EXAMINERS' REPORTS ADRODDIADAU ARHOLWYR

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1 GENERAL CERTIFICATE OF EDUCATION TYSTYSGRIF ADDYSG GYFFREDINOL GENERAL CERTIFICATE OF SECONDARY EDUCATION TYSTYSGRIF GYFFREDINOL ADDYSG UWCHRADD EXAMINERS' REPORTS ADRODDIADAU ARHOLWYR MUSIC CERDDORIAETH SUMMER 2008 HAF 2008 Music (AS/Advanced) 1 MU1 1 MU2 3 MU3 4 MU4 5 MU5 7 MU6 9 Music (GCSE) 10 Cerddoriaeth (TGAU) 16 Page

2 Statistical Information GCE (AS/Advanced) This booklet contains summary details for each unit: number entered; maximum mark available; mean mark achieved; grade ranges. N.B. These refer to 'raw marks' used in the initial assessment, rather than to the uniform marks reported when results are issued. GCSE The Examiner's Report may refer in general terms to statistical outcomes. Statistical information on candidates' performances in all examination components (whether internally or externally assessed) is provided when results are issued. As well as the marks achieved by individual candidates, the following information can be obtained from these printouts: For each component: the maximum mark, aggregation factor, mean mark and standard deviation of marks obtained by all candidates entered for the examination. For the subject or option: the total entry and the lowest mark needed for the award of each grade. Annual Statistical Report Other information on a centre basis is provided when results are issued. The annual Statistical Report (issued in the second half of the Autumn Term) gives overall outcomes of all examinations administered by WJEC. Gwybodaeth Ystadegol TAG (UG/Uwch) Mae'r llyfryn hwn yn cynnwys crynodeb o'r manylion am bob uned: y nifer a gofrestrwyd; y marc mwyaf sydd ar gael; y marc cymedrig a ennillwyd; ystodau graddau. D.S. Mae'r rhain yn cyfeirio at 'farciau crai' a ddefnyddir yn yr asesiad dechreuol, yn hytrach na'r marciau unffurf a adroddir pan gyhoeddir y canlyniadau. TGAU Gall Adroddiad yr Arholwr gyfeirio'n gyffredinol at ganlyniadau ystadegol. Darperir gwybodaeth ystadegol ar berfformiadau ymgeiswyr yn yr holl gydrannau arholiad (pa un ai ydynt wedi'u hasesu'n fewnol neu'n allanol) pan gyhoeddir y canlyniadau. Yn ogystal â'r marciau a ennillwyd gan ymgeiswyr unigol, gellir cael y wybodaeth ganlynol o'r allbrintiau hyn. Ar gyfer pob cydran: y marc mwyaf, ffactor agregu, marc cymedrig a'r gwyriad marciau safonol a ennillwyd gan yr holl ymgeiswyr a gofrestrwyd am yr arholiad. Ar gyfer y pwnc neu'r opsiwn: y cofrestriad cyfan a'r marc isaf sydd ei angen ar gyfer dyfarnu'r pob gradd. Adroddiad Ystadegol Blynyddol Darperir gwybodaeth arall ar sail canolfan pan gyhoeddir y canlyniadau. Mae'r Adroddiad Ystadegol blynyddol (a gyhoeddir yn ail ran Tymor yr Hydref) yn rhoi canlyniadau cyffredinol yr holl arholiadau a weinyddir gan CBAC.

3 MUSIC General Certificate of Education 2008 Advanced Subsidiary/Advanced Chief Examiner: Richard Whitehead M.A. (Cantab) MU1 Listening Unit Statistics The following statistics include all candidates entered for the unit, whether or not they 'cashed in' for an AS award. The attention of centres is drawn to the fact that the statistics listed should be viewed strictly within the context of this paper and that differences will undoubtedly occur between one year and the next and also between subjects in the same year. Unit Entry Max Mark Mean Mark MU Grade Ranges A 78 B 67 C 57 D 47 E 37 N.B. The marks given above are raw marks and not uniform marks. The number of candidates unable to cope with the demands of the paper continues to be worrying. Fortunately this is offset by a number of very capable students and, in general, standards are broadly similar to last year. Q.1 Few had the confidence to believe what they heard or perhaps lacked the aural skills to recognise both sections as minor. Answers to (d) and (e) showed that a large number of candidates had little knowledge of which terms were appropriate to movements and which to whole works. There were a few who achieved full marks in this question. Q.2 The main problem for many was in not answering the questions set. (a) asked for features of rhythm, (b) for other melodic features. Most candidates wrote about anything they heard. As (a) asked for three features, only the first three responses were considered. It seems unfair to effectively penalise those who follow the rubric by looking for correct answers in a long list. Despite so many offering ground basses in MU2 (although they are rarely that), few spotted this form in (d). 1

4 Q.3 As in 2 (a) and (b), it was common in (a) to find comment on all aspects of the music. Offerings on the violin writing (b) included many describing what the other violin (despite the introduction to the question) was doing. One candidate offered detail on the banjo and guitar parts. Q.4 This question still reveals a significant number of AS students with no notational skills at all. Some were even defeated by the time signature. Few identified both keys but cadences fared better, as did sequence and the many other locations. Almost all who attempted the melodic dictation gained some credit and there were a number of completely correct responses. MU1 Essays (Coursework) Examiners felt that there had been a slight improvement of standards this year, the last of this unit, although it remains for a further year for those wishing to resit. Observations on what might be done to improve submissions are therefore largely irrelevant and are all contained in previous Examiner s Reports. 2

5 MU2 Composing Unit Entry Max Mark Mean Mark MU Grade Ranges A 24 B 20 C 16 D 13 E 10 N.B. The marks given above are raw marks and not uniform marks. Comments from examiners were mixed suggesting that standards are similar to last year. Many centres consider the two compositions to be a free one and a Baroque (or Musical Theatre) one. Free compositions seem to be more successful as candidates are composing to their strengths. Some overstretch themselves, perhaps by writing for large orchestra with neither the orchestration skills nor the material to justify the large format. At the opposite end are over-simple pieces, the worst example being the words of a nursery rhyme with random guitar chords and neither a melody line nor recording. Baroque pieces were often formulaic leaving little scope for imagination and it was clear that many were not at their best trying to write two-part counterpoint. Some managed very well and clearly had an understanding of the style. Musical Theatre songs varied from sophisticated numbers to simple sequenced offerings without even the words given. Links to Ballet were very rare. This unit is only available next year for those wishing to re-sit so administrative comments will appear with the report on MU5 Composing. 3

6 Unit Entry Max Mark Mean Mark MU Grade Ranges A 19 B 16 C 14 D 12 E 10 N.B. The marks given above are raw marks and not uniform marks. MU3 Performing The examining team felt that standards this year were similar to last but several commented on the lack of outstanding performances. Most candidates performed at or above the required level but, as in the past, some brought their overall mark down by performing on a second (or even third) instrument to a lower standard. Links to Areas of Study were sometimes lacking or fanciful, and attempts by rock guitarists and drummers to go Baroque were sometimes misguided. By now the demands of the criteria for assessment should be known to all but communication is still a weak area. I personally visited one centre where all the singers (the majority of candidates) were engrossed in copies and failed to engage with the listener. At other centres, all had learned the songs and gave vibrant performances. Although still available next year for re-sitting, this is the last year of this specification. Administrative comments will be given with the report on MU6 Performing. 4

7 MU4 Listening Unit Entry Max Mark Mean Mark MU Grade Ranges A 75 B 66 C 57 D 49 E 41 N.B. The marks given above are raw marks and not uniform marks. Standards seemed to be broadly similar to last year with a very wide range of abilities obvious. Q.1 This continues to be a searching test of the candidates notational and aural skills, a combination not found in large numbers. Two incorrect pitches, an added accidental and two rhythm changes were present and the rubato in bar 8 led the examiners to allow an extra rhythmic change here, heard and corrected by several. The A flat in 12 was the most commonly noted change followed by the rhythm in 15. Few candidates gained full marks. Some attempted to correct the cue bars. Q.2 The main difficulties seemed to be in candidates not understanding what harmony was or trying to comment on instrumentation without mentioning instruments. There were also many cases of stock neo-classical features being listed regardless as to whether or not they were present in the extract. The best candidates listened carefully and applied their learning to the music and the questions. Q.3 Only a few were precise enough to give canon in (a) and focussing on what was required in (c) and (d) proved difficult for many. The more aggressive moments caused a large number to opt for expressionism as the school of composition and to give reasons related to their choice, rather than the music. Q.4 This tended to be quite well answered with a number of full or almost full marks being gained. The guidance to not merely list the instruments you hear caused a good number to attempt (a) without mentioning any instruments. Many correctly identified expressionism and were well prepared to follow this up with an appropriate composer and date. Q.5 Many listened carefully and recognised most of the instruments involved (including a trombone, not in the score but substituted for a low trumpet phrase). (b) and (c) were less successful and few got back to the 1920s in (e), perhaps thinking that it was rapping. 5

8 MU4 Essays Bartok and the related topic is by far the most popular choice: very few study the Weill. Option A Bartok: Concerto for Orchestra and a study of the Concerto Grosso There was a wide range of responses with a number of candidates showing a clear understanding of the sections and the thematic origins. Some wasted time on analysis of other parts of the movement, even the whole work. It seemed as if some had played Russian Roulette with regard to which parts of the work to revise: too often the analysis was purely descriptive, noting instruments, dynamics, metre and tempo changes but no structural comment. The opening bars were usually described as bar 76, x, the germinal motive, rather than deriving from it and 77, y with no mention of 78 as part of it, nor a realisation of its derivation. The trombone idea at 134 was usually ignored. The origins of themes, either earlier in the work or from folk music, were often not considered. Option B Debussy: Preludes Book 1 and a study of Preludes and Fugues Again, the range was wide. There were several perceptive essays, aware of the requirements of the question and responding to them. Many wrote quite well on tonality and harmony but the lack of a key signature in No.II led to many confident assertions that it was in C major, even when the whole-tone nature had been noted. Consideration of the piano writing and the melodic interest was less secure in many essays. Option C Weill: Threepenny Opera and a study of Singspiel Opera A large proportion of candidates failed to be directed by the requirements of the question and offered more general descriptive writing or failed to make comparisons. There were some who had a solid understanding of the two songs but these were not common. References to the instruments in some cases suggested that the Italian names in the score were not always understood. The second question on all three topics revealed similar approaches. The best answers showed a good, in-depth knowledge of earlier works, often supported by quotation. Weaker answers offered a few generalisations and attempted to build an argument on those. Writing out quotations from the scores taken into the examination room shows little other than copying skills: bar references would be most acceptable and less time-consuming. More impressive are relevant quotations from earlier works. Historical accounts of the concerto grosso, preludes and Singspiel were often found, only appropriate if relating the points made to comparisons with the set works. 6

9 MU5 Unit Entry Max Mark Mean Mark MU5 (a) MU5 (b) Grade Ranges MU5 (a) MU5 (b) A B C D E N.B. The marks given above are raw marks and not uniform marks. MU5 (a) Harmony Paper There was a very slight increase in candidates sitting this option this year, although the number remains small, 57. Because of this, as last year, all scripts were marked by the same examiner. While there were still some very capable candidates, there was an increase in the number of poor scripts. Q.1 Bach Chorale. 54 candidates attempted this, always the most popular choice. There were some excellent workings showing a real understanding of the style. The majority were less grammatically and stylistically reliable and a few showed little knowledge of what was required. Q.2 Corelli Trio Sonata. Second in popularity with 29 answers, this showed an improvement with most realising the figuring quite well and an increasing number aware of the need to prepare dissonances and resolve them correctly. Part-writing in the style of the incipit was rare. Some attempted to spice up their lines by adding dotted rhythms to their workings which usually caused an incorrect realisation of the figuring. Q.3 Mozart String Quartet.13 attempted this and few understood the harmonic pace and implications. Awareness of appoggiaturas was rare and some were at sea with the alto clef. This is probably an unwise choice for the weaker student. Q.4 (a) Schubert Song. The last point was even more true here. Of the 14 who worked the piano part, harmonic competence was uncommon and balancing the piano texture proved beyond most. (b) Bartok Piano Piece. Only 4 tried this question, perhaps a realisation that to complete the opening idiomatically requires knowledge of a less familiar style rather than mere basic manipulation of the existing material. The three bar phrase structure of the incipit was only appreciated by one candidate, the only one to attempt actual composition. 7

10 MU5 (b) Composition Several examiners commented on the lack of outstanding work this year, reflected statistically, but some first-rate pieces were seen. Links to commissions were often vague or to the centre s own commissions which were invalid. Compositions exploring one interval were least common, and often failed to live up to the commission: aspects of imitation, despite the commission, were sometimes absent. The chosen contemporary style and the conventional forms and styles were very popular but the particular form or style was often not mentioned. Music for a specified play or screenplay was frequently in a general style but some centres submitted many excellent examples of good practice. Music written for a specified occasion did not always specify the occasion. The commissions are listed on pp of the specification. At this level, a harmonic facility on a par with the harmony paper is expected (p.15). The best compositions easily showed that but a good understanding of harmony was often lacking, especially in less tonal works where the skills required are greater. Melodic shape was not always considered and development of material, a key feature in the assessment criteria, was often elementary. An understanding of the performing resources used is necessary: a number of works for large orchestra showed ambition beyond ability. The following mainly administrative points need to be repeated and are mostly relevant to MU2 as well. The candidate must complete information on the compositional process (including technology used), not an analysis of the completed work. This must be done on the MU5(ii) form, not on a separate sheet. Works which are not notated must be accompanied by further sheets giving full information about the structure, harmonies, melodic ideas, rhythmic cells, etc. used. Vital is a complete account of how the recording was made, who played what and how parts were taught to members of the ensemble. If a score has been created using Sibelius or similar, please send a recording, however limited the tonal quality. Do not send videos or midi/computer files in any form. The only acceptable recorded formats are cassette, CD (please check that it has been formatted and plays on an ordinary machine) and minidisk (standard ones that are not only playable on one brand of player, please). Recordings with the whole centre on one CD or MD are most welcome if clearly labelled. Do not use plastic envelopes for pages of scores. The Coursework Manual sets out how work should be presented. 8

11 MU6 Performing Unit Entry Max Mark Mean Mark MU Grade Ranges A 25 B 22 C 19 D 17 E 15 N.B. The marks given above are raw marks and not uniform marks. Comments from examiners were varied, no doubt reflecting the different centres visited but a common theme seemed to be that fewer outstanding performances were heard. Most candidates played at or above the required level but some very varied recitals, on the same and on different instruments, were noted. The main area for concern was the viva voce. As the marks for this are 20% of the total for the unit, candidates who fail to prepare put themselves at risk, yet many do. The examiners were unanimous in commenting on the warm welcome received at all centres. Thank you. The following points, many also relevant to MU3 need to be repeated. Centres should take care with timetabling to ensure that performers fulfil and do not exceed the time requirement, and that examiners are allowed breaks. One 15 minute break in each session (a.m. or p.m.) and an hour at lunchtime would be a minimum requirement. Efficient stewarding will help here. Copies of all music played (solo parts, not piano accompaniments) are required for all performances. In the case of non-notated performances, a comprehensive lead sheet with full details must be provided. Examiners cannot give the highest marks for accuracy if this can not be ascertained. MU6(i) and MU6(ii) forms should be correctly completed prior to the examination. Avoid having the back of pianos facing the examiner and make the keyboard visible. Dates for your diary 2008/2009 INSET Courses Mold: 11 September 2008 Carmarthen: 24 September 2008 Cardiff: 26 September 2008 Visits of performance examiners 30 March to 8 May 2009 MU1 (legacy) / MU2 (legacy / MU5(b) submission date: 1 May 2009 MU2 submission date: 15 May 2009 MU1 (legacy) Listening Test: 21 May 2009 MU3 (i)aural Perception and (ii) Set Works 21 May 2009 MU4 (i) Aural Perception & (ii) Written: 12 June 2009 MU5(a) Harmony Paper: 18 June

12 Chief Examiner: Alun Guy B.A. MUSIC General Certificate of Secondary Education 2008 I am again indebted to my team of 38 examiners for their observations on all three components of the examination. Their constructive comments are subsumed into this report, and hopefully will be of help to centres. This year has again provided a successful outcome to the examination process. I am pleased that past standards are maintained with the total number of candidates numbering Our new subject officer, Elaine Carlile has enriched the WJEC music portfolio with much enthusiasm and Celtic charm. This first year of her tenure has been arduous and demanding, but she has come through with flying colours. Apart from supervising the launch of the new A and AS level specifications, she has successfully negotiated the new GCSE spec through the misty labyrinths of QCA. Again the commendable work of Natalie our support officer and Richard our CD producer cannot be ignored. Their individual skills are appreciated by centres and examiners alike. The examination mark scheme is intended as a teaching resource in that it familiarises candidates with the correct music vocabulary. It also affords the opportunity to fathom how the mindset of the Principal Examiner works and what exactly he is looking for in the answers. The format of the questions does not change appreciably, but it is the choice of music extracts which elicit the different responses from year to year. Dates for your diaries: Inset Courses: 2008 Mold: 03 November 2008 Bangor: 04 November 2008 Carmarthen: 11 November 2008 Cardiff: 21 November 2008 Practical Visits: 02 March to 27 March 2009 Coursework: Submission date: 24 April 2009 Appraising: 13 May p.m GCSE Music statistics 2008 Grade A* A B C D E F G Mark Cumulative percentage 10

13 Performing Administration A warm welcome was extended by centres to all examiners. MU3 and MU4 paperwork was accurately completed prior to the visits, and sufficient time (about 15 minutes) had been allocated for each candidate. When over-generous with time, adjustments were soon made. Please do not let your pupils complete the MU4 forms. In some cases they had filled in the spaces for examiners comments! A few centres had used the obsolete version of the MU4 form which has now been completely re-designed. Most centres provided scores for the examiner, however, a few schools believe it is the candidate s responsibility to provide scores, particularly for guitarists and kit players. Often this leads to confusion and the end result is the lack of a score/plan for the examiner! Some schools are fortunate enough to have the services of a technical support teacher throughout the day. This is an excellent move and I encourage all music staff to try and do likewise. Anything that reduces the angst and the stress of the day is to be commended. Several examiners including myself have commented on the lack of heat in some examination rooms. Remember that you want your string and keyboard players in particular to feel comfortable as well as the examiner! Finally, I worry about the performing venues of heavy-metal rock groups. Some schools are still playing in small confined classrooms where the decibel count breaches the Health and Safety Laws! Assessment This component retains truly high standards with the majority of candidates gaining commendable scores. Some examiners have written about a few stunning performances! Very few candidates had little or no idea of what performing involved. The vast majority of candidates performed to their highest personal standards. The only negative comments tended to fall into two categories, viz poor intonation from some instrumentalists and poor projection from some inexperienced singers who are overreliant on the score. The songs from the musicals still remain a great favourite with many stylish and moving performances by both girls and boys. The accompaniments provided by staff were excellent on the whole. The technical standards of microphones and backing tracks also seem to have improved; better equipment fosters improved performances! Peripatetic staff are invaluable in helping candidates prepare for performances. I urge HODs to share feed-back reports, specification assessments etc. with their peripatetic tutors. I was taken aback at a recent peripatetic conference to learn that many tutors had never seen the performing assessment guide in the current specification! It is clear that teachers and candidates are now au fait with the demands of the examination and are preparing appropriately. 11

14 Viva voce The majority of candidates take this part of the examination very seriously indeed. They are well-informed and able to speak articulately about their pieces and links to areas of study. This year we also included discussion on the composition folio as a means of satisfying the monitoring demands of QCA. I personally found this section of the viva to be an unqualified success, with candidates full of enthusiasm and eager to share information with the examiner. It was illuminating to discover the diversity of stimuli which inspire compositions at this level. Repertoire Wide-ranging and challenging were the most frequently used phrases in the reports. Music choices seemed to be commensurate with the ability of the students. We appear to have finally shaken off the fetters of the London Exam Boards and pupils are now opting to perform works which they themselves enjoy. Popular vocal music has really taken off bigtime in our schools and I am so pleased with this trend. If this is the result of reality TV talent shows then bring em on! Only in isolated instances did the chosen repertoire not allow the candidate to fully demonstrate his/her talent due to the piece being too difficult or unsuitable for the examination criteria. A number of candidates chose to perform their own compositions; while this is to be encouraged, please ensure that the ensemble parts provide the opportunity to display both technical skills and empathy with others in the group. Most of the guitar and kit players took advantage of the Rock School exam repertoire, with professionally produced backing tracks of the highest standard. The choice of ensemble pieces has really improved over the last decade. Fewer candidates are now trying to pass off accompanied solos as ensembles. I am very pleased to learn that more music staff members are arranging popular music to tailor the individual needs of pupils in their ensembles. In the near future I would like WJEC to consider setting up a data base of suitable ensemble compositions drawn from our talented teaching staff. COMPOSING Administration In most cases this was very good with centres submitting the correct sample within 2/3 days of the closing date; some were even a week early! I know that feedback reports to centres are read carefully and any mistakes regarding rank order or authenticity signatures etc. are taken on board and rectified the following year. Cross - moderation within the same schools sometimes causes us a headache where it is obvious that the two teachers have not consulted with each other. MU1 documentation was in rank order in most cases. Centres are now completing the total number entered for the examination. We need this information to check that the sample is correct. Please refrain from writing in the space allocated for moderator comments on the MU2 forms. 12

15 Some teachers write copious supplementary notes regarding the compositions and the students. This is not really needed, since the work has already been internally moderated. MU2B caused some problems this year because forms copied from the specification were used and not the ones provided by WJEC. These copied forms did not include the section with the declaration/signature which is compulsory. Please ensure that candidates submit details regarding computer programs, backing tracks, identification and structure etc. When a score is not included, a structural outline with details of chords, patterns, devices and words (song) is needed by the moderator. Content The work submitted again reflected the wide range of abilities of the candidates. In many cases up to four AOS were represented in the sample received. This ensured that most candidates had produced two contrasting pieces which reflected their own personal musical preferences. Most centres delivered compositions that were appropriate to the task and met the assessment objectives. Some centres are still submitting two set tasks which can constrict and hamper personal development. With arrangements or transcriptions, please include the original source material. The written work is generally good, although some centres are prone to describe and analyse the compositions rather than provide information re: the process from conception to birth. Links to AOS also tended to vary in standard and content: from tenuous to excellent! In live recordings it is imperative that candidates clearly stipulate exactly what part they played. Remember that group compositions are not acceptable. If, for example, a guitarist plays an improvisatory break, then the candidate must declare this, or explain how the composer had his/her ideas realised by others. Some pieces with initially excellent ideas did not reach their potential as the end result was far too short and under the minimum time limit. When Sibelius software has been used, candidates should be encouraged to submit a printout and a recording; the moderator would certainly appreciate it. Overall the standard of work submitted is very good indeed, although care should be exercised with the cut and paste buttons! Whereas repetition has its merits as a compositional device, candidates should be reminded that there are other more effective devices available, namely, imitation, layering, contrast and modulation! We are privileged to witness a great deal of truly excellent musical talents within our schools, and many superb compositions have emerged as a result of hard work on the part of both candidates and dedicated teachers. Recordings Most of the work was very well presented on DVDs, CDs, tape cassettes and mini discs. Please specify if your discs are for computer only: it saves valuable time for the moderator. The quality of recording has improved dramatically over the last decade as most schools have warmly embraced the technical revolution. Having all samples on one master CD is a welcome bonus for the moderator. Perhaps the sell-by-date of the tape cassette is just around the corner, and soon all centres will hopefully use discs and CDs. 13

16 Assessment Marks were fairly awarded in most cases with teachers applying WJEC s criteria correctly. The marking of the compositions was well within the tolerance limit in the vast majority of centres. Some centres had marked their compositions correctly but were rather generous in their assessment of the written material. The feedback report as mentioned previously is a valuable link between the Board and centres. APPRAISING There was something for everyone on this paper. The most successful candidates were those whose preparation had covered all aspects of the course. Pupils this year seem to be better guided in answering questions without waffling. Area of Study Music in Wales Q.1 Good answers on the whole. Some were still offering modal as a tonality answer although it was not an option! The most common mistake was folk song for hymn tune. A few mistook cerdd dant for reggae! Q.2 Again, generally well-answered with some gaining full marks. The majority appeared to be familiar with the format. Markers were kept busy however, re-directing responses to the correct headings. The Amen cadence was well-spotted by many in Version 1, but fewer recognised the interrupted cadence in Version 2. Area of Study - Music for Special Occasions Q.3 Answered well on the whole. The solo voice proved problematic for some. Others failed to differentiate between syncopated and dotted rhythms. Q.4 There were mixed answers to this question. Many candidates recognised the extract as Baroque and assumed therefore that the texture was polyphonic! Others had difficulty in recognising the sound of the oboes. Despite the user-friendly tick-box style, this question probably gave the strongest indication of the extent of candidates broad musical knowledge. Area of Study Music for Stage and Screen Q.5 Many candidates gained full marks but others had trouble with Extract 4 and wrote vocal trio rather than vocal quartet. Q.6 The solo and accompanying instruments sections were well answered, however, the musical style proved more difficult with many candidates answering traditional Jazz for the guitar duet in Extract D instead of Swing! Extract C, Modern Jazz was answered successfully by the majority of candidates. Area of Study - Music Evolution Q.7 This was a more challenging question, with many general comments offered rather than actual musical characteristics. Most answers were either very good or very poor. Some pupils are still listing the instruments they hear and describing dynamics and tempi. Many used the word dissonance in Extract C when they really meant distortion. 14

17 Q.8 Great perception shown here by many candidates. Not all, however, managed meaningful reasons for their preferred piece, often offering bland statements such as use of instruments. We are still having negative reasons such as version 2 is ruined by the addition of technology! The traditional version appeared to be the preferred choice of the majority. Area of Study Musical Structure Q.9 Another challenging question where full marks were very rare. Many candidates failed to recognise the time signature and the key. The transposition to a new key also proved difficult. The rhythm was well answered on the whole with many spotting the rhythmic sequence in the missing bars. Very few however, were able to insert the accidental correctly. Q.10 Again this was generally well-answered. Many gained maximum marks with really detailed and perceptive answers. Not so many candidates are now trying to tell us the story these days! More candidates are heeding our comments regarding references to line numbers. Merely listing instruments etc. without reference to location is not advisable. Please encourage your students not to write their answers in the area reserved for rough notes, and to put a line through this section. We often have to trawl through the rough notes to find the answer! Finally please show the mark scheme for this question to your candidates so that they understand that credit is awarded only once for reference to the voice and twice for texture etc. 15

18 CERDDORIAETH Tystysgrif Gyffredinol Addysg Uwchradd 2008 Prif Arholwr: Alun Guy B.A. Unwaith yn rhagor mae arna i ddyled i r tîm o 38 arholwr am eu sylwadau ar holl agweddau r arholiad. Mae u hadroddiadau cynhwysfawr yn rhan o r llith hwn. Gobeithiaf y cewch fudd wrth ddarllen drwy r adrannau gwahanol. Bu tair elfen y cwrs yn llwyddiant unwaith eto wrth i 3131 o ddisgyblion sefyll yr arholiad. Mae n dda gen i gofnodi bod safonau uchel y gorffennol wedi u cynnal eto eleni. Mae ein swyddog pwnc newydd, Elaine Carlile, wedi cyfoethogi r portfolio cerdd gyda brwdfrydedd a swyn Celtaidd. Bu r flywyddyn gyntaf hon o i theyrnasiad yn ddigon anodd a heriol, ond llwyddai i gwblhau r gwaith gydag arddeliad a gwên. Ar wahan i oruchwylio cyrsiau newydd Safon A ac UG, mae Elaine wedi llywio r fanyleb TGAU newydd yn llwyddiannus drwy ddirgel ffyrdd QCA yn Llundain. Fedrwn ni ddim ag anwybyddu gwaith canmoladwy Natalie ein swyddog cefnogaeth pwnc nac ychwaith ymdrechion clodwiw ein cynhyrchydd sain, Richard. Mae eu doniau yn cael eu gwerthfawrogi gan bawb. Diolch iddynt. Un o fwriadau r cynlluniau marcio yw ei ddefnyddio fel adnodd addysgol, a thrwy hynny yn rhoi r cyfle i r disgyblion ymgyfarwyddo â r termau ac â r eirfa gerddorol a geir yn yr arholiad. Hefyd caiff yr athrawon a r disgyblion gipolwg ar feddylfryd y Prif Arholwr, a r math o atebion a ddisgwylir i r cwestiynau. Cofier mai r dyfyniadau cerdd yn y papurau sy n llywio r atebion, gan fod natur y cwestiynau eu hunain yn gymharol ddigyfnewid. Cyrsiau HMS: 2008 Yr Wyddgrug: 03 Tachwedd 2008 Bangor 04 Tachwedd 2008 Caerfyrddin: 11 Tachwedd 2008 Caerdydd: 21 Tachwedd 2008 Dyddiadau i ch dyddiaduron: Ymweliadau ymarferol: 02 Mawrth i 27 Mawrth 2009 Dyddiad cau gwaith cwrs: 24 Ebrill 2009 Arholiad gwerthuso: 13 Mai p.m TGAU Cerddoriaeth 2008 Gradd A* A B C D E F G Mark Canran cronnus

19 Perfformio Gweinyddiad Rhoddwyd croeso twymgalon i r arholwyr ym mhob canolfan. Cwblhawyd ffurflenni MU3 ac MU4 yn gywir, a bu r amserlenni o 15 munud i bob ymgeisydd yn ddigonol. Pan oedd amser mewn llaw roedd y canolfannau yn medru ail-wampio r trefniadau heb unrhyw ffws na thrafferth. Da chi, peidiwch â gadael i ch disgyblion lenwi ffurflenni MU4! Cyfrifoldeb yr athro/athrawes yw hynny. Cawsom sawl enghraifft o ddisgybl yn ysgrifennu yn y bwlch a neilltuwyd ar gyfer sylwadau r arholwr! Hefyd, bu rhai canolfannau yn defnyddio r hen fersiwn o ffurflen MU4 sy n wahanol iawn i r fersiwn gyfredol newydd. Gwyliwch rhag gwneud hyn. Mae r rhan fwyaf o ganolfannau yn paratoi copïau o r gerddoriaeth ar gyfer yr arholwr. Fodd bynnag, cred rhai ysgolion mai cyfrifoldeb yr ymgeiswyr yw sicrhau copïau o r gerddoriaeth, yn enwedig y chwaraewyr gitar a r cit drymiau. Canlyniad hyn oll yw diffyg copïau i r arholwr oherwydd y dryswch rhwng disgybl ac athro! Mae rhai ysgolion yn ddigon mentrus a ffodus i sicrhau gwasanaeth athro technegol i w helpu ddydd yr arholiad. Dyma enghraifft o ymarfer dda a chymeradwy! Chwiliwch o fewn eich ysgol am gymorth - mae pynciau eraill ymarferol yn derbyn cymorth technegol wrth gynnal arholiadau! Mae unrhyw beth sy n golygu llai o angst a gwasgedd i w groesawu! Mae nifer o r arholwyr, minnau n un ohonyn nhw, wedi gorfod arholi ar adegau mewn ystafelloedd oer ganol mis Mawrth. Cofiwch mai angen gwres ar eich pianyddion ac ar eich chwaraewyr llinynnol yn ogystal â r arholwr! Yn olaf, gofidiaf rywfaint ynglŷn â r arferiad sydd gan rai canolfannau o osod grwpiau roc trwm i berfformio mewn ystafelloedd dosbarth bychain! Cofiwch fod cyfreithiau Iechyd a Diogelwch yn bodoli parthed maint y desibelau ac ati! Asesiad Mae safonau r elfen hon yn dal yn uchel iawn, gyda r mwyafrif o ymgeiswyr yn ennill clod am berfformiadau teilwng iawn. Soniai rhai arholwyr am berfformiadau gwirioneddol wych a chofiadwy! Prin iawn erbyn hyn yw r disgyblion sydd heb unrhyw glem ynglŷn â pherfformio. Mae r rhan fwyaf sy n sefyll yr arholiad yn ymgyrraedd at eu safonau personol nhw eu hunain. Mae r brif feirniadaeth am y perfformiadau yn tueddu i ganolbwyntio ar donyddiaeth wallus yr offerynwyr a chyfathrebu gwael y cantorion dibrofiad sy n glynnu n gaeth at gopïau. Erys y caneuon allan o r sioeau n ffefryn mawr ymhlith y bechgyn a r merched. Cawn dystiolaeth am nifer o ddatganiadau arbennig iawn. Mae r cyfeiliannau ar y cyfan yn ganmoladwy. Hefyd mae safon y meicroffonau a r traciau cefndirol wedi gwella n aruthrol yn ystod y blynyddoedd diwethaf. Cofier mae gwell offer yn codi hyder y datgeinydd ac yn arwain at well farciau yn y pendraw! Amhrisiadwy yw cyfraniadau r athrawon cylchol cerddorol wrth iddynt baratoi r disgyblion am eu harholiad ymarferol. Anogaf bennaethiaid adran i rannu gwybodaeth megis ad-borth, asesiadau r fanyleb gyda r staff cylchol. Mewn cynhadledd yn ddiweddar cefais syndod o ddeall nad oedd y rhelyw ohonynt erioed wedi gweld na chlywed am ein canllawiau asesu sydd yn y fanyleb bresennol! Mae n amlwg fod athrawon ac ymgeiswyr nawr yn deall holl oblygiadau r arholiad ymarferol ac yn ymbaratoi n drylwyr ac yn llwyddiannus tuag ato. 17

20 Viva voce Mae r mwyafrif o ymgeiswyr yn hollol o ddifri wrth baratoi am y rhan hon o r arholiad. Mae ganddynt wybodaeth helaeth o r darnau a r meysydd astudiaeth. Hefyd maen nhw n medru sgwrsio n huawdl ac yn hyderus am eu cyfansoddiadau. Eleni bu gofyn i ymgeiswyr siarad yn fras am eu gwaith cyfansoddi - hyn er mwyn bodloni gofynion monitro QCA. Yn bersonol, bu safon a sylwedd y sgwrsio yn uchel ac yn ganmoladwy yn y canolfannau yr ymwelais â hwy. Roedd yr ymgeiswyr mor frwdfrydig ac yn awyddus i rannu r wybodaeth am eu prosesau creadigol efo r arholwr. Braf hefyd oedd sylweddoli beth yn union sy n ysgogi ein hieuenctid i gyfansoddi ar y lefel yma. Repertoire Eang ac heriol oedd y geiriau a ddefnyddiwyd fynychaf yn yr adroddiadau. Ymddengys bod y dewisiadau yn addas ar gyfer sgiliau r unigolyn. O r diwedd mae ysgolion yn torri n rhydd o faglau r byrddau arholi gan ddewis darnau mae r disgyblion yn wir yn eu mwynhau! Mae cerddoriaeth bop gyfoes mor boblogaidd yn ein hysgolion ar hyn o bryd a da o beth yw hynny. Os mai effaith sioeau realiti r teledu sy n gyfrifol am hyn, wel moes melys mwy meddaf innau! Dim ond mewn ambell i ganolfan eleni y cafwyd darnau oedd yn anaddas neu n rhy anodd i r ymgeiswyr. Hyn wrth gwrs yn arwain at dangyflawni. Roedd nifer o ymgeiswyr eleni yn dewis perfformio cyfansoddiadau eu hunain. Rhaid iddynt dderbyn anogaeth am hynny bid siwr, ond eto rhaid sicrhau bod y cyfansoddiad yn cynnig cyfleon i holl aelodau r ensemble arddangos sgiliau technegol a sgiliau empathi. Manteisodd rhan fwyaf o r chwaraewyr gitar a r cit drymiau ar y repertoire Rock School gan ddefnyddio r traciau cefndirol ardderchog sy n dod gyda r darnau. Yn ddiau mae r dewisiadau o ddarnau ar gyfer ensembles wedi gwella n aruthrol yn ystod y degawd diwethaf. Prin iawn bellach yw r disgyblion sy n cynnig unawdau â chyfeiliant blodeuog fel darn ensemble! Da gen i gofnodi fod nifer gynyddol o n hathrawon cerdd yn trefnu cerddoriaeth boblogaidd gyfoes i ymateb i ofynion eu hadrannau a u disgyblion. Cyn hir, hoffwn weld CBAC yn sefydlu math o fas-data lle byddai ysgolion yn medru defnyddio rhai o r darnau ardderchog hyn yn yr arholiadau. CYFANSODDI 18

21 Gweinyddiad Da iawn yn y mwyafrif o ganolfannau - pawb yn anfon y sampl gywir o fewn 2/3 diwrnod i r dyddiad cau rhai hyd yn oed wythnos yn gynnar! Rwyf o r farn fod yr adborth a anfonir i r ysgolion gan y safonwr yn cael ei werthfawrogi ac yn cael ei fewnoli. Pan fydd camgymeriadau n digwydd ynglŷn â llofnod neu drefn teilyngdod, yna mae r adran gerdd yn yr ysgol yn cywiro r camgymeriad y flwyddyn ganlynol yn fy mhrofiad i. Ambell waith cawn broblemau pan fo dau athro n dysgu grwpiau gwahanol o fewn yr un ysgol a heb gyfathrebu n ddigonol o ran safoni r gwaith. Roedd y drefn teilyngdod yn gywir gan amlaf ar y ffurflen MU1. Hefyd mae canolfannau erbyn hyn yn gosod y nifer sy n sefyll yr arholiad ar y ffurflen. Mae angen y wybodaeth hon arnon ni er mwyn sicrhau fod y sampl yn gywir. Da chi peidiwch ag ysgrifennu yn y gofod ar ffurflen MU2 a gedwir ar gyfer sylwadau r safonwr! Mae rhai athrawon brwdfrydig yn ychwanegu nodiadau personol am y cyfansoddiadau a r disgyblion yn y pecyn. Does dim angen y gwaith ychwanegol gwirfoddol yma mewn gwirionedd gan bod y gwaith eisoes wedi i safoni n fewnol. Cofiwch hefyd does dim rhaid ysgrifennu enwau a marciau pob ymgeisydd i lawr - dim ond y rhai sydd yn y sampl. Eleni achoswyd ychydig o drafferthion wrth i rai ysgolion ddefnyddio hen ffurflenni MU2B a ffeindiwyd yn y fanyleb. Doedd dim lle am lofnod ar yr hen ffurflenni: defnyddiwch y ffurflenni newydd cywir a anfonir at eich swyddog arholiadau gan CBAC. Sicrhewch os gwelwch yn dda fod y disgyblion yn cynnwys manylion y meddalwedd, traciau cefndirol a strwythur a.y.y.b. ar y daflen briodol. Pan nad oes sgôr yn gynwysedig, dylai fod amlinelliad o r adeiledd, y cordiau, patrymau rhythmig, a dyfeisiadau ar gyfer y safonwr, ynghyd â geiriau unrhyw gân a gyfansoddwyd. Cynnwys Mae r gwaith a dderbyniwyd unwaith eto yn adlewyrchiad teg o r ystod eang o allu a geir ymysg y disgyblion. Weithiau gwelir hyd at bedwar maes astudiaeth gwahanol mewn un pecyn o gyfansoddiadau. Golyga hyn fod y rhan fwyaf o r disgyblion yn y sampl wrth gwrs wedi cyfansoddi dau ddarn gwrthgyferbyniol oedd yn adlewyrchu eu diddordebau personol nhw. Roedd y rhan fwyaf o n canolfannau wedi anfon cyfansoddiadau oedd yn addas i r dasg a osodwyd ac yn cyfateb i feini prawf y bwrdd. Erys rhai canolfannau o hyd sy n bodloni ar osod yr un tasg i r dosbarth cyfan: nid ydym fel bwrdd yn cymeradwyo r arferiad hwn oherwydd ei fod yn llesteirio diddordebau personol yr ymgeiswyr. Pan fo trefniannau neu drawsysgrifau yn rhan o r sampl a wnewch chi sicrhau bod yr ymgeisydd yn cynnwys y deunydd gwreiddiol os gwelwch yn dda. Mae safon y gwaith ysgrifenedig ar y cyfan yn dda ac yn dderbyniol. Fodd bynnag mae rhai canolfannau yn disgrifio ac yn dadansoddi r cyfansoddiadau yn hytrach na sôn wrth y safonwr am hynt a helynt y broses o greu r gwaith o r dechrau hyd at y diwedd. Gwamal hefyd yw safon y cysylltiadau gyda r meysydd astudiaeth. Wrth recordio n fyw yn yr ysgol neu r stiwdio, mae n rhaid i r ymgeisydd nodi n eglur beth yn hollol oedd ei r(h)an yn y cynhyrchiad. Cofier ni chaniateir cyfansoddi ar y cyd. Pe bae gitarydd er enghraifft yn chwarae n fyrfyfyr ar y recordiad, yna mae n ofynnol i r ymgeisydd nodi hyn, neu gynnig eglurhad sut y gwireddwyd syniadau r cyfansoddwr gan eraill. 19

22 Ni wireddwyd potensial rhai darnau oedd â syniadau gwreiddiol ardderchog oherwydd eu bod yn rhy fyr ac o dan yr amser penodedig. Pan ddefnyddir meddalwedd Sibelius, byddai copi caled o r cyfansoddiad yn dderbyniol iawn gan y safonwr. Yn gyffredinol mae safon y gwaith cyfansoddi yn glodwiw er rhaid bod yn ofalus wrth ddefnyddio r botwm cut and paste. Yn sicr mae ail-adrodd yn ddyfais gyfansoddi effeithiol, ond mae angen addysgu r ymgeiswyr bod dyfeisiadau amgen ar gael megis efelychiant, gwrthgyferbyniad, trawsgyweiriad a haenau. Cawn y fraint yn flynyddol o weld toreth o dalentau cerddorol rhagorol o fewn ein hysgolion. Mae llawer iawn o gyfansoddiadau gwych wedi deillio o ganlyniad i waith dygn a chaled yr ymgeiswyr ac arweiniad athrawon ymroddedig. Recordiadau Cyflwynwyd y gwaith yn dda iawn ar y cyfan ar DVDiau, CDdiau, casetiau a disgiau mini. A fyddech gystal â nodi r disgiau sydd i w chwarae ar gyfrifiadur. Bydd yn arbed amser ac egni i r safonwr. Dros y degawd diwethaf mae safon sain y recordiadau wedi gwella n ddramatig wrth i r ysgolion gynhesu at y dechnoleg ddiweddaraf. Mae derbyn gwaith holl ddisgyblion y sampl ar un CDd yn arfer ardderchog. Hwyrach bod tranc y caset gerllaw, a chyn hir bydd pawb yn defnyddio disgiau a CDdiau. Asesiad Roedd asesiadau r canolfannau n deg iawn ar y cyfan a r athrawon yn gweithredu meini prawf CBAC yn gywir. Roedd y marcio o fewn y terfyn goddefiad a ganiateir am gerddoriaeth. Er i rai o r canolfannau hyn farcio r cyfansoddiadau yn ôl y canllawiau, roedd gor-farcio yn y gwaith ysgrifenedig. Yn sicr mae r adborth oddi wrth y safonwyr yn ddolen gyswllt bwysig rhwng y bwrdd a r canolfannau. GWERTHUSO Credaf fod papur eleni yn cynnig rhywbeth i bawb. Ymddengys mai y rhai a fu n adolygu ar gyfer pob agwedd o r papur a enillodd y graddau uchaf. Eleni credaf fod yr arweiniad yn yr ysgolion wedi ffocysu n gryf ar ateb y cwestiynau heb wastraff geiriol dibwys. Maes Astudiaeth Cerddoriaeth yng Nghymru C.1 Atebion da ar y cyfan. Rhai yn cynnig moddol wrth ateb am y cyweiredd er nad oedd ymhlith yr opsiynau. Y camgymeriad a welwyd fynychaf oedd cân werin yn lle emyn don. Rhai ymgeiswyr yn meddwl mai reggae oedd cerdd dant! C.2 Atebion da yn gyffredinol: rhai ymgeiswyr yn ennill marciau llawn. Mae r rhan fwyaf erbyn hyn yn gyfarwydd â chynllun y cwestiwn. Serch hynny bu r marcwyr wrthi n ddyfal yn ail-gyfeirio atebion i r adrannau cywir. Llawer wedi adnabod y diweddeb Amen yn Fersiwn 1, ond prin iawn oedd y rhai a glywodd y diweddeb syrpreis yn Fersiwn 2. 20

23 Maes Astudiaeth - Cerddoriaeth ar gyfer Achlysuron Arbennig C.3 Atebion da ar y cyfan. Cafodd nifer fodd bynnag drafferth wrth geisio adnabod y llais unawdol. Eraill yn cael anhawster i wahaniaethu rhwng rhythmau croesacen a rhythmau dotiedig. C.4 Cymysg oedd yr atebion. Nifer wedi adnabod yr arddull Baroc yn gywir ond wedi meddwl yn sgîl hynny mai poliffonig fyddai r gwead! Eraill yn cael trafferth i adnabod sain y ddau obo. Er gwaethaf y drefn hawdd o ateb yn y blychau, teimlaf fod y cwestiwn hwn yn brawf go iawn ar wybodaeth gyffredinol gerddorol yr ymgeiswyr. Maes Astudiaeth Cerddoriaeth i'r Llwyfan a'r Sgrîn C.5 Nifer o r ymgeiswyr yn ennill marciau llawn. Dyfyniad 4 yn achosi trafferth i rai wrth iddynt ddewis triawd lleisiol yn hytrach na phedwarawd lleisiol. C.6 Cafwyd atebion da iawn yn yr adrannau offerynnau unawdol ac offerynnau cyfeilio. Yn nyfyniad CH roedd nifer yn ateb yr arddull drwy ddweud mai jazz traddodiadol oedd y ddeuawd gitar yn lle swing. Llawer iawn fodd bynnag wedi adnabod yr arddull fodern yn gywir yn nyfyniad C. Maes Astudiaeth - Esblygiad Cerddoriaeth C.7 Cwestiwn heriol. Llawer iawn o gyffredinoli yn hytrach na sôn am nodweddion cerddorol y dyfyniadau. Roedd y rhan fwyaf o r atebion naill ai n wych neu yntau n wachul. Mae rhai ymgeiswyr yn dal i restru r offerynnau a disgrifio r dynameg a r tempi. C.8 Llawer o ymgeiswyr yn braff iawn wrth gynnig sylwadau. Er nid pawb ychwaith oedd yn cynnig rhesymau cadarnhaol a cherddorol dros eu dewis - yn fynych ceid gosodiadau megis defnyddio offerynnau. Mae rhai yn dal i gynnig rhesymau negyddol dros eu dewis. Ymddengys mai r fersiwn traddodiadol oedd prif ddewis y rhelyw o r ymgeiswyr. Maes Astudiaeth - Adeiledd Cerddoriaeth C.9 Cwestiwn heriol arall lle na chafodd ond ychydig o ymgeiswyr farciau llawn. Methodd nifer fawr â chanfod yr arwydd amseriad iawn nac adnabod ychwaith y cywair cywir. Anodd iddynt hefyd oedd adnabod y trawsgyweirio i gywair newydd. Atebwyd y rhythm coll yn dda gyda nifer helaeth yn sylweddoli arwyddocad y rhythm ym marrau 17 ac 18! Ychydig iawn a gafodd yr hapnod yn gywir. C.10 Atebion da ar y cyfan. Nifer wedi ennill marciau llawn gydag atebion manwl a threiddgar. Does dim cymaint nawr yn ceisio disgrifio r stori fel cynt. Mae mwy o ymgeiswyr yn derbyn ein cyngor wrth gysylltu eu sylwadau â rhifau llinellau priodol. Dydyn ni ddim yn argymell llunio rhestri o offerynnau a.y.y.b. heb ddweud ble yn hollol y digwydd hynny. Ceisiwch ddarbwyllo ch disgyblion i ymwrthod rhag llunio r ateb yn yr adran Gwaith Bras! Yn aml maen rhaid inni fynd drwy r adran hon er mwyn dod o hyd i r ateb! Yn olaf, dangoswch y cynllun marcio i ch ymgeiswyr er mwyn iddynt ddeall mai ond un credyd a geir wrth gyfeirio at y llais, a dau gredyd wrth sôn am y gwead a.y.y.b. Music Examiners Report (Summer 2008)/LG 15 October

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