📚 AS OCR Music: 2026 Exam Changes and Trends | AS OCR 音乐：2026年考试变化与趋势
The AS Music qualification from OCR (H143) is undergoing a series of significant updates for the 2026 examination series, reflecting the exam board’s commitment to modernising music assessment while maintaining academic rigour. These changes affect all three components — Performing, Composing, and Listening and Appraising — and introduce new flexibilities in repertoire, technology use, and assessment design. Whether you are a student preparing for 2026 or a teacher planning your scheme of work, understanding these trends is essential for success.
OCR 的 AS 音乐资格证书 (H143) 即将在 2026 年考试系列中迎来一系列重要更新，这体现了考试局在保持学术严谨性的同时推进音乐评估现代化的决心。这些变化涵盖了演奏、作曲以及聆听与鉴赏全部三个组成部分，并在曲目选择、技术运用和评估设计上引入了新的灵活性。无论你是正在为 2026 年备考的学生，还是正在规划教学方案的音乐教师，理解这些趋势都是取得理想成绩的关键。
1. Overview of the 2026 Specification Update | 2026年考纲更新概览
OCR has confirmed that the revised AS Music specification for first teaching from September 2024 and first examination in 2026 will embed principles of diversity, digital integration, and authentic musicianship more deeply. The core structure remains familiar: Component 1 (Performing), Component 2 (Composing), and Component 3 (Listening and Appraising). However, each area now includes refined mark schemes, updated set works, and greater scope for personalisation.
OCR 已确认，从 2024 年 9 月起首次教学、2026 年首次考试使用的修订版 AS 音乐考纲将更深入地融入多样性、数字化融合与真实音乐修养等原则。其基本结构依旧是大家熟悉的组成部分：演奏（Component 1）、作曲（Component 2）以及聆听与鉴赏（Component 3）。但每个领域如今都包含了进一步细化的评分方案、更新的固定作品以及更大的个性化空间。
The overarching aim is to produce a qualification that not only tests technical competence but also encourages creative risk-taking and critical listening. Teachers will notice clearer connections between the components, particularly through the use of recording technology in both performing and composing.
其总体目标在于打造一个既考察技术能力，又鼓励创造性探索与批判性聆听的资格证书。教师们会注意到各组成部分之间的联系更为清晰，尤其是录音技术在演奏与作曲中的融合运用。
2. Component 1: Performing – New Flexibility and Digital Submission | 演奏部分 – 新灵活性与数字化提交
Video recording becomes mandatory. From 2026, all solo and ensemble performances must be submitted as unedited, continuous video recordings. This replaces the previous option of audio-only submissions and ensures that visual aspects of performance, such as posture, communication, and stage presence, are considered alongside musical accuracy.
视频录制成为硬性要求。 自 2026 年起，所有独奏和合奏表演必须以未经剪辑的连续视频录像形式提交。这取代了以往仅限音频提交的选项，确保演奏的视觉呈现要素，如姿态、交流感和舞台表现力，能与音乐准确性一同纳入考查范围。
Broader repertoire choices. The updated specification explicitly encourages music from a wider range of traditions, including popular, jazz, film, and non-Western classical styles. Candidates can now present a programme that reflects their personal musical identity, provided the total duration meets the 5–6 minute minimum. A new rule states that at least one piece must involve live accompaniment or ensemble playing, fostering collaborative skills.
更广泛的曲目选择。 更新后的考纲明确鼓励源自更广泛传统的音乐，包括流行、爵士、电影音乐和非西方古典风格。考生现在可以提交能够体现个人音乐身份的曲目单，只要总时长达到 5–6 分钟的最低要求。新增的一项规则要求至少有一首作品须包含现场伴奏或合奏形式，以此培养合作能力。
Marking criteria fine-tuned. The performing mark scheme now gives greater weight to expressive control and stylistic understanding, rather than purely technical fluency. Intonation, tonal variety, and dynamic shaping are assessed holistically across the programme.
评分标准微调。 演奏评分方案如今更看重表现力控制与风格理解，而不仅仅局限于技术流畅度。音准、音色变化与力度层次等要素将贯穿整场节目进行整体评估。
3. Component 2: Composing – Broader Styles and Contemporary Techniques | 作曲部分 – 更广泛的风格与当代技巧
OCR’s 2026 AS composing component now explicitly welcomes compositions created using digital audio workstations (DAWs) alongside traditional notation. This means that genres such as electronic dance music, sound design for video games, and film underscoring can form the basis of submitted works, provided they demonstrate understanding of musical elements and structure.
OCR 2026 年的 AS 作曲部分现已明确欢迎使用数字音频工作站 (DAW) 与传统记谱相结合创作的作品。这意味着电子舞曲、电子游戏声音设计、电影配乐等音乐类型均可作为提交作品的基础，只要它们展示出对音乐元素与结构的理解。
Two compositions with a revised total duration. Candidates still submit two compositions, but the combined minimum length has been slightly reduced to 4 minutes (down from 4.5) to allow for more concentrated, higher-quality work. One of the compositions must be related to a chosen area of study from the Listening component, reinforcing cross-component learning.
两部作品，总时长修订。 考生依旧需提交两部作品，但合并的最低总时长略微缩减至 4 分钟（此前为 4.5 分钟），以便考生能提交更加凝练、质量更高的作品。其中一部作品必须与聆听部分所选的学习领域相关联，以此强化跨组件学习。
Accompaniment of the score. A notated score is still required for at least one piece; however, alternative forms of representation — such as annotated screenshots from piano roll editors or detailed written commentaries — can supplement traditional notation, making the assessment more inclusive for non-classical composers.
乐谱的伴随。 至少仍须有一部作品提供记谱形式的乐谱；但其他形式的呈现——如来自钢琴卷帘编辑器的带注释截图或详细的书面说明——可以作为传统记谱的补充，使评估对非古典类作曲家更具包容性。
4. Component 3: Listening and Appraising – Refined Question Types | 聆听与鉴赏部分 – 精炼题型
The 2026 Listening and Appraising paper maintains its 1-hour 30-minute length but introduces a new short-answer dictation section within Section A. Students will be asked to notate a rhythm and melody from an unfamiliar extract, reflecting OCR’s intent to strengthen aural literacy from the start of the course.
2026 年的聆听与鉴赏试卷依然保持 1 小时 30 分钟的时长，但在 A 板块内引入了全新的短答听写部分。学生将会被要求根据一段陌生的选段记写出节奏与旋律，这反映出 OCR 意在从课程初始便强化听觉素养的意图。
Updated set works. The prescribed set works have been refreshed for 2026. A notable addition is Leonard Bernstein’s Symphonic Dances from West Side Story, which replaces a previous Baroque orchestral work. This change enriches the study of harmony, rhythm, and cross-cultural fusion. The list of wider listening suggestions now also includes pieces by contemporary composers such as Caroline Shaw and Yoko Kanno.
更新的固定作品。 2026 年的指定固定作品进行了更新。一个显著的增补是莱纳德·伯恩斯坦的《西区故事交响舞曲》，它取代了此前的一部巴洛克管弦乐作品。这一变化丰富了对和声、节奏以及跨文化融合的研究。拓展聆听建议清单如今也囊括了当代作曲家如卡罗琳·肖和菅野洋子的作品。
Comparison questions in Section B now require candidates to draw links between set works and unfamiliar music more explicitly, using musical vocabulary and analytical points. This rewards students who have engaged broadly with music beyond the classroom.
B 板块中的比较题如今要求考生更明确地在固定作品与陌生音乐之间建立关联，并运用音乐术语与分析要点作答。这对那些在课堂之外广泛接触音乐的学生更为有利。
5. Changes in Assessment Objectives and Weightings | 评估目标与权重变化
OCR has adjusted the weightings of the Assessment Objectives (AOs) to better reflect the integrated nature of the course. AO3 (Demonstrate knowledge and understanding of musical elements and context) sees a slight increase from 25% to 28%, while AO4 (Use musical vocabulary and specialist notation) is now assessed more explicitly in the performing component as well as the written paper.
OCR 对评估目标 (AO) 的权重进行了调整，以更好地反映课程的整体性特征。AO3（展现对音乐元素与背景的知识与理解）的权重从 25% 略微提升至 28%，而 AO4（运用音乐术语与专业记谱）如今在演奏部分以及书面试卷中均得到更明确的考查。
The table below summarises the new AS weightings compared to the previous specification:
下表概括了新 AS 各评估目标的权重与以往考纲的对比：
| Assessment Objective | Previous Weighting | 2026 Weighting |
|---|---|---|
| AO1: Performing with technical control | 20% | 19% |
| AO2: Creating and developing musical ideas | 20% | 20% |
| AO3: Knowledge and context | 25% | 28% |
| AO4: Vocabulary and notation | 35% | 33% |
These shifts emphasise that students must not only perform or write about music but also demonstrate deep contextual awareness and precise terminology across all components.
这些调整强调学生不仅需要演奏或撰写音乐相关内容，还必须跨所有组成部分展现深厚的语境意识与精准的术语运用。
6. Embracing Technology: Notation Software and DAWs | 技术融合：制谱软件与数字音频工作站
For the first time, OCR mandates that all submitted scores for composing be produced using standard notation software such as Sibelius, MuseScore, or Dorico, unless a candidate is submitting an alternative representation with permission. Handwritten scores are no longer accepted for the externally assessed piece, although graphic scores may be considered for certain styles.
OCR 首次规定所有提交的作曲乐谱必须使用 Sibelius、MuseScore 或 Dorico 等标准制谱软件完成，除非考生在获得许可后提交了替代呈现形式。对于外部评估的作品，不再接受手写乐谱，不过某些风格可考虑使用图形谱。
DAW projects must be exported as high-quality audio files and accompanied by a detailed log or commentary outlining the creative decisions. The use of pre-recorded loops is permitted but must be clearly identified and significantly manipulated to count as original material. Teachers can now deliver DAW-based composition workshops as part of their curriculum without concern over exam eligibility.
DAW 项目必须以高质量音频文件导出，并附带详细日志或评论，概述创作决策。允许使用预制的循环乐句，但必须明确标识并加以显著处理，方可算作原创素材。教师如今可将基于 DAW 的作曲工作坊纳入课程教学，无需担心考试资格问题。
7. Updated Set Works and Wider Listening | 更新后的固定作品与泛听
The 2026 set works list brings a fresh balance of genres and historical periods. Alongside Bernstein, the Area of Study ‘Popular Song’ now features Joni Mitchell’s ‘Both Sides Now’ as a set work, replacing an earlier 1960s piece, offering rich opportunities to discuss lyrics, harmony, and studio production. The Area of Study ‘World Music’ includes a new focus on Gnawa music from Morocco, encouraging exploration of trance rhythms and call-and-response structures.
2026 年的固定作品清单在音乐类别与历史时期上呈现出新的平衡。除伯恩斯坦的作品外，流行歌曲学习领域现在选取了乔尼·米切尔的《Both Sides Now》作为固定作品，取代了此前的某首 20 世纪 60 年代曲目，为讨论歌词、和声及录音室制作提供了丰富契机。世界音乐学习领域则新增了对摩洛哥格纳瓦音乐的关注，鼓励探索迷幻节奏与呼应结构。
The wider listening lists are no longer merely suggestive; exam questions may draw directly from nominated repertoire. This encourages a curated approach to supplementary listening throughout the year. The table below compares key set work changes:
泛听列表不再仅仅具有建议性质；考题可能会直接引用指定的曲目。这鼓励在一学年间采取有规划的补充聆听方式。下表对比了关键的固定作品变化：
| Area of Study | Previous Set Work (until 2025) | 2026 Set Work |
|---|---|---|
| The Symphony | Haydn: Symphony No. 104 | Beethoven: Symphony No. 7 (2nd & 4th mvts) |
| Popular Song | The Beatles: ‘A Day in the Life’ | Joni Mitchell: ‘Both Sides Now’ |
| Musical Theatre | Kern: Show Boat (selections) | Bernstein: West Side Story (Symphonic Dances) |
Updated anthologies and study guides are expected to be published by OCR’s approved partners in early 2025.
预计 OCR 的授权合作方将于 2025 年初出版更新的选集与学习指南。
8. Support and Resources from OCR | OCR提供的支持与资源
To accompany the 2026 changes, OCR is releasing a suite of materials including new exemplar candidate work with detailed commentaries, enhanced teacher guides for DAW use, and online CPD sessions covering the revised set works. The popular ‘Ask the Examiner’ webinars will address common queries about the new video submission rules and the short-answer dictation format.
为配合 2026 年的变化，OCR 将发布一整套资料，包括带有详细评注的新版范例考生作品、增强版的教师 DAW 使用指南，以及涵盖修订版固定作品的在线持续专业发展 (CPD) 课程。颇受欢迎的“考官答疑”网络研讨会将就视频提交新规与短答听写格式等常见疑问进行解答。
Teachers are also encouraged to use the OCR ‘Delivery Guide’ which maps the specification updates onto termly plans. Mark scheme descriptors for performing have been re-written with clearer ‘strands’ to aid internal standardisation. Sample assessment materials for the 2026 Listening paper will be available from summer 2025.
OCR 同时鼓励教师使用能将考纲更新内容映射至学期计划的《教学实施指南》。演奏评分方案描述也经过重写，设置了更为清晰的“评价维度”，以帮助校内统一评分标准。2026 年聆听试卷的评估样卷将于 2025 年夏季发布。
9. Key Dates and Administrative Points for 2026 | 2026年关键日期与行政要点
Candidates and centres must note the following key deadlines for the June 2026 series. The final date for submission of internally assessed components (Performing and Composing) is usually 15 May. The Listening and Appraising examination takes place in early June, with the exact timetable published by OCR in the preceding autumn. Video files and scores must be uploaded via the OCR Repository by the submission deadline.
考生与学校必须注意 2026 年 6 月考试系列的下述关键截止日期。内部评估部分（演奏与作曲）的提交截止日期通常为 5 月 15 日。聆听与鉴赏考试于 6 月初举行，具体时间表由 OCR 在前一年秋季公布。视频文件与乐谱必须在此截止日期之前通过 OCR Repository 上传。
For the new video recording rule, centres are reminded to test their recording setups well in advance. OCR has published technical guidelines specifying acceptable file formats (MP4 or MOV, H.264 codec), frame rates, and minimum resolution (720p). The performing mark sheet must be completed digitally and signed by the teacher and candidate.
针对新的视频录制规定，OCR 提醒各校务必提前测试其录制设备。OCR 已发布技术指南，明确了可接受的文件格式（MP4 或 MOV、H.264 编码）、帧率及最低分辨率（720p）。演奏评分表须以数字方式填写并由教师及考生签字。
10. Top Tips for Students and Teachers | 给学生和教师的备考建议
For students: Start your performance video library early. Record your pieces several times under performance conditions and select the best continuous take. For composing, maintain a process log from the very first idea; this log can become the core of your written commentary. Use the wider listening list actively — create comparison tables linking each set work to at least two unfamiliar tracks.
对学生：尽早建立你的演奏视频库。在演出条件下多次录制你的作品，并从中选出最佳的一次连续录制。在作曲方面，从最初的乐思起就坚持撰写过程日志；这份日志可成为你书面评注的核心。要积极利用泛听曲目清单——为每部固定作品创建与至少两首陌生曲目的对比表格。
For teachers: Embed DAW and notation software training in Year 12 from day one. Design mock listening tests that include the new dictation task, gradually increasing in difficulty. Use the OCR exemplar materials to calibrate your internal marking, particularly for the performing video criteria. Collaborate with colleagues in other schools to moderate performance recordings and increase consistency.
对教师：从 12 年级的第一天起就融入 DAW 与制谱软件培训。设计包含新听写任务的模拟听力测试，并逐步提升难度。使用 OCR 范例材料来校准校内评分，尤其针对演奏视频标准。可与其他学校的同行合作，对演奏录像进行评审以提升评分一致性。
11. Common Misconceptions about the New AS | 对新型AS的常见误解
Myth: ‘I can submit a completely improvised DAW track with no structural plan.’ Reality: While improvisation may be part of the creative process, the final submission must demonstrate clear formal design and developmental processes. A solely improvised, unstructured piece will not meet the marking criteria for composition.
误解：“我可以提交完全即兴创作的 DAW 曲目，无需结构规划。” 事实：即兴演奏可以是创作过程的一部分，但最终提交的作品必须展现出清晰的曲式设计与发展过程。一首纯即兴、无结构的作品将无法满足作曲评分标准。
Myth: ‘The video recording just needs to show my instrument.’ Reality: OCR expects
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