The Grades - They are A-Changing!

A young Czech musician recently commented to me: 'In my country they ask "What can you play?" not "What grade are you?"' Irish children proudly declare 'I'm grade 2' as part of their identity! For years I assumed the graded exams were international, but they are in fact, a nineteenth-century Anglo-centric inheritance, strongest in former British colonies (in such diverse regions as Malaysia, Australia, India, and Ireland). Elsewhere (throughout Europe and the USA) concerts, competitions, ensemble, and orchestra provide more authentic performance opportunities. Thankfully, CCMC does all of the above. I work with a team revising existing exam curricula and developing new syllabi; and consequently had to take a serious look at the graded exams. Assessment is an integral part of teaching and learning and provides motivation, accreditation and accountability. Above all, it should improve teaching and learning. But has the graded exam system become a dinosaur?

Some consider that music is over-assessed through the grades, which have perpetuated a hierarchy of genres, with classical music at the top and others considered inferior; (a 'we know what is best for you' approach). Furthermore, although music is a social activity, the exams promote solitary practice. Repertoire choices are often very limited (I love Mozart, but the Minuets he wrote aged 7 are not his best works!). A recent survey involving CCMC students indicates that the favourite performance setting for students aged 11-12 is the Christmas concert, followed by competitions. For teenage students, playing with others is preferred, followed by playing for friends. 88% wanted to have a choice in what they play. Younger students are more favourable towards exams, enjoying the sense of achievement. Students' preferences for listening and repertoire are inconsistent with the repertoire they are required to play for exams. However, although the students' least favourite performance setting is the exam, 77% consider that exams are important for improving playing. So how can we make the exams more relevant for today's students?

At the Leinster School of Music & Drama (LSMD), the range of repertoire for exams has been dramatically extended to include classical and contemporary music; a 'choice' piece from any genre - classical, popular, traditional, jazz, and either a solo or group performance, can be included. Choice is offered in technical studies, and exercises are included to encourage improvisation, vamping and playing by ear. And what about the exams of the future...? Will Teachers and students be uploading audio/video files with their I-phones for assessment? What about live exams on skype? Perhaps there will be Apps to support performance and exams? Why not? Watch this space - the LSMD is working to move the graded exams from the 19th to the 21st century!

Kay O'Sullivan is a former principal of CCMC. She is Development Manager, and Programme Leader for the Higher Diplomas in Music Education, and Drama Education, at the Leinster School of Music & Drama, Griffith College Dublin.