SAQA

All qualifications and part qualifications registered on the National Qualifications Framework are public property. Thus the only payment that can be made for them is for service and reproduction. It is illegal to sell this material for profit. If the material is reproduced or quoted, the South African Qualifications Authority (SAQA) should be acknowledged as the source.

SOUTH AFRICAN QUALIFICATIONS AUTHORITY

REGISTERED QUALIFICATION THAT HAS PASSED THE END DATE:

Graded Certificate Examinations in Music Performance

SAQA QUAL ID	QUALIFICATION TITLE
48803	Graded Certificate Examinations in Music Performance
ORIGINATOR
Trinity College London
PRIMARY OR DELEGATED QUALITY ASSURANCE FUNCTIONARY			NQF SUB-FRAMEWORK
-			OQSF - Occupational Qualifications Sub-framework
QUALIFICATION TYPE	FIELD		SUBFIELD
National Certificate	Field 02 - Culture and Arts		Music
ABET BAND	MINIMUM CREDITS	PRE-2009 NQF LEVEL	NQF LEVEL	QUAL CLASS
Undefined	120	Level 4	Level TBA: Pre-2009 was L4	Regular-Provider-ELOAC
REGISTRATION STATUS		SAQA DECISION NUMBER	REGISTRATION START DATE	REGISTRATION END DATE
Passed the End Date - Status was "Registered"		SAQA 0148/03	2003-07-01	2006-06-30
LAST DATE FOR ENROLMENT		LAST DATE FOR ACHIEVEMENT
2007-06-30		2010-06-30

In all of the tables in this document, both the pre-2009 NQF Level and the NQF Level is shown. In the text (purpose statements, qualification rules, etc), any references to NQF Levels are to the pre-2009 levels unless specifically stated otherwise.

This qualification does not replace any other qualification and is not replaced by any other qualification.

PURPOSE AND RATIONALE OF THE QUALIFICATION

Trinity's graded examinations in music test skills and knowledge in the specific area of music performance by
a trained Trinity external examiner. The examination focuses principally on individual performance of set repertoire, supported by tests of aural perception, sight reading ability, technique and musical literacy. Trinity's examinations also contain opportunities for the demonstration of improvisation and composition skills.

Trinity's graded examinations offer progression up to a level of proficiency and artistry that would be appropriate for entry to higher education-either music college or university music department (Grade 8 and Performer's Certificate). This represents a normal route for those wishing to become professional musicians.

The examination system uses a 'progressive mastery' model, allowing candidates to enter and exit the system at any point, without reference to age, and without any formal requirement for prior qualifications. The step structure permits fine distinctions to be made between different levels of achievement. The complexity of the tasks, and the level of competence expected all increase as candidates progress through the grades.

The delicacy and explicitness, with which the grades are progressively defined, properly related to the individual learner, enable a teacher and candidate to prepare for whichever grade most closely matches the learner's current and anticipated level of skills development.

There is no requirement at any grade for evidence of previous success in terms of a Trinity grade or any other measure of music performance competence. The pattern of progression through the grades varies according to individual choice. Some candidates choose to progress through the sequence from grade to grade, others choose to skip grades. Depending on the ability of the learner and the purpose of assessment, every grade is a potential exit point.

Rationale

Trinity's graded examinations in music performance provide a series of qualifications which offer a progression for instrumentalists and singers from beginner level (Initial) up to a level of proficiency and artistry that would be appropriate for entry to higher education-either music college or university music department (Grade 8 and Performer's Certificate). This represents a normal route for those wishing to become professional musicians.

Graded music examinations provide benchmarks for progress, and Trinity's syllabuses provide a useful core curriculum for instrumental teaching: performance of prescribed pieces, aural training, sight reading, technical work including a logical progression of scales and arpeggios or other technical studies, plus opportunities for the development of composition and improvisation skills.

These assessments encourage musical activity; develop high standards of musical performance, perception, creativity, knowledge and understanding, and reward progress and achievement. Additionally, they provide a set of clear standards for the benefit of players, teachers, schools, parents /guardians and employers. The qualifications are appropriate for learners of all ages.

The assessment design and the explicit nature of the syllabus document itself are designed to achieve maximum positive feedback on classroom processes while not defining either materials or methods too prescriptively. Preparatory work on material as well as rehearsal all encourages the use of collaborative group-work in the classroom.

Trinity's graded examinations allow students to build on work that they may already be doing (for example, on composition or improvisation) in schools. Candidates who take advantage of all the possibilities available in these graded assessments will cover a wide range of musical skills, encompassing all areas of musical activity: performing, listening, creating and knowing/understanding. Additionally, these examinations supplement work that may be carried out by students studying for mainstream music examinations or those following other broad-based curriculum studies, adding depth to their practical studies in particular.

Recent research indicates the importance of musical training to other fields of study, including the development
of number skills, literacy, physical co-ordination, communication skills, individuality and mental application.
To quote the composer Dr Robin Holloway, (from Music in the UK National Curriculum)- Music makes a kind of liquid link between the study of languages, literature and the other arts, history and the sciences-joining them together in the outer world of feelings and relationships and the inner world of the imagination.

The grades assist in enabling candidates to show their ability to acquire transferable or critical cross field outcomes such as:

Identify and solve problems in which responses display that responsible decisions using critical and creative thinking have been made;

Organise and manage oneself and one's activities responsibly and effectively

Collect, analyse, organise and critically evaluate information.

LEARNING ASSUMED TO BE IN PLACE AND RECOGNITION OF PRIOR LEARNING

This qualification assumes that the learner is competent in the language of instruction of the provider.

Examinations are set on the basis that the understanding required for previous grades has already been absorbed; examinations therefore concentrate on progressive extensions of ability and understanding.

RECOGNISE PREVIOUS LEARNING?

QUALIFICATION RULES

N/A

EXIT LEVEL OUTCOMES

There is a separate syllabus for each instrument and these are collected together into books for each instrumental family. Each syllabus is arranged by grade and the requirements for the examination at each grade spelt out in full. Parameters for technical work, keyboard musicianship, ear tests, aural awareness and improvisation, own composition and sight-reading are defined within the syllabus.

Trinity examinations have a mark weighting that remains the same for each component whatever the instrument
or level. So, for example, technical work is marked out of 15, whether the subject is Grade 1 Solo Piano or Grade 6 Flute. The weighting of this component in relation to the final total is the same at each grade.

Each test consists of:

Published pieces and/or own composition

Technical work involving exercises, scales, arpeggios and studies to build necessary technical resources

Sight Reading to develop an even flow at the stated speed coupled with awareness of pulse and tonality

Ear Tests to gauge aural recognition of musical features including tonality, pitch or interval, rhythm and harmony or Aural awareness and extemporisation tests

Viva Voce consisting of questions relating to the pieces played or Performance from Memory.

Learning outcomes

The syllabus is cumulative and the outcomes for each grade assume mastery of the outcomes of the previous grades. Performance objectives for each grade and the levels of achievement expected are published in the syllabus.

Performance objectives

Initial
Pieces and tests probe the ability to produce a restricted range of notes appropriate to the instrument. Pieces are brief, appropriate to the attention span of younger candidates, and feature only simple rhythms.

Grade 1
Consolidation of a restricted range of notes in basic key(s) appropriate to the instrument; ability to sustain rhythmic fluency over a short time span.

Grade 2
Extension of range of available notes, opening the way to new keys; ability to tackle more elaborate rhythmic patterns with some variety of pace.

Grade 3
An increase in musical response to pieces, together with the development of instrumental techniques such as piano pedalling.

Grade 4
Fluency in performing pieces which are somewhat longer than in the earlier grades, and which might include interpretation of ornaments.

Grade 5
An increasing performance skill and sense of stylistic awareness are expected from this level onwards. An increased control over tone quality (including vibrato for string players); fuller understanding of different patterns of articulation and phrasing, and how they are achieved technically.

Grade 6
More emphasis on interpretation to complement technical competence and accuracy in playing pieces of some sophistication.

Grade 7
Technical control covering all but the extremes of instrumental range, using a wide variety of keys; awareness of stylistic interpretation.

Grade 8
A fully integrated approach, combining technical assurance with a sense of style and creative flair in pieces drawn largely from the standard repertoire of the instrument.

First Concert Certificate and Performer's Certificate
These examinations consist of a short recital programme drawn from the mainstream repertoire, giving candidates an opportunity to focus solely on performance without other practical tests. As well as learning the notes, meeting technical challenges and interpreting the style of the music, performers must demonstrate their understanding and control of the music by communicating the essence of their performance to the examiner, as to a live audience. There is also a Viva Voce or Performance from Memory section, and a mark is awarded for Presentation Skills.

The technical and artistic standard of First Concert Certificate is between Grades 5 and 6, and the technical and artistic standard of Performer's Certificate is between Grade 8 and ATCL diploma level. The objective is a well-projected performance showing appropriate technical control of the instrument and evidence of a developing musical personality.

Levels of Achievement for Trinity's Graded Examinations, First Concert Certificate and Performer's Certificate

Initial- Entry level
At Initial, candidates will typically be able to show that they have:

Acquired a basic technical foundation on their instrument

Demonstrate some interpretation through variation in dynamics and articulation

Show a limited variety of pace

Perform audibly, with a sense of enthusiasm and enjoyment and with some awareness of audience.

Grades 1-3- Foundation Level
Bearing in mind the increasing difficulty of the material in each progressive grade, at Foundation level, candidates will typically be able to apply their knowledge, understanding and skills to:

Produce a performance that demonstrates careful preparation, understanding and the beginning of thoughtful interpretation based on some creative engagement with the material

Perform clearly, audibly and with only slight lapses of accuracy, a fairly fluent technical command and a sense of spontaneity, sustaining these qualities to the end.

Create and convey mood through variations in pace, volume, rhythm and articulation.

Grades 4-5, First Concert Certificate-Intermediate Level
Bearing in mind the increasing difficulty of the material in each progressive grade, at Intermediate level, candidates will typically be able to support their intentions in performance by:

Demonstrating a sound understanding of material, leading to a more personal and imaginative interpretation in which there is a reasonably consistent application of developing technical skills.

Producing an audible and clear performance with appropriate volume. Control of pace (including variations of speed)

Controlling of tone quality and appropriate application of instrumental colour (e.g. vibrato) to support mood and character.

Showing evidence of sensitivity to and considerable control of material

Showing evidence of effective preparation and study leading to a secure, accurate and sustained performance which would engage an audience.

Grades 6-8, Performer's Certificate-Advanced level
Bearing in mind the increasing difficulty of the material in each progressive grade, at Advanced level, candidates will typically be able to:

Consciously integrate their skills, knowledge and understanding in a secure and sustained performance which demonstrates mature grasp of the material

Play with confidence, a sense of ownership and self-awareness, resulting in a discriminating and sensitive personal interpretation that conveys complexity and control of shape (e.g. throughout a sonata movement) and awareness of stylistic interpretation.

Combine skilful and appropriate technical command with imaginative response and flair to engage the audience wholeheartedly.

Performance

Examiners are concerned with three main areas at all levels:

Musical response - a feeling for the style of music being played, attention to tone quality, rhythmic precision, articulation and phrasing.

Technical ability - the physical control of the instrument including ease of playing, co-ordination and accuracy of intonation and other instrumental features.

Sense of performance - evidence of ability to communicate to the listener

Candidates may perform their own composition in this section of the examination, in place of a prescribed piece. The composition must meet the specifications indicated in the syllabus and be of the same technical level as other pieces played.

Repertoire
In order to offer teachers and candidates appropriate choice, Trinity tries to ensure that the repertoire selected
for each examination is different from that listed by other boards, although some duplication is inevitable in
subjects for which repertoire is limited. The basis on which pieces are selected is rigorously controlled to ensure
that pieces chosen are appropriate for assessment at a particular level, according to the published assessment
criteria and mark weighting for the component. This is achieved by convening panels of selectors, working with
detailed guidelines and referring to previous syllabuses, under the supervision of the Chief Examiner. Because
of Trinity's world-wide operation, special care is taken to include works which are suitable for teachers and
candidates with a variety of different cultural backgrounds.

Candidates may choose pieces not prescribed in the syllabus or perform original compositions, but these must be submitted to Trinity for prior approval. This is to ensure parity with the prescribed repertoire.

Trinity commissions music from time to time in order to add to the available repertoire for various instruments
and voice, especially at lower grades where choice may be limited. Trinity publishes examination music for ten
of the most popular instruments in order to make it more easily available to teachers and candidates.

Options
Unseen tests, which include sight-reading and ear tests, are carefully prescribed. Examiners carry confidential
tests which are used for all candidates. These prescribe not only what is to be played but also what the examiner
says, which helps ensure that nervous candidates are not put off by the use of an unfamiliar wording. Tests are
written and moderated by specialists under the supervision of the Chief Examiner and are replaced at regular
intervals.

Parameters for all unseen tests are given in the relevant syllabus, and sample tests are published for the benefit
of teachers and candidates preparing for examination.

ASSOCIATED ASSESSMENT CRITERIA

Trinity's graded examinations in music performance test skills and knowledge in a specific area of music by an external examiner selected and trained by Trinity.

Examiners arrive at a result by judging each mark-bearing item of candidate work from three perspectives:

1. Each task is considered according to the published detailed task-specific criteria (assessment criteria/attainment descriptors-see syllabuses)
2. Each task is considered in terms of the general standard of achievement expected at the actual grade level attempted (levels of achievement/performance objectives-see Section 8).
3. With reference to the basic standard of achievement expected at the specific grade level attempted, examiners then determine whether each task deserves to be described as fail, pass, merit or distinction (referring to the attainment descriptors for each band of attainment) and award marks which indicate low, mid or high achievement in those categories.

A minimum mark of one third is given for any complete attempt at any component, except for sections in which
responses are necessarily right or wrong, such as ear tests and viva voce.
If an item is abandoned, a lower mark may be given and if an item is not attempted at all a mark of 0 is recorded for that item.
Because of the way the marks are weighted for each component, candidates who perform well in the prescribed pieces will generally obtain a good mark overall, but even full marks for performance of pieces is insufficient to obtain a pass mark, if other sections are not at least attempted. It is not necessary however to pass in all sections in order to pass overall. A high mark for one component can counter a low mark for another, and this allows candidates with
different strengths to achieve comparable success the examination as a whole. This may apply particularly to
candidates entering on a second instrument, who may have achieved a higher standard of proficiency in a first
instrument and therefore will be able to score higher on supporting tests.

Marks are entered onto an Examination Report form. The report form written by the examiner indicates to the candidate and teacher where relative strengths and weaknesses lie.

The marks for each component are totalled to give an overall mark. These marks are banded as follows:

Below Pass: 0%-64%
Pass: 65%-74%
Pass with Merit: 75%-84%
Pass with Distinction: 85%-100%

Mark awarded in each pass band are based on the criteria published in the Information & Regulations. Borderline marks between bands (63%, 64%, 74% and 84%) are prohibited: this means that candidates are not subject to a mere whim of addition and that the examiner must make a conscious decision in these cases, based on the candidate's performance, about which mark band is appropriate and will adjust the mark up or down by 1% (or 2% on the border between pass and fail) as appropriate.

Report forms for external examination are issued within two weeks of the examination date (unless it is the subject of a referral) and certificates for successful candidates are sent out within eight weeks of the examination date.

Report forms carry the statement
"Marks on this Examination Report form are provisional until the results are confirmed by the issue of a certificate (or otherwise). Your local Trinity contact will receive confirmation of your marks with the certificates."

Trinity examiners report directly to London. Trinity's Chief Examiner in Music or a designated Senior examiner check report forms for consistent and accurate awarding before results are issued.

Below pass marks
Zero marks are awarded only where no work is offered for a particular task or if the work is wholly irrelevant for the task. There is no minimum mark. Candidates who present work which would be appropriate at a lower grade but is insufficient for a higher grade will not pass. Performances that are incomplete, including those abandoned by the candidate, will not necessarily receive a formal mark. In these cases, the report form is returned to head office and a letter outlining the deficiencies of the performance will be sent to the candidate/ teacher.

INTERNATIONAL COMPARABILITY

Levels

We propose that Trinity's graded examinations in music performance are benchmarked as follows to SAQA's National Qualifications Framework (NQF

Level 5 Grade 8, AMusTCL
Level 4 Grade 7
Level 3 Grade 6
Level 2 Grade 5
Level 1 Grade 4

ABET Level 3 Grade 3
ABET Level 2 Grade 2
ABET Level 1 Initial & Grade 1

National Education has set the requirement for Matric at Grade 6 (standard) & Grade 7 (higher grade)
To assist the benchmarking process, note that these qualifications are accredited in the United Kingdom's NQF in the following levels:

UK NQF Trinity
Advanced - Level 3 Grades 6 to 8
Intermediate - Level 2 Grades 4 and 5
Foundation - Level 1 Grades 1 to 3

The proposed credit rating is 120 credits per graded examination (1 credit = 10 notional hours of learning/120 = one year)

The UK Department for Education and Skills (DfES)
Trinity College London is officially recognised by the UK government education department - the Department for Education and Skills (DfES) - as an external awarding body with its qualifications accredited to the UK National Qualifications Framework.

Trinity's qualifications are eligible for government funding within the UK.

Under the provision of section 96, 98, 100 and 101 of the UK Learning and Skills Act 2000, schools, institutions and employers may only offer to those under 19 a course leading to an external qualification which is funded either by a Local Education Authority (LEA) or Learning and Skills Council (LSC) if the qualification has been approved.

Section 97 of the Learning and Skills Act 2000 applies to courses provided to persons aged 19 and over which lead to an external qualification. Only if such a qualification is approved may Learning and Skills Council (LSC) financial resources be used to make payments in respect of the qualification.

The UK National Qualifications Framework (NQF)
Trinity's graded examinations in music performance are accredited by the Qualifications and Curriculum Authority (QCA) in the United Kingdom.

The Trinity grades are placed as follows:

UK NQF Framework Trinity
Advanced - Level 3 Grades 6, 7 & 8
Intermediate - Level 2 Grades 4 & 5
Foundation - Level 1 Grades 1, 2 & 3
Entry level Initial

NQF Level 2 compares to what is required/ expected of a candidate in the performance element of a GCSE qualification. The standard of performance at Level 3 is comparable to that required in an A-level examination.

Universities and Colleges Admissions Service (UCAS)
Trinity's examinations contribute towards a student's 'score' of UCAS points, when he or she applies for entry to higher education. Graded examinations in music offered by Trinity are placed within the UCAS tariff system for entry to higher education as follows:

P = Pass M = Merit D = Distinction

UCASPoints GCSE GCSE Practical Theory
AS A2 Grade6 Grade7 Grade8 Grade6 Grade7 Grade8
120 A
110
100 B
90
80 C
75 D
70 M
65
60 A D D
55 M P
50 B
45 D
40 C E M P
35
30 D D
25 P M
20 E D P
15 D M
10 M P
5 P

The UCAS points system assists admissions tutors to make broad comparisons across applicants to higher education with different types and sizes of qualifications. The way in which points are determined through the application of a protocol, developed on behalf of UCAS by the Department of Educational Studies at University of Oxford, provides a level of confidence to University admissions staff for the use of the Tariff within the higher education sector. Therefore, recognition is attributed to qualifications offered by applicants which may otherwise not be known by University staff, and is important in the context of increasing participation in and widening access to higher education as a whole.

Independent review board
In 1997 a Review Board was established to scrutinise all aspects of Trinity's examinations in Music and to advise on and monitor the development of all new syllabuses. The Review Board comprises six members who between them represent experience in all sectors (HE, FE, state schools, independent schools, private teachers, the professional theatre, etc). The Board has access to all internal documentation and records, can invite submissions on any aspect of Trinity's work, and has been given the authority to define conditions for the continuation of a given service or procedure as well as to offer advice of a more discretionary nature. Review Boards for Music, as for Trinity's other disciplines, meet once or twice a year.

Its membership is as follows:

1. Independent Chairman appointed by Trinity College London. Currently, Professor George Pratt, formerly Professor of Music, University of Huddersfield, highly-regarded music educationalist etc.
2. Two members appointed by Trinity College London. Currently Jane Sebba (teacher, composer and educationalist) and John Stephens (former Head of Music ILEA, and this year's President of the Incorporated Society of Musicians).
3. Two members appointed by Trinity College of Music (TCM). Currently Simon Young - Assistant Principal (Performance) at TCM, and Philip Meaden - Chief Executive, Benslow Music Trust, formerly Assistant Principal (Academic) at TCM.
4. Two independent members appointed by Trinity College London. Currently Professor Peter Aston, formerly Professor of Music, University of East Anglia, conductor, composer and educationalist, and Mr Ian Mitchell, composer and performer. The independent members have an absolute power of veto.

Professional bodies
Trinity's position in the field of music education is further developed through corporate membership of the
National Music Council (NMC), Music Education Council (MEC) and the Incorporated Society of Musicians (ISM). A Trinity representative (usually the Chief Examiner) attends meetings of both NMC and MEC. The Chief Examiner in Music is also a member of the Academic Board of Trinity College of Music.

ARTICULATION OPTIONS

As the examination is conducted on the one occasion only and its focus is specifically on music performance, there is currently no provision for recognition of prior learning leading to exemption from a particular examination component.

Holders of a Trinity certificate are awarded points under the UCAS tariff system for entry to higher education in the United Kingdom.

MODERATION OPTIONS

All marks are submitted to Trinity's head office for checking by the Chief Examiner and entry into the candidate database immediately after the examination.

Each result is checked for arithmetical errors including incorrect addition, marks out of the wrong total for a particular task, forbidden totals, etc. Any errors are corrected without comment if the overall result is not affected-i.e. if the marks 24/30, 19/30, 15/20, 11/20 had been incorrectly totalled to 68, this would be changed to the correct 69 and the result would still be within the band for Pass. If the result would be altered to a different mark band (e.g. if the above marks had originally been totalled incorrectly to 79, the overall result would change from a Pass with Merit to a mere Pass), then the result is subject to further analysis to check what it should have been. The report is read in order to identify if there have been any errors in assigning marks to a specific task (e.g. marks out of the wrong total), or if the comment is inconsistent with the mark. This will always lead to a check with the examiner, whose notes will usually indicate which mark was correct. If there is any doubt, the result will be invalidated. If the mark needs to go up, it will normally be changed without comment; if the mark has to go down, the candidate will be informed and may need to be re-examined.

All the provisional marks given by examiners are subject to statistical analysis on receipt at head office before the issue of certificates. This takes two forms: centre analysis and examiner analysis.

Centre analysis
The result profile for the session at a particular centre is compared with the profile of the same centre in the past and any irregularity noted. There may be many reasons for what might appear to be a drop in standard, such as a teacher who has regularly entered good candidates having retired, or an inexperienced teacher starting up and entering a batch of candidates who are under-prepared. (An apparent rise in standards is equally possible, of course.)

Examiner analysis
An examiner's mark profile is dependent on the number of candidates examined, the spread of centres visited, the range of grades examined, etc. If the examiner has examined a basic minimum number of candidates and a typical range of performances and grades, it is rare for there to be a deviation of more than 4% either up or down from the norm. This can be influenced on an individual occasion by many factors and is only useful in providing a general indication of reliability when applied to a specific instance. An examiner's marks for a particular session especially at a small centre where there may only be a handful of candidates-may be significantly out of line both with the centre's result profile and the pattern of results for that examiner and/ or the panel as a whole, without the results necessarily being invalid. It would be dangerous to apply norm-referencing to this situation without further investigation. If this does occur, the examiner will be monitored over the next few sessions that (s)he conducts to identify any irregularity in examining standard. This may lead to confirmation of the results awarded or not. If not, then the candidates may need to be re-examined. An examiner who is found to be out of line with the standard of the panel as a whole will undergo retraining or may be asked to leave the panel.

Further checks are possible-for example, the marks achieved by the same candidate in previous examinations, or the mark profile of a particular teacher. These are not used except as supplementary information in specific cases as they are unreliable as evidence in considering individual results.

If there is a discrepancy in a report form which means that the result should be amended from that indicated, all the results and certificates for that centre will not be issued until the Chief Examiner has reviewed the discrepancy.

If a series of candidates at a particular centre appeal, it is a strong indication that there is something wrong with the marking in general. In conjunction with other forms of results analysis, the examiner's marking will be investigated and, if necessary, some or all of the candidates at that centre may have their marks adjusted or they may be re-examined. The examiner in question will be monitored closely over his/ her next few examining sessions in the same manner as outlined previously.

All confirmed results issued are added to a cumulative database that is updated continuously, and can be accessed at any time to provide an up-to-date picture of results throughout the world, providing accurate examiner and candidate statistics for analytical purposes.

CRITERIA FOR THE REGISTRATION OF ASSESSORS

All Trinity examiners and moderators are selected and trained according to strict procedures. Candidates for inclusion on the panel of examiners must be well-qualified professionals in the relevant field, have a sympathetic attitude towards candidates of all ages, show evidence that they are able to work without compromising the standards expected by Trinity.

Examiners are normally engaged on the active panel until 31 December of the year in which they reach the age of 70, when further work on a yearly basis may be offered at the discretion of the Chief Executive up to 31 December of the year in which the examiner reaches the age of 75.

All members of the Trinity examining panel examine at all grade levels, in all instruments and voice. This philosophy ensures a broad approach to assessment of music performance, rather than a narrow technique-focused
assessment which may be biased subjectively towards a particular 'method'. Additionally, a generalist approach
ensures that assessment is available for any instrument at any time at virtually any location requested by
applicants.

Trinity examiners are given a copy of the Confidential Notes for Music Examiners which provides guidance on conduct of examinations.

All assessment outcomes are monitored by the Chief Examiner, who regularly scrutinises the marks awarded
by each examiner and compares them with marks obtained at the same centre on previous occasions. All
examiners are required to undergo regular scrutiny visits from the Chief Examiner or one of his appointed
deputies (this is referred to as 're-standardisation') and if an examiner is found to be out of line with the
assessment standards of the panel (s)he will be retrained or may be required to leave the panel.

Trinity's Assessment Consultant works with Chief Examiners, Senior Moderators and Assessors across all disciplines to recommend adjustments and improvements to monitoring systems, train Chief Examiners etc where necessary in an appropriate level of statistical skills and awareness, and provide support on reliability issues. This includes ensuring that monitoring provides overall analysis of results by grade or by component; analysis of results by centre, examiner, country etc; analysis of results over time; identification of variations to normal patterns of results; and identification of areas where remedy may be necessary through clearer criteria, better guidelines, training and standardisation of examiners, shadowing or joint examining.

To apply for a post as a Trinity external assessor, the applicant should:

Demonstrate significant ability in their specialist instrument(s) along with a well-grounded generalist experience coupled with a convincing portfolio of recent performing and teaching experience. Evidence of recent assessment experience (e.g. music festival work, A-level practical assessment etc.) is a requirement. Candidates for the panel should hold a music qualification equivalent to at least a First degree with an emphasis on performance.

Have sufficient keyboard ability to administer Ear Tests and Aural Awareness tests at an appropriate level of command, whatever their specialist instrument. This will be assessed as part of the interview process.

Offer sufficient availability to secure an even spread of at least 21 days of examining in each year.

Make themselves available for an annual residential training conference which is normally held over the second weekend (Friday/Saturday) of January.

Trinity College London reserves the right to establish, usually by means of a Criminal Record Bureau (CRB) application, any grounds which might preclude applicants from working with children or make them unsuitable to work in a one-to-one situation with candidates of any age.

Quality assurance of Trinity examiners
Examiner training falls into two distinct phases: Initial Training and In-service Training.

Initial Training follows a rigorous selection process. A trainee examiner spends an induction day with the Chief Examiner for briefing and discussion of assessment materials and criteria. This is followed by a number of days observing experienced examiners at work. By the final session of this initial process, the trainee takes full responsibility for the conduct of the session. Once an examiner has satisfactorily completed the initial process he or she is required to attend an annual Standardisation Conference and to be subject to regular moderation by visits from the Chief Examiner or an associate.

Five quality assurance systems thus interlock to ensure a high level of reliability:

System A: Live examination observation

The Chief Examiner (CE) holds overall responsibility for the quality assurance of graded examinations and it is therefore essential for the CE to visit centres in order to monitor examination provision and to provide opportunities for centre feedback.

A team of examiners, working closely with the CE, is appointed as Examination Monitors (EMs).

EMs observe examiners during a morning or afternoon examination session and complete reports whilst observing. A follow up meeting is held at which the examiner's performance and assessments are discussed. A Report Summary is completed and the examiner and the EM sign all documents.

The CE reviews all reports. Where there is a serious cause for concern about a particular examiner's performance, the CE or a designated deputy will accompany that examiner on his/her next live examination session.

System B: Standardisation of examiners
The annual standardisation conference is a three-day event compulsorily attended by all examiners. Among other activities;

Examiners divide into groups to watch live/video extracts of real examinations and share their assessments with group leaders.

Guidance notes are presented.

The Trinity benchmark is given after discussion and examiners are, through further discussion, brought into line with the given judgement.

Re- standardisation of examiners

Examiners are constantly trained and retrained to use the published assessment criteria.

All examiners take part in an on going training process-called re-standardisation.

This involves at least one day with the Chief Examiner or a member of the senior examiner team, and occasionally small groups of examiners, in which comments, marks and results are compared and discussed. Where there are any discrepancies or where an individual examiner's standard of marking is found to be out of line with the standard of the panel as a whole, marks can be adjusted on the spot and guidance given for future assessments by that examiner. The outcome of this kind of session is greater reliability in the marking standard across the panel, and it provides a good opportunity to share 'tradecraft' at the same time.

System C: Monitoring of completed mark sheets

The Information Services Department checks the accuracy of total score calculations before the issue of the Certificate. If on reflection the marks have been totalled incorrectly and the result should be in a lower grade band, then the candidate will be notified and the result confirmed by the issue of Certificate (if the candidate has passed).

The work of all examiners is kept under constant scrutiny. Duplicates of all report forms are sent to Head Office and these are studied by the Chief Examiner before results are released. All the provisional marks given by examiners are subject to statistical analysis on receipt at head office before the issue of certificates. This takes two forms: centre analysis and examiner analysis.

System D: Sample recordings

Recordings of graded examinations are made in order to provide material for monitoring, in case of appeals, for examiner training and to contribute to the national archive.

System E: Appeals procedure

The system of appeals consisting of three levels and culminating in independent scrutiny is corporate practice in all subject areas.

Procedures are set out in the Regulations section of the syllabus.

If a series of candidates at a particular centre appeal, it is a strong indication that there is a problem with the marking in general. In conjunction with other forms of results analysis, the examiner's marking will be investigated and if necessary, some or all of the candidates at that centre may have their marks adjusted or they may be re-examined. The examiner in question will be monitored closely over his/her next few examining sessions in the same manner as outlined above.

Re-examination
Where re-examination is offered to a candidate whose result is declared invalid, it must take place within as short a time as possible of the original examination (usually no more than 4 weeks) so as to preserve closely the conditions of the original examination. If too long elapses, then the candidate's degree of preparation and standard of performance can change significantly.

Manageability
The size of Trinity's examiner panel means that examinations can be provided for candidates in any discipline, at
almost any time of year, in any part of the world. The panel is small enough, however, to enable Trinity to
monitor standards effectively.

Examiners conduct the examinations in the candidate's own school or other place of learning. This ensures that the candidate is relaxed and has the benefit of being in familiar surroundings with people that are known to him/her. This gives an added sense of security. All of these factors contribute positively to the atmosphere in which an examination is conducted.

Schools are given the opportunity to feedback to Trinity on the conduct of the external examiner.

NOTES

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LEARNING PROGRAMMES RECORDED AGAINST THIS QUALIFICATION:

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PROVIDERS CURRENTLY ACCREDITED TO OFFER THIS QUALIFICATION:

This information shows the current accreditations (i.e. those not past their accreditation end dates), and is the most complete record available to SAQA as of today. Some Primary or Delegated Quality Assurance Functionaries have a lag in their recording systems for provider accreditation, in turn leading to a lag in notifying SAQA of all the providers that they have accredited to offer qualifications and unit standards, as well as any extensions to accreditation end dates. The relevant Primary or Delegated Quality Assurance Functionary should be notified if a record appears to be missing from here.

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