Supporting teachers, promoting piano education.
Written by Andrew Eales
The topic of singing in aural tests has long been a contentious one, but has become more so in recent years. Not only have growing numbers of teachers noted how unpopular the singing tests are, but research in the field of cognitive science now casts doubt on the previously assumed validity of such tests.
In this article I will explore the requirements of the five main boards, consider the links between singing and “audiation”, touch on some basic scientific research (with links for those wanting to read more) and suggest change.
Continue reading Singing in Aural Tests: the Bottom Line
Written by Andrew Eales
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In the last couple of weeks I have come across two well argued letters in the music press, the first by Alex Aitken and published in the September 2021 issue of Music Teacher magazine, the second by Pauline Carter and appearing in the October issue of the BBC Music Magazine.
Both letter writers lament a perceived decline in music education, singling out ABRSM as being uniquely responsible for this malaise. Their charge is probably unavoidable, and not without merit bearing in mind that ABRSM are in their own words,
“…the UK’s largest music education body, and the world’s leading provider of music exams.”
The diametrically different solutions each of the two propose points to the serious challenge ABRSM now face in charting a path that reconnects with all of their stakeholders, wins wide support, and restores confidence in their ability to (as they put it) “inspire musical achievement”.
It is certainly beyond doubt that many in music education are reflecting anew on the role, relevance and value of music exams:
What is the future of ABRSM grades?
I am coming to the view that it’s time to focus on a live performance assessment and scrap divisive “support tests” and other prerequisites from grade exams. Done well, this could raise a bar which does seem to have been steadily slipping in recent years, while better matching the real-world priorities of the 21st century.
When ABRSM announced their “Performance Grades” a few months back, I admit that I was skeptical. But having listened carefully to a range of opinion, I now believe that making the performance of music the whole focus of graded assessments could prove unifying, provided the exams themselves are available live and not just digitally.
Continue reading The Future of ABRSM Grades?