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GCSE
Specification
FOREWORD
This booklet contains CCEA’s GCSE Music specification for teaching from
September 2001. This specification has been developed to take account of the
revised Subject Criteria for Music, the Common Criteria and the GCSE General
Criteria published by the regulatory authorities in March 2000. The first award
based on this specification will be made in 2003.
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CCEA GCSE in Music – From September 2001
CONTENTS
Pages
1 INTRODUCTION 1
1.1 Rationale 1
1.2 Specification Content and Spiritual, Moral, Ethical, Social
and Cultural Issues 1
1.3 Environmental Issues 2
1.4 Information and Communications Technology 2
1.5 Health and Safety 2
1.6 European Developments 2
1.7 Aims 3
1.8 Assessment Objectives 3
1.9 Specification Structure 4
1.10 Awarding and Certification 4
1.11 Candidates with Particular Requirements 4
1.12 Key Skills 4
1.13 Overlap and Equivalence with Other Qualifications 5
1.14 Restrictions on Candidate Entry 5
2 SCHEME OF ASSESSMENT 6
2.1 Relationship between Assessment Components and
Assessment Objectives 6
2.2 Overview of Assessment Requirements Related to the Areas of Study 6
2.3 Nature of Assessment Components 7
2.4 Language of Specification and Assessment Materials 11
2.5 Quality of Written Communication 11
3 SUBJECT CONTENT 12
3.1 Music for Celebration 13
3.2 Musical Arrangements 16
3.3 Musical Traditions in Ireland 19
4 GRADE DESCRIPTIONS 22
4.1 Grade F 22
4.2 Grade C 22
4.3 Grade A 22
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CCEA GCSE in Music – From September 2001
APPENDIX 1 27
Opportunities for Developing and Generating Evidence for Assessing
Key Skills 27
APPENDIX 2 38
Mark Schemes and Guidance on Performing 38
Technical Guidance for Non-Orchestral Instruments 43
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CCEA GCSE in Music – From September 2001
KEY FEATURES
The course has been designed to:
• build upon the knowledge, understanding and skills developed within the
programmes of study for music at Key Stages 1 to 3 of the Northern Ireland
Curriculum and to reflect the key experiences of a musical education –
making and responding to music;
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CCEA GCSE in Music – From September 2001
1 INTRODUCTION
1.1 RATIONALE
This specification will provide a worthwhile course of study in its own right and
will also create a suitable foundation for continued study of music at a more
advanced level, for example, Advanced Subsidiary and Advanced GCE and
Advanced Vocational Certificate of Education qualifications.
The specification has been designed to meet the regulatory authorities’ general
requirements, including the Subject Criteria for Music, the Common and GCSE
Criteria, and the requirements of the Northern Ireland Programme of Study for
Music at Key Stage 4. It has also been designed to be as free as possible from
ethnic, gender, religious, political or other forms of bias.
The fundamental nature of music rests in its ability to evoke a personal response
through active involvement as composer, performer or audience. The raw
materials of sound are expressively honed and fashioned in myriad ways to
realise different intentions and for different purposes which reflect a wide range
of cultures and traditions across time and place. These two factors form the most
significant aspects of the study of music.
Students should become aware of the power of music across a wide range of
contexts, for example:
• spiritual, social and cultural – the creation, performance and use of music to
uplift the human spirit as exemplified in Music for Celebration across all
cultures;
• spiritual, cultural, moral and ethical – how their own and other people’s
responses to the music they hear can be influenced by the context in which
it is received as exemplified in Musical Traditions in Ireland; and
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CCEA GCSE in Music – From September 2001
• social, moral and ethical – how thoughts, feelings and actions can be
manipulated through the pre-planned and conscious use of music to effect a
particular outcome across all three designated areas of study in this
specification.
The issue of health and safety should be an essential element of learning in the
use, maintenance and storage of music technology equipment throughout the
course. The issue of health in relation to instrumental performance, for example,
posture and strain, should also be addressed as part of instrumental performance
technique.
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CCEA GCSE in Music – From September 2001
1.7 AIMS
The assessment objectives provide an indication of the skills and abilities which
the assessment components are designed to assess, together with the knowledge
and understanding specified in the subject content.
AO1 singing and/or playing an individual part (ie one which is not doubled.
This could be a solo, accompanied or unaccompanied, or an individual
part in an ensemble) with technical control, expression, interpretation
and, where appropriate, a sense of ensemble. At least one performance
must include a significant part in an ensemble – performing skills;
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CCEA GCSE in Music – From September 2001
The subject content is divided into three areas of study which are listed below.
2 Musical Arrangements.
The order in which the subject content is presented is not intended to imply a
proposed teaching order. Teachers are free to organise the teaching of the content
as they think appropriate. The subject content is described in detail in Section 3
of this specification.
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CCEA GCSE in Music – From September 2001
The content of this specification does not reflect or overlap with any other GCSE
subject examined by CCEA.
In any one series of examinations a candidate may not take examinations on this
specification together with examinations on a another specification of the same
title.
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CCEA GCSE in Music – From September 2001
2 SCHEME OF ASSESSMENT
2.1 RELATIONSHIP BETWEEN ASSESSMENT COMPONENTS AND
ASSESSMENT OBJECTIVES
Assessment Objectives
Assessment requirements which are addressed within and across the three
examination components are summarised below.
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CCEA GCSE in Music – From September 2001
The GCSE award is achieved through aggregation of the marks achieved in each
of the three assessment components, the details of which are set out below.
The area of study composition should be chosen from one of the following tasks:
• an arrangement of their own or someone else’s music, for example, for own
instrument or a group of fellow students (ensemble performance), taking
account of available instruments and levels of performing skill, or a piece of
music inspired by the content of one of the set works or other works
listened to, for example, a set of variations on a tune or on a ground bass or
twelve-bar blues chord sequence (Musical Arrangements);
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CCEA GCSE in Music – From September 2001
• describes the given or chosen brief and the candidate’s response to the brief;
(ii) use of resources (including music technology where appropriate) to fulfil the
brief (18 marks);
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CCEA GCSE in Music – From September 2001
are free to do so. The minimum level of technical demand of the candidate’s
performance programmes should be equivalent to Grade 1 of the instrumental
examining boards.
One of the performance pieces must be related to the same area of study as
one of the candidate’s compositions. Candidates who wish to do so, may meet
this requirement by performing their composition.
Candidates should present the visiting assessor with an outline of their solo and
ensemble performance programmes and, if appropriate, a copy of the
commentary for the composition which is being performed. Candidates will be
required to comment on their performance pieces, aspects of their performance
and, where appropriate, the related areas of study.
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CCEA GCSE in Music – From September 2001
(i) control of the technical demands of the ensemble piece (21 marks);
Assessment of listening and appraising will be carried out through a single test of
aural perception lasting approximately one hour. Differentiation within the single
tier of entry for this component will be achieved through inclines of difficulty
within and between questions.
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The test will consist of up to eight questions based on both familiar and
unfamiliar music and will be marked out of 100 marks. Not all set works will be
assessed in any one year and candidates will be required to apply their
knowledge of the areas of study to unfamiliar music. Some questions will require
a knowledge of staff notation.
2.4 LANGUAGE OF SPECIFICATION AND ASSESSMENT MATERIALS
• ensure text is legible and that spelling, grammar and punctuation are
accurate so that meaning is clear.
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3 SUBJECT CONTENT
The subject content should be read in conjunction with the aims and assessment
objectives set out in Section 1 of this specification. It should also be approached
with the need to address the range of issues also set out in Section 1.
The subject content is organised into three teaching and learning areas of study
which require a holistic approach to making and responding to music, based on
the three interactive and mutually-supportive areas of musical activity –
composing, performing and listening and appraising. Learning within any
particular context should support and inform candidates’ knowledge and
understanding across all the areas of study.
The musical activities required by this specification should also form the context
for developing candidates’ capacity for creative and critical thinking as they
generate, appraise, select, apply and evaluate ideas associated with, and outcomes
of, their musical activities. The commentaries which accompany their
compositions and the requirement to discuss performance with the visiting
assessor should also promote candidates’ capacity for critical thinking as well as
the personal and interpersonal skills required for effective communication.
The musical content of the pieces identified for aural study within these areas
should be used to develop candidates’ aural perception skills and to stimulate
composing, performing and appraising activities which will develop candidates’
knowledge and understanding of:
• the contextual influences that affect the way music is created, performed and
heard, for example, the effect of different intentions, uses, venues, occasions,
available resources and the cultural environment.
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In addressing the areas of study, candidates should develop awareness of the ICT
related issues set out in Section 1; also, an understanding of the impact of ICT on
the way music is performed and heard, for example:
• the differences between live and recorded (edited) performances within the
“classical” and popular music repertoires.
Examples of the use of ICT are set out in relation to the key skill of IT at
Levels 1 and 2 in Appendix 1.
NOTE: Each area of study includes suggestions for further listening. These have
been included to provide an expanded range of techniques, styles and contexts
which can be used to support learning within the area of study. Where specific
pieces have been identified, they should not be treated as set works. They will
not form part of the listening and appraising test.
• how music can have several functions which are related to the cultural,
political, philosophical and religious conditions which have evolved across
time and place, and how music has been used to celebrate events, people and
places across these contexts;
• how the status and conditions of work for the composer changed across time
from one of servitude under patronage (producing music to order across a
wide range of functions) to one of some independence (Mozart, Beethoven,
Berlioz) to the working contexts and status of present-day composers;
• how the patronage of Church, State and wealthy individuals has been
replaced by institutions such as the Arts Council, the BBC and a wide range
of autonomous orchestral and musical societies and other corporate bodies
who commission works;
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CCEA GCSE in Music – From September 2001
• how the parameters of a composition are set by factors, such as its required
length and venue for performance, commissioner’s/audience expectation,
chosen or requested/available resources and cultural conventions of the time
and place;
• how there are characteristics which are common to all music which is
celebratory, for example, the need to support and reflect the nature of the
particular celebration, to draw the listener’s attention, stir the emotions, lift
the spirit and create a sense of well-being.
• tonality and modulation (major – moving to the dominant at the end of the
first section and then back to the tonic).
NOTE: This work will give candidates the opportunity to address music of
another culture and to consider the role of ICT in capturing, preserving a musical
tradition that may be in danger of extinction; also how this tradition can be
juxtaposed and incorporated into the Western “classical” tradition. They can also
consider how the vast and varied resources, both live and recorded, are brought
together and mixed to create a performance in which the various elements are
technically and aesthetically balanced.
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CCEA GCSE in Music – From September 2001
• the combination of recorded live African dance music with the Western
tradition of writing church music (African chanting and drumming and the
Latin text);
• the “Bwala” dance and drumming of Northern Uganda (danced for visiting
kings and dignitaries – unvarying tempo and repetition of seven bars of
duple (2/4) time followed by one bar of triple time);
• how this final movement brings together different aspects of the whole work
(the “Bwala” dance and drummers, rock drums, guitars, African tom-toms,
piano and full choir – cf full list of resources used on the accompanying
notes to the CD);
• how the musical elements are combined to create climax in the music;
The following list contains suggestions for further listening which could be used
to support learning within the area of study and stimulate composing and
performing activities.
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CCEA GCSE in Music – From September 2001
Copland: Fanfare for the Common Man (1942 a tribute to men and
women fighting in World War II).
• how composers can make arrangements of their own works, sometimes for
expanded, but often more restricted resources, for example, the numerous
transcriptions of operatic scenes by Liszt as a vehicle for demonstrating his
virtuoso performance technique;
• how the art of the arranger is an essential aspect of the present day music
industry, spanning the full range of musical styles and idioms, for example,
the professional role of the arranger as orchestrator for popular music and
musicals and the vast quantity of materials which have been arranged for
school, instrumental examination and amateur music-making;
• that there are characteristics which are common to all musical arrangements,
for example, the change of media from the original, the retention of musical
substance or the ability of the arrangement to show the original musical
content in a “new light”.
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CCEA GCSE in Music – From September 2001
Schubert: Piano Quintet: The Trout, Fourth Movement (Schubert develops the
potential of his own song melody by writing a set of variations: listening time
7’06”).
• the structure of the theme and the instrument which plays it (played by the
violin in the binary form melody of Schubert’s song The Trout);
Variation 2: viola plays the theme (echoed a bar later by the piano),
violin provides a decorative obligato part;
Kurt Weill: Mack the Knife from The Threepenny Opera (live performance
recording of jazz arrangement sung by Ella Fitzgerald, available on Compact
Jazz – The Sampler CD Verve 831 376-2: listening time 5’06”).
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CCEA GCSE in Music – From September 2001
The following list contains suggestions for further listening which could be used
to support learning within the area of study and stimulate composing and
performing activities.
• Music based on riffs, 12 bar blues, ostanati, ground bass, for example:
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CCEA GCSE in Music – From September 2001
• the Scots-Irish tradition: the jigs, reels and hornpipes of Scottish origin and
the piping and drumming tradition of the Scottish bagpipe;
• instruments associated with the different styles and traditions, for example,
bodhrán/ lambeg drum, flute/accordian/brass/military bands;
• the interaction between Irish music and other types and styles of music, for
example, the use of Irish music within the European “classical” tradition
(the music of Sir Hamilton Harty, Shaun Davey, Mícheál Ó Súilleabháin etc)
the fusion of Irish traditional with rock music (groups such as Horslips, the
Waterboys, Moving Hearts) and the fusion of Irish traditional with other
world musics (Donal Lunny and the Afro-Celt Sound System).
The Bucks of Oranmore (live performance of traditional Irish reel tune recorded
on track 8, disc 1 of Bringing it all Back Home from the BBC TV Series:
listening time 3’15”).
• those aspects of the recording which indicate that this is a live performance;
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CCEA GCSE in Music – From September 2001
• two-part structure of the reel with repetition of each part and unison style of
playing;
Donal Lunny: April The 3rd (dance tune with stylistic fusion on track 1, disc 1
of Bringing it all Back Home from the BBC TV Series: listening time 4’30”).
• “Eastern” flavour of the music, for example, the opening section and the
repeated melodic motif.
Field Marshal Montgomery Pipe Band: March, Strathspey and Reel (recorded
live performance, track 5 on The World Pipe Band Championships 1998,
Monarch KLR, CDMON 833: listening time 4’35”)
• features and characteristics of each section (AB structures with repeats, use
of “Scotch snap”, dotted rhythms and triplets in the Strathspey,
differentiation between the sections, drone accompaniment throughout);
Sir Hamilton Harty: Irish Symphony, 2nd movement Scherzo “Fair Day”
(played by the Ulster Orchestra on (M) Chandos CHAN7034: listening time
3’15”).
• the dance-like quality and “busyness” of the music, recalling the hustle and
bustle of market day in a country town;
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CCEA GCSE in Music – From September 2001
• the fiddler “tuning up” effect at the opening (open fifths on strings);
• introduction and treatment of the second tune (known as The Girl I Left
Behind Me or The Wandering Labourer played in fifths to imitate flute
bands where flutes at different pitches play the same tune);
The following list contains suggestions for further listening which could be used
to support learning within the area of study and stimulate composing and
performing activities.
Music by Sean Ó Riada, Shaun Davey, and other works by Sir Hamilton Harty.
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CCEA GCSE in Music – From September 2001
4 GRADE DESCRIPTIONS
The following grade descriptions indicate the level of attainment characteristic of
the given grade at GCSE level. They give a general indication of the required
learning outcomes at each specific grade. The descriptions should be interpreted
in relation to the specified subject content; they are not designed to define that
content. The grade awarded will depend in practice upon the extent to which the
candidate has met the assessment objectives overall. Shortcomings in some
aspects of the examination may be balanced by better performance in others.
4.1 GRADE F
Candidates sing and/or play music with some fluency and control of the
resources used. They compose music that shows some ability to organise musical
ideas and use appropriate resources in response to a brief. They describe musical
features using simple musical vocabulary; make improvements to own work and
offer some justification of opinions expressed.
4.2 GRADE C
Candidates sing and/or play music with control, making expressive use of phrase
and dynamics appropriate to the style and mood of the music. They compose
music that shows ability to develop musical ideas, use conventions, explore the
potential of musical structures and resources and fulfil a brief. They make critical
judgements about their own and others’ music using a musical vocabulary.
4.3 GRADE A
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CCEA GCSE in Music – From September 2001
Composing may be carried out as a group activity, but it will be necessary for the
teacher to identify and assess the contribution made by individual candidates
within the group and award marks accordingly.
All Candidates’ Record Sheets must indicate the performance time of submitted
folios. This should be between three and five minutes, excluding any spoken
commentary. Where a candidate has failed to produce a folio of three minutes’
duration, the teacher should assess the submitted work in the normal way, but
forward that folio with its accompanying commentaries and Candidate Record
Sheet in addition to the samples requested for moderation.
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CCEA GCSE in Music – From September 2001
5.1 ASSESSMENT
(ii) use of resources (including music technology where appropriate) to fulfil the
brief (18 marks);
Some attempt to organise Some sense of organisation Ideas are created, presented,
musical ideas which are and ability to develop musical organised and refined in a
stated but remain undeveloped, ideas through the use of coherent manner, showing
either because the demands of common structural and some flair and imagination.
the brief are limiting, or the expressive devices.
demands are greater, but not Arrangements are well
met. Arrangements may be largely thought out and appropriate
accurate but limited in their for the intention.
Arrangements may contain a ability to present a new
number of inaccuracies or be perspective on the original.
largely note for note
transcriptions.
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CCEA GCSE in Music – From September 2001
Some attempt to match Purposeful and idiomatic use Flair and imagination in
musical content with the of timbral and textural exploiting the expressive
selected medium, but the resources which are potential of the chosen
composition may not fully consistent with the brief. resources to encompass
meet the candidate’s the brief.
intentions outlined in the brief.
Mostly satisfactory, but may Satisfactory spelling, Good level of use of language
have minor errors. punctuation and grammar. and presentation of ideas.
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CCEA GCSE in Music – From September 2001
Teachers are required to record the marks awarded for each criterion and the total
marks for the folio on the Candidate Record Sheet, copies of which will be
supplied by the Council. Teachers are also required to sign the Candidate Record
Sheet and to outline details of any assistance which may have been given to the
candidate. This information is essential to the moderation process.
The total mark for each candidate must be submitted to the Council by 1 May in
the year of the examination. The Candidate Record Sheets for all candidates must
be sent to the Council at the same time as the coursework samples requested for
moderation.
At any stage during the course teachers may contact CCEA if they require
advice, assistance or support regarding any aspect of internal assessment. CCEA
has made provision for a Moderator to support groups of centres. Arrangements
can be made for a Moderator to contact individual centres to discuss issues
arising from the internally assessed component.
Where there is more than one teaching group in the subject, the centre must carry
out internal standardisation of assessments before submitting them to CCEA. The
purpose of this exercise is to ensure, as far as possible, that each of the teachers
has applied the assessment criteria consistently when making assessments. As a
result of this internal standardisation it may be necessary to adjust the marking of
individual teachers to bring their assessments into line with those of the other
teachers in the centre and to match the standards established at the Agreement
Trial. Where such an adjustment is necessary the total/final mark recorded on the
Candidate’s Record Sheets should be amended.
Full instructions about the details of the moderation procedures and the nature of
sampling will be issued by CCEA at the appropriate time.
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CCEA GCSE in Music – From September 2001
APPENDIX 1
OPPORTUNITIES FOR DEVELOPING AND GENERATING EVIDENCE
FOR ASSESSING KEY SKILLS
The following table signposts and exemplifies the types of opportunity for
developing and generating evidence for assessing Key Skills that may arise
during a GCSE course in music. The opportunities are referenced to Section B of
the relevant Key Skills Specifications at Levels 1 and 2. The subject
exemplifications illustrate typical opportunities which may arise during the
normal teaching and learning process. These are only a small selection of such
opportunities and are not part of the Key Skills Specifications themselves. It is
for teachers and students to decide which parts of the course, if any, to use to
develop and assess Key Skills.
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CCEA GCSE in Music – From September 2001
C1.2 Read and obtain C2.2 Read and summarise Undertake some individual
information from two information from two reading and listening research
different types of documents extended documents about a related to a set work, its
about straightforward straightforward subject. composer or related area of
subjects, including at least One of the documents study (Level 1).
one image. should include at least one Summarise the relevant points
This must show you can: image. and use the information
This must show you can: appropriately within the
• read relevant material; composition commentary
• select and read relevant (Level 2).
• identify accurately the material;
main points and ideas in
material; • identify accurately the
lines of reasoning and
• use the information to main points from texts
suit your purpose. and images;
• summarise the
information to suit your
purpose.
C1.3 Write two different C2.3 Write two different Not applicable in terms of
types of documents about types of documents about generating two different
straightforward subjects. straightforward subjects. types of documents, but the
Include at least one image One piece of writing should skill can be developed
in one of the documents. be an extended document through writing commentaries
This must show you can: and include at least one for compositions.
image.
• present relevant This must show you can:
information in a form
that suits your purpose; • present relevant
information in an
• ensure text is legible; appropriate form;
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CCEA GCSE in Music – From September 2001
IT1.1 Find, explore and IT2.1 Search for and select Explore a sound-bank and
develop information for two information for two different select appropriate sounds for
different purposes. purposes. composition, or sample and
This must show you can: This must show you can: store a range of sounds to
create a sound-bank identified
• find and select relevant • identify the information as appropriate for
information; you need and suitable composition.
sources;
• enter and bring in
information, using formats • carry out effective
that help development; searches;
IT1.2 Present information for IT2.2 Explore and develop Develop a composition using
two different purposes. information and derive new MIDI technology.
information for two
Your work must include at different purposes.
least one example of text, This must show you can:
one example of images and
one example of numbers; • enter and bring together
This must show you can: information using formats
that help development;
• use appropriate layouts for
presenting information in • explore information as
a consistent way; needed for your purpose;
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WO1.1 Confirm what needs WO2.1 Plan straightforward Work with other members of
to be done to achieve given work with others, the class to form a group for
objectives, including your identifying objectives and ensemble performance and
responsibilities and working clarifying responsibilities, to select appropriate music
arrangements. and confirm working for performance.
This must show you can: arrangements.
This must show you can:
• check that you clearly
understand the objectives • identify the objectives of
you have been given for working together and
working together; what needs to be done to
achieve these objectives;
• identify what needs to be
done to achieve these • exchange relevant
objectives and suggest information to clarify
ways you could help; responsibilities;
WO1.2 Work with others WO2.2 Work co-operatively Arrange times for individual
towards achieving given with others towards and group practice. Ask
objectives, carrying out tasks achieving identified for advice and guidance from
to meet your responsibilities. objectives, organising tasks teacher as necessary.
This must show you can: to meet your
responsibilities.
• carry out tasks to meet This must show you can:
your responsibilities;
• organise your own tasks
• work safely, accurately so you can be effective
follow the working in meeting your
methods you have been responsibilities;
given;
Key Skills Specification Part B Reference
• ask for help and offer • carry out tasks accurately
support to others, when and safely, using
appropriate. appropriate working
methods;
• support co-operative
ways of working, seeking
advice from an
appropriate person when
needed.
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CCEA GCSE in Music – From September 2001
WO1.3 Identify progress and WO2.3 Exchange Discuss and agree points of
suggest ways of improving information on progress and interpretation, balance and
work with others to help agree ways of improving style in ensemble
achieve given objectives. work with others to help performances.
This must show you can: achieve objectives.
This must show you can:
• identify what has gone
well in working with • provide relevant
others; information on what has
gone well and what has
• report any difficulties in gone less well in
meeting your working with others,
responsibilities and say including the quality of
what you did about them; your work;
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CCEA GCSE in Music – From September 2001
IOLP1.1 Confirm IOLP2.1 Help set short-term Plan for progress during
understanding of your targets with an appropriate instrumental lessons or
short-term targets, and plan person and plan how these during experimental
how these will be met, with will be met. composition exercises.
the person setting them. This must show you can:
This must show you can:
• provide accurate
• make sure targets clearly information to help set
show what you want to realistic targets for what
achieve; you want to achieve;
IOLP1.2 Follow your plan, IOLP2.2 Take responsibility Set a target date for learning
using support given by others for some decisions about a new piece of music or
to help meet targets. your learning, using your creating a composition
This must show you can: plan and support from related to an area of study.
others to help meet targets. Identify a number of interim
• improve your performance This must show you can: targets within the time-frame
by studying a and revise as necessary.
straightforward subject • improve your
and learning through a performance by: studying
straightforward practical a straightforward subject
activity; and learning through a
straightforward practical
• work through your action activity;
points to complete tasks
on time;
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CCEA GCSE in Music – From September 2001
LP1.3 Review your progress LP2.3 Review progress with Evaluate progress with teacher
and achievements in meeting an appropriate person and during the on-going activity
targets, with an appropriate provide evidence of your and write an evaluation of the
person. achievements including how process as part of the
This must show you can: you have used learning from composition commentary.
one task to meet the
• say what you learned and demands of a new task.
how you learned, This must show you can:
including what has gone
well and what has gone • identify what and how
less well; you learned, including
what has gone well and
• identify targets you have what has gone less well;
met and provide samples
of evidence of your • identify targets you have
achievements; met and evidence of your
achievements;
• identify what you need to
do to improve your • identify ways to further
performance. improve your
performance.
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CCEA GCSE in Music – From September 2001
PS1.1 Confirm your PS2.1 Identify a problem and Identify a number of ways of
understanding of the given come up with two options approaching a composition
problem with an appropriate for solving it. brief and decide which would
person and identify two This must show you can: be the most suitable ways
options for solving it. of proceeding.
This must show you can: • identify the problem,
accurately describing its
• check that you are clear main features, and how
about the problem you to show success in
have been given and how solving it;
to show success in solving
it; • come up with different
ways of tackling the
• identify different ways of problem;
tackling the problem;
• decide which options
• decide, with help, which have a realistic chance of
options are most likely to success using help from
be successful. others when appropriate.
PS1.2 Plan and try out at PS2.2 Plan and try out at Engage in the composing
least one option for solving least one option for solving process in line with chosen
the problem, using advice and the problem obtaining option, setting out intentions
support given by others. support and making changes as part of the composing
This must show you can: to your plan when needed. commentary.
This must show you can:
• confirm with an
appropriate person the • confirm with an
option you will try for appropriate person the
solving the problem; option you will try for
solving the problem, and
plan how to carry it out;
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CCEA GCSE in Music – From September 2001
PS1.3 Check if the problem PS2.3 Check if the problem Write a full commentary on
has been solved by following has been solved by applying the composing brief in line
given methods, and describe given methods, describe with the requirements of the
results, including ways to results and explain your specification.
improve your approach to approach to problem solving.
problem solving. This must show you can:
This must show you can:
• check if the problem has
• check if the problem has been solved by accurately
been solved by accurately applying the methods
applying the methods you you have been given;
have been given;
• describe clearly the
• describe clearly the results and explain the
results of tackling the decisions you took at
problem; each stage of tackling
the problem;
• identify ways of
improving your approach • identify the strengths and
to problem solving. weaknesses of your
approach to problem
solving, and describe
what you would do
differently if you met a
similar problem.
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CCEA GCSE in Music – From September 2001
APPENDIX 2
MARK SCHEMES AND GUIDANCE ON PERFORMING
This section is intended to provide teachers with information which will form the
basis for assessing the performing component by the Council’s visiting assessors.
It provides guidance which may be useful in determining the performance levels
of candidates. It may also help teachers guide candidates towards appropriate
choices of music for their performance programmes.
Criterion (i) relates to the technical demands of the candidate’s chosen music.
Criteria (ii) and (iii) relate to the candidate’s response to the expressive
characteristics of the music.
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CCEA GCSE in Music – From September 2001
Limited ability to select or Correct tempo chosen and Correct or appropriate tempo
maintain a tempo which mostly maintained in line chosen and maintained in line
reflects the composer’s with the composer’s with the requirements of the
direction, or is appropriate for direction, or chosen tempo is music.
the style or genre. maintained but does not quite
reflect the requirement, for
example, a little too fast or
too slow.
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CCEA GCSE in Music – From September 2001
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CCEA GCSE in Music – From September 2001
(i) Control of the technical demands of the ensemble piece (21 marks);
Criterion (i) relates to the technical demands of the candidate’s chosen ensemble
piece.
Criteria (ii) and (iii) relate to the candidate’s response to the expressive
characteristics of the ensemble piece and to the other members of the group.
(i) Control of the technical demands of the ensemble piece (21 marks)
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CCEA GCSE in Music – From September 2001
Simple, mutually supportive Some success in achieving Good dynamic balance and
dynamic requirements met, dynamic balance and in a well-developed sense of the
but a limited sense of the demonstrating awareness of ensemble texture, and the
need for dynamic balance the ensemble texture by candidate’s role within it,
between parts. meeting more difficult or by contributing sensitively to
independent dynamic more complex dynamic
requirements. requirements such as
ensemble dynamic gradations
or nuance.
Mostly accurate pitch but Accurate pitch and/or Accurate pitch and/or
there may be problems with intonation (perhaps a few intonation throughout the
intonation and a limited sense minor slips) and a sense of piece and a well-developed
of phrasing in candidate’s phrasing in candidate’s own sense of phrasing in
own part. There may be part. There will be some candidate’s own part. There
limited awareness of how the understanding of how the will be a good understanding
candidate’s part relates to the candidate’s part relates to of how the candidate’s part
piece as a whole. the piece as a whole. relates to the piece as a whole.
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CCEA GCSE in Music – From September 2001
A range of pieces such as A more varied programme, Slow airs and more difficult
ballads and/or marches. including jigs and reels. jigs and reels.
Drum-kit
Ability to maintain a steady Ability to co-ordinate three Independent use of hands and
bass beat and superimpose limbs to produce a range of feet, and the ability to move
complementary rhythms on complementary rhythms fluently between all pieces
two other pieces of the kit. and timbres. of the kit to create a wide
range of complementary
rhythms, timbres and textures.
Scottish Bagpipe
some ability to tune drones; some ability to focus on the ability to focus on the
quality of tone by reasonably quality of tone by tuning
accurate tuning of drones and drones, understanding the
handling of reeds; function of the bridle and by
setting the chanter reed;
some ability to co-ordinate competent control of breath fluent breath, finger and
breath, fingers and arm fingers and arm pressure to arm co-ordination to match
pressure; ensure appropriate phrasing; technical requirements;
limited evenness of tone and tonal balance between open good tone with clear
simple tonguing to produce and pinched notes, and tonguing and ability to
slurred and separate notes. competent tonguing to sustain more extended
produce staccato and legato phrases.
short legato phrases.
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CCEA GCSE in Music – From September 2001
Electronic Keyboard
Limited manipulative control, More extended right hand Fluent use of the right hand
for example, right hand positions accompanied by a with competent left hand use
playing within a sixth, wider range of single finger of a harmonic range which
accompanied by spaced out chords in the left hand; includes some more complex
single finger chords in the left chords;
hand.
Ability to co-ordinate hands, Some ability to use registers Competent use of registers to
and the use of reeds to vary pitch, octaves and/or
control pitch and tone (not tone production when
appropriate to all instruments appropriate;
or pieces);
use of fundamental and major more extended use of chord ability to use the full range
chord rows (Stradella Bass rows, for example, of chords (Stradella Bass
systems), counter-bass, minor and 7th systems);
chord rows (Stradella Bass
systems);
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CCEA GCSE in Music – From September 2001
Guitar
limited manipulative control, more extended left hand fluent use of the left hand to
for example, open strings, positions to produce a wider produce more complex
simple chords; range of chords and/or some chords, for example,
ability to co-ordinate melodic augmented and diminished,
patterns with appropriate and/or the ability to
accompaniment; co-ordinate more complex
melodic and accompaniment
patterns;
limited control volume and some use of volume and competent use of volume and
effects devices on electric/ effects controls on electric/ effects controls on electric/
amplified instruments; amplified instruments; amplified instruments;
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