Eduqas GCE A level Music

Component 3
Answering the Essay Question
 Accessing this guidance

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 The Essay Question

The task

There is only one question in the Eduqas A Level Music paper

which needs to be answered as an essay. It is the final
question, which is on the development of the symphony.

The specification describes it as:

“an essay-based question which assesses knowledge of the

development of the symphony in relation to both set
symphonies and to the wider social, cultural and historical
context.”
 Preparation

Things to cover

The musical elements:

• Structure
• Harmony and tonality
• Texture
• Melody and thematic development
• Sonority
• Tempo, metre and rhythm
 Preparation

Things to cover

Context
Development and changes

• The Orchestra, including individual sections

• Patronage and commissions
• Programme music
• Representative composers and works

See page 16 of the A level specification

 Time period covered

A level: 1750 – 1900

(AS: 1750 – 1830)

 Preparation

Possible repertoire

• Beethoven: symphonies 3, 5, 6 and 9 offer a wealth of relevant detail regarding developments in form,
thematic development, instrumentation, programme elements as well as reflecting social/cultural
changes and patronage/commissions
• Schubert: “Unfinished” and “Great C major” for points regarding instrumentation and developments in
harmony
• Mendelssohn: as well as no 4, symphonies 3 and 5 offer details for programmatic developments and
effects of Romanticism
• Berlioz: Symphonie Fantastique, Harold in Italy for important innovations in integration of symphonic
form, instrumentation, programme music
• Liszt: Faust Symphony, symphonic poems showing continued development of instrumentation, form
and thematic integration reflecting Romantic spirit
• Brahms: symphonies 1, 4 showing more traditional formal approach and reinterpretation of older
forms/techniques
• Dvorak: “New World Symphony” reflecting nationalistic elements
• Tchaikovsky: symphonies 4, 5, or 6 Romeo and Juliet Overture (programmatic)
• Mahler: only symphonies 1-4 fall into time period; cyclic elements, large orchestra; nationalist
elements (dance forms, rhythms)
• Strauss: symphonic poems eg Till Eulenspiegel (programme music, orchestration)
 Preparation

Best practice

Student file – organised into categories

• elements of music
• instruments and developments
• form and developments
• programme music
• nationalistic developments
• patronage, commissions etc.

Practice essays – use notes in file

 Preparation

Set works
Reference both set works.

• Detailed knowledge of one symphony

• A broad knowledge of the OTHER symphony

Knowledge of

• Instrumentation
• Form and structure
• Harmony and tonality
• Melody
• Rhythm and Metre
• Texture

Target a few sections from movements.

 Preparation

Resources

Rhinegold AS and A level Music Study Guide

ISBN 978-1-78558-347-6

Detailed analytical notes on the two set works are available on

the Eduqas website.

Scores online at imslp.org

 Practice

What makes a good essay?

• Thorough technical and contextual knowledge

• The full time period
• Accurate knowledge

• Answering the particular question set

• Balance of contextual understanding and secure knowledge

of precise details
 Practice

Common pitfalls

• Too general
• Lack of balance
• Too focused on the set works
• Discussing repertoire outside the time period.
• “Learned” answers
 Getting the marks
What the examiners are looking for

• Criteria in the mark scheme

• 5 bands
• These criteria remain the same each year

• The criteria for marking the essay are on the next slides.
• Note the words highlighted in blue – these define the
qualities of each band.
 Getting the marks
Marking
Criteria:
Band 5: 13-15 marks
A highly perceptive and thorough discussion.
Appraisal will show a comprehensive contextual knowledge,
with detailed, accurate and relevant references made to both
set works and other symphonic works of the Western Classical
Tradition

Band 4: 10-12 marks

A convincing discussion.
Appraisal will show a good contextual knowledge, with
accurate and relevant references made to both set works and
other symphonic works of the Western Classical Tradition
 Getting the marks
Marking
Criteria:
Band 3: 7-9 marks
A general discussion.
Appraisal will show an adequate contextual knowledge, with some relevant
references made to both set works and other symphonic works of the Western
Classical Tradition

Band 2: 4-6 marks

An inconsistent discussion.
Appraisal is insufficient, lacking detailed contextual knowledge, with few references
made to one or both set works and other symphonic works of the Western Classical
Tradition

Band 1: 1-3 marks

A very limited discussion.
There is little or no evidence of appraisal or contextual knowledge, with little or no
reference made to either set work or other symphonic works of the Western
Classical Tradition
 Getting the marks

Using the criteria

• Go through the criteria with your teacher.

• Peer marking
 For Example…

Specimen question

The 2019 essay question was on structure:

Discuss the structural changes that took place in symphonic

works between 1750 and 1900. Your answer should refer to a
range of works from the period, and must include brief
references to both set works.
[15]
 For Example…

Indicative content

Though it is not expected by any means that all the indicative

content should be included, it shows the nature and level of
contextual knowledge, critical awareness and specific detail
expected in order to access the highest bands of the marking
criteria.
 Indicative content

Answers should include such detail as:

• An awareness of what is meant by structural changes should be evident such as the move from
the earlier 3-movement symphonies of Stamitz, CPE Bach and early Haydn to 4-movement
symphonies (e.g. later Haydn, Mozart, Schubert, Mendelssohn, Beethoven) and also expansion
to 5 (e.g. Beethoven, Berlioz) or contraction to 1-movement works (e.g. symphonic poems and
overtures of Liszt, Mendelssohn, Tchaikovsky and Strauss).
• Different kinds of structures within symphonies such as sonata form, binary, rounded binary,
ternary, rondo, sonata rondo and variations should be discussed, with an understanding of
which movements within symphonies they refer to. Development of minuet and trio into
scherzo and trio (Beethoven) should be shown.
• Cyclical structures and programmatic forms are also relevant for discussion with the
development of such linking features as idee fixe (Berlioz) and thematic transformation (Lizst).
• Sonata form structure and its development could well be discussed in detail. Embryonic use in
early symphonies (e.g. Mannheim School) through to established “blue print” in later Classical
and early Romantic symphonies.
• Individual composers’ use of structures could be discussed e.g. Haydn’s monothematicism, and
tendency to mix forms; Beethoven’s extreme motivic development, cyclical forms, extended
codas, programmatic links of 6th symphony; Berlioz’ structures being led by programmatic
links, idee fixe and consequently loosening of established structures; Schumann’s connecting
of movements; Liszt’s symphonic poems, Brahms’, Tchaikovsky’s and Bruckner’s (though
extended) essentially conservative use of structures, perpetuated by Mahler
 Indicative content
Relevant points from set works:
Reference to set work Haydn 104 (London):
1st movement - sonata form: slow intro; monothematic; periodic phasing; thematic development
and connections supporting structure.
2nd movement – theme and variations; internal structure of theme could be discussed as well as
methods of variation.
3rd movement – minuet and trio; both sections in rounded binary form; thematic connections
supporting form.
4th movement – sonata form; monothematic; thematic links between sections; clear periodic
structure (folk song elements).

Reference to set work Mendelssohn 4 (Italian):

1st movement – sonata form; no real introduction; dance influenced S1; introduction of new theme
in development section; false reprise; sonata form movement extended in length compared to
Haydn.
2nd movement – A B A1 B1 Coda; can be considered as modified sonata form (with no development
section); short intro figure; modal; clear balanced phrasing of opening.
3rd movement – Minuet and Trio; minuet rounded binary; trio also rounded binary; coda.
Finale – sonata form, but very loose/developed; opening theme, S1 in style of saltarello; S2a, also
saltarello with clear connections to S1; new theme (tarantella style) bar 122 in development
section; saltarello and tarantella combined; false recapitulation; extended development section no
real recapitulation; coda.
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