ABRSM Goes Digital for 2020

Usually around this time of year I write a report from the annual ABRSM Teacher Conference (for more info you can follow these links to the reports from 2016, 2017, 2018, and my 2018 interview with chief executive Michael Elliott).

This year I wasn’t a media guest at the conference, but in any case ABRSM chose to make their biggest announcements online. And two of those announcements are pretty significant…

This article offers a quick update on ABRSM’s new online booking service for exams, including some details teachers may have missed, as well as taking a look at their new online learning platform, Journeys: Guitar.

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Simplifying GDPR for Piano Teachers

When Liz Giannopoulos contacted me about a month ago to offer a guest post about GDPR, my initial response was, “what’s that?”

It is a response that was echoed by many when Liz’s post was published here just a few days later. It quickly became apparent that many instrumental teachers, like me, didn’t know the first thing about GDPR, even though it comes into effect on May 25th 2018. I know that many are hugely grateful to Liz for her very clear introduction to the subject.

In the weeks since then, there has inevitably been a huge debate about GDPR, and no small amount of activity on the part of those of us who are concerned to run our teaching businesses on a professional and legal footing.

This post will consider some of the biggest questions teachers have been asking and – with further help from Liz and from piano teacher Joanne Snowden – will offer some updated and accessible answers to these practical concerns:

  • Do I need to register as a data controller with the ICO?
  • What do I get for the £35 registration fee?
  • Do I need to seek consent from data subjects?
  • How do I write a Privacy Notice, and what should be included?

There has been much confusion about these issues, and often the ensuing debate between teachers has seemed to miss the core value that data privacy is a basic right for us all.

GDPR is ultimately about caring for our students and clients.
It is about respecting their basic rights.
It is an act of kindness.

Alongside putting my students’ and clients’ needs first, taking time to reflect on how I use other peoples’ personal information (and why) has proven to be a genuinely helpful professional development exercise.

As piano teachers we often enjoy considerable autonomy – and don’t always welcome challenges to our independence – but taking time to reflect on our compliance to external professional standards is worthwhile in and of itself.

With that in mind, let’s now turn to some big questions that teachers have been asking…

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Multi-Sensory Music Teaching

Guest post by Karen Marshall

Multi-sensory music teaching is just what it sounds like: using all the senses to teach and learn music. The main senses employed are visual (seeing), auditory (hearing) and kinesthetic (doing).

I would also add in reading and writing (text) as the literate nature of our world shows that many people find this useful, even those with dyslexia.

Multi-sensory music teaching can be seen in some of the most respected approaches to such work throughout the world including those of Dalcroze, Kodály, Suzuki and Orff. It can benefit all learners, including those with specific learning difficulties like dyslexia. In her key book Instrumental Music for Dyslexics: A Teaching Handbook (Whurr, 2002), Sheila Oglethorpe emphasizes this, encouraging people

“to employ as many of the child’s senses as possible in the hope that the stronger senses will compensate for the weaker ones”.

However, multi-sensory teaching shouldn’t be seen as a method to just use with students who have special needs – it has huge benefits for all…

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Preparing for GDPR: A Piano Teacher’s Perspective.

I would like to thank Liz Giannopoulos for this exclusive article which will be of special interest and importance to all piano and instrumental teachers working in the UK.

Guest post by Liz Giannopoulos

Introduction

The new General Data Protection Regulation (GDPR) will apply in the UK from 25 May 2018. For many private music tutors this is already causing uncertainty and confusion.

The summary that follows is the outcome of the research I have completed and steps I have taken to ensure that my piano school is compliant with the new legislation.

PDF download of full article: 
Preparing for the GDPR – A Piano Teacher’s Perspective

About the Author

Liz Giannopoulos is the founder and director of Encore Music Tuition Ltd, a thriving piano teaching group in SW London. Encore Tutors share a love music, a passion for teaching and unwavering commitment to delivering the highest quality tuition to every student. Together, they coach more than 130 piano students on a weekly basis.


Liz Giannopoulos

In addition to giving private piano lessons in her music studio and at local primary schools, Liz uses her experience of teaching and learning to coach and mentor the team of Encore Music tutors.

In 2015, she founded Battersea Piano Festival, an annual amateur piano competition. In 2012 Liz completed ABRSM’s Certificate of Teaching and Diploma in Instrumental Teaching. Liz is Mum to two musical boys and a relentlessly keen piano student herself; the family motto is “never a quiet moment”!


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The Pianist’s Motivations

The Pianist’s Reflections Series

  • What is it that motivates us as pianists?
  • Why did we start learning to play the piano? ..
  • And why do we continue to play?
  • What are our piano goals for the future? ..
  • And how do they excite us?
  • How can we motivate and inspire our students?

Ask these questions to a hundred pianists, and there’s a good chance you will hear a hundred different answers – but some common themes will most likely emerge.

In this article I am going to consider the many and complex motivations we all experience in life, focussing in on the difference between intrinsic and extrinsic motivations, and how each pertains to our piano playing.

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ABRSM Teacher Conference ‘17

Having been very impressed with last year’s ABRSM Teacher Conference, I attended again this year, and with high hopes – and wasn’t disappointed!

Once again, the event took place at London’s Grange Tower Bridge Hotel, a venue which itself lived up to the excellent impression made last year. The surroundings, organisation and – perhaps most importantly – the FOOD were all first rate!

As for the content of the day, once again this year there was something for everyone, although a particular focus was on the new Woodwind and Singing syllabi and resources published earlier in the year.

This inevitably led to a lesser focus on piano teaching than last time (presumably next year the piano will again be centre stage) but I found the day no less rewarding. So here’s my report…

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“You Composed This!”

Guest post by Garreth Brooke

Those of us who grew up hearing stories of the young prodigy Mozart composing his first music aged 5, or Beethoven composing the 9th whilst already deaf, may be forgiven for sometimes assuming that composing is something rarified and mysterious, inaccessible for us ordinary folk.

But if the recent explosion of wonderful original solo piano compositions from the likes of Barbara Arens, June Armstrong, Alison Mathews and Nikolas Sideris and many others that have been featured on Pianodao teaches us nothing else, it is that composition is not reserved just for the transcendent few.

What’s more, there are many resources available that you can use to guide you through introducing composition to students.

These resources, combined with an encouraging attitude and a sense of humour, can make composing a really fun and educational activity that both you and your students will enjoy. Best of all, none of these resources require you the teacher to be a composer. All you need is an encouraging attitude and a willingness to experiment.

Below you will find a list of resources that will help you to introduce yourself and your students to composing, as well as some tips from Barbara, June, Alison and Nikolas.

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Developing Performance Skills

Guest author – Roberta Wolff

Success Criteria to Develop and Enhance Students’ Performing Skills.

The season of exams, festivals and Spring Concerts is approaching so today I am sharing a simple but powerful approach to help students take their piece from practice room to stage.

The tools we will use are success criteria which leave almost no room for ‘failure’, and which develop confidence, and a sense of control and awareness as students practise the art of performance.

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