion for
Advanced Subsidiary and Advanced GCE.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 1
Summary of the specification content and scheme
of assessment
Part or
component
Requirements Mode of assessment Weighting
Paper 1:
Performing
Solo performing Candidat es wil l perform one
solo piece
15% int ernal ly
assessed/ ext ernal ly
moderat ed
Ensemble
performing
Candidat es wil l
perform/ direct one
ensemble piece
15% int ernal ly
assessed/ ext ernal ly
moderat ed
30%
Paper 2:
Composing
Composit ion 1 One composit ion, writ t en t o
a brief , based on one of t he
Areas of St udy
15% int ernal ly
assessed/ ext ernal ly
moderat ed
Composit ion 2 One composit ion, writ t en t o
a brief based on a dif ferent
Area of St udy
15% int ernal ly
assessed/ ext ernal ly
moderat ed
30%
Paper 3: Listening
and appraising
Writ t en paper
List ening and
appraising
1 hour 30 minut es 40% ext ernal ly
assessed
40%
Candidat es t o answer
quest ions on al l four Areas of
St udy
Al l grades are available and dif ferent iat ion wil l be by out come.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 2
Introduction to Areas of Study
Area of Study 1 Area of Study 2 Area of Study 3 Area of Study 4
Structure in
Western classical
music 1600-1899
Changing
directions in
Western classical
music from 1900
Popular music in
context
Indian raga,
African music and
fusions
Through t he st udy
of :
• ground bass
and variat ions
• t ernary form
• rondo.
Through t he st udy
of :
• expressionism
and serial ism
• minimal ism
• experiment al
and elect ronic
music.
Through t he st udy
of :
• dance music
1985 — present
day
• songs f rom
musicals
• Brit pop and it s
inf luences.
Through t he st udy
of :
• Indian raga
• African music
• fusions.
The t hree aspect s of musical knowledge (performing, composing and l ist ening) are
relat ed t o each ot her t hrough t he Areas of St udy.
In List ening and appraising (Paper 3) al l candidat es wil l be expect ed t o respond t o
music f rom a variet y of st yles and t radit ions across al l four Areas of St udy. For
Composing (Paper 2) candidat es creat e t wo pieces each writ t en t o a brief based on
t wo of t he Areas of St udy, or t he specif ic t opics wit hin t hese areas, t hus relat ing
List ening and appraising, and Composing.
As part of Performing (Paper 1), candidat es must perform music f rom t he same Area
of St udy as one of t heir composit ions. This may be t heir composit ion or any ot her
music of t heir choice. Candidat es are required t o complet e a proforma
‘ Underst anding t he Brief ’ (Paper 2) which appraises t heir composing act ivit ies in
relat ion t o t he brief and t he Area of St udy, t hus t ying t oget her each of t he
assessment obj ect ives.
Availability of external assessment
First assessment for t his specif icat ion wil l be in summer 2008. Assessment wil l be
available in each summer examinat ion session t hereaf t er.
Prior learning and progression
This specif icat ion builds on t he knowledge, underst anding and skil ls est abl ished by
t he Nat ional Curriculum at Key St ages 1, 2 and 3. It provides a sol id basis for
Advanced Subsidiary and Advanced GCE and a preparat ion for furt her musical st udy
at Levels 2 and 3 in t he Nat ional Qual if icat ions Framework.
The highest grades are accessible by t hose candidat es who may not receive special ist
music lessons out side t he classroom. This specif icat ion is also aimed at mat ure
st udent s who wish t o broaden t heir experience and deepen t heir underst anding of
bot h l ive and recorded music as part of Lifelong Learning.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 3
Forbidden combinations and links with other subjects
Every specif icat ion is assigned a nat ional classif icat ion code indicat ing t he subj ect
area t o which it belongs. Cent res should be aware t hat st udent s who ent er for more
t han one GCSE qual if icat ion wit h t he same classif icat ion code wil l have only one
grade (t he highest ) count ed for t he purpose of t he school and col lege performance
t ables.
The classif icat ion code for t his specif icat ion is 7010.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 4
Specification aims and assessment objectives
National Qualifications Framework criteria
This specif icat ion is based on t he common crit eria and t he GCSE crit eria, which are
prescribed by t he regulat ory aut horit ies including QCA and are mandat ory for al l
awarding bodies. It is also derived f rom t he prescribed subj ect crit eria for Music.
Aims
This specif icat ion aims t o give st udent s opport unit ies t o:
• develop t heir underst anding and appreciat ion of a range of dif ferent kinds of
music
• ext end t heir own int erest s and increase t heir abil i t y t o make j udgement s about
musical qual it y
• develop broader l i fe-skil ls and at t r ibut es including crit ical and creat ive t hinking,
aest het ic sensit ivit y and emot ional and cult ural development .
Knowledge, skills and understanding
This specif icat ion aims t o give st udent s opport unit ies t o acquire t he knowledge, skil ls
and underst anding needed t o:
• make music, bot h individual ly and in groups
• develop a l i fe-long int erest in music, eg t hrough communit y music making
• progress t o furt her st udy, eg Advanced GCEs and ot her equivalent qual i f icat ions,
and/ or t o fol low a music-relat ed career, where appropriat e.
Assessment objectives
AO1 Singing and/ or playing an individual part wit h t echnical cont rol , expression,
int erpret at ion and, where appropriat e, a sense of ensemble — performing
skil ls.
AO2 Creat ing and developing musical ideas in relat ion t o a brief — composing
skil ls.
AO3 Analysing and evaluat ing music using a musical t erminology — appraising
skil ls.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 5
Scheme of assessment
Relationship of assessment objectives to external
assessment
Paper Component A01 A02 A03 Total
Solo performing 15% 15% Paper 1
Ensemble performing 15% 15%
Composit ion 1 15% 15% Paper 2
Composit ion 2 15% 15%
Paper 3 List ening and
appraising
40% 40%
Tot al 30% 30% 40% 100%
Internal assessment moderation procedures
Coursework is cent re-assessed using t he crit eria on pages 41–93, and is ext ernal ly
moderat ed by Edexcel. To assist cent res and t o provide al l t he informat ion required
wit hin t his document , det ailed int ernal assessment procedures are given in t he
informat ion sent out t o exams of f icers in May each year.
Quality of written communication (QoWC)
Assessment obj ect ive AO3 al lows opport unit ies t o:
• present relevant informat ion in a form t hat suit s it s purpose
• ensure t ext is legible and t hat spel l ing, punct uat ion and grammar are accurat e,
so t hat meaning is clear
• use a suit able st ruct ure and st yle of writ ing.
Awarding and reporting
The grading, awarding and cert if icat ion of t his specif icat ion wil l comply wit h t he
requirement s of t he GCSE and GCE A/ AS Code of Pract ice for courses st art ing in
Sept ember 2006, which is publ ished by QCA. Qual if icat ions wil l be graded and
cert if icat ed on an eight grade scale f rom A* t o G.
Assessment language
Assessment of t his specif icat ion wil l be available in Engl ish only. Assessment
mat erials wil l be publ ished in Engl ish only and al l writ t en and spoken work submit t ed
for examinat ion and moderat ion must be produced in Engl ish.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 6
Access arrangements and special considerations
Edexcel ’ s pol icy on access arrangement s and special considerat ions for GCE, VCE,
GCSE, GNVQ, Ent ry Level and key ski l ls aims t o enhance access t o t he qual if icat ions
for learners wit h disabil i t ies and ot her dif f icul t ies (as def ined by t he Disabil i t y
Discriminat ion Act 1995 and t he amendment s t o t he Act ) wit hout compromising t he
assessment of skil ls, knowledge, underst anding or compet ence being measured.
Please see Edexcel ’ s websit e (www.edexcel.org.uk/ sfc) for det ails on:
• t he JCQ pol icy Ar rangement s and Special Considerat ions, Regulat ions and
Guidance Relat ing t o Candidat es who are El igible f or Adj ust ment s in
Examinat ions
• t he forms t o submit for request s for access arrangement s and special
considerat ions
• dat es for submission of t he forms.
Request s for access arrangement s and special considerat ions must be addressed t o:
Special Requirement s
Edexcel
One90 High Holborn
London WC1V 7BH
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 7
Specification content
Content of Areas of Study
The specif icat ion cont ent is def ined by t he l ist s of forms and st yles for each Area of
St udy.
Area of Study 1 Area of Study 2 Area of Study 3 Area of Study 4
Structure in
Western classical
music 1600-1899
Changing
directions in
Western classical
music from 1900
Popular music in
context
Indian raga,
African music and
fusions
Through t he st udy
of :
• ground bass
and variat ions
• t ernary form
• rondo.
Through t he st udy
of :
• expressionism
and serial ism
• minimal ism
• experiment al
and elect ronic
music.
Through t he st udy
of :
• dance music
1985 — present
day
• songs f rom
musicals
• Brit pop and it s
inf luences.
Through t he st udy
of :
• Indian raga
• African music
• fusions.
The specif icat ion encourages t he int egrat ion of t he various musical discipl ines t hat
have t radit ional ly been st udied more or less in isolat ion. Thus every Area of St udy
provides opport unit ies not only for st udy of repert oire but also for t he development
of musical ideas t hrough composing and performance act ivit ies. The t hree aspect s of
musical knowledge (performing, composing and l ist ening) are relat ed t o each ot her
t hrough t he Areas of St udy.
Similarly t here are opport unit ies t o make l inks bet ween t he dif ferent Areas of St udy
where t he underst anding developed in one Area of St udy (or t opic) can be appl ied t o
anot her, eg t he use of t echnology in elect ronic and experiment al music or t he use of
repeat ed pat t erns in minimal ism, ground bass and Af rican music.
Det ails of t he specif icat ion cont ent for each Area of St udy are found on t he fol lowing
pages.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 9
Area of Study 1
Structure in Western classical music 1600-1899
This Area of St udy requires st udent s, t hrough performing, composing and appraising,
t o develop aural percept ion and musical knowledge and underst anding of t he
fol lowing t opics: ground bass and variat ions, t ernary form and rondo.
Ground bass and variations
St udent s should examine pieces using ground bass where t here are cont inuously
varying t ext ures around t he ost inat o t heme (or ground). They should explore t he
dif ferent devices which int roduce variet y in each repet it ion of t he t heme and
examine t he fol lowing musical charact erist ics: prominent bass; varying t ext ure,
melody, and harmony; and increasing complexit y. They should underst and t he
cont ext in which t he music was performed f rom t he sevent eent h cent ury onwards (as
chamber music and in t he concert hal l ), and t he inst rument al resources deployed
(keyboard, chamber and orchest ral music).
St udent s should examine works using variat ions where a piece opens wit h t he
st at ement of a simple t heme which is t hen elaborat ed in various ways. They should
explore t he dif ferent ways in which variet y is int roduced in t he variat ions such as
purely melodic decorat ion or mot ivic development . They should recognise and
experiment wit h changes in harmony, rhyt hm, met re, dynamics, t empo, t ext ure and
key. Variat ion form is found t hrough al l periods of music and st udent s should l ist en t o
a range of examples.
Ternary form
St udent s should examine pieces in t ernary form. They should explore t he way in
which pieces in t his form fal l int o t hree dist inct and recognisable sect ions wit h t he
middle sect ion (t he episode) cont rast ing wit h t he out er sect ions. They should explore
t he use of keys and should examine t he dif ferent ways in which cont rast is achieved
t hrough changes in harmony, rhyt hm, met re, dynamics, t empo, t ext ure and key.
They should underst and t hat t ernary form has a long hist ory and is found in much
Baroque vocal music in t he da capo aria, and in t he Classical period as minuet and
t r io form, for example.
Rondo
St udent s should examine pieces in rondo form where a main sect ion recurs and
al t ernat es wit h cont rast ing sect ions (episodes). They should explore ways in which
cont rast is achieved t hrough changes in harmony, rhyt hm, met re, dynamics, t empo,
t ext ure and key and should examine such formal charact erist ics as l inks bet ween
sect ions and codas. They should underst and t he cont ext in which t he music was
performed wit h, for example, i t s f requent use as t he last movement in symphonies
and concert os.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 10
Area of Study 2
Changing directions in Western classical music from 1900
This Area of St udy requires st udent s, t hrough performing, composing and appraising,
t o develop aural percept ion and musical knowledge and underst anding of t he
fol lowing t opics: expressionism and serial ism, minimal ism and experiment al and
elect ronic music.
Expressionism and serialism
St udent s should examine expressionism and serial ism t hrough t he work of composers
f rom t he Second Viennese School , namely, Schoenberg, Berg and Webern. They
should look at t he cont ext in which Expressionist music was composed and
underst and t hat i t was a t erm, original ly borrowed f rom visual art and l i t erat ure.
Art ist s (not ably Kandinsky and Munch) creat ed vivid pict ures, dist ort ing colour or
shape t o express innermost emot ions. In a similar way, composers poured int ense
emot ional expression int o t heir music.
The int roduct ion of melodic or harmonic dist ort ion for expressive ef fect should be
examined. St udent s should be able t o recognise and describe t he use of
chromat icism, angular melodies, a high level of dissonance and ext reme cont rast s of
dynamics. They should recognise t hat expressionist music largely avoids cadence,
repet it ion, sequence or balanced phrases and t here are const ant ly changing t ext ures
and ideas.
St udent s should examine t he break wit h t onal it y in t he f irst decade of t went iet h
cent ury wit h Schoenberg and his disciples; as harmonies became increasingly
chromat ic t his event ual ly result ed in at onal it y.
They should also examine t he development of serial ism (a met hod of composing using
a series of pit ches, or ot her musical element s, heard only in a part icular order) which
gave Schoenberg a new syst em of achieving order t o replace t onal it y. St udent s
should have an underst anding of 12-t one composit ions and should be able t o
experiment wit h dif ferent ways of t reat ing t he series. They should be able t o
describe serial ist t echniques such as prime order, inversion, ret rograde and
ret rograde inversion, vert ical isat ion, augment at ion and diminut ion.
St udent s should also be aware of t ot al serial ism where, not only t he pit ch, but ot her
musical element s such as rhyt hm and dynamics were also cont rol led by t he principles
of serial ism.
Suggest ed composers — Schoenberg, Alban Berg and Ant on Webern.
Tot al serial ism — Boulez, Mil t on Babbit t .
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 11
Minimalism
St udent s should examine minimal ism where t he music undergoes a gradual process of
change involving rhyt hmic and melodic t ransformat ion, repeat ed pat t erns and pure
t onal harmony.
They should underst and it s origins on t he West coast of America in t he 1960s wit h
composers such as Terry Riley and St eve Reich and it s lat er development in America
and Europe.
St udent s should underst and t hat t he basic musical component s and cel ls used by
minimal ist composers are of t en t onal combining arpeggios, broken chords and scales
wit h regular repeat ed rhyt hms. St udent s should underst and t he inf luence of non-
West ern music on t he genre, for example, t he paral lels wit h t he mesmeric ef fect s of
gamelan music and Af rican drumming.
St udent s should underst and t he dif ferent processes t hrough which minimal ist music is
const ruct ed, i t s layers of ost inat i and int erlocking repeat ed phrases and rhyt hms.
They should explore various processes such as phase shif t ing (gradual ly separat ing
part s f rom an opening rhyt hmic unison), t ape loops, addit ion/ subt ract ion, and
melodic or rhyt hmic t ransformat ion. Gradual changes in t ext ure and dynamics should
be explored.
St udent s should be aware of t he cont rast bet ween t he complexit y of expressionist
music and t he simpl icit y and clarit y of minimal ist writ ing. They should also be aware
of some of t he paral lels in club dance music in it s use of , for example, repet it ion and
loops.
Suggest ed composers — Terry Riley, St eve Reich, Phil ip Glass and John Adams.
Experimental and electronic music
St udent s should examine experiment al music ie music t hat eschews musical
convent ion of t en wit h out comes t hat are in part unpredict able. They should explore
aleat oric (or indet erminat e) music — music which is t he result of chance operat ions
and is consequent ly dif ferent every t ime it is performed. They should be aware of
performance art — mult i-media l ive art such as t he happenings of t he 1960s and
1970s.
They should examine t he use of unconvent ional inst rument s (such as household
obj ect s) and t he unconvent ional use of convent ional inst rument s such as prepared
piano and ext ended vocal and inst rument al t echniques which enable t he performer
t o wring unusual and unexpect ed sounds f rom t heir inst rument s.
St udent s should examine elect ronic music ie music based on t echniques t hat
generat e and manipulat e sounds elect ronical ly. They should be aware of t he
milest ones in t he development of elect ronic music, principal ly t he invent ion of t ape,
and t he advent of t he synt hesiser. They should examine early explorat ions in
elect ronic music such as musique concrèt e (music made f rom recording non-musical
noises and sounds).
St udent s should be aware of resources such as sequencers, and synt hesisers and of
processes such as mult i-t rack recording, sampling, looping, edit ing and vari-speeding.
Cont inued over leaf
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 12
Experimental and electronic music (cont inued)
St udent s should examine and experiment wit h t he innovat ive not at ional syst ems t hat
arose t o cope wit h t he demands of elect ronic and experiment al music (ie 3-l ine
st aves, graphic not at ion, and prose scores where a descript ive l ist of musical event s
is given).
St udent s should examine t he relat ionship bet ween composer and performer. They
should underst and t he impact t hat music t echnology has had wit h it s pot ent ial for
t ot al cont rol of sounds t hus rul ing out t he performer, in cont rast wit h experiment al
music where some pieces al low t he performer t o t ake part in t he creat ion of t he
piece.
Suggest ed composers — Karlheinz St ockhausen, John Cage, Cornel ius Cardew, Gavin
Bryars, Luciano Berio.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 13
Area of Study 3
Popular music in context
This Area of St udy requires st udent s, t hrough performing, composing and appraising,
t o develop aural percept ion and musical knowledge and underst anding of t he
fol lowing t opics: Dance music 1985-present day, songs f rom musicals and Brit pop.
Dance music 1985 — present day
St udent s should examine club dance music in it s dif ferent forms. They should explore
t he root s of t he st yle in 1970s Jamaican dub, funk, disco, European synt h-pop and
hip-hop before looking at how t hese fused t o become t he house music of Chicago.
St udent s should have a working knowledge of t he main genres, ie house, t echno,
garage, drum and bass and t he main feat ures used t o ident if y t hem (t hey do not need
t o know al l t he sub-genres). For example, st udent s should underst and t hat house
music is def ined by four-four beat s, short repeat ing pat t erns, rasping hi-hat s,
art i f icial hand claps, bass loops and drum rol ls.
St udent s should underst and t he role of t he DJ and t he import ance of t he t ypes of
venues in which t he dif ferent st yles of music are played. They should have an
underst anding of t he dif ferent t echniques used by DJs, for example mixing and
scrat ching.
An underst anding of t he social cl imat e t hat gave birt h t o club dance music (including
t he rave cul t ure of t he lat e 1980s) is required. St udent s should explore t he
development and wide availabil i t y of relat ively cheap hardware, sof t ware and t he
int ernet which has made t he creat ion of music possible for an individual rat her t han
a whole group and how t his availabi l i t y has af fect ed t he development of t he genre.
St udent s should examine t he main ef fect s used in club dance music. The use of
samplers, Vocoders and scrat ching as wel l as t he dif ferent ef fect s used in producing
a t rack such as reverb, chorus, EQ, dist ort ion and quant izat ion should be explored.
They should underst and t he formal st ruct ure of dance music including t he use of
breakdowns and build-ups, for example. St udent s should also look at remixing where
new versions of dance t racks are made by manipulat ing t he original dat a.
Suggest ed art ist s — Lee Scrat ch Perry (dub), James Brown (funk), Adonis (house and
acid house), Run DMC (hip hop), Roni Size (drum and bass), Dizzee Rascal (garage).
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 14
Songs from musicals
St udent s should underst and t hat a musical is a piece of t heat re in which music has a
cent ral role and t hat t he music is in a popular st yle wit h orchest ral or band
accompaniment . They should examine t he t ypes of songs which appear in musicals in
t he West End and on Broadway — solo songs, duet s and choruses, usual ly separat ed
by spoken dialogue. St udent s should underst and t hat t he songs t ake t wo main
format s: act ion songs which move t he plot forward and charact er songs which enable
a charact er t o express t heir feel ings.
St udent s should be aware of t he import ance of lyrics in relat ion t o bot h t he plot of
t he musical and t he st ruct ure of t he song. They should examine t he verse and chorus
st ruct ure wit h it s use of middle eight , diat onic harmony, element s of j azz (and
somet imes rock) and symmet rical 8-bar phrases. They should be famil iar wit h t he
t erms hook, int ro and out ro.
They should be aware of t he popul ist appeal of musicals and examine a range of
songs f rom t he early Broadway musicals of t he1920s t o t hose current ly being st aged
in t he West End. St udent s should also be aware of musicals which are based on t he
work of popular art ist s such as Abba and Queen where t he st ory-l ine is creat ed
around exist ing songs.
Suggest ed composers — Cole Port er, Rodgers and Hammerst ein, Lloyd Webber,
St ephen Sondheim, Kander and Ebb.
Britpop and its influences
St udent s should examine t he Brit pop explosion which occurred in t he mid-1990s.
Brit pop was a nost algic movement looking back t o t he heyday of Brit ish pop music in
t he 60s and st ret ching back t o bands l ike The Kinks, The Who and especial ly The
Beat les.
They should underst and t he def ining charact erist ics of Brit pop, such as t he guit ar-
driven band wit h l i t t le use of t echnology, t he st ruct ure of t he songs (t ypical ly verse,
chorus and middle eight ), t he use of t radit ional chord sequences, st rong melodic
vocal l ines, and musical references (including direct quot es) t o bands f rom t he 1960s.
They should consider t he subj ect cont ent of songs of t his period, predominant ly lyrics
of social observat ion — everyday l i f e in provincial England. St udent s should examine
music by Oasis, Blur, Suede and Pulp, amongst ot hers, and compare t his t o recordings
by The Kinks, The Beat les and The Who.
St udent s should underst and t hat Brit pop music of t he mid-1990s was in part a
backlash against dance music and American pop which predominat ed t he chart s of
t he 1980s and early 1990s. They should also consider t he inf luence of Manchest er and
t he earl ier ‘ Madchest er’ sound t ypical of bands such as The St one Roses and The
Happy Mondays who also borrowed f rom t he 1960s.
Suggest ed art ist s: Oasis, Pulp, Blur, St one Roses, The Smit hs, The Beat les, The Who,
Suede, The Kinks and The Happy Mondays.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 15
Area of Study 4
Indian raga, African music and fusions
This Area of St udy requires st udent s, t hrough performing, composing and appraising,
t o develop aural percept ion and musical knowledge and underst anding of t he
fol lowing t opics: Indian raga, Af rican music and fusions.
Indian raga
St udent s should examine music belonging t o t he Indian classical t radit ion. They
should underst and t hat Indian musicians improvise according t o t he st rict rules of
raga (sequences of not es similar t o scales but wit h much more rhyt hmic variet y, a
cross bet ween a scale and a melody).
St udent s should underst and t hat each raga, of which t here are many, is associat ed
wit h a part icular mood and t ime of day or season, and t hat harmony in Indian music
consist s of r ising and fal l ing improvisat ion sounding against t he cont inual ly sounding
drone. They should explore and underst and t he use of t ala (rhyt hmic cycles of
beat s).
St udent s should st udy t he t radit ional formal st ruct ure of Indian classical music wit h
it s four main sect ions: t he alap (slow int roduct ion wit h no percussion and no regular
met re); t he j hor (similar t o t he alap, but t his t ime wit h a basic pulse — t hough no
st rong beat s); t he gat which is a pre-composed f ixed sequence al lowing al l t he
inst rument al ist s t o int eract ; and t he cl imax, t he j hala (where t he players improvise
around t he melody and rhyt hm).
St udent s should be aware and recognise t he sound of t he main inst rument s used in
Indian raga — t he sit ar, sarod, sarangi, t abla and t he drone (usual ly t ambura or
harmonium).
They should underst and t he cont ext in which t he music is performed, wit h it s
mast er-st udent t radit ion based on l ist ening and memorising, and concert s which may
last for several hours.
St udent s should be aware t hat Indian music is not not at ed and t hat i t is passed down
oral ly t hrough t he generat ions.
Suggest ed art ist s — Ravi Shankar, Imrat Khan (sit ar), Al i Akban Khan (sarod), Ram
Narayan (sarangi), Zakir Hussein (t abla).
African music
St udent s should examine music f rom sub-Saharan Af rica including singing, drumming
and inst rument al pieces. They should be aware t hat in Af rica, music is cent ral t o
every aspect of t radit ional l i fe, f rom rit uals t o ent ert ainment , and t hat most of t he
music is passed on t hrough oral t radit ion rat her t han t hrough not at ion.
They should examine t he maj or element s which make-up Af rican music, namely
repet it ion, improvisat ion, polyphony, cross-rhyt hms, variat ions, and cal l and
response.
St udent s should explore and experiment wit h t he rhyt hmic complexit y of Af rican
drumming wit h it s rhyt hmic count erpoint and cal l and response st ruct ure. The
import ance of repet it ion wit h variat ion and cross-rhyt hms should be underst ood.
St udent s should underst and t he role of improvisat ion in Af rican music.
Cont inued over leaf
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 16
African music (cont inued)
St udent s should examine t he role of t he mast er drummer and be aware of t he wide
range of drums and t heir uses. They should also be famil iar wit h ot her percussion and
t he more common Af rican melodic inst rument s such as t he mbira or t humb piano, t he
balophon and t he kora.
St udent s should explore Af rican song wit h it s use of cal l and response (found in t he
worksong and Af rican church music) and widespread use of t he pent at onic scale.
Suggest ed art ist s — Toumani Diabet e (kora), Must apha Tet t ey Addy, Mast er drummers
of Dagbon, Ladysmit h Black Mambazo (choir).
Fusions
St udent s should examine music which draws on t he fusions of Indian t radit ions wit h
music f rom ot her cult ures and t he fusions of Af r ican t radit ions wit h music f rom ot her
cult ures. They should underst and t hat wit h advances in recording t echnology and
t went iet h cent ury global isat ion has come an increased mixing of musical cul t ures.
They should be aware of t he hybrid st yles which have developed as musicians f rom
one cult ure have been exposed t o sounds and inst rument s f rom anot her, eg bhangra,
Bol lywood and highl ife.
St udent s should be able t o recognise and ident if y t he dif ferent musical element s
where t wo or more st yles have been brought t oget her.
St udent s should underst and t he inf luence of non-West ern music on composers of t he
classical t radit ion who have drawn inspirat ion f rom Indian or Af rican music, eg some
minimal ist pieces which have inf luences f rom Af rican drumming.
Suggest ed composers and performers: David Fanshawe, St eve Reich, Panj abi MC,
Sangeet a, Youssou N’ Dour, Osibisa, Sal if Keit a.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 17
Paper 1: Performing (30%)
This paper enables st udent s t o develop t heir ski l ls in performing. During t he course,
al l st udent s should be given t he opport unit y t o t ake part in ensemble performances
as wel l as performing solo.
Al l candidat es must of fer bot h Solo performing (one piece) and Ensemble performing
(one piece). However, i t is a requirement t hat either the solo or ensemble
performance must be from the same Area of Study as composition 1. Candidat es
may perform t heir composit ion if t hey wish but t his is no longer a requirement .
Candidat es must t herefore plan t heir performing pieces and composit ions careful ly t o
ensure t hat t his requirement is met .
Any inst rument or voice is accept able for t his paper (including music t echnology).
The composit ions wil l be marked by t he t eacher examiner and made available for
moderat ion as required.
The Solo performing and t he Ensemble performing pieces wil l be recorded.
Performances may t ake place at any t ime during t he course. The t eacher examiner
must be able t o aut hent icat e t he recordings. The recordings wil l be made available
t o Edexcel ’ s moderat or for t he purposes of st andardisat ion. For bot h Solo performing
and Ensemble performing, t he moderat or wil l require a copy of t he scores (or a copy
of t he original professional recording t hat provided t he st imulus for t he performance)
so t hat t he accuracy of t he performance can be assessed.
Solo performing (15%)
Candidat es wil l perform (ie play, sing or sequence) one solo of t heir own choice, wit h
or wit hout accompaniment , in any t radit ion or st yle. There is no minimum t ime l imit ,
but t he piece should be of suf f icient lengt h and dif f icul t y t o represent adequat ely
t he candidat e’ s st andard of performance. It should not exceed f ive minut es.
Candidat es of fering music t echnology (sequencing only for t his component ) must use
a minimum of three simult aneously sounding voices or t imbres. Improvised
performances wil l be accept ed for t his part of t he unit only if a chord scheme or
ot her st imulus is suppl ied, t oget her wit h as much informat ion as possible about t he
candidat e’ s working met hods.
A recording on t ape, CD or minidisc must be submit t ed for moderat ion purposes.
A solo it em is considered t o be a piece in which t he candidat e’ s part is undoubled
and plays a signif icant or leading role. For example, t he viol inist in a viol in concert o
or sonat a would be considered t he soloist , but t he cel l ist in t he orchest ra or t he
pianist accompanying t he sonat a would not .
Candidat es who play inst rument s for which t radit ional solo music is very dif f icul t t o
come by (drummers or classroom percussion inst rument al ist s for example) may play
as part of a group provided t hat t heir part cont ains suf f icient f i l ls, solo breaks et c so
as t o play a clearly signif icant solo role in t he group.
There is no minimum t ime l imit for a performance, but i t should be of suf f icient
lengt h and dif f icul t y t o demonst rat e t he candidat e’ s abil i t y. If a piece last ing
bet ween one and t wo minut es al lows candidat es t o demonst rat e t heir ski l ls
adequat ely, t his is accept able. The piece should not exceed f ive minut es. It has been
found t hat candidat es of t en f ind it dif f icul t t o maint ain t he high levels of
concent rat ion required for more lengt hy pieces.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 18
Candidat es may of fer t heir own composit ions as a solo performance, but t he piece
must give t hem ample opport unit ies t o demonst rat e t heir t echnical and
int erpret at ive skil ls. It must be emphasised t hat a suit able score must be submit t ed
for t he assessment of accuracy of al l performances, including inst ances where a
candidat e’ s own composit ion is submit t ed as a solo performance.
Solo improvisation
Candidat es should not choose improvising as a ‘ sof t opt ion’ al t ernat ive t o learning a
piece in t he t radit ional way. Improvised performances need t o have a clear st ruct ure
and sense of direct ion including development of t he original st imulus mat erial i f t hey
are t o be awarded high marks. If candidat es at t empt t his rout e t hen t hey should be
t aught improvising t echniques over t he durat ion of t he course. Candidat es who come
f rom a musical background in which improvising plays a maj or role may benef it f rom
t aking t his rout e, but t hey wil l st i l l need guidance on how best t o st ruct ure t heir
improvisat ions.
This opt ion should be marked using t he Improvising as a solo performance mark
grid. Levels of dif f icul t y for improvising are t o be j udged on t he out come of t he
performance. If t he candidat e has improvised a piece t hat , i f i t were not at ed and
performed as a st raight forward solo performance, conforms t o t he More Dif f icul t
level descript ors for t he chosen inst rument , t hen t he marks are t o be scaled using
t he More Dif f icul t column of t he scal ing grid.
Candidates offering music technology
Sequenced performances are accept able as solo performances. A sequenced
performance is considered t o be a piece t hat has been recorded using a sequencer
(eit her as a comput er program or as an onboard feat ure of a keyboard/ synt hesiser),
including a minimum of t hree individual ly sounding part s. Keyboards (including
organ, piano and harpsichord) and drum kit s are considered t o be one individual part .
A percussion part in addit ion t o a drum part would be t hought of as anot her
individual part . Piano and synt h st rings would be considered t o be t wo individual
part s. The most st raight forward way t o count part s is t o consider how many
individuals would be required t o perform t he sequenced part s l ive. Each individual
would count as one part .
Sequenced performances can be recorded using a MIDI keyboard t o play t he part s,
layering one at a t ime and lat er edit ing t hem for accuracy or by using a mouse t o
input t he not es and lat er edit ing t hem for musical it y. Accuracy is wort h 10 out of a
possible 25 marks wit h int erpret at ion making up t he remaining 15 marks, so care and
at t ent ion must be given t o det ails such as dynamics, balance bet ween part s,
art iculat ion and phrasing, panning and ef fect s (reverb and chorus part icularly).
Candidat es should consider how t he acoust ic inst rument produces sound and t ry t o
imit at e it as best as possible (for example, a f lut e cannot play t wo not es at once, so
overlapping not es wil l sound unreal ist ic, but an acoust ic guit ar almost always has
mult iple st rings ringing int o each ot her, so programming one not e at a t ime would
sound unreal ist ic).
The fact t hat a candidat e can ent er t he not es manual ly using a mouse gives t hose
who have never had inst rument al lessons t he opport unit y t o show t heir musical it y by
edit ing t heir sequences t o make t hem sound real ist ic and musical.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 19
The fol lowing should be edit ed t o ensure a musical sequence.
• The st art ing t imes of not es and t heir durat ion t o achieve phrasing ef fect s. This is
best done in t he piano rol l / mat rix/ edit page by using t he pencil t ool t o al t er t he
lengt hs of t he boxes represent ing t he not es.
• The t empo might be subt ly al t ered, giving t he impression of sl ight ly holding back
at t he ends of phrases, or by a sl ight push in t he chorus et c. This can be achieved
in t he t empo edit or. It is best t o keep t empo changes subt le or t hey can spoil t he
overal l musical it y of a sequence.
• The not e velocit y or loudness of t he not e as it is f irst sounded — if t hese values
were al l equal (as would be t he default when ent ering by mouse) t hen t he piece
would immediat ely lack any l i fe or art iculat ion. These can be edit ed in a window
at t he bot t om of t he piano rol l / mat rix/ edit page or by al t ering t he value in t he
l ist edit page.
• The volume of t he not es af t er t hey have been sounded, or t he gradual shaping of
crescs and dims using Cont rol ler 7 — Main Channel Volume. This can of t en be
drawn in using t he pencil t ool in a window at t he bot t om of t he piano
rol l / mat rix/ edit page. This is t he way t o achieve a volume swel l during t he
durat ion of a not e.
• The balance bet ween individual part s; t he lead part should always be t o t he
foref ront (al t hough not t oo much), but al l support ing part s should have t heir
volumes al t ered so t hat t hey are at t he correct level wit h respect t o t he ot her
part s. This can be achieved by ent ering values for Cont rol ler 7 in t he l ist edit
page or by using t he mixer page.
• The choice of t imbre for each part should be appropriat e. This may af fect t he
choice of piece for sequencing. For example, i f t he solo st ring sounds are
part icularly bad t hen a st r ing quart et should not be sequenced, but i f t he
woodwind sounds are part icularly real ist ic t hen a wind quint et might be a good
choice.
• The t imbres should be placed real ist ical ly in t he lef t and right speakers so as t o
resemble what t he l ist ener would experience were t hey t o sit at t he f ront row of
a concert . A piano, viol in and cel lo t r io would be placed sl ight ly t o t he lef t and
right of cent re, not t o ext remes, but a ful l orchest ra or wind band might use
more of t he ext reme values. This ‘ st ereo placement ’ is achieved using t he Pan
cont rol ler (no.10) and can be al t ered using t he appropriat e boxes at t he lef t of
t he main arrange page or by ent ering an init ial value in t he l ist edit page.
• Reverb and chorus should be added as appropriat e. Reverb gives an impression of
dist ance f rom t he l ist ener and chorus gives t he impression of mult iples of t he
inst rument in quest ion (a st ring sect ion would have quit e a lot of chorus, for
example). These values should not be changed over t he durat ion of t he piece.
It is accept able for a candidat e’ s own composit ion t o be submit t ed as a solo
sequence.
Please not e t hat only MIDI sequences are accept able for t his component owing t o t he
dif f icul t y in assessing pieces assembled f rom loops and samples t hat have been pre-
recorded. There are many music-making programs commercial ly available and
t eachers are expect ed t o exercise discret ion as t o what programs st udent s use.
Teachers are advised t o writ e t o t he Music Assessment Team, at t he main Edexcel
address, i f t here is any doubt as t o t he suit abil i t y of t he comput er program.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 20
Music t echnology solo performance work must be entirely the candidate’s own work
and must not include any t racks performed by anyone else, including sampled or
looped t racks bundled wit h t he comput er program or a part played in by t he t eacher.
Ensemble performing (15%)
For t he purposes of t his examinat ion, an ensemble must be t wo or more people
performing independent part s t oget her. This may be wit h or wit hout addit ional
accompaniment and/ or backing t rack.
For Ensemble performing t here is also a f ree choice of st yle. However, i t is a
requirement t hat either the solo or ensemble performance must be from the same
Area of Study as composition 1. Candidat es have t he opport unit y t o perform on a
second inst rument . Performances wit h ot her players may t ake place in t he
classroom, in school music groups or out side t he school (for example in local choirs,
bands, orchest ras or rock groups) but al l MUST be in t he presence of t he t eacher.
In sit uat ions where a soloist is accompanied by anot her inst rument such as t he piano,
t he accompanying candidat e may submit t his performance as an ensemble but t he
soloist may not .
Each candidat e wil l submit det ails of t heir Ensemble performance on t he Record
Sheet provided by Edexcel. The t eacher examiner must be present for t he
performance. A recording must be submit t ed of t he performance for moderat ion
purposes. The performances wil l be marked by t he t eacher examiner and made
available for moderat ion as required. Furt her det ails about t he assessment of work
are given on pages 41–93.
Candidat es can of fer any of t he fol lowing act ivi t ies for Ensemble performance:
• performing an undoubled part wit hin an ensemble or group
• direct ing an ensemble
• improvising as part of an ensemble
• ensemble performance using music t echnology (mult i-t rack recording).
For t hose candidat es of fering music technology:
An ensemble performance using music t echnology is considered t o be one of t he
fol lowing:
• a mult i-t rack recording in which t he candidat e t o be assessed has played one or
more of t he part s
• a mult i-t rack recording in which t he candidat e t o be assessed has not performed
any of t he part s
• a mult i-t rack recording t hat cont ains some element of sequencing (by t he
candidat e) in addit ion t o some recorded part s.
Please note that sequencing is not acceptable as an ensemble performance using
music technology unless it forms part of a multi-track recording in which other,
live performances have been recorded by the candidate.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 21
A mult i-t rack recording is considered t o be a recording t hat has capt ured dif ferent
inst rument s on separat e t racks of a recording device (an 8-t rack MiniDisc recorder,
for example) so t hat each can be al t ered in some way (volume adj ust ed, EQed,
ef fect s added et c) wit hout af fect ing t he ot her t racks. The recording of t he
inst rument s/ voices may have been done al l at one t ime, wit h each inst rument / voice
having an individual microphone t o capt ure it while at t empt ing t o exclude t he ot her
sound sources, or i t may have been layered one t rack at a t ime (overdubbing). A
mult i-t rack recording is dist inct f rom a sequence in t hat i t deals wit h audio rat her
t han MIDI. There are t wo st raight forward ways of drawing a dist inct ion bet ween t he
t wo:
• no edit ing of individual not e lengt hs, pit ches et c is readily available for audio
af t er i t has been recorded, whereas t his t ype of edit ing is almost expect ed of
MIDI informat ion
• audio is carr ied on st andard microphone leads or j ack-j ack inst rument cables. If a
5-pin MIDI cable is being used t o carry informat ion t hen t he piece uses MIDI rat her
t han audio.
If keyboard playing is recorded by t aking a lead f rom it s audio out put t hen it is
considered t o be part of a mult i-t rack recording (it has been Direct Inj ect ed or DIed).
If keyboard playing is recorded int o an int ernal sequencer or using a MIDI lead t o a
comput er sequencer t hen it is considered t o be part of a sequence.
There are several ski l ls involved in making a mult i-t rack recording. The candidat e
must f irst ensure t hat t he performers are suf f icient ly rehearsed so as t o be able t o
perform t he piece wel l . The candidat e is responsible for checking t he t uning of al l
t he inst rument s before t he recording as, in most cases, t his is impossible t o f ix
af t erwards. Careful placement of microphones wil l ensure t hat t he best possible
sound is capt ured on t he mult i-t rack recording device, af t er which a considerable
amount of ef fort should be put int o mixing down t o a st ereo mast er recording. This
should include careful at t ent ion t o t he relat ive balance bet ween inst rument s, t he
panning of inst rument s (in general ly t he same way as for sequencing), appl icat ion of
EQ and ef fect s (in moderat ion) and ensuring t hat t he want ed signal is as loud as
possible wit hout any dist ort ion.
Many of t hese skil ls require a great deal of musical it y, especial ly in t he init ial
rehearsing st ages and at t he mixdown st age.
• mult i-t rack recordings must include at least t hree independent t racks sounding
simult aneously.
Candidat es of fering mult i-t rack recording may include ot her performers and may
combine various t echnologies (ie sequencing, sampling, or recording) but t here
should st i l l be t hree simult aneous t racks or t imbres.
The Ensemble performance wil l be recorded (on t ape, CD or minidisc) for submission
t o Edexcel for t he purpose of moderat ion.
General
For bot h solo and ensemble performances, t he st andard of performance and t he level
of dif f icul t y of t he music wil l be assessed. Three levels of dif f icul t y are ident if ied:
• Easier
• St andard
• More Dif f icul t .
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 22
Examples of levels of dif f icul t y and assessment crit eria for solo performing and
ensemble performing can be found on pages 41–93. Dif ferent iat ion wil l be by
out come and moderat ion wil l be by post al sample. Final marks wil l be required by
May in t he year of t he examinat ion.
Please not e t hat t he solo and ensemble performances must be of t wo dif ferent
pieces.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 23
Paper 2: Composing (30%)
In t his paper candidat es develop musical ideas in t he form of composit ions or
arrangement s. They wil l compose and submit for assessment two pieces last ing at
least three minutes in total. Bot h pieces must be composed according t o a brief
which may be set by t he t eacher or chosen by t he candidat e. The briefs must be
based on t wo dif ferent Areas of St udy. Edexcel wil l not provide sample briefs eit her
in 2008 or subsequent ly but t he sample briefs on t his specif icat ion may be used.
Group compositions are not acceptable. The composit ions wil l be marked by t he
t eacher examiner and made available for moderat ion as required.
Each submission should comprise:
a not at ed score (eit her hand-writ t en or print ed) or writ t en comment ary
and
a recording (on CD, minidisk or casset t e t ape)
and
a complet ed ‘ Underst anding t he brief ’ pro forma.
Candidat es may compose for eit her convent ional or elect ronic inst rument s. The use
of t echnology may be assessed where appropriat e using t he opt ional cri t eria (see
pages 87and 93). Such use may include amplif ied inst rument s and ef fect s, elect ronic
inst rument s (including MIDI workst at ions, samplers and record decks) and any
t echnological procedures which are int egral t o t he composit ional process or t he
musical idiom and st yle, for example sequencing, mixing, sound synt hesis and
processing. The Areas of St udy include t wo t echnology-specif ic t opics; experiment al
and elect ronic music and dance music 1985–t he present day. It should be not ed t hat
t he use of t echnology t o produce and print scores wil l not be assessed. The recording
qual it y wil l not normal ly be assessed unless recording and mixing procedures are
int egral t o t he int ent ion and out comes of t he composit ional brief .
Composit ions may be complet ed at any t ime during t he course and must be
submit t ed for moderat ion in May. When recordings are made on a minidisk recorder
which of fers mult iple recording modes, t he short play or st andard recording mode
must be used (as opposed t o t he long-play mode).
Composition 1 must be from the same Area of Study as either the Solo
performance or Ensemble performance.
Arrangement(s) may be submit t ed in l ieu of composit ion(s). An arrangement is t he
creat ion of a new version of a piece, usual ly for dif ferent resources. It may involve
changes t o any or al l of t he musical element s, but t o score high marks an
arrangement should be signif icant ly dif ferent f rom t he original and should consist of
more t han a simple t ranscript ion of not es for dif ferent inst rument s. The original
st imulus for t he arrangement must be included in each candidat e’ s submission of
coursework t o permit accurat e evaluat ion of t he ext ent of ef fect ive change.
Candidates may offer either two compositions, two arrangements or one of each.
Understanding the brief — for bot h composit ions, candidat es wil l also complet e a
pro forma, ‘ Underst anding t he brief ’ , in which t hey appraise t he brief and evaluat e
t heir composit ion. Through t his piece of writ ing t hey make connect ions bet ween
t heir composit ion, i t s performance (where appropriat e) and t he Area of St udy.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 24
They wil l answer t he fol lowing quest ions.
• What was your composit ion (or arrangement ) brief?
• How does your composit ion (or arrangement ) meet t he brief?
• What improvement s did you make t o your work when you were composing or
arranging it ? This could include any adj ust ment s you made af t er performances of
i t .
Edexcel wil l provide a pro forma. There are separat e pro formas for composing and
arranging.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 25
Composition 1 (15%)
Composit ion 1 must be writ t en according t o a brief based on one of the Areas of
Study or one of the topics from within the Area of Study. It may be for one or more
inst rument s and/ or voices and/ or may involve music t echnology. This composit ion
must be f rom t he same Area of St udy as eit her t he solo performing piece or t he
ensemble performing piece submit t ed for paper 1. Candidat es may perform
composit ion 1 t o ful f i l t his crit eria, but t his is no longer compulsory.
Composition 2 (15%)
Composit ion 2 must be writ t en according t o a brief based on one of the topics from
a different Area of Study. It may be for one or more inst rument s and/ or voices
and/ or may involve music t echnology.
The fol lowing informat ion appl ies t o composit ion 1 and composit ion 2.
Composition briefs
The briefs may be given by t he t eacher or chosen by t he candidat e wit h t he
t eacher’ s guidance and approval . Every brief wil l relat e t o an Area of St udy. It may
be part icular t o one of t he ‘ t opic areas’ provided below for each Area of St udy or it
may relat e t o t he Area of St udy heading. The brief must describe t he st imulus for t he
composit ion and provide a clear indicat ion of t he candidat e’ s int ent ions. It should
include reference t o some or al l of t he fol lowing: purpose, resources, ef fect , t ime
and place. Every brief should ful f i l t he requirement s for t he t ask associat ed wit h t he
t opic.
• Area of St udy 1: St ruct ure in West ern classical music 1600–1899 — ground bass
and variat ions, t ernary form, rondo
• Area of St udy 2: Changing direct ions in West ern classical music f rom 1900 —
expressionism and serial ism, minimal ism, experiment al and elect ronic music
• Area of St udy 3: Popular music in cont ext — dance music 1985 — present day,
songs f rom musicals, Brit pop and it s inf luences
• Area of St udy 4: Indian raga, Af r ican music and fusions — Indian raga, Af rican
music and fusions
More det ails about composit ion and arrangement t asks and sample briefs can be
found on pages 29–32.
The score may be handwrit t en or comput er generat ed. Candidat es must submit t heir
work in a format appropriat e t o t he st yle. This may be a ful ly not at ed score, a lead
sheet or chord chart , t rack sheet s, t ables or diagrams.
Candidates not enclosing a score must submit a written commentary. It should
give a det ailed descript ion of t he composit ion (or arrangement ) and t he performance
det ails. It should refer t o t he musical cont ent t hroughout . Comment aries must not be
a padded out version of t he brief — t hey should cont ain similar informat ion t o t hat in
a score; det ails of performance indicat ions and t he composer’ s int ent ions. A good
comment ary cont aining suf f icient informat ion for an accept able real isat ion of t he
composer’ s int ent ions is accept able for any st yle of music.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 26
Lyric sheet s alone are not accept able as scores/ comment aries. Lyric sheet s wit h
pit ch and rhyt hm informat ion, chords, and some indicat ion of accompaniment st yle,
are accept able.
What ever format or combinat ion of format s is chosen, t he present at ion must be
suf f icient ly clear for t he examiner t o be able t o make an assessment of t he
composit ion.
Candidates must submit a score or written commentary to fulfil the requirements
of the specification. Candidates’ work will not be moderated if they infringe this
requirement .
The recording: composit ions and arrangement s may be complet ed and recorded at
any t ime during t he course. They may be real ised t hrough convent ional inst rument s
or music t echnology. The qual it y of recorded performances wil l not be assessed.
Dif ferent iat ion wil l be by out come. Moderat ion wil l be by post al sample.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 27
Assessment criteria
There are dif ferent assessment crit eria for composing and for arranging. These
crit eria are on pages 83 t o 93.
It is expect ed t hat t eachers wil l give general suggest ions and advice about
coursework t asks and ensure t hat work is complet ed wit hin specif icat ion
requirement s. They must provide suf f icient supervision t o enable t hem t o give
assurances t hat submissions are t he candidat es’ own unaided work and be able t o
aut hent icat e bot h recordings and scores or comment aries.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 28
Composition and arrangement tasks and sample briefs
Area of Study 1
Structure in Western Classical music 1600-1899
Ground bass
Sample composit ion
briefs
Compose a piece based on an eight -bar ground bass for an
inst rument al quart et and percussion represent ing a
marching band get t ing closer, passing by and t hen
marching int o t he dist ance.
Your piece should begin wit h t he ground bass played solo,
building t o a busy, t hick t ext ure, gradual ly becoming
sparser as t he piece goes on unt i l only t he ground bass
remains.
Sample arrangement
brief
You have been asked t o provide music for your school
speech day. Make an arrangement of some or al l of a
piece which uses a ground bass (or relat ed genre), eg
Pachelbel, Canon; Purcel l , Chaconny in G minor ; Bach;
Passacagl ia in C Minor .
Ternary form
Sample composit ion
brief
Compose a fanfare for t wo wind inst rument s for a
ceremony t o mark t he opening of a new sport s cent re. The
A sect ion should be at t ent ion grabbing, t he B sect ion
quiet er while guest s are greet ed at t he door, and t he
repeat ed A sect ion should end wit h a spir it ed coda while a
celebrit y guest st eps up t o cut t he ribbon and ent er t he
new building.
Sample arrangement
brief
Make an arrangement of a piano piece for t he school brass
group. The select ed st imulus piece should make st rong
cont rast s bet ween dif ferent mat erial . Make t he most of
t hese cont rast s by using dif ferent inst rument at ion for each
sect ion.
Rondo
Sample composit ion
brief
Compose a piece in rondo form for a combinat ion of
inst rument s (no more t han f ive) played by members of
your class. This piece is t o be performed in a concert for
visit ing primary schools t o demonst rat e t he pot ent ial of
t he inst rument s.
The t heme sect ions should involve al l t he inst rument s, but
each episode should highl ight one of t hem.
Sample arrangement
brief
Make an arrangement of a piece which was not original ly
in rondo form, select ing a t heme f rom t he melodic
mat erial in t he st imulus piece and making st rong cont rast s
bet ween t his and t he episodes. Enhance t hese cont rast s
by using dif ferent inst rument at ion for each sect ion.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 29
Area of Study 2
Changing directions in Western Classical music from 1900
Expressionism and serialism
Sample composit ion
briefs
Compose an 8-not e row based on perfect fourt h and minor
3rd int ervals.
Compose a piece in a serial st yle, using only your row and
t he main t ransformat ions of your row (including at least
one t ransposit ion), concent rat ing on t ext ural and dynamic
cont rast . It is t o be used in a f i lm ent it led Clowns and
Night mares.
Sample arrangement
brief
Make an arrangement for chamber orchest ra of an at onal
piano piece t o be used as mood music for a radio
adapt at ion of Dracula. You should use t he ful l range of t he
inst rument s in your piece, concent rat ing on t ext ural and
dynamic cont rast .
Minimalism
Sample composit ion
brief
Compose a piece for percussion ensemble and elect ric
guit ar for performance during t he school art fest ival on
t he t heme Changes. Your piece should ref lect t he art work
which feat ures images of gradual ly t ransforming shapes
and colours.
Sample arrangement
brief
Make an arrangement for st r ing quart et of a minimal ist
piano piece (eg Glass Met amorphosis) t o accompany a
si lent f i lm about early t ransport .
Electronic and experimental music
Sample composit ion
brief
Record 10 dif ferent sounds t hat represent t he word
‘ wint er’ . These could be a combinat ion of spoken words,
samples of music or sound ef fect s.
Experiment wit h t ransformat ions of t hese sounds using t he
ef fect s and audio edit ing t ools available in a sequencing
program.
Combine your t ransformat ions so t hat t he original sounds
become increasingly dist ort ed as t he piece progresses.
Sample arrangement
brief
The local art gal lery is mount ing an exhibit ion of musical
scores. You have been asked t o make an arrangement
(real isat ion in convent ional not at ion) of some or al l of one
of t he graphic scores, eg Cardew, Treat ise.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 30
Area of Study 3
Popular music in context
Dance music 1985 — the present day
Sample composit ion
brief
Compose a piece of dance music using short vocal samples
(eit her your own or import ed f rom a sample CD) and
several manipulat ions of t hese samples using sequencing
sof t ware. You should include at least t wo keyboard rif f s
composed by you.
Use t he comput er t o arrange t he t racks including at least
one ‘ breakdown’ sect ion.
Sample arrangement
brief
Make a remix of a recent chart hit set t ing it in a dif ferent
key wit h a new keyboard rif f . You should give t he piece a
new st ruct ure and include signif icant new mat erial t o
t ransform t he mood of t he original.
Songs from musicals
Sample composit ion
brief
Compose a bal lad for a new rock musical cal led ‘ Cit y Life’ .
Your song should focus on one area of cit y l i fe as seen
t hrough t he eyes of t he main charact er in t he musical.
Keep t he verses simple, wit h t he charact er singing t o a
keyboard or guit ar accompaniment but build t he
inst rument s in t he chorus.
Sample arrangement
brief
Arrange a medley of t unes f rom a wel l known st age
musical (or musicals) for a concert ent it led ‘ Songs f rom
t he Shows’ . You should use only t he import ant t hemes
f rom each song rat her t han t he whole number. You should
writ e appropriat e l ink mat erial bet ween each t heme.
Britpop and its influences
Sample composit ion
brief
Compose a bal lad for vocal accompanied by acoust ic
guit ar and/ or piano for performance at an ‘ Unplugged’
concert , inf luenced by t he slower, more t hought ful
Beat les, Smit hs and Suede t racks. Your song should
include a verse, chorus and inst rument al sect ion.
Sample arrangement
brief
Arrange a medley of songs f rom one Brit pop band ent it led
‘ The best of ’ . You should use only t he import ant t hemes
f rom each song rat her t han t he whole number. You should
writ e appropriat e l ink mat erial bet ween each t heme.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 31
Area of Study 4
Indian raga, African music and fusions
Indian raga
Sample composit ion
brief
Compose a piece of music for west ern inst rument s for t he
t i t le sequence of a Bol lywood f i lm ent it led Sunrise over
India. The piece should be based on a suit able morning
raga and use a 16 beat rhyt hmic cycle. It should begin
wit h a slow sect ion fol lowed by a fast er one.
Sample arrangement
brief
Not appl icable.
African music
Sample composit ion
brief
Compose a piece for xylophone orchest ra, based on
inst rument al Af rican music you have l ist ened t o in class,
t o be performed at a Christ mas celebrat ion. It should
include cal l and response and cross rhyt hms and t he
pit ches should be t aken f rom a pent at onic scale.
Sample arrangement
brief
Your school is t o have an Af rica Awareness fort night
looking at issues such as t rade, heal t h and povert y. Make
an arrangement of any piece of Af rican music you have
l ist ened t o, t ransferring t he dif ferent musical element s t o
ot her inst rument s (eg keyboard sounds).
Fusions
Sample composit ion
brief
Compose a piece t hat combines t he t radit ional sounds of
Indian raga wit h club dance music. You may include t ablas
in your drum loops and should use a t radit ional rag in t he
composit ion of t he melodies and/ or r i f f s.
Sample arrangement
brief
Make an arrangement of a recent chart hit , t ransforming it
by using t he inst rument at ion and rhyt hmic feat ures of
Highl ife.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 32
Paper 3: Listening and appraising (40%)
1 hour 30 minutes
Candidat es wil l respond t o quest ions based on recorded ext ract s of music on a CD in
an examinat ion last ing 1 hour 30 minut es. Al l candidat es wil l be expect ed t o respond
t o music f rom a variet y of st yles and t radit ions across all four Areas of Study (see
below). The paper wil l be ext ernal ly marked.
Candidat es wil l be given t en minut es t o read t he quest ions which wil l be print ed in a
quest ion/ answer booklet . Each ext ract wil l be repeat ed a number of t imes
appropriat e t o t he demands of t he quest ion and a suit able pause wil l be given af t er
t he f inal playing for candidat es t o complet e t heir answers before t he next quest ion is
int roduced. Candidat es wil l be informed on t he quest ion paper of t he number of
t imes each ext ract is t o be played.
A range of quest ion t ypes including mult iple choice, melody complet ion, grid
complet ion and f ree response quest ions wil l be used as appropriat e t o t he musical
ext ract select ed. Dif ferent iat ion wil l be achieved t hrough a range of quest ions of
varying dif f icul t y. Candidat es wil l be asked t o respond t o t he quest ions based on t he
ext ract s heard on t he examinat ion CD and also topic areas they have studied in
class. Credit wil l be given for references t o appropriat e examples.
Areas of Study
The specif icat ion cont ent is def ined by t he l ist s of forms and st yles for each Area of
St udy. Candidat es wil l st udy t he way sound is organised t hrough relevant musical
element s, devices, inst rument al resources, t onal it ies, st ruct ures, not at ions and
cont ext ual inf luences.
Area of Study 1 Area of Study 2 Area of Study 3 Area of Study 4
Structure in
Western classical
music 1600-1899
Changing
directions in
Western classical
music from 1900
Popular music in
context
Indian raga,
African music and
fusions
Through t he st udy
of :
• ground bass
and variat ions
• t ernary form
• rondo.
Through t he st udy
of :
• expressionism
and serial ism
• minimal ism
• experiment al
and elect ronic
music.
Through t he st udy
of :
• dance music
1985 — present
day
• songs f rom
musicals
• Brit pop and it s
inf luences.
Through t he st udy
of :
• Indian raga
• African music
• fusions.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 33
In Paper 3 candidat es wil l be expect ed t o respond t o music f rom a variet y of st yles
and t radit ions across t he four Areas of St udy t hrough:
• displaying a knowledge of t he musical element s def ined by t he Nat ional
Curriculum:
− pit ch
− durat ion
− dynamics
− t empo
− t imbre
− t ext ure
and t he use of t he above wit hin
− st ruct ure
• ident if ying how resources are used in dif ferent combinat ions
• ident if ying musical charact erist ics
• ident if ying dif ferent devices, t onal it ies and st ruct ures
• relat ing music t o t he cont ext in which it was creat ed
• expressing and j ust if ying opinions and preferences
• using appropriat e musical vocabulary
• demonst rat ing an underst anding of relevant not at ions including convent ional st af f
not at ion
• ident if ying convent ions used in dif ferent t imes and places
• underst anding how and why musical st yles and t radit ions change in dif ferent
t imes and places.
The l ist of general musical vocabulary (see pages 35–40) provides a guide t o t he
breadt h, dept h and range of underst anding required across t he specif icat ion. It does
not necessari ly include al l t he special ist vocabulary which wil l be specif ic t o each
t opic eg names of inst rument s and formal and composit ional devices. The vocabulary
may be used in t he const ruct ion of quest ions and candidat es may also f ind it useful in
t heir responses. However, credit wil l be given for t he use of any language which
adequat ely describes t he music heard and answers t he quest ions. Quest ions wil l
highl ight feat ures t o which candidat es experienced in general l ist ening skil ls wil l be
able t o respond readily.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 34
Musical vocabulary
Alt hough t his l ist of musical vocabulary is specif ical ly ment ioned under t he heading
of List ening and appraising, i t is int ended t o support t he whole specif icat ion.
Candidat es wil l be expect ed t o have encount ered most of t he concept s included and
t o use some of t hem in Performing and Composing. The l ist is not exhaust ive and
candidat es may wish t o use ot her t erms for which t hey wil l be given ful l credit . It
does not necessari ly include al l t he special ist vocabulary which wil l be specif ic t o
each t opic, eg names of inst rument s and formal and composit ional devices.
Pitch
Pitch Melody Harmony and tonality Notation
pit ch names
sharp, f lat
oct ave
int ervals wit hin an
oct ave
range
regist er
nat ural
unison
inversion
(diat onic) key
t onic
sub-dominant
dominant
t ones
semi-t ones
t essit ura
blues scale
blue not es
pent at onic
raga (Indian)
series/ not e row
movement :
st ep
leap
scal ic
int erval
enharmonic
chromat ic
gl issando
ornament at ion
repet it ion
port ament o
consonance
dissonance
diat onic harmony
maj or
minor
modal
at onal
concept and
recognit ion of
cadences:
perfect , imperfect ,
plagal, int errupt ed
concept and
recognit ion of
modulat ion of relat ed
keys
IV, V and relat ives
t ranspose
pedal
drone
chord pat t ern
arpeggio/ broken chord
t r iads
f igured bass
convent ional st af f
not at ion:
st ave, score
clefs (t reble and
bass)
bar
double bar l ine
key signat ure
t ime signat ure
not e values
phrase
art iculat ion marks
dynamic signs
ornament signs
passing not e
t r i l l
t urn
grace not e
non-st andard
not at ion
3-l ine st aves
showing relat ive
pit ch
graphic not at ion
prose score
oral t radit ion
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 35
Duration and tempo
Duration Metre Tempo
instructions
not e values
pulse/ beat
t r iplet
dot t ed rhyt hm
phrase (lengt h and
shape)
phrase st ruct ure
anacrusis
simple duple
simple t r iple
simple quadruple
compound duple
irregular
regular
t ala (Indian)
f ree
syncopat ion
of f beat
cross rhyt hm
rhyt hmic
count erpoint
swing rhyt hm
polyrhyt hm
adagio
largo
andant e
moderat o
al legro
vivace
prest o
accelerando
rit ardando/ ral lent ando
al largando
rubat o
si lence
pause
Dynamics and articulation
fort issimo
fort e
mezzo fort e
mezzo piano
piano/ pianissimo
crescendo
diminuendo
subit o
accent / sforzando
si lence
legat o
st accat o
t remolo
pizzicat o
arco
col legno
Timbre
Vocal sounds and vocal
combinations
Instrumental families Instrumental
combinations/ ensembles
t reble
soprano
al t o/ cont ral t o
t enor
bass
falset t o
a cappel la
choir
chorus
backing vocals
word paint ing
brass
percussion
st rings
woodwind
elect ric
keyboard
piano
harpsichord
elect ric piano
organ
elect ronic
sampler
synt hesiser
drum machine
sequencer
st ring orchest ra
orchest ra
chamber orchest ra
st r ing quart et
concert ant e
t ut t i
wind band/ mil i t ary
brass band
rock band
drum and bass
dance band
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 36
Texture
monophonic
het erophonic
homophonic
polyphonic
melody and accompaniment
solo
unison
doubl ing
2/ 3/ 4 part
t ut t i
count er melody
descant
cont rapunt al
Structure
ground bass
rondo
t heme, variat ions
t ernary form
binary form
minuet and t r io
chaconne
passacagl ia
mot ifs
scherzo and t r io
concert o
repet it ion
recapit ulat ion
decorat ion
sequence
imit at ion
canon
basso ost inat o
rif f s
mot ivic
development
episode
answering phrase
symmet rical phrase
int roduct ion
coda
t ernary
st rophic
rit ornel lo
sequence
da capo
obbl igat o
raga
alap
j hor
j hala
gat
bandish
t hrough-composed
aleat oric/ chance
cal l and response
verse and chorus
middle eight
int erlude
hook
int ro/ out ro
break
t ape loop
improvised
dance music
sect ions
mix in
main breakdown
reprise
mix out
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 37
Instrumental/ vocal techniques
arco
pizzicat o
col legno
double st opping
t r iple st opping
con sordino
sl iding/ gl issando/
port ament o
ululat ion
sprechst imme
sprechgesang
vocal ise
colorat ura
whispering
humming
hammer ons
pul l of fs
st r ing bending
palm mut ing
harmonics
Expressionism and serialism
t one row
not e row
prime row
prime order
inversion
ret rograde
ret rograde inversion
vert ical isat ion
augment at ion
diminut ion
canon/ imit at ion
point i l l ism
oct ave displacement
at onal
serial ism
Minimalism
ost inat i
int erlocking phrases
phase shif t ing
addit ion
subt ract ion
drone
repet it ion
melodic t ransformat ion
rhyt hmic t ransformat ion
polyrhyt hm
cycl ic
layering
repet it ion
loops
cel ls/ short mot ifs
Experimental and electronic music
sequencers
synt hesizers
analogue synt h
mult i-t racking
sampling
looping
edit ing
vari-speeding
pan
environment al noise
aleat oric
indet erminacy
graphic score
virt ual model l ing
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 38
Dance music
Jamaican dub
funk
disco
European synt h-
pop
hip hop
house
t echno
t rance
j ungle/ drum ‘ n’
bass
garage
DJ
mixing
scrat ching
samplers
vocoders
4 t o t he f loor
EQ
reverb
chorus
dist ort ion
quant izat ion
breakbeat s
delay
f langer
pan
velocit ies
sound modules
at t ack
decay
pit ch shif t / pit ch
bend
gat ing
f i l t ering
hook
l ick
breakdown
groove
horn sect ion
int ro
st ab
break
middle eight
mix in
main
breakdown
reprise
mix out
Songs from musicals
verse
chorus
middle eight
symmet rical 8 bar phrases
hook
int ro
out ro
burlesque
opéra-bouf fe
(opera buf fa)
vaudevil le
operet t a
ext ravaganza
melodrama
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 39
Indian raga
improvisat ion
drone
t ala
(t ala, t aal)
chaal
bols
mant ras
meend (mind)
rasa
sam
shenai
t an (t aan)
t eent al
gharana
bansui
syncopat ion
Rag (raga, raag)
alap
j hor (j or, j od)
bandish
gat
j hala
bols
sit ar
sarod
sarangi
t abla
harmonium
dhol
t ampura
(t ambura)
African music
dj embe
mast er drum
t alking drum (donno, t ama)
agogo bel l (double bel l , gankogui)
dundun
vocal l ines
cal l and response
cross rhyt hms
polyrhyt hms
polyphony
membraphones
vocables
griot
t one languages
hosho
mbira
balophon
(balafon, balofon)
kora
bir imint ingo
isicat hamiya
kumbengo
kushaura
kut sinhira
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 40
Internal assessment
Paper 1 — Performing
Performance assessment is divided int o t wo areas: Solo performing and Ensemble
performing. Bot h are marked out of 25. The total mark for t his paper is 50.
Assessment of bot h Solo performing and Ensemble performing is a six st ep process:
1 Choose the appropriate assessment grids for each performance area (pages
42–56).
• Solo performing
Eit her : Solo performance or Solo performance using a sequencer
• Ensemble performing
Eit her
Ensemble performance/ direct ing an ensemble, or
Improvising as part of an ensemble, or
Ensemble performance using music t echnology
2 Assess t he candidat e’ s solo performing using t he t wo assessment grids t o arr ive at
a mark out of 25 (by adding t he 10 mark grid t o t he 15 mark grid).
3 Decide on a level of dif f icul t y for t he piece/ s or part played using t he examples
given on pages 57–82 as guidance.
4 Scale t he mark out of 25 using t he Levels of di f f icul t y gr id on page 42 t o arrive at
a f inal mark out of 25. Do not round up any hal f marks unt i l Stage 6.
5 Mark t he Ensemble performing piece using st eps 1–4.
6 Add t oget her t he marks for Solo performing and Ensemble performing t o achieve
a f inal mark out of 50. Round up any half marks. This mark should be submit t ed
t o Edexcel.
The recordings, along wit h t he marks awarded and t he t eacher examiner comment s,
wil l be made available for moderat ion as required. Pro forma wil l be provided by
Edexcel.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 41
Paper 1A/ B — Performing
Performance assessment is divided int o t wo areas: Solo performing and Performing
during t he course. Bot h are marked out of 25. The t ot al mark for t his paper is 50.
Levels of difficulty grid
Assess t he candidat e’ s performance using t he performance grids t o arrive at a mark
out of 25.
Assess t he level of dif f icul t y of t he music played using t he guidance on pages 57-82 t o
arrive at a level of dif f icul t y, ie Easier, St andard or More Dif f icul t .
Combine t hese, using t he grid below, t o achieve a f inal mark out of 25.
Difficulty levels
Total mark Easier Standard More Difficult
1 1 1 4
2 1 2 5
3 1 3 6
4 1 4 7
5 2 5 8
6 3 6 9
7 4 7 10
8 5 8 11
9 6 9 12
10 7 10 13
11 8 11 14
12 9 12 15
13 10 13 16
14 11 14 17
15 12 15 18
16 13 16 19
17 14 17 20
18 15 18 21
19 16 19 22
20 17 20 23
21 18 21 24
22 19 22 25
23 20 23 25
24 21 24 25
25 22 25 25
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 42
Solo performance
Mark Accuracy (ie notes, rests, ties, rhythm)
9-10 The performance is accurat e and f luent — any sl ips are inconsequent ial .
Int onat ion is secure.
7-8 The performance is mainly accurat e and f luent — only occasional smal l
sl ips. Int onat ion is general ly secure.
5-6 The performance is broadly accurat e — but errors int errupt t he f low.
Int onat ion is insecure.
3-4
Accuracy is only achieved in t he more st raight forward passages of t he
performance. Fluency is repeat edly af fect ed by errors. Int onat ion is
seriously insecure.
1-2 Basic accuracy and f luency are only occasional ly evident in t he
performance. Int onat ion is severely def icient .
Mark Interpretation
13-15
A performance t hat is bot h convincing and idiomat ic — a secure sense of
st yle wit h det ailed at t ent ion t o art iculat ion, phrasing and dynamic
cont rast .
10-12
A performance wit h a clear, but not ent irely convincing, sense of st yle —
t he meaning of t he music is adequat ely conveyed and most opport unit ies
t o shape t he music wit h art iculat ion, phrasing and dynamic cont rast are
observed.
7-9
An awareness of st yle is displayed during some expressive passages —
shaping t hrough art iculat ion, phrasing and dynamic cont rast is observed
t o some ext ent .
4-6 A basic awareness of st yle — only l imit ed at t empt s t o shape t he music
t hrough art iculat ion, phrasing and dynamic cont rast occur.
1-3 No conscious sense of st yle — l it t le underst anding of how t o shape t he
music t hrough art iculat ion, phrasing or dynamic cont rast is evident .
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 43
Improvising as a solo performance
NB: Improvised performances will be accepted for this part of the unit only if a
musical motif, a rhythmic pattern or a chord scheme is supplied.
Mark Improvising
9-10
An accurat e performance of t he st imulus. The original idea is exploit ed
wit h f luency and imaginat ion showing cont rast , development , a sound sense
of st ruct ure and t he pot ent ial of t he inst rument . Int onat ion is secure.
7-8
An accurat e performance of t he st imulus. The original idea is exploit ed
wit h f luency and some imaginat ion, cont rast , development , sense of
st ruct ure and some awareness of t he pot ent ial of t he inst rument .
Int onat ion is general ly secure.
5-6
A broadly accurat e performance of t he st imulus. Exploit at ion of t he original
idea is lacking in some of t he aspect s of f luency, imaginat ion, cont rast ,
development , sense of st ruct ure and in a l imit ed awareness of t he pot ent ial
of t he inst rument . Int onat ion is insecure.
3-4
A l imit ed response in performing t he st imulus. Any exploit at ion of t he
original idea is now af fect ed by excessive repet it ion, hesit ancy, l i t t le sense
of st ruct ure and minimal awareness of t he pot ent ial of t he inst rument .
Int onat ion is seriously insecure.
1-2 The st imulus is ignored. The present ed performance has some merit in it s
st ruct ure.
Mark Interpretation
13-15
A performance t hat is bot h convincing and idiomat ic — a secure sense of
st yle wit h det ailed at t ent ion t o art iculat ion, phrasing and dynamic
cont rast .
10-12
A performance wit h a clear, but not ent irely convincing, sense of st yle —
t he meaning of t he music is adequat ely conveyed and most opport unit ies t o
shape t he music wit h art iculat ion, phrasing and dynamic cont rast are
observed.
7-9
An awareness of st yle is displayed during some expressive passages —
shaping t hrough art iculat ion, phrasing and dynamic cont rast is observed t o
some ext ent .
4-6 A basic awareness of st yle — only l imit ed at t empt s t o shape t he music
t hrough art iculat ion, phrasing and dynamic cont rast occur.
1-3 No conscious sense of st yle — l it t le underst anding of how t o shape t he
music t hrough art iculat ion, phrasing and dynamic cont rast is evident .
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 44
Solo performance using music technology (sequencing)
Mark Accuracy (of pitch and rhythm)
9-10 The accuracy of t he performance is excel lent — any sl ips are
inconsequent ial .
7-8 There are occasional, smal l sl ips wit hin t he performance which do not
det ract f rom t he performance.
5-6 There are some not iceable errors, which det ract f rom t he performance.
3-4 There are signif icant , int rusive errors evident in t he performance, but
accuracy is achieved in t he more st raight forward passages.
1-2 Accuracy is only occasional ly evident / no at t ent ion t o accuracy of not e
input .
Mark Interpretation — 1) Articulation and Phrasing, 2) Dynamics, 3) Timbre,
4) Panning
13-15 A convincing and st yl ish performance — wit h det ailed and musical
at t ent ion t o t he four areas of int erpret at ion. Dynamics have been shaped
in addit ion t o basic dynamic cont rast s.
10-12 A good performance — at t ent ion has been given t o al l four areas t o
produce a musical ly sat isfying sequence wit h some sense of st yle.
7-9 A general ly successful performance — some at t ent ion given t o t hree of t he
four areas. Some sense of st yle.
4-6 An adequat e performance — some at t ent ion has been given t o t wo of t he
four areas. A l imit ed sense of st yle.
1-3 A basic performance — t here is l i t t le evidence of at t ent ion t o musical
det ail or st yle.
Please note: this grid is only to be used when the candidate has sequenced a
piece written by someone other than themselves. If the piece to be submitted is a
candidate’s own composition then the following mark scheme should be used.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 45
Solo performance using music technology (sequencing) — when the piece
to be submitted is the candidate’s own composition
Mark Articulation and phrasing
9-10 Excel lent — det ailed and musical art iculat ion and phrasing bringing t he
sequence t o l i fe.
7-8 Good — musical ly sat isfying art iculat ion and phrasing.
5-6 Adequat e — some at t ent ion has been given t o producing a musical result .
3-4 Funct ional — some at t ent ion has been given t o art iculat ion and phrasing,
but t here are misj udgement s.
1-2 Lit t le or no at t ent ion has been given t o art iculat ion and phrasing.
Mark Interpretation — 1) Dynamics, 2) Timbre, 3) Panning
13-15 A convincing and st yl ish performance — det ailed and musical at t ent ion t o
t he t hree areas of int erpret at ion. Dynamics have been shaped in addit ion
t o basic dynamic cont rast s.
10-12 A good performance — at t ent ion has been given t o al l t hree areas t o
produce a musical ly sat isfying sequence wit h some sense of st yle.
7-9 A general ly successful performance — some at t ent ion given t o t wo of t he
t hree areas. Some sense of st yle.
4-6 An adequat e performance — some at t ent ion has been given t o one of t he
areas of int erpret at ion. A l imit ed sense of st yle.
1-3 A basic performance — t here is l i t t le evidence of at t ent ion t o musical
det ail or st yle.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 46
Ensemble performance
Mark Accuracy (ie notes, rests, ties, rhythm)
9-10 The performance is accurat e and f luent — any sl ips are inconsequent ial .
Int onat ion is secure.
7-8 The performance is mainly accurat e and f luent — only occasional smal l
sl ips. Int onat ion is general ly secure.
5-6 The performance is broadly accurat e — errors int errupt t he f low.
Int onat ion is insecure.
3-4
Accuracy is only achieved in t he more st raight forward passages of t he
performance. Fluency is repeat edly af fect ed by errors. Int onat ion is
seriously insecure.
1-2 Basic accuracy and f luency are only occasional ly evident in t he
performance. Int onat ion is severely def icient .
Mark Ensemble skill
13-15
A performance t hat is bot h convincing and idiomat ic — a secure sense of
st yle wit h det ailed at t ent ion t o art iculat ion, phrasing and dynamic
cont rast .
React s and adj ust s t o ot her part s and displays an excel lent awareness of
balance t hroughout .
10-12
A performance wit h a clear, but not ent irely convincing, sense of st yle —
t he meaning of t he music is adequat ely conveyed and most opport unit ies
t o shape t he music wit h art iculat ion, phrasing and dynamic cont rast are
observed.
General ly react s and adj ust s t o ot her part s and displays a good
awareness of balance t hroughout .
7-9
An awareness of st yle is displayed during some expressive passages —
shaping t hrough art iculat ion, phrasing and dynamic cont rast is observed
t o some ext ent .
Dif f icul t ies in react ing and adj ust ing t o ot her part s. Displays a reasonable
awareness of balance t hroughout .
4-6
A basic awareness of st yle — only l imit ed at t empt s t o shape t he music
t hrough art iculat ion, phrasing and dynamic cont rast occur.
Frequent dif f icul t ies in react ing and adj ust ing t o ot her part s. Displays a
l imit ed awareness of balance t hroughout .
1-3
No conscious sense of st yle — l it t le underst anding of how t o shape t he
music t hrough art iculat ion, phrasing and dynamic cont rast is evident .
Lacks an underst anding of t he demands of ensemble performance.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 47
Improvising as part of an ensemble
Mark Improvising
9-10
The playing is f luent and imaginat ive. It demonst rat es an abil i t y t o exploit
t he original ideas, incorporat ing a sense of st ruct ure and development and
a ful l awareness of t he pot ent ial of t he inst rument . Int onat ion is secure.
7-8
The playing is f luent wit h a degree of imaginat ion. It demonst rat es an
abil i t y t o incorporat e a sense of st ruct ure and development as wel l as some
awareness of t he pot ent ial of t he inst rument . Int onat ion is general ly
secure.
5-6
The playing is reasonably f luent wit h only sl ight hesit at ion. It demonst rat es
a basic sense of st ruct ure and development as wel l as a l imit ed awareness
of t he pot ent ial of t he inst rument . Int onat ion is of t en insecure.
3-4
The playing is rat her hesit ant , l imit ed by excessive repet it ion and lacks a
sense of st ruct ure and development . There is a minimal awareness of t he
pot ent ial of t he inst rument . Int onat ion is insecure.
1-2
The playing is increasingly hesit ant and very l imit ed, wit h excessive
repet it ion, no sense of st ruct ure and a very minimal awareness of t he
pot ent ial of t he inst rument . Int onat ion is seriously insecure.
Mark Interpretation
13-15
A performance t hat is bot h convincing and idiomat ic — a secure sense of
st yle wit h det ailed at t ent ion t o art iculat ion, phrasing and dynamic
cont rast .
React s and adj ust s t o ot her part s and displays an excel lent awareness of
balance t hroughout .
10-12
A performance wit h a clear, but not ent irely convincing, sense of st yle —
t he meaning of t he music is adequat ely conveyed and most opport unit ies t o
shape t he music wit h art iculat ion, phrasing and dynamic cont rast are
observed.
General ly react s and adj ust s t o ot her part s and displays a good awareness
of balance t hroughout .
7-9
An awareness of st yle is displayed during some expressive passages —
shaping t hrough art iculat ion, phrasing and dynamic cont rast is observed t o
some ext ent .
Dif f icul t ies in react ing and adj ust ing t o ot her part s. Displays a reasonable
awareness of balance t hroughout .
4-6
A basic awareness of st yle — only l imit ed at t empt s t o shape t he music
t hrough art iculat ion, phrasing and dynamic cont rast occur.
Frequent dif f icul t ies in react ing and adj ust ing t o ot her part s. Displays a
l imit ed awareness of balance t hroughout .
1-3
No conscious sense of st yle — l it t le underst anding of how t o shape t he
music t hrough art iculat ion, phrasing and dynamic cont rast is evident .
Lacks an underst anding of t he demands of ensemble performance.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 48
Directing an ensemble
NB: A candidate should offer ‘Directing an ensemble’ only if the performers in the
group have the technique to give a satisfactory performance of the music.
The evaluat ion of t his opt ion must concent rat e on t he musical out come achieved by
t he ensemble as a result of t he t echnical cont rol and t he direct ion given by t he
candidat e.
The group must consist of a minimum of t hree performers (excluding t he direct or).
The provision of a score and a video recording of t his performance are mandat ory.
Mark Preparation
9-10 Obviously wel l rehearsed af t er t hought ful preparat ion, exhibit ing
t horoughly det ailed knowledge of t he score.
7-8 Obviously quit e wel l rehearsed, exhibit ing reasonable preparat ion of t he
score.
5-6 Obviously insuf f icient ly rehearsed and t he score inadequat ely prepared.
3-4 Obviously very poorly rehearsed and wit hout due at t ent ion t o preparat ion
of t he score.
1-2 Lit t le evidence of any preparat ion of t he score and of any serious
rehearsal.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 49
Mark Directing skill
13-15
Displays an aut horit at ive approach, el icit ing an excel lent and obvious
response f rom t he performers. Correct t empo is clearly indicat ed wit h a
precise beat .
Exercises posit ive and sensit ive cont rol of t he int erplay bet ween t he
part s and of al l performance det ails.
Achieves a secure, st yl ish and idiomat ic performance wit h an excel lent
awareness of balance, t onal qual it y and secure int onat ion.
10-12
Displays a conf ident approach, el icit ing an ef fect ive response f rom t he
performers. Correct t empo is indicat ed al t hough t he beat could be more
precise.
The ent ries and int erplay bet ween t he part s are quit e wel l cont rol led
and performance det ails reasonably wel l execut ed.
The overal l performance ref lect s a good awareness of balance and is
general ly st yl ish. Good t onal qual it y is achieved wit h general ly secure
int onat ion.
7-9
Displays a less conf ident approach, af fect ing t he response f rom t he
performers. Tempo is af fect ed by an imprecise beat .
Cont rol of ent ries and t he int erplay bet ween t he part s is indecisive and
not al l performance det ails are observed.
Al t hough an awareness of st yle is st i l l evident , t here are several
inst ances of faul t y int onat ion and t he balance is very uncert ain.
4-6
Displays a dif f ident approach wit h a correspondingly unsure response
f rom t he performers. Tempo is seriously af fect ed by fai lure t o maint ain a
const ant beat .
Few performance det ails are observed and t here are numerous
inaccuracies in pit ch and rhyt hm.
Wit h inef fect ive cont rol of ent ries and t he int erplay bet ween t he part s,
and only a basic awareness of st yle and balance, t he overal l performance
lacks cohesion.
1-3
Gives l i t t le or no posit ive indicat ion t o t he performers so t hat
performance det ails and int erplay bet ween t he part s are haphazard or
non-exist ent .
The qual it y of t he performance cannot be at t r ibut ed t o t he direct ion.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 50
Ensemble performance using music technology
Multi-track recording where candidate has performed one or more of the live
tracks
Mark Accuracy (mark the best live track performed by the candidate)
9-10 The performance is accurat e and f luent — any sl ips are inconsequent ial .
7-8 The performance is mainly accurat e and f luent — only occasional smal l
sl ips.
5-6 The playing is broadly accurat e — t here are some small blemishes, which
int errupt t he f low.
3-4 Accuracy is achieved in t he more st raight forward passages — at t imes t he
accuracy of t he music may be achieved at t he expense of f luency and
t empo.
1-2 Basic accuracy is occasional ly evident .
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 51
Mark Recording skills*
13-15 A convincing, musical recording.
Balance/ st ereo: al l t racks are wel l balanced and good use has been made
of t he st ereo f ield.
EQ: t he ful l f requency range has been ut i l ised t hrough j udicious use of EQ.
Signal t o noise: good signal t o noise rat io. No dist ort ion or ot her noise.
FX: appropriat e and wel l cont rol led — adds t o t he recording.
10-12 A good recording, but one or t wo of t he fol lowing det ract sl ight ly f rom t he
overal l qual it y.
Balance/ st ereo: one of t he t racks is overbearing or very quiet / rest rict ed
st ereo widt h.
EQ: one of t he t racks is poorly EQed/ sl ight overal l problem (eg lack of
bright ness/ t oo harsh or boomy).
Signal t o noise: some not iceable hiss or occasional noise/ dist ort ion, but
not overly int rusive.
FX: sl ight ly overdone/ some t racks t oo dry.
7-9 A general ly successful recording, but t hree or four of t he fol lowing det ract
f rom t he overal l qual it y.
Balance/ st ereo: one of t he t racks is overbearing or very quiet / rest rict ed
st ereo widt h.
EQ: one of t he t racks is poorly EQed/ sl ight overal l problem (eg lack of
bright ness/ t oo harsh or boomy).
Signal t o noise: some not iceable hiss or occasional noise/ dist ort ion, but
not overly int rusive.
FX: sl ight ly overdone/ some t racks t oo dry.
4-6 An adequat e recording, but one or t wo of t he fol lowing signif icant ly
det ract f rom t he overal l qual it y.
Balance/ st ereo: muddy mix/ serious problems wit h t wo or more t racks/ no
use of panning.
EQ: t wo or more t racks poorly EQed/ serious overal l rest r ict ion of
f requency range (eg very bassy or t rebly recording).
Signal t o noise: very hissy or occasional int rusive noise.
FX: inappropriat ely overdone or none used at al l .
1-3 A basic recording — l it t le at t ent ion has been given t o any of t he four areas,
eg al l panned t o one side/ some inst rument s can’ t be heard at
al l / ext remely quiet recording.
*In mult i-t rack recording t he ensemble skil l is t he abil i t y t o make t he t racks work
wel l t oget her by appropriat e use of t he available t echnology.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 52
Ensemble performance using music technology
Multi-track recording where candidate has not performed any of the tracks
Mark Unity of ensemble
9-10 Accurat e, musical performance.
Al l t racks are in t ime and compliment each ot her wel l .
7-8 Mainly accurat e — occasional smal l sl ips.
Ensemble bet ween t racks is mainly successful .
5-6 Some blemishes which det ract f rom t he overal l performance.
Occasional loss of ensemble bet ween t racks.
3-4 Signif icant , int rusive errors in performance.
Unit y of ensemble evident in st raight forward passages only.
1-2 Accuracy in performance is only occasional ly evident .
Tracks are out of t ime wit h each ot her.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 53
Mark Recording skills
13-15 A convincing, musical recording.
Balance/ st ereo: al l t racks are wel l balanced and good use has been made
of t he st ereo f ield.
EQ: t he ful l f requency range has been ut i l ised t hrough j udicious use of EQ.
Signal t o noise: good signal t o noise rat io. No dist ort ion or ot her noise.
FX: appropriat e and wel l cont rol led — adds t o t he recording.
10-12 A good recording, but one or t wo of t he fol lowing det ract sl ight ly f rom t he
overal l qual it y.
Balance/ st ereo: one of t he t racks is overbearing or very quiet / rest rict ed
st ereo widt h.
EQ: one of t he t racks is poorly EQed/ sl ight overal l problem (eg lack of
bright ness/ t oo harsh or boomy).
Signal t o noise: some not iceable hiss or occasional noise/ dist ort ion, but
not overly int rusive.
FX: sl ight ly overdone/ some t racks t oo dry.
7-9 A general ly successful recording, but t hree or four of t he fol lowing det ract
f rom t he overal l qual it y.
Balance/ st ereo: one of t he t racks is overbearing or very quiet / rest rict ed
st ereo widt h.
EQ: one of t he t racks is poorly EQed/ sl ight overal l problem (eg lack of
bright ness/ t oo harsh or boomy).
Signal t o noise: some not iceable hiss or occasional noise/ dist ort ion, but
not overly int rusive.
FX: sl ight ly overdone/ some t racks t oo dry.
4-6 An adequat e recording, but one or t wo of t he fol lowing signif icant ly
det ract f rom t he overal l qual it y.
Balance/ st ereo: muddy mix/ serious problems wit h t wo or more t racks/ no
use of panning.
EQ: t wo or more t racks poorly EQed/ serious overal l rest r ict ion of
f requency range (eg very bassy or t rebly recording).
Signal t o noise: very hissy or occasional int rusive noise.
FX: inappropriat ely overdone or none used at al l .
1-3 A basic recording — l it t le at t ent ion has been given t o any of t he four areas,
eg al l panned t o one side/ some inst rument s can’ t be heard at
al l / ext remely quiet recording.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 54
Ensemble performance using music technology
Multi-track recording which includes an element of sequencing (candidate may
perform any combination of the live instruments or none at all, but must have
input the sequenced track/ s)
Mark Accuracy (of pitch and rhythm in sequenced track/ s)
9-10 Excel lent — any sl ips are inconsequent ial .
7-8 Occasional, smal l sl ips which do not det ract f rom t he performance.
5-6 Some not iceable errors, which det ract f rom t he performance.
3-4 Signif icant , int rusive errors evident , but accuracy is achieved in t he more
st raight forward passages.
1-2 Accuracy is only occasional ly evident / no at t ent ion t o accuracy of not e
input .
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 55
Mark Recording skills
13-15 A convincing, musical recording.
Balance/ st ereo: al l t racks are wel l balanced and good use has been made
of t he st ereo f ield.
EQ: t he ful l f requency range has been ut i l ised t hrough j udicious use of EQ.
Signal t o noise: good signal t o noise rat io. No dist ort ion or ot her noise.
FX: appropriat e and wel l cont rol led — adds t o t he recording.
10-12 A good recording, but one or t wo of t he fol lowing det ract sl ight ly f rom t he
overal l qual it y.
Balance/ st ereo: one of t he t racks is overbearing or very quiet / rest rict ed
st ereo widt h.
EQ: one of t he t racks is poorly EQed/ sl ight overal l problem (eg lack of
bright ness/ t oo harsh or boomy).
Signal t o noise: some not iceable hiss or occasional noise/ dist ort ion, but
not overly int rusive.
FX: sl ight ly overdone/ some t racks t oo dry.
7-9 A general ly successful recording, but t hree or four of t he fol lowing det ract
f rom t he overal l qual it y.
Balance/ st ereo: one of t he t racks is overbearing or very quiet / rest rict ed
st ereo widt h.
EQ: one of t he t racks is poorly EQed/ sl ight overal l problem (eg lack of
bright ness/ t oo harsh or boomy).
Signal t o noise: some not iceable hiss or occasional noise/ dist ort ion, but
not overly int rusive.
FX: sl ight ly overdone/ some t racks t oo dry.
4-6 An adequat e recording, but one or t wo of t he fol lowing signif icant ly
det ract f rom t he overal l qual it y.
Balance/ st ereo: muddy mix/ serious problems wit h t wo or more t racks/ no
use of panning.
EQ: t wo or more t racks poorly EQed/ serious overal l rest r ict ion of
f requency range (eg very bassy or t rebly recording).
Signal t o noise: very hissy or occasional int rusive noise.
FX: inappropriat ely overdone or none used at al l .
1-3 A basic recording — l it t le at t ent ion has been given t o any of t he four areas,
eg al l panned t o one side/ some inst rument s can’ t be heard at
al l / ext remely quiet recording.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 56
Levels of difficulty for instruments, voice and
sequencing
It is not possible t o provide examples for al l inst rument s. The fol lowing pages should
be used as general guidance.
Every ef fort has been made t o cont act t he copyright holders where possible. In some
cases, every ef fort t o cont act copyright holders has been unsuccessful and Edexcel
wil l be happy t o rect if y any omissions of acknowledgment s at f irst opport unit y.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 57
VOICE
Easier level
The St reet s of Laredo (American t radit ional)
• Syl labic set t ing at a moderat ely slow t empo
• Mainly conj unct melody wit h one oct ave range
• Accompaniment (i f used) doubles voice
• Rest rict ed range of rhyt hm pat t erns
• Limit ed opport unit y for cont rast s
• Phrases t hat require ski l l in breat h cont rol
Standard level
Where is Love? (Lionel Bart )
• Mainly syl labic, plus simple mel ismas
• Slow t empo requiring sust ained l ines
• Range of a nint h and opport unit y for clear cont rast s
• More varied rhyt hm pat t erns, but of t en repeat ed
• Melody pat t erns are mainly sequent ial
• Accompaniment does not always double voice
More Difficult level
I Feel Pret t y (Bernst ein)
• Variet y of more complex rhyt hm pat t erns
• Range of a t welf t h wit h a high ending
• Vividly cont rast ed dynamics, much charact erisat ion
Cont inued over leaf
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 58
VOICE (cont inued)
• Fast t empo requiring clear enunciat ion
• Modulat ions in t he middle sect ion
• Accompaniment does not double voice at t he unison
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 59
STRINGS
Easier level
Viol in: Reel (Tradit ional)
• Simple met re
• Easy key for t he inst rument
• Rest rict ed range of rhyt hm pat t erns
• Open st rings and very simple f ingerings
• Minimal bowing t echnique wit h st raight forward art iculat ion of not es
Standard level
Violoncel lo: Sai lor ’ s dance (Timot hy Baxt er)
• Simple met re, but fair ly fast
• Occasional accident als
• Basic not e lengt hs, but used in more varied pat t erns
• More co-ordinat ion bet ween lef t hand and bow
• More varied f ingering and st ring crossing, but st i l l wit hin a fair ly l imit ed
range
Cont inued over leaf
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 60
STRINGS (cont inued)
More Difficult level
Viola: Valse (Michael Rose)
• More complex rhyt hms, wit h dot t ed and t ied not es
• A range of dynamic shadings
• Occasional use of 3rd posit ion
• A more chal lenging key for t he inst rument
• Pit ch range of t wo and a half oct aves
• More det ailed and varied art iculat ion of t he bow
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 61
WOODWIND
Easier level
Flut e: St udy (Gariboldi)
• Simple met re
• Pit ch range of one oct ave
• St raight forward art iculat ion
• No not e short er t han a crot chet
• Simple key and no accident als
• No cont rast s required
Standard level
Clarinet : The Sun f rom t he East (Anon. )
• Simple met re
• Pit ch range of a t welf t h
• A variet y of art iculat ion (including slurs across t he break)
• Use of quavers in various groupings
• Occasional accident als
• Simple dynamic cont rast s
More Difficult level
Oboe: Sarabande (M. Locke)
• A range of rhyt hm pat t erns
• A range of art iculat ion and dynamic cont rast
• A variet y of accident als
• Reasonably independent accompaniment
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 62
RECORDER
Easier level
Ton relon t on t on (Anon. ) descant recorder
• Uses a very l imit ed range of not es
• Only easy f ingering progressions
• Rhyt hmical ly very st raight forward
• Simple on-not e t onguing
Standard level
Tunes f or t he Canary (No 3) f rom ‘ The Bird Fancyer ’ s del ight ’ t reble recorder
• Use of t he upper 8ve and some st raight forward movement bet ween
unpinched and pinched not es
• There are no awkward f ingerings
• General ly simple rhyt hm pat t erns, but some use of quaver movement
• Some pot ent ial for simple int erpret at ion
More Difficult level
Sonat a in F Op 1 No 11 (Handel) 3rd/ 4t h movement s t reble recorder
• Wide range of pit ch (which may
include chromat icism)
• Wide variet y of art iculat ion and
expression
• Cont rol led phrasing
• Independent accompaniment
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 63
BRASS
Easier level
Trumpet : On Parade (t he Real ly Early Trumpet Book, Faber)
• Simple met re
• Range l imit ed t o one oct ave, plus a single low B
• Repet it ive, t r iadic st ruct ure wit h regular rest s
• Rest rict ed range of rhyt hm pat t erns
• Simple key wit h F# (2nd valve) as only accident al
• Four-bar phrases facil i t at e breat h cont rol
Standard level
Trombone: Music Hal l (The Real ly Early Trombone Book, Faber)
• Occasional f irst beat rest s and f ive-beat t ied not es
• Pit ches avoid long 6t h and 7t h posit ions
• Simple key (‘ home key’ for t he t rombone)
• Cent ering on 3rd/ 4t h posit ions provides a chal lenge
• Breat hing pat t ern, as t he piece cont inues, requires t hought in order t o make
physical and musical sense
Cont inued over leaf
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 64
BRASS (cont inued)
More Difficult level
Horn in F: Minuet (Handel)
• Quaver rhyt hms at a moderat e t empo
• Some longer phrases
• Cont rast ing art iculat ion
• Oct ave leap and use of C/ D area needs secure pit ch
• Requires paced breat hing t o maint ain cont rol
• Shaded dynamic changes
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 65
PIANO
Easier level
Unt i t led (Alan Ridout )
• Simple met re and st eady speed
• Easy key
• Basic f ive-f inger posit ion for each hand
• Very narrow range of rhyt hm pat t erns
• Some cont rast s in art iculat ion and dynamic shading
• Range of a fourt h in each hand
Standard level
Mikrokosmos (Bart ok)
• Simple met re and st eady speed
• Easy key
• Only a few changes of hand posit ion
• Rest rict ed range of rhyt hm pat t erns
• Some cont rast s in art iculat ion and dynamic shading
• Co-ordinat ion bet ween t he hands required
Cont inued over leaf
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 66
PIANO (cont inued)
More Difficult level
Gavot t e (Graupner)
• Simple met re but fair ly fast ‘ gavot t e’ t empo
• Accident als and bass clef leger l ines
• Frequent but logical changes of hand posit ion
• Mainly simple, but busy, rhyt hm pat t erns
• Det ailed and cont rast ing art iculat ion
• Bot h hands fair ly independent
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 67
ELECTRONIC KEYBOARD
Easier level
Amazing Grace (Tradit ional)
• Simple met re and fair ly slow t empo
• Pent at onic melody using j ust t he whit e keys
• Rest rict ed range of rhyt hm pat t erns
• Monophonic melody wit hout chords but requir ing careful f ingering t o maint ain a
legat o l ine
Standard level
Oh Susanna (St ephen Fost er)
• Simple met re and fair ly brisk t empo
• Easy key
• Range of a 6t h wit h few changes of hand posit ion
• Rest rict ed range of rhyt hm pat t erns
• Limit ed variet y of chords, and wel l spaced out (chords could be single f ingered)
More Difficult level
Br ing Me Sunshine (Art hur Kent )
• Simple met re and l ively t empo wit h a f inal r i t
• Easy key, but wit h some chromat ic not es
• A number of f ingering dif f icul t ies
• Tied not es and syncopat ion
• Great er variet y of chords (shrouds could st i l l be single f ingered)
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 68
CLASSICAL GUITAR
Easier level
La Mant ovana (Anon. , arr. J. Whit wort h)
• Monophonic melody
• Easy key for t he inst rument
• Simple rhyt hmic pat t erns
• Rest rict ed pit ch range wit h no changes of hand posit ion
• Few st rings used (melody spread across t wo or t hree st rings)
Standard level
St udy no.2 f rom 24 Easy St udies (F. Sor)
• Bass not es simult aneously sounding wit h melody, requiring great er r ight hand
agil i t y
• Some variet y of art iculat ion (in t his case, a pul l -of f , but could include sl ides, or
hammer-ons)
• No posit ion shif t s required
• Easy key for t he inst rument
• Range of pit ches covers f ive st rings
• Most ly simple chord shapes
• Some st ring damping required
• Fairly slow t empo
Cont inued over leaf
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 69
CLASSICAL GUITAR (cont inued)
More Difficult level
Cancion O Tocat a (de Murcia)
• Fairly fast moving
• Independent bass and melody part s
• Some posit ion shif t s required
• A variet y of art iculat ion
• St ring damping required
• More dif f icul t key for t he inst rument
• Chord shapes occasional ly quit e dif f icul t
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 70
ACOUSTIC GUITAR
Easier level
Knocking on Heaven’ s Door (Dylan)
• Easy chord shapes in f irst posit ion
• Repet it ive
• Simple st rumming pat t ern wit h l i t t le variet y
• Chord changes predict able and inf requent
• Easy key for t he inst rument
• Simple met re
Standard level
Angels (Wil l iams and Chambers)
• Some barre chords int roduced
• Undemanding but varied st rumming pat t ern
• Simple met re
• A wider range of chords used including chords wit h bass not es ot her t han t he root
• More dif f icul t key for t he inst rument
Cont inued over leaf
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 71
ACOUSTIC GUITAR (cont inued)
More Difficult level
Sweet Dreams My LA Ex (Dennis, Karlsson, Jonback and Wennberg)
• Chal lenging rhyt hmic accompaniment pat t ern
• Variet y of rhyt hmic pat t erns
• Many chords barred
• Requires st ring dampening
• Fast t empo
• Fast chord changes required in places
• Some alt ered or ext ended chords used
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 72
ELECTRIC GUITAR
Easier level
• All in one posit ion
• Pit ch range only covers t hree st rings
• Simple rhyt hmic pat t erns
• Simple met re
• Fairly slow t empo for st yle
• Limit ed art iculat ion required (no hammer-ons, pul l -of fs, sl ides or bends)
Standard level
• All in one posit ion (or simple posit ion shif t s required)
• Pit ch range covers f ive st rings
• Some art iculat ion required (hammer-ons, pul l -of fs, sl ides or simple bends)
• Some double and t reble st opping
• Fairly fast t empo
• Rif fs based on pent at onic or blues scales
Cont inued over leaf
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 73
ELECTRIC GUITAR (cont inued)
More Difficult level
Apache (The Shadows)
• Fairly fast t empo
• Requires quick posit ion shif t s
• A range of art iculat ion including some bends or use of t remolo arm
• Some more dif f icul t and int r icat e picking required
• Some palm mut ing required
• A range of rhyt hmic pat t erns
• Vibrat o required on some longer not es
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 74
TIMPANI
Easier level
• Simple met re and fair ly slow t empo
• To t une t wo drums a 4t h or 5t h apart (eg D-A)
• Rest rict ed range of rhyt hm pat t erns
• No damping, cross-st icking, rol ls or grace not es
Standard level
• Simple met re, fast er t empo
• To t une t wo drums a 3rd, 4t h or 5t h apart
• Dynamic cont rast
• Wider variet y of rhyt hm pat t erns
• Damping, single-st roke rol ls and cross-st icking
More Difficult level
f rom A Young Person’ s Guide t o t he Orchest ra (Brit t en)
• More complex met re
• To t une t hree drums t o a maj or t r iad
• Det ailed art iculat ion and dynamic cont rol
• Rhyt hm pat t ern include t r iplet s, t ied not es, et c
• Rolls and damping required
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 75
SNARE DRUM
Easier level
• Simple met re, rest rict ed range of not e values
• No rol ls or decorat ions
Standard level
• Simple met re, wider range of rhyt hm pat t erns
• Tied and dot t ed not es
• Double-st roke rol ls, f lams, drags, paradiddles (single, double and t r iple)
More Difficult level
Bolero (Ravel)
• Complex rhyt hm pat t erns
• Dynamic cont rol (ppp t o f f f )
• Triplet s
• Flams, paradiddles, ruf fs (3-st roke and 4-st roke)
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 76
XYLOPHONE/ MELODIC PERCUSSION
Easier level
Ode t o Joy (Beet hoven, 9t h Symphony)
• Simple met re
• No accident als
• Crot chet not es and rest s
• No double st rokes or damping
Standard level
Skye Boat Song
• Wider range of rhyt hm pat t erns
• Some leaps in t he melodic l ine
• Simple key
• Some dot t ed not es
• St raight forward phrasing
• Single st roke rol ls
More Difficult level
f rom Carmen (Bizet )
• Fast er t empo
• More complex key, wit h some accident als
• Rhyt hm pat t erns repet it ive, but using semiquavers
• Manual dext erit y and l ively art iculat ion required
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 77
DRUM KIT
Notation
Easier level
• Simple met re and medium t empo
• Simple rhyt hm pat t erns requir ing basic co-ordinat ion
• Simple f i l ls st art ing at t he beginning of t he bar
Standard level
• Simple met re and wider range of rhyt hm pat t erns
• Use of double st icking and paradiddles t o aid movement around t he kit
• More decorat ion in t he f i l ls st art ing f rom dif ferent part s of t he bar
• Good use of accent s
Cont inued over leaf
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 78
DRUM KIT (cont inued)
More Difficult level
• Complex but repet it ive rhyt hm pat t ern
• Fast t empo
• Good lef t foot cont rol (hi-hat )
• Det ailed wel l phrased f i l ls
• Good dynamic cont rol
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 79
SITAR
Easier level
Simple int roduct ory exercises f rom VN Bhat hande’ s Kramik Pust ak Mal ika Vol 1
• Simple 2–2 or 4–4 met re
• Singing and playing t he not es of t he scale: Sa Re Ga Ma Pa Dha Ni Sa
• Able t o t une inst rument correct ly
• Able t o demonst rat e t he dif ferent r ight hand st rokes: Dam Ra and Dir i
• Correct sit t ing and playing post ure
Standard level
Ra` ga Bhupal i: madhyalaya (middle t empo), Gat in Trit ala (16 beat cycle
divided 4/ 4/ 4/ 4)
• Able t o use mir
• One simple t ihai
• 4 t an-s
• Secure int onat ion and phrasing
More Difficult level
Ra` ga Bhupal i: madhyalaya (middle t empo), Gat in Trit ala (16 beat cycle
divided 4/ 4/ 4/ 4)
• Short alap and simple vist ar
• 4 t an-s and 2 t ihai-s f rom dif ferent mat ra-s
• Fluent phrasing
• Good melodic shaping and t echnical dext erit y
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 80
TABLA
Easier level
• Correct handl ing of t he t abla
• Laya GyanL able t o demonst rat e each beat wit h claps in slow, medium and fast
speeds
• Product ion of t en basic bol-s and combined bol-s
• Dadra and Keharva t alas, wit h claps and playing t abla
Standard level
• Tala-s at medium speed: Teent al , Keharva and Dadra
• Int roduct ion of kaydas
• Thah, Dugan wit h Laggi and t ihai in Dadra and Keharva
• Teent al syl lables
• 3 kaydas, 3 palt as each kayda wit h t ihai in Teent al
• Speaking t he kaydas wit h claps showing bars and division
More Difficult level
• More complex kayda-s, t ukra-s, Mohra wit h simple improvisat ion in t he kayda-s in
Teet al , Jhapt al , Ekt al and Rupak
• Basic knowledge of t ala not at ion (Bhat kande syst em)
• Singing — Raga Bhupal i wit h t he prescribed t an-s
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 81
Sequencing
Easier Standard More Difficult
Two independent part s Three independent part s Four independent part s,
which should include t wo
dif ferent inst rument s
Treble or bass clef only Treble or bass clef only Bot h t reble and bass clef
No accident als Key signat ures wit h one
sharp or f lat
Key signat ures of t hree
sharps or f lat s or more
Simple met re Simple met re Same t ime signat ure
t hroughout
St eady speed t hroughout St eady speed t hroughout Some changes of t empo
No dynamic variat ion Lit t le dynamic variat ion Some general dynamic
variat ion
Much repet it ion and
doubl ing
Much repet it ion and/ or
doubl ing
Some repet it ion and/ or
doubl ing
Up t o 12 bars 13-24 bars 24 bars or more
Simple rhyt hms and not e
values t hroughout
Most ly simple rhyt hms and
not e values
Some syncopat ion or
t r iplet s
The level of dif f icul t y should be t aken as t he nearest mat ch.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 82
Paper 2 — Composing
Each composition is marked separately out of 30
20 marks (4 x 5) are available for t he core crit eria
10 marks (2 x 5) are available for crit er ia which wil l be chosen by t he t eacher
examiner in relat ion t o t he nat ure of t he composit ion.
Compulsory core criteria (4 x 5 = 20 marks)
These crit eria focus on t he creat ive, imaginat ive and development al aspect s of
composit ion:
Crit erion A Use and development of ideas 5 marks
Crit erion B Exploit at ion of t he medium 5 marks
Crit erion C St ruct ural int erest 5 marks
Crit erion D Underst anding t he brief 5 marks
Optional criteria (2 x 5 = 10 marks)
Crit erion E Melody 5 marks
Crit erion F Harmony/ accompaniment 5 marks
Crit erion G Text ure 5 marks
Crit erion H Rhyt hm 5 marks
Crit erion I Dynamics 5 marks
Crit erion J Use of t echnology 5 marks
Any two opt ional cr it eria may be chosen as appropriat e t o t he piece. Candidat es
should indicat e t he t wo opt ional crit eria t hat t hey wish t o be marked on t he pro
forma ‘ Underst anding t he brief ’ . Teachers should advise t hem on which crit eria t o
select .
Level descript ions for t he four core crit eria and for t he opt ional crit eria fol low.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 83
Compulsory core criteria (Composing)
A: Use and development of ideas
Marks Description
5 Makes imaginat ive use of ideas and convent ions.
4 Some development of ideas and good use of st andard convent ions.
3 Makes adequat e use of st andard convent ions.
2 Makes some at t empt at real ising and developing ideas.
1 Makes a minimal at t empt at real ising and/ or developing ideas.
B: Exploitation of the medium
Marks Description
5 Demonst rat es excel lent and ef fect ive select ion and handl ing of
resources, exploit ing t heir pot ent ial .
4 Demonst rat es a good select ion and handl ing of resources, real ising t heir
pot ent ial .
3 Manages t o real ise t he pot ent ial of most resources.
2 Uses t he resources in a funct ional manner.
1 Makes only a very l imit ed use of resources.
C: Structural interest
Marks Description
5 The overal l st ruct ure is int erest ing and t he part s are appropriat e t o t he
piece — shows imaginat ive use of st ruct ural devices.
4 The overal l st ruct ure has a sense of proport ion and development and
good use of st ruct ural devices.
3 The st ruct ure is simple but clear, making use of appropriat e st ruct ural
devices.
2 At t empt s t o use and cont rol most st ruct ural devices most of t he t ime,
but wit h some misj udgement s.
1 Makes only minimal use of st ruct ural devices.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 84
D: Understanding the brief
Marks Description
5 Produces a det ailed descript ion and percept ive evaluat ion of t he
composit ion and is able t o place it in cont ext .
Makes crit ical j udgement s using an accurat e and ext ensive musical
vocabulary.
4 Good use of musical vocabulary wit h j ust if icat ion and possibly examples.
3 Appropriat e use of musical vocabulary.
2 Musical vocabulary has been used but some has been misappl ied.
OR
No musical vocabulary has been used but t here is an adequat e
descript ion of t he composit ion.
1 Limit ed descript ion of t he composit ion and no musical vocabulary used.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 85
Optional criteria (Composing)
The choice of criteria should take account of the candidate’s given or chosen
brief and should be appropriate to the composition concerned.
E: Melody
Marks Description
5 Excel lent — displaying st yle, charact er and appropriat eness.
4 Melodic l ines are wel l const ruct ed.
3 Melodic l ines have a sense of shape.
2 The melodic l ines work most of t he t ime, but display some
misj udgement s.
1 Melodic l ines have l i t t le sense of shape or form.
F: Harmony/ accompaniment
Marks Description
5 Appropriat e t o st yle of writ ing and mood, showing ext ended repert oire of
chords/ accompaniment st yle.
4 Demonst rat es a good harmonic repert oire/ accompaniment st yle.
3 Harmonic repert oire/ accompaniment is l imit ed but t here are no
signif icant misj udgement s.
2 Shows an awareness of harmony/ accompaniment but wit h some
misj udgement s.
1 The piece shows a l imit ed harmonic underst anding or uses an
inappropriat e accompaniment .
G: Texture
Marks Description
5 Sensit ive awareness of t ext ural mat t ers, exploit ing t ext ure t o good
ef fect .
4 Shows a good and clear awareness of t ext ure.
3 The t ext ure is general ly appropriat e.
2 Displays some awareness of t ext ure al t hough wit h some misj udgement s.
1 Displays only a very l imit ed awareness of t ext ure.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 86
H: Rhythm
Marks Description
5 Excit ing, wel l chosen and showing some original it y.
4 Good choice of rhyt hm t hroughout .
3 Appropriat e choice of rhyt hm.
2 Some appropriat e choices of rhyt hm but wit h a few misj udgement s.
1 There is only a very l imit ed awareness of rhyt hm.
I: Dynamics
Marks Description
5 Careful , sensit ive and appropriat e, t he dynamics real ly enhance t he
composit ion.
4 Good range of dynamics which are used ef fect ively in t he composit ion.
3 Dynamics are given t hroughout and used appropriat ely.
2 Dynamics are general ly indicat ed but not always used appropriat ely.
1 Dynamics are somet imes indicat ed but are used inappropriat ely.
J: Use of technology
Marks Description
5 Conf ident and imaginat ive handl ing of t echnological resources and
processes.
4 Technological resources handled general ly wel l wit h no signif icant
misj udgement s.
3 Compet ent use of t echnology wit h only a few misj udgement s.
2 Has made some at t empt t o apply t echnological processes t o t he
composit ion but wit h misj udgement s.
1 Demonst rat es a very l imit ed awareness of t echnological processes.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 87
Assessment criteria for Paper 2: Arranging
Each arrangement is marked separately out of 30
20 marks (4 x 5) are available for t he core crit eria.
10 marks (2 x 5) are available for crit er ia which wil l be chosen by t he t eacher
examiner in relat ion t o t he nat ure of t he arrangement .
Compulsory core criteria (4 x 5 = 20 marks)
These crit eria focus on t he creat ive and imaginat ive aspect s of arrangement :
Crit erion A Ext ent of ef fect ive change/ choice
of mat erial
5 marks
Crit erion B Exploit at ion of t he medium 5 marks
Crit erion C Impact 5 marks
Crit erion D Underst anding t he brief 5 marks
Optional criteria (2 x 5 = 10 marks)
Crit erion E Melodic int erest / part -writ ing 5 marks
Crit erion F Harmony 5 marks
Crit erion G Text ure 5 marks
Crit erion H Rhyt hm 5 marks
Crit erion I Dynamics 5 marks
Crit erion J Technical problems 5 marks
Crit erion K Use of t echnology 5 marks
Any two opt ional cr it eria may be chosen as appropriat e t o t he piece. Candidat es
should indicat e t he t wo opt ional crit eria t hat t hey wish t o be marked on t he pro
forma ‘ Underst anding t he brief ’ . Teachers should advise t hem on which crit eria t o
select .
Performance descript ions for t he four core crit eria and for t he opt ional crit eria
fol low.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 88
Compulsory core criteria (Arranging)
A: Extent of effective change/ choice of material
Marks Description
5 Original very wel l chosen — has excel lent pot ent ial for arrangement .
Arrangement has ef fect ively produced a new piece.
4 Good choice of original — considerable pot ent ial for arrangement .
A signif icant number of ef fect ive addit ions/ subt ract ions.
3 Original can be arranged t o l imit ed ef fect .
Some addit ions/ subt ract ions.
2 Mat erial has some pot ent ial for arrangement .
Original has changed sl ight ly.
1 Mat erial has a l i t t le pot ent ial for arrangement .
Very l i t t le change t o original.
B: Exploitation of the medium
Marks Description
5 Demonst rat es excel lent and ef fect ive select ion and handl ing of
resources, exploit ing t heir pot ent ial .
4 Demonst rat es appropriat e select ion and handl ing of resources, real ising
t heir pot ent ial .
3 At t empt s t o real ise t he pot ent ial of most resources.
2 Uses t he resources in a funct ional manner.
1 Makes l imit ed use of resources.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 89
C: Impact
Marks Description
5 Arrangement works except ional ly wel l in new medium wit h a very
imaginat ive approach t o mat erial .
4 Arrangement works wel l and t he approach displays some degree of
imaginat ion/ original it y.
3 Arrangement general ly successful and signif icant ly dif ferent f rom
original.
2 Arrangement makes some impact on t he l ist ener most of t he t ime.
1 Arrangement makes l i t t le impact on t he l ist ener some of t he t ime.
D: Understanding the brief
Marks Description
5 Produces a det ailed descript ion and percept ive evaluat ion of t he
arrangement and is able t o place it in cont ext .
Makes crit ical j udgement s using an accurat e and ext ensive musical
vocabulary.
4 Good use of musical vocabulary wit h j ust if icat ion and possibly
examples.
3 Appropriat e use of musical vocabulary.
2 Musical vocabulary has been used but some has been misappl ied.
OR
No musical vocabulary has been used but t here is an adequat e
descript ion of t he arrangement .
1 Limit ed descript ion of t he arrangement and no musical vocabulary
used.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 90
Optional criteria (Arranging)
Account should be taken of the extent to which the candidate has fulfilled the
given or chosen brief.
E: Melodic interest/ part writing
Marks Description
5 Arrangement largely cont rapunt al — new part s very successful .
4 Arrangement has a number of ef fect ive new count er-melodies/ melodic
t ouches.
3 Some use of count er-melody/ melodic part -writ ing/ passing not es.
2 Some at t empt at melodic part -writ ing using not es t aken f rom t he
harmony.
1 A l i t t le at t empt at melodic part -writ ing using not es t aken f rom t he
harmony.
F: Harmony
Marks Description
5 Piece is complet ely and ef fect ively (re)harmonised.
4 A signif icant amount of new harmonisat ion apparent .
3 Some new harmonisat ion.
2 Lit t le new harmonisat ion.
1 Uses original harmony.
G: Texture
Marks Description
5 Sensit ive awareness of t ext ural mat t ers, exploit ing t ext ure t o good
ef fect .
4 Shows a clear awareness of t ext ure.
3 The t ext ure is general ly appropriat e.
2 Displays some awareness of t ext ure.
1 Displays a l imit ed awareness of t ext ure.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 91
H: Rhythm
Marks Description
5 Displays innovat ive use of rhyt hmic element s in producing new version
of original.
4 Makes sensit ive use of st andard rhyt hmic pat t erns t o produce new
version.
3 New version has several examples of rhyt hmic change t hough
somet imes mechanical.
2 New version shows some rhyt hmic changes.
1 Shows a l imit ed awareness t o t he possibi l i t ies of rhyt hmic change.
I: Dynamics
Marks Description
5 Careful , sensit ive and appropriat e, t he dynamics real ly enhance t he
composit ion.
4 Good range of dynamics which are used ef fect ively in t he
composit ion.
3 Dynamics are given t hroughout and used appropriat ely.
2 Dynamics are general ly indicat ed, but not always used appropriat ely.
1 Dynamics are somet imes indicat ed, but are used inappropriat ely.
J: Technical problems
Marks Description
5 Excel lent handl ing of t echnical problems present ed by mat erial .
Shows a high level of awareness of pot ent ial and l imit at ions of new
medium.
4 Most t echnical problems handled wel l .
Shows suf f icient awareness of pot ent ial of new medium t o solve most
problems.
3 Shows some abil i t y t o deal wit h t echnical problems.
Is aware of some of t he dif f icul t ies creat ed by t he choice of medium.
2 Shows a l imit ed awareness of problems present ed by new medium.
1 One or t wo t echnical problems are resolved.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 92
J: Use of technology
Marks Description
5 Conf ident and imaginat ive handl ing of t echnological resources and
processes.
4 Technological resources handled general ly wel l wit h no signif icant
misj udgement s.
3 Compet ent use of t echnology wit h only a few misj udgement s.
2 Has made some at t empt t o apply t echnological processes t o t he
composit ion, but wit h misj udgement s.
1 Demonst rat es a very l imit ed awareness of t echnological processes.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 93
Grade descriptions
The f ol lowing grade descr ipt ions indicat e t he level of at t ainment charact er ist ic of
t he given grade at GCSE. They give a general indicat ion of t he required learning
out comes at each speci f ied grade. The descr ipt ions should be int erpret ed in relat ion
t o t he cont ent out l ined in t he speci f icat ion; t hey are not designed t o def ine t hat
cont ent . The grade awarded wi l l depend in pract ice upon t he ext ent t o which t he
st udent has met t he assessment obj ect ives overal l . Shor t comings in some aspect s of
t he examinat ion may be balanced by bet t er per f ormances in ot hers.
Grade F
Candidat es sing and/ or play music wit h some f luency and cont rol of t he resources
used. They compose music t hat shows some abil i t y t o organise musical ideas and use
appropriat e resources in response t o a brief . They describe musical feat ures using a
simple musical vocabulary; make improvement s t o own work and of fer some
j ust if icat ion of opinions expressed.
Grade C
Candidat es sing and/ or play music wit h cont rol , making expressive use of phrase and
dynamics appropriat e t o t he st yle and mood of t he music. They compose music t hat
shows abil i t y t o develop musical ideas, use convent ions, explore t he pot ent ial of
musical st ruct ures and resources and ful f i l a brief . They make crit ical j udgement s
about own and ot hers’ music using a musical vocabulary.
Grade A
Candidat es explore t he expressive pot ent ial of musical resources and convent ions
used in select ed genres, st yles and t radit ions. They sing and/ or play music wit h a
sense of st yle, command of t he resources used and making appropriat e gradat ions of
t empo, dynamics and balance. They compose music t hat shows a coherent and
imaginat ive development of musical ideas and consist ency of st yle and ful f i ls a brief .
They make crit ical j udgement s about own and ot hers’ music using an accurat e and
ext ensive musical vocabulary.
In al l grades, candidat es must demonst rat e musical knowledge and underst anding as
described on page 5.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 95
The wider curriculum
Key skills
This specif icat ion wil l provide opport unit ies, as appropriat e, t o develop t he key skil ls
of communicat ion, informat ion t echnology, improving own learning and performance,
working wit h ot hers and problem solving.
Examples of such opport unit ies are signpost ed t hroughout t he specif icat ion. It is
import ant t hat t hese opport unit ies fal l nat ural ly int o a programme of st udy, and it
may be t hat not al l t he examples are appropriat e for al l programmes. The examples
of fered may be adapt ed t o suit part icular sit uat ions, and it wil l be possible t o devise
many al t ernat ive opport unit ies and approaches. The development of key skil ls can
enhance t eaching and learning st rat egies and can be a st imulus t o new approaches,
and increase levels of st udent involvement .
Key skil ls opport unit ies are det ailed more ful ly in Appendix 1.
Spiritual, moral, ethical, social and cultural issues
This specif icat ion cont ribut es t o an underst anding of :
• spiritual issues
Creat ivit y is t he process of aest het ic expression drawing on original it y,
invent iveness and imaginat ion. Paper 3 gives t he opport unit y t o develop crit ical
and creat ive t hinking and t o increase t he abil i t y of candidat es t o make
j udgement s about musical qual it y. Music is of t en referred t o as t he rout e t o t he
soul and candidat es need t o be aware of t he spiri t ual ef fect i t can have on bot h
t hemselves and on ot hers. This specif icat ion aims t o ext end imaginat ive,
int el lect ual and emot ional horizons. Music is a cent ral component of worship in
many fait hs, and candidat es wil l have t he opport unit y t o perform, compose and
l ist en t o some of t he music used in t his way.
• moral and ethical issues
Moral issues may be a subj ect for discussion in music in relat ion t o music t heat re
and t o t he lyrics of popular music. Similarly, t he use (or misuse) of music as a
pol it ical t ool may be considered.
• social issues
Music is a source of art ist ic experience; t o some ext ent al l music involves t he
communicat ion of feel ing, knowledge or mood. St udent s perform wit h ot hers t hus
developing an awareness of audience, venue and occasion and aiding int er-
personal and cult ural underst anding. Composit ion and performance are nat ural
means of expression which can play a benef icial part in t he l ives of individuals
and schools, and in t he general l i fe of t he communit y.
• cultural issues
Exploring music in a variet y of st yles wil l encourage recognit ion and
underst anding of t he values of ot her individuals and communit ies. As st udent s
perform, compose and l ist en t o music in a variet y of st yles i t is hoped t hat t hey
wil l develop an appreciat ion of t he richness of our cul t ural herit age.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 97
Paper 3 relat es music t o it s social , hist or ical and cult ural cont ext and wil l provide
opport unit ies t o explore and discuss cult ural issues. This wil l encourage
candidat es t o consider how cult ure inf luences how individuals t hink, feel and act
and t o develop respect and t olerance for people of dif ferent cul t ures.
Education for citizenship
This specif icat ion makes a cont ribut ion t owards coverage of t he Key St age 4
programme of st udy for Cit izenship. Music GCSE provides many opport unit ies for
st udent s t o t ake part in group music-making t hus encouraging t hem t o part icipat e in
t he musical l i fe of t he school, col lege or communit y. In part icular t he unit s in
Performing and List ening and Appraising, give st udent s opport unit ies t o:
• develop skil ls of part icipat ion and responsible act ion t hrough performing wit h
ot hers. St udent s wil l learn how t o consider t he experiences of ot hers, t ake part
responsibly in act ivit ies and ref lect on t he process of part icipat ion
• play an ef fect ive role in societ y at a local level, and perhaps even at nat ional and
int ernat ional levels
• consider issues of cul t ural diversit y, t heir value and expression t hrough t he st udy
of music f rom dif ferent cul t ures
• respect dif ferent nat ional, rel igious and et hnic ident it ies
• ref lect on t opical , spir i t ual , moral, pol it ical , social and cult ural issues.
Information and communication technology (ICT)
The digit isat ion of music is now wel l developed and st udent s can record, manipulat e
and produce music. There are opport unit ies t o use ICT in Papers 1 and 2 and t o
develop an underst anding of t he impact of ICT in music in Paper 3. St udent s may use
comput er sequencers, mult i t rack recorders, digit al recording, sampl ing, and signal
processing in t he preparat ion and present at ion of composit ions. They may also use
t echnology t o record work on t ape, minidisc or CD and t o produce print ed scores and
ext ract part s. Candidat es may of fer sequencing as part of t heir solo performing and
sequencing and recording for ensemble performing.
For Paper 3 List ening and Appraising t hey wil l need t o underst and t he impact ICT has
had on music in t hree of t he Areas of St udy. For Area of St udy 2 (Changing direct ions
in West ern classical music f rom 1900) candidat es should underst and t hat ICT has
opened up a new world of possibil i t ies for t he composer wit h t he pot ent ial t o rule
out t he performer. They should be aware of t he milest ones in t he development of
elect ronic music, principal ly t he invent ion of t ape and t he advent of t he synt hesiser.
For Area of St udy 3 (Popular music in cont ext ) t hey should underst and t he inf luence
of ICT on popular music not only in t erms of t he new palet t e of sound creat ed by
elect ric guit ars and keyboards but also where t he increased sophist icat ion and
availabil i t y of music t echnology has led direct ly t o t he rise of dif ferent forms eg club
dance music. Area of St udy 4 (Indian raga, Af rican music and fusions) includes a t opic
‘ fusions’ . Candidat es need t o underst and t hat advances in global communicat ion
have led t o hybrid st yles, such as bhangra, when musicians f rom one cult ure have
been exposed t o sounds and inst rument s f rom anot her.
Throughout t he course t here are opport unit ies t o use t he int ernet t o explore music,
wordprocessing t o record ideas and email t o communicat e ideas.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 98
Environmental education, health and safety education
and the European and global dimension
This GCSE Music specif icat ion aims t o of fer opport unit ies t o support environment al
educat ion, t he European dimension in educat ion, and healt h educat ion in connect ion
wit h t he report Environment al Responsibi l i t y, an Agenda for Furt her and Higher
Educat ion (HMSO, 1993) and t he Resolut ions of t he Council of Minist ers (EC, 1988) in
so far as it is appl icable. Much of t he music st udied for each paper wil l have been
creat ed by European musicians: Area of St udy 1: St ruct ure in West ern classical music
1600-1899 (ground bass and variat ions, t ernary form and rondo); Area of St udy 2:
Changing direct ions in West ern classical music f rom 1900 (expressionism and
serial ism, minimal ism and experiment al and elect ronic music); and Area of St udy 3:
Popular music in cont ext (dance music 1985-present day, songs f rom musicals and
Brit pop). St udent s wil l be expect ed t o observe safe working pract ices when using
music t echnology equipment . Environment al educat ion wil l be al luded t o if
candidat es wish t o use t his as a st art ing point for a composit ion or wish t o st udy t he
work of composers concerned wit h i t .
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 99
Textbooks and other teaching resources
Resources available for t eaching are const ant ly changing. Any suggest ions made here
wil l doubt less be superseded but t hey wil l at least serve as a guide t o t he select ion
of mat erials available. Cent res should choose according t o t heir requirement s and
t heir means. Some of t he books included in t he fol lowing l ist are int ended t o help
t eachers wit h t heir planning rat her t han t o be used as t ext books.
The Edexcel New Ant hology cont ains examples and recordings of most of t he t opics
l ist ed under t he Areas of St udy and wil l be a useful resource.
General
Bennet t R — A Dict ionary of Music (Cambridge Universit y Press, 1995)
Bennet t R — Fort issimo! (Cambridge Universit y Press, 1996)
Sadie S — The Cambr idge Music Guide (Cambridge Universit y Press, 1990)
Paper 2
Aschmann L — 500 Songwr i t ing Ideas (Music Books Plus, 1997)
Baker D — Ar ranging and Composing f or t he Smal l Ensemble: Jazz, R & B, Jazz Rock
(Alf red Publ ishing, 1988)
Binns C — Composing — A St udent ’ s Guide (Nelson, 1996)
Cit ron S — Songwr i t ing: A Complet e Guide t o t he Craf t (Amazon, 1990)
Cole B — The Composer ’ s Handbook (Schot t , London, 1996)
Paynt er J — Sound & St ruct ure (Cambridge Universit y Press, Cambridge, 1992)
Penfold R A — A Beginner ’ s Guide t o Midi (Bernard Babani, 1993)
Runswick D — Rock, Pop and Jazz Arranging (Faber, 1992)
St urman P — Creat ing Music around t he Wor ld (Cambridge Universit y Press, 1988)
St urman P — Harmony, Melody, Composi t ion (Cambridge Universit y Press, 1995)
Papers 2 and 3
Bennet t R — Form and Design (Cambridge Universit y Press, Cambridge, 1988)
Bowman D — Aural Mat t ers (Schot t , London, 1995)
Bowman D and Cole B — Sound Mat t ers (Schot t , London, 1989)
Burnet t M — Explor ing Music of t he Wor ld (Heinemann)
Cole W — The Form of Music (ABRSM, London, 1997)
Copland A — What t o List en f or in Music (Penguin, USA, 1998)
Cripps C — Popular Music (Cambridge Universit y Press, Cambridge, 1989)
Cripps C — Score Reading (Cambridge Universit y Press, Cambridge, 1988)
Dunbar-Hal l P and Hodge G — Music around t he Wor ld (Science Press, Sydney)
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 101
Harvey E — Jazz in t he Classroom (Boosey and Hawkes, London, 1988)
Machl is J — Int roduct ion t o Cont emporary Music (Dent & Son, London)
Sharma S — Music Wor ldwide (Cambridge Universit y Press, Cambridge, 1998)
Turnbul l D — Aural Time (Boswort h, London, 1995)
Warner S — Rockspeak! (Blandford, 1996)
Music technology
Bart let t B and Bart let t J — Pract ical Recording Techniques (Focal Press, 1997)
Clacket t D — Handbook of MIDI Sequencing (Cimino Publ ishing Group, 1996)
Lloyd W and Terry P — Music in Sequence (Musonix, 1991)
Lloyd W — Rock in Sequence (Musonix, 1996)
Additional resources for GCSE music
Paper 2
Russel l B and Harris T — The GCSE Composi t ion Course (Edit ion Pet ers, 2004)
Papers 2 and 3
Brown A and Dil lon S C — Ret ro Rock St yle Guide: St yles f rom t he 1960s t o t he 1990s
(Currency Press Pt y Lt d, 2001)
Harris J — Br i t pop! Cool Br i t annia and t he Spect acular Demise of Engl ish Rock (Da
Capo press, 2004)
Morley P — Words and Music: A Hist ory of Pop in t he Shape of a Ci t y (Bloomsbury,
2003)
Wint erson J (edit or) — Pop Music t he Text Book (Edit ion Pet ers, 2004)
Music technology
Prochak M — Basic Cubase SX (SMT, 2003)
Prochak T and M — How t o Get t he Sound You Want (IMP, 2002)
Prochak T and M — How t o Get t he Sound You Want , Second Edi t ion (IMP, 2004)
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 102
Support and training
Training
A programme of Professional Development and Training courses covering various
aspect s of t he specif icat ions and assessment wil l be arranged by Edexcel each year
on a regional basis. Ful l det ails may be obt ained f rom:
Professional Development and Training
Edexcel
One90 High Holborn
London WC1V 7BH
Telephone: 0870 240 9800
Fax: 0845 359 1909
Email : t [email protected]
Edexcel publications
Support mat erials and furt her copies of t his specif icat ion can be obt ained f rom:
Edexcel Publ icat ions
Adamsway
Mansf ield
Not t s NG18 4FN
Telephone: 01623 467467
Fax: 01623 450481
Email : publ icat ions@linneydirect .com
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 103
Appendix
Appendix 1 — Key skills 107
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 105
Appendix 1 — Key skills
The GCSE in Music of fers a range of opport unit ies for st udent s t o:
• develop t heir key skil ls
• generat e assessed evidence for t heir port fol io.
In part icular, t he fol lowing key skil ls can be developed and assessed t hrough t his
specif icat ion at Level 2:
• communicat ion
• informat ion t echnology
• improving own learning and performance
• working wit h ot hers
• problem solving.
St udent s requiring appl icat ion of number may be able t o develop t his skil l t hrough
ot her part s of t heir GCSE course or t hrough st and-alone sessions.
Copies of t he key skil ls specif icat ions can be ordered f rom Edexcel Publ icat ions.
The individual key skil ls unit s are divided int o t hree part s.
• Part A: what you need t o know — t his ident if ies t he underpinning knowledge and
skil ls required of t he st udent .
• Part B: what you must do — t his ident i f ies t he evidence t hat st udent s must
produce for t heir port fol io.
• Part C: guidance — t his gives examples of possible act ivit ies and t ypes of
evidence t hat may be generat ed.
This GCSE specif icat ion signpost s development and int ernal assessment opport unit ies
which are based on part B of t he Level 2 key skil ls unit s. For t hose st udent s working
at Level 1, t hese Level 2 opport unit ies can also be used t o generat e evidence at
Level 1. Reference should be made t o t he appropriat e Level 1 st at ement s in t he key
skil ls specif icat ions.
The evidence generat ed t hrough t his GCSE wil l be int ernal ly assessed and cont ribut e
t o t he st udent ’ s key skil ls port fol io. In addit ion, in order t o achieve t he Key Skil ls
Qual if icat ion, st udent s wil l need t o t ake t he addit ional ext ernal t est s associat ed wit h
communicat ion, informat ion t echnology and appl icat ion of number. Cent res should
check t he current posit ion on proxy qual if icat ions as some st udent s may be exempt
f rom part or al l of t he assessment of a specif ic key skil l .
Each paper wit hin t he GCSE in Music wil l provide opport unit ies for t he development
of al l f ive of t he key skil ls ident if ied. This appendix ident if ies t he key skil ls evidence
requirement s and also provides a mapping of t hose opport unit ies. St udent s wil l need
t o have opport unit ies t o develop t heir ski l ls over t ime before t hey are ready for
assessment . This appendix cont ains i l lust rat ive act ivit ies for each key skil l t hat wil l
aid development and facil i t at e t he generat ion of appropriat e port fol io evidence. To
assist in t he recording of key skil ls evidence Edexcel has produced recording
document at ion which can be ordered f rom Edexcel Publ icat ions.
The fol lowing grid maps t he knowledge covered in t he Edexcel GCSE in Music against
t he element s of key skil ls and wider key skil ls.
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 107
A t ick indicat es at least part ial coverage of t he key skil l or wider key skil l .
A blank space indicat es no coverage of t he key skil l or wider key skil l .
UG017100 – Specif icat ion – Edexcel GCSE in Music – Issue 2 – February 2006 108
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ica
tio
n l
ev
el
2
Fo
r th
e c
om
mu
nic
ati
on
ke
y s
kil
l, s
tud
en
ts a
re r
eq
uir
ed
to
ho
ld d
iscu
ssio
ns
an
d g
ive
pre
sen
tati
on
s, r
ea
d a
nd
su
mm
ari
se i
nfo
rma
tio
n,
an
d w
rite
do
cu
me
nts
. Stu
de
nts
wil
l b
e a
ble
to
de
ve
lop
all
of
the
se s
kil
ls t
hro
ugh
an
ap
pro
pri
ate
te
ach
ing a
nd
le
arn
ing p
rogra
mm
e b
ase
d o
n t
his
GC
SE
spe
cif
ica
tio
n.
Ke
y s
kil
l p
ort
foli
o e
vid
en
ce
req
uir
em
en
t
GC
SE
Pa
pe
rs
Op
po
rtu
nit
ies
for
de
ve
lop
me
nt
or
inte
rna
l a
sse
ssm
en
t
C2
.1a
T
ake
pa
rt i
n a
gro
up
dis
cu
ssio
n.
1,
2 a
nd
3
Ma
ny o
f th
e t
op
ics
in t
his
sp
ecif
ica
tio
n a
re s
uit
ab
le a
s th
e b
asi
s o
f a
gro
up
dis
cu
ssio
n.
Th
e d
iscu
ssio
n s
ho
uld
be
ab
ou
t a
str
aig
htf
orw
ard
su
bje
ct.
Th
is m
ay b
e a
su
bje
ct
oft
en
me
t in
th
eir
stu
die
s a
nd
th
e v
oca
bu
lary
wil
l b
e f
am
ilia
r. D
uri
ng t
he
dis
cu
ssio
n s
tud
en
ts
sho
uld
ma
ke
cle
ar
an
d r
ele
va
nt
co
ntr
ibu
tio
ns,
lis
ten
an
d r
esp
on
d t
o o
the
rs,
he
lpin
g t
o
mo
ve
th
e d
iscu
ssio
n f
orw
ard
. A
po
ssib
le a
cti
vit
y m
igh
t b
e c
on
trib
uti
ng t
o a
dis
cu
ssio
n
ab
ou
t d
iffe
ren
t fo
rms
of
no
tati
on
aro
un
d t
he
wo
rld
.
C2
.1b
G
ive
a t
alk
of
at
lea
st f
ou
r
min
ute
s.
1,
2 a
nd
3
Fo
llo
win
g a
pe
rio
d o
f re
sea
rch
stu
de
nts
co
uld
be
giv
en
th
e o
pp
ort
un
ity t
o g
ive
a s
ho
rt
talk
to
th
e r
est
of
the
ir g
rou
p.
Du
rin
g t
he
ta
lk s
tud
en
ts s
ho
uld
sp
ea
k c
lea
rly i
n a
wa
y
tha
t su
its
the
su
bje
ct
an
d s
itu
ati
on
. T
he
y s
ho
uld
ke
ep
to
th
e s
ub
ject.
Th
e s
tru
ctu
re o
f
the
ta
lk s
ho
uld
he
lp l
iste
ne
rs f
oll
ow
po
ints
ma
de
. A
po
ssib
le a
cti
vit
y m
igh
t b
e g
ivin
g a
sho
rt t
alk
ab
ou
t o
ne
syst
em
of
no
tati
on
usi
ng m
usi
ca
l e
xa
mp
les
an
d m
ap
s.
C2
.2
Re
ad
an
d s
um
ma
rise
info
rma
tio
n f
rom
tw
o
exte
nd
ed
do
cu
me
nts
ab
ou
t
the
sa
me
su
bje
ct.
Ea
ch
do
cu
me
nt
mu
st b
e a
min
imu
m o
f 5
00
wo
rds.
3
Stu
de
nts
wil
l h
ave
a n
um
be
r o
f o
pp
ort
un
itie
s to
re
ad
an
d s
yn
the
sise
in
form
ati
on
fro
m
two
exte
nd
ed
do
cu
me
nts
, fo
r e
xa
mp
le,
as
pa
rt o
f th
eir
pre
pa
rati
on
fo
r th
e d
iscu
ssio
n
an
d t
alk
, o
r a
s p
rep
ara
tio
n f
or
a p
iece
of
wri
tte
n w
ork
fo
r th
eir
GC
SE
. E
xte
nd
ed
do
cu
me
nts
ma
y i
nclu
de
te
xtb
oo
ks
an
d r
ep
ort
s a
nd
art
icle
s o
f m
ore
th
an
th
ree
pa
ge
s.
Stu
de
nts
wil
l n
ee
d t
o s
ele
ct
an
d r
ea
d r
ele
va
nt
ma
teri
al.
Fro
m t
his
in
form
ati
on
th
ey w
ill
ne
ed
to
id
en
tify
accu
rate
ly t
he
lin
es
of
rea
son
ing a
nd
ma
in p
oin
ts f
rom
th
e t
ext
an
d
ima
ge
s. S
tud
en
ts w
ill
the
n n
ee
d t
o s
um
ma
rise
th
is i
nfo
rma
tio
n i
n a
fo
rm t
ha
t su
its
the
pu
rpo
se,
eg f
or
a t
alk
, d
iscu
ssio
n o
r a
n e
ssa
y.
A p
oss
ible
acti
vit
y m
igh
t b
e r
ese
arc
hin
g
into
a c
ho
sen
gro
up
of
mu
sica
l in
stru
me
nts
usi
ng g
rap
hic
an
d m
usi
ca
l il
lust
rati
on
s.
UG
01
71
00
– S
pe
cif
ica
tio
n –
Ed
exce
l G
CSE
in
Mu
sic –
Iss
ue
2 –
Fe
bru
ary
20
06
1
10
Ke
y s
kil
l p
ort
foli
o e
vid
en
ce
req
uir
em
en
t
GC
SE
Pa
pe
rs
Op
po
rtu
nit
ies
for
de
ve
lop
me
nt
or
inte
rna
l a
sse
ssm
en
t
C2
.3
Wri
te t
wo
dif
fere
nt
typ
es
of
do
cu
me
nts
ea
ch
on
e g
ivin
g
dif
fere
nt
info
rma
tio
n.
On
e
do
cu
me
nt
mu
st b
e a
t le
ast
50
0 w
ord
s lo
ng.
3
Stu
de
nts
are
re
qu
ire
d t
o p
rod
uce
tw
o d
iffe
ren
t ty
pe
s o
f d
ocu
me
nt.
At
lea
st o
ne
of
the
se s
ho
uld
be
an
exte
nd
ed
do
cu
me
nt,
fo
r e
xa
mp
le a
re
po
rt o
r a
n e
ssa
y o
f a
t le
ast
50
0 w
ord
s. T
he
do
cu
me
nt
sho
uld
pre
sen
t re
leva
nt
info
rma
tio
n i
n a
n a
pp
rop
ria
te f
orm
.
Th
e i
nfo
rma
tio
n i
n t
he
do
cu
me
nt
sho
uld
be
cle
arl
y s
tru
ctu
red
eg t
hro
ugh
th
e u
se o
f
he
ad
ings,
pa
ragra
ph
s, e
tc.
Stu
de
nts
sh
ou
ld e
nsu
re t
ha
t th
e t
ext
is l
egib
le a
nd
th
at
spe
llin
g,
pu
nctu
ati
on
an
d g
ram
ma
r a
re a
ccu
rate
. A
po
ssib
le a
cti
vit
y m
igh
t b
e w
riti
ng
an
ess
ay a
bo
ut
the
ori
gin
s o
f th
e 1
2 b
ar
blu
es
wit
h m
usi
ca
l e
xa
mp
les
on
ta
pe
, C
D o
r
min
idis
c.
Ev
ide
nce
Stu
de
nt
evid
en
ce
fo
r co
mm
un
ica
tio
n c
ou
ld i
nclu
de
:
• tu
tor
ob
serv
ati
on
re
co
rds
• p
rep
ara
tory
no
tes
• a
ud
io/
vid
eo
ta
pe
s
• n
ote
s b
ase
d o
n d
ocu
me
nts
re
ad
• e
ssa
ys.
UG
01
71
00
– S
pe
cif
ica
tio
n –
Ed
exce
l G
CSE
in
Mu
sic –
Iss
ue
2 –
Fe
bru
ary
20
06
1
11
Info
rma
tio
n t
ech
no
logy
le
ve
l 2
Wh
en
pro
du
cin
g w
ork
fo
r th
eir
GC
SE
in
Mu
sic s
tud
en
ts w
ill
ha
ve
nu
me
rou
s o
pp
ort
un
itie
s to
use
in
form
ati
on
te
ch
no
logy.
Th
e i
nte
rne
t, C
D R
OM
,
etc
co
uld
be
use
d t
o c
oll
ect
info
rma
tio
n.
Do
cu
me
nts
ca
n b
e p
rod
uce
d u
sin
g r
ele
va
nt
soft
wa
re a
nd
im
age
s m
ay b
e i
nco
rpo
rate
d i
n t
ho
se
do
cu
me
nts
. E
arl
y d
raft
s o
f d
ocu
me
nts
co
uld
be
em
ail
ed
to
tu
tors
fo
r in
itia
l co
mm
en
ts a
nd
fe
ed
ba
ck.
In a
dd
itio
n,
stu
de
nts
wil
l b
e a
ble
to
use
info
rma
tio
n t
ech
no
logy t
o g
en
era
te e
vid
en
ce
fo
r th
e c
om
mu
nic
ati
on
ke
y s
kil
l. F
or
exa
mp
le t
he
exte
nd
ed
do
cu
me
nt
wit
h i
ma
ge
s, r
eq
uir
ed
fo
r
C2
.3,
co
uld
be
ge
ne
rate
d u
sin
g a
pp
rop
ria
te s
oft
wa
re.
As
pa
rt o
f th
eir
Mu
sic p
rogra
mm
e s
tud
en
ts m
ay n
ot
be
ab
le t
o g
en
era
te s
uff
icie
nt
evid
en
ce
re
qu
ire
d f
or
this
pa
pe
r, f
or
exa
mp
le w
ork
ing w
ith
nu
mb
ers
th
rou
gh
th
e u
se o
f a
sp
rea
dsh
ee
t a
pp
lica
tio
n,
or
som
e a
spe
cts
of
da
tab
ase
use
. In
th
is s
itu
ati
on
, st
ud
en
ts m
ay u
se s
tan
d-a
lon
e I
T
sess
ion
s fo
r d
eve
lop
me
nt
an
d e
vid
en
ce
ge
ne
rati
on
an
d/
or
oth
er
pa
rts
of
the
ir G
CSE
co
urs
e.
Ke
y s
kil
l p
ort
foli
o e
vid
en
ce
req
uir
em
en
t
GC
SE
Pa
pe
rs
Op
po
rtu
nit
ies
for
de
ve
lop
me
nt
or
inte
rna
l a
sse
ssm
en
t
IT2
.1
Se
arc
h f
or
an
d s
ele
ct
info
rma
tio
n t
o m
ee
t yo
ur
ne
ed
s.
Use
dif
fere
nt
info
rma
tio
n
sou
rce
s fo
r e
ach
ta
sk a
nd
mu
ltip
le s
ea
rch
cri
teri
a i
n a
t
lea
st o
ne
ca
se.
1,
2 a
nd
3
Stu
de
nts
wil
l n
ee
d t
o i
de
nti
fy s
uit
ab
le s
ou
rce
s o
f in
form
ati
on
an
d e
ffe
cti
ve
ly s
ea
rch
fo
r
info
rma
tio
n u
sin
g m
ult
iple
cri
teri
a.
Info
rma
tio
n s
ele
cte
d s
ho
uld
be
in
terp
rete
d a
nd
stu
de
nts
sh
ou
ld d
ecid
e w
ha
t is
re
leva
nt
for
the
ir p
urp
ose
. A
po
ssib
le a
cti
vit
y m
igh
t b
e
sea
rch
ing f
or
exa
mp
les
of
da
nce
mu
sic u
sin
g t
he
in
tern
et,
MP
3,
CD
s, C
D R
OM
s a
nd
rad
io.
Ev
ide
nce
Stu
de
nt
evid
en
ce
fo
r in
form
ati
on
te
ch
no
logy c
ou
ld i
nclu
de
:
• tu
tor
ob
serv
ati
on
re
co
rds
• n
ote
s o
f so
urc
es
use
d
• p
rin
t-o
uts
wit
h a
nn
ota
tio
ns
• d
raft
do
cu
me
nts
.
UG
01
71
00
– S
pe
cif
ica
tio
n –
Ed
exce
l G
CSE
in
Mu
sic –
Iss
ue
2 –
Fe
bru
ary
20
06
1
12
Imp
rov
ing o
wn
le
arn
ing a
nd
pe
rfo
rma
nce
le
ve
l 2
Wit
hin
GC
SE
in
Mu
sic p
rogra
mm
es,
stu
de
nts
wil
l h
ave
op
po
rtu
nit
ies
to d
eve
lop
an
d g
en
era
te e
vid
en
ce
th
at
me
ets
pa
rt o
f th
e e
vid
en
ce
req
uir
em
en
t o
f th
is k
ey s
kil
l. T
o a
ch
ieve
th
is k
ey s
kil
l, s
tud
en
ts w
ill
ne
ed
to
pro
vid
e a
t le
ast
tw
o e
xa
mp
les
of
me
eti
ng t
he
sta
nd
ard
re
qu
ire
d.
Stu
de
nts
are
als
o r
eq
uir
ed
to
im
pro
ve
th
eir
pe
rfo
rma
nce
th
rou
gh
stu
dyin
g a
str
aig
htf
orw
ard
su
bje
ct
an
d t
hro
ugh
le
arn
ing t
hro
ugh
a
stra
igh
tfo
rwa
rd p
racti
ca
l a
cti
vit
y.
Th
is G
CSE
in
Mu
sic w
ill
pro
vid
e o
pp
ort
un
itie
s fo
r st
ud
en
ts t
o s
tud
y a
str
aig
htf
orw
ard
su
bje
ct.
Evid
en
ce
fo
r
lea
rnin
g t
hro
ugh
a p
racti
ca
l a
cti
vit
y m
ay c
om
e f
rom
oth
er
GC
SE
s in
th
e s
tud
en
ts’
pro
gra
mm
e o
r fr
om
en
rich
me
nt
acti
vit
ies.
Acti
vit
ies
tha
t
ge
ne
rate
evid
en
ce
fo
r th
is s
kil
l sh
ou
ld t
ake
pla
ce
ove
r a
pe
rio
d o
f a
fe
w w
ee
ks.
Ove
r th
e p
eri
od
of
the
acti
vit
y t
he
re w
ill
be
tim
es
wh
en
th
e
stu
de
nts
sh
ou
ld w
ork
wit
ho
ut
clo
se s
up
erv
isio
n.
Ho
we
ve
r, s
tud
en
ts s
ho
uld
se
ek a
nd
re
ce
ive
fe
ed
ba
ck,
fro
m t
uto
rs a
nd
oth
ers
, o
n t
he
ir t
arg
et
sett
ing a
nd
pe
rfo
rma
nce
. A
ny p
roje
ct
wo
rk (
inclu
din
g c
ou
rse
wo
rk)
is a
su
ita
ble
le
arn
ing a
cti
vit
y a
nd
ma
y b
e u
sed
to
ge
ne
rate
evid
en
ce
fo
r th
is
ke
y s
kil
l.
Ke
y s
kil
l p
ort
foli
o e
vid
en
ce
req
uir
em
en
t
GC
SE
Pa
pe
rs
Op
po
rtu
nit
ies
for
de
ve
lop
me
nt
or
inte
rna
l a
sse
ssm
en
t
LP
2.1
H
elp
se
t sh
ort
-te
rm t
arg
ets
wit
h a
n a
pp
rop
ria
te p
ers
on
an
d p
lan
ho
w t
he
se w
ill
be
me
t.
1 a
nd
2
Stu
de
nts
pla
n h
ow
th
ey a
re t
o m
ee
t sh
ort
-te
rm t
arg
ets
wit
h a
n a
pp
rop
ria
te p
ers
on
, e
g
agre
ein
g a
pro
ject
wit
h t
he
ir t
uto
r. T
his
wil
l in
clu
de
se
ttin
g r
ea
list
ic t
arg
ets
an
d a
cti
on
po
ints
. R
evie
w d
ate
s w
ith
, fo
r e
xa
mp
le,
the
ir t
uto
r sh
ou
ld b
e b
uil
t in
to t
he
pla
n.
A
po
ssib
le a
cti
vit
y m
igh
t b
e t
he
pre
pa
rati
on
fo
r a
pe
rfo
rma
nce
.
LP
2.2
T
ake
re
spo
nsi
bil
ity f
or
som
e
de
cis
ion
s a
bo
ut
yo
ur
lea
rnin
g,
usi
ng y
ou
r p
lan
an
d
sup
po
rt f
rom
oth
ers
to
he
lp
me
et
targ
ets
.
1 a
nd
2
Th
e p
lan
sh
ou
ld b
e i
mp
lem
en
ted
wit
h p
erf
orm
an
ce
re
vie
ws
an
d s
ho
uld
in
clu
de
wo
rkin
g
for
sho
rt p
eri
od
s w
ith
ou
t clo
se s
up
erv
isio
n,
eg p
racti
sin
g a
pie
ce
fo
r so
lo p
erf
orm
an
ce
UG
01
71
00
– S
pe
cif
ica
tio
n –
Ed
exce
l G
CSE
in
Mu
sic –
Iss
ue
2 –
Fe
bru
ary
20
06
1
13
Ke
y s
kil
l p
ort
foli
o e
vid
en
ce
req
uir
em
en
t
GC
SE
Pa
pe
rs
Op
po
rtu
nit
ies
for
de
ve
lop
me
nt
or
inte
rna
l a
sse
ssm
en
t
LP
2.3
R
evie
w p
rogre
ss w
ith
an
ap
pro
pri
ate
pe
rso
n a
nd
pro
vid
e e
vid
en
ce
of
yo
ur
ach
ieve
me
nts
1 a
nd
2
Stu
de
nts
sh
ou
ld r
evie
w t
he
ir o
wn
pro
gre
ss w
ith
th
e h
elp
of
the
ir t
uto
r. T
he
y s
ho
uld
ide
nti
fy,
(wit
h e
vid
en
ce
) ta
rge
ts m
et,
wh
at
an
d h
ow
th
ey h
ave
le
arn
ed
an
d t
he
y s
ho
uld
pro
vid
e i
nfo
rma
tio
n o
n w
ha
t h
as
go
ne
we
ll a
nd
wh
at
ha
s go
ne
le
ss w
ell
. A
po
ssib
le
acti
vit
y m
igh
t b
e t
he
jo
int
eva
lua
tio
n w
ith
a t
uto
r o
f a
so
lo p
erf
orm
an
ce
.
Ev
ide
nce
Stu
de
nt
evid
en
ce
fo
r im
pro
vin
g o
wn
le
arn
ing a
nd
pe
rfo
rma
nce
co
uld
in
clu
de
:
• tu
tor
reco
rds
• a
nn
ota
ted
acti
on
pla
ns
• re
co
rds
of
dis
cu
ssio
ns
• le
arn
ing l
og
• w
ork
pro
du
ce
d.
UG
01
71
00
– S
pe
cif
ica
tio
n –
Ed
exce
l G
CSE
in
Mu
sic –
Iss
ue
2 –
Fe
bru
ary
20
06
1
14
Pro
ble
m s
olv
ing l
ev
el
2
To
ach
ieve
th
is k
ey s
kil
l, s
tud
en
ts w
ill
ne
ed
to
pro
vid
e a
t le
ast
tw
o e
xa
mp
les
of
me
eti
ng t
he
sta
nd
ard
re
qu
ire
d.
Th
ey n
ee
d t
o s
ho
w t
ha
t th
ey
ca
n i
de
nti
fy p
rob
lem
s, p
lan
an
d t
ry o
ut
op
tio
ns
an
d c
he
ck w
he
the
r th
e p
rob
lem
ha
s b
ee
n s
olv
ed
.
Ke
y s
kil
l p
ort
foli
o e
vid
en
ce
req
uir
em
en
t
GC
SE
Pa
pe
rs
Op
po
rtu
nit
ies
for
de
ve
lop
me
nt
or
inte
rna
l a
sse
ssm
en
t
PS2
.1
Ide
nti
fy a
pro
ble
m,
wit
h h
elp
fro
m a
n a
pp
rop
ria
te p
ers
on
,
an
d i
de
nti
fy d
iffe
ren
t w
ays
of
tackli
ng i
t.
1,
2 a
nd
3
Stu
de
nts
wil
l n
ee
d t
o i
de
nti
fy t
he
pro
ble
m a
nd
de
scri
be
its
ma
in f
ea
ture
s a
nd
ho
w t
o
sho
w i
t h
as
be
en
so
lve
d.
Th
ey n
ee
d t
o i
de
nti
fy d
iffe
ren
t w
ays
of
tackli
ng t
he
pro
ble
m
an
d w
ays
of
ide
nti
fyin
g s
ucce
ss.
Th
ey s
ho
uld
use
th
e h
elp
of
oth
ers
, fo
r e
xa
mp
le t
he
ir
tuto
r, a
s a
pp
rop
ria
te.
A p
oss
ible
acti
vit
y m
igh
t b
e r
esp
on
din
g t
o a
co
mp
osi
tio
n b
rie
f.
PS2
.2
Pla
n a
nd
try
ou
t a
t le
ast
on
e
wa
y o
f so
lvin
g t
he
pro
ble
m.
1,
2 a
nd
3
Stu
de
nts
sh
ou
ld c
on
firm
wit
h t
he
ir t
uto
r, f
or
exa
mp
le,
the
ir c
ho
sen
op
tio
n a
nd
ho
w
the
y w
ill
imp
lem
en
t it
. U
po
n i
mp
lem
en
tati
on
re
leva
nt
task
s sh
ou
ld b
e o
rga
nis
ed
an
d
ch
an
ge
s m
ad
e a
s n
ece
ssa
ry.
Su
pp
ort
sh
ou
ld b
e o
bta
ine
d w
he
n n
ee
de
d.
A p
oss
ible
acti
vit
y m
igh
t b
e t
o c
rea
te a
nd
de
ve
lop
co
mp
osi
tio
n i
de
as
thro
ugh
th
e i
nte
rpre
tati
on
of
a s
tim
ulu
s.
PS2
.3
Ch
eck i
f th
e p
rob
lem
ha
s b
ee
n
solv
ed
an
d i
de
nti
fy w
ays
to
imp
rove
pro
ble
m s
olv
ing
skil
ls.
1,
2 a
nd
3
Stu
de
nts
sh
ou
ld c
he
ck i
f th
e p
rob
lem
ha
s b
ee
n s
olv
ed
usi
ng a
gre
ed
me
tho
ds,
fo
r
exa
mp
le b
y t
est
, o
bse
rva
tio
n,
insp
ecti
on
, e
tc.
Th
e r
esu
lts
of
this
sh
ou
ld b
e d
esc
rib
ed
wit
h a
n e
xp
lan
ati
on
of
de
cis
ion
s ta
ke
n.
Stu
de
nts
sh
ou
ld i
de
nti
fy t
he
str
en
gth
s a
nd
we
akn
ess
es
of
the
ir a
pp
roa
ch
an
d h
ow
th
ey w
ou
ld d
o t
hin
gs
dif
fere
ntl
y i
f th
ey m
et
a
sim
ila
r p
rob
lem
. A
po
ssib
le a
cti
vit
y m
igh
t b
e t
o i
de
nti
fy a
nd
ap
ply
art
isti
c a
nd
tech
nic
al
de
vic
es,
an
d t
o e
va
lua
te t
he
fin
al
co
mp
osi
tio
n.
Ev
ide
nce
Stu
de
nt
evid
en
ce
fo
r p
rob
lem
so
lvin
g c
ou
ld i
nclu
de
:
• d
esc
rip
tio
n o
f th
e p
rob
lem
• tu
tor
reco
rds
an
d a
gre
em
en
t o
f st
an
da
rds
an
d a
pp
roa
ch
es
• a
nn
ota
ted
acti
on
pla
ns
• re
co
rds
of
dis
cu
ssio
ns
• d
esc
rip
tio
ns
of
op
tio
ns
• re
co
rds
of
revie
ws.
UG
01
71
00
– S
pe
cif
ica
tio
n –
Ed
exce
l G
CSE
in
Mu
sic –
Iss
ue
2 –
Fe
bru
ary
20
06
1
15
Wo
rkin
g w
ith
oth
ers
le
ve
l 2
To
ach
ieve
th
is k
ey s
kil
l, s
tud
en
ts a
re r
eq
uir
ed
to
ca
rry o
ut
at
lea
st t
wo
acti
vit
ies.
On
e e
xa
mp
le m
ust
sh
ow
th
at
the
y c
an
wo
rk i
n o
ne
-to
-on
e
situ
ati
on
s a
nd
on
e e
xa
mp
le m
ust
sh
ow
th
at
the
y c
an
wo
rk i
n a
s a
me
mb
er
of
a g
rou
p.
Stu
de
nts
wil
l p
lan
th
eir
wo
rk w
ith
oth
ers
an
d c
on
firm
wo
rkin
g a
rra
nge
me
nts
; w
ork
co
-op
era
tive
ly t
ow
ard
s a
ch
ievin
g i
de
nti
fie
d o
bje
cti
ve
s, a
nd
exch
an
ge
in
form
ati
on
on
pro
gre
ss.
Ke
y s
kil
l p
ort
foli
o e
vid
en
ce
req
uir
em
en
t
GC
SE
Pa
pe
rs
Op
po
rtu
nit
ies
for
de
ve
lop
me
nt
or
inte
rna
l a
sse
ssm
en
t
WO
2.1
P
lan
wo
rk w
ith
oth
ers
. 1
Stu
de
nts
sh
ou
ld i
de
nti
fy t
he
ob
jecti
ve
s o
f w
ork
ing t
oge
the
r a
nd
th
e t
ask
s, r
eso
urc
es
an
d t
ime
sca
les
req
uir
ed
to
me
et
the
se o
bje
cti
ve
s. I
nfo
rma
tio
n s
ho
uld
be
exch
an
ge
d t
o
cla
rify
re
spo
nsi
bil
itie
s, f
or
exa
mp
le s
ugge
stin
g w
ays
he
lp c
an
be
giv
en
, a
skin
g w
ha
t
oth
ers
ca
n d
o,
ch
eckin
g t
he
ir o
wn
an
d o
the
rs’
resp
on
sib
ilit
ies.
Th
e g
rou
p n
ee
ds
to
co
nfi
rm r
esp
on
sib
ilit
ies
an
d w
ork
ing a
rra
nge
me
nts
. A
po
ssib
le a
cti
vit
y m
igh
t b
e
reh
ea
rsin
g a
n e
nse
mb
le p
iece
.
WO
2.2
W
ork
co
-op
era
tive
ly w
ith
oth
ers
to
wa
rds
ach
ievin
g
ide
nti
fie
d o
bje
cti
ve
s.
1
Stu
de
nts
wil
l n
ee
d t
o o
rga
nis
e t
ask
s so
th
at
resp
on
sib
ilit
ies
ca
n b
e m
et,
fo
r e
xa
mp
le
ob
tain
ing r
eso
urc
es,
co
mp
leti
ng t
ask
s o
n t
ime
, e
tc.
Ta
sks
sho
uld
be
co
mp
lete
d
accu
rate
ly a
nd
sa
fely
. C
o-o
pe
rati
ve
wa
ys
of
wo
rkin
g s
ho
uld
be
su
pp
ort
ed
th
rou
gh
, fo
r
exa
mp
le,
an
ticip
ati
ng t
he
ne
ed
s o
f o
the
rs,
avo
idin
g a
cti
on
s th
at
off
en
d,
etc
. A
dvic
e
fro
m o
the
rs,
inclu
din
g g
rou
p m
em
be
rs,
tuto
r, e
tc s
ho
uld
be
so
ugh
t w
he
n n
ee
de
d.
A
po
ssib
le a
cti
vit
y m
igh
t b
e p
lan
nin
g a
co
nce
rt p
erf
orm
an
ce
or
gig
.
WO
2.3
R
evie
w y
ou
r co
ntr
ibu
tio
ns
an
d a
gre
e w
ays
to i
mp
rove
wo
rk w
ith
oth
ers
.
1
On
ce
co
mp
lete
d t
he
fu
ll g
rou
p n
ee
ds
to r
evie
w o
utc
om
es
aga
inst
th
e a
gre
ed
ob
jecti
ve
s. I
n d
oin
g t
his
th
ey s
ho
uld
id
en
tify
wh
at
ha
s go
ne
we
ll a
nd
wh
at
ha
s go
ne
le
ss
we
ll.
Stu
de
nts
sh
ou
ld l
iste
n a
nd
re
spo
nd
to
pro
gre
ss r
ep
ort
s fr
om
oth
ers
an
d a
gre
e
wa
ys
of
imp
rovin
g w
ork
wit
h o
the
rs t
o h
elp
ach
ieve
ob
jecti
ve
s. A
po
ssib
le a
cti
vit
y
mig
ht
be
eva
lua
tin
g a
pe
rfo
rma
nce
.
Ev
ide
nce
Stu
de
nt
evid
en
ce
fo
r w
ork
ing w
ith
oth
ers
co
uld
in
clu
de
:
• tu
tor
ob
serv
ati
on
re
co
rds
• p
rep
ara
tory
no
tes
• re
co
rds
of
pro
ce
ss a
nd
pro
gre
ss m
ad
e.
81
8sb
17
01
06
S:L
T\P
D\G
CSE
Sp
ecif
ica
tio
ns\
UG
01
71
00
Mu
sic I
ss2
.do
c.1
-12
1/
13
UG
01
71
00
– S
pe
cif
ica
tio
n –
Ed
exce
l G
CSE
in
Mu
sic –
Iss
ue
2 –
Fe
bru
ary
20
06
1
16
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