Pre-U CAIE Music: Experimental / Practical Examination Essentials | Pre-U CAIE 音乐：实验/实践考核要点

📚 Pre-U CAIE Music: Experimental / Practical Examination Essentials | Pre-U CAIE 音乐：实验/实践考核要点

The Pre-U CAIE Music syllabus (9800) places significant emphasis on practical musicianship through its performing and composing components. These components are not merely assessments of technical ability; they demand expressive interpretation, stylistic awareness, and creative decision-making. This guide breaks down the essential requirements for both the Performing (Component 1) and Composing (Component 2) practical examinations, offering strategies to help candidates meet the highest marking criteria. Whether you are preparing a solo recital, a group performance, or a portfolio of original works, understanding the examiner’s expectations is key to a successful submission.

Pre-U CAIE 音乐课程大纲（9800）非常重视通过演奏和作曲来展现实践音乐能力。这些部分不仅仅是技术能力的测试，更要求富有表现力的诠释、风格意识和创造性的决策。本指南详细解析了演奏（第一部分）和作曲（第二部分）实践考试的核心要求，并提供策略，帮助考生达到最高评分标准。无论你准备的是独奏音乐会、合奏表演还是原创作品集，理解考官的期望是成功提交的关键。

1. Overview of the Practical Components | 实践部分概览

CAIE Pre-U Music comprises three components, but the practical ones are Component 1 (Performing) and Component 2 (Composing). Component 1 requires candidates to submit a recorded performance lasting 20–25 minutes, demonstrating a range of styles and technical demands. Component 2 involves the submission of a folio of compositions totalling 12–20 minutes of music, accompanied by a recording and a written commentary. Both components are externally assessed and carry equal weighting of 30% each, making them decisive for the final grade.

CAIE Pre-U 音乐包含三个部分，实践性的部分是第一部分（演奏）和第二部分（作曲）。第一部分要求考生提交一份时长 20–25 分钟的演奏录音，展现多种风格和技术要求。第二部分要求提交一份总时长 12–20 分钟的作曲作品集，附上录音和书面评论。两个部分均由外部评估，权重各占 30%，因此对最终成绩有决定性影响。

2. Repertoire Selection for Performance | 演奏曲目选择

Selecting the right programme is the foundation of a strong performance submission. The syllabus does not prescribe a set repertoire list; instead, it expects candidates to demonstrate contrast in period, style, mood, and technical demand. A balanced programme might include a Baroque work, a Classical or Romantic piece, a 20th-century composition, and a piece from a non-Western tradition or jazz-influenced idiom. The total duration must be strictly within 20–25 minutes, and at least one piece should be a group performance (duet, ensemble, or accompaniment).

选择合适的曲目是出色演奏提交的基础。大纲并未指定固定曲目列表，而是期望考生展现出时期、风格、情绪和技术要求上的对比。一份均衡的曲目可以包含一首巴洛克作品、一首古典或浪漫派作品、一首二十世纪作品，以及一首非西方传统或爵士风格作品。总时长必须严格控制在 20–25 分钟内，且至少有一首作品应为合奏（二重奏、室内乐或伴奏）。

Aim for at least four contrasting pieces to show breadth.
目标：至少四首对比鲜明的曲目，以展示广度。
Check tuning and temperament considerations for period instruments or voice.
注意古乐器或声乐的调律与律制问题。
Ensure the group piece allows you to be clearly heard and demonstrates interaction.
确保合奏曲目能让你的声音清晰可辨，并体现互动配合。

3. Technical Mastery and Accuracy | 技术掌握与准确性

Examiners assess the fluency and security of the performance. This includes accuracy of notes, rhythm, intonation, and articulation. For instrumentalists, control of tone across the full dynamic range is critical. For vocalists, breath support, diction, and vowel placement underpin technical ease. Any passages that sound under-rehearsed or laboured will weaken the overall impression, even if the interpretative ideas are strong.

考官会评估演奏的流畅性与稳定性。这包括音符、节奏、音准和运音法的准确性。对器乐演奏者而言，全动态范围内的音色控制至关重要。对声乐演唱者来说，气息支持、咬字和元音的安放是技术从容的基础。任何听起来练习不足或勉强的段落都会削弱整体印象，即使诠释想法很出色。

Technical Element	What Examiners Listen For
Rhythm	Steady pulse, accurate subdivisions, rubato used tastefully
Intonation	Consistent tuning, adjustment to temperament, awareness of ensemble pitch
Articulation	Clarity of attacks and releases, stylistic use of legato, staccato, accents

技术要素 | 考官聆听重点
节奏 | 稳定拍点、准确的细分、有品味的伸缩处理
音准 | 持续稳定的调音、对律制的适应、合奏音高意识
运音法 | 起音与收束的清晰度、连奏、断奏、重音的风格化运用

4. Expressive Interpretation and Stylistic Awareness | 表现性诠释与风格意识

Beyond technical accuracy, candidates must present a musically convincing interpretation. This involves understanding the conventions of the historical period and the composer’s intentions. Baroque movements require stylistically appropriate ornamentation and dance character; Romantic works demand flexible phrasing and dynamic shaping; contemporary pieces may call for extended techniques. The interpretation should feel coherent and personal while remaining faithful to the score.

在技术准确性之外，考生必须呈现有音乐说服力的诠释。这包括理解历史时期的惯例和作曲家的意图。巴洛克乐章需要风格适宜的装饰音和舞曲性格；浪漫派作品需要灵活的乐句和力度塑造；当代作品则可能需要扩展技巧。诠释应始终连贯且具有个人特色，同时忠实于乐谱。

Phrasing should breathe like a singer or a natural speech inflection. Dynamics must be tiered, not just ‘loud’ and ‘soft’, but with graduated crescendi and diminuendi. Rubato should enhance the musical line, not disrupt the underlying pulse. All these details contribute to a mature stylistic understanding.

乐句应如同歌者或自然言语中的抑扬顿挫地呼吸。力度必须有层次，不仅仅是“强”和“弱”，而是渐强和渐弱的细腻变化。伸缩处理应增强音乐线条，而非打乱底层律动。所有这些细节都有助于展现成熟的风格理解。

5. Communication and Stage Presence in the Recording | 录音中的沟通与舞台表现力

Since assessment is based on an audio-visual recording, the visual element matters. Candidates should demonstrate performance confidence, physical engagement with the music, and communication with fellow performers (if applicable). Avoid rigid posture; instead, use body movement naturally to convey phrasing and character. Facial expression should reflect the mood of the piece. The recording should capture a sense of live performance, not a sterile studio run-through.

由于评估基于视听录音，视觉元素也很重要。考生应展现表演自信、对音乐的身体投入以及与合奏伙伴的沟通（如适用）。避免僵硬的姿势；相反，应自然地运用身体动作来传达乐句和性格。面部表情应反映作品的情绪。录音应传递出活生生的演奏感，而非冷冰冰的录音棚排演。

For the group piece, eye contact and subtle cueing between players demonstrate true ensemble listening. The recording setup should ensure all performers are visible and well-balanced in the frame. A performance that looks and sounds engaging will typically score higher in the ‘Overall Impression’ criterion.

在合奏曲目中，演奏者之间的眼神交流与细微提示能展示真正的合奏聆听。录音设置应确保所有演奏者可见，画面平衡。看起来与听起来同样引人入胜的演奏，通常在“总体印象”项目上得分更高。

6. Recording Quality and Submission Guidelines | 录音质量与提交规范

Technical aspects of the recording can affect the examiner’s ability to judge the performance. Use a high-quality recording device, not a phone microphone, and test levels beforehand to avoid distortion or a noise floor that masks quiet dynamics. The video must be a single continuous take for each piece; no editing within a piece is allowed. The candidate’s face, hands, and instrument/voice should be clearly visible. All recordings must be accompanied by a signed declaration of authenticity.

录音的技术因素会影响考官评判演奏的能力。请使用高质量的录音设备，而非手机麦克风，并提前测试电平，避免失真或因底噪掩盖微弱力度的细节。每首作品须一次连续录制完成，不允许在乐曲内剪辑。考生的面部、手部以及乐器/发声状态必须清晰可见。所有录音须附签名的真实性声明。

File format: usually MP4 or MOV, with specified resolution.
文件格式：通常为 MP4 或 MOV，并有规定的分辨率。
Label each track clearly with piece title, composer, and timing.
清晰标注每首曲目的标题、作曲家和时长。
Include a tuning / soundcheck segment if needed, but not as part of the timed performance.
如需要，可包含调音/试音片段，但不计入演奏时长。

7. Composing Portfolio: Overview and Requirements | 作曲作品集：概览与要求

The Composing component requires a folio of two to three original works with a combined duration of 12–20 minutes. The folio must exhibit a range of compositional techniques and styles. At least one piece must be for a small ensemble (3–10 players) and one may be in a popular or world music idiom. A composition log and a written commentary of about 800–1200 words must accompany the works, explaining the creative process, structural decisions, and use of musical elements.

作曲部分要求提交一个包含两到三部原创作品的作品集，总时长 12–20 分钟。作品集必须展现多样的作曲手法和风格。至少有一首需为小型合奏（3–10 名演奏者）而作，一首可采用流行或世界音乐风格。作品还需附上一份作曲日志和约 800–1200 词的书面评论，解释创作过程、结构决策以及音乐元素的运用。

All compositions must be notated accurately, either by hand (neatly) or using notation software. A full score and individual parts, when applicable, should be submitted alongside the audio realisation. The realisation may be live, sequenced, or a combination, but must be an accurate representation of the score.

所有作品都必须准确记谱，手写（工整）或使用制谱软件。应提交总谱和必要的分谱，同时附上音频实现。音频可为现场录音、MIDI 音序或两者结合，但必须精确反映乐谱。

8. Developing and Structuring Musical Ideas | 发展并结构音乐乐思

A successful composition demonstrates coherent development of material. Start with a strong, distinctive motif or harmonic idea, then manipulate it through variation, transposition, inversion, fragmentation, or extension. The overall structure should have a clear sense of direction: this could be a traditional form (binary, ternary, sonata allegro) or an organic, through-composed shape. Avoid excessive repetition without transformation, which can make the piece sound static.

成功的作曲展示了对素材的连贯发展。从一个鲜明、独特的动机或和声构思出发，然后通过变奏、移调、倒影、分裂或扩展来发展它。整体结构应有清晰的方向感：可以是传统曲式（二段体、三段体、奏鸣曲快板）或有机的通谱结构。避免过多的无变化重复，否则作品会显得停滞。

Harmonic rhythm and pace of change are crucial. Plan tension and release arcs across the piece. Use cadences strategically to punctuate sections. Even in atonal or experimental works, a sense of pacing and contrast between density and sparseness should guide the listener’s ear.

和声节奏与变化的步调至关重要。设计全曲的紧张与松弛弧线。策略性地使用终止式来划分段落。即使是在无调性或实验性作品中，也应通过疏密对比来引导听众的听觉。

9. Timbral and Textural Exploration | 音色与织体探索

Pre-U compositions are expected to go beyond simple melody-and-accompaniment textures. Explore a variety of textures: monophonic, homophonic, polyphonic, heterophonic, or layered. Use instrumental combinations thoughtfully, considering the unique timbral qualities of each voice. Writing idiomatically for an instrument includes respecting its range, dynamic capabilities, and characteristic techniques. For electronic or electro-acoustic works, manipulation of timbre through filters, panning, and synthesis is equally valid.

Pre-U 的作品应超越简单的主调织体。探索多样的织体：单声部、主调、复调、支声或分层织体。深思熟虑地使用乐器组合，考虑到每个声部独特的音色特质。为乐器作“合乎手法”的写作，包括尊重其音域、动态能力与特色技巧。对于电子或电声作品，通过滤波器、声像和合成处理来操控音色同样有效。

Contrasting textures within a single movement can articulate formal boundaries. For example, a sudden shift from dense polyphony to a solo line can create dramatic impact. Notate extended techniques clearly with a legend. If using DAW, document any special production techniques in the commentary.

在一个乐章内部使用对比织体可以划分结构边界。例如，从密集的多声部突然转为独奏线条，能产生戏剧性效果。清晰标注扩展技术并附说明。如果使用 DAW，在评论中记录任何特殊的制作技术。

10. Harmonic Language and Voice Leading | 和声语言与声部进行

Your choice of harmonic vocabulary should serve the musical idea, not the other way around. Tonal compositions should demonstrate secure functional harmony, including modulation, secondary dominants, and chromaticism where appropriate. Modal harmony, jazz-influenced extended chords, and quartal/quintal harmonies can all be effective if used with understanding. Ensure that voice leading, even in radical harmonic contexts, avoids unintentional parallels and respects the logic of independent lines.

你对和声语汇的选择应服务于音乐构思，而非本末倒置。调性作品应展示可靠的功能和声，包括转调、副属和弦以及恰当的半音化手法。调式和声、受爵士乐影响的扩展和弦、以及四五度和声，只要运用得当，同样能产生出色效果。请确保声部进行，即便在激进的和声语境中，也应避免非本意的平行，并遵循独立声部的逻辑。

In non-tonal works, pitch sets or serial techniques can provide coherence. Whatever the method, be consistent within the piece and show evidence of control. Examiners penalize harmonic incoherence that seems accidental rather than intentional.

在非调性作品中，音集或序列手法可提供统一性。无论采用何种方法，应在作品内保持一致，并展现控制力。考官会惩罚那些看似偶然而非有意的和声混乱。

11. The Written Commentary and Composition Log | 书面评论与作曲日志

The commentary is your opportunity to guide the examiner through your creative process. It should not merely describe what happens in the score, but explain why compositional choices were made. Reference specific bars using timings and score references. Discuss influences, challenges overcome, and how elements like harmony, texture, and structure serve the overall intention. The tone should be analytical and reflective, demonstrating a high level of musical literacy.

评论是你引导考官了解你创作过程的机会。它不应只是描述乐谱中发生了什么，而应解释为何做出某个作曲选择。使用时标和乐谱小节号引用具体段落。讨论受到的影响、克服的挑战，以及和声、织体、结构等元素如何服务于整体意图。语气应具分析性和反思性，展现高水平的音乐素养。

The composition log is a journal of your creative journey, containing sketches, drafts, rejected ideas, and feedback notes. It evidences authentic development and independent thinking. Together with the commentary, it helps the examiner see the work as a process, not just a product.

作曲日志是你创作旅程的日记，包含草稿、弃用构思和反馈记录。它证明出真实的创作发展和独立思考。与评论一起，帮助考官将作品视为一个过程，而不仅仅是成品。

12. Time Management and Rehearsal Strategies | 时间管理与排练策略

Both performing and composing demand consistent effort over the course of study. For the performance, start selecting repertoire early in the first year of Pre-U. Schedule regular practise sessions that balance technical work, memorisation (if used), and interpretative refinement. Record yourself frequently to self-audit. For the composition, set internal deadlines for sketches, first drafts, workshopping, and final score preparation. Allocate time for the recording session of live performers; this often takes longer than expected.

无论是演奏还是作曲，都需要在整个学习过程中持续努力。对于演奏，在 Pre-U 第一年早期就开始选曲。安排规律的练习时间，平衡技术训练、背谱（如采用）和诠释的打磨。经常录音以自我审听。对于作曲，为草稿、初稿、工作坊和终谱准备设定内部截止日期。为实况演奏者的录音预留时间；这通常比预期耗时更多。

Establish a realistic schedule that avoids last-minute panic. Co-ordinate with accompanists and ensemble members well in advance. For composition, if using notation software, back up files obsessively. The key is to treat the practical components as a long-term project, not a sprint.

制定切实可行的时间表，避免最后时刻的恐慌。提前与伴奏者和合奏成员协调。对于作曲，如果使用制谱软件，要执著地备份文件。关键在于将实践部分视为一个长期项目，而非短跑冲刺。

Published by TutorHao | Music Revision Series | aleveler.com

更多咨询请联系16621398022（同微信）

Pre-U CAIE Music: Experimental / Practical Examination Essentials | Pre-U CAIE 音乐：实验/实践考核要点