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MLI: STEP TWO ANALYSIS The MLI’s focus is on critical analysis and comparison/contrast of specific musical analysis links in your chosen pieces. The Musical Links Investigation must be YOUR musical analysis and not rely solely on other sources. You may use parts of published analysis found in your research. This analysis must be attributed to the source in the body of the work and listed in the bibliography or works cited section. Criterion B, the most heavily weighted criteria in the rubric, describing the level of analysis necessary: Criterion B: Analysis and Comparison Of Musical Elements This criterion concerns the your ability to analyze and examine, compare and contrast musical elements (such as duration, pitch, timbre/tone colour, texture, dynamics, form and structure) and their significance in the chosen examples. It is marked from 0 – 6. (MUSIC GUIDE, page 37) Marks 6 (Most Heavily Weighted Criterion) Level Descriptor The investigation consistently demonstrates highly effective description, analysis and examination of the musical elements. The work displays well-focused comparison and contrast of the chosen examples. The investigation is accurate. Ideas for practicing analysis throughout the school year Complete assigned listening journals using analysis charts. THE MORE LISTENING ANALYSIS YOU CAN DO THROUGHOUT THE COURSE, the more likely you will develop the necessary skills to do a comprehensive, thorough microanalysis for the MLI. Assignments can consist of listening analysis to be completed as homework can be weekly or biweekly. Keep completed listening charts throughout your SL and HL year. This will include listening charts from class activities as well as independent homework. With a cursory glance, you can find pieces with similar underlined or starred compositional features. A. Analysis Guides You have already used the Venn Diagram and a narrative analysis to confirm your musical links. Below are guides to assist your analysis of aurally identifying the musical elements with the correct music terminology. An IB Music Microanalysis Guide (Developer attach here) Here is a guide I developed for my students. It includes questions to assist you. Use this guide to discover the importance of relationships among the elements of music. For example, the process of discovering the form of a piece includes analyzing elements of change, repetition or variation as well as their relationship to harmony, melody, dynamics, rhythm, etc. Basic Analysis Chart (DEVELOPER INSERT HERE) The adapted chart below is shared material which accompanies the textbook, “The Enjoyment of Music” by Forney and Machlis. This is based upon http://www.wwnorton.com/college/music/enj10/short/content/ch01/moMLI.asp . You could begin by writing in definitions and using this as a guide for the analysis of your pieces. Analysis Guide using ME-ME-HA-ME-FA and more This guide uses Melody-Meter-Harmony-Medium-Form-Developmental Devices-Rhythm as an organizing device. Tips for Writing a Detailed Analysis Using the terminology from the rubric, the MLI “demonstrates highly effective description, analysis and examination of the musical elements…. well-focused comparison and contrast.” Your musical links are the thesis of your paper; the supporting evidence of these links needs to include in-depth analysis and location of the musical events using sustained reasoned argument. IN OTHER WORDS, DIG DEEP!!! Leave no stone unturned! Demonstrate your engagement with the music. In-depth, sustained analysis contains: 1. Supporting musical examples are examples or evidence of your chosen musical analysis links. These examples clearly detail representative locations using extensive music terminology. To receive the highest marks in Criterion C, “ the work consistently displays good knowledge and use of music terminology.” 2. All musical examples events are clearly labeled with instruments/voice, location, why and how this is evidence. Strive to find at least two representative locations in each piece. 2. Evidence is crucial to the success of the MLI and demonstrating your understanding and engagement with the music. Supporting points can be highlighted by: a. notation b. transcription c. optional recorded audio excerpts burned on a CD d. illustrations including diagrams, graphs and charts e. structure and form can be made into comparative lists, etc Tip: Transcribe the music example or insert score notation for the specific measures of musical analysis link, not entire sections or scores unless you want to. 3. Most importantly, use your critical thinking to provide a reasoned argument using music terminology to discuss evidence displayed. HOW AND WHY does this represent the link?* 4. Articulate relationships and interrelationships between the melody, the structure, the harmony, etc using your knowledge of music terminology. Has the music been analyzed melodically, harmonically, structurally, rhythmically, etc ? See the IB Music Microanalysis Guide found above as your guide. *MOST IMPORTANT, whether the musical example is student transcribed, inserted from a score or an audio example on an attached CD, you must analyze its MUSICAL CONTENT. This analysis and its relevance must be discussed in the body of the MLI. Too often music examples are inserted in the script or on an accompaniment CD but the MLI does not clearly articulate the location and specific musical device. The examiner will not do the analysis for you. Eg: ‘In this piece you can hear imitation.’ An example of a correct analysis could be ‘In this piece you can hear the eighth note motive from the first theme imitated between the violins and the cellos from 1:20 – 1:43…..’ and is found in measure 2 of the inserted notation in Fig. 1. Musical examples cannot be a substitute for the candidate’s written analysis. Good musical examples include the specific location or notation of where the musical link or musical event occurs as well as a detailed written description. STUDENT ACTIVITY: FIX THE ANALYSIS Here are miscellaneous examples of candidate analysis. Add comments and questions to help improve the depth of analysis of each of these examples. Candidate One writes: “The flute continues with two repetitions of the opening theme and is joined by a countermelody in the violin. The piano plays an opening theme and then is joined by the flute playing the initial three note motif three times.” (No specific links in this narrative.) Comments and Questions: The obvious error is that the candidate missed the location of the musical events. The following questions might help provide a more in-depth analysis: State the opening theme and exactly where it appears in the music (measure numbers). State measure numbers of each of the repetitions of the opening theme CHRONOLOGICALLY and label the instrument. Indicate if the theme has been altered in any way in the flute part. State measure numbers of the violin countermelody, why it is considered a countermelody, and how it relates to the original flute melody. How is the piano theme related to the flute thematic material? Are there similarities between the two themes? State measure numbers where the piano is joined by the flute. Are the themes played in unison or harmonized in some way? Has the initial three-note motif been altered in any way during the repetition? If so, clearly state how it has been altered and relate to specific measure numbers. Candidate Two writes: “As we can see, the use of ground bass in European Baroque music and the use of chord progression in Chinese popular music are very similar in a way that both of them have a pattern and are limited to the chords that are related to the tonic key.” Links are ground bass and chord progression Comments and Questions: This summary sentence falls into the category of a “generalization.” It is vague and provides little insight into your understanding of “pattern” and “chords related to the tonic key.” Most popular music has chord progressions limited to chords related to the tonic key. Can you dig deeper to uncover WHAT the chord progressions are and WHY they are similar? Can you discuss what is SPECIFIC to the chosen chord progressions using music terminology such as labeling chord progressions, discussing tonality, etc? Locate specific musical events or places where the chord progression is similar and discuss. What is the bassline? How do you know it is a ground bass? CHECK DEFINITIONS and ensure you understand the terminology. Discuss the repetition. How does this relate to the bass line in the Chinese piece? Can you analyze the bass line of the Chinese piece to understand the similarities between the two? (Maybe they are both using the tonic notes only for the bass part) Candidate Three writes: Figure 2 "Pachelbel's Canon." Wikipedia, the Free Encyclopedia. 13 Oct. 2011. Web. 23 Oct. 2011. http://en.wikipedia.org/wiki/Pachelbel's_canon (Citation added by publisher – citation not added by candidate) “Apart from the use of ground bass and chord progressions, there is a frequent use of a compositional device, variation, in both pieces. Variation is a musical device used to repeat a melody, harmony, rhythm or counterpoint in an altered form. In Figure 2, each melodic phrase is divided by color to show how the two measure phrase of melody is imitated to create a higher harmony. The first violin enters in bar 3 by playing the first 2 bar phrased melody in the blue print. Then plays the variation in bar 5 that has the same sequence as the first 2 bar sequence in the blue print. The second violin part imitates the first 2 bar phrased melody in bar 5 as the first violin plays the variation or “descant” that harmonizes the melody. Similarly, the third violin or viola part enters by playing the first 2 bar phrased melody in bar 7, which then was harmonized by the variation by the second violin and a new variation played by the first violin. This harmonic pattern continues throughout the piece.” Comment to Candidate Three: EVIDENCE PROVIDED WITH SCORE! A strong musical example to support analysis of variation in the piece. This is definitely a step in the right direction. There is some confusion in understanding the definition of canon and variation. Can you review the part of our textbook that discussed canon (two, three and four voices), imitation and ground bass? Do you understand the difference between types of variation and canon? MAKE SURE YOU GO BACK AND REVIEW DEFINITIONS OF MUSICAL ELEMENTS to ensure you identify them correctly. You correctly identify a sequence and the entrances. In order to earn full marks for music terminology, you need to correctly use the words “variation” and “canon”. Cite primary sources such as the score. In the actually MLI, the student did not cite his sources. The definition was not cited, nor was the score. Detailed analysis would include how the variation is accomplished from one progression to the next (i.e. a transposition down of a third with a slight change in the final note, the next variation doubles the rhythm and employs contrary motion etc). Fourth line “higher harmony” is an incorrect use of music terminology. Avoid merely describing all the events found in the score. Focus only on the description supporting the musical links. Candidate Four writes: (Note the tracks for the excerpt below are not attached. This is for example only.) Form is the musical analysis link. The form of Loro, is very similar to that of “Cascarón”. “Cascarón” has “A” and “B” sections with inserted “T” sections which act as transition material. “Loro” has “A”, “B”, and a “C” section which both serves as a transition and countermelody. The song opens with an introduction which serves as the structural ostinato on which the rest of the piece is built on. The rhythm and interval structure remain unchanging as the piece progresses though it does get drowned out with the addition of additional voices. This ostinato is played by the bass guitar and guitar as denoted below: (Track 6) Transcription of 8 beat ostinato by student After the first three repetitions of the eight beat ostinato, the “A” section begins at 0:43 with the vocalist, Rob Crow, establishing the melody with a homophonic texture (Track 7). Like the rhythmic ostinato that accompanies this now homophonic piece, the vocal melody has phrases eight beats in length, like “Cascarón”. The “A” section lasts until 1:10, where there is a rhythmic interlude with a shaker playing a scatting style, following a syncopated rhythm (Track 8). The underlying ostinato continues through this interlude. The interlude concludes at 1:24, where the “B” section begins at 1:25. The da da da, of the “B” section serves as the melody, accompanied by that same underlying ostinato in the bass guitar and guitar (Track 9). There are two distinct rhythms in the “B” section, each eight beats in length. B1 B2 Transcribed Rhythms Comment to Candidate Four: First paragraph discusses form for both pieces and moves forward to discuss the introduction of one piece. Is the ostinato part of the introduction or the A section? Be clear. LABEL the notation as Figure One: Ostinato in A section, for example. Use paragraphs to separate points. Additional voices in paragraph one - not necessarily relevant to form unless more detail is added to explanation Second paragraph – Good interrelationship (texture and form) Confusion with using term of “interlude” and term of “transition” earlier. “da da da” – is that in reference to a person scatting? Unclear Title the syncopated rhythm notations by location and instrument performing Rests in notation are not always written correctly. The stronger analysis of the five candidates, student displays the ability to identify and discuss interrelationships with musical examples. He has provided ample support with transcribed scores from both pieces and audio CD tracks. STUDENT ACTIVITY: GRADE SAMPLE MUSICAL INVESTIGATIONS Read through the attached Musical Links Investigations. Rate these MLI’s from lowest to highest scoring. Using the MLI rubric (DEVELOPER ATTACH HERE), grade these MLIs. Write down two strengths and two areas for improvement from each. MLI SCORE STRENGTHS AREAS FOR IMPROVEMENT CANDIDATE ONE CANDIDATE TWO CANDIDATE THREE Read the examiners remarks on the graded MLI’s below and discuss what you learned. Start Writing Your Analysis Using what you have learned, write your analysis. Remember in your first paragraph, list the musical links clearly and the names of your selected pieces. It is crucial the examiner understand the exact name of your musical analysis links. Keep a list of all sources you use for your analysis to be included in your bibliography or works cited page as well as discography. This includes sources for definitions and understanding musical elements. Be sure to keep track and cite the use of all primary and secondary sources. (This will be discussed in more detail later.) STUDENT ACTIVITY: COMPLETE THE CHECKLIST TASK TWO: CHECKLIST FOR ANALYSIS I have clearly named my two musical analysis links and two selected pieces in the first paragraph. (REQUIREMENT FOR THE MLI) The links I have chosen provide an opportunity for a sustained investigation. I have cited at a minimum of two examples for each musical link, preferably three or more. I have written 400 - 600 words for each link. This is a recommendation. Reminder, the entire MLI needs to be fewer than 2000 words. I have used appropriate musical terminology, reviewing and looking up any definitions I am unsure of throughout my analysis. I am aware that, where possible, I need to insert notation (either from a score or my own transcriptions), or optional audio excerpts for an accompaniment CD as well as a detailed description. Other options include the use of diagrams, charts, graphs and lists to highlight analysis. I have keep track of and cited all references used for the analysis including scores, images, articles, etc. Optional, I have shared my analysis with my classmates. Yes