📚 AS Eduqas Music: A Complete Syllabus Breakdown | AS Eduqas 音乐：课程大纲全面解析
The AS Eduqas Music qualification offers a balanced and stimulating combination of performing, composing, and analytical listening. It is designed to nurture both practical musicianship and scholarly understanding, preparing students for further study or careers in the ever-evolving music industry. This article provides a thorough breakdown of the entire specification, from assessment structure to set works, helping you navigate the course with confidence.
AS Eduqas 音乐资格证书融合了表演、作曲与分析性聆听，既培养实践演奏能力，也强化学术理解，为学生进入高等学习或不断发展的音乐产业打下基础。本文将对课程大纲进行全面解析，从评估结构到规定作品逐一梳理，帮助您自信把握这门课程。
1. Course Overview | 课程概览
Eduqas AS Music is a two-year advanced subsidiary qualification, typically completed in one year of post-16 study. The course is built around three core components: Performing, Composing, and Appraising. These components are designed to develop a broad range of musical skills, from solo and ensemble performance to creative composition and critical analysis of a wide repertoire.
Eduqas AS 音乐是一门高级辅助资格证书，通常在国际高中课程一年内完成。课程围绕三大核心组成部分展开：表演、作曲和音乐鉴赏。这些部分旨在培养广泛的音乐技能，涵盖独奏与合奏表演、创意作曲，以及对多种曲目的批判性分析。
One distinctive feature of the Eduqas specification is its flexibility. Students can choose between different pathways within the Appraising component, allowing them to specialise in an area of music that aligns with their interests and future aspirations. Options include Rock and Pop, Musical Theatre, Jazz, or a twentieth/twenty-first-century focus, alongside the compulsory Western Classical Tradition.
Eduqas 大纲的一个显著特点是其灵活性。学生可以在音乐鉴赏部分选择不同的学习路径，从而专注于符合个人兴趣和未来发展的音乐领域。除了必修的西方古典传统，可选领域包括摇滚与流行、音乐剧、爵士，或二十/二十一世纪音乐。
The course encourages independence and creativity, with opportunities to perform music of the student's own choice and to compose in a wide variety of styles. At the same time, the listening and analysis paper demands a disciplined approach to score reading, aural perception, and contextual understanding.
这门课程鼓励独立性与创造力，学生有机会表演自选曲目，并以多种风格进行作曲。同时，聆听与分析试卷要求学生在读谱、听觉感知和背景理解方面具备严谨的素养。
2. Component 1: Performing | 表演考核
Component 1 accounts for 30% of the total AS qualification. Students must submit a recording of a live performance lasting between 6 and 8 minutes. The performance can be as a soloist, as part of an ensemble, or a combination of both, and may include improvisation where appropriate.
组成部分一占总成绩的30%。学生须提交一段时长6至8分钟的现场表演录音。表演可以是独奏、合奏或两者结合，在适当情况下还可包含即兴演奏。
The choice of repertoire is largely free, enabling candidates to showcase their strengths on their chosen instrument or voice. However, the programme must demonstrate a suitable level of demand, equivalent to Grade 5 or above. Teachers internally assess the performance against mark scheme criteria covering technical control, expression and interpretation, and communication.
曲目选择基本上是自由的，考生可以展示自己在所选乐器或声乐上的优势。但节目须体现出相应的难度水平，大致相当于英皇五级或以上。教师根据评分标准进行内部评估，标准涵盖技术控制、表现力与诠释、以及传达效果。
A key requirement is that the recording must be made as a single continuous take per piece, without any post-production editing. This ensures authenticity and replicates genuine performance conditions. The centre must submit the recording and marking evidence for external moderation by Eduqas.
一个关键要求是每首曲目的录音必须一次性连续完成，不得进行任何后期剪辑。这确保了真实性，再现了真实的表演条件。考试中心须将录音和评分材料提交给 Eduqas 进行外部审核。
Preparation for this component should begin early in the course. Regular practice, mock assessments, and video self-evaluations help students refine their stage presence and technical reliability before the final recording session.
对这一部分的准备应尽早开始。定期练习、模拟评估和录像自我反思有助于学生在最终录音前提升舞台表现力与技术稳定性。
3. Component 2: Composing | 作曲考核
Composing is also worth 30% of the AS grade. Candidates must produce two compositions with a combined duration of 3 to 6 minutes. One composition must respond to a brief set by Eduqas, linked to the techniques and conventions of the Western Classical Tradition (e.g. a piece in sonata form or a minuet and trio). The second composition is completely free, allowing students to write in any style or genre they choose.
作曲同样占 AS 总成绩的30%。考生须创作两首作品，总时长在3到6分钟之间。其中一首必须按照 Eduqas 给出的命题创作，该命题与西方古典传统的技巧和惯例有关（例如奏鸣曲式或小步舞曲与三声中部）。第二首为完全自由作曲，学生可选择任何风格或体裁。
The brief-based composition must be accompanied by a written commentary explaining how the piece meets the set requirements, including references to structure, harmony, texture, and use of instruments. This commentary helps assessors understand the compositional decision-making process.
基于命题的作曲须附带一份书面说明，解释作品如何满足既定要求，包括结构、和声、织体和乐器使用。说明有助于考官理解作曲决策过程。
Both compositions are internally marked and externally moderated. Teachers use assessment grids that reward imagination, technical command of musical elements, and the overall coherence and fluency of the writing. Notation, either staff notation or a detailed graphic score, must be submitted alongside the recordings.
两首作曲均由内部评分、外部审核。教师使用评分网格，考查想象力、对音乐元素的技术掌控，以及作品的整体连贯性与流畅度。乐谱（五线谱或详细的图形谱）须与录音一并提交。
Students are encouraged to make use of music technology, such as DAWs (Digital Audio Workstations), to realise their compositions. This not only widens the creative palette but also builds skills directly relevant to modern music production.
鼓励学生运用音乐技术，如数字音频工作站，来实现作曲。这不仅拓宽了创作手段，还培养了与现代音乐制作直接相关的技能。
4. Component 3: Appraising | 音乐鉴赏考核
Component 3 is the written examination, worth 40% of the AS qualification. The paper lasts 1 hour 30 minutes and tests candidates' ability to analyse and evaluate music from a range of set works and unfamiliar pieces. It is divided into two sections: Section A on the Western Classical Tradition, and Section B on a chosen area of study.
组成部分三是书面考试，占 AS 总成绩的40%。考试时间为1小时30分钟，考查考生分析评价规定作品及陌生作品的能力。试卷分为两部分：A 部分考查西方古典传统，B 部分考查一个自选研究领域。
Section A is compulsory and focuses on two set works from the period 1750–1820. Questions require detailed analysis of extract-based scores and recordings, including recognition of keys, cadences, textures, orchestration, and stylistic features. Some questions are short-answer, others require extended prose.
A 部分为必答题，聚焦1750年至1820年间的两首规定作品。题目要求对选段乐谱和录音进行详细分析，包括辨认调性、终止式、织体、配器和风格特征。部分题目为简答，另一些则需要扩展性文字阐述。
In Section B, students answer questions on one of the optional areas: Rock and Pop (1960–2000), Musical Theatre (1920s–1970s), Jazz (1920–1960), or a 20th/21st-century option. This section includes both familiar and unfamiliar listening questions, often asking candidates to compare an unstudied track with the style and context of their chosen genre.
在 B 部分，学生从以下可选领域中选一作答：摇滚与流行（1960–2000年）、音乐剧（20世纪20至70年代）、爵士（1920–1960年）或二十/二十一世纪选项。该部分包含熟习和陌生作品聆听题，常要求考生将未学过的曲目与所选流派的风格和背景进行比较。
To succeed, students need a fluent understanding of musical vocabulary, notation reading, and aural skills, as well as the ability to place music in its historical and cultural context. Regular listening practice and structured essay writing are essential.
要取得成功，学生需要熟练掌握音乐术语、读谱能力和听觉技能，并具备将音乐置于历史与文化背景中的能力。定期进行听力练习和结构化论文写作至关重要。
5. Areas of Study | 研究领域
The specification is built around two compulsory elements plus a choice: Area of Study 1, the Western Classical Tradition, is mandatory for all students and provides the foundation for Section A of the exam. It covers the years 1750–1820, bridging the late Baroque through to the early Romantic period, with a focus on the symphony and concerto.
课程大纲基于两个必修要素加一个选择：研究领域一为西方古典传统，所有学生必修，为考试 A 部分奠定基础。它涵盖1750年至1820年，连接巴洛克晚期与早期浪漫主义，聚焦交响曲和协奏曲。
The second area of study is chosen by the centre in consultation with the student. The Rock and Pop option explores mainstream and sub-genre developments from the Beatles through to Britpop and electronic influences. Musical Theatre examines the integration of music, lyrics and drama in shows by composers such as Rodgers and Hammerstein and Stephen Sondheim. Jazz traces styles from New Orleans and swing to bebop and cool jazz, while a 20th/21st-century option allows study of art music, minimalism, expressionism and diverse contemporary trends.
第二个研究领域由教学中心与学生协商选择。摇滚与流行选项探究从披头士到英伦摇滚及电子乐影响的主流与亚流派发展。音乐剧考查罗杰斯与汉默斯坦、斯蒂芬·桑德海姆等作曲家作品中音乐、歌词与戏剧的融合。爵士追溯从新奥尔良、摇摆乐到波普和酷爵士的风格，而二十/二十一世纪选项则可研究艺术音乐、极简主义、表现主义及多样的当代潮流。
Each optional area of study has a dedicated specification content list, detailing the musical elements, contexts and language students must master. Teachers are advised to integrate the chosen area into all three components wherever possible, for example by programming repertoire in the chosen style for performance or using its harmonic language in compositions.
每个可选研究领域都有专门的大纲内容清单，详细说明学生必须掌握的音乐元素、背景和术语。建议教师尽可能将所选领域融入全部三个组成部分，例如在表演中选择该风格的曲目，或在作曲中运用其和声语汇。
6. Set Works | 规定作品
For the Western Classical Tradition, Eduqas prescribes two set works for detailed study. The first is Joseph Haydn's Symphony No. 104 in D major (Movements 1 and 2), premiered in 1795 as part of his final 'London' symphonies. Students analyse its sonata form first movement, exploring thematic development, harmonic structure and orchestration, along with the theme and variations of the second movement.
在西方古典传统中，Eduqas 指定了两首规定作品进行深入学习。第一首是约瑟夫·海顿的 D 大调第104交响曲（第一、二乐章），1795年首演，是他最后一部“伦敦”交响曲。学生分析其奏鸣曲式的第一乐章，探究主题发展、和声结构和配器，以及第二乐章的主题与变奏。
The second set work is the first movement of Felix Mendelssohn's Violin Concerto in E minor, Op. 64 (Allegro molto appassionato), completed in 1844. This work bridges the Classical and Romantic eras, and students study its innovative linking of tutti and solo passages, lyrical melodies, and expressive use of the violin.
第二首规定作品是费利克斯·门德尔松 e 小调小提琴协奏曲（作品第64号）第一乐章（热情的很快的快板），完成于1844年。这部作品连接了古典与浪漫时期，学生研究其创新的全奏与独奏链接、抒情旋律以及小提琴的表现性运用。
For the optional areas, there are no fixed set works in the same way; instead, the specification provides lists of suggested artists, composers and tracks that exemplify the style. For Rock and Pop, examples might include The Beatles, David Bowie, Queen, and Oasis. Musical Theatre might feature West Side Story, Cabaret, and Jesus Christ Superstar. Jazz study could include Louis Armstrong, Duke Ellington, Charlie Parker, and Miles Davis.
对于可选研究领域，并没有类似的规定作品；取而代之的是，大纲提供了体现该风格的推荐艺术家、作曲家和曲目列表。例如摇滚与流行可能包括披头士、大卫·鲍伊、皇后乐队和绿洲乐队。音乐剧可能包括《西区故事》、《歌厅》和《耶稣基督万世巨星》。爵士研究可能包括路易斯·阿姆斯特朗、艾灵顿公爵、查理·帕克和迈尔斯·戴维斯。
Teachers are encouraged to build a core listening library from these suggestions and to prepare students to discuss any track from the genre using appropriate technical vocabulary, even if never studied before. This mirrors the demands of the unfamiliar listening tasks in Section B.
鼓励教师从这些建议中建立一个核心聆听曲库，并培养学生运用适当技术词汇讨论该流派的任何曲目，即使之前从未学过。这与 B 部分陌生曲目聆听任务的要求相呼应。
7. Assessment Objectives and Weightings | 评估目标与权重
The Eduqas AS Music assessment is designed around three assessment objectives (AOs). AO1 (Performing) assesses the ability to interpret and communicate musical ideas with technical and expressive control. It is assessed solely through Component 1 and carries 30% of the total marks.
Eduqas AS 音乐评估围绕三个评估目标设计。AO1（表演）评估通过技术控制与表现力诠释和传达音乐思想的能力，仅通过组成部分一评定，占总分的30%。
AO2 (Composing) measures the skills of creating and developing musical ideas with coherence and imagination. Marked through Component 2, it also accounts for 30% of the qualification. This weight gives composing equal status with performing, emphasising the creative process as a core skill.
AO2（作曲）衡量连贯且富有想象力地创作与发展音乐思想的技能，通过组成部分二评定，同样占总分的30%。这一权重给予作曲与表演同等地位，强调创作过程为核心技能。
AO3 (Appraising) is the largest single objective, worth 40%. It involves demonstrating and applying musical knowledge, understanding of musical elements and contexts, and the ability to make critical judgements using appropriate vocabulary. This objective is tested entirely in the Component 3 written paper.
AO3（鉴赏）是权重最大的单一目标，占40%。它涉及展示并应用音乐知识、理解音乐元素和背景，以及运用恰当术语做出批判性判断的能力。该目标全部通过组成部分三的笔试考查。
The balance across performance, composition and analytical listening ensures that students develop a well-rounded musicianship. It also rewards different strengths, acknowledging that some learners excel as performers while others are more accomplished composers or analysts.
表演、作曲与分析性聆听之间的平衡确保了学生发展全面的音乐素养。它也认可不同的优势，承认有些学习者擅长表演，而另一些则在作曲或分析方面更为出色。
8. Examination Structure and Timing | 考试结构与时间安排
The Component 3 examination is a single paper lasting 1 hour 30 minutes, sat at the end of the AS course. It contains a series of compulsory short-answer and longer-answer questions on the set works in Section A, and a series of responses to familiar and unfamiliar extracts in the chosen optional area in Section B.
组成部分三的考试是一份时长1小时30分钟的试卷，在 AS 课程结束时进行。试卷包含 A 部分一系列关于规定作品的必答题（含简答与长答题），以及 B 部分针对所选领域熟习与陌生选段的一系列作答。
In Section A, the music extracts will be provided both on CD and as notated scores in the exam booklet. Candidates might be asked to identify a key, a chord progression, an ornament or a structural device, or to write a short paragraph comparing how the set work uses contrast. Listening extracts are played multiple times according to a controlled schedule.
在 A 部分，音乐选段将以 CD 和乐谱形式在试卷中提供。考生可能需要识别调性、和弦走向、装饰音或结构手法，或者撰写一段文字比较规定作品如何运用对比。听力选段将按照受控时间表多次播放。
Section B begins with a series of listening questions on unfamiliar music, designed to test generic stylistic awareness. This might involve describing the instrumentation of a 1960s rock track or explaining the expressive devices in a show tune. The final question is typically a comparative essay, asking students to relate an unfamiliar piece to the wider context of their chosen style.
B 部分以一系列陌生音乐聆听题开始，旨在测试通用的风格意识。这可能涉及描述一首20世纪60年代摇滚曲目的配器，或解释一首音乐剧歌曲中的表现手法。最后一题通常是一篇比较性论文，要求学生将一首陌生作品与所选风格的更广背景联系起来。
Candidates should answer all questions. Time management is critical; it is recommended that students spend roughly 45 minutes on Section A and 45 minutes on Section B, including planning for the longer essay response.
考生须回答所有问题。时间管理至关重要；建议学生大概花45分钟在 A 部分，45分钟在 B 部分，包括规划较长的论文回答。
9. Key Skills and Learning Outcomes | 关键技能与学习成果
By completing the AS Eduqas Music course, students develop a wide range of transferable skills. Practical discipline is honed through regular rehearsal and the preparation of a polished performance programme. This builds resilience, concentration, and the capacity to give and receive constructive feedback.
通过完成 AS Eduqas 音乐课程，学生培养出广泛的可持续技能。实践纪律通过定期排练和精炼表演节目得到磨练，从而建立韧性、专注力，以及给予和接受建设性反馈的能力。
Creative thinking is central to the composing component. Learners experiment with musical material, structure works, and make aesthetic judgements. Writing commentaries also develops reflective and critical thinking, as students must articulate their creative choices in words.
创造性思维是作曲部分的核心。学习者试验音乐素材、架构作品并做出审美判断。写作说明还培养了反思与批判性思维，因为学生必须用语言清晰表达其创作选择。
The appraising paper cultivates analytical listening and high-level literacy. Students learn to use precise musical terminology, interpret notation, and construct well-organised arguments. These skills are highly valued in higher education and across many professions.
鉴赏试卷培养分析性聆听和高阶读写能力。学生学习使用精确的音乐术语、解读乐谱并构建条理清晰的论证。这些技能在高等教育和众多职业中都备受重视。
Collaborative ability also grows, particularly through ensemble performance opportunities embedded in the course. Working effectively with others, balancing parts, and synchronising timing are essential for successful group music-making.
合作能力也得到提升，尤其通过课程中嵌入的合奏表演机会。有效与他人合作、平衡声部、同步节奏是成功进行集体音乐创作的关键。
10. Study and Revision Strategies | 学习与复习策略
For Component 1, consistent practice is non-negotiable. Create a weekly schedule that includes technical exercises, repertoire run-throughs, and performance practice with a mock assessment each half-term. Record yourself frequently and use the marking criteria to self-assess – this mirrors the real moderation process.
对于组成部分一，持续练习是必须的。制定一个每周计划，包括技术练习、曲目通奏和每半个学期一次的模拟评估表演。经常为自己录音，并使用评分标准进行自我评估——这模拟了真实的审核过程。
For composing, start the free composition early to allow time for drafting and revision. Use a DAW to layer ideas quickly and notate the final version. Keep a listening log of works that inspire you, noting chord progressions, textures or structures that you could adapt. When tackling the brief, study model pieces from the Classical era to understand the expected conventions before developing your own ideas.
对于作曲，尽早开始自由创作以便留出草稿与修改的时间。使用数字音频工作站快速叠加创意，并为最终版本制谱。记录一个“聆听日志”，记下启发你的作品，注明可以借鉴的和弦进行、织体或结构。处理命题时，先研究古典时期的示范作品，理解预期的惯例，再发展自己的想法。
For the appraising exam, build a robust glossary of musical terms. Make flashcards for each key term and test aural recall by listening to short extracts and verbally describing them under timed conditions. Create mind maps for each set work, linking analysis points to context, structure, harmony, melody, texture and use of forces. Practise past papers under exam conditions to sharpen essay technique.
对于鉴赏考试，建立一个扎实的音乐术语词汇表。制作关键词汇卡片，并通过限时聆听短选段并口头描述来测试听觉记忆。为每首规定作品制作思维导图，将分析要点与背景、结构、和声、旋律、织体及乐器使用联系起来。在考试条件下练习历年真题，以强化论文技巧。
For the optional area, immerse yourself in the style. Create a Spotify or YouTube playlist of exemplar tracks and analyse a new track each week using the specification's framework. Listen actively while following a score or a detailed listening guide whenever possible.
对于自选领域，沉浸于该风格中。创建一个示范曲目的播放列表，每周使用大纲框架分析一首新曲目。只要有可能，就边看乐谱或详细聆听指南边进行主动聆听。
11. Frequently Asked Questions | 常见问题
Q: Can I use the same piece for my performing and composing components?
A: Generally, no. The performance should be a pre-existing work, while the compositions must be entirely your own creation. However, you may perform a piece that you have arranged if the arrangement is substantially your own, but the main composition requirement cannot be fulfilled by a performance of a known piece.
问：能否将同一首作品用于表演和作曲部分？
答：通常不可以。表演须是已有作品，而作曲必须完全自创。但如果改编曲很大程度上是原创，则可以表演自己的改编曲，但主要作曲要求不能通过演奏已知作品来完成。
Q: What happens if my performance recording exceeds 8 minutes?
A: The moderator will stop listening at the maximum duration. Only music within the 6–8 minute range will be assessed, so select repertoire that fits comfortably within this window.
问：如果表演录音超过8分钟会怎样？
答：评分员将在最大时长处停止聆听。只有在6–8分钟范围内的音乐才会被评估，因此请选择恰好适合该时间段的曲目。
Q: Is sheet music required for the appraising exam?
A: Yes. A score booklet containing notation of the set work extracts is provided in the examination room. You will also hear the audio extracts played from a CD. You are not expected to memorise the full score, but you must be able to follow it and identify features quickly.
问：鉴赏考试需要乐谱吗？
答：需要。考场会提供一本包含规定作品选段乐谱的谱例册
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