a.b.guide music theory

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LIBRETTO
New courses for teachers
Chief Examiner’s report
Music Medals update
Helping the dyslexic pupil
Issue 2005:1
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Contents
Outlook
Libretto 2005:1
3 Exams
All about exams
String seminars in Scotland
New look for diplomas
Early exams for UK and Ireland
Chief Examiner’s report
Music Medals for electronic keyboard
UCAS points reminder
Music Medals availability
9 Features
Climbing mountains:
helping the dyslexic pupil
Sheila Oglethorpe
Music and dyslexia:
the teaching-learning process
Ros Carver
14 Professional development
New courses, new opportunities
Interested in the Certificate of Teaching?
CT ABRSM in Hong Kong
Jazz workshops
16 News
Thinking local
Spectrum performance first
Professional development in Malta
Jazz in America and Canada
Island hopping
Competition
Talking to International Schools
All change in New Zealand and
South East Asia
A warm welcome to colleagues
from China
Introducing our new consultant
The diploma effect
Spreading the word in Japan
22 Forum
Your letters: sharing and learning
New topic: the terrible teens
The Associated Board of the Royal Schools of Music
24 Portland Place, London W1B 1LU, United Kingdom
telephone +44 20 7636 5400
email abrsm@abrsm.ac.uk
www.abrsm.org
Registered Charity No. 292182
© 2005 by The Associated Board of the Royal Schools of Music
All rights reserved. Unauthorised reproduction in whole or in
part is prohibited without permission.
Editor CGP Morris
Assistant Editor Lucy North
Insert & advertising sales Dominic Sewell
telephone +44 20 8861 0848
Design Tamasin Cole
Cover illustration Chris Howell
Print Headley Brothers Ltd
Printed on 100% de-inked, recycled paper
The views expressed in Libretto are not necessarily those of the
Associated Board neither are the products or services appearing
in advertisements and inserts endorsed by the Associated Board.
National exams have had a pretty bad press in the UK in recent years.
Both GCSE and A levels have been criticised for failing to identify the
most able pupils; AS levels have been seen as superfluous; there have
been serious allegations of inconsistent marking and, in the recently
published Tomlinson Report, one specific objective is to devise a
structure which reduces the exam burden. The contrast between this
picture and the popularity of Associated Board exams is very striking.
In 2004, our entries again moved strongly ahead to yet another record
level of around 636,000 worldwide. And, unlike the national exams,
the great majority of Associated Board candidates are entering or
being entered outside compulsory school requirements.
I make these comparisons not just to take pride in the quality of
the Board’s work but also to point out the very special nature of
practical examination in a performing art. For each candidate the
exam is a rare performance opportunity and it is their individuality,
conveyed through their chosen medium or instrument, that is being
displayed, appreciated and assessed. This point is always particularly
brought home to me on my regular visits to South East Asia, where the
Board deploys large teams of examiners, each of whom may well be
continuously examining for six weeks or even more. I invariably find,
as I did in Hong Kong in November, that examiners remain buoyant
and fully engaged throughout these long spans of what might seem
routine work. And the reason is simple: whatever the grade, whatever
the standard, each new candidate to enter the room is an individual
whose music making is their own unique performance.
Those who deliver the Board’s services are also great individualists
and I would like to pay particular tribute to three of them who have
given superb service in very different ways. The first is CC Choi, who
acted as Secretary General of the Hong Kong Examinations and
Assessment Authority for over 25 years. During this period, ‘CC’
supervised the local administration and ensured the well-being of
hundreds of thousands of Associated Board candidates in Hong Kong.
We wish him the happiest of retirements and welcome his successor,
Dr Peter Hill, who took over the reins last August. On page 18 you will
find a tribute to David Goodyear who has been the Associated Board’s
Administrator in New Zealand for the past 19 years, showing complete
dedication and remarkable versatility throughout that period.
Again, we wish him and his wife Mary a hugely deserved and happy
retirement, and warmly welcome his successor, Heather Gummer. On
the same page you will read the final bulletin from Associated Board
Consultant Bill Thomson who has provided extraordinary service to
teachers and candidates in South East Asia over the past five years.
We wish him and his wife Jean the greatest success in their future
teaching careers and welcome David Young, whose appointment is
also announced in this issue.
As this issue of Libretto goes to press, the UK government has just
announced a further £30 million for music education in 2007 and 2008.
This is excellent news, all the more so because the funds will be ‘aimed
primarily at giving every primary school pupil the opportunity to learn
a musical instrument’. This is the first major commitment of funds by
the government to honour the pledge which it originally made back in
2001 and is greatly to be welcomed. The challenge will be for Music
Services to show what can be achieved with the extra funding so as to
ensure that it is sustained in subsequent years.
Richard Morris Chief Executive
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All about exams
String seminars
in Scotland
EXAMS
Philip Mundey, Director
of Examinations, introduces
the new edition of
These Music Exams.
These Music Exams has been a prominent feature of the
Associated Board landscape for the best part of 25 years,
encapsulating the spirit of the Board and providing advice
and information about our philosophy and way of doing
things. During this time it has undergone several revisions,
bringing teachers, parents and candidates up to date with
developments. These Music Exams 2005, written by the Chief
Examiner, Clara Taylor, continues the tradition.
Most importantly, These Music Exams gets to the heart of
the matter by detailing the basis on which examiners examine.
It contains those essential assessment statements and criteria
tables that demonstrate exactly what is being looked for, and
therefore what to expect, and how to prepare for success.
The 2005 edition takes a step forward in providing
additional guidance on how examiners mark the supporting
tests in a graded exam. And for the first time an overview is
provided of the approach taken by the Board’s theory
examiners, with an outline of the marking rationale and a
glimpse of how some specific areas, including scale writing,
are assessed.
These Music Exams is the distillation of decades of
examining wisdom, an indispensable item for examiner
training, teacher guidance, candidate preparation and
parental reassurance – well worth a read!
So far over 1,500 piano,
cello and violin teachers
around the UK have
attended one of our
seminars exploring
repertoire from the new
syllabuses. We have had
wonderful feedback from teachers in
Aberdeen, Bristol, Cambridge, Cardiff,
Exeter, Glasgow, London and Manchester.
Violin and cello teachers in Scotland
still have a chance to come along to one of
these popular and inspirational seminars.
St Cecilia’s Hall, Edinburgh, is the venue for
a violin seminar on Saturday 29 January,
with Penny Stirling and Charles Barnes, and
a cello seminar on Sunday 13 February,
with William Bruce.
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Each one-day seminar starts
at 10.00am and finishes at
5.00pm and costs £35.
For more information visit
www.abrsm.org/teachers/courses
or contact Louise Cleverdon:
+44 20 7467 8254
seminars@abrsm.ac.uk
The new edition of These Music Exams is available
free of charge from Associated Board representatives,
music retailers and at www.abrsm.org
New Violin
Exam Music
on CD
The Associated Board of
the Royal Schools of Music
(Publishing) Limited
Recordings of the complete
violin exam syllabus 2005-2007
• performances of all pieces on the violin exam syllabus
• playalong practice tracks and complete performances of every piece
• performed by LSO members Carmine Lauri (violin) and John Alley (piano)
Grades 1 to 5
Grades 6 to 8
Available now
Available June 2005*
* to receive updates on the progress of these titles, visit
www.abrsmpublishing.com
Available from music retailers worldwide
24 Portland Place
London W1B 1LU
United Kingdom
tel +44 (0)20 7636 5400
publishing@abrsm.ac.uk
www.abrsmpublishing.com
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EXAMS
New look for diplomas
Early exams for
UK and Ireland
The revised Diploma Syllabus is now available. Although many of
the requirements remain unchanged, the 2005 syllabus contains
extensive additional guidance notes, expanded information on the
assessment criteria and has been fully accredited by the
Qualifications and Curriculum Authority (QCA), in England, and
the corresponding authorities in Wales (ACCAC) and Northern
Ireland (CCEA).
One of the main changes to the syllabus format involves the
way that information is presented, with each subject given a
separate syllabus document. Directors, performers and teachers
now have their own dedicated syllabuses containing all the
information they need about requirements, prerequisites,
substitutions and much more.
The Associated Board’s diplomas offer wonderful opportunities
for musicians who want to develop their skills and understanding
at a higher level whilst working towards a recognised and
respected qualification. We hope that these new user-friendly
syllabuses will provide encouragement and support for the many
musicians who decide to pursue the challenge of taking an
Associated Board diploma.
The A Period exams will be early
this year because of early Easter
and school term dates. The
closing date – 14 January for
postal entries and 21 January for
UK online entries – will be at the
usual time but the exams will
begin a week earlier, on
21 February.
Teachers should note that
they may receive slightly less
notice of exam dates and so, as
usual, it’s a good idea to
encourage candidates to be
prepared for an early exam date.
This is particularly important as
Week 1 (21–26 February) falls
immediately after the half-term
holiday for many schools.
Finally, if you are entering
candidates for jazz exams at a
public centre, remember that
these exams always take place in
Week 1 so it is essential to ensure
that all jazz candidates are ready
to take their exam at any point
during this week.
To request or download a copy of the Diploma Syllabus
from 2005 visit www.abrsm.org/exams/diplomas
Syllabuses are also available from music retailers and
Associated Board Representatives.
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The Associated Board of
the Royal Schools of Music
(Publishing) Limited
ACHIEVING
SUCCESS
• demonstrates the standards required at each
diploma level – DipABRSM, LRSM, and FRSM
• 33 performance extracts on piano, violin,
clarinet, oboe and voice
• advice on how to make the exam day go
smoothly, including choosing repertoire,
writing programme notes and preparing
for the Quick Study test and viva voce
Preparing for your
Diploma in Music
Performance
• interviews with successful candidates and
with a diploma examiner, offering tips on
preparing for the exam and what the
examiners will be looking for
• commentary by the Associated Board’s
An invaluable guide for
anyone preparing for
the Associated Board’s
Diploma in Music
Performance
Chief Examiner, Clara Taylor
• available in DVD and VHS video formats
• optional Chinese subtitles and Cantonese
voice-over (DVD only)
• 92 minutes running time
1-86096-399-4 DVD PAL
1-86096-596-2 DVD NTSC
1-86096-540-7 VHS PAL
24 Portland Place
London W1B 1LU
United Kingdom
tel +44 (0)20 7636 5400
Available from music
retailers worldwide
publishing@abrsm.ac.uk
www.abrsmpublishing.com
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Chief Examiner’s report
EXAMS
Clara Taylor, Chief Examiner, reflects on
last year’s exams highlighting some of
the pitfalls of the exam room.
I thought it might be helpful to draw attention
to some situations which can cause problems
during exams and which, with a little foresight
and additional preparation, can easily be avoided.
■ The scales re-player
This candidate starts a scale and makes an
error, then starts again, and again, and
again. The examiner has no opportunity
to say “have another go” or “let’s try
another”. Second attempts may well be
allowed at the examiner’s discretion but
lots of continuous attempts at one item
should be avoided.
■ Candidate, plus instrument in case, plus coat,
plus music…
The examiner’s heart will sink if all this has
to be dealt with before the playing can
begin. Instruments should be out of their
cases, and coats left in the waiting room.
■ “Oh dear, I’ve left my glasses in the waiting room.”
It’s surprising how often adults arrive in
the exam room without the right glasses
for playing and then have to go back to
retrieve them. A last-minute check
before the exam is helpful and saves
embarrassment and confusion.
■ The mobile phoner
One examiner heard a Grade 6
trombone piece come to a halt as the
candidate answered a call saying, in a
resigned voice: “Hello? Oh Dad, I’m
doing it NOW!” Another candidate
interrupted his sight-reading test, took
an incoming call and then resumed
afterwards. And yes – the break in the
pulse was mentioned on the mark form!
■ “Actually, I don’t do scales.”
A number of candidates decline to play
any scales or arpeggios, thus sacrificing
possible marks for this element. Examiners
will award marks for any attempt so it
seems strange that some candidates are
not prepared for this section.
■ Sad scales syndrome
It’s always disappointing when
accomplished pieces are followed by
poor technical requirements. There is a
commonly, and erroneously, held view
that brass players are notorious for this
inconsistency of preparation, but other
subjects suffer equally from the polished
pieces - sad scales syndrome.
■ The mispronouncing singer
We obviously sympathise if a singer is
unsure of foreign song titles but when
the examiner is trying to find songs in
the extremely long syllabus it can cause
problems. All singers are asked to write
their programme on a piece of paper for
the examiner. This should include the list
and number, for example A3, followed
by the title.
■ Accompaniment odds and ends
Accompanying teachers sometimes
mouth the words of the songs to
singing candidates (probably quite
unconsciously) but memory is part
of the test.
In general, it’s wise for accompanists to
keep an ear open for their own volume
level as, in the heat of the moment, the
intended musical encouragement can
overwhelm the solo line.
Sometimes we are asked if the teacher
rather than the examiner may
accompany Prep Test candidates. Of
course they can, and this is likely to be
reassuringly familiar for the candidate
taking his or her first musical
assessment.
■ And finally…
Just a reminder that examiners are not
allowed to page-turn or to tune
instruments.
This may sound a daunting list of ‘please don’ts’
but perhaps a glimpse of the view from behind
the examiner’s desk will help to ease the way
for everyone.
Above all, do be assured that whatever
unforeseen events may arise, the examiners are
ready for anything and will always mark in
accordance with the criteria for assessment.
Overall, 2004 saw a reassuring continuance in
standards with the average mark for all grades
remaining stable at 117. For piano teachers it will
come as no surprise that Peter Gritton’s Creepy
Crawly was one of the most commonly played
piano pieces and, looking forward, the new
piano syllabus contains similar ‘pops’, which
examiners are sure to be hearing frequently in
the year ahead.
We are all looking forward to hearing new
pieces during 2005 and hope that candidates will
come to their exams knowing they will be
warmly welcomed.
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EXAMS
Music Medals for
electronic keyboard
Nigel Scaife, Syllabus Principal, reveals
plans for the development of Music
Medals for electronic keyboard and
explains how you could contribute.
An invitation to contribute
Piano seminars
in Ireland
19 February
Dublin
20 February
Limerick
For details:
t +44 20 7467 8254
e seminars@abrsm.ac.uk
The development of Music Medals for portable
electronic keyboard represents a fascinating
challenge, particularly as so many facets of the
instrument are different from ‘western art music’
instruments – for want of a better term.
Over the last few years, electronic keyboards
have become increasingly sophisticated and
popular. They are relatively inexpensive, take up
little space and can be played ‘silently’ using
headphones but their popularity is, perhaps,
primarily due to the fact that they are able to
recreate a wide range of popular styles, using the
auto-accompaniment feature. This means that
children can access the pop music they enjoy
while adults can play songs they have known and
loved for years that might be less appealing to
the younger generation.
Sometimes the electronic keyboard is
mistakenly taught along similar lines to the
piano, without a proper consideration of its
qualities as an expressive musical instrument in its
own right. This can be reinforced by parents who
think of it as a budget alternative to a piano even
though it is an entirely unsatisfactory practice
instrument for pianists, especially given the
differences in touch and action (the digital piano
is a far better alternative). Unfortunately some
piano teachers fall into the trap of denouncing
the keyboard as a poor relation of the piano,
overlooking its inherent strengths, particularly in
terms of the timbral possibilities it opens up.
Keyboard teachers tend to emphasise the
creative aspects of music-making in their
approach. Many class music teachers find the
keyboard a useful tool when teaching aspects of
composition, although pupils without a basic
technique will struggle to maximise the
possibilities it offers. More advanced pupils are
likely to want to develop their skills with
technology, using their keyboard ability to good
effect when they work with sequencers and
other music technology.
There are relatively few widely-used tutor and
method books for electronic keyboard, and there
is a dearth of good quality ensemble music.
Because of this, many teachers use their own
teaching material. To support Music Medals for
keyboard, we are planning to publish books of
ensemble pieces for each of the five medals –
copper, bronze, silver, gold and platinum. These
will contain duets, trios and quartets for players
from the earliest stages of learning to about
Grade 4 standard.
If you are a teacher who has written ensemble
music for your keyboard groups and would like
to be considered as a possible contributor to the
development of our Music Medals materials,
please send in a small sample of your music
(perhaps two contrasting duets, trios or quartets).
We will then share them with our specialist
consultants, with a view to possibly
commissioning new pieces that work at specific
Music Medal levels.
In developing Music Medals for keyboard the
Associated Board is setting out for the first time
to define a series of benchmarks for an
instrument that is now an established feature of
our musical landscape. I very much hope that we
can collaborate with group teachers to ensure
that we make the most of this unique
opportunity to make a difference to the learning
and teaching of electronic keyboard.
e
Samples of ensemble music for
electronic keyboard should be sent to
Nigel Scaife:
nscaife@abrsm.ac.uk
The Associated Board
24 Portland Place
London W1B 1LU
We cannot acknowledge receipt of music samples
sent by post and samples will only be returned if
a stamped addressed envelope is provided.
UCAS points reminder
For teachers with more advanced pupils it’s worth
remembering that Grades 6, 7 and 8 are now
awarded points under the UCAS Tariff. UCAS –
the Universities and Colleges Admissions Service –
processes applications for undergraduate courses at
universities and colleges in the UK. The availability
of UCAS points is an added bonus for young
musicians applying for university or college places
and can help to motivate pupils who might
otherwise give up their musical learning.
More information is available at
www.abrsm.org/exams/ucas.html
or at the UCAS website:
www.ucas.com
t
e
Alternatively contact Lucy North:
+44 20 7467 8253
lnorth@abrsm.ac.uk
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Music Medals availability
Music Medals are now up and running with
pupils taking assessments around the UK. But
here at Portland Place we are still hard at work
developing Music Medals so that we can offer
assessments for additional instruments and
provide even more new ensemble repertoire.
Group-taught pupils of registered TeacherAssessors can now take Music Medals assessments
in the following instruments:
■ Woodwind
Flute, clarinet, descant recorder, saxophone
■ Strings
Violin, viola, cello, guitar
■ Brass
Trumpet, cornet, flugelhorn, E flat horn,
French horn, baritone*, trombone*,
euphonium*, E flat tuba*
EXAMS
In addition, books of newly-commissioned
Ensemble Pieces are now available for flute,
clarinet, violin, guitar and brass instruments, with
the brass volume including pieces suitable for
trumpet, cornet, flugelhorn, E flat horn and
French horn, and for treble clef readers of the
euphonium, E flat tuba and baritone. Books of
Ensemble Pieces for saxophone and descant and
treble recorder are due for publication in 2005
and other volumes are currently under
development.
* treble and bass clef
Options Practice Books and Ensemble Repertoire
Lists are available for all the instruments listed
above, providing everything you need to prepare
for and take a Music Medal. Oboe and bassoon
will be added to the list in 2005 and further
instruments will then be introduced on an
ongoing basis.
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e
Music Medals assessments for pupils
taught in groups are initially available
via Music Services in the UK.
For more information about
assessments and publications visit
www.musicmedals.org or contact
the Music Medals office:
+44 20 7467 8853
musicmedals@abrsm.ac.uk
MUSIC MEDALS FOR GUITAR now available
•
•
•
•
a wealth of newly commissioned materials for guitar group-teaching
original ensemble pieces for guitar in a wide variety of styles
suitable for mixed-ability groups
practice material for Music Medals options
Also available for Music Medals:
Ensemble pieces for Violin, Flute, Clarinet and Brass instruments
Options Practice books for Violin, Viola, Cello, Recorder, Flute, Clarinet, Saxophone and Brass instruments
www.musicmedals.org
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The Associated Board of
the Royal Schools of Music
(Publishing) Limited
Violin, Viola and Cello
A wealth of repertoire selected for current Associated Board syllabuses
Violin
Baroque Violin Pieces Book 2 (Grade 4)
Eighteenth-Century Violin Sonatas Book 2 (Grade 7)
Starters for Violin (Grade 1)
The Well-Tuned Fiddle Book 1 (Grade 1)
The Well-Tuned Fiddle Book 2 (Grade 5)
A Sketchbook for Violin (Grade 4)
Baroque Violin Pieces
18th-Century Violin Sonatas
Book 2
Book 2
Viola
Time Pieces for Viola Vol 1 (Grades 1, 2 & 3)
Time Pieces for Viola Vol 2 (Grades 4 & 5)
Starters for Viola (Grades 1, 2 & 3)
New Pieces for Viola Book 1 (Grade 3)
Seven Miniatures (Stephen Dodgson) (Grade 4)
Time Pieces for Viola
Starters for Viola
Volumes 1 & 2
Cello
with
CD
Spectrum for Cello (Grades 1, 3, 4, 5, 6 & 7)
Time Pieces for Cello Vol 1 (Grades 1 & 2)
Time Pieces for Cello Vol 2 (Grades 2 & 3)
Time Pieces for Cello Vol 3 (Grades 3, 4 & 5)
Party Time! (Grade 1)
Starters for Cello (Grade 1)
A Sketchbook for Cello (Grade 2)
Spectrum for Cello
Time Pieces for Cello
Volumes 1, 2 & 3
Available from music retailers worldwide
24 Portland Place
London W1B 1LU
United Kingdom
All volumes listed contain pieces on current
Associated Board syllabuses, as indicated in brackets
publishing@abrsm.ac.uk
www.abrsmpublishing.com
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Climbing mountains:
helping the dyslexic pupil
FEATURES
Sheila Oglethorpe
Sheila Oglethorpe studied at the Royal Academy of Music and has
taught class music as well as piano, cello and singing, the latter both
privately and in schools. Sheila is a member of the British Dyslexia
Association’s music committee and is the dyslexia/music consultant at
Salisbury Cathedral School. She is author of the book Instrumental
Music for Dyslexics: A Teaching Handbook (Whurr) and is a guest
lecturer on the Associated Board’s Certificate of Teaching course.
There are two questions that are frequently
asked about dyslexia. The first is ‘Does it affect
reading music as well as reading words?’ and the
second is ‘Can learning a musical instrument cure
dyslexia?’ Both of these questions spring from an
understandable ignorance of what dyslexia
actually is. Understandable because until the
latter half of the twentieth century very little
clinical research had been done into the dyslexia
phenomenon, although the word dyslexia was
first used as an alternative to ‘word blindness’
by the German ophthalmologist Rudolf Berlin in
1872.
As literacy for everyone became more and
more important so the way that children were
taught came under examination. It was recognised
that some children needed specific help with
learning to read, so teaching methods came
under the microscope and so also began a huge
flowering of research, which is still going on, into
the nature and causes of dyslexia. We are much
nearer knowing the answers to the multitude of
questions it poses, but a clear cut definition and
the reason for dyslexia’s existence – now
undoubted – are still elusive.
What we do know is that it is far more than
merely a literacy problem. It is a constitutional,
neurological problem, probably inherited (but no
gene has been definitely isolated) and it is known
throughout the world.
So the answer to the question ‘Does dyslexia
affect reading music as well as reading words?’ is
certainly ‘Yes’ and the answer to the second
question ‘Can learning a musical instrument cure
dyslexia?’ is certainly, sadly, ‘No’. Music can help
alleviate some of the difficulties which are caused
by dyslexia but the dyslexic brain, as far as we
know after 50 or more years of research, remains
dyslexic.
This is not to say that strategies for
overcoming specific difficulties cannot be found.
It must be the job of every teacher of a dyslexic
pupil to work out with the pupil how to
overcome the hurdles he or she finds in the way.
It has been said that for a dyslexic it is like
running an obstacle race while everyone else is
running a flat race. Another, a successful business
woman, exhausted by ‘wading upstream
throughout life’ wrote that what is wanted is not
sympathy but real answers to very real problems.
We instrumental music teachers of dyslexic
pupils may be severely challenged. Few of us may
have had the training to equip us to teach
dyslexic children, nor may we immediately
recognise that the pupil we have in front of us is,
in fact, in need of specific help; but once that has
been recognised we become aware that we are in
a wonderful and enormously privileged position
to build confidence and self-esteem and to help
our pupil reach heights that were probably
always thought of as for other people. In
addition, we find that teaching a dyslexic pupil
opens doors for us which we never dreamed were
there. It sharpens our imagination and the effect
of this rubs off when teaching all our pupils.
Every little success is a triumph and big successes,
when they come, are thrilling because we know
how hardly they were won.
Teaching a dyslexic pupil
opens doors for us which we
never dreamed were there
It is easy to be daunted by the long list of
possible difficulties that a dyslexic, and therefore
we as the teacher, may face. In order to be
effective, we have to be open to the idea of
standing in our pupil’s shoes. He or she cannot
stand in our shoes or go the way we went when
we were learning: our pupil’s brain functions
differently. We have to learn what it is like to face
the kind of difficulties faced by our pupil. We
have to study strengths and weaknesses so that
we can teach to those strengths and avoid
challenging the weaknesses. However, take
heart… all dyslexics are different, not only from
non-dyslexics but also from each other. Some will
be severely dyslexic, some only mildly so but
above all they are never boring!
So what are the specific difficulties? I believe
that a poor short term memory is responsible for
many problems: the anxiety dyslexics often suffer,
the disorganisation which makes life difficult not
only for themselves but for others, the often
chronic lack of self-esteem, and the anger and
frustration they feel at their inability to access the
brain for the information that they know is really
there. Dyslexics also often have a problem with
sequencing, for example the days of the week,
the letters of the alphabet and times tables. This
may have an impact in several ways on learning
to play a musical instrument, such as when
playing scales and arpeggios and remembering
key signatures.
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FEATURES
Copying music
If copying copyright
music you must
ensure that you comply
with The Code of Fair
Practice published by
the Music Publishers
Association – if in
doubt please refer to
www.mpaonline.org.uk
The very best way of helping a pupil to remember Ideas for helping
things is to teach using multisensory techniques.
If you are teaching from the score, and not from
This can be done in innumerable different ways:
memory, here are some examples of things that
can be done, but you will need advice from your
■ Use a stave drawn on the floor (with masking
tape) to help your pupil learn the significance pupil as to what would be best.
of the lines and spaces, scale passages and
■ Enlarge and simplify where possible.
chord shapes by stepping or jumping around
■ Copy music on to tinted paper or cover with a
on it. It is a physically interactive way of
sheet of coloured acetate.
learning the names of the notes and can be
used to introduce the linear shape of a tune.
■ Colour (highlighters, adhesive stickers, post-it
labels etc) can be used in all sorts of ways but
■ Use a metal tray and magnets. Place drawings
always leave the choice of colour to the pupil.
of the score or the instrument on the tray. The
magnets, representing notes or fingers, will
■ Have plenty of copies of the score so that
work just as well through the paper and they
when it is doctored in some way there is a
can be shifted around with ease to explain all
fresh copy to go back to.
sorts of things.
■ Use a frame to draw attention to what is
■ Make sure that your pupil really internalises
under discussion and to eliminate any
the music – use recordings and singing.
unnecessary visual disturbance.
■ Use the Kodály and Dalcroze methods.
■ Slide the score into a plastic envelope and let
the pupil use OHP pens to trace things that
■ Make or buy tactile aids that represent the
need highlighting, such as recurring patterns
lengths of sounds – your pupil needs to be
or harmonies. Let your pupil decide what will
able to feel the length of a semibreve and
be helpful so that he or she is in control.
compare it with a tiny semiquaver.
■ Make repetition interesting and fun.
■ Avoid both challenging – a failure to
remember something will send self-esteem
on a downward slope – and overloading –
stick to one thing at a time.
For some, music is not perceived
in a linear way at all
There are other areas besides memory that can
cause difficulties for a dyslexic. I think it helps to
break the problem down if they are categorised
according to the senses but, in reality, it is not as
cut and dried as that and all categories overlap.
The visual area
Further information
about dyslexia is
available from:
The British Dyslexia
Association
98 London Road
Reading RG1 5AU
t +44 118 966 2677
www.bda-dyslexia.org.uk
The Dyslexia Institute
Park House
Wick Road
Egham TW20 0HH
t +44 1784 222300
www.dyslexia-inst.org.uk
Focusing on the score is hard. It could be that for
some dyslexics the notes seem to jiggle about.
There are too many of them and they are too
small. Parallel lines confuse. There is a glare from
the white paper (often made worse by a strip
light above). There is too much information
altogether and no comforting high-frequency
words, as there usually are when reading
sentences.
Most dyslexics can be taught to read words,
partly because the motivation is so compelling,
but the dyslexic view may be that it is possible to
enjoy and play music without learning to read
the score. For some it may seem to be almost an
irrelevance. An aversion to the score, coupled
with the demands of the pulse beat, is what
makes reading at sight so extremely difficult for
most dyslexics. Somehow it has to be made more
personal so that your pupil can relate to it; it has
to become the pupil’s score.
The auditory area
In this area it may be more a question of how the
pupil hears music. For some, music is not
perceived in a linear way at all and priorities are
more to do with timbre, harmony, sound
patterns, shapes and images. The words ‘up’ and
‘down’ may not relate to pitch in the way they do
to non-dyslexics. Letter names may not have
acquired any character and their relationship to
each other may not have been established. For
other dyslexics the physiological element of the
way that the sound is heard and how it connects
with the brain may be the main problem.
Ideas for helping
■ Discuss with your pupil how he or she thinks
of sound so that you can talk about music on
his or her own terms. One pupil of mine
thought of sound in terms of light and dark.
■ Try to equate high or low sounds with how
they feel when they are sung.
■ Be sensitive to the possibility that your pupil’s
ears may not be functioning with perfect
synchronicity.
■ Avoid using letter names if these are not
strictly necessary – they may be a barrier
between you and your pupil.
■ Try suggesting that your pupil closes one ear.
Pitch and rhythm are largely processed on
different sides of the brain.
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FEATURES
The kinaesthetic area
Conclusion
This area is often where dyslexics excel, particularly
when long-term memory is involved, but if the
dyslexic has a degree of dyspraxia, as is sometimes
the case, it is very important to train the fingers
and/or limbs very methodically. This will involve
careful attention to fingering but your pupil may
be struggling with trying to remember what is
left and what is right, or even how the fingers are
numbered in our terms. The perception of left
and right is one with which many dyslexics have a
problem, sometimes for life.
Some of the fascination of teaching a dyslexic lies
in going hand-in-hand with someone whose mind
works so differently from our own. Systematic
teaching is of the first importance but bear in
mind that a dyslexic can sometimes draw parallels
and make leaps of understanding which most of
us would never have thought of. The danger for
us is in assuming that because a pupil has
understood one thing with apparent ease he or
she will be able to follow it up logically with the
next step.
Dyslexics are used to climbing mountains…
they have done it all their lives. A characteristic
that has often been observed among them is the
determination to succeed and the ability to find
strategies to compensate for their difficulties. I
believe that there are very few things that a
dyslexic will not eventually be able to do if the
motivation is there. It is our privilege to help.
Ideas for helping
■ Warm up with clapping or tapping exercises
to encourage the independence of the hands.
■ Suggest that your pupil closes his or her eyes
and feels what the fingers have to do.
■ Encourage ‘blind’ practice and exaggerated
finger and arm movements.
■ Encourage a mental picture of the geography
of the instrument.
■ Be aware that your pupil may not think of
fingers in terms of numbers. There may be a
better way, for your pupil, of notating fingers.
Dyslexics are used to climbing
mountains… they have done it
all their lives
Music and dyslexia:
the teaching-learning process
Ros Carver
Ros Carver holds a Master’s degree in
Psychology from the University of Bristol
and the ARCM in oboe teaching. She
teaches the two subjects in schools and
private practice.
We remember best the
start and end of an activity
Many teachers will have encountered a bright,
musical and motivated pupil who is not
progressing as expected. There are many possible
reasons for this, one of them being that the pupil
might be dyslexic. A dyslexic pupil is not a slow
learner in the ordinary sense even though
progress may be impeded but lack of expected
progress is, however, usually the first sign that
something might be wrong.
Here are some of the areas where problems
might occur, together with ideas for coping
with them.
Short-term memory
Present material (aurally or visually) in short
sections. When teaching a pupil to remember a
phrase, the usual good practice of starting with a
small phrase and building gradually to longer
ones pays dividends. We remember best the start
and end of an activity (primacy and recency
effects). This means that the start of the lesson
should be planned with care, and the start-up
material should be repeated during and at the
end of the lesson.
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FEATURES
Information for
dyslexic candidates
The Associated Board
aims to provide
opportunities for
all candidates.
Guidelines outlining
the Associated Board’s
policy for dyslexic
candidates are
available at
www.abrsm.org/
exams/specialNeeds
or from the Director
of Examinations
Department:
t +44 20 7467 8247
Reading music
Direction
For many dyslexics, reading the written word is a
skill that develops only slowly. Music uses a
completely different written language and one in
which many of the signs have more than one
function. Take the simplest symbol, the line. It can
be used vertically or horizontally, it can be long or
short, straight or curved, have meaning on its
own or in combination with another symbol. For
those with visual discrimination problems,
reading music, with its associated signs and
symbols, may always present problems.
Enlarging music, making spaces bigger and
signs and symbols more distinct, can be useful
and copying music on to coloured paper may help
those who find the contrast of black on white too
great. Younger pupils love to be different if it
means that they get something bigger and more
colourful, but older ones may feel rather selfconscious when their music is oversized, so
exercise tact.
Personalising the music in any way is an aid to
reading and to memory. For instance, making a
catchy mnemonic for remembering the names of
lines and spaces (not a new trick!) and giving
colours to C and G or the different beats in a bar.
A visual map of a whole piece, with colour and
images to remind the pupil of repeating patterns
or emotional climaxes, highlights things that
could otherwise be overlooked. These activities
are fun and encourage pupils to use their
imaginations.
There are many contradictions here from the
viewpoint of a dyslexic musician. We talk about
notes moving up or down in pitch but on the
piano or flute, for example, this means a sideways
movement. On the violin the movement is towards
or away from the face and on the cello the pitch
goes up as the fingers move nearer the floor.
The pupil who finds it difficult to follow
instructions that talk about the music in terms of
notes going up and down may also find it hard to
grasp concepts that involve right and left. We
tend to connect the words ‘right’ and ‘left’ with
parts of the body and direction of movement, but
for dyslexics this may be confusing and it is best
to find other ways to describe them. Difficulties
can sometimes be eased by emphasising the
association between sound and action – a
multisensory approach.
Many of the advantages
of group lessons suit pupils
of any learning style
Other ways to access music
Although reading is a time-honoured, and usually
efficient, way for us to access music, progress in
music education towards the inclusion of jazz,
popular music and world music has led to a
rethink of the emphasis on learning to read.
We now also have a range of ICT (information
and communication technology) to help expand
horizons. Try to adopt a variety of approaches:
using notated music, playing by ear and from
memory, and improvisation. This enriches the
life of all musicians and is an essential diet
for dyslexics.
Group teaching
In an individual lesson of sufficient length it
is possible to use time-consuming methods
individually tailored to the pupil. However, with
a growing trend towards shared lessons for
beginner pupils we need to develop strategies
that are flexible and include differentiation.
The skill of the teacher in guiding a disparate
group along a fruitful and enjoyable path lies in
identifying the strengths and weaknesses of the
members of the group and planning carefully to
ensure that they are all provided for.
Many of the advantages of group lessons –
sharing an enjoyable activity with friends,
providing mutual support and encouragement,
and having a common activity to talk about
outside lessons – suit pupils of any learning style.
Raised self-esteem is also a good spin-off.
Multisensory teaching is an effective way of
helping dyslexic pupils and a group instrumental
lesson naturally uses a multisensory approach, as it
involves pupils learning from interaction in terms
of body language and listening to each other.
Two of the essential ingredients for progress
for the dyslexic musician – a clear learning
structure and the identification of short-term
attainable targets – are fundamental to group
teaching and are well provided for in the
Associated Board’s new Music Medals
programme, specifically catering for pupils
taught in groups.
This brief look at a common problem is by no
means exhaustive but I do hope readers will be
enthused to draw out the best that their young
musicians can offer.
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Guide to theory
publications
Grade
First Steps in Music Theory
The Associated Board of
the Royal Schools of Music
(Publishing) Limited
Format
by grade
by subject
Reference
Books
Exercises
1– 5
1– 5
an introduction to essential elements of music
G numerous music examples
G step-by-step presentation of the basic facts of
music theory
G
The AB Guide to
Music Theory Parts I & II
(Part 1)
describes how music is notated
clarifies musical signs, symbols and
technical words
G explains elements of harmony
G
6–8
G
(Part 2)
Music Theory in Practice
1– 8
6–8
5+
1–8
Grades 1–8, one volume per grade
G
provides a sound foundation for
understanding music theory
Grades 1 – 5 available in Chinese and Spanish;
Grades 1 – 2 available in Swedish
Theory Workbooks
Grades 6, 7 and 8, one volume per grade
provides a practical guide to higher
grade AB theory exams
G focuses precisely on the skills and
knowledge needed for each grade
G
Harmony in Practice
Workbook with separate Answer Book
explores the main elements of tonal harmony
G prepares for AB Grades 6, 7 & 8 theory
exams, A level music, diploma, university
and college entrance papers
G
Past Theory Papers
Grades 1–8
one volume per grade per year
four papers in each volume
G five years past papers available
G excellent preparation material for
theory exams
G
24 Portland Place
London W1B 1LU
United Kingdom
publishing@abrsm.ac.uk
www.abrsmpublishing.com
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Two of the new courses on offer will be aimed at
musicians who have either just started thinking about a
teaching career or who have been teaching for less than
one year. The first, An Introduction to Instrumental and
Singing Teaching, will be a one-day workshop for
musicians who would like to find out more about
teaching and will include advice on how to set up a
successful teaching practice. The second, Teaching Music
Effectively, will be a four-day course for teachers with less
than one year’s experience who would like to meet fellow
teachers, exchange ideas about teaching and learning,
and work with experts on issues crucial to those at the
beginning of an instrumental or vocal teaching career.
Both these courses are in addition to our existing
Certificate of Teaching course, the CT ABRSM.
Your guide to professional development
A new guide will be available from February outlining all
the professional development courses on offer from the
Associated Board. The guide will include information
about the following professional development
opportunities:
■ An Introduction to Instrumental and Singing Teaching
■ Teaching Music Effectively
■ CT ABRSM One Year Part Time Course
■ CT ABRSM Fast Track Residential Course
■ Short courses, including jazz workshops
■ Teacher support seminars
■ INSET provision for Music Services and schools
■ Courses in international centres
Professional Development Taster Mornings
C
Bristol, London, Manchester
Oxford
Edinburgh, Sheffield
Exeter
You can register for a copy of the
Guide to Professional Development and for
information about Taster Mornings at
www.abrsm.org/teachers – and if you register
online before the end of March you will qualify
to receive our email bulletin, Ten Teaching Tips.
This is a series of specially-commissioned
bulletins written by experienced teachers and
educators and giving helpful advice on various
teaching issues.
t
e
Further information about the new courses
and the Taster Mornings is also available from
Beth Walthew:
+ 44 20 7467 8226
bwalthew@abrsm.ac.uk
R AT I N
10
years
T ABRS
The Associated Board’s
Certificate of Teaching (CT ABRSM)
course is currently in its tenth successful
year and over 1,700 teachers worldwide
have now completed the course.
The CT ABRSM has been pivotal for many
teachers, opening their eyes to new ideas,
providing opportunities to network with
other teachers, and, most importantly,
allowing them to reinvigorate their own
teaching practice.
The course is suitable for all
instrumental and vocal teachers, whether
teaching in a school, as part of a Music
Service or at home. The course is available
in two formats: the CT ABRSM One Year
Part Time Course (October 2005 – July
2006) and the CT ABRSM Fast Track
Residential Course (February – July 2006).
CT ABRSM Open Mornings
We will be holding a series of Open
Mornings at CT ABRSM centres so that you
can find out just what it’s like to be on the
course. Open Mornings take place during
the third weekend of the current course,
so you get first hand experience of being
a CT ABRSM student. You will be able to
take part in interactive professional
development sessions, much like those on
the course, and meet Course Leaders,
mentors and students.
6 March
13 March
20 March
We will also be holding Professional Development Taster
Mornings (listed below) giving teachers an opportunity to
find out, in person, about the courses on offer.
7 May
14 May
11 June
25 June
EB
G
Over the last 18 months we have been
carrying out extensive research into the
professional development needs of
instrumental and singing teachers in
the UK. The result of this research will be
a new range of courses available from
September this year. These courses will
form just the beginning of an ongoing
professional development programme
available from the Associated Board.
Interested in the
Certificate of
Teaching?
M
New courses,
new opportunities
CEL
PROFESSIONAL
DEVELOPMENT
10 April
The Red Maids’ School
Bristol
St Paul’s Girls’ School
Hammersmith, London
Radley College
Oxfordshire
Royal Northern
College of Music
Manchester
All Open Mornings start at 10.00am and
finish at 1.00pm and cost £10.00 per
person. The closing date for applications
is 1 March. Places are limited so do
book early.
t
e
To find out more and to request
or download a booking form visit
www.abrsm.org/teachers or
contact Beth Walthew:
+ 44 20 7467 8226
bwalthew@abrsm.ac.uk
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CT ABRSM in Hong Kong
PROFESSIONAL
DEVELOPMENT
Free Open Morning
Successful CT ABRSM students from
the 2003-2004 Hong Kong course,
with Richard Crozier and CT ABRSM
mentors and Course Leaders.
The sixth year of the CT ABRSM course in Hong
Kong is in full swing. One of the highlights of the
course so far has been a session introducing
teachers to Dalcroze Eurhythmics. Penny Stirling,
former Director of the Junior Strings Project at
the Royal Northern College of Music and an
experienced CT ABRSM Course Leader and
mentor, was in Hong Kong to lead this session.
As we wish the current CT ABRSM students
good luck with their course, we offer our
congratulations to successful students from the
2003–2004 course. Richard Crozier, Director of
Professional Development, joined Course Leaders
and mentors at the awards ceremony last year,
where teachers proudly received their Certificates
of Teaching.
Are you a teacher in Hong Kong and thinking
about your professional development options?
The next CT ABRSM course in Hong Kong starts
in June this year. To find out whether this is the
course for you, why not come along to a free
Open Morning? Taking place at the University
of Hong Kong on 7 April, this is an ideal
opportunity to find out what the CT ABRSM
course involves, and to meet the Course Leader,
mentors and current students.
For more information about the Open
Morning and about the CT ABRSM
course in general, please contact our
Course Administrators in Hong Kong:
t
e
Dorcas Wong
+852 9038 0408
docwhk@netvigator.com
t
e
Petina Law
+852 9105 6217
gw1@netvigator.com
Information is also available at
www.abrsm.org/teachers
Jazz workshops
“This is the first workshop on
improvisation where all aspects
were clearly explained at a
level that I could understand.
Thank you!”
Workshop participant, 2004
Need help with jazz
and improvisation?
Not sure how to bring
jazz and improvising
into your teaching?
As a follow up to the
popular Teach to Reach
Jazz Grade 1 workshops
that we ran in 2004, we
are pleased to offer new
workshops for 2005.
■ Teach to Reach Jazz Grades 1 – 3
■ Teach to Reach Jazz Grades 4 & 5
Piano
Clarinet, saxophone, trumpet and trombone
Designed for teachers with some experience of
playing and teaching jazz, these workshops are an
ideal next step for those who have attended a Teach
to Reach Jazz Grade 1 workshop or one of our jazz
piano workshops. Workshops will focus on tunes at
Grades 4 and 5 and look at ways to teach jazz
techniques to intermediate players.
Jazz workshops will be taking place between
April and July at venues across the UK including
Edinburgh, Leeds, London and Manchester.
All workshops run from 10.00am to 4.00pm and
cost £50, including lunch and refreshments.
Further information is available at
www.abrsm.org/teachers
Piano
Clarinet, saxophone, trumpet and trombone
These workshops are perfect for teachers with little
or no experience in improvisation. Working with
experienced musicians and workshop leaders, you
will be shown how to take improvisation into your
teaching, adding a new dimension to your work.
The day will also provide a broad introduction to
the structure, form and content of the Associated
Board’s jazz publications. By the end of the
workshop you will have explored jazz at Grades 1
to 3 and will have the confidence and resources to
begin teaching jazz at these levels.
t
e
Alternatively, contact Vicki Wright:
+ 44 20 7467 8832
vwright@abrsm.ac.uk
■ Jazz INSET
One-day and half-day jazz workshops can
be arranged for Music Services, and other
organisations, for a minimum of 15 teachers.
To receive your INSET pack and to read what Heads
of Music Services have said about our workshops,
contact Vicki Wright, as above.
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NEWS Thinking local
New Honorary
Local Representatives
Aberdeen
Judith Baker
t 01561 320575
Bedford
Rupert and Jenny Brown
t 01234 852487
Blackburn (Theory)
Paul Greenhalgh
t 01254 262888
Bournemouth
Janet Allen
t 01202 718334
Bristol (Practical)
Nigel Guzek
t 0117 927 6536
Edinburgh (Practical)
Sheila Boyes
t 0131 444 0918
Edinburgh (Theory)
Valerie Akhtar
t 0131 466 0088
Harpenden
Caroline Marriott
t 01582 713333
Hereford
Fiona Field
t 01432 355365
Horsham
Geoffrey Lunn
t 01403 253455
Lichfield
Karen Caddy
t 01543 306757
Orkney
Gemma McGregor
t 01856 877122
Plymouth
Victoria van der Vliet
t 01503 230808
m 07778 935085
Ringwood
Pauline Boyer
t 01425 479335
Tunbridge Wells
Veronica Austin
t 01892 511632
What’s the best way to welcome candidates to
exam centres? How does the Associated Board
support candidates with special needs? How can
HLRs help local teachers? What does the
Associated Board’s website offer? What are
young musicians debating on the online
Students’ Forum?
These were just some of the topics covered in
lively and constructive group sessions at last
year’s regional seminars for Honorary Local
Representatives (HLRs).
The HLR for each exam centre plays an
essential role in making sure that everything goes
smoothly for candidates, whatever circumstances
may arise. During the course of nine regional
events HLRs met Penny Milsom, Head of UK
and Ireland Exam Administration, Lynne Butler,
Teacher Support Consultant, and other key
Associated Board staff, to engage in discussions,
receive up-to-date information, and share
thoughts and ideas concerning the practical
details of running exam centres.
Gathering together so many of those who
are at the heart of the Associated Board’s work
confirmed once again the considerable
dedication and experience of our HLRs.
As usual, these seminars saw a wealth of ideas,
tips and comments exchanged, ensuring that
the combined expertise of our HLRs can
continue to benefit all those who use
Associated Board exams.
HLRs are listed in the Exam
Regulations and Information booklet,
UK and Ireland Edition, and at
www.abrsm.org/home/contacts.html
Spectrum performance first
Pianists from Chetham's School of Music
with, from left to right, Leslie East, Clara Taylor,
Richard Morris and Thalia Myers.
Interest in the Spectrum series has spread around
the world and the instigator of the series, Thalia
Myers, has now given masterclasses and recitals in
places as far afield as Cape Town, Chicago, Kuwait
and Malmö.
One of the more extraordinary recent events
was a complete performance of all 75 piano pieces
by students of Chetham’s School of Music in
Manchester on 18 October 2004. The concert,
organised by Head of Keyboard Studies Murray
McLachlan and piano teacher Peter Lawson,
featured 58 of the school’s 63 first-study pianists,
aged from ten to eighteen. Lasting three and a half
hours with two breaks, the concert demonstrated
the rich variety of style evident in the Spectrum
books as well as the great pool of talent within the
school. The concert was attended by a number of
Associated Board staff including Richard Morris,
Chief Executive, Clara Taylor, Chief Examiner, and
Leslie East, Director of Publishing.
Professional development in Malta
Each year the Associated Board organises
a professional development event in an
international centre, which is funded by
the Centenary Travel Grant Scheme.
Established in 1989 to mark 100 years of
Associated Board exams, the scheme
allows us to provide teachers around the
world with professional development
opportunities at a subsidised rate.
In 2004 the Travel Grant Scheme
funded a successful residential course in
Malta. The course, which took place on
19 and 20 November, was attended by
teachers from the UK and the
Netherlands as well as from Malta. Our
presenters Ian Smith, Ross Campbell and
Peter Noke provided a varied programme
including sessions on repertoire, stylistics
and improvisation, and a piano, violin
and voice recital.
Our thanks to Maria Conrad, the
Representative for Malta, for her help in
making this event such a success.
Jazz in America and Canada
Once again, January saw the
Associated Board exhibiting
at the conference of the
International Association for Jazz
Education (IAJE), this year in Long
Beach, California. We are also
looking forward to the first jazz
exams in Canada and the USA this
April with candidates preparing
now for assessments in Manitoba
and New York.
For more information about jazz exams in
Manitoba and New York please contact our
Jazz Co-ordinators:
e
t
Canada: Manitoba
Brent Campbell
campbell.brent@portal.brandonsd.mb.ca
204 725 1610
USA: New York
Sue Terry
e abrsmjazz@earthlink.net
t 718 416 7811
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Island hopping
Competition
In November Tim Arnold, Head of International Operations,
and Ben Selby, Marketing Manager for ABRSM Publishing,
visited the West Indies. The trip began in Barbados where
Tim chaired a conference bringing together Associated Board
Representatives from Anguilla, Antigua, the Bahamas,
Barbados, the British Virgin Islands, Jamaica, St Kitts and St
Lucia. All those attending agreed that this had been a most
worthwhile event. While in Barbados Tim also presented a
teachers’ seminar at the Police Band Auditorium, exploring style
in teaching. Many thanks to Milton Inniss, our Representative
in Barbados, whose excellent organisation ensured that the
conference and seminar were such a great success.
From Barbados Tim travelled to Trinidad, Antigua, Jamaica
and the Bahamas. In each country he met the Minister of
Education and key music educators and hosted further seminars
for teachers. Tim said, “Visiting these wonderfully diverse
islands has been most exciting. It has been a pleasure to meet
so many teachers and Representatives who have such a
strong commitment to the work of the Associated Board in
the region.”
Win one of five copies of Music in Words,
the guide to researching and writing about
music, by answering the following questions:
Talking to
International Schools
The Associated Board again exhibited at the annual
conference of the European Council of International Schools
(ECIS) in Nice, France, in November. Over 3,000 teachers from
a range of International Schools attended this important
annual gathering at which Giles Morris, Head of Corporate
Marketing, and Louise Tivendale, International Marketing
Executive, were on hand to provide information and to
answer questions about the latest syllabuses and publications
from the Associated Board.
24 Portland Place
London W1B 1LU
United Kingdom
publishing@abrsm.ac.uk
www.abrsmpublishing.com
■ For which Associated Board exams is
Music in Words recommended as a
useful resource?
■ From which date is the revised Diploma
Syllabus valid?
Send your answers on a postcard,
giving your name and address, to:
ABRSM Publishing
24 Portland Place
London W1B 1LU
United Kingdom
New Honorary
Local Representatives
Watford (Practical)
Sally Nicols
t 01923 333378
You can also enter by email:
competition@abrsm.ac.uk
Watford (Theory)
Dilys Eddowes
t 01923 233351
The closing date for entries is 1 April.
Winners
In the last competition we asked which
Latin term describes an oral exam and for
which diploma subject does the new DVD
and video Achieving Success help you
prepare. The answers are: viva voce and
Music Performance.
Congratulations to the winners who each
receive a copy of Achieving Success.
Rea Deliyianni, Strovolos, Cyprus
Adi Nugroho, Rungkut Surabaya, Indonesia
Jennifer J Kerr, Fife, UK
Wendy Skidmore, London, UK
M Sotnik, Huddersfield, UK
ible
pon en
s
i
D
¡ hora !
a
ÑOL
1-85472-446-0
1-86096-355-2
G essential reading for
G lectura esencial para la
Associated Board
theory exams, Grades 1
to 5
G describes how music
is notated
G explains music signs,
symbols, technical words
and elements of harmony
Weymouth
Marilyn Mackenzie
t 01305 781042
Whitby
Barbara Anderson
t 01287 660828
High Scorers’ Concerts
1 February
Chippenham, UK
11 February
Paignton, UK
The Associated Board of
the Royal Schools of Music
(Publishing) Limited
A
ESP
The AB
Guide to
Music
Theory
Available from
music retailers
worldwide
NEWS
Guía AB
de la
teoría
musical
preparación de los exámenes
teóricos del Associated Board Grados 1 al 5
G describe cómo se escribe
la música
G explica signos y símbolos
musicales, palabras técnicas y
elementos de armonía
Libretto_p18
07/12/04
01:48
Page 1
18
NEWS All change in New Zealand and South East Asia
As the new year begins teachers in New Zealand and South East Asia will be
saying goodbye to two Associated Board Representatives. Here Tim Arnold,
Head of International Operations, pays tribute to David Goodyear in New
Zealand, and Bill Thomson, our departing South East Asia Regional Consultant,
makes his final contribution to Libretto.
New Zealand
South East Asia
Richard Morris, Chief
Executive, on the left,
with David and Mary
Goodyear at last year's
Annual Lunch in London.
New International
Representatives
New Zealand
Heather Gummer
t 9 482 0267
e office@abrsm.org.nz
Spain: Madrid
Kevin Robb
t 607 392257
e robbkevin
@hotmail.com
Tanzania (Special
Scheme Co-ordinator)
Aloys Ng’asi
t 22 742 600 329
e aloyngasi
@hotmail.com
USA: Chicago
Helga Swatzak
t 608 277 7525
e hswatzak@yahoo.com
USA: Nashville
Wes Ramsay and Carol
McClure
t 615 446 4363
e abrsm@bellsouth.net
USA: Washington DC
Kevin Vigil
t 703 644 1659
e abrsmdc@verizon.net
It has been an enormous pleasure to work with
David and Mary Goodyear. I say David and Mary,
because they have both worked together tirelessly
for 19 years to ensure that teachers and candidates
in New Zealand receive the very best that the
world’s largest music examining board can provide.
One of the challenges of working within a
global environment is that of time differences.
David and I have shared many phone calls late at
night and early in the morning, and I have always
been amazed at his cheerful response, no matter
what time of day it is.
When I first arrived at the Associated Board we
were making substantial changes to our IT systems.
When I spoke to David about this the response was
usually, “Oh yes – we did that five years ago!”
Always at the leading edge, David developed a fully
computerised administrative system for the New
Zealand operation.
Examiners from the UK are always excited about
the prospect of visiting New Zealand. It is striking
that invariably their reports upon return are less
about the scenery or the wine but more about the
people, in particular, the warm welcome and caring
approach from David and Mary.
Certainly I know that David’s
passion for golf will be more
satisfied as he hands over the
Associated Board’s work to his
successor, Heather Gummer. I’m
sure all teachers, candidates,
parents, examiners, Local
Representatives and colleagues will Heather Gummer,
new Examinations
join me in wishing David and Mary Administrator for
a very long and happy retirement. New Zealand.
A warm welcome to
colleagues from China
Richard Morris in
discussion with Dr
Yu Danhong and
Yang Ruimin of
MEPCCSE.
In October we welcomed members of the Music
Education Professional Committee of the Chinese
Society of Education (MEPCCSE) to our offices in
Portland Place, London.
Led by Yang Ruimin, Director of MEPCCSE and
vice chairman of the Art Education Commission in
China, our visitors attended presentations given by
our Professional Development, International and
Marketing Departments, as well as ABRSM Publishing.
The committee is working on a research project
in China and was keen to learn about the Associated
Board’s work in music eucation and about the
support we give to music teachers around the world.
The end of the calendar year
allows time for reflection on the
many and varied Associated Board
activities that have taken place in
our corner of the globe during
the past year.
2004 was certainly busy, with Professional
Development Programme (PDP) events, theory and
violin seminars and choral workshops. We
celebrated the talents of some of the region’s most
promising young musicians at the South East Asia
Diploma Awards Ceremony in Singapore, whilst
teachers from Bali, Sulawesi, Java, East Malaysia,
West Malaysia and Singapore enrolled as students
on the challenging Certificate of Teaching course.
Additionally, High Scorers’ Concerts took place in
Singapore, Jakarta, Medan, Bandung, Surabaya
and Kuching.
Amongst these events the exams themselves
carry on, with growing numbers of theory, practical,
diploma and jazz candidates across South East Asia
and new centres in Indonesia and Thailand.
This is a time for personal reflection too. After
five years as Regional Consultant for South East Asia
I am now moving on to take up a new position as
Director of Music at The Regent’s School in Thailand.
I wish to pay tribute to all my colleagues from the
UK, both the Associated Board staff based in London
and the distinguished musicians who come to share
their musical expertise with us here. I should also like
to send my warmest regards and deepest gratitude
to all our Asian friends and neighbours who have
made the last five years so special!
In my new role I shall remain in the midst of the
music-making and music teaching fraternity of
South East Asia and will be watching, from a
distance, as you all continue to prosper under the
banner of the Associated Board.
Introducing our
new consultant
As we say goodbye and thank
you to Bill Thomson it is time to
welcome Dr David Young, who
takes over as South East Asia
Regional Consultant on
1 February this year.
Liaising with our Representatives in the region,
David will ensure continuing efficiency and quality
in the running of the exams, whilst also providing
educational and professional support for
instrumental and singing teachers.
David Young, pictured here, studied at the
universities of Hull, Cambridge, London and
Liverpool. He has worked at the Royal Northern
College of Music since 1974, latterly as Director
of Academic Development. Talking about his
appointment, David said: “I am delighted to be
taking up this position. I have long been associated
in one way or another with the Associated Board,
whose work I admire greatly, and it is a great
pleasure to be taking on this new and exciting
challenge.”
lib 2005-1 UK text REV.qxd
24/2/05
3:00 pm
Page 19
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Libretto_p20
07/12/04
01:49
Page 1
20
NEWS The diploma effect
Fiona Carr, from the Kampala Music School,
describes how the Associated Board’s diplomas
have revolutionised classical music in Uganda.
The heritage of classical music in Uganda is a
legacy left by missionaries who, over a century
ago, imported and built a pipe organ in
Namirembe Cathedral and established the
cathedral choir. Classical music developed mainly
in the churches and cathedrals (Bach and Handel
would approve!) and a teaching style evolved as
each musician shared what they knew and could
do with others, using relics of any available sheet
music. Not only did music survive, it thrived, even
through years of war. Some schools and
seminaries had the luxury of music teachers, who
made a significant impact.
It was from this backdrop that the scheme
Pianos for Uganda was launched in Libretto in
1998. As much needed donated pianos came into
the country (there are now 60 as a result of the
appeal) the opening of the Kampala Music School
(KMS) in 2001 was an inevitable next stage.
The possibility of unlimited practice and formal
lessons soon had those with Grade 8 saying
“what now?” So the new Associated Board
diplomas came at a timely moment for Uganda,
and already 16 students have been passed in
piano, organ, voice and violin.
Comments from those with diplomas indicate
a huge knock-on effect. The demanding recital
programmes of the performing diplomas help to
develop performance skills, technique and
stamina, and have raised confidence in teaching.
The Programme Notes requirement seems to be
the most inspired innovation, as so much fun is
had researching the programme. No student now
works on a piece or song without thinking about
the form, harmonic structure, modulations and,
not least of all, when and why it was written.
All this information clearly makes the
performance come to life even more and KMS
is constantly buzzing with discussions on the
different pieces being learned. Authorities
emerge who can even tell you where various
pianists change the pedal!
We prepare for the DipABRSM in teaching in a
class with lots of participation as each student has
a go at being the pupil, the teacher and the critical
(positive, of course!) observer. Each technique is
thoroughly demonstrated and discussed in relation
to pieces from various tutor books, old Associated
Board exam music, studies and exercises up to
Grade 6 standard. Our illustration for staccato is of
a chicken pecking. What could be more graphic?
No chicken leaves its beak in the ground a moment
longer than necessary! The different dissertation
topics are aired with input from everyone. Initial
research has produced up to 5,000 words. The
whole class gains from the extra information and
discoveries, leaving the poor writer to then
eliminate much of it.
I have learnt so much myself and it is
wonderful to see that because these diploma
exams are so user-friendly teachers of teachers
have already emerged. Some 15 young teachers
now have a livelihood and, as borne out by the
annual Associated Board exam results last June,
over 200 pupils are receiving good teaching.
The revised Diploma Syllabus from 2005
is now available. For more information
see page 4.
Spreading the word in Japan
At the beginning of 2004 the Roland Foundation
became the Associated Board’s Representative for
Japan. Since then the foundation has been busy
building awareness of the Associated Board
amongst the musical community in Japan through
a range of promotional activities.
Initially, contact was made with several magazine
publishers to explain the benefits of the Associated
Board’s exams. Articles were published in Musica
Nova and Chopin, well known among Japanese
piano teachers, the Band Journal, read by wind
players, and the bulletin of the Japan Flautists
Association. In addition, the Japan Music Trades
magazine, which is popular with instrument
manufacturers, distributors and publishers,
featured an interview with Tim Arnold, Head of
International Operations. This fantastic coverage
was supported by an advertising campaign, again
organised by the Roland Foundation on our behalf.
Finally, Roland undertook visits to the Elisabeth
University of Music in Hiroshima and the Chugoku
Junior College in Okayama to talk to teachers about
the Associated Board and to explain what we can
offer to music teachers and students. More university
visits are planned for the near future. All this hard
work has resulted in a clear increase in enquiries
from interested teachers and prospective candidates.
One of the most exciting areas of our
development work in Japan involves the translation
of key information into Japanese. The translation
of Introducing The Associated Board of the Royal
Schools of Music – a guide to all the services we
offer – has just been completed and this booklet
is now available to music teachers, parents and
students in Japan. Future plans include the
translation of These Music Exams, which will provide
invaluable advice and information for all those
intending to take an Associated Board exam. In
addition, ABRSM Publishing has negotiated the
publication in Japanese of The AB Guide to Music
Theory (by Eric Taylor) by the Tokyo publishers Saber
Incorporated, and this is now on sale in book and
music shops in Japan.
After just one year, our partnership with the
Roland Foundation has proved to be a great success
and we are now looking forward to further
developments in the years to come.
t
e
For more information about Associated
Board exams in Japan contact the Roland
Foundation in Tokyo:
03 3407 5205
abrsm@roland.co.jp
Libretto_p21
07/12/04
01:52
Page 1
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Libretto_p22
07/12/04
01:54
Page 1
22
FORUM Sharing and learning
Your chance to share experiences and ideas with other readers
In each issue Clara Taylor, Chief Examiner, introduces a subject for
discussion and we publish your responses in the next issue.
Contributions may be edited for publication.
Write to Clara Taylor, marking your envelope Libretto Forum,
or email chiefexaminer@abrsm.ac.uk giving your postal address.
Effortless learning
Overlapping lessons are a great
way of giving children a window
into other musical lives and can
be very uplifting. I also hold
group musicianship lessons where
children play to each other, play
duets, learn to listen and
evaluate, improve their rhythm,
improvise, sing and write their
own melodies, and much, much
more. I’m amazed at how quickly
they learn and it also frees up
individual lessons to concentrate
on playing. Next I’m preparing to
teach elements of technique in
group lessons. In shared lessons
children seem to learn almost
effortlessly. Learning together
seems to lower the barriers that
so often go up when teaching
individually.
Aural and sightreading benefits
Stimulating and
supportive
During 60 years of teaching,
practically all my lessons for
pupils of a similar standard were
designed with an overlap where
we could deal with aural work
and sight-reading, and discuss the
music being prepared for exams.
Sight-reading overlap is very
good for non-participating
students to observe – determined
as they are not to make the same
errors when their turn comes.
Joint aural work is an invaluable
experience, particularly so now
with the requirement where
candidates discuss various aspects
of music played by the examiner.
My teacher used to have an ‘open
house’ on Sundays when any of us
who were keen enough could
turn up and play our favourite
pieces to each other. We used to
play duets too. It was one of the
best parts of my week.
I would love to be able to do
the same for my own pupils but
work and family life make this
difficult. However, because I
recognise the importance of
playing to, for, and with other
people, I have two pupils’
concerts each term. The largest
is held in a school hall and is for
anyone who would like to take
part. Anybody can come along to
play or listen and there are drinks
and chocolate biscuits afterwards
to make it a social event.
Many pupils find these concerts
stimulating and come away
asking to learn pieces that they
have heard others performing.
The second social event is not
described as a concert because it
is for adult pupils who are too shy
to play to a large gathering.
It takes place in my music room,
a place where they all feel secure.
No guests are allowed because
this would add to the pressure.
Participants can play as many
pieces as they like (or none if they
prefer) and afterwards there is
coffee and cake or a glass of wine
for those whose nerves have been
completely shot by the occasion.
The caring nature of this
group is wonderful. Anyone who
is very nervous is given a huge
amount of support by the others
present, all of whom have had
trouble with ‘the shakes’ at some
time. On the day that an anxious
person finally manages to play a
piece through without falling to
pieces, the jubilation throughout
the group is wonderful!
John Towse
Derbyshire, UK
Jill Yakimoff
Gold Coast, Australia
Next topic: the terrible teens
“She’s completely lost any delicacy in her playing,
she’s too busy asserting herself.”
Clara Taylor
write now
■ ■ ■
This was from a frustrated teacher who was preparing a teenager
for Grade 8, having experienced a promising run of progress until
the teens struck.
Most of us have probably had similar moments of hair-tearing despair,
having worked so hard to get a musical youngster through the earlier
grades, only to be foiled by something beyond our control – or is it?
Music is often an important outlet for hormonally challenged
teenagers. Teachers tend either to join the ranks of adult enemies
or become allies. Sometimes we have to put aside that Mozart
masterpiece in favour of something much less worthy but more ‘cool’,
just to keep pupils voluntarily going to their instruments. Sightreading may actually improve and exploring lots of new material of
their choice can broaden the stylistic base. The Jazz Syllabus may well
come into its own at these times, especially if the teacher is prepared
to have a try as well. Improvisation is a wonderful form of expression,
engaging a different sort of creativity and giving pupils the chance to
let off lots of personal steam.
For some, the musical and technical glass ceiling around Grade 5,
and the pressures of school work prove too much and lessons cease
either temporarily or permanently. Some adults regret stopping in
their youth and feel impelled to have another go. Music exerts such an
irresistible pull that those who need to be actively involved will keep
going, even if staggering for a while, or may return later when the
time is right. Others may become listeners and then in turn encourage
their own children to play.
There’s a wealth of experience and ideas amongst Libretto readers,
so please let me know how you motivate your teenage pupils and
support them through these testing years. You may have some tips for
teacher survival as well! All responses receive a personal reply and your
comments will be considered for inclusion in the next issue.
write now
■ ■ ■
write now
■ ■ ■
write now
■ ■ ■
write now
■ ■ ■
Sue Hess
Kent, UK
write now
■ ■ ■
write now
Libretto_p23
07/12/04
01:56
Page 1
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Libretto_p24
07/12/04
01:58
Page 1
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