The canon forming the backbone of most conceptions of Western music has been a feature of musical culture for decades, exerting an influence upon musical study in educational settings. In English school contexts, the once perceived superiority of classical music in educational terms has been substantially revised and reconsidered, opening up school curricula to other musical traditions and styles on an increasingly equal basis. However, reforms to GCSE and A-levels (examinations taken aged 16 and 18 respectively), which have taken place from 2010 onwards, have refocused attention on canonic knowledge rather than skills-based learning. In musical terms, this has reinforced the value of ‘prescribed works’ in A-level music specifications.Thus far, little attention has been paid to the extent to which a kind of scholastic canon is maintained in the Western European Art Music section of the listening and appraising units in current A-level music specifications. Though directed in part by guidance from Ofqual (Office of Qualifications and Examinations Regulation, the regulatory body for qualifications in England), there is evidence of a broader cultural trend at work. The present article seeks to compare the historical evidence presented in Robert Legg's 2012 article with current A-level specifications. Such a comparison establishes points of change and similarity in the canon of composers selected for close study in current A-levels, raising questions about the purpose and function of such qualifications.

中文翻译：

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探究A-Level音乐中的经典：A-Level音乐教学大纲中的音乐处方（2018年初试）

几十年来，构成大多数西方音乐概念支柱的经典一直是音乐文化的一个特征，对教育环境中的音乐研究产生了影响。在英语学校环境中，曾经认为古典音乐在教育方面的优越性已经被大幅修改和重新考虑，在越来越平等的基础上向其他音乐传统和风格开放学校课程。然而，从 2010 年开始，对 GCSE 和 A-levels（分别在 16 岁和 18 岁进行的考试）的改革重新将注意力集中在规范知识而不是基于技能的学习上。在音乐方面，这强化了A级音乐规范中“规定作品”的价值。到目前为止，目前A级音乐规范中，听力和评价单元的西欧艺术音乐部分在多大程度上保留了一种学术经典，很少有人关注。尽管部分受到 Ofqual（资格和考试监管办公室，英格兰资格监管机构）的指导，但有证据表明更广泛的文化趋势正在发挥作用。本文旨在将 Robert Legg 2012 年文章中提出的历史证据与当前的 A-level 规范进行比较。这种比较确定了在当前 A-level 中被选作密切研究的作曲家经典的变化点和相似点，从而引发了对此类资格的目的和功能的质疑。