📚 AS Eduqas Music: 2026 Exam Changes and Trends | AS Eduqas 音乐：2026年考试变化与趋势
From the academic year 2025–2026, Eduqas AS Music undergoes its most significant revision in over a decade. The new specification, taught from September 2025 and first examined in summer 2026, removes the old 'pathway' model that let students choose between a performing or composing focus. Now every candidate must demonstrate competence across performing, composing and appraising. This article unpacks every structural change, explores the updated set works and areas of study, and highlights the key trends that will shape the 2026 exam series – giving you a clear roadmap for success.
从 2025–2026 学年开始，Eduqas AS 音乐将迎来十多年来最重大的一次改革。新规范从 2025 年 9 月起开始教学，2026 年夏季进行首次考试，取消了原有让学生可在 "演奏方向" 与 "作曲方向" 之间二选一的路径模式。现在每一位考生都必须在演奏、作曲和综合评价三个环节中展现扎实的音乐能力。本文拆解每一项结构变化，解析更新的指定作品与学习领域，并指出将影响 2026 年考试的关键趋势，为你提供清晰的备考路线图。
1. The End of the Pathway Model | 路径模式的终结
Under the outgoing Eduqas AS specification, students entered either a Performing pathway (weighted 60% performing, 40% appraising) or a Composing pathway (60% composing, 40% appraising). This allowed candidates to play to their strengths but inevitably created uneven skill development. The 2026 specification abolishes the choice: all learners must complete Component 1 (Performing), Component 2 (Composing) and Component 3 (Appraising). The change reflects a broader trend in UK music education towards holistic musicianship, ensuring that every AS student can interpret music, create original material and analyse score and audio critically.
在旧版 Eduqas AS 规范中，学生要么进入演奏方向（演奏占 60%，评价占 40%），要么进入作曲方向（作曲占 60%，评价占 40%）。这种做法虽然让考生能发挥所长，但不可避免地造成技能发展的偏废。2026 年新规范取消了这一选择：所有学生都必须完成部分一（演奏）、部分二（作曲）和部分三（评价）。这一变化呼应了英国音乐教育走向全人音乐素养的宏观趋势，确保每位 AS 学生都能诠释音乐、创作原创作品，以及批判性地分析乐谱与音频。
2. Component 1: Performing – Higher Minimums and Wider Choice | 部分一：演奏 – 门槛提高，选择更广
Performing remains non-exam assessment (NEA), internally assessed and externally moderated. The minimum performance time rises to 6 minutes for AS, with a requirement that the programme demonstrates a level of demand equivalent to at least Grade 6 of accredited music graded exams (or Level 3 on the RQF). Candidates may offer a solo, an ensemble, a combination, or even technology-based real-time performance using sequencers, DJ decks or live looping – provided it meets the duration and difficulty standards. The recording must be a single live take, and the focus on accuracy, fluency, expression and stylistic awareness remains central.
演奏仍为非考试评估（NEA），校内评分、外部审核。AS 演奏的最低时长提高到 6 分钟，曲目难度必须至少达到公认音乐考级第六级（或 RQF 三级）的水平。考生可以呈现独奏、合奏、两者组合，甚至用音序器、DJ 台或现场循环录制的技术型实时表演，只要满足时长和难度要求。录音必须是单次现场录制，评分重点依然是准确性、流畅度、表现力与风格意识。
3. Component 2: Composing – Two Contrasting Pieces with a Brief | 部分二：作曲 – 两首风格对比的作品与指定创作要求
AS composers submit two compositions with a combined minimum duration of 4 minutes. One must respond to a brief set by Eduqas, released on 1 September of the examination year; the second may be either a free composition or a response to a second Eduqas brief. The briefs are designed to stimulate a wide range of genres – from art music to film scoring, songwriting and fusions – encouraging creativity while ensuring assessable technical control of musical elements. Notated scores or detailed annotated audio recordings are accepted, and the use of a digital audio workstation (DAW) is fully permitted for composition and presentation.
AS 作曲考生需提交两首作品，总时长不低于 4 分钟。其中一首必须回应 Eduqas 在考试当年 9 月 1 日发布的创作要求（brief）；另一首可以是自由创作，或者回应第二份官方 brief。这些创作要求旨在激发多元风格 —— 从艺术音乐到电影配乐、歌曲创作与融合音乐 —— 在鼓励创造力的同时，确保对音乐元素的技术控制可被评估。可以提交记谱谱例或带详细注释的音频录制，数字音频工作站（DAW）的使用也完全被允许用于创作和呈现。
4. Component 3: Appraising – A Single Written Paper | 部分三：评价 – 一份笔试试卷
The appraising exam is a 1 hour 30 minutes written paper contributing 30% of the AS qualification. It comprises two sections. Section A focuses on the set works from three areas of study (AOS), requiring candidates to answer questions on unprepared extracts and to write extended responses comparing stylistic features, structure, and context. Section B presents unfamiliar extracts drawn from the same three areas of study, testing aural analysis skills, use of technical vocabulary and the ability to place music in a stylistic and historical framework.
评价考试为 1 小时 30 分钟的笔试，占 AS 总成绩的 30%。试卷分为两部分。A 部分集中于三个学习领域（AOS）的指定作品，要求考生针对未作提示的谱例/音频回答问题，并撰写扩展答题，比较风格特征、结构与背景。B 部分呈现来自同三个学习领域的不熟悉选段，考查听觉分析技能、专业术语的运用，以及将音乐置于风格与历史框架中的能力。
5. New Areas of Study – A Deliberately Broader Repertoire | 全新学习领域 – 有意识地拓宽曲目库
For 2026, Eduqas mandates three areas of study: AOS A – The Western Classical Tradition (1650–1910), AOS B – Rock and Pop (1960–2000), and AOS C – Musical Theatre (1910–present) or a similar contemporary option such as Jazz. Set works now include iconic pieces like J.S. Bach's Brandenburg Concerto No.5 (third movement), W.A. Mozart's Symphony No.40 in G minor (first movement), The Beatles' 'Yesterday', and Queen's 'Bohemian Rhapsody', alongside a key musical theatre number. This cross-genre approach replaces a previously Eurocentric canon and mirrors the listening habits and performing interests of today's students.
在 2026 年的规范下，Eduqas 设定了三个学习领域：AOS A – 西方古典传统 (1650–1910)，AOS B – 摇滚与流行 (1960–2000)，以及 AOS C – 音乐剧（1910 年至今）或与之类似的当代选项（如爵士乐）。指定作品如今涵盖了巴赫第五勃兰登堡协奏曲（第三乐章）、莫扎特 G 小调第 40 号交响曲（第一乐章）、披头士的 "Yesterday"，以及皇后乐队的 "Bohemian Rhapsody" 等标志性曲目，外加一部重点音乐剧作品。这种跨流派的取向取代了原先以欧洲经典为中心的常模，呼应了当下学生的聆听习惯和演奏兴趣。
6. Assessment Weightings – A Balanced Three-Legged Stool | 评分比重 – 三条腿的平衡凳
The AS Music qualification is marked out of a total of 150 uniform marks, distributed evenly in the spirit of the holistic model. The table below summarises the weightings compared with the old pathway-based system.
AS 音乐资格总分 150 个统一标准分，遵循全面发展的理念进行了均衡分布。下表汇总了新旧体系的比重对比。
| Component | 2026 Weighting | Old (Performing Pathway) | Old (Composing Pathway) |
|---|---|---|---|
| Performing | 35% | 60% | 0% |
| Composing | 35% | 0% | 60% |
| Appraising | 30% | 40% | 40% |
This rebalancing means that no single skill can carry a candidate. Consistent effort across practical and written work becomes essential, and the close alignment between components encourages deep integration of aural, theoretical and creative understanding.
这种重新平衡意味着没有哪一项技能能够单独支撑总分。演奏、作曲与笔试的持续投入变得至关重要，各部分之间的紧密关联也促进了听觉、理论与创造性理解的深度融合。
7. Wider Listening and Contextual Knowledge – No Longer an Afterthought | 广泛聆听与语境知识 – 不再是附属品
Under the 2026 specification, wider listening moves from a 'recommended' activity to an assessable requirement. In the written exam, students must draw connections between set works and pieces they have studied independently, citing features, genres and historical background. This demands organised listening logs, familiarity with a broad range of recordings, and the confidence to compare, for instance, the contrapuntal textures of Bach with layered studio production techniques in Queen. Development of a personal listening portfolio from early in the course is strongly advised.
在 2026 年规范中，广泛聆听从 "建议活动" 变成了评估要求。笔试中，学生必须将指定作品与自己独立研究的曲子联系起来，引用特征、流派和历史背景。这要求有条理的聆听日志、熟悉大量录音，并有信心比较 —— 例如巴赫的对位织体与 Queen 在录音室中的多层制作技术。强烈建议从课程初期就开始建立个人聆听作品集。
8. Integration of Music Technology – A Core Skill, Not an Add-On | 音乐技术的整合 – 一项核心技能，而非附加项
Technology has been mainstreamed across all three components. Candidates can use backing tracks, click tracks, and digital instruments in performance; they can compose and notate entirely within a DAW environment; and the appraising paper expects familiarity with production effects such as reverb, panning, multitracking and synthesis. This trend aligns with the growing influence of production analysis in musicology and prepares learners for university courses where music technology is integral. Centres are encouraged to embed notation software, sequencing, and recording techniques into everyday teaching.
技术已贯穿所有三个部分。演奏中可以使用伴奏音轨、节拍器和数字乐器；作曲和记谱可以完全在 DAW 环境中完成；而笔试则期望考生熟悉混响、声像、多轨录音和合成器等制作效果。这一趋势符合音乐学中制作分析影响力不断增强的动向，也为学生升入大学接触以技术为核心的音乐课程做好准备。考试局鼓励教学中心将制谱软件、音序制作和录音技术融入日常教学。
9. Changes to Grading and Administration | 评分与行政流程的变化
The AS qualification continues to be graded A–E, with uniform mark scales. However, the removal of the pathway model has prompted tighter controls on internal assessment. All performance recordings and composition portfolios must be submitted with detailed coversheets, teacher annotations, and evidence of authentication. For performing, candidates now submit a single recording file per piece, and for composing, each piece requires a statement of intent explaining creative decisions. These documentation demands mirror the enhanced rigours of reformed A Levels across subjects.
AS 资格仍沿用 A–E 的等级制，并配套统一标准分。然而，取消路径模式促使对内部评估实行更严格的监控。所有演奏录音和作曲作品集都必须附带详尽的封面表、教师评注和真实性证明。演奏方面，每首曲目现在需提交单个录音文件；作曲方面，每首作品必须附带一份创意意图说明，解释创作决定。这些文件要求反映了英国 A Level 改革后各学科整体提升的严谨性。
10. The Impact on Teaching and Learning – A More Integrated Classroom | 对教与学的影响 – 更加融通的课堂
Moving from a model where students could 'specialise' early to one where everyone must perform, compose and appraise requires a pedagogical shift. Lessons are likely to become more integrated: a study of a Baroque concerto movement feeds directly into stylistic composition tasks and leads to performance of relevant works. Many schools are investing in group composition projects, peer-assessment of performances, and the use of interactive aural training software. The new specification also makes AS a stronger foundation for the full A Level, as skills in all three domains are developed simultaneously from the start.
从早期就可以 "专攻" 的模式转向人人都必须演奏、作曲和评价，这要求教学法的转变。课堂将变得更加融通：对一项巴洛克协奏曲乐章的学习会直接推动风格性作曲任务，并引导演奏相关作品。不少学校正在投资小组作曲项目、同伴互评演奏和使用互动式听觉训练软件。新规范也让 AS 成为 A Level 更坚实的基石，因为三个领域的技能从一开始就同步发展。
11. Anticipated Trends for the 2026 Series and Beyond | 2026 年及以后的预期趋势
Several emerging trends can be observed as the 2026 examinations approach. First, an upward trajectory in candidates offering contemporary performance styles – beatboxing, electronic instrument realisations, and vernacular vocal techniques are being embraced as valid assessment material. Second, composition briefs are expected to increasingly reference cross-cultural fusions and media music, reflecting globalised listening habits. Third, the marking of appraising papers will reward precise, academically grounded vocabulary as well as the ability to articulate personal reactions anchored in the music. Finally, the use of digital submission platforms for NEA is set to expand, streamlining moderation and enabling multimedia portfolios.
随着 2026 年考试临近，可以看到几大新趋势。其一，选择当代演奏风格的考生呈上升趋势 —— 口技（beatbox）、电子乐器实现和通俗声乐技巧正作为有效评估材料被接受。其二，作曲题目预计将越来越多地涉及跨文化融合与媒体音乐，反映全球化的聆听习惯。其三，评价试卷的评分将更加青睐准确、学术基础扎实的术语，以及能够扎根于音乐本身表达个人反应的能力。最后，用于提交 NEA 作品集的数字平台将扩大应用，简化审核并支持多媒体作品集。
12. How to Prepare – A Practical Roadmap | 如何准备 – 实操路线图
Students beginning the Eduqas AS Music course in September 2025 should take immediate steps: start a listening diary tagging every piece by AOS and genre; build performing stamina by securing a 6–8 minute programme early; experiment with a DAW to gain confidence before the composition brief is released; and practise writing analytical paragraphs comparing two works from different traditions using correct terminology. Regular feedback from teachers, monitoring of NEA progress against grade descriptors, and engagement with the broader musical world through live streams, masterclasses and online archives will transform the new specification from a challenge into a genuine opportunity.
2025 年 9 月开始学习 Eduqas AS 音乐课程的学生应立即采取行动：建立聆听日志，为每一首曲子标注学习领域和流派；尽早确定一套 6–8 分钟的曲目以培养演奏耐力；在作曲题目发布前通过 DAW 练习建立信心；并尝试用正确的术语撰写比较两个不同传统作品的分析段落。教师定期反馈、对照等级描述监控 NEA 进度，以及通过直播、大师班和在线档案接触更广阔的音乐世界，将把新规范从一项挑战转化为真正的机遇。
Published by TutorHao | Music Revision Series | aleveler.com
更多咨询请联系16621398022（同微信）
或截图后用「扫一扫 → 相册」选择本图