CCEA AS-Level · 試験対策

Music 7010 試験対策

AS Music examiners do not usually catch students mishearing a chord. They catch students naming the root and stopping there. Here is where the 140 marks sit across both papers, and what a full chord answer actually needs.

読了時間 4 分更新日: 2026年9月3日

試験の概要

試験数
2
満点
140
制限時間
3時間
出題形式
8
試験時間配点問題数配点比率出題形式
Paper 1: Test of Aural Perception1時間70517.5%Short-answer identification on unfamiliar and set-work extracts, heard by ear
Paper 2: Written Examination2時間70417.5%Score-based short-answer analysis (set work: Music for Orchestra), Score-based short-answer analysis (unfamiliar extract), Extended essay (Sacred Vocal Music: Anthems), Extended essay (Secular Vocal Music: Musicals)
評価段階
ABCDEU
電卓の規定

This is a non-calculator subject. Both papers test aural, score-reading and written analysis skills; no calculator is required or permitted.

  • AO1: AO1: interpret musical ideas with technical and expressive control and an understanding of style and context (27.5%)
  • AO2: AO2: create, develop and refine musical ideas with technical control and expressive understanding, making creative and coherent use of musical devices, conventions and resources (27.5%)
  • AO3: AO3: use analytical, evaluative and reflective skills to make critical judgements about music (27.5%)
  • AO4: AO4: demonstrate knowledge and understanding of musical elements, musical contexts and musical language (17.5%)

過去問と採点基準にもとづいて作成（2023–2025）。

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  1. 1high影響する配点: 4Harmonic identification

    Naming only the root note in a chord identification question, without stating the chord's quality or inversion, for example writing 'B' instead of 'B7, second inversion'.

    回避方法: Work every chord grid in three steps: name the root, then the quality (major, minor, dominant seventh, diminished), then the inversion.
  2. 2medium影響する配点: 2Cadences

    Confusing plagal (IV to I) cadences with perfect (V to I) or imperfect cadences under aural conditions.

    回避方法: Listen specifically to the bass line's final two chords rather than the general sense of resolution.
  3. 3high影響する配点: 5Extended essays (Anthems and Musicals)

    Writing generic stylistic description in the 15-mark essays instead of citing bar numbers, named instruments or specific harmonic devices.

    回避方法: Cite bar numbers and named technical devices, sequence, inversion, diminution, stretto, rather than describing the mood of a passage.
  4. 4medium影響する配点: 4Extended essays (Anthems and Musicals)

    Developing only one of the two bulleted domains in a 15-mark essay, for example writing at length on melody with only a sentence on harmony.

    回避方法: Draft a plan with one column per bulleted domain before writing, and check both columns are equally developed.
  5. 5medium影響する配点: 2Music for Orchestra, 1700-1900

    Assuming a Classical symphony's first movement is fast throughout, missing a slow introduction.

    回避方法: Check the opening tempo marking of the set work; Mozart's Symphony No. 39 opens Adagio before its Allegro begins.
  6. 6medium影響する配点: 2Secular Vocal Music (Musicals)

    Assuming a musical theatre number keeps one metre and texture throughout.

    回避方法: Listen across the whole extract for metre changes, for example alternating 4/4 and 2/4, or a shift into a dance rhythm.
  7. 7medium影響する配点: 1Short-answer identification

    Listing several contradictory answers to a single-mark identification question, hoping one of them is correct.

    回避方法: Commit to one answer per question. The mark scheme penalises listing multiple options rather than rewarding the correct one among them.
  8. 8medium影響する配点: 2Score analysis

    Leaving the inversion column blank, or guessing it, in score analysis tables.

    回避方法: Work out the bass note's interval from the chord root systematically before filling in the inversion column.

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