Presentation on theme: "IB Music Survival Guide Higher Level and Standard Level Course requirements - Marking Criteria – Examples of Work Examiners Feedback – Coursework Deadlines."— Presentation transcript:
IB Music Survival Guide Higher Level and Standard Level Course requirements - Marking Criteria – Examples of Work Examiners Feedback – Coursework Deadlines
What do I need to do? Higher Level Exam Analysis of 2 set works Study of the History of Western Music and World Music Coursework - Composing 2 Compositions 1 Bach Choral 1 Haydn String Quartet Coursework – Performing Produce a CD of solo performances (20 minutes) (5 minutes of these can be an ensemble performance) Coursework – Project 1800 word Music Investigation – finding links between two musical cultures WARNING! There is a LOT of coursework. You will need to work for three hours a week at home if you want to achieve a level 5 or higher.
What do I need to do? Standard Level Exam Analysis of 2 set works Study of the History of Western Music and World Music Coursework Produce a CD of solo performances (15 minutes) Or Produce a CD of ensemble performances (15 minutes) Or Produce 2 compositions Coursework – Project 1800 word Music Investigation – finding links between two musical cultures WARNING! There is a LOT of coursework. You will need to do three hours a week at home if you want to achieve a level 5 or higher.
Mission: Performing (HL=25% 20 mins) (SL=50% 15 mins) Your final recital programme should be varied, incorporating contrasting pieces which demonstrate your technical ability as a musician and an awareness of how to perform different genres and styles. Strategy You must work on these pieces in your weekly lessons with your instrumental teacher. You should arrange regular rehearsal times with Miss Frazer or another pianist so that you can practise with the piano accompaniment. Recording will begin from September of your 2nd year. Deadline: CD must be complete by the end of February IB Music Performing
What is a reflective statement? This short piece of writing (300 words) tells the examiner what you have learned from the compositional process. There are three main sections: intention process outcome Here is an example This is what the examiner said:
Here is another example This is what the examiner said:
Performing: Assessment Criteria (is your repertoire varied?) (can you play the notes and control your instrument?)
(Do you understand and convey the style of your pieces?) (Do you communicate with your audience or are you in your own bubble?)
Strategy The best way to complete a composition is to work on it frequently, ideally every day. It might be that you only complete 7 or 8 bars but this little and often approach is essential. You cannot produce a good composition the night before it is due to be recorded. Also remember that you need to give the parts out to the musicians in advance so that you are happy with the final recording. There are several possible combinations for this section. 1 original composition 1 arrangement Stylistic techniques (a Bach Chorale and String Quartet) 2 original compositions Stylistic techniques (a Bach Choral and String Quartet) 2 original compositions 1 arrangement Each compositionmust be accompanied by a 300 word reflective statement. Mission: Composing (Higher Level – 25%)
History, Set Works and Listening Exam Higher Level = 7 essay questions 3hrs (30%) Standard Level = 5 essay questions 2.5hrs (30%) You will be studying 2 set works. All information relating to these pieces is in the separate study booklets. The listening paper requires you to have an understanding of music from the: Medieval Period Renaissance Period Baroque Period Classical Period Romantic Period Twentieth Century You will also be expected to recognise musical forms and structures: Binary and Ternary Ground Bass Fugue Theme and Variations Rondo Sonata Form And be able to comment intelligently on world music including: Indonesian Gamelan Music of Sub-Saharan Africa Chinese Music Music of India Bhangra Arab Music Music of the Caribbean Salsa Tango Music of Latin-America
You will also be expected to comment on specific genres and styles: The Growth of the Orchestra The Symphony The Concerto Chamber Music The Romantic Lied Ballet Music Dance Music Opera Music for the Church Nationalism Serialism Neo-Classicism Impressionist Music Minimalism Experimental and Electronic These topics wil be covered in class but you will need to do a lot of your own studying at home. This is how you do it. 1.Google ‘Norton Online Listening Lab’ and click on the top link. 2. Click on Premium Content
3. Enter your e mail address and password to log in 4.You will now be on the main home page and as you can see, have access to over 54000 CDs. You can explore the sections for yourself but the most important one is the Study Area. 5. Click on Study Area and United Kingdom and you will see a long list of topics on the left hand side. These are all the topics which you need to revise for the exam 6. Choose the topic that you want to study and click. Information about that period will appear. When the name of a piece of music appears in blue, click on it and it will automatically start playing.
Listening Exam Criteria In the exam you will be asked to comment on the period, genre, style, structure and all the musical elements in pieces of music that you will probably have never heard before. You don’t get asked specific questions however, so have an empty piece of A4 paper to fill. It’s important that you practice your exam technique so hat you don’t miss anything out and lose marks. Here are the criteria:
Strategy: In order to fulfill the criteria above, you should practice using the following structure. Try to write in full sentences when you can – if you are running out of time switch to bullet points.
Context – (where why who when what) Europe Tchaikovsky – Romantic Period String Orchestra/ Ensemble Written for the Concert Hall Most important musical features Melody: Long melodic lines Harmony: Broken Chords Tempo: Adagio Dynamics: wide range from p to ff Texture: Homophonic: Melody and accompaniment and homorhythmic Tonality: Major Articulation/ Techniques: Legato, staccato, portamento Dialogue between instruments and countermelodies used. Structure (using bar numbers or minutes) 0.00 – 0.30 Legato Introduction, chromatic, use of crescendos 0.30 – 0.34 Silence/ Pause 0.34 – 1.23 Pizzicato triplet broken chord accompaniment under legato vioin melody Long melodic lines ascending & descending in step shaped by cresc/dim 1.24 – 1.46 Melody passed to lower strings whilst upper strings have a countermelody which is more elaborate than the imain melody. 1.47- 2.40 Dialogue between upper and lower strings begins – one phrase passed back and forth.Melody contains sequence. Sometimes all play together. 2.41- Dialogue continues as music crescendos to fortissimo homophonic sequence – the climax of the extract. Suggested Exam Structure – start by practicing the structure using bullet points then when you can remember the structure start using full sentences.
Context – (where why who when what) Most important musical features Structure (using bar numbers or minutes) 0.00 Answer Template
Musical Investigation (SL and HL = 20%) (1500 – 2000 words) This is a written project in which you investigate the musical links between two musical cultures. Finding an appropriate topic takes a lot of thought and is probably the hardest part of the project! Your teacher will discuss this with you. Projects from past PBS students are available to look at in the IB file in the Music Room as are also examples from the IB website. Here are some examiners comments to help you know what you are aiming for. (Example A in IB file in Music Room)
(Example B in IB file in Music Room) Extract from MI(B)