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Lady Gaga, Bruno Mars - Die With A Smile

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This document can be helpful for reporting on students progress.

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This is absolute gold. Loads of exemplars from students covering all three SL portfolios. Excellent resource for IB Music teachers and students alike.

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Wrotham School Music - IB Music Exemplar Materials

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Below are examples of work for each unit, released by the IB board across 2021/22. Work from Wrotham School IB music students is labelled where applicable. This will be updated constantly.

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A succinct summary of criteria for all four portfolios. Many thanks to Adam Murphy at Reagan IB High School Milwaukee for creating this resource.

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Assessment Criteria and Guiding Questions

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I created this visual guide as a quick reference for students and teachers to help navigate the course requirements and assessment tasks. This diagram is also embedded in my IB Music Course Planning guide in column 1 of this Padlet.

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This list of pieces is organised according to AOI and has been compiled by IB Music tutors worldwide.

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IBDP Music Areas of Inquiry & Links - Worldwide Contributions

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This may be a useful tool for submission audio evidence

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Supported
Output Formats

Video

Formats: MP4, AVI, WMV, MOV, M4V, MKV, MPEG, FLV, F4V, SWF, 3GP, 3G2, ASF, DV, VOB, OGV, XVID, WEBM, MXF, TS, M2TS, TRP, ProRes (Only for Mac)
Codecs: AP4H, APCH, APCN, APCO, AppleIntermediateCodec, APCS, AVC, AVCHD, DNxHD, DV, FinalCutPro, FLV, H.263, , iDVD, iMovie, MJPEG, MPEG, MPEG-1, MPEG-2, MPEG-4, MPEG-5, MS-MPEG-4, MSMPEGV3, Theora, VC-1, VP8, WMV1, WMV2, XVID
Video Platforms: YouTube, Facebook, Vimeo, Instagram

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Wondershare® UniConverter™: ALL-IN-ONE VIDEO CONVERTER FOR YOUR EVERY

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A one page graphic depicting all four portfolios, AOIs, contexts, and submission requirements. A useful tool for visual learners and teachers. Designed by me!

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Everything you need in one place!

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The Contemporary Music Maker Combined_Simplified

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From the IB Music Subject Guide

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A handy visual overview of the CMM project.

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The Contemporary Music Maker - Portfolio overview

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The Contemporary Music Maker - Portfolio overview

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Useful link for IB Music teachers and students from Dr Anton Luiten - teacher of IB Music based in Singapore.

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Use this platform to convert large 15minute video presentations to 500gb, as required by the IB upload system

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[Official] Video & DVD & Audio Converter - The versatile video converter for Android, iOS, game console, TV and more

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Any Video Converter is a powerful video and DVD converter to MP4, MP3, H265, and 200+ formats for mobile phone, PS4, Xbox One, TV etc. It is also a useful video editor and powerful YouTube videos (music) downloader.

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Thanks to Eric Delson from the IBDP Music Teachers Worldwide Facebook page for creating and sharing this excellent resource. Great for assisting students in preparation to submit their work.

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My visual presentation of the new IB Music Diploma. It includes visual guides and templates for students to plan out their course. Useful particularly for students entering the first year of the course and as a reference throughout the two-year Diploma.

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Check out this presentation designed by Min Hunter.

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Useful recommendations for each portfolio.

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Covers a range of topics from the Grand Stave to Strophic form of music and many more.

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Grand Staff in Music | Grand Staff Symbols & Notation - Video & Lesson Transcript | Study.com

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What is the grand staff in music? Learn the notes on the grand staff, how many lines are in a staff, and what note sits in the middle of the grand...

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Step by step music theory from the basics up. Students can be self-paced or teachers can set learning tasks and send the url link to students to complete.

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Introductory and intermediate music theory lessons, exercises, ear trainers, and calculators.

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An online resource for increasing students music literacy.

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Enter the music matrix...

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Musicmap | The Genealogy and History of Popular Music Genres

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Musicmap provides the ultimate genealogy of all popular music genres and combines any information regarding music genres, such as their relations, sociology, history and music examples, in one dynamic map, serving as both an educational tool and a framework for music databases.

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With this interactive map, you can click on any country in any decade from 1900 to know and discover the music that was popular at that time. Excellent resource for expanding understanding of AOIs

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Here is all the information from the guide relating to the Experimenting portfolio. Very handy resource.

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Experimenting with Music Combined_Simplified 

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Another resource from Wrotham Music worth checking out.

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Wrotham School Music - Experimenting With Music

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As with all units on this course it is highly recommended that students carry out additional reading for this unit. The music guide covers this unit, Experimenting With Music on pages 31 to 33 (general overview) and pages 59 to 64 (assessment overview)

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A Visual Guide for Experimenting as a Creator 

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A Visual Guide for Experimenting as a Creator 

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Here is a visual guide for mapping out Experimenting as a Creator

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A Visual Guide for Experimenting as a Performer

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A Visual Guide for Experimenting as a Performer

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Can be great to have a visual representation of this portfolio to help guide students decision making for the portfolio. This visual guide is for Experimenting as a Performer.

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And the IB Guide just for Presenting.

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Wrotham's overview for the Presenting portfolio provides some video recordings of students performing.

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As with all units on this course it is highly recommended that students carry out additional reading for this unit. The music guide covers this unit, Presenting Music on pages 33 (general overview) and pages 50 to 56 (assessment overview)

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This articles by Dr Gabriela Meyer offers a framework of questions to help shape your intention, attention, and action with instrumental music pracitce. It offers insight in how to reflect on your practice to make improvements.

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Dr. Gabriela MayerCIT Cork School of MusicCork IRELAND

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Reflective Practice - Practicing tips for musicians

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Yes, you read that correctly. Great perspectives and ideas here. Consider "Am I practicing, or learning?"

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0:00 / 15:11•Watch full video

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A neurological animation of what happens when we practice.

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How to practice effectively...for just about anything - Annie Bosler and Don Greene

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Some great pieces to research here relating to AOI1

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of By Jeff Mezydlo Yardbarker |

The political climate in the United States is quite contentious at the moment. On the positive side, perhaps some memorable music will come out of this moment when things calm down.

On that note, here's a look at some of the more notable political songs through the years.

© Gai Terrell/Redferns

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of By Jeff Mezydlo Yardbarker | The political climate in the United States is quite contentious at the moment. On the positive side, perhaps some memorable music will come out of this moment when things calm down. On that note, here's a look at some of the more notable political songs through the years.

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HIP: Historically Informed Performance based on the study of musical sources that aims to replicate the style on period instruments. An explanation from students and lecturers at Julliard School of Music and performers of the Philharmonia Baroque Orchestra & Chorale.

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Philharmonia Baroque Orchestra & Chorale

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MESS: Melbourne Electronic Sound Studio houses a vast collection of synthesisers and sequencers. Students can attend weekly workshops and the studio is open for visits. Could be a great excursion!

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Based in Melbourne Australia, MESS is a unique not-for-profit organisation dedicated to the creation of electronic sound and music founded by Robin Fox and Byron J Scullin.

The heart of is the MESS Studio, a fully functioning sound production workshop representing one of the most unique, eclectic and historically significant collections of electronic instruments in the world. Working from within the studio is the MESS School, a place for people to engage with the history, technique and artistry of electronic sound and music creation presented in a format that is flexible, affordable and artist driven. Work created at the studio and school is supported by MESS Show to promote unique performance events and recording releases reflecting the diversity of sound created at alongside historical releases from the vault of Australian electronic music . Finally MESS Schematic maintains the instruments in the MESS Studio collection and acts as a repository of knowledge. In the future we aim for it to become a space that also supports the development of new instrument ideas focussing on design, engineering and construction.

MESS is an independent, inclusive and culturally broad organisation, reflecting the history of the field, supporting those currently involved in creation, as well as ensuring and encouraging its vibrancy, diversity and legacy into the future. Wherever it is, MESS will create an environment based on encouraging physical interaction between artists and instruments. This is a place where coincidence, chance and curiosity allow and encourage people to interact with each other and with the collection. MESS maintains independence through a diverse funding model drawing on private patronage, membership donation, and cultural institutions.

MESS uses this funding to further the key aims of the organisation:

To document, support and encourage electronic sound and music creation in all its forms.

To gather and sustain the history of electronic sound creation centred around the collection and maintenance of electronic sound instruments and devices.

To make all electronic sound devices held in the MESS collection accessible for use to the widest range of people possible as creative and educational tools. To maintain these instruments for use by subsequent generations.

To educate people regarding the history, technique and process of the creation of electronic sound and music. To promote and stimulate interest in electronic sound and music by engaging and educating young people via schools and community organisations.

To ensure and encourage cultural diversity in the people who interact with the organisation and to reflect the unique impact of Australian culture on electronic sound creation.

To support, promote and advocate for electronic music artists who interact with the organisation.

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Based in Melbourne Australia, MESS is a unique not-for-profit organisation dedicated to the creation of electronic sound and music founded by Robin Fox and Byron J Scullin. The heart of is the MESS Studio, a fully functioning sound production workshop representing one of the most unique, eclectic and historically significant collections of electronic instruments in the world.

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Features some of the significant electronic music equipment inventions and evolutions.

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Love this visual representation of rhythm across multiple music cultural contexts.

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A different way to visualize rhythm - John Varney

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DR SMITH is a handy acronym to help guide your music analysis and composing.

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Try playing all these on a piano or keyboard!

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A visual and text guide to help with composition and analysis

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As outlined by IBO.

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Required for student submissions

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Required for student submissions

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An interactive visual tempo chart created by me - Myfanwy Hunter. Useful for Middle School and Senior School students.

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A succinct 3page summary of the course and portfolio components

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A visual one-page guide to each portfolio.

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Here is the complete original IB Music Guide for the new course with first assessments occurring in 2022.

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An important guide for all IB Music teachers.

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Useful terms to integrate into your lesson planning.

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Some clever person has edited the IB Music into sections with all information relating to each portfolio. This makes it easier to focus on all the details of one portfolio at a time.

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Exploring Music in Context Combined_Simplified Version

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Required for student submissions

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Required for students submissions

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Required for student submissions

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Helpful for IB Music teachers (know what to look for in your students work) and students (understand what examiner's are looking for in your portfolios).

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General guidance/information

The aim of marking is to ensure that all marks are of an equivalent standard. That means a candidate would receive the same mark for the quality of their work, whoever marks it. To meet this aim examiners will undertake standardization before moving to live marking. It is important that examiners have read these instructions, in full, before engaging with the quality model materials.

The assessment task

In this assessment task, candidates present music to communicate the artistic intentions of completed works from the four areas of inquiry (examiners should see the section below for information).

engage with music through the four areas of inquiry

select works that demonstrate the candidate's best achievements and are well-matched to the level of the candidate's musicianship.

Programme notes

coherent, informative programme notes introducing the chosen music and justifying the musical choices made

evidence musicality throughout the selected works

work towards technical proficiency to express meaning through creating conventions and performing practice, communicate effectively in the different roles (researcher, creator, performer).

Presented works

performing skills through solo (including music Technology) and/or ensemble works

musical excerpts (where applicable)

creating skills through composed and/or improvised pieces (including the use of music technology)

musical scores or visual representation

overall musical communication of the music, including notation, expression, audio quality

Submission

Candidates submit a collection of works demonstrating engagement with diverse musical material. The submission contains:

presenting as a researcher: programme notes (maximum 600 words)

presenting as a creator: composition and/or improvisation (maximum 6 minutes) including music technology

presenting as a performer: solo and/or ensemble (maximum 12 minutes) and excerpts, where applicable (maximum 2 minutes) or one single video file of music technology performance (maximum 12 minutes) with a close-up of the equipment to demonstrate the candidate's manipulation of the musical elements on the instrument(s).

Applying the assessment criteria

Examiners should consider the whole submission before awarding marks; this will help identify important aspects that form the focus of each criterion.

Examiners must not read or listen beyond the maximum requirements listed above, even where this means that evidence for a criterion or aspect of a criterion cannot be rewarded. Where an aspect of a criterion is unable to be rewarded a holistic mark should be given where compensation is made (examiners are referred to Applying best fit to the outcomes below).

Candidates are required to submit files and not links to sites such as YouTube, mp3 or other files. Such links are embedded and can not be clicked by an examiner through Assessor; examiners must not use the URL to view material outside of the submission.

Examiners must not impose penalties. Advice will be given in the Particular cases / Important information section for anticipated concerns with responses. Team leaders will advise further during the marking period.

Examiners consider evidence in relation to the candidate's presented information, rather than their own familiarity with the materials used or their own specialisms which should not influence the mark awarded.

The assessment criteria assume that the evidence submitted is correct in its content. Unless there are instructions to the contrary, incorrect content should not be rewarded.

Maximum marks do not mean that the candidate's performance has been perfect but rather that their performance corresponds to the highest mark descriptors.

Examiners are required to mark each criterion holistically and make judgements about each one independently of performance in the others.

Examiners are advised to write a succinct comment supporting the mark awarded for each criterion, including how the achievement of the work met the descriptor. This comment will allow team leaders to give relevant, quality feedback during the marking period should it be needed.

Criterion-related assessment

The approach to assessment used by the IB is criterion-related, not norm-referenced. This approach to assessment judges candidates' work by their performance in relation to identified levels of attainment and not in relation to the work of other candidates. Examiners therefore apply the differentiated criterion level descriptors as their primary tool for assessment. The characteristics words should be consulted only where a mark is uncertain between one markband and the next.

Applying best fit to the outcomes

The markbands for criteria A, B and C have multiple parts designated by bullet points. Examiners should mark each bullet point independently, noting the mark awarded for each in comments, and then use the compensation method where strong achievement balances out the weaker achievement to determine a holistic mark for the criterion. A comment explaining how the holistic mark was reached would be useful.Criterion D has only one bullet point.

IB's published definition of differentiated terms for presenting

Particular cases / Important information

Examiners must read this information carefully before beginning to mark

Areas of inquiry

Examiners should be familiar with the four areas of inquiry. These are not intended to categorize all musical genres and styles definitively, but to offer a flexible approach for understanding and working with a variety of musical materials and experiences. In each area, candidates should consider musical intentions and purposes, the methods and techniques used to create the music, the role of musical conventions, and the impact and experience of the audience. The four areas of inquiry are:

1. Music for sociocultural and political expression

This area focuses on music that expresses and communicates social and cultural messages, conveys political ideas and/or helps preserve social and cultural traditions.

2. Music for listening and performance

This area focuses on music that expresses and communicates intrinsic aesthetic values. Such music is sometimes referred to as "absolute music".

3. Music for dramatic impact, movement and entertainment

This area focuses on music used for dramatic effect, music that supports choreographed movement or dance and/or music that is incidental or intended to purposefully serve as entertainment.

4. Music technology in the electronic and digital age

This area focuses on music created, performed and/or produced using electronic or digital technologies. Such technologies are an important aspect of contemporary musical experiences, often transforming some of the ways that we understand and engage with music.

Ethical consideration of content

The music guide includes a statement that candidates should be supported in maintaining an ethical perspective during their course, with work being undertaken that is appropriate for the context of the school and the age of the candidates.

For the purpose of submissions for an arts course it is likely that candidates will select and develop materials that involve topics that push boundaries. Unless the examiner finds the content to be offensive, inappropriate or obscene for a diploma-age candidate, examiners should approach marking the work in the same way as other submitted work.

Should an examiner meet work that causes concern in this regard they raise the exception listed in RM Assessor ³ as 'Academic misconduct - e) offensive, inappropriate, or obscene material'; the response should then be marked according to the assessment criteria and submitted.

Word count

The word count (maximum of 600 words) does not include words in citations or footnotes. However, footnotes cannot be used as a method of exceeding the word count by including information additional to the body of the text. Any footnote that includes points, arguments or supporting notes of any sort should not be considered in marking when the word count is exceeded by doing so.

Academic integrity

Candidates are required to reference all sources - primary and secondary - including all artistic work, live performances, recordings and scores. When the words, work or ideas of another person are used or influence the candidate's own work they must be included as a reference in a list of sources. Candidates compile a bibliography that lists all materials used to develop and prepare their work for the component.

If an examiner identifies referencing irregularities or plagiarism they should continue to mark the work as normal and then raise an exception through RM Assessor ³ before submitting the response.

Unfamiliar musical cultures/instruments

Examiners are not expected to have experience with every musical culture or musical instrument. The examiner's team leader or principal examiner can be approached for guidance if examiners are not confident in their understanding of the information provided by the candidate.

Music technology

For music technology composing, all parts must be MIDI entered, or performed and recorded, by the candidate. Sampled parts and drum loops are acceptable only if the teacher can verify that the samples have been performed or recorded by the candidate.

As performers, candidates demonstrate their technical proficiency and musicianship in performed works. All music technology performances must be submitted in video format.

The video for music technology performances will be a close-up of the equipment demonstrating the candidate's manipulation of the musical elements on the instrument(s). The candidate will not be featured in the video but the focus should be on the demonstration of how the candidate is working the equipment.

The assessment criteria

Criterion A: Programme notes

Examiners can see the full definition of programme notes in the presenting glossary appended to these instructions

This criterion focuses on the candidate generating coherent, informative programme notes that clearly address the four areas of inquiry and justify the choices made.

Guiding questions

Does the candidate's programme address the four areas of inquiry?

How well are the candidate's programme choices justified?

The first bullet point refers to the areas of inquiry. If all four are not covered by the programme achievement will be limited to the marks of 1 or 2 for this aspect of the criterion.

The second bullet point refers to the text that justifies the candidate's selection of music for each area of inquiry. The differentiated terms of outline / describe / explain should be carefully applied using the IB's published definitions. The terms ineffective and rudimentary / suitable and inconsistent / relevant and purposeful should be applied using the possible characteristics words in the right-hand column of the criteria for guidance.

Additional questions for examiners' consideration during marking:

Does the candidate justify why each of the programme choices is linked to an area of inquiry?

Is the content musically relevant?

Are any scores, screenshots or other visual representations relevant?

Criterion B: Musicality and technical proficiency of created works

This criterion focuses on how well the candidate presents musical works according to creating conventions and with technical proficiency as evidenced in the use of compositional devices and musical elements and the idiomatic use, including an understanding of the technical capacities and limitations, of the chosen instruments, voices and sound sources

Guiding questions

How evident is musicality and technical proficiency in the created works?

The first bullet point refers to the creating conventions in the musical material. The differentiated terms of approximate / exhibit / realize / synthesize should be carefully applied using the IB's published definitions

The second bullet point refers to the technical proficiency. The differentiated terms of rudimentary / inconsistent / competent / excellent should be applied using the possible characteristics words in the right-hand column of the criteria for guidance.

Additional questions for examiners' consideration during marking:

Is the creation/writing faithful to the style and musical conventions of its tradition?

Is the creation/writing idiomatic for the instruments or voices scored?

Criterion C: Musicality and technical proficiency of performed works

This criterion focuses on how well the candidate presents musical works according to performing practices and styles with technical proficiency as evidenced in the mature command of musical elements, where minor errors do not affect the overall impression and fluency of the performance.

Guiding questions

How evident is musicality and technical proficiency in the performed works?

The first bullet point refers to performing practices of the chosen styles. The differentiated terms of approximates / transmits / shapes / personalizes should be carefully applied using the IB's published definitions.

The second bullet point refers to technical proficiency, including technical competence in music technology. The differentiated terms of rudimentary / inconsistent / competent / excellent should be should be applied using the possible characteristics words in the right-hand column of the criteria for guidance.

Additional questions for examiners' consideration during marking:

Are the musical works performed according to the customary performing practices and techniques of its tradition?

Does the delivery/performance demonstrate fluency and command of musical elements, where minor errors do not affect its overall impression?

Criterion D: Musical communication

This criterion focuses on the candidate's musical communication in different roles. For the purposes of this criterion, musical communication includes musical intentions, expression, interpretation, notation and audio quality.

Guiding questions

How effective is musical communication in the different roles?

In assessing musical communication examiners should consider how effectively the candidate has, as examples, but not limited to:

approached and addressed the areas of inquiry in evidence in the role of researcher

demonstrated effective and appropriate notation and annotations such as dynamics or tempo choice and good audio quality in the role of creator

demonstrated musical intentions such as expression, dynamics, rubato, articulation and tempo choice in performing.

Each of these roles can be considered independently with a best fit mark awarded where compensation between stronger and weaker work is used to determine a holistic mark.

The differentiated terms of ineffective / suitable / competent / compelling should be applied using the possible characteristics words in the right-hand column of the criteria for guidance.

Additional questions for examiners' consideration during marking:

How effectively has the candidate communicated the programme choices against the areas of inquiry?

How effective are the notation and annotations such as dynamics or tempo choice as a creator?

How effective is the demonstration of musical intentions such as expression, dynamics, rubato. articulation, tempo choice as a performer?

Has the audio quality allowed examiners to fully assess each criterion bullet point?

The differentiated terms of approximate / exhibit / realize should be carefully applied using the IB's published definitions.

Glossary of terms for the exploring component

Accompaniment

One or more parts to support the soloist(s). Soloists may, for example, be accompanied by other instruments, vocalists, ensembles or technology. Choices of accompaniment are important to the presenting process and need to be justifiable in keeping with the performing conventions of the chosen style. Backing tracks of accompaniments not conceived as such are strongly discouraged.

Audio quality

The acceptable standard of a recorded submission to allow for assessment of all necessary features as outlined in the assessment criteria. Candidates and teachers should pay attention to avoid any crackling or extraneous noises, hissing, cuts or other interference with the communication of candidates' work.

Composing

Creating an original piece of music.

Conventions

Accepted norms of creating music according to the chosen style, which are determined by historical research and authentic examples.

Ensemble

Any musical group comprising of three or more members, which contribute to the music in various capacities depending on the characteristics of their instruments or voices. The roles are not those of soloist with accompaniment.

Excerpt

A piece or section of a larger musical work which is purposefully selected to demonstrate and illustrate a specific point, be it the use of a specific technique, the state of a piece of work at a specific point in time, the progress made or any other important aspects to satisfy the assessment criteria.

Idiomatic use of instruments

Writing and arranging in a way that matches the musical capabilities, accepted timbres, performance styles, technical possibilities and appropriate ranges of the instrument.

Improvisation

The creative activity of devising music within a given moment, rather than over a sustained period of time. Improvisation is both prepared (in terms of stimuli or prompts) and invented on the spot (in terms of personal communication of ideas, techniques and responses to given stimuli or prompts).

Instrument

For the purpose of this course an instrument includes any sound generating device, including voice. Teachers and candidates are advised to ensure that the choice of instrument allows for the work to satisfy the assessment criteria.

Interpretation

An interpretation will be informed by the original context of the chosen work, but may also be inspired by the interpretations of others. Continued practice, critical research and engagement with the music will shape the musician's personal interpretations.

MIDI

Musical Instrument Digital Interface.

Musical intent

The purpose of music being created, performed and/or listened to.

Notate

To visually represent aurally perceived music through the use of hand-written, printed, or otherwise-produced symbols as appropriate to the musical conventions of chosen style.

Performing as a soloist

Candidates perform music as an instrumentalist or vocalist on one instrument or voice.

Performing as part of an ensemble

Candidates perform in an instrumental or vocal group consisting of two or more performers not in a soloist or accompaniment role.

Performing with an accompaniment

Candidates perform music accompanied by another instrument, ensemble or electronic technology.

Rationale

An exposition of the reasons or objectives for research into or practical work related to musical processes. This should include justifications for decision-making and consideration of the implications of those decisions on the process.

Style

A musical type or genre that is characterized by specific features, form and structure, or a typical use of musical elements and compositional devices.

Stylistic demands

The technical and idiomatic requirements to engage with a music-making process in a certain style.

Technical demands

The requirements of a piece or style of music encompassing the techniques or ways in which the music must be performed, how resources are to be employed or how equipment and instruments need to be controlled.

Technical proficiency

Technical proficiency refers to the level of mastery of musical skills that allow a candidate to access, create, perform, produce or reproduce musical material to a required standard. Technical proficiency enables candidates to interpret musical material and express themselves eloquently a chosen instrument, the use of the voice or another medium. Technical proficiency is improved through regular practice in order to develop and refine psychomotor skills.

General guidance/information

To meet the aim of marking to ensure that all marks are of an equivalent standard, all examiners undertake standardization before moving to live marking. It is important that examiners read these instructions, in full, before engaging with the quality model materials.

Moderation of an internally assessed component:

Samples will already have been marked by schools and should include comments to indicate how marks have been allocated; these comments are helpful to examiners undertaking moderation.

The purpose of moderation is to ensure that all IA marks are of an equivalent standard. That means a candidate would receive the same mark for the quality of their work, whoever marks it. In order to ascertain whether the school has marked to the standard demonstrated through the quality model materials, examiners have to know the mark they would award for each criterion when aligned to that standard. In cases where teacher-awarded marks are either too harsh or too lenient the examiner must enter the mark that reflects the quality model materials' definitive standard.

The assessment task

submit a well-organized report that presents the candidate's work in a relevant and informative way

engage with less familiar or unfamiliar music (for example, through choosing different areas of inquiry and considering local and/or global contexts)

identify how their musical findings relate to the practical work and integrate them.

Experimentation report

a clear rationale to guide the writing

a coherently structured commentary explaining the process of experimentation and its outcomes in relation to the practical work.

identify and respond to musical prompts and stimuli

experiment with unfamiliar elements

apply findings to inform the experimentation process

make musical decisions to develop practical work.

Musical excerpts

three excerpts of the candidate's experimentation as a creator

three excerpts of the candidate's experimentation as a performer.

Submission

Candidates submit evidence of their musical processes in creating and performing in two areas of inquiry in a local and/or global context. The submission contains:

a written experimentation report that supports the experimentation (maximum 1,500 words)

practical musical evidence of the experimentation process: three related excerpts of creating (total 5 minutes) and three related excerpts of performing (total maximum 5 minutes)

Applying the assessment criteria

Examiners should consider the whole submission before awarding marks; this will help identify important aspects that form the focus of each criterion.

Examiners must not read or listen beyond the maximum requirements listed above, even where this means that evidence for a criterion or aspect of a criterion cannot be rewarded. Where an aspect of a criterion is unable to be rewarded, a holistic mark should be given where compensation is made (examiners are referred to Applying best fit to the outcomes below).

Candidates are required to submit files and not links to sites such as YouTube, mp3 or other files. Such links are embedded and can not be clicked by an examiner through Assessor; examiners must not use the URL to view material outside of the submission.

Examiners must not impose penalties. Advice will be given in the Particular cases / Important information section for anticipated concerns with samples. Team leaders will advise further during the marking period.

Examiners consider evidence in relation to the candidate's presented information, rather than their own familiarity with the materials used or their own specialisms, which should not influence the mark awarded.

The assessment criteria assume that the evidence submitted is correct in its content. Unless there are instructions to the contrary, incorrect content should not be rewarded.

Maximum marks do not mean that the candidate's performance has been perfect but rather that their performance corresponds to the highest mark descriptors.

Examiners are required to mark each criterion holistically and make judgements about each one independently of performance in the others.

Examiners are advised to write a succinct comment supporting the mark awarded for each criterion, including how the achievement of the work met the descriptor. This comment will allow team leaders to give relevant quality feedback during the marking period should it be needed.

Criterion-related assessment

The approach to assessment used by the IB is criterion-related, not norm-referenced. This approach to assessment judges candidates' work by their performance in relation to identified levels of attainment and not in relation to the work of other candidates. Examiners therefore apply the differentiated criterion level descriptors as their primary tool for assessment. The characteristics words should be consulted only where a mark is uncertain between one markband and the next.

Applying best fit to the outcomes

The markbands for criteria A, B and C have multiple parts designated by bullet points. Examiners should mark each bullet point independently, noting the mark awarded for each in comments, and then use the compensation method where strong achievement balances out the weaker achievement to determine a holistic mark for the criterion. A comment explaining how the holistic mark was reached would be useful. Criterion D has only one bullet point.

IB's published definition of differentiated terms for presenting

Particular cases / Important information

Examiners must read this information carefully before beginning to mark

Areas of inquiry

Examiners should be familiar with the four areas of inquiry. These are not intended to categorize all musical genres and styles definitively, but to offer a flexible approach for understanding and working with a variety of musical materials and experiences. In each area, candidates should consider musical intentions and purposes, the methods and techniques used to create the music, the role of musical conventions, and the impact and experience of the audience. The four areas of inquiry are:

1. Music for sociocultural and political expression

This area focuses on music that expresses and communicates social and cultural messages, conveys political ideas and/or helps preserve social and cultural traditions.

2. Music for listening and performance

This area focuses on music that expresses and communicates intrinsic aesthetic values. Such music is sometimes referred to as "absolute music".

3. Music for dramatic impact, movement and entertainment

This area focuses on music used for dramatic effect, music that supports choreographed movement or dance and/or music that is incidental or intended to purposefully serve as entertainment.

4. Music technology in the electronic and digital age

This area focuses on music created, performed and/or produced using electronic or digital technologies. Such technologies are an important aspect of contemporary musical experiences, often transforming some of the ways that we understand and engage with music.

Local and global contexts

Local context

Music that has local significance but that may be unfamiliar to the candidate: it can be from the candidate's local, regional or cultural communities and may include music with which the candidate is not currently engaged.

Global context

Unfamiliar music from a variety of places, societies and cultures: it may include music with which the candidate has not connected or engaged. The music may be from a distant global region but may also include music in closer proximity that has not been previously accessible to the candidate.

Ethical consideration of content

The music guide includes a statement that candidates should be supported in maintaining an ethical perspective during their course, with work being undertaken that is appropriate for the context of the school and the age of the candidates.

For the purpose of submissions for an arts course it is likely that candidates will select and develop materials that involve topics that push boundaries. Unless the examiner finds the content to be offensive and inappropriate for a diploma-age candidate, examiners should approach marking the work in the same way as other submitted work.

Word count

The word count (maximum of 1500 words) does not include words in citations or footnotes. However, footnotes cannot be used as a method of exceeding the word count by including information additional to the body of the text. Any footnote that includes points, arguments or supporting notes of any sort should not be considered in marking when the word count is exceeded by doing so.

Academic integrity

Candidates are required to reference all sources - primary and secondary - including all artistic work, live performances, recordings and scores. When the words, work or ideas of another person are used or influence the candidate's own work they must be included as a reference in a list of sources. Candidates compile a bibliography that lists all materials used to develop and prepare their work for the component.

If an examiner identifies referencing irregularities or plagiarism they should continue to mark the work as normal and then raise an exception through RM Assessor ³ before submitting the response.

Unfamiliar musical cultures/instruments

Examiners are not expected to have experience with every musical culture or musical instrument. The examiner's team leader or principal examiner can be approached for guidance if examiners are not confident in their understanding of the information provided by the candidate.

Experiment

The guide does not include a published definition of the term "experiment" but examiners are advised to think that the nature of experimenting in this component is candidates doing something to see what happens as an outcome. Candidates are expected to justify the focus of their experimentation in their rationale for criteria A and C, which will inform the examiner when assessing criterion B and D respectively.

The assessment criteria

Criterion A: Rationale and commentary for musical experiments in creating

This criterion focuses on the rationale for musical experiments in creating, supported by a relevant selection of stimuli for experimentation. The commentary should clearly evidence and explain the musical decision-making processes that have guided the experimentation. For the purpose of this task, candidates provide:

a rationale that justifies the choices of source material, including the choice of contexts and areas of inquiry

a commentary that explains the experimentation process and the evolution of the experimentation stimuli.

Guiding questions

How well has the candidate justified their proposed experimentation and supported this with relevant source material and musical stimuli?

Is the explanation of the experimentation process and of musical decision-making convincing?

The first bullet point refers to the rationale for musical experiments in creating and whether it is ineffective, suitable or purposeful.

The second bullet point refers to the experimentation process in the report and whether it outlines rudimentary / describes reasonable / explains relevant musical decision-making. The differentiated terms of outline / describe / explain should be carefully applied using the IB's published definitions

Additional questions for examiners' consideration during marking:

Is the choice of stimuli (source material) justified?

Is there a "clear rationale": are the chosen experiments justified?

Criterion B: Practical musical experiments in creating

This criterion focuses on the processes of musical experimentation in creating that generate innovative musical ideas with personal intent and purpose, resulting from informed musical decision-making.

Guiding questions

How effectively has the candidate conducted a series of purposeful musical experiments?

Is there practical evidence of informed musical decision-making in the musical experimentation process?

The first bullet point refers to the source material and the development of musical ideas and whether they are reiterated/limited or recreated/formulaic or adapted/purposeful or transferred/imaginative. These differentiated terms should be applied using the possible characteristics words in the right-hand column of the criteria for guidance.

The second bullet point refers to the practical evidence of musical decision-making and whether it is superficial / inconsistent / proficient / compelling. These differentiated terms should be applied using the possible characteristics words in the right-hand column of the criteria for guidance.

The differentiated terms of reiterate / recreate / adapt / transfer should be carefully applied using the IB's published definitions.

Criterion C: Rationale and commentary for musical experiments in performing

This criterion focuses on the rationale for musical experiments in performing, supported by a relevant selection of stimuli for experimentation. The commentary should clearly evidence and explain the musical decision-making processes that have guided the experimentation. For the purpose of this task, candidates provide:

a rationale that justifies the choices of source material, including the choice of contexts and areas of inquiry

a commentary that explains the experimentation process and the evolution of the experimentation stimuli.

Guiding questions

How well has the candidate justified their proposed experimentation and supported this with relevant source material and musical stimuli?

Is the explanation of the experimentation process and of musical decision-making convincing?

The first bullet point refers to the rational for musical experiments in performing and whether they are ineffective / suitable / purposeful. These differentiated terms should be applied using the possible characteristics words in the right-hand column of the criteria for guidance.

The second bullet point refers to the candidate's explanation of their experimentation process and musical decision-making and whether it outlines rudimentary / describes reasonable / explains relevant decision-making. The differentiated terms of outline / describe / explain should be carefully applied using the IB's published definitions. The terms rudimentary, reasonable and relevant should be applied using the possible characteristics words in the right-hand column of the criteria for guidance.

Additional questions for examiners' consideration during marking:

Is the choice of stimuli (source material) justified?

Is there a "clear rationale": are the chosen experiments justified?

Criterion D: Practical musical experiments in performing

This criterion focuses on the processes of musical experimentation in performing that generate innovative musical ideas with personal intent and purpose, resulting from informed musical decision-making.

Guiding questions

How effectively has the candidate conducted a purposeful series of musical experiments?

Is there practical evidence of informed musical decision-making in the musical experimentation process?

The first bullet point refers to the treatment and development of source material and whether it is reiterated and limited / recreated and formulaic / adapted and purposeful or transferred and imaginative. The differentiated terms of reiterate / recreate / adapt / transform should be carefully applied using the IB's published definitions. The terms limited, formulaic, purposeful and imaginative should be applied using the possible characteristics words in the right-hand column of the criteria for guidance.

The second bullet point refers to the audio recording and whether the practical evidence of the decision-making is superficial / inconsistent / proficient / compelling. These differentiated terms should be applied using the possible characteristics words in the right-hand column of the criteria for guidance.

Glossary of terms for the experimenting component

Analysis/analyse

See Musical analysis.

Commentary

An explanation of the process of experimenting with and developing music with specific reference to the details of the chosen musical excerpts.

Creating

Developing original music through different means, such as composing, improvising, arranging through the use of traditional or contemporary instruments and technologies.

Excerpt

A piece or section of a larger musical work which is purposefully selected to demonstrate and illustrate a specific point, be it the use of a specific technique, the state of a piece of work at a specific point in time, the progress made or any other important aspects to satisfy the assessment criteria.

Global context

A global context refers to musical material that is unfamiliar to candidates and may include music from a variety of places, societies and cultures. It may include music that the candidate has not previously connected or engaged with. The music may be from a distant global region, but it may also include music from a closer proximity that has not been previously accessible to the candidate.

Investigate

Observe, study or make a detailed and systematic examination in order to establish facts and reach new (musical) conclusions.

Local context

A local context refers to musical material that candidates have not personally engaged with, but which they have access to, within their community. The musical material may be unfamiliar to the candidate. The context can include the school community, as well as the greater community (both professional and amateur). Candidates are encouraged to inquire into, and engage with, musicmaking practices that are happening around them.

Musical analysis

Thoroughly deconstruct music to determine the use and manipulation of identified musical elements, compositional devices and the relationships between them. Evaluate how the findings relate to context, genre and style.

Musical findings

Any information found in research by looking at the actual music (for example, studying scores, performances, recordings, and so on).

Musical intent

The purpose of music being created, performed and/or listened to.

Rationale

An exposition of the reasons or objectives for research into or practical work related to musical processes. This should include justifications for decision-making and consideration of the implications of those decisions on the process.

Completing internal assessment feedback

Once marking is complete examiners complete internal assessment feedback on the whole school sample, not individual candidate submissions.

Feedback should be brief and focused on the application of the assessment criteria by the school and trends found across the sample or particular criterion/a (inconsistent / harsh / generous). Comments should not be made about the candidate work itself.

Schools which have marked within tolerance will not require feedback.

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Examiner Instructions 2022 - The arts - Music

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General guidance/information The aim of marking is to ensure that all marks are of an equivalent standard. That means a candidate would receive the same mark for the quality of their work, whoever marks it. To meet this aim examiners will undertake standardization before moving to live marking.

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Endnote is an easy and reliable way to store and access your citations.

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APA 7th - American Psychological Association 7th Edition

Citation Style: Author-Year-Cited Pages

Date: Friday, April 29, 2022

Discipline: Psychology, Multi-disciplinary

File Name: APA 7th.ens

Publisher: American Psychological Association (APA)

Based On: Publication Manual of the American Psychological Association (APA) 7th edition

Bibliography Sort Order: Author-Year-Title

BibField1: Author

BibField2: Year

BibField3: Title

Indent: N

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APA 7th - American Psychological Association 7th Edition | EndNote

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Citation Style: Author-Year-Cited Pages Date: Friday, April 29, 2022 Discipline: Psychology, Multi-disciplinary File Name: APA 7th.ens Publisher: American Psychological Association (APA) Based On: Publication Manual of the American Psychological Association (APA) 7th edition Bibliography Sort Order: Author-Year-Title BibField1: Author BibField2: Year BibField3: Title Indent: N Our policy towards the use of cookies All Clarivate Analytics websites use cookies to improve your online experience.

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This guide is a great reference for your citations.

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A good course to ensure teachers understand changes with the new IB Music course.

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A brief rundown of how to set up your Word docs for written assessment tasks.

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Here's a list of shortcuts for Mac and Windows computers that can simplify editing in Soundtrap software.
I personally would not use these with students until they are adept at using the regular buttons and options.

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About this Guide

There are a plethora of available audio recording software/Digital Audio Workstations (DAWs) options available these days. I have plenty of available free resources for many of these DAWs for you here on the blog such as Lesson Ideas for Soundtrap and Bandlab, How to Record a TikTok Harmony Builder in Soundtrap Bandlab or GarageBand (as well as dozens of others, just use the search tool).

If you are someone like me who prefers using keyboard shortcuts when you are audio recording, I've created several simple guides that you can refer back to (bookmark this page) or print off for easy reference (downloadable version is available at the end of the blog).

Enjoy!

Audacity: Top Shortcuts

Note: The following are just the assigned keyboard shortcuts. Many other options are available for you to assign (and all can be changed) by going to 'Preferences' ⇒ 'Keyboard'

GarageBand: Top Shortcuts

Soundtrap: Top Shortcuts

Bandlab Web: Top Shortcuts

Final Thoughts

I hope you've enjoyed these simple guides and find them useful!

What is your favorite Digital Audio Workstation? Did we miss any helpful shortcuts that you would like to share?

Let us know with a comment below!

Note: all software programs undergo regular updates and current shortcuts may not work in later versions.

Download your copy

Would you like to take a copy of this with you? Click the button below and a copy of this will be sent directly into your inbox.

Download your copy

Hello! I'm Katie Wardrobe - an Australian music technology trainer and consultant with a passion for helping music teachers through my business Midnight Music.

I'm a qualified teacher but no, I don't currently teach in a school. I help teachers through my online professional development space - the Midnight Music Community - where there are tutorial videos, courses, links and downloadable resources.

I like to focus on easy ways to incorporate technology into what you are already doing in your music curriculum through a range of creative projects. I also run live workshops and have presented at countless conferences and other music education events.

If you want simple, effective ideas for using technology in music education, I would LOVE to help you inside the Midnight Music Community.
Learn more and take a sneak peek inside

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audio recording keyboard shortcuts for Audacity, GarageBand, Soundtrap, and Bandlab

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There are a plethora of available audio recording software/Digital Audio Workstations (DAWs) options available these days. If you prefer using keyboard shortcuts when you are audio recording, I've created several simple guides that you can refer back to or print off for easy reference (downloadable version is available at the end of the blog).

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A useful description of why we analyse music and how to do it.

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I’ve been looking like for something like this for many years! So great to have this resource to share with students and colleagues.

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✨ An interactive circle of fifths chart to help you visualize notes, chords and keys. As the name implies, in the circle of fifths (aka wheel of fifths), each note/key on the wheel is separated by a fifth. You can click the toggle to switch between the major circle of fifths ( Ionian mode) and the minor circle of fifths ( Aeolian mode).

Click on any of the 12 keys to select the tonic.

💡 The outermost section represents the scale degrees along with their roman numeral representation, the large circle represent the 12 keys in the selected mode (Major/Ionian or Minor/Aeolian) and the inner circle represents the relative keys.

Learning more about the circle of fifths

The circle of fifths chart comes in handy for visualizing notes, chords and keys and is a great all around music theory visual reference tool. It helps in building chords as, for example, in a triad the 3rd note is always a fifth away (perfect fifth) from the root note (tonal).

It also helps to see keys that harmonize well with a selected key, which can help with music composition. Keys that are adjacent to another key in the circle of 5ths are closely related and will usually harmonize well. In fact, keys that are a fifth apart only differ by one note, having 6 notes in common.

The circle of fifths also helps to determine the key signature of a given key. Starting from the key of C (or the key of A on the minor circle of 5ths) and going clockwise, each successive key gets an additional sharp. Going counter-clockwise, each successive key gets an additional flat.

For a circle of fifths that also includes the 7 modes of the major scale, I recommend this circle of 5ths by Rand Scullard.

If you're interested in learning more about the circle of fifths in general, here's a very detailed post from Musical U, and here's a video that makes it quite simple to grasp.

more music theory references & tools:

piano samples

The piano samples used for this circle of 5ths tool are from "Salamander Grand Piano V3" by Alexander Holm, licensed under CC BY 3.0.

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Interactive Circle of Fifths Chart, with Minor Circle of 5ths | muted.io

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✨ An interactive circle of fifths chart to help you visualize notes, chords and keys. As the name implies, in the circle of fifths (aka wheel of fifths), each note/key on the wheel is separated by a fifth.

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Concise breakdown and explanation of meter.

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The primary pulse of music is called a beat . Beats are usually divided into two or three parts. There are two types of meters: simple and compound. In this chapter, we focused only on simple meter....

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A friend of the family created Musition software back in the early 2000s. It is great to see how far the software has come. Students can commence at Level 1 and work their way up to tertiary level understanding of music theory concepts. It's an excellent supplement to instrument-based music theory education.

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Why learn Music Theory

Even if you 'play by ear', music theory will help you understand what other musicians are playing, increasing your awareness of their melodic, rhythmic and harmonic language.

Regardless of your musical style, classical, jazz or contemporary, the music theory exercises in Musition ® will help you reinforce and expand your knowledge, making you a better musician.
View topics >

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Musition - Fun Ways To Learn Music Theory & Musicianship

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Even if you 'play by ear', music theory will help you understand what other musicians are playing, increasing your awareness of their melodic, rhythmic and harmonic language. Regardless of your musical style, classical, jazz or contemporary, the music theory exercises in Musition ® will help you reinforce and expand your knowledge, making you a better musician.

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Useful explanation for students interested in composing music using 7th chords.

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In this article we'll be talking all that jazz as we investigate how to use 7th chords in composition. Perfect for writing Deep House, Neo-Soul, Hip-Hop, and anything with a jazzy or bluesy feel.

7th heaven

7ths are commonly used in jazz and blues to add softness or tension to regular minor or major chords. In more modern music, Neo-Soul artists like Thundercat and Anderson. Paak use a lot of 7ths, as do many Neo-Soul, Deep House and Hip-Hop artists who want to carry a jazzy or bluesy aesthetic.

Let's find out how this is achieved.

What is a 7th?

The term '7th' refers to an additional note added to a triad. It will always be 7 whole notes from the root note of any given triad.

This gap between notes is called an interval - so a 7th chord contains a top note that is an interval of 7 from the root.

There are several different types of 7th chords, which differ based on the characteristics of the triad the 7th note is attached to. The different types are: Major, Dominant, Minor, Half-Diminished, and Diminished.

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Major 7ths

This type of chord is pure jazz. It has a laid-back, soft tone and has been used extensively in modern and traditional music to evoke soulfulness, jazziness and cool, calm vibes.

Technically, it consists of a perfect Major triad with a major 7th added. On the face of it, knowing as we do that Major chords are usually bold and boisterous, we might not expect adding a major 7 to a major chord to instill softness. And yet, it certainly does.

If we take a standard C Major chord: C - E - G and add a major 7th, we get C - E - G - B. B is 7 intervals from C. And you're ready to Bossa Nova.

When notating this chord, it will usually be referred to as CM7 (or IM7 if using numerals and C is the root) To break that down; it's capital C for Major C chord, capital M and 7 for Major 7th.

You can make your chord progressions in Captain Plugins sound jazzier by adding 1 to the complexity and switching the perfect chords for 7ths. Nice.

Dominant 7ths

This 7th has a less laidback and more pronounced sound than a Major 7th, making it more typical of a major chord. It's possibly the most common of the 7th chords, and is extremely popular in modern music. It adds an additional, powerful flavor to a perfect triad.

To play a Dominant 7th, take a major chord and add a minor 7th. That's 7 intervals, but the minor note, which is a semitone lower, flat note.

For C Major this would be C - E - G - Bb.

Dominant 7th chords are traditionally common in Blues music, and therefore Rock music too. They are also commonly found in all kinds of Pop music as they have a powerful but emotive quality. Dominant 7ths can really add grandeur to particular moments in your progression. Use them sparingly to best harness their power.

Minor 7ths

There's an undeniably jazzy feel to these chords, too. They are created by adding a 7th to a minor chord. Which 7th do we add? You guessed it: The minor 7th.

So your C chord would be minor: C - Eb - G with a minor 7th (10 semitones above C) added. This gives us C - Eb - G - Bb.

These 7ths work really nicely with other types of 7th - check out the video below to see how combining Minor and Major 7ths makes for super jazzy chord progressions.

Half-Diminished 7ths and Diminished 7ths

Half-Diminished 7ths

Tense and scary! These two, lesser-used but undeniably stylish 7ths are for creating tension and suspense. Think horror movies and screen villains up to no good. They're created by using diminished chords - a minor chord where the perfect fifth has been flattened by a semitone - and adding a minor or diminished minor on top.

Half-Diminished 7th of C = C - Eb - Gb - Bb. That's C Minor (C - Eb - G) with a diminished G (Gb) and a minor 7th. It's had one stage of diminishment, compared to the two stages that a fully Diminished chord goes through, so it's Half-Diminished.

Diminished 7ths

The Diminished 7th goes one step further: C - Eb - Gb - Bbb.

Let's unpick that... C is the root note, E Flat is the minor third, G Flat is the diminished fifth (down one semitone) and the diminished 7th is a minor 7th (B Flat) flattened again.

If flattening is dimishing by one semitone and there are two semitones in a whole note, what is B Flat, diminished? Well, if we diminish B by 2 semitones, we get to A. So, in this case, Bbb is actually A. Yet many musicians prefer to write Bbb as it helps them remember that they are still playing a C chord. I know, it's kind of nuts. Not to mention confusing. But, if you think about it, it does all actually make sense.

And now you can play 7ths!

An example of a 7ths based chord progression

Learn how to use 7th chords with Captain Plugins

It's super easy to create your own ideas from scratch. Visit the official Chords homepage and see how it will help you explore music and write your own original productions.

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In this article we'll be talking all that jazz as we investigate how to use 7th chords in composition. Perfect for writing Deep House, Neo-Soul, Hip-Hop, and anything with a jazzy or bluesy feel. 7ths are commonly used in jazz and blues to add softness or tension to regular minor or major chords.

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Dissections of music theory underpinning pop songs.

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Tabs that show the theory behind songs - Hooktheory

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Harmonic analyses of popular songs that anyone can add, edit, and discuss.

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Berklee College in the Unites States offers an online music theory to brush up on your pitch, intervals, chords, scales etc. They have numerous other courses for music production, music for film, instrumental music, arranging, orchestration and more...

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$1,250

If you want to learn music theory, then pitch, rhythm, scales, intervals, chords, and harmony are foundational concepts that you need to understand and master. Music Theory 101 will set you on your way with 12 weeks of engaging and interactive music theory lessons. After more than 40 years at Berklee, Professor Emeritus Paul Schmeling has helped countless students learn music theory and build a solid base of musical knowledge. And he'll do the same for you with his online music theory course, supported by class discussions, interactive tools, and personalized feedback that will help you put music theory into practice every day. Join our community of beginning learners for a hands-on music theory course where you'll read, write, and truly hear the elements of music like never before.

Lesson 1: Rhythm Part I Lesson 2: Rhythm Part II Lesson 3: Pitch Notation Lesson 4: Major Scales Lesson 5: Minor Scales Lesson 6: Intervals Lesson 7: Chords I: Triads Lesson 8: Triad Inversions Lesson 12: Melody Writing

Recommended Textbook(s) Software Requirements

Author & Instructor

Paul Schmeling is a master pianist, interpreter, improviser and arranger who has inspired countless students since he began teaching at Berklee in 1961. He has performed or recorded with jazz greats such as Clark Terry, Rebecca Parris, George Coleman, Carol Sloane, Frank Foster, Art Farmer, Herb Pomeroy, Phil Wilson, Dick Johnson and Slide Hampton. In the 1990s, the Paul Schmeling Trio released two inventive and critically acclaimed albums, interpreting the music of Hoagy Carmichael and songs associated with Frank Sinatra. Recently retired as chair of the piano department, he is co-author of the Berklee Practice Method: Keyboard (2001) and Instant Keyboard (2002) and the author of Berklee Music Theory: Book 1.

Instructor

Kelly Riley holds a Bachelor of Music in Professional Music from Berklee College of Music and is an experienced voice, guitar, piano, songwriting, performance, and music theory teacher. Ms. Riley is an award-winning songwriter, professional vocalist, multi-instrumentalist (guitar, bass, ukulele, piano), experienced touring performer, and accomplished recording artist. She has opened for Willie Nelson and Lyle Lovett and many of her songs have been featured in streaming, commercials, and TV, such as Mission Impossible, General Hospital, and The Young and the Restless.

Instructor

Russell Hoffmann is Assistant Professor of Piano at Berklee College of Music and is a pianist, recording artist, composer and arranger in many styles of contemporary music, including jazz, Latin, and pop styles. He has served as musical director for Concord recording artist Marlena Shaw and the University of Minnesota's "Twelve Moods for Jazz" Langston Hughes project. He has performed with many jazz luminaries, including Jack McDuff, James Moody, Billy Hart, Donald Harrison, Bobbie McFerrin, Peter Lietch, and many of Boston's finest jazz artists. As a clinician, Russ has appeared in Berklee's Italy summer program, Umbria Jazz Festival, Perugia, Italy; Berklee in Taipei; Kuala Lumpur, Malaysia; Heineken Jazz Fest, San Juan, Puerto Rico; and the Berklee Annual Jazz Festival. He is the author of workbooks on keyboard comping, ensemble performance, and co-author of the Berklee Practice Method: Keyboard.

Instructor

Dave Limina is an associate professor in the Piano department at Berklee College of Music, where he received the Most Valuable Contribution to the Performance Curriculum Award in 2001 for his work in developing the Hammond organ program. An experienced session keyboardist, composer, and arranger, Dave has performed with Ronnie Earl and the Broadcasters, Lori McKenna, Duke Robillard, Gloria Estefan, Mark Murphy, Scott Hamilton, the first national touring company of the Broadway musical Rent, and many others. He received Boston Music Award nominations for his work with Courage Brothers, Ronnie Earl, and Mighty Sam McClain, and has played on several Grammy-nominated recordings. He played keyboards on Michelle Willson's Wake Up Call, which won a Boston Music Award in 2001. Dave does extensive session work in Boston, New York, and LA. He is the author of Hammond Organ Complete (Berklee Press) and the instructional video/DVD Accelerate Your Keyboard Playing. His playing is featured on many TV and film soundtracks.

Instructor

Gaye Tolan Hatfield is a graduate of Berklee College of Music and a professor in the college's Ear Training department. She has also taught in the Harmony, Voice, and Ensemble departments, and co-wrote and teaches the Berklee Online course Music Foundations. Her work outside of the college includes writing, arranging, transcribing, and performing locally as a vocalist, pianist, and flutist. She has assisted orchestrators for the Boston Pops, and in the summer of 2013, wrote a choral arrangement that was performed at the Pops 4th of July concert.

Instructor

Pianist and composer Vicente Avella has been writing and performing internationally since 1998. Born and raised in Caracas, Venezuela, he has scored numerous independent films, orchestrated and worked on music production for major network television shows including Family Guy (FOX) and American Dad (FOX), and written music for worldwide advertising including Intel (Saudi Arabia), Red Bull Air Race World Championship (Brazil), and official branding for FPC Sports Channel (Colombia). Avella also performs regularly as a piano soloist, accompanist, and in chamber groups.

Instructor

Debbie Cavalier was the co-founder of Berklee Online in 2002, and has been instrumental in transforming the online school of Berklee College of Music into a worldwide music education powerhouse. Under Debbie's leadership, Berklee Online has achieved many landmark firsts in the world of online education: in 2013 it became the first online music school to offer MOOCs; in 2014 it became the first online music school to offer bachelor's degrees; in 2017 it became the first school to offer an online bachelor's degree in guitar; and in 2018 it became the first online music school to offer online master's degree programs in music production and film scoring. Berklee Online boasts a 97 percent student satisfaction rate among its degree students, a benchmark that Debbie and her team have increased each year. Her dedication to music education is also reflected in the 100+ music education methods books and arrangements she has written for Carl Fischer, First Act, Alfred Publishing, and Warner Bros. Publications.

Instructor

Roberta Radley is assistant chair in the Ear Training Department at Berklee College of Music. A Berklee graduate with a degree in composition, she joined the faculty in 1976. Since then, Radley has taught a wide range of ear training classes, using innovative methods to help students hear music more analytically, and earning recognition for outstanding achievement in music education from Berklee.

Instructor

Dr. Melissa Howe is a violinist whose interdisciplinary training in music theory, cognitive psychology, and education has served as the foundation for a multi-faceted career in the arts. Howe served on Berklee's Boston campus as faculty for many years in the Composition, Ear Training, and String Departments. Her performances span a wide range, from food opera to video game string quartet to Björk, Harry Belafonte, and Bruce Springsteen, as well the superlative orchestras of Boston's leading arts organizations. Currently serving as Chief of Staff in the Office of the President, Dr. Howe works tirelessly to support innovation and excellence at Berklee.

Instructor

Ayeisha Dennise Mathis is a Boston native born into a musical family who exposed her to various instruments such as keys and guitar. At the tender age of 5 she fell in love with drums and percussion. Throughout her youth, her musical talents were nurtured and matured through playing at church. She quickly rose to become Boston's sought after drummer showing extraordinary talent and a promising future in music. Before the age of 18, Mathis shared the worldwide stage with renowned artists and musicians such as Sheila E., Hugh Masekela, John Blackwell, Dennis Chambers, Vinnie Colaiuta, Dawaun Parker, and many others. She is the first recipient of the prestigious Berklee College of Music presidential scholarship, graduating in 2009 with dual degrees in Music Production and Engineering and Music Business/Management. Mathis has made the Berklee community proud, affectionately recognized as one of Berklee's notable alumni, she lives up to that recognition.

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1,250 If you want to learn music theory, then pitch, rhythm, scales, intervals, chords, and harmony are foundational concepts that you need to understand and master. Music Theory 101 will set you on your way with 12 weeks of engaging and interactive music theory lessons.

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Excellent overview for setting up IB Music Journal in OneNote

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OneNote BEST APP for MUSIC CLASS - remote real feedback, audio tools, interactive content and more

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Hints and tips on journalling direct from the IBO HQ.

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A comprehensive overview of the requirements for Exploring Music in Context.

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Wrotham School Music - Exploring Music In Context

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Exploring different styles of music is fundamental for this course. Use the various resources below to help you in this module

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Tomplay contains a vast library of interactive sheet music for string instruments. It also includes piano, woodwind, brass, percussion, and voice repertoire across classical, jazz, folk, contemporary, and film music. You can annotate scores, change the tempo, play along with high quality recordings, record yourself playing, create folders of music, and print hard copies. I've been impressed with the quality of the pieces and my student love playing along with the recordings at a tempo that works for them.

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Discover thousands of sheet music arrangements for the violin with high-quality audio accompaniment tracks. Our sheet music catalogue for the violin contains numerous violin-piano duets with accompanying parts for piano, trios, quartets and quintets with the possibility of taking out the violin part in order to play along with the rest of the ensemble, as well as several pieces with an orchestral accompaniment.

Whether you're a lover of classic, pop, rock, jazz or film scores, choose between 2,000 backing tracks arranged for violinists of every level, from beginner to expert. It's the end of low-quality MIDI sound! All our scores contain accompaniment parts carefully recorded by professional musicians, or performers licensed with our partner, Deutsche Grammophon.

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Violin Interactive Sheet Music | Tomplay

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Discover thousands of sheet music arrangements for the violin with high-quality audio accompaniment tracks. Our sheet music catalogue for the violin contains numerous violin-piano duets with accompanying parts for piano, trios, quartets and quintets with the possibility of taking out the violin part in order to play along with the rest of the ensemble, as well as several pieces with an orchestral accompaniment.

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More than a template for academic success, the IB Learner Profile encompasses various characteristics that can help young people thrive in all aspects of their lives. Intending to cultivate a particular orientation to the world, the range of capacities and responsibilities detailed in the IB learner profile imply a commitment to bringing about positive change within oneself and the broader community.

Within the IB DP, CAS delivers one of the main opportunities to develop many of the attributes described in the Learner Profile and to experience their benefits first-hand.

Over the coming months, we will be taking a closer look at how different aspects of the profile are cultivated and nurtured by the IB program and its three main components. To begin, we will provide an overview of the 10 umbrella attributes and how CAS contributes to each.

The profile aims to develop learners who are:
Inquirers
Generating opportunities for inquiry and research is a primary goal of the IB program. Encouraging students' natural curiosity leads to a sustainable enthusiasm about learning that will continue throughout their lives. All CAS Projects begin with a question and are realized through thoughtful interaction with existing information and theories about the issue.
Knowledgeable
By allowing students to explore knowledge across a range of disciplines, graduates of the IB DP are empowered to engage with issues and ideas that have local and global significance. The 5 Stages of CAS reinforce the power and potential of sharing knowledge and exploring conceptual understanding.
Thinking
In addition to the critical thinking skills nurtured by Theory of Knowledge and the Extended Essay, CAS provides opportunities to exercise creative thinking to analyze and take responsible action on complex problems. CAS requires students to carefully consider their project outcomes and make reasoned, ethical decisions when undertaking the service component of their experience.
Communicators
The emphasis on multicultural experience, international-mindedness, and language acquisition means that IB DP graduates can express themselves confidently and creatively in a variety of ways. The CAS project's collaborative nature grants students a firsthand appreciation for the importance of listening carefully to other perspectives.

Principled

All CAS initiatives are informed by the mission to bolster the dignity and rights of people everywhere. Guided by a sense of fairness and justice, students are encouraged to follow-up on the outcomes of their actions and activities. They are taught to take responsibility for the impact they have on the world around them.
Open-minded
Every time an element of CAS forces students to venture out of their comfort zones, they are broadening their range of viewpoints and learning to appreciate others' values and traditions. In demonstrating evidence of the 7 Learning Outcomes, students are encouraged to look at their own cultures and personal histories as an opportunity to form connections, not sow division.
Caring
In the commitment to service that CAS engenders, students are expected to demonstrate empathy, compassion, and respect. Through active engagement with initiatives like the UN Sustainable Development Goals, students become aware of themselves as community members with responsibilities towards each other and the environment.
Risk-takers
The fluid nature of CAS teaches students that different situations require different strategies and that it is ok to try new approaches, make mistakes, and adjust plans accordingly. Encouraged to accept new challenges and new roles, IB learners learn to be resourceful and resilient in the face of challenges and change.
Balanced
One of the primary aims of CAS is to encourage students to actively pursue individual interests as an essential counterbalance to the academic pressures of the rest of the DP. CAS experiences enable students to find significance in a range of activities involving intellectual, physical, creative, and emotional experiences.
Reflective
Reflections are a core aspect of IB pedagogy and experiential learning. The emphasis on reflection allows students to consider the world and their own ideas and experiences from numerous perspectives. In coming to understand their strengths and limitations through reflection, students can identify goals and devise strategies for personal growth.

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More than a template for academic success, the IB Learner Profile encompasses various characteristics that can help young people thrive in all aspects of their lives. Intending to cultivate a particular orientation to the world, the range of capacities and responsibilities detailed in the IB learner profile imply a commitment to bringing about positive change within oneself and the broader community.

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"We are seeing if we can live up to the IB Learner Profile. We are seeing if we can live up to the values that we have written down and deemed important. Now is the time that they are being measured in real life."

Almost a year into his tenure as IB Director-General, Olli-Pekka Heinonen has had to lead the organization through one challenge after another. Amidst a learning and teaching crisis magnified by the pandemic and harrowing global conflict, strong leadership has rarely been so important. But while the global landscape has thrown up hurdles to overcome, it has also produced opportunities for more meaningful Service Learning initiatives and an enhanced awareness of student well-being. As we look towards the future of the IB and CAS, the Director-General will be instrumental in helping to realize the full potential of the program and ushering the IB into a new era. With this in mind, we sat down with Mr. Heinonen to discuss this pivotal moment in the history of the IB. He shared his thoughts on the transformative power of Service Learning and how it can help students be true to what they believe in, the role of tech in CAS and the IB curriculum, and how each one of us is being called to live up to the attributes of the IB Learner Profile by supporting Ukraine and all those standing up for peace and freedom around the globe. You've become Director of the IB at a very challenging and interesting time. How has the pandemic changed the outlook for CAS and experiential education? Can you share any specific experiences that have allowed you to appreciate the potential of Service Learning first-hand?
It has presented obstacles and possibilities-especially for entities like CAS. Of course, avoiding human contact meant that providing service had to reshape itself, and we needed to come up with alternatives. On the other hand, it has prompted new ways of implementing CAS, what it means, and what it could mean.

My best experience with Service Learning is from Finland, where I am most familiar with their approaches. One CAS initiative that we have had there for many years is a program for 14-year-olds designed around prompting them to find ways to build peace in their communities. And by building peace, I mean building peace between everyone in the community, whether that means bullying, other conflicts between actors in the community, or any number of challenging situations-the idea is to build coherence.

"Once you are involved in the act of doing good with others, then you are also engaged in changing who you are."

It is done on the school level, so the whole school community gets involved. The thing that I feel is most important with this is that above and beyond the service, it teaches the fact that, quite often, you cannot help others to do good for them, but rather to do good with them. And I think that is really central, as once you are involved in the act of doing good with others, then you are also engaged in changing who you are.
CAS can be a transformative experience for a lot of students. It sounds like this project allows them to see the impact of their actions around them.
Yes. The best service learning situations are very valuable for young people who come from a difficult background, are not doing well at school, might struggle to speak up, or don't have a strong voice. Service projects can help them find their truth and be heard by others. They feel involved because they realize they are making an impact in the real world.

These moments are when CAS has impressed me the most. For example, regarding the model in Finland, they also document everything and actually make a film of their experience. This turns it into something they can share with others and that others can learn from too.
It seems almost everyone agrees about the value of CAS. Still, we often hear from students and CAS Coordinators that CAS can be hard to prioritize since it is not graded the same way as the academic components they feel more pressure to fulfill. This is also related to the fact that there have been suggestions that the IB could be doing more to support students' mental health. How could CAS play a role in this improvement? Are there any plans in the works to change evaluation methods or offer teachers more support when it comes to CAS?
It's an excellent question. We are currently doing the DP review and looking at the different elements of the program. Of course, this is always tied to assessment. We realize this is an important factor in how things get prioritized.

"I don't want to give anything away beforehand because we are in the middle of the work, but the points you refer to-including the well-being of the students-are central."

We are trying to find a way to have an assessment system that supports the kind of learning we want to happen. And I don't want to give anything away beforehand because we are in the middle of the work, but the points you refer to-including the well-being of the students-are central. So we are trying to ensure students have the support they need to extract the most value from all the elements of the IB DP, from Theory of Knowledge to CAS.

When I'm speaking with students, sometimes they say that not all teachers are well prepared to understand what CAS is all about. We also need to think about what kind of professional development tools we can have for teachers to help them do a better job implementing CAS. It is a work in progress, but we are very seriously looking at what could be done on the program and assessment levels to bring these elements more to the front.
We look forward to hearing what solutions you will arrive at. In the meantime, what advice would you have for teachers seeking meaningful ways to engage students with CAS or use it to help unpack other program elements?
That type of learning, experiential learning, will continue becoming more important, both in secondary school and at university. For me, there are three important elements in learning. First, there is the knowing part-you need both disciplinary and interdisciplinary knowledge. Then, you have the capacity to act based on that knowledge. And the thing is, you will not act anything out if you do not have the will, motivation, and the ability to value certain things. The strength of CAS is that it combines all of these. It tackles the knowing, acting, and valuing together in a real-world situation.

When talking about learning that happens in real-world situations, we are talking about deep learning. By valuing and acting out what you know, that becomes part of your identity. That is a durable thing that no one can take away from you. You will have that as your own capital for the rest of your life.

And when we're talking about real-world situations, although it might sound strange, technology can create possibilities for confronting real problems. Virtual Reality, for example, is something I feel we should be getting to know better and using to develop solutions. It takes away a lot of the limits and reminds us how technology can be used for something good. We talk about social media and its negative effects, but it is not the tech that is bad. It is how it is used. I think in tomorrow's world, that kind of machine and human relationship will be central to all of us, and that's another point that CAS can make stronger.
It holds so much potential to help students understand what people in different situations are living through. It is also related to the point that CAS is where the IB Learner Profile has room to flourish. Could you comment on how it helps cultivate the attribute of International Mindedness in particular?

When you think about the students who will be doing their IB DPs in the next ten years and the challenges they will be looking at, all those major challenges will be global in nature. They are also challenges connected to the way we all as humans behave.

You cannot solve these challenges just through leaders, scientists, or innovators. You have to include everybody in making that change. For that to happen, we have to be able to create a global identity for all of us. It is not contradictory to each of us having other identities, but they need to support and reinforce each other. As humankind, we do not need solutions that no one as an individual person would want to have. To comprehend that, having a strong global identity is very important.
That is such an important point, especially in the moment we are living through. You are also in a unique position to understand that, as you work with schools worldwide and have to determine how to prioritize so many competing issues. No doubt the war in Ukraine has been at the top of the list in recent weeks. How is the IB working with partners in the region to offer support?
We are helping in many ways. The most acute one has been to assist students in Ukraine in finding solutions for the future and remaining safe. We will continue to do this. But also, in all schools, we are trying to encourage teachers to provide a safe environment to host difficult discussions. There is a lot of fear, with conversations around WWIII, etc., they are very troubling issues, and students are scared. We need to help students cope with that situation and lead secure lives within the uncertainty that exists-and the school is the right place for this. So we are trying to help our schools have the material, understanding, and approaches to tackle that challenge.

It has also been inspiring to see how strongly the IB community has been reaching out and trying to help. So we are trying to channel all these initiatives, empathy, sympathy, and support in a positive way to help the people who most need it, both in Ukraine and in the neighboring countries. The last thing is also focusing on what we can do not to generate hate or bias towards anyone in particular. We want to ensure that no one is judged/evaluated on their nationality and that we don't fall back on stereotypes. There are people on all sides that hold different views. We are here to condemn the violence and work for a more peaceful world for everyone who wants it.
And here we come back to CAS. It is essential for all of us, and young people, in particular, to feel that they have an outlet to help during these times.
Yes, it is a CAS for all of us at the moment. That is what Ukraine is. We need to be of service to others and with others and focus on doing good. Last week, I attended a meeting with the Association of Central European IB Schools, and the teachers and leaders and everyone in that meeting-it was phenomenal to see how meaningful what they were doing was to them. These are decisive moments in that sense. We are seeing if we can live up to the learner profile. We are seeing if we can live up to the values that we have written down and deemed important. Now is the time that they are being measured in real life.
We could not agree more. In the past few weeks we have seen and heard some incredible examples of community togetherness amongst IB and international schools clubbing together to donate aid, raise funds or awareness for those adversely affected by the war in Ukraine. And just as we witnessed in the many stories of positive student impact in We have always believed in the transformative power of CAS and are encouraged to see how its role is evolving within the IB curriculum. A sincere thanks to Mr. Heinonen, and we wish him and his colleagues all the best as they endeavor to find the solutions required for the times we are living in. 2021's CAS Project Challenge submissions, the caring generated through intercultural awareness and open-mindedness to the reflection needed to take principled and decisive action, the principles of the IB program have and will continue to guide us through good times and bad.

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What It Means to Live the Learner Profile in 2022: An Interview with IB Director-General Olli-Pekka Heinonen - CAS Trips

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"We are seeing if we can live up to the IB Learner Profile. We are seeing if we can live up to the values that we have written down and deemed important. Now is the time that they are being measured in real life."

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What it is, what goes in it, how to use it.

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Music Practice Journal: What it is and How to Use it

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Hundreds of examples here to research

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concert program notes - Search for publications on ISSUU

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Features Fullscreen sharing Embed Digital Sales Statistics Article stories Visual Stories SEO

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An example of how to write a bio about a composer.

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An example of program notes from Australia's leading Indigenous dance company.

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Melbourne Recital Centre - Program Notes

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Melbourne Recital Centre - Program Notes

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Here you can see examples of professional musicians program notes.

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Please see here for the latest news from Melbourne Recital Centre in response to COVID-19.

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Details of essential components for writing program notes.

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Transcript

After months of hard work you're ready to perform that big recital but you still have one last hurdle to complete--writing the program notes for your recital! This short tutorial will give you an overview of sources to use when writing your program notes.

Let's start by looking at what is included in program notes.

Program notes typically start with a heading that includes the full title with appropriate keys, numbers, opus numbers, and catalog numbers, date of composition, the composer's full name and dates, movements or song titles to be performed, names of instrumentalists/vocalist performing.
Following this information, you'll find a short biography of the composer, a description of the work, and your interpretation of the work. Translations will also be included for any non-English vocal works. Let's take a closer look on where to find this information.

Title of the work, including keys, numbers, opus numbers, and catalog numbers can often be found on the score you're using in performance. This information, along with the date of composition, may also be found in Grove Music Online. Grove Music Online is a great place to start research for your program notes.

Grove Music Online may be found on the left sidebar of the Music Library homepage or on the Music subject guide under "Reference Resources, Dictionaries & Encyclopedias".

Begin by searching for your composer's last name in the search box and select your composer from the results list. Grove provides birth and death dates of your composer and detailed biographical information on the composer's life that may be used to write the biographical paragraph in your program notes.

The works list, organized by the thematic catalog number, will provide the full title of the work, key, and date of composition if available. This information will be useful for the header of your program notes.

Additional biographical information may be found by browsing the biography section of the music library found in the ML410 section. Browse the indexes of these biographies for information on your specific work too.

If the work you are researching is a major work, you may be able to search the library catalog for books written about the work.
Articles databases such as RILM or Music Index may also be a great resource for information on individual works. These article databases provide citations and abstracts for articles. Use the "check for full text" purple button to connect to the full text online or request a copy to be sent from another library.

Liner notes for recordings give a good description of the work too. Scores may also have a brief description of the work included in the front of the score.

The Music Library has several song translation books that may be consulted when adding your song translation. On the Music Library homepage, see the "help" section under Find Songs, Arias, and Art Songs for a full list of materials to consult for translations.

You may also use our song translation database for quick access to Music Library books containing a translation of your song.
Remember to give credit for any information in your program notes that isn't your own voice or translations borrowed from another source with a footnote.

Still have questions? Stop by the Music Library or use the " Ask Us " link to email, chat with or text a librarian.

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After months of hard work you're ready to perform that big recital but you still have one last hurdle to complete--writing the program notes for your recital! This short tutorial will give you an overview of sources to use when writing your program notes. Let's start by looking at what is included in program notes.

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An example of creating jazz compositions based on the music of Bach. Useful for Experimenting as a Creator.

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Bach, el jazz y la improvisación | Johann Sebastian Jazz

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A detailed breakdown of Collier's virtuosic rendition of Moon River. A good reference for Experimenting as a Creator.

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An intricate and detailed map of music genres throughout history and across multiple cultures.

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Musicmap | The Genealogy and History of Popular Music Genres

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Musicmap provides the ultimate genealogy of all popular music genres and combines any information regarding music genres, such as their relations, sociology, history and music examples, in one dynamic map, serving as both an educational tool and a framework for music databases.

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Explore music from cultures all over the world from 1900 to now.

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Overview from Mr Michael Morgan Head of Music.

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GEMS Wellington Academy, Silicon Oasis - WSO

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Comprehensive overview of the new course. Intended for teachers. Also great for students and parents.

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New IB Music Syllabus (without ambient music)

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A student going through the IB Music Diploma offers her hints and tips: have at least one year of music theory before undertaking the course, write lots and increase music terminology, access Naxos music library, manage performance stress with imagining playing in your house, not in front of an audience. Enjoy the experience! Work backwards.

Good to hear a students perspective

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A general overview of the IB music course

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Samuel Wright give insight on teaching the new IB Music Course. Sam has a very useful Google Slide embedded with detail about Areas of Inquiry, music roles (researcher, creator, performer), and related repertoire.

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Much like Brian Eno's Visual Music and the deep-dive I embarked on in researching his music ( you won't regret reading this), the new Diploma Music Curriculum has a mindset of exploration. Eno's book is beautiful in its connections. It's mapping of line, rhythm and space, to sound and colour is exquisite. So when I saw that creativity, experimentation, and the development of real-world skills were the focus of this curriculum, every day became an exploratory one!

Creativity is a difficult concept to capture in a book, let alone within a music lesson of 40 minutes. However, after teaching the International Baccalaureate's new Music Diploma Curriculum for a year, I can say it is making a generous impression on my students. The new course focuses on the exploration, experimentation and presentation of all musical skills. Students get to view themselves as researchers and creators, as well as performers. Consider the higher level project where seniors get to develop their own collaborative venture with another student. They could produce a rap album, complete with arranged vocal parts and produced backings. Write, compose and conduct for a silent film that they host for their school or even collaborate with a visual-artist in the manner of Mussorgsky's Pictures at an Exhibition. I have been collecting such ideas with this Twitter Hashtag #HLprojectideas and the IB have created the nano-PD session linked below if you wish to investigate further.

Under the previous system it was devilishly difficult to score top points (unless you were a concert pianist who had a master-class with LangLang. One of my students did, and yes, they scored full marks!). With the International Baccalaureates' new focus on portfolios and experimentation, students who play all instruments, who see themselves as session musicians, media and film composers, sound designers or konnokol percussionists, DJs or future musical journalists, can perform well. This new curriculum caters for real-world musicians.

Question: how to write a curriculum that even begins to cater for this depth and diversity?

This leveling-up of real-world-music-making is a breath of fresh air. In my own classroom, the past year has been ground-breaking for new material, new ways of experimenting with music, and of course, music technology as a required component (finally).My students bring me exciting pieces, artists I had never heard of before, and as a group, we begin deconstructing styles and techniques with enthusiasm (using their moleskin music journals).

I can now truly explore modal and fusion jazz, introduce students to the struggles of musicians from Nina Simone to Víctor Jara, explore the Singing Revolution in Estonia and even read works by Neil Gaiman because the composer Ilan Eskheri composed the score for Stardust (leading one student to transcribe his score for the game The Ghost of Tsushima). As a class we are particularly enjoying the combination of orchestral/acoustic sound-sources with electronic ones. This playlist of our #uniquelistening has over 100 videos and is still growing:

Choosing the works I model to my students, and which approaches I take, always comes back to an Orff-Schulwerk themed scaffolding: singing, playing, creating and improvisation taking centre-stage. Contexts will be different each year, but this is the joy of teaching music; it evolves. Each 'study piece' and 'big idea' derives from talking over the new areas of study with my students (agency is powerful).

The MYP Music Book fits very well with the Diploma framework, especially chapters 10-11-12. Chapter 8 is all about music technology and will also build a strong vocabulary for technology-based creations.

I was finishing my MYP Stage 4&5 Music book in 2020 with this new curriculum in mind. Chapters 10, 11, and 12 are compatible with most pre-Diploma years for backward mapping, or even Diploma classes themselves. You will find these hints in the unit titles if you want to read more. Because the course is so new I am making my two year overview available to everyone, with colour coding! The underlined words are links to explore as are the 'big ideas' and TOK/EE connections.

DP1+2 Draft MUSIC Scope & Sequence

If you have ideas, thoughts or suggestions please let me know. It is all a work in progress as I am going to blog more. Time, as a teacher, always seems to run away from me. Especially when making a Music Technology Simplified Course connected to the new DP curriculum. Check it out and sign up today!

Cover image: Scoates, Christopher, Roy Ascott, Steve Dietz, Brian Dillon, Brian Eno, and William R Wright. 2019. Brian Eno - Visual Music. San Francisco: Chronicle Books.

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Much like Brian Eno's Visual Music and the deep-dive I embarked on in researching his music ( you won't regret reading this), the new Diploma Music Curriculum has a mindset of exploration. Eno's book is beautiful in its connections. It's mapping of line, rhythm and space, to sound and colour is exquisite.

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A 2minute overview of the new course from Ari Farrar at Geelong Grammar

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The IB music programme has undergone a significant review with a brand-new course structure commencing in 2021. The new course is completely folio based (there is no final exam) and aims to develop emerging musicians across three core folios for Standard Level and an additional fourth folio for Higher Level students. Students will assume three different roles (Researcher, Creator and Performer) across three different contexts (Personal, Local and Global). Integrated Musical Processes include exploring, experimenting and presenting music.

Prerequisites

* Minimum of Grade 1 Theory or equivalent
* Performance levels are not set - you come in as the performer you are
* Passionate & hard working
* Students MUST have private music lessons
* Enthusiasm and a good work ethic

Three Core Folios for SL and HL

Exploring Music in Context
Students will explore music of many different genres and experiment and create using ideas from the music studied. This folio will comprise of a 2400 word written submission and practical exercises in creating and performing.

Presenting Music
Students prepare a practical folio in solo and/or group while studying the compositional and contextual elements of the pieces chosen. This folio will comprise of programme notes - 600 words, composition and or improvisation, and a performance folio of 12 minutes.

Experimenting with Music
Students will explore and experiment with music from different contexts and cultures. This folio will comprise of a written experimentation report of 1500 words and practical music evidence, comprising of performance and composition.

Contemporary Music folio (HL students only)

High level students will undergo a fourth portfolio entitled 'The Contemporary Music Maker'. In this portfolio, students need to run and manage a chosen 'real life' project that is music related. A 15 minute multimedia presentation is required to document and present this project for assessment. A project could be a concert at school, a competition, campaign, collaboration with others... the choice is yours.

Areas of Inquiry

Music is studied using four Areas of Inquiry:

1. Music for sociocultural and political expression
2. Music for listening and performances
3. Music for dramatic impact
4. Music technology in the electronic and digital age

Context

Music is studied in three contexts:
1. Personal
2. Local
3. Global

Integrated Musical Processes include:
4. Exploring
5. Experimenting
6. Presenting

ASSESSMENT Standard Level
1. Exploring Music in Context: 30% (external assessment)
2. Presenting Music: 40% (external assessment)
3. Experimenting with Music: 30% (internal assessment)

ASSESSMENT Higher Level
1. Exploring Music in Context: 20% (external assessment)
2. Presenting Music: 30% (external assessment)
3. Experimenting with Music: 20% (internal assessment)
4. The Contemporary Music Maker: 30% (internal assessment)

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Group 6 - Music - Geelong Grammar School

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The IB music programme has undergone a significant review with a brand-new course structure commencing in 2021. The new course is completely folio based (there is no final exam) and aims to develop emerging musicians across three core folios for Standard Level and an additional fourth folio for Higher Level students.

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A handy three-page document about the IB Music Diploma

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IBO alignment with Australian Curriculum 

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IBO alignment with Australian Curriculum 

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A research study comparing the two curriculum approaches, alignments and differences