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    hey i know im like 5 years late but do you think you can send me your essay? thanks [email protected] it would be much appreciated
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    yes! if you are in the class of 2020 there is a whatsapp group with 159 students from all around the world! if you are a 2020 grad reply here and i'll send you the link
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    I'm doing EE in language B too and we just had our viva voces last month. If you're doing ur exams in English then do your viva voce in English but write your reflections in the EE language, in this case French. That's what my school does every year.
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    I started writing my EE for the French B topic field. It is about French, written in English. Myself, my supervisor and even the IB coordinator do not know if this is acceptable, so a yes or no answer as to whether I can do this or not is appreciated from someone who has done this or knows more about restrictions around second language (language B) Extended Essays, thanks.
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    From EE Guide 2018 (Jan 2017 revision) page 124: Language B EEs must be in that language. Since French is a modern language, the rule applies. The Language B EE is not appropriate for Old French or any non-contemporary language.
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    Hi This is my first 20/20 in an English A Lit HL Paper 1 exam and as lots of people asked, I thought I might as well just upload it here! Good luck everyone! Daisy.
  8. 1 point
    Alright, so I did Music (HL, which is both composition and performance) and did fairly well (most likely a 7). Here is what I suggest for each section: Composition (if you're doing it): Write to the markscheme. For instance, add bowing marks appropriately to violin parts, stacatto on piano, and appropriate techniques for all other instruments. The composition is, to some extent, showing off how well you know how all the instruments are used.I recommend using Finale or Sibelius for non-electronic music. Your school should be able to provide you with a copy of one of those two. If not, MuseScore and Finale Notepad are good alternatives. Don't pay for Finale or Sibelius if you can't get a copy, they're not massively better than the free alternatives.For electronic music, FL Studio, Cubase, Reaper (with Anvil as a midi editor), Reason, etc. are all good choices. You will have to pay for them; there are very little good free DAW's out there (or so I hear -- I don't actually do electronic music myself, I just asked a friend of mine).If you have spare time, remake your sheet music using Lilypond. If you do this, you'll definitely get 100% on the notation part of the markscheme. For electronic music, don't stick to presets. The reflection is massively important here - you'll want to talk about the specific sounds you made and what settings (ADSR envelope, resonance, etc.) you used to achieve those effects; and what purpose that particular sound serves in your composition.For standard compositions, I'd recommend sticking to one of the traditional forms (sonata, etc.) as a framework for your composition. Particularly if you're using a string quartet or something, it's easier just following one of the preexisting structures. For the reflection, I like making the music programmatic because it's easier to write a reflection with programmatic music (e.g. "I used arpeggios in the bass to represent the flowing water). For arrangements, if it's a piece with very little instruments, expand the piece to a full orchestra or some other large ensemble. If it's a piece with a lot of instruments, reduce the piece to a smaller set. Expanding it is more impressive, and I'd recommend expanding. If you're doing this, it's extremely helpful finding some experienced musicians who play the (violin, cello, viola, trumpet), etc. and ask them about their instrument and what kind of things they play in an orchestra. The arrangement is testing your knowledge of how to use the instruments.For improvisation, it's more of a thing that you can do already if you're experienced enough. I wouldn't recommend doing this if you're not already confident you can. If you're set on doing it though, please don't stick to the same chords for the whole thing. At the very least, put a minor section in the middle or something. For stylistic techniques, don't do it. Stylistic techniques will suck out your soul.Don't half-ass the reflection, it's a fifth of the mark. The reflection should include: your aim for the composition, what musical techniques you used in that aim, evaluation of those musical techniques, and what the experience of writing a composition has developed in you musically. Performance (if you're doing it): Keep the type of music you play varied. Try to explore a variety of genres (ancient, renaissance, baroque, classical, romantic, 20th century, jazz, swing, bebop, rock, pop, avant-garde, etc.) in your music. You will get marked down if you play almost entirely baroque, for instance.You get to choose the order the examiner will listen to your pieces in. I recommend placing your best pieces last (to make a lasting impression on the examiner), and try to hide the weaker ones in the middle.It's more important to play something slightly simpler with no mistakes then to play something complex with mistakes.If possible, get a good recording environment. It'll make the timbre of your instrument sound nicer in the recording.Do not use prerecorded accompaniment, it should be live. Even no accompaniment is sometimes better than a prerecorded one.Stick to your best instrument. The IB won't mark you down for only using one instrument. Of course, if you're equally good in multiple instruments, then you change it up. Exam Portion: Immediately get a copy of the sheet music of both set works and get them binded. Then get a recording of both set works as well. Then do a score read. You do not get a recording of the music in the exam, so you should score read regularly to develop a 'visual ear' -- being able to realise what a part of the sheet music sounds like exactly even without the recording.Annotate your copy with various musical devices you find. If it's a programmatic piece (e.g. An American in Paris) you will definitely try to see what aspect of Paris the musical device might be trying to invoke. Finding scholarly articles on these types of things may be a good idea. If it's a programmatic piece, they will usually ask a question revolving around the programmatic nature of the piece. So focus on that a lot - what parts of An American in Paris represent what parts of Paris. Maybe repetition of some motif is the walk of people on the streets, or a sudden burst of trumpets is the call of a stall owner trying to sell his wares (note: I have not listened to An American in Paris, so this is just speculation). But definitely look up the 'story' of An American in Paris and see what parts of the music correspond to what parts of the story.They will also often ask questions revolving around the context of the set works. For instance, the Petite messe solennelle is a sacred work set on sacred text. It is a mass. I find it likely the IB would ask a question about how the Petite messe solennelle is a mass (or more specifically, they may ask a question on a specific aspect of a mass, e.g. the sacred text dictating the form of the movement). The Section B (unseen) cannot be prepared for so easily. However, there are some common things that the IB often do. Typically, they will have a vocal piece (often sacred), so you should familiarise yourself with the Gregorian Chant, Madrigal, Mass, art song, etc., the features of each of these things (e.g. Gregoriant Chant often has a drone harmony, art song usually consists of piano and voice that are both equally important, etc.). They will also have either world music, or rock/jazz. World music is difficult to prepare for. I'd recommend getting familiar with some Chinese / Japanese / Korean music (in particular, note the pentatonic scale), and Celtic music (instruments, melody). For rock/jazz, you can look at swing, bebop, big bands, scat, etc. More recently, the IB have been giving fusion pieces (In the 2014 Novemember exam, a fusion of Indian folk music and rock). You'll have to be prepared for this -- I made reference to the traditional Indian singing style and use of the traditional Indian instruments, but also noted the 4/4 time signature and use of electric guitar and synthesiser. In general, for the context marks (what is this piece?) you need to identify relevant musical devices and explain why that indicates that the piece is from this era or this culture.Also try to familiarise yourself with some musical terms. You should be able to find lists of them online.The important distinction between a music essay and a literature essay is that you are not required to interpret beyond a context sense. In a literature essay, you have to argue the purpose of the work. You do not need to do this in a music essay - in a music essay you can simply say that there is repetition of a motif in e minor with arpeggios in the bass and a drone accompaniment (or whatever the piece actually is), without having to argue about why the composer would do this. The only exception is the context - you cannot simply say a piece is a bebop piece (for instance), you'd have to point out the musical devices used (e.g. "at 0:24 you can hear a 'bomb' in the snare drum - a sudden, unexpected hit - which is indicative of bebop music") that show that it is bebop.Musical Investigation: The hardest part of this is finding the pieces in the first place. Two strong musical links from two distinct cultures isn't the easiest thing to do.Once you find the two strong musical links it should be easier to write the actual investigation. I recommend not bothering about format at this point of the investigation; you will format it properly after you have finished writing it.When picking pieces, you cannot use a piece that is in itself a fusion of two different cultures. For instance, you cannot compare some of the Beatles' Indian-inspired works and actual Indian music.In general, by listening to lots of different types of music when preparing for Section B, you should be able to draw on that knowledge of what you have listened to to find the two pieces for the Musical Investigation.After you have finished, I highly recommend formatting it in a magazine article. To do this, I used the free trial of Adobe Indesign. Other options include a web page or a radio interview
  9. 1 point


    This is my HL math IA which models the resonance phenomenon of an old-fashioned airplane wing using differential equations (2nd order linear inhomogeneous). To be honest, i'm quite satisfied with it. However, there were a few stuff that I felt like i didnt do my best; such as the technology criteria. I did this IA in exactly 2-week time (at the risk of being kicked out of class for not being done), so i couldn't have time to expand a little bit on my use of technology in the IA........ Anyhow, I got 17/20 (moderated mark), which is basically equivalent to a 7. So i'm glad about it. PS. For future candidates: I strongly recommend you to choose calculus as your IA topic. It's incredibly fun and rewarding
  10. 1 point
    I rea dthe examiner's report for that poem, and they made notes similar to these: -Many students tried to connect the poem with the Cold War/Cuban Missile Crisis/Vietnam War because of it's publication date. Don't do that. -Mnay students completely ignored the humour in "Neither the sore displeasure/Of the U. S. Mail/Nor all my threats and warnings". Comment on that. -Do comment on the attitude of the poet towards the wasps -Comment on onomatopoeia in the poem -The poem is not just about wasps, but the last few lines connect it to a bigger theme. Find that theme, and When looking at an unseen commentary, take 20 minutes or so to just annotate, highlight and make ntoes on the poem. Then write out the rough plan for your commentary. When you write your commentary, make the starting sentence of each paragraph a topic sentence. It should introduce the central idea in the pragraph (e.g. The poet's personification of the wasps as_______ creates an image of_____ and reveals his attitude towards the creatures to be one of__________"). Then give examples and explain those examples. In your introduction, don't list the literaray devices the poet uses e.g In this poem, the poet uses alliteration, personification, tone and rhythm to create a hostile attitude towards the wasps, and juxtapositions this with his tender feelings towards their movements. A list does nothing for your essay. Instead, introduce the central idea of the poem in your introduction (and you can use one literary device to make the point) e.g. The poet conveys the theme of _____ through his use of juxtapositioning, and builds up an image of _______ throughout the poem. An overall effect of ________ is created through the harsh words and humur in the poem". When the criteria says "show personal response", you don't automatically get marks for that just by syaing "I think that". In fact, it sounds better if you don't. You can show personal repsonse by describing the effect the literary devices and mood of the poem have on the reader, and by including sentences such as "The onomatopoeic sound of "savagely a-hum" may reflect________". The "may" there shows that you are aware that there are different interpretations of the poem. Finally, in your conclusion you should sum up what you wrote before, but don't list literary devices. Summarise the overall impression and effect of the poem on the reader (but don't just repeat your introduction, write it in different words). Throughout the poem, you should be analysing the effect of various literary devices and images on the reader. Don't just say "There is onomatopoeia in this line": Why is it there? What does it do for the poem? Try to come up with more original phrases than "Enjambement makes the poem flow" and never say "This creates strong imagery in the reader's head". Those are cliche. Elaborate, and say something like "The enjambement in the poem reflects the movement of the waves and creates a strong feeling of movement in the poem, bringing it to life" or "The image of a ravenous wolf reinforces the hunger the poet is feeling, and amplifies his desire for food". Be as descriptive as possible.
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