Guest Author, The Reverend Professor June Boyce-Tillman writes about the effect that the lack of female composers in music syllabuses had on a young child’s aspirations…
The publication of a new Piano Exam Syllabus is always (rightly or wrongly) a major event in the piano teacher’s calendar, a “big reveal” in which we learn the repertoire around which our musical curriculum might to some extent orbit for the next few years.
Judging by the response to my review of the current ABRSM Piano Syllabus, I am sure that readers will be keen to know my thoughts on the latest syllabus from their largest UK competitor, Trinity College London, published this month.
I must start with a disclaimer: as a teacher I rarely enter students for exams other than ABRSM. With that in mind, I am delighted that Karen Marshall has again agreed to offer her “Second Opinion” later in the review.
As in my recent review of Anthony Williams’ Piano Teacher’s Survival Guide, Karen’s contribution will take the form of an interview following on from my own comments. She will offer the perspective of a well-regarded teacher who has used the Trinity Syllabus with her students over many years.
But first, my thoughts, essentially coming to this syllabus fresh…
A brilliant new publication, The Piano Teacher’s Survival Guide instantly establishes itself as the very best practical manual available for today’s piano teachers …
Book Review by Andrew Eales, with a Second Opinion by Karen Marshall.
Music, Mind and Movement is the theme of an exciting five-day taking place in London this Summer, led by Lucinda Mackworth-Young.
Lucinda is known to many readers as the Course Director for the EPTA Piano Teacher’s Course, and as the author of the classic Tuning In: Practical Psychology for Musicians and Piano by Ear – about which I wrote in my review here:
“Perhaps the most genuinely useful and important piano education resource published in a while, “Piano by Ear” is an absolutely essential purchase for every pianist. Be sure to get yourself a copy and dig in – you won’t regret it!”
The course will no doubt draw on the varied expertise evident in both those publications. Here’s more information about the course…
Guest Post by Joni Hawkes
The recent articles on Active Repertoire on Pianodao have struck a chord with me … quite literally.
As an adult beginner into my third year of lessons, I have often found myself avoiding situations where I might be asked to play something, because I simply couldn’t play anything spontaneously without my trusty sheet music to hand.
The more pieces that I learned, the more they were becoming just a growing collection of stuff I couldn’t play.
The concept of Active Repertoire (always having 3 pieces that I enjoy playing, without notice, without embarrassment and without notation) has completely changed my approach to playing.
I now start every practice session by playing my 3 favourite pieces, and whilst I still have the book in front of me, I’m finding that with each session I’m increasingly looking away from the music as I play.
When I published David Duncan’s guest article Women Composers and Grade Exams I really hoped that it would promote a healthy debate about a really important issue, and I am pleased that it has done so.
While I don’t generally comment on Guest Posts, on this occasion I would like to add a few thoughts. And I must begin by applauding David Duncan and his colleagues at LCM for their determination to address an imbalance. David makes a valuable contribution to the discussion, and I believe his efforts at LCM deserve our support and enthusiasm.
My hope is that by including far more works by women composers, their forthcoming piano syllabus will be an eye-opener, in which unjustly neglected works will receive the greater exposure they deserve.