issue 2007:1 libretto - abrsm: home
TRANSCRIPT
LIBRETTO
Starting late The highs and lows of learning to play the piano as an adult
Chief Examiner’s report Advice for teachers and candidates from Clara Taylor
Country profiles Focus on Sri Lanka and the USA
Issue 2007:1
Last May, I wrote in Libretto about the Associated Board’s campaign forthe UK government to provide for one million more young musiciansover the next seven years. Since that time, the campaign has receivedsupport from the main representative bodies in music education. TheMusic Education Council, the Music Business Forum, Conservatoires UK,the Music Industries Association and the Incorporated Society ofMusicians have all written to the government adding their voices to thiscall. My thanks too to all those readers who have expressed their supportfor the campaign both by letter and through the Associated Boardwebsite.
Given the breadth and depth of this support, it is deeplydisappointing that the Music Manifesto, which recently published itssubstantial report Making Every Child’s Music Matter, should pay suchscant attention to instrumental tuition. Although the report containsmany worthwhile recommendations relating to singing and to thedevelopment of ’the music education workforce’, there are none whichcall for the expansion of provision of sustained instrumental tuitionimplicit in the government’s oft-repeated pledge to young people. Thedocument contains no costings or calls for additional governmentfunding for instrumental learning and makes no reference to the qualityof learning or to the standards to which learners should aspire.
Let us remember that currently the government is contributing fundstowards instrumental tuition for a mere 8.4% of school age children,when evidence both from the private sector and from OFSTED suggeststhat around 50% of these children would be interested in receivingsustained instrumental tuition if the opportunity were available. Let usalso remember that the government’s Comprehensive Spending Review isalready underway, and that crucial decisions will be taken early in 2007which may affect the well-being of instrumental music education formany years to come.
Against this background, it remains a matter of prime importancethat all those who care about quality learning and playing of musicalinstruments across all musical genres should unite to make their voicesheard by the government. This applies most obviously to music educationinstitutions, including conservatoires, universities, colleges and schools,but also to local authority music services, orchestras, voluntary andcommunity music organizations and to the music industry.
It is symptomatic of the current condition of music education that,whilst new short-term, high-profile initiatives abound, arguably the singlemost important organisation for the promotion of breadth and quality inmusic-making by young people is under dire threat. Music for Youth, theorganizer of regional festivals, national festivals and the Schools’ Proms,embracing performances by tens of thousands of young people across allgenres in each of the last thirty years or more, has had to announce thatit may not be able to continue in its current form beyond 2007. It isimperative that, under the welter of words surrounding music education,the core activity of high quality learning and playing of musicalinstruments is not submerged.
Contents
Libretto 2007:13 Exams
Chief Examiner’s reportA first for flute and clarinetTheory resourcesCompetitionWallpaper your phoneListening to customersExaminers go onlineA date to avoidNational centre numbersA mini guide for ItalyShare your views
9 Professional development
The right repertoireKeep on learningPenang gatheringPiano insightsIn personCourse updatesJazz feedback
13 Features
Practise to make a difference
Starting lateAndy Heslop
Country profilesSri Lanka and the USA
Staff profilesUK and Ireland Exam Administration
18 News
Scholars in concertSoundJunction moves forwardThinking localMeeting teachersContemporary clarinetSomething to celebrateNew York conferenceAnniversaries for 2007
21 Letters
Outlook
Editor-in-Chief Leslie EastAssistant Editor Lucy NorthInsert & advertising sales Michaela Spoun
telephone +44 (0)121 446 5178email [email protected]
Design tamasincole.co.ukCover illustration Rhona GarvinPrint Headley Brothers LtdPrinted on 100% de-inked, recycled paper
© 2007 by The Associated Board of the Royal Schools of MusicAll rights reserved. Unauthorized reproduction in whole or in part isprohibited without permission.
The views expressed in Libretto are not necessarily those of theAssociated Board neither are the products or services appearing inadvertisements and inserts endorsed by the Associated Board.
Registered Charity No. 292182
The Associated Board of the Royal Schools of Music24 Portland Place, London W1B 1LU, United Kingdom
telephone +44 (0)20 7636 5400email [email protected]
www.abrsm.org
Richard Morris Chief Executive
3
EXAMSChief Examiner’s report
It seems no time since my last yearly report buthundreds of thousands more candidates have sincetaken exams and entries continue to rise. In the lightof this increase, it’s encouraging that letters of concernabout results are at an all time low, with only a tinynumber expressing dissatisfaction. Applicants may not be aware that as well as statistical reviews of each examiner’s work, the Associated Board holdscomprehensive records of previous results, plus themarks achieved by individual teachers’ candidates. Thisis a useful resource if investigations need to be made.
On the other hand, it’s always heartening forexaminers to receive letters of appreciation. Those who write in will receive an acknowledgement andtheir comments are passed on to examiners.
I’d also like to pay a tribute to our overseasRepresentatives, UK and Ireland Honorary LocalRepresentatives, and all the stewards, who do amarvellous job making the exams run pleasantly and smoothly. They too, with their good humour and professionalism, are contributing to candidates’ability to play their best when the important day comes.
Looking forward, here are a few suggestions toensure that exams are trouble-free during theforthcoming year.
■ Please switch off mobile phones beforegoing into the exam centre.
■ Although not an exam requirement,examiners appreciate having copies of theGrade 8 music. Under the Music Publishers’Association Code of Fair Practice it is possible to use photocopies for this purpose, as long as the copy is destroyedafter the exam.
■ For awkward page turns, you can make aphotocopy, as long as the copyright holder islisted in Appendix C of the MPA’s Code ofFair Practice.
■ Singing candidates should provide as much information as possible on their examprogramme slips: list, number, title andcomposer. The lists for singers are extensiveand it can take examiners a long time toidentify the numbers, which they have towrite on the mark form. Don’t forget, youcan download blank programme slips fromour website.
■ Prep Test candidates can bring their ownaccompanists. The examiner will play ifrequired but it can be more reassuring tohave a familiar pianist.
■ In the Grade 8 Aural Test A, a surprisingnumber of candidates correctly identify thecadence and then get the last two chordswrong. They seem unable to make theconnection between the two; puzzling, and something to work on.
■ In the D Aural Test, where style and periodmay be asked, candidates who are searchingfor words may find it helpful to say ‘like myList A piece’ or whichever applies. Simpleanswers are fine.
■ Candidates should be prepared to find twoexaminers in the room. This happens onmoderating or training days, which need totake place in the real situation. The stewardshould tell everyone beforehand, reassuringcandidates that they will be examined by justone examiner while both will be wishingthem well.
Music Publishers’ Associationwww.mpaonline.org.uk
Exam programme slipswww.abrsm.org/downloads
Clara Taylor looks back on a yearof exams and offers some usefultips for teachers and pupils.
A first for flute and clarinet
Later this year we will be publishing newsyllabuses for clarinet and flute for use from2008, and for the first time ABRSM Publishingwill be bringing out books of Selected ClarinetExam Pieces and Selected Flute Exam Pieces forGrades 1 to 7. At each grade you will be able to buy a package containing solo and pianoparts for the selected pieces and a CD of thecomplete syllabus for the grade. Solo and piano
parts, without CD, will be available for Grades 1to 7, and a solo part only for Grades 1 to 5. Wewill also be producing separate CDs of thecomplete Grade 8 syllabus for each instrument.
The Selected Exam Pieces and recordingswill be available in the second half of this year.Look out for further details in the next issue of Libretto, when publication dates will be announced.
4
EXAMS Theory resources
Philip Mundey, Director of Examinations,introduces new resources to help youprepare for theory exams.
Model answersIn January, ABRSM Publishing is bringing out a seriesof Theory of Music Exams Model Answers, designedfor use alongside the past theory exam papers. Five books are available, one for each grade at Grades 1 to 5.
All the answers given would receive full marks.Some questions will have acceptable alternativeanswers, which might also be awarded full marks, andwhere space allows examples of these have also beenincluded. Even in questions where there appears to be only one completely correct answer, candidatesoften surprise markers by answering questions in an unexpected way, and they are given as much credit as possible in these circumstances.
In questions where candidates complete a rhythm,compose a melody or set poetry to music, markers use their considerable professional experience anddiscretion in arriving at a mark, and of course everycandidate’s response is different. In the ModelAnswers, only one answer is given for such questions.This answer is therefore not definitive – it is only oneof potentially thousands which could receive fullmarks. In this respect there are similarities between the Model Answers and the expanding catalogue ofrecordings of practical exam pieces that we produce.The CD performances are all of distinction standard
(or higher) and show what is possible, even though it is rarely achieved in the exam room. They are,however, simply one person’s interpretation of themusic and are in no way definitive. There are manyways of communicating a piece, and the examiners are hoping to hear each candidate’s own ‘voice’ tosome degree. The same applies in theory exams.
Join the forumThe other resource I’d like to mention is our onlineTheory and Composition Forum. This addition to theabrsm.org online forums provides a way for studentsand teachers to share opinions, ideas and advice onanything related to teaching and learning the elements of music.
Theory and Composition Forumhttp://forums.abrsm.org
More on theoryFinally, don’t forget that you can find usefulinformation on how theory papers are markedtogether with general advice on taking a theory exam in These Music Exams by Clara Taylor. This free publication is available to download atwww.abrsm.org or from representatives, music shops and our office in London.
Win a set of theory model answers
We have five sets of Theory of Music Exams Model Answers 2006to give away. To win a set, answer the following questions:
1 How many exam papers are contained in each of theTheory of Music past papers?
2 What is the name of the Associated Board’s best-sellingseries of graded textbooks on music theory?
Send your answers on a postcard, with your name and full postal address, to:
ABRSM Publishing24 Portland PlaceLondon W1B 1LUUnited Kingdom
You can also enter by email, inserting Theory Answers in the subject box.
The closing date for entries is 30 March 2007.
WinnersCongratulations to the following lucky winners of our Libretto2006:2 competition, who each received a mug decorated with a Selected Piano Exam Pieces cover image.
Giuliana Costa, Livorno, ItalyLim Pey Shan, MalaysiaSylvia Barr-Hamilton, W Lothian, UKDavid Barton, Gloucester, UKE Dobson, Devon, UK
Wallpaper your phone
To celebrate the publication of the 2007 to2008 Selected Piano Exam Pieces, we haveproduced mobile phone ringtones from anumber of the featured pieces. For a limitedperiod, you can also download wallpaper foryour mobile phone in the design of the newbooks free of charge. Visit the link below and follow the instructions to purchase yourringtone or download your free wallpaper.
Ringtones and wallpaperwww.abrsmpublishing.com/ringtones
ATheory of Music Exams 2006
Grades 1-8, one volume per grade
Collections of four papers set for 2006
theory of music exams offer a wealth of
practice material for exam preparation.
For the first time volumes of
model answers are available for
Grades 1 to 5 and are published at
the same time as the corresponding
theory papers for 2006.
Model answers offer a helpful and
practical resource for students and
teachers preparing for theory
exams. The books provide a list of
correct answers where appropriate;
for questions where the answer
can be expressed in a variety of
ways, a selection of likely options
is given, and a single exemplar
where a composition-style answer
is required.
[email protected] www.abrsmpublishing.com
Available now from
music retailers worldwide
Q &Questions
Theory of Music ExamsModel Answers 2006
Grades 1-5, one volume per grade
Answers
Theory of Music
Available for the first
time
1 (a) Add the time signature to each of these three tunes. 10
Gounod
Mozart
Beethoven
Example of a question and the corresponding answer from a Grade 1 2006 exam paper.
6
EXAMS Listening to customers
Penny Milsom, Head ofUK and Ireland ExamAdministration, bringsyou news of our latestcustomer research andour Customer ServiceStatement.
A welcoming steward and a friendly examiner – these are what matter most to teachers when enteringpupils for exams at public centres in the UK, accordingto a recent survey.
The latest in a series of consultations around theworld, the survey covered everything from the venueand its facilities to arrangements in the exam roomitself, as well as the important issue of allocating examappointments. Providing a positive exam experiencehas always been our priority and the survey results arehelping us to identify ways of further refining andimproving this experience.
Our customer service aims, undertakings andtargets are now published in the Associated Board’sCustomer Service Statement, available to downloadfrom out website. Applicable worldwide, thestatement covers all stages of preparing for and taking an exam, and details the many ways in whichwe monitor and ensure the quality of our services.
Customer Service Statementwww.abrsm.org/customerservice
Examiners go online
The year 2007 will see a major change in theway we brief our examiners when they workabroad. Over the last 18 months, we have beendeveloping a new online briefing system toreplace our current paper-based briefingdocuments. Made possible by the growth in worldwide access to technology, thisdevelopment will allow us to reduce theamount of paper we use and further improvethe level of support we provide to examiners.
Using the new system, examiners will beable to go online at any time to checkinformation, which can be updated on a dailybasis by staff in our International Department.
We have also revised and expanded thebriefing notes for all countries where we holdexams. With a growing number of candidatesnow taking exams in international centres, itbecomes even more important that examinershave access to comprehensive informationabout the countries and cultures they areworking in.
Available from music retailers worldwide [email protected] • www.abrsmpublishing.com
• high quality exemplar performances
• recordings of the complete syllabuses at grades 1 to 3 and selected piecesat grades 4 to 8
• playalong practice tracks and complete performances
• innovative and valuable resource for exam preparation
• inspiring performances by distinguished professional musicians
from 2006 syllabuses
WOODWI N DExam Pieces on CD
Introducing exemplar recordings
of Associated Board woodwind
syllabuses to help Oboe, Bassoon
and Alto Saxophone candidates
prepare with confidence for
their exams
7
EXAMSA date to avoid
Are you planning a Special Visit in the UK orIreland? Then please avoid 24 July. This is thedate of our Annual Lunch, which is attended byexaminers, Honorary Local Representatives andstaff. For queries about forthcoming SpecialVisits, contact our Special Visits Office.
Special Visits Officet +44 (0)20 7467 8221e [email protected]
Share your views – teachers’ troubles
Teachers worry about their own abilities. In letters oremails responding to a Libretto topic, teachers oftenexpress relief that they are not alone with theirprofessional challenges. Aim high, but how high? in the last issue hit a nerve for many, and theencouragement to do your best with each pupil, rather than have the elusive distinction as a goal for all, was just what people needed to read.
With this in mind, I’d like to tackle some of thefrustrations shared by teachers and see if the flow of letters and emails can not only build a sense ofreassurance but also provide strategies for coping. I eagerly anticipate your replies.
Too much to doChildren seem to have many more school commitmentsthese days. Fitting in practice is hard, even for themusically motivated. How can we keep their interest and secure enough of their precious time?
Sorry I’m late againA 30-minute lesson shrinks to 20 and those supportingtests are almost impossible to fit in. Running late is not an option as it has a knock-on effect on others. Is there a cure?
I don’t notice the fingeringSome pupils are unwilling or unable to adopt sensiblefingering, making everything harder for themselves. Piano scales become acrobatic exercises, often ending in disaster even when the notes are known. Suggestions please!
We’ve only got a keyboard at home. Will you teach my children?Your views?
Energy boostLast but not least, what should you do when energy levelsdrop late afternoon and you still have three hours to gowith no breaks? Here’s one solution: give your pupil atwo-minute quick study, just a few bars to practise, whileyou quickly make a cup of tea and eat something, such asa banana. Be back in time and be sure to take this usefulbreak in a different pupil’s lesson each week.
Your views The new Libretto letters page will give us more space topublish your views. There must be some answers to theseperennial questions, so pick up your pen or email now!
National centre numbers
Applicants for exams in the UK can now quote a school orcollege National Centre Number (NCN) when submittingentries. This allows exam results to be included in Schooland College Achievement and Attainment Tables when aschool has made a significant contribution towards acandidate’s work for an exam.
Quoting the NCN is optional. If you wish to do so, youwill need to consult your school or college ExaminationsOfficer to confirm the NCN, as issued by the Joint Councilfor Qualifications.
A mini guide for Italy
Our mini guide to taking an exam is nowavailable in Italian. For a copy of Il tuo esame –miniguida per gli alumni, genitori e insegnanti,contact your Representative in Italy or emailSarah Royle in the International Department.
Sarah Roylee [email protected]
In each issue our Chief Examiner, Clara Taylor, willintroduce a new topic and invite you to respond and share your views. We will publish a selection ofresponses on the letters page of the following issue.In this issue the focus is on teachers’ troubles.
To share your views,write to:
Clara TaylorLibrettoThe Associated Board24 Portland PlaceLondon W1B 1LUUnited Kingdom
Contributions may beedited for publication.
JAZZ FLUTE
Associated Board Jazz Flute exams will be available from January 2007.
For a free Jazz Sampler and information on courses and workshops contact [email protected] or visit www.abrsm.org/jazz, quoting LIB 1.
NEW
Jazz Flute TunesGrades 1-3 One book and CD per grade
15 tunes per grade in a widerange of jazz styles
The AB Real Book
100 tunes offering a wealth ofrepertoire for all jazz players
30 of the tunes are set for theGrades 4 and 5 exams.Playalong tracks are included on the Jazz Flute CDs for those grades.
Jazz Flute Aural Tests &Quick StudiesGrades 1-5
Learn to play in a creative and musical way and develop auraland musicianship skills
Jazz Flute Scales Grades 1-5
Develop skills to play and improvisefluently and with confidence
A comprehensive set of titles to support the Associated Board's exciting new Jazz Flute syllabus
JAZZFLUTE
JAZZ FLUTE TUNES LEVEL/GRADE 1
THE ASSOCIATED BOARD OF THE ROYAL SCHOOLS OF MUSIC
LEVEL/GRADE 1
TUNES
includes CD and piano accompaniment
JAZZFLUTE
LEVEL/GRADE 1
CD
JAZZ FLUTE SCALES LEVELS/GRADES 1–5
THE ASSOCIATED BOARD OF THE ROYAL SCHOOLS OF MUSIC
JAZZFLUTESCALESLEVELS/GRADES 1–5
JAZZ FLUTE AURAL TESTS & QUICK STUDIES LEVELS/GRADES 1–5
JAZZFLUTEAURAL TESTS &QUICK STUDIES
LEVELS/GRADES 1–5
THE ASSOCIATED BOARD OF THE ROYAL SCHOOLS OF MUSIC
Jazz Flute CDs Grades 4-5 One CD per grade
15 jazz tunes per gradewith playalong tracks Can be used with The AB Real Book
Available from musicretailers worldwide
www.abrsm.org • www.abrsmpublishing.com
9
PROFESSIONALDEVELOPMENT
The right repertoire
Richard Crozier, Director of Development,highlights the importance of exploringnew repertoire.
One of the issues covered on the Associated Board’sprofessional development courses is that of repertoire.For some instruments or voices it is, of course, a muchbigger subject than for others, but for everyone it’s asubject that can only get bigger as time goes by and as a broader range of music becomes ever morereadily available.
Not so long ago it was quite possible, as a teacher,to be familiar with most of the repertoire for yourinstrument. Published music was only accessiblethrough the local shop or by mail order; teachers,pupils and parents relied on the browsing facilityoffered by the retailer and, perhaps, their local library.As a teacher, you could manage with a fairly narrowrange of teaching materials.
Today there is much greater access to all kinds ofmusic and the exam syllabus can regain its rightfulplace, providing appropriate pieces that are suitable for
assessing pupils’ progress, rather than providing theteacher with a ready-made curriculum. Teachers cannow develop their own curricula. But, just as childrenare sometimes reluctant to embark on learning a newpiece, particularly if the style is unfamiliar, so someteachers also need more than a little encouragementto do the same thing. This is where professionaldevelopment courses can help, by offeringopportunities for repertoire discussion led by expertmentors with contributions from other experiencedteachers. It can be invaluable to hear someone enthuseabout a particular style, composition or publication,and such enthusiasm could provide the necessarystimulus to encourage you to try something new.
Why not refresh your teaching by exploring somenew repertoire? And if you would like some help withthis, then one of our professional development coursescould provide just the inspiration you need.
Keep on learning
Penang gathering
In the UKProfessional development doesn’t stop once you’vefinished a course, and for 38 CT ABRSM holders aprofessional development day at the Royal NorthernCollege of Music (RNCM) in November provided anopportunity to keep on learning. This collaborationbetween the Associated Board and the RNCM Centre of Excellence for Teaching and Learning brought together concert pianist Murray McLachlan andexperienced CT ABRSM course leader Penny Stirling, who led sessions on performance preparation and the use of rhythm and movement games in teaching.
Watch this space for news of further events for teachers in the UK who have completed the CT ABRSM course.
… and in Hong KongMembers of the Hong Kong CT ABRSM AlumniAssociation will be gathering on 11 April for a one-dayworkshop at Hong Kong’s School of Professional andContinuing Education (SPACE). To book a place, contactour Administrative Associates in Hong Kong.
Petina Lawt 9105 6217e [email protected]
Dorcas Wongt 9038 0408e [email protected]
Classics, Comfort and Cocktails was the theme for our South East Asia ProfessionalDevelopment Conference, held in Penang atthe beginning of December last year.
The 30 plus teachers at the conferencebenefited from the knowledge of a team ofhighly experienced presenters. Karenna Caun, a qualified medical practitioner and musician, ran sessions on how to avoid stress andperformance-related injuries; Peter Noke,examiner and CT ABRSM mentor, focused onachieving a jazz sound in the C List pieces ofthe piano syllabus; whilst Dr David Young, our South East Asia Regional Consultant,concentrated on more traditional repertoire.
Piano insights
Over a thousand piano teachers attended our recent seminars, held in the UK betweenSeptember and November. This was a chance to explore pieces from the new 2007 to 2008piano syllabus with one of our fantasticpresenters, Ruth Gerald, Julian Hellaby orAnthony Williams.
For those of you who were unable to comealong, we are running an additional seminar on18 February at the Royal Academy of Music inLondon. Turn to page 11 for details.
10
PROFESSIONALDEVELOPMENT
In person
The Teaching Music Effectively course deals withthe big issues involved in instrumental and vocalteaching. To find out what it’s like to study on thiscourse we asked a course leader, a mentor andtwo teachers to share their experiences.
Brian Ley, the Associated Board’sDeputy Course Director andcurrent CT ABRSM course leaderfor Hong Kong, provides somebackground.
Teaching Music Effectively is a short courseintended for teachers in the early stages of their careers. We have also found that it works well as a refresher for moreexperienced teachers. It can act as apreparatory course for the CT ABRSM but it can also be a ‘stand-alone’ course.
The course includes four study-days,taking place over two weekends about six toeight weeks apart, and a distance-learningmodule, consisting of a lesson observationand an action research project. As with theCT ABRSM course, participants benefit fromhaving a course leader, who leads groupsessions, and a mentor who works withintheir instrument specialism.
Teaching Music Effectively introducescurrent teaching methodologies and newtheoretical insights in practical ways. Itenables teachers to consolidate and developtheir teaching in the knowledge that they arewell-grounded in the most effective styles ofteaching and learning.
Joy Austen is a CT ABRSM andTeaching Music Effectivelymentor. She is also an AssociatedBoard examiner and has anextensive teaching practice. Joyoutlines what the course canoffer to teachers.
It’s important for teachers to keep up withnew ideas in music education and to remainfresh and enthusiastic. Instrumental andsinging teaching can be isolating, but thiscourse offers opportunities to work with others and to look at different teaching methods.
I expect students to emerge from thecourse with a greater awareness ofthemselves as teachers: why they teach in acertain way, what to teach and how to goabout achieving their aims. Working ingroups, students can discuss specific issuesand share experiences in a supportiveenvironment. My aim, as a mentor, is thatstudents will finish the course with renewedconfidence and be inspired to put new ideas into practice.
Piano teacher Natasha Tindallbegan teaching from homethree years ago with twostudents; she now has eight.Natasha explains why the coursewas so important for her.
I don’t have any formal training orqualifications and I wanted some inspiration– a way to look at my own teaching and seehow it could be improved. Teaching MusicEffectively seemed ideal.
Above all, the course has given meconfidence. I have learned about planning,ICT, different styles of teaching and learning,such as improvising, and about treating eachstudent as an individual, rather than routinelyfollowing old methods in the same way that I was taught. I am now more tuned in to theway students learn and consequently I planand teach their lessons (I think!) in a morestimulating, imaginative and effective way.
Alisa Halton shares her firstimpressions, having completedthe first Teaching MusicEffectively study weekend.
I obtained my music qualifications in theUkraine, my native country. Since I am newto teaching in the UK, I wanted to make acloser acquaintance with English teachingmethods and get some useful tips fromother, more experienced teachers.
I have never taken a course like thisbefore, so I didn’t know what to expect. I came with an open heart and an openmind, and I ended up having so much fun.The mentors were brilliant and helpful, andthe group was amazing. I have learnt such alot from this experience and am so lookingforward to the second part of my course in December!
Teaching MusicEffectively
For information onforthcoming courses, turn to page 11.
11
Course updates PROFESSIONALDEVELOPMENT
UK: CT ABRSM Fast TrackThis intensive version of the Certificate ofTeaching course includes three residential studysessions held during the UK school holidays. It’snot too late to sign up for the next coursewhich takes place between February and July.
Emma Odellt +44 0(20) 7467 8226e [email protected]
UK: Introduction to Instrumentaland Vocal TeachingA one-day course for musicians considering acareer in teaching.
3 February Bristol25 February London
11 March Edinburgh5 May London7 July Leeds
Emma Odellt +44 0(20) 7467 8226e [email protected]
UK: Teaching Music EffectivelyA short course, including two study weekendsand a coursework module, for teachers with atleast one pupil.
27/28 January & 17/18 March Manchester17/18 February & 14/15 April London
21/22 April & 9/10 June Edinburgh
Emma Odellt +44 0(20) 7467 8226e [email protected]
UK: Tasters and Open Mornings Tasters and Open Mornings, the latter at CT ABRSM centres, allow you to find out whatit’s like on an Associated Board professionaldevelopment course, and to meet courseleaders, mentors and current students. As wellas the events below we will be holdng a Tasterin Bristol, date to be announced.
1 April Manchester, Open Morning1 April London, Open Morning
Emma Odellt +44 0(20) 7467 8226e [email protected]
UK: 4-day Jazz CourseThis course is designed to give teachers theskills, knowledge and confidence to teach jazzup to Grade 1. The London course is now soldout, but a limited number of places areavailable on the Manchester course, whichtakes place on the following Sundays: 25 February, 25 March, 22 April and 29 April.
Rosamund Adlardt +44 (0)20 7467 8832e [email protected]
UK: Piano SeminarDue to the popularity of our recent pianoseminars, we are running an additional seminarin London on 18 February. The presenter,Anthony Williams, will focus on repertoire fromthe 2007 to 2008 piano syllabus.
Louise Cleverdont +44 (0)20 7467 8254e [email protected]
Singapore: Teaching MusicEffectively Now available to piano teachers in Singapore,the course takes place over three months andfeatures a distance-learning module completedbetween two study modules. We plan to runfour courses during the year, beginning inJanuary, April, July and October.
Su-San Hayt +65 6339 2624e [email protected]
Hong Kong: Open MorningTeachers interested in the Hong KongCertificate of Teaching course, starting in June2007, are invited to attend an Open Morningon 11 April. For information about the courseor Open Morning contact our AdministrativeAssociates in Hong Kong.
Petina Lawt 9105 6217e [email protected]
Dorcas Wongt 9038 0408e [email protected]
International: PDPThe 2007 Professional DevelopmentProgramme (PDP) begins in March with a series of seminars for piano teachers in HongKong, Indonesia, Macau, Taiwan and, for thefirst time, Thailand. Experienced performer,teacher and examiner Anthony Williams will be presenting these seminars.
In Hong Kong, Macau, Thailand and Taiwan the focus will be on pieces from the2007 to 2008 piano syllabus, whilst theseminars in Indonesia will look at elements of piano technique.
25 March Macau26 March Hong Kong27 March Hong Kong29 March Taiwan: T’ainan30 March Taiwan: T’aipei
1 April Thailand: Bangkok3 April Indonesia: Surabaya5 April Indonesia: Jakarta
For information about these seminars contact your local Representative.
Forthcoming courses, workshops and seminars are listed on this page. For more information visit www.abrsm.org/teachers or use the contactdetails given below.
12
PROFESSIONALDEVELOPMENT
Jazz feedback
BRASS 2 ENSEMBLE PIECES now availableMusic Medals Brass 2 Ensemble Pieces contain repertoire for bass clef brass instruments.Progressively graded - Copper, Bronze, Silver, Gold and Platinum - they contain original pieces and imaginative arrangements for duets, trios and quartets
• fun pieces and arrangements in various styles • excellent material for mixed-ability groups • ideal group-teaching material for the developing ensemble • all pieces selected for the Associated Board's Music Medals
Options Practice Book also available
www.musicmedals.org www.abrsmpublishing.com
During November, more than 120teachers attended one of our UK JazzTaster Days, designed to provide aninspiring introduction to teaching jazz.Piano teacher Mark Parkinson, who came along to the London taster,explains what made the day such a great experience for him.
The day began with Charlie Beale, our presenter,making us all feel very welcome and relaxed, andexplaining that nobody would be put on the spot andmade to improvise. The relief was almost palpable!
We started with a physical warm-up and thenwent straight into rhythm games – passing a claparound the room, from person to person. This led into a discussion of the importance of rhythm in jazz.Charlie introduced us to ‘swing’ feel, moving naturallyon to teach us, by ear, a simple Grade 1 tune thatbarely uses more than three pitches.
Playing our first jazz tune meant that it was time toface improvisation, with much discussion. A keyconcept brought in here was that improvisation is allabout choice, and that teaching improvisation is aboutlearning to judge the amount of choice (and so theamount of freedom) to give our pupils.
In the afternoon, Charlie taught us another tune,again by ear. It was impressive how quickly he broughtus all up to speed, to the point where we played thewhole tune as though it were a performance. Therewas a chance for brave souls to step into the centre of the room to improvise for as long (or as short!) as they wanted. This gave us all a great sense ofachievement. The day ended with a useful questionand answer session.
I enjoyed the taster immensely and came awaywith plenty of ideas for my teaching, including: simplerhythm games, especially for developing awareness ofoff-beats; group improvisation ideas; and, my favouriteinsight of the day, the idea that improvisation is allabout choice.
13
FEATURESPractise to make a difference
The Associated Board is actively supporting this year’s CLIC Sargent Practice-a-thon – a unique charity eventwhich encourages young musicians to practise whilstraising funds to help children in the UK with cancer.
The CLIC Sargent Practice-a-thon is suitable for youngmusicians of all ages and abilities and taking part iseasy. Participants simply commit to practising theirinstrument or singing regularly for a period of twoweeks, and ask friends and family for sponsorship.
This year’s campaign was launched amidst afanfare of publicity as internationally acclaimedviolinist and former Young Musician of the Year Nicola Benedetti took part in a jamming session with youngsters from Hackney’s Rising Tide project in east London.
After the launch, Associated Board MarketingManager Christine Morris spoke to Nicola and to CLIC Sargent National Events Manager Tammy Urwin.
Aiming highTammy explained: “Practice-a-thon is a brilliant wayfor music teachers to motivate their students, whilstalso raising money for a good cause. We’re aiming toget 65,000 young people involved this year, raising£160,000 for children with cancer.”
“For the first time” she adds, “schools or othermusic organizations taking part can keep 25% of themoney they raise to fund music provision or to buynew instruments. It’s a win, win situation.”
Where does the money go?“The money raised could be used to fund CLICSargent doctors, nurses, social workers or playspecialists, or to extend our music therapy projects”,says Tammy. “The therapy projects, run in partnershipwith Nordoff Robbins and other music educationorganizations, enable young people to use music as arecovery aid, helping them cope with the emotionaland psychological effects of cancer treatment.”
Encouraging young musiciansThis is the second year that Nicola Benedetti hasfronted the CLIC Sargent Practice-a-thon. She explainswhy she is a loyal supporter of this event.
“I’ve gained such a lot from having music as part of my life and so want to give something back byencouraging young people of all ages to discover andenjoy music. And what is fantastic is that with Practice-a-thon, participants can do this at the same time assupporting kids with cancer, and their families.”
The value of practicePractising the violin is central to Nicola’s life. “I playand perform a lot so I do keep my hand in that way.But practice is very important. I practise every day – onaverage for about seven hours. As to where – it’swherever and whenever I get the chance!” Whenpressed about the most unusual place she has had topractise, Nicola reveals that it was in an airport loungeamidst a crowd of bemused, but appreciativepassengers.
Finally, Nicola provides some advice for aspiringyoung musicians. “It sounds clichéd, but practice reallydoes make all the difference. It’s a discipline, so makesure that you practise every single day if you can. Evenif you only practise for 15 or 20 minutes a day, that’smuch better than an hour’s panicked practice thenight before your lesson.
“I’d also say that we’ve all got the potential tobecome better musicians and performers; I’m stilllearning, myself. The first phase of learning aninstrument feels very technical – because it is. You’retraining yourself to learn a new skill. But persevere,practise regularly and soon you’ll be playing all thepieces that you love and which made you want tolearn your instrument in the first place. You’ll find thatplaying and practising become a real pleasure.”
For more information about Practice-a-thon,contact CLIC Sargent.
CLIC Sargentt +44 (0)8451 20 63 40
www.clicsargent.org.uk/practiceathon
Nicola Benedetti with amember of the Rising Tide
project at the launch
14
FEATURES Starting late
Andy Heslop
Andy Heslop, age 39, has been playing the piano for five years. Here hedescribes some of the highs, and thelows, of learning to play as an adult.
You’ve heard the joke about the man who, whenasked for directions replied, ‘I wouldn’t start fromhere’. That’s what I say to adults who tell me theywould like to learn to play the piano. I know, I amdoing it. For the last five years I have wrestled with the monster in the sitting room, daring to expose myhands to its gleaming white teeth, and my sanity to its sonorities. Never before in the history of humanendeavour has something that is so difficult appearedto be so easy. Pianos should display a mandatorygovernment health warning.
Five years ago my daughter expressed a desire toplay the piano. An instrument was rented, a teacherfound, and, being a supportive father, I began lessonswith her. She lasted six months but I’m still going. Itbegan well and I had thought that after about two orthree years I would have mastered it, well, at leastbecome a competent pianist. Like all other adultbeginners I had the dream: knocking out old jazznumbers, lightly skipping across pieces by Mozart,thundering through a bit of Beethoven, impressing the kids with a rendition of Robbie Williams’ Fantasy.
Of course, much progress was made in three years:tutor books were completed and grade exams passed.But in three years the scale of the task has been slowlyrevealed. In business speak, what begins as blissfulunconscious incompetence becomes extremelyconscious incompetence, and this is a veryuncomfortable place to be.
Were I slightly less balanced, I would find it easy to hate my piano teacher. He sits at the piano andacoustic poetry begins. I can live with that but whydoes he make it look so easy? Obviously he does it onpurpose. His hands dance across the keys, and his eyesskip across the hieroglyphics on the printed page. It isquite clear that there must be some trick. What he isdoing is not feasible. Fingers, eyes and brain cannotpossibly be co-ordinated so well, so quickly. What heplays at sight, I learn in three months. How dispiritingis that? It’s like sitting in a drawing class feelingmoderately pleased at the stick figures on your canvas,whereupon you glance at the man at the adjacenteasel only to find that he is John Constable and he has just knocked up The Hay Wain, before the coffeebreak. The realization that there isn’t a mountain to
climb but a galaxy to cross can be, shall we say,moderately dispiriting.
Sadly, my piano teacher has many co-conspirators,who shall be known by their collective name of‘composers’. You work on a piece for weeks, slowlymastering each short phrase, and only then, eight barsfrom the end do you find it. ‘It’ has many guises. Atenth stretch. A hemidemisemiquaver run (moltopresto) or a sequence of chords laced with accidentalsthat seem to follow some mysterious progression thatonly a contortionist could produce. In short, somethingthat your hands cannot do (and your brain is in fullagreement with your hands). Your fingers refuse toconsider this four-part thing that Bach has written.And what does your teacher say? You want him to say,“just skip that bit and we’ll fix it later”, but he doesn’t.No, what he says is, “it’s no good practising what youcan do, you have to practice what you can’t do”. Thishas to be the most outrageous and annoying truismever stated. You can counter this argument quiteconvincingly by stating that it is no use practisingrunning, with the objective of hitting sixty miles perhour, or practising holding your breath for twenty-fourhours, because it is not going to happen. It isn’thumanly possible. But you don’t say this. And thereason you don’t is that he can play it. Withoutdifficulty. At sight.
Another co-conspirator is the Associated Boardexaminer. There are only two types that I haveencountered. Those who appear to be understandingand kind, and those who don’t. Oddly, both do turnout to be extremely kind and sympathetic as afortnight after your ordeal they have been madenough to award a pass, and have produced a fewkind words of encouragement. Had I been anexaminer, I would have advised, “as a pianist, youwould make a good lumberjack”, but they suggestthat the good work should be kept up at all costs.They do this despite the fact that during the exam mybrain had a ten-minute shutdown, and severed all linkswith my hands. My eyes refused to recognize the blackmarkings on the page, and the term dolce e lentomanifested itself as molto vivace con spirito throughmy fingers. The kind examiner says: “Would you like to start that again?” (Answer: “No I’d like to go homeand weep.”) And the less kind says: “Thank you, shallwe proceed to the next piece?” (Answer: “No I’d liketo go home and weep.”)
When you get home, of course, you don’t weep.You sit at the piano and play the pieces. Flawlessly.Then, you put an advert on eBay: ‘Schimmel Piano.Free to good home.’
I have wrestled with the monster in the sitting room
15
FEATURES
It’s always too late to begin learning aninstrument – but do it anyway
So, you have concluded that I have terminated thisridiculous venture? Not at all. I was up at 5.30 thismorning practising a piece by Maxwell Davies, andlater this year I shall nervously sit at a piano stool andhear the examiner ask: “Would you like to play yourscales or pieces first?” (Answer: “No I’d like to gohome etc.”) Why keep going? Other than seriouscognitive deficiency two reasons occur to me. Firstly,because the piano opens up a whole world ofbeautiful music, spanning cultures and centuries. It canmimic any instrument, or a whole orchestra. It can bedelicate, bluesy, brash or refined. It has the ability toinfluence emotions like no other manufactured objecton earth. And it’s all in there, hidden in the 88 keys. Allit takes is (ten?) years of focused effort, and practisingis a pleasure, even through occasional periods whenprogress appears illusory. The writer Laurie Lee said
that it is a hundred times better to play an instrumentyourself, however badly, than to be a passive listener.Laurie Lee knew a thing or two about music, being agood amateur violinist, but he knew much more aboutpeople, and emotions and beauty.
My second reason for continuing the struggle hasbeen best expressed by a scientist. Richard Feynmanwas a Nobel Prize-winning physicist who solvedinfinities in quantum mechanics and the mystery ofliquid helium. He once beat the NASA computer insolving a complex problem, calculating the answer inhis head (he also played the bongo drums, but I’dbetter leave that out). His opening remark to freshmenstudents each year was “what one fool can do, so can another”. Thank you Professor Feynman. I’ll let you know if you turn out to be right. Give me a further five years.
Information about boy choristerships from
Paul Trepte Cathedral Director of Music
Tel: 01353 660336
www.cathedral.ely.anglican.org
Information about girl choristerships from
King’s School Admissions Secretary
Tel: 01353 660702
www.kings-ely.cambs.sch.uk
ELY CATHEDRAL CHORISTER AUDITIONS Saturday 3rd February 2007for boys aged 8+ by September 2007 for girls aged 13+ by September 2007
Ely is 15 milesnorth-east ofCambridge. Ely’smainline railwaystation provideslinks throughoutthe UK andLondon KingsCross is just overan hour’s journey.
Ely choristers all receive generous bursaries at the King’s School
Ely. Boy choristers, aged 8–12, are all boarding pupils in King’s
Junior School.The members of the new Ely Cathedral Girls’ Choir,
aged 13–18, are all boarding pupils in King’s Senior School.
The Oxford PhilomusicaInternational Piano Festival
and Summer Academy
For more details and to obtain a Festival brochure, please contactOxford Philomusica, Templeton College, University of Oxford, Oxford OX1 5NY
Tel: 0870 60 60 804 e-mail: [email protected]
www.oxfordphil.com
Join us for a week a day or an hour in a friendly and stimulating atmosphere. Participation options range from full time participant, to full time or part time observer, with or without accommodation.
All classes, lectures and concerts are also open to the public.
Patron: Alfred Brendel KBEPresident: Andras Schiff
Artistic Director: Marios Papadopoulos
‘‘OOxxffoorrdd''ss mmaasstteerrccllaasssseess ttuurrnn ppiiaannoo lleessssoonnss iinnttoo ppeerrffoorrmmaannccee aarrtt’’((TThhee NNeeww YYoorrkk TTiimmeess))
‘‘AA TTrraaiinniinngg CCaammpp ffoorr PPiiaanniissttss’’((IInntteerrnnaattiioonnaall HHeerraalldd TTrriibbuunnee))
‘‘aa bbaannqquueett ooff lleeccttuurreess,, mmaasstteerrccllaasssseess,, aanndd rreecciittaallss’’((TThhee TTiimmeess)
Ju ly 2007
This article first appeared in theAugust–September 2006issue of Pianist magazine.
www.pianistmagazine.com
Advertisements
16
FEATURES Country profiles
Sri Lanka
A long historySri Lanka is one of our oldest international centres. The first candidates took their music exams in whatwas then known as Ceylon in 1898, only nine yearsafter the founding of the Associated Board in 1889.
Young musicians can now take practical andtheory exams in the capital, Colombo, the historic hillcity of Kandy and the coastal town of Galle. We alsorun an additional theory centre in Ratnapura.Examiners visit Sri Lanka in March and April, andbetween August and October to hear thousands ofcandidates each year.
Centenary celebrationsIn 1998 we celebrated 100 years of exams in Sri Lanka,an anniversary that was marked by a number of eventsthroughout the year, including a special centenaryconcert in Colombo and a series of workshops andseminars for teachers.
Concerts and coursesEven in less celebrated years, High Scorers’ Concertsand courses are regular events in the music educationcalendar. The annual High Scorers’ Concert andawards evening usually takes place in September,featuring around 30 young musicians; this prestigiousevent is often given considerable coverage by Sri Lankan newspapers and magazines. January 2007sees Tim Arnold, Head of International Operations,visiting Colombo to hold a series of meetings for local teachers and students.
Tsunami responseAt the end of 2004, the southern coastal regions ofthe country were devastated by the tsunami caused by the Indian Ocean earthquake. In response to thedisaster, our Representative in Sri Lanka, ManoChanmugam, and Co-ordinator, Neomal De Alwis,helped to raise funds along with local teachers andstudents, and the Associated Board made a donationto the badly damaged St Mary’s Convent School in the coastal city of Matara.
Mano Chanmugamt 0114 210 344e [email protected]
USA
BeginningsWe held the first Associated Board exams in the USAin 1986, when an examiner stopped in Los Angeles toexamine a handful of candidates en route to NewZealand. Now, twenty years later, we arrange around10,000 exams a year and in the October to Decembersession last year, seven examiners visited 14 states andaround 40 different venues.
Exam activity is concentrated in San Francisco, Los Angeles, New York City and New Jersey, with each region having 12 to 14 weeks of exams acrossthe year. But we also run other smaller centres withanything from two days to two weeks of exams.
Working in partnershipTo make all this happen, we work closely with anetwork of contacts across the country. A Jazz Co-ordinator and 15 Representatives help to organizeand promote exams on a local basis, while publishinghouse C F Peters acts as our administrative agent,processing entries and results. This relatively newpartnership has allowed us to improve customerservice and efficiency, not least by reducing postaldelays caused by sending things across the ‘pond’!
Who plays what?Piano is the most popular instrument for exams,though in some areas, such as Chicago and Virginia,the range of subjects is wider, and in Nashville we have a large number of harp candidates. In New York,candidates can also take jazz exams, or assessments as they are known, an option that has been availablesince April 2006.
Teaching and learningMany students have individual lessons with a teacherbased at home or at a teaching studio. Some studiosemploy a number of teachers and have multipleteaching and practice rooms, and occasionally recitalor group teaching rooms. Children also learn in highschool bands. In addition to using the AssociatedBoard exam system, young instrumentalists often takepart in state competitions, with the top few going onto compete at national level.
USA Representativeswww.abrsm.org/regions/us
17
FEATURES
MakingMusiccreative ideas for instrumental teachers
PATRICIA M. GANE
New
Making Music is an invaluable practical resource for all
instrumental and singing teachers. It will ensure that you
make the most of every minute of lesson time and
provides the necessary tools to develop a student’s
musicianship to the full.
Making Music presents 200+ accessible and imaginative
activities to improve students’ musical understanding and
aural awareness. Subjects include warming up, pulse and
rhythm, basic musical elements such as harmonic
progression, scales, melody, improvising, and composing.
Patricia Gane is a string player,
pianist, and conductor who
has earned a national
reputation for her skills in
training instrumental and class
teachers. She is also an
Ofsted Inspector and writer on
a broad range of music
education topics.
2
• Over 200 step-by-step activities
for beginners upwards
• Imaginative and fun ways to
develop musical understanding
• Ideal for both individual and
group lessons
• Pages can be photocopied
Making Music provides a
refreshingly practical approach
to developing the whole
musician.
For your sale or return
inspection copy
phone 01536 454590
quoting MLIBGANE
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Staff profiles
Ruth TurnerDiplomas Co-ordinatorand Access Administrator
A worthwhile challengeI work as part of a small team organizing diploma exams.The need for specialist examiners and top-class facilitiesmakes this a challenging task. I spend much of my dayproviding information by telephone or email; this isalways interesting and hopefully I do my bit to alleviateany nerves they might have about what can be anunderstandably daunting experience.
Enabling candidatesIn my other role, as Access Administrator, I co-ordinateexam tests for candidates worldwide with special accessneeds. Helping candidates to achieve their aim of takingan exam makes this a really worthwhile part of my job.
Getting the results outAt the beginning of the year I’m usually busy processingdiploma results from the December session, passing theseto the Diploma Board for ratification and preparingcertificates. It then won’t be long before the next closingdate arrives and the whole process begins again.
Meeting peopleHaving worked here for seven years I have seen a few changes, but the friendly atmosphere remains. I particularly enjoy the variety of tasks my role entails and the contact with such interesting people.
Working London-wideWith five colleagues I help to organize exams in theLondon area; we each timetable a small section of theregion. I provide support for the office manager, deputizein her absence, and train any new London Region staff.
Another aspect of my job involves makingarrangements for candidates within my region with specialaccess needs, giving guidance to teachers and parents,and providing information and special tests to examiners.
Regional differencesThe London Region Exams Office operates slightlydifferently from other regional offices. We have far fewerHonorary Local Representatives and are also involved inorganizing training for new examiners at London centres.
A typical dayWith almost 800 examining days and 16,000 candidatesin the autumn session alone, I work in an extremely busyoffice. A typical day might involve answering teachers’enquiries, dealing with invoices and examiner payments,and solving day-to-day problems at our exam centres.
Customer focusI get a huge amount of satisfaction from my role, dealingwith a wide range of tasks and providing support for theteachers, candidates and parents who use our exams.
Becky HerbertAssistant Manager for theLondon Region Exams Office
In this issue we focus on two members of the UK and Ireland Exam Administration Department.
Advertisement
18
NEWS Scholars in concert
SoundJunction moves forward
Thinking local
Meeting teachers
Many international schools acrossEurope use Associated Board examswith their pupils, and the conferenceof the European Council ofInternational Schools (ECIS) is an idealplace for us to meet some of theteachers involved. The 2006 ECISconference was held last November inNice and Sarah Royle, InternationalMarketing and Events Executive, wasthere to provide information andanswer questions about the latestsyllabus developments.
The Royal Academy of Music inLondon was the venue for alunchtime concert last Octoberfeaturing 11 of the currentAssociated Board scholars. Theaudience, which included manyAssociated Board staff, was treatedto a wonderfully varied programmeof music for harp, piano, voice,cello and violin.
These immensely talented anddedicated young musicians fromChina, Bulgaria, Romania, Russia,South Africa and the UK are allstudying on Associated Boardscholarships at four of the RoyalSchools of Music in the UK. Wewish them, and all our scholars,continued success in their studiesand careers.
Christoff Fourieaccompanied by
Ancuta Nite
Kathryn Rudgeaccompanied byAlexandra Dariescu
Ben Sandbrook, DigitalLearning Manager,introduces a range ofnew SoundJunctionresources for teachers.
The SoundJunction website has now been live for justover a year. During this time the site has attracted over100,000 visitors from around the world and won highlyprestigious awards from New Media Age, the MusicIndustries Association, the Association of OnlinePublishers, the eLearning Awards, and the BritishInteractive Media Association. We have also been working on the site, improving functionality, including an update to the video player software, and adding thefollowing new features.
Teacher resource packsEach pack focuses on a particular musical topic andincludes lesson plans, worksheets and ideas forcompositions. Teacher resource packs are freely availablefor download or use on the site.
Sixty percent of candidates in the UK and Ireland take their exams atone of our 300 local centres, wherearrangements are often overseen byan Honorary Local Representative(HLR). The HLR is responsible for a wide range of tasks: bookingvenues, organizing piano tuning andstewarding, supporting candidates,teachers and parents, and providingassistance to the examiner.
As this is such an important role,there is frequent contact betweenAssociated Board staff and HLRs,including regular briefing sessions. In October HLRs met in small groups
at eight regional seminars hosted by Associated Board staff, includingPenny Milsom, Head of UK andIreland Exam Administration, andLynne Butler, Teacher SupportConsultant. These gatherings providean ideal place to discuss newdevelopments, and this year the focus was on customer care. Ideasand suggestions arising from theseseminars will help us to plan for thefuture and introduce new initiativesthat will further support candidates,teachers and parents who visit ourexam centres.
Harpist Mali Lewis
New Honorary Local Representatives
BirminghamLinda Martint 0121 608 7596
CannockAmy Jonest 01543 871430
Cardiff (Central)Kathryn Thornet 029 2073 4441
Huntingdon (Practical)Elaine Williamsont 01480 460969
Curriculum mapThe UK curriculum map details SoundJunction resourcesthat can be used with the Key Stage 3 and GCSEsyllabuses.
Instrument packsIn January we will be adding a series of instrument-focused content packs. These will contain links toSoundJunction information and activities related tospecific instruments, and will be particularly useful for instrumental teachers and their students.
New music toolWe are also about to launch a new SoundJunction musictool which will provide innovative ways for learners tointeract with individual notes and sounds. This tool isdesigned to encourage students to learn about musictheory by interacting with music and experimenting with it themselves.
Stay in touchRegister with SoundJunction and we’ll let you knowabout all the latest developments on the site and sendyou new resources, such as the instrument packs.
To register, visit the link below and click on theRegister link at the top of any page.
SoundJunctionwww.soundjunction.org
19
NEWS
At the end of October last year, ABRSM Publishinglaunched Spectrum for Clarinet, a new book and CDcontaining 16 specially commissioned contemporarypieces each by a different composer. The composersfaced the challenge of writing a short piece thatcaptures their own sound world while providingtechnically approachable material for students,amateurs and professional players to enjoy.
The publication of Spectrum for Clarinet wascelebrated with a launch event at the Clarinet andSaxophone Society’s Conference at the Royal MilitarySchool of Music, Kneller Hall, on Sunday 29 October.The launch featured world premiere performances ofpieces from the album performed by Ian Mitchell,editor of the book, and students from the Royal
College of Music (RCM) Junior Department. Pianist and teacher Thalia Myers, instigator of theoriginal Spectrum series for piano, and RCM JuniorDepartment piano student Ed Liddall accompanied.
The composers involved in the Spectrum forClarinet project were: Gavin Bryars, Richard Causton,Tony Coe, Joe Duddell, Dorothee Eberhardt, ElenaFirsova, Anthony Gilbert, Philip Grange, SadieHarrison, Libby Larsen, Nicola LeFanu, Robert Saxton,William O Smith, Mark-Anthony Turnage, ErrolynWallen and Peter Wiegold. We were delighted towelcome many of them to the launch.
Contemporary clarinet
Director of PublishingLeslie East, fourthfrom right, withcomposers andperformers
Ian Mitchell performing piecesfrom Spectrum for Clarinet
SPECTRUM for Clarinet is an exciting and innovative
collection of specially-commissioned pieces for clarinet
and piano. It reflects the diversity of compositional
trends in new music today, serving as an invaluable
introduction to contemporary music.
• an outstanding collection of repertoire for clarinet
• ranges in difficulty from Grade 1 to Grade 8
• suitable for student, amateur and professional
clarinettists of all ages
includes a CD of all 16 pieces
performed by Ian Mitchell (clarinet)
and Thalia Myers (piano)
24 Portland Place London W1B 1LU United Kingdom [email protected] www.abrsmpublishing.com
The Associated Board of
the Royal Schools of Music
(Publishing) Limited
16 contemporary pieces compiled by Ian Mitchell
for CLARINETSPECTRUM
Availablefrom goodmusic retailers worldwide
with
CD
20
NEWS Something to celebrate
New York conference
In September, Tim Arnold, Sarah Royle and Alison Murfinfrom the International Department visited New York tohost a two-day conference attended by 12 of our 16 USARepresentatives together with staff from CF Peters, ourdistributors and administrative agents in the USA.
Our international Representatives have a vital role toplay, providing a link between staff in London and localteachers. Events such as this ensure that Representativesare up-to-date with all the latest Associated Boarddevelopments and policies and are able to provide thebest possible service to teachers, candidates and parents.
This was a valuable opportunity for feedback anddiscussion on a range of topics. Ideas were shared,working relationships strengthened and all thoseattending came away refreshed and enthused.
Anniversaries in 2007
2007 is a year of significant anniversaries for a number of countries where we hold exams.We will be marking 50 years of exams in St Vincent, 35 years in the British Virgin Islands, 30 years in Jordan and Indonesia, and 25 yearsin Nevis and Thailand. We look forward to the many celebratory events taking placethroughout the year and to continuing tosupport teachers and their students in thesecountries in years to come.
Performers with HLR Jo Dolman, on the right,at the Paignton concert in February
Performers with Miriam Halpin, Richard Morris and HLRs at the
High Scorers’ Concert for Ireland
Flute students at one of the two annualconcerts held in Darlington
During 2006, more than 700 performers took part in20 High Scorers’ Concerts across the UK and Ireland.These unique events, featuring candidates who haveexcelled in their exams, provide performanceopportunities for learners of all ages, including adults,and at all levels, from Prep Test to Grade 8.
High Scorers’ Concerts were first held in 1989 aspart of the Associated Board’s centenary celebrations.In the UK and Ireland the concerts are organizedlocally by Honorary Local Representatives (HLRs), andin many areas these events have become popularfixtures in the musical calendar, attended by theperformers’ friends, families and teachers, as well as by members of the local community.
One highlight of 2006 was the tenth High Scorers’Concert for Ireland, which took place in the elegantsurroundings of Dublin’s National Concert Hall on 24September and was attended by Associated BoardChief Executive Richard Morris. As usual the concertwas organized by our Irish Co-ordinator, MiriamHalpin, with participants not just from one city, but
from the whole country. In addition to performancesfrom around 30 high scorers, this anniversary concertalso featured a number of previous high scorers whohad been invited to join the celebrations. Amongstthese were a concert artist and surgeon, and abarrister, both of whom still regard music as animportant thread in their lives.
For performers and audience alike these specialconcerts provide an opportunity to celebrateachievement and enjoy some wonderful musicmaking. But for the performers there are many addedbenefits. Jo Dolman, HLR for Paignton, summed thisup when talking about the concert she organized lastFebruary: “I am sure this memorable concert willbenefit the musicians’ confidence and hopefullyprovide a spur to achieving even greater things.”
As 2007 begins we look forward to many moreHigh Scorers’ Concerts and say a big thank you to our representatives who work so hard to make these important events such a great success.
New InternationalRepresentative
Australia: QueenslandCarol Kuchelt 07 3411 2228m 0411 443 096e carolee1@
optusnet.com.au
Forthcoming HighScorers’ Concerts
17 FebruaryPaignton
20 FebruaryChippenham
21
LETTERSYour letters and emails
Your thoughts on the problem of abright and musical nine-year-old who isstruggling to read music, as highlightedin our last issue.
Learning to learn
I have been an instrumental teacher for many years and have found that musiclessons are a good place to spot learningdifficulties, especially those that may havebeen overlooked at school. I am now aresearch student looking into the origins oflearning problems, as well as carrying on my music teaching and learning difficulties therapeutic work.
I would suggest that this pupil mightneed to go further back to look at herlearning in general. Some pupils who havedifficulty reading music are simply notgetting any information from the two-dimensional symbols on the page. They can learn very well in a three-dimensionalteaching situation, for instance imitating andmemorizing, but cannot grasp the decodingnecessary for true music reading, unless anduntil they have specific help for that problem.The pupil may need to learn to learn beforeprogress is possible.
The teacher didn’t mention whether thepupil had trouble with ordinary reading, orwith any other school work; that would bemy first question.
The direct one-to-one teaching that isoften the rule in music can yield detailedinsights about pupils’ learning styles that, iffollowed up, can revolutionize their learningin all areas of life. Once pupils learn how tolearn, our efforts to go back and teach thebasics become much more fruitful; pupilsstay interested and engaged and the wholeprocess is much quicker and easier.
Martha CassBy email
Write to us at:
LettersLibrettoThe Associated Board24 Portland PlaceLondon W1B 1LUUnited Kingdom
Contributions may beedited for publication.
Welcome to the new letters page. You can now write to us about any issue featured in Libretto, or about moregeneral topics related to instrumental and vocal teachingor exams. You can, of course, also write in response toClara Taylor’s column inviting you to share your views,which you can find on page 7.
Problems with reading
Let the playing flow
Our daughter was learning the piano andhad a similar problem, not picked up becauseshe was so good at hiding it. She wouldnever try to play anything her teacher hadnot already played to her, and I realized thatshe committed everything to memory. We had her assessed by an educationalpsychologist and learned that she was veryintelligent but dyslexic. Our daughter thenbegan to learn the flute, easier with only oneline of music. Her flute teacher instilled in hera love of music then put her in for Grade 4which she passed with distinction, despiteher sight-reading. A new piano teacher alsosaw she was gifted and adopted variousstrategies just before exams to help hersight-reading, and she passed Grade 4 pianowith merit. This teacher recommended theRoyal Welsh College of Music JuniorDepartment. Five years later she is workingtowards Grade 8 piano and a diploma in flute.
I would tell these parents not to go backto Grades 1 and 2, but to let the playing flowinto ever more complex skills and excitingpieces. If she is like our daughter she willlearn her sight-reading from her playing, notthe other way round. Judge this nine-year-old on her playing not on her sight-reading.
Jenny RobbinsBy email
Switch to jazz
I read with interest Clara Taylor’scomments regarding the talentedgirl who has passed exams withoutreading a note. I would havethought the obvious choice for heris to go with the Associated Board’sjazz exams.
Sian BennettEastern Bay of Plenty,New Zealand
Naming the notes
Getting pupils to write in the note names before tryinga piece can give confidence and will sooner than theythink become unnecessary. A challenge to try a smallsection without the note naming can prove that it isn’treally needed. I once had a pupil who worked with allthe note names neatly written on his Grade 1 pieces.He was amazed to discover that he managed perfectlywell when I rubbed them out.
W P KingCheshire, UK
Continued on next page
22
LETTERS Problems with reading continued
Vision-related difficulties
I would like to draw attention to the fact that quite a number of children have vision-related learningdifficulties. After a successful first few years at primaryschool my daughter started to fall behind and washaving behavioural problems. A diagnosis from anophthalmologist showed that although she sawperfectly out of each eye individually (what a normaleye test covers), her eyes did not converge to focus onthe same place, hence words and music appearingblurred. This well-documented and common conditionis little known in the public arena. Many of thesymptoms are similar to dyslexia but unlike thatcondition this one can be cured. My daughter passedher first three piano grades by learning everything bymemory and even her piano teacher and I were fooled.However, since receiving vision therapy and wearingcorrective glasses her eyesight is fine. Now 16, she haspassed graded exams in violin, piano, clarinet andmusic theatre (singing), and has won a scholarship to a specialist performing arts school.
It is important for music teachers to be madeaware of learning difficulties of all sorts and haveaccess to information about various conditions as it is often the music teacher, giving the pupil individualattention, who becomes aware of these first.
Lesley CoxBy email
Teach in the way the child learns
I did wonder if the child in question is in fact slightly dyslexic? The picture does fit in several ways: ‘bright, keen and a joy toteach’, ‘learns by rote’ etc.
One might think that by the age of nine the parents or her school would havepicked up on this but unfortunately this issometimes not the case. Quite often it is the music teacher, working in a one-to-onesituation, who is the first to notice that thereis something definitely wrong and of coursewhen this happens it is important to alert allthose concerned so that the child receives allthe help available.
This particular girl’s teacher must bethoughtful and diligent. The signs aretherefore promising that the teacher will beable to teach in the way the child learns, if itis found that she thinks differently from theway a non-dyslexic child thinks.
Sheila OglethorpeSalisbury, UKAuthor of Instrumental Music forDyslexics (Whurr Publishers, 2002)
Aim high, but how high?
Readers respond to Clara Taylor’s lastcolumn on the importance of anindividual path with achievable goals forevery student.
Where success starts
I always aim high and yet so many factors workagainst my pupils achieving their full potential: lots ofhomework and other demands on time; inadequatekeyboards for practice; hormone changes in teenagers(especially boys) and stiff fingers with adults; and aheavy-actioned piano to cope with in the exam, on top of nerves.
So when I read ‘It may be an absolute triumph forone child to achieve 100 marks and this is indeedwhere success starts’, I was amazed. I can’t tell youhow encouraging that is to me as a teacher.
Dawn FallonBy email
Valuing achievement
Thank you for the importantreminder that the average mark inexams is 117. In this increasinglycompetitive world it is important to be reminded of the value ofchildren’s achievements.
Anne AlexanderAston, Hertforshire, UK
Personal best
It is so refreshing to read that pass levels arenot the name of the game, that personalbest is what counts. I count as one of mymost successful pupils, a 15-year-old girl (a later starter) who achieved 107 at Grade 1. The feeling of self-esteem that it gave her was worth all the merits anddistinctions of her fellow students.
W P KingCheshire, UK
Attaining a goal
How do we measure success? Surely it is thesatisfaction of attaining a personal goal? The majorityof my students have no intention of pursuing a careerin music but if they request to take music exams as apersonal challenge then they are encouraged to do so.Looking back at over 40 years of teaching it is the oneswho have achieved personal goals who have given methe most pleasure.
Sheila Sturrock By email
From the Piano Syllabus of the Associated Board of The Royal Schools of MusicThis volume comprises a broad selection
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