Libretto - pt.abrsm.org fileCOVER STORY 8 A violin treat ABRSM’s Syllabus Manager, Robert Sargant, and a selection of violinists explore the new Violin syllabus FEATURES 7 Keeping

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Inspiring successNew ideas in music teaching

A two-day conference for instrumental and singing teachers

Create your own individual conference programme and discover practical and inspiring ways to refresh your teaching.

26–27 November 2011Hilton Birmingham Metropole National Exhibition Centre Birmingham United Kingdom

To find out more and book your place visit www.abrsm.org/conferences or call +44 (0)8456 522511.

Birmingham26–27 November

Seminars include:

• The new ABRSM Violin syllabus

• Essential piano technique

• Lesson planning

• Teaching pupils with specific learning difficulties

• From the examiner’s chair

Presenters include:

• Madeleine Casson Performer, educator and consultant

• Paul Harris Educator and author

• John Holmes ABRSM Chief Examiner

• Jessica O’Leary Violinist and educator

• Anthony Williams Pianist, educator and ABRSM examiner

COVER STORY

8 A violin treatABRSM’s Syllabus Manager,Robert Sargant, and aselection of violinists explorethe new Violin syllabus

FEATURES

7 Keeping it personalRichard Crozier, ABRSM’sProfessional DevelopmentDirector, explains why personalised learning is essential to successful teaching

11 A global network A look at the varied and valuablework of our InternationalRepresentatives

12 Refreshing the repertoireEdward Huws Jones outlinessome of the key features ofour new Violin Star books for beginner violinists

14 Examiner training – the full story Find out how we select and train the musicians and teachers who make our exams a reality

16 Eastern promise How ABRSM is working with teachers and students in Malaysia

19 Inspiring success in Hong Kong Discoverwhat’s on offer at ourteachers’ conference

REGULARS

4 News ABRSMdevelopments worldwide

21 Diary dates A run-down of forthcoming events

22 Inbox Readers’feedback and views

Those of you who have attended an ABRSMprofessional development event may be familiarwith the concept of reflection and its considerable

value as a teaching tool. You may use reflection on aregular basis, looking back at individual lessons to findout what worked, what didn’t and to decide what youcan improve on for the next lesson.

As an international organisation providing musicassessments, resources and services to teachers andstudents around the world, reflection is key for ABRSMtoo. We are constantly looking at our work to discoverhow we can do things better. Often we are helped in thisby you, the teachers, who tell us what you, and studentsand parents, want from us.

Recent feedback and our own internal planning andreview processes have given us a clear indication of theareas we should be focussing on now and in the future.So, alongside the ongoing provision of assessments,music education resources and professionaldevelopment courses, we will be bringing teachersupport to the top of our agenda - placing it at thecentre of everything we do. Over the coming months youwill find that ABRSM is devoting more time and energyto providing you with the help you need to carry out yourinvaluable work as instrumental and vocal teachers.

In this issue of Libretto we announce plans that willresult in the expansion of our professional developmentprovision (page 6) and preview our forthcomingteachers’ conference in Hong Kong (page 19). On page 7,Richard Crozier, ABRSM’s Professional DevelopmentDirector, gives advice on how to bring personalisedlearning into your lessons, whilst violin teachers canread about our new Violin syllabus (page 8) and ViolinStar books for beginners (page 12).

Above all, we want our teacher support activities tomatch your needs. So please get in touch to tell us howyou, as teachers, would like ABRSM to support you inyour work. You can send your thoughts on this to theLibretto editor at [email protected] or at theaddress given below.

Guy PerriconeChief Executive

Outlook

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Editor-in-Chief Tony Pinkham Editor Lucy North

Insert & advertising salesMichaela Duckett T +44 (0)121 429 4362 E [email protected]

ABRSM24 Portland Place London W1B 1LU United Kingdom

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© The Associated Board of the Royal Schools of Music. All rights reserved. Unauthorisedreproduction in whole or in part is prohibitedwithout permission. The views expressed inLibretto are not necessarily those of ABRSM;neither are the products or services appearing inadvertisements and inserts endorsed by ABRSM.

Libretto

COVER PHOTO: COURTESY THE ROYAL COLLEGE OF MUSIC

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In July wepublished

a new Bowed Stringssyllabus, validfrom 2012,together with a range ofsupportmaterials. Thesyllabus, whichincludes newlyselected Violin

pieces at all grades, is the subject of ourlatest podcast featuring violinist, teacher andABRSM examiner and conference presenterJessica O’Leary, and ABRSM’s SyllabusDirector, Nigel Scaife. BBC Radio 3’s SarahWalker presents the podcast, which includesmusical extracts from our Violin syllabus and an exploration of the new bowed stringscale and sight-reading requirements. Thepodcast, together with full details of theBowed Strings syllabus changes, is availableat www.abrsm.org/newstrings. To read moreabout the new Violin syllabus repertoire, turn to page 8.

News4

Music Medals, ABRSM’s innovativeassessments for beginners, are now

available to all teachers throughout the UK.Until now, they have only been available toteachers in schools or music services which

had chosen to become a Music MedalsPartner, but from September any teacher canregister to become a Music Medals Teacher-Assessor, complete the online training andenter pupils for the assessments.

Available for a wide range of instruments,Music Medals provide goals and rewardsacross five levels and are supported by a unique range of affordable music. Theyrecognise the importance of the teacher in both the learning and the assessmentprocesses. There are no externalexaminers involved and the initialassessment is made by the teacher in therole of Teacher-Assessor. The outcomesare then moderated by ABRSM.

Entry and initial administration forMusic Medals is undertaken online. As aTeacher-Assessor you will film each Medaland assess each candidate’s performancebefore sending the video-recordings andpaperwork to us. We will then send you themoderated results together with medals,certificates and commentaries.

Music Medals are the ideal choice for teachers looking for pre-Grade 1assessments and resources that areflexible and fun, motivating and inspiring.

For more information and to find out how you can register and train as a Music Medals Teacher-Assessor, visit www.abrsm.org/musicmedals.

P reparations are in full swing for the first ABRSM conference for

instrumental and singing teachers inHong Kong. This event forms part ofour celebrations to mark 60 years of

ABRSM exams in Hong Kong, and will provide a wonderful opportunity to explore new ideas in music teachingwhilst networking with fellow teachers.The Hong Kong anniversary conferencewill take place on 4 and 5 November atthe InterContinental Grand StanfordHotel. To read more about this uniqueevent, which will also feature specialstudent masterclasses from professorsat Beijing’s Central Conservatory ofMusic, turn to our feature on page 19.You can also find further information at www.abrsm.org/hk60.

Widening access to Music Medals

New podcast available

Hong Kong conference approaches

As the academic year begins, 24 newABRSM scholars are preparing for

their studies at four Royal Schools ofMusic in the UK. Each year we awardgenerous scholarships at junior,undergraduate and postgraduate levels,which fund the studies of outstandingstudents from around the world. Thisyear’s scholars come from Australia,

Japan, Russia, Ukraine, the UK, and theUSA and will be studying piano, harp,violin, viola, cello, flute, oboe, bassoon,saxophone, French horn, trumpet,trombone, singing and composition.

These awards provide financialsupport for gifted young musicians at allstages of their development, from schoolchildren to those about to begin theirprofessional careers. We are delightedto be supporting this year’s newscholars and wish them the very bestwith their continuing musical studies.

ABRSM scholarslook to year ahead

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W ith the publication of a new Violinsyllabus, we have added to the pieces

available on ABRSM PureSolo. This unique toolallows you to practise and record yourself withfull accompaniment, and share yourrecordings. A selection of pieces is nowavailable from our new Violin syllabus atGrades 1 to 5 and the current ABRSM Flute

and Clarinet syllabuses at Grades 1 to 8.Pieces, of Grade 1 to 5 standard, are alsoavailable for cello, saxophone, trumpet andvoice, but not all are on ABRSM syllabuses.

ABRSM PureSolo is just one of a numberof ABRSM applications that support teachersand students in their music making. To findout more visit www.abrsm.org/appcentre.

5News

IN BRIEF

� Enrol now for online courseOur next Being an Effective Teachercourse begins on 1 November. Thisshort online course is designed tohelp you become a more successfuland confident teacher. Using onlineforums and email, the course willintroduce you to a wealth of ideasand resources under the guidanceof a personal mentor. By the end ofthe course you will have gainednew skills and developed an abilityto reflect on your own teaching andassess its effectiveness. To find outmore and to enrol on the course,visit www.abrsm.org/ecourse.

� FMS course gains OU recognitionThe Federation of Music Service’sleadership training course, Risingwith the Tide, has been grantedaccreditation by the Open University(OU). The 10-day programme,which was devised by Andy Hind of ES4S and Richard Crozier,ABRSM’s Professional DevelopmentDirector, has been running, withvaluable support from ABRSM,since 2010. By January 2012, over100 current and aspiring heads ofEnglish and Welsh music serviceswill have completed the course. The OU has assessed successfulcompletion of the course asequivalent to 15 credits at Level 2within the Qualifications and Credit Framework. For furtherinformation about Rising with theTide, visit www.thefms.org. To findout about future courses contactSarah Adamson at the FMS on +44 (0)1943 463311 or by email [email protected].

� Violin Star workshopsTeachers in Malaysia will be able to explore Violin Star, our newbooks for beginner violinists, at aseries of workshops in September.This is a chance to discover howthese exciting books can help you to introduce key skills andtechniques in an imaginative andenjoyable way. We are holdingthese events between 19 and 26September in Johor Bahru, KualaLumpur, Kuching and Penang. For more information please visit www.abrsm.org/events.

Violin pieces added to ABRSM PureSolo

As of 1 September, the Royal ScottishAcademy of Music and Drama (RSAMD)

will be known as the Royal Conservatoire of Scotland (RCS). This change reflects theconservatoire’s evolution into a provider oflearning to the highest professional level in a broad range of artistic disciplines.

‘The name RSAMD no longer reflects whatwe do,‘ Conservatoire Principal John Wallaceexplained. ‘We have a highly regarded andinternationally renowned school of music, a world famous school of drama that boasts a BAFTA-winning screen department andproduction and technical department, plus

a ballet programme run in association withScottish Ballet.’ The new name is designed to encompass and express this breadth ofprovision and, as John Wallace adds, will be a ‘byword for excellence.’

For more information about the RoyalConservatoire of Scotland visit www.rcs.ac.uk.

RSAMD announcesname change

Two young teachers from Hong Kong are aboutto begin three-month placements at the UK’s

Royal Northern College of Music (RNCM), madepossible by ABRSM. The placements, beginning in September, are being financed by theABRSM Centenary Travel Grant Fund as part ofour anniversary celebrations marking 60 yearsof ABRSM exams in Hong Kong.

Piano teacher Wat Chun Pong and brassteacher Chan Pui Ling were selected followingan extensive application and interview process.They will benefit from personalised, mentor-ledstudy programmes at the RNCM, designed toenrich their teaching skills. ‘We were veryimpressed with the high standard of

applications for the two travel grants,’ RichardCrozier, ABRSM’s Professional DevelopmentDirector, told Libretto. ‘Wat Chun Pong andChan Pui Ling have earned this fantasticopportunity, and we are certain they will returnto Hong Kong with new ideas, enthusiasm andconfidence in their work as teachers.’

Chun Pong and Pui Ling are looking fordifferent things from their study period,however. Chun Pong will be using theopportunity to work on his skills when teachingadvanced students, and to gain new ideas in the areas of improvisation and aural skills. He is also keen to work on his pedagogyresearch skills. Pui Ling, who teaches a wide range of brass students in groups, is particularly interested in lesson planning,motivation, ensemble coaching and how toadapt her teaching to the varying needs ofpupils, including those with specific educationalneeds. Both will be writing blogs about theirRNCM experiences and are hoping that this will inspire other teachers in Hong Kong, andaround the world, to continue their own trainingand studies. You can follow their progress, from September, on our website.

Hong Kong teachers begin RNCM studies

Chan Pui Ling and Wat Chun Pong withRichard Crozier (left) and Bill Thomson (right)

Chan Pui Ling and Wat Chun Pong withRichard Crozier (left) and Bill Thomson (right)

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News6

IN BRIEF

� CT ABRSM Plus closingdates fast approachingClosing dates for the next CT ABRSMPlus courses in Singapore and the UKare now approaching: 19 Septemberfor the UK part-time course beginningin October; 5 December for the UKfast-track course beginning inFebruary 2012; and 31 January for the Singapore part-time coursebeginning in March 2012. To enrol onone of these acclaimed courses, visitwww.abrsm.org/teachers or contact usat [email protected].

� New representatives now in post We welcome the following newHonorary Local Representatives in the UK: Frimley (Patricia Kawar);Harrogate (Judith Yeats); NottinghamCentral (Clemencie Gatenby); Oldham(Martha Hulme); Sheffield (DavidChilds); Shrewsbury (John Fairbank);and Wimbledon (Sue Thackeray).

� ABRSM conferences to inspire successThis year’s UK conferences, with a theme of Inspiring success – newideas in music teaching, are nowunderway. Some 200 teachers havealready attended our Manchesterconference with more than 300 due toattend in London. We still have placesat our conference in Birmingham (26-27 November), so it’s not too late tobenefit from this opportunity tonetwork with fellow teachers andexplore new repertoire, resourcesand teaching strategies. For fulldetails and booking information visit www.abrsm.org/conferences.

� Learn to teach Jazz PianoPiano teachers can learn all aboutteaching ABRSM’s Jazz Pianosyllabus at a short course inLondon. Led by author and ABRSMexaminer Tim Richards, the courseis open to all piano teachers and nojazz experience is necessary. Thecourse takes place on four Sundaysin November at The City Lit inCovent Garden. At the end of thecourse you will receive a vouchergiving you or a pupil a free ABRSMjazz exam at any grade. For moreinformation contact Tim on +44 (0)20 7732 4088 or visitwww.timrichards.ndo.co.uk. To enrol,contact The City Lit, quoting coursenumber ME841, www.citylit.ac.uk.

During the coming monthswe will be consolidating

and expanding our professionaldevelopment provision - a movethat will help us to providefurther support for teachers.We currently offer a wide rangeof opportunities for teachers

around the world, from our CT ABRSM Plus course tovariety of one-day workshops,and our innovative onlinecourse, Being an EffectiveTeacher, which is availableworldwide. Joining theseactivities, under one

professional developmentbanner, will be conferences,syllabus seminars,professional developmentprogrammes in Singapore,Malaysia and Hong Kong, and Centenary Travel Grantcourses and placements.

Immediate plans includethe recruitment of additionalcourse leaders and presentersand the launch of new coursesin Hong Kong and Singapore onLRSM diploma preparation.‘We are about to expandsignificantly the services weprovide for teachersworldwide,‘ explained RichardCrozier, ABRSM’s ProfessionalDevelopment Director. ‘Weknow that teachers want oursupport and encouragement.Our professional developmentplans will allow us to providethat support.’ Look out forfurther updates in Libretto andat www.abrsm.org/teachers.

F rom the end of 2011, teachers in the UK will notice a small change to ABRSM

certificates. The current National QualificationsFramework (NQF) titles will be replaced withQualifications and Credit Framework (QCF)titles, reflecting new systems put in place bythe Office of Qualifications and ExaminationRegulations (Ofqual).

Since 2008, Ofqual has been reforming the system for accrediting qualifications inEngland, Wales and Northern Ireland. As aresult, ABRSM qualifications now sit within the newly created QCF rather than the NQF.

The QCF classifies qualifications by both level and size, with the latter giving anindication of the amount of study involved in achieving a particular qualification. Thisclassification by level and size grants creditsto many ABRSM qualifications, ranging fromMusic Medals through graded exams todiplomas. For further details please visitwww.abrsm.org/accreditation.

The QCF titles and credits will appear on certificates for all candidates in the UK from the end of 2011 onwards. For more information about Ofqual and the QCF visit www.ofqual.gov.uk/qualification-and-assessment-framework.

UK certificate changes

It is with sadness that we report the death of JeanHarvey in May of this year. Jean was ABRSM’s

Chief Examiner from 1983 to 1997 but this rolerepresented just one aspect of a life and careerdedicated to music and music education.

Jean grew up in Scotland where she soonexcelled in both piano and violin studies, playing aviolin concerto with the Scottish National Orchestraat the age of seven. Lessons in London and at theMatthay School in Surrey followed together with ascholarship to study both instruments at the RoyalAcademy of Music (RAM). Early highlights of hercareer include performances of the Brahms Second

Piano Concerto and Walton Violin Concerto in oneRAM concert, and performances in a 1953 Promconcert of both Tchaikovsky’s Violin Concerto andGrieg’s Piano Concerto.

Teaching was to form a central part of Jean’s life and in 1964 she joined the RAM teaching staff.She was soon invited to become an ABRSMexaminer, eventually being appointed as our firstChief Examiner. Her generosity and enthusiasm,leadership and guidance, and sensitive and intuitivemusicianship have benefited, and will beremembered by, many teachers, students andexaminers around the world.

Jean Harvey (1932-2011)

ABRSM expands professional development provision

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It may seem strange to contemplate the idea of impersonallearning, yet that is what prevailed in classrooms and musicrooms for many years. Think of the class teacher, standing at

the front of the room, giving a lesson to 30 children. The teachingmaterial was not differentiated, so the teacher hoped that everyonewould get something from it. Of course, the more able learnerssucceeded, in the middle there were many who did no more than‘tread water’, and a number failed to grasp anything. Then, alongcame the idea of teaching with differentiated materials so that notall of the children in the classroom did the same thing at the sametime, and this in turn led to the idea of developing an individualcurriculum, tailored to meet the needs of each individual learner - in other words, personalised learning.

In the music room, teaching is often done on a one-to-one basis,so it would be easy to jump to the conclusion that all such lessonswere models of personalised learning, but unfortunately, the realityis far from this. For example, the same tutor books are often used for all beginners, with a failure to recognise the variation in preferred learning styles amongst students: visual, auditory and kinaesthetic. So, how can you develop a greater awareness of personalised learning and begin to apply some of the principlesin your day-to-day work?

The first step is to adopt the idea of working as a reflectivepractitioner. In other words, taking a little time to consider, asobjectively as possible, how effective each and every lesson has been. By engaging in that self-review, you will be better placed toplan what might happen in the next lesson, identifying particularstrategies or resources that are likely to work best andcontemplating which approaches gain the best response from thatparticular learner. The key here is in the learner’s response, becauseat the heart of personalised learning is the idea that learners becomemore actively engaged in the process – rather than simply havingteaching ‘done to them’. By reflecting on the process, you can easilyadopt the ‘plan–do-review’ approach to work. This means that everylesson is freshly prepared rather than just consisting of turning to thenext page in the book, the next piece to be learned, or a standardised

pattern of: warm-up; scales; pieces, and ‘Oh, dear, I’m sorry. We haven’t got time to do any aural this week’.

Secondly, plan your lessons by starting with the learner’s needs.This seems a simple and obvious thing to do, yet it’s very often notthe case. Be sure to focus on areas that need improvement, such as dynamics, phrasing and so on, because this will lead to greatermusical understanding and enable the learner to developindependence much more readily. If your planning also includesdialogue with the learner, it can truly be said to be personalising the learning and the results will reflect this. But this approach can’t suddenly be turned on like a tap. The process itself needs to be developed with learners so that they appreciate the benefitstoo, and this will demand both time and effort on your part.

Take a look at your teaching to see if music is central to thelesson and what better way than to use a pocket camcorder? This inexpensive gadget, or the video capability on your phone, will enable you to check your use of language and find out howmuch of the lesson is spent in talking rather than music-making.You will need to obtain appropriate permission from the student(s),their parents and school before making any recordings of course.

There’s little doubt that, in most cases, a tailor-made garment is going to fit better than one bought off-the-peg. The same applieswith teaching. By putting the learner – and music – at the heart ofthe lesson, we are increasing the potential for a better outcome allround. Why not use a little time this term to explore these ideas sothat you can try a personalised learning approach with some of yourstudents? You may find that lessons become more effective,fulfilling and enjoyable for everyone concerned. �PH

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Richard Crozier, ABRSM’s Professional DevelopmentDirector, explains how the concept of personalisedlearning can transform your teaching and outlinessome simple ways to build it into your lessons

7Teaching and learning

Keeping it personal

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In putting together the new Violinsyllabus, our selecting team hasbeen busy exploring familiar as well

as lesser known pieces, and many havenever been set on the syllabus before.The syllabus stretches across a wideperiod, from the 13th century (a catchydance tune, ‘Estampie royal’, frommedieval France in Grade 4) right up to the present day (‘Joshi’s Dance’by Michael Zev Gordon in Grade 3,written in 2009). Unsurprisingly, thegreat classical composers for violin

are well represented, from Bach,Corelli, Vivaldi, Mozart and

Beethoven to Brahms, Dvor̆ák,Schubert, Schumann,

Tchaikovsky, Debussy andSibelius. However, there

are also some interesting rarities. The sonata movements by two BaroqueScottish composers – William McGibbonand David Foulis – are well worthexploring (Grades 4 and 6). There’s alsoa highly intriguing ‘battle’ piece fromthe 1600s – Tobias Hume’s ‘A Soldier’sResolution’ (Grade 7).

On the lighter side, the syllabusfeatures for the first time a compositionby the legendary French jazz violinist,Stéphane Grappelli (Grade 6). There areplenty of other pieces in jazz style, aswell as arrangements from musicaltheatre (Irving Berlin’s foot-tapping‘Puttin’ on the Ritz’ in Grade 3) and adose of Caribbean sunshine (the cheery‘Mango Walk’ in Grade 2). Candidatesare also sure to be attracted by several catchy pieces from the Klezmertradition (‘Sher’ in Grade 2 and‘Congratulations to the Bridegroom

and Bride’ in Grade 4).We hope that you enjoy exploring

the wealth of appealing and engagingrepertoire to be found in the syllabus

and that it provides plenty of inspirationfor you and your students.

Grade 1, A1Arbeau: Mattachins

This is fun and engaging for an earlylearner. It has a predictable mixture

of crotchets and quavers and firmbowing is required. I’d start by

teaching the second part, as it is mostly on the A string and

lies easily under the hand.Once that is comfortable,then add the opening, which has identical fingerpatterns, but is mostly onthe G string. This piece

Syllabus update8

The new ABRSM Violin syllabus, valid from2012 to 2015, is now available, together with a range of supporting materials. Here, Robert Sargant, ABRSM’s Syllabus Manager,takes a look at the repertoire on offer, whilstfour violinists involved with the syllabuschoose some of their favourite pieces

A violin

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will give an excellent left-hand position to a beginner and some fourth fingers canbe included too. Aim to keep fingers curledwhile swinging both arms round for thelower strings. Firm détaché bowing willhelp project clear dynamics and the quicktempo adds to the boisterous feel. Jessica O’Leary.

Grade 2, C2Szelényi: School Break, from 24 Easy Little Concert PiecesThese lovely pieces are a wonderfulresource for teachers wanting enjoyable20th century repertoire for beginners, and have featured regularly in the syllabus.‘School Break’ offers opportunities forenergetic full bow playing, with someexciting (easy) chords in the final few bars.F natural on the E string may be a new notefor players at this stage. The differencebetween mf, f and ff should be stronglyprojected, as should the exciting crescendoin bars 23-24. The final sff open stringchord will need well controlled bowing to sustain the sound. Rachel Meredith.

Grade 3, B3Schumann: Träumerei (Reverie)This is a charming piece and would create a good foil to some of the bold pieces in theother two lists. Although he originally wrotethis piece for piano, I can’t help thinking thatthe melody could easily have appeared inone of Schumann’s songs. Therefore whenapproaching it I would suggest you try to put words to the notes and imagine you aretelling a simple story. In the second bar ofeach phrase the composer uses a differentsized leap, sometimes a fourth, sometimes asixth and once even a minor third, and thesecan be the clue as to how much crescendoto make, and the character/colour of soundto try and create at that moment: is it simpleand open, does it blossom or is it dark andsad? Gina McCormack.

Grade 4, B1C.-A. de Bériot: Mélodie This will be known to many as a greatshowpiece and competition winner. Full of rhythmic variety, it opens with a majesticand strong theme in third position, with aharmonic at the end for a sense of drama.

Initially prepare this piece by extracting allthe rhythmic bowing patterns and workingon them separately on the D major scaleand arpeggio. Then when you hand overthe music, the students will be thrilled athow easily they can play the whole piece – this will create a positive feeling aroundtheir performance and smuggles in thetechnical demands for their grade too.Once learnt, this is very robust underpressure and is definitely one for themore extrovert student. Jessica O’Leary.

Grade 5, B3C. Dancla: Petit air variéThis is a super introduction to the greattradition of virtuoso violin variations – by Paganini, Wieniawski etc. Variationsare an excellent way to learn how topractise methodically and efficiently, as each section can be studied andperfected separately. This helps toavoid the default practice method ofstarting at the beginning and playingthrough to the end. This charming littlepiece offers the chance to exploredifferent techniques and characters –from the lyrical main theme to theissues of left and right hand agilityand co-ordination in the exciting lastsection. Once the player has mastered eachsegment individually, they can then practisesticking the chunks together and giving adramatic performance worthy of a buddingmini virtuoso. Alexandra Wood.

Grade 6, B1Brahms: Hungarian DanceI'm sure this will be a popular choice,offering opportunities for a vigorous gypsystyle with spiccato bowing and double stops.The spiccato works well if it's not quite offthe string at this speed. The dynamiccontrasts and gradation are a strong featureof the piece and should be energeticallyprojected, not forgetting the ‘sea sick’crescendo in bars 65-66 and similar. Thispiece has been a favourite with my pupilsover the years, and is a chance to practiseseveral bowing techniques and to achieve an enjoyable virtuoso style. Rachel Meredith.

Grade 7, C3 Angela Morley: ReverieThis was a new discovery for me - thankyou ABRSM! - and I have since heard someof Morley’s wonderful film scores recordedby the John Wilson Orchestra on DuttonVocalion. I adore beautiful slow pieces,

so this has already become a favouriteencore of mine at my recitals and theaudience always seems to react with an’aah’ when we finish. Film music can belush and romantic and this is no exception,so I would encourage lots of expressive, buttasteful, portamenti (slides, to you and me)and a rich, wide vibrato in the loudersections. Enjoy! Gina McCormack.

Grade 8, B5Janác̆ek: DumkaThis was a happy discovery and is my favourite piece on the new Grade 8 syllabus. I will certainly include it in recitalprogrammes and give it to my students. It isa beautiful Slavic folk song, which exploitsall the rich lyrical possibilities of the violin,over a hypnotic rocking piano figure. Thispiece requires a solid foundation of goodintonation and tone production. It is alsotrue chamber music: the piano and violinlines often intertwine, and the harmoniesmould and direct the phrasing, so you mustapproach the music as a whole, rather thanlearning the violin line separately. I wouldencourage violinists to be adventurous and imaginative with fingerings and tonecolours and to practise the octave section at the end. Alexandra Wood. �

9Syllabus update

Rachel Meredith is a strings teacher and player. She is an ABRSM examiner and one of the Violin syllabus selectors.

Gina McCormack spent many years leading the Sorrel Quartet. She is now enjoying recital work and teaches at the Trinity Laban Conservatoire of Music andDance, London. Gina performs on the new ABRSM Violin syllabus recordings.

Jessica O’Leary is a violinist, professor at Junior Guildhall, London, and an ABRSMexaminer. Jessica can be heard on ABRSM’sBowed Strings podcast and is presenting atour UK conferences.

Alexandra Wood is a solo and chamber violinist, who leads ensembles such asBirmingham Contemporary Music Group,London Sinfonietta and Aurora. She compiledand recorded ABRSM’s Spectrum for Violinand teaches at Birmingham Conservatoire.Alexandra also performs on the new ABRSMViolin syllabus recordings.

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Full membership £150 £120. Code: ‘ABRSMF’Graduate membership £60 £48. Code: ‘ABRSMG’

Online: ism.org/joinEmail: [email protected]: 020 7629 4413

This offer is available to those who are not already members of the Incorporated Society of Musicians and applies for the fi rst year of membership. This offer ends on 30/09/11

Supporting musicians andchampioning music since 1882

For further course information, dates and venues, go online to www.abrsm.org/teachers

or call us on +44 (0)20 7467 8226

One day courses from ABRSM this academic year

New skills for the new term

Introduction to Instrumental and Vocal TeachingA one-day course for any musician who is considering instrumental or vocal teaching for the first time, or who has recently started teaching. The day provides ideas on how to get started and the key skills required for success.

This course will be offered in:

• London • Bath • Dundee• Liverpool • Belfast • Nottingham

between October 2011 and June 2012.

Continuing professional development programmeOur CPD programme for the new academic year offers a variety of practical courses relevant to all instrumental and vocal teachers. Each one is designed to keep you up-to-date with your personal professional development.

The following courses will be offered in London and Manchester between October 2011 and May 2012:

• The Art of Accompanying

• Preparing for Performance

• Theory Matters

• Success at the Higher Grades (6-8)

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I’m proud to represent the best musiceducation system in the world,’ says MarieClarke, ABRSM Representative in Jamaica. ‘There’s never a dull moment in this job!

Every day is different,’ adds Rep MegTwyford, whose remit covers a vastgeographical area within South Africa, plus Swaziland and Botswana.

An army of around 200 InternationalRepresentatives, and National and RegionalCoordinators, runs and promotes ABRSMexams from Bangladesh to Australia,Andorra to Mauritius, Shanghai to Denmark.Their work embraces both urbanenvironments and the back of beyond. MegTwyford knows all about that. ‘The bulk ofmy exam entries come from the bigger citiesbut we have lots of centres in very ruralareas, so it’s difficult to get to see teachersand find suitable pianos and venues.

‘There are no music shops in the wholeof Botswana or Swaziland that sell sheetmusic or instruments, so I often have toadvise on how ABRSM items can best be purchased. Sending out Theory exampapers can be a challenge when there areno real street names or house numbers.Email isn’t an option for everyone. Someplaces don’t have electricity.’

Inefficient postal services also regularlycreate headaches for ABRSM Reps. ‘There’sno first class mail in Jamaica,’ says Marie,‘and delivery times can be very slow. So it canbe extremely stressful getting exam materialout to centres, invigilators and so on.’

ABRSM Reps may be individuals ororganisations – in Singapore, for example,the Singapore Symphony Orchestra doesthe job. Sometimes just one person isresponsible for a whole country, elsewhere,local Reps work under an overall head ofoperations. Very often the Rep handlesABRSM work alongside other work.

The tasks involved are legion – fromadvising teachers and processing entriesand paperwork, to organising timetables andILLU

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11Inside ABRSM

A global network

venues, getting pianos tuned and arrangingaccommodation for examiners, who travelout from the UK. Reps also have a role toplay in supporting teachers by speaking at conferences and organising seminars.

The ongoing training of teachers is a keypart of the overall process, says MargaretLiu, ABRSM Rep for Georgia, USA. ‘Duringexam periods I arrange meetings forteachers conducted by the examiner. I alsospeak at local music teachers’ associationmeetings. And there’s constant emailing andphoning to answer questions from teachersto help them prepare their students.’

The effectiveness of the work of ABRSMInternational Reps is seen in the markedexpansion of examiner tours, says TimArnold, ABRSM International OperationsDirector. ‘Ten years ago we organised 200examiner tours ... now there are 450.

‘Administration has always been a key partof an International Rep’s role, but increasinglywe are now working in partnership withmany musicians to develop music learning,as well as to keep it alive in countries withsevere social and political problems. In SriLanka, for example, despite a decades-longcivil war, we continued to send an examinerevery year. We strongly believe in providingexams wherever there is demand,even if there are significantbarriers to overcome.For ABRSM this is allabout supporting musicteaching and learning atall levels.’

In Poland, Rep MateuszSlojewski has had the job of introducing ABRSM examsand publications, almost fromscratch, with the first examsession taking place as recently

as 2009. A major part of his task is toconvince sceptics that music exams haveany place at all. ‘I argue that it’s especiallynecessary when making music – whichdevelops people intellectually in such a fantastic way – to offer a system fordocumenting achievement which stimulatesfurther development.

‘It always astonishes people when I talkabout music exams and education beingenjoyable. ABRSM is changing the wayteachers work here in Poland. They aremoving away from the old ways, oftenlearned during different times ... in thespirit of Stalinism, I sometimes say!’

The success of the International Repnetwork means growth for ABRSM. Timemphasises that this further enhances the organisation’s international work. ‘For example, we donate significant funds to assisting overseas students attendingfour of the UK’s Royal Schools of Music. We support a chamber music competition in New Zealand for musicians of school age.And later this year we will be introducing anew online system that will help InternationalReps to give teachers better support.’

The job satisfaction from being anInternational Rep, says Meg, comes from‘seeing candidates grow from grade tograde’. ‘For a child to prepare for the exam,get to the venue, then play teaches themabout so much more than music. It’s also satisfying to be part of a worldwideorganisation where the same exams aretaking place in London or Limpopo.’ �

With exams taking place in over 90 countries around the world, ABRSM relies on a network of dedicated International Representatives toensure that the exam experience runs smoothly for candidates and teachers.Andrew Green spoke to a number of Reps to find out what’s involved

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When the idea of a brand-newseries of early years violin books was originally discussed,

the first question had to be ‘why?’ Thereare lots of beginner violin books outthere and any violin teacher can reel offa list of at least half a dozen which theyknow fairly well. In fact, many teachersdip into several different books andmethods, taking ideas and materialsfrom each. But this bespoke approachsimply highlights the need for a newseries, one that brings together, as much as possible, the music andapproach we require. Providing such a series was to be the challenge for Violin Star.

The three levels of Violin Startake students from the first stages of playing through to around Grade 2. In establishing the technical progression for the series we looked for the commonground between a wide range of booksand methods. What is innovative andunusual is the number and variety of pieces for each technical step. Forexample, in Violin Star 1 there are 17open-string pieces before we start tointroduce the left hand. With such a wide choice on offer, not every studentwill play every piece: teachers andstudents can select according to their needs, speed of progress andmusical taste.

Violin Star features both arrangementsand original compositions, with many ofthe latter shaped by the need to coverparticular technical challenges. ‘UkuleleSam’ in Violin Star 2 is the first piece in‘second finger pattern’ (first and secondfinger close); its idiosyncratic harmonicprogression enables us to sample thefinger pattern on three different strings. In another instance, one of my colleaguessaid ‘I need a piece where the first fingermoves between B natural and B flat on theA string’, and this became the inspirationfor ‘Haley’s Comet’ in Violin Star 3.

The idea of exploring different musical styles is at the heart of ViolinStar. We set out to create an eclectic mix

Violin Star12

Refreshing the repertoire

In July ABRSM published Violin Star, an innovative series of illustrated repertoire books with CDs for beginner violinists. Here Violin Star composer and arranger Edward Huws Jones shares his experiences of working on this exciting new resource and highlights some of its key features

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of idioms, from Western Classical to folk,from rock and pop to world music. The lastgroup, which includes authentic melodiesfrom South India, China and South Africa,provides some of the most exciting newrepertoire in the series. About a third of thepieces are original compositions. It was funto write some funky rock pieces (for theviolin, of all instruments!) and to see theenthusiasm with which the studentsreceived them. ‘Too Much Rosin!’, forexample, has more than a hint of the KaiserChiefs (our local Leeds band made good –and more than one student has recognisedthe left-handed guitarist with the beanie hat in the Violin Star 1 illustration).

Throughout the time I was working on Violin Star I still had my day job as aperipatetic violin teacher with the NorthYorkshire Music Service, and I was able to try out all the material on my students(most of them taught in groups) as we went along. So there was nothing of thecomposer-in-a-garret about this process, or the ivory tower of an elite privateteaching practice; pieces would either sink or swim. And some of them did sink.When we tried out the first draft of myarrangement of Pachelbel’s Canon onearticulate Year 5 student described it as ‘arandom collection of notes’; so back to thedrawing board with that one! But in the endall the pieces passed the test – some withthe ultimate accolade of requests to play it next week in assembly.

Trying the pieces out at school, wegradually developed supporting activities:games, improvisation and technicalexercises. Some of these (with theirdistinctive ‘Activity’ tag) are to be founddotted around the books and teachers canuse them, ignore them or develop their own.

All the pieces have three alternativeforms of accompaniment. There areseparate piano and violin accompanimentsin the Accompaniment books and play-alongtracks on the CDs that come with theStudent’s books. The violin accompanimentsare an important and innovatory feature of the series. Not all violin teachers areconfident pianists, and many of us have to work in rooms which don’t have a pianoor keyboard. Violin accompaniment hasenormous advantages – you face thestudents (rather than the wall) and theteacher’s playing helps to make the wholeexperience more engaging and interactive.The lesson becomes a celebration of theviolin – a violin party!

13Violin Star

Taking the piano accompaniments astheir springboard, the arrangers workingon the play-along tracks, Stuart Briner,John Maul, Frank Mizen and ChrisNorton, have recreated an extraordinarydiversity of sounds and styles. Most of thefolk and rock tracks were engineered byFrank, an audio genius who insists onadding his own live guitars – and banjo,ukulele and bouzouki. In contrast, Stuartis a wizard of rich orchestral sonorities.His rendering of ‘Caribbean Moonlight’,while it may not feature Johnny Depp,certainly has the right lush big-screensound. The CDs also include a fullperformance of every piece, with thestudent’s violin line sensitively realisedby the distinguished violinist and teacherAlexandra Wood.

It took time to find the rightillustrator, but Mark Beech’s wonderfulpictures, combined with fresh designinput from Kate Benjamin, make thebooks a feast for the eye as well as theear. One of my favourite illustrations fromViolin Star 1 shows William Tell perchedin a tree, alongside the woodpecker fromits companion piece, ‘Woodpecker Tap’. Ialso particularly like the two Scottish andWelsh teenagers high-fiving across theirfacing pages in Violin Star 3. Violin Starhas been, as you can see, very much a team effort, and the creative ideas,experience and patience of all involvedare present on every page of the series.

To return to the question ‘why anotherviolin book?’, one of the most persuasive,and simplest, reasons is surely ourappetite for new material. We all know

the deadening effect of going over the same beginner tunes year in, year out. Hard-pressed teachers are always on the lookout for new and exciting pieces to motivate themselves as well as theirstudents. We have to keep refreshing theteaching repertoire and that is ultimatelywhat Violin Star is all about. �

Edward Huws Jones is a composer,arranger and music educationalist. Hestudied at the University of York and theRoyal Academy of Music, and went on todevelop extensive experience as a stringteacher. He has travelled widely to researchfiddle-playing styles, and his originalcompositions are firmly established in the educational repertoire.

MORE ABOUT VIOLIN STARThere are three Violin Star levels. At each level there is a Student’s book and anAccompaniment book. The Student’s bookcontains the solo violin part and a CD of bothfull performances and play-along tracks. TheAccompaniment book contains separate pianoand violin accompaniments.

A number of pieces from Violin Star 2 and 3have been selected for the new ABRSM Violinsyllabus at Grades 1 and 2.

For more information about Violin Star visitwww.abrsm.org/violinstar

You can buy Violin Star from music retailersworldwide and www.abrsm.org/shop

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Acertain UK advertising campaign and the power of personalexperience tell us that no one forgets a good teacher. Themessage could equally be tailored to suit the memorable

characteristics of good music examiners, those able to calm candidatenerves, write cogent reports and deliver objective marks with fairnessand consistent accuracy. Examiners rank high on ABRSM’s list ofpriorities. Their work offers the closest personal connection betweenthe organisation, the music teaching profession and the wider public.It also mirrors central standards of excellence and carries them toABRSM exam centres from Bolton to Beijing, Sidmouth to Sydney.

ABRSM’s examining panel, populated by more than 700musicians and teachers, spans an impressive arc of experience and expertise. It benefits from regular additions of outstanding new entrants, continuing professional development, moderation and monitoring – all vital for an organisation determined topreserve the gold standard of its exams.

John Holmes, ABRSM’s Chief Examiner, says that he welcomesapplications from prospective examiners. He points to a smoothlyfunctioning selection and training system before describing itsconstituent parts. The rigorous process of choosing and trainingexaminers, explains John, begins with an application form.Interviewees with formidable credentials will be called to attend oneof the four or five interview days held annually at ABRSM’s London

offices. Following interviews, ABRSM offers places on its initialtraining weekends to around 60 to 65% of applicants.

To be invited on to this next phase of the process applicants need to demonstrate a range of attributes. These include, amongst otherthings, sufficient keyboard skills to deliver the aural tests, a breadthand depth of teaching experience and the ability to manage themultiple skills required during an exam. For all that, John wants to encourage a wide range of musicians to consider adding ABRSMexamining to their career portfolios. ‘Yes, people need good piano skillsbut they don’t need to be concert pianists! And they don’t need to knowabout every instrument in great detail. We’re not specialist examiners;we’re not there to assess fingering or pedalling technique,embouchure or breath support. We judge musical outcome in theexam room against our criteria for such universal aspects of musicmaking as rhythm, intonation, accuracy, attention to detail, ability tocommunicate, engagement with the composer’s intentions and so on.Our job is to report what we hear as clearly as possible.’

One of ABRSM’s recently appointed examiners, Nick Burns,counsels fine musicians not to rule themselves out as examinersbecause of concerns about their piano skills. He says that, as apianist, he can understand why a brass or wind player might feelintimidated by the prospect of ‘performing’ aural tests for ABRSMhigher grades. ‘I think the problem is there, certainly. But it’s

Focus on exams14

Examiners are the public faceof ABRSM, with an essentialrole to play in the effectivedelivery of our assessments.Here Andrew Stewar ttalks to ABRSM examiners,including Chief ExaminerJohn Holmes, about the all important selectionand training process

Examiner training the full story

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possible for people to prepare the aural tests thoroughly and showthe interview panel that they can deliver them under pressure. Ithink they will find that it’s really worth the effort.’

Those able to deal with the demands of the interview and show theirall-round potential for the job are called to attend a three-day trainingsession. ‘I guarantee that everybody selected for the training weekend,regardless of whether they are eventually chosen as examiners, willhave a positive professional development experience,’ John adds.‘The aim is for sessions to be insightful and valuable, and to offer a clear understanding of how assessment and examining work.’

Initial training is followed by individual training, which involvesnew recruits attending four venues on four different days with fourdifferent trainers. This offers real exam situations and genuinecandidates to test confidence and competence. ‘The process usuallybegins with people examining for quarter of a day, before moving to half and three-quarters of a day on subsequent days,’ Johnexplains. ‘Day four is like a driving test, where the trainee isexpected to run the exams while being assessed by a trainer. The trainees award marks and write comments, although it is thetrainer’s mark forms that are sent to candidates on all four days.

For each day, John inspects the trainer reports; in rare caseswhere contradictions or doubts arise, he takes on the role of trainerfor a fifth day of assessment. John speaks of the constructivepressure of the training process, while emphasising the importanceof involving experienced ABRSM examiners. Nick Burns also clearlyrecalls how the training prepared him for the job’s demands. ‘I mustsay that examining is much easier than the training. It’s certainlyeasier to put candidates at their ease when you’re not thinkingabout being assessed yourself.’

So what makes a good examiner? The ability to keep calm comewhat may and focus on listening while writing are certainly high on the list of essential attributes. ‘The demands of multi-taskingare often underestimated by applicants,’ observes John. ‘If you’renormally comfortable playing the piano for aural tests, you might notbe quite so comfortable after settling a candidate who is anxious aboutthe exam. The ability to multi-task is important, but of course, theprimary aim is to provide an environment where the candidate hasevery possibility to succeed. The examiner’s manner and awarenessand their ability to put someone at ease all play a part here.’

Flautist Zoe Booth is another relatively new examiner. Zoe, a former ABRSM scholarship student, believes that being anexaminer complements her work as performer, teacher andcomposer. ‘I always thought I would apply to be an examiner. It’s a job that fits well with the other things I do and offers great flexibility.’

Looking back, Zoe welcomes the pressures of the selection and training processes. Total immersion in examining techniques, she notes, supplied secure foundations for life in the exam room. ‘You need to learn very quickly. The training weekend begins withtalks and note taking, and within days you’re dealing with realcandidates. Everyone discovers the areas they need to improve. For me, it was about the sheer speed of writing something relevant while listening and being sensitive to the candidate almost simultaneously. There’s definitely a knack to it, which is why the training and mentoring experience is so important.’

While Eric Tebbett and Pete Rosser are new to ABRSM’s generalexaminer panel, both arrived at their training weekends bearingextensive examining experience. Eric, busy as a freelance singer,teacher and competition adjudicator, was formerly a senior examiner

with Trinity Guildhall. After more than two decades examining foranother board, he decided it was time for a change. ‘I was happy to go through ABRSM’s training programme. It was very intense. If you get through the initial training weekend and go on to theindividual training days on the road, then you’ve done well. It’s afantastic process. Teaching old dogs new tricks is never easy, but Iwas thoroughly retrained and encouraged. The standards of ABRSMare second to none, which is why I love it!’

Eric’s advice to prospective ABRSM examiners, of any age, is totreat the application and training process as seriously as they woulda concert performance or audition. ‘Be prepared!’ he warns. ‘Youneed to be organised and able to think on your feet, and you have to be an excellent musician. While you’re multi-tasking, your earshave to be completely fixed on each candidate’s performance.’

Pete Rosser agrees with his colleague’s assessment. ‘It’s a bitlike plate spinning,’ he comments. Pete has been an ABRSM jazzexaminer for over a decade. Although initially unsure about the skillset required to oversee classical exams, he realised that his existingexperience could be transferred to advantage. ‘I haven’t beenthrough the traditional classical system, but I think I have the rightears for the job,’ he observes. ‘Whether it’s jazz or classical, you’realways looking for a spark in the candidate’s interpretation. Thereare, of course, basic things that need to be in place before you geton to interpretation: good pulse, for example. That’s why theexaminer must report what he or she has heard in clear language.’Above all, Pete concludes, the examiner is there to give an objectiveassessment of every candidate’s performance. ‘The skills requiredreally develop through ABRSM’s rigorous training process, and with experience.’ �

15Focus on exams

WHAT HAPPENS NEXT?ABRSM has a thoroughmoderating process in place toensure that all examiners areworking consistently and tothe highest standards.

Moderation involves anexperienced, specially-trainedexaminer, or ‘moderator’,sitting in and observing allaspects of an examiner’s work.We moderate all newly trainedexaminers for one day duringtheir first session of exams.This is frequently followed upby a further moderation duringtheir first year. Subsequentlywe moderate all examinersevery two to three years.

All mark forms go through achecking process before beingissued, but in addition to thiswe periodically arrange for ourpanel of ‘readers’ to analyse

an examiner’s mark forms. We also provide ongoingtraining so that all examinershave the professional support they need.

TWO EXAMINERS IN THE ROOMIn order for us to train andmoderate examiners there willoccasionally be two examinersin the exam room. This isessential in helping us tomaintain consistency anduphold ABRSM standards. Weare aware that candidates can,understandably, be concernedby this, but please be assuredthat neither the exam itself northe results will be affected.

INTERESTED IN BEING AN EXAMINER?You can find out more atwww.abrsm.org/examiners.

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There is only one place where all thecolours, flavours, sounds and sights of Asia come together. No other

county is as “Truly Asia” as Malaysia.It was with this slogan that the Malaysian

tourism department began shifting globalperceptions about the country, in amarketing campaign that has helped boostvisitor numbers from 5.5m in 1998 to almost25m in 2010. Part of a national politicalstrategy known as Wawasan (or ‘Vision’)2020, it has put this ambitious South EastAsian nation firmly in the global spotlight.

The broader social, educational – andcommercial – benefits of all this aresomething that ABRSM has witnessed firsthand, thanks to its surprisingly long historyin the region. As a part of the British Empirefrom the 18th century until 1957, Malaysiahas been a significant country for ABRSMfor decades. Exams started in the capital,Kuala Lumpur, in 1948 and today thecountry is the organisation’s third largestinternational market, gaining ground on leaders Hong Kong and Singapore.

In order to meet the growing localdemand, a full-time ABRSM MalaysianNational Coordinator role was created inJanuary 2011 – a job that Jamie Smith hasoccupied since March this year. Jamie has a track record in international musicteaching. A graduate of Magdalen College,Oxford, he continued his studies at theNational Tchaikovsky Academy of Music inthe then-Russian (now Ukrainian capital)city of Kiev.

It was there that Jamie gained his firstsignificant teaching experience and, bittenby the travel and music pedagogy bug, hewent on to teach piano performance in

Guangdong, China, as well as working forthe British Council in Poland. Immediatelybefore joining ABRSM, he was a musiclecturer at the Sultan Idris EducationUniversity in Tanjung Malim, a small town in the Perak area of Malaysia regarded as the best teacher-training university in the country.

Now officially based in Kuala Lumpur,Jamie has spent most of his time in post on trains, planes andautomobiles, getting to grips with the sheerscale of ABRSMoperations in Malaysiaand the geographicalchallenges the countryrepresents. Over onethree-month session(from June to August),ABRSM examines ineach of the 13 statesand three federalterritories that make up Malaysia. There isalso a smaller sessionin April.

‘I’ve been travelling during the examseason,’ he tells me, ‘and nothing reallyprepares you for the distances you have to cover. It’s a very spread-out country and everywhere is so different – one reason it’s such an interesting place to be.’

Working closely with London staff andlocal education departments, it’s Jamie’srole to ensure efficiency and quality in theadministration of ABRSM exams and toprovide support for instrumental andsinging teachers across the country. He’s optimistic about what he sees.

‘Despite the fact that Western Classicalmusic still seems relatively new for a lot of Malaysians, it is starting to come to theforeground as a serious subject for study in its own right,’ says Jamie. ‘That’sthanks, partly, to native pianists such as former ABRSM scholar Bobby Chen who’ve brought Western Classical music so much exposure.’

Whilst almost every instrument has been represented in Malaysian exams, thepiano (as in many othereastern territories) is by far the dominantinstrument, accounting for around 90% ofMalaysian exams. However, there is also a growing interest in jazz exams, whilst Theoryentries are the largestoutside the UK. Some 85%of Malaysians apply online.Indeed entry for the Aprilpractical sessions is online

only, which has given tutors more flexibilityand a greater choice of exam dates fortheir students.

Much of ABRSM’s ongoing success inMalaysia can be put down to the specialstatus it enjoys in government circles: the organisation is represented locally by the Malaysian Ministry of Education(Kementerian Pelajaran Malaysia). Thedepartment that oversees arrangementsfor ABRSM exams is the MalaysianExaminations Syndicate and comprises an external and professional exams unit in every state.

ABRSM in Malaysia16

Easternpromise

ABRSM business is booming in Malaysia – andthere's every sign that exams are continuing togrow in popularity as Paul Cutts discovers

You see suchenthusiasm,such willingness to learn ... it’sone of the thingsI love aboutworking here

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Each state department has beenassigned ABRSM staff who are responsiblefor local exam arrangements. Although they don’t arrange detailed practicaltimetables, they do look after reschedulingappointments locally, as well as appoint andtrain stewards. It’s a system, says Jamie,‘that works very well’.

ABRSM’s International OperationsDirector, Tim Arnold, agrees that ‘workingthrough the ministry of education gives us a kudos that no other exam body has’. Buthe is also quick to refute suggestions thatABRSM’s presence is some form of newcultural colonialism.

‘We’re not in Malaysia to promote aspecific form of music at the expense ofindigenous musical traditions,’ he statesemphatically. ‘We’re catering for an interestthat is already there. We really have no rightto examine music of a particular countrywhen we lack a tradition in that music. Ourstrength is in the upholding of excellence –and time and time again we realise the onlyway we can do that effectively is by workingwith local teachers and our examiners

17ABRSM in Malaysia

together. There’s been a massive shiftaway from ABRSM being distant and aloof to being far more willing to listenand talk, and learn how we can work most effectively with local teachers to help raise musical standards.’

‘The role of ABRSM is to promote musicas much as possible and inspire andmotivate people of all ages to participateno matter what the style is,’ Jamie agrees.‘I don’t see why Malaysian traditionalmusic can’t work alongside WesternClassical. It’s the joy of music making thatABRSM can really help encourage here.’As the man on the ground, Jamie seesdelivering teacher training as a criticalpart of his role – and one that offers ‘huge potential for expansion’.

‘A lot of the people I taught when I wasat Tanjung Malim found it hard to get a jobin music teaching because it’s not fullyintegrated into the school system atsecondary level,’ he points out. ‘Unlike the UK, we don’t have many peripateticteachers here – it’s all very private andpersonal. Music exams are extracurricular although some universities arenow requiring them as a prerequisite fortraining. It’s an area where we can workreally effectively with the ministry to add itas part of a child’s mainstream education.

‘We have been holding High Scorers’Concerts in Malaysia for a number ofyears and are planning to hold more in thefuture,’ he adds. ‘There are a hugenumber of talented young musicians outthere scoring very high marks but theydon’t have the opportunity to develop. It’san area that has the scope for real growthand impact.’

‘We cater extensively for privately taughtmusic students in Malaysia,’ Tim points out, ‘but there is a lot of potential for us to examine candidates in the state sector,which we’re not doing at the moment. Beingable to develop closer partnerships withschools, thanks to our relationship with the ministry, is a very exciting prospect for the future.’

For Jamie, providing more music-makingseminars for teachers outside KualaLumpur will be critical. Whilst ABRSM runs a series of successful professionaldevelopment events across South East Asia every year, Jamie sees the chance‘to do much more through professionaldevelopment programmes to supportMalaysian teachers, broaden theirrepertoire and give them the opportunity to network’.

‘That can really give teachers moreconfidence,’ he says. ‘As a result we’ve seenan increasing interest in instruments otherthan piano, notably upper strings. There’smore awareness and we’re graduallyintroducing more on the lower stringsbecause we’re able to give teachers thenecessary support.

‘There’s a huge amount that can bedone,’ Jamie concludes. ‘Already, most ofthe teaching workshops I’ve taken part inare very well attended. It’s a joy to deliverthem because you always see a great deal of enthusiasm, such willingness to learn and you get more ideas. It’s one of the things I love most about working here.’ �

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As Hong Kong prepares for its massiveinvestment in the West KowloonCultural District project, currently set

at HK$21.6 billion and expected to generatethe region's foremost arts complex, it goeswithout saying that a local thirst for such anenterprise is a fundamental prerequisite.Music is one of the performing arts to beaccommodated on the 40-acre waterfrontsite, and Hong Kong's vibrant classicalmusic scene can trace a good deal of itssuccess to ABRSM.

ABRSM has been operating in Hong Kongsince 1951, providing a way to measuremusical performance, as well as fostering a general interest in classical music amongthe city's youth. Six decades on, the imageof a pioneering examiner and a handful of candidates has changed out of allrecognition. There were 84,000 exam entriesrecorded in 2010, requiring a body of 160examiners to service this demand.Underpinning the success story, however, is the army of local teachers dedicated to the progress of their students.

ABRSM is aware of the support thatteachers need to stay up-to-date with bestpractices in music teaching and ongoingrefinements to the ABRSM syllabus. To thisend, ABRSM is organising a two-day

conference on 4 and 5 November at theInterContinental Grand Stanford Hotel,offering a rich programme of seminars andworkshops. The aim is to provide advice andstimulate thought on a range of exam-relatedand personal professional developmenttopics. There will be 17 sessions featuring11 subjects, led by 10 expert presentersfrom Hong Kong, Beijing and the UK.

‘This conference weekend is very special,’says Tim Arnold, ABRSM's InternationalOperations Director. ‘It is the first time wehave done this outside the UK and it putsteachers centre stage. The extended natureof the event will allow for greater depth andrange, allowing us to support teachers, notjust of piano, but also of other instruments.I’m very much looking forward to presentinga number of sessions.’

Although the conference is the first of itskind in Hong Kong, the city's instrumentalteachers have been benefiting since 1999from the CT ABRSM course, designed todevelop individual teaching skills. Some 260teachers have successfully completed thecourse, which encourages participants toreview their established routines andconsider introducing new techniques.

Richard Crozier, ABRSM's ProfessionalDevelopment Director, who created the

letter-bearing qualification, is delighted by its success in Hong Kong. ‘We get anenormous amount of positive feedback,’ hesays. ‘Teachers who complete the courseindicate that it has refreshed their thinkingand the way they get their students to dothings – and that increases the marks they get in exams.’ Those attending theconference will be able to sample a typicalsession from the CT ABRSM Plus course,which covers generic subjects (teaching and learning, assessment, motivation andplanning) together with more instrument-specific topics.

‘For many understandable reasons,teaching in Hong Kong is often focused onthe exam syllabus,’ Richard summarises.‘Our approach is to encourage teachers toadopt a more holistic approach, developingan individual curriculum for each learner.’Richard will share one session at theconference with Johnny M. Poon. ‘Being amusician’ will explore that holistic approachto music education, with Johnny sharing hisexperience as professor of music at HongKong's Baptist University and hisinvolvement in shaping the careers of localstudents aspiring to the music profession.

Scrutinising the finer points of teachingand performance, there will be fourmasterclasses given by two eminentmembers of staff from the CentralConservatory of Music in Beijing: Pan Chun,associate professor and vice president ofthe piano faculty; and Su Zhen, professor of viola and supervisor of postgraduates.Described by the Beijing News as ‘avirtuoso ... who presents a beautiful tone aswell as an intellectual style of playing thatone rarely hears today,’ Su Zhen is currentlyABRSM's China Consultant and will bring awealth of distinguished achievement to hertwo sessions.

Among the remaining presenters areABRSM examiner Stephen Ellis, CT ABRSMPlus Course Leaders Ian Smith and PennySterling, ABRSM’s Chief Examiner, JohnHolmes, and the organisation’s recentlyappointed Hong Kong and SingaporeDevelopment Executive, Bill Thomson. Withsessions covering aural training, the BowedStrings syllabus, piano technique andinterpretation, diplomas, exam marking andmuch more, this celebratory conference isan event not to be missed. �

You can find out more about the Hong Kong teachers’ conference at www.abrsm.org/hk60.

19Conference update

Inspiring success in Hong KongABRSM’s support for Hong Kong music education takes a step up this November with our first ever teachers’ conference in the region. Sam Olluver takes a look at what’s on offer

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19 Lib3-11 HongKong2.qxd 17/8/11 13:19 Page 19

Website: www.epta-uk.org Tel: 08456 581 054

• Legal expenses cover for employment disputes & for bodily injury or death

• 24-hour legal helpline• Public liability and IR investigation insurance• Piano Professional magazine• Over 30 regional centres organising regular events• Annual piano & composers competitions• Practical Piano Teaching Course for new & experienced teachers• Scholarships & bursaries• National & international events in 42 EPTA countries

EPTA UK

Enquiries to The Administrator, 6 Ripley Close, Hazel Grove, Stockport, Cheshire SK7 6EX

European Piano Teachers Association (UK) Ltd

Inspiring all piano teachers,performers and enthusiasts


SEPTEMBER

ABRSM conference

Inspiring success:

new ideas in music teaching

Hilton London Metropole, London, UK,

10–11 September.

Teacher support workshop

St Andrew’s School for Girls, East Rand,

South Africa, 16 September.


Waterkloof House Preparatory School,

Brooklyn, Pretoria, South Africa,

17 September.


Durban Girls’ College, Durban,


Closing date for the CT ABRSM

Plus part-time course in the UK

19 September.

Violin Star workshop

Penang, Malaysia, 19 September.


Hudson Park High School, East London,



Kuala Lumpur, Malaysia, 20 September.


Clarendon Park Primary School,

Walmer, Port Elizabeth, South Africa,

20 September.


Johor Bahru, Malaysia, 21 September.


Outeniqua High School, George,



Hyslop Hall, Bishops Diocesan College,

Cape Town, South Africa, 22 September.


Kuching, Malaysia, 26 September.

OCTOBER

High Scorers’ Concert

York, UK, 1 October.


Stroud, UK, 8 October.


Calne, UK, 11 October.


Northampton, UK, 11 October.


Middlesbrough, UK, 15 October.

Introduction to Instrumental

and Vocal Teaching workshop

ABRSM, London, UK, 15 October.

Continuing professional development

workshop: The Art of Accompanying

ABRSM, London, UK, 22 October.


Auckland, New Zealand, 26 October.

NOVEMBER

Being an Effective Teacher

Online course begins, available

worldwide, 1 November.

ABRSM conference

Inspiring success:


InterContinental Grand Stanford Hotel,

Hong Kong, 4–5 November.

Hong Kong anniversary

National High Achievers’ Concert

Youth Square, Hong Kong, 6 November.

City Lit ABRSM Jazz Piano course

The City Lit, London, UK, 6, 13, 20, 27

November. www.citylit.ac.uk.


workshop: The Art of Accompanying

Royal Northern College of Music,

Manchester, UK, 12 November.

ABRSM conference

Inspiring success:


Hilton Birmingham Metropole,

Birmingham, UK, 26–27 November.

DECEMBERClosing date for the CT ABRSM

Plus fast-track course in the UK

5 December.


Auckland, New Zealand, 11 December.

JANUARY 2012

Closing date for the CT ABRSM

Plus part-time course in Singapore

31 January.

FEBRUARYIntroduction to Instrumental


ABRSM, London, UK, 12 February.


workshop: Theory Matters

ABRSM, London, UK, 18 February.

MARCHContinuing professional development

workshop: Theory Matters


Manchester, UK, 10 March.



Bath Royal Literary and Scientific

Institution, Bath, UK, 24 March.



Dundee Contemporary Arts, Dundee,

UK, 31 March.

APRILIntroduction to Instrumental


University of Liverpool, Liverpool, UK,

14 April.


workshop: Preparing for Performance


Manchester, UK, 15 April.


workshop: Preparing for Performance

ABRSM, London, UK, 21 April.

For more information about

ABRSM courses and events,

visit www.abrsm.org/teachers.

Diary dates –

A round-up of

forthcoming ABRSM

courses and events

21Diary dates

21 Lib3-11 Events.qxd 17/8/11 12:47 Page 21

themselves up as a private music teacher.I

graduated from the Royal College of

Music (RCM) last summer. I hold an

honours degree and three diplomas in

piano playing. I have found it incredibly

difficult to establish a teaching

connection in my area – because

of the plethora of people who give lessons

in instruments for which they hold no

professional qualifications whatsoever

and inevitably undercut what a qualified

music teacher would reasonably expect

to charge.

A glance at ABRSM’s online forum

reveals that some participants hold good

qualifications – while many others do

not. The latter typically espouse ‘they

don't mean anything’ or ‘how many

diplomas did Beethoven have?’ One

recently boasted that he started teaching

soon after passing Grade 3!

I have been taught well at the RCM,

but no amount of ABRSM courses or

workshops can prepare one for the

realities of building up and sustaining a

successful practice in my very urban area.

SEREENA SORREL

Welcome to the new Inbox, with a whole page dedicated to yourletters, emails and feedback on

Libretto, ABRSM and music education ingeneral. We want to find out what readersthink on a wide range of music educationrelated topics, from exam tips andexperiences to ideas on teaching, resources and professional development.Please share your views!

How to halt the declineSue Hallam’s article (Libretto 2011:2,

A future for music) demonstrates by

omission one of the fundamental problems

musicians face in the UK today. She

exhorts musicians to ‘raise and sustain

awareness within their own communities’

of the social and health benefits music

offers. However laudable this idea may

be, it is rather sad that she does not even

mention the idea of educating people to

join the music profession. As many of

us working at the grass roots are aware,

despite the rosy picture painted of

government support for music and the

arts, many aspects of music education

have been in steady decline for years.

The statement about the prospect of

schools being unable to offer A level

Music unless large numbers of students

wish to take it is years out of date. The

question is, what ‘advocacy activities’ will

reverse this current trend.

SYLVIA HARPER

A wealth of musical traditionsBy promoting Western Classical music

in India (Libretto 2011:2, Making music

in India) are you not in danger of

continuing to impose the ‘cultural legacy

of her former colonial masters’. India has

a wealth of its own musical traditions,

classical, folk and devotional, all of

which have educational value, in

addition to cultural and historical

importance. As the country develops at

a rapid speed, it should be encouraged

to foster its own music – it is all too easy

to throw out the baby with the bath

water in the name of progress.

PAUL SARTIN

Internet pros and consSome good advice was given in the article

by Deborah Annetts (Libretto 2011:2,

Success in private practice). I did feel

though that far too much emphasis

was given to the internet – which can

of course work for the genuine teacher,

as well as against them. Anyone can set

up a website – as anyone sadly, can set

INBOX

Your views22

Write to Lucy North, Editor, Libretto, with your views. [email protected] or send letters to Lucy North, Libretto, ABRSM, 24 Portland Place, London W1B 1LU, UK.

ABRSM responds

Through our work in India we areresponding to a demand which is alreadythere, and which is growing throughoutthe country. As a musician who has hadthe privilege of travelling to manydifferent countries I am always keen to experience the music of differentcultures. India has a rich, elaborate and expressive musical tradition, whichhas evolved over centuries into the twobranches of Carnatic and Hindustanimusic. ABRSM would never attempt topromote Western Classical music overand above India’s own musical traditions.We do not have the knowledge orresources to examine the traditionalmusic of any particular country. What we can do is support teachers andstudents who are already, or who wouldlike to be, involved in Western Classicalmusic. This is something that we doworldwide in our mission to promotemusic making at all levels.TIM ARNOLD, INTERNATIONAL

OPERATIONS DIRECTOR, ABRSM

22 Lib3-11 letters.qxd 17/8/11 12:49 Page 22

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Documents

Libretto - pt.abrsm.org fileCOVER STORY 8 A violin treat ABRSM’s Syllabus Manager, Robert Sargant, and a selection of violinists explore the new Violin syllabus FEATURES 7 Keeping