AQA A Level Music Spec

A-LEVEL
A-LEVEL
MUSIC
(7272)
Specification
For teaching from September 2016 onwards
For exams in 2018 onwards
Version 1.2 January 2017

A-level Music (7272). For exams 2018 onwards. Version 1.2
Contents
1 Introduction 5
1.1 Why choose AQA for A-level Music 5
1.2 Support and resources to help you teach 6
2 Specification at a glance 8
2.1 Subject content 8
2.2 Assessments 9
3 Subject content 10
3.1 Appraising music 10
3.2 Performance 23
3.3 Composition 25
4 Scheme of assessment 26
4.1 Aims and objectives 26
4.2 Assessment components 27
4.3 Assessment objectives 32
4.4 Assessment criteria 33
5 Non-exam assessment administration 46

5.1 Supervising and authenticating 46
5.2 Submitting NEA evidence to AQA 46
5.3 Avoiding malpractice 47
5.4 Factors affecting individual students 47
5.5 After the exams 47
6 General administration 48
6.1 Entries and codes 48
6.2 Overlaps with other qualifications 48
6.3 Awarding grades and reporting results 48
6.4 Re-sits and shelf life 48
6.5 Previous learning and prerequisites 49
6.6 Access to assessment: diversity and inclusion 49
6.7 Working with AQA for the first time 49
6.8 Private candidates 50
Visit aqa.org.uk/7272 for the most up-to-date specifications, resources, support and administration 3
Are you using the latest version of this specification?
•• You will always find the most up-to-date version of this specification on our website at
aqa.org.uk/7272
•• We will write to you if there are significant changes to this specification.
4 Visit aqa.org.uk/7272 for the most up-to-date specifications, resources, support and administration
1 Introduction
1.1 Why choose AQA for A-level Music
Music is constantly evolving, inspiring creativity and expression in a way that no other subject can.
That's why we have designed a relevant and contemporary A-level qualification that offers your
students the chance to study a wide range of musical genres. Our A-level brings listening, performance
and composition to life in new and engaging ways, and links to the world around us like never before.
We know that every student has different learning styles and musical tastes, which is why our A-level
values all music styles, skills and instruments. Broaden your students’ minds and foster a love of all
music with a qualification that students of all abilities and backgrounds will enjoy.
You can find out about all our music qualifications at aqa.org.uk/music
A specification designed for you and your students

Our specification and assessments have been designed to the highest standards, so that teachers,
students and their parents can be confident that an AQA award provides an accurate measure of
students' achievements.
The flexibility of the previous specification has been retained so that students can focus on an area of
personal interest and you can create courses which play to your school or college's strengths.
The specification supports progression to higher education in music and related subjects, as well as
providing all students with a platform to inspire a lifelong interest and enjoyment of music.
It also offers logical progression from GCSE as the assessment objectives, structure and titles are very
similar to those specified in the AQA GCSE Music specification.
Teach AS and A-level together

The specification has been designed to enable AS and A-level students to be co-taught. For example,
you may deliver the course to AS and A-level students in the same year group, as well as give AS
students the option to progress onto the full A-level.
At the start of the course, to ensure you are clear about the standards at AS and A-level, review the
online exemplification materials provided on e-AQA. Please also see Assessment criteria
1.2 Support and resources to help you teach
We’ve worked with experienced teachers to provide you with a range of resources that will help you
confidently plan, teach and prepare for exams.
Teaching resources
Visit aqa.org.uk/7272 to see all our teaching resources. They include:
•• schemes of work: a variety of ideas across all titles to help you plan your course with confidence
•• good practice guides: to help you to inspire and challenge students to think creatively
•• teachers guides: detailed guides for the set works to help you to support your students in all areas
of the specification
•• suggested listening lists: details of tracks/works for named artists/composers to help you prepare
your students for the written exam
•• exemplification materials: to showcase sets of students' work supported by examiner
commentaries and guidance.
Support service
•• Training courses: to help you deliver AQA music qualifications.
•• Subject expertise courses: for all teachers, from newly-qualified teachers who are just getting
started to experienced teachers looking for fresh inspiration.
•• Music advisory service: each school or college is allocated a subject adviser. You can contact them
for one-to-one advice on any aspect of the subject, assessment and/or support with planning and
delivery of course content.
•• Subject community: provides access to free resources and services offered by music venues,
organisations and charities.
•• Support meetings: to help you with course delivery; offering practical teaching strategies and
approaches that really work.
•• Teacher network group: this group has been set up to allow teachers to contact colleagues at other
centres to share ideas about resources and teaching strategies for the AQA specification.
To find out more about our support service visit aqa.org.uk/7272
Preparing for exams

Visit aqa.org.uk/7272 for everything you need to prepare for our exams, including:
•• past papers, mark schemes and examiners’ reports
•• specimen papers and mark schemes for new courses
•• Exampro: a searchable bank of past AQA exam questions
•• exemplar student answers with examiner commentaries.
Analyse your students' results with Enhanced Results Analysis (ERA)

Find out which questions were the most challenging, how the results compare to previous years and
where your students need to improve. ERA, our free online results analysis tool, will help you see where
to focus your teaching. Register at aqa.org.uk/era
For information about results, including maintaining standards over time, grade boundaries and our
post-results services, visit aqa.org.uk/results
Keep your skills up-to-date with professional development

Wherever you are in your career, there’s always something new to learn. As well as subject-specific
training, we offer a range of courses to help boost your skills.
•• Improve your teaching skills in areas including differentiation, teaching literacy and meeting Ofsted
requirements.
•• Prepare for a new role with our leadership and management courses.
You can attend a course at venues around the country, in your school or online – whatever suits your
needs and availability. Find out more at coursesandevents.aqa.org.uk
Get help and support
Visit our website for

information, guidance,
support and resources
at aqa.org.uk/7272
You can talk directly to
the music subject team
E: music@aqa.org.uk
T: 01483 437 750
2 Specification at a glance
This qualification is linear. Linear means that students will sit all their exams and submit all their
non-exam assessment at the end of the course.
2.1 Subject content

Core content
1. Appraising music
2. Performance
3. Composition
2.2 Assessments
Students must complete all three components.
Component 1: Appraising + Component 2: Performance + Component 3: Composition

music
What's assessed What's assessed What's assessed
•• Listening Music performance Composition
•• Analysis
•• Contextual understanding
How it's assessed How it's assessed How it's assessed
Exam paper with listening Solo and/or ensemble •• Composition 1:
and written questions using performing as an Composition to a brief
excerpts of music. instrumentalist, or vocalist (25 marks)
and/or music production (via •• Composition 2: Free
technology). composition (25 marks)
Questions Requirement Requirement
•• Section A: Listening A minimum of ten minutes A minimum of four and a
(56 marks) of performance in total is half minutes of music in
•• Section B: Analysis required. total is required.
(34 marks)
This component is 35% of This component is worth 25%
•• Section C: Essay A-level marks (50 marks). of A-level marks (50 marks).
(30 marks)
Non-exam assessment NEA will be externally marked
This component is 40% of (NEA) will be externally by AQA examiners. Work
A-level marks (120 marks). marked by AQA examiners. must be completed and sent
Work must be completed by post/uploaded to AQA by
between 1 March and the the specified date given at
specified date given at aqa.org.uk/keydates
aqa.org.uk/keydates
Work must be sent by post/
uploaded to AQA by the
specified date given at
aqa.org.uk/keydates
3 Subject content
Developing and applying the musical knowledge, understanding and skills set out in our specification
can ensure your students form a personal and meaningful relationship with music. They will be
encouraged to engage critically and creatively with a wide range of music and musical contexts, and
reflect on how music is used in the expression of personal and collective identities.
The specification allows students to develop particular strengths and interests, encourage lifelong
learning and provide access to higher education and university degree courses in music and music-
related subjects as well as music-related and other careers.
The Subject content is divided into three components:
•• Appraising music
•• Performance
•• Composition.
3.1 Appraising music

The areas of study provide an appropriate focus for students to appraise, develop and demonstrate an
in-depth knowledge and understanding of musical elements, musical contexts and musical language.
The areas of study can also provide a rich source of material for your students to work with when
developing performance and composition skills.
There are seven areas of study:
1 Western classical tradition 1650 – 1910 (compulsory)
2 Pop music
3 Music for media
4 Music for theatre
5 Jazz
6 Contemporary traditional music
7 Art music since 1910.
Students must study Area of study 1: Western classical tradition 1650 – 1910 and choose two from
Areas of study 2 – 7.
3.1.1 Area of study 1: Western classical tradition 1650 – 1910

(compulsory)
For the purposes of this specification, the western classical tradition is defined as art music of (or
growing out of) the European tradition, normally notated, and normally intended for public performance.
There are three strands of music represented which cover three key genres:
•• Baroque: the solo concerto
•• Classical: the operas of Mozart
•• Romantic: the piano music of Chopin, Brahms and Grieg.
Listening – unfamiliar music

Students must be able to listen attentively to unfamiliar music from each of the three strands to identify
and accurately describe musical elements and use musical language (including staff notation).
Analysis and contextual understanding – set works

For two of the selected strands, students must also be able to critically appraise music through
analysing excerpts from the set works using knowledge and understanding of:
•• the effect of audience, time and place on how the set works were created, developed and performed
•• how and why the music across the selected strand is different
•• how the composer’s purpose and intention for the set works is reflected in their use of musical
elements
•• relevant musical vocabulary and terminology for the set works
•• the complex interdependencies between musical elements
•• the sophisticated connections between music and its context.
Strand A: Baroque solo concerto

Composer Set works
Purcell Sonata for trumpet and strings in D major Z.850 (complete)
Vivaldi Flute concerto in D Il Gardellino op.10 no.3 RV428 (complete)
Bach Violin concerto in A minor BWV1041 (complete)
Strand B: The operas of Mozart

Composer Set works
Mozart Le Nozze di Figaro k.492: Act 1, focusing on:
•• overture
•• No.1 Duettino (Figaro and Susanna, including following recitative)
•• No.3 Cavatina (Figaro, including the previous recitative)
•• No.4 Aria (Bartolo)
•• No.5 Duettino (Susanna and Marcellina)
•• No.6 Aria (Cherubino)
•• No.7 Terzetto (Susanna, Basilio, Count)
•• No.9 Aria (Figaro).
Strand C: The piano music of Chopin, Brahms and Grieg

Composer Set works
Chopin •• Ballade no.2 in F major op.38
•• Nocturne in E minor op.72 no.1
Brahms •• Intermezzo in A major op.118. no.2
•• Ballade in G minor op.118 no.3
Grieg •• Norwegian march op.54 no.2
•• Notturno op.54 no.4
The edition and any translation used are at the discretion of the teacher and student. However we will
name the editions used for the exam at aqa.org.uk/music
Musical elements
Students must be able to use knowledge and understanding of the following musical elements when
appraising music from this Area of study.
The following table contains all the musical elements, for this Area of study, that students must know
and understand, to answer questions in Section A (Listening) and Section B (Analysis and contextual
understanding) of the exam. Marks will also be awarded for knowledge of other terms, if relevant to this
Area of study, in Section B (Analysis and contextual understanding) of the exam.
Element type Element

Melody •• contour – ascending, descending, stepwise, conjunct, disjunct,
scalic, triadic and arpeggio
•• intervals, including compound intervals
•• phrase length – equal, unequal and balanced
•• ornaments – trill, mordent, turn, acciaccatura and appoggiatura
•• passing notes – accented, unaccented and chromatic
•• auxiliary notes – upper, lower and chromatic
•• note of anticipation
•• echappée note
•• portamento
•• melodic devices – sequence, motif, fragmentation, repetition,
intervallic augmentation and diminution.
Harmony •• consonant and dissonant
•• diatonic – primary and secondary triads, dominant 7th and all
inversions
•• chromatic – diminished 7th, secondary dominant 7th, substitution
chords (borrowing from opposite mode), chord of the Neapolitan,
Neapolitan 6th and augmented 6th chords (Italian, German, French)
•• cadences – perfect, imperfect, interrupted, plagal, half close,
phrygian and tierce de Picardie
•• circle of 5ths progression, harmonic sequence
•• pedal notes – tonic, dominant, inverted and inner
•• suspensions (4 – 3, 7 – 6, 9 – 8 and bass), preparation and
resolution
•• cadential 6/4.
Tonality •• major, minor, and their key signatures
•• modulation to dominant, subdominant, and their relatives, also to
tonic minor, relative minor and tertiary keys
•• enharmonic keys
•• modality.

Structure •• binary, rounded binary and ternary
•• ritornello and episode
•• sonata form
•• through-composed
•• introduction and coda
•• recitative and aria
•• foursquare
•• antecedent and consequent phrases
•• ostinato.
Sonority (Timbre) •• standard orchestral and vocal types
•• basso continuo
•• pizzicato, arco, col legno, con sordino, sul ponticello, sul tasto
and double stopping
•• sotto voce, vibrato
•• una corda, pedalling.
Texture •• solo, monophonic, unison, octaves, parallel 3rds
•• melody and accompaniment, homophonic, chordal
•• polyphonic, contrapuntal, imitative, fugal
•• antiphonal
•• trio sonata texture
•• polarised
•• countermelody, descant
•• canon.
Tempo, metre and rhythm •• simple and compound time
•• common Italian tempo terms including ritenuto, rallentando and
accelerando
•• rubato, pause
•• syncopation, hemiola, cross-rhythm, motor-rhythm.
Dynamics and articulation •• common Italian dynamic terms including sfz and fp
•• accent, tenuto, staccato, marcato, legato.
Musical language
Students must be able to use musical language appropriate to this Area of study in the following ways:
Reading staff notation
Students must be able to identify musical elements (as above) when reading staff notation.
For unfamiliar music, students must be able to read short passages of a minimum of four bars and a
maximum of eight bars.
For familiar music, students must be able to read approximately two pages of music score.
Writing staff notation
Students must be able to:
•• write melodic notation in all keys within short passages of music of a minimum of four bars and a
maximum of eight bars
•• write rhythmic notation, including compound time within short passages of a minimum of four bars
and a maximum of eight bars.
Chords
Students must learn standard and extended chords, including chord inversions and secondary
dominant 7ths, and be able to identify them in aural and written form. Examples of relevant types of
chords can be found in the Musical elements
Musical vocabulary and terminology
Students must be able to identify and apply appropriate musical vocabulary and terminology to both
music heard and notated. The appropriate vocabulary and terminology required can be found in the
tables appropriate to the student's selected Area of study.
3.1.2 Areas of study 2 – 7

Students must choose two areas of study from the following:
2 Pop music
3 Music for media
4 Music for theatre
5 Jazz
6 Contemporary traditional music
7 Art music since 1910.
Listening – unfamiliar music

Students must be able to listen attentively to unfamiliar music from all the named artists/composers
in their selected areas of study to identify and accurately describe musical elements and use musical
language (including staff notation).
Analysis and contextual understanding

For three of the named artists/composers from each of their selected areas of study, students must be
able to appraise music and make critical judgements, using knowledge and understanding of:
•• how the artists’/composers’ use of musical elements for at least two published works reflects the
style of the genre and their purpose and intentions for the work
•• how the style of the artists’/composers’ music has varied over time through comparison of published
works
•• musical vocabulary and terminology relevant to the work and Area of study.
Selection of the published works for each named artist/composer is at the discretion of the teacher
and student. However, the works must be in the public domain such that they are easily accessible to
examiners.
3.1.3 Area of study 2: Pop music

For the purpose of this specification, pop music is defined as popular mainstream music derived from
and including a number of musical genres including rock, funk and R&B from 1960 to the present.
Named artists
•• Stevie Wonder
•• Joni Mitchell
•• Muse
•• Beyoncé
•• Daft Punk
•• Labrinth
Musical elements
and understand to answer questions in Section A (Listening) and Section C (Essay) of the exam. Marks
will also be awarded for knowledge of other terms, if relevant to this Area of study, in Section C (Essay)
of the exam.

Melody •• riff
•• pitch bend
•• melisma, syllabic
•• hook
•• slide
•• glissando
•• ostinato
•• blue notes.
Harmony •• power chords
•• sus4 chords
•• chord extensions – secondary 7th, 9th, 11th, 13th
•• other complex chords eg half diminished 7th, added 6th
•• chord symbols eg C/E C7 Cø and C+
•• tonic and dominant pedal.
Tonality •• specific modes eg dorian, lydian
•• pentatonic
•• blues scale.
Structure •• intro/outro
•• middle 8
•• bridge
•• breakdown
•• verse
•• chorus
•• instrumental
•• break
•• drum fill.
Sonority (Timbre) •• studio/technological effects eg reverb, panning
•• standard contemporary instrumental types eg electric guitar,
synthesisers
•• drum kit components and techniques eg rim shot
•• vocal timbres eg falsetto, belt, rap
•• specific instrumental techniques eg slap bass
•• specific instrumental effects eg distortion.
Texture •• looping
•• layering
•• a cappella.
Tempo, metre and rhythm •• bpm (beats per minute)
•• mm (metronome marking)
•• groove
•• backbeat
•• irregular metre.
Dynamics and articulation •• fade in/fade out.
3.1.4 Area of study 3: Music for media

For the purpose of this specification, music for media is defined as music specifically composed for
film, television and gaming from 1958 to the present.
Named composers
•• Bernard Herrmann
•• Hans Zimmer
•• Michael Giacchino
•• Thomas Newman
•• Nobuo Uematsu
Musical elements
of the exam.

Melody •• leitmotif.
•• sus4 chords
•• chord extensions – 7th, 9th, 11th, 13th
•• chord symbols eg C/E C7 Cø and C+
•• tonic and dominant pedal.
Tonality •• tonal
•• atonal
•• modal.
Structure •• cue
•• underscore
•• soundtrack
•• mickey-mousing
•• diegetic and non-diegetic music
•• source music.
Sonority (Timbre) •• standard orchestral instruments
•• standard jazz, rock and pop instruments
•• electronic instruments
•• ethnic instruments suitable for sense of location
•• technological effects eg echo, reverb, panning, distortion
•• tremolo.
Texture •• cluster
•• polarized texture
•• drone.
Tempo, metre and rhythm •• mm (metronome marking)
•• additive rhythm
•• cross rhythm
•• rhythmic layering.
3.1.5 Area of study 4: Music for theatre
For the purpose of this specification, music for theatre is defined as music composed to govern,
enhance or support a theatrical conception from 1925 to the present.
Named composers
•• Kurt Weill
•• Richard Rodgers
•• Stephen Sondheim
•• Claude-Michel Schönberg
•• Jason Robert Brown
Musical elements
of the exam.

Melody •• pitch bend
•• melisma, syllabic
•• slide
•• glissando
•• leitmotif
•• angular.
•• sus4 chords
•• chord extensions – secondary 7th, 9th, 11th, 13th
•• chord symbols eg C/E, C7, Cø and C+.
Structure •• intro/outro
•• bridge
•• verse
•• chorus
•• instrumental
•• middle 8.
Sonority (Timbre) •• studio/technological effects eg reverb
•• standard orchestral instruments
•• standard contemporary instrumental types eg electric guitar,
synthesisers
•• vocal timbres eg falsetto, belt, rap
•• specific instrumental techniques eg slap bass, tremolo.
Texture •• a cappella
•• colla voce.

Tempo, metre and rhythm •• bpm (beats per minute)
•• mm (metronome marking)
•• irregular metre.
3.1.6 Area of study 5: Jazz

For the purpose of this specification, jazz is defined as a style of music characterised by a strong but
flexible rhythmic understructure with solo and ensemble improvisations on basic tunes and chord
patterns and a highly sophisticated harmonic idiom from 1920 to the present.
Named artists
•• Louis Armstrong
•• Duke Ellington
•• Charlie Parker
•• Miles Davis
•• Pat Metheny
•• Gwilym Simcock
Musical elements
of the exam.

Melody •• glissando
•• pitch-bend
•• smear
•• spill/fall-off
•• rip.
Harmony •• chord extension – secondary 7th, 9th, 11th, 13th chords
•• other added notes – eg 2nd, 6th, sus4th
•• substitution (especially tritone substitution)
•• commonly used jazz harmony symbols
•• turn-around.
Tonality •• blue notes
•• blues scale
•• pentatonic scale
•• diminished (octatonic) scale
•• knowledge of specific modes for modal jazz.
Structure •• 12-bar blues
•• chord changes
•• song form/standard form
•• middle eight/bridge
•• intro and outro
•• head
•• chorus
•• fours
•• break.
Sonority (Timbre) •• growl/talking trumpet
•• harmon mute
•• wah-wah mute
•• ghosted notes
•• slap bass
•• rim-shot
•• standard big band instruments.
Texture •• heterophonic
•• a cappella
Tempo, metre and rhythm •• swing and straight rhythm
•• cross rhythms eg three over four
•• push and drag
•• double time
•• ametrical
•• stop time
•• riff.
3.1.7 Area of study 6: Contemporary traditional music

For the purpose of this specification, contemporary traditional music is defined as music influenced by
traditional musical features fused with contemporary elements and styles.
Named artists
•• Astor Piazzolla
•• Toumani Diabaté
•• Anoushka Shankar
•• Mariza
•• Bellowhead
Musical elements
of the exam.

Melody •• raga
•• pitch bend
•• kumbengo (ostinato riffs on kora)
•• birimintingo (improvised runs).
Harmony •• drone
•• sus4 chords
•• chord symbols eg C/E, C7, Cø and C+
•• other added notes – eg 2nd, 6th, sus4.
Tonality •• specific modes eg Dorian, Lydian.
Structure •• tango nuevo, milonga
•• fado
•• alap
•• fusion
•• verse and chorus
•• folk rock
•• song form/standard form.
Sonority (Timbre) •• specific instruments: bandoneon, kora, sitar, Portuguese guitar
•• specialist string techniques for tango, including chicharra, latigo,
arrestre and tambor
•• studio effects eg reverb, sampling
•• piano glissando
•• drone
•• sympathetic strings (sitar).
•• layering
•• heterophonic.
Tempo, metre and rhythm •• polyrhythm
•• latin 3 + 3 + 2 rhythm
•• habanera rhythm
•• tala
•• riff.
3.1.8 Area of study 7: Art music since 1910
For the purpose of this specification art music since 1910 is defined as music that comprises modern,
contemporary classical, electronic art, experimental and minimalist music as well as other forms.
Named composers
•• Dmitri Shostakovich
•• Olivier Messiaen
•• Steve Reich
•• James MacMillan
Musical elements
of the exam.

Melody •• modes of limited transposition (including whole tone and
octatonic scales)
•• pentatonic and hexatonic scales
•• tone row
•• note addition and subtraction
•• resultant melody
•• cells and motifs
•• metamorphosis.
Harmony •• non-functional harmony
•• chord extensions eg added 6th
•• cluster chords
•• static harmony
•• open fifths.
Tonality •• bitonality
•• tonal ambiguity
•• atonality
•• modality.
Structure •• cyclical structures
•• ostinato
•• cadenza.
Sonority (Timbre) •• organ stops eg reeds, mixtures, use of swell pedal, tremulant
•• studio effects eg reverb, sampling
•• unusual instruments eg ondes Martenot
•• unusual effects eg col legno, harmonics.

•• layering
•• a cappella
•• drones.
Tempo, metre and rhythm •• additive rhythms
•• palindromic rhythms
•• metrical displacement
•• phasing
•• augmentation and diminution.
3.1.9 Musical language: Areas of study 2 – 7

Students must be able to use musical language appropriate to their selected Area of study, in the
following ways:
Reading staff notation
Students must be able to identify musical elements relevant to their selected Area of study (as above)
when reading staff notation.
For unfamiliar music, students must be able to read short passages of up to eight bars.
For familiar music, students must be able to read extended passages of score of approximately two
pages.
Chords and their associated chord symbols
Students must learn standard and extended chords, including chord inversions and secondary
dominant 7ths and their associated symbols, and be able to identify them in aural and written form. The
specific types of chords and symbols can be found in the tables relevant to the student's selected Area
of study.
Musical vocabulary and terminology
Students must be able to identify and apply appropriate musical vocabulary and terminology to both
music heard and notated. The appropriate vocabulary and terminology required can be found in the
tables appropriate to the student's selected Area of study.
3.2 Performance
Students must be able to perform music using one or both of the following ways:
•• instrumental/vocal: as a soloist, and/or as part of an ensemble
•• production: via music technology.
Students must perform for a minimum of ten minutes.
Care should be taken when selecting repertoire for ensemble performance; the level of demand refers
to the individual part performed by the student and not to the overall level of demand of the selected
piece.
Performance of pieces written with an accompaniment intended by the composer should not be
unaccompanied.
Students must be able to interpret musical elements specified in Subject content, using resources and
techniques as appropriate, to communicate musical ideas with technical and expressive control.
Through their performance students must also demonstrate understanding of context, including the
chosen style or genre of the music being performed and the composer’s purpose and intention.
If students choose to perform using non-standard instruments (ie for which there are no nationally
recognised accredited music grades) the requirements for instrumental/vocal must be followed.
Please refer to Component 2: Performance assessment grids for more information about how
performance will be marked.
In all cases, the recording of the performances must be accompanied by one or more of the following
documents, as appropriate to the type of performance:
•• notated score
•• lead sheet
•• guide recording
•• annotation (production only).
Performance type Definition Technical control, Expressive control,

including: including:
Instrumental/vocal Solo performance Pitch (including Tempo, dynamics,
The student's performance can intonation) phrasing and
be one or more of the following: articulation
Rhythm
•• a single musician playing/
singing solo Tone (including
•• a soloist accompanied by breathing and
another musician (eg pianist, diction, bowing and
guitarist, backing track etc). pedalling etc)
Ensemble performance Synchronisation of

•• as an accompanist to a solo ensemble
musician
•• as an instrumentalist/singer
contributing to a unique and
significant role (ie that is not
doubled) to a small group (of
up to eight musicians).
Production (via A complete performance of a Pitch Choice of timbres
technology) pre-existing piece using music
technology. The performance Rhythm Dynamics
should include the use of at least Articulation Dynamic
one musical instrument digital processing
interface (MIDI) sequenced track Phrasing (including
and at least one audio track. compression and
Clarity of capture
Audio sounds should be captured EQ etc)
by close-mic or direct injection.
The total amount of MIDI
sequenced sounds and audio
sounds is at the discretion of the
student but should be a minimum
of five tracks. At least five tracks
should be inputted or played/
sung by the student.
3.3 Composition
Students must learn how to develop musical ideas, including extending and manipulating musical
ideas, and compose music that is musically convincing through two compositions. One must be in
response to an externally set brief (Composition 1) and the other a free composition (Composition 2).
The combined duration of the compositions must be a minimum of four and a half minutes.
Compositions must demonstrate technical control in the use of appropriate musical elements and
how they are combined to make sense as a whole. Please refer to the tables of musical elements in
Subject content
Students must be able to compose music in one or both of the following formats:
•• instrumental/vocal: produce notated score, written accounts and/or lead sheet by traditional means
or by using music software as appropriate
•• production: generated entirely digitally, by using music software, without notated score but with
accompanying annotation.
Students must be able to make creative use of the musical elements appropriate to their chosen style
or genre of music.
3.3.1 Documenting the composition

Programme note
Students must write a Programme note of approximately 150 words for each composition, which clearly
informs the assessor of their compositional intention. This must include how it relates to the selected
audience/occasion. Students must also provide details of any software and hardware used in their
compositional process.
In all cases the recording of the composition must be accompanied by one or more of the following
documents:
•• staff notated score
•• lead sheet
•• aural guide.
Please refer to Component 3: Composition assessment grids for more information about how
composition will be marked.
4 Scheme of assessment
Find past papers and mark schemes, and specimen papers for new courses, on our website at
aqa.org.uk/pastpapers
This specification is designed to be taken over two years.
This is a linear qualification. In order to achieve the award, students must complete all assessments at
the end of the course and in the same series.
A-level exams and certification for this specification are available for the first time in May/June 2018 and
then every May/June for the life of the specification.
All materials are available in English only.
Our A-level exams in Music include questions that allow students to demonstrate their ability to:
•• draw together their knowledge, skills and understanding from across the full course of study
•• provide original practical responses
•• provide short and extended written responses.
Synoptic assessment of A-level Music should require students to:
•• develop a broad understanding of the connections between the knowledge, understanding and skills
set out in the specification as a whole
•• demonstrate their understanding of the relationships between theory and practice.
4.1 Aims and objectives

Courses based on this specification should encourage students to:
•• engage actively in the process of music study
•• develop performing skills to demonstrate an understanding of musical elements, style, sense of
continuity, interpretation and expression
•• develop composing skills to demonstrate the manipulation of musical ideas and the use of musical
devices and conventions
•• recognise the interdependence of musical knowledge, understanding and skills, and make links
between the integrated activities of performing, composing and appraising underpinned by attentive
listening
•• broaden musical experience and interests, develop imagination and foster creativity
•• develop and extend the knowledge, understanding and skills needed to communicate effectively as
musicians
•• develop knowledge and understanding of a variety of instruments and styles, and of relevant
approaches to both performing and composing
•• develop awareness of music technologies and their use in the creation and presentation of music
•• appraise contrasting genres, styles and traditions of music, and develop understanding of musical
contexts and a coherent awareness of musical chronology
•• develop as effective, independent learners and as critical and reflective thinkers with enquiring minds
•• reflect critically and make personal judgements on their own and others’ music
•• engage with, and extend appreciation of, the diverse heritage of music in order to promote personal,
social, intellectual and cultural development.
4.2 Assessment components

Component 1: Appraising music (Assessment objectives AO3 and AO4)
Appraising music is an externally marked exam in three sections lasting two hours and thirty minutes. It
is marked out of a total of 120 and constitutes 40% of the total marks for the qualification.
Section A: Listening (Assessment objectives AO3 and AO4)

Students will be assessed on their ability to analyse and evaluate the music heard in the exam and
demonstrate knowledge and understanding of musical elements and musical language to make critical
judgements (Subject content).
Students must answer three sets of questions:
•• one set of questions linked to Area of study 1: Western classical tradition 1650 – 1910, one of which
will require aural dictation
•• two sets of questions, each linked to an Area of study, from a choice of six options covering Areas of
study 2 – 7.
Each set of questions will contain three excerpts of unfamiliar music by the named artists/composers
for each Area of study.
One question in each set will be an extended answer and require students to use knowledge of
appropriate musical elements and musical language to make critical judgements relating to the context
of an artist's/composer's work in the Area of study.
The paper will instruct the student to spend a suggested amount of time on each section. However,
students will be able to access their own excerpts relevant to their options digitally and control how
many times they hear each excerpt in order to answer the questions.
Section B: Analysis (Assessment objectives AO3 and AO4)

Students will be required to answer two sets of linked questions, including short answers and extended
writing, on two extracts of the set works from the two selected strands in Area of study 1. The question
paper will include scores of the extracts.
Students will be able to access the excerpts relevant to their options digitally on an individual basis and
control how many times they hear each excerpt in order to answer the question.
Students will be assessed on their ability to analyse and evaluate the music heard and demonstrate
knowledge and understanding of musical elements and musical language to make critical judgements.
See Subject content
Section C: Essay (Assessment objective AO4)

Students will be required to answer one essay question on one Area of study from a choice of Areas of
study 2 –7.
Students will be assessed on their critical understanding across the genres, styles and traditions
studied and their ability to show sophisticated connections between the music and its context.
Students will need to demonstrate their knowledge and understanding of three of the named artists/
composers and at least two published or recorded works. See Subject content
Component 2: Performance (Assessment objective AO1)
Performance is externally marked by AQA out of 50 and constitutes 35% of the total marks for the
qualification.
Each student must select, following discussion with their teacher, the piece or pieces that the student
will perform during the assessment. The performance must meet the specified duration of ten minutes.
If the student's performance is less than ten minutes, it will not be accepted as assessment evidence.
Teachers must check the final performance for assessment of each student's work to ensure it meets
the minimum duration requirement.
There is no maximum duration for performance.
The student can perform through one of the following, or through a combination:
•• instrumental/vocal solo and/or in an ensemble
•• production via technology.
Teachers are responsible for ensuring the following requirements are met in administering the
performances for assessment:
•• performances should take place in a suitable venue
•• performances should be recorded using good quality audio equipment
•• performances must be under the supervision of a teacher for authentication purposes
•• recordings of performances and production must be submitted complete and without post-
performance editing or augmentation
•• performances must take place between 1 March and the NEA deadline date given at
aqa.org.uk/keydates
•• a copy for assessment of either the score(s), lead sheet(s). annotation(s) or guide recording(s) must
be submitted with the performance for assessment.
Assessment evidence
Audio recordings and performance documentation must be submitted as evidence as well as a signed
Candidate record form (CRF).
Assessment evidence for this component will be marked using the
Component 2: Performance assessment grids
Audio recording of performance
Performances should be saved digitally and must be produced in accordance with the AQA Guidance
for recording of music performance AS and A-level at aqa.org.uk
Recordings of performances must be submitted without post-performance editing.
Each student's recording of the performance for assessment must be kept under secure conditions until
it is sent to AQA by the specified date given at aqa.org.uk/keydates
Performance documentation
The performance documentation is referred to by examiners when marking the audio recording of the
performance. Students must submit one or a combination of the following, as appropriate, for each of
the pieces performed for assessment.
Evidence type Requirement

Notated score Providing full performance information through musical notation.
Lead sheet Providing a detailed framework giving structure and musical
substance from which a performance can be produced that meets
the composer’s intentions.
Guide recording If students have based their own performance on a recording of
another performance of the same piece, this must be submitted
(If no score or lead sheet digitally so that the file can be easily accessed by the examiner.
available)
Annotation Including details of the processes, devices and techniques used,
showing how the areas detailed in the criteria contributed to the final
(Production only) performance. Students must provide details of the hardware and
software used.
Component 3: Composition (Assessment objective AO2)

Composition is externally marked by AQA out of 50 and constitutes 25% of the total marks for the
qualification.
Each student must compose two pieces. One composition must be in response to an externally set
brief and the other composition is freely composed by the student.
Composition 1: Composition to a brief

The composition must be in response to one brief from a choice of seven externally set briefs. The
briefs will be released on or as near as possible to 15 September of the year of certification. Students
must be given the externally set briefs in their entirety; they must not be edited, changed or abridged in
any way.
The briefs may include different stimuli, such as:
•• a poem or a piece of text
•• photographs, images or film
•• notation.
Composition 2: Free composition

Free compositions need not reference areas of study or a given brief.
4.2.3.3 Compositions 1 and 2
Together, the compositions must last a combined minimum time of four and a half minutes.
If the student's composition is less than four and a half minutes, it will not be accepted as assessment
evidence.
There is no maximum duration for composition.
For each student, teachers are responsible for ensuring the following requirements are met in
administering the final compositions for assessment:
•• the final compositions for assessment of each student's work meet the minimum duration
requirement
•• the audio recordings of the final compositions must be recorded from start to finish
•• the student is not required to perform the composition but may do so if they wish
•• the student’s composition that is being assessed must be identified by name and candidate number
at the start of the recording.
Supervising students
Students must have sufficient direct supervision to ensure that the work submitted can be confidently
authenticated as their own.
You may provide guidance and support to students so that they are clear about the requirements of the
tasks they need to undertake and the marking criteria on which the work will be assessed.
You should encourage students to reflect upon and evaluate their own music, including considering the
success of meeting the brief/intent, during their composition process.
Teachers are expected to follow the Joint Council for Qualifications (JCQ) instructions regarding the
provision of feedback to students.
See also Non-exam assessment administration
Assessment evidence
Audio recordings and composition documentation must be submitted as evidence for both
compositions as well as a signed Candidate record form (CRF).
The audio recordings are marked alongside the composition documentation, to derive an overall mark
for the component, using the Component 3: Composition assessment grids
Audio recording of compositions
The student is not required to play on the recording but may do so if they wish.
The audio recordings of the final compositions for assessment must be:
•• recorded from start to finish
•• saved digitally
•• kept under secure conditions until sent to AQA for assessment by the specified date given at
aqa.org.uk/keydates
•• submitted complete and in their final state as completed by the student without any further editing or
augmentation.
Composition documentation
For both compositions, students must be able to present written evidence that details the composition’s
structure and musical substance.
Programme note
For both compositions students must provide a Programme note of approximately 150 words that
identifies:
•• the compositional intention, including the intended audience/occasion
•• details of the software and hardware used in the compositional process.
For both compositions, students must also be able to present one or more of the following which details
the composition’s structure and musical substance.
Evidence type Requirement

Notated score Providing full performance information through musical notation,
detailing, for example, dynamics, tempo, and techniques where
appropriate.
Lead sheet Providing a detailed framework giving structure and musical
substance from which a performance can be produced that meets the
composer’s intentions eg a melody line with chord symbols and lyrics.
Aural guide A written account which provides a detailed guide through the aural
experience of the piece which will highlight structure and musical
ideas, including the ways in which they have been explored.
4.3 Assessment objectives
Assessment objectives (AOs) are set by Ofqual and are the same across all A-level Music specifications
and all exam boards.
The assessments will measure how students have achieved the following assessment objectives.
Assessment objective weightings for A-level Music

Assessment objectives Weighting
(approx %)
AO1 Interpret musical ideas through performing, with technical and expressive 35
control and an understanding of style and context.
AO2 Create, develop and refine musical ideas with technical and expressive 25
control and coherence.
AO3 Demonstrate and apply musical knowledge. 10
AO4 Use analysis and appraising skills to make evaluative and critical 30
judgements about music.
Assessment Component weightings (approx %) Overall

objectives weighting (%)
Component 1: Component 2: Component 3:
Appraising music Performance Composition
AO1 35 35
AO2 25 25
AO3 10 10
AO4 30 30
Overall weighting 40 35 25 100
of components
The marks awarded on the papers will be scaled to meet the weighting of the components. Students’
final marks will be calculated by adding together the scaled marks for each component. Grade
boundaries will be set using this total scaled mark. The scaling and total scaled marks are shown in the
table below.
Component Maximum raw mark Scaling factor Maximum scaled

mark
Appraising music 120 1 120
Performance 50 2.1 105
Composition 50 1.5 75
Total scaled mark 300
4.4 Assessment criteria

The assessment criteria below details the mark bands with descriptors for the assessment of students
work.
Component 2: Performance assessment grids

The performance evidence will be marked as a whole out a total of 50, with the overall mark comprising
four assessment grids.
Mark Assessment grids

5 Ambition of project
15 Technical control
15 Expressive control
15 Performance quality
50 Total
Please note: for students performing a combination of instrumental/vocal and production via
technology, examiners will assess each performance against the corresponding assessment grid.
Examiners will take an average of the two marks to derive the total mark. If students perform using both
forms, care should be taken to ensure the duration of each performance is sufficient to ensure adequate
coverage of required content and the full range of criteria in the grid.
The assessment grids refer to the individual part performed by the student either as a soloist or as part
of an ensemble.
4.4.1.1 Ambition of project
The following assessment grid shows the comparable levels of demand for all performance types.
•• Instrumental/vocal grades refer to nationally recognised accredited music grades.
•• For non-standard instruments the levels of demand for instrumental/vocal must be applied.
Teachers must refer to online exemplification materials which show how marks are awarded for each
level of demand across all performance types. Please refer to e-AQA
Both the common level descriptor and additional descriptors, as appropriate to the type of
performance, should be used to locate the correct mark.
Mark Instrumental/vocal Production

5 The chosen programme will make high musical and technical demands.
The standard expected will be greater The chosen programme will demonstrate
than grade seven or its equivalent and a highly complex texture and considerable
will demonstrate considerable expressive expressive variety.
variety across the programme.
4 The chosen programme will make a substantial range of musical and/or technical
demands.
The standard expected will equate to grade The chosen programme will demonstrate
seven or its equivalent with expressive complex texture and expressive variety.
variety across the programme or greater
than grade seven or its equivalent without
expressive variety.
3 The chosen programme will make a reasonable range of musical and/or technical
demands.
six or its equivalent with expressive variety moderately complex texture and some
across the programme or equate to grade degree of expressive variety.
seven or its equivalent without expressive
variety.
2 The chosen programme will make a range of musical or technical demands.
The standard expected will equate to grade The chosen programme will feature
six or its equivalent without expressive relatively simple texture and demonstrate
variety. little or no expressive variety.
1 The chosen programme will make some musical or technical demands upon the student.
five or its equivalent with expressive variety rudimentary texture and basic skills.
across the programme.
0 No work submitted or not worthy of credit.
4.4.1.2 Technical control

Instrumental/vocal: assessment of pitch (including intonation), rhythm and quality of tone, (including
breathing and diction, bowing, pedalling etc).
Production: assessment of pitch, rhythm, articulation, phrasing and clarity of capture.

13 – 15 •• at the top of the band there will be no •• excellent accuracy of pitch and control
discernible flaws and pitch/intonation of all rhythmic elements to produce a
will be completely secure musically satisfying recording
•• towards the bottom of the band •• detailed and musically effective
inaccuracies will be limited to small but articulation and phrasing
noticeable errors •• well considered choice and placement
•• a performance which is entirely fluent of microphones which have produced a
and rhythmically secure, without any clear, clean capture for all tracks with no
hesitations noise or distortion.
•• the techniques demanded are fully
mastered with a mature tone quality
across the whole range.
10 – 12 •• a performance which is generally •• a few minor slips which do not inhibit
accurate in pitch and security of the overall musicality or fluency of the
intonation recording
•• rhythmically stable with only a few small •• close attention to all performance detail
errors not affecting the overall fluency with effective articulation and phrasing
•• tone production is generally good but •• appropriate choice and placement
the quality suffers at the extremities of microphones, a few tracks have
of the pitch range, or at moments of occasional clipping or a slight noise.
technical difficulty, or is uneven between
registers
•• techniques demanded by the music are
met.
7 – 9 •• a performance which achieves •• slips in pitch and rhythm become
consistency of pitch overall with increasingly frequent interrupting the
reasonably secure intonation fluency of the recording
•• weaknesses of rhythm or pulse may be •• generally effective articulation and
evident phrasing
•• evidence of good tone quality over most •• largely appropriate choice and
of the pitch range but with occasional placement of microphones, however
weaknesses some tracks are not captured cleanly.
•• in general technical demands are met
but there will be evidence of loss of
integrity.
4 – 6 •• a performance in which the basic •• more significant errors in pitch and
outline of the music is appreciable but rhythm affecting the overall sense of
either errors of pitch are significant ensemble
and intonation may be consistently •• some attempts, which are not always
flat or sharp or rhythmic problems are successful, to create articulation and
sufficient enough to interrupt the flow phrasing
•• tone production is inhibited, with only •• some appropriate choice of
some technical demands being met. microphones but not all placement is
appropriate
•• there is likely to be some intrusive noise
or distortion.
1 – 3 •• a performance which achieves limited •• significant lapses in the accuracy
consistency of pitch and rhythm or of pitch and rhythm resulting in an
fluency unmusical performance
•• accuracy is only evident in the more •• mechanical with limited attention to
straightforward passages articulation and phrasing
•• intonation is rarely secure and is •• poor microphone choice and placement
inconsistent results in a noisy and problematic
•• technique and tone production are recording.
problematic.
0 No work submitted or worthy of credit.
4.4.1.3 Expressive control

Instrumental/vocal: assessment of tempo, dynamics, phrasing and articulation.
Production: assessment of choice of timbres, dynamics, dynamic processing including compression
and EQ.

13 – 15 •• a highly musical performance in which •• well-chosen timbres which have been
tempo is entirely appropriate throughout appropriately edited
•• the composer’s expressive and •• excellent management of dynamics
performance directions have been fully in ways completely appropriate to the
observed resulting in accurate, effective music
and broad-ranging dynamics, phrasing •• dynamic shaping appropriately used
and articulation
•• compression and EQ have been used
•• subtlety and control will be a feature at appropriately to good effect.
the top of the band.
10 – 12 •• musical performance in which the main •• appropriate choice of timbres but
chosen tempi are appropriate, but there without further editing
are one or two misjudged moments •• good overall dynamic contrast but lacks
•• the majority of the composer’s some shaping
expressive and performance directions •• some occasional miscalculations of over
have been carefully observed or under use of compression so tracks
•• dynamics, phrasing and articulation are do not sit well in the mix
successfully varied and mostly effective. •• there are some slight errors in the use of
EQ.
7 – 9 •• a performance in which the main chosen •• the majority of chosen timbres are
tempi are slightly misjudged and the appropriate
performance mechanical on occasion •• some misjudgements with dynamic
•• the composer’s expressive and contrast and shaping
performance directions have been •• there are some occasional intrusive
largely observed and phrases are misjudgements with the use of
generally well shaped compression and more frequent errors in
•• articulation and dynamics are mostly the application of EQ.
accurate, if rather bland.
4 – 6 •• a performance in which the main chosen •• partially successful choice of timbres
tempi are generally misjudged and the •• sections where attempts to create
performance is very mechanical dynamic contrast and/or the dynamic
•• there is a basic control of phrasing, processing is misjudged and EQ has
articulation and dynamics; these are been applied inconsistently.
often misjudged.
1 – 3 •• the main chosen tempi are inappropriate •• chosen timbres are largely inappropriate
•• there is little or no application of •• limited dynamic contrasts
dynamics, phrasing and articulation. •• a mechanical or unmusical result
•• limited or no use of dynamic processing
and EQ.
4.4.1.4 Performance quality
Instrumental/vocal: assessment of musical style and communication.
Production: assessment of style, balance, blend, panning and use of effects.

13 – 15 •• an engaging and commanding •• complete awareness of the stylistic
performance in which the student requirements of the music including
demonstrates total involvement in the musical shaping
music with real flair •• excellent sense of balance and
•• a mature and sensitive understanding effectively blended throughout the
of both period and style is evident; recording
communicated through an assured, •• musically appropriate use of the stereo
convincing and well-projected field
performance.
•• excellent and judicious use of stylistically
appropriate effects.
10 – 12 •• performance which is mostly •• a consistent sense of style with attention
commanding and convincing to musical detail
•• there is clear commitment and the •• most tracks are well balanced and
performance is mostly assured blended with some minor slips
•• a good sense of style is evident but •• effective placement in the stereo field
there is lack of individual flair. •• well controlled use of appropriate
effects.
7 – 9 •• a performance which demonstrates •• broadly successful creation of the
some level of commitment but lack an required style
overall assurance •• more frequent miscalculations as to
•• there is still an overall sense of balance and blend
conviction •• largely effective use of the stereo field
•• the style of the music is appropriate with but with some misjudgements
a clear sense of character. •• occasional miscalculations as to the use
of effects.
4 – 6 •• a performance which lacks conviction •• some sense of the required style but
and commitment on occasions achieved inconsistently
•• there is limited sensitivity to the •• there are also inconsistencies in balance
demands of the music although there is and blend with key tracks or features
a general understanding of the overall obscured
character. •• largely inappropriate use of the stereo
field
•• inconsistency in the application of
effects.
1 – 3 •• a performance which is limited in •• limited sense of style with little attention
conviction and displays rudimentary to musical detail
sensitivity to the style of the music •• poorly balanced resulting in a misjudged
•• there is a limited sense of assurance final product
leading to an anxious experience for •• little or no use of the stereo field
performer and listener.
•• inappropriate use of effects.
Component 3: Composition assessment grids

The composition evidence is marked out of a total of 50 marks. Each of the two compositions is out of
a maximum of 25.
Mark Assessment grids

25 Composition 1: Composition to a brief
25 Composition 2: Free composition
50 Total
Composition 1: Composition to a brief

There are five bands of achievement and there are five marks available for each band. The lower mark
indicates the lower level of achievement.
Mark Composition 1: Requirements Requirements

Composition to a brief Brief 1 – Chorales Briefs 2 – 7
21 – 25 an authoritative composition •• stylistic detail is •• the composition has a
•• lower marks in the band evident throughout, sustained mastery of
suggest some less using imaginative and technical control
imaginative elements interesting features •• the quality of contrasting
or passages, and/or •• cadences are varied ideas and their
some inconsistencies in and there is an inventive development creates a
the supporting written exploration of keys commanding structure
material. •• a wide variety of chords is that is more than just a
used fluently and with few standard form, providing
significant errors a musical journey
•• grammatical errors are •• musical elements
insignificant and part- are used with flair
writing is fluent and and imagination,
sophisticated. complementing each
other with strong creative
purpose to give a
consistently fluent and
successful result
•• the style of the
composition is
convincing, fluent and
used perceptively to give
a compelling musical
experience
•• imaginative use of the
brief fundamentally
informs the composition
•• the music is
communicated fluently on
paper with comprehensive
score or commanding
annotation.
16 – 20 a confident composition •• there is interesting •• the composition has
•• higher marks in the band stylistic detail but the a largely successful
represent music that has result is secure rather technical control
some signs of imagination than imaginative •• the quality of contrasting
•• lower marks in the •• main keys and cadences ideas and/or their
band suggest greater are well-chosen but there development has led
inconsistencies in is scope for more interest to a successful musical
technical control and/or and variety, for example structure
elements of the style. with passing modulation •• musical elements are
•• chord choice is mostly used with variety and
secure and varied with secure handling, though
some adventurous some may be used with
moments more creative purpose
•• some grammatical errors than others, combining to
occur but they have little give a largely successful,
effect on the aural result if not always consistent,
result
•• part-writing has melodic
direction and few •• the style of the
difficulties. composition is assured
and used proficiently
to give a clear musical
experience
•• interesting use of the brief
significantly informs the
composition
•• the music is
communicated clearly on
paper with a good score
or helpful annotation,
despite some imprecision
•• this band may also
be appropriate for
compositions of top
band compositional
quality which have
very weak supporting
written material (score or
annotation).

11 – 15 a secure composition •• stylistic awareness is •• the composition has
•• higher marks in the band evident at times, but largely competent
represent music that has inconsistently, throughout technical control
some signs of creative the composition •• there is a clear musical
exploration or a superior •• cadences are largely structure, though this may
score/annotation effective despite some lack effective contrast or
•• lower marks in the band errors; key choices may development of ideas
suggest greater concerns lack some variety •• musical elements are
with technical control, •• chord choice is often used with moderate
little creative exploration suitable but there will be effectiveness and
or a less convincing sense errors and some lack of some control, providing
of style. variety evidence of creative
•• there is some awareness purpose, which is not
of part-writing, but errors always fully explored or
are frequent, and there is realised, to give a partially
a lack of interest. successful result
•• the style of the
composition is evident but
used in a generic manner
to give a predictable
musical experience
•• satisfactory use of
the brief informs the
composition
•• the music is
communicated on
paper through a score
of annotation, but not
always clearly, accurately
or with sufficient detail.
6 – 10 a composition of some •• stylistic awareness •• the composition has
limitations is apparent only some persistent issues
•• higher marks in the band occasionally with technical control
represent music that has •• some understanding of •• there are some signs of
more signs of technical cadences, but errors a musical structure, but
competence and/or frequently occur and the these are not always clear
a stronger sense of key is insecure at times •• musical elements
intended style •• chord choice is weak are used with some
•• lower marks in the band and progression is often effectiveness, but there
suggest serious concerns ineffective are sustained difficulties
regarding technical •• errors are significant but in some aspects and little
control or music with no a few passages have sense of creative purpose
discernible sense of style. successful part-writing. leading to a composition
of limited success
•• there is evidence of an
intended style in the
composition but this is
dilute, inconsistent or
ineffectively contradictory,
leading to a restricted
musical experience
•• limited use of the brief is
evident at times
•• the music is only partially
communicated on paper
through an incomplete,
confusing or only outline
version provided as score
or annotation.

1 – 5 a rudimentary composition •• there is no evidence of •• the composition is
•• higher marks in the band stylistic awareness dominated by issues with
represent music that has •• important key centres technical control
a few signs of musical have not been grasped; •• there is little or no
awareness cadences are mostly evidence of musical
•• lower marks in the band inaccurate structure
represent compositions •• chords are often •• musical elements are
that have strongly random incomplete, inaccurate or used with little control,
elements and/or are very inappropriate making genuine creative
simplistic, scant or short. •• errors are frequent and intentions hard to discern
there is little awareness of in a rudimentary or
part-writing. confused result
•• there is no sense of
style evident in the
composition, leading
to a lack of musical
experience
•• rudimentary use is made
of the brief
•• the written material in
no way enhances the
composition and is likely
to be poor in its detail and
layout (whether score or
annotation).
Composition 2: Free composition

Mark Composition 2: Free composition Requirements
21 – 25 an authoritative composition •• the composition has a sustained mastery
•• lower marks in the band suggest some of technical control
less imaginative elements or passages, •• the quality of contrasting ideas and their
and/or some inconsistencies in the development creates a commanding
supporting written material. structure that is more than just a standard
form, providing a musical journey
•• musical elements are used with flair and
imagination, complementing each other
with strong creative purpose to give a
consistently fluent and successful result
•• the style of the composition is convincing,
fluent and used perceptively to give a
compelling musical experience
•• the music is communicated fluently
on paper with comprehensive score or
commanding annotation.
16 – 20 a confident composition •• the composition has a largely successful
•• higher marks in the band represent music technical control
that has some signs of imagination •• the quality of contrasting ideas and/or
•• lower marks in the band suggest greater their development has led to a successful
inconsistencies in technical control and/or musical structure
elements of the style. •• musical elements are used with variety
and secure handling, though some may
be used with more creative purpose
than others, combining to give a largely
successful, if not always consistent, result
•• the style of the composition is assured
and used proficiently to give a clear
musical experience
•• the music is communicated clearly
on paper with a good score or helpful
annotation, despite some imprecision
•• this band may also be appropriate for
compositions of top band compositional
quality which have very weak supporting
written material (score or annotation).
11 – 15 a secure composition •• the composition has largely competent
•• higher marks in the band represent technical control
music that has some signs of creative •• there is a clear musical structure, though
exploration or a superior score/annotation this may lack effective contrast or
•• lower marks in the band suggest greater development of ideas
concerns with technical control, little •• musical elements are used with moderate
creative exploration or a less convincing effectiveness and some control, providing
sense of style. evidence of creative purpose, which is not
always fully explored or realised, to give a
partially successful result
•• the style of the composition is evident
but used in a generic manner to give a
predictable musical experience
•• the music is communicated on paper
through a score of annotation, but
not always clearly, accurately or with
sufficient detail.

6 – 10 a composition of some limitations •• the composition has some persistent
•• higher marks in the band represent issues with technical control
music that has more signs of technical •• there are some signs of a musical
competence and/or a stronger sense of structure, but these are not always clear
intended style •• musical elements are used with some
•• lower marks in the band suggest serious effectiveness, but there are sustained
concerns regarding technical control or difficulties in some aspects and little
music with no discernible sense of style. sense of creative purpose leading to a
composition of limited success
•• there is evidence of an intended style
in the composition but this is dilute,
inconsistent or ineffectively contradictory,
leading to a restricted musical experience
•• the music is only partially communicated
on paper through an incomplete,
confusing or only outline version provided
as score or annotation.
1 – 5 a rudimentary composition •• the composition is dominated by issues
•• higher marks in the band represent music with technical control
that has a few signs of musical awareness •• there is little or no evidence of musical
•• lower marks in the band represent structure
compositions that have strongly random •• musical elements are used with little
elements and/or are very simplistic, scant control, making genuine creative
or short. intentions hard to discern in a rudimentary
or confused result
•• there is no sense of style evident in the
composition, leading to a lack of musical
experience
•• the written material in no way enhances
the composition and is likely to be poor
in its detail and layout (whether score or
annotation).
5 Non-exam assessment
administration
The non-exam assessment (NEA) for this specification is performance and composition.
Visit aqa.org.uk/7272 for detailed information about all aspects of NEA administration.
The head of the school or college is responsible for making sure that NEA is conducted in line with our
instructions and Joint Council for Qualifications (JCQ) instructions.
5.1 Supervising and authenticating

To meet Ofqual’s qualification criteria and conditions, you must adhere to the requirements set out in
Assessment components. Evidence of authentication for each student must include:
•• a Candidate record form (CRF), signed by the student and their teacher to confirm that all the
student’s non-exam assessment evidence submitted is their own work
•• audio recordings of each student's performance/composition, which identify the candidate by name
and candidate number.
Students must have sufficient direct supervision to ensure that the work submitted can be confidently
authenticated as their own. This means that you must review the progress of work during its production
to see how it develops.
Any work produced without supervision, for example outside of the classroom, should be compared to
work produced with supervision.
In comparing the student's work, consideration must be given to the consistency in levels of skill
demonstrated.
Work that cannot be confidently authenticated must not be included in the student's submission.
You are required to provide details of the support the student received on the CRF and sign the
authentication statement. If the statement is not signed, we cannot accept the student’s work for
assessment.
5.2 Submitting NEA evidence to AQA

You must send all students' NEA evidence (set out above in Assessment components and
in Supervising and authenticating) to AQA for assessment by the specified date given at
aqa.org.uk/keydates
All the work of your students will be assessed by a trained AQA examiner.
5.3 Avoiding malpractice

Please inform your students of the AQA regulations concerning malpractice. They must not:
•• submit work that is not their own
•• lend work to other students
•• allow other students access to, or use of, their own independently-sourced source material
•• include work copied directly from books, the internet or other sources without acknowledgement
•• submit work that is word-processed by a third person without acknowledgement
•• include inappropriate, offensive or obscene material.
These actions constitute malpractice and a penalty will be given (for example, disqualification).
If you identify malpractice before the student signs the declaration of authentication, you don’t need to
report it to us. Please deal with it in accordance with your school or college’s internal procedures. We
expect schools and colleges to treat such cases very seriously.
If you identify malpractice after the student has signed the declaration of authentication, the head
of your school or college must submit full details of the case to us at the earliest opportunity. Please
complete the form JCQ/M1, available from the JCQ website at jcq.org.uk
You must record details of any work which is not the student’s own on the front of the assessment
booklet or other appropriate place.
You should consult your exams officer about these procedures.
5.4 Factors affecting individual students

For advice and guidance about arrangements for any of your students, please email us as early as
possible at eos@aqa.org.uk
Occasional absence: you should be able to accept the occasional absence of students by making sure
they have the chance to make up what they have missed. You may organise an alternative supervised
session for students who were absent at the time you originally arranged.
Lost work: if work is lost you must tell us how and when it was lost and who was responsible, using
our special consideration online service at aqa.org.uk/eaqa
Special help: where students need special help which goes beyond normal learning support, please
use the CRF to tell us so that this help can be taken into account during marking.
Students who move schools: students who move from one school or college to another during the
course sometimes need additional help to meet the requirements. How you deal with this depends on
when the move takes place. The new school or college should be responsible for the work. Teachers in
the new school or college must ensure that student work submitted for assessment can be confidently
authenticated as their own. See Supervising and authenticating.
5.5 After the exams

We will give you the final marks when the results are issued.
We may need to keep some of your students’ work to meet Ofqual requirements for awarding, archiving
or standardisation purposes.
6 General administration
You can find information about all aspects of administration, as well as all the forms you need, at
aqa.org.uk/examsadmin
6.1 Entries and codes

You only need to make one entry for each qualification – this will cover all the question papers, non-
exam assessment and certification.
Every specification is given a national discount (classification) code by the Department for Education
(DfE), which indicates its subject area.
If a student takes two specifications with the same discount code, further and higher education
providers are likely to take the view that they have only achieved one of the two qualifications. Please
check this before your students start their course.
Qualification title AQA entry code DfE discount code

AQA Advanced Level GCE in Music 7272 7010
This specification complies with:

•• Ofqual General conditions of recognition that apply to all regulated qualifications
•• Ofqual GCE qualification level conditions that apply to all GCEs
•• Ofqual GCE subject level conditions that apply to all GCEs in this subject
•• all other relevant regulatory documents.
The Ofqual qualification accreditation number (QAN) is 601/8304/4.
6.2 Overlaps with other qualifications

There is overlapping content in the AS and A-level Music specifications. This helps you teach the AS
and A-level together.
6.3 Awarding grades and reporting results

The A-level qualification will be graded on a six-point scale: A*, A, B, C, D and E.
Students who fail to reach the minimum standard for grade E will be recorded as U (unclassified) and
will not receive a qualification certificate.
6.4 Re-sits and shelf life

Students can re-sit the qualification as many times as they wish, within the shelf life of the qualification.
6.5 Previous learning and prerequisites

There are no previous learning requirements. Any requirements for entry to a course based on this
specification are at the discretion of schools and colleges.
However, we recommend that students should have the skills and knowledge associated with a GCSE
Music course or equivalent.
6.6 Access to assessment: diversity and inclusion

General qualifications are designed to prepare students for a wide range of occupations and further
study. Therefore our qualifications must assess a wide range of competences.
The subject criteria have been assessed to see if any of the skills or knowledge required present any
possible difficulty to any students, whatever their ethnic background, religion, sex, age, disability or
sexuality. If any difficulties were encountered, the criteria were reviewed again to make sure that tests of
specific competences were only included if they were important to the subject.
As members of the Joint Council for Qualifications (JCQ) we participate in the production of the JCQ
document Access Arrangements and Reasonable Adjustments: General and Vocational qualifications.
We follow these guidelines when assessing the needs of individual students who may require an access
arrangement or reasonable adjustment. This document is published on the JCQ website at jcq.org.uk
6.6.1 Students with disabilities and special needs

We can make arrangements for disabled students and students with special needs to help them access
the assessments, as long as the competences being tested are not changed. Access arrangements
must be agreed before the assessment. For example, a Braille paper would be a reasonable adjustment
for a Braille reader but not for a student who does not read Braille.
We are required by the Equality Act 2010 to make reasonable adjustments to remove or lessen any
disadvantage that affects a disabled student.
If you have students who need access arrangements or reasonable adjustments, you can apply using
the Access arrangements online service at aqa.org.uk/eaqa
6.6.2 Special consideration

We can give special consideration to students who have been disadvantaged at the time of the
assessment through no fault of their own – for example a temporary illness, injury or serious problem
such as the death of a relative. We can only do this after the assessment.
Your exams officer should apply online for special consideration at aqa.org.uk/eaqa
For more information and advice about access arrangements, reasonable adjustments and special
consideration please see aqa.org.uk/access or email accessarrangementsqueries@aqa.org.uk
6.7 Working with AQA for the first time

If your school or college has not previously offered any AQA specification, you need to register as an
AQA centre to offer our specifications to your students. Find out how at aqa.org.uk/becomeacentre
6.8 Private candidates
This specification is available to private candidates, under condition that:
•• candidates attend an AQA school or college which will supervise the production of non-exam
assessment evidence
•• any other requirements concerning the administration of non-exam assessments contained within
this specification are met.
A private candidate is someone who enters for exams through an AQA-approved school or college but
is not enrolled as a student there.
A private candidate may be self-taught, home-schooled or have private tuition, either with a tutor or
through a distance learning organisation. You must be based in the UK.
If you have any queries as a private candidate, you can:
•• speak to the exams officer at the school or college where you intend to take your exams
•• visit our website at aqa.org.uk/privatecandidates
•• email: privatecandidates@aqa.org.uk
Get help and support
Visit our website for information, guidance, support and resources at aqa.org.uk/7272
You can talk directly to the music subject team
E: music@aqa.org.uk
T: 01483 437 750
aqa.org.uk
Copyright © 2017 AQA and its licensors. All rights reserved.
AQA retains the copyright on all its publications, including the specifications. However, schools and colleges registered with AQA are permitted to copy
material from this specification for their own internal use.
G00638
AQA Education (AQA) is a registered charity (number 1073334) and a company limited by guarantee registered in England and Wales (company number
3644723). Our registered address is AQA, Devas Street, Manchester M15 6EX.

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A-LEVEL

Version 1.2 January 2017

5 Non-exam assessment administration 46

A specification designed for you and your students

Teach AS and A-level together

Preparing for exams

Analyse your students' results with Enhanced Results Analysis (ERA)

Keep your skills up-to-date with professional development

Get help and support

Visit our website for

2.1 Subject content

Component 1: Appraising + Component 2: Performance + Component 3: Composition

3.1 Appraising music

3.1.1 Area of study 1: Western classical tradition 1650 – 1910

Listening – unfamiliar music

Analysis and contextual understanding – set works

Strand A: Baroque solo concerto

Strand B: The operas of Mozart

Strand C: The piano music of Chopin, Brahms and Grieg

Element type Element

Element type Element

3.1.2 Areas of study 2 – 7

Listening – unfamiliar music

Analysis and contextual understanding

3.1.3 Area of study 2: Pop music

Element type Element

3.1.4 Area of study 3: Music for media

Element type Element

Element type Element

Element type Element

3.1.6 Area of study 5: Jazz

Element type Element

3.1.7 Area of study 6: Contemporary traditional music

Element type Element

Element type Element

Element type Element

3.1.9 Musical language: Areas of study 2 – 7

Performance type Definition Technical control, Expressive control,

Ensemble performance Synchronisation of

3.3.1 Documenting the composition

4.1 Aims and objectives

4.2 Assessment components

Section A: Listening (Assessment objectives AO3 and AO4)

Section B: Analysis (Assessment objectives AO3 and AO4)

Section C: Essay (Assessment objective AO4)

Evidence type Requirement

Component 3: Composition (Assessment objective AO2)

Composition 1: Composition to a brief

Composition 2: Free composition

Evidence type Requirement

Assessment objective weightings for A-level Music

Assessment Component weightings (approx %) Overall

Component Maximum raw mark Scaling factor Maximum scaled

4.4 Assessment criteria

Component 2: Performance assessment grids

Mark Assessment grids

Mark Instrumental/vocal Production

4.4.1.2 Technical control

Mark Instrumental/vocal Production