Presenting - Sample 1 (Grade 7)
Presenting Music - FULL Portfolio
This portfolio consists of two pieces for Presenting as a Creator, the first of which utilises electronic instrumentation and digital automation to replicate a futuristic atmosphere (AOI4), and the other, a film-music composition representing the despair of war (AOI3). For Presenting as a Performer, the student has selected Mozart’s Rondo Alla Turca and Liszt’s Consolation No. 2 (both AOI2), an adaptation of Joe Hisaishi’s Il Porco Rosso Main Theme (AOI3), and Chopin’s Mazurka Op. 24 No. 3, which reflects the composer's Polish identity (AOI1).
“Phoenix Rising” Photo by Gor Davtyan on Unsplash
These student sample pages intend to offer insight with regard to expectations and the application of the assessment criteria. It is hoped that by presenting a detailed understanding of each of the assessment criteria, your own portfolio will be suitably prepared.
You may wish to also visit HERE with tips on how you can maximise your marks.
Upload 1: Programme Notes, Justifying the Areas of Inquiry
For the submission of the cover sheet (this is known as 6/MPM), you will need to visit MyIB, but for a complete summary of ALL the forms that need to be submitted, you may visit HERE.
Upload 2: Accompanying Audio
Section 2: Tracklist (for audio file)
NOTE:
The gap between the end of Inspired (2'53") and the start of A Phoenix Reborn (2'54") is barely a second, making the two compositions difficult to distinguish.
NOTE:
While this student's timings are within the time constraints (5'58" for the creating portion and 11'48" for performing, excluding the gaps), it is important to be reminded of the stern warning that has been issued by the IB with regard to the stipulated limits for all components:
A reminder has been added to the Diploma Programme (DP) Music Guide (first assessment 2022) that all submissions for assessment must adhere to the maximum stated limits, and in the event (that)… stated limits are exceeded, examiners will only assess the work that falls within those prescribed limits.
Released on July 29, 2025, on ibo.org's Programme Resource Centre (PRC)
Teachers can read more about this HERE.
Summary
Total creating time: 5'58" (can be up to 6 minutes)
Total performance time: 11'48" (can be up to 12 minutes)
Presenting as a Creator
0:00 – 2:53 – Inspired
Role: Creator
Area of Inquiry IV: Music Technology in the Electronic and Digital Age
2:54 – 5:58 – A Phoenix Reborn
Role: Creator
Area of Inquiry III: Music for Dramatic Impact, Movement and Entertainment
Presenting as a Performer
6:00 – 9:46 – Mozart – Piano Sonata No. 11, 3rd Movement (Rondo Alla Turca)
Role: Performer
Area of Inquiry II: Music for Listening and Performance
9:51 – 12:34 – Liszt – Consolation No. 2 in E Major
Role: Performer
Area of Inquiry II: Music for Listening and Performance
12:40 – 15:30 – Joe Hisaishi – Il Porco Rosso Main Theme (ABRSM Grade 8 Adaptation)
Role: Performer
Area of Inquiry III: Music for Dramatic Impact, Movement and Entertainment
15:35 – 17:48 – Chopin – Mazurka Op. 24 No. 3
Role: Performer
Area of Inquiry I: Music for Sociocultural and Political Expression
Results and Comments
This student received a grade of 7 for this Presenting portfolio with a mark of 37 (out of 38). Anything equating to 33 points or higher resulted in a grade of 7 for this assessment period.
You may discuss with your teacher more about the grade boundaries for this assessment period and others.
You should discuss the findings in the Subject Reports with your students to give them greater insight into precisely what the examiners are looking for and how marks are being awarded.
Here is a non-definitive criteria breakdown with comments based on these results (although the final total is actually what the student was awarded).
Teachers and students need to USE the criteria to help build an UNDERSTANDING of the assessment of this component. Before opening up the criteria comments, students and teachers should visit Using the Criteria - Student Exercise
Criterion A: Programme Notes
A total of 6 points is possible.
Guiding questions:
Does the student's program address the four areas of inquiry?
How well are the student's program choices justified?
Music Subject Guide / Internal Assessment
In each of the programme notes, the student has stated the following in reference to the FOUR Areas of Inquiry:
- As a Creator - AOI3 and AOI4, AND
- As a Performer - AOI1, AOI2 and AOI3.
Thus, the student has satisfied this important assessment requirement that ALL FOUR AREAS OF INQUIRY must be represented collectively with the creating and performing materials.
Inspired – Area of Inquiry IV: Music Technology in the Electronic and Digital Age
In addressing AOI4, students are required to demonstrate how electronic and digital features appear within their composition and how these aspects contribute to its overall effect. The student here has established a clear distinction between the sound worlds of the "inspired" and the "uninspired," with the former representing an otherworldly, futuristic society. Within this context, technology serves a highly specific function; without it, the music would fail to fulfil its intended purpose.
The student has mentioned the use of reverb, attack, sustain, and decay, as well as filters, to articulate a clear sonic distinction between these two worlds. These elements contribute to contrast throughout the work.
The accompanying screenshots are directly relevant to the text, illustrating specific examples of automation and filter usage in practice.
Notably, the student concludes with the assertion that the composition would:
"not have been possible through traditional live performance."
This statement aligns precisely with what examiners are looking for in relation to the justification of the Area of Inquiry, as it demonstrates a critical understanding of the unique capabilities and expressive potential of electronic and digital media.
Although this is a very strong submission, here are some additional tips that one may consider to strengthen the programme notes further:
- It is recommended that explicit figure references are inserted directly in the text (such as, "as shown in Fig. 1"). Linking the written justification directly to visual DAW screenshots is explicitly highlighted in the IBDP examiner reports.
- The inclusion of the time stamps would also be helpful in this respect (of which there are none here).
- There is a recommendation in the Subject Reports for students to adopt a third-person, academic tone to sharpen the academic focus and potentially save the word count. A narrative-style phrasing may also be lengthier. This is a particularly important point given the limitations with the word count here.
- There is no mention of research here. It would be good to demonstrate that other similar works were included either as reference or inspiration, along with any production literature. For example, Kraftwerk's futuristic soundscapes or articles on synthesis/filter modulation to further justify why these sound design techniques fit AOI 4.
The phrase "A combination of synthesised strings, bells, and pads" is somewhat general. It would be good to adopt more precise technological terms, such as low-pass filter cut-off frequency sweeps, envelope attack times, or reverb decay parameters. This would demonstrate more sophisticated technical vocabulary.
Here is a rewritten version of the justification for the first of the compositions:
Composed in Ableton Live, Inspired explores the futuristic aesthetic of machine-driven soundscapes (Kraftwerk, 1978). The piece contrasts states of inertia and creativity by manipulating synthesised strings, bells, and pads. Automation of low-pass filter cut-off frequencies and envelope attack times (0:45-1:15; see Section 3, Fig. 1) creates dynamic timbral motion. Reverb decay and high-pass filter sweeps (1:50-2:20) alter spatial depth, establishing an otherworldly ambience unattainable through acoustic performance alone.
This version comes in at only 68 words, as opposed to the 102 words that were submitted.
A Phoenix Reborn - Area of Inquiry III: Music for Dramatic Impact, Movement, and Entertainment
With this Area of Inquiry, students are required to demonstrate how compositional devices actively support a dramatic narrative, visual imagery, or emotional trajectory. The student here has established a clear film-scoring context, framing the work around the contrast between the "grandeur and despair of war" and the perseverance of leadership. Within this context, orchestral storytelling serves a clear function; every musical choice is explicitly linked to driving the dramatic arc of the scene.
The student has focused on specific musical elements, such as initial minor-key harmonisation between strings and French horns, soloist-versus-ensemble leadership roles, metric tension through triplets against simple metre, and a final parallel major modulation. These elements contribute effectively to building narrative tension, depicting struggle, and ultimately conveying a sense of renewal and hope.
The accompanying score excerpt relates directly to the text, illustrating key structural moments such as the solo violin alongside the ensemble entry and the metric juxtaposition.
Notably, the student grounds the justification entirely in musical techniques rather than relying on non-musical anecdotes or vague background descriptions (which has been mentioned repeatedly in the subject reports (see May 2024 Subject Report, for example). This approach demonstrates a clear understanding of how orchestration, tonality, and metre function as primary tools for dramatic storytelling.
Here are some additional points worth considering:
- As mentioned earlier, the use of explicit score figure references and the inclusion of precise timestamps would help to guide the examiner
- There are opportunities for the students to demonstrate that research has been conducted into orchestral film music conventions as well, which would help to ground the justification in established AOI 3 practices.
A rewritten version could look something along these lines:
Composed for orchestral forces, “A Phoenix Reborn” utilises cinematic scoring conventions (cf. Zimmer's Inception) within AOI 3 to depict the narrative arc of conflict and heroic perseverance. An opening D minor melody harmonized across low strings and French horns (see 2:53-3:40 and Fig. 2) establishes battle-scale tension. Metric tension generated by triplet ostinatos against a simple quadruple metre (see 4:10-4:50) evokes struggle, anchoring a virtuosic solo violin texture that symbolises leadership amidst chaos (particularly at 4:55). A climactic parallel major modulation to D major reinforced by brass fanfares (see 5:35-6:00 and Fig. 3) resolves the dramatic tension, conveying renewal and hope.
Wolfgang Amadeus Mozart - 11th Piano Sonata’s 3rd movement (Rondo Alla Turca)
Area of Inquiry II: Music for Listening and Performance
For AOI 2, students are required to demonstrate how a work expresses intrinsic aesthetic values ("absolute music") created specifically for concert listening and solo performance practice. The student's focus here helps to frame Mozart’s famous work within 18th-century Classical performance practice, focusing on touch, articulation, and dynamic shading as central aesthetic vehicles.
“Turkish Military” Photo by Tiago Ferreira on Unsplash
The student provides scholarly grounding by citing primary historical research (Türk, 1789) and secondary musicological analysis (Riggs, 1996) regarding "heavy and light execution" to justify their interpretative choices. Thus, there is a link between performance technique (light pedalling, crisp articulation, dynamic fluctuations) to historical performance practices, rather than, as with many attempts to justify this AOI by relying on generic descriptions of tempo or simplistic observations of the musical features.
The accompanying score illustrates moments where terraced dynamics can be incorporated and dynamic graduations are applied to melodic contours.
There is therefore an understanding of Classical touch and articulation, which are intrinsic aesthetic values of the era, and therefore directly connected with AOI 2.
Here are some further points that may be worth considering:
- It would be beneficial if the rhythmic and melodic elements of Janissary music, which is clearly recognisable here, could have been mentioned. Although Mozart has not adopted it in any authentic manner (Jefe, 2025), there is a case to be made for aesthetic values in the synthesis of Eastern rhythmic motifs reframed through Western European classical sensibilities.
Here is a rewritten version with this focus in mind:
Mozart's “Rondo Alla Turca” exemplifies Area of Inquiry 2 through its 18th-century keyboard adaptation of Ottoman Janissary military band conventions (Jefe, 2025). Rather than copying authentic Ottoman modal structures, Mozart synthesises Eastern martial rhythms with Western classical functional harmony (Jefe, 2025). The performance emulates Janissary percussion textures on the solo piano: crisp, non-legato right-hand articulation simulates triangle and bell timbres, while percussive left-hand bass accents replicate bass drum and cymbal crashes (see 6:00-7:15 and Fig. 7). Minimal damper pedalling and disciplined march tempo maintain textural transparency and historical performance practice.
Bibliography
Jefe. (2025, December 23). Unraveling Mozart's Turkish march: A European interpretation of Ottoman music. Pil Pil Music. https://pilpilmusic.com/unraveling-mozarts-turkish-march-a-european-interpretation-of-ottoman-music/
Franz Liszt - Consolation, No. 2, in E Major
Area of Inquiry II: Music for Listening and Performance
In justifying AOI for this particular work, it is recommended that the student demonstrates how the piece embodies 19th-century Romantic concert repertoire, focusing on perhaps expressive individuality, lyricism, and advanced keyboard technique. The student does just that by initially framing Liszt’s Consolation No. 2 around the challenge of voicing a lyrical cantando melody over complex arpeggiated textures.
There is an academic citation (Hamilton, 2005) to justify their use of rubato, but the dynamic restraint seems to be an individual choice. This feeds nicely into Criterion C in which the top banding expectation is that the student personalises their performance decisions. Including the effect of these decisions (to produce a melancholic tone) is therefore not merely arbitrary, but connects to 19th-century Romantic aesthetics.
This is a very strong submission, which clearly justifies the AOI and grounds the interpretative choices.
The above image is very helpful as well, in that it illustrates some of the complex hand placement whilst still aiming to achieve a specific and unified touch.
Joe Hisaishi’s - Il Porco Rosso Main Theme
Area of Inquiry III: Music for Dramatic Impact, Movement, and Entertainment
In addressing AOI 3, the candidate correctly selects a piece specifically composed for film narrative (Porco Rosso from Studio Ghibli), avoiding the common error highlighted in IB Subject Reports of using pre-existing classical music that was merely placed in a film (see Subject Reports such as May 2025 and Nov 2022). The student connects Hisaishi’s musical devices, such as introductory rubato, swung melodic phrasing, thematic development, and octave doubling, to character arc and dramatic mood.
Here is one additional point worth considering in relation to the justification of AOI3:
The Subject Reports (May 2022 in particular) and the Additional Guidance document (see HERE for a summary) mention that it is important that students do NOT spend significant time explaining plot details - there is only a hint of that here, but it is still worth mentioning nonetheless. It is best to cut plot summaries to allow the focus to be on the musical elements.
Thus, this set of programme notes could have appeared as follows, which would be more focused on musical features in relation to the synopsis:
Performed on solo piano, Hisaishi’s main theme exemplifies AOI 3 through character leitmotif and dramatic atmosphere. Written in a nostalgia-infused jazz-ballad idiom, the performance utilises expressive rubato and subtle swung quaver sub-divisions (see 12:40-13:30 and Fig. 1) to project an introspective, dream-like reflection. As the theme develops (see 13:35-14:40), octave doubling in the right-hand melody amplifies textural warmth and dynamic intensity (see 14:45-15:30 and Fig. 2). This textural growth transforms the opening melancholic tone into a hopeful cadential resolution, musically mirroring the protagonist's dramatic redemption.
Frédéric Chopin - Mazurka Op. 24 No. 3
Area of Inquiry I: Music for Sociocultural and Political Expression
In addressing AOI 1, the candidate positions Chopin’s Mazurka Op. 24 No. 3 around Polish sociocultural tradition and national identity. The student links specific folk-dance characteristics, such as 3/4 metre, anacrusis, dotted rhythms, syncopation, and irregular accents on the second or third beat, directly to Chopin’s expression of Polish heritage.
Furthermore, the note includes academic citations (Buja & Buja, 2021) to justify these cultural links, fulfilling the expectations for research-grounded performance justifications.
The musical example provides evidence of these observations.
Results
The candidate has successfully met the fundamental requirement by fully addressing all four Areas of Inquiry (AOIs) across their submitted creations and performances. The programme notes establish purposeful and competent links between the selected repertoire and the specific requirements of each area of inquiry, supported by academic citations and clear visual evidence.
For the creating submissions, the justifications operate at a technical and functional level rather than relying on personal stories.
In the performing works, the candidate elevates the notes by grounding interpretative choices in scholarly research.
Overall, this submission demonstrates accomplished technical vocabulary, academic tone, and strong alignment between written commentary and visual evidence.
It is likely that this candidate received 6 points out of a maximum of 6 points for this particular assessment criterion.
A total of 12 points is possible.
Guiding question:
How evident are musicality and technical proficiency in the created works?
Music Subject Guide / Internal Assessment
Inspired - Area of Inquiry IV: Music Technology in the Electronic and Digital Age
The piece opens with a simple melody and accompaniment, the melodic material of which becomes the mainstay of the composition, recurring in varied forms throughout. At 0′27″, closely related material is transformed into a distinctly futuristic version, marked by a sparser accompaniment, sweeping arpeggios, a completely different sonic palette, and an increase in volume - this is the "otherworldly" quality referenced in the programme notes.
New contrasting sounds enter at 0′49″, where the rhythmic pacing creates a sense of slowed momentum and further contrast. The opening motive returns at 1′08″ with new sound sources, and the register expands at 1′20″ with the addition of a deep bass, providing yet another form of contrast.
While the harmony remains relatively simple throughout, contrast is achieved principally through texture, timbral layering, and the manipulation of melodic elements, sustaining interest across the work's highly sectional yet individually distinct structure. A coda-like section begins at 1′51″, notable for the introduction of new melodic material alongside fragmented references to the original motif - a somewhat Beethovenian gesture - before the music dies away.
The modified parameters (reverb, attack, delay, and sustain) are particularly evident in the slower passage beginning at 0′49″, reinforcing the contrast between the inspired and uninspired states. The candidate's use of production techniques serves a deliberate expressive purpose, with the oscillation between different states of being clearly recognisable as the piece unfolds.
A Phoenix Reborn - Area of Inquiry III: Music for Dramatic Impact, Movement and Entertainment
The piece opens simply, with four bars of chords that nonetheless carry a dramatic weight. These function as a harmonic foundation, a backdrop against which the melodic material unfolds (see in RED below).
The main motive is a simple syncopated interval sometimes extending to a fifth, sometimes to a fourth and is therefore inversionally related, a property the student appears to play off as the piece develops. The motive also shifts its rhythmic identity: from bar 9 it appears in triplet form, while a more basic version recurs elsewhere. The violin first announces the motive in solo form at bar 9, but it has already appeared in syncopated form from bar 5, almost foreshadowing how it will function in the main section beginning at bar 10.
The violin, as the programme notes state, represents the leader - and a defiant one. Its solo status is announced before the main theme is presented, and there is a certain majesty within that interval, reinforced by the combination of a full complement of strings with horn and trumpet. Some of the writing, particularly for horn, is not especially idiomatic, but the fifth continues to be referenced in different forms throughout. At bars 32 and 33, for instance, the interval appears in semiquavers and then immediately after in quavers - a diminution of rhythmic attributes that maintains uniformity across the material (see in ORANGE below).
From bar 40, the solo violin presents its lone-leader section, and its placement is meaningful: it occurs during the climactic passage, functioning almost as a moment of pause and reflection. The final section is triumphant, brought about by the change of key and the full instrumentation at bar 44.
There is some slightly odd writing for double basses; not sure whether these are double stops or divisi, as it is unclear from the score, and harmonically there is not a great understanding of traditional harmonic practices. This can be overlooked somewhat, however, given how thoroughly the score documents precisely how the student wants the music played. The abundance of performance indications achieves its effect.
NOTE:
Many students underestimate the value of the programme notes. Here, the student has explained the intent of the music very clearly, along with the function of different instruments within that narrative. Since this is an AOI3 submission (Music for Dramatic Impact, Movement and Entertainment), this is essential in ensuring examiners view the work from the point of view of the student's intentions.
It is therefore essential that you present programme notes that assist the examiner in knowing precisely what to listen for, and in what capacity.
The student has synthesised the creating conventions in the musical material in both pieces with strong technical proficiency. These pieces would likely receive a collective total of 12 marks (out of a possible 12).
A total of 12 points is possible.
Guiding question:
How evident are musicality and technical proficiency in the performed works?
Music Subject Guide / Internal Assessment
Mozart – Piano Sonata No. 11, 3rd Movement (Rondo Alla Turca)
Area of Inquiry II: Music for Listening and Performance
In performance, the student's tempo is steady and not particularly rushed, which is often the case with this piece. There are nice dynamic contrasts, a good balance between the hands, and the cadence points are generally well handled, though occasionally they can be a little too emphasised. There is some unevenness in the right hand in the quicker semiquaver passages, but the octave work is strong, and the split octave work at the end is competent as well. The touch can be a little heavy at times, but this comes down to the nature of the Ottoman military bands Mozart was emulating - that harshness could well be appropriate.
Liszt – Consolation No. 2 in E Major
Area of Inquiry II: Music for Listening and Performance
There is a nice touch to begin with, but perhaps there could be greater rubato, though that is the site author's personal preference. Similarly, there could be more expressive elements in how the material unfolds. Technically it is strong. The section where the left hand needs to be brought out is achieved well, and there is nice timbral contrast (in the form of touch) adopted as well. It finishes in a very poignant manner that is quite dramatic.
Joe Hisaishi – Il Porco Rosso Main Theme
Area of Inquiry III: Music for Dramatic Impact, Movement and Entertainment
There is an appropriate degree of pedal, which can often be overdone in these sorts of pieces. The playing is very expressive, with lovely contrasts in dynamics and touch, and an appropriate degree of tempo fluctuation. The tremolo section is handled well, and there are no obvious technical difficulties with this piece.
Chopin – Mazurka Op. 24 No. 3
Area of Inquiry I: Music for Sociocultural and Political Expression
The student draws attention to the research that has been completed to bring out the obvious characteristic of the Mazurka dance - accents that normally appear on the weaker beats, beats 2 and 3. The flow does seem to be interrupted at times by a lack of appropriately incorporating the grace notes, so that is an area requiring some attention. Nonetheless, there are lovely individual expressive elements, and technically this is very strong.
A total of 8 points is possible.
Guiding question:
How effective is musical communication in the different roles?
Music Subject Guide / Internal Assessment
The candidate's portfolio demonstrates accomplished and purposeful musical communication in the roles of creator and performer. Musical intentions within these roles are clearly realised, enabling a coherent and engaging understanding of the selected works.
As a creator, musical communication is resourceful and stylistically assured. In Inspired, the intention to depict an oscillation between states of inertia and creativity is compellingly realised through textural contrast, timbral transformation, and the deliberate manipulation of production parameters. The recurrence of the opening melodic material in varied forms, the expansion of register, and the introduction of new material within the coda demonstrate imaginative structural control.
In A Phoenix Reborn, the aim to convey the grandeur and despair of war is communicated with clarity through the solo violin's symbolic leadership, the metric tension between triplets and simple metre, and the triumphant parallel major modulation. The abundance of performance indications in the score reflects a precise and committed creator.
In the performer role, musical communication is expressive and technically assured. The performance of Mozart's Rondo Alla Turca communicates a stylistically informed understanding of Classical touch and articulation, with well-judged terraced dynamics and a steady, unrushed tempo.
The interpretation of Liszt's Consolation No. 2 conveys lyrical sensitivity and tonal control, with the cantando melody clearly projected above the arpeggiated accompaniment.
The performance of Hisaishi's Il Porco Rosso Main Theme demonstrates a personalised engagement with the work's nostalgic and dream-like character, realised through expressive rubato, pedalling, and dynamic shading.
The interpretation of Chopin's Mazurka Op. 24 No. 3 communicates an awareness of Polish folk-dance conventions, with accents appropriately placed on the weaker beats, though the flow is occasionally interrupted by the handling of grace notes.
It is suspected that the candidate was awarded 8 marks (out of a possible 8) for this criterion.
Summary of Marks
Here is a summary of the marks that were ultimately awarded and likely awarded for the individual criteria.
| Criterion | Details | Marks Allotted | Marks Awarded |
| A | Programme Notes | 6 | 6 |
| B | Musicality and Technical Proficiency of Created Works | 12 | 12 |
| C | Musicality and Technical Proficiency of Performed Works | 12 | 11 |
| D | Musical Communication | 8 | 8 |
| Total | 38 | 37 |
Remember that although the total was the definitive mark from the IB, the individual criterion points are those generated by the site author. In the May 2026 assessment period a mark of 37 points would render the student a “7” for this component.
Teachers can click HERE for a summary of the Subject Report for May 2026.