ABRSM’S global standing has long been predicated on wide respect for their role as leaders in music education, setting and maintaining the “gold standards” that have been such a rich source of motivation and affirmation, inspiring generations of musicians worldwide.
But as they launch their latest Piano Scales Review, it increasingly seems they are ceding their authority, trading educational leadership for commercial popularity, led by market research.
In this post I will unpack some of their latest proposals against the backdrop of the bigger question of ABRSM’s historic role in setting and maintaining global standards in music education, noting both improvements and concerns.
Continue reading ABRSM’s Piano Scales Review
There’s a great quote from the iconic violinist Kyung Wha Chung in the BBC Music Magazine (June 2017) which I think is worth sharing here in passing, as it ties in with a topic that has recurred on Pianodao.
Talking about the young players who seek her advice she says:
“They say they’re going to enter this competition or that.
But this is the wrong route.
How many competitions are there on this planet?
How many winners are there?
Do they all have a career – meaning a career when you become a star, so to speak? No.”
Kyung Wha Chung’s simple words sum up the futility of a competition circuit which crushes the aspirations of too many genuinely talented players. The violin world – just like the piano world – offers dozens of “international” competitions each year (on the piano it ranges between 50-100 depending on the year) – each claiming it can transform a young artist’s career prospects.
The internationally acclaimed cellist Julian Lloyd-Webber recently suggested, in any case, that the majority of music competitions are quite simply corrupt, with judges colluding and using competitions merely to promote their own pupils and careers:
“Everyone knows it, but no one says it, because when you’re in the profession, you don’t…
There are obvious exceptions, such as BBC Young Musician of the Year, which is not corrupt at all, but you have these competitions for violins, cello, piano and it’s all about who you studied with.”
The subject of competitions is one which I have written about here many times, most recently (and fully) in my post The Competitions Controversy.
We can but hope that moving forward the music business and education world will continue to embrace change and look to creative positive alternatives for developing artists.