Dipoma Syabus Music Performance from 2005
SPECIAL NOTICES This Music Performance Dipoma Syabus from 2005 is a revised version of the Performing sections of the Dipoma Syabus from 2000. It is vaid wordwide from January 2005 and wi remain in force unti further notice. The requirements are, in amost every respect, the same as in the 2000 syabus, but presented in a new format and with additiona information and guidance as we as sma changes and additions to the repertoire ists. The new information incudes detaied guidance notes to hep candidates prepare for each section of their Music Performance Dipoma, as we as exampes of the sorts of question which might be asked in the Viva Voce and a description of possibe responses. A summary of the skis, knowedge and understanding expected for each eve is aso incuded, together with new attainment descriptions giving a genera indication of the eves of attainment ikey to be shown by candidates. At DipABRSM and LRSM eves, substitutions are no onger accepted for Programme Notes. However, appropriate professiona experience is now accepted at a three eves as a substitution for the standard ABRSM prerequisite. The timings of the Recita have been sighty revised, as have the engths of the Programme Notes and the Written Submission. And finay, retake options have been made more fexibe: the direct ink between the Recita and the Viva Voce has been removed, aowing candidates to retake either section separatey. Candidates taking a Dipoma in Music Performance from January 2005 must use the revised syabus. Any repertoire set in the 2000 syabus but not in the 2005 syabus wi be vaid unti the end of 2005. Candidates retaking components of their dipoma under the 2000 syabus must continue using that syabus if they wish to carry forward credit for any passed components; the period aowed for retakes is three years after the cosing date for the initia entry. The revisions foow accreditation of the Associated Board s Dipomas by the reguatory authorities in Engand, Waes and Northern Ireand. The two other Dipoma subjectines (Directing and Teaching) have aso been revised and retited (as Music Direction and Instrumenta/Voca Teaching) and the syabuses for these are now pubished as separate documents (for an overview, see inside back cover). Cover design: Økvik Design Text design: Tamasin Coe Printed in Engand: Caigraving Ltd Thetford, Norfok 2004 by The Associated Board of the Roya Schoos of Music
CONTENTS 3 6 7 11 14 18 20 22 24 25 26 30 31 32 33 36 97 99 102 112 116 118 122 126 INTRODUCTION CONTENT OF THE MUSIC PERFORMANCE DIPLOMAS Overview DipABRSM LRSM FRSM Summary of skis, knowedge and understanding at a eves PREREQUISITES AND SUBSTITUTIONS Prerequisites and substitutions Appropriate professiona experience SUBMISSIONS Genera information regarding submissions Programme Notes (DipABRSM and LRSM) Written Submission (FRSM) PRACTICALITIES Before the exam (Entry) On the day of the exam After the exam Other matters Instrumenta and voca repertoire ists Orchestra excerpts for FRSM Accepted reated instruments APPENDICES Appendix 1: Specimen questions and indicative responses Appendix 2: Marking criteria Appendix 3: Appication form for appropriate professiona experience approva Appendix 4: Music pubishers Appendix 5: The Nationa Quaifications Framework (UK) INDEX
3 INTRODUCTION The Associated Board s Dipomas provide an authoritative assessment framework for a wide range of musicians performers, directors and teachers. Whether you are intending to pursue a career in music, are currenty working as a professiona and wish to broaden your quaifications, or are purey after the satisfaction of achieving a persona goa, you wi find that one of our Dipomas is right for you. There are three Dipoma subject-ines Music Performance, Music Direction, and Instrumenta/ Voca Teaching. Each subject-ine has three eves of award: DipABRSM LRSM FRSM Dipoma of The Associated Board of the Roya Schoos of Music Licentiate of the Roya Schoos of Music Feowship of the Roya Schoos of Music The requirements within each subject-ine at each eve are generay comparabe, and the syabus for each subject-ine is pubished separatey. Encouraging diverse approaches to the performing, directing and teaching of music, the Dipomas stimuate enjoyment and achievement through the progressive acquisition of skis, knowedge and understanding. As a resut, their usefuness has been acknowedged by music services and agencies around the word. They are compatibe with systems of assessment widey appied in higher education and encourage ifeong earning, without restrictions on ength of study or the requirement that you, the candidate, are taught in an institution. In the UK they have been admitted to the Nationa Quaifications Framework and are accredited by the Quaifications and Curricuum Authority (see p. 122). The Music Performance Dipomas are designed to refect your day-to-day experience as a performer, whether amateur or professiona. As we as demonstrating your skis as a sooist, from LRSM eve there is the opportunity for you to speciaize as an orchestra payer, chamber ensembe member or keyboard accompanist. There are aso options, at a three eves, to perform on an instrument reated to your main instrument for a part of your Recita and to perform repertoire of your own choice. The foowing tasks are incuded: compiing a baanced recita programme, finding editions that suit your interpretation best, and writing about the music taking with confidence about the music and the way you interpret it sight-reading at short notice to a reasonabe standard (Quick Study) putting on the best possibe performance on the day. You wi need to satisfy the examiners that you have a command of your chosen instrument in the context of Western art music. (Throughout this syabus, the term instrument is used to incude voice.) As you move up through the Dipoma eves you wi find that the repertoire becomes more demanding, the Recita time engthens, and the chaenge of the Quick Study, and the scope and ength of your written work, increase. At each eve you wi be assessed according to the overa quaity of your performance, as we as your understanding of and sensitivity to the demands of different types of repertoire. In order to estabish basic eves of competence, a specific prerequisite is required before entry can be made to any eve. However, in ine with our aim to provide open access and to recognize your achievements, we offer a range of substitutions for these prerequisites, incuding your previous earning and experience. The prerequisites and their substitutions are isted in the tabes on pp. 20 21. They are aso to be found on our website (www.abrsm.org/exams/dipomas), where any substitutions appearing after the issue of this syabus wi aso be isted. We hope that you find the experience of taking one of our Dipomas stimuating, chaenging and worthwhie, both during the period of preparation and in the exam itsef.
CONTENT OF THE MUSIC PERFORMANCE DIPLOMAS DIPLOMA CONTENT 6 7 11 14 18 Overview DipABRSM LRSM FRSM Summary of skis, knowedge and understanding at a eves
6 DIPLOMA CONTENT OVERVIEW Overview The Music Performance Dipomas are avaiabe to instrumenta and voca performers. Through ive and written components, you, the candidate, wi be examined in your command of performance technique and interpretative ski couped with an appropriate knowedge of the idiom and repertoire of your instrument/voice. The Dipomas are conducted in Engish (see p. 34) and are assessed wherever possibe by two examiners. Before you can enter for a Music Performance Dipoma, you wi need to show that you fufi a specific ABRSM prerequisite as evidence that you have reached a required minimum eve of competence. The tabe on pp. 20 21 ists the prerequisites and their possibe substitutions. Each eve of Dipoma comprises a number of requirements that you must satisfy in fu. The requirements are divided into two Sections, as outined beow. You must pass a the requirements of both Sections in order for your Dipoma to be awarded. The requirements must be met in fu within three years. SECTION 1 an instrumenta or voca Recita. SECTION 2 Section 2.1 a Viva Voce, entaiing a discussion with the examiners. a written assignment (reating to your Recita programme) which you shoud be prepared to discuss as part of your Viva Voce, and which contributes to the Viva Voce mark. At DipABRSM and LRSM eves, this assignment takes the form of Programme Notes, which must be presented to the examiners on the day of the exam. At FRSM eve, you are required to prepare a Written Submission, which you must send to the Board with your entry. Section 2.2 a Quick Study performance of a short piece of unaccompanied and previousy unseen music. Fu descriptions of each eve of Dipoma, incuding preparation guidance, are given on the foowing pages. A practica information about taking a Dipoma is described in Practicaities (pp. 29 34).
DipABRSM Genera information/section 1 7 Prerequisite To be submitted on the day of the exam Timing ABSRM Grade 8 Practica in the instrument presented or a permitted substitution (see p. 20). Two copies of Programme Notes, written by you and iuminating in your own words the repertoire you have chosen to perform in your Recita, must be presented to the examiners at the start of the exam. Fu detais regarding the Programme Notes, incuding ength, are given on pp. 24 26. 60 minutes are aocated to the DipABRSM, of which 35 minutes (+_ 10%) are devoted to the Recita, up to 12 minutes to the Viva Voce and up to 10 minutes to the Quick Study. DIPLOMA CONTENT SECTION 1 Duration Programming Examination music Performing from memory RECITAL You shoud pan your Recita so that it asts approximatey 35 minutes (it may be up to 10% onger or 10% shorter). This tota duration incudes any breaks between items, as we as one onger pause (of up to 5 minutes) for woodwind, brass and singing candidates. Pease note that the examiners reserve the right to stop the Recita if you exceed the prescribed duration. Your programme shoud be argey drawn from the prescribed ists of instrumenta and voca works or movements given on pp. 36 98. You may, however, aso incude in your programme a work or works of your own choice not isted on these pages but comparabe in standard and asting no more than 7 minutes in tota; prior approva from the Associated Board is not required for any such aternative items. Pease note that performing own-choice repertoire gives no advantage over candidates presenting syabus-isted items ony. In your choice of repertoire, you shoud aim to present a generaist programme that offers a wide-ranging yet coherent mixture of periods, stye, mood and tempo, with no more than one work by any singe composer (except where a combination of movements or pieces from a composer s coection is indicated in the prescribed ists). You shoud be abe to demonstrate musica technique and perception at a eve worthy of pubic performance and appreciation. The editions quoted in the repertoire ists on pp. 36 98 are recommendations ony, and you are free to choose any other editions. A works/movements must be performed compete, athough you shoud use your discretion in matters such as the omission of tutti sections or the incusion of cadenzas in concerto movements or other works. The observance of repeats and interpretative decisions such as phrasing and the reaization of ornaments are aso matters in which you are expected to use your discretion to achieve a styisticay appropriate and musicay satisfying performance. Pease note that on the day of the exam you wi need to provide the examiners with copies of a the music you are performing, ideay in the same editions as those you are using. (If photocopies are to be used for this purpose, it is your responsibiity to obtain written permission from the pubisher/copyright hoder.) Athough there is no specific requirement to perform from memory, you are encouraged to do so if you consider it wi enhance your Recita. In particuar, singers are advised to perform their programme from memory, with the exception of oratorio items and compex contemporary scores.
8 DIPLOMA CONTENT Accompanists and page-turners Equipment Reated instrument option Other requirements DipABRSM Section 1 You must provide your own accompanist, where appropriate. The accompanist may remain in the exam room ony whie actuay engaged in accompanying. Pease note that examiners wi not act as accompanists under any circumstances. Both you and your accompanist may bring a page-turner, if required. In the case of organ candidates, the page-turner may aso act as registrant. You are recommended to bring your own music stand/stoo, if required. You may not bring into the exam room any materia or equipment unconnected with your exam; any infringement of this rue may ead to disquaification. If your instrument is one of those isted under Main Instrument in the tabe on p. 99, you have the option to pay one work of your Recita on a reated instrument (these are aso isted on p. 99), whie ensuring that the majority of the programme is performed on your main instrument. Pease note that there is no advantage to be gained over other candidates by offering a work on a reated instrument. Candidates not meeting the syabus requirements in any way, such as offering an inappropriate standard of piece, faiing to adhere to the minimum/maximum patform times, or not being prepared to perform the minimum number of movements/pieces or the whoe of a work if specified in the syabus, wi be iabe to penaty. SECTION 1 PREPARATION GUIDANCE FOR RECITAL On the day of the exam, estabish your stage presence right at the outset. Dispaying confidence in entering the exam room, setting in and aowing yoursef time to pause and create a space around each item wi a increase the impact of your Recita. The marking criteria on pp.112 115 and the attainment descriptions on pp.122 124 wi hep you to understand what quaities the examiners are ooking for in your performance. The baance of technica and musica attainment shown through your instrumenta abiity, and your communication through musicianship, persona insight, interpretative ski and stage presence, are what count. It may hep to imagine that the Recita is for performance on the radio or at a pubic venue. Athough you are not required to perform from memory, you shoud consider the standard convention for your instrument. For exampe, soo pianists normay perform recitas from memory (whie it is unusua for a pianist paying within a chamber ensembe to do so without the music). In every case, the overriding priority must be the music itsef and your communication and interpretation of it in a professiona context. For singers, reference to the sheet music in performance may not ony be inhibiting but can act as a barrier to the communication and interpretation of the music and the meaning of the text. Singers are therefore advised to use the sheet music ony in oratorio items or compex contemporary works, in ine with common performance practice. In preparing for the exam, you may find it hepfu to attend recitas on a reguar basis in order to earn from approaches taken by professiona performers. Critica istening and comparison of interpretations on record, combined with reading about performance techniques and practices, wi aso be usefu. There is a ist of recommended texts on the Board s website (www.abrsm.org/exams/dipomas); copies are aso avaiabe from the Board s office in London. Finay, get to know not ony the pieces within your programme but aso their genera context within each composer s output and the musica era.
DipABRSM Section 2 9 SECTION 2.1 VIVA VOCE The Viva Voce is an opportunity for you to demonstrate your knowedge, approach and understanding to the examiners. Questions wi cover your Recita and your Programme Notes, as we as other aspects of performing. The Viva Voce asts up to 12 minutes. Typica areas of discussion in the Viva Voce: Musica and instrumenta outook: questions designed to put you at ease and to ead into the discussion, incuding: choice of repertoire, the chaenges presented and the preparation invoved; knowedge of the underying concepts and principes associated with your instrument. Repertoire and Programme Notes: knowedge of the repertoire performed, incuding biographica information about each composer and the context of each work in the composer s ife and output; detais of commission (if any); the process of composition and first performance; knowedge of the genera musica trends of the era and the pace of each work in the context of the core repertoire. Musica anguage and form: understanding of the structure of each work and the features of its musica anguage. Stye and interpretation: understanding of stye and technique; knowedge of each work in the context of the instrument itsef: historica deveopments, idiom, core repertoire and technica demands; the interpretation of notation and ways to communicate the composer s intentions; performance practices incuding origina instrumentation; approaches to performance, incuding the use of physica space, memory and communication with an audience. Any further points you wish to draw to the examiners attention before the concusion. DIPLOMA CONTENT SECTION 2.1 PREPARATION GUIDANCE FOR VIVA VOCE The tone and manner of the Viva Voce wi be as reaxed as possibe and the examiners wi make every effort to put you at ease. The opening questions wi be informa, progressing to topics on which you are ikey to be knowedgeabe, then on to more chaenging questions. A the questions wi be ceary and directy expressed by the examiners; some wi be open-ended, others wi be more specific. You wi not be penaized if you ask for carification of a question, and the examiners wi not be concerned by short periods of sience when an answer is being considered. You may opt not to answer a question because, for exampe, you fee you might expose an area of fundamenta ignorance. If this happens, the examiners wi assist you with a number of hepfu prompts. They wi form a judgement as to whether your incapacity to offer an answer to a particuar question or series of questions is a significant factor in the assessment of your overa performance in the exam. If appropriate, you may demonstrate a particuar feature or point by performing it, rather than describing it verbay. Appendix 1 contains a number of specimen questions and indicative responses, showing the types of question examiners might ask in the Viva Voce and an indication of appropriate responses. If you are not fuent in Engish you are strongy advised to bring an interpreter (see Language and interpreters, p. 34).
10 DIPLOMA CONTENT SECTION 2.2 DipABRSM Section 2 QUICK STUDY In this section of the exam, you are required to perform a short piece of unaccompanied and previousy unseen music of a standard simiar to ABRSM Grade 6 repertoire. Before you perform the Quick Study, you wi be given five minutes in which to ook through the music and to try out any parts of it. During this time the examiners wi not be assessing you. Singers may pay the key-chord and first note of the Quick Study on the piano before they begin their preparation, and as often as they wish prior to the test itsef. During the test, singers who need to reocate their pitch may pay a guide note as appropriate. Singers must sing the text, which wi aways be in Engish. In tota, the Quick Study asts up to 10 minutes. SECTION 2.2 PREPARATION GUIDANCE FOR QUICK STUDY Many candidates choose to perform the Quick Study after their Viva Voce, but you are at iberty to perform it before or after the Recita, if you prefer. You shoud inform the examiners of your preferred order at the start of the exam. The standard of the Quick Study test piece is simiar to the demands of the current repertoire ists for the indicated ABRSM grade. You wi therefore find it hepfu to ook at the pieces set for your instrument at this grade. Since the Quick Study tests have a been composed specificay for the Dipoma exams, they tend to be in a modern, approachabe stye, athough some of the tests have been written in pastiche styes. For keyboard instruments, guitar and harp, the test wi normay be aid out over two pages. For a other instruments, the test wi normay occupy one page. The tests for a instruments are unaccompanied. It is not the ength of the test but the technica and musica chaenges with which you wi be presented that you shoud concentrate on in preparing for the exam. The marking criteria on pp.112 115 make cear what eve of performance is expected for a pass or above in this test. Making it a habit to expore music unknown to you, and treating the exporation as a quick study exercise, wi give you usefu experience for the exam. On the day, make sure you have mentay adjusted before you undertake the test; for exampe, if you have chosen to perform the Quick Study after your Viva Voce, do not aow yoursef to think about aspects of the Viva Voce discussion, such as ideas you omitted to mention or might have expressed differenty. Using the preparation time to fu advantage is vita to your success in the Quick Study. To pay through sections that do not need any attention is a waste of vauabe time go straight to the bars that matter. Try to avoid the common mistakes of either paying too sowy in order to get every note correct, or nervousy hurrying and tripping over. Getting just the right tempo to aow the music to speak is crucia. And finay, try to project the musica content and stye in an expressive way, communicating the music with your best tone quaity.
LRSM Genera information/section 1 11 Prerequisite To be submitted on the day of the exam Timing DipABSRM (Music Performance) in the instrument presented or a permitted substitution (see p. 20). Two copies of Programme Notes, written by you and iuminating in your own words the repertoire you have chosen to perform in your Recita, must be presented to the examiners at the start of the exam. Fu detais regarding the Programme Notes, incuding ength, are given on pp. 24 26. 75 minutes are aocated to the LRSM, of which 40 minutes (+_ 10%) are devoted to the Recita, up to 15 minutes to the Viva Voce and up to 10 minutes to the Quick Study. DIPLOMA CONTENT SECTION 1 Duration Programming Examination music Performing from memory Accompanists and page-turners RECITAL You shoud pan your Recita so that it asts approximatey 40 minutes (it may be up to 10% onger or 10% shorter). This tota duration incudes any breaks between items, as we as one onger pause (of up to 5 minutes) for woodwind, brass and singing candidates. Pease note that the examiners reserve the right to stop the Recita if you exceed the prescribed duration. Your programme shoud be argey drawn from the prescribed ists of instrumenta and voca works or movements given on pp. 36 98. You may, however, aso incude in your programme a work or works of your own choice not isted on these pages but comparabe in standard and asting no onger than one third of the tota patform time; prior approva from the Associated Board is not required for any such aternative items. Pease note that performing own-choice repertoire gives no advantage over candidates presenting syabus-isted items ony. In your choice of repertoire, you shoud aim to present a baanced programme that incudes a contrast of repertoire from at east two distinct musica eras. Variety of mood and tempo shoud aso be a guiding factor in the construction of the programme. The editions quoted in the repertoire ists on pp. 36 98 are recommendations ony, and you are free to choose any other editions. A works/movements must be performed compete, athough you shoud use your discretion in matters such as the omission of tutti sections or the incusion of cadenzas in concerto movements or other works. The observance of repeats and interpretative decisions such as phrasing and the reaization of ornaments are aso matters in which you are expected to use your discretion to achieve a styisticay appropriate and musicay satisfying performance. Pease note that on the day of the exam you wi need to provide the examiners with copies of a the music you are performing, ideay in the same editions as those you are using. (If photocopies are to be used for this purpose, it is your responsibiity to obtain written permission from the pubisher/copyright hoder.) You shoud be prepared to discuss your choice of editions with the examiners in the Viva Voce. Athough there is no specific requirement to perform from memory, you are encouraged to do so if you consider it wi enhance your Recita. In particuar, singers are advised to perform their programme from memory, with the exception of oratorio items and compex contemporary scores. You must provide your own accompanist, where appropriate. The accompanist may remain in the exam room ony whie actuay engaged in accompanying. Pease note that examiners wi not act as accompanists under any circumstances. Both you and your accompanist may bring a page-turner, if required. In the case of organ candidates, the page-turner may aso act as registrant.
12 DIPLOMA CONTENT Equipment Reated instrument option Speciaist option Other requirements LRSM Section 1 You are recommended to bring your own music stand/stoo, if required (this aso appies to chamber ensembe members: see under Speciaist option beow). You may not bring into the exam room any materia or equipment unconnected with your exam; any infringement of this rue may ead to disquaification. If your instrument is one of those isted under Main Instrument in the tabe on p. 99, you have the option to pay up to two works of your Recita on a reated instrument (these are aso isted on p. 99), whie ensuring that the majority of the programme is performed on your main instrument. Pease note that there is no advantage to be gained over other candidates by offering a work on a reated instrument. As an aternative to performing as a soo recitaist for your entire programme, you may opt to present one third of your Recita within one of the three speciaist areas isted beow. The choice of repertoire is entirey at your own discretion, athough it shoud be comparabe in standard to the items in the ists on pp. 36 98. There is no advantage to be gained over other candidates by offering a speciaist option. You must indicate your speciaist option on the Entry Form. Orchestra musician: you are required to present orchestra excerpts, either unaccompanied or accompanied by your pianist. You shoud anticipate that the examiners wi ask for an excerpt (or excerpts) to be repeated and that they may ask for a different tempo or approach to the one presented. Therefore, the tota paying time of the excerpts need not be the fu one third of the programme. Chamber ensembe member: you are required to suppy your ensembe for the purposes of the exam at your own expense. Groups shoud normay number between 3 and 9 payers (incuding yoursef), with one payer to each part. Keyboard accompanist: you are required to suppy your duo partner for the purposes of the exam at your own expense. Candidates not meeting the syabus requirements in any way, such as offering an inappropriate standard of piece, faiing to adhere to the minimum/maximum patform times, or not being prepared to perform the minimum number of movements/pieces or the whoe of a work if specified in the syabus, wi be iabe to penaty. SECTION 1 PREPARATION GUIDANCE FOR RECITAL See guidance on p. 8 which aso appies to LRSM candidates. The foowing additiona guidance is provided for LRSM candidates offering one of the three speciaist options. These have been designed for candidates wishing to dispay their skis in a particuar branch of performance activity orchestra, chamber, or keyboard accompaniment aongside their skis as a soo recitaist. Shoud you choose to present orchestra excerpts, you wi find that there are numerous pubished coections of excerpts for your instrument, and it may aso be hepfu to tak to orchestra musicians about the works that are frequenty set at auditions. Athough at LRSM eve there is an entirey free choice of orchestra repertoire, you may find it usefu to refer to the orchestra excerpts set for the FRSM exam (see the ists on pp. 97 98). The chamber option provides an opportunity for you to demonstrate your skis as a member of an ensembe, fufiing the demands of your own ine whie contributing to the whoe as a team payer. Keyboard accompanists, ike chamber musicians, wi be assessed on their understanding of their part in reation to their duo partner.
LRSM Section 2 13 SECTION 2.1 VIVA VOCE The Viva Voce is an opportunity for you to demonstrate your knowedge, approach and understanding to the examiners. Questions wi cover your Recita and your Programme Notes, as we as other aspects of performing. The Viva Voce asts up to 15 minutes. Typica areas of discussion in the Viva Voce: Musica and instrumenta outook: questions designed to put you at ease and to ead into the discussion, incuding choice of repertoire, the chaenges presented and the preparation invoved. Repertoire and Programme Notes: detaied knowedge of the repertoire performed, incuding biographica information about each composer and the context of each work in the composer s ife and output; detais of commission (if any); the process of composition and first performance; detaied knowedge of the genera musica trends of the era and the pace of each work in the context of the core repertoire and programme buiding. Musica anguage and form: indepth understanding of the structure of each work and its musica anguage; infuences on the composer; each work s individuaity and how far it is representative of the composer and the era. Stye and interpretation: understanding of stye, technique and ensembe; knowedge of each work in the context of the instrument itsef: historica deveopments, idiom, core repertoire and technica demands; the interpretation of notation and ways to communicate the composer s intentions; performance practices incuding origina instrumentation; editions; performances and recordings; approaches to performance, incuding the use of physica space, memory and communication with an audience. Any further points you wish to draw to the examiners attention before the concusion. DIPLOMA CONTENT SECTION 2.1 PREPARATION GUIDANCE FOR VIVA VOCE See guidance on p. 9 which aso appies to LRSM candidates. SECTION 2.2 QUICK STUDY In this section of the exam, you are required to perform a short piece of unaccompanied and previousy unseen music of a standard simiar to ABRSM Grade 7 repertoire. Before you perform the Quick Study, you wi be given five minutes in which to ook through the music and to try out any parts of it. During this time the examiners wi not be assessing you. Singers may pay the key-chord and first note of the Quick Study on the piano before they begin their preparation, and as often as they wish prior to the test itsef. During the test, singers who need to reocate their pitch may pay a guide note as appropriate. Singers must sing the text, which wi aways be in Engish. In tota, the Quick Study asts up to 10 minutes. SECTION 2.2 PREPARATION GUIDANCE FOR QUICK STUDY See guidance on p. 10 which aso appies to LRSM candidates.
14 DIPLOMA CONTENT Prerequisite To be submitted with your entry Timing FRSM Genera information/section 1 LRSM (Music Performance) in the instrument presented or a permitted substitution (see p. 21). Three copies of a Written Submission, which shoud address idiomatic features and performance issues connected with the Recita, must be submitted when you enter for the Dipoma. Fu detais regarding the Written Submission, incuding ength, are given on pp. 24 and 26 27. 90 minutes are aocated to the FRSM, of which 50 minutes (+_ 10%) are devoted to the Recita, up to 20 minutes to the Viva Voce and up to 10 minutes to the Quick Study. SECTION 1 Duration Programming Examination music Performing from memory Accompanists and page-turners RECITAL You shoud pan your Recita so that it asts approximatey 50 minutes (it may be up to 10% onger or 10% shorter). This tota duration incudes any breaks between items, as we as one onger pause (of up to 5 minutes) for woodwind, brass and singing candidates. Pease note that the examiners reserve the right to stop the Recita if you exceed the prescribed duration. Your programme shoud be drawn from the prescribed ists of instrumenta and voca works or movements given on pp. 36 98. You may, however, aso incude in your programme a work or works of your own choice not isted on these pages but comparabe in standard and asting no onger than two thirds of the tota patform time; prior approva from the Associated Board is not required for any such aternative items. Pease note that performing own-choice repertoire gives no advantage over candidates presenting syabus-isted items ony. In your choice of repertoire, you shoud aim to present a speciaist programme which may concentrate on one composer or period but shoud be internay baanced, containing sufficient contrast of mood and stye. The editions quoted in the repertoire ists on pp. 36 98 are recommendations ony, and you are free to choose any other editions. A works/movements must be performed compete, athough you shoud use your discretion in matters such as the omission of tutti sections or the incusion of cadenzas in concerto movements or other works. The observance of repeats and interpretative decisions such as phrasing and the reaization of ornaments are aso matters in which you are expected to use your discretion to achieve a styisticay appropriate and musicay satisfying performance. Pease note that on the day of the exam you wi need to provide the examiners with copies of a the music you are performing, ideay in the same editions as those you are using. (If photocopies are to be used for this purpose, it is your responsibiity to obtain written permission from the pubisher/copyright hoder.) You shoud be prepared to discuss your choice of editions with the examiners in the Viva Voce. Athough there is no specific requirement to perform from memory, you are encouraged to do so if you consider it wi enhance your Recita. In particuar, singers are advised to perform their programme from memory, with the exception of oratorio items and compex contemporary scores. You must provide your own accompanist, where appropriate. The accompanist may remain in the exam room ony whie actuay engaged in accompanying. Pease note that examiners wi not act as accompanists under any circumstances. Both you and your accompanist may bring a page-turner, if required. In the case of organ candidates, the page-turner may aso act as registrant.
FRSM Section 1 15 Equipment Reated instrument option Speciaist option Other requirements You are recommended to bring your own music stand/stoo, if required (this aso appies to chamber ensembe members: see under Speciaist option beow). You may not bring into the exam room any materia or equipment unconnected with your exam; any infringement of this rue may ead to disquaification. If your instrument is one of those isted under Main Instrument in the tabe on p. 99, you have the option to pay up to two works of your Recita on a reated instrument (these are aso isted on p. 99), whie ensuring that the majority of the programme is performed on your main instrument. Pease note that there is no advantage to be gained over other candidates by offering a work on a reated instrument. As an aternative to performing as a soo recitaist for your entire programme, you may opt to present at east haf, and no more than two thirds, of your Recita within one of the three speciaist areas isted beow. The choice of repertoire can be at your own discretion, athough it shoud be comparabe in standard to the items in the ists on pp. 36 98. There is no advantage to be gained over other candidates by offering a speciaist option. You must indicate your speciaist option on the Entry Form. Orchestra musician: you are required to present orchestra excerpts, either unaccompanied or accompanied by your pianist, incuding those isted on pp. 97 98. You shoud anticipate that the examiners wi ask for an excerpt (or excerpts) to be repeated and that they may ask for a different tempo or approach to the one presented. Therefore, the tota paying time of the excerpts need not meet the minimum time specification. Chamber ensembe member: you are required to suppy your ensembe for the purposes of the exam at your own expense. Groups shoud normay number between 3 and 9 payers (incuding yoursef), with one payer to each part. Keyboard accompanist: you are required to suppy your duo partner for the purposes of the exam at your own expense. Candidates not meeting the syabus requirements in any way, such as offering an inappropriate standard of piece, faiing to adhere to the minimum/maximum patform times, or not being prepared to perform the minimum number of movements/pieces or the whoe of a work if specified in the syabus, wi be iabe to penaty. DIPLOMA CONTENT SECTION 1 PREPARATION GUIDANCE FOR RECITAL See guidance on p. 8 which aso appies to FRSM candidates. The foowing additiona guidance is provided for FRSM candidates offering one of the three speciaist options. These have been designed for candidates wishing to dispay their skis in a particuar branch of performance activity orchestra, chamber, or keyboard accompaniment aongside their skis as a soo recitaist. Shoud you choose to present orchestra excerpts, you wi find that there are numerous pubished coections of excerpts for your instrument, and it may aso be hepfu to tak to orchestra musicians about the works that are frequenty set at auditions. Pease note that you must incude those orchestra excerpts isted for your instrument on pp. 97 98. The chamber option provides an opportunity for you to demonstrate your skis as a member of an ensembe, fufiing the demands of your own ine whie contributing to the whoe as a team payer. Keyboard accompanists, ike chamber musicians, wi be assessed on their understanding of their part in reation to their duo partner.
16 DIPLOMA CONTENT SECTION 2.1 FRSM Section 2 VIVA VOCE The Viva Voce is an opportunity for you to demonstrate your knowedge, approach and understanding to the examiners. Questions wi cover your Recita and your Written Submission, as we as other aspects of performing. The Viva Voce asts up to 20 minutes. Typica areas of discussion in the Viva Voce: Musica and instrumenta outook: questions designed to put you at ease and to ead into the discussion, incuding choice of repertoire, the chaenges presented and the preparation invoved. Repertoire and Written Submission: comprehensive knowedge of the repertoire performed, incuding biographica information about each composer and the context of each work in the composer s ife and output; famiiarity with significant contemporaries; knowedge of the standard repertoire and programme buiding; points of carification in the Written Submission; questions prompting expansion, anaysis and evauation of particuary interesting or origina points; abiity to dea with compex issues and to communicate concusions ceary to a speciaist and nonspeciaist audience. Musica anguage and form: perceptive insights into the structure of each work and its musica anguage; infuences on the composer; each work s degree of innovation and persona stye as opposed to conformity with contemporary trends and received or traditiona stye, and the eve of success achieved. Stye and interpretation: understanding of stye, technique and ensembe; knowedge of each work in the context of the instrument itsef: historica deveopments, idiom, technica demands, the composer s use of the instrument in reation to standard practice; design history, eading makers, major deveopments in technica approaches; the deveoping roe of the instrument in either soo, chamber or orchestra music and the associated repertoire (depending on speciaist option, if chosen); core didactic materia; the interpretation of notation and ways to communicate the composer s intentions; performance practices incuding origina instrumentation; sources, editions and the editoria apparatus (ogic and consistency of approach and faithfuness to the origina source) and any aternativey viabe soutions; the most important exponents and their infuence on performing conventions now in common usage; semina performances and recordings; approaches to performance and performance preparation, incuding psychoogy, nerves and tension, the use of physica space, memory and communication with an audience. Any further points you wish to draw to the examiners attention before the concusion. SECTION 2.1 PREPARATION GUIDANCE FOR VIVA VOCE See guidance on p. 9 which aso appies to FRSM candidates.
FRSM Section 2 17 SECTION 2.2 QUICK STUDY In this section of the exam, you are required to perform a short piece of unaccompanied and previousy unseen music of a standard simiar to ABRSM Grade 8 repertoire. Before you perform the Quick Study, you wi be given five minutes in which to ook through the music and to try out any parts of it. During this time the examiners wi not be assessing you. Singers may pay the key-chord and first note of the Quick Study on the piano before they begin their preparation, and as often as they wish prior to the test itsef. During the test, singers who need to reocate their pitch may pay a guide note as appropriate. Singers must sing the text, which wi aways be in Engish. In tota, the Quick Study asts up to 10 minutes. DIPLOMA CONTENT SECTION 2.2 PREPARATION GUIDANCE FOR QUICK STUDY See guidance on p. 10 which aso appies to FRSM candidates.
18 SUMMARY DIPLOMA CONTENT Summary of skis, knowedge and understanding at a eves At DipABRSM and LRSM eves, successfu candidates wi have demonstrated: Performance skis covering a range of styes, incuding technica competence and musica understanding. Knowedge and understanding of the repertoire performed, incuding its idiom, form, stye and interpretation. Knowedge and understanding of the instrument/voice, its idiom and repertoire. Communication skis and abiity to articuate knowedge and understanding through musica performance, oray and in writing. Research skis. Musica iteracy and musicianship skis, incuding the abiity to perform previousy unseen music. In addition, successfu FRSM candidates wi have demonstrated: Abiity to dea with compex issues and to communicate concusions ceary to a speciaist and non-speciaist audience. Abiity to make critica evauations of sources.
PREREQUISITES AND SUBSTITUTIONS 20 22 Prerequisites and substitutions Appropriate professiona experience PREREQUISITES
20 PREREQUISITES AND SUBSTITUTIONS Prerequisites and substitutions To be eigibe to enter for a Dipoma, you wi need to show that you fufi a specific ABRSM prerequisite as evidence that you have reached a required minimum eve of competence. However, refecting our aim to provide open access and to recognize candidates achievements, we offer a range of possibe substitutions or aternatives for these prerequisites. The substitutions are given in the tabe beow aongside the prerequisites. PREREQUISITES DipABRSM LRSM Prerequisite ABRSM Grade 8 Practica in the instrument presented DipABRSM (Music Performance) in the instrument presented Substitutions Appropriate professiona experience (see p. 22) Grade 8 Practica from Guidha Schoo of Music & Drama, London Coege of Music & Media, Dubin Institute of Technoogy, Austraian Music Examination Board or University of South Africa; Grade 9 Practica from Roya Conservatory of Music, Toronto Grade 8 Practica from Trinity Coege London or Roya Irish Academy (with ABRSM Grade 5 Theory or equivaent from any of the boards isted in this tabe) ATCL or ALCM Performer s Certificates from Trinity Coege London or Guidha Schoo of Music & Drama (with ABRSM Grade 5 Theory or equivaent from any of the boards isted in this tabe) CPD Training Strategy, Modue 1, from Roya Air Force Music Services TEQA 1 from Roya Miitary Schoo of Music, Kneer Ha M2 from Roya Marines Schoo of Music BMus (Hons) from Roya Academy of Music or Roya Coege of Music (successfu competion of a course units for the first year) BMus (Hons) or BA (Music) from Roya Northern Coege of Music (successfu competion of a course units for the first year) BEd (Music), BA (Musica Studies) or BMus (Performance) from Roya Scottish Academy of Music & Drama (successfu competion of the first year) Appropriate professiona experience (see p. 22) A university music degree with verified performance modues, such as fina-year recita (required: copy of degree certificate, breakdown of resuts, and reference from course tutor/ instrumenta teacher affiiated with university) Advanced Certificate from ABRSM DipABRSM (Music Direction) (with ABRSM Grade 8 Practica in the instrument presented) LGSMD (Performing) from Guidha Schoo of Music & Drama LLCM (Performing) from London Coege of Music & Media LTCL (Performing) from Trinity Coege London ARCT from Roya Conservatory of Music, Toronto CPD Training Strategy, Modue 3, from Roya Air Force Music Services Band Sergeant Course or Band Sergeant Major Course from Roya Miitary Schoo of Music, Kneer Ha BMus (Hons), GRSM (Hons) or MMus (Performance Studies) from Roya Academy of Music BMus (Hons) or GRSM (Hons) from Roya Coege of Music BSc (Physics with Studies in Musica Performance) from Imperia Coege London and Roya Coege of Music
PREREQUISITES AND SUBSTITUTIONS 21 FRSM LRSM (Music Performance) in the instrument presented Appropriate professiona experience (see p. 22) A university master s degree in Performance with verified performance components (required: copy of degree certificate, breakdown of resuts, and reference from course tutor/instrumenta teacher affiiated with university) LRAM (Performing) or Performer s Certificate from Roya Academy of Music ARCM (Performing) or DipRCM from Roya Coege of Music FGSMD (Performing) from Guidha Schoo of Music & Drama FLCM (Performing) from London Coege of Music & Media FTCL (Performing) from Trinity Coege London PGDip (Performance) from Roya Academy of Music PGDip (Performance or Advanced Performance) or MMus (Performance Studies) from Roya Coege of Music BMus (Hons), BA (Music), PPRNCM, PGDipRNCM or MMus (Performance) from Roya Northern Coege of Music BA (Musica Studies), BMus (Performance), PGDipMus (Performance) or MMus (Performance) from Roya Scottish Academy of Music & Drama PREREQUISITES NB Supporting documentation Any additions to the above ist of substitutions wi be posted on the Associated Board s website (www.abrsm.org/exams/dipomas). If you have a quaification that you consider to be at a higher eve than those specified in the tabe above, you may appy for it to be accepted as a substitution for the isted prerequisite. There are no time imits on the vaidity of prerequisites. If you are fufiing the prerequisite through one of the isted substitutions, you wi need to encose supporting documentation with your Entry Form. In the case of quaifications, you shoud encose a photocopy of the reevant certificate. For courses (or parts of courses), a signed decaration from the institution concerned is acceptabe (standard wording for this decaration is given on p. 117). For candidates offering the standard ABRSM prerequisite: UK & Repubic of Ireand: a photocopy of the certificate (or mark form) shoud be encosed ony if the exam was taken before 1994 or in a centre outside the UK/Repubic of Ireand. A other countries: a photocopy of the certificate (or mark form) shoud be encosed in a cases.
22 PREREQUISITES AND SUBSTITUTIONS/Appropriate professiona experience Appropriate professiona experience PREREQUISITES At a three eves you may appy to offer appropriate professiona experience as a substitution for the standard ABRSM prerequisite. This is done by fiing in the appication form on p. 116 and sending it to the Director of Examinations for consideration. The form must reach the Board at east six weeks before the pubished cosing date for the session in which you wish to be examined. It is important to note that appying for this substitution is a separate procedure from sending in your Entry Form, and that approva of your professiona experience must aready have been given before you can enter for the Dipoma. When you are ready to enter, you must encose the Associated Board s approva etter with your competed Entry Form. Pease note the foowing points: The professiona experience that you cite on your appication form must be comparabe in both subject and eve to the prerequisite you are appying to substitute. This experience shoud consist of some or a of the foowing: fu-time music courses other than those isted in the tabe above; quaifications gained in areas specificay reating to the prerequisite; and reevant practica experience (for exampe, reguar (semi-)professiona appearances as a performer). These shoud have been undertaken or competed within the preceding five years. Your professiona experience must be supported by a signed decaration from an independent person of appropriate standing (for exampe, a course director/ supervisor/tutor, a musica director, orchestra manager, head teacher or other education professiona). Standard wording for this decaration is given on p.117. Wherever possibe, your appication form shoud be supported by documentary evidence, such as copies of certificates, detais of modue/course content, sampes of marked work, concert programmes and reviews, or pubicy avaiabe recordings.
SUBMISSIONS 24 25 26 Genera information regarding submissions Programme Notes (DipABRSM and LRSM) Written Submission (FRSM) SUBMISSIONS
24 SUBMISSIONS/Genera information Genera information regarding submissions In this syabus, the word submission refers to: the Programme Notes (DipABRSM and LRSM ony) the Written Submission (FRSM ony) These are pieces of prepared work that you wi be expected to discuss with the examiners as part of your Viva Voce and which contribute to the Viva Voce (Section 2.1) mark. Decaration of genuine work A submissions must genuiney be your own work and you are accordingy required to compete a candidate decaration form substantiating each submission. This form is to be found on the Entry Form as we as on our website (www.abrsm.org/exams/dipomas). SUBMISSIONS In the case of the Written Submission, the decaration form must be submitted with your entry. For Programme Notes, you must present the examiners with your decaration form on the day of the exam, aong with the Programme Notes themseves. If the examiners perceive a significant discrepancy between the eve of authority of a submission and your performance in the Viva Voce (aowing for the fact that you may be nervous), it may be necessary to probe deeper to estabish that the work is genuiney your own. Pagiarism Other points The Associated Board defines pagiarism as an attempt to pass off the work of others as one s own. Thus, copying from a pubished or unpubished source without acknowedging it, or constructing a précis of someone ese s writing or ideas without citing that writer, constitutes pagiarism. The Director of Examinations wi consider a suspected cases and candidates wi be penaized or disquaified if a charge of pagiarism is uphed. Candidates wi have a right of appea and representation if such a charge is made. For quaity-assurance purposes, you shoud not identify your name on or inside any submission. Instead, the Associated Board wi attach a Candidate Number to each submission before passing it on to the examiners. Permission to use copyright extracts from musica scores is not usuay required for examination submissions. You must ensure, however, that you quote the appropriate pubisher credit. If in any doubt, you shoud contact the pubisher concerned. A submission may not be drawn upon for future use at a higher eve of Associated Board Dipoma, athough reference to it may be cited. A faied submission may form the basis of a resubmission at the same eve. A submission must neither have been previousy pubished nor submitted to any institution or agency for another academic award. The Associated Board reserves the right to refuse examination of any submission if, in its view, it contains materia of an unsuitabe, unseemy or ibeous nature. The Associated Board regrets that it cannot return any submissions, so you are advised to keep a copy for your records. Specific detais regarding the Programme Notes and Written Submission are given on the foowing pages.