Singapore–Cambridge General Certificate of Education

Ordinary Level (2024)

Music
(Syllabus 6085)

© MOE & UCLES 2022

 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

CONTENTS
Page
INTRODUCTION 3
AIMS 3
FRAMEWORK 3
REQUIREMENTS 3
AREAS OF STUDY 4
ASSESSMENT OBJECTIVES 10
SCHEME OF ASSESSMENT 11
DESCRIPTION OF PAPERS AND ASSESSMENT CRITERIA 12
GUIDELINES ON INSTRUMENT AND REPERTOIRE SELECTION 30

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 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

INTRODUCTION
The syllabus is designed to engage candidates in the musical activities of Listening, Creating and Performing (in
an integrated manner) while providing opportunities for candidates to follow their own musical inclinations
through creating and performing music of their own choice. It is also underpinned by the understanding that an
appreciation of the cultural diversity of music is vital in developing open-mindedness towards the multiplicity of
musical practices. Through the syllabus, candidates have the opportunities to explore a wide range of genres
and styles to broaden and develop their knowledge, skills and understanding of music. It provides the platform
for candidates to make music, both individually and in groups. The syllabus lays the foundation for further study
in music and endeavours to foster a lifelong appreciation and involvement in music.

AIMS
The aims of the syllabus are to:

• Develop critical thinking and musical creativity

• Develop communication, collaborative and interpretative skills in music

• Develop perception and awareness of musical cultures and traditions, both local and global

• Develop independent learners with inquiring and innovative minds through reflective practices in music

• Provide the basis for an informed and lifelong appreciation of music

FRAMEWORK
The syllabus is organised into three papers: Music Studies, Creating and Performing. Music Studies is
organised by Areas of Study, which covers a wide range of musical styles and traditions to guide aural
exploration through listening, analysis, creating and performing. Creating and Performing provide the necessary
breadth of musical and reflective skills, equipping candidates with their articulation of their musical
understanding, intentions and evaluation of their musical choices in their compositions and performances.

REQUIREMENTS
Candidates offering this syllabus must take papers 6085/1, 6085/2 and 6085/3.

Candidates offering this syllabus must be under the direct supervision of an O-Level music teacher in their own
school or any of the approved O-Level Music Centres.

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 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

AREAS OF STUDY
The Areas of Study represent a broad selection of significant genres and traditions for musical study at O-Level.
Each Area of Study is situated within specific musical traditions. Candidates will understand and appreciate the
historical, social and cultural contexts of music from the following four Areas of Study:

1 Western Classical Tradition

2 Jazz

3 Popular Music

4 Asian Music

Western Classical Tradition

Candidates will be examined on the following:

• Solo Instrumental Music

- Baroque Dance Suite
- Classical Sonata
- Romantic Character Piece
- 20th Century Musical Styles (Impressionism, Nationalism and Minimalism)

• Chamber Music
- Classical String Quartet
- Romantic German Lieder (for solo voice and piano)

• Symphony (from the Classical and Romantic periods)

Knowledge Outcomes Skills Outcomes Musical Elements and Concepts

Candidates should be able to Candidates will be able to: Rhythm and Metre
demonstrate understanding of: • Pulse, Tempo, Simple and
• distinguish between the Compound time, Changing
• the historical, social and music of the different periods metres, Syncopation,
cultural contexts of music in by examining the musical Hemiola, Ostinato, Phasing
each period characteristics of the select
genres and traditions, Melody
• the purpose for which these focusing on: • Contour, Motif, Theme,
musics are created – Rhythm and Metre Decoration (ornaments),
– Melody Voice-leading, Repetition,
• the musical practice in each – Harmony and Tonality Sequence, Variation
case – Texture
– Timbre, Instrumentation Harmony and Tonality
and Orchestration • Consonance and Dissonance,
(including voice) Scales, Modes, Intervals,
– Instruments of the Chord types and Inversions,
Western Orchestra Cadences, Tonality, Keys and
(including keyboard) Modulations, Standard chord
– Form and Structure progressions, Pedal, Drone,
– Relationship between Harmonic rhythm
words and music
– Relationship between
the voice(s)/
instrument(s)

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 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

Knowledge Outcomes Skills Outcomes Musical Elements and Concepts

Texture
• Monophony/Unison,
Homophony, Polyphony,
Doubling

Timbre, Instrumentation and

Orchestration
• Properties of
instruments/voices,
instrumental/vocal techniques
and performance practices

Form and Structure

• Binary, Ternary, Minuet and
Trio, Scherzo, Rondo, Theme
and Variations, Sonata form,
Strophic, Through-composed

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 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

Jazz

Candidates will be examined on the following between the 1920s and 1960s in America:

• Traditional Jazz
• Swing
• Bebop
• Cool Jazz

Knowledge Outcomes Skills Outcomes Musical Elements and Concepts

Candidates should be able to Candidates will be able to: Rhythm and Metre
demonstrate understanding of: • Swing rhythm, Backbeat,
• distinguish musical Syncopation, Groove, Stop time
• the historical, social and characteristics, conventions
cultural contexts of Jazz and features of the select Melody
genres, focusing on: • Blue notes
• the musical practices of the – Rhythm and Metre • Devices (Repetition, Sequence,
Jazz tradition – Melody Variation, Call-and-response,
– Harmony and Tonality Fill, Arpeggio, Riff, Vamp)
• the role of and approaches – Texture
to improvisation in Jazz – Timbre, Instrumentation Harmony and Tonality
and Orchestration • Keys and Modulations
• the approaches to (including common • Blues scale
arrangement in Jazz (e.g. instrumental • Standard chord progressions (II-
the roles of instruments and combinations and V-I, I-VI-II-V), Tonal and Modal
instrumental sections, instrumental cadences
techniques of performance • Chords (Dominant 7th, Major
instrumentation on textural techniques) 7th, Minor 7th, Added 6th,
outcomes) – Form and Structure Diminished, Root position and
Inversions, Rootless voicing)
• Harmonic rhythm
• Chord symbol, Slash chord
notation
• Devices (Pedal point, Vamp,
Turnaround)

Texture
• Polyphony/Contrapuntal,
Homophony, Unison, Block
chords

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 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

Knowledge Outcomes Skills Outcomes Musical Elements and Concepts

Timbre, Instrumentation and

Orchestration
• Key instruments and sections
(e.g. rhythm section, horn
section, front-line instruments)
of the standard Jazz combos
and big bands
• Role of instruments and
instrumental sections
• Instrumental techniques
(Slide/Glissando/Pitch-bend,
Vibrato, Use of mutes)
• Performance practices (Walking
bass, Comping, Scat, Collective
or Solo improvisation, Trading
solos, Break, Accent,
Articulation, Imitation)

Form and Structure

• 32-bar AABA form
• 32-bar ABAC form
• 12-bar blues form
• Head, Chorus, Bridge, Interlude

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 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

Popular Music

Candidates will be examined on the following from the late 1960s to the present:

• Late 1960s Pop-Rock

• Synth-Pop
• R&B/Soul

Knowledge Outcomes Skills Outcomes Musical Elements and Concepts

Candidates should be able to Candidates will be able to: Rhythm and Metre
demonstrate understanding of: • Syncopation, Ostinato,
• distinguish musical Groove, Riff
• the historical, social and characteristics, conventions
cultural contexts of popular and features of the select Melody
music genres, focusing on: • Contour, Phrase, Motif,
– Rhythm and Metre Variation, Riff, Fill, Hook, Lick
• the musical practices of – Melody
Popular Music – Harmony and Tonality Harmony and Tonality
– Texture • Scales and Modes, Chords,
• the use and impact of – Timbre and Tonality, Cadences, Keys and
technology in music Instrumentation Modulations, Standard chord
production, recording and – Vocal and instrumental progressions
reproduction (e.g. the techniques
manipulation of sounds; – Form and Structure Texture
timbres of electric – Relationship between • Homophony, Polyphony,
instruments, computer- lyrics and music Unison
generated sounds and – Relationship between the
acoustic instruments) voice(s)/instrument(s)/ Timbre and Instrumentation
technology • Acoustic and electric
instruments, Synthesised/
• identify and/or describe Computer-generated sound,
conventions of music Digital effects (FX): Reverb,
technology in sound Distortion, Delay, Panning,
manipulation, production and Fade in/out
recording (e.g. over-dubbing, • Vocal and instrumental
multi-tracking, looping) techniques

Form and Structure

• Verse and Chorus, Intro,
Outro, Bridge, Break, Solo,
Instrumental interlude, Pop
ballad

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 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

Asian Music

Candidates will be examined on the following:

• Music of Malay Traditional Dances (Zapin and Joget)

• Chinese Ensemble Music (Jiangnan Sizhu and Guangdong Music)
• Indian Ensemble Music (Carnatic and Hindustani)
• Gamelan (Javanese)

Knowledge Outcomes Skills Outcomes Musical Elements and Concepts

Candidates should be able to Candidates will be able to: Malay Traditional Dances
demonstrate understanding of: • distinguish between the • Instruments: gambus, violin,
music of the different seruling, accordion, rebana,
• the social and cultural traditions by examining the marwas and gong
contexts of music in each musical characteristics of the • Typical rhythmic patterns
tradition select genres and traditions, associated with each dance
focusing on: genre
• the purpose for which the – Rhythm and Metre • Functions and features of
music is created – Melody taksim and wainap
– Texture
• approaches to improvisation – Timbre and Chinese Ensemble Music
and arrangement within the Instrumentation • Instruments: erhu, gaohu,
context of the various – Common instruments guzheng, yangqin, pipa,
genres/traditions used (including sanxian, dizi, xiao, sheng,
combination of clappers, cymbals and drums
• the roles of instruments (e.g. instruments) • Tempo/Form: manban,
bass, harmony instruments, – Form and Structure zhongban, kuaiban
rhythm section, percussion) • Mode: Pentatonic
• differentiate between the
• instrumental/performance genres specified in each Indian Ensemble Music
techniques unique to the tradition (where applicable) • Instruments: sitar, veena,
various genres/traditions violin, sarod, sarangi, tabla,
mridangam and tambura
• Improvisation according to
raga and tala
• Form/Structure: alap/alapana,
gat, kriti

Gamelan (Javanese)
• Instruments: metallophones,
gongs, gong-chimes, rebab,
suling and kendang
• Tuning systems: pelog,
slendro
• Texture: polyphonic
stratification, heterophony

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 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

ASSESSMENT OBJECTIVES
The assessment objectives for this syllabus are presented below.

AO1 Demonstrate Musical Understanding and Knowledge

Students should be able to demonstrate knowledge and understanding of:

• Musical elements, concepts and knowledge; and

• Musical processes and skills

AO2 Interpret and Communicate Musical Ideas

Students should be able to apply musical knowledge and understanding to:

• Interpret music in a variety of contexts

• Explain how musical knowledge is understood in particular contexts

• Communicate musical ideas and expressions through a variety of modes; and

• Collaborate with others to present effective ensemble performances

AO3 Analyse and Evaluate Music

Students should be able to analyse and evaluate music, using appropriate music terminology, to:

• Analyse music of a wide range of genres, styles and traditions, including unfamiliar works by other
composers/performers

• Make judgement about their own musical works and performances based on stylistic understandings and
relevant creating and performing conventions

• Reflect and make recommendations and decisions during the creating and performing process

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 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

The examination will reward candidates for positive achievement in:

Paper 1: Music Studies

• Identify, explain and/or describe musical concepts, instruments and stylistic characteristics in the context of
the genres, traditions and styles

• Distinguish between the music of the different traditions and provide justification by examining the musical
characteristics of the select genres and traditions

• Complete short musical dictation and read staff/lead sheet notation in the context of Western Classical,
Jazz and Popular Music

Paper 2: Creating

• Demonstrate an understanding of the capabilities of the chosen voice, instrument(s) and/or electronic
medium

• Demonstrate inventiveness of their musical idea(s) in communicating the intent of the work for a proposed
context

• Demonstrate coherence of musical composition in terms of structure and style

• Demonstrate communication of aural imagination and compositional intentions

• Document and reflect on the compositional process

Paper 3: Performing

• Demonstrate technical competence and interpretative understanding through performing in solo and/or
ensemble settings

• Communicate musical understanding and expression with a sense of purpose and audience

• Reflect on possible strategies and musical decisions candidates make during rehearsals to overcome
creative and/or technical challenges in solo and/or ensemble settings

SCHEME OF ASSESSMENT
The following table provides a summary of the weighting and assessment of the examination.

All Music candidates are required to take all the compulsory papers listed in the table below:

Paper Title Weighting Assessment Format Duration Marks

1 Music 40% Written Examination 1 hour 75

Studies 30 minutes

2 Creating 30% (i) Composition 9 weeks, 40

5 hours of
(ii) Reflection Notes supervision time 10

3 Performing 30% (i) Recital 5–10 minutes 40

(ii) Reflection Notes – 10

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 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

DESCRIPTION OF PAPERS AND ASSESSMENT CRITERIA

PAPER 1 MUSIC STUDIES
Weighting 40%
Assessment Format Written Examination (1 hour 30 minutes) (75 marks)

Paper 1 has three parts containing six unprepared listening questions, all of which are compulsory:

Areas of Study No. of Questions Marks

Part 1 Western Classical Tradition 2 25

Jazz 1
Part 2 25
Popular Music 1

Part 3 Asian Music 2 25

All questions will test candidates’ aural perception skills, knowledge and understanding of the range of music
stipulated in the syllabus. This will be done through unprepared recorded extracts. The question types include
multiple-choice questions, short-answer questions, brief explanations or descriptions, and melody and/or rhythm
dictation tasks. A maximum of two questions on melodic and/or rhythmic dictation will be set in
Parts 1 and 2. Candidates are expected to use accurate technical vocabulary in all their answers.

Candidates must be able to follow the music extracts with the help of a skeleton score in Question 1, a full or
skeleton score in Question 2, a skeleton score or lead sheet in Question 3 and a skeleton score or lead sheet in
Question 4. A question on simple melodic and/or rhythmic dictation will be set for either Question 1 or 2. The
extracts for Questions 5 and 6 will not be accompanied by any score. The duration of each extract will be
between 30 seconds and 1 minute 30 seconds. There will be timed pauses between each playing of the
recorded extracts to allow candidates time to write down their answers.

Part 1: Western Classical Tradition (25 marks)

Question 1 will carry 10 marks and Question 2 will carry 15 marks.

Questions 1 and 2 will be set on any of the following Western Classical Tradition genres listed below:

(i) Solo Instrumental Music

(a) Baroque Dance Suite
(b) Classical Sonata
(c) Romantic Character Piece
(d) 20th Century Musical Styles (Impressionism, Nationalism and Minimalism)

(ii) Chamber Music

(a) Classical String Quartet
(b) Romantic German Lieder (for solo voice and piano)

(iii) Symphony (from the Classical and Romantic periods)

Extract 1 will be played four times, accompanied by a skeleton score.

Question 1 will assess knowledge on:

• the identification, explanation and/or description of the following elements and concepts in music:
– Rhythm, metre and tempo – Melody
– Harmony and tonality – Texture
– Timbre, instrumentation and orchestration – Form and structure
– Period and style – Genres
– Relationship between (i) words and music, and (ii) voice(s)/instrument(s)

• simple melodic and/or rhythmic dictation of a prominent instrumental or vocal part

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 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

Extract 2 will be played four times, accompanied by a full or skeleton score.

Question 2 will assess knowledge on:

• the identification, explanation and/or description of the following elements and concepts in music:
– Rhythm, metre and tempo – Melody
– Harmony and tonality – Texture
– Timbre, instrumentation and orchestration – Form and structure
– Period and style – Genres
– Relationship between (i) words and music, and (ii) voice(s)/instrument(s)

• detailed observations and higher level aural perception of stylistic and compositional features made in the
context of the genre, period, and/or style

• simple melodic and/or rhythmic dictation of a prominent instrumental or vocal part

Part 2: Jazz and Popular Music (25 marks)

Questions 3 and 4 will each carry either 12 or 13 marks.

Question 3 will be set on any of the following Jazz styles from 1920s to 1960s in America listed below:

(i) Traditional Jazz

(ii) Swing
(iii) Bebop
(iv) Cool Jazz

Extract 3 will be played four times, accompanied by a skeleton score or a lead sheet and lyrics.

Question 3 will assess knowledge on:

• the identification, explanation and/or description of the following elements and concepts in music:
– Rhythm, metre and tempo – Melody
– Harmony* and tonality – Texture
– Timbre, instrumentation and orchestration – Form and structure
– Style

• simple melodic and/or rhythmic dictation of a prominent instrumental or vocal part

• stylistic and compositional features

*Candidates are not required to aurally identify chords, but should be able to explain and describe different
chord types. Candidates are still expected to identify, explain and describe keys and cadences, modulations
and harmonic devices.

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 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

Question 4 will be set on any of the following Popular Music genres listed below:

(i) Late 1960s Pop-rock

(ii) Synth-Pop
(iii) R&B and Soul

Extract 4 will be played four times, accompanied by a skeleton score or a lead sheet and lyrics.

Question 4 will assess knowledge on:

• the identification, explanation and/or description of the following elements and concepts in music:
– Rhythm, metre and tempo – Melody
– Harmony^ and tonality – Texture
– Timbre and instrumentation – Form and structure
– Relationship between (i) lyrics and music, – Genres
and (ii) voice(s)/instrument(s)/technology#

• simple melodic and/or rhythmic dictation of a prominent instrumental or vocal part

• stylistic and compositional features

^Candidates are only required to aurally identify common chord progressions. They are also expected to explain
and describe different chord types, as well as identify, explain and describe keys and cadences, modulations
and harmonic devices.

#Candidates are required to aurally identify, describe and explain the following digital effects (FX): reverb,
distortion, delay, panning and fade in/out. Candidates are also required to describe and explain the following
sound manipulation processes and techniques: over-dubbing, multi-tracking and looping.

Part 3: Asian Music (25 marks)

Questions 5 and 6 will each carry 12 or 13 marks.

Questions 5 and 6 will be set on any of the following Asian Music traditions listed below:

(i) Music of Traditional Malay Dances (Zapin and Joget)

(ii) Chinese Ensemble Music (Jiangnan Sizhu and Guangdong Music)
(iii) Indian Ensemble Music (Hindustani and Carnatic)
(iv) Gamelan (Javanese)

Extracts 5 and 6 will not be accompanied by a score. Each extract will be played four times.

Questions 5 and 6 will assess knowledge on:

• the identification, explanation and/or description of the following elements and concepts in music:
– Rhythm, metre and tempo – Melody
– Texture – Timbre and instrumentation
– Form and structure – Genres

• stylistic and compositional features, and performance practice in the context of the tradition

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 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

PAPER 2 CREATING
Weighting: 30%
Assessment Format: Composition and Reflection Notes (50 marks)

Paper 2 has two parts: Part 1 (Composition) and Part 2 (Reflection Notes).

Part 1: Composition (40 marks)

This part will assess candidates’ creative response to a stimulus, and technical competence in composing.

Candidates must submit one composition in response to one of the six stimuli outlined below.

The composition should be a complete piece, written for between one and five instruments (including voice(s)),
with a maximum performance duration of 3 minutes.

In addition, candidates must also submit a set of Reflection Notes of 400–500 words, which explicates their
decision-making processes during the period of composition to demonstrate their compositional thinking and
understanding.

Candidates may use any style, technique or tradition listed in the Areas of Study, or beyond, and compose for
any instrument(s) and/or voice(s).

The composition must be notated using staff notation or any other conventional form of notation (e.g. cipher
notation, lead sheet) that are appropriate to the style of the music. If an alternative form of notation is used (e.g.
graphic score), candidates must ensure that it clearly communicates their compositional intentions. Such scores
should be accompanied by performance notes that explain the system of notation. Scores may be either
handwritten or computer-generated, but they must be accurately edited.

Candidates who submit a lead sheet or who submit a composition that uses music technology (see options b
and d in the table below) must also submit a written commentary.

Score submissions may not be necessary for compositions that use music technology. For compositions that fall
into this category (e.g. electroacoustic composition), the audio recording submitted will be assessed in place of
a score. Any borrowed materials, sources of pre-set loops, and/or pre-recorded samples must be clearly
acknowledged in the Reflection Notes and in the Coursework Submission Form provided by SEAB, and also
exported as individual audio files for verification purposes by Cambridge Assessment International Education.1

The table below illustrates all the possible options for the submission of the Creating component:

As substantive document [compulsory and For illustrative purposes [compulsory but not
assessed] assessed]

a Staff notation Audio recording (WAV format / MP3 format no

lower than 320kbps)

b Lead sheet and written commentary (including Audio recording (WAV format / MP3 format no
staff notation of grooves, etc.) lower than 320kbps)

c Graphic notation and performance notes Audio recording (WAV format / MP3 format no
lower than 320kbps)

d Audio recording (WAV format / MP3 format no Raw audio files and written commentary
lower than 320kbps)

1
The form will be disseminated to schools at the beginning of the year of examination.

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Part 2: Reflection Notes (10 marks)

The Reflection Notes should elucidate the candidate’s compositional responses to the chosen stimulus using
the following guiding questions:

• How did the stimulus lead you to formulate and shape your musical ideas?

• What were one or two technical challenges in developing your ideas? How did you approach these
challenges?

Instructions for supervision

Candidates will be allowed up to five hours of supervised time, over a period of up to nine weeks, for the
completion of their composition and Reflection Notes. All finished compositions must be recorded. The time
required for rehearsing and recording candidates’ compositions is not part of the five hours of supervised time,
unless the submission is the recording, in which case the recording must be completed within the five hours of
supervised time.

Candidates will be allowed access to facilities (piano or keyboard, computer, audio recorder and microphone)
during the supervised composition time.

All work drafts must be collected by the coursework supervisor at the end of each session and kept securely
until final submission to SEAB.

The stimulus will be issued to candidates in July of the year of the examination and the candidate’s composition
must be submitted to SEAB by October in the year of the examination.

Composing to a stimulus

Candidates have to write to:

1 MUSICAL STIMULUS

(i) a set of pitches, OR

(ii) a given rhythmic motif

OR

2 TEXT STIMULUS

(i) a poem, OR

(ii) a set of lyrics

OR

3 CONTEXT STIMULUS

(i) Context Stimulus 1, OR

(ii) Context Stimulus 2

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 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

Other instructions

Each submission must be accompanied by a statement from the candidate’s music teacher endorsed by the
Principal of the candidate’s school. Teachers will be expected to provide general guidance to the candidates to
ensure that the work is completed according to the requirements. This should not in any way raise the standard
of the work beyond the candidate’s own capability. The teacher’s supervision of the progress of the work should
enable them to testify that the submission is the unaided work of the candidate and authenticate the score and
recording. Unattributed plagiarism can lead to disqualification from the examination.

Coursework must be submitted to SEAB in October (a specific date will be given). Submissions should
show the name and number of the centre, the candidate’s name and examination number and the
details of the examination, i.e. Ordinary Level Music and paper number, i.e. 6085/2. Please note that the
centre number used on the submission should match the centre number that was used on the
statement of entry.

ASSESSMENT CRITERIA FOR CREATING (PAPER 2)

Paper 2 is worth 50 marks in total. The Composition is marked out of 40 and the Reflection Notes out of 10.
Candidates will be marked according to the criteria given below:

Criteria Marks

1 Creation and Development of Musical Ideas 10

2 Musical Coherence 10

3 Understanding of the Capabilities of the Chosen Medium 10

4(a) Communication of Compositional Intentions (Score) 10

OR
4(b) Communication of Compositional Intentions in Technological Format (Recording)

5 Reflection Notes 10

TOTAL 50

1 Creation and Development of Musical Ideas

This criterion assesses the creation and development of musical ideas, as well as the use of compositional
techniques and devices in response to the stimulus.

Descriptor Mark

• Musical ideas are strong and imaginative with a convincing relationship to the stimulus 9–10
• Highly effective use of devices and techniques to develop musical ideas

• Musical ideas are well formed and show a clear response to the stimulus 7–8
• Generally effective use of devices and techniques to develop musical ideas

• Musical ideas are adequately formed and are related to and derived from the stimulus 5–6
• Some effective use of devices and techniques to develop the musical ideas

• Musical ideas are loosely formed and derived from the stimulus 3–4
• Limited use of devices and techniques to develop the musical ideas

• Musical ideas are poorly shaped or weak, showing a limited response to the stimulus 1–2
• Development of musical ideas is limited to mainly repetition

• No apparent response to the stimulus or attempt to develop musical ideas 0

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2 Musical Coherence

This criterion assesses the coherence of the composition in terms of structure and style and, where applicable,
appropriateness to the chosen style.

Descriptor Mark

• The work is entirely coherent 9–10

• The work is mostly coherent 7–8

• The work is reasonably coherent 5–6

• The work shows some musical coherence 3–4

• The work shows little musical coherence 1–2

• The work shows no musical coherence 0

3 Understanding of the Capabilities of the Chosen Medium

This criterion assesses the understanding of technical capabilities (and limitations) of instrumental and/or vocal
forces, including technology.

Descriptor Mark

• The work communicates a very secure understanding of the capabilities of the chosen 9–10
medium

• The work communicates a secure understanding of the capabilities of the chosen medium 7–8

• The work communicates a moderate understanding of the capabilities of the chosen 5–6
medium

• The work shows some understanding of the capabilities of the chosen medium 3–4

• The work shows very limited understanding of the capabilities of the chosen medium 1–2

• The work shows no understanding of the capabilities of the chosen medium 0

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4(a) Communication of Compositional Intentions (Score)

This criterion assesses the suitability of the chosen form of notation, and its consistency to performance detail,
in communicating the aural imagination and compositional intentions effectively.

Descriptor Mark

• Accurate, clear and detailed use of appropriate notation and markings that enable the 9–10
effective communication of the technical and expressive intentions of the composition

• Mainly accurate, clear and detailed notation and markings that enable the effective 7–8
communication of most of the technical and expressive intentions of the composition

• Accurate notation and markings but with some inconsistencies/errors that enable a general 5–6
communication of the technical and expressive intentions of the composition in most places

• Partially accurate notation and markings that enable the communication of some of the 3–4
technical and expressive intentions of the composition

• Erratic or unclear use of notation and markings that barely enable the composition to be 1–2
adequately communicated

• No notation offered and/or no appropriate means of communicating the musical intentions 0

4(b) Communication of Compositional Intentions in Technological Format (Recording)

This criterion assesses the control and manipulation of analogue and/or digital sounds in the submitted final mix
(recording) in communicating the aural imagination and compositional intentions effectively.

Descriptor Mark

• The final mix is well-balanced, sound quality is excellent, the stereo field is effectively used 9–10
and dynamics are carefully controlled
• There are no unintentional sonic artefacts and/or distortion, and the communication of the
composer’s intentions is excellent

• The final mix is mainly well-balanced, sound quality is good, the stereo field is effectively 7–8
used, and dynamics are well controlled
• Only very occasional and slight unintentional sonic artefacts and/or distortion occur, and the
communication of the composer’s intentions is mostly effective

• The final mix is fairly well-balanced, although one or more technical aspects may distort the 5–6
overall effect
• Unintentional sonic artefacts and/or distortion are audible in a number of places, and the
communication of the composer’s intentions is fairly effective

• The final mix lacks effective balance, and there are several technical inconsistencies 3–4
• Unintentional sonic artefacts and/or distortion affect the musical outcome and impede the
effective communication of the composer’s intentions

• The final mix is poorly balanced, with many technical inconsistencies that interfere with the 1–2
musical effect
• Communication of the composer’s intentions is seriously impaired by poor overall sonic
quality

• The final mix is distorted or erratic 0

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 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

Overall descriptors and mark bands for composition:

Descriptor Mark

Composition communicates an imaginative and musical response to the stimulus. Musical 33–40
ideas are well developed through highly effective use of devices and techniques. There is
excellent structural and stylistic coherence as well as very secure understanding of the chosen
medium. Scores are accurate, well-presented and show attention to detail throughout; or
sound quality of recording is excellent, and the final mix is well-balanced.

Composition communicates a well-formed and clear response to the stimulus. Musical ideas 27–32
are generally well-developed through effective use of devices and techniques. There is secure
structural and stylistic coherence as well as secure understanding of the chosen medium.
Scores are well-presented overall, and show reasonable attention to details; or sound quality
of recording is very good, and the final mix is mainly well-balanced.

Composition communicates a clear response to the stimulus. Musical ideas are fairly 20–26
well-developed through generally effective use of devices and techniques. There is generally
sound structural and stylistic coherence as well as moderate understanding of the chosen
medium. Scores are well-presented, with occasional inconsistencies/errors; or sound quality of
recording is generally good, with some unintended distortion, and the final mix is fairly well-
balanced.

Composition communicates an uneven response to the stimulus. Musical ideas are partially 13–19
developed through some use of devices and techniques. There is some structural and stylistic
coherence as well as some understanding of the chosen medium. Scores are partially
accurate, with persistent inconsistencies/errors; or sound quality of recording contains several
unintended distortions, and the final mix lacks effective balance.

Composition communicates a weak response to the stimulus. Musical ideas are loosely 6–12
formed with limited use of devices and techniques. There is a lack of structural and stylistic
coherence as well as limited understanding of the chosen medium. Scores are unclear, with
significant inconsistencies/errors; or sound quality of recording is largely distorted
unintentionally, and the final mix is poorly balanced.

Composition displays little evidence of consistent application of techniques or musical 1–5

understanding. All assessment areas exhibit consistent evidence of weakness and low levels
of achievement. Scores are imprecise throughout and/or incomplete; recording has poor sound
quality.

No work submitted or the work does not meet the criteria in the band above. 0

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 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

5 Reflection Notes (400–500 words)

This task enables candidates to demonstrate their ability to articulate how their musical ideas were shaped in
relation to the chosen stimulus, how they responded to the creative and technical challenges involved, and how
musical decisions about medium, techniques and organisation of materials were taken. Candidates are
expected to use appropriate technical vocabulary to communicate their musical ideas and decisions.

Descriptor Mark

• A detailed and convincing explanation of how the musical ideas were formulated, 9–10
developed, and organised in relation to the chosen stimulus
• A detailed and convincing explanation of the relevant creative and technical challenges
encountered during the process of composing, as well as the evaluation of attempted
solutions
• Appropriate and secure use of technical vocabulary

• A clear explanation of how the musical ideas were formulated, developed, and organised in 7–8
relation to the chosen stimulus
• A clear explanation of the relevant creative and technical challenges encountered during
the process of composing, as well as the evaluation of attempted solutions
• Mostly appropriate and secure use of technical vocabulary

• A general explanation, but lacking in details, of how the musical ideas were formulated, 5–6
developed, and organised in relation to the chosen stimulus
• A general explanation of the relevant creative and technical challenges encountered during
the process of composing, and a description of some attempted solutions
• Some appropriate technical vocabulary is used

• A weak explanation of how the musical ideas were formulated, developed, and organised in 3–4
relation to the chosen stimulus
• A partial explanation of the relevant creative and technical challenges encountered during
the process of composing, and a brief description of some attempted solutions
• Limited use of appropriate vocabulary

• Explanation of how the musical ideas were formulated, developed, and organised in 1–2
relation to the chosen stimulus is unclear, with little or no reference to the chosen stimulus
• Little attempt to explain the relevant creative and technical challenges encountered during
the process of composing, with minimal reference to attempted solutions
• Technical vocabulary is used sparingly or inappropriately

• No work submitted or the work does not meet the criteria in the band above 0

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 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

PAPER 3 PERFORMING
Weighting 30%
Assessment Format Recital and Reflection Notes (50 marks)

Paper 3 has two parts: Part 1 (Recital) and Part 2 (Reflection Notes).

Part 1: Recital (5–10 minutes) (40 marks)

Part 1 will assess candidates’ technical competence and musical understanding through two performances of
their own choice of music from any style or tradition. The total performing time should be between 5 and 10
minutes. Candidates will be required to provide their own accompanist and ensemble where appropriate.

Candidates are required to perform two items, each marked out of 40. They must choose one of the following
options:

Option 1

Two contrasting pieces on one solo instrument or voice from any style/tradition.

OR

Option 2

Two contrasting pieces:

One piece or movement on one solo instrument or voice from any style/tradition

and

any one of the following from any style/tradition:

• one piece on a second instrument

• Ensemble (on the first or second instrument)

• Accompaniment (on the first or second instrument)

For the selection of repertoire and instrument combination, please refer to page 30 at the end of the syllabus
document.

Candidates should perform music appropriate, in its technical and musical demands, to their stage of
development at the time of the examination. They will be given positive credit for the following:

• Technical control or Quality of improvisation (e.g. accuracy in notes and rhythm; choice and control of
tempo; ensemble coordination, if applicable)

• Musicality and Sensitivity (e.g. sensitivity to articulation, phrasing and dynamics, understanding of musical
style, genre and cultural context of the chosen repertoire; blend and balance with the other members of the
ensemble or soloist, if applicable)

Candidates will be examined by two examiners at a live performance.

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 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

Part 2: Reflection Notes (10 marks)

Part 2 will assess candidates’ musical understanding as well as their reflection on musical decisions in the
process of their performance preparation.

Candidates are required to submit Reflection Notes of 400–500 words. The Reflection Notes should convey
candidates’ performative understanding of the pieces and reflect on their musical and technical preparation.
Candidates may consider reflecting on the following items:

• Musical decisions made in terms of stylistic interpretation, and shaping of the music

• Performative issues pertaining to technical demands, challenges and performance practice considerations

Candidates are encouraged to draw on relevant research information and recordings in their reflection.

Other instructions

The Reflection Notes should be written under the supervision of the O-Level Music teacher, who will be required
to certify that the Reflection Notes submitted are the work of the individual candidate who claims authorship.

The Reflection Notes must be submitted together with the Performing Programme Form and copies of the score
(if applicable) for the recital examination.

A completed form outlining the pieces chosen for Paper 3 must be submitted to SEAB. Schools will be advised
of the exact date of submission 1–2 months before the date of examination.

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 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

ASSESSMENT CRITERIA FOR PERFORMING (PAPER 3)

Paper 3 is worth 50 marks in total. The mark out of 80 for Part 1 is divided by 2 (rounding up any odd number)
to give a total out of 40 for Part 1. This is added to the mark out of 10 for Part 2, to give a final total out of 50 for
this component.

Candidates will be marked according to the criteria given below:

Criteria Piece 1 Piece 2

Part 1: Recital (Solo OR Ensemble OR Accompanying)

1(a) Technical control appropriate to the style or genre of the music

OR 20 marks 20 marks
Quality of improvisation

1(b) Musicality and Sensitivity 20 marks 20 marks

80 marks divided
SUBTOTAL
by 2 = 40 marks

Part 2: Reflection Notes

The mark awarded for the reflection notes will be independent of the mark awarded for the recital.

2 • Understanding of the creative/technical challenges in music

selected for the performance
• Reflection on the musical decisions made in the process of
10 marks
preparation for the performance, including an understanding of
the musical styles or contexts that influence their decisions
• Use of appropriate technical vocabulary

TOTAL 50 marks

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 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

1(a) Solo Performance on First or Second Instrument: Technical control appropriate to the style or
genre of the music OR Quality of improvisation

Descriptor Mark

Excellent technical control of the instrument with well-developed skills; performance is accurate
in notes and rhythm and completely fluent; appropriate choice of tempo, consistently maintained
throughout the performance.
17–20
OR
Well-structured and coherent quality of improvisation showing a high level of musical
inventiveness.

Good technical control of the instrument with fairly well-developed skills; mostly accurate in
notes and rhythm and mainly secure with some inaccuracies, but not enough to disturb the
fluency of the performance; appropriate choice of tempo, maintained through most of the
performance. 13–16
OR
Mostly well-structured and consistent quality of improvisation showing a good level of musical
inventiveness.

Moderately good technical control with moderately developed skills; moderately accurate in
notes and rhythm, but with a number of inaccuracies which disturb the fluency of some parts of
the performance; choice of tempo is acceptable but with inconsistencies in some parts of the
performance. 9–12
OR
Moderately structured and mostly consistent quality of improvisation showing some musical
inventiveness.

Some significant weakness in technical control with less well-developed skills; somewhat
accurate in notes and rhythm but hesitant, sometimes serious enough to impair the fluency in
many parts of the performance; a less appropriate choice of tempo with fluctuations in many
5–8
parts of the performance.
OR
Loosely structured and inconsistent quality of improvisation showing little musical inventiveness.

Very weak technical control with modest skills; little accuracy in notes and rhythm, with
persistent hesitancy, showing little fluency throughout most of the performance; an inappropriate
choice of tempo, or an acceptable tempo with fluctuations in most parts of the performance. 1–4
OR
Poorly structured quality of improvisation showing limited musical inventiveness.

The work does not meet the criteria in the band above. 0

25
 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

1(b) Solo Performance on First or Second Instrument: Musicality and Sensitivity

Descriptor Mark

Performance is highly expressive through sensitive control of articulation, phrasing and

dynamics, communicating a very secure understanding of the style, genre and cultural context of 17–20
the chosen repertoire.

Performance is mostly expressive through the sensitive control of articulation, phrasing and
dynamics, communicating a secure understanding of the style, genre and cultural context of the 13–16
chosen repertoire.

Performance is fairly expressive through the sensitive control of articulation, phrasing and
dynamics, communicating some understanding of the style, genre and cultural context of the 9–12
chosen repertoire.

Performance shows some expression with uneven control of articulation, phrasing and
dynamics, communicating little understanding of the style, genre and cultural context of the 5–8
chosen repertoire.

Performance lacks expressive awareness or intention due to limited control of articulation,

phrasing and dynamics, communicating an insecure understanding of the style, genre and 1–4
cultural context of the music.

The work does not meet the criteria in the band above. 0

26
 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

1(a) Ensemble or Accompanying: Technical control and coordination appropriate to the style or genre
of the music OR Quality of improvisation

Descriptor Mark

Excellent technical control and coordination with ensemble/soloist, with well-developed skills.
Strong rapport with other performers through careful listening and effective non-verbal cues.
Wholly accurate in notes and rhythm and completely fluent. Appropriate choice of tempo,
consistently maintained throughout the performance. 17–20
OR
Well-structured and coherent quality of improvisation showing a high level of musical
inventiveness.

Good technical control and coordination with ensemble/soloist, with fairly well-developed skills.
Good rapport with other performers through careful listening and effective non-verbal cues.
Mostly accurate in notes and rhythm and mainly secure with some inaccuracies, but not enough
to disturb the basic fluency of the performance. Appropriate choice of tempo, maintained
13–16
throughout most of the performance.
OR
Mostly well-structured and consistent quality of improvisation showing a good level of musical
inventiveness.

Moderately good technical control and coordination with ensemble/soloist, with moderately
developed skills. A moderate level of communication with other performers through some
listening and non-verbal cues. Moderately accurate in notes and rhythm, but with a number of
inaccuracies which disturb the fluency of some parts of the performance. Choice of tempo is
9–12
acceptable but with inconsistencies in some parts of the performance.
OR
Moderately structured and mostly consistent quality of improvisation showing some musical
inventiveness.

Some significant weakness in technical control and generally weak coordination with
ensemble/soloist, with less well-developed skills. Some communication with other performers
through occasional listening. Somewhat accurate in notes and rhythm but hesitant, sometimes
serious enough to impair the fluency in many parts of the performance. A less appropriate 5–8
choice of tempo, or an acceptable tempo with fluctuations in many parts of the performance.
OR
Loosely structured and inconsistent quality of improvisation showing little musical inventiveness.

Very weak technical control and poor coordination with ensemble/soloist, with modest skills. A
weak level of communication with other performers through inattentiveness in listening. Little
accuracy in notes and rhythm, with persistent hesitancy, showing little fluency throughout most
of the performance. An inappropriate choice of tempo with fluctuations in most parts of the 1–4
performance.
OR
Poorly structured quality of improvisation showing limited musical inventiveness.

The work does not meet the criteria in the band above. 0

27
 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

1(b) Ensemble or Accompanying: Musicality and Sensitivity

Descriptor Mark

Performance is highly expressive through the sensitive control of articulation, phrasing and
dynamics, communicating a very secure understanding of the style, genre and cultural context of the 17–20
chosen repertoire. Excellently blended and balanced with the other members of ensemble or soloist.

Performance is mostly expressive through the sensitive control of articulation, phrasing and
dynamics, communicating a secure understanding of the style, genre and cultural context of the 13–16
chosen repertoire. Effectively blended and balanced with the other members of ensemble or soloist.

Performance is fairly expressive through the sensitive control of articulation, phrasing and dynamics,
communicating some understanding of the style, genre and cultural context of the chosen repertoire. 9–12
Moderately well blended and balanced with the other members of ensemble or soloist.

Performance shows some expression with uneven control of articulation, phrasing and dynamics,
communicating little understanding of the style, genre and cultural context of the chosen repertoire. 5–8
Sometimes well blended and balanced with the other members of ensemble or soloist.

Performance lacks expressive awareness or intention due to limited control of articulation, phrasing
and dynamics, communicating an insecure understanding of the style, genre and cultural context of 1–4
the music. Little attempt to blend and balance with the other members of the ensemble or soloist.

The work does not meet the criteria in the band above. 0

Overall descriptors and mark bands for performance:

Descriptors Mark

Performances which are consistently excellent in musicianship and control of technique, 33–40
communicating a very high level of musical understanding of the music in programmes made up
of pieces demanding highly developed skills appropriate for this level and consistent with the
candidate’s technical development.

Performances which are very good in musicianship and control of technique, communicating a 27–32
high level of musical understanding of the music in programmes made up of pieces demanding
well-developed skills appropriate at this level and mostly consistent with the candidate’s
technical development.

Performances which are fairly good in most respects, demonstrating a developing level of 20–26
musicianship and technique, communicating a good general understanding of the styles
represented in an appropriate combination of pieces for this level, but less even in quality than
the higher categories or with some limitations of technique or musicianship.

Performances which are good in some respects, though more limited in musicianship and/or 13–19
technique, communicating a restricted understanding of the music in programmes which may
not be altogether appropriate to the candidate’s technical ability at this level.

Performances in which limitations of technique or musicianship are significant enough to impede 6–12
the communication of musical understanding in some important respects in pieces which offer
only limited opportunities to display technical and musical skills appropriate to this level.

Performances which display significant weaknesses in musicianship or technique. 1–5

No work submitted or the work does not meet the criteria in the band above. 0

28
 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

2 Reflection Notes (400–500 words)

Descriptor Mark

Excellent understanding of the creative and technical challenges of the music. A comprehensive
and cogent reflection on a wide range of issues arising from the performance and its
9–10
preparation. Appropriate technical vocabulary is used securely with evidence of very good
research and informed musical decisions.

Good understanding of the creative and technical challenges of the music. A thorough and
articulate reflection on a range of issues arising from the performance and its preparation.
7–8
Appropriate technical vocabulary is used, mostly securely with evidence of moderately good
research and informed musical decisions.

Moderate understanding of the creative and technical challenges of the music. A fairly accurate
reflection on a range of issues arising from the performance and its preparation. Some
5–6
appropriate technical vocabulary is used with some evidence of good research and informed
musical decisions.

Some understanding of the creative and technical challenges of the music. Some attempt to
reflect on certain issues arising from the performance and its preparation, but little evidence of 3–4
research and informed musical decisions.

Very little understanding of the creative and technical challenges of the music. Limited attempt to
reflect on a few of the issues arising from the performance and its preparation. Technical
1–2
vocabulary is used sparingly or inappropriately. No evidence of research and informed musical
decisions.

No work submitted or the work does not meet the criteria in the band above. 0

29
 6085 MUSIC GCE ORDINARY LEVEL SYLLABUS

GUIDELINES ON INSTRUMENT AND REPERTOIRE SELECTION

Additional Notes on Performing
For candidates offering Solo Instrument as an option:

The repertoire must be drawn from what is commonly understood as the solo repertoire of the instrument
concerned. Candidates may choose to offer a Western or a non-Western instrument. However, in general:

• Pianists play solo piano music.

• Singers or performers on orchestral instruments are allowed to sing/play unaccompanied songs/music if
the candidate so chooses. However, they must not play without an accompaniment if the music is intended
to be accompanied.
• Performers who choose to sing and accompany themselves will be assessed on both the vocal and
instrumental parts simultaneously using the Solo Performance assessment criteria.

For candidates offering Ensemble as an option:

• An ensemble is a performance by a group of instrumentalists (or singers), each of whom performs an

individual part (i.e. the part played by the candidate who is being assessed must not be extensively
doubled by any other member of the group). The music should allow sufficient interaction between the
players to ensure that ensemble skills can be assessed.
• In most circumstances, there should be a minimum of three players in an ensemble, so that a full range of
ensemble skills can be demonstrated. However, pianists are permitted to offer piano duets (which should
normally be genuine duets, not arrangements).
• For players of orchestral instruments (strings, woodwind or brass) the repertoire presented for examination
normally consists of works (sonatas, concertos or some other genres) in which the solo instrument is
accompanied on the piano, which plays either a part originally written for the piano, or an arrangement of
an orchestral score. Such pieces always count as solo performances for the orchestral instrument, and
may not be offered as ensembles.
• For singers, a full choir with several people singing the same part is not permissible; a small group, with
one singer per part, would be required. Vocal duets with piano accompaniment need careful thought, even
though three performers are involved. Pieces must allow for a sufficient range of genuine ensemble skills to
be demonstrated.

For candidates offering Accompaniment as an option:

In most circumstances, when an accompaniment is played on the piano, there would be one accompanist. For
practical reasons and manageability concerns about getting a group of players together at the scheduled time of
the examination, candidates are advised that the music selected should involve no more than five
accompanists.

For candidates offering a Second Instrument as an option:

Candidates are given the choice to present a different instrument from that presented in the first piece. There is
no restriction on the different types of instruments that can be featured. Non-Western instruments may also be
offered.

30