AS Cambridge Music: 2026 Exam Changes and Trends | AS剑桥音乐：2026年考试变化与趋势

📚 AS Cambridge Music: 2026 Exam Changes and Trends | AS剑桥音乐：2026年考试变化与趋势

As the Cambridge International AS Level Music qualification moves through the 2024–2026 syllabus cycle, candidates and teachers preparing for the 2026 exam session face a refined assessment landscape that rewards deeper analytical listening, broader repertoire engagement, and a more flexible approach to practical musicianship. Understanding the latest structural details, mark scheme emphases, and emergent pedagogical trends is essential for achieving high marks in the coming year. This article explores the key features, recent adjustments, and likely trends that will shape the AS Music examination in 2026, providing a comprehensive guide for students and educators.

随着剑桥国际AS Level音乐资格认证进入2024–2026教学大纲周期，准备2026年考试的考生和教师将面对一个更加精细的评估环境：它更注重深层次的分析性听力、更广泛的曲目涉猎以及更灵活的实践音乐才能展示方式。了解最新的结构细节、评分方案重点以及正在形成的教学趋势，对在未来一年取得高分至关重要。本文探讨了将塑造2026年AS音乐考试的关键特征、最新调整和可能趋势，为学生和教育者提供一份全面指南。

1. Overview of the 2024–2026 Syllabus | 2024–2026教学大纲概述

The Cambridge International AS Music syllabus (9703) for examination in 2026 remains rooted in the framework introduced from 2024. It comprises two compulsory components: Component 1 Listening and Component 2 Practical Musicianship. The syllabus continues to emphasise the integration of listening, analysis, historical awareness, and either performance or composition skills. No radical overhaul will occur for 2026, but subtle refinements in question style and mark schemes are expected to continue the trend towards greater authenticity in music assessment.

剑桥国际AS音乐教学大纲（9703）在2026年的考试中将继续沿用2024年确立的框架。它包含两个必修部分：第一部分听力和第二部分实践音乐才能。大纲依然强调听力、分析、历史意识以及演奏或作曲技能的融合。2026年不会出现彻底的大纲变动，但试题风格和评分方案中的细微改进预计将继续朝着更具真实性的音乐评估趋势发展。

2. Listening Component Enhancements | 听力部分的提升

Component 1 (Listening), carrying 40% of the AS total, lasts approximately 2 hours and is divided into Section A (unfamiliar listening) and Section B (set works and essay). In recent sessions, the audio sources have grown more diverse in style and culture, signalling a move away from exclusively Western classical excerpts. For 2026, candidates should expect a wider selection of genres—such as film music, jazz, musical theatre, and world traditions—in the unfamiliar extracts. The enhancement is designed to test genuine aural perception rather than memorised context.

第一部分（听力）占AS总分的40%，考试时长约2小时，分为A部分（陌生作品聆听）和B部分（规定曲目与论文）。在近年的考试中，音频素材在风格和文化上越来越多样化，标志着从纯粹西方古典选段的转变。对于2026年，考生可以预期在陌生选段中会遇到更广泛的体裁——例如电影音乐、爵士乐、音乐剧和世界传统音乐。这一提升旨在测试真正的听觉感知，而非记忆的背景知识。

Furthermore, the response formats now regularly include short‑answer descriptive tasks, comparison grids, and multi‑part questions that demand precise use of musical vocabulary. The trend for 2026 points to an even sharper focus on detailed element identification: texture, instrumentation, tonality, and rhythmic features will be examined in closer combination, requiring candidates to synthesise observations quickly.

此外，答题形式目前已常规性地包含简答描述题、比较网格题以及需要精确运用音乐词汇的多部分题目。2026年的趋势指向对细节元素识别更高度聚焦：织体、配器、调性和节奏特征将被更紧密地结合起来考察，要求考生快速综合所听到的观察结果。

3. Practical Musicianship: Greater Flexibility | 实践音乐才能：更大的灵活性

Component 2 (Practical Musicianship) contributes 60% of the AS marks and is internally assessed by the centre, then externally moderated by Cambridge. Candidates choose one option: Solo Performing, Ensemble Performing, or Composing. For 2026, the syllabus maintains this structure, but the assessment criteria now place greater weight on stylistic understanding, expressive control, and the ability to reflect critically on the creative process. This shift rewards a more thoughtful, research‑informed approach to performance or composition.

第二部分（实践音乐才能）占AS分数的60%，由中心内部评估，然后由剑桥外部审核。考生从独奏、合奏或作曲中任选一项。2026年，教学大纲维持这一结构，但评估标准对风格理解、表现力控制以及批判性反思创作过程的能力赋予了更大权重。这一变化奖励在演奏或作曲中采取更深思熟虑、以研究为支撑的方法。

For performers, the minimum duration for the recital remains 6–10 minutes, but the choice of repertoire must now clearly demonstrate a range of moods, tempi, and technical demands. The trend is towards holistic musicianship: the candidate’s own programme notes or written commentary, though not formally marked, can inform the moderator’s understanding of interpretative decisions. This encourages a deeper engagement with the music beyond mere technical accuracy.

对于演奏者，音乐会的时长下限仍为6–10分钟，但曲目的选择现在必须清晰地展现多样的情绪、速度和技巧要求。趋势是走向全面的音乐素养：考生自己的节目说明或书面评论虽然不正式计分，却可以帮助审核员理解其演绎决策。这鼓励学生超越单纯的技术精确性，更深入地融入音乐。

4. Weighting and Assessment Objectives | 权重与评估目标

The three Assessment Objectives (AOs) remain unchanged for 2026: AO1 Musical knowledge and understanding, AO2 Analytical skills, and AO3 Musical communication. However, the balance across components has been subtly adjusted in the latest mark schemes. In Component 1, AO2 now accounts for a larger proportion of the available marks, reflecting the premium placed on the ability to evaluate and compare musical features. In Component 2, AO3 (communication) dominates, but AO1 is integrated through the expectation that performers and composers demonstrate contextual awareness.

2026年的三项评估目标（AO）保持不变：AO1音乐知识与理解，AO2分析技能，AO3音乐表达。然而，在最新的评分方案中，各部分的权重已悄然调整。在第一部分中，AO2现在占据更大比重，反映出评价和比较音乐特征的能力受到重视。在第二部分中，AO3（表达）占主导地位，但通过要求演奏者和作曲者展示语境意识，AO1也被自然融入。

A notable trend for 2026 is the embedded assessment of AO1 within AO3 tasks: a performance of a Baroque movement, for instance, will be judged not just on fluency but on the candidate’s evident grasp of historically informed articulation, ornamentation, and phrasing. This alignment means that rote learning of historical facts is less valuable than applied knowledge.

2026年一个值得关注的趋势是AO1被嵌入到AO3任务中评估：例如，演奏一首巴洛克乐章时，评判不仅仅依据流畅度，还依据考生对历史风格的发音方式、装饰音和乐句处理的明显把握。这种一致性意味着，死记硬背历史事实的价值远不如应用知识。

5. World Music and Broader Repertoire | 世界音乐与更广泛的曲目

The 9703 syllabus already includes prescribed set works from both Western classical tradition and other traditions. For 2026, the set works list has been renewed, featuring a carefully curated blend of Bach, a Romantic symphony movement, a 20th‑century orchestral work, plus a selection from Indian classical, Latin American, or African choral traditions. This encourages students to develop analytical tools that are transferable across cultures, a skill that is increasingly tested in the unfamiliar listening section.

9703教学大纲已经包含来自西方古典传统及其他传统的规定曲目。2026年，规定曲目清单已更新，精心融合了巴赫作品、一部浪漫主义交响曲乐章、一部20世纪管弦乐作品，以及印度古典音乐、拉丁美洲或非洲合唱传统中的精选曲目。这鼓励学生发展可跨文化迁移的分析工具，这种技能在陌生作品聆听部分中受到越来越多的考查。

This broader repertoire is also pushing teaching trends towards comparative musicology. Schools are incorporating more listening journals and guided comparisons between, for example, a raga performance and a Baroque prelude, to highlight contrasts in structure, improvisation, and expressive intent. Such preparation aligns directly with the analytical essay demands of Component 1.

这种更广泛的曲目也在推动教学趋势朝向比较音乐学发展。学校正将更多听力日志和引导性比较纳入教学，例如比较拉格表演和巴洛克前奏曲，以突出结构、即兴创作和表现意图的对比。这种准备与第一部分的分析论文要求直接吻合。

6. Use of Technology and Digital Scores | 技术运用与数字乐谱

A significant trend influencing the 2026 exam landscape is the increased integration of technology in both preparation and assessment. While the listening exam itself remains an audio‑only experience (with no video or software tools), the use of notation software, digital audio workstations, and online score libraries during coursework has been formally acknowledged in teacher guidance. For composing candidates, submitting a score realised in Sibelius or Dorico is now standard, and audio mock‑ups are encouraged to demonstrate the intended sound world.

影响2026年考试格局的一个重要趋势是技术在备考和评估中的日益融合。虽然听力考试本身仍然只通过音频进行（没有视频或软件工具），但在课程作业期间使用制谱软件、数字音频工作站和在线乐谱库，已在教师指南中正式认可。对于选择作曲的考生，提交用Sibelius或Dorico生成的乐谱已成为标准做法，同时鼓励提交音频模拟以展示所意图的音响世界。

Additionally, the use of high‑quality recordings, play‑along apps, and video submission for moderation (where permitted) has simplified the practical assessment logistics. The trend is towards more equitable access: centres can now submit performances via secure online portals, and examiners are trained to evaluate from high‑fidelity video recordings, reducing the variability of live assessment conditions.

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此外，使用高品质录音、伴奏应用程序以及（在允许的情况下）通过视频提交审核材料已简化了实践评估的后勤工作。趋势是朝着更公平的访问方向发展：中心现在可以通过安全的在线门户提交演奏视频，考官也经过培训能够根据高保真录像进行评估，从而减少了现场评估条件的不确定性。

7. Mark Scheme Refinements | 评分方案细化

Cambridge continues to refine the mark schemes for Component 1 to better differentiate between levels of response. For the essay question in Section B, the 2026 mark scheme is expected to sharpen the distinction between descriptive writing and genuine analytical commentary. Top‑band responses must now display a consistent control of subject‑specific vocabulary and the ability to link observations to the broader musical architecture. Generic historical narration without reference to the actual sounds will be penalised more heavily.

剑桥继续细化第一部分的评分方案，以更好地区分不同水平的答案。对于B部分的论文题，预计2026年的评分方案将更明确地区分描述性写作和真正的分析性评述。顶分段答案现在必须始终展现对学科专用词汇的精准把控，并具备将观察与整体音乐架构联系起来的能力。泛泛而谈的历史叙述若不涉及实际听感，将受到更严厉的扣分。

In Component 2, the performing criteria have been adjusted so that “communication” explicitly includes engagement with the audience, even in a recorded format. Subtle aspects such as stage presence, appropriate pauses, and dynamic contrast may now carry more weight. The refinement pushes candidates to treat the recorded submission as a genuine artistic statement rather than a technical drill.

在第二部分中，演奏标准已做调整，使得“表达”明确包含与听众的交流，即便是在录制形式中也是如此。舞台风范、适当的停顿和力度对比等细微方面如今可能承载更大权重。这一细化促使考生将录制的提交作品视为真正的艺术表达，而非技术操练。

8. Trends in Music Pedagogy | 音乐教学法的趋势

Classroom practice for AS Music is evolving towards a spiral curriculum, where listening, analysis, and practical skills are taught in an interconnected manner rather than in silos. A typical 2026‑oriented lesson plan might begin with a short aural dictation, move to score analysis of a related passage, and conclude with an improvisation task based on the same harmonic progression. This integrated methodology helps students internalise theory through active music‑making, directly improving their performance in both examination components.

AS音乐课堂实践正在向螺旋式课程演变，在此课程中，听力、分析和实践技能以相互关联的方式教授，而非彼此孤立。面向2026年的典型教案可能从简短听写开始，然后转向相关段落的乐谱分析，最后以基于相同和声进行即兴创作的任务收尾。这种整合式教学法帮助学生通过积极的音乐实践内化理论，直接提升他们在两个考试部分中的表现。

Another clear trend is the rise of peer feedback sessions modelled on university seminar styles. Students are trained to critique each other’s performances and compositions using the official Cambridge mark scheme language, which deepens their understanding of assessment expectations and builds confidence. This collaborative approach aligns well with the syllabus’s emphasis on reflective practice.

另一个明显趋势是以大学研讨课为模型的同伴互评活动逐渐兴起。学生被训练使用剑桥官方评分方案的语言互相点评演奏和作曲，这加深了他们对评估期望的理解，并建立信心。这种协作方式与教学大纲对反思性实践的强调非常契合。

9. Preparing for Unseen Listening | 准备不熟悉的听力材料

The unpredictable nature of the unseen extracts in Section A can be daunting, but 2026 candidates benefit from preparing with a systematic listening framework. Teachers recommend establishing a mental checklist: genre/period, forces, tempo, metre, tonality, texture, structure, and notable features such as ornamentation or electronic effects. Practising this framework with two‑minute clips from diverse Spotify playlists, with only one hearing permitted, replicates examination conditions effectively.

A部分中不熟悉选段固有的不可预测性可能令人生畏，但2026年考生可以通过系统的听力框架进行准备而受益。教师们建议建立一个心理检查清单：流派／时期、演出力量、速度、拍子、调性、织体、结构以及装饰音或电子效果等显著特征。用来自多样化歌单的两分钟音频片段练习这一框架，并仅允许听一次，可以有效地模拟考试条件。

The trend for 2026 is that extracts will increasingly feature hybrid genres—for example, a piece blending classical string quartet with electronic ambient layers—to test candidates’ ability to describe fusions and resist compartmentalised thinking. Regular exposure to unfamiliar contemporary works, world music fusions, and avant‑garde experimentations is therefore becoming an essential part of preparation.

2026年的趋势是选段将越来越多地呈现混合体裁——例如，将古典弦乐四重奏与电子氛围层融合的作品——以测试考生描述融合风格并抵御刻板分类思维的能力。因此，经常接触不熟悉的当代作品、世界音乐融合和前卫实验，正在成为备考中不可或缺的一部分。

10. Internal Assessment Moderation | 内部评估的调节

Since Component 2 carries significant weight and relies on teacher assessment, the moderation process remains a critical checkpoint. For 2026, Cambridge continues to refine its moderation sampling, and centres are required to submit detailed evidence, including recording log sheets, composition folio commentaries, and internal standardisation records. The trend is towards greater transparency: moderators expect to see a clear audit trail from the initial marking decision to the final moderated mark.

由于第二部分权重较大且依赖教师评估，调节过程仍然是一个关键检查环节。2026年，剑桥继续改进其审核抽样，各中心需提交详细证据，包括录像日志表、作曲作品集评论及内部标准化记录。趋势是更大的透明度：审核员期望看到从最初评分决定到最终调整分数的清晰审计轨迹。

To manage this, schools are adopting shared digital folders and standardisation templates early in the course. Uploading draft performances for internal cross‑marking by multiple teachers, with subsequent calibration against Cambridge‑supplied exemplars, is becoming standard practice. This rigorous approach not only ensures fair assessment but also provides students with formative feedback that lifts the overall quality of final submissions.

为了应对这一点，学校正在课程早期采用共享数字文件夹和标准化模板。上传演奏草稿供多位教师进行内部交叉打分，然后根据剑桥提供的范例进行校准，这正成为标准做法。这种严格的方法不仅确保公平评估，还为学生提供形成性反馈，提升最终提交作品的整体质量。

11. Exam Duration and Format Adjustments | 考试时长与形式的调整

While the total duration of Component 1 will remain at 2 hours in 2026, minor tweaks to the allocation of time per section have been indicated in examiner reports. Candidates should expect slightly more time for the unfamiliar Section A questions, as the breadth of extracts may require rapid switching between styles and detailed note‑taking. The essay portion, Section B, may be shortened by a few minutes, prompting candidates to plan their essays with greater precision and economy of language.

尽管2026年第一部分的总时长仍为2小时，但考官报告显示，各部分的分配时间将有微调。考生应预期A部分陌生作品的问题会获得稍多时间，因为选段范围的广泛可能要求在风格之间快速切换并进行详细的笔记记录。B部分的论文时长则可能缩短几分钟，这促使考生以更精确和精炼的语言规划论文。

Additionally, the format of the question paper has evolved to include clearer visual cues, such as bullet‑pointed prompts and boxed tables for comparison answers. These design changes reduce reading time and anxiety, allowing candidates to focus their cognitive energy on musical analysis. Familiarising oneself with the latest specimen papers is therefore indispensable.

此外，试卷的格式已经演变，包含更清晰的视觉提示，例如项目符号提示和用于对比答案的框格表格。这些设计变化减少了阅读时间和焦虑感，让考生可以将认知精力集中在音乐分析上。因此，熟悉最新的样题必不可少。

12. Future Outlook Beyond 2026 | 2026之后的前景

Looking beyond 2026, Cambridge is already consulting on a potential new syllabus for first teaching from 2027. Early indications suggest an even greater emphasis on creative musicianship, with the possibility of a unified portfolio component that merges performance, composition, and critical commentary into a single holistic project. Digital literacy, including basic sound engineering and score production, may become formalised assessment elements. While 2026 candidates do not need to meet these future requirements, an awareness of the direction of travel can enrich their overall musical education and help them build transferable skills for further study.

展望2026年以后，剑桥已经在就可能从2027年开始施行的新教学大纲进行咨询。早期迹象表明，将更加重视创造性音乐才能，并可能出现一个将演奏、作曲和批判性评论融合为单一整体项目的综合作品集部分。数字素养，包括基础音频工程和乐谱制作，可能成为正式评估要素。虽然2026年的考生无需满足这些未来要求，但了解这种发展方向可以丰富他们的整体音乐教育，并帮助其建立可迁移技能以备深造。

In the immediate term, continuity and incremental improvement remain the watchwords. Students preparing for 2026 can take confidence from the stability of the core syllabus while embracing the challenge of higher‑order thinking and broader stylistic competency that the latest trends demand. By internalising these changes and trends, they will be well positioned to succeed in the AS Cambridge Music examination.

就近期而言，持续性和渐进式改进仍是主旋律。准备2026年考试的学生可以从核心大纲的稳定性中获得信心，同时迎接最新趋势所要求的高阶思维和更广泛的风格能力挑战。通过内化这些变化与趋势，他们将为在AS剑桥音乐考试中取得成功做好充分准备。

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