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…
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.
Guest Post by David Duncan
Publications Officer, LCM Examinations
Should we care about the representation of women composers in graded music exams?
Since writing my article What can you play? readers have shown quite an interest in my concept of Active Repertoire.
Now I am going to explain a little more about how Active Repertoire fits into the wider picture of your piano journey.