Music Technology Specification Issue 2

Specification
GCE Music Technology
Edexcel Advanced Subsidiary GCE in Music Technology

(8MT1)
First examination 2009
Edexcel Advanced GCE in Music Technology (9MT01)

First examination 2010
Issue 2
About this specification
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Key features of the specification

Embracing new technology
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Understanding technical processes and principles
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Progression to higher education (HE) and a career
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Why choose this specification?

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Specification updates
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Edexcel GCE in Music Technology © Edexcel Limited 2010 Introduction 1

Contents
A Specification at a glance 4
B Specification overview 9
Summary of assessment requirements 9
Assessment objectives and weightings 13
Relationship of assessment objectives to units 13
Qualification summary 14
C Music Technology unit content 17
Course structure 18
Areas of Study (AoS) 19
Unit 1 Music Technology Portfolio 1 21
Unit 2 Listening and Analysing 43
Unit 4 Analysing and Producing 67
D Assessment and additional information 71
Assessment information 71
Additional information 75
2 Contents © Edexcel Limited 2010 Edexcel GCE in Music Technology

Contents
E Resources, support and training 79
Resources to support the specification 79
Edexcel’s own published resources 79
Edexcel publications 79
Additional resources endorsed by Edexcel 80
Support 80
Training 82
F Appendices 83
Appendix 1 Unit 1 logbook 85
Appendix 3 Performance descriptions 109
Appendix 4 Key skills mapping 115
Appendix 5 Key skills development 117
Appendix 6 Wider curriculum 123
Appendix 7 Codes 125
Appendix 8 Further resources and support 127
Appendix 9 Disability Discrimination Act 133
Edexcel GCE in Music Technology © Edexcel Limited 2010 Contents 3

A Specification at a glance
AS Unit 1: Music Technology Portfolio 1 *Unit code 6MT01

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Content summary
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4 Section A © Edexcel Limited 2010 Edexcel GCE in Music Technology

Specification at a glance A
AS Unit 2: Listening and Analysing *Unit code 6MT02

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Content summary
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Edexcel GCE in Music Technology © Edexcel Limited 2010 Section A 5

A2 Unit 3: Music Technology Portfolio 2 *Unit code 6MT03

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Specification at a glance A
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Edexcel GCE in Music Technology © Edexcel Limited 2010 Section A 7


B Specification overview
Summary of assessment requirements
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Edexcel GCE in Music Technology © Edexcel Limited 2010 Section B 9


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10 Section B © Edexcel Limited 2010 Edexcel GCE in Music Technology

Specification overview B

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Assessment objectives and weightings
% in AS % in A2 % in GCE
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Relationship of assessment objectives to units
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Qualification summary
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C Music Technology unit content
Unit 2 Listening and Analysing 43
Unit 4 Analysing and Producing 67
Edexcel GCE in Music Technology © Edexcel Limited 2010 Section C 17

Course structure
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Music Technology unit content C
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Principles and Practice of Music Technology and Area of Study 2:
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Unit 1 Music Technology Portfolio 1
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UHZRUNLQJDQGH[WHQVLRQRIWKHVWLPXOXVPDWHULDO
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EHUHDOLVHGE\XVLQJ
0,',FRQWUROOHGYLUWXDOVRXQGPRGXOHVHJ+\SHUVRQLF
0,',DQGRUVRIWZDUHLQVWUXPHQWVHJ5HDVRQ
LQWHJUDWLQJ0,',DQGRUVRIWZDUHLQVWUXPHQWVDQGRUDXGLR
samples and loops
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virtual sound modules

virtual studio instruments
VDPSOHOLEUDU\EDVHGYLUWXDO,QVWUXPHQWV
ORRSEDVHGVDPSOHLQVWUXPHQWV
samples
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&UHGLWZLOOEHJLYHQIRUWKHPDQLSXODWLRQVKDSLQJHGLWLQJDQGRU
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WKHUHZLOOEHVRPHIRUPRIHGLWLQJRIWKHSDWWHUQVSURYLGHGE\ORRS
EDVHGVDPSOHLQVWUXPHQWVHJ9LUWXDO*XLWDULVW

1.6 Logbook
1.7 Assessment criteria for Task 1A: Sequenced Realised Performance
1 Method of (DFKSLHFHRIZRUNLVPDUNHGDFFRUGLQJWRERWKWKHKROLVWLF
marking DVVHVVPHQWFULWHULRQDQGWKHGHWDLOHGDVVHVVPHQWFULWHULD+ROLVWLF
marking is used to ensure that the total mark derived from the
RWKHUGHWDLOHGDVVHVVPHQWFULWHULDLVDWUXHRYHUDOOUHÀHFWLRQRI
WKHVWDQGDUGRIWKHVWXGHQW¶VZRUN,IWKHKROLVWLFPDUNVHOHFWHG
GRHVQRWPDWFKWKHWRWDORIWKHGHWDLOHGDVVHVVPHQWFULWHULDWKH
PDUNIRUHDFKGHWDLOHGFULWHULRQDQGRUWKHKROLVWLFPDUNPXVW
EHUHFRQVLGHUHGXQWLODVLQJOHPDUNDSSURSULDWHIRUWKHZRUNLV
LGHQWL¿HG
2 Order in which Either the holistic assessment or the detailed assessment criteria
the assessment PD\EHDSSOLHG¿UVW7KHKROLVWLFFULWHULRQLVJLYHQ¿UVWEHORZ
criteria will be
applied

Holistic assessment criterion
Holistic
± Outstanding $KLJKO\DFFXUDWHVHTXHQFH,PDJLQDWLYHZRUNGLVSOD\LQJDKLJKOHYHORIFRQWURO

DQGPXVLFDOLW\
6HQVHRIPXVLFDOZKROHQHVV²WKHZKROHSLHFHKDVEHHQVHTXHQFHGWRDKLJK
VWDQGDUG
± Excellent &RQYLQFLQJWKURXJKRXWLQWHUPVRIDFFXUDF\PXVLFDOLW\DQGFRQWURO

$Q\HUURUVDQGRUPLVMXGJHPHQWVGRQRWGHWUDFWIURPDVXFFHVVIXOVHTXHQFH
± Good &RQYLQFLQJIRUPRVWRIWKHWLPHLQWHUPVRIDFFXUDF\PXVLFDOLW\DQGFRQWURO

6RPHHUURUVDQGRUPLVMXGJHPHQWVEXWWRRIHZWRKDYHDELJLPSDFW
± Competent *HQHUDOO\VHFXUHLQWHUPVRIDFFXUDF\PXVLFDOLW\DQGFRQWURO

6RPHHUURUVDQGRUPLVMXGJHPHQWVEXWWKHSHUIRUPDQFHVWLOOKDVDVHQVHRI
GLUHFWLRQDQGÀXHQF\
± $GHTXDWH $VHULRXVDWWHPSWEXWVRPHLQVHFXULW\DQGLQFRQVLVWHQF\LQWHUPVRIDFFXUDF\

PXVLFDOLW\DQGFRQWURO
(UURUVPLVMXGJHPHQWVDQGWHFKQLFDOSUREOHPVEHJLQWREHLQWUXVLYHEXWWKH
SLHFHVWLOOKROGVWRJHWKHU
± %DVLF 7KHDFFXUDF\RIWKHGDWDLQSXWLVLQFRQVLVWHQW7KHUHLVDODFNRIPXVLFDOLW\DQG

FRQWURO
(UURUVPLVMXGJHPHQWVDQGWHFKQLFDOSUREOHPVDUHLQWUXVLYH
± /LPLWHG 3RVLWLYHIHDWXUHVDUHIHZ

$IHZHQFRXUDJLQJVLJQVEXWFRQVLGHUDEOHGLI¿FXOWLHV²DZHDNHQGSURGXFWLQ
PRVWDUHDV7KHVXEPLVVLRQPD\EHLQFRPSOHWH
± Poor 3RVLWLYHIHDWXUHVDUHKHDYLO\RXWZHLJKHGE\HUURUVPLVMXGJHPHQWVDQGWHFKQLFDO

SUREOHPV,QVXI¿FLHQWZRUNKDVEHHQVXEPLWWHGWRDOORZFUHGLWLQHYHU\FULWHULD

Detailed assessment criteria
Criterion 1: Realisation of Pitch and Rhythm

1. Realisation of Pitch and Rhythm
([FHOOHQWDFFXUDF\RISLWFK
± $IHZVPDOOVOLSVZKLFKGRQRWGHWUDFWIURPWKHRYHUDOOSHUIRUPDQFH
PITCH
± 6HYHUDOHUURUVVXFKDVPLVVHGDFFLGHQWDOV
± 6RPHVLJQL¿FDQWLQWUXVLYHHUURUVDQGRURPLVVLRQVZLWKXQPXVLFDOHIIHFW
/LPLWHGDFFXUDF\VHULRXVO\FRPSURPLVLQJWKHSHUIRUPDQFH
([FHOOHQWDFFXUDF\RIUK\WKP$PXVLFDOSHUIRUPDQFH
RHYTHM
$UK\WKPLFDOO\DFFXUDWHEXWPHFKDQLFDOVHTXHQFH
± 6RPHDXGLEOHHUURUVVXFKDVSRRUUK\WKPLFHQVHPEOHEHWZHHQSDUWV
± 6RPHVLJQL¿FDQWREWUXVLYHHUURUVDQGRURPLVVLRQVZLWKXQPXVLFDOHIIHFW
± /LPLWHGDFFXUDF\VHULRXVO\FRPSURPLVLQJWKHSHUIRUPDQFH
Criterion 2: Choice of Timbre and Mix

2. Choice of Timbre and Mix
:HOOFKRVHQWLPEUHV²WLPEUHVKDYHEHHQHGLWHGDVDSSURSULDWHWRVXLWWKHJLYHQVWLPXOXV
material
TIMBRE
3 $SSURSULDWHFKRLFHRIWLPEUHVEXWQRIXUWKHUHGLWLQJWRVXLWVWLPXOXV
3DUWLDOO\VXFFHVVIXOFKRLFHRIWLPEUHV
/LPLWHGVXFFHVVLQFKRRVLQJDSSURSULDWHWLPEUHV
$PXVLFDOO\EDODQFHGPL[IDLWKIXOWRWKHRULJLQDO(IIHFWLYHSODFHPHQWLQWKHVWHUHR¿HOG
BALANCE/PAN
3 0RVWO\ZHOOEDODQFHGZLWKVRPHSODFHPHQWLQWKHVWHUHR¿HOG
6RPHXQVXFFHVVIXOEOHQGVRUPDVNLQJRILPSRUWDQWSDUWV6RPHPLVMXGJHPHQWVLQVWHUHR
SODFHPHQW
± /LWWOHVHQVHRIEDODQFHRUEOHQG/LWWOHRUQRSODFHPHQWLQWKHVWHUHR¿HOGVHULRXV
PLVMXGJHPHQWVLQSDQQLQJ

Criterion 3: Musicality — Dynamics, Articulation and Phrasing

3. Musicality — Dynamics, Articulation and Phrasing
'HWDLOHGDQGPXVLFDOO\HIIHFWLYHG\QDPLFVWKURXJKRXW6RPHG\QDPLFVKDSLQJDV
DSSURSULDWHWRLQVWUXPHQWDWLRQ
DYNAMICS
3 *RRGRYHUDOOG\QDPLFFRQWUDVWVEXWOLWWOHRUQRVKDSLQJ
6RPHDWWHPSWVWRFUHDWHG\QDPLFFRQWUDVWVEXWVRPHLQFRQVLVWHQFLHVRUPLVMXGJHPHQWV
0HFKDQLFDOXQPXVLFDODQGRUHUUDWLF/LPLWHGDWWHPSWWRFUHDWHG\QDPLFFRQWUDVWV
'HWDLOHGDQGPXVLFDOO\HIIHFWLYHDUWLFXODWLRQDQGSKUDVLQJWKURXJKRXW
AND PHRASING
ARTICULATION
3 *HQHUDOO\HIIHFWLYHDUWLFXODWLRQDQGSKUDVLQJ
6RPHDWWHPSWVWRFUHDWHDUWLFXODWLRQDQGSKUDVLQJEXWVRPHLQFRQVLVWHQFLHVRU
PLVMXGJHPHQWV
± 0HFKDQLFDOXQPXVLFDODQGRUHUUDWLF/LWWOHDWWHQWLRQWRDUWLFXODWLRQDQGSKUDVLQJ
Criterion 4: Music Technology Skills

4. Music Technology Skills
([FHOOHQWVHQVHRIVW\OHLQFOXGLQJPXVLFDODQGFRQWUROOHGXVHRIWHPSRVKDSLQJDQGHIIHFWV
DVDSSURSULDWH$Q\¿OOVRUVRORVDUHZHOOH[HFXWHGDQGVW\OLVWLF$PXVLFDOVHTXHQFH
CREATIVITY
STYLE AND
3 $FRQVLVWHQWVHQVHRIVW\OHZLWKVRPHDWWHQWLRQWRPXVLFDOGHWDLOUHVXOWLQJLQDJHQHUDOO\
VXFFHVVIXOVHTXHQFH
6RPHLQFRQVLVWHQFLHVLQWKHDSSOLFDWLRQRIWHPSRVKDSLQJDQGHIIHFWVRUDPHFKDQLFDO
DSSURDFKUHVXOWLQJLQDPRUHEDVLFVHTXHQFH
/LPLWHGVHQVHRIVW\OHZLWKOLWWOHDWWHQWLRQWRPXVLFDOGHWDLO$PHFKDQLFDOVHTXHQFH
$QH[FHOOHQWUHFRUGLQJGHPRQVWUDWLQJDKLJKOHYHORIVRQLFDFFXUDF\HGLWLQJDQG
SUHVHQWDWLRQGHWDLO
QUALITY OF
RECORDING
3 $PRVWO\VXFFHVVIXOUHFRUGLQJEXWZLWKVPDOODUHDVRILQFRQVLVWHQF\ZKLFKGRQRWGHWUDFW
IURPWKHRYHUDOOSUHVHQWDWLRQ
$UHFRUGLQJZLWKVRPHDUHDVRILQFRQVLVWHQF\WKDWGHWUDFWIURPWKH¿QDOUHVXOW±FKRSSHG
EHJLQQLQJHQGLQJVRPHFOLSSLQJVRPHVLJQL¿FDQWKLVV
± $SRRUUHFRUGLQJZLWKVLJQL¿FDQWHUURUV²QRLVHRUGLVWRUWLRQVLJQDORXWRIRQHVSHDNHU
RQO\XQDFFHSWDEO\ORZPDVWHULQJOHYHO

1.8 Assessment criteria for Task 1B: Multi-track Recording
LGHQWL¿HG
criteria will be
applied
Holistic
± Outstanding $QLPSUHVVLYHUHFRUGLQJLQZKLFKDOOSDUWVDUHFOHDUZHOOEDODQFHGVXFFHVVIXOO\

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6HQVHRIZKROHQHVV²DOODVSHFWVRIWKHUHFRUGLQJDUHRIDKLJKVWDQGDUG
± Excellent &RQYLQFLQJWKURXJKRXWLQWHUPVRIFODULW\SURFHVVLQJDQGPL[LQJ

$Q\HUURUVDQGRUPLVMXGJHPHQWVGRQRWGHWUDFWIURPDVXFFHVVIXOUHFRUGLQJ
± Good &RQYLQFLQJIRUPRVWRIWKHWLPHLQWHUPVRIFODULW\SURFHVVLQJDQGPL[LQJ

± Competent *HQHUDOO\VHFXUHLQWHUPVRIFODULW\SURFHVVLQJDQGPL[LQJ

6RPHHUURUVDQGRUPLVMXGJHPHQWVEXWWKHUHFRUGLQJLVVWLOOEURDGO\VXFFHVVIXO
± $GHTXDWH $VHULRXVDWWHPSWEXWVRPHLQVHFXULW\DQGLQFRQVLVWHQF\LQWHUPVRIFODULW\

SURFHVVLQJDQGPL[LQJ
UHFRUGLQJVWLOOKDVVRPHSRVLWLYHIHDWXUHV
± %DVLF 7KHUHDUHVRPHVLJQL¿FDQWSUREOHPVLQWHUPVRIFODULW\SURFHVVLQJDQGPL[LQJ




Criterion 1: Capture
1. Capture
)XOO\FRQVLGHUHGFKRLFHDQGSODFHPHQWRIPLFURSKRQHVWRSURGXFHDFOHDUIRFXVHGFDSWXUHRI
CLARITY OF SIGNAL
DOOWUDFNV*RRGGHSWKRI¿HOG
PLACEMENT AND
MICROPHONE
± $SSURSULDWHFKRLFHDQGSODFHPHQWRIPLFURSKRQHV0LQRULQFRQVLVWHQFLHVRQRQHRUWZR
WUDFNV
± 6RPHDSSURSULDWHFKRLFHVRIPLFURSKRQH6RPHSRRUSRVLWLRQLQJUHVXOWLQJLQDQ
LQFRQVLVWHQF\RIOLQH
± /LWWOHHYLGHQFHRIDSSURSULDWHPLFURSKRQHFKRLFHDQGRUSODFHPHQW8QDFFHSWDEOHODFNRI
FODULW\ZLWKLQPDQ\SDUWV
([FHOOHQWVLJQDOWRQRLVHUDWLR1RQRLVHRUGLVWRUWLRQ
DISTORTION
NOISE AND
± 6OLJKWQRLVHRURFFDVLRQDOFOLSSLQJEXWQRWLQWUXVLYH
6RPHLQWUXVLYHQRLVHDQGRUGLVWRUWLRQ,QDSSURSULDWHJDLQDQGOHYHOVHWWLQJ
± 8QDFFHSWDEO\QRLV\DQGSRRUO\PDGHUHFRUGLQJ
Criterion 2: Processing
2. Processing
([FHOOHQWZLWKRXWLQDSSURSULDWHFRQVWULFWLRQRUH[DJJHUDWLRQ
MANAGEMENT
± 0DLQO\JRRG²VOLJKW(4HUURUVRQVRPHWUDFNV
OF EQ
± ,QFRQVLVWHQWXVHRI(4²ODFNRIDWWHQWLRQWR(4RQVRPHWUDFNVGHWUDFWIURPWKHRYHUDOO
recording
/LPLWHGRULQDSSURSULDWHXVHRI(4
([FHOOHQWDSSURSULDWHWRWKHVW\OHRIPXVLF&RPSUHVVLRQKDVEHHQXVHGZKHUHDSSURSULDWH
MANAGEMENT
OF DYNAMICS
WRJRRGPXVLFDOHIIHFW
± 0DLQO\JRRGEXWVRPHRYHUFRPSUHVVLRQRURQHRUWZRWUDFNVGRQRWVLWZHOOLQWKHPL[GXH
WRODFNRIFRPSUHVVLRQ
± ,QFRQVLVWHQWO\DSSOLHGG\QDPLFSURFHVVLQJ²VRPHLQWUXVLYHPLVMXGJHPHQWV
± /LPLWHGRUQRXVHRIG\QDPLFSURFHVVLQJ'\QDPLFVDUHGHWULPHQWDOWRWKHPXVLF
([FHOOHQWFUHDWLYHXVHRIVW\OLVWLFDOO\DSSURSULDWHHIIHFWV
AMBIENCE
± :HOOFRQWUROOHGXVHRIDSSURSULDWHHIIHFWV
FX/
± 6RPHLQFRQVLVWHQF\LQDSSOLFDWLRQRIHIIHFWVSURFHVVLQJ
± 8QDFFHSWDEO\GU\UHYHUEHUDQWRUXQFRQWUROOHGXVHRIHIIHFWVSURFHVVLQJ

Criterion 3: Mixing
3. Mixing
&RQVLVWHQWO\ZHOOEDODQFHGDQGHIIHFWLYHO\EOHQGHGDFURVVDOOSDUWVRIWKHPL[
BALANCE AND
± 0RVWWUDFNVDUHZHOOEDODQFHG6RPHPLQRUVOLSVRQRQHRUWZRSDUWV6RPHHIIHFWLYH
BLEND
EOHQGLQJRIVRXQGV
± ,QFRQVLVWHQWEDODQFH,PSRUWDQWSDUWVPD\EHPDVNHG6RPHXQVXFFHVVIXOEOHQGV
± 3RRUO\EDODQFHG'HWULPHQWDOWRWKHPXVLFDORXWFRPH
&UHDWLYHPXVLFDOO\DSSURSULDWHXVHRIVWHUHR¿HOG
STEREO FIELD
± 0DLQO\JRRGXVHRIVWHUHR¿HOGEXWZLWKPLQRULQFRQVLVWHQFLHV
USE OF
,QDSSURSULDWHRULQFRQVLVWHQWXVHRIVWHUHR¿HOG
± /LWWOHRUQRXVHRIVWHUHR¿HOGRUVLJQL¿FDQWPLVMXGJHPHQWVLQSDQQLQJ

1.9 Assessment criteria for Task 1C: Creative Sequenced Arrangement
LGHQWL¿HG
criteria will be
applied
3 Compulsory The detailed assessment criteria will consist of threeFRPSXOVRU\

and optional criteria plus threeRSWLRQDOFULWHULD
assessment
Compulsory criteria:
criteria for
arrangements 8VHRI6WLPXOXV
6W\OH&RKHUHQFH
8VHRI0XVLF7HFKQRORJ\
Optional criteriathreeDUHVHOHFWHGIURPWKHIROORZLQJ
0HORG\
+DUPRQ\
5K\WKP
7H[WXUHDQG,QVWUXPHQWDWLRQ
)RUP6WUXFWXUH

4 Selecting The examiner will choose the optional assessment criteria that work
optional WRWKHVWXGHQW¶VEHVWDGYDQWDJH
assessment
criteria
5 Reconciling The examiner will reconcile the outcomes of holistic and detailed
holistic and PDUNLQJ
detailed
marking

Holistic
± Outstanding ,PSUHVVLYHDQGLPDJLQDWLYHLQVW\OHLGHDVGHYHORSPHQWDQGKDQGOLQJRIPXVLF

WHFKQRORJ\
'LVSOD\VDFOHDUDQGLQWXLWLYHXQGHUVWDQGLQJRIWKHFKRVHQVW\OH
6HQVHRIPXVLFDOZKROHQHVV²QRSDVVDJHVXEVWDQGDUG
± Excellent &RQYLQFLQJWKURXJKRXWLQVW\OHLGHDVGHYHORSPHQWDQGKDQGOLQJRIPXVLF

WHFKQRORJ\
0DNHVH[FHOOHQWXVHRIWKHVWLPXOXVZLWKLQWKHFKRVHQVW\OH
$Q\HUURUVDQGRUPLVMXGJHPHQWVGRQRWGHWUDFWIURPDVXFFHVVIXOSLHFH
± Good &RQYLQFLQJIRUPRVWRIWKHWLPHLQVW\OHLGHDVGHYHORSPHQWDQGKDQGOLQJRIPXVLF

WHFKQRORJ\
*RRGFRQWURORIDUUDQJHPHQWWHFKQLTXHV
± Competent *HQHUDOO\VHFXUHLQVW\OHDQGLGHDVDQGKDQGOLQJRIPXVLFWHFKQRORJ\EXW

GHYHORSPHQWPD\EHOLPLWHG
6RPHFRQWURORIDPRUHQDUURZUDQJHRIDUUDQJHPHQWWHFKQLTXHV
6RPHHUURUVDQGPLVMXGJHPHQWVEXWWKHSLHFHVWLOOKDVVRPHGLUHFWLRQDQGÀRZ
± $GHTXDWH $VHULRXVDWWHPSWWRFUHDWHDQDUUDQJHPHQWEDVHGRQWKHFKRVHQVWLPXOXVDQG

VW\OH
(UURUVPLVMXGJHPHQWVDQGWHFKQLFDOSUREOHPVEHJLQWREHLQWUXVLYHEXWPXFKRI
WKHSLHFHVWLOOKROGVWRJHWKHU
± %DVLF ,QFRQVLVWHQWXQVRSKLVWLFDWHGKDQGOLQJRIVW\OHLGHDVDQGPXVLFWHFKQRORJ\

%DVLFXVHRIDUUDQJHPHQWWHFKQLTXHV

$IHZHQFRXUDJLQJVLJQVEXWFRQVLGHUDEOHGLI¿FXOWLHV²DZHDNHQGSURGXFWLQPRVW
DUHDV3HUKDSVXQGHUWKHUHTXLUHGOHQJWK


Criterion 1: Use of Stimulus (compulsory)

Use of Stimulus (compulsory)
0DNHVLPDJLQDWLYHXVHRIWKHVWLPXOXVZLWKH[WHQVLYHDQGFRQYLQFLQJGHYHORSPHQW
± 0DNHVJRRGXVHRIWKHVWLPXOXVPDWHULDOGHYHORSLQJLWLQDORJLFDOEXWPRVWO\FRQYLQFLQJIDVKLRQ
± Makes some use of the stimulus material with little development or with several unconvincing
SDVVDJHV
± /LPLWHGXVHRIWKHVWLPXOXVRUVLPSOHUHSHWLWLRQRIWKHJLYHQPDWHULDO$UUDQJHPHQWWRRVKRUW
Criterion 2: Style/Coherence (compulsory)

Style/Coherence (compulsory)
([FHOOHQWDQGFRQVLVWHQW²DSSURSULDWHWRWKHFKRVHQVW\OH7KHUHLVDVHQVHRIÀRZGLUHFWLRQDQG
FRKHUHQFHWKURXJKRXWWKHDUUDQJHPHQW
± $FRQVLVWHQWVHQVHRIVW\OH0XVLFDOLGHDVDUHFRKHUHQWZLWKDPRVWO\DSSURSULDWHEOHQGRIXQLW\DQG
GLYHUVLW\
± 6RPHLQFRQVLVWHQF\RIVW\OHUHVXOWLQJLQDODFNRIFRKHUHQFHRUFRKHUHQWEXWQRWDSSURSULDWHWRWKH
FKRVHQVW\OH7KHDUUDQJHPHQWPD\EHRYHUO\UHSHWLWLYHRUKDYHDVXUIHLWRILGHDV
± /LPLWHGVHQVHRIVW\OHDQGFRKHUHQFH'RHVQRWUHÀHFWWKHFKRVHQVW\OH
Criterion 3: Use of Music Technology (compulsory)

Use of Music Technology (compulsory)
:HOOFKRVHQWLPEUHVHGLWHGWRVXLWWKHVW\OH7KHUHFRUGLQJLVPXVLFDOO\EDODQFHGLQFOXGLQJHIIHFWLYH
XVHRIWKHVWHUHR¿HOGZLWKPXVLFDOO\VKDSHGG\QDPLFVDUWLFXODWLRQDQGSKUDVLQJWKURXJKRXW
± :HOOFKRVHQWLPEUHV7KHUHFRUGLQJLVZHOOEDODQFHGLQFOXGLQJJRRGXVHRIWKHVWHUHR¿HOGZLWKVRPH
G\QDPLFVKDSLQJDUWLFXODWLRQDQGSKUDVLQJ
± $SSURSULDWHWLPEUHV7KHUHFRUGLQJLVPRVWO\ZHOOEDODQFHGLQFOXGLQJVRPHXVHRIWKHVWHUHR¿HOGZLWK
G\QDPLFFRQWUDVWVDQGVRPHDUWLFXODWLRQDQGSKUDVLQJ
± 7LPEUHFKRLFHVDUHPRVWO\DSSURSULDWH6RPHLQFRQVLVWHQFLHVLQVHQVHRIEDODQFHDQGXVHRIVWHUHR
¿HOG6RPHG\QDPLFFRQWUDVWVSUHVHQWZLWKVRPHLQFRQVLVWHQWDUWLFXODWLRQDQGRUSKUDVLQJ
± 6RPHLQDSSURSULDWHFKRLFHVRIWLPEUH,QFRQVLVWHQWVHQVHRIEDODQFHZLWKOLWWOHXVHRIVWHUHR¿HOG
/LWWOHRULQDSSURSULDWHG\QDPLFFRQWUDVW/LWWOHDUWLFXODWLRQDQGRUSKUDVLQJ
± 3RRUFKRLFHRIWLPEUHZLWKOLPLWHGVHQVHRIEDODQFHQRG\QDPLFFRQWUDVWVDQGOLWWOHRUQRHGLWLQJIRU
DUWLFXODWLRQDQGSKUDVLQJ

Criteria 4–6 will only be used to assess melodies, harmonies and rhythms
written by the candidate in addition to that provided in the stimulus or arrived at
WKURXJKVLJQL¿FDQWPDQLSXODWLRQRIWKHVWLPXOXVPDWHULDO
Criterion 4: Melody (optional)

Melody (optional)
([FHOOHQWDQGLPDJLQDWLYHZLWKDVWURQJVHQVHRIPHORGLFÀRZDVDSSURSULDWHWRWKHVW\OH
± $JRRGPHORGLFVHQVH0HORGLHVKDYHVKDSHDQGVW\OH
± 0HORGLHVDUHVWLIIRUIRUPXODLFRUGLVSOD\LQFRQVLVWHQF\LQVKDSHRUÀRZ
± /LPLWHGVHQVHRIPHORGLFVKDSH0HORGLHVODFNGLUHFWLRQDQGVWUXFWXUHRUDUHLQDSSURSULDWHWRWKH
VW\OH
Criterion 5: Harmony (optional)

Harmony (optional)
([FHOOHQWDQGLPDJLQDWLYHDQGDSSURSULDWHWRWKHVW\OH
± $SSURSULDWHO\FKRVHQKDUPRQLHVZLWKIHZPLVMXGJHPHQWV
± 6RPHLQFRQVLVWHQF\LQKDUPRQLFFKRLFHV0D\EHIXQFWLRQDOEXWXQLQWHUHVWLQJ
± /LPLWHGFRQWURORIKDUPRQ\²GHWULPHQWDOWRWKHPXVLF
Criterion 6: Rhythm (optional)

Rhythm (optional)
([FHOOHQWDQGLPDJLQDWLYHXVHRIUK\WKPLFHOHPHQWV
± $SSURSULDWHXVHRIUK\WKPVZLWKVRPHGHYHORSPHQWDVDSSURSULDWHWRWKHVW\OH
± 6RPHODFNRIUK\WKPLFYDULHW\RUDVXUIHLWRIUK\WKPLFLGHDV
± /LPLWHGXVHRIUK\WKPLFHOHPHQWV
Criterion 7: Texture and Instrumentation (optional)

Texture and Instrumentation (optional)
,PDJLQDWLYHDQGLGLRPDWLFXVHRIWH[WXUHDQGLQVWUXPHQWDWLRQ
± *RRGXVHRIWH[WXUHWRFUHDWHLQWHUHVW$SSURSULDWHXVHRILQVWUXPHQWDOUHVRXUFHV
± 6RPHLQFRQVLVWHQFLHVLQXVHRIWH[WXUHDQGLQVWUXPHQWDOUHVRXUFHVRULQVXI¿FLHQWWH[WXUDOFRQWUDVW
± /LPLWHGRULQDSSURSULDWHXVHRIWH[WXUHDQGLQVWUXPHQWDWLRQ

Criterion 8: Form/structure (optional)

Form/Structure (optional)
([FHOOHQWDQGLPDJLQDWLYHRUJDQLVDWLRQRIPXVLFDOLGHDV
± 0XVLFDOLGHDVDUHSUHVHQWHGZLWKDVHQVHRIGLUHFWLRQDQGFRKHUHQFHDVDSSURSULDWHWRWKHVW\OH
ZLWKIHZPLVMXGJHPHQWV
± 6RPHPLVMXGJHPHQWVLQWKHRUJDQLVDWLRQRIPXVLFDOLGHDV0D\EHH[FHVVLYHO\XQSUHGLFWDEOHRU
RYHUO\UHSHWLWLYH
± /LPLWHGRULQDSSURSULDWHRUJDQLVDWLRQRIPXVLFDOLGHDV
1.10 Assessment criteria for the logbook
Assessment criteria for Question 9
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3.4 Task 3B: Multi-track Recording

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music from Area of Study 3: The Development of Technology-

based Music
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FRPSOH[LW\WKDQWKRVHUHTXLUHGIRU8QLW
2 Choice of 6WXGHQWVPXVWFKRRVHRQHRIWKHIROORZLQJWZRWRSLFV
topics
Either
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,QWKHLUUHFRUGLQJWDVNIRUWKLVXQLWVWXGHQWVPXVWXVHDWOHDVWIRXU
DFRXVWLFDQGRURUFKHVWUDOLQVWUXPHQWV,IWKH\ZLVKWKH\PD\DOVR
XVHHOHFWURQLFLQVWUXPHQWV7KHVHPD\EHFRPELQHGZLWKHOHFWURQLF
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Or
Topic B: Recording Percussion Instruments
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IRXUSHUFXVVLRQLQVWUXPHQWV7KHVHPD\EH/DWLQWXQHGXQWXQHG
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LQVWUXPHQWVHOHFWURQLFDPSOL¿HGDFRXVWLFRUFKHVWUDORUYRFDOV

3 Nature of 6WXGHQWVZLOOSUHVHQWIRUDVVHVVPHQWDUHFRUGLQJRIDSLHFHRIPXVLF
Task 3B RIWKHLURZQFKRLFHUHOHYDQWHLWKHUWR7RSLF$RU7RSLF%6WXGHQWV
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FRQWDLQDEDODQFHGXVHRIFORVHPLFDQGGLUHFWLQMHFW',FDSWXUH
have a minimum of eight tracks captured using microphones
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performance
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3.5 Task 3C: Composing Using Music Technology

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Study 3: The Development of Technology-based Music7KH\
PLJKWDOVRLQFOXGH:HVWHUQFODVVLFDOVW\OHVSDUWLFXODUO\WKRVH
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UHOHYDQWZRUOGPXVLFVW\OHV
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KDYHWKHFKRLFHRIWKUHHGLIIHUHQWFRPSRVLWLRQEULHIVVHWE\
Edexcel
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VWXGHQWIRUKLVKHUFKRVHQEULHI$QLPDJLQDWLYHDQGZLGHUDQJLQJ
XVHRIPXVLFWHFKQRORJ\UHVRXUFHVPXVWEHFHQWUDOWRHDFK
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DPSOL¿HGHOHFWURQLFDQGYLUWXDOLQVWUXPHQWVVDPSOHV0,',
acoustic and orchestral instruments and voices
learning how to develop musical ideas within chosen forms
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composition IRU7DVN&7KHEULHIVZLOOEHSXEOLVKHGLQWKH6HSWHPEHURIWKH
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3.6 Logbook
3.7 Assessment criteria for Task 3A: Sequenced Integrated

Performance
LGHQWL¿HG
criteria will be
applied


Holistic
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VWDQGDUG
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GLUHFWLRQDQGÀXHQF\
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± %DVLF 7KHDFFXUDF\RIWKHGDWDLQSXWLVLQFRQVLVWHQW7KHUHLVDODFNRIPXVLFDOLW\DQG

FRQWURO



Criterion 1: Realisation of Pitch and Rhythm

1. Realisation of Pitch and Rhythm
([FHOOHQWDFFXUDF\RISLWFK
PITCH
3 6HYHUDOHUURUVVXFKDVPLVVHGDFFLGHQWDOV
6RPHVLJQL¿FDQWLQWUXVLYHHUURUVDQGRURPLVVLRQVZLWKXQPXVLFDOHIIHFW
/LPLWHGDFFXUDF\VHULRXVO\FRPSURPLVLQJWKHSHUIRUPDQFH
([FHOOHQWDFFXUDF\RIUK\WKP$PXVLFDOSHUIRUPDQFH
RHYTHM
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3 6RPHDXGLEOHHUURUVVXFKDVSRRUUK\WKPLFHQVHPEOHEHWZHHQSDUWV
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± /LPLWHGDFFXUDF\VHULRXVO\FRPSURPLVLQJWKHSHUIRUPDQFH
Criterion 2: Choice of Timbre and Mix

2. Choice of Timbre and Mix
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material
TIMBRE
3 $SSURSULDWHFKRLFHRIWLPEUHVEXWQRIXUWKHUHGLWLQJWRVXLWVWLPXOXV
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/LPLWHGVXFFHVVLQFKRRVLQJDSSURSULDWHWLPEUHV
$PXVLFDOO\EDODQFHGPL[IDLWKIXOWRWKHRULJLQDO(IIHFWLYHSODFHPHQWLQWKHVWHUHR¿HOG$XGLR
WUDFNVDUHZHOOEOHQGHGDQGEDODQFHGZLWKVHTXHQFHGSDUWV
BALANCE/PAN
3 0RVWO\ZHOOEDODQFHGZLWKVRPHSODFHPHQWLQWKHVWHUHR¿HOG$XGLRWUDFNVVLWZHOOLQWKHPL[
6RPHXQVXFFHVVIXOEOHQGVRUPDVNLQJRILPSRUWDQWSDUWV6RPHPLVMXGJHPHQWVLQVWHUHR
SODFHPHQW$XGLRWUDFNVGRQRWDOZD\VEOHQGZHOOZLWKVHTXHQFHGSDUWV
± /LWWOHVHQVHRIEDODQFHRUEOHQG/LWWOHRUQRSODFHPHQWLQWKHVWHUHR¿HOGVHULRXV
PLVMXGJHPHQWVLQSDQQLQJ$XGLRWUDFNVIHHOVHSDUDWHWRVHTXHQFHGSDUWV

Criterion 3: Musicality — Dynamics, Articulation and Phrasing

3. Musicality — Dynamics, Articulation and Phrasing
'HWDLOHGDQGPXVLFDOO\HIIHFWLYHG\QDPLFVWKURXJKRXW6RPHG\QDPLFVKDSLQJDVDSSURSULDWH
WRLQVWUXPHQWDWLRQ
DYNAMICS
3 *RRGRYHUDOOG\QDPLFFRQWUDVWVEXWOLWWOHRUQRVKDSLQJ
6RPHDWWHPSWVWRFUHDWHG\QDPLFFRQWUDVWVEXWVRPHLQFRQVLVWHQFLHVRUPLVMXGJHPHQWV
0HFKDQLFDOXQPXVLFDODQGRUHUUDWLF/LPLWHGDWWHPSWWRFUHDWHG\QDPLFFRQWUDVWV
'HWDLOHGDQGPXVLFDOO\HIIHFWLYHDUWLFXODWLRQDQGSKUDVLQJWKURXJKRXW
AND PHRASING
ARTICULATION
3 *HQHUDOO\HIIHFWLYHDUWLFXODWLRQDQGSKUDVLQJ
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Criterion 4: Music Technology Skills and Capture of Live Audio

4. Music Technology Skills
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CREATIVITY
STYLE AND
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CAPTURE OF LIVE
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AUDIO
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3.8 Assessment criteria for Task 3B: Multi-track Recording
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criteria will be
applied
Holistic
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± Competent *HQHUDOO\VHFXUHLQWHUPVRIFODULW\SURFHVVLQJDQGPL[LQJ

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± $GHTXDWH $VHULRXVDWWHPSWEXWVRPHLQVHFXULW\DQGLQFRQVLVWHQF\LQWHUPVRIFODULW\

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Criterion 1: Capture
1. Capture
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CLARITY OF SIGNAL
DOOWUDFNV*RRGGHSWKRI¿HOG
PLACEMENT AND
MICROPHONE
± $SSURSULDWHFKRLFHDQGSODFHPHQWRIPLFURSKRQHV0LQRULQFRQVLVWHQFLHVRQRQHRUWZR
WUDFNV
± 6RPHDSSURSULDWHFKRLFHVRIPLFURSKRQH6RPHSRRUSRVLWLRQLQJUHVXOWLQJLQDQ
LQFRQVLVWHQF\RIOLQH
/LWWOHHYLGHQFHRIDSSURSULDWHPLFURSKRQHFKRLFHDQGRUSODFHPHQW8QDFFHSWDEOHODFNRI
FODULW\ZLWKLQPDQ\SDUWV
([FHOOHQWVLJQDOWRQRLVHUDWLR1RQRLVHRUGLVWRUWLRQ
DISTORTION
NOISE AND
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± 8QDFFHSWDEO\QRLV\DQGSRRUO\PDGHUHFRUGLQJ
Criterion 2: Processing
2. Processing
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MANAGEMENT
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OF EQ
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recording
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MANAGEMENT
OF DYNAMICS
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WRODFNRIFRPSUHVVLRQ
± ,QFRQVLVWHQWO\DSSOLHGG\QDPLFSURFHVVLQJ²VRPHLQWUXVLYHPLVMXGJHPHQWV
/LPLWHGRUQRXVHRIG\QDPLFSURFHVVLQJ'\QDPLFVDUHGHWULPHQWDOWRWKHPXVLF
AMBIENCE
FX/

Criterion 3: Mixing
3. Mixing
BALANCE AND
BLEND
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3RRUO\EDODQFHG'HWULPHQWDOWRWKHPXVLFDORXWFRPH
STEREO
USE OF
FIELD
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3.9 Assessment criteria for 3C: Composing Using Music Technology
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criteria will be
applied

3 Compulsory The detailed assessment criteria will consist of fourFRPSXOVRU\

and optional criteria plus threeRSWLRQDOFULWHULD
assessment
Compulsory criteria:
criteria for
compositions 5HVSRQGLQJWR6HW%ULHI
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7H[WXUH
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4 Selecting The examiner will choose the optional assessment criteria that work
optional WRWKHVWXGHQW¶VEHVWDGYDQWDJH
assessment
criteria
5 Reconciling The examiner will reconcile the outcomes of holistic and detailed
holistic and PDUNLQJ
detailed
marking


Holistic
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± Excellent &RQYLQFLQJWKURXJKRXWLQVW\OHLGHDVGHYHORSPHQWDQGKDQGOLQJRIPXVLF

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± Competent *HQHUDOO\VHFXUHLQVW\OHDQGLGHDVDQGKDQGOLQJRIPXVLFWHFKQRORJ\EXW

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6RPHHUURUVDQGPLVMXGJHPHQWVEXWWKHSLHFHVWLOOKDVVRPHGLUHFWLRQDQGÀRZ
± $GHTXDWH $VHULRXVDWWHPSWEXWVRPHLQFRQVLVWHQWXQVRSKLVWLFDWHGKDQGOLQJRIVW\OHLGHDV

DQGPXVLFWHFKQRORJ\
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WKHSLHFHVWLOOKROGVWRJHWKHU
± %DVLF ,QFRQVLVWHQWXQVRSKLVWLFDWHGKDQGOLQJRIVW\OHLGHDVDQGPXVLFWHFKQRORJ\

%DVLFXVHRIFRPSRVLWLRQDOPHWKRGVDQGWHFKQLTXHV

PRVWDUHDV3HUKDSVXQGHUWKHUHTXLUHGOHQJWK


Criterion 1: Responding to Set Brief (compulsory)

Responding to Set Brief (compulsory)
)XOO\DQGLPDJLQDWLYHO\UHÀHFWVDOOHOHPHQWVRIWKHEULHI
± 0RVWDVSHFWVRIWKHEULHIKDYHEHHQVXFFHVVIXOO\DGGUHVVHG
± $IHZRIWKHHOHPHQWVRIWKHEULHIKDYHEHHQUHÀHFWHG
± /LPLWHGUHVSRQVHWRWKHEULHI&RPSRVLWLRQWRRVKRUW
Criterion 2: Style/Coherence (compulsory)

Style/Coherence (compulsory)
([FHOOHQWDQGFRQVLVWHQWVHQVHRIVW\OH,GHDVKDYHEHHQLPDJLQDWLYHO\GHYHORSHGGHPRQVWUDWLQJD
VHQVHRIÀRZGLUHFWLRQDQGFRKHUHQFHWKURXJKRXWWKHFRPSRVLWLRQ
± $FRQVLVWHQWVHQVHRIVW\OH0XVLFDOLGHDVDUHFRKHUHQWDQGKDYHEHHQGHYHORSHGZLWKDPRVWO\
DSSURSULDWHEOHQGRIXQLW\DQGGLYHUVLW\
± 6RPHLQFRQVLVWHQF\RIVW\OHUHVXOWLQJLQDODFNRIFRKHUHQFH6RPHLQVXI¿FLHQWGHYHORSPHQW7KH
FRPSRVLWLRQPD\EHRYHUO\UHSHWLWLYHRUKDYHDVXUIHLWRILGHDV
± /LPLWHGVHQVHRIVW\OHDQGFRKHUHQFH,QVXI¿FLHQWGHYHORSPHQWRILGHDV
Criterion 3: Manipulation of Sounds (compulsory)

Manipulation of Sounds (compulsory)
([FHOOHQWXVHRIVRXQGVKDSLQJDQGRUHIIHFWVWRFUHDWHDQLPDJLQDWLYHDQGFRKHUHQWVRQLFSDOHWWH
± 6XFFHVVIXOXVHRIVRXQGVKDSLQJDQGRUHIIHFWVDVDSSURSULDWHWRWKHVW\OH
± 6RPHLQFRQVLVWHQF\LQWKHXVHRIHIIHFWVUHVWULFWHGXVHRIWHFKQRORJ\WRPDQLSXODWHVRXQG
± /LPLWHGRULQDSSURSULDWHPDQLSXODWLRQRIVRXQGXVHRIHIIHFWV
Criterion 4: Quality of Recorded Submission (compulsory)

Quality of Recorded Submission (compulsory)
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3 $PRVWO\ZHOOSUHVHQWHGUHFRUGLQJZLWKIHZÀDZV
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± $SRRUO\SUHVHQWHGUHFRUGLQJZLWKOLWWOHDWWHQWLRQWRGHWDLO

Criterion 5: Melody (optional)

Melody (optional)
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Unit 4 Analysing and Producing
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Assessment and additional information D
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Training
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F Appendices
Appendix 3 Performance descriptions 109
Appendix 4 Key skills mapping 115
Appendix 5 Key skills development 117
Appendix 6 Wider curriculum 123
Appendix 7 Codes 125
Appendix 8 Further resources and support 127
Appendix 9 Disability Discrimination Act 133
Edexcel GCE in Music Technology © Edexcel Limited 2010 Section F 83

F Appendices
84 Section F © Edexcel Limited 2010 Edexcel GCE in Music Technology

Appendix 1 Unit 1 logbook
Task 1A: Sequenced Realised Performance
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Unit 1 logbook Appendix 1
Task 1B: Multi-track Recording
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Task 1C: Creative Sequenced Arrangement
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points, or in continuous prose.
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F Appendices

Task 3A: Sequenced Integrated Performance
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Appendix 3 Performance descriptions
Introduction
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Assessment Assessment Assessment Assessment Assessment
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Appendix 4 Key skills mapping
Key skills (Level 3) Unit 1 Unit 2 Unit 3 Unit 4
Application of number
1 9 9 9 9
1 9 9
1 9 9 9 9
Communication
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& 9
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Information and communication technology
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Problem solving
36 9 9
36 9 9
36 9 9
Working with others
:2 9 9
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F Appendices

Appendix 5 Key skills development
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Key skills development Appendix 5
Information and communication technology — Level 3
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Overall, through at least two activities students must:
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multiple search criteria in at
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information and derive new QRWHVUHODWHGWRWKHDUHDRIVWXG\
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Improving own learning and performance — Level 3
3URYLGHDWOHDVWRQHH[DPSOHRIPHHWLQJWKHVWDQGDUGIRU/3
/3DQG/3WKHH[DPSOHVKRXOGFRYHUDWOHDVWWKUHHWDUJHWV
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from appropriate people and schedule that shows the anticipated progress towards
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recording producer and ensure the effective use of
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recognising when it is relevant to give time to pursue
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Key skills development Appendix 5
Problem solving — Level 3
Provide at least oneH[DPSOHRIPHHWLQJWKHVWDQGDUGIRU36

36DQG367KHH[DPSOHVKRXOGLQFOXGHH[SORULQJDWOHDVW
threeGLIIHUHQWZD\VRIWDFNOLQJDSUREOHPIRU36

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PS3.3 &KHFNLIWKHSUREOHPKDV 8QLWV 7DNLQJHLWKHURIWKHH[DPSOHVPHQWLRQHGDERYH

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Working with others — Level 3
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$VDUHFRUGLQJSURGXFHUVWXGHQWVFRXOGSODQSDUWRID
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6WXGHQWVFRXOGSODQORQJWHUPVWUDWHJLHVIRUWKH
SURFHVVRIZRUNLQJWRZDUGVWKH¿QDOUHFRUGLQJ
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DQGDJUHHZD\VRI the performers and other technicians and decide on a
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Appendix 6 Wider curriculum
Signposting
Issue Unit 1 Unit 2 Unit 3 Unit 4
6SLULWXDO 3 3
Moral 3 3
Ethical 3 3
6RFLDO 3 3
Cultural 3 3 3 3
Environmental 3 3
+HDOWKDQGVDIHW\ 3 3 3 3
Development suggestions
Issue AS/A2 units Opportunities for development or internal assessment
6SLULWXDO 8QLWVDQG 0XVLFWHFKQRORJ\SURYLGHVRSSRUWXQLWLHVIRUFDQGLGDWHVWRH[SUHVV

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Moral 8QLWV 2ZLQJWRWKHHYHUZLGHQLQJDYDLODELOLW\RI0,',RQWKHLQWHUQHWFDQGLGDWHV

ZLOOQHHGWRH[HUFLVHPRUDOMXGJHPHQWWKDWDOOWKHZRUNWKH\VXEPLWLVWKHLU
RZQ
Ethical 8QLWV 2ZLQJWRWKHHYHUZLGHQLQJDYDLODELOLW\RI0,',RQWKHLQWHUQHWDQGWKH

IDFWWKDWFDQGLGDWHVZLOOEHZRUNLQJZLWKH[DPSOHVRIDQXPEHURIVW\OHV
RIPXVLFFDQGLGDWHVZLOOQHHGWRHQVXUHWKDWWKH\GRQRWFRS\LGHDVIURP
SUHYLRXVFRPSRVHUV¶ZRUNDQGWDNHFUHGLW
6RFLDO 8QLWV :KHQFUHDWLQJDPXOWLWUDFNUHFRUGLQJFDQGLGDWHVZLOOQHHGWRZRUNZLWKD

JURXSRILQVWUXPHQWDOLVWVWRFUHDWHWKHUHFRUGLQJ7KH\PD\QHHGWRVHWXS
VFKHGXOHVIRUWKHUHFRUGLQJVDQGZRUNLQDJURXS
Cultural 8QLWV &DQGLGDWHVZLOOEHVWXG\LQJPXVLFIURPGLIIHUHQWGHFDGHVDQGFXOWXUHV

7KH\ZLOOEHDVNHGWRHYDOXDWHDQDO\VHDQGFRQWH[WXDOLVHERWKIDPLOLDUDQG
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Environmental 8QLWV &DQGLGDWHVPD\GLVFXVVWKURXJKWKHSULQFLSOHVRIPXVLFWHFKQRORJ\

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EHFRPHREVROHWHDQGFDQGLGDWHVVKRXOGEHDZDUHRIZKDWKDSSHQVWRWKH
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Health and 8QLWV Candidates should learn how to use the equipment in the recording studio
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F Appendices

Appendix 7 Codes
Type of code Use of code Code number
National (YHU\TXDOL¿FDWLRQLVDVVLJQHGWRDQDWLRQDOFODVVL¿FDWLRQ

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F Appendices

Appendix 8 Further resources and support
Books
Sequencing and $VDQLQLWLDOUHVRXUFHIRUFHQWUHVZLVKLQJWRRIIHU$6$0XVLF

recording 7HFKQRORJ\WRWKHLUVWXGHQWVWKHVHULHVRI%$6,&ERRNVE\3DXO
:KLWHLVUHFRPPHQGHG,WLVSRVVLEOHWREX\WKHFRPSOHWHUDQJH
RIERRNVDWUHDVRQDEOHFRVW$OOYROXPHVDUHUHOHYDQWWRWKLV
FRXUVH:HEVLWHZZZVDQFWXDU\SXEOLVKLQJFRP
3DXO:KLWHDQG0LFKDHO3URFKDN²Basic Complete Set 607%RRNV
Fast guides to various sequencer packages

7KHUHDUHPDQ\YDOXDEOHERRNVZKLFKJXLGHWKHUHDGHULQPDVWHULQJ
WKHWHFKQLTXHVRIDSDUWLFXODUVHTXHQFHUHQVXUHWKHERRNFRYHUV
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Composing and $VFKPDQQ/²500 Songwriting Ideas2PQLEXV3UHVV

arranging ,6%1,6%1
%HQKDP+²A Student’s Guide to Harmony and Counterpoint

5KLQHJROG,6%1
%HQQHWW5²Fortissimo!&DPEULGJH,6%1

,6%1
%UXFH%² The Pop Composer’s Handbook 6FKRWW &R/WG

,6%1
3HUULFRQH-²Melody in Songwriting %HUNOHH3UHVV,03

,6%1;,6%1
5XQVZLFN'²Rock, Pop and Jazz Arranging )DEHU

,6%1,6%1
6FRWW5²Chord Progressions for Songwriters

L8QLYHUVHFRP,6%1
,6%1
6WHZDUW'²Inside the Music: The Musician’s Guide to

Composition, Improvisation and the Mechanics of Music %DFNEHDW
8.,6%1,6%1
7XUNHO(²Arranging Techniques for Synthesists0XVLF6DOHV/WG

,6%1;,6%1
:\DWW.²Harmony and Theory: A Comprehensive Source for All

Musicians+DO/HRQDUG&RUSRUDWLRQ,6%1
,6%1

Further resources and support Appendix 8
Contexts %DUURZDQG'DOWRQ²The Rough Guide to Reggae5RXJK*XLGHV

,6%1,6%1
%LGGHU6² Pump Up the Volume: A History of House Music

&KDQQHO%RRNV,6%1
,6%1
(DVOHD'²µ&KLF¶(YHU\ERG\'DQFH²7KH3ROLWLFVRI'LVFR+HOWHU
6NHOWHU,6%1,6%1
*HRUJH1²The Death of Rhythm and Blues2PQLEXV

,6%1,6%1
*HRUJH1²Where Did Our Love Go? 2PQLEXV

,6%1,6%1
*ULI¿WKV3²Modern Music and After: Directions Since 1945

2[IRUG8QLYHUVLW\3UHVV,6%1
,6%1
*XUDOQLFN3²Sweet Soul Music3HQJXLQ

,6%1,6%1
+DUYH\(²Jazz in the Classroom %RRVH\DQG+DZNV

,6%1,6%1
+ROPHV7²Electronic and Experimental Music5RXWOHGJH

,6%1,6%1
.HWWOHZHOO%²Electronic Music Pioneers&RXUVH7HFKQRORJ\

,6%1,6%1
/HYLQH0²The Jazz Theory Book,03

,6%1,6%1
/LQFROQ&ROOLHU-²The Making of Jazz0DFPLOODQ

,6%1,6%1
1\PDQ0²Experimental Music: Cage and Beyond (Music in the

Twentieth Century)&DPEULGJH8QLYHUVLW\3UHVV
,6%1,6%1

3DOPHU5² Dancing in the Street%%&

,6%1,6%1
3UHQGHUJDVW0²The Ambient Century: From Mahler to Moby

²7KH(YROXWLRQRI6RXQGLQWKH(OHFWURQLF$JH%ORRPVEXU\
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Rave Culture5RXWOHGJH,6%1
,6%1
6DYDJH-²England’s Dreaming: Anarchy, Sex Pistols, Punk Rock,

and Beyond*ULI¿Q,6%1
,6%1
6FKDHIHU-² New Sounds: The Virgin Guide to New Music+DUSHU

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,6%1,6%1
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5RXWOHGJH,6%1
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:LQWHUVRQ-²Pop Music: the Textbook 3HWHUV(G

,6%1,6%1
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,6%1
7D\ORU(²The AB Guide to Music Theory Volume I$%560

,6%1,6%1
7D\ORU(²The AB Guide to Music Theory Volume II$%560

,6%1,6%1
Audio sequencing %HQQHWW6²Emagic Logic Virtual Instruments: A User’s Guide

0XVLF6DOHV,6%1
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&ROOLQV0²Pro Tools: Practical Recording, Editing and Mixing for

Music Production )RFDO3UHVV,6%1
,6%1

Further resources and support Appendix 8
Recording %DUWOHWW%²Practical Recording Techniques)RFDOSUHVV

,6%1,6%1
(DUJOH-²The Microphone Book: From Mono to Stereo to

Surround, A Guide to Microphone Design and Application )RFDO
3UHVV,6%1,6%1
*LEVRQ%²Sound Advice on Microphone Techniques0XVLF6DOHV

,6%1,6%1
*XHULQ5²Inside the Recording Studio&RXUVH7HFKQRORJ\

,6%1,6%1
0DQV¿HOG5²Studio Basics: What You Should Know Before Going

into the Recording Studio%LOOERDUG%RRNV86
,6%1,6%1
2ZVLQVNL%²The Mixing Engineer’s Handbook (Mix Pro Audio

Series)0XVLFVDOHV,6%1
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5XQVWHLQ+²Modern Recording Techniques )RFDO3UHVV

,6%1,6%1
Sound of picture 'DYLV5²Complete Guide to Film Scoring,QWHUQDWLRQDO0XVLF

3XEOLFDWLRQV,6%1
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.DUOLQ)²On Track: A Guide to Contemporary Film Scoring

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,6%1,6%1
Production %XUJHVV5²The Art of Record Production2PQLEXV

,6%1,6%1
0DVVH\+²Behind the Glass: Top Record Producers Tell How They

Craft the Hits%DFNEHDW8.,6%1
,6%1

Useful websites
ZZZHGH[FHOFRPJFH
Sound on Sound
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WHFKQLTXHEDVHGWXWRULDOVXVHIXOWRVWXGHQWV
:HEVLWHZZZVRXQGRQVRXQGFRm
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'DYH0RXOWRQ.,4²Golden Ears Music Technology Ear Training

CDsDYDLODEOHIURPZZZJDWHZD\SGWFRm
'DYH0RXOWRQ.,4²Total Recording, 0.9674304.0.2DYDLODEOHDV

DERYH

Appendix 9 Disability Discrimination Act
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Further copies of this publication are available from
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Publications code UA024826 May 2010
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Music Technology Specification Issue 2

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Music Technology Specification Issue 2

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Specification

GCE Music Technology

Edexcel Advanced Subsidiary GCE in Music Technology

Edexcel Advanced GCE in Music Technology (9MT01)

Key features of the specification

Why choose this specification?

Edexcel GCE in Music Technology © Edexcel Limited 2010 Introduction 1

Summary of assessment requirements 9

Assessment objectives and weightings 13

Relationship of assessment objectives to units 13

C Music Technology unit content 17

Areas of Study (AoS) 19

Unit 1 Music Technology Portfolio 1 21

Unit 2 Listening and Analysing 43

Unit 3 Music Technology Portfolio 2 47

Unit 4 Analysing and Producing 67

D Assessment and additional information 71

2 Contents © Edexcel Limited 2010 Edexcel GCE in Music Technology

E Resources, support and training 79

Resources to support the specification 79

Edexcel’s own published resources 79

Additional resources endorsed by Edexcel 80

Appendix 1 Unit 1 logbook 85

Appendix 2 Unit 3 logbook 97

Appendix 3 Performance descriptions 109

Appendix 4 Key skills mapping 115

Appendix 5 Key skills development 117

Appendix 6 Wider curriculum 123

Appendix 7 Codes 125

Appendix 8 Further resources and support 127

Appendix 9 Disability Discrimination Act 133

Edexcel GCE in Music Technology © Edexcel Limited 2010 Contents 3

AS Unit 1: Music Technology Portfolio 1 *Unit code 6MT01

4 Section A © Edexcel Limited 2010 Edexcel GCE in Music Technology

AS Unit 2: Listening and Analysing *Unit code 6MT02

Edexcel GCE in Music Technology © Edexcel Limited 2010 Section A 5

A2 Unit 3: Music Technology Portfolio 2 *Unit code 6MT03

6 Section A © Edexcel Limited 2010 Edexcel GCE in Music Technology

A2 Unit 4: Analysing and Producing *Unit code 6MT04

Edexcel GCE in Music Technology © Edexcel Limited 2010 Section A 7

8 Section A © Edexcel Limited 2010 Edexcel GCE in Music Technology

Summary of assessment requirements

Unit number Level Assessment information Number

8QLW0XVLF $6 6WXGHQWVZLOOSURGXFHDQDXGLR&'HQWLWOHGµ0XVLF7HFKQRORJ\ 

Edexcel GCE in Music Technology © Edexcel Limited 2010 Section B 9

Unit number Level Assessment information Number

8QLW0XVLF Logbook PDUNV

10 Section B © Edexcel Limited 2010 Edexcel GCE in Music Technology

Unit number Level Assessment information Number

8QLW0XVLF $ 6WXGHQWVZLOOSURGXFHDQDXGLR&'HQWLWOHGµ0XVLF7HFKQRORJ\ 

Edexcel GCE in Music Technology © Edexcel Limited 2010 Section B 11

Unit number Level Assessment information Number

8QLW0XVLF Task 3C: Composing using Music Technology PDUNV

12 Section B © Edexcel Limited 2010 Edexcel GCE in Music Technology

Assessment objectives and weightings

Create and develop musical ideas with technical control and

TOTAL   

Relationship of assessment objectives to units

Unit number Assessment objectives

AO1 AO2 AO3 AO4 AO5 Total for AO1,

8QLW     ± 

8QLW ± ±  ±  

Unit 3   ±  ± 

8QLW ± ±    

8QLW0XVLF $6 6WXGHQWVZLOOSURGXFHDQDXGLR&'HQWLWOHGµ0XVLF7HFKQRORJ\

8QLW0XVLF LogbookPDUNV

8QLW0XVLF $ 6WXGHQWVZLOOSURGXFHDQDXGLR&'HQWLWOHGµ0XVLF7HFKQRORJ\

8QLW0XVLF Task 3C: Composing using Music TechnologyPDUNV

TOTAL

8QLW ±

8QLW ± ± ±

Unit 3 ± ±

8QLW ± ±

Subject criteria 7KH*HQHUDO&HUWL¿FDWHRI(GXFDWLRQLVSDUWRIWKH/HYHOSURYLVLRQ

AS/A2 knowledge 7KLV$GYDQFHG6XEVLGLDU\&(DQG$GYDQFHG&(VSHFL¿FDWLRQ

learn how to make the correct choice of appropriate equipment

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There are threeDUHDVRIVWXG\

$W$VWXGHQWVKDYHWRH[WHQGArea of Study 1: The Principles and

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music from Area of Study 2: Popular Music Styles since 1910

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have a minimum of four tracks captured using microphones

virtual sound modules

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