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Online Music Theory Grades 1–5
ABRSM Qualification Specification Online Music Theory Grades 1–5 Level 1 Award in Music Theory Level 2 Award in Music Theory Version 1.0: August 2020 Contents 1. Introduction 3 About ABRSM 3 About this qualification specification 3 About our Music Theory qualifications 3 Regulation (UK) 4 Regulation (Europe) 5 Regulation (Rest of world) 5 2. Music Theory grades 6 Syllabus 6 Exam Regulations 6 Malpractice and maladministration 6 Entry requirements 6 Exam booking 6 Access (for candidates with specific needs) 6 Exam content 7 In the exam 7 3. Music Theory syllabus 9 Music Theory syllabus 9 Exam content 11 4. Assessment and marking 14 Assessment objectives 14 Mark allocation 16 Result categories 16 Marking criteria 17 5. After the exam 18 Results 18 Exam feedback 18 6. Other assessments 19 Practical Grades 19 Performance Grades 20 Practical Musicianship 21 ARSM 22 DipABRSM, LRSM, FRSM 23 2 1. Introduction About ABRSM Our mission ABRSM’s mission is to inspire musical achievement. We do this in partnership with four Royal Schools of Music: Royal Academy of Music, Royal College of Music, Royal Northern College of Music and Royal Conservatoire of Scotland. We are passionate about music, its value as an art form and the importance of music education. We believe that being involved with music gives people unique, positive experiences with life-long benefits. Through our world-leading assessments, books and resources we provide people worldwide with the tools they need to teach, learn, make and enjoy music. Our scholarships, donations, sponsorship and partnerships create opportunities for people of all ages to discover music and fulfil their potential. -
Piano Recital Prize and Arnold Schoenberg
1 Welcome to Summer 2015 at the RNCM As Summer 2015 approaches, the RNCM Our orchestral concerts are some of our most prepares for one of its most monumental concerts colourful ones, and more fairytales come to life to date. This is an historic moment for the College with Kodaly’s Hary Janos and Bartók’s Miraculous and I am honoured and thrilled to be welcoming Mandarin as well as with an RNCM Family Day, Krzysztof Penderecki to conduct the UK première where we join forces with MMU’s Manchester of his magnificent Seven Gates of Jerusalem Children’s Book Festival to bring together a feast at The Bridgewater Hall in June. This will be of music and stories for all ages with puppetry, the apex of our celebration of Polish music, story-telling, live music and more. RNCM Youth very kindly supported by the Adam Mickiewicz Perform is back on stage with Bernstein’s award- Institute, as part of the Polska Music programme. winning musical On the Town, and our Day of Song brings the world of Cabaret to life. In a merging of soundworlds, we create an ever-changing kaleidoscope of performances, We present music from around the world with presenting one of our broadest programmes to Taiko Meantime Drumming, Taraf de Haïdouks, date. Starting with saxophone legend David Tango Siempre, fado singer Gisela João and Sanborn, and entering the world of progressive singer songwriters Eddi Reader, Thea Gilmore, fusion with Polar Bear, the jazz programme at Benjamin Clementine, Raghu Dixit, Emily Portman the RNCM collaborates once more with Serious and Mariana Sadovska (aka ‘The Ukranian as well as with the Manchester Jazz Festival to Bjork’). -
Dmitri Alexeevpiano
Schumann Liszt’s transcriptions Dmitri Alexeev piano SMCCD 0275-276 DDD/STEREO 104.55 CD 1 TT: 41.06 Robert Schumann (1810 – 1856) 1 Blumenstück, op. 19 ................................................... 8.21 Symphonic Etudes, op. 13 and op. posth. 2 Thema. Andante ..................................................... 1.27 3 Etude I (Variation I). Un poco più vivo .................................... 1.13 4 Etude II (Variation II) .................................................. 2.41 5 Etude III. Vivace .................................................... 1.28 6 Etude IV (Variation III) ................................................ 0.59 7 Etude V (Variation IV) ................................................. 1.00 8 Etude VI (Variation V). Agitato .......................................... 0.59 9 Etude VII (Variation VI). Allegro molto .................................... 1.26 10 Posthumous Variation 1 ............................................... 0.55 11 Posthumous Variation 2 ............................................... 2.08 12 Posthumous Variation 3 ............................................... 1.54 13 Posthumous Variation 4 ............................................... 2.13 14 Posthumous Variation 5 ............................................... 1.57 15 Etude VIII (Variation VII) ............................................... 1.18 16 Etude IX. Presto possible .............................................. 0.38 17 Etude X (Variation VIII) ................................................ 0.45 18 Etude XI (Variation -
Radio 3 Listings for 28 December 2019 – 3 January 2020 Page 1 of 16
Radio 3 Listings for 28 December 2019 – 3 January 2020 Page 1 of 16 SATURDAY 28 DECEMBER 2019 (conductor) BBC National Orchestra of Wales Jac van Steen (conductor) SAT 01:00 Through the Night (m000cpsr) 05:01 AM BIS BIS2408 (Hybrid SACD) - Released 3rd January 2020 Regensburger Domspatzen at Tage Alter Musik Judith Weir (1954-) String quartet Ravel: Jeux de Miroirs Leopold Mozart shows himself to be a serious composer at the Silesian Quartet Javier Perianes (piano) height of his powers with his Symphony in G and Missa Orchestre de Paris Solemnis. They are performed at the Tage Alter Musik festival 05:13 AM Josep Pons (conductor) in Regensburg, Germany, by the Regensburger Domspatzen and Franz Schubert (1797-1828) Harmonia Mundi HMM902326 the Hofkapelle Munich. Catriona Young presents. 4 Impromptus for piano, D 899 (No 4 in A flat) http://www.harmoniamundi.com/#!/albums/2571 Arthur Schnabel (piano) 01:01 AM 9.30am Building a Library Leopold Mozart (1719-1787) 05:21 AM Symphony in G 'Neue Lambacher', for strings Johann Philipp Kirnberger (1721-1783) Laura Tunbridge discusses a wide range of approaches to Hofkapelle Munchen, Rudiger Lotter (conductor) Cantata, 'An den Flussen Babylons' Schumann's searing Heine cycle and recommends the key Johannes Happel (bass), Balthasar-Neumann-Chor, Balthasar- recording to keep for posterity. 01:18 AM Neumann-Ensemble, Detlef Bratschke (conductor) Leopold Mozart (1719-1787) 10.20am New Releases Missa Solemnis in C 05:33 AM Katja Stuber (soprano), Dorothee Rabsch (contralto), Robert Joaquín Turina (1882-1949) -
Exhibition Road Cultural Group (2123).Pdf
To: Sadiq Khan, Mayor of London New London Plan GLA City Hall London Plan Team Post Point 18 London SE1 2AA We welcome the opportunity to comment on the New London Plan and would be grateful if you could confirm receipt of this reponse. About us: The World’s First Planned Cultural Quarter Shared history and mission The Exhibition Road Cultural Group is a partnership of 18 leading cultural and educational organisations in and around Exhibition Road, South Kensington. Together these organisations comprise the world’s first planned cultural quarter, half of which falls within the Knightsbridge Neighbourhood Area. Created from the legacy of the Great Exhibition of 1851, and affectionately known as “Albertopolis”, this cultural quarter was established by the Royal Commission for the Great Exhibition of 1851 for the purpose of “increasing the means of industrial education and extending the influence of science and art upon productive industry”. Across its estate of 87 acres in South Kensington, the Royal Commission established three of the world’s most popular museums: The Natural History Museum, Victoria and Albert Museum, Science Museum and three colleges dedicated to arts, science and design: Imperial College London, the Royal College of Music and Royal College of Art and the most famous concert venue in the world, the Grade l listed Royal Albert Hall which was created originally as the Central Hall of Arts and Sciences. Over past century and a half, these institutions have been joined by other organisations that share the mission of promoting innovation and learning through the arts and science, including the Goethe Institut, Royal Geographical Society, Institute Français and the Ismaili Centre. -
Autumn 2015 DOWNLOAD
The International Music School founded by Yehudi Menuhin www.yehudimenuhinschool.co.uk — Registered Charity 312010 — Newsletter 62 — Autumn 2015 In particular, we acknowledge the generosity of The Oak Foundation, Sackler Trust, The Sir Siegmund Warburg Voluntary Anniversary Settlement, the Foyle Foundation, and Michael and Hilary Cowan for their transformational giving. We are thankful, too, to Appeal Update Friends of the School for leaving gifts in their wills. The School will be delighted to recognise this within our new facilities. Thanks to you, our Anniversary Appeal continues to go from Thanks to a small group of donors, the School is currently able strength to strength. Gifts and pledges from a wide range of to offer Matched Funding for every gift given between now and supporters have enabled the School to reach just over £2.5 June 2016, up to a value of £500,000. That means for every £1 million of the £3.5 million required to build and equip our new you donate, the School will double the value of your donation, Music Studios, leaving us only £920,000 to raise before the pound for pound. Naming opportunities for bursaries, rooms unveiling of the building in July 2016. We are also incredibly and equipment are still available. So, if you would like to join grateful to everyone who has contributed towards the bursaries us in our Appeal, please contact the Development Office on which help our students attend the School, irrespective of their [email protected] or telephone financial position. We would like to extend our sincere thanks 01932 584797. -
Conservatoires UK Biennial Conference 2019 Royal Conservatoire of Scotland, 100 Renfrew Street, Glasgow, G2 3DB
Conservatoires UK Biennial Conference 2019 Royal Conservatoire of Scotland, 100 Renfrew Street, Glasgow, G2 3DB PROGRAMME Thursday 10 October Conference Facilitator: Professor Stephen Broad, Director of Research and Knowledge Exchange, Royal Conservatoire of Scotland 12.00 Registration and Welcome Lunch 13.00 Opening Performance Welcome Professor Jeffrey Sharkey, Principal, Royal Conservatoire of Scotland SESSION 1 - INSPIRING THE LEARNER JOURNEY The arts across the UK aspires to be an inclusive and diverse gathering place which is encouraging of as many people, regardless of their background, getting involved. This session explores effective delivery of the commitment to fair access through exploring opportunities created by widening access and from developing new pathways of progression. Keynote Speaker Karen Watt, Chief Executive, Scottish Funding Council Dr Lois Fitch, Assistant Principal, and Helen McVey, Director of Business Development, Royal Conservatoire of Scotland Alison Mears, Director of Guildhall Young Artists and Safeguarding, and Katharine Lewis, Secretary & Dean of Students, Guildhall School of Music & Drama Panel Session and Q&A 14.45 Tea/Coffee and Networking 15.10 SESSION 2 - THE DIGITAL FUTURE This session will discuss how the technological revolution will impact on conservatoire students and how we as institutions can help prepare for their future careers. Keynote Speaker Chris van der Kuyl, Chairman, 4J Studios Q&A and Discussion 15.50 - 16.15 Tea/Coffee and Networking 16.15 SESSION 2 - THE DIGITAL FUTURE (CONTINUED) Virtual Conservatoire Project Virtual Conservatoire has been a collaborative project across Royal College of Music, Royal Academy of Music, and Conservatoire for Dance and Drama (Bristol Old Vic Theatre School, Central School of Ballet, LAMDA and RADA) which concluded in 2019. -
ARSM (Associate of the Royal Schools of Music)
Qualification Specification ARSM (Associate of the Royal Schools of Music) Level 4 Diploma in Music Performance September 2020 Qualification Specification: ARSM Contents 1. Introduction 4 About ABRSM 4 About this qualification specification 5 About this qualification 5 Regulation (UK) 6 Regulation (Europe) 7 Regulation (Rest of world) 8 2. ARSM diploma 9 Syllabuses 9 Exam Regulations 9 Malpractice and maladministration 9 Entry requirements 10 Exam booking 11 Access (for candidates with specific needs) 11 Exam content 11 How the exam works 11 3. ARSM syllabus 14 Introducing the qualification 14 Exam requirements and information 14 • Subjects available 14 • Selecting repertoire 14 • Preparing for the exam 17 4. Assessment and marking 19 Assessment objectives 19 Mark allocation 19 Result categories 20 Synoptic assessment 20 Awarding 20 Marking criteria 20 5. After the exam 23 Results 23 Exam feedback 23 © 2016 by The Associated Board of the Royal Schools of Music. Updated in 2020. 6. Other assessments 24 DipABRSM, LRSM, FRSM 24 Programme form 25 Index 27 This September 2020 edition contains updated information to cover the introduction of a remotely-assessed option for taking the ARSM exam. There are no changes to the existing exam content and requirements. Throughout this document, the term ‘instrument’ is used to include ‘voice’ and ‘piece’ is used to include song. 1. Introduction About ABRSM At ABRSM we aim to support learners and teachers in every way we can. One way we do this is through the provision of high quality and respected music qualifications. These exams provide clear goals, reliable and consistent marking, and guidance for future learning. -
4998686-Ed9c03-635212041222.Pdf
ST JOHN PASSION INTRODUCTION BY BOB CHILCOTT way. The texts they sing are English poems from the 13th to the early 17th centuries that BOB CHILCOTT (b. 1955) My setting of the Passion is an hour-long work express deeply human responses to death, to telling the story of Christ’s Passion using the life, and to man’s relationship with the world text from St John’s Gospel. It was written specially and with God. Two of these meditations are sung PART I PART III for Matthew Owens and the Choir of Wells by the choir with soprano solo, the last of 1 Sing, my tongue, the glorious battle [2.09] w Jesus is crucified [5.45] Cathedral and first performed on Palm Sunday which expresses most poignantly the human 2 e The Garden [5.25] Hymn: There is a green hill far away [2.37] 24 March, 2013, during an act of worship. response to seeing Christ crucified on the cross. 3 Hymn: It is a thing most wonderful [2.13] r The Crucifixion [5.23] 4 Peter’s denial [5.49] t Jesus, my leman [4.54] As in the great Passion settings by J.S. Bach, I have also set five well-known Passiontide 5 Miserere, my Maker [5.58] y Jesus dies on the cross [2.33] the story is narrated by a tenor Evangelist. I hymn texts (It is a thing most wonderful; Jesus, 6 Hymn: Drop, drop slow tears [1.32] u When I survey the wondrous cross [3.19] have designed the narrative to be sung in an grant me this, I pray; Drop, drop slow tears; There arioso style that gains momentum as the drama is a green hill far away and When I survey the Total timing: [67.46] PART II unfolds. -
A Dedication to Janet Mills
Brit. J. Music. Ed. 2008 25:1, 5–8 Copyright C 2008 Cambridge University Press doi:10.1017/S0265051708007808 A dedication to Janet Mills 11th May 1954–24th December 2007 1972–75 University of York (BA 1st class, music/maths) 1975–76 University of Leeds (PGCE music/maths) 1976–79 Holy Family School, Keighley (Head of Music, maths teacher) 1979–81 Brighouse Girls’Grammar School (Head of Music, maths teacher) 1981–83 Oxford University (D.Phil) 1983–88 Westminster College, Oxford (Senior Lecturer, music and maths) 1988–90 Exeter University, School of Education (Lecturer) 1990–2000 HM Inspector of Schools (Specialist Advisor for Music 1995–2000) 2000–2007 Royal College of Music, London (Research Fellow) Books Music in the Primary School (CUP 1991) Music in the School (OUP 2005) Instrumental Teaching (OUP 2007) Award National Teaching Fellowship, 2004 5 Downloaded from https://www.cambridge.org/core. IP address: 170.106.33.19, on 26 Sep 2021 at 16:28:12, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0265051708007808 Tribute Individual tributes from Janet’s colleagues who reflect her various professional pathways and contributions A tribute by Professor Clifford Madsen, Florida State University, College of Music, USA My association with Janet Mills was as an international colleague as we interacted at ISME Research Commission meetings in many venues across the years. After several of these weeklong meetings one gets to know the “regulars” very well. Janet was a regular and I remember vividly the first time Janet attended this week-long seminar. -
Download Booklet
95651 Alexander Scriabin 1872–1915 Compact Disc 1 56’51 1 3 Morceaux Op.2: No.2 Prelude in B 0’49 6 Preludes Op.13 27 No.1 in C Moscow, 1895 2’20 2 Prelude and Nocturne for the Left Hand Op.9: 28 No.2 in A minor Moscow, 1895 0’42 No.1 Prelude in C sharp minor 2’41 29 No.3 in G Moscow, 1895 0’56 24 Preludes Op.11 30 No.4 in E minor Moscow, 1895 1’23 3 No.1 in C Moscow, November 1893 0’59 31 No.5 in D Moscow, 1895 1’05 4 No.2 in A minor Moscow, November 1895 1’59 32 No.6 in B minor Moscow, 1895 1’37 5 No.3 in G Heidelberg, May 1895 1’01 5 Preludes Op.15 6 No.4 in E minor Lefortovo, Moscow, 1888 1’41 33 No.1 in A Moscow, 1895 1’39 7 No.5 in D Amsterdam, February 1896 1’25 34 No.2 in F sharp minor Moscow, 1895 1’03 8 No.6 in B minor Kiev, 1889 0’49 35 No.3 in E Moscow, 1895 1’03 9 No.7 in A Moscow, 1895 0’52 36 No.4 in E Paris, February 1896 1’23 10 No.8 in F sharp minor Paris, February 1896 1’40 37 No.5 in C sharp minor Heidelberg, May/June 1895 1’06 11 No.9 in E Moscow, November 1895 1’12 12 No.10 in C sharp minor Moscow, 1894 1’03 5 Preludes Op.16 13 No.11 in B Moscow, November 1895 1’24 38 No.1 in B Moscow, January 1894 1’58 14 No.12 in G sharp minor Vitznau, June 1895 1’28 39 No.2 in G sharp minor Vitznau, June 1895 1’20 15 No.13 in G flat Moscow, 1895 1’40 40 No.3 in G flat Moscow, 1894 2’01 16 No.14 in E flat minor Dresden, May 1895 1’11 41 No.4 in E flat minor St Petersburg, April 1895 1’10 17 No.15 in D flat Moscow, 1895 1’59 42 No.5 in F sharp Moscow, 1895 0’55 18 No.16 in B flat minor Moscow, November 1895 2’29 19 No.17 in A flat -
Mark Bowden Sudden Light
Mark Bowden Sudden Light Oliver Coates cello • Julian Warburton percussion • Hyeyoon Park violin Huw Watkins piano • BBC National Orchestra of Wales • Grant Llewellyn conductor Mark Bowden Sudden Light Introduction to Mark Bowden Lyra 22’42 By the turn of the millennium, Each of the four pieces on this disc – 1 Allegro molto — 7’07 when the young Mark Bowden three orchestral, one chamber – 2 Adagio e lontano — 9’11 was discovering his passion for reflects Bowden’s questing musical 3 Vivo con anima — 6’24 composition, the orchestra was mind and creative generosity. Oliver Coates cello thought by some to have had its day Together they trace a fruitful decade BBC National Orchestra of Wales Grant Llewellyn conductor as a vehicle for innovative new music. from 2005 to 2015, when Bowden Despite its continued importance completed a four-year residency Five Memos 16’33 for many composers, it seemed with the orchestra of his home 4 Lightness 2’23 a problematic beast: unwieldy, nation, the BBC National Orchestra 5 Quickness 3’01 expensive and, above all, freighted of Wales. It was the earliest work – 6 Exactitude 4’35 7 Visibility 2’51 with outmoded cultural traditions. the RPS award-winning Sudden 8 Multiplicity 3’43 Yet fast-forward to 2016 and the Light (2005) – which first brought Hyeyoon Park violin orchestra has done more than survive. him to BBC NOW’s attention; Huw Watkins piano New generations of composers are initially via the then newly-appointed Heartland 22’32 being drawn to the opportunity Principal Guest Conductor, Jac van 9 Allegro con brio — 9’13 it affords for creating large-scale Steen, who premiered the piece 10 Andante e oscuro — 8’33 structures which also satisfy at more with the BBC Symphony Orchestra.