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.
Middle
Years
Ages 11 - 16
Primary
Years
Ages 3 - 12
Diploma
Ages 16 - 19
Curriculum
Student assesment
Professional
development
School evaluation
hhh
POSLANSTVO IB
•
•
•
IB si prizadeva ustvariti program, ki bi dijakom
omogočal, da bi se razvili v vedoželjne, strpne
in sočutne ljudi, ki bi pomagali pri ustvarjanju
lepšega sveta in miru v svetu – z medkulturnim
razumevanjem in spoštovanjem.
S tem namenom IB sodeluje s šolami ter
vladnimi in mednarodnimi organizacijami, ki ji
pomagajo pri razvijanju zahtevnim učnih
programov
na
področju
mednarodnega
izobraževanja ter pri natančnem in temeljitem
preverjanju znanja.
Ti programi spodbujajo dijake po vsem svetu k
aktivnosti, sočutju in vseživljenjskemu učenju,
pa tudi k razumevanju in sprejemanju drugih in
drugačnih ljudi.
PROFIL DIJAKA V MEDNARODNI
MATURI - MM
IB learners strive to be:
raziskovalen
senzibilen in
empatičen
sposoben
refleksije
načelen
vedoželjen
miselno
konstruktiven
svobodomiseln
misleč
komunikativen
pripravljen
tvegati
•
Inquirers
•
Knowledgeable
•
Thinkers
•
Communicators
•
Principled
•
Open-minded
•
Caring
•
Risk-takers
•
Balanced
•
Reflective
GROUP 6
FILM, THEATRE, VISUAL ARTS,
DANCE*, MUSIC / GLASBA
SL – osnovni nivo
HL – višji nivo
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 performing
SLS (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
INTERNA
OCENA
PERFORMING
MUSICAL LINKS
INVESTIGATION
EKSTERNA
OCENA
LISTENING
PAPER
KONČNA
OCENA
EKSTERNO OCENJEVANJE
osnovni nivo (SL)
75 UR
50% 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)
Question 6 (20 marks)
Question 7 (20 marks)
MUSICAL LINKS INVESTIGATION
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)
20%
INTERNO OCENJEVANJE
osnovni nivo (SL)
75 UR
50% 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 OCENJEVANJE
Pisni 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
Section A
Section B
Section C
HL 3 hours
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
Question 4 or
question 5
Analyse and
examine question:
western art music
Question 4
Question 5
Analyse and
examine question:
western art music
Question 6
Question 7
Analyse and
examine question:
jazz/pop, world
music
Question 6
Question 7
Analyse and
examine question:
jazz/pop, world
music
/
/
Question 8
Compare and
contrast question:
two extracts from
section B
KRITERIJI EKSTERNEGA OCENJEVANJA
PISNI 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
0
Level descriptor
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 of
musical 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 elements
This 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.
Marks
Level descriptor
0
The work does not reach a standard described by the descriptors below.
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 structure
This criterion concerns the student’s ability to perceive the principal structural
features of each extract.
Marks
Level descriptor
0
The work does not reach a standard described by the descriptors
below.
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 terminology
This criterion concerns the student’s knowledge of musical terminology and its
appropriate use.
Marks
Level descriptor
0
The work does not reach a standard described by the descriptors
below.
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 context
This 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.
Marks
Level descriptor
0
The work does not reach a standard described by the descriptors
below.
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 OCENJEVANJA
SOLISTIČNI 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.
Marks
Level descriptor
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 the
selected presentation.
Marks
Level descriptor
0
The work does not reach a standard described by the descriptors below.
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.
Marks
Level descriptor
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.
Marks
Level descriptor
0
The work does not reach a standard described by the descriptors below.
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 OCENJEVANJA
USTVARJANJE (CREATING) – SLC, HL
OCENE v programu mednarodne mature
1-7
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
Mark range: 0 – 14
2
15 – 31
3
32 – 49
4
50 – 61
5
62 – 74
6
7
75 – 86
87 – 100
6
7
Standard level solo performing
Grade:
1
Mark range: 0 – 14
2
15 – 31
3
32 – 51
4
52 – 63
5
64 – 71
72 – 83
84 – 100
Component grade boundaries
Solo performing (HL/SLS)
Grade:
1
Mark range: 0 – 3
2
4–7
3
8 – 11
4
12 – 13
5
14 – 16
6
17 – 18
7
19 - 20
Group performing (SLG)
Grade:
1
Mark range: 0 – 3
2
4–7
3
8 – 12
4
13 – 14
5
15 – 15
6
16 – 17
7
18 – 20
Paper 1 (Listening paper) (SLS, SLG, SLC)
Grade:
1
Mark range: 0 – 12
2
13 – 25
3
26 – 41
4
42 – 54
5
55 – 66
6
67 – 79
7
80 – 100
Primer slušnega izpita_maj_2011 / Section A
Either
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).
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).
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]
[20 marks]
[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]
MARKSCHEME
Short 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.
MLI - primer
CREATING - primer