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The Associated Board of the Royal Schools of Music (ABRSM) has received a barrage of criticism in response to a recent ill-judged tweet in which it stated that “Musical achievement is about how well you can do, how good you can get. That sense of attainment is tested by assessment which gives us intrinsic motivation to make us want to get better. That’s the virtuous circle of motivation.” (via Twitter, 24 September 2021)

The first and most glaring problem with this, amidst a host of other issues, is that the word “intrinsic” is used incorrectly here. “Intrinsic motivation” comes from within. Exams, testing and assessment of the kind ABRSM promotes are “extrinsic” or external motivators.

With regard to learning music, in addition to taking a music exam, extrinsic motivators include participating in a festival or competition, receiving a favourable written report, receiving praise from others for a performance (teachers, friends, parents), receiving a certificate, trophy or reward.

We all have intrinsic and extrinsic motivation in our lives – we are all a mixture of both. If you play the piano for no other reason than because it gives you pleasure and a sense of personal fulfilment, that is an intrinsic motivation. If your parents and/or teacher are pressuring you to play the piano and pass grade exams, or you have to make a living from your playing, that’s extrinsic motivation.

The trouble with extrinsic motivation is the more we are driven by extrinsic values, the more we starve our intrinsic motivation, which can lead to lack of motivation, feelings of failure, anxiety and even depression. Unfortunately, outward displays of achievements or material gain are all too common in our Insta-driven world – signals which say “look at me, look at my achievements, envy me” (just think for a moment about how Instagram really makes you feel…).

The graded music exam system is primarily built upon extrinsic motivation. Marks and certificates (“rewards”) are awarded to successful candidates, and this reward system makes the prospect of progressing to the next grade and the next smart certificate very appealing to students, and their parents and teachers. But it’s actually a superficial form of learning, based on “if/then” rewards (“if you do this, then you’ll get that“), which simply reinforces extrinsic motivation and is only effective in the short-term. We’ve all had students who rarely or never practice and then all of a sudden do the work for an exam, only to revert to not practicing once the exam is over. And putting students on an “exam treadmill” is unlikely to encourage a real love of music. Thus, exam success is not the “virtuous circle of motivation” as the ABRSM tweet suggests, but rather a vicious circle of superficial values founded on a desire for external endorsement.

Exams are a great short term motivator, but they generally don’t encourage students in finding sustained motivation, success and joy. Sadly, for some – students, teachers, parents – certification of musical achievement is regarded as the ultimate goal of instrumental learning and confirmation of musical competence, an attitude which I find profoundly unmusical.

Exams are also a form of “credentialisation” (that Grade 5 with Merit, a Grade 8 with Distinction), the popularly-held belief that credentials will open the door to further success, advancement, recognition and enhanced status. In their tweet, the ABRSM are, in my opinion, guilty of credentialising music – it’s all about being judged (by others), gaining status, “how well you can do, how good you can get”. Unfortunately, it’s an attitude that pervades musical childhood and adolescence, and beyond, reinforced by grade exams, diplomas, end of year assessments, festivals and competitions, which risks turning music performance into some kind of competitive points-based activity, and which amplifies the fear of doing something wrong and being marked down for it – again, profoundly unmusical. Credentialisation also encourages feelings of superiority and inferiority or envy (think again how Instagram really makes you feel…..). In practice, it doesn’t really encourage students to become motivated, self-determined, and, above all, happy, self-fulfilled learners.

I accept that graded music exams and assessments can be useful in benchmarking progress, or to show that the student has reached a certain level of competency, and the preparation for an exam (and the prospect of a good mark) can foster commitment, motivation to practice, and focus. When I taught privately in south-west London many of my students (and their parents) were keen to take exams (this may have had something to do with the affluent, aspirational demographic where I lived). Grade exams also help non-musical parents understand where their children are in their progress – but they can also impact directly on the attitudes and behaviour of students, teachers and parents for the reasons outlined above. The implication in the ABRSM’s tweet is that music exams demonstrate competence as a musician; most musicians, music teachers or those who play an instrument for personal fulfilment and pleasure would disagree with that assertion.

Instead, we should be encouraging intrinsic motivation – motivations and values without external rewards, which come from within, and which encourage self-determination, task persistence, self-evaluation, autonomy, purpose/intent. These values are associated with the kind of in-depth learning which emphasises achievable goals and mastery, and they can set students on a path to both long-term success and personal fulfilment. Learning music is a life-long endeavour and therefore it’s important to consider how the learning environment and the way in which students are taught and supported can help promote long-term intrinsic motivation.

Thus, instead of reminding students that they must practice in order to pass the next grade exam, we should help them understand the reasons for doing what they’re doing. That it’s not about the next grade and certificate, but rather cultivating a deeper understanding, enjoyment and appreciation of the music. When my students told me they wished they “played better” on the day on the day of the exam, or achieved a higher mark in their piano exams, I would remind them that the exam is a one-off, a fleeting moment in time, which may be disrupted by any number of personal or external forces which can tip the balance one way or another. Far better to reflect on and appreciate the huge amount of learning and accumulated knowledge which come from regular thoughtful practising and knowing how to apply that knowledge to learning new repertoire and improving one’s technique, musicality and artistry. All that good, important work can never be taken away nor undermined by any examiner, adjudicator or critic. Knowing this can give students better insight, control and investment in their learning, rather than tempting them with transitory “if/when” rewards, and fosters a better type of motivation than simply practicing for the next exam, festival or competition. At the most basic level, this is about encouraging students to enjoy playing the piano, to find greater personal satisfaction and creativity through the joy of music and a sense of accomplishment from having played a piece or even a section of a piece well, regardless of the level at which the student plays. By fully engaging students in the learning process, giving them the opportunity to play the kind of music they want to play, and encouraging their confidence and self-reliance, we can help them become independent, self-motivated learners – skills which they will carry forward not just in their musical development but also as important life skills.

Further reading

A Passionate Pursuit: the pianist’s mastery

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The release of a new exam syllabus is usually a much-anticipated event by piano teachers who are keen to explore new music with their students. The new ABRSM piano syllabus (2019-2020) was released on 7 June. For the sake of transparency I should mention that I contributed to the teaching notes for the new syllabus, so my review will be a general overview of the new syllabus.

The format of the piano grade exams remains unchanged, with List A focusing on Baroque and early Classical (or similarly idiomatic) repertoire, List B on Romantic or expressive music, and List C “everything else”, from contemporary pieces to jazz and show tunes or popular songs. The classic “usual suspects” are there – Gurlitt, Swinstead, Carroll (and it does slightly depress me to see a piece by Felix Swinstead which I learnt c1972!), together with pieces by the perennially popular Pam Wedgwood and Christopher Norton. The ABRSM promises a “broader range of styles” in the latest syllabus and it is certainly good to see some contemporary composers represented, including Cheryl Frances-Hoad (Commuterland/Grade 7) and Timothy Salter (Shimmer/Grade 8). Female composers are also somewhat better represented than in previous years. As in previous years, there is a complete refreshment of repertoire and the ABRSM has sought, as always, to balance the familiar with the lesser-known or more unusual, while maintaining standards across the grades. The supporting tests remain unchanged, though there is talk of a revision to the scales and arpeggio requirements at the next syllabus review.

As usual, the very early grades (1-3) tend towards “child-friendly” pieces to appeal to young pianists, but adult learners will enjoy Bartok’s haunting Quasi Adagio (Grade 1) and Gillock’s A Memory of Paris (Grade 2). ‘Close Every Door’ from Joseph and The Amazing Technicolour Dream Coat by Andrew Lloyd Webber is bound to be popular with students of all ages in this attractive and expressive transcription (Grade 1), as is Leonard Cohen’s ‘Hallelujah’ (Grade 3). More unusual pieces include Bernard Desormieres’ Anatolian 08 (Grade 4, List C) and Bloch’s Dream: No 10 from Enfantines (Grade 5). For my money, the more imaginative pieces tend to reside in the alternative lists for each grade. As in previous years, the repertoire list for Grade 8 extends to 32 pieces (instead of 18 for the other grades), offering students and teachers a sufficiently broad range of pieces to create an interesting “mini programme”.

These days the ABRSM is very conscious of its reputation as the leading international exam board with strong competition now coming from both Trinity College London and the London College of Music (for which the current piano grade syllabus is, in my opinion, the most imaginative and varied of all the boards). Thus, it has sought to remain true to its core strength by offering a syllabus which combines rigour with a selection of music to appeal to a wide range of students around the world (I understand that the “core canon” of works by Bach, Haydn, Mozart and Beethoven remains very popular with teachers and students in the Far East and SE Asia), and I think this syllabus is the most successful of recent years.

The format of the exam books remains unchanged from previous years with clear, well-edited music engraving and short accompanying notes for each piece. The music extracts on the accompanying CDs are also better quality than in previous years and offer useful reference for teachers and students. The accompanying Teaching Notes offer guidance on context, technical aspects and performance. Meanwhile, the ABRSM’s Piano Practice Partner app, which allows a learner to play along with real musicians’ performances, exactly as recorded or at a reduced tempo, has now been updated with pieces from the new syllabus. Other supporting materials are available via the ABRSM website.  The syllabus overlap period runs to 31 May 2019.

Further information

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The ABRSM has announced the launch of a new performance-only Diploma, the ARSM (“Associate of the Royal Schools of Music”). This will be an “entry level” Diploma, somewhat lower than the DipABRSM, and intended to “bridge the gap between Grade 8 and DipABRSM”. Details are sketchy at present, but the ARSM will consist of a 30-minute performance consisting of music selected from the current DipABRSM repertoire list and own-choice repertoire of Grade 8 standard. At present, it is not clear whether candidates will be required to produce programme notes, but there is no sight-reading/quick study element to the ARSM, nor a viva voce.

Currently, the gap between Grade 8 and the Associate level Diploma (DipABRSM, ATCL, DipLCM etc) is very wide. At Grade 8 candidates play three pieces lasting approx 10-12 minutes in total. They may play a single movement of a sonata by, say, Beethoven, Haydn or Mozart as part of their Grade 8 programme, but at Associate Diploma level, candidates are expected to play a full sonata (for example, Beethoven ‘Pathetique’ Sonata, Mozart Sonata in F K332, Schubert Sonata in A, D664). The candidate’s standard of playing, musical insight, musicianship and general level of attainment is expected to be considerably higher than at Grade 8, and the time taken to study for and complete a diploma can be around 2-3 years. The first, Associate, diploma is an equivalent standard to the first year’s study in conservatoire, while the highest, Fellowship, diploma is equivalent to a Masters module.

There is quite a lot of snobbery surrounding Diplomas, with the ABRSM diplomas being considered “better”, in no small part due to the ABRSM’s longstanding reputation and its royal affiliation. In fact, the repertoire lists for Associate, Licentiate and Fellowship diplomas across the main exam boards are almost identical, and all carry the same QCF and EQF points, providing candidates with a recognised professional qualification which can be used as a pathway to further study, for example at conservatoire or university. Ultimately, the choice of diploma and exam board should be based not on snobbery but on the candidate’s personal preference, which Diploma syllabus is most appropriate/ beneficial for the candidate and so forth.

So what will the new ARSM offer to candidates? Already some of my piano teaching colleagues have commented that it will be “Grade 9 without the scales, aural and sightreading” or that is it simply a “money spinner” for the ABRSM. Some anxieties have also been expressed about whether this new diploma will lead to further dumbing down or devaluing of the higher diplomas. However, a number of adult amateur pianists whom I know have expressed interest in the ARSM and regard it as a useful opportunity for those seeking a challenge post-Grade 8 but who do not feel ready to attempt the Associate diploma.

Further details about the ARSM will be available next month and I will share them here. Meanwhile, I would be very interested in people’s views on this new diploma – please feel free to leave comments below, or contact me direct with your views.

 

 

 

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No pianist’s alphabet would be complete without an entry on the Étude or “study” – the short piece, often considerably difficult, designed to provide practice material for perfecting a particular musical skill or technique.

The practice of writing études developed in the early 19th century alongside the growing popularity of the piano. Many of us will remember working on studies by the likes of Clementi and Czerny as young piano students. But it was Fryderyk Chopin who elevated the student study into a work of great artistry and beauty, turning humble exercises into glittering concert pieces, and his Opp. 10 and 25 Études remain amongst the most popular works written for piano. Other notable composers of Études were Liszt, Alkan, Rachmaninoff and Debussy, and the practice of writing piano études has continued into the modern era with composers such as Ligeti, Cage, Kapustin and Glass.

The opening of Chopin’s Etude in E major, Op 10, No. 3

Many people swear by études and studies as part of their daily practise regimen and some sets of études enjoy near-legendary or infamous status such as those by Czerny, Hanon and Brahms. Easier études by Heller and Burgmüller, which suit the intermediate pianist, offer technical challenges within an interesting and enjoyable piece. Debussy pokes fun at Clementi’s Gradus ad Parnassum in his Dr Gradus ad Parnassum but he also wrote a series of études which present different technical challenges within each piece, thereby following in Chopin’s footsteps.

Exercises should never be practised mindlessly. Try to play even the most dry exercises musically and appreciate how such exercises relate to actual repertoire. Having submitted to exercises by Cramer and Czerny as a young pianist, I now eschew such studies and prefer to create exercises out of the music I’m working on, though I have found Brahms’ studies useful.

Chopin’s études are incredibly satisfying to play because of the composer’s deep appreciation of the mechanics of the pianist’s hand and the desire to play beautiful music.

Frances Wilson

Exams

To do them, or not to do them? As a piano teacher, I’m amazed how the word can cause a pupil to shiver, even before they know what it’s like to take a music exam! It seems that human instinct often hones in on the negative feelings before the positive ones, and in the case of music exams, this is clearly not helpful.

The bizarre thing about music exams is that they are treated as a permanent record, but they are only measuring one performance at one moment in time. One of the things I’ve learnt as a professional performer is that every performance will be different and that some will be ‘better’ than others, no matter how hard you try to make all of them your best yet.

Exams also invite direct comparison between people, which can be awkward. I’ve had pupils who work hard and play extremely musically and convincingly, yet their fear or lack of enjoyment in performing affects their willingness to perform in public, or their marks if they take an exam. You can tell them ‘til the cows come home that there is as much value in their playing as that of their friend who regularly gets distinctions in exams, but they will struggle to believe you.

On the other hand, some of the best work my pupils have done is when they’ve had the deadline and motivation of an exam. They seem to prefer taking an exam to giving an informal performance amongst friends and peers, precisely because they’ll get a certificate at the end of it! Teachers often tell stories in disbelief of parents who have provided the books for the next grade straight after an exam has been sat. But it was much more memorable when a reluctant performing pupil of mine sat her Grade 1 and straight away asked when she could start on work on her Grade 2.

In amongst studying other repertoire and taking up other opportunities to perform, exams are a great learning tool. As well as motivation, exams encourage disciplined preparation – a valuable skill for life, never mind learning an instrument. I’ve had some of the greatest laughs when a pupil and I have been working in great detail, or at a great pace, because we’re inspired to achieve our best together.

Controversially, I believe the marked results are not the thing. Of course, we all like to know what someone else thinks of our performance, and it’s extremely useful for teachers, pupils and parents to have an independent view on our musical performance. But for me, the best result is the personal and musical development of each pupil, and their awareness of that. I’ve been more proud of a pupil scraping a pass at Grade 5 than others achieving distinctions – because I understand the amount of effort and work that each pupil has put in. You can’t beat the beaming smile of a pupil who realises they’ve worked really hard and it was worth it. If an exam can bring wide grins, then let’s remember that and talk about it instead of shivering and creating anxiety.

Elspeth Wyllie, pianist, accompanist and coach, teacher

elspethwyllie.co.uk