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LIBRETTO
Instrumental music: The challenge ahead
New Zealand: Jazz launch
Diplomas: your questions answered
Jazz summer school
Tuning in to the 21st century
Issue 2000:1
ContentsLibretto 2000:1
1/2 UK newsNational Concert for High AchieversJazz summer schoolMarket researchSummer closing dateWorkshops and seminarsEntering in styleExams: where and when
3 Professional Development newsThe story so farSingaporeHong KongUKKeeping in touchTravel Grant Scheme
4/5 International newsSE Asia: ESP, Bill ThomsonOn the roadNew Zealand: Jazz launchUSA: IAJE and MTNANew representativesIreland: High Scorers in DublinUganda: Piano appeal
6/7 ExamsDiplomas: your questionsSinging in timeSpotlight on special needsWho’s whoWoodwind & Brass
8/9 FeatureTuning in to the 21st centuryJennifer Hillman
10/11 Point of viewSusan Hallam: The challenge ahead
12 ForumMotivation
Libretto is published three times a year by the Marketing Department
Editor Suzannah Power Assistant Editor Lucy NorthAdvertising Sales Suzanne Gray 020 7467 8254Design Tamasin ColeCover illustration Geoff GrandfieldPrint FS Moore Ltd, London
The views expressed in Libretto are not necessarily those of the Associated Board.
Outlook
Even for theAssociated Board, with its history of over 100 years, a millennium is a huge milestone.
As you see, we are celebrating with a newly designedLibretto, which has been enlarged to 16 pages, in linewith views expressed in recent readership surveys. Thisnew format allows us to include extra feature articles,giving independent points of view on current issues inmusic education; twice as much UK and internationalnews and a limited amount of space for advertisementsrelevant to the needs of instrumental teachers. With eachissue there will be an insert about the latest publicationsfrom ABRSM Publishing.
This expansion mirrors the wider role which the Boardis now playing and will continue to play in years to come.Following a further substantial increase in our candidatenumbers worldwide in 1999, we will be redoubling ourefforts to meet the needs and preferences of teachers andcandidates. This will include further enlargement of ourpanel of examiners, whilst ensuring that we maintain thehighest professional standards.
We will also be exploring ways of extending the rangeof our professional development services for instrumentalteachers. The options which we are currently reviewinginclude greater international availability of the CT ABRSMcourse, greater flexibility in the time frame within whichthe course can be completed, opportunities for it to bemade available in a modular format and ways of offeringmore support for post Grade 8 candidates embarking onthe recently announced new diploma syllabuses.
So the start of the new millennium will be an energetictime for the Associated Board and, I hope, for all Librettoreaders as well.
Associated Board of the Royal Schools of Music14 Bedford SquareLondon WC1B 3JGEngland
Telephone 020 7636 5400Fax 020 7637 0234
Email [email protected] www.abrsm.ac.uk
Registered Charity No. 292182© 2000 by the Associated Board of the Royal Schools of MusicAll rights reserved. Unauthorised reproduction in whole or in part is prohibited without permission.
Setting the Standards
Richard MorrisChief Executive
1
NEWSUK
New HLRs
BridgwaterKate Hewson01278 421875
PortsmouthNeil and Karen Bennett01705 640160
RotherhamSylvia Murphy01709 377455
Southend-on-SeaDouglas Powell (T)01702 346950
Stockton-on-TeesJanet Gray01642 672266
ThanetJocelyn Emptage01843 223969
National Concert for High Achievers
We are running a course for teachers in thecompletely relaxed and non-threateningenvironment of Benslow Music Trust from 7–13August this year. The course leader will be CharlieBeale, author of Jazz Piano from Scratch.
The course is for teachers who have relativelylittle experience of jazz but who would like tolearn more. The focus will be on piano teaching,but much of the course will be relevant toteachers of other instruments too.
The week kicks off with in-depth explorationsof rhythm skills and improvisation before movingon to jazz harmony and voicings towards the endof the week. Getting to grips with jazz repertoireforms an integral part of the whole course.
The Benslow Music Trust (Hitchin, Herts)provides a perfect environment for music-making. Residential accommodation is availablefor up to 50 people with practice rooms, a musiclibrary and small concert hall. Both residentialand non-residential places are available.
Immerse yourself in jazz for a week withexcellent tuition and no distractions and you’ll beamazed at just how much you can learn.
For a Jazz at Benslow leaflet contact the Marketing Department: tel 020 7467 8254 email [email protected]
Market research
next closing date: 5 May ■ ■ ■ next closing date: 5 May ■ ■ ■ next closing date: 5 May ■ ■ ■ next closing date: 5 May
This year, to mark the Presidency of HisRoyal Highness The Prince of Wales, weare holding a High Scorers’ Concert witha difference. For the first time we aregathering performers together from all over the country to take part in aNational Concert for High Achievers. The concert will take place at the RoyalOpera House Linbury Studio Theatre inLondon on 8 March 2000.
Full coverage of this unique eventwill appear in the next issue of Libretto.
The Royal Opera House,Covent Garden
Jazz summerschool
We are now asking for your help again aswe take our research one step further overthe next few months. If you receive one ofour customer survey forms please take afew minutes to complete it. We value yourviews and experiences. Ultimately theyhelp us to continue to provide an effectiveand responsive service. Your responses in1994 and 1997 told us the following:
■ you asked for more generalteaching issues in Libretto; wehave now increased teachingitems by 100%;
■ in 1994 39% of piano teachersindicated an interest in jazz; weresponded with a Jazz PianoSyllabus and plans for expansioninto other instruments;
■ nearly 50% of respondents in1997 were unsure of the benefitsof the Prep Test; we respondedwith new leaflets and moredetailed information.
This year we will be contacting some of ourwebsite users to set up a chat room. We canthen keep up with your ideas on an ongoingbasis.
For more information contact Suzannah Power Head of Marketing:tel 020 7467 8254 email [email protected]
In 1997 thousands of applicants helped us with our market research project,Making Music.
If you’ve always wanted to try your hand atplaying and teaching jazz but have neverplucked up the courage to have a go – here’syour chance.
Every year our examiners witness outstandingperformances from a whole range of musicians of allages. Many of these musicians go on to perform at HighScorers’ Concerts organised on a local basis by our HLRs.
High Scorers’ Concerts
14 FebruaryBangor
20 FebruarySunbury-on-Thames
24 FebruaryBolton
26 FebruaryChelmsfordDarlington
27 FebruarySolihull
11 MarchSutton Coldfield
Diplomas in detail
6 May Cardiff7 May Bristol13 May Manchester14 May Edinburgh20 May London27 May Birmingham
Jazz summer school
7–13 AugustBenslow Music Trust
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Book your place using theenclosed form or online atwww.abrsm.ac.uk/diploma
2
NEWSUK
Summer closing date
Workshops and seminars
By now many of you will befamiliar with our colourful newentry forms.
The new design aims to makeentering for exams as simple aspossible with:
■ a clearer structure■ more guidance on
completing the form■ a glossary of key terms■ a table of entry options■ a calendar for the
year ahead
We hope you find the new formeasy to use. Do let us know whatyou think – suggestions are alwayswelcome!
Exams: where and when
Flexibility and service are keywords here. We provide fourentry options for you to choosefrom and the chance to indicate apreferred week for your exams.
1 Special VisitsYou can specify your own dateand venue.You only need 3 hours of examsto qualify; many teachers meetthis minimum by joining forces.You can choose any date outsidethe main session and we need justone month’s notice.
Kirstie Dods: tel 020 7467 8221
2 Large Entry VisitsYou can specify a date and venuewithin the main session.Any entry or combined entry of15 hours of exams qualifies.
3 CentresDuring the main session.Ideal if you want your candidatesto take their exams at a venueprovided by us.
4 VisitsDuring the main session.For schools and private teacherswho prefer an exam date duringthe second half of the school termand at their own venue.
At special visits and large entryvisits you can choose a date.
At centres and visits it isimportant to be aware that yourexams could be on any dateduring the five-week session. Wecannot guarantee a preferredweek for either of these options.
Putting together the timetablesto make best use of centres andexaminers throughout the five-week session is a complex processand each term we juggle thefollowing factors:
■ date preferences of100,000 candidates
■ availability of 300 examcentres
■ availability of 500examiners living all overthe UK and Ireland
We make every effort to meet as many preferences as possibleand as a result 80% of candidatestake their exams in theirpreferred week.
UK and Ireland Administration: tel 020 7636 5400
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Applicant number
Title
Surname
Forename & other initials
Degrees/Diplomasoptional
Address line 1
Address line 2
Address line 3
Address line 4
Postcode
Home telephone
Work telephone
If this is your first entry you will not yethave an Applicant number. Complete allother boxes in this section – an applicantnumber will be sent to you in due course.
If you do not know your Applicantnumber please complete all other boxesin this section (your applicant number will be shown on the letter confirming the exam appointment(s) and should be noted for future use).
If you have given your applicant numberand your address and telephone numberhave not changed complete only Title,Surname and Forename & other initials.
If your address and/or telephone numberhave changed since your last entry, pleasegive the new details.
The applicant will be shown on the certificate as being the person whopresented the candidate(s) unless you indicate otherwise in section 1b.The Title, Surname, Forename & other initials and Degrees/Diplomaswill be shown as they appear above and there is space for a total of 40 characters (including spaces) - if the details given total more than 40characters the Board reserves the right to edit this information.
1aApplicant information all applicants
Please give your E-mail address if you have one – although all standardcommunications concerning your candidates’ exams will be sent by post, it is helpful for us to have this information on file.
The applicant is the person applying forthe exam(s) on behalf of the candidate(s).Adult candidates (over 18) may apply forthemselves. All formal communicationsconcerning the entry will be with theperson named as the applicant.
14 Bedford SquareLondon WC1B 3JGTelephone: 020 7636 5400E-mail: [email protected]
Entry form
2000
Please use BLOCK CAPITALS
Please use this entry form forAll Practical subjects (Prep Test & Grades 1 - 8)Performance Assessment (for adults & for candidates with special needs)Theory exams (Grades 1- 8)
There are separate forms for Ensembles, Jazz Ensembles, Choral Singing, Advanced Certificate, LRSM, Diplomas, entries from the Republic of Ireland
Internet entries: if you would like to enter your candidates via the internetinstead of using this form please visit the Board’s website at www.abrsm.ac.uk
When filling in this form you will need to refer to the Supplementaryinformation sheet and to the other sources of information listed on it.
If this is the first time you have filled in an entry form, please read thefront page of the Supplementary information sheet before you start.
For office use only
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This column gives brief guidance oncompleting the form section by section. Additional information is given in theSupplementary information sheet.
If you need further information orguidance on completing this form pleasedo not hesitate to contact the AssociatedBoard direct at the above address.
1bCertificate information optionalIf you wish someone other than theapplicant to be named on the certificateas having presented the candidate(eg a school or institution, or your teacherif you are entering yourself) complete thefollowing box (maximum 40 characters in total including spaces).
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The closing date for the summer exams is Friday 5 May, a week later than normal but onlyfour days after the start of the new term formany schools. Please submit your entry as earlyas possible; this will help us to give you as muchnotice as possible of your candidates’ exam dates.
Entering in style
Diplomas in detailLast September we announced ournew diploma exams and those ofyou who came to one of ourUpgrade Ingredient seminars weretreated to a preview of thebenefits these new diplomas offer.
The complete syllabus fordiplomas at all three levels will bepublished in printed format and
online in March to be followed inMay by a series of free diplomadiscovery sessions. Presented byClara Taylor, Chief Examiner,Diplomas in detail will take a close look at these excellent newqualifications.
All teachers and studentsconsidering the new diplomas are welcome to attend.
The Upgrade IngredientOver 700 teachersattended our lastseminar series, The Upgrade Ingredient,with the new format proving extremelypopular.
next closing date: 5 May ■ ■ ■ next closing date: 5 May ■ ■ ■ next closing date: 5 May ■ ■ ■ next closing date: 5 May
3
NEWSPROFESSIONALDEVELOPMENT
Travel Grant Scheme
recognised qualification as a sign of commitment toteaching. LEAs and Music Services also expect morethan performance skills from their peripatetic staff.Once you’ve completed the CT ABRSM course youcan take advantage of further professionaldevelopment opportunities in the form of ourworkshops and certificated refresher courses.
Finally, CT ABRSM holders can now use theiraward as a substitute for certain elements of thenew DipABRSM and LRSM diplomas (see syllabusfor details).
CT ABRSM prospectuses
The 2000-2001Singapore prospectus is now available fromSu-San Hay at the SSOoffice and on-line atwww.abrsm.ac.uk
The new UK prospectuswill be available fromApril. For a copy contactAnna Munks, Course Administrator:tel 020 7467 8257fax 020 7467 [email protected]
Hong Kong
January saw the end of the 1999-2000 CT ABRSM course. Once thefinal assessments have been madean award ceremony will be heldwhere Professor Chan Win Wah,Chair of the Music Department atthe Chinese University in HongKong, will make the presentationsto successful students.
UK
Keeping in touch
Our Professional Developmentdepartment was established in 1995under the direction of Richard Crozier,whose role initially was to set up andrun the Certificate of Teaching (CTABRSM) course in the UK. Since then,the department has expanded its remitsubstantially.
The CT ABRSM course is now available toteachers in the UK, Hong Kong and Singaporewith global demand growing as the instrumentalteaching environment changes. Teacherseverywhere are recognising that continuingprofessional development is essential if they areto keep up with the skills and knowledge neededin today’s world.
So, what can Professional Development offeryou? The initials CT ABRSM are a clear signal toprospective pupils, employers, parents and LEAs ofyour capability, skills and experience. Marketresearch indicates that parents look for a
Building on the success of ourprevious taster mornings we are offering two forms ofintroductory CT ABRSM event this year:
Open morningsSee the course in action and getto meet current students,mentors and course leaders.Open mornings will be takingplace in March at 12 regionalcentres.
TastersCome along to one of 13 tasterevents incorporating twoprofessional developmentsessions and a CT ABRSM surgerywhere you can discuss your ownneeds with a former student, aspecialist mentor or course leader.
A booking form is enclosed withthis issue of Libretto. Places arelimited, so please book early!
Sri LankaLast term we welcomed threepiano teachers to London from SriLanka as part of our ongoingtravel grant scheme. NelukaSeneviratne, Ruvini Hapugalleand Sureka Amerasinghe spent 12weeks studying in London underthe mentorship of examiner EveHalsey. Their studies includedregular sessions at the RoyalAcademy of Music with GraemeHumphrey and former ChiefExaminer, Jean Harvey.
We would like to thank theSalvation Army who generouslyallowed Neluka, Ruvini and
Sureka to use their practicefacilities.
West IndiesThis term our travel grantactivities focus on a shortprofessional development coursein the West Indies. Following onfrom the success of a similarcourse run in Malta last year, theWest Indies course aims to offeras many teachers as possible theopportunity to come along to aseries of professionaldevelopment events.
Please contact your localrepresentative for full details.
UK refresher courseThis year we are launching acertificated CT ABRSM refreshercourse in the UK. For some timenow we have been thinking abouthow to help CT students keep up-to-date with new thinking inmusic education. We know thatCT students want to remain aheadof the game and this refreshercourse will enable students torefresh their knowledge aboutteaching matters, meet up withold CT colleagues, make newfriendships and do the very bestfor their pupils.
The refresher course will takeplace at three UK venues in Junereplacing the annual conferenceof previous years. We will besending details to all CT ABRSMholders.
CT chat roomIn addition to the certificatedrefresher course we are setting upan internet-based chat room for allCT ABRSM holders, to enableeveryone with access to theinternet to network on an ongoingbasis. More about this new venturein the next ProfessionalDevelopment Newsletter.
Su-San HayExaminationsManager at SSO
The story so far
SingaporeA refresher course for CTABRSM holders was held inOctober 1999 attended by 20teachers. Every participant hasnow received a certificate ofattendance.
4
NEWSINTERNATIONAL
Regional Consultant settles in
Bill Thomson, our new SE Asia RegionalConsultant, has now been a KL residentsince December 1999 and has alreadyorganised two series of workshops forteachers. Booking forms for these eventswill be sent to teachers direct.
Over the past few months we have been workingwith Bill to structure a new approach to ESP,based on the parts of ESP which have had themost positive response. An overwhelmingnumber of teachers have asked for more sessionson professional development to complement thesessions which concentrate on exam preparationand techniques. So for 2000 we are launching thenew Professional Development Programme (PDP),which replaces and builds on ESP to provide amore responsive service for teachers. The PDPstarts in September and details will be sent to allteachers in May.
During a hectic schedule Bill found time toshare some thoughts on his new role:
“I am delighted that my appointment asRegional Consultant in SE Asia coincides with thelaunch of our new diploma exams on theinternational circuit, as well as the projectedlaunch of some innovative ABRSM publicationson performance practice and teaching. These willprovide an excellent starting point for the first ofthe new PDP seminars.
“The millennium year will be a bumper onefor visits to SE Asia. Philip Mundey, Director ofExaminations, will present diploma seminars inMarch and April, and Clara Taylor, Chief Examiner,will visit later this year for the first of our newPDP events. On a personal note I look forward tomeeting many of you at these events and totravelling throughout SE Asia, meeting withteachers and supporting them as they preparetheir pupils for exams.”
Bill ThomsonABRSM Regional Consultant SE AsiaPO Box 7461 Pejabat Pos Besar40670 Shah AlamSelangor Darul Ehsan, Malaysia
tel/fax 603 705 3944email [email protected]
Diploma seminars
27 & 28 March Hong Kong
30 March – 3 AprilNew Zealand
4 – 8 AprilMalaysia
9 – 10 AprilSingapore
On the roadChief Executive Richard Morris recently returnedfrom an intensive tour of Hong Kong, China,Singapore, Malaysia and Taiwan. He writes:
“My tour served many purposes: it was acelebration of growth throughout the regionwith more exam candidates in 1999 than everbefore; a chance to see both exams and CTABRSM in action and to plan further extension of our professional development workinternationally; and an opportunity to presentour new diploma syllabus in both Hong Kong and Taiwan.
“Above all, it was about meeting people – the Board’s international representatives and
consultants who play a critical role in furtheringour work in each country and the teachers andcandidates who need and value our services. I sensethat the region is emerging all the stronger for theeconomic re-examination which it has conductedover recent years and that the outlook for musiceducation and development is excellent.”
SE Asia
Record numbers for Educational Support Programme
Teachers in Singapore and Malaysia were treatedto double helpings this year with presentationson both the practical and theoretical sides ofmusic making. This was the last ESP tourorganised by retiring SE Asia Regional Consultant,Geoffrey Smith, who said: “ESP was particularlywell received this year. Being able to capitalise onAnna Butterworth’s expertise made it doublysatisfying. It was good to have overall recordattendance. The ESP seminars are now firmlyestablished as part of the teachers’ year inMalaysia and Singapore.”
We held an ESP seminar in Kuantan for thefirst time this year and nearly 50 teachersattended, all of whom appreciated having ESP intheir home town, when KL is almost five hoursaway by road.
Tim Arnold, who presented sessions inPenang, Kuantan, KL, Malacca and Johor Baru,commented: “I was really pleased with thereaction to the motivation sessions – in fact agroup of teachers said it had been the best ESPyet! It was really encouraging to see nearly 400teachers over the two days in KL.” Those of youwho enjoyed Tim’s presentations will be pleasedto learn that he will be returning to co-presentour seminars later this year.
Tim Arnold
Bill Thomson
Diploma presentation,Hong Kong
High Scorers’ Concerts
2 & 3 FebruaryNicosia, Cyprus
10 FebruarySingapore
18 FebruaryPaphos, Cyprus
11 MarchRichmond, Canada
5
NEWSINTERNATIONAL
Address book
Australia: Perth Judy Thönelltel (08) 9386 2654fax (08) 9386 [email protected]
Canada: WinnipegKaren Oliveremail [email protected]
Czech Republic David Talackotel (02) 2481 3039fax (02) 2481 7919
India: CalcuttaJeroo Rustomjeetel (033) 282 1301
India: GoaCarlos Alvares Ferreiratel (0832) 736669/722462fax (0832) 730999
Indonesia Denis Umaremail [email protected]
Italy: RomeRobert Hixtel (06) 3086 0045email [email protected]
Italy: Milan Gregory Wrightemail [email protected]
KenyaNational ExaminationsCounciltel (02) 337144/338499/226884
Netherlands Elaine van der Plasfax (071) 565 2600
NorwayJenny Farremail [email protected]
OmanPhillip Stallwoodemail [email protected]
SwitzerlandDavid Winteremail [email protected]
ThailandChorlada Bunnagemail [email protected]
For the second year we exhibited at theInternational Association of Jazz Educatorsconference, with Charlie Beale (author of Jazz Pianofrom Scratch) presenting a clinic on our Jazz Syllabusand the supporting jazz publications.
The conference held in New Orleans played host to over 50 top jazz artists including EllisMarsalis, Pete Fountain, Nicholas Payton, JoshuaRedman, the Count Basie Orchestra and DavidSanchez. Jazz trumpeter Randy Brecker was alsothere. Talking about Jazz Piano from Scratch he said:
“Jazz Piano from Scratch is a much needed andvery intelligently organised book for the beginningstudent or jazz piano teacher. I think it will inspirestudents to practise and continue study.”
The IAJE is a non-profit organisation fostering theunderstanding, study and appreciation of jazz.
MTNA: March 2000
Come and meet the Associated Board team at booth#421 at the Music Teachers National AssociationConvention in Minneapolis. The convention is beingheld at the Hyatt Regency from 25 to 29 March.
IAJE:www.iaje.orgtel 785 776 8744fax 785 776 6190email [email protected]
MTNA Convention office:www.mtna.orgtel 513 421 1420
New representatives
A warm welcome to newrepresentatives in Malta, SouthAfrica and Sri Lanka.
MaltaMaria ConradSt EliaDr Zammit StreetBalzan BZN 06tel/fax 442719
South Africa (Western Cape)Jill Eichler4 St Barnabas StreetTamboerskloof 8001tel 21 423 6406
Sri LankaMano Chanmugam103/1 Isipathana MawathaColombo 5tel 01 584320, 074514319,074514446fax 01 582541email [email protected]
New Zealand
Ireland
The Pianos for Uganda appeal (Libretto January1999) has now been up and running for over a yearand as a result 14 pianos have been donated and arenow being put to good use in and around Kampala.Pianos and funding are still needed to meet a targetof 40 pianos.
Pianos for Uganda:
UK, Caroline Stonham: tel 01844 292221
Uganda, Fiona Carr:tel 41 267557 fax 41 231046email [email protected]
USA
IAJE: January 2000
From the IAJE conference in New Orleans, CharlieBeale flew to New Zealand to present a series ofjazz launch events. Charlie presented the keynoteaddress at the IRMT (Institute of Registered MusicTeachers) conference in Wellington where he alsoran seminars and an improvisation masterclass. Thetour finished with jazz workshops for teachers inChristchurch, Auckland and Hamilton. Jazz examsare available in New Zealand from October this year.
David Goodyear, Exams Administrator for New Zealand: tel 09 482 0267email [email protected]
Jazz launch
High Scorers in Dublin
For pupils, teachers andrepresentatives, High Scorers’Concerts provide opportunities tojoin together in a real celebrationof musical achievement.
Last September Clara Taylor,Chief Examiner, travelled to Dublinfor the annual High Scorers’Concert, reporting: “Once again,
the husband and wife team ofMiriam Halpin and Michael Ballsucceeded in organising andpresenting a wonderful concert.Everything about this event, thedelightful venue, the superborganisation, the excellentaccompaniments of Michael Ball,and of course, the standard of theperformers themselves, guaranteeda memorable afternoon.Congratulations to all concerned.”
Uganda
Charlie Beale
6
EXAMS
The complete syllabus itself will be published in March, but manyof you are keen to begin your preparations right away, and haveasked for more information. Here are answers to three of the mostfrequent queries.
There are three basic prerequisites. You must: (i) be at least 20 years old, (ii) have the Board’s Grade 8 Theory qualification (1992 syllabus) and, (iii) have the DipABRSM in Teaching. In order to gain the DipABRSM you will have passed Grade 8 Practical in the instrument/voice you teach.
Alternative routes into the Licentiate are provided, however.The age limit cannot be lowered, but for the Grade 8 Theoryqualification you can use a listed substitution (including a degreein music which involved relevant courses) or substitute Part 1 of the current LRSM.
For the DipABRSM(T) alternatives include an AdvancedCertificate in the instrument/voice taught, and approved courses at the Royal Schools of Music. If you apply to substituteappropriate professional experience it must include a Grade 8 (or above) Practical in the instrument/voice taught.
APE is professional experience which can be substituted for an LRSMprerequisite. It must be directly relevant to the subject-line and toLicentiate level and appropriately recent. If it is a course, it must be ofthree years’ continuous duration (full-time equivalent), normallycompleted within the 5 years prior to entry. It could also beexperience such as regular professional/semi-professional appearancesas a director or performer, or evidence of successful instrumental orvocal teaching – all normally within the 5 years before entry.
In all cases formal authentication is required. This takes theform of a signed declaration by an independent person (a coursedirector or supervisor, musical director, orchestral manager, headteacher etc.) and other relevant documentary evidence such asdetails of modules/course content, certificates of training, concertprogrammes and reviews, commercial recordings, records ofteaching undertaken and its outcomes, and so on.
There is one exception to the appropriately recent rule: in theteaching subject-line, an appropriate degree may be substitutedfor the Grade 8 Theory prerequisite regardless of when it wasawarded.
Yes, but...! Although you are not required to perform frommemory you should consider the standard convention for yourinstrument/voice. For example, it is unusual for a pianist playingwithin a chamber ensemble to do so without music, but solopianists normally perform recitals from memory. In every case, the overriding priority must be the music itself and yourcommunication and interpretation of it in a professional context.For singers, reference to the music and words in performance can not only be inhibiting but also act as a barrier to thecommunication and interpretation of the music and meaning ofthe text, and the most appropriate approach is to use the musiconly in contemporary or oratorio items.
Diplomas: your questions
Philip Mundey, Director ofExaminations, supplies the answers.
As anticipated, there has been atremendous amount of interest in thenew diplomas following publication ofthe outline leaflet with the last editionof Libretto.
I want to take the LRSM in Teaching. Can you tell me more about the prerequisites?
What exactly is appropriate professional experience?
Is it true that I don’t have to play from memory as a performing candidate?
Who’s who
Dr Nigel Scaife (below) has beenappointed to the post of SyllabusDevelopment Manager to workwith Philip Mundey on newsyllabus projects. Nigel studied atthe Royal College of Music andthe University of California beforecompleting a doctorate inmusicology at Oxford University.He has wide experience as bothperformer and teacher. Prior tojoining us he was Head of Musicat West Kent College.
The new 2000 and 2001 syllabusfor woodwind and brassinstruments is now available. The syllabus features new lists forbassoon, clarinet, flute, descantrecorder and treble recorder.There are no changes to the listsand requirements for other windsubjects. However, saxophoneteachers should be aware of anew option for their candidates;all saxophone candidates can nowchoose to play their third piece,from List C, on either an Eb or Bb
instrument.
The 2002 and 2003 syllabus(published in August 2001) will include new lists for oboe,saxophone, trumpet, cornet,flugelhorn and trombone.
new diploma syllabus: register now ■ ■ ■ new diploma syllabus: register now ■ ■ ■ new diploma syllabus: register now
Woodwind & Brass
This is to certify that
DIARMUID O’SHEA
was examined inGRADE 4 E f lat SAXOPHONE
and passed with distinctionSpring Term 2000
Presented for examination byST ENDA’S SCHOOL
7
EXAMS
There are all sorts of reasons why examschedules occasionally run late, most ofthem outside our control. We plan to dosomething about one of them, however,with the assistance of singing teachers.
Items in the singing lists at the lowergrades tend to be longer than theirpiano counterparts. This means that thetypical programme performed by asinging candidate is inevitably longertoo, though the time allowance forsinging is the same as that for piano.
We can’t change the nature of songs,but we can adjust exam timings. FromJanuary 2001, to coincide with theintroduction of expanded lists for Grades1-5, an additional three minutes will beallocated to singing exams at Grades 1, 2 and 3.
At the same time we will be givingmaximum programme lengths for eachgrade. The programme lengths(excluding the Traditional Song) are:
■ Grade 1: 4 minutes■ Grade 2: 5 minutes■ Grade 3: 6 minutes
It would be very helpful if singingteachers could try to work within theseas from now. The revised syllabus listswill contain a number of shorter items tohelp achieve this, but teachers shouldalso feel free to omit a verse of a song iflittle is being added to the overall effectof the performance by including it.
Our examiners sometimes have quitea struggle identifying which songs aregoing to be performed from the limitedevidence candidates provide. ‘It’s theone about ribbons’ can lead to a lungapausa while the examiner trawlsthrough the extensive lists! So to save a little more time we will be askingcandidates to bring with them a writtenlist of their songs. Some already do so,but we would be grateful if all singingteachers would make this standardpractice straight away.
These changes will benefit singingcandidates, those who provide theirtransport and their examiners. Everyoneelse involved in the day, not least othercandidates whose own exams maycurrently be slightly delayed, should alsofind that things run more smoothly.
Spotlight on special needs
Musicians with special needs have as much need for targets,independent feedback and encouragement as any othermusician but graded exams with set pieces, scales, sight readingand aurals are often not the best means of assessment. Inrecognition of this the Performance Assessment is open not justto adults but also to musicians of any age who have specialneeds.
The Performance Assessment offers a completely free choiceof repertoire and the opportunity to work towards a formalperformance with immediate written feedback. Somecandidates use the system only once as a way of experiencingthe formal examination situation before perhaps attemptingone of the grades. Others will apply for a PerformanceAssessment at intervals of say a year or 18 months as a way ofproviding a framework for their studies and of participating inour assessment system.
Zoe Wilton, aged 28, has been playing the clarinet forthree years. For Zoe, who has Downs Syndrome, thePerformance Assessment has provided the impetus for musicalgrowth and much enjoyment. After five PerformanceAssessments both Zoe and her teacher, Dominic Foster, arenow great enthusiasts of this assessment and what it has tooffer. Dominic says: “Zoe is able to use the reports that shereceives from her examiners to improve her technique andoverall performance and looks forward to each assessmentimmensely.”
Dominic is convinced that the Performance Assessmenthas played a fundamental role in Zoe’s musical development,but he is also aware that the benefits for Zoe are not justmusical: “One of the best things that has happened for Zoe after taking part in the Performance Assessments is that her self-confidence has improved beyond belief and recognition.”
For a copy of the Performance Assessment leaflet:tel 020 7636 5400email [email protected] or take a look at our website: www.abrsm.ac.uk
Special arrangements exist for all candidates with specialneeds or disabilities whatever exam or assessment they areentering for. We are always willing to consider ways ofadapting exams, whilst retaining standards, for individualswith particular requirements.
Singing in time
New for 2000
Keep an eye out for new certificates and entry forms, part ofan ongoing policy to streamline and clarify the way wepresent information to teachers, parents and candidates.
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Applicant
number
Title
Surname
Forename &
other initials
Degrees/
Diplomas
optional
Address line 1
Address
line 2
Address line 3
Address
line 4
Home
telephone
Work
telephone
If this is your first entry you will not yet
have an Applicant number. Complete all
other boxes in this section – an applicant
number will be sent to you in due course.
If you do not know your Applicant
number please complete all other boxes
in this section (your applicant number
will be shown on the letter confirming
the exam appointment(s) and should be
noted for future use).
If you have given your applicant number
and your address and telephone number
have not changed complete only Title,
Surname and Forename & other initials.
If your address and/or telephone number
have changed since your last entry, please
give the new details.
The applicant will be shown on the certificate as being the person who
presented the candidate(s) unless you indicate otherwise in section 1b.
The Title, Surname, Forename & other initials and Degrees/Diplomas
will be shown as they appear above and there is space for a total of
40 characters (including spaces) – if the details given total more than 40
characters the Board reserves the right to edit this information.
1aApplicant information all applicants
Please give your E-mail address if you have one – although all standard
communications concerning your candidates’ exams will be sent by post,
it is helpful for us to have this information on file.
The applicant is the person applying for
the exam(s) on behalf of the candidate(s).
Adult candidates (over 18) may apply for
themselves. All formal communications
concerning the entry will be with the
person named as the applicant.
14 Bedford Square
London WC1B 3JG
UKTelephone: 00 4420 7467 8243
E-mail: [email protected]
Republic of Ireland
Entry form 2000
Please use BLOCK CAPITALS
Please use this entry form for
All Practical subjects (Prep Test & Grades 1 - 8)
Performance Assessment (for adults & for candidates with special needs)
Theory exams (Grades 1- 8)
There are separate forms for
Ensembles, Jazz Ensembles, Choral Singing, Advanced Certificate,
LRSM, Diplomas
When filling in this form you will need to refer to the Supplementary
information sheet and to the other sources of information listed on it.
If this is the first time you have filled in an entry form, please read the
front page of the Supplementary information sheet before you start.
If you need further information or guidance on completing this form
please do not hesitate to contact the Associated Board direct (address
above right) or the Irish Co-ordinator (see Supplementary information p1)
For office use only
| | | | | | | Amount paid
| | | | | | | Local fee sheet number
| | | | | | | Office fee sheet number
This column gives brief guidance on
completing the form section by section.
Additional information is given in the
Supplementary information sheet.
1bCertificate information optional
If you wish someone other than the
applicant to be named on the certificate
as having presented the candidate
(eg a school or institution, or your teacher
if you are entering yourself) complete the
following box (maximum 40 characters
in total including spaces).
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Name for
certificate
1
Republic of IrelandSupplementaryinformation
2000
Glossary particularly for first-time applicants
Please read this section first as the information we require to process your
entry can be complicated. This section will help you to understand what
you need to provide.The applicant is you, the person filling out the form.
You may be applying on behalf of the exam candidate(s) (eg you are a
teacher, a parent or guardian, an institute head).
You may be applying for yourself (you must be over 18 to do this) and you
are therefore also the candidate.
A candidate is someone who will be taking an exam. This may be your
pupil, child, a member of your institute, or yourself.
The exam certificate shows who has presented the candidate. You may not
want this to be you – for example, it could be your school or institution, or
your teacher if you are entering yourself. If this is so, make sure you tell us
what you want shown on the certificate (section 1b of the entry form).
A centre is a venue provided by the Board where exams are held to serve
candidates in a local area. Each centre has a code, which is also used when
scheduling visits – if you are applying for a visit at premises which you are
providing you will need to work out which centre is closest to you.
An entry is the group of candidates (or single candidate) on whose behalf
you are applying on the entry form(s). In submitting an entry you are
accepting responsibility for abiding by the Board’s Regulations and for all
payments due. If making an entry under more than one of the entry
options (Entry form section 2) you will need to use one form for each entry.
An exam period is a group of dates on which exams can take place at
centres, or within which standard visits and large entry visits can be
organised. There are three periods in the year, A, B, and C (see p3) – special
visits are always held on dates outside these periods.
Applicant
CandidateCertificate
Centre
Entry
Exam period
When entering candidates for examination you will also need to make
reference to the following sources of information:
■ Examination Regulations & Information booklet for 2000
NB Special Notices for 2000 inside front cover
■ The current syllabuses for the subjects in question
All of the above are available from Local Representatives, music shops or
directly from the Associated Board (address top right) as are additional
entry forms. The Regulations & Information booklet is also available on the
Board’s website (www.abrsm.ac.uk).If you need further information or guidance on completing this form please
contact the Irish Co-ordinator (see Contacts below) or the Associated Board
(address top right).
14 Bedford SquareLondon WC1B 3JGUKTelephone: 00 4420 7467 8243E-mail: [email protected] section contains important
supplementary information relating to
exam entries and will help you to fill in
the entry form:Information about:page
Entry options
2
Exam centres & codes2
Exam dates & closing dates 2000 3
Entering Jazz candidates4
Contacts where to send your entryExams at the Republic of Ireland’s five
public exam centres are organised by our
Local Representatives and arrangements
are overseen by the Board’s Irish Co-
ordinator.Your completed entry should be sent to
the Local Representative for your chosen
centre (see left) who can also supply you
with Regulations, syllabuses and entry
forms and answer any queries you may
have about exams at this centre. Our Irish
Co-ordinator will be happy to respond to
any general enquiries you may have about
the Board’s exams.
Irish Co-ordinator
Cork
Dublin
Galway
Limerick
Waterford
Miss Miriam Halpin
Local RepresentativesMiss Elaine Collins
Miss Miriam Halpin
Ms Annemarie Duggan
Mr John Davis
Ms Anne Woodworth
31 SeftonRochestown AvenueDun LaoghaireCo Dublin
40 AlderwoodSouth Douglas RoadCork
Details as for Irish Co-ordinator above63 Monalee ManorKnocknacarraGalway
41 HighfieldEnnis RoadLimerick
Music DepartmentWaterford Instituteof TechnologyWaterford
Telephone: (01) 235 0752Fax: (01) 235 0775E-mail: [email protected]
Telephone: (021) 892024
Telephone: (091) 592968
Telephone: (061) 321371Fax: (061) 452793E-mail: [email protected]: (051) 852813 (home)(051) 302277 (work)
This is to certify thatDIARMUID O’SHEAwas examined in
GRADE 4 E flat SAXOPHONEand passed with distinction
Spring Term 2000
Presented for examination byST ENDA’S SCHOOL
new diploma syllabus: register now ■ ■ ■ new diploma syllabus: register now ■ ■ ■ new diploma syllabus: register now
8
FEATURE
Why do so many of us find it difficult to haul ourears out of the pre 1900 rut on course towardsthis new millennium?
The question is highly complex. Firstly, if we consider music written during the last tenyears or so and suppose that it represents whatwe might expect in the next ten, the haul will be pretty gentle. We’ve quite often been able to relax, even to feel lazy and stylisticallyunchallenged. Comfortable as this may seem, it runs the risk of us quietly neglecting thosemore difficult decades of the twentieth centurywith their towering masterpieces.
Secondly, we do not find time to learn enoughabout Bach, Beethoven and Brahms in a lifetime,and, in any case they and hundreds of othersfrom medieval minstrels to Mahler surely do notconstitute a rut. I could happily spend the rest ofmy time concentrating on the music of any one ortwo of a long list of composers pre 1900; manychoose to devote their lives to music of theearliest period they can unearth. All of ourenthusiasms are entirely valid in terms ofpersonal, emotional and intellectual satisfaction,and in terms of broadening the scope of thehistory of music; but it is irresponsible to remainin the past alone when teaching a youngergeneration, and a very sad omission for ourselves.
There are many twentieth century composerswhose music lies close to the hearts of most of us,though I’d challenge the majority of musicteachers to survey the music currently played bytheir pupils to see how much of it was writtenduring their lifetime. Jazz musicians are anexception, all the more so as improvisation playssuch an important part in true jazz.
A problem for many has been the challenge
to tonality beginning late in the nineteenthcentury. There are tangible reasons fordiscomfort: the selection of sounds which makesthem music rather than noise depends in onerespect on a physical phenomenon – theharmonic series – which is immutable. Theharmonic series is to sound as the rainbow is tolight. In broad terms it is a naturally occurringorder of pitches, present in every note we make,which at its lower end coincides with the notechoices used in the vast majority of styles fortheir harmony. Tonality is one of the orderings ofnotes which relates to the harmonic series. But,atonality can also conform, believe it or not, ifwe simply consider a slightly broader range ofthe series, and maybe that in a different way.
Atonality, especially serialist atonality, alsoowes its existence to the equal tempering ofkeyboard instruments – making every semitoneartificially of the same size – a brilliant ideacelebrated so magnificently in Bach’s DasWohltemperierte Klavier. From the eighteenthcentury at last a keyboard could be played in any key without stopping to retune. The singer,string player, wind player and even brass playerhad always had the ability to make a noteappropriate for its context. But, fixed tuning hadbeen a drawback in key manœuvrability. Maybeequal tempering was the greater challenge tothe harmonic series than serialism, in that itkilled the natural order of things.
For some, atonality felt like harmonic anarchy.To overcome the distaste one had only to seekreassurance in earlier works of the great pioneersto learn that they had hearts as affected andaffecting as the next. Schoenberg had writtenVerklärte Nacht, Gurrelieder and Erwartungbefore he shattered our way of thinking withPierrot Lunaire and went on to draw up his 12-note system. Many of his disciples also setdown great music for us.
In other areas our listening was upset. We hadhappily marched on two legs, danced with oneleg longer than the other, or at any rate felt safeto take metre in three – short/long is after all the
Tuning in to the 21st century
Jennifer Hillman
It is irresponsible to remain in the past alone when teaching ayounger generation, and a very
sad omission for ourselves.
9
FEATURE
way we breathe – and then Stravinsky threw out our equilibrium with the riot-causing Sacre du Printemps.
Varèse opened up the new possibility ofelectronic music as long ago as the 50s. He,Messiaen and others had already used the ondesmartenot, the thérémin was alive in Hollywoodand the Hammond organ just about everywhereelse. These instruments and electronic guitars,basses, violins etc. were simply developments, butthe synthesizer which was evolving from the 60scarried on Varèse’s ideas and continues still toextend the imagination, with its endlesscomputerised capabilities.
The great minimalist protest which began inthe 1970s is a fascinating response to atonality-discomfort. Our harmonic series having been soquestioned, though often with stupendousresult, the human ear perhaps needed time torelax. Again, there have been mixed responses:for many a new aural security, for others afeeling of nauseous repetition. Yet who has notfound excitement in a John Adams score? Wemust simply be ready to change gear.
As the ideas of the first decade of thetwentieth century were perplexing, new worrieswere added every decade. Should we ignore theunfamiliar, the less-than-cosy?
It’s our duty as teachers not to. We sometimesneed help in sifting the worthwhile from theuseless and dare I say it, the ‘help’ from somesources can be misguided. That is where theAssociated Board's recent publications for piano,Spectrum and Spectrum 2 succeed so well. The quality of the pieces and their pianisticimagination are superb. We must continually tryto learn more ourselves and to risk learning withour pupils. We must always encourage a broadapproach to musical styles, and attack the newwith enthusiasm. We are all a bit guilty thesedays of showing our children the easy way with‘wallpaper’ music when we should be shining the light on greater things.
■ This is not intended to be a historicalsurvey of twentieth century music;please excuse the inevitable omissions.
■ A specific worry for some with newermusic is in interpreting its occasionallyunfamiliar notation. The problems areusually very much less than they firstseem, but there may be space here for atruly user-friendly publication.
■ Catch them young! And this is mypositive suggestion. I shall not forgetthe wonderful response from 20 seven-year-olds during a period I spentteaching in a school some years ago. Iasked them to dance as they wished to arecording of some apocalyptic organmusic of Messiaen. Their movement wasso convincing, and they remained as ifspellbound for many minutes. They hadnot yet been indoctrinated by muzak orthe indigenous ‘thought-free’ music.
■ Nothing in life is easy. Recently, whenworking with an 11-year old pupil I wasforced to curb my own enthusiasm. Shehad taken marvellously to Spectrum 2,with some smiles, many giggles and ahealthy degree of puzzlement. However,on introducing a third piece to her I wasfaced with some indifference; I can onlyput this down to the way I played it, mymood that day or her mood that day.Back to work!
Jennifer Hillman has beenteaching music, bothinstrumental and academic,for many years. She is a pianistand at one time was a criticfor The Times. She has severalpublished compositions (under the name Glass) andwas a professor at theGuildhall School of Music from 1970 until 1997.
We must continually try to learn more ourselves and to risk learning with our pupils.
10
POINT OF VIEW
Life in the 21st century will be very differentfrom the 20th century. Technological advanceswill continue to transform our lives at work, athome and in our leisure activities. The globaleconomy has already led to fierce internationalcompetition to secure employment. With thecontinuing decline in unskilled jobs, maintainingeconomic stability depends on having a highlyskilled, adaptable workforce. As the advent ofinternational league tables has made it possiblefor potential employers to compare educationalstandards across nations there has been anincreasing imperative for governments to raisethose standards. Because of the changing nature of work the kind of education which was appropriate for the industrial age will beinadequate in the future. Employees will need tobe able to work independently, solve problems,think critically and be adaptable, flexible andcreative. They also need to work well withothers, communicate effectively, be wellmotivated and be able to learn how to masternew skills quickly and efficiently to respond tocontinuing change. At home, technology has ledto a decrease in the time spent on domesticchores and an increase in the time available forleisure. Home computers and the access they giveto the internet, cable TV and videos have openedup a range of experiences to the many whichwere previously only available to the few.
How have these changes impacted on music?In the latter part of the 20th century we haveseen a rapid increase in the opportunitiesavailable for listening to music through radio, TV, records, tapes, CDs, videos and a rapidlydeveloping range of multi-media techniques.Along with this there has been a decline in theperformance of live music and opportunities forfull-time employment for professional musicians.What does the future hold?
Firstly, there seems little doubt that music willcontinue to play an important part in our livesfulfilling, as it does, so many human needs. Forthe individual it can be an outlet for emotional
expression, influence our moods and arousallevels and be therapeutic. It can entertain andinspire. It enhances the impact of the other arts,much of what we see on television and in filmsand computer games. For those who becomeactively involved in its performance, publicly orprivately, it can provide intellectual stimulation,the challenge of mastery and emotionalfulfilment. Within society, it provides a means of communicating which goes beyond words and provides us with shared, unspokenunderstandings. It enables particular groups toreinforce their identity whether they be footballsupporters, members of a political party ormembers of particular ethnic or cultural groups.No major state occasion is without music. Finally,it provides opportunities for numerous sharedsocial activities, formal and informal. A societywithout music is unthinkable. The issue is notwhether there will be music in the 21st centurybut what the nature of that music will be andwhether there will be a continued perceived needfor people to learn to play musical instruments.
In the immediate future little is likely tochange. The music industry is one of the majorgenerators of income in the UK and learning toplay an instrument or to sing is currentlyperceived as important in preparing individualsto work as performers, educators (class andinstrumental), composers and arrangers, musictherapists, journalists, librarians, publishers,retailers, promoters, administrators andinstrument manufacturers and repairers.Learning to play a musical instrument is also seen as making an important contribution to the education of those wishing to pursue careersin TV and radio, as producers, in the recordbusiness, advertising, sound engineering, filmediting and acoustic research.
There is also a growing body of evidence thatplaying an instrument may be beneficial to thedevelopment of other skills. Early research in theUSA made claims that listening to or activelymaking music had a direct positive effect onspatial reasoning, one aspect of the measurementof IQ. While this has not been successfullyreplicated other evidence from Europe hasindicated that an increase in class music lessonscan have positive effects on social relationships inschool. Research in the UK has shown that
Susan Hallam: The challenge ahead
The issue is not whether there will bemusic in the 21st century but what
the nature of that music will be.
11
POINT OF VIEW
concentration in primary school children andthose with emotional and behavioural difficultiescan be improved when ‘calming’ music is played in the background. Ongoing research isinvestigating to what extent playing aninstrument encourages the development oftransferable skills. For instance, the need topractise regularly may assist in the acquisition ofgood study habits and focussed concentration;playing in concerts may encourage habits ofpunctuality and good organisation; composition,improvising and developing musicalinterpretations may facilitate the development of analytic and problem solving skills, decisionmaking and creativity. These skills are just thosewhich are perceived to be of importance foremployment in the future. For all these reasonsthere is likely to be a continuing demand forinstrumental teaching in the short term.
What about the longer term picture? Whilethere are many possible scenarios I believe thattwo possibilities are likely. Firstly, the kinds ofmusic to which people will listen will becomemore diverse. New genres will develop which will integrate different styles. There will be anincrease in the use of technology to compose and perform music. This will widen access tocomposition as there will be less reliance ontechnical skill but at the same time it is likely tofurther reduce the need for live performance and musicians whose role is solely related to it.Developing in parallel with this trend is a likelyincrease in the number of people, across thewhole age range, who wish to activelyparticipate in music making. Such activities arelikely to be community based and will reflect the musical traditions of that community,whatever they may be. The role for theprofessional musician of the 21st century willinvolve working in this musical community,performing, facilitating performance in others,teaching a wide variety of musical skills,composing and arranging music.
If this vision of the future is to be realisedwhat does the music profession need to do inpreparation? The focus of instrumental tuition,at all levels, from pre-school to higher education,will need to change. Ways will need to be foundto enable more people to learn to play a widerrange of instruments, throughout their life span
with appropriate opportunities for making musictogether in the community. The instrumentalcurriculum and the graded examination systemswhich assess progress through it (the latter whichhave been world leaders) will need to adapt tomaintain their relevance in this changingenvironment. Ultimately, they will need toencompass a broader range of musical skills.Crucial to the process of change will be thetraining of musicians. They, in addition todeveloping a wide range of musical skills, willneed to be able to motivate, inspire and teachlearners of all ages, develop skills for workingwith large and diverse groups and acquire thecommunication, social, entrepreneurial andmanagement skills necessary for communitywork. This represents a fundamental changefrom traditional practice.
A further challenge, especially in the UK, isthe need to respond to the increasing demandsfor accountability from government agencies.While it is easy to feel threatened by the degreeof scrutiny involved it is important to keep it in perspective. It applies not only to music, but to education as a whole and indeed to a wide range of public and private enterprises. Viewedpositively it can provide an opportunity todemonstrate publicly the high quality ofinstrumental music tuition and its assessmentsystems in the UK.
Finally we need to strive towards raising theprofile of music itself. Music plays a crucial role inour lives but all too often it is taken for granted.Those involved in the music profession at alllevels need to actively work together to ensurethat this changes. The effect on the media of a national day without music would bedevastating. We need to find ways to bring this home to those involved in policy making and the general public. A major campaignmounted by all interested parties, including themusic industry, is needed. The evidence for theimportance of music is overwhelming. We just need to get the message across.
Susan Hallam trained as a violinist at the Royal Academyof Music after which she spent 10 years as a full-timeprofessional musician. A BA in Psychology, career inteaching and PhD studies relating to the developmentof expertise in musicians all followed and Susan is nowProfessor in Education at Oxford Brookes University.Susan Hallam has published widely and diversely in the education field and her most recent bookInstrumental Teaching: A practical guide to betterteaching and learning is published by Heinemann.
The focus of instrumental tuition, atall levels, from pre-school to highereducation, will need to change.
12
FORUM
Live impact
I believe it is very important foryoung musicians to experiencelive music. No CD, however fine,can replace the experience ofgoing to a concert hall and thesense of anticipation as theaudience goes quiet before thestart of the performance.
I will never forget the impactof hearing and seeing asymphony orchestra for the firsttime. Suddenly I realised thepoint of the regular practice, thescales and arpeggios, the auraltraining – it was something Ishared with those musicians onthe platform. It is an experiencethat has stayed with methroughout my musical career.
Excellence does not seem tointimidate children. Some of myadult students get very frustratedwhen they hear fine playersperhaps because they realise theenormity of the task ahead. Butyounger pupils are often blessedwith a more idealist approach andcan be inspired by hearing andseeing great musicians.
L RhysLondon, England
Your chance to share experiences and ideas with other readers.In each issue our Chief Examiner, Clara Taylor, introduces a subject fordiscussion. We then publish your responses in the next issue. Your con-tribution may be edited for publication.To take part, write to Clara Taylor marking your envelope Forum, oremail [email protected]
M I C E J U M P
Motivate with JoyInspire with UnderstandingCommunicate with MagicExcite with Perception
How will we achieve these ways of communicating with andmotivating our pupils? Through our own personalities,commitment, sincerity and humour,with plenty of musical variety inlessons and performance, bychoosing appropriate, stimulatingrepertoire and above all from ourown enjoyment of music.
Those of us who have lessoutgoing personalities remember:mice also hop and stride but theynever plod.
Linda BhattacharyaBrighton, England
The answer?Enjoyment
Why do we listen to music, go onholiday, watch the television? Theanswer must be enjoyment. Ouryoungest musicians are certainlynot playing music for financialgain or academic achievement.The process of learning to play aninstrument (or to sing) must aboveall be an enjoyable experience. Letus hope that our pupils are with usby their own choosing. It is thenour job as teachers to ensure thattheir desires are fulfilled and thatthey do not regret their choice.The enjoyment must be a two waything in order to succeed – ourmoods are infectious and childrenare very prone to infection.
Teachers must be happy,patient, adaptable and fun to bewith whilst maintaining respectand authority too – high demandsindeed. Our aim must be todevelop self-motivation in ourpupils – give them choices, findtheir strengths, give themopportunities to play to and withus and other people. Also playbeautifully to them to provide amodel to copy.
Geoffrey HarniessColchester, England
Failure to live up to expectations is part of life for most ofus. Managing to weather the storms is important in thelong term, maybe more so than an unbroken record ofsuccess. Teachers feel strongly on behalf of their pupilsand may well suffer even more than the candidate whoshould have managed a pass but actually failed by anarrow margin. Yet our responsibility only goes so far andwe can’t go into the exam room and perform for them. Ifthe reasons for underachievement can be accounted for,half the battle is won and the rest depends on theattitude of those concerned.
■ How do you help your own pupils when they suffer disappointments?
■ Have you experienced a major setback that ultimately contributed to success in an unforeseen way?
■ Did someone, your teacher or a parent, help you to cope with disappointment?
write now ■ ■ ■ write now ■ ■ ■ write now ■ ■ ■ write now ■ ■ ■ write now ■ ■ ■ write now ■ ■ ■ write now
Next topic: surviving setbacks
The under 12s
This is the age range that is sowonderfully receptive, a joy toteach, but laying a musicalfoundation with them is notalways plain sailing. TheAssociated Board says ‘the key tolearning is fun’ (from the PrepTest) and I think for this agerange we must try not to losesight of this. If these childrenhave fun learning they will enjoyand achieve.
I find short frequent lessonsessential with the younger ones,as a loss of interest must beavoided at all costs. And if youlose a pupil at a young age notmany want to repeat the processwhen they are a little older.Having fun and enjoying steppingover those first hurdles, without it appearing to be a struggle, ismy aim.
Alison JacksonJavea, Alicante, Spain
Motivation
Searching for stars
We are compiling a directory offamous people (musicians andnon-musicians) who have takenAssociated Board exams. Haveyou taught someone who hassince gone on to become famousin some way? To help with ourresearch please contact
Lucy North:tel 020 7467 8253email [email protected]
Clara Taylor
