Internal assessment
• The highest level descriptors do not imply faultless performance but should be achievable by a
student. Teachers should not hesitate to use the extremes if they are appropriate descriptions of the
work being assessed.
• A student who attains a high achievement level in relation to one criterion will not necessarily attain
high achievement levels in relation to the other criteria. Similarly, a student who attains a low
achievement level for one criterion will not necessarily attain low achievement levels for the other
criteria. Teachers should not assume that the overall assessment of the students will produce any
particular distribution of marks.
• It is strongly recommended that the assessment criteria be made available to students.
Experimenting with music
Weighting: SL 30%; HL 20%
In this assessment component, students prepare a report explaining the processes for a series of musical
experiments in creating and in performing based on selected stimuli. Submissions will feature experiments
with unfamiliar musical material from local and global contexts. The focus of this assessment task is not
on preparing completed and polished works. Instead, the chosen excerpts are a demonstration of the
experimentation process. The table below shows an overview of the focus for the assessment and the
evidence collected.
The assessment task requires students to: This is evidenced in:
• submit a well-organized report that presents Experimentation report
the student’s work in a relevant and • a clear rationale to guide the writing
informative way
• a coherently structured commentary
• engage with less familiar or unfamiliar music explaining the process of experimentation and
(for example, through choosing different areas its outcomes in relation to the practical work.
of inquiry and considering local and/or global
contexts)
• identify how their musical findings relate to
the practical work and integrate them.
• identify and respond to musical prompts and Musical excerpts
stimuli • three excerpts of the student’s
• experiment with unfamiliar elements experimentation as a creator
• apply findings to inform the experimentation • three excerpts of the student’s
process experimentation as a performer.
• make musical decisions to develop practical
work.
As researchers, students investigate and analyse musical material to identify and select relevant
information that informs the process of musical experimentation. Students think critically about how the
findings inform their practical work. In the rationale, students justify the chosen experimentations and
source materials, including the choice of contexts. In the commentary, students explain the
experimentation. Students will reference additional evidence and source materials, as needed, to support
the explanations (for example, images, diagrams, screenshots, scores).
As creators and performers, students demonstrate their process of experimentation with diverse musical
material from local and/or global contexts. As evidence, candidates select from their music journals three
related creating excerpts and three related performing excerpts that exemplify their decision-making and
the process of developing ideas from musical stimuli . Experimenting with music from different areas of
inquiry will allow students to be more diverse in their experimentations, and this will be reflected in their
report. All decisions must be the student’s own decisions and must be sufficiently justified based on musical
research and findings.
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Internal assessment
The practical excerpts must be clearly referenced in the written work. Relevant excerpts from scores will be
embedded into the written text and referred to using bars/measures, beats, parts/voices or other. as
appropriate; audio excerpts will be referenced with timings and uploaded separately in the relevant upload
slot.
Submission requirements
For submission, students prepare a report that presents their work in a relevant, accessible and informative
way. The report is supported by examples from their music journals, which evidence:
• in-depth understanding of music from local and/or global contexts
• a selection of musical findings that is relevant to their practical work and informs the
experimentation process
• experimentation with unfamiliar elements in response to musical prompts and stimuli
• musical decision-making to develop practical work.
Upload 1: Experimentation report
A written report of maximum 1,500 words in two sections: “Creating” and “Performing”. Each section
contains:
• a rationale for the experimentation
• a commentary on the musical decision-making, with clear and accurate reference to the excerpts in
upload 2.
The following are not included in the word count.
• Visual evidence integrated and referred to in the written text, including:
images, diagrams, screenshots, scores for analysed works (as appropriate to the style)
images, diagrams, screenshots, scores for experiments in creating and performing (as
appropriate to the style)
• A track list specifying the contents of the audio file in upload 2 with exact timings and labels of the
excerpts
• Appropriate citations in the text and a list of all source and stimulus material in the bibliography
Packaging upload 1
• All written and visual information must be packaged into a single document (maximum
1,500 words).
• The file must be compiled in the following order.
Section 1: Experimentation report—creating
Section 2: Experimentation report—performing
Section 3: Track list
• Section 4: Bibliography (not included in the word count)
Upload 2: Audio evidence
Audio evidence of maximum 10 minutes, containing:
• three related excerpts of the experiments in creating
• three related excerpts of the experiments in performing.
Packaging upload 2
• All practical evidence must be packaged into a single audio file (maximum 10 minutes).
• The quality of the audio file must allow for a full understanding of the created and/or performed
exercises.
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Internal assessment
Packaging upload 2
• The file should be compiled in the following order.
Section 1: Three related excerpts of the student’s experiments in creating
• Section 2: Three related excerpts of the student’s experiments in performing
Authenticating student work
For all submissions, the teacher must authenticate that the work submitted is the student’s own work. This
is done using the Music—coursework authentication form (6/MCAF).
Assessment criteria
Overview
Name of criterion Marks allocated
A Rationale and commentary for musical experiments in creating 6
B Practical musical experiments in creating 8
C Rationale and commentary for musical experiments in performing 6
D Practical musical experiments in performing 8
Total 28
Criterion A: Rationale and commentary for musical experiments in creating
This criterion focuses on the articulation of a persuasive and logical 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, students 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 student 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?
Marks Level descriptors Possible
characteristics
0 The work does not reach a standard described by the descriptors below.
1–2 • The student’s rationale for musical experiments in creating is Ineffective
ineffective. Inaccurate
• The student outlines the experimentation process with rudimentary Rudimentary
musical decision-making.
Limited
Superficial
3–4 • The student’s rationale for musical experiments in creating is suitable. Inconsistent
• The student describes the experimentation process with reasonable Formulaic
musical decision-making. Sufficient
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Internal assessment
Marks Level descriptors Possible
characteristics
Suitable
Reasonable
5–6 • The student’s rationale for musical experiments in creating is Accurate
purposeful. Proficient
• The student explains the experimentation process with relevant Purposeful
musical decision-making.
Relevant
Competent
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 student conducted a series of purposeful musical experiments?
Is there practical evidence of informed musical decision-making in the musical experimentation process?
Marks Level descriptors Possible
characteristics
0 The work does not reach a standard described by the descriptors below.
1–2 • The student reiterates source material, and the development of musical Ineffective
ideas is limited. Inaccurate
• Practical evidence of musical decision-making is superficial. Rudimentary
Limited
Superficial
3–4 • The student recreates source material, and the development of musical Inconsistent
ideas is formulaic. Formulaic
• Practical evidence of musical decision-making is inconsistent. Sufficient
Suitable
Reasonable
5–6 • The student adapts source materials, and the development of musical Accurate
ideas is purposeful. Proficient
• Practical evidence of musical decision-making is proficient. Purposeful
Relevant
Competent
7–8 • The student transforms source material, and the development of Imaginative
musical ideas is imaginative. Resourceful
• Practical evidence of musical decision-making is compelling. Compelling
Accomplished
Excellent
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Internal assessment
Criterion C: Rationale and commentary for musical experiments in performing
This criterion focuses on the articulation of a persuasive and logical 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, students 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 student 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?
Marks Level descriptors Possible
characteristics
0 The work does not reach a standard described by the descriptors below.
1–2 • The student’s rationale for musical experiments in performing is Ineffective
ineffective. Inaccurate
• The student outlines the experimentation process with rudimentary Rudimentary
musical decision-making.
Limited
Superficial
3–4 • The student’s rationale for musical experiments in performing is Inconsistent
suitable. Formulaic
• The student describes the experimentation process with reasonable Sufficient
musical decision-making.
Suitable
Reasonable
5–6 • The student’s rationale for musical experiments in performing is Accurate
purposeful. Proficient
• The student explains the experimentation process with relevant Purposeful
musical decision-making.
Relevant
Competent
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 effective has the student conducted a purposeful series of musical experiments?
Is there practical evidence of informed musical decision-making in the musical experimentation process?
Marks Level descriptors Possible
characteristics
0 The work does not reach a standard described by the descriptors below.
1–2 • The student reiterates source material, and the development of Ineffective
musical ideas is limited. Inaccurate
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Internal assessment
Marks Level descriptors Possible
characteristics
• Practical evidence of musical decision-making is superficial. Rudimentary
Limited
Superficial
3–4 • The student recreates source material, and the development of Inconsistent
musical ideas is formulaic. Formulaic
• Practical evidence of musical decision-making is inconsistent. Sufficient
Suitable
Reasonable
5–6 • The student adapts source materials, and the development of musical Accurate
ideas is purposeful. Proficient
• Practical evidence of musical decision-making is proficient. Purposeful
Relevant
Competent
7–8 • The student transforms source material, and the development of Imaginative
musical ideas is imaginative. Resourceful
• Practical evidence of musical decision-making is compelling. Compelling
Accomplished
Excellent
The contemporary music maker
Weighting: HL only: 30%
In this assessment component, students prepare a multimedia presentation evidencing the effective
planning and development of a real-life music project.
The assessment task requires students to: Part of the multimedia presentation where
evidence is shown
• choose a feasible project, guided by musical Project plan
intentions and informed by research and
planning
• identify a role in, and collaborators for, the
project.
• select and curate evidence of: Process evidence
the development of a project in line with
their identified role and the project aims
evaluation and decision-making focused
on the musical aims.
• demonstrate musicality and technical Final presentation
proficiency in their identified role.
• organize, structure and present their work in Throughout the multimedia presentation
coherent, logical and informative ways.
Working on the real-life music project involves three stages—much like the processes students will have
become familiar with in the music course.
64 Music guide
