Celebrating Theory: Introducing the Theory Syllabus, 2016 Edition

MATTERSmusic

The Royal Conservatory’s official newsletter for music teachers Summer 2016

Also in this issue: Music Lessons— Reaping the Benefits

a Updates to the ARCT in Piano Pedagogy Requirements: Revised Teaching Repertoire Sample

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SUMMER SUMMIT 2016:EXPLORING THE LANGUAGE OF MUSIC

The Royal Conservatory’s Summer Summit is Canada’s premier Professional Development event for music teachers. This year, join us as we unveil the new Celebrate Theory series, the Theory Syllabus, 2016 Edition, and supporting digital resources! Be among the first to peruse the new books, acquire insider knowledge, network with colleagues, and more:

• Develop strategies for building skills to support a lifetime of music making through integrating the study of theory and musicianship into the practical lesson

• Explore innovative approaches for infusing creativity and inspiration into teaching and learning

• Discover new online courses and materials that will support and complement your weekly lessons

• Join members of the College of Examiners to mark theory papers and gain insights into The Royal Conservatory Certificate Program exam requirements and examiner expectations

• Learn to read lead-sheet chord symbols and explore arranging and improvising with Forrest Kinney, author of the Chord Play® and Pattern Play® series

SESSIONS INCLUDE:

• The Art of Communication: Nurturing Resourceful and Spirited Students (Toronto)• Guidelines for Effective Interpretation (Vancouver)• Music Theory: Past, Present, and Future• Concert with Tony Yike Yang (Toronto & Vancouver), with special guest Paulina

Swierczek (Toronto)

August 13 & 14, 2016The Royal Conservatory273 Bloor Street West Toronto, ON

August 20 & 21, 2016Vancouver Academy of Music 1270 Chestnut StreetVancouver, BC

Register now atrcmusic.ca/summit

Fees:

Teachers $370Certified Teachers $345Students $199

*Toronto summit only | **Vancouver Summit only

ADDITIONAL SESSIONS BY:

TORONTO: Anna Boyden, Maria Case, Sue Elliott, Thomas Green, Jennifer Gruden, Anne Marie Page, Joe Ringhofer, Elaine Rusk, James Stager, Dale Wheeler VANCOUVER: Anna Boyden, Maria Case, Sue Elliott, James Stager

Presenters Include:

Gail Berenson* Marvin Blickenstaff** Julia Galieva-Szokolay Forrest Kinney Janet Lopinski

Visit rcmusic.ca/summit for more information

1 Celebrating Theory: Introducing the Theory Syllabus, 2016 Edition

5 Music Lessons—Reaping the Benefits

8 Updates to the ARCT in Piano Pedagogy Requirements: Revised Teaching Repertoire Sample 11 Q&A with the Academic Office

13 News & Updates

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MATTERSmusic

The Royal Conservatory’s official newsletter for music teachers

The Music Matters Team at The Royal Conservatory

Elaine Rusk, Vice President, The Royal Conservatory Certificate ProgramAngie Law, Director of MarketingJanet Lopinski, Senior Director, Academic ProgramsAlison Sloan, Editorial DirectorRyan Peplinski, Marketing Associate, EmailMeghan McKibbon, Marketing Coordinator

CONTACT USPlease email us at: musicmatters@rcmusic.ca

rcmusic.ca/musicmatters

Music Matters provides pedagogical support and relevant information from The Royal Conservatory in its mandate to develop human potential through music and the arts. Members of the academic community offer fresh perspectives and useful information on teaching and managing a successful music studio, while celebrating excellence in music. Current and previous issues of Music Matters may be downloaded free of charge from our website: rcmusic.ca/musicmatters

Summer 2016

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musicMATTERS | Summer 2016 1

Celebrating Theory: Introducing the Theory Syllabus, 2016 Edition

The study of theory is an essential component of a well-rounded musical training. It provides the opportunity to identify and explore elements already discovered through the practical musical experience and to establish the foundation for musical experiences to come. It builds aural awareness, develops analytical thinking, encourages creativity, and helps us to understand the music that we hear and play on a deeper level. For all these reasons, theory requirements have been an important element of The Royal Conservatory Certificate Program for over a century. In fact, many teachers do not separate “theory” from “practice” and incorporate exploration of the building blocks of music—such as intervals, scales and chords—as an integral component of every lesson.

The launch of the Theory Syllabus, 2016 Edition will bring the opportunity to refresh and revitalize our approach to teaching theory. As in the past, the

syllabus will outline new requirements for theory examinations serving as corequisites for Level 5 through to the diploma level. For the first time in the history of The Royal Conservatory, the syllabus will also outline recommended theory concepts from the Preparatory Level through to Level 4, providing a clear path for study from the very first lesson.

Let’s take a closer look at the most significant aspects of the Theory Syllabus, 2016 Edition.

THEORY CONCEPTS LISTED FOR ALL LEVELS

To better support practical studies, and encourage the development of well-rounded musicianship from the earliest stages of music lessons, the Theory Syllabus, 2016 Edition includes a list of topics recommended for complementary study at every practical level. This approach reflects current pedagogical practice, as exemplified by

the fact that most beginner methods include theory worksheets, activities, or even separate books as part of the learning sequence. Rather than first learning to play an instrument and then circling back to learn about “theory,” it makes much more sense to discover and identify elements of music notation and vocabulary as they are encountered in the repertoire. Much like in the study of math in primary school, it is effective and pedagogically sound to learn concepts in bite-sized pieces, building at each consecutive level and gradually expanding and assimilating a wider base of knowledge corresponding with the expansion of practical skills.

NEW NAMES FOR EXAMINATIONS

In the Theory Syllabus, 2016 Edition, the names of all theory levels correspond with those of the practical levels with which they are associated. This will make it easier for teachers, students,

By JANET LOPINSKI, Senior Director, Academic Programs

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and especially parents to understand the theory titles, and to identify the correct examination for which students should register. For example, the

theory corequisite for the Level 5 practical examination will be called Level 5 Theory, while the corequisites for Level 9 practical will be Level 9

History and Level 9 Harmony. The requirements of the two syllabi can be compared as shown on the chart below:

Theory Syllabus, 2016 Edition – New Exam Names Theory Syllabus, 2009 Edition

Level 5 Theory Basic Rudiments

Level 6 Theory Intermediate Rudiments

Level 7 Theory –

Level 8 Theory Advanced Rudiments

Level 9 Harmony Basic Harmony

Level 9 History History 1

Level 10 Harmony & Counterpoint Intermediate Harmony

Level 10 History History 2

ARCT Harmony & Counterpoint Advanced Harmony

ARCT History History 3

ARCT Analysis Analysis

UPDATED TERMINOLOGY

To align with the approaches found in most theory textbooks and workbooks used in colleges and universities across North America, some new terminology has been incorporated in the Theory Syllabus, 2016 Edition. This will allow students to transfer more naturally and effortlessly from their studies in The Royal Conservatory Certificate Program into other learning environments. It is helpful to remember that although the labels may have changed, the concepts they identify remain the same.

The most notable changes in terminology include:

• half step (instead of semitone)• whole step (instead of whole tone)• half cadence (instead of

imperfect cadence)

• authentic cadence (instead of perfect cadence)

• cadential six-four chord labeled as V5

3 to show its dominant function (the alternate label I6

4 will no longer be included each time this chord progression is encountered)

ENRICHED CONTENT WITH A HOLISTIC APPROACH

As part of the well-rounded, integrated approach to the study of music that characterizes The Royal Conservatory Certificate Program, the theory requirements have been enriched with the addition of two new elements from Levels 1 through 8.

1. Melody WritingA new melody-writing component

provides the opportunity for students to apply their understanding of music notation, melodic motion, and phrase structure in a creative context. A carefully sequenced progression of activities presents a beautifully choreographed approach to ensure student success in creating melodies. Beginning with short melodies that move by step within a given rhythmic framework, then expanding to parallel periods and finally contrasting periods, students will receive a solid preparation for the melody writing requirements in the Harmony & Counterpoint requirements to follow at advanced levels.

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2. Guided ListeningTo build awareness and appreciation

of a wide range of styles and genres of music, a series of “Guided Listening” activities have been developed. In Levels 1–4, the listening adventures expose students to masterworks in the repertoire. The Guided Listening is presented by topics, grouped together under headings such as “Telling a Story Through Music,” “J.S. Bach and Music for Dancing,” and “Getting to Know the Orchestra.” Works to be explored include Prokofiev’s Peter and the Wolf, Britten’s The Young Person’s Guide to the Orchestra, and selections from the Notebook for Anna Magdalena Bach. In Levels 5–8, students are introduced to the Baroque, Classical, Romantic, and Modern eras, to support their study of repertoire from these periods. A vocabulary of terms is also acquired, building a foundation for the detailed study of music history that begins at Level 9.

INTEGRATION OF COUNTERPOINT INTO THE STUDY OF HARMONY

In the Theory Syllabus, 2009 Edition, Counterpoint is an optional examination for students wishing to obtain the ARCT diploma. Students are able to choose to write only two out of three examinations: Counterpoint, Advanced Harmony, and Analysis. As counterpoint is an essential element of music study that leads to a richer musical experience, elements of counterpoint have been added to the study of harmony beginning at Level 9 and continuing through Levels 10 and ARCT in the

Theory Syllabus, 2016 Edition. While the stand-alone Counterpoint examination will be eliminated, all students will have the opportunity to study counterpoint as part of the harmony curriculum and will therefore become familiar with its role within the musical landscape.

SUPPORTING MATERIALS

We are delighted to provide RCM-authored materials based on the Theory Syllabus, 2016 Edition to support theory study at every level. The innovative new Celebrate Theory series consists of an engaging workbook for each of Preparatory through Level 8, with separate books for History and Harmony & Counterpoint from Levels 9 through ARCT. The theory books were created with students and teachers in mind; essential concepts are introduced through practical activities, written exercises, and exploration of repertoire suitable for integrating into the weekly practical lesson. Selections from The Royal Conservatory repertoire and etude collections, such as Celebration Series®, 2015 Edition are included throughout the series to help theory concepts come alive.

The Celebrate Theory books for Preparatory to Level 8 will be available in August 2016, and Levels 9 to ARCT will be available in December 2016.

TRANSITION TIMELINE AND CROSS-OVER

The Theory Syllabus, 2016 Edition will be available online and for purchase in August, 2016.

It becomes effective on September 1, 2016.

As there is considerable overlap between the requirements in the Theory Syllabus, 2009 Edition and the 2016 Edition, beginning in December 2016, only one set of examinations will be offered. Alternate questions will be included to accommodate students who have based their preparation on either the 2009 or the 2016 syllabus.

For further information on the transition and crossover, please visit: CelebrateTheory.com

If you are interested in exploring new ways to integrate the study of theory into your teaching, consider joining us at the upcoming RCM Summer Summits (rcmusic.ca/summit) for the official launch of the Theory Syllabus, 2016 Edition and Celebrate Theory series, and for an in-depth exploration of all related resources.There will also be regional workshops across North America in the fall, offering an introduction to and overview of the new requirements, resources and examination expectations.

As a vital component of The Royal Conservatory Certificate Program, the Theory Syllabus, 2016 Edition will provide a path for inspired teaching and learning, shaping the development of generations of music students over the next century.

DR. JANET LOPINSKI

Dr. Janet Lopinski, Senior Director, Academic Programs at The Royal Conservatory, has performed as soloist and collaborative pianist, and has presented lectures, workshops and master classes across North America, Europe and Korea. She is a graduate of The Royal Conservatory (ARCT gold medalist), University of Toronto (Bachelor of Music), and University of Cincinnati (Master of Music and Doctor of Musical Arts). She has taught piano, piano pedagogy, music history, and theory at The Royal Conservatory and is coauthor of the music history handbook “Explorations”, published by the Frederick Harris Music Company. Dr. Lopinski is the Founder and Artistic Director of the Canadian Chopin Society.

Teach the building blocks of music with the new Celebrate Theory!

Pre-order your teacher set today and receive 25% off!

12 books total!Only $158.55!

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Aligned with every level of The Royal Conservatory Certificate Program, starting at Preparatory

Theory concepts come alive through:

• Practical activities and written exercises

• Exploration of repertoire

• Guided listening and melody writing

THEORY SYLLABUS, 2016 EDITION

Effective September 1

TheorySYLLABUS / 2016 EDITION

NEW!

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Music Lessons—Reaping the Benefits

One of the big lessons that we’ve learned from the study of music and the brain is that musicians aren’t just people who play music—musicians’ brains structure their entire world in a different way. Musicians have better perceptual skills (for example, picking up the details in sounds), which lets them hear music differently, as well as other acoustic signals (such as speech). It’s not just sounds, either. There is also evidence that a lifetime of musical experience can positively affect other mental skills, leading to better ability to pay attention and better cognitive flexibility.

The really crucial aspect of all this research, however, is that the mental benefits of musical training are not just limited to those people who would put “Musician” on their business card. Anyone who has put in the effort to hone their musical skills seems to reap the benefits of this training. (As an aside, this may be one of the reasons that we tend to see so many musically talented people in successful positions in life, like the lawyer who just happens to play the piano, or the doctor who sometimes moonlights in a jazz ensemble).

THE BENEFITS OF BEGINNING EARLY

At the age of three, children are often developing important cognitive skills in attention, self-control, and working

memory. What’s more, there is good evidence that early childhood can be the most valuable time to start a music education. The earlier a child begins their music education, the more likely they are to have better motor skills as an adult. They are also more likely to develop perfect pitch. In addition, the length of musical training can predict perceptual abilities, including how faithfully the brain can represent the sounds it hears. Music training in childhood can even help protect against hearing deficits later in life—even if you don’t touch an instrument for thirty years in the middle. The benefits of music education can show up quite early as well, with perceptual benefits shown in preschoolers and school-age children. Again, these perceptual benefits aren’t just limited to music—they can help with speech discrimination and the ability to focus attention—a vital skill for children in a noisy classroom setting.

FIND A BALANCE

However, one of the hardest parts about being a parent is finding the right balance between what your child wants to do and what your child should do. In the Tradewell-Hutchins household, there used to be a mini-standoff about brushing teeth every night—“Do I have to do it?” “For how long?” “Can I just leave the toothbrush in my mouth and not move it?” As parents, we drew a line in the

sand, though, because it was important to us and to them, not so much because we cared about brushing baby teeth with fluoride-free toothpaste, but mostly because we cared about establishing a routine around brushing. Nowadays, we still get some pushback, but at least there’s the expectation that it’s part of the bedtime routine. It becomes easier and easier every day. With music, too, there are similar kinds of struggles, and I can’t help but think back to when I was a child, with my mother cajoling, nagging, or downright forcing me to practice the piano. And though I resented it at the time, it proved to be useful, both for my career and social life (having met my wife through the beauty of light opera). Ultimately, it’s the conjunction of these two aspects of music—the work and the fun—that make it such a powerful tool. Music does have a strong social aspect to it, and many scientists believe that the root cause of the beneficial effects of music are related to the fact the music is cognitively demanding, but also rewarding. Music is both the medicine and the spoonful of sugar. As a parent trying to get a child to practice, we yearn for the former, but we can’t lose sight of the latter.

MAKE PRACTICE FUN

As part of my job, I work with several very excellent early childhood music educators on The Royal Conservatory

By SEAN HUTCHINS, Director of Research

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Smart StartTM team who, on a daily basis, consider the best ways to not only present top-quality music education, but also to make it fun and enjoyable. One of my favourite ways to do this at home is to be involved in my son’s music practice—not just as an overseer, but as a participant. Sometimes this involves duets, but it can also involve singing along, or even just being an open and appreciative audience member. In fact, a recent study has shown that parental involvement can be a very powerful factor for aiding musical memory in infants. I know the time constraints can be challenging, and I’m not always able to be as involved as I’d like

to be, but I find that fostering that sense of musical collaboration is a nice way to draw on some of the inherent benefits of music. This doesn’t mean that music still isn’t preferable to Pokémon cards for my son, but I’m hoping that by his teenage years, we can reverse those preferences.

As both a scientist and a parent, I recognize the long-term benefits of music practice, but I also recognize the short-term struggles it can present.

It is wonderful to see this scientific research reaching the public zeitgeist, but sometimes this can come at the expense of the recognition of the work that music lessons can entail, not just for the child,

but also the parent. And don’t worry— if you keep a healthy attitude, the fun will come. After all, it’s music!

DR. SEAN HUTCHINS

Dr. Sean Hutchins is a neuroscientist and the Director of Research at The Royal Conservatory of Music in Toronto. He received his Ph.D. from McGill University, studying music and the mind. His current work examines the role of musical training and experience on cognitive and linguistic abilities.

ENGAGING STUDENTS: RCM Digital Resources for Student Success

The RCM’s latest digital initiatives include a suite of Apps and Courses designed to support student success and encourage engagement with the curriculum outlined in the Theory Syllabus, 2016 Edition. Leveraging the powers of instructional design, these resources will use established pedagogical frameworks to address a variety of learning styles such as visual, tactile, and auditory. An interactive, playful, and age appropriate series of five Apps that will guide beginning students from Preparatory through Level 4 theory will be available from the Apple store in Fall 2016. Beginning at Level 5, a series of four App based courses (available for iOS from rcmusic.ca/digital-learning)

authored by a team of leading RCM pedagogues, instructional designers, and scholars, explore the nine categories of content found at each level of the Theory Syllabus, 2016 Edition. Students will work through interactive lessons and activities (which include hints and feedback) leading toward embedded assessments. At the heart of all of our Apps is an interactive music staff that allows students to notate a given concept, play it back, and receive helpful feedback on their responses.

In addition to the theory Apps, beginning in Fall 2016, students will be able to complete Level 9 History online in the newest online course offered by the RCM. Students will join us on an interactive journey through time as we trace the evolution of music from Vivaldi to Adams. This self-contained, independent study experience addresses all expectations articulated in the Theory Syllabus, 2016 Edition and includes a series of embedded assessments.

Cadenza and Notemaker: Free Digital Teaching ToolsDo you have a student who “forgets” what to practise during the week — and ends up doing nothing? Or maybe your students need detailed information to structure their practising? Two new digital tools can help — and they’re free.

Four Star® Online Ear Training

Daily interactive online ear-training exercises offer students the opportunity to practice aural exercises anytime, anywhere*.

*included with purchase of any Four Star® book

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Cadenza extends and transforms the traditional pen-and-paper dictation book with a wealth of online features for music learning. Cadenza users can:

• Create practice plans with a few keystrokes;• Time, track, and reflect on practice sessions;• Upload recordings and have a virtual conversation about the work;• Communicate between lessons to shape progress;• Use practice targets to stay focused and motivated.

Signing up for an account is simple—you just need a Google account— and it takes less than a minute. Sign up at cadenzamusictool.ca.

Do you have a student who “forgets” what to practise during the week — and ends up doing nothing? Or maybe your students need detailed information to structure their practising? Two new digital tools can help — and they’re free.

Cadenza and Notemaker: Free Digital Teaching Tools

Now available as an iOS app, Notemaker allows users to make real-time comments on video and audio recordings, sharing their work to create a conversation with other users. Find it as Notemaker-Cadenza at the Apple Store.

Notemaker and Cadenza have been designed to work seamlessly together. Create a video in Notemaker, then open up Cadenza and you can upload your video with one tap to the screen. It’s easy and intuitive . . . as well as an effective way to teach students to listen and reflect on their own, or someone else’s, performance.

To learn more, visit the Music Tool Suite website at musictoolsuite.ca or watch the Cadenza and Notemaker playlists on the Music Tool Suite YouTube

“I love that my students can use Notemaker to hear exactly the point when they need to make a change, and by listening closely, they can make adjustments to their playing on their own.” Julia Fountain Ajax music teacher

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Updates to the ARCT in Piano Pedagogy Requirements: Revised Teaching Repertoire Sample To align the requirements for the ARCT in Piano Pedagogy with the progressive levels defined in the Piano Syllabus, 2015 Edition, the Elementary, Intermediate, and Advanced Teaching Repertoire Samples have been adjusted as follows:

The updated requirements of the Teaching Repertoire Sample bring consistency in usage of the designations Elementary, Intermediate, and Advanced across the entire Certificate Program, and align with the Teacher Certification Levels and the online Piano Teacher Specialist courses to encourage concurrent study within both programs. At the Advanced Level, the change will allow candidates to focus their attention on Levels 9 and 10, leading to enhanced preparation. In addition, the updated repertoire samples require candidates to prepare complete examination programs in their Teaching Repertoire Samples, resulting in a more thorough grounding for preparing candidates at all levels.

Piano Syllabus, 2008 Edition Teaching Repertoire Samples

Updated Teaching Repertoire Samples

Elementary Preparatory–Level 2 Preparatory–Level 4

Intermediate Levels 3–6 Levels 5–8

Advanced Levels 7–10 Levels 9–10

ELEMENTARY LEVEL

EXISTING REPERTOIRE SAMPLESEffective until May 1, 2017

REVISED LISTSEffective from January 1, 2016

Repertoire Etudes Repertoire Etudes

Beginner Method

four selections from method book – Prep B three contrasting selections –

Preparatory two selections from Prep A or Prep B

– Level 1 three selections (one from each of List A, List B, List C)

one etude

Level 1 three selections (one from each of List A, List B, List C)

one etude Level 2 three selections (one from each of List A, List B, List C)

one etude

Level 2 three selections (one from each of List A, List B, List C)

one etude Level 3 three selections (one from each of List A, List B, List C)

two etudes

Level 4 three selections (one from each of List A, List B, List C)

two etudes

NOTE: Repertoire and etudes must be selected from Celebration Series®, 2015 Edition

musicMATTERS | Summer 2016 9

Candidates may begin preparing for Pedagogy examinations using the updated Teaching Repertoire Samples immediately, as indicated on the table below. Please note that all repertoire selections must be drawn from the Celebration Series®, 2015 Edition, with the exception of the Prelude and Fugue by J.S. Bach.

These changes along with further clarification regarding written and interactive pedagogy examinations are listed in the Associate Diploma in Piano Pedagogy: An Addendum to the Piano Syllabus, 2015 Edition, available online at: examinations.rcmusic.ca/syllabi

INTERMEDIATE LEVEL

EXISTING REPERTOIRE SAMPLESEffective until May 1, 2017

REVISED LISTSEffective from January 1, 2016

Repertoire Etudes Repertoire Etudes

Level 3 three selections (one from each of List A, List B, List C)

one etude Level 5 three selections (one from each of List A, List B, List C)

two etudes

Level 4 three selections (one from each of List A, List B, List C)

one etude Level 6 three selections (one from each of List A, List B, List C)

two etudes

Level 5 three selections (one from each of List A, List B, List C)

one etude Level 7 three selections (one from each of List A, List B, List C)

two etudes

Level 6 three selections (one from each of List A, List B, List C)

one etude Level 8 four selections (one from each of List A, List B, List C, List D)

two etudes

NOTE: Repertoire and etudes must be selected from Celebration Series®, 2015 Edition

ADVANCED LEVEL

EXISTING REPERTOIRE SAMPLESEffective until May 1, 2017

REVISED LISTSEffective from January 1, 2016

Repertoire Etudes Repertoire Etudes

Level 7 two contrasting selections one etude Level 9 one thee-part inventionone sonata movement (first movement, sonata form)one List C selectionone List D selection

two etudes

Level 8 two contrasting selections one etude

Level 9 two contrasting selections one etude Level 10 one Prelude and Fugue by J.S. Bach one sonata selection (two contrasting movements)one List C selectionone List D selectionone List E selection

two etudes

Level 10 three contrasting selections(including a Prelude and Fugue by J.S. Bach)

one etude

NOTE: All lists (A, B, C, and D), must be represented, including one sonata-form movement from Level 9 or 10.

NOTE: Repertoire and etudes must be selected from Celebration Series®, 2015 Edition, with the exception of the Prelude and Fugue.

Transition Timeline

Spring 2016August 2016Winter 2017

Students may present Teaching Repertoire Samples as listed in the Piano Syllabus, 2008 Edition, or using the updated version as outlined above.

Spring 2017 Teaching Repertoire Samples must be prepared according to the updated requirements beginning May 1, 2017.

THE ROYAL CONSERVATORY

Piano Teacher Specialist Courses• Affordable 10-week online courses for teachers of beginner,

intermediate, and advanced students

• Videos and articles by renowned subject matter experts

• Peer-to-peer sharing among cohorts of 20–25 teachers facilitated by experienced pedagogues

• Two years’ exclusive online access to RCM teaching materials and professional development resources

YOUR BEST INVESTMENT AS A TEACHING PROFESSIONAL

To learn more and/or apply visit:

rcmusic.ca/PianoTeacherCourses

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COPYRIGHT

Are students permitted to use public domain scores downloaded from the Internet in examinations?

Music downloaded from the Internet, either purchased or in the public domain, may be used during an examination. Please print the receipt/disclaimer notice and include it with the printed music provided for the examiner.

PAGE TURNS IN EXAMINATIONS

How can a student best handle page turns in the examination? Will the examiner turn pages for a student?

When music is used during an examination, it is expected that the student will have planned and rehearsed comfortable page turns, allowing for the performance to unfold without pauses or interruptions to the musical flow and continuity. Please note that examiners are unable to turn pages for students during the examination. When preparing for a performance using music, keep in mind that in order to facilitate page turns, it is acceptable to photocopy a single page, provided permission has been obtained from the publisher.

The Frederick Harris Music Co., Limited has granted permission to festival, recital, and examination participants to photocopy single pages from their publications to facilitate page turns. Permissions for works published by others must be obtained directly from those publishers.

MEMORY POLICIES

What are the memory policies for the Piano Syllabus, 2015 Edition?

For Preparatory A through Level 7 examinations, two marks are awarded for each piece memorized, for a total of 6 marks. For Levels 8 through 10, one mark is deducted for each piece that is not memorized. All pieces must be memorized for ARCT in Piano Performance examinations. Please refer to page 10 of The Royal Conservatory Piano Syllabus, 2015 Edition.

STYLE

How creative can a student be with articulation choices in repertoire?

Stylistic awareness and good musical taste contribute to appropriate articulation choices. Reliable editions frequently provide accurate indications of the composer’s intentions with regard to articulation. Although there is certainly room for creativity in making articulation choices, decisions should always be informed by an understanding of appropriate performance practice for the era and composer in question. An experienced teacher can guide students in making appropriate choices in regards to articulation, balancing creativity with stylistic awareness.

TECHNICAL TESTS

For Technical Tests, is it expected that students will be familiar with enharmonic keys for examinations?

For the Advanced Level examinations, it is assumed that students will understand the concept of enharmonic keys. While the keys will generally be asked as listed in the syllabus, it may occasionally happen that an examiner refers to a key by its enharmonic name (for example, F sharp major instead of G flat major in Level 10). This is not intended to be mean-spirited or tricky, but simply a natural outcome of musicians thinking “bilingually” in terms of flat and sharp keys.

GUITAR POLICIES

What is the policy regarding the use of nylon strings and classical guitars for examinations?

The Royal Conservatory Guitar Syllabus, 2011 Edition was created with the classical guitar in mind. The composers and works listed within the syllabus and compositions in Bridges®, A Comprehensive Guitar Series are most closely associated with the classical guitar. Therefore, it is this nylon stringed version of the guitar that best realizes the musical intent of The Royal Conservatory Certificate Program requirements, especially at the Intermediate, and in particular at the Advanced levels. However, at the Elementary levels, students may find success using a non-classical guitar and the use of acoustic/steel string guitar or electric guitar does not have a direct effect on the mark received.

We welcome your questions. Please contact candidateservices@rcmusic.ca

Q&A WITH THEACADEMIC OFFICE

EVENT DATES

Atlantic Canada Gold Medal Awards Ceremony Saturday, October 29

Manitoba Gold Medal Awards Ceremony Sunday, October 30

Vancouver Convocation and Gold Medal Awards Ceremony Sunday, November 6

Calgary Convocation and Gold Medal Awards Ceremony Sunday, November 13

Toronto Convocation and Gold Medal Awards Ceremony Sunday, November 27

Saskatchewan Gold Medal Awards Ceremony Saturday, December 3

The Fall 2016 Convocation and Gold Medal Awards Ceremony dates have been set!Award notifications and invitations will be sent out to 2016 Graduates and Gold Medal Award recipients in early October.

Outstanding learning materials for students of all levels:

• Celebration Series®, 2015 Edition Repertoire and Etudes

• Technical Requirements for Piano

• Four Star® Sight Reading and Ear Tests

Visit your local retailer or purchase online. CelebrationSeries2015.com

The only collection of piano music they’ll need

Music from all style periods

FREE digital

recordings

FREE online

ear training

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LEARN MORE ABOUT CELEBRATE THEORY

Join us this fall at a free teacher workshop about the Theory Syllabus, 2016 Edition and the Celebrate Theory series. Expert clinicians will walk you through the new curriculum and demonstrate how the RCM-authored series, Celebrate Theory supports the new requirements. To find a workshop in your area, visit rcmusic.ca/tpd

2016/17 PIANO TEACHER SPECIALIST COURSES

Transform the way you teach with a ten-week online Elementary, Intermediate, or Advanced Piano Teacher Specialist course. Each course includes tutorials from North

America’s leading piano pedagogues, personalized feedback from master piano teachers, and connection to a community of like-minded teachers. Applications are now being accepted. Please visit the links below for more information and to apply:

rcmusic.ca/PianoTeacherCourses

SUMMER SUMMIT 2016: EXPLORING THE LANGUAGE OF MUSIC

Join us for the annual Summer Summit: August 13 &14 in Toronto at The Royal Conservatory of Music, and August 20 & 21 at the Vancouver Academy of Music. Register now at rcmusic.ca/summit

ARE YOU MOVING?

The best way to ensure you continue to receive notifications and Music Matters is to ensure that we have your current contact information. There are three ways to update your address:

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UPCOMING IMPORTANT EXAMINATION DATES2017 Session Dates Announced!

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News & Updates

CANADA

DECEMBER/JANUARY SESSION (WINTER)Registration DeadlinePractical ExaminationsTheory Examinations

November 1, 2016January 16–28, 2017December 9 & 10, 2016

APRIL SESSION (PIANO ONLY) Registration Deadline Practical Piano Examinations

January 4, 2017 April 3–8, 2017

MAY/JUNE SESSION (SPRING)Registration DeadlinePractical ExaminationsTheory Examinations

March 7, 2017 June 5–24, 2017May 12 & 13, 2017

AUGUST SESSION (SUMMER)Registration DeadlinePractical ExaminationsTheory Examinations

June 6, 2017 August 14–26, 2017August 11 & 12, 2017