Subject criteria comparison chart v5 doc by ISM Musicians

Music GCSE, AS and A level consultations 2014 Incorporated Society Musicians’ (ISM) guide

The basics: GCSEs, AS levels and A levels in music are regulated by ‘subject criteria’ and ‘subject content’ which are published by the Government. Subject criteria are the guidelines for assessment in particular subjects and are decided by Ofqual, the regulator for exams and qualifications. When exam boards and awarding organisations like Edexcel/Pearson, AQA, OCR and WJEC publish examination specifications they have to abide by these regulations if they want to be called GCSEs, AS and A levels. Subject content is what the Department for Education decides should be taught in every single exam in a particular subject. The

two consultations: On Wednesday 16 July 2014 the Department for Education launched a consultation on the subject content for music GCSE and music AS and A level. The Department for Education consultation closes on Friday 19 September 2014. On Tuesday 15 July 2014 Ofqual launched a consultation on the subject criteria for music GCSE and music AS and A level. The Ofqual consultation closes Monday 22nd September 2014.

Comparison charts: As the subject association for music, we have partnered with NAMHE and MEC to publish a short comparison guide to the different versions of GCSEs, AS levels and A levels in music. This will help you respond to the Government’s consultations and give an overview of the proposed changes

This comparison chart has been put together by Dr Chris Collins (NAMHE), Dr Alison Daubney (MEC) and Henry Vann (ISM) to help individuals respond to the consultations on GCSE Music published by Ofqual and the Department for Education.

We support the musical and inclusive Aims & Objectives of Ofqual’s proposed subject criteria. This is a once in a lifetime opportunity to influence GCSE music and deliver a more rigorous, more challenging, more relevant and more musical music GCSE which is accessible to all pupils who take music as part of the National Curriculum. Our main concerns:

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We are concerned that the Aims & Objectives set out by Ofqual and the Department for Education are not followed throughout the proposed subject criteria and content.

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Ofqual propose that ‘the percentage of marks allocated to non-exam assessments 1 should be 60 per cent.’ We believe that this should be 70 per cent to enable flexible and musical delivery of assessment and learning. In a subject where music is the primary method of communication it is difficult to see how this could be achieved with as much as 40% of assessment examined.

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Likewise, given music’s status as both a practical and academic subject we are concerned at the removal of the process of music making from the current drafts. References to assessing a ‘composition’ and ‘performance’ risk teaching to the test and should be replaced by references to composing and performing.

Ofqual defines exams as ‘assessments which are taken by all students at once, under formal supervision, and are set and marked by exam boards.’

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In general we are concerned that terminology has been weakened and made less challenging and less musical in the final draft.

GCSE music Current GCSE music Subject Criteria and Content (DfE/Ofqual)

Stakeholder-approved draft revision Music Education Council

Latest Ofqual/DfE version Subject Content (DfE) Subject Criteria (Ofqual)

Guideline comments to help you understand the consultation

Introduction

Paragraph 1 (Content) GCSE subject content sets out the GCSE subject content sets out the knowledge, understanding, skills and knowledge, understanding and skills assessment objectives common to all common to all GCSE specifications in a GCSE specifications in a given subject. given subject. Together with the assessment objectives it provides the The subject criteria provide the framework framework within which the awarding within which the awarding organisation organisations create the detail of their creates the detail of the specification. specifications, so ensuring progression from key stage 3 national curriculum requirements and the possibilities for development into A level. Paragraph 1 (Criteria) GCSE specifications in Music should encourage learners to be inspired, moved and changed by following a broad, coherent, satisfying and worthwhile course of study and to develop broader life-skills and attributes including critical and creative thinking, aesthetic sensitivity, emotional awareness, cultural understanding, self-discipline, selfconfidence and self-motivation. They should prepare learners to make informed decisions about further learning opportunities and career choices

The GCSE Music specifications support students in forming personal and meaningful relationships with music through the development of musical knowledge, skills and understanding. They encourage students to engage critically and creatively with a wide range of music and musical contexts, develop an understanding of the place of music in different cultures and contexts and reflect on how music is used in the expression of personal and collective identities. GCSE Music specifications also support the development of musical fluency.

This simple introduction has been improved by the Department for Education and Ofqual as it identifies continued study of music as a relevant consideration. This introduction also describes the formal relationship between the Subject Criteria (which determine the mode of assessment and are set by Ofqual) and the Subject Content (which determines the knowledge, skills and understanding required by a subject and is set by the Department for Education).

Paragraph 2 (Content) GCSE music specifications must support There are no significant comments to students in forming personal and make in relation to this. meaningful relationships with music through the development of musical knowledge, understanding and skills. They must encourage students to engage critically and creatively with a wide range of music and musical contexts, develop an understanding of the place of music in different cultures and contexts and reflect on how music is used in the expression of personal and collective identities. GCSE music specifications must also support the development of musical fluency and provide access to further study of music at AS and A level.

Aims and learning outcomes

Paragraph 2 (Criteria) GCSE specifications in Music must enable learners to:

Paragraph 3 (Content) GCSE specifications in Music must offer a GCSE specifications in music must offer a broad and coherent course of study which broad and coherent course of study which enables learners to: encourages students to:

Aims and learning outcomes The aims and learning outcomes have been substantially expanded by the Government. This is good news and is welcome.

Actively engage in the process of music study in order to develop as effective and independent learners and as critical and reflective thinkers with enquiring minds; Develop their own musical interests and skills including the ability to make music individually and in groups; Evaluate their own and others’ music; understand and appreciate a range of different kinds of music.

engage actively in the process of music study

engage actively in the study of music

demonstrate the ability to make music individually and in groups

develop skills to perform music individually and in groups and demonstrate some fluency and control of the resources used

communicate effectively as musicians

develop knowledge, understanding and skills needed to communicate effectively as musicians develop skills to organise musical ideas and make use of appropriate resources

Process The omission of the ‘process’ of musical learning is concerning. Musical processes (such as the activities of performing and composing over time) lie at the heart of musical learning. We want to see the process of musical development included as part of every specification. (You may wish to refer to Ofsted’s Music in schools: wider still and wider, which expresses concern at earlier key stages that there is not enough music happening in classrooms.)

Integration There is a difference between simply ‘recognising the links’ between the activities of performing, composing and listening and actually ‘integrating’ integrate musical knowledge and recognise links between the integrated performing, composing and listening in understanding with musical practice activities of performing, composing and meaningful and musical ways. There is a appraising underpinned by attentive risk that the three activities end up being listening taught in silos if demonstrating integration is not required; this would share more develop their own musical creativity, broaden experience and interests, develop with the current GCSE than with the imagination and interests imagination and foster creativity rigorous proposal put forward by the music sector. At Key Stage 4 pupils should understand musical context and develop develop awareness of music technologies be able to successfully integrate an awareness of musical chronology and their use in the creation and composing, performing and listening to presentation of music varying degrees of success. Meaningful musical integration will ‘broaden understand, analyse, engage critically with recognise contrasting genres, styles and experience and interests, develop and respond to contrasting genres, styles traditions of music, and develop some imagination and foster creativity’ (Aims and traditions of music; awareness of musical chronology and Learning Objectives). develop an awareness of a variety of instruments, styles, technologies and approaches to composing and performing

develop awareness of a variety of instruments, styles and approaches to performing and composing

develop as effective and independent learners and as critical and reflective thinkers with enquiring minds

develop as effective and independent learners with enquiring minds

reflect upon and evaluate their own and others’ music

reflect upon and evaluate their own and others’ music engage with and appreciate the diverse heritage of music, in order to promote

personal, social, intellectual and cultural development Subject content

Subject content

Paragraph 3 (Criteria) The content of GCSE specifications in The content of GCSE specifications in Music must reflect the learning outcomes. Music must reflect the learning outcomes. Paragraph 4 (Criteria) Specifications should reflect cultural diversity. Paragraph 5 (Criteria) GCSE specifications in Music must require learners to develop their ability in performing/realising and composing, and their listening/appraising skills.

Specifications must reflect musical and cultural diversity GCSE specifications in Music must require learners to develop and demonstrate their practical musicianship skills, and their listening/appraising, analysing, discriminating, critically engaging skills.

Paragraph 6 (Criteria) GCSE specifications in Music must require Through integrated approaches to learners to demonstrate knowledge and performing, composing and listening, understanding of... GCSE specifications in Music shall require learners to demonstrate knowledge, skill and understanding relating to...

Musical elements Paragraph 6 (Criteria) the use of musical elements, devices, tonalities and structures;

Paragraph 4 (Content) GCSE specifications in music must require students to develop and demonstrate their musicianship skills through performing, composing and appraising.

Critical engagement Analysis and critical engagement have been omitted from the final draft despite all stakeholders agreeing that critical engagement with music is important in relation to the integration of performing, composing and appraising. ‘Critical Paragraph 5 (Content) engagement’ is included in the Purpose of GCSE specifications in music must require Study for the new National Curriculum. students to demonstrate knowledge and ‘Critical Engagement’ must be included in understanding of the musical elements, the subject content of new GCSE music. musical contexts and musical language listed below, and allow students, where appropriate, to apply these to their own work in performance and composition

Musical elements Organisation of pitch (melodically and harmonically)

Musical elements Paragraph 5 (Content) organisation of pitch (melodically and harmonically) including scale, triad, arpeggio and perfect and imperfect cadences

tonality and tonal processes

tonality including major, minor and pentatonic

structure

structure including binary, call and response, ternary, verse and chorus, rondo, theme & variations and ground bass

sonority (instrumentation/timbre)

Subject content Development We welcome the inclusion of the verb ‘develop’ as this requires more than simply the ‘demonstration’ of knowledge and understand and implies that process must be included elsewhere in the new specifications.

sonority including identification of standard orchestral timbres and standard

Musical elements The Art & Design criteria do not specify beyond basic terminology and there is no rationale for the music criteria/content to define these terms so narrowly. The current proposal focuses solely on western classical terminology at the expense of context, cultural heritage and atonality and modal music. We again refer to the successful and not unnecessarily limited Art & Design criteria: ‘the ways in which meanings, ideas and intentions can be communicated through music using formal elements, including...’

vocal groupings rhythm, metre and tempo

tempo, metre and rhythm including pulse, simple time, compound time, triplets, dotted rhythms and common Italian terms, e.g. allegro, andante

texture

texture including unison, chordal and solo dynamics including accents, loud and quiet and basic Italian terms e.g. piano, forte

dynamics Musical skills

Musical skills

Musical language

Paragraph 6 (Criteria) reading and writing notation (Staff the use of resources, conventions, notation and awareness of other notations processes, music technology and relevant e.g. tab, graphic scores) notations including staff notation; the use of resources (including music technology), conventions, processes and relevant notations and communicating through: performing skills e.g. interpretation, expression, control, fluency, reflection

Musical skills and / or language

Paragraph 5 (Content) reading and writing of staff notation including treble-clef and bass-clef note names,

The Government has unfortunately replaced references to skills with references to language, narrowly defined as a list of vocabulary from a limited section of the western art tradition. We simple note values, key signatures to four are deeply concerned that this has been sharps and four flats altered at the request of awarding bodies who would find a vocabulary test easier chord symbols including major chords and and cheaper to assess, to the detriment of minor chords real musical learning.

accurate use of musical vocabulary Pupils should be able to confidently talk Composing skills e.g. creating, including recognition and use of about – and reflect upon – their own and experimenting, improvising, recording and appropriate terminology e.g. slide, repeats others’ music in different contexts. capturing ideas, developing and refining and stepwise Likewise, with notation, pupils should not critical engagement with music e.g. merely ‘read and write’ notation but through attentive listening, aural should be able to ‘use notation awareness, informed discussion, analysis, appropriately to the musical context.’ discrimination, evaluation Musical contexts Paragraph 6 (Criteria) the contextual influences that affect the way music is created, performed and heard including the effect of different intentions, uses, venues, occasions, available resources and the cultural environment

Musical contexts

Musical contexts Paragraph 5 (Content)

The contextual influences that affect the way music is created, performed and heard including where appropriate: composer, performers and audiences

composer, performer and audience including amateur and professional, commissioning, soloist, domestic and public audience

occasion, time and place (including social, occasion, time and place including sacred

Musical contexts This is too restrictive to individual schools, head teachers and teachers. The proposed versions are better. This should not be defined within the subject criteria as it limits the options available to teachers and head teachers. The list as proposed ‘sacred and secular’ is unhelpful and it is not clear how this sits alongside the stated aim and learning objective for pupils to ‘engage with and

historical and cultural contexts), Purpose and intentions Genres, Styles and traditions, purpose and intentions.

and secular, private or public and venue e.g. concert hall, stadium

appreciate the diverse heritage of music, in order to promote personal, social, intellectual and cultural development.’ It should also be noted that pupils are already engaging and creating music in their own contexts, for example in a County Youth Orchestra or Band, in a way which cannot be reproduced effectively in a classroom environment.

Areas of study

Areas of study (Content)

Areas of study

Paragraph 7 (Content) GCSE specifications in music must require students to apply the knowledge and understanding in paragraph 3 as appropriate through the skills of... - performing - composing - appraising Paragraph 7 (Criteria) Learners must develop their aural perception, musical skills, and the knowledge and understanding described in paragraph 6 through a contrasted range of three to six areas of study. An area of study could be based on a musical device, a musical process, a contextual influence, a specific genre or a specific style.

GCSE specifications must develop understanding, application and contextual use of music and its desired intentions, including exploring historical and cultural contexts.

Paragraph 8 (Content) The rationale behind the selection of Areas of study must provide an dates, other than the numbers being appropriate focus for students to round numbers, is not clear. It omits... demonstrate knowledge, understanding [send suggestions of music that would be and skills. They must encompass omitted from this definition to repertoire that allows the musical henry.vann@ism.org]. For this to be GCSE Music specifications must require elements, musical contexts and musical relevant to ‘further study of music at AS learners to develop knowledge, skills and language to be taught in context and and A level’ (see the Department’s understanding of music through the study allow opportunities for students to proposed Aims and Learning Objectives) of a balanced range of areas of music demonstrate contextual understanding and of relevance to the music sector it which must include Western Classical through their performance and must incorporate a greater breadth of Music and at least one other area of composition. study and include present day music. Paragraph 8 (Criteria) music. For each area of study the specification Paragraph 9 (Content) With a limited number of areas of study must identify clearly the particular aspects An area of study might be, for example, a (2) it is not clear how this matches the of musical knowledge and understanding genre, style, musical device, idiom, aims and learning objectives for pupils to from paragraph 6 that are to be studied. musical process, period of time, cultural ‘engage with and appreciate the diverse The range within or across areas must tradition or contextual influence heritage of music, in order to promote include music from the past and present, personal, social, intellectual and cultural from the western classical tradition and Paragraph 10 (Content) development.’ Students should other world cultures. GCSE music specifications must require demonstrate the knowledge, students to demonstrate knowledge, understanding and skills from paragraph 5 Paragraph 9 (Criteria) understanding and skills from paragraph 5 through i) four areas of study selected A specification must require learners to through four areas of study. from ii) four different options

make connections between the three aspects of musical knowledge and understanding described in paragraph 6.

demonstrating a range, balance and at least one area of study must be breadth of music from different genres, drawn from music composed in the idioms and contexts. western classical tradition between 1700 and 1900 at least one other area of study must be drawn from a contrasting area of music (this could be from the western classical tradition outside of 1700 – 1900, or from a different tradition within the years of 1700 – 1900, or from a different tradition and time period)

Paragraph 11 (Content) GCSE music specifications must offer a minimum choice of 4 areas of study and require students to place music studied within a wider context and chronology. Definitions

Definitions Perform Playing or singing music solo or in ensemble, recreating music using music technology or realising music, directing ensembles, in all cases with a sense of occasion, and with due attention (as appropriate) to the style of music, observance of the composer’s directions, interpretation, expression, technical control and fluency. Improvising involves elements of performing and composing, but is usually thought of principally as a form of performing.

Definitions Perform Paragraph 6 (Content) make use of musical elements, techniques and resources to interpret musical ideas with technical control, expression and interpretation. This must be achieved by one or more of the following means: playing or singing music, improvising, or realising music using music technology perform music with control, making expressive use of phrase and dynamics appropriate to the style and mood of the music

Definitions We are pleased to see music technology included in the definition. There is a tautology in the definition proposed by the Department which must be removed: ‘interpret [...] with interpretation.’ Simply ‘making use’ of musical elements etc... is not sufficient to define a creative musical process. It is difficult to see how music could be performed without the use of musical elements etc... We recommend removing this redundant duplication and instead incorporate communication into the definition (see the stakeholder proposal for an alternative). For the purposes of the subject criteria this definition should include a reference to ensemble performance as requested.

Compose Creating music that has not previously existed (either freely as the composer

Compose Paragraph 6 (Content) The same changes need to be made here, make use of musical elements, techniques and reference should be made to pupils’ and resources to create and develop creativity and the process of composing

chooses or by responding to a brief or commission supplied by others). It also means basing new music on existing ideas (e.g. where a set of variations is built on a pre-existing theme, or where parts are added to harmonise a given melody). Composing involves the process of creating new ideas and/or supporting material, experimenting, developing, being influenced by other composers’ work (through playing or listening and quite distinct from plagiarism) and the critical refinement of successive drafts. Ideas must be captured (in notation or in sound according to circumstances).

musical ideas with technical control and coherence; freely as the composer chooses, and responding to a brief or commission supplied by others. This must be achieved by one or more of the following means: experimenting, developing, critical refinement and being influenced by other composers’ work

Appraising The activities arising from critical engagement with music – typically attentive listening (rather than just hearing), aural perception, forming critical judgements, informed discussion (in writing and/or through speech), analysis, evaluation, contextualisation and reflection.

Appraise Paragraph 6 (Content) We welcome the reference to critical reflect upon, analyse and evaluate music judgments in this final proposal. in aural and/or written form, using knowledge and understanding of musical elements, techniques and resources to make critical judgements about repertoire and context of music within the areas of study.

compose music that shows an ability to develop musical ideas and use conventions, and explore the potential of musical structures and resources

and creating music. Simply ‘making use’ of musical elements etc... is not sufficient to define a creative musical process. It is difficult to see how music could be composer or created without the use of musical elements etc... We recommend removing this redundant duplication and instead incorporate communication into the definition (see the stakeholder proposal for an alternative).

make critical judgements about their own and others’ music, using a musical vocabulary formulation of critical judgements will be achieved by attentive listening (rather than just hearing) and aural perception

Assessment Objectives

Paragraph 10 (Criteria) Performing skills: performing/realising with technical control, expression and interpretation. 30–40%

Communicate through performance skills: Apply performance skills with technical performing/realising with technical control, expression and interpretation control, expression and interpretation. 30% 25–35%

The application of skills without assessing successful communication is disappointing and non-rigorous. This should be corrected to refer to communication.

Paragraph 10 (Criteria) Composing skills: creating and developing musical ideas with technical control and coherence. 30–40%

Create and develop musical ideas with Apply composing skills to create and technical control and expressive develop musical ideas with technical understanding, making creative use of control and coherence 30% musical devices, conventions and resources (composing/arranging). 25-35%

The application of skills without assessing successful communication is disappointing and non-rigorous. This should be corrected to refer to communication.

Paragraph 10 (Criteria) Listening and appraising skills: analysing

Recall and demonstrate knowledge of musical elements, musical contexts and

Apply appraising skills to make evaluative Having considered this distinction further, and critical judgements about music 30% we are concerned about the impact of

and evaluating music using musical terminology. 30–40%

musical language through critical engagement 15-25%

limiting knowledge and understanding to specific musical elements. We therefore propose redrafting this, and combining the third and fourth assessment objectives as follows: Apply appraising skills to make evaluative and critical judgements about music and demonstrate and integrate knowledge and understanding of musical elements, musical contexts and musical language 40%

Paragraph 11 (Criteria) Demonstrate knowledge and apply The three assessment objectives are understanding through appraising and interrelated and links between them must critically engaging with music 15-25% be recognised and reflected in the scheme of assessment. [no marks]

Demonstrate knowledge and understanding of musical elements, musical contexts and musical language 10%

Scheme of Assessment

Paragraph 12 (Criteria) GCSE specifications in Music must allocate a weighting of 40 per cent to external assessment and a weighting of 60 per cent to controlled assessment in the overall scheme of assessment.

GCSE specifications in Music are allowed a maximum weighting of 70 per cent to non-examined assessment and a minimum of 30 per cent to examined assessment in the overall scheme of assessment. The examination and assessment structure must assess all Areas of Study through at least one of the assessment objectives.

The percentage of marks allocated to nonexam assessments should be 60 per cent, reflecting the balance between the practical and theoretical elements in the subject content.

Scheme of Assessment We are disappointed with the focus on examinations.

Despite the willingness to allow Art & Design to be 100% non-examined, the music industry and music education sector Defining the percentage of marks to be and music profession’s near universal Paragraph 13 (Criteria) allocated to exam and non-exam request to have 70% non-examined All areas of study (as described in assessment, thereby removing the current seems to have been ignored. This was paragraph 6) must be assessed. Two flexibility, will also enhance comparability already a point of compromise and we are areas of study must be assessed through With regard to performing activities, each between different qualifications in this disappointed with the Department’s both AO3 and another assessment scheme of assessment must define how subject. rejection of compromise with the objective. The scheme of assessment the level of demand of the music professional sector. must ensure that the highest grades are performed is to be recognised through the accessible by those learners who may not assessment. This should be in line with We welcome the stated intention for the receive additional specialist music lessons. the assessment criteria detailed in GCSE ‘highest grades are accessible by all syllabus for the specific instrument or learners’ but are concerned that this is not Paragraph 15 (Criteria) voice offered. met by the remainder of the subject Question papers must be targeted at the criteria or proposed subject content. full range of GCSE grades. With regard to performing and composing, the assessment should cover the process By setting the non-examined elements of of development or the final outcome or an scheme of assessment at 70% and the evaluation of the final outcome performing and composing assessment objectives at 30% (60% in total) this The scheme of assessment must ensure The scheme of assessment must ensure subject criteria will ensure that 10% of the that the highest grades are accessible by that the highest grades are accessible by appraising assessment objective will be all learners, including those who may not all learners, including those who may not incorporated into the non-examined receive additional specialist music lessons. receive additional specialist music lessons. components of the new GCSE. This will

All components must be targeted at the full range of GCSE grades. Assessment (Content) Within the performing assessment: Paragraph 14 (Criteria) With regard to performing activities, each scheme of assessment must define how the level of technical demand of the music performed is to be recognised through the assessment. Assessment information specific to the type of instrument or voice being offered must be included.

Within the composing assessment:

All components must be targeted at the full range of GCSE grades.

Assessment (Content)

help ensure integration and musical learning. Assessment (Content)

Within the performing assessment:

students should perform at least two pieces:

Paragraph 12 (Content) the total performance across all pieces must be no less than 4 minutes

There should not be time limits for performances.

The difficulty of a performance â&#x20AC;&#x201C; and the students must perform at least two pieces demonstration of process and critical engagement â&#x20AC;&#x201C; cannot be defined by the one piece must be as part of an ensemble length of the performance and we Assessment based around how students and must be a minimum of 1 minute recommend that this is set out in the perform and also critical engagement such grade descriptors. All entries should be as process or evaluation a student performing as part of an considered and then evaluated according ensemble must perform a significant to the grade descriptors rather than the individual part, which is not doubled, as a length of the performance. member of an ensemble, accompanied or unaccompanied. The ensemble must consist of two or more players. The studentâ&#x20AC;&#x2122;s part may be realised acoustically or by the use of music technology appropriate to the context. (A solo with accompaniment is not acceptable unless the student being assessed is the accompanist) One of which should be as part of an ensemble

Within the composing assessment:

Paragraph 13 (Content)

There should not be time limits for compositions for the same reason as performances. All entries should be considered and then evaluated according to the grade descriptors rather than the length of the performance.

the total composition duration across all pieces must be no less than 3 minutes students should compose at least two pieces

students must compose at least two pieces

one must respond to an Awarding Organisation commission or brief

one piece must respond to an awarding organisation set brief,

One must allow students to devise their own composition without a set brief

one piece must allow students to devise their own composition without a set brief

We welcome the recommendation that a piece is developed in response to a set brief from an awarding organisation. In order to meet the aims and learning objectives, more than one option should be required. We recommend four options.

GCE â&#x20AC;&#x201C; AS and A level music Proposed Subject Content and Subject Criteria