An extended essay (EE) in the arts gives students an opportunity to undertake an in-depth investigation into a topic within an arts subject of particular interest to them.
The EE must demonstrate in-depth understanding of the subject matter studied. This should be shown in the form of:
• a coherent analysis and interpretation of their chosen area in relation to a posed research question
• the testing and validation of the research and consideration of its effect on the practice of the investigated area of the arts
• development and exploration in a disciplined and imaginative way of an area of study specifically appropriate to the curriculum area chosen
• a link to a practical dimension.
The research outcome should always include a link with a practical dimension. Where relevant and possible, students may wish to consult practitioners and professionals, such as performers, directors, researchers, writers, designers, painters, sculptors, composers or critics; or they may wish to visit theatres, galleries, museums and arts centres.
For a longer general overview of an arts-related EE, see The arts: An introduction
An extended essay (EE) in film gives students an opportunity to undertake an in-depth investigation into a topic in film of particular interest to them.
Students should undertake the study of at least two films in consideration of their chosen topic. Complex skills are involved in the interpretation of film. The EE requires students to develop and demonstrate a critical understanding of how and why film texts:
• tell stories
• create emotional responses
• give information.
In the spirit of intercultural understanding, students are encouraged to explore film in an international context.
Students will need guidance in their choice of topic.
The topic must clearly focus on film or television, rather than a literary, sociological, political or historical issue.
For example, a study of film adaptations of Shakespeare’s plays or of classic novels must not become a literature essay about the plays or the novels. It must be a discussion about the films from a filmic point of view.
The topic needs to offer enough scope for a substantial essay without being too general. Crucially, it needs to capture the interest and enthusiasm of the student.
The research question must give the essay a sharp focus within the topic and the student has to be perfectly clear about the following.
• What arguments or points of view will they develop or prove in the course of the essay?
• What needs to be said about the topic?
• How will they use evidence to support the ideas under discussion?
• What evidence will be appropriate?
If addressing a topic already addressed in academic studies, students must examine existing views and argue against them to some degree. Earlier studies must be used as a basis for discussion and not be merely replicated.
Students must also avoid:
• being mainly dependent upon summarizing secondary sources
• approaches that are essentially narrative or descriptive
• approaches that are anecdotal
• being unfocused and too general
• material that is more appropriate to other subject areas.
Students should ensure that they have sufficient sources to support their EE and can access them when needed. Early planning is essential.
Clarity, coherence of ideas and attention to detail are all necessary to achieve an effective EE. Students need a well-formulated research question that allows them to develop an EE that is cogent, rational and economical in expression. Their ideas should be supported by relevant sources and specific reference to film and/or television texts.
For primary sources, there must be detailed references to at least one film (or major television work).
Primary sources include:
• the film(s)
• the script
• the screenplay
• the score
• personal contact or personal correspondence with individuals involved in making the film.
Surveys and questionnaires undertaken by the students themselves should be avoided as they are unlikely to offer statistically valid information.
For secondary sources, students must make close reference to relevant sources (print and other media) related to the question, such as:
• books
• journal and magazine articles
• reviews
• DVD “extras”
• promotional material
• internet material.
Students should:
• evaluate the arguments in the sources rather than simply repeating what they say
• explore a broad range of ideas from different sources, rather than relying heavily on one, or on a number of items from a single author.
An EE may be enhanced by visual materials, such as:
• drawings
• diagrams
• storyboard frames
• screenshots
• camera layouts.
However, such material must not be used merely for decorative purposes.
Visual and other source materials must be properly referenced and acknowledged at the end of the essay.
In addition, students’ EEs must:
• focus on developing, supporting and illustrating their argument, rather than on plot summary or character description
• use filmic terminology accurately and appropriately.
The most successful essays are often those with a clear voice that transmits the student’s enthusiasm and scholarship with clarity and conviction. The EE should reflect the student’s coherent and informed engagement with their chosen topic.
Once students have identified their topic and written their research question, they can decide how to research their answer. They may find it helpful to write a statement outlining their broad approach. These examples are for guidance only.
Topic Clint Eastwood and the Western
Research question To what extent can Clint Eastwood be said to have resurrected the dying genre of the Western?
Approach An investigation and discussion of whether Clint Eastwood re-established the Western as a credible genre with specific reference to The Outlaw Josey Wales (1976), Pale Rider (1985) and Unforgiven (1992).
Topic Neo-noir in colour
Research question To what extent can the films Chinatown (1974), Blade Runner (1982) and Blood Simple (1984) be classified as film noir even though they were filmed in colour?
Approach An investigation into the origins and characteristics of films classified as film noir and an assessment of how far these films can be defined as belonging to the same genre or style.
Topic African film and cultural independence
Research question To what extent have the films of Ousmane Sembène retained indigenous content and style in the face of pressures to make films more acceptable to the international market?
Approach An investigation into how Ousmane Sembène’s films achieved and have maintained international status in world cinema, with particular reference to the narrative and visual style of Xala (1974), Guelwaar (1992) and Moolaade (2004).
Topic Ang Lee as an international film-maker
Research question To what extent do the films of Ang Lee enable him to be considered a truly international film-maker?
Approach An investigation into what has enabled Ang Lee to become a significant international director with films from very different cultural contexts, with particular reference to Yin shi nan nu ( Eat Drink Man Woman) (1994), Sense and Sensibility (1995), Wo hu cang long – ( Crouching Tiger, Hidden Dragon) (2000), Brokeback Mountain (2005) and Life of Pi (2012).
Topic Wes Anderson as auteur
Research question To what extent can Wes Anderson be considered an auteur?
Approach An investigation into the origins of auteur theory and a discussion of whether Wes Anderson’s films qualify him to be considered an auteur, with specific references to Rushmore (1998), The Royal Tenenbaums ( 2001), Moonrise Kingdom (2012) and The Grand Budapest Hotel (2014).
Topic Film and feminism
Research question To what extent can theories of the male gaze and feminism be explored filmically?
Approach An investigation and discussion of the theories of the male gaze and feminism with particular reference to The Piano (Jane Campion 1993), Amelie (Jean-Pierre Jeunet 2001), The Hours (Stephen Daldry 2002) and Brave (Mark Andrews 2012).
Students must ensure that their EE does not duplicate other work they are submitting for the Diploma Programme. For example, the EE must not be based on the same films the student has studied for any assessment tasks as part of the course.
An EE in film is not an extension of the internal assessment (IA) task. Students must ensure that they understand the differences between the two.
Supervisors play an important role in guiding students on these distinctions. Students risk their diploma if academic misconduct is detected.
(Strands: Topic, Research question, Methodology)
Students must choose a topic that:
• focuses specifically on film (or television)
• is of sufficient substance to merit a 4,000-word academic essay
• can be considered adequately within that word limit.
Students must establish the filmic context and significance of the topic.
Students’ research question must be:
• specific and sharply focused
• presented as a statement or a suitable proposition for discussion.
Topics should not be too broad. For example, students can consider three or four films in relation to a genre, but not attempt to make the genre itself their topic. The topic should also not be too narrow (eg just one film).
Students should draw on a wide range of relevant, substantial sources.
Primary sources: students should choose film (or television) texts that are appropriate for addressing the research question and topic. They should be capable of sustaining discussion.
Secondary sources: these should support the ideas discussed or enable the student to present opposing views.
Students should produce a diligent, serious and personal piece of research that is appropriate specifically to the study of film or television and not any other discipline. For example, a study of the film or television adaptations of classic literary texts must not become an essay about the texts from a literary point of view but must focus on the films as films.
(Strands: Context, Subject-specific terminology and concepts)
There should be clarity and coherence in the knowledge and understanding that students display. They should beware of topics that lead to a narrative approach or a simple listing of facts.
The student must have a substantial body of knowledge at their disposal with which to write a discursive essay and reflect a range of arguments. The student must be able to select and employ accurate information to establish the points of view expressed. Students must use appropriate subject-specific language to present their ideas and analyse, discuss and argue.
Discussion should be open and various opinions presented. The student should, however, reflect their own personal engagement with the topic.
(Strands: Research, Analysis and Discussion and evaluation)
The student should be logical, rational and economical in expressing points of discussion. Their ideas must be supported by clear and detailed references to relevant film and/or television texts.
Sources should be considered analytically and discussed, not necessarily agreed with. Students should refrain from using the essay simply to reaffirm their preconceived ideas.
Within the primary sources there should be reference to more than one film (or major television work). The student’s research needs to reflect aspects of film history and/or theory.
Students must be able to construct, present and support a specific area of discussion. They must offer their own personal arguments rather than simply relying upon summarizing the views of others. However, their arguments must be rationally justified and based upon careful research.
Students are also encouraged to view secondary sources with a critical eye and not take the views of critics and scholars as beyond careful scrutiny. Students should be aware that some sources may be unreliable. Students must carefully evaluate their research source material in order to develop a rounded argument. Their evaluation of sources should not be presented in a separate section but be fully integrated into the body of the argument itself.
Students should not present EEs that are too narrative or descriptive in approach. A careful choice of topic and research question will help to avoid this.
Similarly, EEs should not merely explore characters and themes without careful analysis of how these are shown in filmic terms. The essence should be a discussion of how and why particular meanings are constructed filmically.
(Strands: Structure, Layout)
This criterion relates to the extent to which the essay conforms to accepted academic standards in relation to how research papers should be presented. It also relates to how well these elements support the reading, understanding and evaluation of the essay.
Illustrative material such as screenshots, sketches, film posters and storyboard frames can enhance the essay. However, they should only be used if they:
• are directly relevant to the research question
• contribute towards the understanding of the argument
• are of a good graphic quality.
They should appear as close to their first mention as possible. If they are used merely for decorative purposes then no credit can be given and this may detract from the flow of discussion.
Any material that is not original must be carefully acknowledged, with specific attention paid to the acknowledgment and referencing of quotes and ideas. This acknowledgment and referencing is applicable to audiovisual material, text, graphs and data published in print and electronic sources. It also applies to any film or screenshot or film sequence referred to in the essay. If the referencing does not meet the minimum standard as indicated in the guide (name of author, date of publication, title of source and page numbers as applicable), and is not consistently applied, work will be considered as a case of possible academic misconduct.
A bibliography is essential and has to be presented in a standard format. Title page, table of contents, page numbers, etc must contribute to the quality of presentation.
The essay must not exceed 4,000 words of narrative. Students should be aware that examiners will not read beyond the 4,000-word limit, nor assess any material presented thereafter. Titles for photographs, images, figures and notation scores are not included in the word count.
(Strands: Reflections on planning and progress)
This criterion assesses the student’s engagement with their research focus and the research process. It will be applied by the examiner at the end of the assessment of the essay, and is based solely on the candidate’s reflections as detailed on the RPPF, with the supervisory comments and extended essay itself as context.
Students are expected to provide reflections on the decision-making and planning process undertaken in completing the essay. Students must demonstrate how they arrived at a topic as well as the methods and approach used. This criterion assesses the extent to which a student has evidenced the rationale for decisions made throughout the planning process and the skills and understandings developed.
For example, students may reflect on:
• the approach and strategies they chose, and their relative success
• the Approaches to learning skills they have developed and their effect on the student as a learner
• how their conceptual understandings have developed or changed as a result of their research
• challenges they faced in their research and how they overcame these
• questions that emerged as a result of their research
• what they would do differently if they were to undertake the research again.
Effective reflection highlights the journey the student has engaged in through the EE process. Students must show evidence of critical and reflective thinking that goes beyond simply describing the procedures that have been followed.
The reflections must provide the examiner with an insight into student thinking, creativity and originality within the research process. The student voice must be clearly present and demonstrate the learning that has taken place.
An extended essay (EE) in music gives students an opportunity to undertake in-depth research into a topic in music of genuine interest to them.
Music—as a form of expression in diverse contexts, with intent, purpose and meaning—should be at the heart of the essay. It must focus on particular pieces of music, experienced by the student through:
• recordings
• score study or
• performances and concerts.
The student is required to embark on a systematic, disciplined and imaginative investigation of musical works. The basis of that investigation, for the purpose of the EE, is musical analysis.
The outcome of the investigation should be a structured and coherent piece of writing in the form of an academic research paper. It requires:
• an analytical research approach, based on both primary and secondary sources
• formal language, including the use of appropriate subject terminology
• meticulous presentation.
Students also need to display:
• knowledge and understanding of their chosen musical context and genre
• critical thinking in relation to their topic through reasoned arguments, discussion, interpretation and evaluation.
Students do not have to be enrolled in the Diploma Programme music course to write an EE in music. However, they must be familiar with the different aspects and requirements of the course.
Researching and writing their EE allows students to gain a deeper understanding of music. A simple analysis of a piece of music is not enough. Students must also develop critical arguments with the aim of gaining deeper insights into, for example, musical contexts or theory.
Their choice of topic must therefore give them scope to do this.
Sources of ideas may include:
This list is not exhaustive, but is intended for guidance and inspiration.
• The Diploma Programme music course
• Performances or concerts
• Musical cultures students have encountered within their own experience
• Personal contact with composers or performers
• Direct involvement in the making of music
• Recordings (distributed in various forms)
• Other music that has a particular interest, emotional appeal or specific importance for the student
• Research questions that lead to essays that are essentially narrative or descriptive.
• Research questions that are too broad to support effective analysis or argument within 4,000 words. For example, “What is African Music?” or “What influence did Michael Jackson have on the 20th Century?”
• Overly studied themes—they will lead to essays that are obvious or predictable.
• Non-musical topics, such as:
• the life of a performer
• the nature and development of instruments or technology
• lyrics
• biological, neurological, therapeutic or educational issues.
Once they have decided upon their area of investigation, students must develop a focused research question. The question must have a clear musical focus but not unduly restrict the development of students’ research.
For example, the research question: “How is counterpoint used in Bartók’s Concerto for Orchestra?” is a good one because:
1. It clearly indicates:
• the music that will be studied—Bartók’s Concerto for Orchestra—a musical source of appropriate scope
• the compositional element—counterpoint—the focus of the investigation.
2. It does not limit the potential development of the study unnecessarily.
3. The investigation of how counterpoint is used in Bartók’s concerto could subsequently inform a student’s work for the Diploma Programme music course component of creating.
These examples are just for guidance. Students must ensure their choice of topic is focused rather than broad.
Focused topics
The role of folk music in Bartók’s Concerto for Orchestra
The rhythmic and harmonic aspects in the style of Dizzy Gillespie as evident in pieces X and Y
Compositional techniques in Balinese gamelan pieces X and Y
A comparison of the singing styles of Ella Fitzgerald and Sarah Vaughan, as evidenced by their interpretations of standards X, Y and Z
Broad topics
Bartók’s music
The features of bebop
The characteristics of Indonesian music
Understanding jazz singing
Musical analysis is the starting point of the investigation, but it is not sufficient for completing the essay successfully. Students are also expected to place their analysis in context:
• to relate their findings to the wider field of music and
• if possible, to add their own creative perspective.
Throughout the EE, their arguments must be supported by findings from their research.
At the beginning of the EE, students should:
• clearly state their research question
• outline their methodology for answering it.
Primary sources
Musical analysis is the starting point for the research and data collection. This may involve the study of a score or recording. Through their analysis, students identify musical elements and compositional devices and how these have been used.
Primary sources of information for students’ initial analysis include:
• recordings
• scores
• concerts
• observation
• interviews with performers
• questionnaires or surveys.
Students should also consider the “bigger” picture. Typical questions may start with “Why?”, for example:
• Why has the composer made specific musical decisions?
• Why are specific combinations more effective than others?
• Why does a piece of music work in one context but not in another?
Students may also want to discuss:
• performance conventions and interpretations of the piece
• influences on the piece or its genre
• the importance of the piece in its time.
Secondary sources
To inform their explanation and interpretation of their chosen piece of music, students should explore what others have said about:
• the piece of music itself
• its musical context or
• other music of the same genre and style.
Sources for this include:
• textbooks
• books about music
• academic music journals
• the internet.
The EE should not be based exclusively on material from textbooks, scripts or the internet. When choosing their topic, students must ensure that they will have access to a sufficient range of relevant and appropriate sources. If it becomes clear at an early stage in the research that too few sources are available, students should change their topic.
Developing an argument
Ultimately, students’ analysis needs to lead them to formulate a reasoned argument. These questions may help them to do this:
• What are the conclusions and impacts of this investigation?
• What do the results and findings tell us about the field of music?
• What are the lessons learned from the musical analysis of this composition?
• How does it affect other musicians, or my composing and performing studies?
Their conclusion(s) should cover some or all of the following:
• what they have learned from their analysis
• how it fits into the field of research concerning the topic
• any shortcomings of the study and questions that arose but remain unanswered.
To further refine the focus of their topic, students can follow their topic and research question with a statement outlining the research approach they will take to answer it.
Once students have identified their topic and written their research question, they can decide how to research their answer. They may find it helpful to write a statement outlining their broad approach. These examples are for guidance only.
Topic: Ennio Morricone’s film music
Research question: What compositional techniques support characterization in the music Ennio Morricone wrote for the film The Mission?
Approach • A study of pitch, motives, orchestration and texture used in three pieces from the soundtrack to The Mission (musical analysis).
• An investigation to determine and discuss how Ennio Morricone’s use of musical elements and compositional devices support characterization in the film (eg comparative analysis, questionnaires, literature review).
Topic: The music of Astor Piazzola
Research question: What is the significance of Piazzola’s New Tango style in the development of the genre?
Approach • An analysis of the harmonic, melodic, rhythmic and stylistic elements in “Libertango” by Astor Piazzola to identify important characteristics of his new tango style (musical analysis).
• A brief summary of the history of tango to identify how the characteristics have transformed the genre (eg literature review).
• An investigation into how the identified characteristics have impacted upon the further development of the style (eg literature review, musical analysis, interview with composers).
Topic: Musical contribution of the rock group Muse
Research question: How do the musical influences found in pieces X, Y and C by the rock group Muse impact upon the listener experience?
Approach • An analysis of melodic, rhythmic and harmonic elements in pieces X, Y and C by Muse that reveals influences from Chopin, Schubert and Rachmaninoff respectively (musical analysis).
• A discussion of how the influence of composers of the Romantic has shaped the musical style of the group (eg literature review).
• An investigation into the impact of these influences on the listener (eg through a questionnaire or interviews).
Topic: Koto music
Research question: To what extent are compositions for Koto by Tadao Sawai distinct in the 20th century?
Approach • A study of three Koto pieces by Tadao Sawai detailing their traditional and
innovative elements (musical analysis).
• An investigation into the origins of these traditional and innovative elements, what inspired their effective use in these compositions and how they shaped Tadao Sawai’s compositional style (eg literature review, interview with performers of these pieces).
• A discussion on whether the chosen compositions for Koto break with Japanese musical conventions and traditions (eg comparative analysis, interviews with performers).
The EE should be modelled on an academic journal or research paper. The reader should be able to read and understand it without access to external web links, video files, CDs or DVDs.
Examiners will not access any material contained in an external source when assessing an essay (not even in an appendix). If information central to the argument is included in an external link, the examiner will treat it as though the point has not been made.
However, as long as they directly support and are relevant to the EE’s analysis, the following do constitute useful evidence:
• notated examples of music
• score excerpts
• transcriptions
• graphs
• references to an attached score.
Students must ensure that their EE does not duplicate other work they are submitting for the Diploma Programme. For example, a student’s work for the musical links investigation must not be submitted for an EE. Similarly, the music pieces selected as prescribed works are not acceptable topics for EEs.
An EE in music is not an extension of the internal assessment (IA) task. Students must ensure that they understand the differences between the two.
• Students may not investigate pieces for the EE they have chosen to submit for the performing component.
• Students may not submit research on pieces that have influenced the student’s submissions for the creating component.
Supervisors play an important role in guiding students on these distinctions. Students risk their diploma if academic misconduct is detected.
Criterion A: Focus and method
(Strands: Topic, Research question, Methodology)
To successfully meet this criterion, students will chose a topic that focuses on analysis, investigation, discussion and evaluation of actual music, that is, musical source material.
While students may be inspired by their musical encounters and experiences, it is important that the chosen topic is relevant and with a distinct research purpose.
The topic is expressed through a clearly stated research question, which is focused and specific without being unduly restrictive to the development of the research study.
The essay must outline the methodology that is followed throughout the research. It should include:
• musical analysis of performances, scores or transcriptions
• collecting and evaluating data, for example through comparative analysis of:
• interpretations
• interviews or
• questionnaires.
The data collection, analysis and evaluation will lead to critical arguments that reflect the student’s deeper insight into the material studied.
Students must refer to secondary sources to place the study into a wider context.
Students also need to demonstrate that:
• their essay and research has been well planned
• the methodology used or the approach to the topic is appropriate to the research question.
(Strands: Context, Subject-specific terminology and concepts)
To successfully meet this criterion, students are expected to demonstrate their prior knowledge of the material studied and how the research is developed in relation to existing insights. Thus, the essay must demonstrate an effective and critical understanding of the topic chosen.
Students should show that they have consulted secondary sources and, throughout the investigation, draw on that existing knowledge to:
• support their research
• enrich the argument and findings.
Thus, sufficient musical preparation and understanding are prerequisites for effective research in music, as is fluency in the use of appropriate subject-specific terminology and reference to or application of musical concepts.
Another important aspect of all research and investigation is the reliability and validity of the study. This refers to choice and use of sources, the musical analysis as well as the evaluation of the collected data within the relevant musical context.
Students should demonstrate fluency in the use of appropriate subject specific terminology and reference to or application of musical concepts.
(Strands: Research, Analysis and Discussion and evaluation)
Students must be able to interrogate the musical and critical sources selected in order to construct and support a reasoned argument that culminates in a conclusion and answers the research question. The information and evidence presented needs to be critically evaluated. Students must demonstrate critical awareness of the quality, balance and quantity of their sources. They are also expected to show awareness of any limitations or uncertainties inherent in their approach.
Subjective accounts are not appropriate.
Students should aim to develop their own argument rather than simply adopting the views of critics. EEs that mainly provide viewpoints derived from secondary sources, or that are wholly or largely narrative or descriptive of the material, do not provide evidence of analytical skills and do not score well.
The points contained in the argument and analysis must, at all times, be supported by specific, relevant material chosen from the student’s research.
Special efforts should be made to maintain a reasoned, logical argument focused on the research question throughout.
An assessment of the extent to which the research question is answered by the information accessed should form part of the argument.
The conclusion ought to summarize the student’s response to the research question and must be consistent with the position and evidence presented in the essay. It should not introduce material that has not already been discussed. Questions that have arisen as a result of the research, and that are considered relevant, may be included.
(Strands: Structure, Layout)
This criterion relates to the extent to which the essay conforms to accepted academic standards in relation to how research papers should be presented. It also relates to how well these elements support the reading, understanding and evaluation of the essay.
Students may provide a section and subsection structure to their essays, with appropriate informative headings.
Use of charts, images and tables
Any charts, images or tables from literature sources included in the essay must be carefully selected and labelled. They should only be used if they are directly relevant to the research question, contribute towards the understanding of the argument and are of a good graphic quality. Only selected materials (photographs, images, figures, notation scores) that are central to the argument of the essay should be included in the body of the essay, as close as possible to their first reference.
Special attention is necessary when including score excerpts so that the information needed to read them appropriately is presented, including name of the work, composer, source information, location of the excerpt within the score, recording or performance, clefs, key signatures, tempo, etc. When size permits, it is recommended that the excerpts appear in the body of the essay, in close proximity to the text they illustrate.
Sometimes, the inclusion of a separate annotated score, to be consulted with the reading of the EE, may be the most effective option. This may be included in the appendix of the EE, but students must be aware that any information with direct relevance to the analysis, discussion and evaluation of the EE must be contained in the body of the essay. Examiners are not required to read information in an appendix.
Any material that is not original must be carefully acknowledged, with specific attention paid to the acknowledgment and referencing of quotes and ideas. This acknowledgment and referencing is applicable to audiovisual material, text, graphs and data published in print and electronic sources. For music, students must also reference transcripts of music and live performances as well as include time within a recording or track and bar numbers within a score. If the referencing does not meet the minimum standard as indicated in the guide (name of author, date of publication, title of source and page numbers as applicable), and is not consistently applied, work will be considered as a case of possible academic misconduct.
A bibliography is essential and has to be presented in a standard format. Title page, table of contents, page numbers, etc must contribute to the quality of presentation.
The essay must not exceed 4,000 words of narrative. Students should be aware that examiners will not read beyond the 4,000-word limit, nor assess any material presented thereafter.
(Strands: Reflections on planning and progress)
This criterion assesses the student’s engagement with their research focus and the research process. It will be applied by the examiner at the end of the assessment of the essay, and is based solely on the candidate’s reflections as detailed on the RPPF, with the supervisory comments and extended essay itself as context.
Students are expected to provide reflections on the decision-making and planning process undertaken in completing the essay. Students must demonstrate how they arrived at a topic as well as the methods and approach used. This criterion assesses the extent to which a student has evidenced the rationale for decisions made throughout the planning process and the skills and understandings developed.
For example, students may reflect on:
• the approach and strategies they chose, and their relative success
• the Approaches to learning skills they have developed and their effect on the student as a learner
• how their conceptual understandings have developed or changed as a result of their research
• challenges they faced in their research and how they overcame these questions that emerged as a result of their research student thinking, creativity and originality within the research process.
The student voice must be clearly present and demonstrate the learning that has taken place.
An extended essay (EE) in theatre gives students an opportunity to:
• undertake independent research into a topic in theatre of their choice
• apply a range of skills to develop and explore in an imaginative and critical way a focused research
question appropriate to theatre
• test and validate their research by considering its effect on the practice of the area of theatre they have investigated.
Choice of topic
Theatre is composite in nature. Students may therefore take an interdisciplinary approach in their research, so long as their topic is firmly rooted in the subject of theatre. The essay topic may relate to an area of the Diploma Programme theatre course, but students can also choose to explore other areas of the subject. Crucially, the topic must reflect their particular interest and enthusiasm within theatre.
Students can opt to compare two or more theatrical practices, but students should be careful to ensure that their comparisons are valid and the product of sensitive and objective analysis.
Once they have chosen their topic, students must frame a focused research question.
It is the task of the supervisor to ensure that the question:
• can be answered using theatrical sources available to the student
• will encourage and enable the student to apply theatrical concepts, theories or ideas.
The question’s scope should not be too broad as such essays are rarely successful. The best research questions encourage analysis in depth rather than breadth.
The EE’s emphasis should always be on:
• written analysis, interpretation, evaluation
• the construction and development of a sound argument.
When they have established their topic and research question, students should then make a research plan. The plan should be flexible enough to allow them to explore their topic in a creative manner. Students should not be afraid to take risks during the research process: originality is encouraged, as is using a variety of research models.
It is vital that students’ methodology:
• is tailored to the research question
• allows for an in-depth exploration.
Their personal involvement in the EE is also crucial.
Students are encouraged to use both primary and secondary sources.
Primary sources
Primary sources of information can include:
• play texts
• productions of plays
• sketches, drawings, pictures, plans, photographs
• reviews of a landmark production
• interviews with playwrights, directors, actors, etc
• drama workshops or exercises
• audio or video recordings.
Audio and video recordings or hyperlinks to videos online cannot be submitted as part of the EE. If students include visual material within the EE, it should further or illustrate their argument rather than be merely decorative. See Use of illustrative material, criterion D
Secondary sources
A good essay will always include a bibliography of high-quality research sources. These give students scope for the in-depth analysis that characterizes the best pieces of work.
Their reading will enable them to:
• establish the wider theatrical context for their research question early in the essay
• support their argument throughout the essay.
Secondary sources of information can include:
• textbooks
• books
• academic journals
• magazines
• the internet
Students should not rely exclusively on textbooks and websites for their secondary sources—they must read more widely.
Students can choose to undertake practical, applied research, but it is not a requirement.
Students can choose to base their EE exclusively on their reading and explore a topic at a purely theoretical level. However, their EE must connect the theory with theatrical practice. The research outcome should always include a practical dimension.
Students should avoid taking a narrow literary approach. For example, an essay exploring the use of fans in Restoration comedy must include a discussion of how a particular production interpreted the convention.
The title of the essay should clearly indicate its main aims and objectives.
Once students have identified their topic and written their research question, they can decide how to research their answer. They may find it helpful to write a statement outlining their broad approach. These examples are for guidance only.
Topic: Costume design
Research question: To what extent do Sara Schwartz’s costume designs carry the themes explored in the production of Leonce and Lena at the Volkstheater?
Approach: A performance analysis of Leonce and Lena produced at the Volkstheater in 2010 and the themes explored in it, as declared by the director, such as loss of power, beauty, existentialism and self-sacrifice, through the lens of costume design.
Close links are drawn to the text by Büchner and Schwartz’s designs, supported by personal interviews. The essay required extensive and repeated visits to the theatre.
Topic: Traditional Japanese theatre: Noh and Kabuki
Research question: What part is played by violence in Noh and Kabuki theatre?
Approach: Contextual and socio-historical research of the two forms underpinned a close performance analysis of chosen plays from each form to examine the theatrical techniques used to portray violence on stage. A comparison between the techniques of each form was made to show how the different forms place different significance on the portrayal of violence in telling the theatrical story.
Topic: Physical theatre
Research question: To what extent can social discrimination be discussed through the body in physical theatre? An analysis of DV8’s The Cost of Living.
Approach: Performance analysis of The Cost of Living, first identifying the physical metaphors of broken body and whole body, and linking this to physical characterization techniques. A comparison is made between spoken and physical language as well as their interplay in this production to convey the intended message about physical disability. Secondary research sources range from the general on physical theatre, the moving body etc to the specific: Lloyd Newson and DV8’s own writings.
Topic: Circus and theatre
Research question: To what extent can theatrical elements transform circus into a piece of theatre? An analysis of Cirque du Soleil’s production Ka.
Approach: The essay investigates and compares essential elements of theatre and circus and their possible interferences. Elements of theatre such as design, story and characterization in a specific performance were analysed in this production by Cirque du Soleil. Generic elements of circus were also identified in the same performance and a conclusion was drawn as to what extent this performance could be termed “theatre” or to what extent it was “circus”. The analysis was dependent on watching a live performance as well as the DVD; extensive secondary sources on theatre and circus as well as reviews, critiques and performance programme notes.
Students must ensure that their EE does not duplicate other work they are submitting for the Diploma Programme. For example, the EE should not be based on the same theatre theorists, play texts, world theatre traditions, starting points or theatre research examined as part of the standard and higher level courses.
Supervisors play an important role in guiding students in this. Students risk their diploma if academic misconduct is detected.
(Strands: Topic, Research question, Methodology)
Students may choose to take an interdisciplinary approach to researching and planning their topic. Topics need to be appropriate to the subject of theatre. Any topic that is outside the subject of theatre (eg ones that are film or literature based) cannot score above level 0 against criterion A.
Research questions need to be specific, sharply focused and stated clearly in the introduction to the essay. Topics that are too broad, and that cannot be dealt with within the scope of the word limit, should be avoided.
The research question needs to be presented as a question that enables appropriate discussion and analysis. It should encourage analysis in depth rather than breadth. Its purpose should be made clear to readers and related to existing knowledge of the topic.
Students should establish the theatrical context related to the research question early in the EE. Students can choose from a variety of research methods to respond to their chosen research question. Qualitative, quantitative, mixed method and practice-based research are all acceptable.
Students are not required to undertake applied research, but if they choose to explore a purely theoretical topic, their essay must connect the theory with theatrical practice. The research outcome should always include a practical dimension. EEs in which theory and practice are completely divorced from each other or those based on a narrow literary approach will not score highly.
The discussion may also include a critical perspective on secondary source material so that students use the views of critics or practitioners to support their own argument.
The sources used may consist of a stage script or scripts that form the focus of investigation, and secondary sources (eg established theories used appropriately, published criticism on the stage script or scripts used in discussion, reviews of a landmark production or productions). Primary research such as interviews, laboratory exploration through exercises or workshops may be used provided that they are closely related to the chosen research question.
The sources used must provide sufficient material to develop and support an argument and conclusion relevant to the research question.
(Strands: Context, Subject-specific terminology and concepts)
Students must demonstrate knowledge and understanding of the theoretical background and an awareness of the academic context and its practical applications. They should do this by integrating their own ideas with current philosophical and theoretical thought and their practical application in theatre. The student must demonstrate a contextual understanding of the chosen area of theatre. The context should be understood as the historical and socio-cultural backdrop that informs or shapes a chosen theatre-related topic.
The nature of the chosen topic will determine the emphasis given to the different aspects of context and the direction of the research.
Some essays will have a strong element of applied research, while others may discuss previous or present practices to illustrate their central points.
Students should establish the context succinctly and not pad out an EE with a lengthy descriptive, historical or biographical narrative.
(Strands: Research, Analysis and Discussion and evaluation)
Students should use a range of sources of information, including both primary sources (stage scripts and theatrical productions) and secondary sources (books, newspapers, magazines and journals, interviews and websites).
The use of other materials such as sketches, drawings, pictures, plans and photographs is encouraged but should not overwhelm the EE’s text. Where they are used, they need to be crucial to the development and support of a coherent central argument.
The personal involvement of the student in their essay is of paramount importance, and this can become evident through the research path that is followed.
The research outcome should always include a link, direct or discreet, with a practical dimension. A successful EE develops an argument, backed up with evidence, to convince readers of the validity of the student’s findings. The argument may be personal but at the same time must remain logical and balanced. Reasoned argument must be the EE’s fundamental structural basis.
The accumulation of research data may form part of the preparation for the writing of the EE but students must show that they can select relevant elements from this data and analyse and evaluate them in a manner relevant and appropriate to the topic.
Students should be able to analyse and evaluate theatrical work, whether this is a scene from a play, a costume design, a lighting plot or any other aspect that might be part of their topic. The ability to analyse and evaluate is part of the process through which the student articulates a relationship to the work and speaks in an individual voice.
It may be that the results of the analysis are unexpected or contrary to the student's initial hypotheses. Students should not be discouraged by this.
Where relevant, the argument should present evidence that leads towards acceptance or rejection of the original hypotheses.
In the context of the investigation of an issue, conflict or problem, bias or shoehorning of results should be avoided. The need to reconsider and re-evaluate initial ideas and modify the central argument, and an awareness of the need to make constant corrections and to recognize shortcomings are essential elements of theatre research.
(Strands: Structure, Layout)
This criterion relates to the extent to which the EE in theatre conforms to current academic standards concerning the presentation of research papers It also relates to how well these elements support the reading, understanding and evaluation of the essay.
EEs in theatre can be presented as a continuous body of text with clearly defined paragraphs or with a section and subsection structure; the approach taken will be dependent on the nature of the research. The use of charts, images and tables may also be appropriate. They should only be used if they are directly relevant to the research question, contribute towards the understanding of the argument and are of a good graphic quality. Only selected materials that are central to the argument of the essay should be included in the body of the essay, as close as possible to their first reference.
Students must take care in their use of appendices as examiners are not required to read them. All information with direct relevance to the analysis, discussion and evaluation of the essay must be contained in the main body of the essay.
Any material that is not original must be carefully acknowledged, with specific attention paid to the acknowledgment and referencing of quotes and ideas. This acknowledgment and referencing is applicable to audiovisual material, text, graphs and data published in print and electronic sources. The inclusion of visual images may also be a crucial part of providing evidence in support of the student’s central argument, and these images should be annotated in an appropriate format, as they need to have an illustrative rather than decorative function. If the referencing does not meet the minimum standard as indicated in the guide (name of author, date of publication, title of source and page numbers as applicable), and is not consistently applied, work will be considered as a case of possible academic misconduct.
A bibliography is essential and has to be presented in a standard format. Title page, table of contents, page numbers, etc must contribute to the quality of presentation.
The essay must not exceed 4,000 words of narrative. Students should be aware that examiners will not read beyond the 4,000-word limit, nor assess any material presented thereafter.
(Strands: Reflections on planning and progress)
This criterion assesses the student’s engagement with their research focus and the research process. It will be applied by the examiner at the end of the assessment of the essay, and is based solely on the candidate’s reflections as detailed on the RPPF, with the supervisory comments and extended essay itself as context.
Students are expected to provide reflections on the decision-making and planning process undertaken in completing the essay. Students must demonstrate how they arrived at a topic as well as the methods and approach used. This criterion assesses the extent to which a student has evidenced the rationale for decisions made throughout the planning process and the skills and understandings developed.
For example, students may reflect on:
• the approach and strategies they chose, and their relative success
• the Approaches to learning skills they have developed and their effect on the student as a learner
• how their conceptual understandings have developed or changed as a result of their research
• challenges they faced in their research and how they overcame these
• questions that emerged as a result of their research
• what they would do differently if they were to undertake the research again.
Effective reflection highlights the journey the student has engaged in through the EE process. Students must show evidence of critical and reflective thinking that goes beyond simply describing the procedures that have been followed.
The reflections must provide the examiner with an insight into student thinking, creativity and originality within the research process. The student voice must be clearly present and demonstrate the learning that has taken place.
An extended essay (EE) in visual arts gives students an opportunity to undertake research in an area of the visual arts of particular interest to them.
The visual arts are here broadly defined also to include architecture, design and contemporary forms of visual culture.
The outcome of the research should be a coherent and structured piece of writing, with well-integrated and appropriate illustrations, and which effectively addresses a particular research question appropriate to the visual arts.
The research may be generated or inspired by the student’s direct experiences of creating visual artworks, or by their interest in the work of a particular artist, style or period. This might be related to the student’s own cultural context or another cultural context.
Personal contact with artists, curators and other active participants in the visual arts is encouraged, as is the use of local and primary sources.
The EE topic may relate to an area of the Diploma Programme visual arts course, but students can also choose to explore other areas of the subject. Crucially, the topic must reflect their particular interest and enthusiasm within the visual arts.
Sources of ideas may include:
• the student’s own art-making processes and resolved pieces
• the student’s visual arts journal.
• A topic that a student can answer by summarizing general secondary sources, such as universal art history textbooks and encyclopedias.
• A topic that is likely to lead to an EE that is essentially narrative or descriptive in nature, such as one that covers many aspects of art history or particularly long periods of time.
• Biographical studies of artists—unless they address a specific research question so that the student can arrive at a particular, and preferably personal, conclusion.
The topic must relate directly to the visual arts. Students may find that they need to submit their essay under another subject. For example:
• Essays on “green” architecture that focus on technology rather than esthetic considerations would be better submitted under environmental systems and societies.
• Essays about film that do not focus on the visual aspects probably belong under film studies.
These examples are just for guidance. Students must ensure their choice of topic is focused (left-hand column) rather than broad (right-hand column).
Focused topics
The extent to which Grady Gerbracht’s assertion that the role of the artist is “to become the embodiment of a person, a citizen, a metaphor” is particularly embodied in interactive artworks
The artistic significance of recent poles raised by the First Nations of Haida-Gwai
The extent to which the manipulation of cadavers can be considered art: an investigation of the interdependence of science, art and the representation of death in the works of Damien Hirst and Gunther von Hagens
Broad topics
Installation art
The art of Native North American people
Damien Hirst’s and Gunther von Hagens’s representation of death
Once they have chosen their topic, students must frame a focused research question. The connection between the research question and the visual arts should be more than just incidental. Otherwise, students risk introducing material that is of marginal relevance, will confuse their inquiry and weaken their argument.
It is the task of the supervisor to ensure that the question:
• can be answered using artistic sources available to the student
• will encourage and enable the student to apply relevant art theory or concepts
• allows a systematic investigation that demonstrates critical artistic analysis and detailed understanding.
Students should be encouraged to formulate a research question of personal interest and to draw on a variety of sources to support their arguments. They should also be helped to identify and choose appropriate sources, both primary and secondary, and appropriate methods of research.
In some instances, it may become clear at an early stage in the research that too few sources are available to permit such an investigation. In such cases, students should change their focus.
Once they have their research question, students should make a research plan. The plan should be flexible enough to allow the students to explore the topic in a creative manner. They should not be afraid to take risks throughout the research process: originality is encouraged, as is the use of a number of different research models.
It is vital that the methodology of the EE is tailored to the research question and allows for an in-depth exploration.
Many different approaches to the research question can be appropriate, for instance:
• use of primary sources (artworks and artists) and secondary sources (material about the visual arts) in order to establish and appraise varying interpretations
• analysing secondary sources in order to explore and explain particular aspects of the visual arts
• using primary source material for analysis, with emphasis on a particular aspect of visual arts
• collecting and analysing reproductions of artworks, possibly leading to a comparison of similar or different images.
Students should also demonstrate awareness of other issues surrounding the artworks studied.
• Do I show an awareness of the value and limitations of the art I am studying through analysing its origin and purpose?
• Do I show a consistently good artistic understanding in setting the research question into context and addressing it fully and effectively?
Relevant outcomes of this analysis should be integrated into a well-substantiated argument.
• With what evidence do I support my comments and conclusions?
• Is this evidence relevant and well founded, and not based simply on my preconceptions?
The emphasis of the EE should always be on written analysis, interpretation, evaluation and the construction and development of a sound argument.
The inclusion and discussion of appropriate visual reference material is mandatory. Such material must, however, be directly supportive of, and relevant to, the analysis or argument. Images should be appropriately presented and acknowledged and should appear in the body of the essay, as close as possible to the first reference.
In order to promote personal involvement in the EE, the use of local and primary sources should be encouraged wherever possible. Where students do not have access to primary sources they may rely on high-quality reproductions or images of sources.
Students are expected to evaluate critically the resources consulted during the process of writing the EE by asking themselves the following questions.
• Which sources are vital to the support of my ideas, opinions and assertions?
• Which sources do not contribute to the analysis?
Finally, an EE in visual arts is a formal essay, so students must pay careful attention to the requirements of the assessment criteria. Frequent reference to the assessment criteria by both the supervisor and the student will help keep a sharper focus on the project.
Once students have identified their topic and written their research question, they can decide how to research their answer. They may find it helpful to write a statement outlining their broad approach. These examples are for guidance only.
Topic: Cultural influences on Pablo Picasso’s work
Research question: Picasso: individual genius or cultural thief?
Approach: An investigation of the extent to which selected images in Picasso’s work may have been appropriated from other cultural sources.
Topic: Architectural influences: the Pompidou Centre
Research question: How were Sir Richard Rogers and Renzo Piano influenced by the Maison de Verre designed by Pierre Chareau in their design and construction of the Pompidou Centre in Paris?
Approach: An original investigation into the stylistic similarities in the architecture of these two buildings.
Topic: The impact of immigration on an artist’s work
Research question: What is the impact of transcultural experience on the art of Gu Xiong?
Approach: An investigation into the effects of migration, from China to Canada, on a selected artist’s work
Students must ensure that their EE does not duplicate other work they are submitting for the Diploma Programme. For example, artists and art works selected for study within the art comparative study task would not be appropriate for study within the EE.
An EE in visual arts is not an extension of the internal assessment (IA) task. Students must ensure that they understand the differences between the two.
Supervisors play an important role here in guiding students on these distinctions. Students risk their diploma if academic misconduct is detected.
(Strands: Topic, Research question, Methodology)
The EE must be specific and sharply focused on a research question that is well connected to the visual arts. In addition to traditional forms of so-called “fine art”, the visual arts should be understood to also include some aspects of architecture, design and contemporary forms of visual culture.
Titles must give a clear indication that the research is significant and should not, for example, lead to a simple narrative account of an artist’s life or compare the work of two randomly chosen artists. While a topic with opportunities for access to original artworks is a good choice, this is not a requirement and students should not shy away from library-based research.
If students choose a popular topic that has been well researched by others (eg an essay on Banksy or the French Impressionists), they must attempt to structure a research question that may lead to a new point of view, focus or interpretation.
The significance of the research must be explained and some indication of how the research question relates to existing knowledge in the visual arts must be given.
In the visual arts, sources are expected to include visual images—some of which (depending on the area of research) may even be the student’s own photographs.
Students need to demonstrate that their essay has been well planned and that they have selected an appropriate approach to address the research question.
(Strands: Context, Subject-specific terminology and concepts)
Students must be critically aware of sources related to their area of study, particularly those that help to place their work in historical, social or cultural context.
Although the internet can provide a good source of visual material, it is expected that in choosing written sources that support their argument students will move beyond an exclusive reliance on internet references.
Students must demonstrate knowledge and understanding of the visual arts through fluency in the use of appropriate terminology when discussing formal artistic aspects (such as terms related to an understanding of the elements and principles of design).
Vocabulary used by art historians, critics and scholars in cultural studies may also be important (eg, using appropriate vocabulary related to artistic periods or styles). The student must try to maintain a consistent linguistic style throughout the essay.
(Strands: Research, Analysis and Discussion and evaluation)
Students who are familiar with scholarly writing in the visual arts (art history, art criticism, cultural studies) will be aware of the need for clarity and coherence.
Students must be aware of the need to give their essays the backbone of developing argument that is clearly related to the research question.
A clear and logical argument is often achieved by making consistent reference to the research question throughout the essay.
Personal views, while they may be quite common in the visual arts, need to be supported by reasoned argument, often with reference to images, interviews with artists, site visits etc, as well as carefully evaluated written material.
While some biographical information may help to advance an argument, the simple recounting of an artist’s life may not always be helpful.
It is important for students to evaluate their own research, particularly in terms of unresolved issues and further research questions that may be generated by their study.
(Strands: Structure, Layout)
This criterion relates to the extent to which the essay conforms to accepted academic standards in relation to how research papers should be presented. It also relates to how well these elements support the reading, understanding and evaluation of the essay.
Students may provide a section and subsection structure to their essays, if this is appropriate for the topic area chosen. Students should be aware of the appropriate format for their chosen subject.
Use of images
Carefully chosen and referenced images form an integral part of an essay in the visual arts. Images should be placed and discussed in the body of the text. They should be scanned or copied at good resolution and be of a reasonable size.
Referencing images is as important as documenting text. The reference must include:
• artist’s or designer’s name
• title of the work
• ownership
• (where relevant) dimensions and media
• source from which the image was scanned or downloaded.
Students should give each image appearing in the body of the essay a brief caption (eg artist’s name and title of the work). Full details can be given in a list of images placed immediately after the bibliography or references.
Any material that is not original must be carefully acknowledged, with specific attention paid to the acknowledgment and referencing of quotes and ideas. This acknowledgment and referencing is applicable to images, audiovisual material, text, graphs and data published in print and electronic sources.
If the referencing does not meet the minimum standard as indicated in the guide (name of author, date of publication, title of source and page numbers as applicable), and is not consistently applied, work will be considered as a case of possible academic misconduct.
A bibliography is essential and has to be presented in a standard format. Title page, table of contents, page numbers, etc must contribute to the quality of presentation.
The essay must not exceed 4,000 words of narrative. Students should be aware that examiners will not read beyond the 4,000-word limit, or assess any material presented past this.
(Strands: Reflections on planning and progress)
This criterion assesses the student’s engagement with their research focus and the research process. It will be applied by the examiner at the end of the assessment of the essay, and is based solely on the candidate’s reflections as detailed on the RPPF, with the supervisory comments and extended essay itself as context.
Students are expected to provide reflections on the decision-making and planning process undertaken in completing the essay. Students must demonstrate how they arrived at a topic as well as the methods and approach used. This criterion assesses the extent to which a student has evidenced the rationale for decisions made throughout the planning process and the skills and understandings developed.
For example, students may reflect on:
• the approach and strategies they chose, and their relative success
• the Approaches to learning skills they have developed and their effect on the student as a learner
• how their conceptual understandings have developed or changed as a result of their research
• challenges they faced in their research and how they overcame these
• questions that emerged as a result of their research
• what they would do differently if they were to undertake the research again.
Effective reflection highlights the journey the student has engaged in through the EE process. Students must show evidence of critical and reflective thinking that goes beyond simply describing the procedures that have been followed.
The reflections must provide the examiner with an insight into student thinking, creativity and originality within the research process. The student voice must be clearly present and demonstrate the learning that has taken place.