libretto 2005-2 UK text

LIBRETTO
Finding the right route
into teaching
Introducing SoundJunction
Music Medals in action
World news
Terrible teens:
reader responses
Issue 2005:2
Contents
Outlook
Libretto 2005:2
3 Exams
All change for woodwind and brass
Diploma help at hand
UK and Ireland reminders
Music Medals in action
Music Medals conference
Celebrities back Music Medals
Over the last ten years there has been
growing recognition of the vital
importance of music in education.
8 Features
Introducing SoundJunction
Nigel Scaife and Ben Sandbrook
Finding the right route into teaching
Rick Rogers
13 Professional development
Course and workshop update
Free Tasters
Brush up your jazz skills
Apply now for Hong Kong course
Summer school for Hong Kong pianists
Alumni Association launch
16 News
New website
Competition
UK strings conference
Looking back on 2004
Supporting Music for Youth
Kenya appeal update
Professional development in Oman
South Africa – a journey
Music Teacher of the Year
Music of Life
FMS conference
International diary
21 Forum
The terrible teens
New topic: the real thing
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 Giles Pilgrim 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.
This groundswell of opinion was encapsulated last year in the launch
and dissemination of the Music Manifesto, to which the Associated
Board was a ready signatory. Two of the key aims of this manifesto are
about increasing access to music and providing more opportunities for
young people to deepen and broaden their musical experiences. In this
issue of Libretto you will find reports and articles on many ways in
which the Associated Board is contributing to the achievement of
these aims.
Our new assessment programme, Music Medals, designed to
provide extra motivation and support for group-taught pupils, is up
and running and gathering momentum each month; on page 5 there
is a valuable interview with a teacher who is already a regular user
of the programme. On page 8 we introduce for the first time the
SoundJunction project, on which we have been working over the past
year with the support of Culture Online, part of the Department for
Culture, Media and Sport. This highly innovative online resource will
extend access to all sorts of musical experiences across many genres to
young people both within and outside the school context. A particular
feature of this project is the commissioning and cross-fertilisation
of new compositions in European classical, jazz and Western
African idioms.
On other pages in this issue you will find reports on the Associated
Board’s support for the magnificent work of Music for Youth in giving
performance opportunities to tens of thousands of young musicians;
on our plans for seminars to brush up your jazz skills; and on a new
website, where you can access information on all the titles in the
ABRSM Publishing catalogue.
Another of the Music Manifesto’s key objectives, to which the
Associated Board continues to make a major contribution, is the
development of ‘a world-class workforce in music education’.
On page 13 we announce the launch of two new short courses aimed
at instrumental and vocal teachers at the early stages of their careers.
The design of these courses has emerged from wide-ranging
consultations undertaken over the past year and they will, I believe,
fill what was an unhealthy gap in provision. Alongside these, there
are reports on a wide variety of professional development seminars
delivered by the Associated Board to gatherings of teachers as far
apart as Oman, South Africa, China, Singapore, Malaysia, Thailand,
Indonesia and Taiwan.
Given the special importance which the Associated Board attaches
to the development of teaching skills, we are very pleased to feature
an article by the distinguished researcher and writer, Rick Rogers,
about his newly published guide into all the varied routes into the
teaching of music. This will provide invaluable encouragement to
many musicians, from a wide range of backgrounds, to enter the
teaching profession or to explore opportunities to incorporate
teaching within their musical careers. In this article Rick draws
attention to some of the gaps in the system and, most importantly,
to the absence of any relationship between the status accorded to
classroom teachers and to those who are engaged in the
correspondingly skilled and challenging role of instrumental teaching.
Just as graded exams are accredited alongside GCSE and A levels
within the National Qualifications Framework, those who teach
towards them merit a form of accredited teacher status alongside
those who teach towards the national exams. This gap is perhaps the
greatest obstacle to the achievement of the world-class workforce
sought by the Music Manifesto, so let’s hope that the Department
for Education and Skills, one of the sponsors of this guide, heeds
Rick’s words.
Richard Morris Chief Executive
3
Diploma help at hand
UK and Ireland
reminders
EXAMS
The right date
Two revised booklets are now available to help
teachers and students who are interested in, or
preparing for, an Associated Board diploma.
Diplomas at a Glance has been completely
revised in line with the Diploma Syllabus from
2005. It provides an overview of the requirements
for the three diploma subject-lines (direction,
performance and teaching) at all three levels
(DipABRSM, LRSM and FRSM). This is a quick
introduction to the Associated Board’s diplomas
for those deciding which diploma is right for them.
An updated edition of Writing Programme
Notes is also available. This guide by Nigel Scaife,
the Associated Board’s Syllabus Principal, is a
valuable resource for candidates preparing the
Programme Notes requirement of the
Performance and Direction diplomas at
DipABRSM and LRSM levels.
Writing Programme Notes contains
‘information on all aspects of the process,
from background research to conventions of
writing style and presentation’. As well as
including sections on issues such as structure and
content, and use of technical language, Writing
Programme Notes also features examples of
good and bad programme note writing together
with plenty of practical advice.
t
e
Diplomas at a Glance and
Writing Programme Notes are
both available free of charge at
www.abrsm.org/diplomas or from
the Associated Board’s Marketing
Department:
+44 20 7467 8254
marketing@abrsm.ac.uk
Summer is approaching and with it the busiest of
our exam sessions in the UK and Ireland. Around
130,000 candidates take their exams at 300
centres during seven weeks in June and July, and
arranging the timetables for these exams is one
of the most important and most complex tasks of
the year. We make every effort to ensure that all
candidates are offered a convenient appointment
and if a clash occurs with another important
commitment, such as a school exam, we will try
to offer an alternative appointment, although
this may mean travelling to a different centre.
However, we cannot give new appointments to
candidates who have an early exam date and
think they may not be ready; it is therefore a
good idea to warn candidates and parents that
their exam date could be early in the session,
even if one of the popular later weeks has
been requested.
Summer results
All mark forms go through a thorough checking
process before being sent out. As a result we aim
to issue mark forms and certificates to applicants
between two and four weeks after the exam.
Many results from the summer session will
reach applicants before the end of the school
term. However, if exams are taken during the later
weeks of the session, the results may arrive at the
beginning of the summer holiday when schools
are shut and teachers are away. If you think this
will affect you, you can contact us in advance to
arrange for your candidates’ results to be sent to a
different address. This could be your home address
or the address of a friend or colleague who can
pass on the results to candidates in your absence.
To request this service write to
the relevant Associated Board
regional office at
24 Portland Place,
London W1B 1LU.
The five offices are:
■ Northern Region, Scotland
& Wales Exams
■ Southern Region Exams
■ Midlands Region Exams
■ London Exams
■ Ireland Exams
All change for woodwind and brass
The new syllabus for woodwind and brass instruments will be available in August.
The syllabus, for 2006 and 2007, will include revised repertoire lists for oboe,
bassoon and saxophone.
The syllabus will be available from local representatives, retailers and from
the Associated Board’s office in London. You will also be able to view the
revised repertoire list at www.abrsm.org/exams
Belfast piano seminar
A seminar on repertoire
from the new piano
syllabus will take place
in Belfast on 28 May.
Dublin violin seminar
On 29 May we are
holding a seminar in
Dublin on the new
violin syllabus.
For more information
about these events:
t +44 20 7467 8254
e seminars@abrsm.ac.uk
www.abrsm.org/teachers
The Associated Board of
the Royal Schools of Music
(Publishing) Limited
DIPLOMA
DIPLOMA
SUPPORT MATERIALS
DVD
Video
Achieving Success
Preparing for your Diploma in Music Performance
An invaluable guide for anyone preparing for the Associated Board's
Diploma in Music Performance
• 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 repertorie, writing programme notes and preparing for the
Quick Study test and viva voce
• interviews with successful candidates and with a diploma examiner,
offering tips on preparing for the exam
• commentary by the Associated Board's 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
1-86096-540-7
1-86096-596-2
DVD PAL
VHS PAL
DVD NTSC
The Performer’s Guides
with
CD
These stimulating guides offer much-needed support to students
writing programme notes for the Associated Board's diploma exams
and will help them achieve stylish performances of the Baroque,
Classical and Romantic periods. Each book includes a full-length
CD of excerpts from authoritative recordings.
A Performer’s Guide to Music of the Baroque Period
1-86096-192-4
A Performer’s Guide to Music of the Classical Period
1-86096-193-2
A Performer’s Guide to Music of the Romantic Period
1-86096-194-0
Music in
Words
A Guide to Researching
and Writing about Music
This book's straightforward
approach makes it a much-needed
support and reference tool for
students preparing for the
Associated Board's diplomas.
1-86096-236-X
Available from music retailers worldwide
24 Portland Place
London W1B 1LU
United Kingdom
publishing@abrsm.ac.uk
www.abrsmpublishing.com
5
Music Medals in action
Since the start of Music Medals assessments
last autumn over 1,000 Music Service
teachers in the UK have received training to
become registered Teacher-Assessors. One
teacher who has embraced Music Medals
wholeheartedly is Jane Hargrave, who
works for Northamptonshire Music Service.
Since completing her Teacher-Assessor
training Jane has entered over 70 children
for Music Medals, and so has a good insight
into what is involved in setting up and
administering the assessments. Jane kindly
agreed to be interviewed and Christine
Morris, the Associated Board’s Marketing
Manager, travelled to Woodford Halse
Church of England Primary School,
Northamptonshire, to meet her.
I start by asking Jane how she first learned about
Music Medals.
My first formal introduction to Music
Medals was a Teacher-Assessor Training
Day, organised for Northamptonshire
Music Service by the Associated Board. I
was unsure what to expect but I found the
day helpful and motivating, and the pack
of support materials was comprehensive. It
was here that I discovered the Music
Medals publications – and promptly
bought the full set for violin.
So what does Jane think of the Music Medals
Ensemble books?
I think they are excellent. They are well
written by composers who clearly have
an understanding of group teaching.
I encourage my pupils to play from
memory, which allows them to enjoy simply
playing, without needing to follow the
written music. They can then concentrate
on other aspects of their performance
including posture, tone, and interaction
with their fellow players. The fact that the
Ensemble pieces cater for pupils of mixed
ability has also been invaluable.
And what do her pupils think?
My pupils have responded well to the
material in the Ensemble books. The books
incorporate a good range of musical styles
so everyone has been able to find material
that they like. They can also be used by
more mature students without them
feeling that they are playing childish music.
This diverse range of styles also satisfies the
requirements of the National Curriculum
and A Common Approach.
A good investment, then?
Yes, they are good value for money. Once
pupils have done their assessment, there is
still a lot of material to explore. The
Ensemble pieces can also be used as
performance pieces.
So you’ve performed Music Medals material
outside the classroom?
Yes, a group of my pupils performed a
medley of Music Medals tunes at the Music
for Youth National Festival. As some of the
material was from Fiddle Time Joggers,
they all wore tracksuits and jogged onto
EXAMS
Jane Hargrave with some of her
Music Medals pupils at Woodford Halse
Church of England Primary School,
Northamptonshire
the stage with their violins – a memorable
moment for the adjudicators! There was no
problem announcing what they were
going to play as they’d already had practice
doing that for Music Medals.
How have you found the online entry process?
It was a bit daunting to start with as I’m not
really used to the internet. I entered my
pupils on our home computer and, as we
don’t have broadband, it was quite time
consuming, particularly as I was entering
over 40 pupils at once. When it came to
downloading the assessments and report
forms I did experience a few difficulties.
However Adele in the Music Medals office
was very helpful and between us we were
able to resolve them.
On a positive note, it’s good to have the
freedom to choose when the assessments
take place, and also the flexibility of
having eight weeks in which to conduct the
assessment once the materials have been
downloaded.
How did the assessments go?
Co-ordinating the assessments was less
trouble than I expected. I did them all
together in one block and this format
worked well as I was able to focus
completely on the organisation of Music
Medals assessments for those days. I
booked the rooms and organised a video
camera in advance. The candidates were all
very excited in the run-up to doing their
Music Medals – the assessments provided a
real incentive to practise. However, it can
be intimidating for pupils to perform in
front of a camera, so the fact that the
assessments take place in familiar
surroundings, with friends and the teacher
there for support, is a definite bonus.
How have parents responded to Music Medals?
I wrote a letter to my pupils’ parents
introducing the concept of Music Medals.
This was quite time-consuming, so it would
be great if the Associated Board could
produce some information for us to
send to parents.
The interest and support that I’ve
received from my pupils’ parents has been
great. They willingly gave their consent for
continued overleaf
6
making up a tune. That said, I have enjoyed
using the Music Medals framework in my
group lessons, and the syllabus has been a
huge help in lesson planning and
evaluation. I also feel reassured that the
standards and expectations I have of my
pupils are in line with those of the
Associated Board.
EXAMS
their children to be videoed for assessment
purposes and they are pleased at their
childrens’ improved confidence and
motivation. I’ve found that parents are also
delighted to discover that Music Medals
are nationally recognised qualifications,
accredited alongside graded exams in the
National Qualifications Framework. This
really adds value to their child’s
achievement.
How have head teachers responded to
Music Medals?
I informed head teachers and staff that
Music Medals assessments were taking
place and they were very co-operative and
supportive. Mr Bazeley, the head teacher
here at Woodford Halse School, collected
the parental consent forms himself and
used the opportunity to talk to pupils
about their music lessons and Music
Medals. He also awarded the Medals,
certificates and commentaries to them in
front of the school during assembly,
which gave the children a real sense of
accomplishment.
Music Medals
Training Days
If you would like to
book a Music Medals
Training Day for your
Music Service, contact
Vicki Wright:
t +44 20 7467 8832
e vwright@abrsm.ac.uk
Have Music Medals changed the way you teach?
Not really. I make sure that my lessons
relate to targets set in the National
Qualifications Framework and to the
programmes of study outlined in
A Common Approach. Normally lessons
include elements of Music Medals anyway –
a warm-up based on improvisation, then
some ensemble work, followed by solo
playing, and finally some sight-reading or
Finally, do you have any tips for colleagues
who are thinking about using Music Medals?
Preparation is key. You have to gain
parental consent beforehand to video
pupils’ performances. There is also quite a
lot of paperwork involved in the
assessment – around five sheets per pupil –
so it pays to organise your materials
beforehand. I borrowed a video camera
the week before the assessments and gave
all my pupils a practice run. This really
helped to dispel nerves as many of the
children were anxious about talking to the
camera. I’d definitely recommend putting a
sign up on the door so that you don’t have
any interruptions midway through an
assessment! All in all, I’ve really enjoyed
using Music Medals. I think that the
content is just right, and I shall continue to
use them.
Our thanks to Christopher Bazeley, head teacher of
Woodford Halse Church of England Primary School,
and to Jane Hargrave for talking to us so candidly
about her experience of Music Medals.
In response to feedback from Jane and
other Teacher-Assessors, a Music Medals
leaflet for parents is now available. To
request copies contact the Music Medals
office:
t
e
+44 20 7467 8853
musicmedalsoffice@abrsm.ac.uk.
Music Medals conference
Celebrities back
Music Medals
Chart-topping violin duo DUEL
have been joined by recorder
player Piers Adams (from Red
Priest), clarinettist Emma Johnson,
cellist Julian Lloyd Webber and
trumpeter John Wallace in
pledging their support for Music
Medals. A series of Music Medals
events involving these musicians
is currently being planned. Look
out for further information in
forthcoming issues of Libretto.
On Wednesday 2 March we hosted the first ever
Music Medals Trainers Conference at our offices in
Portland Place. We were delighted to welcome
colleagues from some 40 of our UK Music Service
Partners, all of whom have agreed to assume the
role of Music Medals Trainer for their organisation.
Having extended a warm welcome to everyone
attending, Chief Executive Richard Morris outlined
the mission of the Associated Board and illustrated
how Music Medals fit in with the Associated Board’s
activities and plans. He emphasised the high regard
in which Music Medals Trainers are held by the
Associated Board and stressed their unique and
pivotal role in the provision of training, support and
continuing professional development to their Music
Service colleagues.
Director of Examinations Philip Mundey (pictured here) chaired
the day’s events. After outlining the Music Medals Trainers brief and
accompanying guidelines, he went on to detail the wide range of
training materials and resources produced by the Associated Board to
support the work of Music Medals Trainers. As well as seeing the latest
Music Medals exemplars, taken from the first Medals assessments, our
Music Medals Trainers received a series of presentations from other
members of staff, including: Clara Taylor, Chief Examiner; Richard
Crozier, Professional Development Director; Nigel Scaife, Syllabus
Principal; and Lynne Butler, Music Medals Manager.
After lunch, delegates split into groups to discuss a range of issues
related to Music Medals. The atmosphere at the conference was
constructive and enthusiastic, and the discussion groups generated
plenty of ideas for the future development and expansion of
Music Medals.
As more group-taught pupils begin to take Music Medals we will
be holding further conferences as we continue to support and work
closely with new and existing Music Medals Trainers.
• A wealth of newly commissioned
materials for group-teaching
• Original ensemble pieces and
imaginative arrangements
• A wide variety of styles
• Suitable for mixed-ability groups
• Progressively graded volumes
• Practice material for Music Medals options
Ensemble Pieces
copper, bronze, silver,
gold, platinum
Violin
Viola
*
Cello
*
Recorder Available late 2005
Flute
Clarinet
Oboe
*
Bassoon
*
Saxophone Available late 2005
Brass 1 †
††
Brass 2
*
Trombone
*
Options
Practice Books
† trumpet, cornet, flugelhorn, E flat horn, French horn, baritone , euphonium , E flat tuba †† baritone
, euphonium , E flat tuba
* Repertoire for use in the Music Medals assessments may be found at www.musicmedals.org/repertoire
www.abrsmpublishing.com
8
FEATURES Introducing SoundJunction
Nigel Scaife, the Associated
Board’s Syllabus Principal,
introduces SoundJunction, a
new online learning resource
for exploring, discovering
and creating music.
Background
CLARINET ALTO SAX TENOR SAX TRUMPET TROMBONE PIANO
Music software can readily engage young people
with the ‘process’ of music – for example, via
sequencing software, or aural and theory learning
packages; and with the ‘product’, by exposing them
in imaginative ways to music they might not
otherwise have come across.
Although technology plays an increasingly
important role in the Associated Board’s activities,
and has been used to improve many aspects of our
work, we have yet to exploit fully its potential for
music education.
For some years we have been considering music
technology applications, but one of the issues has
been the high cost of software development. So
when Culture Online – part of the UK government’s
Department for Culture, Media and Sport –
commissioned us last year to create an online
experience for music education, we were delighted
to have the chance to turn some of our ideas into
multi-media reality: SoundJunction.
What is SoundJunction?
SoundJunction is an innovative music education
resource, designed primarily for 13 to 18-year olds,
but which will also appeal to a far wider audience.
When launched at the end of this year
SoundJunction will be available free on the internet
and will also be distributed as a CD-Rom to all
secondary schools in England, Wales and Scotland.
SoundJunction focuses on the European classical,
West African and jazz traditions. It also provides a
rounded awareness of musics around the globe,
both past and present, and encourages an
understanding of musical and cultural issues. Users
of SoundJunction can journey deep into musical
worlds and get to grips with the nuts and bolts of
music itself. Users can navigate through a wealth of
engaging content and young people will love the
many different ways of thinking about, listening to
and making music. Users will also be able to track
their journeys through SoundJunction, and teachers
will be able to create personalised routes for use in
a classroom.
Jazz Scales
Jazz Piano
from Scratch
Jazz scales will help
you develop the skills
required in playing
jazz and can be
used as the basis
for improvisation
The essential
how-to guide
Book & CD
JAZZ
The AB Real Book
Four editions:
C treble-clef,
B flat, E flat and
C bass clef
Jazz Aural Tests
& Quick Studies
Learn the skill of
playing unprepared in
a creative and musical
way, and develop aural
and musicianship skills
Each book contains
100 tunes, providing
a wealth of material
for all jazz players
Jazz CDs
Jazz Tunes*
Jazz Piano Pieces**
Each album contains
15 tunes in a wide
range of styles
* CD included
** CDs available separately
Jazz Piano CDs contain
performances of all
pieces in the Jazz Piano
Pieces albums.
For other instruments at
Grades 4 and 5 the CDs
contain performances of
the 15 exam tunes from
The AB Real Book
All CDs contain minus-one
tracks, scales, aural tests
and quick studies
www.abrsmpublishing.com
In support of
The Associated
Board’s exciting
jazz syllabus,
we publish a
comprehensive
set of innovative
jazz titles which
can be used by
everyone wishing to
learn to play jazz.
Available from music
retailers worldwide
9
FEATURES
Ben Sandbrook, Project Manager,
discusses SoundJunction’s
content in detail.
Specially commissioned pieces
Interaction: tools and instruments
Three exciting and compelling pieces have been
commissioned specially for SoundJunction:
■ Emerging Dances David Horne
Written for a 14-piece orchestra and recorded by
Britten Sinfonia, conducted by James MacMillan
■ Moving Away Tunde Jegede
Fuses traditional West African, soul and reggae
elements, and features the celebrated Malian
griot Kasse Mady Diabate
■ Where Will It Take You? Jason Yarde
Combines contemporary jazz and big band music with
urban grooves, played by top UK jazz musicians
SoundJunction will show you filmed performances of these
pieces, and interviews with each and every performer in
which they talk about the pieces, the instruments they play,
and their own musical backgrounds. In addition, remixes have
been commissioned from artists working in commercial and
popular genres. Beyond this, SoundJunction will also explore
works from other musical traditions.
Using the Explorer tool you can open out
the music and listen to groups of players,
or even each individual instrument, to
discover how each part relates to its
neighbours and to the overall texture of
the music. You can then take the
individual sounds and create your own
music. Other tools allow you to
manipulate and control patterns of
notes and rhythms, and learn about the
relationships between them.
Using SoundJunction in teaching:
Learning Trails
What does SoundJunction cover?
Instruments and performers
SoundJunction offers an exciting route into the experiences
of musicians playing a wide variety of instruments from
around the world.
To structure the materials and marry
them to a specific curriculum or syllabus,
teachers can write their own pathways,
or Learning Trails, through SoundJunction
which can then be used as lesson plans.
These Learning Trails can be annotated to
include instructions for students, and they
can also be shared with other teachers.
For UK music teachers we will be
producing a series of Learning Trails
that relate SoundJunction specifically to
National Curriculum topics and QCA
schemes of work. A selection of these
Learning Trails will be published on the
SoundJunction website.
Music’s social context
SoundJunction encourages users to consider the
circumstances in which music arises and what it means to
different people: what is music for, where do we hear it
played, and how does it play a role in society?
Deconstructing music
SoundJunction is packed with easy-to-use interactive tools
that allow users to explore the commissioned music directly,
to dissect, extract and manipulate elements of it, and to
create their own pieces.
Creating and sharing music
SoundJunction provides insights into music through footage
of the recording sessions for the three commissioned pieces,
through interviews with the composers and players, and by
consideration of performance issues such as improvisation.
Receiving music
SoundJunction explores how and where music is experienced,
including issues of taste and preference, how we respond to
music, and how we value it.
Background and history
SoundJunction considers the location and migration of
peoples and their music through history, identifying common
elements across cultures and eras.
Feedback: your views
and Learning Trails
From the end of June
SoundJunction will be available
to Libretto readers to try out.
We are inviting you to take a look
around the site, to give us your
feedback, and to produce your
own Learning Trails (which you
can exchange, via the website,
with other teachers). Your
feedback will be incorporated
into SoundJunction in time for
the autumn launch.
To find out more, visit the
SoundJunction website:
www.soundjunction.org/
libretto
10
FEATURES Finding the right route into teaching
Rick Rogers
Rick Rogers is a writer, journalist, researcher and consultant
specialising in education and the arts. As well as writing the DfES/EFF
Routes into Teaching Music guide, he has recently completed a review
of music provision in Birmingham and Solihull for the Learning and
Skills Council. He compiled the 2002 report Creating a Land with Music
(Higher Education Funding Council for England/Youth Music).
“It must be a passion, not just about music
but also about wanting to teach. You need to
enjoy the challenge of ‘getting through’.”
PGCE secondary music student
When you ask young musicians what took them into
music as a career, the most common response is that
they had an inspiring music teacher. When you ask
them if they themselves want to teach, the answers
are less straightforward. In fact, most musicians do
want to teach, or lead music in some way, for some
of the time. Two things make them hesitate: a lack
of confidence, and not knowing what the
possibilities are.
The first is being addressed by initiatives such
as the Associated Board’s new programme of
workshops that introduce musicians to what it is
like to be an instrumental or vocal teacher. The
Associated Board also acknowledges, through its
newly launched Teaching Music Effectively course,
that teachers need good support from the start to
build their own teaching style, and to gain those key
ingredients of confidence and self-esteem.
The second needs a comprehensive and readily
accessible guide – and that is what a new printed and
web-based publication seeks to provide. Routes into
Teaching Music, a joint venture between the
Department for Education and Science (DfES) and
the Esmée Fairbairn Foundation (EFF), maps all the
different routes to working in music education as a
teacher or leader.
“It’s a great job. Each day is different, and there
are many career opportunities if you are hungry
for it. You need to be a people person. The more
sociable you are, the more students will relate to
you. Students enjoy strong personalities, and
they love to see that you can play an instrument
– so always show them what you can do.”
Head of comprehensive school expressive arts faculty
The guide assumes that each and every type of
musician can get involved in music education. You
might be: a school leaver with a talent for playing or
singing; a freelance or community musician with a
range of skills and experience; a conservatoire or
university student or graduate; an experienced
professional musician in a band or orchestra; a solo
performer or DJ; a musician exploring music
technology’s potential; a seasoned workshop leader,
facilitator, or animateur; a private tutor wanting to
extend your musical involvement; or you might be
unemployed or retired and looking for a new career
path or more fulfilling life.
Routes into Teaching Music therefore covers:
the range of learning settings; different working
patterns and status; routes to jobs and teaching
roles; requirements and opportunities for gaining
qualifications, accreditation and experience; and
musicians’ different ambitions, principles and
preferences about teaching or making music.
“It is exhilarating seeing progress
and seeing pupils get excited
about the sounds, harmonies and
textures that they are contributing
to at all levels. At all stages of my
teaching, my mind goes back to
my own experiences, and I hope
that my pupils experience that
same excitement and fun.”
Senior manager of a Music Service
Of course, some things are essential whatever
you want to do. For example, you must like and
have an aptitude – or potential – for leading,
facilitating, mentoring, tutoring or teaching. You
must be organised and able to get on with people.
But all these things can be acquired.
Schools and Music Services are increasingly
looking for musicians from a wide range of music
styles and career circumstances. There are particular
shortages of musicians involved in music technology,
rock and pop, and world musics. But all styles are in
demand somewhere.
One frequent turn-off is the notion of having to
be a fully qualified teacher – with Qualified Teacher
Status (QTS) – doing formal curriculum-based
teaching in a classroom. Some young musicians see
that as ‘mere crowd control’ and the end of their life
as a performer. But it isn’t, as there are many other
fulfilling music education roles on offer – just check
the guide.
In compiling Routes into Teaching Music, the gaps
in the system become more evident, including: the
lack of music experience in initial training courses for
primary teachers (just 14 providers offer something,
and usually not a lot, to a mere 2% of trainees each
year); the inconsistency between QTS and non-QTS
qualifications inhibiting more musicians from taking
on a music education role; and the lack of an
11
FEATURES
“I was involved in my music department quite heavily when at
school. I decided in the sixth form that I would like to do music
at university, and then maybe teach. I did some mentoring in
secondary schools in my first year at university and that decided
it for me. I like planning things that work in the classroom. It’s a
great experience watching people progress, both in lessons and
with extra-curricular activities, with your help. It also gives you
limitless chances to be creative when developing resources.”
Trainee teacher of secondary music
effective and universal structure of professional
development. In addition, some employers fail to
provide the right environment and conditions that
make musicians feel there is some mutual benefit in
the enterprise of teaching.
So why do it? Well, ask young music teachers. For
Routes into Teaching Music I interviewed musicians
from different backgrounds and genres. Some
always knew they wanted to teach; others came to it
gradually or tangentially. All are committed to
teaching in some way, but each has found an
individual style and approach to doing it, and ways
of coping with the challenges. For music teaching is
challenging, and has to be if it is going to inspire –
both teacher and learner.
t
Routes into Teaching Music will be
available from the end of May.
To request a copy, contact Prolog:
0845 6022260
Alternatively, you will be able to view the
guide online at www.teachernet.gov.uk
“The other day a seven-year-old girl left
my lesson saying: ‘I like music now.’
That’s exhilarating for the teacher!”
Trainee primary teacher
The Associated Board of
the Royal Schools of Music
(Publishing) Limited
Award-winning books
for music teachers!
Winner
The Music Teacher’s
Companion
Music Publisher’s Best New Product
Music Industries Association
The Music Teacher’s Companion
A Practical Guide
Paul Harris & Richard Crozier
The essential handbook for all music teachers
• contains advice on, and pragmatic solutions to,
a variety of teaching problems
• includes forms for lesson plans, pupil profiles,
termly overviews and attendance registers
• considers the quality of teaching and learning, such
as monitoring achievement, motivation and progress
The Music Teacher’s Companion will invigorate,
broaden and stimulate all aspects of music teaching
and will help teachers to give their best to their pupils.
‘
A book that few serious teachers of music would wish
to be without.
TIMES EDUCATIONAL SUPPLEMENT
Paul Harris & Richard Crozier
The A s s oc iated Board of
the R oyal Schools of Mus ic
’
Essential reading for all instrumental teachers.
FLUTEWISE
1-86096-219-X UK* & International Edition
1-86096-220-3 Malaysia Edition*
1-86096-221-1 Singapore Edition*
*contains supplement with local information on legal issues,
education system, useful addresses and telephone numbers
Winner
Innovation in Music Publishing Award
Music Industries Association
All Together!
Foreword by Evelyn Glennie OBE
An excellent resource for instrumental and
singing teachers who teach pupils in groups
• deals with issues central to group teaching, including
teaching mixed-ability classes, group dynamics, lesson
planning, monitoring progress and maintaining
motivation
• examines links between instrumental lessons and the
school curriculum
• includes practical, creative strategies that will help
pupils fulfil their potential
‘
Both stimulating and reassuring, All Together! celebrates
the value of group teaching in today's music curriculum
A wealth of material for both the experienced group
teacher and those just starting out.
MUSIC TEACHER
1-86096-398-6
’
An excellent and indispensable publication.
FLUTEWISE
Available from music retailers worldwide
24 Portland Place
London W1B 1LU
United Kingdom
publishing@abrsm.ac.uk
www.abrsmpublishing.com
13
Course and workshop update
The Associated Board’s Professional Development Department is marking
its 11th year with the launch of two new courses. Both are designed to
complement the Certificate of Teaching (CT ABRSM) course, which has been
completed successfully by over 1,700 teachers since its launch in 1995.
Read on for a flavour of what’s on offer, or for more information about
the full range of Associated Board professional development workshops,
courses and seminars, request a copy of the new Guide to Professional
Development.
t
e
To receive your free copy of the guide
visit www.abrsm.org/teachers or contact
the Professional Development Department:
+44 20 7467 8226
bwalthew@abrsm.ac.uk
■ An Introduction to
Instrumental and
Vocal Teaching:
one-day workshop
The Introduction to Instrumental and Vocal
Teaching is a one-day workshop available
at centres in Bristol, Edinburgh, London
and Leeds.
The workshop provides essential
information and advice for anyone aged
16 or over who is considering a career
involving instrumental or vocal teaching,
and will focus on generic issues associated
with teaching and learning. Topics will
include advice on practical matters such as:
ideas for starting your career, legislation
concerning adults working with children,
planning lessons, measuring progress,
and career opportunities in the UK.
Having attended the workshop
participants will be ideally placed to
consider further professional development
options, including the Associated Board’s
new Teaching Music Effectively course.
Course dates
Bristol
London
Edinburgh
Leeds
12 November 2005
11 March 2006
20 May 2006
15 July 2006
■
■ Teaching Music Effectively:
a short course for instrumental
and vocal teachers
Teaching Music Effectively is a four-day course that takes
place over five to seven weeks. The four days are divided
between two weekends of study, with additional distancelearning and lesson observations in the intervening period.
The course has been designed for teachers who are new to
the music profession; the only entrance requirements are that
applicants must be aged 18 years or over, and have at least
one pupil before, and during, the course.
This course is ideal for anyone who has just started to
teach instrumental or vocal music to children or adults,
including those returning to teaching after a career break or
musicians embarking on a new career. The course offers
structured one-to-one mentoring together with subjectspecific and group learning sessions. Topics covered include:
understanding teaching and learning, improvisation, ICT and
music teaching, assessment, group teaching, lesson planning,
Dalcroze and Kodály. Most importantly, the course is
designed to give participants the tools to be able to reflect
on their own approach to teaching.
Course dates
London
Manchester
Bristol
Edinburgh
15–16 October and 26–27 November 2005
22–23 October and 26–27 November 2005
28–29 January and 18–19 March 2006
11–12 February and 1–2 April 2006
This course is also available to Music Services to augment
their existing teacher training programmes.
Certificate of Teaching (CT ABRSM)
In addition to our new courses, the Certificate of Teaching (CT ABRSM) will continue
to be available as both a one-year, part-time course, involving 12 days of study, or as a
fast-track, residential 10-day course, completed over six months. Ideal for teachers who
have at least one year’s teaching experience and regularly teach five or more pupils, the
CT ABRSM course is a flexible professional development route that helps teachers to
realise their full potential and refreshes their approach to teaching.
The CT ABRSM course focuses on the realities of instrumental and vocal teaching in the 21st
century. Teachers explore all aspects of music education, in theory and in practice, and through this
they are able to develop and enhance their professional knowledge, skills and understanding, and
learn how to reflect on and think critically about their teaching. The course also gives teachers a
wonderful opportunity to make contact with other educators and to share experiences and ideas.
Both versions of the course attract 35 credit points from the Open University in the UK, and
can be used to exempt holders from sections of the DipABRSM (Principles of Instrumental and
Vocal Teaching).
CT ABRSM centres include Bristol, Edinburgh, Exeter, London, Manchester, Oxford, Sheffield,
and Warwickshire, and the closing dates for the next courses are:
CT ABRSM One Year Part Time course:
Monday 19 September 2005
CT ABRSM Fast Track Residential course:
Monday 12 December 2005
PROFESSIONAL
DEVELOPMENT
14
PROFESSIONAL
DEVELOPMENT
Free Tasters
To give you a clearer idea of the full range of professional development options
available, we are running a series of free Taster events. Find out exactly what’s
involved in the Introduction to Instrumental and Vocal Teaching workshop, or
explore whether Teaching Music Effectively or the CT ABRSM course is right for you.
We are holding Tasters around the UK on
the following dates:
7 May Bristol
Manchester
London
14 May Oxford
11 June Edinburgh
Sheffield
25 June Exeter
The Tasters will include presentations
about each course, interactive professional
development sessions, and the opportunity
to talk to Course Leaders, mentors and
students about the various courses on offer.
For those of you
interested in our
CT ABRSM Fast Track
Residential course we
are running a special
Taster morning at the
Woodside Conference
and Training Centre,
Warwickshire, our centre
for the 2006 course.
Here you will meet Course Leaders,
mentors and past students, as well as having
the opportunity to experience the beautiful
setting of our course venue. The morning
will involve presentations, as well as a
chance to work with one of our CT ABRSM
mentors, as you would on the course.
The fast-track Taster will take place at
the Woodside Conference and Training
Centre, Kenilworth, on 25 September.
All Taster participants will be able to apply
for any of the courses at a Taster, and if you
apply for the Teaching Music Effectively or
CT ABRSM courses on the day you’ll receive
a free copy of either The Music Teacher’s
Companion or All Together! – both
fantastic teaching resources from
ABRSM Publishing.
Taster places are limited, so for
further information, or to
download a booking form, visit
www.abrsm.org/teachers or
contact Beth Walthew:
+44 20 7467 8226
bwalthew@abrsm.ac.uk
t
e
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15
Brush up your jazz skills
Jazz for
your students
The months of May and June see eight jazz
workshops taking place around the UK for
teachers of piano, clarinet, saxophone,
trumpet and trombone.
■ Teach to Reach Jazz Grades 1 to 3
If you’re just beginning to experiment with jazz or have no
experience at all of playing or teaching jazz, then this
accessible workshop will provide you with a good foundation
on which to build jazz knowledge and skills. The workshop is
a wonderful opportunity for you to get to grips with simple
improvisation and basic jazz concepts that you can then take
into your teaching with confidence.
Clarinet, Saxophone, Trumpet and Trombone
14 May London
15 May Exeter, Manchester
5 June West Lothian
Piano
4 June
5 June
19 June
Exeter, Manchester
Oxford
Cardiff
The Junior Jazz course at the Royal
Academy of Music in London has been
running on Saturday mornings since 2003.
The course, which focuses on performance
in small bands and ensembles, is designed
for young musicians who are interested in
going on to study jazz at undergraduate
level. Auditions for the Junior Jazz course
starting in September 2005 are being held
at the end of the summer term.
Junior Jazz is also launching an
outreach programme offering workshops
for young musicians around the UK who
are interested in studying jazz. The
outreach programme workshops will be
available to schools, Music Services and
Local Education Authorities from
September this year.
For information about the Junior
Jazz course or the outreach
workshops contact Junior Jazz at
the Royal Academy of Music:
We also offer tailor-made versions of this workshop for Music
Services and school INSET days.
t
e
For further information visit
www.abrsm.org/teachers or contact Vicki Wright:
t
e
020 7873 7338
jazz@ram.ac.uk
+44 20 7467 8832
vwright@abrsm.ac.uk
Apply now for
Hong Kong course
Summer school for
Hong Kong pianists
We were pleased to welcome over 90 teachers to a
CT ABRSM Taster in April. Teachers at the Taster,
held at Hong Kong University’s School of
Professional and Continuing Education (SPACE),
attended presentations about the CT ABRSM course,
and found out what it was like to work with a
mentor – a key element of the course.
Although many teachers applied there and then
for the CT ABRSM course, there are still a few places
left for piano and string teachers. The closing date is
Friday 28 May for the course starting in June 2005.
Places are still available on the International Music
Summer School being held in the UK at The Kings’
School, Ely, between 25 July and 5 August. The
summer school is an excellent opportunity for piano
students from Hong Kong to further their musical
and English language studies in the UK.
The summer school programme includes English
lessons, piano master-classes with Clara Taylor, the
Associated Board’s Chief Examiner, piano lessons at
The King’s School, and trips to London to visit the
Associated Board’s offices and the Royal Academy of
Music, and to attend concerts.
The closing date for applications is 31 May.
For more information about the
CT ABRSM course in Hong Kong
contact our Course Administrators:
t
e
t
e
For more information about this
exciting summer school, visit
www.abrsm.org or contact:
Petina Law
+852 9105 6217
gwi1@netvigator.com
Dorcas Wong
+852 9038 0408
docwhk@netvigator.com
Information is also available at
www.abrsm.org/teachers
t
e
Petina Law
+852 9105 6217
gwi1@netvigator.com
t
e
Dorcas Wong
+852 9038 0408
docwhk@netvigator.com
Alumni Association launch
In April we launched a new CT ABRSM
Alumni Association for Hong Kong
teachers. Open to all CT ABRSM holders,
members enjoy access to specialist alumni
events and a discount on professional
development events in Hong Kong.
Membership is free to all CT ABRSM
holders for one year after they successfully
complete the CT ABRSM course.
PROFESSIONAL
DEVELOPMENT
16
NEWS New website: www.abrsmpublishing.com
ABRSM Publishing’s new website was recently launched at
www.abrsmpublishing.com. The website includes a wealth of
information on nearly 1,000 titles in its catalogue, and also
includes cover images, sample pages and syllabus information. It
allows users to find repertoire by grade and by instrument and if
users have difficulty obtaining ABRSM titles from their local music
shop they can order titles online. The site also lets customers
publish online reviews of ABRSM Publishing books and music.
There are sections for teachers, players, parents, retailers
and press offering articles and publications specific to each
group’s needs. Links to the discussion forums at www.abrsm.org
are included, giving users the opportunity to ask questions of
other users about repertoire and music exams, and a host of
other subjects.
Both the Associated Board and ABRSM Publishing are
committed to assisting those with sensory impairments and
www.abrsmpublishing.com has been designed to be fully
accessible to all. The site complies with the guidelines issued by the
Web Accessibility Initiative and with Disability Discrimination Act
legislation relating to websites.
New Honorary
Local Representatives
Clitheroe
Richard Goodall
t 01200 429942
Congleton
Patricia and Roy Page
t 01260 298654
Croydon (Practical)
Freda Lodge
t 020 8777 8213
Kidderminster (Practical)
Jane Johns
t 01562 700802
Lancaster
Dorothy Dickinson
t 01253 790529
London: Blackheath
(Practical)
Mary Moore
t 020 8852 0234 ext 15
Sheringham and Cromer
Norman Moor
t 01263 511600
Solihull
Anthony Veal
t 0121 241 1180
Swansea
Alexander Lewis
(with Helen Hopkins)
t 01792 561861
ABRSM Publishing’s Marketing Manager, Ben Selby, commented: “Our new
website caters for the needs of all customers. Whether you are browsing the site to
find new repertoire for your instrument, or looking for an ABRSM Publishing title
for your exam, we are confident you will find the site easy to navigate. It is an
excellent way to browse the huge range of exam support publications, repertoire
and books about music produced by ABRSM Publishing.”
Competition
UK strings conference
Win one of five copies of A
Performer’s Guide to Music of the
Romantic Period by answering the
following questions:
Chetham’s School of Music in Manchester is
hosting a two-day strings conference on 24
and 25 June. Discussions at the conference,
which has been organised by Chetham’s
and the Royal College of Music, will focus
on the following areas: National
Frameworks and Strategic Collaborations,
The Student – Pathways and Possibilities,
and Creativity in String Playing and
Teaching.
■ Which well-known British conductor wrote the
introduction to A Performer’s Guide to Music of
the Romantic Period?
■ During the Romantic period, which composer
first used the term ‘idée fixe’?
Send your answers on a postcard, giving your name
and address, to:
ABRSM Publishing
24 Portland Place
London W1B 1LU
United Kingdom
A limited number of places are
available to string teachers. If you
are interested in attending please
contact the organisers directly:
t
e
Alternatively send an email to:
e competition@abrsm.ac.uk
The closing date for entries is 30 October 2005 and
the winners will be announced in the January 2006
issue of Libretto.
Looking back on 2004
Winners
In the last competition we asked for which
Associated Board exams is Music in Words
recommended as a useful resource, and from which
date is the revised Diploma Syllabus valid. The
answers are: diploma exams, and January 2005.
The Annual Review for 2004 is
now available. Providing an
overview of the Associated
Board’s activities during the
course of the year, the Annual
Review is available free of charge
from the Marketing Department:
Congratulations to the winners who each receive a
copy of Music in Words:
Duen-Duen Chiu, Causeway Bay, Hong Kong
Patricia Harini, Jawa Timur, Indonesia
Long Chea Yang, Johor Darul Takzim, Malaysia
Gillian Savage, Birmingham, UK
Peter Teague, Winchcombe, Gloucestershire, UK
+44 161 834 9644
ukstringconference@chethams.com
t
e
+44 20 7467 8253
marketing@abrsm.ac.uk
Alternatively, you can download a copy at
www.abrsm.org
17
Supporting
Music for Youth
Between February and April this
year over 42,000 young people
took part in the latest Music for
Youth Regional Festival Series.
Musical groups from orchestras
to duos, from jazz, folk and rock
bands to samba bands and steel
pan groups, as well as choirs,
chamber groups, and brass
and wind bands took part in
these festivals at venues all
over England and Wales.
With no entry qualifications
or fees, and with categories
available for all styles of music
at all levels of accomplishment
the emphasis is very much on
access, inclusion and
opportunity.
As in previous
years the Associated Board was
delighted to support the
Regional Festivals both
financially and by providing
posters and stickers for use at
the venues and for
participants.
For more information
contact Music for Youth:
t
e
+44 20 8870 9624
mfy@mfy.org.uk
www.mfy.org.uk
Professional
development in Oman
Music teachers from Oman and the Gulf States
enjoyed a three-day professional development
course in March. This event, at the Royal Army of
Oman School of Music, was attended by around 40
teachers and funded by the Associated Board’s
Centenary Travel Grant Fund, which supports
professional development activities for teachers
around the world.
Course leaders David Barnard and Peter Noke
presented illuminating and inspiring sessions on
topics such as motivating students, help with aural
tests, the psyche of the brain, improvisation
techniques and style. The course included interactive
sessions with a focus on physical and musical activity,
giving participants an opportunity to get to know
each other and share experiences – an important
aspect of the course.
Our thanks to Phillip Stallwood, the Associated
Board’s Representative in Oman and Director of
Musical Studies at the Royal Army of Oman School of
Music, for his role in making this event such a great
success. Phillip was thrilled with the enthusiasm shown
by delegates at this first Associated Board professional
development event to take place in Oman. “This has
had a profound effect upon the teachers here in
Oman, as well as the delegates from Dubai and
Bahrain and, in particular, it was wonderful to see so
many Omani nationals attend the three day course.”
Kenya appeal update
In the 2004:3 issue of
Libretto we featured an
appeal from the Kenya
Conservatoire of Music.
The conservatoire was
desperately short of
wind and string
instruments and was
appealing for donations
of old instruments to
fill this gap.
NEWS
High Scorers’ Concerts
15th May
Doncaster
21 June
Northampton, UK
The response to the appeal has been wonderful
and the Kenya Conservatoire of Music would like to
say a big thank you to all those who responded with
such generosity by donating instruments. However,
particular thanks must also go to Valerie Kent, who
rented a truck and drove around the UK collecting
and packing up every single donation – over 100
instruments in total. The conservatoire would also
like to thank Pickfords for donating packaging
material, the Philharmonia and Royal Philharmonic
orchestras for flight containers, and Tim Kent and
Lum Hui Zhen for co-ordinating the scheme from
the UK and Singapore respectively.
With the instruments safely delivered to the
conservatoire, staff began to carefully catalogue
the donations. A photograph was taken of each
instrument and details of make, model and
condition were recorded. The instruments are now
kept securely at the conservatoire, where students
come to play them, and a system of deposits and
rental costs has been established. This system
ensures that as many students as possible have
access to the instruments and that practice time is
valuable and focused. The rental fees also generate
some additional, and much needed, income which
will help to maintain the instruments and possibly
subsidise lessons for the most needy students.
The very positive results of the appeal are clear
to see. Young people are trying out instruments
they have never touched or even seen before.
Some are already playing in the orchestra, which is
currently working on a simplified setting of Karl
Jenkins’ Adiemus and a selection of traditional
Kenyan tunes, arranged by Atigala Luvai, Director
of the conservatoire. Thanks to the generosity of
donors, the atmosphere at the conservatoire is
buzzing and full of optimism. There is still a growing
need for instruments, and the conservatoire would
welcome further donations.
If you can help, or would like
further information, please contact
Mr Atigala Luvai at the conservatoire:
e
conserv@gatewayonline.co.ke
18
NEWS South Africa – a journey
‘A country of contrasts’, is how Tim Arnold, the Associated Board’s Head of
International Operations, described South Africa, following his recent visit
there with Ben Selby, Marketing Manager for ABRSM Publishing.
High Scorers in
Durban
Ayleen Radley,
Jenny Swift
(recently retired as
HLR after 17 years)
and Tim Arnold
New International
Representative
Bulgaria
Steve Todorov
t 02 27 5000
e solita@
mail.techno-link.com
The visit began with a successful conference in
Johannesburg attended by our four South Africa
Regional Co-ordinators and our Representative from
Namibia: Jill Eichler (Western Cape); Meg Twyford
(Gauteng and surrounding regions, Botswana and
Swaziland); Ayleen Radley (Eastern Cape); Ilse van
der Walt (KwaZulu-Natal and Free State); Dina
Potgieter (Namibia). It is an exciting time for the
Associated Board in South Africa with the ongoing
development of music education reflected in an
increasing and vital role for our exams, and the
conference gave all involved the opportunity to
discuss this and future plans in detail.
The growing sense of partnership between the
Associated Board and local musicians and teachers
was later in evidence at a High Scorers’ Concert in
Johannesburg, where BuskAid players performed
alongside successful exam candidates. “This amazing
group from Soweto really enthralled me with their
ensemble, depth of musicianship and sheer
exuberance in performance”, said Tim.
Teachers’ seminars were held in Bloemfontein,
Cape Town, Durban, East London, Johannesburg
and Port Elizabeth, and each was met with an
overwhelmingly positive response. With young players
performing in High Scorers’ Concerts in each centre,
Tim was delighted to meet pupils and parents in
addition to presenting professional development
sessions for teachers.
During the trip Tim met representatives from the
South African Qualifications Authority and the Joint
Matriculation Board. With them he discussed further
recognition of Associated Board exams as equivalent
to South African matriculation exams. This important
development will open more pathways for young
musicians to develop their future careers, and will
strengthen collaboration between the Associated
Board and South African educators.
On returning to the UK Tim Arnold commented:
“South Africa is a country of such contrasts and
vibrancy. It was a privilege to work alongside
musicians and teachers throughout the country and I
look forward to visiting again in the future.”
Classic FM Music Teacher of the Year
UK readers of Libretto will have opened this issue to
find a flyer enclosed for Classic FM’s Music Teacher
of the Year competition. Now in its sixth year, the
competition attracts thousands of nominations
across the country and is open to music teachers
from all schools in the UK teaching Key Stages 1, 2,
3, 4 and above.
Prizes include Yamaha musical instruments and
PCs running Sibelius software for winning teachers
and their schools. Additionally, 350 nominated
teachers drawn at random will be sent a copy of
Six of the Best, a professional development video
especially designed for school music teachers and
produced in association with Classic FM and the
Federation of Music Services.
For more information visit
www.classicfm.com/musicteacher
Music of Life
The Music of Life Foundation is a charity that provides
tutoring and performing opportunities for physically disabled
young musicians in the UK and Russia. Support for its work is
broad and at the highest level – from UNESCO to an array of
world-famous artists.
Music of Life helps musically gifted children and young
people with disabilities and special educational needs to
develop musically, by offering tutoring and performance
opportunities with orchestras, choirs and international
performers, including Cecilia Bartoli and Valery Gergiev. The
foundation is currently looking to audition candidates in the
UK for its next Gala Concerts, which will be held in December
2005, and at which Evelyn Glennie will appear as soloist.
For further information
contact Music of Life:
t
e
+44 20 7935 2181
mofl@mofl.co.uk
www.mofl.co.uk
FMS conference
Once again the Associated Board will have
a presence at the Federation of Music
Services (FMS) conference. Taking place
from 20 to 21 May in Warwickshire, this
annual event will be attended by over
200 representatives from UK Music
Services. In addition to giving a
presentation on our new project,
SoundJunction (described on page 8),
and hosting a reception for delegates,
Associated Board staff will be at the
conference to listen to the views and
comments of Music Services so that we can
continue to develop products and services
that respond to their needs.
For more information about FMS
visit www.federationmusic.org.uk
19
International diary
NEWS
Tim Arnold, Head of International
Operations, spent much of
March away from Portland Place
visiting New Zealand, Singapore,
Malaysia, Thailand and Indonesia.
Conference in New Zealand
The tour began in Auckland with a conference for
our Honorary Local Representatives (HLRs) for New
Zealand. HLRs were welcomed for a weekend of
discussions, music-making and socialising, which
brought them up-to-date with the Associated
Board’s international work. Special mention was
given to HLR Joan Tyler who, together with her
husband Gavin, has given many years of service to
the Associated Board. Organised by our new
Examinations Administrator in New Zealand,
Heather Gummer, the weekend finished with a visit
to the Associated Board’s new Auckland offices,
complete with a demonstration of the processing
systems that are helping to make our exam
administration more efficient.
Jazz courses
One of the main purposes of the trip was to introduce
Dr David Young, the Associated Board’s new South
East Asia Regional Consultant, to key contacts in the
region. This part of the trip began with Tim and
David joining Pete Churchill as he delivered
professional development jazz courses to teachers in
Singapore, Penang and Kuala Lumpur. Teachers
spent two days focusing on rhythm, harmony and
melody, and listening to great jazz performances.
Diploma celebrations
The next highlight of the trip was the Diploma Awards
Ceremony in Singapore. Successful candidates
from Malaysia, Singapore, Indonesia and Thailand
were congratulated at a ceremony hosted by David
Young. This was a splendid occasion for which many
thanks must go to Su-San Hay, who helped to
organise the event with her team at Singapore
Symphonia.
Listening and learning in Bangkok
In Penang and Kuala Lumpur David and Tim held
talks with Associated Board Representatives before
visiting Bangkok for a High Scorers’ Concert,
arranged by our Representative Chorlada Bunnag.
Many of the young players demonstrated a
wonderfully high standard of playing. David and
Tim also met teachers at a seminar which included
demonstrations of piano syllabus repertoire and
discussions about teaching.
Meeting the teachers in Jakarta
The final stop was Indonesia where Tim and David
spent a day with teachers in Jakarta, helping them
to discover more about using music exams as part
of a teaching curriculum. The pair also spent time
working with our Representatives Denis and
Ineke Umar.
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21
The terrible teens
FORUM
Your chance to share experiences and ideas with other readers
In each issue of Libretto Clara Taylor, Chief Examiner, introduces a
subject for discussion and invites your responses for publication 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
Pupils take the lead
Varied strategies
Listening and talking
I allow my teenage pupils to steer
their lessons to quite an extent.
Two weeks ago a fourteen year
old brought in Queen’s Bohemian
Rhapsody. He played through the
piece, which was technically quite
demanding for him. Last week we
picked out tricky corners and,
after one more play-through, I’ll
probably suggest he carries on
enjoying it at home. Maintaining
your own territory is a priority at
that age and too much teacher
intervention can ruin own choice
pieces for adolescents. Other
teenagers have brought in some
fairly extraordinary stuff that
they’ve printed off the web. I try
to make constructive suggestions
regarding fingering, articulation
and phrasing.
I find teenagers receptive to
the challenges of contemporary
music. Fingerprints, edited by
Anthony Williams (Faber), and
the Spectrum volumes (Associated
Board) are goldmines for
exploring new styles and
techniques, and when an adult at
home calls out, “What’s all that
thumping?” the pupil can reply
haughtily, “I’ve got to practise my
chord clusters!”. I also use the
jazz aural tests and scales, which
are very popular with some
pupils.
If a pupil doesn’t seem to be
practising and is not showing
much interest in lessons – not
hard to spot in a teenager – I talk
to them about learning the piano
and how they feel about it. I
never put pressure on them to
continue lessons if they obviously
don’t want to, but tell them to
call when or if they decide to take
it up again – it’s important to
keep the door open.
I have several adult pupils
who have taken up the piano
again with great enthusiasm –
much better that than be put off
the piano for life.
The joy of teaching involves
developing varied strategies
according to the changing needs
of pupils. Adolescence brings
particular challenges – my
favourite being the appearance
of long and lovingly manicured
fingernails after a holiday.
Here are some of the things
that I have learnt so far.
■ Without being intrusive, be
genuinely interested in the
pupil’s interests outside
lessons.
■ Put your own prejudices to
one side. Let pupils teach and
inform you and listen to music
that they like. I have found
new likes of my own this way.
■ Be aware of possible tensions
between parents and pupils
but remain completely
impartial.
■ Involve them not only in their
own lesson planning but in
workshops with younger
pupils.
■ Teach them how to busk with
chords as this might enable
them to play with a school
band.
■ Use varied repertoire. I
arrange pop hits and film
music for my pupils and use an
electronic keyboard or CDs to
accompany them. I also find
many of my teenagers enjoy
playing the music of Einaudi.
■ Be understanding of school
pressures.
■ Leave exams for a while.
■ Alternatively try a different
exam syllabus or (dare I
suggest!) a different exam
board. There is always the
Trinity Rock and Pop syllabus
to explore, as well as the
Associated Board’s Jazz
Piano syllabus.
Teenagers are, at one and the
same time, the most rewarding,
the most frustrating, the most
delightful and the most
exasperating of students.
What most teenagers want is
time spent listening and talking
to them. It’s difficult to
remember, once in the adult
world and coping with all sorts of
problems on a day-to-day basis,
that to a teenager all problems or
setbacks, however small, can
seem insurmountable. They often
feel under attack from all sides
and are in turn aggressive and
assertive or painfully shy and
uncommunicative. Does it really
matter if not every minute of the
lesson is spent playing? I have
found that time spent just talking
to a student, or listening to their
concerns, is time well spent.
It is important to realise the
necessity of tailoring demands to
those of schoolwork; if you are
aware that the student has
important exams coming up, it
makes sense to lessen your own
demands a little. At least the
student will not feel under
pressure from all sides or unable
to cope.
Perhaps we should accept that
what we consider to be essential
and important may have to take
second place at times.
Susan Clark
London, UK
Jennifer Hutchinson
Scarborough, UK
Finally, if it really is right for the
pupil to leave, don’t be afraid to
let go. A final performance in an
informal concert, a parting gift, a
certificate or a card can go a long
way towards giving the pupil a
sense of completion rather
than failure.
Kath Todd
Shirley, Solihull, UK
Turn the page for more
on this topic and for the
next Forum topic.
22
FORUM
From an ex-teenager
As an ex-teenager I feel I have to
respond strongly to the title of
this topic. We teens and ex-teens
are not terrible, it’s just that
sometimes we feel we want a
break from the same old things
that we’ve been doing for a long
time. It’s not that we don’t
appreciate all that our teachers do
for us, and it really is nothing
personal, but when you’re at
school and teachers are nagging
you to do your coursework, and
you’re at home and your parents
are nagging you to be responsible
and behave in an adult manner,
sometimes you want to do
something completely different
that’s nothing to do with exams
and you may even feel a bit
rebellious. That’s why we like our
music lessons.
Jazz can be great fun,
particularly for those who won’t
stop twiddling at the keyboard,
even when being spoken to. Lots
and lots of new pieces, few or
none of which need to be taken
too seriously, can be a great
inspiration, particularly if they’re
not too difficult. A book of fairly
simple pieces can work as a real
antidote to school work and, as
well as boosting sight-reading,
can give a lot of confidence. Just
bear in mind that, being teens,
we’re not always predictable and
for some of us a ‘really difficult’
piece can be welcomed as a
challenge.
There are some very
passionate compositions through
which we can vent our emotions
and lots of music publishers have
released books of ‘trendy’ music
with titles like ‘Love on a Sunday’
and ‘Homework rock’. For those
of us who can play at around
Grade 5 and above, there are
some super rebellious pieces like
Satie’s Gnossiennes and Arvo
Pärt’s Für Alina which don’t have
any bar-lines or time-signatures,
and are a real dream to play. We
can really express ourselves
through those.
Some of us get a real buzz
from ensemble playing – from
piano duets (particularly with a
best friend or an attractive
member of the opposite sex) and
accompanying our friends who
sing or play other instruments
(this turns the piano into a
sociable instrument instead of a
lonely one), to playing the
keyboard line in a band, or even a
piano concerto. There are some
wonderful books in the shops that
give not only the piano
accompaniment but a CD as well
to play along to. It’s amazing how
many of us teens and ex-teens will
cheerfully play the same few bars
of music over and over again,
improving our technique in the
manner of a Hanon exercise,
when the few bars in question are
actually the backing track to
Coldplay, or a similar band. What’s
more, giving us a CD to play along
to helps our listening skills,
improves our sense of rhythm,
and makes us keep moving,
instead of slowing down over the
difficult bits.
Please don’t be too hard on us,
we’re not really terrible; we just
have a lot on our plates and
sometimes Grade 8 might need to
take a back seat.
Sue Hesse
Maidstone, UK
Next topic: the real thing
Clara Taylor
write now
■ ■ ■
Examiners feel a mixture of shock and joy when a
really gifted candidate begins to perform. There is a
reluctance to start writing as it’s such a pleasure just
to listen. As you can imagine, these are rare events
indeed. In every exam session there are a number of
well-taught Distinctions, especially in low grades,
but only the exceptional few who have an instinctive
flair and who use music as their language may
achieve marks over 140. Yes, it is possible to get full
marks for a piece, but I remember only about four
such occasions in the last 10 years of my own
examining. You might expect these natural
musicians to gain high marks in all elements of the
exam, but sometimes sight-reading may be less
successful as it’s hard to come back to earth after the
pieces and to find the more cerebral approach for
this test.
It’s always a delight for examiners when special
candidates appear and teachers will be aware of the
privilege of helping someone who may eventually
enter the profession, but there are also heavy
responsibilities. Equipping a gifted pupil with the
technical tools of the trade is vital, as their musical
intentions can only be communicated if the
technique enables the virtuoso to ‘let fly’. You would
expect these lucky youngsters to have lots of
confidence in their abilities, but an awareness of
their destiny, the importance of it all and the
possibility of making a mess of a great composer’s
masterpiece may be daunting and cause a very selfcritical, nervous attitude. Teachers need empathy,
patience and the ability to find the right kind of
write now
■ ■ ■
write now
■ ■ ■
write now
■ ■ ■
encouragement when spirits are low, as well as
celebrating success.
Parents can unwittingly cause tension if their
expectations are too obvious. Sometimes it falls to
the teacher to make the point that every life needs
balance and too much pressure to excel can be a
cause of tremendous anxiety, which in extreme cases
can result in the gifted pupil giving up. What a
tragedy!
Let’s presume that all goes well and that the
pupil romps happily through the early grades. Will
you, the teacher, be completely confident to take
them through to Grade 8, possibly a diploma, then
entrance to a conservatoire? Sometimes it’s an
agonising decision, but the right one, to suggest
that the talented teenager goes to a different
teacher, perhaps one who either works in a
conservatoire or regularly prepares students for
entry at this level. To know when to let go is so
important, but if you can warmly wave them on
their way, they will always remember their early
days with you, which gave them the basis for the
rest of their musical lives.
Many famous musicians have gone through the
grades – perhaps you have taught one of them? If
so, it would be fascinating to hear from you and we
might make a list of these stars for our internal
records, although we would not make it public
without permission. Do write in with any experiences
of very gifted pupils and your letter will be considered
for inclusion in the next edition of Libretto. It will, in
any case, receive an individual reply.
write now
■ ■ ■
write now
■ ■ ■
write now
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