GCSE Music November 2018 E-Moderation Summer 2019 GCSE Music - - PowerPoint PPT Presentation

CCEA Support Event

GCSE Music

November 2018

E-Moderation – Summer 2019

GCSE Music

eCandidate Record Sheet (eCRS)

Contents

• What is eCRS?
• Why use eCRS?
• eCRS FAQs Handout.
• Support & Help with eCRS.
• Recommendations.

What is eCRS?

eCRS is an online application used to provide marks/comments and other required information to CCEA as part of the moderation process. Removes the need to use hardcopy:

• candidate record sheets;
• OMR TAC1 form;
• TAC2 form (Internal Standardisation information/confirmation).

Provides the facility to:

• record candidates’ marks with automatic totalling;
• confirm internal standardisation has been carried out;
• confirm centre authentication of controlled assessment/coursework;
• capture signed confirmation from candidates to authenticate their work;
• link teacher reference codes (e.g. teacher’s initials) with candidates;
• validate submissions.

Why use eCRS?

What are the key benefits?

• Reduces paperwork.
• Removes any totalling errors.
• Validates all required data.
• Improves the process for centres and CCEA.
• Reduces queries going back to centres.
• Involves the right people.
• Prepares centres and CCEA to deal with future technology changes.
• Allows teachers to complete controlled assessment administration earlier.

Compulsory use of eCRS has been phased in since summer 2010. The application has been developed based on the feedback received from

• teachers. You will have the opportunity to provide your own feedback on

eCRS after the summer 2018 series.

eCRS FAQs Handout

eCRS FAQs Handout – available on microsite

• Questions and answers on:

1. Registering and getting started. 2. Recording marks/comments and teacher codes. 3. Finalising marks and completing the eCRS process. 4. Getting support & recommendations.

eCRS example – G9712

eCRS example – G9712

Support & Help with eCRS

• Refer to the eCRS FAQ Handout
• View E-Moderation microsite.

(CCEA home page www.ccea.org.uk > Qualifications > E-Moderation) In the eCandidate Record Sheet section:

• View the online tutorial (lasts 5 minutes).
• Refer to the quick start guide and detailed user manual.
• Any queries or need for additional support can be emailed to

moderationteam@ccea.org.uk

Recommendations

 Get familiar with the eCRS process by reading the FAQs handout.  View the eCRS online tutorial in the E-Moderation microsite.  Talk to colleagues at your centre who have already used eCRS.  Discuss/agree who will be registered in your department.  From December contact your Exams Officer to register you. You can then login and get familiar with the system.  Agree within your department when you want to start recording marks for candidates on the eCRS.  Use the guidance documents available on the E-Moderation microsite when using the application.  Don’t leave it all to do in the last few days before the deadline. “Online tutorial is invaluable”.

Comment received from a teacher using the application for the first time.

Specification at a glance

Content Assessment Weightings Component 1:

Performing and Appraising

Visiting examination One solo One ensemble Discussion

35%

Component 2:

Composing

Controlled assessment Two compositions (one in response to a stimulus)

30%

Component 3:

Listening and Appraising

One exam: 1 hour 30 mins Based on set works and unfamiliar music

35%

Component 1:

Performing and Appraising

Visiting period 2019: Monday 1 April – Friday 10 May

Students should be able to:

• Create a solo and ensemble performance with

technical control and accuracy

• Discuss the music they perform

Component 1:

Performing and Appraising

• Candidates perform at least two pieces of

music:

– One solo (at least 2 minutes) – One as part of an ensemble (at least 1 minute)

• The combined duration of both performances

should be no longer than 6 minutes

• Accompaniments may be live or in the form of

a backing track

Component 1:

Performing and Appraising

• Candidates discuss their performances with

the visiting examiner

• The discussion lasts approximately 3 minutes

and focuses on:

– The rationale for their choices – The titles, composers and stylistic content of the programme – The technical challenges encountered – The stylistic conventions of the programme

Component 1:

Performing and Appraising

Marking Criteria – Appendix 2, page 31

Solo Performance Ensemble Performance Discussion Technical control and accuracy (15 marks) Expressive interpretation, sense of style (12 marks) Level of demand (3 marks) Technical control and accuracy (12 marks) Sense of ensemble, balance and dynamics (15 marks) Level of demand (3 marks) Evaluative discussion (10 marks)

Total available: 70 marks

Component 1:

Performing and Appraising

Use of Technology:

• Laptops, desktops, tablets and MP3 players

must be free-standing

• Mobile phones are not permitted in the

examination room

• Further, in-depth guidance can be found on the CCEA Music

microsite

Component 1:

Performing and Appraising

Procedural Changes:

• Candidate Assessment Forms should be

downloaded and pre-populated by the centre in advance of the visiting exam

• Music Media Sheets should also be

downloaded, completed and sent to CCEA in February 2019 Hard copies of these documents will not be posted to centres by CCEA

Component 2:

Composing

Students should be able to:

• Create and develop musical ideas
• Understand, control and make use of musical

resources effectively

• Within a chosen style, make use of

– Harmony – Texture and accompaniment – Rhythm – Expression – Music technology

Component 2:

Composing

Candidates compose two pieces of music: Composition A

Candidates choose their own brief, style and resources

Composition B

In response to a pre-release stimulus:

• a short melodic fragment;
• a rhythmic motif; or
• a chord sequence.

Component 2:

Composition B

Component 2:

Composing

• Candidates must submit both compositions in the

form of a recording and one of the following:

• a score
• a lead sheet
• a written account
• The combined length of both compositions

should be 3 – 6 minutes

• Candidates have 25 hours to complete both

compositions

Component 2:

Composing – Skills Development

Component 2:

Composing

Marking Criteria – Appendix 4, page 38

Compulsory Criteria Optional Criteria (choose 3) Creation, organisation and development of ideas (10 marks) Understanding, control and use of resources (8 marks) Use of harmony (4 marks)* Texture and accompaniment (4 marks) Rhythmic interest (4 marks) Expressive interest (4 marks) Use of technology (4 marks)

Total available: 30 marks for each composition

*Use of harmony must be assessed in Composition A

Component 2:

Composing

Procedural Changes:

• Switch to E-Moderation (e Candidate Record

Sheet)

– Candidate marks should be uploaded for both compositions – Audio tracks and accompanying documentation should be collected 1 May 2019 – AUDIO TRACKS WILL NOT BE UPLOADED FOR GCSE IN SUMMER 2019

Component 2:

Composing

Guidelines on the submission of composition audio:

• Submit all candidate work on one audio CD
• The tracks should be ordered by candidate

number

• Please include a track list with the CD

Component 3:

Listening and Appraising

Students should be able to:

• Demonstrate and apply musical knowledge and

understanding in relation to familiar and unfamiliar music

• Comment perceptively on the following musical elements:

– Melody – Harmony – Tonality – Form and structure – Timbre – Texture – Tempo – Dynamics

Component 3:

Listening and Appraising

Four compulsory Areas of Study: Western Classical Music 1600 – 1910

1. Handel: For Unto us a Child is Born from Messiah 2. Mozart: Horn Concerto No. 4, third movement 3. Berlioz: Symphonie Fantastique, fourth movement

Film Music

1. Coates: March (The Dam Busters) from The Dam Busters 2. Williams: Superman Theme from Superman 3. Horner: Young Peter from The Amazing Spider-Man

Component 3:

Listening and Appraising

Four compulsory Areas of Study: Musical Traditions of Ireland

1. Beoga: Prelude Polkas: Prelude Polka, Paddy’s Polka No.2 and Millstream Reel 2. Stonewall: Fife Medley: Boys of Belfast and The Girl I Left Behind

Popular Music 1980 – present day

1. Eurythmics: Sweet Dreams 2. Ash: Burn Baby Burn 3. Florence and the Machine: Cosmic Love

Component 3:

Listening and Appraising

• One written examination lasting 1 hour 30 minutes
• The examination has three sections:

Section A: questions based on the set works Section B: questions based on unfamiliar music from within the Areas of Study Section C: one extended writing, listening question based on a set work

• The total available for the examination is 70 marks

Component 3:

Listening and Appraising

The examination includes the following styles of questions:

• short response, factual questions based on the extracts;
• descriptive extended writing based on the set works;
• pinion-based questions drawing on musical knowledge and

understanding in the Areas of Study;

• notation, melody completion and identification based on main

themes;

• pitch identification;
• completion of rhythms;
• instrument and voice recognition;
• time signature recognition; and
• identification and reordering of themes or motifs.

Component 3:

Listening and Appraising - Support

Contacts: GCSE Music

Education Manager: John Trueman Telephone: 028 90 261200 Ext 2609 Email: jtrueman@ccea.org.uk Subject Support Officer: Nola Fitzsimons Telephone: 028 90 261200 Ext 2235 Email: nfitzsimons@ccea.org.uk Specification, sample assessment and support materials available on the subject microsite at www.ccea.org.uk