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)
In this assessment component, students present music to communicate the artistic intentions of completed works from the four areas of inquiry. The assessment submission is a culmination of the students’ best achievements as researchers, creators and performers during the course and will demonstrate that the student is a holistic and well-rounded musician at the end of their studies.
Below is an overview of the focus for the assessment and the evidence collected.
The assessment task requires students to:
engage with music through the four areas of inquiry
select works that demonstrate the student’s best achievements and are well-matched to the level of the student’s musicianship.
This is evidenced in:
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).
performing skills through solo and/or ensemble works
musical excerpts (where applicable)
creating skills through composed and/or improvised pieces
musical scores or visual representation
overall musical communication of the music, including notation, expression, audio quality.
As researchers, you will need to:
Select works from the four areas of inquiry.
They reflect critically on which works best demonstrate their diverse achievements and are well-matched to their level of musicianship as creators and performers.
The chosen works will be listed according to the given list template. This list will be followed by programme notes. In the programme notes, students justify their choices and coherently explain the approach of putting together the programme. It is important to remember that, for the purposes of this task, the programme notes serve as a holistic summary, rather than a detailed discussion of individual works.
As creators, you will need to:
Students develop works that demonstrate their technical proficiency and musicianship in composed or improvised works.
Composed pieces must be accompanied with scores or visual representation as appropriate to the chosen style. The notation style is not limited to staff/stave notation. However, the notation should communicate effectively the intention of the creating process.
All source and stimulus materials must be included in a list of sources. Scores and/or visual representations must be submitted as an appendix to the programme notes. Important! It is not possible to assess works that are not accompanied by appropriate forms of notation.
As performers, you will need to:
Students develop works that demonstrate their technical proficiency and musicianship in performed works.
Students may submit solo and ensemble performances, including vocal, instrumental and music technology submissions.
All vocal and instrumental performances must be submitted in audio format. All music technology performances must be submitted in video format.
N.B. The video for music technology performances will be a close-up of the equipment demonstrating the student’s manipulation of the musical elements on the instrument(s). The student will not be featured in the video, but the focus should be on the demonstration of how the student is working the equipment.
Works for the programme may be chosen from one or more than one performance. Performances should be recorded in front of an audience. The size of an audience and the location or set-up of the performance are not as important as the intention is to allow students the experience of performing for people.
Although it is not recommended, students may combine vocal, instrumental and music technology performances. The total length of the submission must not exceed 12 minutes. The timings will be indicated by the candidate in a track list.
If students submit ensemble performances only, these must be accompanied by representative excerpts demonstrating the students’ individual contributions to the ensemble. The selection of excerpts must be a maximum of 2 minutes. Students must select the excerpt carefully to demonstrate their musicality and technical proficiency. The excerpt does not need to be a recording from a live performance—it may be recorded before or after a performance, without an audience.
The same improvisation will not be assessed twice and can only be submitted for either presenting as a creator or presenting as a performer. Students who choose to submit an improvisation as part of their performance must clearly indicate this in the track list at the beginning of the programme. Where students do not make this indication, the work may not be assessed accurately.
The submission is made in three uploads. Candidates select examples from their music journals to evidence:
diversity and breadth of music from four areas of inquiry
a clear rationale for the choice of works to be presented
musicality and technical proficiency to realize the chosen works in line with creating conventions and performing practices
effective communication in the different roles (researcher, creator, performer).
Upload 1: Written Programme Notes
Document of maximum 600 words, containing:
written programme notes.
The following are not included in the word count.
Track list of the works according to the template
Scores, notations and/or visual representation for created works, as appropriate to style
Appropriate citations in the text and a list of all source or stimulus material in the bibliography
For detailed information on programme notes, please refer to the TSM.
Packaging of upload 1
Written and visual information must be packaged into a single document.
Section 1: Programme notes (maximum 600 words)
Section 2: Track list
Section 3: Scores or visual representation for created works
Section 4: Bibliography
Upload 2: Audio Evidence
Audio evidence, containing:
Presenting as a creator: composition(s) and/or improvisation(s) (maximum 6 minutes)
Presenting as a performer:
solo and/or ensemble performance (maximum 12 minutes)
for ensemble-only submissions: excerpts of the student’s individual parts (maximum 2 minutes)
Important note: Excerpts do not need to be submitted when the submission includes solo works and solo works with accompaniment. The student’s part must be indicated in the programme notes and needs to be clearly identifiable.
It will not be possible to allocate marks in criterion C (“Musicality and technical proficiency of performed works”) for works in which the candidate’s part is not clearly identifiable.
Packaging of upload 2
All audio evidence must be packaged into a single audio file (maximum 20 minutes).
The quality of the audio file must allow for a full understanding of the created and/or performed exercises.
The file must be compiled in the following order.
Section 1: Presenting as a creator (maximum 6 minutes)
Section 2: Presenting as a performer (maximum 12 minutes)
Section 3: Excerpts of individual parts (maximum 2 minutes) (if applicable)
Upload 3 (for music technology performance only)
Video recording of all music technology performances (maximum 12 minutes)
Packaging of upload 3
One single video file of music technology performing (maximum 12 minutes).
Where a student submits performed work in both music technology and voice/instrument, the combined length of the performed works must be no more than 12 minutes.
Authenticating Student Work
For all submissions, the teacher must authenticate that the work submitted is the student’s own work. Teachers must be able to verify the individual student’s contribution or role and the developments of the students’ work in progress. This is done using the Music—coursework authentication form (6/MCAF).
For music technology composing, all parts must be MIDI entered or performed and recorded by the student. Sampled parts and drum loops are only acceptable if the teacher can verify that the samples have been performed or recorded by the student.
In ensembles, teachers may be the conductors, leaders and/or accompanists. However, no teacher or professional musician may have any other performing role in the musical ensemble to be assessed. When the DP music teacher is not the conductor or leader of the group (such as groups led by other teachers in the school, or by musicians either in or out of the school), the teacher must be able to authenticate that the recording is the student’s own performance.
In ensembles, performances with accompaniment or performances with backing tracks, the student’s part must be clearly identified in the programme notes. The teacher must be able to verify the student’s part.
There are no submission samples available yet. For now, please do watch the below examples from a recital from our year 12 students, in July 2021.
The performances below were filmed during the COVID-19 timetable and so were to a very limited audience. One was a mock lunchtime run before an evening recital to parents in our theatre space.
Ordinarily, their recital would be to a packed room in music for the mock run and then to a much larger audience of between 30-80 in the dedicated theatre. Students also have to write a detailed programme which explains the context of the pieces chosen.
'Mock' Recital - Lunchtime to Sixth Form Students - 060721
'Walking On Broken Glass' by Annie Lennox
'Joy of Life/Trout in the Bath' by The Corrs
'We Are Family' by Sister Sledge
'What Is This?' by Sergio Mendes
Recital to parents - 130721 - Theatre
This performance also featured two additional members to the IB class, making up the sixth form band at the time. 'Walking On Broken Glass' was the sixth form band performance.
This performance also featured Mr Oates playing Irish whistle on the second track.
Unfortunately, due to technical issues we have no video footage of the performance this evening. However, the audio was recorded. Enjoy