Download MLI: STEP TWO ANALYSIS The MLI`s focus is on critical analysis

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.
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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.
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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.
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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.
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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:
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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