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Experimenting - Sample 2 (Grade 6) May 2026

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Experiment Sample 2 - May 2026

This experimenting sample addresses AoI1 in the creating section and AoI4 in the performing section. The student experiments with the Japanese National Anthem as a local context. There is an attempt to fuse the traditional Japanese melody with contemporary Japanese City Pop. In the performing section there is an attempt to experiment with AoI 4 using the trombone, with the focus being on looking technology in a global context. 

Upload 1: Experimentation Report 

Upload 2: Audio Evidence 

audio-example-2-may-2026-.mp3

Experimenting as a Creator
 

Experiment in Creating, Excerpt 1: 0:00 - 0:46

Experiments in Creating, Excerpt 2: 0:47 - 2:18

Experiments in Creating, Excerpt 3: 2:19 - 4:05

Experimenting as a Performer

 
Experiments in Performing, Excerpt 1: 4:06 - 5:03

Experiments in Performing, Excerpt 2: 5:04 - 6:44

Experiments in Performing, Excerpt 3: 6:45 - 8:20

Required Documentation

Each component requires one of these cover sheets, which are available on MyIB. For documentation required for ALL components, you may wish to visit Submission Requirements 

Results and Commen

This work is in the range of 20 (out of a possible 28) for this component, which, for the May 2026 assessment period, was in a 6 range. Remember that for Experimenting with Music and the Contemporary Music Maker, teachers need to predict the scores for their students (both examples of Internal Assessment) before they are sent off to examiners for moderation. See: Internal Assessment and Moderation 

CRITERION A: RATIONALE AND COMMENTARY FOR MUSICAL EXPERIMENTS IN CREATING
 

Guiding Questions: 

  • How well has the student justified and supported their proposed experimentation with relevant source material and musical stimuli?

    Is the explanation of the experimentation process and of the musical decision-making (see: Musical Decision Making ) convincing? 


    Music Subject Guide / Internal Assessment

In the rationale, the student clearly identifies the AoI, context, and the source material. The AoI has been justified, as it is a symbol of Japanese sociocultural and political identity. The purpose of the experiment is outlined in the rationale: the intention is to fuse a traditional Japanese melody with contemporary city pop and Western cultures. 
The first experiment focused on the element of harmony. There is a case being made for adding Western music chord progressions to an anthem rooted in non-Western theory. There was some limited research documented to support the decisions being made in this first experiment; however, the depth of research fell short in justifying the musical choices eventually made. 
The second experiment focuses on the elements of texture and rhythm. Yet, the commentary discusses the idea of “imitation” and “inverse.” There is some application of textural and rhythmic elements, but these lack depth and evidence of related research.
The third experiment presents timbre, instrumentation, and rhythm as key elements. The use of a modern Japanese piece is mentioned as an applied source. 
Teachers and moderators would probably struggle with the marks for this side of the experiment. The rationale and commentary are certainly suitable and support reasonable musical decision-making, thus meriting a solid 4. Some may feel though it falls short of receiving a mark of 5 or higher. See some suggestions in the FOR FURTHER CONSIDERATION tab below. 

CRITERION B: PRACTICAL MUSICAL EXPERIMENTS IN CREATING 
 

Guiding questions:

  • How effectively has the student conducted a series of purposeful musical experiments?
  • Is there practical evidence of informed musical decision-making... (see: Musical Decision Making )... in the musical experimentation process? 

Music Subject Guide / Internal Assessment

The first of the three experiments claims to apply Western harmony to a Japanese melody. There is evidence of this application in the audio track. The musical justification, though correct, is somewhat limited in scope and lacks comprehensive supporting research. 
With the second experiment, there is evidence of more compositional investigation. The student states that Bach was an inspiration in the development of imitation and inversion. There is a relation to the first experiment, yet there is some lack of purpose in the intent. 
With the introduction of timbre, the student begins to make some significant changes in the source work. The student is successful with the application of the purpose of the experiment, the fusion of Western ideas into traditional Japanese music. 
The work is certainly proficient, yet some would argue that it is not fully compelling. There is certainly enough evidence to attribute the work to being an adaptation, yet the idea of the work being fully transformed could be challenged.
One could expect the marks here to be in a very solid 6 range out of 8. 

CRITERION C: RATIONALE AND COMMENTARY FOR MUSICAL EXPERIMENTS IN PERFORMING
 

Guiding questions:

  • How well has the student justified and supported their proposed experimentation with relevant source material and musical stimuli?

  • Is the explanation of the experimentation process and of the musical decision-making (see: Musical Decision Making  ) convincing? 

    Music Subject Guide / Internal Assessment

The student states in the rationale that they want to learn looping technology on the trombone. AoI 4 is given in the global context. The rationale is somewhat unclear about the performing aspect of the experiment. Is it the trombone or music technology? 
The student mentions that for the first experiment, they want the focus to be on resonance and arpeggio. Yet the experiment discusses the challenges met with looping. There is some lack of clarity as to what the purpose of the experiment is at this point. 
Layering and resonance are mentioned as the focus of the second experiment. The experiment itself, though, demonstrates the use of looping technology. Here again, there is a lack of a specific purpose to the experiment. 
The same holds true for the nature of the third and final experiment. It is unclear whether the focus is on trombone performance considerations such as glissando and the use of the mute or layered digital technology. 
The students' rationale and commentary are certainly suitable, with evidence of reasonable music decision-making. Yet, it falls short of being purposeful. The application of research is not fully relevant. 
Marks here would fall in the 4 out of 6 range.

CRITERION D: PRACTICAL MUSICAL EXPERIMENTS IN PERFORMING 
 

Guiding questions:

  • How effectively has the student conducted a series of purposeful musical experiments?

  • Is there practical evidence of informed musical decision-making... (see: Musical Decision Making)... in the musical experimentation process?  

    Music Subject Guide / Internal Assessment

As stated above, the purpose of the experiment is not fully succinct. Looping technologies are given as an intent, yet the experiments focus on performance techniques unique to the trombone, such as resonance and glissando. 
Marks for there is still some proficient display of the elements described, but the criterion would most likely score in the 5 to 6 range. 

For Further Consideration:

When selecting elements to build an experimenting project, it might be worth considering limiting the number of elements used and probing deeper into a few elements that have the potential to really transform a piece. In this creating example, several musical elements were discussed, but few of them went into enough depth or scope to validate a compelling and transformed work. 

The first creating experiment, for example, mentions the use of harmony. Yet, the primary features were a descending chromatic bass line and the use of an arpeggiated chord. This could have become more compelling with the application of more contemporary harmonic elements, perhaps typical of the 20th Century. Some consideration might have been made to extend the experiments into broader harmonic complexities throughout the entire experimenting process. This was somewhat accomplished with the third experiment.  A deeper experimentation with this element alone might have contributed to a more compelling experiment. 

Throughout the experiment, keep in mind three fundamental aspects of the process that need to be defined and connected. These are purpose, research, and application. 

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