London College of Music Examinations (LCME hereafter) bill themselves as a progressive, friendly exam board offering a wide selection of graded music exams and professional diplomas. Founded as far back as 1887, the board arrived on the scene two years before ABRSM, and ten years after the first board, Trinity College Exams.
LCME pride themselves on continuing to lead the way in developing exam options that are relevant to today’s global world. Indeed, the performance grade options that other boards have introduced in the last year follow a blueprint LCME laid down years ago.
Uniquely, having become part of the University of West London, LCME are now the first and only exam board whose qualifications are awarded by a University. Conducting exams in more than 80 countries around the world, LCME retain their traditional qualities while being widely praised for fielding examiners known for being warm and approachable, ensuring candidates are put at ease and able to perform to their full potential.
With such particular strengths, it is perhaps odd that relatively few teachers are aware of their offer, but the recent arrival of the 2021-2024 Piano Syllabus and accompanying Handbooks offers a timely opportunity to take another, closer look…
With a single Tweet, the exam board ABRSM have in the last week provoked what they have themselves described as a “passionate debate”.
Defending their stance, ABRSM have subsequently confirmed that these are the words of their Chief Examiner, John Holmes, quoted from his presentation at this year’s Music Education EXPO event in London:
In the context of his talk, Holmes will no doubt have made many other points, adding balance and nuance to his position. That said, his view of a “virtuous circle of motivation” was surely not made up on the spot. We must accept this as his well-rehearsed position on the nature of and relationship between musical achievement, assessment and intrinsic motivation.
Discussion of these important concepts must be welcomed. As teachers it is our basic responsibility to question ideas, absorb good material, develop subject knowledge and promote better understanding. I should add that we also have a duty to confront that which might genuinely harm our students.
These issues are of course also of interest and importance to the parents of any child learning to sing or play a musical instrument. In contributing this response, I hope my thoughts might be considered both by teachers and by parents who are rightly keen to understand their childrens’ progress.
Together, let’s begin to unpack some of the many positive ways that we can all celebrate our childrens’ and our own adult achievements.