posodobitev kurikularnega procesa na oŠ in gimn international baccalaureate – music (glasba na...

Posodobitev kurikularnega procesa na OŠ in GIMN

International Baccalaureate – Music(Glasba na Mednarodni maturi) Viljem Babič

Operacijo delno financira Evropska unija iz Evropskega socialnega sklada ter Ministrstvo za izobraževanje, znanost,

kulturo in šport.

POSLANSTVO IB• IB si prizadeva ustvariti program, ki bi dijakom IB si prizadeva ustvariti program, ki bi dijakom

omogočal, da bi se razvili v vedoželjne, strpne omogočal, da bi se razvili v vedoželjne, strpne in sočutne ljudi, ki bi pomagali pri ustvarjanju in sočutne ljudi, ki bi pomagali pri ustvarjanju lepšega sveta in miru v svetu – z medkulturnim lepšega sveta in miru v svetu – z medkulturnim razumevanjem in spoštovanjem. razumevanjem in spoštovanjem.

• S tem namenom IB sodeluje s šolami ter S tem namenom IB sodeluje s šolami ter vladnimi in mednarodnimi organizacijami, ki ji vladnimi in mednarodnimi organizacijami, ki ji pomagajo pri razvijanju zahtevnim učnih pomagajo pri razvijanju zahtevnim učnih programov na področju mednarodnega programov na področju mednarodnega izobraževanja ter pri natančnem in temeljitem izobraževanja ter pri natančnem in temeljitem preverjanju znanja.preverjanju znanja.

• Ti programi spodbujajo dijake po vsem svetu k Ti programi spodbujajo dijake po vsem svetu k aktivnosti, sočutju in vseživljenjskemu učenju, aktivnosti, sočutju in vseživljenjskemu učenju, pa tudi k razumevanju in sprejemanju drugih in pa tudi k razumevanju in sprejemanju drugih in drugačnih ljudi.drugačnih ljudi.

PROFIL DIJAKA V MEDNARODNI MATURI - MM

IB learners strive to be:

•Inquirers

•Knowledgeable

•Thinkers

•Communicators

•Principled

•Open-minded

•Caring

•Risk-takers

•Balanced

•Reflective

MUSIC - ASSESMENT OBJECTIVES / CILJI OCENJEVANJA PRI GLASBI

Having followed the music course at SL or HL, students will be expected to demonstrate:

•knowledge, understanding and perception of music in relation to time, place and cultures,

•appropriate musical terminology to describe and reflect their critical understanding of music,

•comparative analysis of music in relation to time, place and cultures (unlike at SL, HL students are also expected to demonstrate this in response to pieces not previously studied),

•creative skills through exploration, control and development of musical elements (SLC, HL),

•performance skills through solo music making (SLS, HL) or group music making (SLG),

•critical-thinking skills through reflective thought.

Osnovna raven (SL) – izbira: Višja raven (HL):

SLC (SL creating)creating in solo performingSLS (SL solo performing)

SLG (SL group performing)

+

Musical perception

Musical Links Investigation

Listening examination paper

Musical perception – SL in HL• obvezen del programa za vse dijake SL in HL,• spoznavanje, analiziranje, raziskovanje glasbe sveta in različnih

glasbenih kultur skozi zgodovino,• dijaki razvijajo slušno zaznavanje in analitično razumevanje

poslušanih skladb skozi glasbene elemente (npr. oblika, tempo, dinamika, melodija, …), različne notacije, glasbeno terminologijo in zgodovinsko-družbeni kontekst,

• dijaki vzpostavljajo glasbene povezave (musical links) med skladbami študija in vsakdanjika.

STUDY OF TWO PRESCRIBED WORKS (2010-2012:Mozart & Copland)

• različno glasbeno obdobje, čas, prostor in kultura,• analiza, raziskava, primerjava.

OCENJEVANJE (EXTERNAL & INTERNAL ASSESMENT)

CREATING

PERFORMING

MUSICAL LINKSINVESTIGATION

LISTENING PAPER

EKSTERNO OCENJEVANJEosnovni nivo (SL)75 UR50% končne ocene

Slušni izpit – 2h15min – 30%

„Raziskovalna“ naloga – 20%

LISTENING PAPER – 2 hours 15 minutes 30%

Five musical perception questions (100 marks)

SECTION A

Students answer two questions.

Question 1 or question 2 (20 marks)

Question 3 (20 marks)

SECTION B

Students answer three questions.

Question 4 or question 5 (20 marks)



MUSICAL LINKS INVESTIGATION 20%

A written media script of no more than 2.000 words, investigating the significant musical links between two (or more) pieces from distinct musical cultures (20 marks)

INTERNO OCENJEVANJEosnovni nivo (SL)75 UR50% končne ocene

Ustvarjanje / Creating(SLC)

Solistični nastop / Solo performing (SLS)

Skupinski nastop / Group performing (SLG)

This component is internally assessed by the teacher and externally moderated by the IB at the end of the course.

Student choose one of the following options.

50%

Creating (SLC) – composing, music technology composing, arranging, improvising, stylistic techniques

Two pieces of coursework, with recordings and written work (30 marks)

Solo performing (SLS)

A recording selected from pieces presented during one or more public performance(s), 15 minutes (20 marks)

Group performing (SLG)

A recording selected from pieces presented during two or more public preformances, 20-30 minutes (20 marks)

EKSTERNO OCENJEVANJEPisni izpit (tri metode ocenjevanja):•navodila za ocenjevanje (markscheme),•natančni ocenjevalni kriteriji (assessment criteria),•merila za ocenjevanje (markbands).

Raziskovalna naloga / Musical links investigation:•natančni ocenjevalni kriteriji (assessment criteria).

Listening paper

SL 2 hours 15 minutes HL 3 hours

Section A Question 1 or question 2

Analyse and examine question: prescribed works

Question 1 or question 2

Analyse and examine question: prescribed works

Question 3 Compare and contrast question: prescribed works

Question 3 Compare and contrast question: prescribed works

Section B Question 4 or question 5

Analyse and examine question: western art music

Question 4Question 5

Analyse and examine question: western art music


Analyse and examine question: jazz/pop, world music


Analyse and examine question: jazz/pop, world music

Section C / / Question 8 Compare and contrast question: two extracts from section B

KRITERIJI EKSTERNEGA OCENJEVANJAPISNI IZPIT

Section A (SL in HL)

This criterion concerns the student’s ability to: •question 1 or question 2 - analyse and examine essential musical elements (including form and structure) within one of the two prescribed works,•question 3 - compare and contrast the two prescribed works, emphasizing the presence of any significant musical links.

Marks Level descriptor

0 The work does not reach a standard described by the descriptors below.

1 – 4 The arguments, which generally do not address the question, show a minimal level of musical understanding. There is limited use of musical evidence, though this is poorly located, or none at all. There is limited use of musical terminology or none at all.

5 – 8 The arguments, which may not always address the question, show some level of musical understanding. There is some use of musical evidence, though this is not located precisely enough. There is some use of musical terminology.

9 – 12 The arguments, which generally address the question, show an adequate level of musical understanding. There is use of musical evidence, though this is not always precisely located. There is partially effective use of musical terminology.

13 – 16 The arguments, which generally address the question, may not always be convincing but show a good level of musical understanding. There is appropriate use of musical evidence, mostly precisely located. There is mostly effective use ofmusical terminology.

17 - 20 The arguments, which consistently address the question, are convincing and show a very good level of musical understanding, supported by a most appropriate use of musical evidence, precisely located. There is highly effective use of musical terminology.

Section B (SL in HL)

A Musical elements / 0 – 5 marks

B Musical structure / 0 – 5 marks

C Musical terminology / 0 – 5 marks

D Musical context / 0 – 5 marks

A Musical elementsThis criterion concerns the student’s ability in each extract to perceive the musical elements (duration, pitch, timbre/tone colour, texture and dynamics) and their significance. Articulation and other expressive and production techniques might also be discussed.



1 The work displays insufficient and weak aural perception. The student has identified musical elements poorly, including very few, if any of the significant ones.

2 The work sometimes displays adequate aural perception. The student has identified some musical elements, including a few of the significant ones.

3 The work displays partially effective aural perception. The student has generally accurately identified musical elements, including some of the significant ones.

4 The work displays mostly effective aural perception. The student has accurately identified musical elements, including many of the significant ones.

5 The work consistently displays highly effective aural perception. The student has accurately identified musical elements, including nearly all of the significant ones.

B Musical structureThis criterion concerns the student’s ability to perceive the principal structural features of each extract.



1 The work demonstrates little perception of the principal structural features of each extract.

2 The work demonstrates limited and ineffective perception of the principal structural features of each extract.

3 The work demonstrates partially effective perception of the principal structural features of each extract.

4 The work demonstrates mostly effective perception of the principal structural features of each extract.

5 The work consistently demonstrates highly effective perception of the principal structural features of each extract.

C Musical terminologyThis criterion concerns the student’s knowledge of musical terminology and its appropriate use.



1 The work displays little knowledge and use, if any, of musical terminology.

2 The work displays some knowledge of musical terminology but its use is inaccurate at times.

3 The work displays satisfactory knowledge and use of musical terminology.

4 The work displays good knowledge and use of musical terminology.

5 The work consistently displays very good knowledge and use of musical terminology.

D Musical contextThis criterion concerns the student’s ability to place each extract in its musical context—cultural, historicaland stylistic—and relate it to music that he or she knows.



1 The work demonstrates little and inaccurate knowledge of the musical context. The student has used little reasoned argument.

2 The work demonstrates some knowledge of the musical context. The student has sometimes used reasoned argument.

3 The work demonstrates adequate knowledge of the musical context. The student has used partially effective reasoned argument.

4 The work demonstrates good knowledge of the musical context. The student has used mostly effective reasoned argument.

5 The work consistently demonstrates very good knowledge of the musical context. The student has consistently used highly effective reasoned argument.

KRITERIJI INTERNEGA OCENJEVANJASOLISTIČNI ALI SKUPINSKI NASTOP

A Izbira programa (Selection of programme)

B Tehnika (Technical proficiency)

C Razumevanje stila glasbe (Understanding of style)

D Glasbena komunikacija (Musical communication)

A Izbira programa (Selection of programme)This criterion concerns the choice of contrasting pieces that feature the

student’s/group’s capabilities, and the fulfillment of the accompaniment requirements.


0 The selected presentation does not reach a standard described by the descriptors below.

1 The selected presentation shows little contrast, and is not appropriate to the student’s/group’s performance capabilities.Accompaniment guidelines are not followed.

2 The selected presentation shows some contrast but is sometimes beyond the student’s/group’s performance capabilities.Accompaniment guidelines are followed.

3 The selected presentation mostly shows good contrast, and is appropriate for the student’s/group’s performance capabilities.Accompaniment guidelines are followed.

4 The selected presentation consistently shows very good contrast, and is well matched to the student’s/group’s performance capabilities.Accompaniment guidelines are followed.

B Tehnika (Technical proficiency)This criterion concerns the control of musical elements (duration, pitch, timbre/tone colour, texture and dynamics, form and structure) through appropriate and consistent technique as demonstrated in theselected presentation.



1 The work demonstrates little control of musical elements. The technical challenges are rarely met.

2 The work demonstrates some control of musical elements. The technical challenges are sometimes met.

3 The work demonstrates partially effective control of musical elements. The technical challenges are mostly met.

4 The work demonstrates mostly effective control of musical elements. The technical challenges are mostly met.

5 The work consistently demonstrates effective control of musical elements. The technical challenges are met.

6 The work consistently demonstrates highly effective control of musical elements. The technical challenges are consistently met.

C Razumevanje stila glasbe (Understanding of style)This criterion concerns the student’s/group’s understanding of the particular style of each musical piece within the selected presentation.


0 The selected presentation does not reach a standard described by the descriptors below.

1 The selected presentation shows little understanding of the musical styles.

2 The selected presentation shows some understanding of the musical styles.

3 The selected presentation shows mostly effective understanding of the musical styles.

4 The selected presentation shows consistently effective understanding of the musical styles.

D Glasbena komunikacija (Musical communication)This criterion is concerned with the extent to which the student/group communicates their musical recreation to an audience.



1 The work displays little musical communication.

2 The work displays some musical communication.

3 The work displays partially effective musical communication.

4 The work displays mostly effective musical communication.

5 The work consistently displays effective musical communication.

6 The work consistently displays highly effective musical communication.

KRITERIJI INTERNEGA OCENJEVANJAUSTVARJANJE (CREATING) – SLC, HL

OCENE v programu mednarodne mature1 - 7

Grade 7 Excellent

•Demonstrates: in-depth and comprehensive knowledge and understanding of the media used, with precise use of terminology to communicate this understanding.

•Highly effective use of research, investigation and technical skills.

•In-depth understanding of artistic intention and engagement with the artistic process demonstrated in consistent development of ideas, creativity and critical reflection.

Grade 6 Very good

•Demonstrates: detailed knowledge and understanding of the media used, with appropriate and consistent use of terminology to communicate this understanding.

•Effective use of research, investigation and technical skills.

•Understanding of artistic intention and engagement with the artistic process demonstrated in development of ideas, creativity and critical reflection.

Grade 5 Good

•Demonstrates: sound knowledge and understanding of the media used, with appropriate use of terminology to communicate this understanding.

•Research, investigation and technical skills are evident and sometimes well developed.

•Evidence of understanding of artistic intention and the artistic process and development of ideas, creativity and critical reflection.

Grade 4 Satisfactory

•Demonstrates: secure knowledge and understanding of the media used, with appropriate use of terminology to communicate this understanding.

•Research and/or investigation skills are evident but not well developed.

•Some understanding of artistic intention and the artistic process, that is, understanding of the work of others, the student’s own work and the connections between these.

•Some evidence, through the student’s own work, of understanding of the artistic process. Technical skills are evident but not necessarily well developed.

•There is some evidence of development of ideas and some evidence of creativity and critical reflection.

Grade 3 Mediocre

•Demonstrates: basic knowledge and understanding of the media used, with some use of terminology to communicate this understanding.

•There is evidence of research and/or investigation but this remains undeveloped.

•Partial understanding of artistic intention, that is, understanding of the work of others and the

•student’s own work.

•Evidence in the student’s own work of limited artistic process and technical skills.

•Creativity and critical reflection emerge occasionally in the work.

Grade 2 Poor

•Demonstrates: little knowledge and understanding of the media used, with limited use of terminology.

•There is evidence of superficial research and/or investigation.

•The student’s own work demonstrates very limited artistic process, technical skills, creativity and critical reflection.

Grade 1 Very poor

•Demonstrates: very little knowledge and understanding of the media used, with inadequate use of terminology.

•Irrelevant research and/or investigation.

•The student’s own work demonstrates almost no artistic process, technical skills, creativity or critical reflection.

May 2011 – overall grade boundaries

Standard level group performing

Grade: 1 2 3 4 5 6 7

Mark range: 0 – 14 15 – 31 32 – 49 50 – 61 62 – 74 75 – 86 87 – 100

Standard level solo performing

Grade: 1 2 3 4 5 6 7

Mark range: 0 – 14 15 – 31 32 – 51 52 – 63 64 – 71 72 – 83 84 – 100

Component grade boundaries

Solo performing (HL/SLS)Grade: 1 2 3 4 5 6 7

Mark range: 0 – 3 4 – 7 8 – 11 12 – 13 14 – 16 17 – 18 19 - 20

Group performing (SLG) Grade: 1 2 3 4 5 6 7 Mark range: 0 – 3 4 – 7 8 – 12 13 – 14 15 – 15 16 – 17 18 – 20

Paper 1 (Listening paper) (SLS, SLG, SLC)

Grade: 1 2 3 4 5 6 7

Mark range: 0 – 12 13 – 25 26 – 41 42 – 54 55 – 66 67 – 79 80 – 100

Primer slušnega izpita_maj_2011 / Section AEither

1. Symphony No. 41 in C Major, K. 551 “Jupiter”by W A Mozart

In movement four (“Molto Allegro”) locate the principle themes found in the

exposition and discuss Mozart’s treatment of these themes in either the development

(bar/measure158–224) or the coda (bar/measure356–end). [20 marks]

Or

2. El Salón México by A Copland

Demonstrate the rhythmic sophistication found in Copland’s El Salón México by

discussing at least four elements/features in the passage between rehearsal numbers

11–27(bar/measure103–267). [20 marks]

3. Symphony No. 41 in C Major, K. 551 “Jupiter”by W A Mozart and El Salón México

by A Copland

Through the link of thematic development, compare Copland’s El Salón México to

any one movement (with exception of the fourth movement) of Mozart’s “Jupiter”

Symphony. [20 marks]

Primer slušnega izpita_maj_2011 / Section B

Either

4. Short Ride in a Fast Machine by J Adams (no score provided)

Analyse,examine and discuss in detail what you hear in this extract. [20 marks]

Or

5. First movement from Symphony No. 1, Op. 25 “Classical” by S Prokofiev (score provided)

With clear reference to the score provided, analyse, examine and discuss in detail what you hear in this extract. [20 marks]

6. Unidentified Piece (no score provided)

Analyse, examine and discuss in detail what you hear in this extract. [20 marks]

7. Unidentified Piece (no score provided)

Analyse, examine and discuss in detail what you hear in this extract. [20 marks]

MARKSCHEMEShort Ride in a Fast Machine by J Adams (no score provided)Musical elements

The track consists of a number of passages with thick, chordal textures, set against the consistent tapping of a wood block and other instruments playing various subdivisions, which overlap and create shifts of patterns against the beat, giving rise to irregular and fast-changing rhythms.

Musical structure

There are many possible interpretations of the structure of this excerpt. Here is one of them. However, candidates are not expected to give such detail.

0:00 The wood block starts alone, playing fast crotchet beats, quickly joined by ostinato on the clarinets and then four trumpets playing a major triad with added 6th on the strong beat. Introduction of other instruments – woodwind, lower brass.

0:14 New chord (one tone lower) intermeshed with the opening chord, followed by flute and piccolo flourishes and addition of snare drum.

0:34 Rhythm briefly becomes more regular before developing into polyrhythms.

0:39 The flute and piccolo flourish is extended.

1:02 New section, with new major chord, bass drum and strings, with a gradual addition of instruments, notes and increasingly complex harmonic material building to a climax –French horns have hunting calls/rips.

1:40 New section, lower pitched wood block with tambourine, and the bass section seemingly in a different time signature, with trumpet stab chords slowly increasing in frequency. Chords with added notes, and a building of dissonant texture.

2:31 New bass theme repeated in lower instruments of the orchestra.

Musical terminology

Some of the words that could be relevant to criterion C include (but are not limited to):

rhythmic ostinato, cross rhythms, regular pulse, metric displacement, motivic, homophonic chords,

layering, polyrhythm, polymeters, dissonance.

Musical context

• American.

• John Adams – born in 1947.

• Minimalist.

• This piece dates from 1986.

• Commissioned for the Great Woods Festival and premiered by the Pittsburg Symphony Orchestra. Hence the original title “Fanfare for Great Woods”.

• Some candidates may relate this excerpt to film music.

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