A section of the IBDP portfolio "Presenting Music" is dedicated to performing. A separate post about the creating part will follow shortly.
What exactly is expected in the performance section of this portfolio?
The technical part: Maximum 12 minutes of recorded music, performed by the candidate. In order to clarify this to my students, I always explain that the recordings must be as close as possible to 12 minutes.
The examiner is not required to listen to any note after the 12-minute mark. On the other hand, if the recording is significantly below the 12-minute limit, the student might not be able to demonstrate all of their performance qualities. I always encourage my students to interpret the "maximum 12 minutes" as "as close to 12 minutes as possible".
All four Areas of Inquiry need to be addressed in this portfolio - across both components (creating and performing). This means that e.g. AoI 4 can be covered by the creating component.
But how to tackle such a big portfolio?
When my students start fresh in DP year one, I give them a task for their music journal.
This gives me a good idea at what level my students are, and I can start thinking about possible performance opportunities.
Starting the portfolio
Early on, I try to provide a variety of recording sessions for them - depending on their comfort level. This might be an informal Friday morning performance at the entrance of the school when kids walk in, or a short piece at the beginning of an informal PTA meeting. Some students prefer to just choose 2 or 3 of their best friends for a lunchtime recording, while others love playing in big official concerts with 400 people in the audience.
Choosing the right repertoire
It is of utmost importance that all Areas of Inquiry (AoI) are covered across the portfolio (creating and performing). Some AoIs will be covered several times.
In the past, my students have scored highly when the performances were of the right difficulty for them. The aim is not to present the most difficult pieces, but pieces that are played technically correctly and musically. In simple words - a student performing an easier piece that is played beautifully and with great musicality will score higher than a difficult piece where the technical challenges get in the way of musical communication.
Our successful portfolios also featured a high level of contrast. I always encourage students to find music pieces, which represent their cultural heritage. In the past, my students have performed a Bulgarian lullaby, a Turkish wedding song, a ballade from Albania, or a traditional dance from the Alps in Austria. These contrasting pieces give the students a chance to truly show their ability to show their musical and technical proficiency according to performing practices and styles.
Furthermore, I work with my students to perform pieces from different time eras. This year, one of my students (scored a 7) performed a Chaconne by Charles Mouton on his electric guitar.
Special case - the percussionist!
In the past, my students have often struggled to find contrasting and interesting repertoire - especially if they were used to "only" providing the drumming part to rock groups.
If you are lucky enough that your school owns timpani or a variety of percussion instruments, your students might find it interesting to perform on them. Recently, one of my students truly excelled with "Conflict in Verona" by Ian Wright.
If you have two drummers in your group, they might perform a duet for percussion, e.g. "Song and Dance" by Gene Koshinski.
In case you have a Push or other similar music technology equipment, students can also use it to show diversity and contrast in their portfolio.
I have also submitted djembe and cajon playing - often my students love to accompany the choir or a small group of singers. Focus needs to be laid on showing the performance ability of your student, displaying a variety of drumming patterns and contrasting dynamics for high scores.
Ideas for the singers
An international curriculum should, in my opinion, also include a diverse performance repertoire. Performing in different languages is always a great way to grow. Whether it's a Bach chorale in German, an aria in Italian, or a folk song from Venezuela, etc., students should be encouraged to explore various musical traditions. If students have the opportunity, I encourage them to talk to their parents and grandparents about interesting songs from their home culture(s).
Meeting the time requirement
Some advanced students find it challenging to cut down their recordings to 12 minutes.
What can be done:
remove or shorten any introductions by the accompanist
do not play the repetitions
fade in before the guitar solo (in a pop/rock piece) and fade out after the solo
General recommendations:
Criterion D focuses on musical communication. I discourage students from performing pieces which are very well-known (e.g. Mozart's Sonata facile, Sakura, etc.). Students are tempted to reproduce what they have heard before. For example: instead of a famous Bach fugue, choose one from Johann Caspar Ferdinand Fischer. Instead of performing Erik Satie, have a look at Mompou’s piano music.