music
The Royal Conservatory’s
official newsletter for music teachers
Summer 2016
MATTERS
Celebrating Theory:
Introducing the Theory Syllabus, 2016 Edition
Also in this issue:
a Music Lessons—
Reaping the Benefits
a Updates to the ARCT in Piano
Pedagogy Requirements:
Revised Teaching Repertoire
Sample
SUMMER
SUMMIT 2016:
EXPLORING THE
LANGUAGE OF MUSIC
The Royal Conservatory’s Summer Summit is Canada’s premier Professional Development
event for music teachers. This year, join us as we unveil the new Celebrate Theory series,
the Theory Syllabus, 2016 Edition, and supporting digital resources! Be among the first to
peruse the new books, acquire insider knowledge, network with colleagues, and more:
•
•
•
•
•
Develop strategies for building skills to support a lifetime of music making through
integrating the study of theory and musicianship into the practical lesson
Explore innovative approaches for infusing creativity and inspiration into teaching
and learning
Discover new online courses and materials that will support and complement your
weekly lessons
Join members of the College of Examiners to mark theory papers and gain
insights into The Royal Conservatory Certificate Program exam requirements and
examiner expectations
Learn to read lead-sheet chord symbols and explore arranging and improvising with
Forrest Kinney, author of the Chord Play® and Pattern Play® series
SESSIONS INCLUDE:
•
•
•
•
The Art of Communication: Nurturing Resourceful and Spirited Students (Toronto)
Guidelines for Effective Interpretation (Vancouver)
Music Theory: Past, Present, and Future
Concert with Tony Yike Yang (Toronto & Vancouver), with special guest Paulina
Swierczek (Toronto)
August 13 & 14, 2016
The Royal Conservatory
273 Bloor Street West
Toronto, ON
August 20 & 21, 2016
Vancouver Academy of Music
1270 Chestnut Street
Vancouver, BC
Register now at
rcmusic.ca/summit
Fees:
Teachers Certified Teachers Students
$370
$345
$199
Presenters Include:
Gail Berenson*
Marvin Blickenstaff**
*Toronto summit only
| **Vancouver Summit only
Julia Galieva-Szokolay
Forrest Kinney
ADDITIONAL SESSIONS BY:
TORONTO: Anna Boyden, Maria Case, Sue Elliott, Thomas Green, Jennifer Gruden, Anne Marie Page, Joe Ringhofer, Elaine Rusk,
James Stager, Dale Wheeler
VANCOUVER: Anna Boyden, Maria Case, Sue Elliott, James Stager
Visit rcmusic.ca/summit for more information
Janet Lopinski
music
The Royal Conservatory’s
official newsletter for music teachers
Summer 2016
MATTERS
1 a Celebrating Theory: Introducing the Theory Syllabus, 2016 Edition
1
5 a Music Lessons—Reaping the Benefits
8 a Updates to the ARCT in Piano Pedagogy Requirements: Revised Teaching Repertoire Sample 1 a Q&A with the Academic Office
1
13 a News & Updates
5
CONTACT US
Please email us at: [email protected]
rcmusic.ca/musicmatters
8
The Music Matters Team at The Royal Conservatory
Elaine Rusk, Vice President, The Royal Conservatory Certificate Program
Angie Law, Director of Marketing
Janet Lopinski, Senior Director, Academic Programs
Alison Sloan, Editorial Director
Ryan Peplinski, Marketing Associate, Email
Meghan McKibbon, Marketing Coordinator
Music Matters provides pedagogical support and
relevant information from The Royal Conservatory in its mandate
to develop human potential through music and the arts. Members
of the academic community offer fresh perspectives and useful
information on teaching and managing a successful music studio,
while celebrating excellence in music. Current and previous issues
of Music Matters may be downloaded free of charge from our
website: rcmusic.ca/musicmatters
Celebrating Theory:
Introducing the Theory Syllabus, 2016 Edition
By JANET LOPINSKI, Senior Director, Academic Programs
The study of theory is an essential
component of a well-rounded musical
training. It provides the opportunity to
identify and explore elements already
discovered through the practical musical
experience and to establish the foundation
for musical experiences to come. It builds
aural awareness, develops analytical
thinking, encourages creativity, and
helps us to understand the music that
we hear and play on a deeper level. For
all these reasons, theory requirements
have been an important element of
The Royal Conservatory Certificate
Program for over a century. In fact, many
teachers do not separate “theory” from
“practice” and incorporate exploration
of the building blocks of music—such
as intervals, scales and chords—as an
integral component of every lesson.
The launch of the Theory Syllabus,
2016 Edition will bring the opportunity
to refresh and revitalize our approach
to teaching theory. As in the past, the
syllabus will outline new requirements
for theory examinations serving as
corequisites for Level 5 through to the
diploma level. For the first time in the
history of The Royal Conservatory, the
syllabus will also outline recommended
theory concepts from the Preparatory
Level through to Level 4, providing a clear
path for study from the very first lesson.
Let’s take a closer look at the
most significant aspects of the
Theory Syllabus, 2016 Edition.
THEORY CONCEPTS LISTED FOR
ALL LEVELS
To better support practical studies,
and encourage the development of
well-rounded musicianship from the
earliest stages of music lessons, the
Theory Syllabus, 2016 Edition includes
a list of topics recommended for
complementary study at every practical
level. This approach reflects current
pedagogical practice, as exemplified by
the fact that most beginner methods
include theory worksheets, activities,
or even separate books as part of the
learning sequence. Rather than first
learning to play an instrument and then
circling back to learn about “theory,”
it makes much more sense to discover
and identify elements of music notation
and vocabulary as they are encountered
in the repertoire. Much like in the
study of math in primary school, it
is effective and pedagogically sound
to learn concepts in bite-sized pieces,
building at each consecutive level and
gradually expanding and assimilating a
wider base of knowledge corresponding
with the expansion of practical skills.
NEW NAMES FOR EXAMINATIONS
In the Theory Syllabus, 2016 Edition,
the names of all theory levels correspond
with those of the practical levels with
which they are associated. This will
make it easier for teachers, students,
music MATTERS | Summer 2016 1
and especially parents to understand the
theory titles, and to identify the correct
examination for which students
should register. For example, the
theory corequisite for the Level 5
practical examination will be called
Level 5 Theory, while the corequisites
for Level 9 practical will be Level 9
History and Level 9 Harmony. The
requirements of the two syllabi can be
compared as shown on the chart below:
Theory Syllabus, 2016 Edition – New Exam Names
Theory Syllabus, 2009 Edition
Level 5 Theory
Basic Rudiments
Level 6 Theory
Intermediate Rudiments
Level 7 Theory
–
Level 8 Theory
Advanced Rudiments
Level 9 Harmony
Basic Harmony
Level 9 History
History 1
Level 10 Harmony & Counterpoint
Intermediate Harmony
Level 10 History
History 2
ARCT Harmony & Counterpoint
Advanced Harmony
ARCT History
History 3
ARCT Analysis
Analysis
UPDATED TERMINOLOGY
To align with the approaches found
in most theory textbooks and workbooks
used in colleges and universities across
North America, some new terminology
has been incorporated in the Theory
Syllabus, 2016 Edition. This will allow
students to transfer more naturally and
effortlessly from their studies in The
Royal Conservatory Certificate Program
into other learning environments. It is
helpful to remember that although the
labels may have changed, the concepts
they identify remain the same.
The most notable changes in
terminology include:
• half step (instead of semitone)
• whole step (instead of whole tone)
• half cadence (instead of
imperfect cadence)
2 rcmusic.ca/examinations
• authentic cadence (instead
of perfect cadence)
• cadential six-four chord labeled as
V 53 to show its dominant function
(the alternate label I 64 will no longer
be included each time this chord
progression is encountered)
ENRICHED CONTENT WITH
A HOLISTIC APPROACH
As part of the well-rounded,
integrated approach to the study of
music that characterizes The Royal
Conservatory Certificate Program, the
theory requirements have been enriched
with the addition of two new elements
from Levels 1 through 8.
1. Melody Writing
A new melody-writing component
provides the opportunity for students
to apply their understanding of
music notation, melodic motion, and
phrase structure in a creative context.
A carefully sequenced progression
of activities presents a beautifully
choreographed approach to ensure
student success in creating melodies.
Beginning with short melodies that
move by step within a given rhythmic
framework, then expanding to parallel
periods and finally contrasting periods,
students will receive a solid preparation
for the melody writing requirements
in the Harmony & Counterpoint
requirements to follow at advanced
levels.
2. Guided Listening
To build awareness and appreciation
of a wide range of styles and genres of
music, a series of “Guided Listening”
activities have been developed. In
Levels 1–4, the listening adventures
expose students to masterworks in the
repertoire. The Guided Listening is
presented by topics, grouped together
under headings such as “Telling a
Story Through Music,” “J.S. Bach and
Music for Dancing,” and “Getting
to Know the Orchestra.” Works to
be explored include Prokofiev’s Peter
and the Wolf, Britten’s The Young
Person’s Guide to the Orchestra, and
selections from the Notebook for
Anna Magdalena Bach. In Levels 5–8,
students are introduced to the Baroque,
Classical, Romantic, and Modern eras,
to support their study of repertoire
from these periods. A vocabulary
of terms is also acquired, building a
foundation for the detailed study of
music history that begins at Level 9.
INTEGRATION OF COUNTERPOINT
INTO THE STUDY OF HARMONY
In the Theory Syllabus, 2009 Edition,
Counterpoint is an optional examination
for students wishing to obtain the
ARCT diploma. Students are able to
choose to write only two out of three
examinations: Counterpoint, Advanced
Harmony, and Analysis. As counterpoint
is an essential element of music study
that leads to a richer musical experience,
elements of counterpoint have been
added to the study of harmony
beginning at Level 9 and continuing
through Levels 10 and ARCT in the
Theory Syllabus, 2016 Edition. While the
stand-alone Counterpoint examination
will be eliminated, all students will have
the opportunity to study counterpoint
as part of the harmony curriculum and
will therefore become familiar with its
role within the musical landscape.
SUPPORTING MATERIALS
We are delighted to provide
RCM-authored materials based on
the Theory Syllabus, 2016 Edition to
support theory study at every level.
The innovative new Celebrate Theory
series consists of an engaging workbook
for each of Preparatory through Level 8,
with separate books for History and
Harmony & Counterpoint from
Levels 9 through ARCT. The theory
books were created with students and
teachers in mind; essential concepts are
introduced through practical activities,
written exercises, and exploration of
repertoire suitable for integrating into
the weekly practical lesson. Selections
from The Royal Conservatory
repertoire and etude collections, such
as Celebration Series®, 2015 Edition
are included throughout the series to
help theory concepts come alive.
The Celebrate Theory books for
Preparatory to Level 8 will be available
in August 2016, and Levels 9 to ARCT
will be available in December 2016.
It becomes effective on
September 1, 2016.
As there is considerable overlap
between the requirements in the Theory
Syllabus, 2009 Edition and the 2016
Edition, beginning in December 2016,
only one set of examinations will be
offered. Alternate questions will be
included to accommodate students
who have based their preparation on
either the 2009 or the 2016 syllabus.
For further information on the
transition and crossover, please
visit: CelebrateTheory.com
If you are interested in exploring new
ways to integrate the study of theory
into your teaching, consider joining us at
the upcoming RCM Summer Summits
(rcmusic.ca/summit) for the official
launch of the Theory Syllabus, 2016
Edition and Celebrate Theory series, and
for an in-depth exploration of all related
resources.There will also be regional
workshops across North America in
the fall, offering an introduction to
and overview of the new requirements,
resources and examination expectations.
As a vital component of The Royal
Conservatory Certificate Program,
the Theory Syllabus, 2016 Edition
will provide a path for inspired
teaching and learning, shaping the
development of generations of music
students over the next century.
TRANSITION TIMELINE AND
CROSS-OVER
The Theory Syllabus, 2016 Edition
will be available online and for purchase
in August, 2016.
DR. JANET LOPINSKI
Dr. Janet Lopinski, Senior Director, Academic Programs at The Royal Conservatory,
has performed as soloist and collaborative pianist, and has presented lectures, workshops
and master classes across North America, Europe and Korea. She is a graduate of The
Royal Conservatory (ARCT gold medalist), University of Toronto (Bachelor of Music), and
University of Cincinnati (Master of Music and Doctor of Musical Arts). She has taught piano,
piano pedagogy, music history, and theory at The Royal Conservatory and is coauthor of the
music history handbook “Explorations”, published by the Frederick Harris Music Company.
Dr. Lopinski is the Founder and Artistic Director of the Canadian Chopin Society.
music MATTERS | Summer 2016 3
Teach the building blocks
of music with the new
Celebrate Theory!
NE
W
!
Aligned with every level of
The Royal Conservatory Certificate
Program, starting at Preparatory
Theory concepts come alive through:
• Practical activities and written exercises
• Exploration of repertoire
• Guided listening and melody writing
THEORY
SYLLABUS,
2016 EDITION
Effective
September 1
Theory
SYLLABUS / 2016 EDITION
Pre-order your teacher set today
and receive 25% off!
12 books total!
Only $158.55!
BUY NOW!
Music Lessons—Reaping
the Benefits
By SEAN HUTCHINS, Director of Research
One of the big lessons that we’ve
learned from the study of music and
the brain is that musicians aren’t just
people who play music—musicians’
brains structure their entire world in
a different way. Musicians have better
perceptual skills (for example, picking up
the details in sounds), which lets them
hear music differently, as well as other
acoustic signals (such as speech). It’s not
just sounds, either. There is also evidence
that a lifetime of musical experience
can positively affect other mental skills,
leading to better ability to pay attention
and better cognitive flexibility.
The really crucial aspect of all this
research, however, is that the mental
benefits of musical training are not just
limited to those people who would
put “Musician” on their business card.
Anyone who has put in the effort to
hone their musical skills seems to reap
the benefits of this training. (As an aside,
this may be one of the reasons that we
tend to see so many musically talented
people in successful positions in life, like
the lawyer who just happens to play the
piano, or the doctor who sometimes
moonlights in a jazz ensemble).
THE BENEFITS OF BEGINNING
EARLY
At the age of three, children are often
developing important cognitive skills
in attention, self-control, and working
5 rcmusic.ca/examinations
memory. What’s more, there is good
evidence that early childhood can be
the most valuable time to start a music
education. The earlier a child begins their
music education, the more likely they are
to have better motor skills as an adult.
They are also more likely to develop
perfect pitch. In addition, the length of
musical training can predict perceptual
abilities, including how faithfully the
brain can represent the sounds it hears.
Music training in childhood can even
help protect against hearing deficits
later in life—even if you don’t touch an
instrument for thirty years in the middle.
The benefits of music education can show
up quite early as well, with perceptual
benefits shown in preschoolers and schoolage children. Again, these perceptual
benefits aren’t just limited to music—they
can help with speech discrimination and
the ability to focus attention—a vital skill
for children in a noisy classroom setting.
FIND A BALANCE
However, one of the hardest parts
about being a parent is finding the right
balance between what your child wants
to do and what your child should do. In
the Tradewell-Hutchins household, there
used to be a mini-standoff about brushing
teeth every night—“Do I have to do it?”
“For how long?” “Can I just leave the
toothbrush in my mouth and not move
it?” As parents, we drew a line in the
sand, though, because it was important
to us and to them, not so much because
we cared about brushing baby teeth
with fluoride-free toothpaste, but mostly
because we cared about establishing a
routine around brushing. Nowadays,
we still get some pushback, but at least
there’s the expectation that it’s part of
the bedtime routine. It becomes easier
and easier every day. With music, too,
there are similar kinds of struggles, and I
can’t help but think back to when I was a
child, with my mother cajoling, nagging,
or downright forcing me to practice the
piano. And though I resented it at the
time, it proved to be useful, both for my
career and social life (having met my
wife through the beauty of light opera).
Ultimately, it’s the conjunction of these
two aspects of music—the work and the
fun—that make it such a powerful tool.
Music does have a strong social aspect to
it, and many scientists believe that the root
cause of the beneficial effects of music are
related to the fact the music is cognitively
demanding, but also rewarding. Music
is both the medicine and the spoonful
of sugar. As a parent trying to get a child
to practice, we yearn for the former,
but we can’t lose sight of the latter.
MAKE PRACTICE FUN
As part of my job, I work with several
very excellent early childhood music
educators on The Royal Conservatory
Smart StartTM team who, on a daily basis,
consider the best ways to not only present
top-quality music education, but also to
make it fun and enjoyable. One of my
favourite ways to do this at home is to be
involved in my son’s music practice—not
just as an overseer, but as a participant.
Sometimes this involves duets, but it can
also involve singing along, or even just
being an open and appreciative audience
member. In fact, a recent study has
shown that parental involvement can be
a very powerful factor for aiding musical
memory in infants. I know the time
constraints can be challenging, and I’m
not always able to be as involved as I’d like
to be, but I find that fostering that sense
of musical collaboration is a nice way to
draw on some of the inherent benefits of
music. This doesn’t mean that music still
isn’t preferable to Pokémon cards for my
son, but I’m hoping that by his teenage
years, we can reverse those preferences.
As both a scientist and a parent,
I recognize the long-term benefits of
music practice, but I also recognize the
short-term struggles it can present.
It is wonderful to see this scientific
research reaching the public zeitgeist, but
sometimes this can come at the expense
of the recognition of the work that music
lessons can entail, not just for the child,
ENGAGING STUDENTS:
RCM Digital Resources for
Student Success
The RCM’s latest digital initiatives include a suite of Apps
and Courses designed to support student success and encourage
engagement with the curriculum outlined in the Theory Syllabus,
2016 Edition. Leveraging the powers of instructional design,
these resources will use established pedagogical frameworks to
address a variety of learning styles such as visual, tactile, and
auditory. An interactive, playful, and age appropriate series of
five Apps that will guide beginning students from Preparatory
through Level 4 theory will be available from the Apple store
in Fall 2016. Beginning at Level 5, a series of four App based
courses (available for iOS from rcmusic.ca/digital-learning)
but also the parent. And don’t worry—
if you keep a healthy attitude, the fun
will come. After all, it’s music!
DR. SEAN HUTCHINS
Dr. Sean Hutchins is a neuroscientist
and the Director of Research at The
Royal Conservatory of Music in Toronto.
He received his Ph.D. from McGill
University, studying music and the
mind. His current work examines the
role of musical training and experience
on cognitive and linguistic abilities.
authored by a team of leading RCM pedagogues, instructional
designers, and scholars, explore the nine categories of content
found at each level of the Theory Syllabus, 2016 Edition.
Students will work through interactive lessons and activities
(which include hints and feedback) leading toward embedded
assessments. At the heart of all of our Apps is an interactive
music staff that allows students to notate a given concept, play
it back, and receive helpful feedback on their responses.
In addition to the theory Apps, beginning in Fall 2016,
students will be able to complete Level 9 History online in
the newest online course offered by the RCM. Students will
join us on an interactive journey through time as we trace the
evolution of music from Vivaldi to Adams. This self-contained,
independent study experience addresses all expectations
articulated in the Theory Syllabus, 2016 Edition and includes a
series of embedded assessments.
Four Star®
Online Ear Training
Daily interactive online ear-training
exercises offer students the
opportunity to practice aural
exercises anytime, anywhere*.
Cadenza and Notemaker:
Free Digital
Teaching Tools
BUY NOW!
Do you have a student who “forgets” what to practise
during the week — and ends up doing nothing? Or maybe
*included
with
purchase
of any
Four Star ®tobook
your
students
need
detailed
information
structure their
practising? Two new digital tools can help — and they’re free.
music MATTERS | Summer 2016 6
Cadenza and
Notemaker:
Free Digital Teaching Tools
Do you have a student who “forgets” what to practise
during the week — and ends up doing nothing? Or maybe
your students need detailed information to structure their
practising? Two new digital tools can help — and they’re free.
Cadenza extends and transforms the traditional pen-and-paper dictation
book with a wealth of online features for music learning. Cadenza users can:
•
•
•
•
•
Create practice plans with a few keystrokes;
Time, track, and reflect on practice sessions;
Upload recordings and have a virtual conversation about the work;
Communicate between lessons to shape progress;
Use practice targets to stay focused and motivated.
Signing up for an account is simple—you just need a Google account—
and it takes less than a minute. Sign up at cadenzamusictool.ca.
Now available as an iOS app, Notemaker allows users to make real-time
comments on video and audio recordings, sharing their work to create a
conversation with other users. Find it as Notemaker-Cadenza at the Apple Store.
Notemaker and Cadenza have been designed to work seamlessly together. Create
a video in Notemaker, then open up Cadenza and you can upload your video with
one tap to the screen. It’s easy and intuitive . . . as well as an effective way to
teach students to listen and reflect on their own, or someone else’s, performance.
To learn more, visit the Music Tool Suite website at musictoolsuite.ca or watch
the Cadenza and Notemaker playlists on the Music Tool Suite YouTube
“I love that my students
can use Notemaker to hear
exactly the point when they
need to make a change, and
by listening closely, they can
make adjustments to their
playing on their own.”
Julia Fountain
Ajax music teacher
Updates to the ARCT in Piano
Pedagogy Requirements:
Revised Teaching Repertoire Sample
To align the requirements for the ARCT in Piano
Pedagogy with the progressive levels defined in
the Piano Syllabus, 2015 Edition, the Elementary,
Intermediate, and Advanced Teaching Repertoire
Samples have been adjusted as follows:
Piano Syllabus, 2008
Edition Teaching
Repertoire Samples
Updated Teaching
Repertoire Samples
Elementary
Preparatory–Level 2
Preparatory–Level 4
Intermediate
Levels 3–6
Levels 5–8
Advanced
Levels 7–10
Levels 9–10
The updated requirements of the Teaching Repertoire Sample bring consistency in usage of the designations Elementary, Intermediate,
and Advanced across the entire Certificate Program, and align with the Teacher Certification Levels and the online Piano Teacher Specialist
courses to encourage concurrent study within both programs. At the Advanced Level, the change will allow candidates to focus their attention
on Levels 9 and 10, leading to enhanced preparation. In addition, the updated repertoire samples require candidates to prepare complete
examination programs in their Teaching Repertoire Samples, resulting in a more thorough grounding for preparing candidates at all levels.
ELEMENTARY LEVEL
EXISTING REPERTOIRE SAMPLES
Effective until May 1, 2017
Repertoire
REVISED LISTS
Effective from January 1, 2016
Etudes
Repertoire
Etudes
Beginner
Method
four selections from method book
–
Prep B
three contrasting selections
Preparatory
two selections from Prep A
or Prep B
–
Level 1
three selections (one from each
of List A, List B, List C)
one etude
Level 1
three selections (one from each
of List A, List B, List C)
one etude
Level 2
three selections (one from each
of List A, List B, List C)
one etude
Level 2
three selections (one from each
of List A, List B, List C)
one etude
Level 3
three selections (one from each
of List A, List B, List C)
two etudes
Level 4
three selections (one from each
of List A, List B, List C)
two etudes
NOTE: Repertoire and etudes must be selected from
Celebration Series®, 2015 Edition
8 rcmusic.ca/examinations
–
INTERMEDIATE LEVEL
EXISTING REPERTOIRE SAMPLES
Effective until May 1, 2017
REVISED LISTS
Effective from January 1, 2016
Repertoire
Etudes
Repertoire
Etudes
Level 3
three selections (one from each
of List A, List B, List C)
one etude
Level 5
three selections (one from each
of List A, List B, List C)
two etudes
Level 4
three selections (one from each
of List A, List B, List C)
one etude
Level 6
three selections (one from each
of List A, List B, List C)
two etudes
Level 5
three selections (one from each
of List A, List B, List C)
one etude
Level 7
three selections (one from each
of List A, List B, List C)
two etudes
Level 6
three selections (one from each
of List A, List B, List C)
one etude
Level 8
four selections (one from each of
List A, List B, List C, List D)
two etudes
NOTE: Repertoire and etudes must be selected from
Celebration Series®, 2015 Edition
ADVANCED LEVEL
EXISTING REPERTOIRE SAMPLES
Effective until May 1, 2017
REVISED LISTS
Effective from January 1, 2016
Repertoire
Etudes
Level 7
two contrasting selections
one etude
Level 8
two contrasting selections
one etude
Level 9
two contrasting selections
one etude
Level 10
three contrasting selections
(including a Prelude and Fugue
by J.S. Bach)
one etude
NOTE: All lists (A, B, C, and D), must be represented, including one
sonata-form movement from Level 9 or 10.
Repertoire
Etudes
Level 9
one thee-part invention
one sonata movement (first
movement, sonata form)
one List C selection
one List D selection
two etudes
Level 10
one Prelude and Fugue
by J.S. Bach
one sonata selection (two
contrasting movements)
one List C selection
one List D selection
one List E selection
two etudes
NOTE: Repertoire and etudes must be selected from Celebration
Series®, 2015 Edition, with the exception of the Prelude and Fugue.
Candidates may begin preparing for Pedagogy examinations using the updated Teaching Repertoire Samples immediately, as indicated on the
table below. Please note that all repertoire selections must be drawn from the Celebration Series®, 2015 Edition, with the exception of the
Prelude and Fugue by J.S. Bach.
Transition Timeline
Spring 2016
August 2016
Winter 2017
Students may present Teaching Repertoire Samples as listed in the Piano Syllabus, 2008 Edition, or using the updated
version as outlined above.
Spring 2017
Teaching Repertoire Samples must be prepared according to the updated requirements beginning
May 1, 2017.
These changes along with further clarification regarding written and interactive pedagogy examinations are listed in the Associate Diploma in
Piano Pedagogy: An Addendum to the Piano Syllabus, 2015 Edition, available online at: examinations.rcmusic.ca/syllabi
music MATTERS | Summer 2016 9
YOUR BEST
INVESTMENT
AS A
TEACHING
PROFESSIONAL
THE ROYAL CONSERVATORY
Piano Teacher Specialist Courses
• Affordable 10-week online courses for teachers of beginner,
intermediate, and advanced students
• Videos and articles by renowned subject matter experts
• Peer-to-peer sharing among cohorts of 20–25 teachers
facilitated by experienced pedagogues
• Two years’ exclusive online access to RCM teaching materials
and professional development resources
To learn more and/or apply visit:
rcmusic.ca/PianoTeacherCourses
Q&A
WITH THE
ACADEMIC
OFFICE
COPYRIGHT
MEMORY POLICIES
Are students permitted to use
public domain scores downloaded
from the Internet in examinations?
Music downloaded from the Internet,
either purchased or in the public domain,
may be used during an examination.
Please print the receipt/disclaimer
notice and include it with the printed
music provided for the examiner.
What are the memory policies for
the Piano Syllabus, 2015 Edition?
For Preparatory A through Level 7
examinations, two marks are awarded
for each piece memorized, for a total
of 6 marks. For Levels 8 through 10,
one mark is deducted for each piece
that is not memorized. All pieces must
be memorized for ARCT in Piano
Performance examinations. Please refer
to page 10 of The Royal Conservatory
Piano Syllabus, 2015 Edition.
PAGE TURNS IN EXAMINATIONS
How can a student best handle
page turns in the examination?
Will the examiner turn pages for a
student?
When music is used during an
examination, it is expected that the
student will have planned and rehearsed
comfortable page turns, allowing for the
performance to unfold without pauses
or interruptions to the musical flow and
continuity. Please note that examiners
are unable to turn pages for students
during the examination. When preparing
for a performance using music, keep
in mind that in order to facilitate page
turns, it is acceptable to photocopy a
single page, provided permission has
been obtained from the publisher.
The Frederick Harris Music Co.,
Limited has granted permission to
festival, recital, and examination
participants to photocopy single pages
from their publications to facilitate
page turns. Permissions for works
published by others must be obtained
directly from those publishers.
STYLE
How creative can a student be with
articulation choices in repertoire?
Stylistic awareness and good
musical taste contribute to appropriate
articulation choices. Reliable editions
frequently provide accurate indications
of the composer’s intentions with
regard to articulation. Although there is
certainly room for creativity in making
articulation choices, decisions should
always be informed by an understanding
of appropriate performance practice
for the era and composer in question.
An experienced teacher can guide
students in making appropriate choices
in regards to articulation, balancing
creativity with stylistic awareness.
TECHNICAL TESTS
For Technical Tests, is it expected
that students will be familiar with
enharmonic keys for examinations?
For the Advanced Level examinations,
it is assumed that students will understand
the concept of enharmonic keys. While
the keys will generally be asked as listed in
the syllabus, it may occasionally happen
that an examiner refers to a key by its
enharmonic name (for example, F sharp
major instead of G flat major in Level 10).
This is not intended to be mean-spirited
or tricky, but simply a natural outcome
of musicians thinking “bilingually”
in terms of flat and sharp keys.
GUITAR POLICIES
What is the policy regarding the
use of nylon strings and classical
guitars for examinations?
The Royal Conservatory Guitar
Syllabus, 2011 Edition was created
with the classical guitar in mind. The
composers and works listed within the
syllabus and compositions in Bridges ®,
A Comprehensive Guitar Series are most
closely associated with the classical
guitar. Therefore, it is this nylon stringed
version of the guitar that best realizes the
musical intent of The Royal Conservatory
Certificate Program requirements,
especially at the Intermediate, and
in particular at the Advanced levels.
However, at the Elementary levels,
students may find success using a nonclassical guitar and the use of acoustic/steel
string guitar or electric guitar does not
have a direct effect on the mark received.
We welcome your questions. Please
contact [email protected]
The Fall 2016
Convocation and
Gold Medal Awards
Ceremony dates have
been set!
EVENT
DATES
Atlantic Canada Gold Medal Awards Ceremony
Saturday, October 29
Manitoba Gold Medal Awards Ceremony
Sunday, October 30
Vancouver Convocation and Gold Medal Awards Ceremony
Sunday, November 6
Calgary Convocation and Gold Medal Awards Ceremony
Sunday, November 13
Award notifications and invitations will
be sent out to 2016 Graduates and Gold
Medal Award recipients in early October.
Toronto Convocation and Gold Medal Awards Ceremony
Sunday, November 27
Saskatchewan Gold Medal Awards Ceremony
Saturday, December 3
11 rcmusic.ca/examinations
The only collection of
piano music they’ll need
Outstanding learning
materials for students
of all levels:
• Celebration Series®, 2015 Edition
Repertoire and Etudes
• Technical Requirements for Piano
• Four Star® Sight Reading
and Ear Tests
Visit your local retailer
or purchase online.
CelebrationSeries2015.com
FREE
digital
recordings
FREE
online
ear training
Music from
all style
periods
News & Updates
LEARN MORE ABOUT CELEBRATE
THEORY
Join us this fall at a free teacher workshop
about the Theory Syllabus, 2016 Edition and
the Celebrate Theory series. Expert clinicians
will walk you through the new curriculum
and demonstrate how the RCM-authored
series, Celebrate Theory supports the new
requirements. To find a workshop in your
area, visit rcmusic.ca/tpd
2016/17 PIANO TEACHER
SPECIALIST COURSES
Transform the way you teach with a tenweek online Elementary, Intermediate, or
Advanced Piano Teacher Specialist course.
Each course includes tutorials from North
America’s leading piano pedagogues,
personalized feedback from master piano
teachers, and connection to a community of
like-minded teachers. Applications are now
being accepted. Please visit the links below
for more information and to apply:
rcmusic.ca/PianoTeacherCourses
SUMMER SUMMIT 2016:
EXPLORING THE LANGUAGE
OF MUSIC
Join us for the annual Summer Summit:
August 13 &14 in Toronto at The Royal
Conservatory of Music, and August 20 &
21 at the Vancouver Academy of Music.
Register now at rcmusic.ca/summit
UPCOMING IMPORTANT EXAMINATION DATES
2017 Session Dates Announced!
CANADA
DECEMBER/JANUARY SESSION (WINTER)
Registration Deadline
Practical Examinations
Theory Examinations
November 1, 2016
January 16–28, 2017
December 9 & 10, 2016
APRIL SESSION (PIANO ONLY)
Registration Deadline
Practical Piano Examinations
January 4, 2017
April 3–8, 2017
MAY/JUNE SESSION (SPRING)
Registration Deadline
Practical Examinations
Theory Examinations
March 7, 2017
June 5–24, 2017
May 12 & 13, 2017
AUGUST SESSION (SUMMER)
Registration Deadline
Practical Examinations
Theory Examinations
June 6, 2017
August 14–26, 2017
August 11 & 12, 2017
13 rcmusic.ca/examinations
ARE YOU MOVING?
The best way to ensure you continue to
receive notifications and Music Matters is
to ensure that we have your current contact
information. There are three ways to update
your address:
1. Login to your Teacher Account at:
rcmusic.ca/user/login
2. Contact Candidates Services at
1.800.461.6058
3. Email [email protected]
with your name, teacher number, new,
and old addresses
Click.
Tweet.
Connect!
Staying in touch with
The Royal Conservatory
has never been easier.