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A Level Music Technology Sample Assessment Materials Pearson Edexcel Level 3 Advanced GCE in Music Technology (9MT0) First teaching from September 2017 First certifi cation from 2019 Issue 2 Edexcel, BTEC and LCCI qualifications Edexcel, BTEC and LCCI qualifications are awarded by Pearson, the UK’s largest awarding body offering academic and vocational qualifications that are globally recognised and benchmarked. For further information, please visit our qualification websites at www.edexcel.com, www.btec.co.uk or www.lcci.org.uk. Alternatively, you can get in touch with us using the details on our contact us page at qualifications.pearson.com/contactus About Pearson Pearson is the world's leading learning company, with 35,000 employees in more than 70 countries working to help people of all ages to make measurable progress in their lives through learning. We put the learner at the centre of everything we do, because wherever learning flourishes, so do people. Find out more about how we can help you and your learners at qualifications.pearson.com References to third party material made in this sample assessment materials are made in good faith. Pearson does not endorse, approve or accept responsibility for the content of materials, which may be subject to change, or any opinions expressed therein. (Material may include textbooks, journals, magazines and other publications and websites.) All information in this document is correct at time of publication. Original origami artwork: Mark Bolitho Origami photography: Pearson Education Ltd/Naki Kouyioumtzis ISBN 978 1 4469 5247 4 All the material in this publication is copyright © Pearson Education Limited 2017 Edexcel, BTEC and LCCI qualifications Summary of Pearson Edexcel Level 3 Advanced GCE in Edexcel, BTEC and LCCI qualifications are awarded by Pearson, the UK’s largest awarding Music Technology SAMs Issue 2 changes body offering academic and vocational qualifications that are globally recognised and benchmarked. For further information, please visit our qualification websites at Summary of changes made between previous issue and this current Page www.edexcel.com, www.btec.co.uk or www.lcci.org.uk. Alternatively, you can get in issue number touch with us using the details on our contact us page at qualifications.pearson.com/contactus NB: references to the provision of CDs have been amended as this audio format will be updated in due course. About Pearson 9MT0/01 Component 1: Recording – task 5 Pearson is the world's leading learning company, with 35,000 employees in more than The qualification level has been amended to read ‘Advanced’. 70 countries working to help people of all ages to make measurable progress in their 9MT0/01 Component 1: Recording – Logbook and authentication form 9 lives through learning. We put the learner at the centre of everything we do, because 1) The qualification level has been amended to read ‘Advanced’. wherever learning flourishes, so do people. Find out more about how we can help you 2) An extra column has been added to the form in order to record the timing 10 and your learners at qualifications.pearson.com references of recordings. 3) The candidate declaration has been amended so that the candidate’s signature is required once. 15 9MT0/01 Component 1: Recording – mark scheme 1) In Assessment grid 3 the editing column header has been amended so the reference to acoustic guitar has been removed and this now reads 19 ‘Assessment of other parts must also consider management of dynamics across the entire mix.’ 2) In assessment grid 5 in the marking instructions for 0 marks the reference to drum kit has been removed and this now reads ‘0 marks will be 20 awarded if unpitched percussion instruments (including electronic percussion) are present’. 9MT0/02 Component 2: Technology-based composition – Logbook and authentication form 33 The candidate declaration has been amended so that the candidate’s signature is required once. 9MT0/02 Component 2: Technology-based composition – mark scheme In assessment grid 10 the first bullet descriptor in Level 3 has been amended 40 from ‘use of texture ideas is imaginative’ to now read ‘the use of texture is imaginative.’ 9MT0/03 Component 3: Listening and analysis – mark scheme For Question 1(d) the layout of this answer has been amended so that it now 53 reads ‘overdubbing (1)/not ‘dubbing’ (1) to show that either answer is acceptable for 1 mark. 9MT0/04 Component 4: Producing and analysing – question paper 1) Question 4 the instruction at the bottom of the answer lines (after 73 Question 4(f)) has been amended to read ‘Bounce/export the completed vocal parts’ instead of ‘vocal part’. 2) Question 5(e) has been amended to read ‘Apply reverb to all parts…’ 74 References to third party material made in this sample assessment materials are made in instead of ‘four parts’. good faith. Pearson does not endorse, approve or accept responsibility for the content of 9MT0/04 Component 4: Producing and analysing – mark scheme materials, which may be subject to change, or any opinions expressed therein. (Material 1) Question 5(g) the 2 mark descriptor has been amended so the reference may include textbooks, journals, magazines and other publications and websites.) to ‘The beginning or end has a silence of greater than 1 second’ has been removed and the following information has been added to the end, ‘Cut 92 delay or reverb tail.’ All information in this document is correct at time of publication. 2) In the 1 mark descriptor the following information has been added so the initial line reads ‘Obviously chopped start or ending (not including Original origami artwork: Mark Bolitho tails).’ Origami photography: Pearson Education Ltd/Naki Kouyioumtzis 3) Question 6 AO4 indicative content, the start of the third bullet has been amended from ‘EQ on the overheads to now read ‘HPF on the overheads’. 94 ISBN 978 1 4469 5247 4 If you need further information on these changes or what they mean, contact us via our website at: qualifications.pearson.com/en/support/contact-us.html. All the material in this publication is copyright © Pearson Education Limited 2017 Pearson Edexcel Level 3 Advanced GCE in Music Technology – Sample Assessment Materials iii Issue 2 – November 2017 © Pearson Education Limited 2017 iv Pearson Edexcel Level 3 Advanced GCE in Music Technology – Sample Assessment Materials Issue 2 – November 2017 © Pearson Education Limited 2017 Contents Introduction 1 General marking guidance 3 Component 1 – Task 5 Component 1 – Logbook and authentication form 9 Component 1 – Marking instructions and assessment grids 17 Component 2 – Brief 23 Component 2 – Logbook and authentication form 29 Component 2 – Marking instructions and assessment grids 35 Component 3 – Question Paper 41 Component 3 – Mark scheme 53 Component 4 – Question Paper 65 Component 4 – Mark scheme 81 vi Pearson Edexcel Level 3 Advanced GCE in Music Technology – Sample Assessment Materials Issue 2 – November 2017 © Pearson Education Limited 2017 Introduction The Pearson Edexcel Level 3 Advanced GCE in Music Technology is designed for use in schools and colleges. It is part of a suite of AS/A Level qualifications offered by Pearson. These sample assessment materials have been developed to support this qualification and will be used as the benchmark to develop the assessment students will take. Pearson Edexcel Level 3 Advanced GCE in Music Technology – Sample Assessment Materials 1 Issue 2 – November 2017 © Pearson Education Limited 2017 2 Pearson Edexcel Level 3 Advanced GCE in Music Technology – Sample Assessment Materials Issue 2 – November 2017 © Pearson Education Limited 2017 General marking guidance • All candidates must receive the same treatment. Examiners must mark the last candidate in exactly the same way as they mark the first. • Mark schemes should be applied positively. Candidates must be rewarded for what they have shown they can do rather than be penalised for omissions. • Examiners should mark according to the mark scheme – not according to their perception of where the grade boundaries may lie. • All the marks on the mark scheme are designed to be awarded. Examiners should always award full marks if deserved, i.e. if the answer matches the mark scheme. Examiners should also be prepared to award zero marks if the candidate’s response is not worthy of credit according to the mark scheme. • Where some judgement is required, mark schemes will provide the principles by which marks will be awarded and exemplification/indicative content will not be exhaustive. However different examples of responses will be provided at standardisation. • When examiners are in doubt regarding the application of the mark scheme to a candidate’s response, a senior examiner must be consulted before a mark is given. • Crossed-out work should be marked unless the candidate has replaced it with an alternative response. Marking guidance for levels based mark schemes How to award marks The indicative content provides examples of how students will meet each skill assessed in the question. The levels descriptors and indicative content reflect the relative weighting of each skill within each mark level. Finding the right level The first stage is to decide which level the answer should be placed in. To do this, use a ‘best-fit’ approach, deciding which level most closely describes the quality of the answer. Answers can display characteristics from more than one level, and where this happens markers must use the guidance below and their professional judgement to decide which level is most appropriate. Placing a mark within a level After a level has been decided on, the next stage is to decide on the mark within the level. The instructions below tell you how to reward responses within a level. However, where a level has specific guidance about how to place an answer within a level, always follow that guidance.
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  • An Evening with Gregory Porter

    An Evening with Gregory Porter

    presents An Evening with Gregory Porter Gregory Porter vocals Chip Crawford piano Emanuel Harrold drums Tivon Pennicott tenor saxophone Jahmal Nichols bass Ondrej Pivec Hammond organ Post-performance discussion with Chip Crawford Funded in part by the Class of 1961 Legacy: The American Tradition in Performance Fund, the Bob Gatzert 1951 Jazz Series Fund for the Hopkins Center, Hopkins Center Members, and a Gift of Robert O. Wetzel ‘76 and Brenda Mainer Tue • February 13, 2018 • 7 pm Spaulding Auditorium • Dartmouth College Program This performance is presented without intermission. Selections will be announced from the stage. About the Artists Gregory Porter vocals says the influence of Nat King solo career thanks to his mellifluous baritone, poignant Cole on his life and music runs deep, a through line that originals and invigorating concerts—Porter dramatized reaches back into some of his earliest childhood his deep appreciation for Cole in a semi- memories, and culminates in the release of the two- autobiographical musical, Nat King Cole & Me, which time Grammy-winning vocalist’s stunning fifth studio premiered in 2004. album Nat King Cole & Me, a heartfelt tribute to the legendary singer, pianist and Capitol recording artist. “That musical was a way of me trying to find my father,” “He was one of a kind. He left such great music—such Porter explains. “I wrote it after my father [Rufus Porter] beautiful things to listen to that you can’t help but be had passed. The musical was of Nat King Cole; and half influenced by that extraordinary timbre, style and of the music was of my original writing.
  • Gregory Porter Performing Live at Mesa Arts Center Sunday, November 5, 2017

    Gregory Porter Performing Live at Mesa Arts Center Sunday, November 5, 2017

    Media Contact: Casey Blake 480-644-6620 [email protected] Gregory Porter Performing Live at Mesa Arts Center Sunday, November 5, 2017 Mesa, AZ (October 5, 2017) – Gregory Porter solidifies his standing as his generation’s most soulful jazz singer- songwriter with Take Me to the Alley, winner of the 2017 GRAMMY Award for Best Jazz Vocal Album, and the much- anticipated follow-up to his sensational 2013 Blue Note debut Liquid Spirit. Porter will perform live at Mesa Arts Center Sunday, November 5 at 7:30 p.m. Tickets are on sale now and available at the Mesa Arts Center box office, MesaArtsCenter.com and by calling 480-644-6500. In his career, Porter has demonstrated an innate ability to transcend genre and connect with audiences from all walks of life, and his new music reflects the singer’s continued and mindful growth as an artist and as a person amidst the constant touring demands that have resulted from tremendous international success. Liquid Spirit – which followed the critically-acclaimed and GRAMMY-nominated albums Water (2010) and Be Good (2012) – quickly grew into a global phenomenon, selling a million albums worldwide and becoming the most streamed jazz album of all-time with over 20 million streams. The album has sold Platinum in the U.K. and Germany, and Gold in France, The Netherlands, and Austria. In the U.S. Porter made his first-ever national TV appearances on The Tonight Show and Jimmy Kimmel Live while both ESQUIRE and NPR Music declared him “America’s Next Great Jazz Singer.” Liquid Spirit also won Porter his first GRAMMY Award in 2014 for Best Jazz Vocal Album while also earning him a Best Traditional R&B Performance nomination for his affecting ballad “Hey Laura.” In the Fall of 2015 Porter found the time to return to the studio in New York City to record Take Me To The Alley.