LIBRETTO. New courses for teachers Chief Examiner s report Music Medals update Helping the dyslexic pupil. Issue 2005:1

Transcription

1 libretto UK cover 21/12/04 3:07 am Page 1 LIBRETTO New courses for teachers Chief Examiner s report Music Medals update Helping the dyslexic pupil Issue 2005:1

2 Libretto_p02 07/12/04 01:06 Page 1 Contents Libretto 2005:1 3 Exams All about exams String seminars in Scotland New look for diplomas Early exams for UK and Ireland Chief Examiner s report Music Medals for electronic keyboard UCAS points reminder Music Medals availability 9 Features Climbing mountains: helping the dyslexic pupil Sheila Oglethorpe Music and dyslexia: the teaching-learning process Ros Carver 14 Professional development New courses, new opportunities Interested in the Certificate of Teaching? CT ABRSM in Hong Kong Jazz workshops 16 News Thinking local Spectrum performance first Professional development in Malta Jazz in America and Canada Island hopping Competition Talking to International Schools All change in New Zealand and South East Asia A warm welcome to colleagues from China Introducing our new consultant The diploma effect Spreading the word in Japan 22 Forum Your letters: sharing and learning New topic: the terrible teens The Associated Board of the Royal Schools of Music 24 Portland Place, London W1B 1LU, United Kingdom telephone abrsm@abrsm.ac.uk Registered Charity No by The Associated Board of the Royal Schools of Music All rights reserved. Unauthorised reproduction in whole or in part is prohibited without permission. Editor CGP Morris Assistant Editor Lucy North Insert & advertising sales Dominic Sewell telephone 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. Outlook National exams have had a pretty bad press in the UK in recent years. Both GCSE and A levels have been criticised for failing to identify the most able pupils; AS levels have been seen as superfluous; there have been serious allegations of inconsistent marking and, in the recently published Tomlinson Report, one specific objective is to devise a structure which reduces the exam burden. The contrast between this picture and the popularity of Associated Board exams is very striking. In 2004, our entries again moved strongly ahead to yet another record level of around 636,000 worldwide. And, unlike the national exams, the great majority of Associated Board candidates are entering or being entered outside compulsory school requirements. I make these comparisons not just to take pride in the quality of the Board s work but also to point out the very special nature of practical examination in a performing art. For each candidate the exam is a rare performance opportunity and it is their individuality, conveyed through their chosen medium or instrument, that is being displayed, appreciated and assessed. This point is always particularly brought home to me on my regular visits to South East Asia, where the Board deploys large teams of examiners, each of whom may well be continuously examining for six weeks or even more. I invariably find, as I did in Hong Kong in November, that examiners remain buoyant and fully engaged throughout these long spans of what might seem routine work. And the reason is simple: whatever the grade, whatever the standard, each new candidate to enter the room is an individual whose music making is their own unique performance. Those who deliver the Board s services are also great individualists and I would like to pay particular tribute to three of them who have given superb service in very different ways. The first is CC Choi, who acted as Secretary General of the Hong Kong Examinations and Assessment Authority for over 25 years. During this period, CC supervised the local administration and ensured the well-being of hundreds of thousands of Associated Board candidates in Hong Kong. We wish him the happiest of retirements and welcome his successor, Dr Peter Hill, who took over the reins last August. On page 18 you will find a tribute to David Goodyear who has been the Associated Board s Administrator in New Zealand for the past 19 years, showing complete dedication and remarkable versatility throughout that period. Again, we wish him and his wife Mary a hugely deserved and happy retirement, and warmly welcome his successor, Heather Gummer. On the same page you will read the final bulletin from Associated Board Consultant Bill Thomson who has provided extraordinary service to teachers and candidates in South East Asia over the past five years. We wish him and his wife Jean the greatest success in their future teaching careers and welcome David Young, whose appointment is also announced in this issue. As this issue of Libretto goes to press, the UK government has just announced a further 30 million for music education in 2007 and This is excellent news, all the more so because the funds will be aimed primarily at giving every primary school pupil the opportunity to learn a musical instrument. This is the first major commitment of funds by the government to honour the pledge which it originally made back in 2001 and is greatly to be welcomed. The challenge will be for Music Services to show what can be achieved with the extra funding so as to ensure that it is sustained in subsequent years. Richard Morris Chief Executive

3 lib UK text REV.qxd 20/12/04 12:04 pm Page 3 All about exams Philip Mundey, Director of Examinations, introduces the new edition of These Music Exams. These Music Exams has been a prominent feature of the Associated Board landscape for the best part of 25 years, encapsulating the spirit of the Board and providing advice and information about our philosophy and way of doing things. During this time it has undergone several revisions, bringing teachers, parents and candidates up to date with developments. These Music Exams 2005, written by the Chief Examiner, Clara Taylor, continues the tradition. Most importantly, These Music Exams gets to the heart of the matter by detailing the basis on which examiners examine. It contains those essential assessment statements and criteria tables that demonstrate exactly what is being looked for, and therefore what to expect, and how to prepare for success. The 2005 edition takes a step forward in providing additional guidance on how examiners mark the supporting tests in a graded exam. And for the first time an overview is provided of the approach taken by the Board s theory examiners, with an outline of the marking rationale and a glimpse of how some specific areas, including scale writing, are assessed. These Music Exams is the distillation of decades of examining wisdom, an indispensable item for examiner training, teacher guidance, candidate preparation and parental reassurance well worth a read! The new edition of These Music Exams is available free of charge from Associated Board representatives, music retailers and at String seminars in Scotland So far over 1,500 piano, cello and violin teachers around the UK have attended one of our seminars exploring repertoire from the new syllabuses. We have had wonderful feedback from teachers in Aberdeen, Bristol, Cambridge, Cardiff, Exeter, Glasgow, London and Manchester. Violin and cello teachers in Scotland still have a chance to come along to one of these popular and inspirational seminars. St Cecilia s Hall, Edinburgh, is the venue for a violin seminar on Saturday 29 January, with Penny Stirling and Charles Barnes, and a cello seminar on Sunday 13 February, with William Bruce. Each one-day seminar starts at 10.00am and finishes at 5.00pm and costs 35. For more information visit or contact Louise Cleverdon: t e seminars@abrsm.ac.uk EXAMS 3 New Violin Exam Music on CD The Associated Board of the Royal Schools of Music (Publishing) Limited Recordings of the complete violin exam syllabus performances of all pieces on the violin exam syllabus playalong practice tracks and complete performances of every piece performed by LSO members Carmine Lauri (violin) and John Alley (piano) Grades 1 to 5 Available now Grades 6 to 8 Available June 2005* *to receive updates on the progress of these titles, visit Available from music retailers worldwide 24 Portland Place London W1B 1LU United Kingdom tel +44 (0) publishing@abrsm.ac.uk

4 lib UK text REV.qxd 20/12/04 12:05 pm Page 4 4 EXAMS Available in DVD & VHS video formats New look for diplomas The revised Diploma Syllabus is now available. Although many of the requirements remain unchanged, the 2005 syllabus contains extensive additional guidance notes, expanded information on the assessment criteria and has been fully accredited by the Qualifications and Curriculum Authority (QCA), in England, and the corresponding authorities in Wales (ACCAC) and Northern Ireland (CCEA). One of the main changes to the syllabus format involves the way that information is presented, with each subject given a separate syllabus document. Directors, performers and teachers now have their own dedicated syllabuses containing all the information they need about requirements, prerequisites, substitutions and much more. The Associated Board s diplomas offer wonderful opportunities for musicians who want to develop their skills and understanding at a higher level whilst working towards a recognised and respected qualification. We hope that these new user-friendly syllabuses will provide encouragement and support for the many musicians who decide to pursue the challenge of taking an Associated Board diploma. To request or download a copy of the Diploma Syllabus from 2005 visit Syllabuses are also available from music retailers and Associated Board Representatives. Early exams for UK and Ireland The A Period exams will be early this year because of early Easter and school term dates. The closing date 14 January for postal entries and 21 January for UK online entries will be at the usual time but the exams will begin a week earlier, on 21 February. Teachers should note that they may receive slightly less notice of exam dates and so, as usual, it s a good idea to encourage candidates to be prepared for an early exam date. This is particularly important as Week 1 (21 26 February) falls immediately after the half-term holiday for many schools. Finally, if you are entering candidates for jazz exams at a public centre, remember that these exams always take place in Week 1 so it is essential to ensure that all jazz candidates are ready to take their exam at any point during this week. The Associated Board of the Royal Schools of Music (Publishing) Limited ACHIEVING SUCCESS Preparing for your Diploma in Music Performance An invaluable guide for anyone preparing for the Associated Board s Diploma in Music Performance DVD PAL DVD NTSC VHS PAL demonstrates the standards required at each diploma level DipABRSM, LRSM, and FRSM 33 performance extracts on piano, violin, clarinet, oboe and voice advice on how to make the exam day go smoothly, including choosing repertoire, writing programme notes and preparing for the Quick Study test and viva voce interviews with successful candidates and with a diploma examiner, offering tips on preparing for the exam and what the examiners will be looking for commentary by the Associated Board s Chief Examiner, Clara Taylor available in DVD and VHS video formats optional Chinese subtitles and Cantonese voice-over (DVD only) 92 minutes running time Available from music retailers worldwide 24 Portland Place London W1B 1LU United Kingdom tel +44 (0) publishing@abrsm.ac.uk

5 Libretto_p05 07/12/04 01:12 Page 1 Chief Examiner s report EXAMS 5 Clara Taylor, Chief Examiner, reflects on last year s exams highlighting some of the pitfalls of the exam room. I thought it might be helpful to draw attention to some situations which can cause problems during exams and which, with a little foresight and additional preparation, can easily be avoided. The scales re-player This candidate starts a scale and makes an error, then starts again, and again, and again. The examiner has no opportunity to say have another go or let s try another. Second attempts may well be allowed at the examiner s discretion but lots of continuous attempts at one item should be avoided. Candidate, plus instrument in case, plus coat, plus music The examiner s heart will sink if all this has to be dealt with before the playing can begin. Instruments should be out of their cases, and coats left in the waiting room. Oh dear, I ve left my glasses in the waiting room. It s surprising how often adults arrive in the exam room without the right glasses for playing and then have to go back to retrieve them. A last-minute check before the exam is helpful and saves embarrassment and confusion. The mobile phoner One examiner heard a Grade 6 trombone piece come to a halt as the candidate answered a call saying, in a resigned voice: Hello? Oh Dad, I m doing it NOW! Another candidate interrupted his sight-reading test, took an incoming call and then resumed afterwards. And yes the break in the pulse was mentioned on the mark form! Actually, I don t do scales. A number of candidates decline to play any scales or arpeggios, thus sacrificing possible marks for this element. Examiners will award marks for any attempt so it seems strange that some candidates are not prepared for this section. Sad scales syndrome It s always disappointing when accomplished pieces are followed by poor technical requirements. There is a commonly, and erroneously, held view that brass players are notorious for this inconsistency of preparation, but other subjects suffer equally from the polished pieces- sad scales syndrome. The mispronouncing singer We obviously sympathise if a singer is unsure of foreign song titles but when the examiner is trying to find songs in the extremely long syllabus it can cause problems. All singers are asked to write their programme on a piece of paper for the examiner. This should include the list and number, for example A3, followed by the title. Accompaniment odds and ends Accompanying teachers sometimes mouth the words of the songs to singing candidates (probably quite unconsciously) but memory is part of the test. In general, it s wise for accompanists to keep an ear open for their own volume level as, in the heat of the moment, the intended musical encouragement can overwhelm the solo line. Sometimes we are asked if the teacher rather than the examiner may accompany Prep Test candidates. Of course they can, and this is likely to be reassuringly familiar for the candidate taking his or her first musical assessment. And finally Just a reminder that examiners are not allowed to page-turn or to tune instruments. This may sound a daunting list of please don ts but perhaps a glimpse of the view from behind the examiner s desk will help to ease the way for everyone. Above all, do be assured that whatever unforeseen events may arise, the examiners are ready for anything and will always mark in accordance with the criteria for assessment. Overall, 2004 saw a reassuring continuance in standards with the average mark for all grades remaining stable at 117. For piano teachers it will come as no surprise that Peter Gritton s Creepy Crawly was one of the most commonly played piano pieces and, looking forward, the new piano syllabus contains similar pops, which examiners are sure to be hearing frequently in the year ahead. We are all looking forward to hearing new pieces during 2005 and hope that candidates will come to their exams knowing they will be warmly welcomed.

6 Libretto_p06 07/12/04 01:17 Page 1 6 EXAMS Music Medals for electronic keyboard Nigel Scaife, Syllabus Principal, reveals plans for the development of Music Medals for electronic keyboard and explains how you could contribute. Piano seminars in Ireland 19 February Dublin 20 February Limerick For details: t e seminars@abrsm.ac.uk The development of Music Medals for portable electronic keyboard represents a fascinating challenge, particularly as so many facets of the instrument are different from western art music instruments for want of a better term. Over the last few years, electronic keyboards have become increasingly sophisticated and popular. They are relatively inexpensive, take up little space and can be played silently using headphones but their popularity is, perhaps, primarily due to the fact that they are able to recreate a wide range of popular styles, using the auto-accompaniment feature. This means that children can access the pop music they enjoy while adults can play songs they have known and loved for years that might be less appealing to the younger generation. Sometimes the electronic keyboard is mistakenly taught along similar lines to the piano, without a proper consideration of its qualities as an expressive musical instrument in its own right. This can be reinforced by parents who think of it as a budget alternative to a piano even though it is an entirely unsatisfactory practice instrument for pianists, especially given the differences in touch and action (the digital piano is a far better alternative). Unfortunately some piano teachers fall into the trap of denouncing the keyboard as a poor relation of the piano, overlooking its inherent strengths, particularly in terms of the timbral possibilities it opens up. Keyboard teachers tend to emphasise the creative aspects of music-making in their approach. Many class music teachers find the keyboard a useful tool when teaching aspects of composition, although pupils without a basic technique will struggle to maximise the possibilities it offers. More advanced pupils are likely to want to develop their skills with technology, using their keyboard ability to good effect when they work with sequencers and other music technology. An invitation to contribute There are relatively few widely-used tutor and method books for electronic keyboard, and there is a dearth of good quality ensemble music. Because of this, many teachers use their own teaching material. To support Music Medals for keyboard, we are planning to publish books of ensemble pieces for each of the five medals copper, bronze, silver, gold and platinum. These will contain duets, trios and quartets for players from the earliest stages of learning to about Grade 4 standard. If you are a teacher who has written ensemble music for your keyboard groups and would like to be considered as a possible contributor to the development of our Music Medals materials, please send in a small sample of your music (perhaps two contrasting duets, trios or quartets). We will then share them with our specialist consultants, with a view to possibly commissioning new pieces that work at specific Music Medal levels. In developing Music Medals for keyboard the Associated Board is setting out for the first time to define a series of benchmarks for an instrument that is now an established feature of our musical landscape. I very much hope that we can collaborate with group teachers to ensure that we make the most of this unique opportunity to make a difference to the learning and teaching of electronic keyboard. Samples of ensemble music for electronic keyboard should be sent to Nigel Scaife: e nscaife@abrsm.ac.uk The Associated Board 24 Portland Place London W1B 1LU We cannot acknowledge receipt of music samples sent by post and samples will only be returned if a stamped addressed envelope is provided. UCAS points reminder For teachers with more advanced pupils it s worth remembering that Grades 6, 7 and 8 are now awarded points under the UCAS Tariff. UCAS the Universities and Colleges Admissions Service processes applications for undergraduate courses at universities and colleges in the UK. The availability of UCAS points is an added bonus for young musicians applying for university or college places and can help to motivate pupils who might otherwise give up their musical learning. More information is available at or at the UCAS website: Alternatively contact Lucy North: t e lnorth@abrsm.ac.uk

7 lib UK text REV.qxd 20/12/04 12:06 pm Page 7 Music Medals availability EXAMS 7 Music Medals are now up and running with pupils taking assessments around the UK. But here at Portland Place we are still hard at work developing Music Medals so that we can offer assessments for additional instruments and provide even more new ensemble repertoire. Group-taught pupils of registered Teacher- Assessors can now take Music Medals assessments in the following instruments: Woodwind Flute, clarinet, descant recorder, saxophone Strings Violin, viola, cello, guitar Brass Trumpet, cornet, flugelhorn, E flat horn, French horn, baritone*, trombone*, euphonium*, E flat tuba* * treble and bass clef Options Practice Books and Ensemble Repertoire Lists are available for all the instruments listed above, providing everything you need to prepare for and take a Music Medal. Oboe and bassoon will be added to the list in 2005 and further instruments will then be introduced on an ongoing basis. In addition, books of newly-commissioned Ensemble Pieces are now available for flute, clarinet, violin, guitar and brass instruments, with the brass volume including pieces suitable for trumpet, cornet, flugelhorn, E flat horn and French horn, and for treble clef readers of the euphonium, E flat tuba and baritone. Books of Ensemble Pieces for saxophone and descant and treble recorder are due for publication in 2005 and other volumes are currently under development. Music Medals assessments for pupils taught in groups are initially available via Music Services in the UK. For more information about assessments and publications visit or contact the Music Medals office: t e musicmedals@abrsm.ac.uk MUSIC MEDALS FOR GUITAR now available a wealth of newly commissioned materials for guitar group-teaching original ensemble pieces for guitar in a wide variety of styles suitable for mixed-ability groups practice material for Music Medals options Also available for Music Medals: Ensemble pieces for Violin, Flute, Clarinet and Brass instruments Options Practice books for Violin, Viola, Cello, Recorder, Flute, Clarinet, Saxophone and Brass instruments

8 lib UK text REV.qxd 20/12/04 12:07 pm Page 8 The Associated Board of the Royal Schools of Music (Publishing) Limited Violin,Viola and Cello A wealth of repertoire selected for current Associated Board syllabuses Violin Baroque Violin Pieces Book 2 (Grade 4) Eighteenth-Century Violin Sonatas Book 2 (Grade 7) Starters for Violin (Grade 1) The Well-Tuned Fiddle Book 1 (Grade 1) The Well-Tuned Fiddle Book 2 (Grade 5) A Sketchbook for Violin (Grade 4) Baroque Violin Pieces Book 2 18th-Century Violin Sonatas Book 2 Viola Time Pieces for Viola Vol 1 (Grades 1, 2 & 3) Time Pieces for Viola Vol 2 (Grades 4 & 5) Starters for Viola (Grades 1, 2 & 3) New Pieces for Viola Book 1 (Grade 3) Seven Miniatures (Stephen Dodgson) (Grade 4) Time Pieces for Viola Volumes 1 & 2 Starters for Viola with CD Cello Spectrum for Cello (Grades 1, 3, 4, 5, 6 & 7) Time Pieces for Cello Vol 1 (Grades 1 & 2) Time Pieces for Cello Vol 2 (Grades 2 & 3) Time Pieces for Cello Vol 3 (Grades 3, 4 & 5) Party Time! (Grade 1) Starters for Cello (Grade 1) A Sketchbook for Cello (Grade 2) Spectrum for Cello Time Pieces for Cello Volumes 1, 2 & 3 Available from music retailers worldwide All volumes listed contain pieces on current Associated Board syllabuses, as indicated in brackets 24 Portland Place London W1B 1LU United Kingdom publishing@abrsm.ac.uk

9 Libretto_p09 07/12/04 01:26 Page 1 Climbing mountains: helping the dyslexic pupil Sheila Oglethorpe Sheila Oglethorpe studied at the Royal Academy of Music and has taught class music as well as piano, cello and singing, the latter both privately and in schools. Sheila is a member of the British Dyslexia Association s music committee and is the dyslexia/music consultant at Salisbury Cathedral School. She is author of the book Instrumental Music for Dyslexics: A Teaching Handbook (Whurr) and is a guest lecturer on the Associated Board s Certificate of Teaching course. FEATURES 9 There are two questions that are frequently asked about dyslexia. The first is Does it affect reading music as well as reading words? and the second is Can learning a musical instrument cure dyslexia? Both of these questions spring from an understandable ignorance of what dyslexia actually is. Understandable because until the latter half of the twentieth century very little clinical research had been done into the dyslexia phenomenon, although the word dyslexia was first used as an alternative to word blindness by the German ophthalmologist Rudolf Berlin in As literacy for everyone became more and more important so the way that children were taught came under examination. It was recognised that some children needed specific help with learning to read, so teaching methods came under the microscope and so also began a huge flowering of research, which is still going on, into the nature and causes of dyslexia. We are much nearer knowing the answers to the multitude of questions it poses, but a clear cut definition and the reason for dyslexia s existence now undoubted are still elusive. What we do know is that it is far more than merely a literacy problem. It is a constitutional, neurological problem, probably inherited (but no gene has been definitely isolated) and it is known throughout the world. So the answer to the question Does dyslexia affect reading music as well as reading words? is certainly Yes and the answer to the second question Can learning a musical instrument cure dyslexia? is certainly, sadly, No. Music can help alleviate some of the difficulties which are caused by dyslexia but the dyslexic brain, as far as we know after 50 or more years of research, remains dyslexic. This is not to say that strategies for overcoming specific difficulties cannot be found. It must be the job of every teacher of a dyslexic pupil to work out with the pupil how to overcome the hurdles he or she finds in the way. It has been said that for a dyslexic it is like running an obstacle race while everyone else is running a flat race. Another, a successful business woman, exhausted by wading upstream throughout life wrote that what is wanted is not sympathy but real answers to very real problems. We instrumental music teachers of dyslexic pupils may be severely challenged. Few of us may have had the training to equip us to teach dyslexic children, nor may we immediately recognise that the pupil we have in front of us is, in fact, in need of specific help; but once that has been recognised we become aware that we are in a wonderful and enormously privileged position to build confidence and self-esteem and to help our pupil reach heights that were probably always thought of as for other people. In addition, we find that teaching a dyslexic pupil opens doors for us which we never dreamed were there. It sharpens our imagination and the effect of this rubs off when teaching all our pupils. Every little success is a triumph and big successes, when they come, are thrilling because we know how hardly they were won. Teaching a dyslexic pupil opens doors for us which we never dreamed were there It is easy to be daunted by the long list of possible difficulties that a dyslexic, and therefore we as the teacher, may face. In order to be effective, we have to be open to the idea of standing in our pupil s shoes. He or she cannot stand in our shoes or go the way we went when we were learning: our pupil s brain functions differently. We have to learn what it is like to face the kind of difficulties faced by our pupil. We have to study strengths and weaknesses so that we can teach to those strengths and avoid challenging the weaknesses. However, take heart all dyslexics are different, not only from non-dyslexics but also from each other. Some will be severely dyslexic, some only mildly so but above all they are never boring! So what are the specific difficulties? I believe that a poor short term memory is responsible for many problems: the anxiety dyslexics often suffer, the disorganisation which makes life difficult not only for themselves but for others, the often chronic lack of self-esteem, and the anger and frustration they feel at their inability to access the brain for the information that they know is really there. Dyslexics also often have a problem with sequencing, for example the days of the week, the letters of the alphabet and times tables. This may have an impact in several ways on learning to play a musical instrument, such as when playing scales and arpeggios and remembering key signatures.

10 Libretto_p10 07/12/04 01:29 Page 1 10 FEATURES Copying music If copying copyright music you must ensure that you comply with The Code of Fair Practice published by the Music Publishers Association if in doubt please refer to The very best way of helping a pupil to remember things is to teach using multisensory techniques. This can be done in innumerable different ways: Use a stave drawn on the floor (with masking tape) to help your pupil learn the significance of the lines and spaces, scale passages and chord shapes by stepping or jumping around on it. It is a physically interactive way of learning the names of the notes and can be used to introduce the linear shape of a tune. Use a metal tray and magnets. Place drawings of the score or the instrument on the tray. The magnets, representing notes or fingers, will work just as well through the paper and they can be shifted around with ease to explain all sorts of things. Make sure that your pupil really internalises the music use recordings and singing. Use the Kodály and Dalcroze methods. Make or buy tactile aids that represent the lengths of sounds your pupil needs to be able to feel the length of a semibreve and compare it with a tiny semiquaver. Make repetition interesting and fun. Avoid both challenging a failure to remember something will send self-esteem on a downward slope and overloading stick to one thing at a time. For some, music is not perceived in a linear way at all Further information about dyslexia is available from: The British Dyslexia Association 98 London Road Reading RG1 5AU t The Dyslexia Institute Park House Wick Road Egham TW20 0HH t There are other areas besides memory that can cause difficulties for a dyslexic. I think it helps to break the problem down if they are categorised according to the senses but, in reality, it is not as cut and dried as that and all categories overlap. The visual area Focusing on the score is hard. It could be that for some dyslexics the notes seem to jiggle about. There are too many of them and they are too small. Parallel lines confuse. There is a glare from the white paper (often made worse by a strip light above). There is too much information altogether and no comforting high-frequency words, as there usually are when reading sentences. Most dyslexics can be taught to read words, partly because the motivation is so compelling, but the dyslexic view may be that it is possible to enjoy and play music without learning to read the score. For some it may seem to be almost an irrelevance. An aversion to the score, coupled with the demands of the pulse beat, is what makes reading at sight so extremely difficult for most dyslexics. Somehow it has to be made more personal so that your pupil can relate to it; it has to become the pupil s score. Ideas for helping If you are teaching from the score, and not from memory, here are some examples of things that can be done, but you will need advice from your pupil as to what would be best. Enlarge and simplify where possible. Copy music on to tinted paper or cover with a sheet of coloured acetate. Colour (highlighters, adhesive stickers, post-it labels etc) can be used in all sorts of ways but always leave the choice of colour to the pupil. Have plenty of copies of the score so that when it is doctored in some way there is a fresh copy to go back to. Use a frame to draw attention to what is under discussion and to eliminate any unnecessary visual disturbance. Slide the score into a plastic envelope and let the pupil use OHP pens to trace things that need highlighting, such as recurring patterns or harmonies. Let your pupil decide what will be helpful so that he or she is in control. The auditory area In this area it may be more a question of how the pupil hears music. For some, music is not perceived in a linear way at all and priorities are more to do with timbre, harmony, sound patterns, shapes and images. The words up and down may not relate to pitch in the way they do to non-dyslexics. Letter names may not have acquired any character and their relationship to each other may not have been established. For other dyslexics the physiological element of the way that the sound is heard and how it connects with the brain may be the main problem. Ideas for helping Discuss with your pupil how he or she thinks of sound so that you can talk about music on his or her own terms. One pupil of mine thought of sound in terms of light and dark. Try to equate high or low sounds with how they feel when they are sung. Be sensitive to the possibility that your pupil s ears may not be functioning with perfect synchronicity. Avoid using letter names if these are not strictly necessary they may be a barrier between you and your pupil. Try suggesting that your pupil closes one ear. Pitch and rhythm are largely processed on different sides of the brain.

11 Libretto_p11 07/12/04 01:31 Page 1 FEATURES 11 The kinaesthetic area This area is often where dyslexics excel, particularly when long-term memory is involved, but if the dyslexic has a degree of dyspraxia, as is sometimes the case, it is very important to train the fingers and/or limbs very methodically. This will involve careful attention to fingering but your pupil may be struggling with trying to remember what is left and what is right, or even how the fingers are numbered in our terms. The perception of left and right is one with which many dyslexics have a problem, sometimes for life. Ideas for helping Warm up with clapping or tapping exercises to encourage the independence of the hands. Suggest that your pupil closes his or her eyes and feels what the fingers have to do. Encourage blind practice and exaggerated finger and arm movements. Encourage a mental picture of the geography of the instrument. Be aware that your pupil may not think of fingers in terms of numbers. There may be a better way, for your pupil, of notating fingers. Conclusion Some of the fascination of teaching a dyslexic lies in going hand-in-hand with someone whose mind works so differently from our own. Systematic teaching is of the first importance but bear in mind that a dyslexic can sometimes draw parallels and make leaps of understanding which most of us would never have thought of. The danger for us is in assuming that because a pupil has understood one thing with apparent ease he or she will be able to follow it up logically with the next step. Dyslexics are used to climbing mountains they have done it all their lives. A characteristic that has often been observed among them is the determination to succeed and the ability to find strategies to compensate for their difficulties. I believe that there are very few things that a dyslexic will not eventually be able to do if the motivation is there. It is our privilege to help. Dyslexics are used to climbing mountains they have done it all their lives Music and dyslexia: the teaching-learning process Ros Carver Ros Carver holds a Master s degree in Psychology from the University of Bristol and the ARCM in oboe teaching. She teaches the two subjects in schools and private practice. We remember best the start and end of an activity Many teachers will have encountered a bright, musical and motivated pupil who is not progressing as expected. There are many possible reasons for this, one of them being that the pupil might be dyslexic. A dyslexic pupil is not a slow learner in the ordinary sense even though progress may be impeded but lack of expected progress is, however, usually the first sign that something might be wrong. Here are some of the areas where problems might occur, together with ideas for coping with them. Short-term memory Present material (aurally or visually) in short sections. When teaching a pupil to remember a phrase, the usual good practice of starting with a small phrase and building gradually to longer ones pays dividends. We remember best the start and end of an activity (primacy and recency effects). This means that the start of the lesson should be planned with care, and the start-up material should be repeated during and at the end of the lesson.

12 Libretto_p12 07/12/04 01:32 Page 1 12 FEATURES Information for dyslexic candidates The Associated Board aims to provide opportunities for all candidates. Guidelines outlining the Associated Board s policy for dyslexic candidates are available at exams/specialneeds or from the Director of Examinations Department: t Reading music For many dyslexics, reading the written word is a skill that develops only slowly. Music uses a completely different written language and one in which many of the signs have more than one function. Take the simplest symbol, the line. It can be used vertically or horizontally, it can be long or short, straight or curved, have meaning on its own or in combination with another symbol. For those with visual discrimination problems, reading music, with its associated signs and symbols, may always present problems. Enlarging music, making spaces bigger and signs and symbols more distinct, can be useful and copying music on to coloured paper may help those who find the contrast of black on white too great. Younger pupils love to be different if it means that they get something bigger and more colourful, but older ones may feel rather selfconscious when their music is oversized, so exercise tact. Personalising the music in any way is an aid to reading and to memory. For instance, making a catchy mnemonic for remembering the names of lines and spaces (not a new trick!) and giving colours to C and G or the different beats in a bar. A visual map of a whole piece, with colour and images to remind the pupil of repeating patterns or emotional climaxes, highlights things that could otherwise be overlooked. These activities are fun and encourage pupils to use their imaginations. Many of the advantages of group lessons suit pupils of any learning style Other ways to access music Although reading is a time-honoured, and usually efficient, way for us to access music, progress in music education towards the inclusion of jazz, popular music and world music has led to a rethink of the emphasis on learning to read. We now also have a range of ICT (information and communication technology) to help expand horizons. Try to adopt a variety of approaches: using notated music, playing by ear and from memory, and improvisation. This enriches the life of all musicians and is an essential diet for dyslexics. Direction There are many contradictions here from the viewpoint of a dyslexic musician. We talk about notes moving up or down in pitch but on the piano or flute, for example, this means a sideways movement. On the violin the movement is towards or away from the face and on the cello the pitch goes up as the fingers move nearer the floor. The pupil who finds it difficult to follow instructions that talk about the music in terms of notes going up and down may also find it hard to grasp concepts that involve right and left. We tend to connect the words right and left with parts of the body and direction of movement, but for dyslexics this may be confusing and it is best to find other ways to describe them. Difficulties can sometimes be eased by emphasising the association between sound and action a multisensory approach. Group teaching In an individual lesson of sufficient length it is possible to use time-consuming methods individually tailored to the pupil. However, with a growing trend towards shared lessons for beginner pupils we need to develop strategies that are flexible and include differentiation. The skill of the teacher in guiding a disparate group along a fruitful and enjoyable path lies in identifying the strengths and weaknesses of the members of the group and planning carefully to ensure that they are all provided for. Many of the advantages of group lessons sharing an enjoyable activity with friends, providing mutual support and encouragement, and having a common activity to talk about outside lessons suit pupils of any learning style. Raised self-esteem is also a good spin-off. Multisensory teaching is an effective way of helping dyslexic pupils and a group instrumental lesson naturally uses a multisensory approach, as it involves pupils learning from interaction in terms of body language and listening to each other. Two of the essential ingredients for progress for the dyslexic musician a clear learning structure and the identification of short-term attainable targets are fundamental to group teaching and are well provided for in the Associated Board s new Music Medals programme, specifically catering for pupils taught in groups. This brief look at a common problem is by no means exhaustive but I do hope readers will be enthused to draw out the best that their young musicians can offer.

13 lib UK text REV.qxd 20/12/04 12:13 pm Page 13 Guide to theory publications The Associated Board of the Royal Schools of Music (Publishing) Limited First Steps in Music Theory an introduction to essential elements of music numerous music examples step-by-step presentation of the basic facts of music theory The AB Guide to Music Theory Parts I & II describes how music is notated clarifies musical signs, symbols and technical words explains elements of harmony Music Theory in Practice Grades 1 8, one volume per grade provides a sound foundation for understanding music theory Grades 1 5 available in Chinese and Spanish; Grades 1 2 available in Swedish Theory Workbooks Grades 6, 7 and 8, one volume per grade provides a practical guide to higher grade AB theory exams focuses precisely on the skills and knowledge needed for each grade Harmony in Practice Workbook with separate Answer Book explores the main elements of tonal harmony prepares for AB Grades 6, 7 & 8 theory exams, A level music, diploma, university and college entrance papers Past Theory Papers Grades 1 8 one volume per grade per year four papers in each volume five years past papers available excellent preparation material for theory exams Grade Format by grade by subject Reference Books Exercises (Part 1) 6 8 (Part 2) Portland Place London W1B 1LU United Kingdom publishing@abrsm.ac.uk

14 Libretto_p14 07/12/04 01:38 Page 1 14 PROFESSIONAL DEVELOPMENT New courses, new opportunities Over the last 18 months we have been carrying out extensive research into the professional development needs of instrumental and singing teachers in the UK. The result of this research will be a new range of courses available from September this year. These courses will form just the beginning of an ongoing professional development programme available from the Associated Board. Two of the new courses on offer will be aimed at musicians who have either just started thinking about a teaching career or who have been teaching for less than one year. The first, An Introduction to Instrumental and Singing Teaching, will be a one-day workshop for musicians who would like to find out more about teaching and will include advice on how to set up a successful teaching practice. The second, Teaching Music Effectively, will be a four-day course for teachers with less than one year s experience who would like to meet fellow teachers, exchange ideas about teaching and learning, and work with experts on issues crucial to those at the beginning of an instrumental or vocal teaching career. Both these courses are in addition to our existing Certificate of Teaching course, the CT ABRSM. Your guide to professional development A new guide will be available from February outlining all the professional development courses on offer from the Associated Board. The guide will include information about the following professional development opportunities: An Introduction to Instrumental and Singing Teaching Teaching Music Effectively CT ABRSM One Year Part Time Course CT ABRSM Fast Track Residential Course Short courses, including jazz workshops Teacher support seminars INSET provision for Music Services and schools Courses in international centres Professional Development Taster Mornings We will also be holding Professional Development Taster Mornings (listed below) giving teachers an opportunity to find out, in person, about the courses on offer. 7 May Bristol, London, Manchester 14 May Oxford 11 June Edinburgh, Sheffield 25 June Exeter You can register for a copy of the Guide to Professional Development and for information about Taster Mornings at and if you register online before the end of March you will qualify to receive our bulletin, Ten Teaching Tips. This is a series of specially-commissioned bulletins written by experienced teachers and educators and giving helpful advice on various teaching issues. Further information about the new courses and the Taster Mornings is also available from Beth Walthew: t e bwalthew@abrsm.ac.uk Interested in the Certificate of Teaching? CELEBRATI NG C T 10 years A B R S M The Associated Board s Certificate of Teaching (CT ABRSM) course is currently in its tenth successful year and over 1,700 teachers worldwide have now completed the course. The CT ABRSM has been pivotal for many teachers, opening their eyes to new ideas, providing opportunities to network with other teachers, and, most importantly, allowing them to reinvigorate their own teaching practice. The course is suitable for all instrumental and vocal teachers, whether teaching in a school, as part of a Music Service or at home. The course is available in two formats: the CT ABRSM One Year Part Time Course (October 2005 July 2006) and the CT ABRSM Fast Track Residential Course (February July 2006). CT ABRSM Open Mornings We will be holding a series of Open Mornings at CT ABRSM centres so that you can find out just what it s like to be on the course. Open Mornings take place during the third weekend of the current course, so you get first hand experience of being a CT ABRSM student. You will be able to take part in interactive professional development sessions, much like those on the course, and meet Course Leaders, mentors and students. 6 March The Red Maids School Bristol 13 March St Paul s Girls School Hammersmith, London 20 March Radley College Oxfordshire 10 April Royal Northern College of Music Manchester All Open Mornings start at 10.00am and finish at 1.00pm and cost per person. The closing date for applications is 1 March. Places are limited so do book early. To find out more and to request or download a booking form visit or contact Beth Walthew: t e bwalthew@abrsm.ac.uk

15 Libretto_p15 07/12/04 01:40 Page 1 CT ABRSM in Hong Kong PROFESSIONAL DEVELOPMENT 15 Successful CT ABRSM students from the Hong Kong course, with Richard Crozier and CT ABRSM mentors and Course Leaders. The sixth year of the CT ABRSM course in Hong Kong is in full swing. One of the highlights of the course so far has been a session introducing teachers to Dalcroze Eurhythmics. Penny Stirling, former Director of the Junior Strings Project at the Royal Northern College of Music and an experienced CT ABRSM Course Leader and mentor, was in Hong Kong to lead this session. As we wish the current CT ABRSM students good luck with their course, we offer our congratulations to successful students from the course. Richard Crozier, Director of Professional Development, joined Course Leaders and mentors at the awards ceremony last year, where teachers proudly received their Certificates of Teaching. Free Open Morning Are you a teacher in Hong Kong and thinking about your professional development options? The next CT ABRSM course in Hong Kong starts in June this year. To find out whether this is the course for you, why not come along to a free Open Morning? Taking place at the University of Hong Kong on 7 April, this is an ideal opportunity to find out what the CT ABRSM course involves, and to meet the Course Leader, mentors and current students. For more information about the Open Morning and about the CT ABRSM course in general, please contact our Course Administrators in Hong Kong: Dorcas Wong t e docwhk@netvigator.com Petina Law t e gw1@netvigator.com Information is also available at Jazz workshops This is the first workshop on improvisation where all aspects were clearly explained at a level that I could understand. Thank you! Workshop participant, 2004 Need help with jazz and improvisation? Not sure how to bring jazz and improvising into your teaching? As a follow up to the popular Teach to Reach Jazz Grade 1 workshops that we ran in 2004, we are pleased to offer new workshops for Teach to Reach Jazz Grades 1 3 Piano Clarinet, saxophone, trumpet and trombone These workshops are perfect for teachers with little or no experience in improvisation. Working with experienced musicians and workshop leaders, you will be shown how to take improvisation into your teaching, adding a new dimension to your work. The day will also provide a broad introduction to the structure, form and content of the Associated Board s jazz publications. By the end of the workshop you will have explored jazz at Grades 1 to 3 and will have the confidence and resources to begin teaching jazz at these levels. Teach to Reach Jazz Grades 4 & 5 Piano Clarinet, saxophone, trumpet and trombone Designed for teachers with some experience of playing and teaching jazz, these workshops are an ideal next step for those who have attended a Teach to Reach Jazz Grade 1 workshop or one of our jazz piano workshops. Workshops will focus on tunes at Grades 4 and 5 and look at ways to teach jazz techniques to intermediate players. Jazz workshops will be taking place between April and July at venues across the UK including Edinburgh, Leeds, London and Manchester. All workshops run from 10.00am to 4.00pm and cost 50, including lunch and refreshments. Further information is available at Alternatively, contact Vicki Wright: t e vwright@abrsm.ac.uk Jazz INSET One-day and half-day jazz workshops can be arranged for Music Services, and other organisations, for a minimum of 15 teachers. To receive your INSET pack and to read what Heads of Music Services have said about our workshops, contact Vicki Wright, as above.

16 lib UK text REV.qxd 20/12/04 10:40 am Page NEWS Thinking local Spectrum performance first New Honorary Local Representatives Aberdeen Judith Baker t Bedford Rupert and Jenny Brown t Blackburn (Theory) Paul Greenhalgh t Bournemouth Janet Allen t Bristol (Practical) Nigel Guzek t Edinburgh (Practical) Sheila Boyes t Edinburgh (Theory) Valerie Akhtar t Harpenden Caroline Marriott t Hereford Fiona Field t Horsham Geoffrey Lunn t Lichfield Karen Caddy t Orkney Gemma McGregor t Plymouth Victoria van der Vliet t m Ringwood Pauline Boyer t Tunbridge Wells Veronica Austin t What s the best way to welcome candidates to exam centres? How does the Associated Board support candidates with special needs? How can HLRs help local teachers? What does the Associated Board s website offer? What are young musicians debating on the online Students Forum? These were just some of the topics covered in lively and constructive group sessions at last year s regional seminars for Honorary Local Representatives (HLRs). The HLR for each exam centre plays an essential role in making sure that everything goes smoothly for candidates, whatever circumstances may arise. During the course of nine regional events HLRs met Penny Milsom, Head of UK and Ireland Exam Administration, Lynne Butler, Teacher Support Consultant, and other key Associated Board staff, to engage in discussions, receive up-to-date information, and share thoughts and ideas concerning the practical details of running exam centres. Gathering together so many of those who are at the heart of the Associated Board s work confirmed once again the considerable dedication and experience of our HLRs. As usual, these seminars saw a wealth of ideas, tips and comments exchanged, ensuring that the combined expertise of our HLRs can continue to benefit all those who use Associated Board exams. HLRs are listed in the Exam Regulations and Information booklet, UK and Ireland Edition, and at Pianists from Chetham's School of Music with, from left to right, Leslie East, Clara Taylor, Richard Morris and Thalia Myers. Professional development in Malta Each year the Associated Board organises a professional development event in an international centre, which is funded by the Centenary Travel Grant Scheme. Established in 1989 to mark 100 years of Associated Board exams, the scheme allows us to provide teachers around the world with professional development opportunities at a subsidised rate. In 2004 the Travel Grant Scheme funded a successful residential course in Malta. The course, which took place on Jazz in America and Canada Once again, January saw the Associated Board exhibiting at the conference of the International Association for Jazz Education (IAJE), this year in Long Beach, California. We are also looking forward to the first jazz exams in Canada and the USA this April with candidates preparing now for assessments in Manitoba and New York. Interest in the Spectrum series has spread around the world and the instigator of the series, Thalia Myers, has now given masterclasses and recitals in places as far afield as Cape Town, Chicago, Kuwait and Malmö. One of the more extraordinary recent events was a complete performance of all 75 piano pieces by students of Chetham s School of Music in Manchester on 18 October The concert, organised by Head of Keyboard Studies Murray McLachlan and piano teacher Peter Lawson, featured 58 of the school s 63 first-study pianists, aged from ten to eighteen. Lasting three and a half hours with two breaks, the concert demonstrated the rich variety of style evident in the Spectrum books as well as the great pool of talent within the school. The concert was attended by a number of Associated Board staff including Richard Morris, Chief Executive, Clara Taylor, Chief Examiner, and Leslie East, Director of Publishing. 19 and 20 November, was attended by teachers from the UK and the Netherlands as well as from Malta. Our presenters Ian Smith, Ross Campbell and Peter Noke provided a varied programme including sessions on repertoire, stylistics and improvisation, and a piano, violin and voice recital. Our thanks to Maria Conrad, the Representative for Malta, for her help in making this event such a success. For more information about jazz exams in Manitoba and New York please contact our Jazz Co-ordinators: Canada: Manitoba Brent Campbell e campbell.brent@portal.brandonsd.mb.ca t USA: New York Sue Terry e abrsmjazz@earthlink.net t

17 lib UK text REV.qxd 13/12/04 5:07 pm Page 17 Island hopping Competition NEWS 17 In November Tim Arnold, Head of International Operations, and Ben Selby, Marketing Manager for ABRSM Publishing, visited the West Indies. The trip began in Barbados where Tim chaired a conference bringing together Associated Board Representatives from Anguilla, Antigua, the Bahamas, Barbados, the British Virgin Islands, Jamaica, St Kitts and St Lucia. All those attending agreed that this had been a most worthwhile event. While in Barbados Tim also presented a teachers seminar at the Police Band Auditorium, exploring style in teaching. Many thanks to Milton Inniss, our Representative in Barbados, whose excellent organisation ensured that the conference and seminar were such a great success. From Barbados Tim travelled to Trinidad, Antigua, Jamaica and the Bahamas. In each country he met the Minister of Education and key music educators and hosted further seminars for teachers. Tim said, Visiting these wonderfully diverse islands has been most exciting. It has been a pleasure to meet so many teachers and Representatives who have such a strong commitment to the work of the Associated Board in the region. Talking to International Schools The Associated Board again exhibited at the annual conference of the European Council of International Schools (ECIS) in Nice, France, in November. Over 3,000 teachers from a range of International Schools attended this important annual gathering at which Giles Morris, Head of Corporate Marketing, and Louise Tivendale, International Marketing Executive, were on hand to provide information and to answer questions about the latest syllabuses and publications from the Associated Board. Win one of five copies of Music in Words, the guide to researching and writing about music, by answering the following questions: For which Associated Board exams is Music in Words recommended as a useful resource? From which date is the revised Diploma Syllabus valid? Send your answers on a postcard, giving your name and address, to: ABRSM Publishing 24 Portland Place London W1B 1LU United Kingdom You can also enter by competition@abrsm.ac.uk The closing date for entries is 1 April. Winners In the last competition we asked which Latin term describes an oral exam and for which diploma subject does the new DVD and video Achieving Success help you prepare. The answers are: viva voce and Music Performance. Congratulations to the winners who each receive a copy of Achieving Success. Rea Deliyianni, Strovolos, Cyprus Adi Nugroho, Rungkut Surabaya, Indonesia Jennifer J Kerr, Fife, UK Wendy Skidmore, London, UK M Sotnik, Huddersfield, UK New Honorary Local Representatives Watford (Practical) Sally Nicols t Watford (Theory) Dilys Eddowes t Weymouth Marilyn Mackenzie t Whitby Barbara Anderson t High Scorers Concerts 1 February Chippenham, UK 11 February Paignton, UK The AB Guide to Music Theory Available from music retailers worldwide 24 Portland Place London W1B 1LU United Kingdom publishing@abrsm.ac.uk essential reading for Associated Board theory exams, Grades 1 to 5 describes how music is notated explains music signs, symbols, technical words and elements of harmony Disponible ahora en ESPAÑOL! lectura esencial para la preparación de los exámenes teóricos del Associated Board - Grados 1 al 5 describe cómo se escribe la música explica signos y símbolos musicales, palabras técnicas y elementos de armonía The Associated Board of the Royal Schools of Music (Publishing) Limited Guía AB de la teoría musical

18 Libretto_p18 07/12/04 01:48 Page 1 18 NEWS All change in New Zealand and South East Asia As the new year begins teachers in New Zealand and South East Asia will be saying goodbye to two Associated Board Representatives. Here Tim Arnold, Head of International Operations, pays tribute to David Goodyear in New Zealand, and Bill Thomson, our departing South East Asia Regional Consultant, makes his final contribution to Libretto. New International Representatives New Zealand Heather Gummer t e office@abrsm.org.nz Spain: Madrid Kevin Robb t e Tanzania (Special Scheme Co-ordinator) Aloys Ng asi t e USA: Chicago Helga Swatzak t e hswatzak@yahoo.com USA: Nashville Wes Ramsay and Carol McClure t e abrsm@bellsouth.net USA: Washington DC Kevin Vigil t e abrsmdc@verizon.net New Zealand It has been an enormous pleasure to work with David and Mary Goodyear. I say David and Mary, because they have both worked together tirelessly for 19 years to ensure that teachers and candidates in New Zealand receive the very best that the world s largest music examining board can provide. One of the challenges of working within a global environment is that of time differences. David and I have shared many phone calls late at night and early in the morning, and I have always been amazed at his cheerful response, no matter what time of day it is. When I first arrived at the Associated Board we were making substantial changes to our IT systems. When I spoke to David about this the response was usually, Oh yes we did that five years ago! Always at the leading edge, David developed a fully computerised administrative system for the New Zealand operation. Examiners from the UK are always excited about the prospect of visiting New Zealand. It is striking that invariably their reports upon return are less about the scenery or the wine but more about the people, in particular, the warm welcome and caring approach from David and Mary. Certainly I know that David s passion for golf will be more satisfied as he hands over the Associated Board s work to his successor, Heather Gummer. I m sure all teachers, candidates, parents, examiners, Local Representatives and colleagues will join me in wishing David and Mary a very long and happy retirement. Richard Morris, Chief Executive, on the left, with David and Mary Goodyear at last year's Annual Lunch in London. Heather Gummer, new Examinations Administrator for New Zealand. A warm welcome to colleagues from China Richard Morris in discussion with Dr Yu Danhong and Yang Ruimin of MEPCCSE. In October we welcomed members of the Music Education Professional Committee of the Chinese Society of Education (MEPCCSE) to our offices in Portland Place, London. Led by Yang Ruimin, Director of MEPCCSE and vice chairman of the Art Education Commission in China, our visitors attended presentations given by our Professional Development, International and Marketing Departments, as well as ABRSM Publishing. The committee is working on a research project in China and was keen to learn about the Associated Board s work in music eucation and about the support we give to music teachers around the world. South East Asia The end of the calendar year allows time for reflection on the many and varied Associated Board activities that have taken place in our corner of the globe during the past year was certainly busy, with Professional Development Programme (PDP) events, theory and violin seminars and choral workshops. We celebrated the talents of some of the region s most promising young musicians at the South East Asia Diploma Awards Ceremony in Singapore, whilst teachers from Bali, Sulawesi, Java, East Malaysia, West Malaysia and Singapore enrolled as students on the challenging Certificate of Teaching course. Additionally, High Scorers Concerts took place in Singapore, Jakarta, Medan, Bandung, Surabaya and Kuching. Amongst these events the exams themselves carry on, with growing numbers of theory, practical, diploma and jazz candidates across South East Asia and new centres in Indonesia and Thailand. This is a time for personal reflection too. After five years as Regional Consultant for South East Asia I am now moving on to take up a new position as Director of Music at The Regent s School in Thailand. I wish to pay tribute to all my colleagues from the UK, both the Associated Board staff based in London and the distinguished musicians who come to share their musical expertise with us here. I should also like to send my warmest regards and deepest gratitude to all our Asian friends and neighbours who have made the last five years so special! In my new role I shall remain in the midst of the music-making and music teaching fraternity of South East Asia and will be watching, from a distance, as you all continue to prosper under the banner of the Associated Board. Introducing our new consultant As we say goodbye and thank you to Bill Thomson it is time to welcome Dr David Young, who takes over as South East Asia Regional Consultant on 1 February this year. Liaising with our Representatives in the region, David will ensure continuing efficiency and quality in the running of the exams, whilst also providing educational and professional support for instrumental and singing teachers. David Young, pictured here, studied at the universities of Hull, Cambridge, London and Liverpool. He has worked at the Royal Northern College of Music since 1974, latterly as Director of Academic Development. Talking about his appointment, David said: I am delighted to be taking up this position. I have long been associated in one way or another with the Associated Board, whose work I admire greatly, and it is a great pleasure to be taking on this new and exciting challenge.

19 lib UK text REV.qxd 24/2/05 3:00 pm Page 19 Advertisements Oxford Philomusica International Piano Festival a banquet of lectures, masterclasses and recitals (The Times) Festival President Malcolm Troup July 2005 Artistic Director Marios Papadopoulos Join us for a week a day or an hour in a friendly and stimulating atmosphere. Participation options range from full time participant, to full time or part time observer, with or without accommodation. All classes, lectures and concerts are also open to the public. Distinguished performers and teachers have included Pierre-Laurent Aimard, Dmitri Alexeev, Andrew Ball, Dmitri Bashkirov, Boris Berman, Maria Curcio, Christopher Elton, Niel Immelman, Peter Jablonski, Peter Katin, Piers Lane, John Lill, Cristina Ortiz, Marios Papadopoulos, Jean-Bernard Pommier, Menahem Pressler, Bernard Roberts, Charles Rosen, Rosalyn Tureck, Oxana Yablonskaya For more details and to obtain a Festival brochure, please contact Oxford Philomusica, PO Box 150, 266 Banbury Rd, Oxford OX2 7DL Tel: pianofestival@oxfordphil.com To register, visit: Pick up your instruments and have fun raising money for children with cancer! Photo: Express & Star, Wolverhampton Practise TO MAKE A DIFFERENCE You can help by asking your friends and family to sponsor your practice for two weeks. Charity Reg No:

20 Libretto_p20 07/12/04 01:49 Page 1 20 NEWS The diploma effect Fiona Carr, from the Kampala Music School, describes how the Associated Board s diplomas have revolutionised classical music in Uganda. The heritage of classical music in Uganda is a legacy left by missionaries who, over a century ago, imported and built a pipe organ in Namirembe Cathedral and established the cathedral choir. Classical music developed mainly in the churches and cathedrals (Bach and Handel would approve!) and a teaching style evolved as each musician shared what they knew and could do with others, using relics of any available sheet music. Not only did music survive, it thrived, even through years of war. Some schools and seminaries had the luxury of music teachers, who made a significant impact. It was from this backdrop that the scheme Pianos for Uganda was launched in Libretto in As much needed donated pianos came into the country (there are now 60 as a result of the appeal) the opening of the Kampala Music School (KMS) in 2001 was an inevitable next stage. The possibility of unlimited practice and formal lessons soon had those with Grade 8 saying what now? So the new Associated Board diplomas came at a timely moment for Uganda, and already 16 students have been passed in piano, organ, voice and violin. Comments from those with diplomas indicate a huge knock-on effect. The demanding recital programmes of the performing diplomas help to develop performance skills, technique and stamina, and have raised confidence in teaching. The Programme Notes requirement seems to be the most inspired innovation, as so much fun is had researching the programme. No student now works on a piece or song without thinking about the form, harmonic structure, modulations and, not least of all, when and why it was written. All this information clearly makes the performance come to life even more and KMS is constantly buzzing with discussions on the different pieces being learned. Authorities emerge who can even tell you where various pianists change the pedal! We prepare for the DipABRSM in teaching in a class with lots of participation as each student has a go at being the pupil, the teacher and the critical (positive, of course!) observer. Each technique is thoroughly demonstrated and discussed in relation to pieces from various tutor books, old Associated Board exam music, studies and exercises up to Grade 6 standard. Our illustration for staccato is of a chicken pecking. What could be more graphic? No chicken leaves its beak in the ground a moment longer than necessary! The different dissertation topics are aired with input from everyone. Initial research has produced up to 5,000 words. The whole class gains from the extra information and discoveries, leaving the poor writer to then eliminate much of it. I have learnt so much myself and it is wonderful to see that because these diploma exams are so user-friendly teachers of teachers have already emerged. Some 15 young teachers now have a livelihood and, as borne out by the annual Associated Board exam results last June, over 200 pupils are receiving good teaching. The revised Diploma Syllabus from 2005 is now available. For more information see page 4. Spreading the word in Japan At the beginning of 2004 the Roland Foundation became the Associated Board s Representative for Japan. Since then the foundation has been busy building awareness of the Associated Board amongst the musical community in Japan through a range of promotional activities. Initially, contact was made with several magazine publishers to explain the benefits of the Associated Board s exams. Articles were published in Musica Nova and Chopin, well known among Japanese piano teachers, the Band Journal, read by wind players, and the bulletin of the Japan Flautists Association. In addition, the Japan Music Trades magazine, which is popular with instrument manufacturers, distributors and publishers, featured an interview with Tim Arnold, Head of International Operations. This fantastic coverage was supported by an advertising campaign, again organised by the Roland Foundation on our behalf. Finally, Roland undertook visits to the Elisabeth University of Music in Hiroshima and the Chugoku Junior College in Okayama to talk to teachers about the Associated Board and to explain what we can offer to music teachers and students. More university visits are planned for the near future. All this hard work has resulted in a clear increase in enquiries from interested teachers and prospective candidates. One of the most exciting areas of our development work in Japan involves the translation of key information into Japanese. The translation of Introducing The Associated Board of the Royal Schools of Music a guide to all the services we offer has just been completed and this booklet is now available to music teachers, parents and students in Japan. Future plans include the translation of These Music Exams, which will provide invaluable advice and information for all those intending to take an Associated Board exam. In addition, ABRSM Publishing has negotiated the publication in Japanese of The AB Guide to Music Theory (by Eric Taylor) by the Tokyo publishers Saber Incorporated, and this is now on sale in book and music shops in Japan. After just one year, our partnership with the Roland Foundation has proved to be a great success and we are now looking forward to further developments in the years to come. For more information about Associated Board exams in Japan contact the Roland Foundation in Tokyo: t e abrsm@roland.co.jp

21 Libretto_p21 07/12/04 01:52 Page 1 Sibelius 3 A perfect score every time For scoring music accurately, quickly and easily, Sibelius 3 is simply unbeatable. A fact thousands of music professionals worldwide have already discovered. Within a flexible and intuitive interface, entering music real, step time or scanned is effortless. And tasks like creating an entire orchestral score from a piano reduction (or vice versa) and part extraction are completed with staggering efficiency. Additionally, the supplied Kontakt Player delivers an impressive palette of instrumental and percussion sounds for truly exhilarating audio performances. Even better, it rapidly prepares Sibelius compositions for burning straight to audio CD. Take a step towards perfection by ordering Sibelius 3 today. Special offer for Libretto readers: Order Sibelius 3 before 28 February 2005 for just 449 inc. VAT 25% off! Call freephone for details Offer available to Libretto readers only. Educational pricing also available contact us for more details. Offer price valid 30/11/04 28/02/05. Terms and conditions apply. E&OE.

22 Libretto_p22 07/12/04 01:54 Page 1 22 FORUM Sharing and learning Your chance to share experiences and ideas with other readers In each issue Clara Taylor, Chief Examiner, introduces a subject for discussion and we publish your responses in the next issue. Contributions may be edited for publication. Write to Clara Taylor, marking your envelope Libretto Forum, or chiefexaminer@abrsm.ac.uk giving your postal address. Next topic: the terrible teens Clara Taylor Effortless learning Overlapping lessons are a great way of giving children a window into other musical lives and can be very uplifting. I also hold group musicianship lessons where children play to each other, play duets, learn to listen and evaluate, improve their rhythm, improvise, sing and write their own melodies, and much, much more. I m amazed at how quickly they learn and it also frees up individual lessons to concentrate on playing. Next I m preparing to teach elements of technique in group lessons. In shared lessons children seem to learn almost effortlessly. Learning together seems to lower the barriers that so often go up when teaching individually. Jill Yakimoff Gold Coast, Australia Aural and sightreading benefits During 60 years of teaching, practically all my lessons for pupils of a similar standard were designed with an overlap where we could deal with aural work and sight-reading, and discuss the music being prepared for exams. Sight-reading overlap is very good for non-participating students to observe determined as they are not to make the same errors when their turn comes. Joint aural work is an invaluable experience, particularly so now with the requirement where candidates discuss various aspects of music played by the examiner. John Towse Derbyshire, UK She s completely lost any delicacy in her playing, she s too busy asserting herself. This was from a frustrated teacher who was preparing a teenager for Grade 8, having experienced a promising run of progress until the teens struck. Most of us have probably had similar moments of hair-tearing despair, having worked so hard to get a musical youngster through the earlier grades, only to be foiled by something beyond our control or is it? Music is often an important outlet for hormonally challenged teenagers. Teachers tend either to join the ranks of adult enemies or become allies. Sometimes we have to put aside that Mozart masterpiece in favour of something much less worthy but more cool, just to keep pupils voluntarily going to their instruments. Sightreading may actually improve and exploring lots of new material of their choice can broaden the stylistic base. The Jazz Syllabus may well come into its own at these times, especially if the teacher is prepared to have a try as well. Improvisation is a wonderful form of expression, engaging a different sort of creativity and giving pupils the chance to let off lots of personal steam. For some, the musical and technical glass ceiling around Grade 5, and the pressures of school work prove too much and lessons cease either temporarily or permanently. Some adults regret stopping in their youth and feel impelled to have another go. Music exerts such an irresistible pull that those who need to be actively involved will keep going, even if staggering for a while, or may return later when the time is right. Others may become listeners and then in turn encourage their own children to play. There s a wealth of experience and ideas amongst Libretto readers, so please let me know how you motivate your teenage pupils and support them through these testing years. You may have some tips for teacher survival as well! All responses receive a personal reply and your comments will be considered for inclusion in the next issue. Stimulating and supportive My teacher used to have an open house on Sundays when any of us who were keen enough could turn up and play our favourite pieces to each other. We used to play duets too. It was one of the best parts of my week. I would love to be able to do the same for my own pupils but work and family life make this difficult. However, because I recognise the importance of playing to, for, and with other people, I have two pupils concerts each term. The largest is held in a school hall and is for anyone who would like to take part. Anybody can come along to play or listen and there are drinks and chocolate biscuits afterwards to make it a social event. Many pupils find these concerts stimulating and come away asking to learn pieces that they have heard others performing. The second social event is not described as a concert because it is for adult pupils who are too shy to play to a large gathering. It takes place in my music room, a place where they all feel secure. No guests are allowed because this would add to the pressure. Participants can play as many pieces as they like (or none if they prefer) and afterwards there is coffee and cake or a glass of wine for those whose nerves have been completely shot by the occasion. The caring nature of this group is wonderful. Anyone who is very nervous is given a huge amount of support by the others present, all of whom have had trouble with the shakes at some time. On the day that an anxious person finally manages to play a piece through without falling to pieces, the jubilation throughout the group is wonderful! Sue Hess Kent, UK write now write now write now write now write now write now write now

23 Libretto_p23 07/12/04 01:56 Page 1 Advertisements MORE THAN JUST GREAT PRICES! VAT free education sales for pupils Free independent and informed advice from experienced specialist staff Unrivalled stocks of instruments & accessories Free next day delivery on all instruments Comprehensive and informative website with on-line purchasing Free 68-page colour catalogue Fully staffed workshops for pre-sale checks and set-ups, repairs and warrantee work Special teacher discounts Browse over 90,000 music titles On-line - with fast delivery direct from the publishers Great after sales service with no quibble returns & warrantee policy Freephone: sales@normans.co.uk Website:

24 Libretto_p24 07/12/04 01:58 Page 1 EXCLUSIVE OFFER 5 FREE Richter CDs for every new subscriber Subscribe to Piano Diverse articles and reviews by world-class scholars, editors and pianists, from both the classical and jazz worlds, complemented by star interviews. Our popular Performers Symposiums form a unique masterclass in which leading exponents such as Brendel, Kissin, MacGregor, Perahia, Pollini, Rogé and Schiff, re-examine their interpretations of the great composers. Regular updates and pointers on books, records and the latest musical publications in every issue. PIANO is the only magazine to provide such an authoritative and privileged selection of opinions and insights and it is only available on subscription. Piano is bi-monthly (6 issues a year) Apply before 28th February 2005 and get 5 FREE Richter CDs! SVIATOSLAV RICHTER In Concert A superb boxed set presenting this legendary artist at the height of his powers. BEETHOVEN Nine Piano Sonatas Op. 2 No. 3, Op. 7, Op. 31 Nos. 2 and 3, Op. 90, Op. 101, Op. 109, Op. 110 and Op. 111 LISZT Piano Sonata in B minor SCHUBERT Four Piano Sonatas B flat major D 960, B major D 575, E minor D 566 and G major D 894 (Recorded live ) PIANO FREE RICHTER BOXED SET Valid until: 28th FEB 2005 Send to: Richter Offer, PIANO Subs, FREEPOST LON20614, Peterborough PE8 5BR (no stamp needed in the UK) $ Call (office hours) quoting RICHTER OFFER 3 Please enrol me as a subscriber to PIANO magazine for a year (6 issues) 3 Please send me my FREE 5-CD boxed set Sviatoslav Richter In Concert NAME ADDRESS DAYTIME TEL NO POSTCODE PAYMENT 3 I enclose a cheque for * (payable to Rhinegold Publishing Ltd) 3 Please debit my Switch/Visa/Mastercard/Amex account the sum of * Card No. Valid from / Exp date / Switch Issue Signature * UK price only, overseas subscribers please add 7.00 HOW TO SUBSCRIBE Complete and return this form OR Tel OR Fax OR Log on to Rhinegold Publishing Ltd