In this issue:

The Creative SparkA NEW TEACHING YEAR, AND TIME FOR RESOLUTIONS

Speech Arts & Drama: 2011 Speech Arts & Drama Syllabus

Mentor Memories with James Ehnes, Violinist

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MATTERSmusic

The official newsletter for music teachers Autumn 2011

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2 Happy New Year: A Time For Teaching Resolutions by Jennifer Snow

3 Speech Arts and Drama: 2011 Speech Arts and Drama Syllabus released June 2011 by Jennifer Orr

6 Mentor Memories with James Ehnes, Violinist

7 Q&A with an Examiner

8 The Royal Conservatory Across Canada: Spotlight on Ontario

9 Teacher Professional Development Medals Update Theory co-requisites ARCT Graduation Requests Music Matters Format Change Are you Moving?

BACK Substitute Piece Requests Special Needs Requests New Policy on Transfer Credits Certificates

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The official newsletter for music teachers

Dr. Jennifer Snow, Chief Academic OfficerDr. Thomas Green, Chief Examiner, Practical SubjectsMaria Case, Chief Examiner, Theoretical SubjectsDr. Anita Hardeman, Manager, Teacher Relations

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: www.rcmexaminations.org

CONTACT USArticle requests or questions about this publication? Please email us at: musicmatters@rcmusic.ca

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MATTERSmusic

The official newsletter for music teachers Autumn 2011

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You AskedMy child did their exam in Spring 2011. When will she get her certificate?

For candidates who completed their exams in the Spring or Summer session, certificates are mailed out in October.

DR. JENNIFER SNOW

Dr. Jennifer Snow is currently Executive Director of Teacher Pedagogy at The Royal Conservatory (RCM) and Chief Academic Officer for RCM Examinations and the Royal Conservatory Carnegie Hall Achievement Program. This year, she launched the RCM Teacher Professional Development Seminars across Canada to help support teaching practice in community. Jennifer is a member of the keyboard faculty at the UCLA Herb Alpert School of Music where she teaches piano, collaborative piano, and pedagogy. An active adjudicator, she is a senior examiner for The Royal Conservatory and a clinician for The Frederick Harris Music Co., Limited. Dr. Snow has presented at a wide range of pedagogical conferences, and is a versatile performer who has appeared as a collaborative pianist throughout Canada, the United States, Asia, and Europe.

Fall is my favourite time of the year. It is our teaching new year when we start afresh with creative ideas, a replenished energy, and enthusiasm for the learning ahead. As we work on our long- and short-term objectives for our students, we want to stay as engaged and effective as possible. This is the time of the year when we realize that exams, recitals, and compositions are the destinations. The excitement now is in the planning of the journey.

Since January, The Royal Conservatory has visited communities across the country to offer full-day professional development sessions. The most rewarding aspect of these sessions has been meeting with teachers and discussing approaches for improving our practice. Masterclasses and workshops by leading pedagogues provided insights into our ever-evolving art of teaching. Together, we explored mind-body-spirit connections resulting in a deeper understanding of how to create more engaged experiences for our students. The feedback from teachers across the country was so enthusiastic that we will be offering a new series of seminars starting this fall and running the course of the year.

The Teacher Professional Development Seminars culminated this July at our Keyboard Creativity Summit at the RCM in Toronto. The event was well attended by teachers, who experienced transformative work with Forrest Kinney, Stephen Chatman, Betty Anne Younker, Rena Upitis, Janet Lopinski, Peteris Zarins, and Maria Case. The focus of the weekend was “creativity” and every session highlighted ways to infuse our teaching with more creative approaches. Explorations of composition and improvisation gave everyone the opportunity to develop their own creative voice and to overcome any fear or reservations they may have had about infusing their teaching with

more creativity.As we enter the “new year” for

teaching, think about how you would like to improve your studio experience this year. What approaches will you try that are new and different to push your own creativity? How many new ideas do you have for motivating and inspiring your students? One important aspect of effective teaching is to be an eternal learner yourself. Through continuous self-development, we bring renewed methodologies and insights to our own teaching. Professional development not only gives us opportunities to be inspired, it also gives us motivation to continue learning and evolving in our educational practice. This is the time to reflect on the wonderful year ahead and the meaningful work everyone in music will be doing. There are few disciplines that encompass as much as music does. As I went across the country, I asked everyone to “share one word that describes something music does for, or gives to, students.” The list is wonderfully endless. We could have easily asked every teacher in the country and never repeated ourselves. It is a privilege to reach people through music, inspire students to strive for personal excellence in their lives, and to keep music vital in our communities, both large and small, across the country.

Let us take a moment to reflect before we start our “new year.” Focus on the things about music that inspire you and spark the flames of all your students as they each start on their own music journey this fall. I invite you to participate in a Teacher Professional Development Seminar this year as it comes to your local area to further expand your ideas and experience. We look forward to our continued work together to further the mission of music in community.

Happy New Year Everyone—may it be the best year ever!

Happy New YearA time for teaching resolutionsBy DR. JENNIFER SNOW

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Speech Arts and Drama2011 Speech Arts and Drama Syllabus released June 2011 By JENNIFER ORR

When I talk to people about Speech Arts and Drama, they inevitably say two things: “I never knew there was such a thing,” and, more encouragingly, “I wish I had known about it— I would love to have had that training as a child or for my children.” Once it’s been clarified that Speech Arts does in fact exist as a discipline, then comes the challenge of explaining what it is: “So, it’s like speech therapy, then? Is it an ESL program? Oh, so it’s like Toastmasters…”

Speech Arts and Drama has two main elements: training the speaking voice, and the interpretation and performance of literature and drama. It is a discipline devoted to the art of speaking and the power of words. It has been a vital program of study for over a century. But like the technology-dominated communication we thrive on today, Speech Arts and Drama has evolved: it is far removed from the elocution lessons that your grandmother may have experienced. Speech Arts and Drama today is a relevant, contemporary endeavour that meaningfully unites the discipline and artistry of training in the performing arts with the life skill of speaking and communicating.

There is a rich legacy of Speech Arts and Drama in Canada: Speech Arts and Drama was part of The Royal Conservatory when it opened its doors in 1886 and Calgary’s Mount Royal University when it opened in 1911. Speech Arts and Drama is a nation-wide discipline, with teachers and students spread across the country. Calgary’s Mount Royal University Conservatory is host to one of the largest programs in Canada, and has a legacy of excellence and leadership in Speech Arts and

Drama, teaching and curriculum. The link between RCM examinations and the MRU teaching program was established in the late 1990s and that dynamic partnership is represented in the 2011 syllabus.

SYLLABUS LAUNCH AND WEBINAR – JUNE 2011 The launch of the RCM Speech Arts and Drama Syllabus, 2011 edition in June was a step forward for the Speech Arts and Drama program and its teachers. The new edition speaks to the relevance and importance of communication—and artistry in communication—for today’s students. This forward-looking syllabus was launched in a most contemporary means in the form of an online workshop: a webinar that brought teachers together from coast to coast.

The webinar was the first of its kind for RCM teachers and it seemed fitting that a discipline devoted to communication should lead the way. The webinar allowed teachers from Vancouver to Cape Breton to be together as colleagues for the first time and set a precedent for inclusiveness and commitment to teachers and

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professional development. Technology and communication united perfectly with the webinar: connections among teachers that might otherwise have been impossible were achieved and all the participants were inspired by the promise of more online workshops.

RCM SPEECH ARTS AND DRAMA CURRICULUM: AN OVERVIEW The RCM Speech Arts and Drama curriculum is unique in its range and developmental approach. It integrates all of the spoken and dramatic arts with the purpose of creating well-rounded speakers that are capable of speaking with artistry, naturalness, and confidence. Practical skills like public speaking are alongside verse-speaking, acting, and storytelling. Performers gain a further dimension through training in mime and improvisation. The program is enriched by its own set of theory requirements that includes the study of the history of poetry and drama, prosody, phonetics, voice production, and performance theory.

The Speech Arts and Drama Syllabus, 2011 edition is unique in its developmental approach. Students work through several distinct levels of study: Preparatory, Primary (Grades 1 – 3), Junior (Grades 4 – 6), Intermediate (Grades 7 – 9), Senior (Grade 10), and ARCT.

What happens in a Speech Arts and Drama exam? A Speech Arts and Drama examination includes repertoire, studies, technical tests, and discussion. There are many parallels to the components of a music examination, but there are some notable

differences. Repertoire includes the performance

of memorized poetry, prose, and drama. Shakespeare scenes are a requirement beginning at Grade 7. Over the course of their studies, students are exposed to great classics and exciting contemporary works.They learn to interpret levels and layers of meaning, sound patterns and dramatic tension in the texts, so they can bring these texts to life. Students “grow up” with the literature, exploring personal connections to meaning and theme.

Studies in Speech Arts and Drama are works of the candidate’s own invention. They deepen learning and skills, moving students beyond the presentation of memorized works into extemporaneous and improvised performance. Tasks in this section include mime, storytelling, public speaking, and improvisation.

Mime is essential to the Speech Arts and Drama curriculum. Physical expression is part of every communication. Students learn to move with meaning and control, express emotion, and create believable characters and situations.

Storytelling allows students to take ownership of a story, either an original tale or a folk tale, tell it in their own words, and shape and adapt the narrative. Storytelling demands spontaneity, creativity and involvement, and a true connection with the audience.

Public Speaking is perhaps one of the most practical elements of the Speech Arts and Drama program. Students learn to choose a topic, develop and organize ideas, and to present their ideas effectively and clearly. The speech is not memorized or read, but presented with the aid of point-form notes, allowing for clarity and precision in content and spontaneity in delivery. Candidates learn to access their own ideas, use language effectively, and connect meaningfully with a listener.

Improvisation is added to the examinations at Grade 7 and demands true ownership of skills. Candidates are asked to present a two-minute scene, story, or speech on a topic given by the examiner. Only one minute is given for preparation, so the ability to think, create, and present effectively relies on a strong foundation of skill and confidence.

Sight reading is included as a technical test, with candidates reading at sight a passage of prose or a poem.

The final element of every speech exam is the discussion. Candidates converse with the examiner about their work, the pieces chosen, and background information about authors and works. This task evaluates a final speaking style: conversation. It allows candidates an opportunity to speak to their personal choices in interpretation and performance, and to share their connection to their work.

THE SPEECH ARTS AND DRAMA SYLLABUS, 2011 EDITIONThe 2011 edition is firmly based on the model established in the 2000 edition, offering a deeper and enhanced approach, completely refreshed repertoire lists, a new task at the primary grades, and a more-streamlined theory curriculum. The revision had the aim of expanding and developing Speech Arts and Drama work by encouraging new users and inspiring current ones, and as such, goals are clearly defined and linked to assessment criteria. Examination procedures and tasks are spelled out in detail, and guidelines for examination conduct and performance are provided. The syllabus is now, more than ever, a tool that will guide and direct teachers as they prepare students.

Changes and ImprovementsThe “Guidelines for Examination Conduct and Performance” section in the syllabus is notable and speaks to a commitment to provide teachers and students with practical, detailed guidelines for every aspect of examination preparation and performance.

The guidelines include information about use of props, set pieces and costumes, and in each case directs the candidate to simple, effective, and safe use of such pieces. The Speech Arts and Drama Syllabus, 2011 edition is likely the only RCM syllabus to have detailed notes about the use of stage weapons (only toys or replicas, please, and ensure the edges are dulled), audio-visual equipment (allowed, but we recommend contingency plans), and costume (simple suggestions, please—complete costume changes are not allowed).

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Overview of Practical Examination TasksThis section lays out each and every task, and provides a discussion of skills, appropriate material, and performance guidelines.

Goals and AssessmentOne of the most significant improvements is in the description of learning goals and assessment. Goals are divided into two main elements: “performance and communication,” and “voice and body.” Each developmental level is prefaced with an outline of general goals, allowing teachers to pinpoint student progress and learning programs. For example, students at the primary grades are expected to “share with an audience and communicate with meaning and understanding.” At the junior grades, candidates are asked to “express meaning and layers of meaning.” Grade 10 students, at the peak of the graded exams, are expected to “communicate with artistry and meaning, show a personal connection, sensitivity and involvement.” These goals are meaningfully linked to assessment criteria allowing transparent and precise evaluation in the examination setting and on the written reports.

New Task: Brief Talk and Discussion A new task has been added at the primary grades. Starting at the Preparatory examination, candidates will engage in a conversation with the examiner about a favourite toy, a photograph, an object, or a hobby. This task builds extemporaneous presentation skills from the earliest grades, allowing students to work not only with memorized texts, but to organize and express their own ideas and converse on a set topic.

Layout and AppendicesThe syllabus features mark charts for every grade, along with a descriptive summary that outlines the specific requirements for the exam and places the grade in the context of the development through the developmental levels.

Appendices are provided and include:

symbols and a guide to transcription

notation guidelines

speaking, storytelling, and mime

use of performance space in the exam.

Theory curriculumThe theory program provides tremendous benefits to young people: it is a program of studies devoted to the study of literature, the speaking voice, and performance. The 2011 syllabus offers a more streamlined approach to theory studies: to this end, one exam has been eliminated from the program. The mystery that theory studies could present has been eliminated by the inclusion of a concise set of theory resources and links to specific readings for each topic.

Repertoire ListsTeachers will be excited by the revisions to the repertoire lists. Each list has been completely revised and offers new selections.

Specific tasks are now attached to repertoire, providing definite learning goals for each grade and structured skill development as students move from one grade to the next. For example, primary lists (Grades 1 – 3) focus respectively on communication and use of sound devices, description, and emotion. In the intermediate grades, the tasks direct students to explore form and various literary periods, with Grade 7 being devoted to 20th and 21st century poetry, Grade 8 to sonnets, and Grade 9 to poetry of the 18th and 19th centuries.

The Speech Arts and Drama Syllabus, 2011 edition provides tremendous freedom in repertoire choice. The world of literature is vast and students must choose material with which they can connect to achieve a vivid performance. Own-choice material is allowed, but candidates must ensure that their own-choice selections include the skill identified for the grade, and match the length and difficulty of the listed selections.

There is a major change in the separation of prose and scene selections, now designated as Lists B and C,

and the subsequent renaming of the Shakespeare scene list to List D.

List A—poetry features a range of selections that are from a concise list of poetry anthologies, and a range of contemporary and classic material. Lists B, C, and D now specify particular selections, providing start and end lines. This change was based on student and teacher feedback: finding, editing, and choosing prose selection and scenes is a difficult task, particularly for novice teachers. The lists are now a treasure trove of material that can be used with confidence.

Speech Arts and Drama is for everyone: it is a boost for shy children, a haven for children that love literature, and a magical outlet for children that are driven to perform. Communication is at the heart of our world and our human experience. We share ideas, talk, listen, and learn. Leaders are elected on the strength of their speaking skills and communication ability is the skill most valued by employers. To speak is to make a place in the world, and to speak well is essential. The new Speech Arts and Drama Syllabus offers students the opportunity to build their own speaking skill, and to become confident, creative speakers ready to achieve their best.

JENNIFER ORR

Jennifer Orr lives and works in Calgary. She has been a member of the Mount Royal University

Conservatory’s Speech Arts and Drama faculty since 1986, and the coordinator of the program since 1998. Jennifer maintains an active leadership role in the discipline of Speech Arts and Drama, making contributions as a teacher, administrator, adjudicator, examiner, workshop clinician, and in the area of curriculum development. She specializes in teaching children and young adults and maintains a busy teaching schedule. Jennifer is a member of the RCM Examinations College of Examiners for Speech Arts and Drama. She partnered with Grant Paterson to develop the Speech Arts and Drama Syllabus, 2011 edition.

These goals are meaningfully linked to assessment criteria allowing transparent and precise evaluation.

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MM: What inspired you to pursue a career in music?JE: I was surrounded by musicians as a young boy. My father was the trumpet professor at Brandon University for many years, so music and musicians were always in my life. I think young people tend to gravitate to what they see around them and for me that was music. I started playing violin just before my fifth birthday, and enjoyed it very much from the start. I think many young people only think of music as a hobby, but since I personally knew so many professional musicians I was aware that pursuing music as a career was a very viable option.

MM: What is your favourite piece to perform and why?JE: The best part of my job is that I get to perform so many different pieces. I could never pick just one favorite. As much as I love so many pieces in the violin repertoire, I wouldn’t want to be stuck playing just one of them over and over. For me, it is important to rotate through lots of different repertoire and musical styles, in order to stay “fresh” and inspired.

MM: What is your most memorable on-stage mishap?JE: I was playing Bach sonatas for violin and harpsichord and there was a complete power outage—no lights, not even emergency lights or exit lights. The kind of darkness you get in a sealed concert hall with absolutely no lights or windows is quite profound!

MM: If you could give one point of advice to beginner violin students, what would it be?JE: Practice EFFICIENTLY. It is not about the time, it is about the level of concentration. I think it is important to set goals for oneself—they can be small,

or big, or somewhere in between. I will learn this line; I will learn this page; I will learn this movement. Having a goal and working efficiently to meet it is not only the most effective way to practice, but also the most rewarding.

MM: How has music shaped your life? What do you feel is its importance in shaping the lives of others?JE: Music has not just given me enormous joy throughout my life, it has given me an opportunity to see the world and to interact with fascinating people. Music has always played an important role in human society and always will. Like all of the other art forms, it inspires people to lead better and more interesting lives.

MM: What is the biggest challenge you overcame at the beginning of your career?JE: There are so many challenges; it is difficult to pick just one! I suppose exposure was a big one. Without a “hook,” presenters are very cautious about taking a chance on a young performer. I was lucky to have the support of the legendary Walter Homburger, who opened many doors for me as a young person. He always told me that it was his job to get me a first appearance somewhere, but my job to get invited back! Though I didn’t always particularly enjoy the experiences, competitions were an important way for me to gain performance opportunities. My first performances with the Montreal Symphony, Quebec Symphony, and National Arts Centre Orchestra were all as a result of competitions. And, in fact, meeting Walter Homburger, who changed everything for me, was also a result of a competition (Women’s Musical Club of Toronto competition).

Mentor Memories

a Mentor Memories invites leading arts professionals to share their reflections on inspirational and motivational experiences.

JAMES EHNESViolin

Hailed as “the Jascha Heifetz of our day” (Globe and Mail), violinist James Ehnes is considered one of the most dynamic performers today. Born in Brandon, he has performed in over 30 countries on five continents, appearing with many of the world’s most well-known orchestras and conductors. In the fall of 2011 he adds Tchaikovsky (Onyx) and Bartók (Chandos) discs to his already extensive discography of over 25 recordings. His CD repertoire ranges from Bach violin sonatas to John Adams’s Road Movies and have been honoured with many international awards and prizes, including a Grammy, a Gramophone, and six Juno awards. James Ehnes plays the 1715 “Marsick” Stradivarius.

jamesehnes.com

Mentor Memories invites leading arts professionals to share memorable moments of inspiration and motivation. It is with great delight that we present this interview with internationally acclaimed violinist, James Ehnes.

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May I play a repertoire selection that is not listed for my grade at my examination?Candidates in all practical disciplines who wish to expand their choice of examination repertoire have the option of substituting one repertoire selection at their examination. As outlined in the syllabus for each discipline, regulations generally describe two categories of substitution: Syllabus Substitutions and Non-Syllabus Substitutions. The replacement of a syllabus-listed selection with a selection from the repertoire Lists of the grade level immediately above does not require official approval as long as syllabus guidelines are carefully followed. Piano candidates have another option, that of replacing a Study with a “Teacher’s Choice” selection of comparable length and difficulty (from Grade 1 through Grade 7) or with a selection from the Popular Selection List (from Grade 3 through Grade 9). Furthermore, candidates from Grades 9 through ARCT may replace a List C (voice) List D (piano and strings) or List E (piano) selection with a non-syllabus selection without prior approval.

How do I obtain approval from RCM Examinations to play a substitute piece that is not listed in the syllabus?Except in the situations mentioned above, candidates who wish to replace a syllabus-listed repertoire selection with a non-syllabus selection must submit an Examination Substitute Piece Request by the Examination Registration deadline. The Examination Substitute Piece Request form is available online and may be submitted online. The completed form must be accompanied by the appropriate fee and include a detailed listing of the candidate’s program of repertoire and studies for the examination, including the clearly designated “own choice”

selection. RCM Examinations will determine whether the substitute repertoire selection is appropriate in style and level of difficulty. When a repertoire substitution has been approved, Candidate Services will forward the appropriate documentation to the candidate, who must then submit it to the examiner on the day of the examination.

Candidates should bear in mind that requests to perform selections that are considered too easy, too challenging, or inordinately long will generally be denied. To avoid disappointment, candidates are advised to choose substitute repertoire carefully and to submit requests for approval as far in advance as possible. A five-mark penalty will be applied to examinations where candidates perform a selection requiring approval without obtaining official approval. Currently, there is a single exception to the rule that candidates may replace only one selection from the syllabus Lists for their level at their examination: Grade 10 piano candidates may substitute both a repertoire selection and a study as long as they follow the guidelines published in the Piano Syllabus, 2008 Edition.

What should I do if, during the Technical Requirements portion of my examination, the examiner requests an item or key that I have not prepared?Examiners normally hear candidates at many different grade levels on a typical day of examinations. It is perhaps not surprising, then, that an examiner may inadvertently request a technical exercise or key that is not required for the candidate’s grade. If you think that your examiner may have asked a requirement for another grade, or if you think that you may have misunderstood the examiner, by all means, speak up. Ask the examiner to repeat or to clarify the request, or indicate that you believe

In this issue, an examiner answers frequently asked questions concerning theory examinations.

Q&A WITH AN EXAMINER

that the item is not a requirement for your grade.

What happens at the examination if I have not memorized my technique?Examinations in all practical disciplines except voice require that technical exercises be memorized. This expectation is clearly spelled out in the syllabus for each discipline. Except in voice examinations, where candidates are provided with a copy of the technical tests, examiners are not required to hear technique that has not been memorized. Although technical exercises for all instruments must be memorized, candidates may utilize their score in performing their Studies. No additional marks are awarded if Studies are memorized.

If I am taking a Grade 10 supplemental examination in Technical Requirements, am I expected to play the Studies or to sing the Vocalises as well as the Technical Tests?The Grade 10 supplemental examination in Technical Requirements includes two components: Technical Tests and Studies or (for singers) Vocalises. Both elements must be performed in supplemental examinations even if the candidate’s original mark for Studies or Vocalises was 70% or higher.

Exactly how is the examination material divided in the split session Grade 10 examination in piano?For the split-session Grade 10 examination in piano, candidates must present Technical Requirements (including both Technical Tests and Studies), Ear Tests and Sight Reading in one sitting and all of their Repertoire selections in the other sitting. The Split Grade 10 examination is a wonderful opportunity for students to focus on specific elements of their program in two separate phases. Split-session Grade 10 examinations will be offered for practical disciplines other than piano beginning with the June 2012 examination session. Look for information about split-session examinations for other disciplines in future issues of Music Matters.

a Q&A with an Examiner explores questions relating to examinations, as asked by teachers and candidates.

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KEYBOARD CREATIVITY SUMMIT 2011

On July 23 and 24, 2011, over 70 teachers and students from across North America came to The Royal Conservatory to participate in the 2011 Keyboard Creativity Summit, a weekend of practical, interactive, and insightful sessions providing teachers with creative strategies to motivate and inspire students.

Dr. Jennifer Snow set the stage for the weekend by encouraging participants to open their hearts and minds to new and creative approaches to teaching music.

Forrest Kinney, author of the acclaimed Pattern PlayTM series, invited teachers to improvise with him at the piano. Kinney suggested that “intuition is the primary thing missing from modern pedagogy.” This intuition can be fostered with improvisation and self-expression through music. He demonstrated that from the very first lesson students can tap into their own creativity to make music. In his second presentation, Mr. Kinney discussed how to integrate the four arts of music—improvisation, arranging, composition, and reading—into music lessons. He inspired teachers with ways to teach technique in creative and musical ways.

Among the highlights on Saturday was a keynote address by Dr. Betty Anne Younker, the newly-appointed Dean at the Don Wright Faculty of Music at the University of Western Ontario. She drew on an exhaustive body of research to explain how to integrate creative thinking into music teaching, including the acceptance of ambiguity, comfort with risk-taking, and a willingness to play.

Dr. Stephen Chatman provided insights

into his creative process as he encouraged teachers to introduce composition into their lessons. On Saturday, he demonstrated traditional compositional techniques. On Sunday, Dr. Chatman invited teachers to explore more contemporary techniques, including graphic notation. His performance of contemporary pieces like Freak Out, with it’s chord clusters, and Night Sounds, which includes the snorts of a pig, were a memorable party of his presentation!

Breakout sessions were conducted by Dr. Janet Lopinski, Maria Case, and Peteris Zarins.

Dr. Lopinski’s session explored ideas and strategies for nurturing creativity using both traditional and innovative approaches. She reminded us of the importance of creating a comfortable space for learning and teaching. Dr. Lopinski shared ideas about how to inject the unexpected through trying something new, changing activities, role reversal, and activities away from the keyboard. She demonstrated how we can turn basic information into an engaging story and how “back stories” can be created to heighten a personal connection with both descriptive pieces and abstract genres.

Maria Case demonstrated creative ways in which theory can be explored in the practical lesson. Building a strong set of musicianship skills not only helps students to become more independent and self-directed learners, but ensures that when they encounter formal theory studies they have a sense of confidence and ease. Activities such as musical conversations, construction and chord-based exercises, and playing of sequences and common chord progressions equip students to play by ear, preparing them for more advanced practical and theoretical studies.

As he invited us to explore contemporary music, Peteris Zarins reminded us that creative exploration actually enhances rather than impedes examination preparation. He linked the jaunty rhythms of Bob Marley to sonatina playing, the honesty of Willie Nelson to the slow movements of Mozart and Clementi, the harmonies used by Diana Krall to Chopin, and the use of walking bass and

counterpoint in the works of Miles Davis to J.S. Bach.

On Sunday, a keynote speech from Dr. Rena Upitis, former Dean of Education at Queen’s University, focused on the importance of music study. Dr. Upitis argued that informal music learning allows us to become more engaged, mindful, and connected with one another and the world as a whole.

She also led a team of colleagues in presenting iScore, an online portfolio platform that allows students and teachers the opportunity to set goals, track progress, and in doing so increase student engagement. This program will be launched in January 2012 as a partnership program with the RCM, Queen’s University, and the Centre for the Study of Learning and Performance.

Participants were actively engaged in every session, taking advantage of opportunities to pose questions, share experiences, and develop their own improvisatory skills. Sue Hammond, President of Classical Kids, was especially impressed, congratulating The Royal Conservatory for “bringing piano teachers [together] to explore the elusive subject of creativity through improvisation, composition, and getting beyond the written score.”

The summit is the latest in a series of professional development and certification opportunities offered by The Royal Conservatory to music teachers.

“The Royal Conservatory’s professional development events provide the opportunity for music teachers to encounter new ideas and reflect on shared practice,” says Dr. Jennifer Snow. “The art and science of teaching requires continual growth and renewal to inspire and motivate students through the power of music. A commitment to excellence is central to the teaching profession and to the future of music education.”

Join us for more innovative and exhilarating professional development events in your area, including the Teacher Professional Development seminars across Canada, coming again this fall.

SECOND ANNUAL SUMMIT SPARKS CREATIVITY IN TORONTO

Spotlight onOntario

a The Royal Conservatory Across Canada – The latest news about Royal Conservatory music and arts education in communities across Canada.

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TEACHER PROFESSIONAL DEVELOPMENT

The 2011 Creativity Summit, held on July 23 and 24, wrapped up a successful series of Teacher Professional Development seminars across Canada.

Held in communities spanning Victoria, British Columbia to Halifax, Nova Scotia, the seminars were attended by 650 teachers and pedagogy students. Each seminar featured a master class, interactive discussions, and presentations by leading pedagogues and master teachers.

We received lots of positive feedback from attendees, and we are pleased to present more seminars in the coming 2011.12 academic year. Details on the locations, dates, and presenters will be posted on our website at rcmusic.ca/tpd.

If you would like to request a seminar in your community, please contact us at teachereduation@rcmusic.ca.

2011 CONVOCATION AND MEDALS CEREMONIES

Starting this November, The Royal Conservatory will be celebrating the accomplishments of graduates and medal winners across Canada with combined regional convocation and medal ceremony events in Vancouver (Burnaby), Calgary, and Toronto.

Regional medal ceremonies will continue to be held in Regina, Winnipeg, and Halifax.

ARCT candidates who have completed the program requirements must apply to graduate by submitting the ARCT Graduation Request Form. All graduates and medallists will be notified in early October and will receive invitations by email.

For more information about Convocation and Medals Ceremonies, please visit examinations.rcmusic.ca/ recognition-accomplishment.

THEORY PRE-REQUISITES TO BECOME CO-REQUISITES

RCM Examinations is pleased to announce that as of September 2011 candidates have five years to complete all theory co-requisites upon successfully completing the relevant practical examination level. Furthermore, theory examinations that had previously been listed as prerequisites for specific practical examinations, will now be considered co-requisites. For example, instead of having to wait until the Advanced Rudiments examination is completed before registering for their Grade 10 practical examination, candidates can now apply for their Grade 10 practical examination and their Advanced Rudiments examination concurrently. Candidates will also have five years to successfully complete these examinations.

ARCT GRADUATION REQUESTS

If you are eligible to graduate with an ARCT Diploma, then please print the ARCT Graduation Request form from our website and fax/mail it into our office by October 1, 2011.

MUSIC MATTERS FORMAT CHANGE: QUARTERLY ISSUES

It is with great excitement that we announce the upcoming launch of the new quarterly edition of Music Matters in Fall 2011. Continuing with the expanded 12-page format, Music Matters will feature more in-depth, pedagogical content for teachers, as well as artist profiles and information relating to examinations. Editions will be published in fall, winter, spring, and summer.

ARE YOU MOVING?

The best way to ensure you continue to receive notifications and Music Matters is to keep us up to date with your contact information. There are three ways to update your address:

1 Log into Teacher Services and Click “Change Your Profile”

2 Contact Candidate Services at 1.800.461.6058

3 Email us at musicmatters@rcmusic.ca with both your old and new information.

The virtuosos of tomorrow are seated at Yamaha pianos today

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EXAMINATIONS273 Bloor St W, Toronto, ON M5S 1W2T 1.800.461.6058 F 1.416.408.1538 E musicmatters@rcmusic.ca examinations.rcmusic.ca

SUBSTITUTE PIECE REQUESTSSubstitute piece requests are due on the same date as the session registration deadline. Please send in your substitute piece request on time to ensure it is reviewed.

SPECIAL NEEDS REQUESTSSpecial needs requests are due on the same date as the session registration deadline. Please send in your special needs request on time so we can make the necessary arrangements.

NEW POLICY ON TRANSFER CREDITSRCM Examinations is pleased to announce that beginning in September 2011, candidates may apply to transfer post-secondary credits in Music for credit at RCM Examinations. Candidates who have completed a Bachelor of Music or a Bachelor of Arts degree with a music

major from an accredited university or college may request to have their transcript evaluated for transfer credit. Candidates should complete the Transfer of Credit form on the RCM Examinations website and include a copy of their most recent university or college transcript. Each transcript will be evaluated on a case-by-case basis. Candidates may be granted credit for some, all, or none of their post-secondary coursework. Candidates who receive theory credit will be exempted from writing the Comprehensive Theory examination, though they may be required to write one or more RCM theoretical examinations for which no clear equivalent can be found on the transcript. Applicants may be contacted for further information if the documentation provided is considered insufficient or incomplete. Candidates with a Bachelor of Music may continue to apply for exemption from the Grade 10 practical prerequisite for the ARCT, and from the prerequisites for the LRCM. The comprehensive theory exam may still be required of candidates who cannot demonstrate clear equivalents to RCM Examinations theory courses.

CERTIFICATESCertificates for exams completed in the Spring and Summer sessions will be mailed at the end of October.

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IMPORTANT DATES

2011-2012 Session Dates Announced! CANADA Winter Session 2012 Registration Deadline Nov. 1, 2011 Theory Examinations Dec. 9 & 10, 2011 Practical Examinations Jan. 16-28, 2012

Spring Session 2012 Registration Deadline Mar. 6, 2012 Theory Examinations May 11 & 12, 2012 Practical Examinations Jun. 11-30, 2012

Summer Session 2012 Registration Deadline Jun. 5, 2012 Theory Examinations Aug. 10 & 11, 2012 Practical Examinations Aug. 13-25, 2012

Music Matters is mailed in an oxo-biodegradable plastic poly-bag. This environmentally-friendly plastic will degrade, then biodegrade to water, C02, biomass and trace-elements. It leaves no fragments, no methane, and no harmful residues.

You AskedWhen are the Winter exams being held? When can I sign up?

Winter practical examinations will be held between January 16 – 28 and winter theory examinations will be held on December 9th and 10th. Online registration begins September 13th and the deadline for registration is November 1st. Please make sure to get your applications in before November 1st to avoid the late fee.

THE MUSIC MATTERS BLOG: JOIN YOUR TEACHING COMMUNITY

Starting this October, the Music Matters Blog will offer a new medium for you to interact with other teachers. The Blog will feature specially-commissioned articles, discussions with our noted alumni and contributors, previous articles revisited and opened to review and questions, news and updates, and other personal-interest blog posts. Join us in October at: http://rcmusic.ca/connecting/musicmatters-blog.

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