Standard Level (SL)
50% - Choice of Creating, Solo Performance or Group Performance
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Higher Level (HL)25% - Required
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Creating (for both SL & HL)
Submission of three compositions from a list of including: - arranging - improvising - music technology composing - stylistic techniques - composition Coursework can include original composition, one arrangement, or music technology. Each composition must: - must be 3-6 minutes in length - include a notated version of the score - include a recording (live is preferred; MIDI is acceptable) - include a written reflection of no more than 300 words (See the Creating Options table in IB Music Guide.) |
Options
For details on selecting combinations, please refer to the “Creating Options” table:
If students choose two (at SL) or three (at HL) music compositions and/or music technology compositions as an option, teachers are encouraged to support their students in demonstrating contrasts in content, nature and intention.
The number and types of exercises involved (for example, “sketches” or finished pieces) are not prescribed; the course of study devised by teachers should enable students to develop their knowledge and skills in creating. However, students will be assessed on their final submissions. Students and teachers are also reminded that the final assessment is of the individual student’s own work.
Students choosing composing and arranging are strongly encouraged to present live performances of their pieces. However, where this is not possible an electronically generated recording is acceptable. (Recordings of coursework in composing, music technology composing, arranging and improvising must be submitted— the only exception is work in stylistic techniques. Nevertheless students are strongly encouraged to try out their work in stylistic techniques.)
Ideas, sources, working drafts and commentary on the nature and the process of creating should be kept in students’ notebooks or files. These materials will be used to develop each student’s written reflective statements, which is a required part of the assessment at the end of the course. (These materials must not be submitted; teachers and examiners will not look at student notebooks or files when marking the final submission.)
The work must be supervised by the teacher to ensure that it is the authentic work of the student.
The number and types of exercises involved (for example, “sketches” or finished pieces) are not prescribed; the course of study devised by teachers should enable students to develop their knowledge and skills in creating. However, students will be assessed on their final submissions. Students and teachers are also reminded that the final assessment is of the individual student’s own work.
Students choosing composing and arranging are strongly encouraged to present live performances of their pieces. However, where this is not possible an electronically generated recording is acceptable. (Recordings of coursework in composing, music technology composing, arranging and improvising must be submitted— the only exception is work in stylistic techniques. Nevertheless students are strongly encouraged to try out their work in stylistic techniques.)
Ideas, sources, working drafts and commentary on the nature and the process of creating should be kept in students’ notebooks or files. These materials will be used to develop each student’s written reflective statements, which is a required part of the assessment at the end of the course. (These materials must not be submitted; teachers and examiners will not look at student notebooks or files when marking the final submission.)
The work must be supervised by the teacher to ensure that it is the authentic work of the student.
1. Composing
Composing is the creating of music through the manipulation of musical elements. It can begin from imitating other music, or from improvising. Students can choose to compose in many different ways: each music composition can be purely functional, purely traditional, purely abstract, a combination of these, or designed to fulfill any other expressive purpose.
Students may choose sounds from a wide range of media, including traditional instruments, voices and/or electronically or computer-generated sounds. Students must demonstrate understanding of the technical capabilities (and limitations) of chosen instruments. Students who compose for voices and traditional instruments must demonstrate understanding of vocal and instrumental ranges, transpositions and other characteristics.
Each music composition must be completed with notation. This may be handwritten or notated using a suitable computer software program.
Students must submit the final notated version of each music composition and a recording.
SL students may submit one or two music compositions; HL students may submit one, two or three. (Please refer to the “Creating options” table.)
A music composition must be 3–6 minutes in length.
In addition to the music composition, students are required to provide evidence of a reflective process. The written reflective statement requires the student to convey an understanding of the intention, process and outcome of the piece.
Students may choose sounds from a wide range of media, including traditional instruments, voices and/or electronically or computer-generated sounds. Students must demonstrate understanding of the technical capabilities (and limitations) of chosen instruments. Students who compose for voices and traditional instruments must demonstrate understanding of vocal and instrumental ranges, transpositions and other characteristics.
Each music composition must be completed with notation. This may be handwritten or notated using a suitable computer software program.
Students must submit the final notated version of each music composition and a recording.
SL students may submit one or two music compositions; HL students may submit one, two or three. (Please refer to the “Creating options” table.)
A music composition must be 3–6 minutes in length.
In addition to the music composition, students are required to provide evidence of a reflective process. The written reflective statement requires the student to convey an understanding of the intention, process and outcome of the piece.
2. Music Technology Composing
A music technology composition uses computers together with a variety of software programs and/or hardware.
Music technology compositions will demonstrate skills and creativity in using some or all of the following:
If part of the work is undertaken outside the school environment the teacher is still required to confirm the authenticity of the work.
A music technology composition may be created for (but is not restricted to) film, video/DVD, or as an independent original audio piece. (However, the music and reflective statement only must be submitted: teachers and examiners will not look at other material.)
Students must submit a recording of each music technology composition.
SL students may submit one or two music technology pieces; HL students may submit one, two or three. (Please refer to the “Creating options” table.)
A music technology composition must be 3–6 minutes in length.
In addition to the music technology composition, students are required to provide evidence of a reflective process. The written reflective statement requires the student to describe the intention, process and outcome of the piece.
Music technology compositions will demonstrate skills and creativity in using some or all of the following:
- MIDI (musical instrument digital interface)-based programs
- sequence-based programs
- sound-generating software
- recorded audio
- analogue synthesizers
- concrete sounds
- assorted hardware
If part of the work is undertaken outside the school environment the teacher is still required to confirm the authenticity of the work.
A music technology composition may be created for (but is not restricted to) film, video/DVD, or as an independent original audio piece. (However, the music and reflective statement only must be submitted: teachers and examiners will not look at other material.)
Students must submit a recording of each music technology composition.
SL students may submit one or two music technology pieces; HL students may submit one, two or three. (Please refer to the “Creating options” table.)
A music technology composition must be 3–6 minutes in length.
In addition to the music technology composition, students are required to provide evidence of a reflective process. The written reflective statement requires the student to describe the intention, process and outcome of the piece.
3. Arranging
Arranging is the process of drawing on music that is already in existence, and re-manipulating it.
Students are required to arrange a pre-existing piece of music for a variety of instruments, voices, electronic media, or any combination of these. A straightforward transcription is not acceptable. The arrangement should display originality through a variety of deliberate creative decisions, as well as through manipulation and re-manipulation of musical elements present in the original piece. Introducing new elements can be appropriate, but it is important that the original music be recognizable.
While the original piece may come from any musical culture the arrangement must be presented using traditional western staff notation. This may be handwritten or notated using suitable music-writing software.
In addition to the notated version and recording of the arrangement students must also submit the notated version of the original. (A recording of the original piece is acceptable should the notated version not exist.)
Students may submit one arrangement only. (Please refer to the “Creating options” table.)
The arrangement must be 3–6 minutes in length.
In addition to the arrangement, students are required to provide evidence of a reflective process. The written reflective statement requires the student to describe the intention, process and outcome of the piece.
Students are required to arrange a pre-existing piece of music for a variety of instruments, voices, electronic media, or any combination of these. A straightforward transcription is not acceptable. The arrangement should display originality through a variety of deliberate creative decisions, as well as through manipulation and re-manipulation of musical elements present in the original piece. Introducing new elements can be appropriate, but it is important that the original music be recognizable.
While the original piece may come from any musical culture the arrangement must be presented using traditional western staff notation. This may be handwritten or notated using suitable music-writing software.
In addition to the notated version and recording of the arrangement students must also submit the notated version of the original. (A recording of the original piece is acceptable should the notated version not exist.)
Students may submit one arrangement only. (Please refer to the “Creating options” table.)
The arrangement must be 3–6 minutes in length.
In addition to the arrangement, students are required to provide evidence of a reflective process. The written reflective statement requires the student to describe the intention, process and outcome of the piece.
4. Improvising
Improvisation is a spontaneous musical expression in response to a musical or non-musical stimulus. It can begin by imitating other styles of music, or develop from other stimuli. A successful improvisation will have shape, direction and originality, and may be inspired in a variety of ways. Manipulating a diverse range of musical elements will reflect a developed understanding of musical possibilities. The use of a range of instrumental/vocal techniques can also enhance the resulting improvisation.
The improvisation can take many forms, including (but not limited to):
Improvisation could be one continuous piece, or may consist of several sections. However, the total time of actual improvisation by the student must be 3–6 minutes in length. In the case of improvisation in several sections, although only the improvisation sections will be assessed, the teacher must record the entire performance of the piece.
Students may submit one improvisation only. (Please refer to the “Creating options” table.)
A recording of the improvisation must be submitted. In the case of improvisation with other players, the student’s contribution must be clearly identifiable on the recording. In addition to the improvisation, students are required to provide evidence of a reflective process. The written reflective statement requires the student to describe the intention, process and outcome of the piece.
The improvisation can take many forms, including (but not limited to):
- improvisation during performance of a jazz band or combo
- free improvisation with other musicians
- solo improvisation
Improvisation could be one continuous piece, or may consist of several sections. However, the total time of actual improvisation by the student must be 3–6 minutes in length. In the case of improvisation in several sections, although only the improvisation sections will be assessed, the teacher must record the entire performance of the piece.
Students may submit one improvisation only. (Please refer to the “Creating options” table.)
A recording of the improvisation must be submitted. In the case of improvisation with other players, the student’s contribution must be clearly identifiable on the recording. In addition to the improvisation, students are required to provide evidence of a reflective process. The written reflective statement requires the student to describe the intention, process and outcome of the piece.
5. Stylistic techniques
Stylistic techniques is the study of the compositional styles of others.
Students are required to choose two different exercises from a to g. For example, a student may choose b and d; this would constitute one piece of coursework.
The other submission(s) in creating must be chosen from composing, music technology composing, arranging and/or improvising. (Please refer to the “Creating options” table.)
Students must demonstrate understanding of instrumental and vocal ranges, transpositions and other characteristics, appropriate to the stylistic techniques chosen.
No expressive or dynamic indications are to be included, except in the following cases:
- 18th-century string quartet (e)
- 19th-century song accompaniment (f)
- 12-note/tone techniques (g).
Additionally, 18th-century string quartet (e) must include articulation.
All exercises must be presented using traditional western staff notation. This may be handwritten or notated using suitable music-writing software.
- Renaissance vocal counterpoint (for example, Lassus, Morley, Palestrina) (16–24 bars): This may be either a two-part exercise, where one part must be given in full by the teacher, or a three- to five-part texture, which is given by the teacher with one part omitted. In either case the first two or three notes of the omitted part must be given. The omitted part must be created by the student. All parts must include text. The completed exercise must include points of imitation. The student’s work must be clearly identifiable and the extract cited (both work and composer).
- Bach chorale: A complete chorale melody (minimum 16 bars) is given by the teacher to the student and must be cited. The student must create the lower three parts. Modulation must be included.
- Figured bass in the baroque style (16–24 bars): The figured bass, together with the melodic instrumental/vocal part, is given by the teacher. Both of these must be given in full. The figured bass must be realized by the student. Modulation must be included. The student’s work must be clearly identifiable and the extract cited (both work and composer).