music
The Royal Conservatory’s
official newsletter for music teachers
Spring 2012
MATTERS
Giving Back,
Looking Forward
AN INTERVIEW WITH SARAH MCLACHLAN
In this issue:
a The New Voice Syllabus:
Spotlight on Singing
a Spotlight on
Atlantic Canada
Teacher
Professional
Development
Seminars
Achieving Success
BriTiSH CoLuMBiA | ALBerTA | SASKATCHeWAn | MAniToBA | onTArio | QueBeC | ATLAnTiC CAnADA | YuKon
Scheduled for the 2011 – 2012 academic year in locations
across Canada, The royal Conservatory Teacher Professional
Development Seminars will focus on the integral and
creative aspects of music teaching in the 21st century.
These accredited seminars will include master classes,
teaching demonstrations, interactive sessions, online
learning activities, roundtable discussions, and a range
of specific pedagogical and professional topics.
Coming soon: Theory Teacher Professional Development
Seminars in Vancouver, Calgary, and Toronto.
Visit rcmusic.ca/tpd for details.
I enjoyed the chance to observe excellent teaching,
and to have open dialogue about how to teach better.
Presenters
Marc Durand
Dianne Werner
James Anagnoson
Jennifer Snow
Thomas Green
Janet Lopinski
Andrew Hisey
Linda Kundert-Stoll
Kent McWilliams
Christine Vanderkooy
Christopher Hahn
Dale Wheeler
and more…
– Teacher
I enjoyed meeting other teachers, making connections
and new friends. I also learned a great deal from the
master class.
– Student
For more information, contact
[email protected]
or visit rcmusic.ca/tpd
Registration:
regular $99 | Student $50
includes lunch and light
refreshments.
music
The Royal Conservatory’s
official newsletter for music teachers
Spring 2012
MATTERS
2 a The New Voice Syllabus:
Spotlight on Singing
4
a Mentor Memories with singersongwriter Sarah McLachlan
8 a Syllabus updates
Grade 10 Piano Repertoire Supplemental
iSCORE
The Music Matters Blog a Q&A with an Examiner
9 a The Royal Conservatory Across
Canada: Spotlight on Atlantic Canada
BACKa Candidate Services Corner:
Sarah McLachlan photos, cover and this page: Kharen Hill
Recognition of Accomplishment –
Certificates
Replacement Certificates
Duplicate Certificates
Theory Co-requisites
a Important Dates:
4
2
The Royal Conservatory’s
official newsletter for music teachers
Dr. Jennifer Snow, Chief Academic Officer
Dr. Thomas Green, Chief Examiner, Practical Subjects
Maria Case, Chief Examiner, Theoretical Subjects
Dr. Anita Hardeman, Manager, Teacher Relations
9
Music Matters aims to provide 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: examinations.rcmusic.ca
2012 Session Dates Announced!
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The Royal Conservatory
has never been easier.
CONTACT US
Article requests or questions about this publication?
Please email us at: [email protected]
examinations.rcmusic.ca
music MATTERS | Spring 2012 1
The Voice Syllabus,
2012 edition and Resonance™:
A Comprehensive Voice Series
By BARBARA DUNN PROSSER
Today’s performing world resonates
with aspiring vocalists, nurtured by a
multitude of talent shows and driven
by the hope of being discovered as the
next singing superstar. While these
competitions may create a rollercoaster
of expectation and disappointment, the
current tide of enthusiasm for singing
benefits the voice teacher by encouraging
those who might otherwise not have
thought of using their voices in this way.
Technology and the Internet make it
easy for us to access repertoire, transpose
keys of songs, or discover the works of
new composers, thereby offering our
students more diversity than ever before.
With such resources, it need no longer
be just a few exceptionally talented
individuals, or those with connections to
the industry, who can find their place in
the spotlight.
In light of these developments,
the task of revising the 2005 Voice
Syllabus was both an exciting adventure
and at times a daunting challenge. It
was essential to maintain The Royal
Conservatory’s heritage of teaching
classical repertoire and healthy vocal
2 examinations.rcmusic.ca
production and musicianship. In order
to keep up with the times, it was also
necessary to include Popular Music lists
for all levels, carefully chosen to be ageappropriate and lyrical, with musical
and dramatic challenges for each level.
Specific arrangements were selected and
cited to ensure quality and consistency.
While these lists are optional for all
exams except the Teacher’s ARCT, it
is hoped that singers and teachers will
appreciate their relevance and value.
The previous syllabus contained
many wonderful songs for young voices,
but it was clear that their vocabulary,
imagery, and subject matter would no
longer interest young people today.
Some advanced repertoire that might be
an exciting complement to a university
graduate recital was found to be less
useful or relevant to our students and
ineffective as examination material.
Repertoire is now limited to songs
in English, French, German, Italian,
Spanish, and Latin, to ensure that exam
candidates will be equitably assessed on
pronunciation and presentation of the
text. Finally, at the ARCT level, some
operatic arias too challenging for even
this level of examination were deleted.
Approximately 350 songs have been
added to the syllabus lists. Standard
repertoire from the various historical
periods is joined by compositions by
hitherto unpublished composers or
composers whose works may be new to
North Americans. The works of Betty
Roe, Lin Marsh, and Donna Rhodenizer
are featured in junior levels. There are
new arrangements of songs in the public
domain by Christine Donkin, Forrest
and Akiko Kinney, Stephen Chatman,
Mark Mrozinski, Kathleen Wood, and
Nancy Telfer. In the more advanced
levels, songs by Jeff Smallman, Berthold
Carrière, Richard Hundley, Ben Moore,
Martha Hill Duncan, Jack Heggie, John
Greer, Maria Case, and Alice Ho provide
beautiful original melodies and settings
of familiar texts.
Changes were made to increase the
efficiency of the examination procedure,
and some requirements were adjusted
to improve accessibility and uniformity.
The repertoire portion of the exam is to
be sung first, with suggested time limits
a T he Voice Syllabus, 2012 edition
and Resonance™: A Comprehensive Voice Series (continued from page 2)
from Level 6 upwards. Levels 6 and 7
now require only one vocalise using the
five Italian vowels [i], [e], [a], [o], [u]
and [y] (German [ü]). Sight-singing tests
are divided into two parts: clapping the
rhythm of a passage, then a combined
rhythm and melody singing of the same
test. Melody singbacks begin at Level
5, and a mezza di voce exercise has been
introduced at Level 8. Some descending
intervals have been deleted from the
tests for the junior levels. New sight
and ear test examples in the syllabus
more accurately reflect what will be
asked on the examination. Finally, the
Preparatory Level will be given a graded
assessment based on intonation, note
and rhythmic accuracy, diction, posture,
facial expression, breathing, phrasing,
and memory.
Changes were made to the
requirements of the Teacher’s ARCT
exam to ensure prospective teachers’
familiarity with the curriculum and
popular music. Candidates must
demonstrate technical exercises from
any of the lower levels, and musical
theatre repertoire is compulsory for
the performance part of this exam. In
the Viva Voce section, knowledge of
current vocal production terminology is
expected, as is the ability to demonstrate
all genres from the lists in ResonanceTM: A
Comprehensive Voice Series.
In assembling the repertoire for
ResonanceTM it was necessary to meet the
diverse needs and interests of different
genders, ages, and voice types, and
ensure various languages and genres
were represented. Songs progress in
difficulty from Preparatory to Level
8. There are also four progressively
graded Vocalise/Recitative volumes.
Overall, forty percent of the content has
changed from the previous series.
The Preparatory to Level 3 volumes
feature such composers as Betty Roe
(Ten Ponder and William Songs),
Donna Rhodenizer (Computer Cat and
Dinosaurs, Dragons and Me) and Lin
Marsh (Serendipity Solos). Several folk
songs have new arrangements and some
foreign language songs have new English
lyrics. For example, Ma Bella Bimba in
Level 1 has been arranged by Christine
Donkin; Forrest and Akiko Kinney
have arranged Auprès de ma blonde in
Level 3; and Nancy Telfer has created
an arrangement of the French Canadian
classic Un Canadien Errant. Popular
music selections range from Dites Moi
(Rodgers), to Happiness (Schmitt), to
Swinging on a Star (Van Heusen)
New songs in Levels 4 to 6 include
Gloria in Excelsis by Robert B. Anderson,
Già la notte s’avvicina by Isabelle
Colbran, Moon, sing by Jon Washburn,
and Singin’ the Blues by Donna
Rhodenizer. There are new settings
of traditional texts and tunes, such as
Linda Fletcher’s Olde Irish Blessing and
Forrest and Akiko Kinney’s Morning Has
Broken. Many will be pleased to see the
return of Patsy Ford Simms’s favourite
spiritual Climbin’ up the Mountain in
Level 6. The popular music selections
include My House (Bernstein), Oh! What
a Beautiful Morning (Rodgers), and Little
Maid of Arcadee (Sullivan).
Levels 7 and 8 contain arrangements
of Purcell’s Fairest Isle, Boyce’s Tell Me
Lovely Shepherd, and Lully’s Bois Epais
by Kathleen Wood; such standards as
Handel’s Bel Piacere and Schubert’s
Lachen und Weinen; and Roger
Quilter’s Music When Soft Voices Die
and Richard Hundley’s Come Ready and
See Me. Contemporary musical theatre
selections include Starlight by Jim Betts
and Only Love by Frank Wildhorn.
Two exciting additions have been
made to each repertoire book: an
accompaniment CD and a basic guide
to the International Phonetic Alphabet.
The latter is a fundamental teaching
tool that is essential to the development
of accurate pronunciation; it offers a
quick resource for both the teacher
and the student when approaching an
unfamiliar language.
The CD will help familiarize students
with accompaniments and allow teachers
to take time out from accompanying
to observe their students. There is no
substitute for a live accompanist, of
course, but the CDs assist the learning
process by providing a guide to
performance and the chance to practise
with accompaniments at home.
As is often said, singing is what
happens in operas or musicals when
words are no longer enough to convey
the depth of emotion felt by the
character. The setting of words to music
intensifies their meaning, not just in the
mind but in the hearts of both singer
and audience. This syllabus reflects
our belief that there truly is a song for
every person. We are grateful to all the
composers, arrangers, and poets who
offer us the chance to lift our voices out
of the everyday darkness and into that
shining spotlight where we all can have
music in our lives.
BARBARA
DUNN PROSSER
Barbara holds a Master
of Arts in English
Literature, an Honours
Bachelor of Arts in
Music and English, and a Bachelor of
Education in Music, English, and Drama
from Queen’s University as well as ARCT
Diplomas in Voice Performance and
Piano Performance. She is a member
of the National Association of Teachers
of Singing and The Royal Conservatory
College of Examiners, where she serves
on the Council of Examiners. Barbara
teaches voice in Stratford, Ontario and at
The University of Western Ontario.
In her performing career, Barbara has
appeared in Rhombus Media’s film of
Mozart’s Don Giovanni, toured southern
Ontario with her one-woman show, and
been a featured soloist with symphony
orchestras across North America.
Barbara spent several seasons with the
Canadian Opera Company, the Stratford
Shakespeare Festival and in both the
touring and Toronto companies of The
Phantom of the Opera.
Barbara, with her colleague Susan
Ambrose, was a co-compiler of the
Frederick Harris Music Co., Limited’s
2012 publication ResonanceTM: A
Comprehensive Voice Series, and the
2012 edition of The Royal Conservatory’s
Voice Syllabus, 2012 edition.
music MATTERS | Spring 2012 3
Photo: Kharen Hill
Mentor Memories
with singer-songwriter Sarah McLachlan
Mentor Memories invites leading arts professionals to share memorable moments of inspiration
and motivation. In this issue, we are delighted to present an interview with celebrated
singer-songwriter Sarah McLachlan, an alumna of The Royal Conservatory.
While Sarah McLachlan is beloved by
millions for her warm and evocative
music, she continues to make an
important contribution to arts education.
Inspired by the influence of music
in her life, she long dreamed of opening
a music school for inner-city youth.
Music had a profound impact on her,
and Sarah decided she could make a
difference by bringing music education
into the lives of young people who
otherwise would not have access to it.
Her dream was first realized through
the creation of The Sarah McLachlan
Foundation in 1999, and was expanded
in 2002 with the launch of a free afterschool program: The Sarah McLachlan
Music Outreach – An Arts Umbrella
Project (SMMO).
Founded on a belief in the enriching
power of music and the importance
of building creative communities, the
program, now known as the Sarah
McLachlan School of Music, provides
4 examinations.rcmusic.ca
an inspirational learning environment
fostering the confidence and success of
its students. The school offers them a
secure, inspiring place to learn, practice,
and connect with other like-minded
youth. Students acquire a lifelong
appreciation of music, an enthusiasm
for learning, and the skills necessary
to unleash their creative potential
and to develop friendships that will
last a lifetime. Over the last ten years,
hundreds of students have learned
piano, guitar, percussion, voice, and
songwriting. They have enjoyed the
music lab and participated in children’s
and youth choir and ensembles,
mentored by professional musicianeducators.
As McLachlan reflected on the
impact of music on her life, she realized
that music enabled her to develop a
sense of pride and self-worth. It also
gave her the tools she needed to tackle
the many challenges she would face
both personally and professionally.
In this inspiring interview, McLachlan
shares her insights and experiences as a
student, a teacher, and an internationally
successful performer.
What do you recall about your first
experience with music?
I remember being four years old and
devouring my mother’s recordings by
artists of the time—Joan Baez, Simon
and Garfunkel, and Cat Stevens. I
begged her for a guitar so I could play
and sing just like them. I was so excited
when I was given a ukulele (as I was too
small for a guitar) and I took lessons just
up the street from my house. Because I
loved to perform, my mother would have
me sing for her friends when they visited.
Who was your most important
teacher and how did he or she
influence you?
My high school art teacher, because he
a M
entor Memories
with singer-songwriter Sarah McLachlan (continued from page 4)
let me be myself and always encouraged
me to do my very best. This really
affected me because I liked and respected
him, and wanted to please him.
What impact has The Royal
Conservatory had on you?
The Royal Conservatory provided me
with an excellent basic understanding
of theory and musical structure, which I
have carried with me throughout my life
and career in music.
At what point did you decide to
become a professional musician?
I was offered a recording contract at
nineteen years old . . . how does one say
“no” to that?
What first inspired you to write
songs?
I’d been working with another band and
helping to write melodies. I’d never sat
down to write pieces all by myself, until
I received the recording contract. So
really, getting a record deal was hugely
influential in pushing me to get going.
When writing lyrics, I focused mostly
on imagery, as until that time, I had
been a visual artist.
Where do you presently find
inspiration?
I find constant inspiration in the
emotional struggles we all face as
humans as we try to relate to each
other and get along with our incredibly
limited understanding of ourselves and
the world around us.
Was there a low point in your
growth as a musician and how did
this influence you?
Early in my career I was signed to a
major US label and was being “A and
R’ed” (groomed for release by the
Artist and Representation department)
for the first time in my life. During
the recording of my second album, I
thought we were doing great, emotional
work, but when the label’s representative
listened to what we’d done, he was
very dismissive. He complained that he
“didn’t hear a single” and said, “you can
yodel on the rest of the record for all I
care, as long as I get three strong singles
to work with.” I asked him if the music
made him feel anything and he told me
that was not the point.
I was very disheartened, but my
producer told me that my music was
good. He reminded me that if you
follow your gut and are true to yourself
then you are already successful.
My manager at the time convinced
the people at the record label to leave
me alone to “make it or break it” on my
own. They did, and luckily, it worked!
They liked the finished record and it did
well. I continue to follow my instincts
and it has served me very well.
In your opinion, what is the value
of music education?
It is incredibly important for children
to have music in their lives. Music helps
us connect to ourselves and with each
other. There are many studies proving
that the study of music gives children
a step up in other academic areas. It
contributes to the development of wellrounded, emotionally connected human
beings and helps set them up for success.
I typically do not teach, although I
have on occasion been in the position to
work with a group of kids to inspire and
guide them and I have loved it! They are
engaged and tuned in, and so open to
learning.
Do you have any tips on how to
engage students with music?
It’s important for students to like
what they’re playing and feel some
connection with the music.
Your music school gives back to
your community in a powerful
way. How can our readers become
involved in similar/different ways
to impact their own communities?
I encourage organizations that offer
music lessons to add some kind of
bursary or free outreach element to their
programs or solicit others to financially
sponsor a child’s lessons. Teachers
could also volunteer their time and get
involved with music education in their
community.
What advice do you give the
students at your school?
I rarely offer advice unless it’s asked
for, but one thing I do stress is the
importance of trying to figure out what
brings you joy and do it as often as
possible. If it is music that brings joy,
then “hooray!”
How do you encourage the
musicians at your school to
collaborate? Is there one
collaborative experience that
stands out?
We have no shortage of collaborations
at our school, as it’s a big part of our
curriculum. The students are nurtured
to be free and open as they explore
different ways of making music like
singing together, and playing in
ensembles. Music should be shared, so
performance is encouraged.
The children also write songs. The
best experience thus far happened in
December as I guided the students in
writing a Christmas song. It happened
spontaneously during a photo shoot. I
spent the day at the school with various
students. We all had instruments, so
it was easy and natural for us to start
playing together. A song began to evolve
so I encouraged the students to explore
different possibilities with lyrics and
melody. We had the better part of a
song by the end of the day. A senior
student finished the lyrics at home. We
recorded it, filmed it, and posted it for
free on the Internet the next week.
In your opinion, what is the place
of popular music in a traditional
music lesson?
I think if you want to keep children
engaged in their studies, then you
need to provide a wide range of music.
Classical music provides a good basis
of understanding that can provide a
jumping-off point into many other
kinds of music.
What is next for you as an artist,
and as an educator?
I’m writing songs for my next record
and working hard on fund-raising plans
for the school. I see the impact that
music education has on young people.
I would like to be able to expand our
programming in the years to come.
Giving more students access to music
would be very meaningful to me.
music MATTERS | Spring 2012 5
Summer Summits
Inspiring the Whole Musician
July 7 & 8, 2012
Toronto, ON
July 28 & 29, 2012
Vancouver, BC
• Join
creative leaders from across North America as
they lead practical, interactive, and insightful sessions.
• Engage in valuable seminars and discovery
learning activities that inspire discussion and
creative experience.
• Learn creative strategies to motivate and inspire
your students.
• Explore resources, ideas, and a range of
teaching and professional strategies.
• Connect and network with colleagues from
across the continent.
TORONTO, ON | JULY 7 & 8, 2012
8:45am to 6:00pm (check-in starts at 8:15am)
The Royal Conservatory
TELUS Centre for Performance and Learning
273 Bloor Street West, Toronto, ON, M5S 1W2
VANCOUVER, BC | JULY 28 & 29, 2012
8:45am to 6:00pm (check-in starts at 8:15am)
Vancouver Academy of Music
1270 Chestnut Street, Vancouver, BC, V6J 4R9
FEES AND REGISTRATION
Early rate: Teachers: $275 | Students: $150
Regular rate (after April 30, 2012):
Teachers $325 | Students $195
Fee includes lunch, refreshments, a seminar package,
and a Professional Development Certificate. Breakfast is not
available. Seminar presenters and topics are subject to change.
For more information,
contact [email protected] or visit rcmusic.ca/tpd.
JULY 7 & 8, 2012
JULY 28 & 29, 2012
Toronto, ON
Vancouver, BC
Keyboard
Voice
Keyboard
FEATURING
PRESENTERS:
FEATURING
PRESENTERS:
FEATURING
PRESENTERS:
Randy Faber
• ABC’s of Artistry
• Stages of Talent Development
Peter Jutras
• The Future of Pedagogy:
Teaching the Next Generation
• It’s Never Too Late:
Teaching Adult Music Students
Scott Price
• Including Students with Special
Needs in the Piano Studio
• Autism and Piano Study:
A Basic Teaching Vocabulary
Laurel Trainor
• Music and the Brain
AND INTERACTIVE
SEMINARS WITH:
Jennifer Snow
Thomas Green
Janet Lopinski
Mary Lou Fallis
• Back to Basics
• Inspiring the Whole Singer
Scott McCoy
• Using Acoustic Analysis as
Feedback in the Voice Studio
• Understanding the Relationship
Between Vowels and Pitch
Chris Arneson
• Performance Anxiety:
A 21st Century Perspective
Susan Knight
• Choral Pedagogy
Donald Simonson
• Fact Based Voice Teaching:
Removing Myth from the
Studio
AND INTERACTIVE
SEMINARS WITH:
Robert Loewen
Tina Torlone
Featuring an exploration of
Resonance™: A Comprehensive Voice
Series and the new Voice Syllabus,
2012 edition.
Marvin Blickenstaff
• Pedagogy 101:
A Review of the Basics
• The End is in the
Beginning: Coaching
a Piece to Performance
Forrest Kinney
• Topic TBA
Jennifer Snow
• Sparking The Musical
Imagination: Inspiring
Personal Expression in
Student Performance
Midori Koga
• Balanced Poise:
Unlocking Sound and
Artistic Potential
AND INTERACTIVE
SEMINARS WITH:
Linda Kundert-Stoll
…and more.
Highlights include master classes,
teaching demonstrations, interactive
seminars, discovery learning activities,
and a range of specific pedagogical
and professional topics.
SYLLABUS UPDATES
The Guitar Syllabus, 2011 Edition, took effect
September 1, 2011. Guitar requirements in the
Guitar Syllabus, 2004 Edition will be accepted
for a one-year crossover period ending August
31, 2012.
The Speech Arts and Drama Syllabus, 2011
Edition took effect September 1, 2011. The new
Syllabus has replaced the previous edition and
there is no crossover period.
The Voice Syllabus, 2012 Edition, will take
effect September 1, 2012. Voice requirements
in the Voice Syllabus, 2005 Edition will be
accepted for a one-year crossover period ending
August 31, 2013.
GRADE 10 PIANO REPERTOIRE
SUPPLEMENTAL
Grade 10 Piano candidates are reminded
that they may repeat, as a supplemental
examination, any two sections of their practical
examination, including repertoire. To satisfy
the practical Grade 10 requirements, all
supplemental practical examinations must be
successfully completed within two years of the
original practical examination period.
iSCORE
On January 11, 2012, The Royal Conservatory,
together with Concordia University and Queen’s
University, launched iSCORE, the first bilingual
online module designed specifically to support
music study and instruction. iSCORE helps
facilitate communications between music
teachers and students, regardless of distance
or time, ensuring a thorough online learning
and evaluation process. For more information,
please visit iscore.rcmusic.ca
THE MUSIC MATTERS BLOG —
A PLACE FOR TEACHERS
TO SHARE IDEAS!
Connect with an international community of
music teachers and join in conversations about
pedagogy on our Music Matters Blog.
This new interactive medium features speciallycommissioned articles, discussions with our
noted alumni, and other personal interest blog
posts. As well, previous Music Matters articles
will be revisited and opened to discussion.
Visit: rcmusic.ca/musicmattersblog
8 examinations.rcmusic.ca
Q&A
ABOUT THE
VOICE SYLLABUS,
2012 EDITION
How does the new Preparatory
level differ from the Introductory
level in the previous syllabus?
One difference teachers and candidates
will notice in the 2012 edition of
the syllabus, is that the Preparatory
Examination is graded, whereas
candidates received comments only for
the Introductory examination as listed
in the Voice Syllabus, 2005 edition.
To aid beginning vocalists, marks for
the Preparatory level are broken down
into two equally-weighted categories:
Voice Production and Presentation.
Voice Production includes diction, note
accuracy, rhythmic accuracy, intonation,
and posture. Presentation encompasses
facial expression/stage presence, breathing
and phrasing, and memory. Like the
Introductory Examination, candidates are
required to prepare two pieces by different
composers from the syllabus list, and must
sing from memory.
Is it mandatory that music from
the Popular Music List be included
in the examination repertoire?
The Popular Music List is an exciting
addition to the 2012 Voice Syllabus.
Candidates from Grades 1 through 10
now have the option of preparing a
selection from musical theatre, operetta,
folk rock, jazz standards, and parlour
songs for their examination. Candidates
preparing for the Performer’s ARCT
examination may choose to include
a Popular Music selection. Teacher’s
ARCT candidates must include one
selection from the Popular Music list
for the Performer’s ARCT (List F).
When preparing a Popular Music
selection, the candidate’s music must
match the arrangements in the books
cited in the syllabus. For Grades 1 to
8, the music may be transposed, but
for Grades 9 and 10 and both ARCT
examinations the music must be
performed in the original key.
Will there be a crossover period
for the new syllabus?
Yes, teachers and candidates may
prepare for examinations using either
the Voice Syllabus, 2005 edition or the
Voice Syllabus, 2012 edition for any
examinations taking place between
September 1, 2012 and August 31, 2013.
I see that time limits are now
suggested for repertoire beginning
in Grade 6. Why were time limits
introduced? What happens if my
student exceeds the time limit?
Suggested time limits for repertoire
are provided in the new syllabus
beginning at Grade 6. For example,
Grade 6 candidates are advised that the
repertoire portion of their examination
program should not exceed fourteen
minutes, while thirty minutes is
suggested for Grade 10 candidates. The
time limits were introduced to teach
the necessary skill of appropriately
timing a program, something that is
crucial for auditions, recordings, and
performances. Limits were introduced
at the Grade 6 level in recognition of
the increased level of maturity in the
repertoire, which requires the same
maturity in the candidate. Candidates
who exceed the time limits may be
stopped during their performance by
the examiner.
You Asked
When will I receive my practical examination schedule for April?
Confirmation numbers and schedules will be mailed to all registrants on or
before March 9th, 2012.
a The Royal Conservatory Across Canada – The latest news about
Royal Conservatory music and arts education in communities across Canada.
THE ROYAL CONSERVATORY ACROSS CANADA
Spotlight on
Atlantic Canada
GOLD MEDAL CEREMONY
IN HALIFAX, NS
An enthusiastic crowd greeted participants
in the first ever Gold Medal Awards
Ceremony, held Saturday, November 26
in the Lilian Peircey Room of the Maritime
Conservatory of Performing Arts in Halifax,
Nova Scotia. Over 50 students and their
teachers, as well as proud families, were
addressed by Chief Examiner of Theoretical
Subjects Maria Case and awarded Royal
Conservatory Gold Medals. Several
recipients were invited to perform in the
Gold Medallists’ recital, which featured
performances from piano, voice, violin, and
speech arts and drama medalists.
As part of The Royal Conservatory’s 125th
anniversary celebrations, Silver Medals
were transformed into Gold Medals. The
recipients of these awards have achieved
the highest mark in their region in their
practical examination and have completed
all theoretical co-requisites. We were thrilled
to celebrate this significant accomplishment
with the medalists, their families, and their
teachers!
PEI on October 27. Master teacher Dianne
Werner gave two master classes featuring
each island’s best students. The discussion
following the student performances focused
on developing a healthy and effective physical
approach to the practice and performance of
technical skills, and transitioning those skills
into the study of repertoire.
Active conversations about these topics
continued through the lunch hour, and
these ideas were reinforced in the afternoon
session by Dr. Andrew Hisey. Dr. Hisey, a
senior examiner with The Royal Conservatory,
addressed the subject of practical
examinations. While students and teachers
may view examinations with apprehension,
Dr. Hisey reminded the seminar attendees
that examinations should provide a positive
personal experience that motivates students
to continue on their musical journey. His
‘insider’ perspective allowed the group to
look at the examination process from the
examiner’s point of view. Helping students to
do the same is one way to effectively prepare
them for examination day.
The closing discussions led by Dr. Hisey in
both St. John’s and Charlottetown brought
the main themes of the day to the forefront:
that the experience of making music should
be positive and affirming for all our students!
Presenting our first Teacher Professional
Development Seminars in Newfoundland
and Prince Edward Island was a wonderful
experience, and The Royal Conservatory looks
forward to returning to Atlantic Canada with
additional sessions in the spring.
The Royal Conservatory would like to thank
the PEIRMTA, Jean Taylor, and Jacqueline
Sorenson Young for their contributions to
the success of these two events.
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ca.yamaha.com
The virtuosos of tomorrow are seated at Yamaha pianos today
We extend our thanks to Frances Royles,
who performed the prelude, processional,
and O Canada. Thank you also to the
Nova Scotia Registered Music Teachers’
Association, particularly Lexie Blackler,
who acted as the Reader for the ceremony,
and The Royal Conservatory’s staff and
volunteers, who planned and executed an
impressive event and set a high standard for
the next set of Gold Medal ceremonies in
Saskatchewan and Manitoba.
TEACHER PROFESSIONAL
DEVELOPMENT COMES
TO THE “ISLANDS”
The Royal Conservatory was pleased to
present Teacher Professional Development
Seminars in two new Atlantic Canada
locations this past fall. We travelled to St.
John’s, NF on October 26 and Charlottetown,
We have been purchasing Yamaha pianos for over twenty years.
e tone, touch, and consistency of Yamaha pianos have made them
the first choice of e Royal Conservatory.
Dr. Peter Simon
President, e Royal Conservatory
music MATTERS | Spring 2012 9
a CANDIDATE SERVICES CORNER
THEORY CO-REQUISITES
RECOGNITION OF
ACCOMPLISHMENT – CERTIFICATES
Certificates are one of the ways in which
The Royal Conservatory Examinations provides
recognition of a candidate’s accomplishment.
Certificates are processed separately from
examination results and are mailed out twice
per year. Candidates who complete the
examination requirements for their grade level
during the Spring (April, May, and June) or
Summer (August) sessions will receive their
certificates in the mail in October or November.
Candidates who complete their examination
requirements in the Winter session will receive
their certificates in March or April.
REPLACEMENT CERTIFICATES
If you do not receive your certificate, or if it
was damaged upon receipt, you will receive
a replacement at no charge.
DUPLICATE CERTIFICATES
To order a duplicate certificate, download
the “Duplicate Certificates/Diplomas/
Silver Medals” form from our website at
examinations.rcmusic.ca. This form can
be found under “Forms and Services –
Additional Services”. There is a $42.00 charge for a duplicate
certificate.
Practical certificates are awarded to candidates who have completed both the
practical examination for their grade level and the corresponding theory corequisite(s). The standing printed on the certificate reflects the practical mark only.
Please refer to the list below for information pertaining to the theory co-requisites
for each practical grade level.
Practical Grade Level:
Theory Co-requisite:
Preparatory A
No theory co-requisite
Preparatory B
No theory co-requisite
Grade 1
No theory co-requisite
Grade 2
No theory co-requisite
Grade 3
No theory co-requisite
Grade 4
No theory co-requisite
Grade 5
Basic Rudiments
Grade 6
Intermediate Rudiments
Grade 7
Advanced Rudiments
Grade 8
Advanced Rudiments
Grade 9Advanced Rudiments, Basic Harmony,
and History 1: An Overview
Grade 10Advanced Rudiments, Intermediate Harmony, History 1:
An Overview, and History 2: Middle Ages to Classical
ARCT DiplomaAdvanced Rudiments, Advanced Harmony,
Counterpoint, Analysis, History 1: An Overview,
and History 2: Middle Ages to Classical,
History 3:19th Century to Present
Certificates are awarded for the following examinations and/or groups of theory
examinations. The standing printed on the certificate reflects the average mark for
all theory examinations in the particular group.
Theory Examination:
Theory Certificate Granted:
Preparatory Rudiments
Basic Rudiments
Intermediate Rudiments
Advanced Rudiments
Basic Harmony, History 1
Intermediate Harmony, History 2
Counterpoint, Advanced Harmony, History 3, Analysis Preparatory Rudiments
Basic Rudiments
Intermediate Rudiments
Advanced Rudiments
History and Theory: Basic
History and Theory: Intermediate
History and Theory: Advanced
IMPORTANT DATES
2012 Session Dates Announced!
CANADA
Spring Session 2012
Registration Deadline
Theory Examinations
Practical Examinations
Mar. 6, 2012
May 11 & 12, 2012
Jun. 11-30, 2012
Summer Session 2012
Registration Deadline
Theory Examinations
Practical Examinations
Jun. 5, 2012
Aug. 10 & 11, 2012
Aug. 13-25, 2012
THE ROYAL CONSERVATORY EXAMINATIONS
273 Bloor St W, Toronto, ON M5S 1W2
T 1.800.461.6058 F 1.416.408.1538
E [email protected] E examinations.rcmusic.ca
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