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The Contemporary Music Maker (HL)
CMM: Checklist
Preface
Assessment Guidance
Repertoire
Exploring Music in Context
Exploring: How to Do It
Exploring: Checklist
Exploring: What Each Level Means
Exploring: Common Mistakes
Exploring: Task Reference
Experimenting with Music
Experimenting: How to Do It
Experimenting: Checklist
Experimenting: What Each Level Means
Experimenting: Common Mistakes
Experimenting: Task Reference
Presenting Music
Presenting: How to Do It
Presenting: Checklist
Presenting: What Each Level Means
Presenting: Common Mistakes
Presenting: Task Reference
The Contemporary Music Maker (HL)
CMM: How to Do It
CMM: Checklist
CMM: What Each Level Means
CMM: Common Mistakes
CMM: Task Reference
On this page
Project and role
Selection of evidence
Discussion of the process
Technical and musical proficiency
Organisation and presentation
The Contemporary Music Maker (HL)
CMM: Checklist
CMM: Checklist
Reference
Assessment
CMM
A submission checklist for the Contemporary Music Maker component (HL only).
See also:
Assessment Rubrics → CMM
Reset checklist
Project and role
Your
identified role
in the project is clearly stated
Evidence of your individual contribution is distinguishable from the group’s work
The project has a clear
stated aim
that is referenced throughout the submission (
CMM B
)
Selection of evidence
Evidence represents the
full arc
of the project — not just the final product (
CMM A
)
Evidence is
well-chosen
— each piece serves a clear purpose in the submission (
CMM A
)
Both process evidence (drafts, rehearsals, decisions) and outcome evidence are included (
CMM A
)
Evidence directly documents your identified role and contribution (
CMM A
)
Discussion of the process
Challenges
encountered during the project are discussed with musical specificity (
CMM B
)
Successes
are discussed — not just listed, but examined for why they worked (
CMM B
)
Specific
areas for development
are identified — what would you do differently? (
CMM B
)
Concrete
strategies for improvement
are proposed (
CMM B
)
Musical and collaborative
choices are evaluated
in relation to the stated aims (
CMM B
)
Discussion goes beyond description — it analyses
why
things happened, not just
what
happened (
CMM B
)
Technical and musical proficiency
Technical proficiency in your identified role is clearly demonstrated in the evidence (
CMM C
)
Your contribution shows genuine
musical understanding
, not just mechanical execution (
CMM C
)
Your musicianship serves the
overall aims
of the project (
CMM C
)
Organisation and presentation
The multimedia presentation is within
15 minutes
and viewable in a single sitting without pausing (
CMM D
)
The
final presentation
portion does not exceed
7 minutes
(no fixed maximum for process and reflection) (
CMM D
)
Narrative (voice-over or subtitles) is
integrated throughout
— not added as a separate document (
CMM D
)
The presentation is
logically organised
: project plan → process evidence → final presentation (
CMM D
)
Evidence is clearly
labelled
— the examiner can locate each piece without confusion (
CMM D
)
The argument of the submission is clear: project, role, contribution, reflection (
CMM D
)
Presentation quality is
consistent and professional
throughout (
CMM D
)