Thomas Swenson, Instructor of Piano and Theory, is completing his Doctorate of Philosophy in Music Education with emphasis in Piano Pedagogy at The University of Oklahoma. He has also studied at Minnesota State University, the State University of New York at Stony Brook, Cincinnati College Conservatory of Music, and the University of North Carolina at Greensboro . An active solo and collaborative performer, his main teachers have been Dr. John Salmon, Dr. Jane Magrath, Dr. Barbara Fast, and Mr. Howard Lubin. He has taught piano and music theory at UNCG, NC A&T State University, and The University of Oklahoma along with serving as assistant conductor of the Cincinnati MenŐs Chorus, and director of music at several churches. In 1999, he performed at Texas Christian University as part of the Teachers Program of the Van Cliburn Institute. Many awards and scholarships have been bestowed on his piano students at the Music Academy of North Carolina, where he has served as recital coordinator, faculty representative to the board of directors, directed the outreach program, and led numerous master classes. While working on his coursework in Oklahoma, Mr. Swenson has been featured at the 2001 Symposium of World Music, the National MENC 2002 Convention (Nashville), and the Oklahoma Music TeacherŐs Association State Convention. An article will be published January 2003 in The Piano Pedagogy Forum (a web-based periodical). A past Vice President of the Greensboro Music Teachers Association, he is currently a member of MTNA.
Thomas Swenson
North Carolina Agricultural and Technical State University
1601 East Market Street
Greensboro, NC 27411
336.334.7980
tsswenso@ncat.edu
Lynda Metelsky presented an intriguing perspective on piano pedagogy training in Canada at the 2002 National Group Piano/Piano Pedagogy Forum. Although her informative lecture outlined both general and specific elements of the system, this article will attempt to provide a general outline of teacher training at the Royal Conservatory of Music.
Metelsky is the department head at The Glenn Gould Professional School of the Royal Conservatory of Music where she teaches piano and piano pedagogy, and also coordinates the teaching internship program. Additionally, she teaches piano at the Royal Conservatory of Music in Toronto, is a clinician for the Frederick Harris Music Company, and is a member of the College of Examiners for the Royal Conservatory of Music.
While many American piano instructors have used anthologies from the Royal Conservatory and the Celebration Series graded piano method, many of us are probably unaware of the unique examination system that underlies the regimented and rigorous system of our northern neighbors. Not only does the organization provide an examination system that will provide a constant level of evaluation throughout a studentŐs training as a future performer, it also provides a similar benchmark program to train and certify piano teachers, culminating with the Associate of the Royal Conservatory of Music designation.
There are mainly two types of pedagogy programs offered - one at a graduate level through the Glenn Gould Professional School (the only one of its kind in Canada) and through the conservatoryŐs community music school. It was the latter that Metelsky focused on.
An Associate Diploma (ARCT) with emphasis in Performance or Pedagogy is awarded to students passing a performance exam and its co-requisites, although students often pursue both diplomas. The ARCT not only requires a high-level of musicianship and artistry (demonstrated in the performance exam), but a thorough knowledge of music as an academic discipline: a written exams cover 4 areasŃhistory, analysis, counterpoint and theory.
Metelsky stated that in order to begin the ARCT pedagogy diploma (commonly referred to as the "Teacher's Diploma) students must have minimally passed the Grade Ten Performance Examination with "honors." This performance requirement indicates that the student has already achieved many skills of a successful performer and possesses a relatively high level of knowledge concerning performance issues. Although the exams can be completed at age 18, many people wait until after an undergraduate or graduate degree.
The flexibility of the program, Lynda Meltelsky emphasized, certainly contributes to its success. Students can prepare for it at their own pace and in a variety of settings. They are allowed many choices throughout their preparation - and even in the actual examination - so that they can focus on their particular strengths or interests. With examination centers throughout the country, students usually prepare for the exams at home and take them at the nearest venue.
The performance requirements for the ARCT Performance Diploma include a concert etude (many by Chopin and Liszt), and one piece from each of five style periods. Representative literature from level ten includes Bach Preludes and Fugues, a complete Classical sonata, an advanced Romantic character piece, and a contemporary piece. The contemporary repertoire seeks to include very recent compositions by international composers, but with an emphasis on Canadian composers, thus encouraging the awareness of living composers. Although there is a separate list for those seeking just the teaching diploma, most students choose repertoire that is included in both the performance and teaching diplomas with the eventual goal of achieving both.
Regarding the theoretical component of the exam, Metelsky mentioned many concepts and ideas that are quite similar to the requirements of many American undergraduate music degrees. Knowledge of scales, harmony, counterpoint, and four-part writing are only some of the areas covered.
The music history component is divided into three subdivisions beginning with a broad overview and continuing with more in-depth studies of the styles of the 16th through 18th centuries, and 19th and 20th centuries. Both the theory and history components usually take about three years of preparation and are prepared for in conjunction with the piano exams (beginning between the Grade 6 and 9 exams).
The pedagogy component of the exams usually takes about one year of solid preparation. It is often prepared through private tutoring or small-group instruction. Although no specific texts are required in studying for the exam, a list of reading resources and practice exams are included in the published study guides. Teaching experience and observation are strongly encouraged along with reflective journals of those experiences. Metelsky showed some sample areas that are covered in the written exam: pedaling, teaching and learning styles, business aspects, etc.
I found that one of the more unique parts of the exam is the editing of a musical selection. Metelsky explained that this is done without the aid of an actual keyboard. The student must add whatever signs and symbols to the score they feel might contribute to a stronger musical presentation - dynamics, fingering, articulations, phrasing, etc. She revealed that this portion allows students to assimilate the knowledge they have acquired and use it in a creative and logical manner.
The oral portion of the exam is called the "Viva Voce." Included in this portion are some listening tests, sight-reading, technical requirements, repertoire, and questions. These questions are often open-ended - allowing students to display prioritization skills, individuality, and creativity.
The student must be prepared to discuss current teaching methods, collections, and contemporary compositions. Lastly, the student prepares 27 junior and intermediate-level pieces from the syllabus. Although they may only play one piece from each category, they will be asked to discuss pedagogical aspects and supplemental materials they might use.
Preparation for the "Viva Voce" exam usually is done in an individual lesson situation, or possibly in small groups. With each student preparing so many pieces, it can be difficult to do in a larger teaching environment. Each student tends to pick different pieces, which requires individual attention in dealing with the artistic, theoretical, and pedagogical goals. As is common elsewhere, without assistance students often perform these intermediate pieces in a pedantic, non-expressive manner. Metelsky emphasized that the evaluators for this oral exam look at each studentŐs ability to communicate in age-appropriate language, their professionalism, enthusiasm, and musicianship. It is not expected that they will know the answers to each and every question but, rather, that they have begun to explore the various facets of piano teaching. The punctuality, attire, and organization of the studentŐs materials demonstrate this professionalism to a certain extent.
Most Canadian teachers were brought up in this system, which translates to a strong understanding of the philosophy. But to become an examiner requires more than just knowledge and understanding of the system. The examiners must apply, interview, attend a summertime training program, become an apprentice for at least two exam sessions with an experienced examiner, and go through a trial period before becoming a full-fledged examiner. This intense training - which helps to maintain a reliable standard between different examiners - is obviously part of what makes the system so strong. In addition, each examiner must attend at least one workshop presented by the College each year as "professional development." The critique sheets, which are provided to each person taking an exam, are regularly reviewed by the chairperson of the College to insure the highest quality of comments and any necessary feedback to the examiner.
Not only does the ARCT diploma serve as certification for independent teaching in homes and community schools, but they are also sometimes used in lieu of an audition for further academic study. The diploma is often a requirement to be a member of local and regional music organizations. Although not a bona fide degree due to its limited scope, the ARCT diploma with emphasis in Pedagogy has contributed a great deal to the consistently fine training of pianists in Canada.
Metelsky briefly spoke about the Glenn Gould Professional School's Masters program in Pedagogy - which has similar requirements to many programs in this country. This school is housed in the same building as the Conservatory with many of the same faculty, but is able to award undergraduate and graduate degrees. It is built around a two-year curriculum that culminates in a recital, thesis, or lecture-recital. There are weekly master classes, observations, and student-teaching opportunities. Courses in library studies/research methods, theory, history, literature, pedagogy, and a couple of elective classes complete the coursework. The students usually teach only one student each year - a university secondary keyboard major - due to the way the university is structured. Although they would like to recruit more younger students from the community, the community music school associated with the university relies on these students to fill their own programs. Technology is the main area that Metelsky would like to see improved. Group piano lessons for pre-college students are a rarity in Canada. There is such a strong tradition of individualized lessons that it will probably be quite some time, if ever, before it gains popularity.
In conclusion, I offer several personal observations. Having been a piano student of a teacher that was very involved in the Minnesota Music Teachers Association, I grew up taking theory and performance tests nearly every year from sixth grade up through high school. Following my masters degree, I taught at a large community music school and often referred to those practice exams, technical requirements, and repertoire selections to guide me in bringing up a new generation of musicians. Even today, teaching college students, I think my sequencing of skills is partly a result of having been cultivated in such a system. Certainly many other regions and states offer similar curriculums and guidelines. Many of our "current" teaching methods, strategies, and traditions are tested and retained in this global cyclic process. I mention the term "global" because for the past century students and teachers have traveled throughout the world sharing their gifts and insight. Understanding alternative methods for preserving the music we love and cherish challenges our philosophies and energizes our teaching. The Royal Conservatory of MusicŐs ARCT Teachers Diploma offers a unique perspective on a well-established curriculum. Most Canadian piano teachers are certified through the ARCT diplomas. The music-training program used throughout Canada offers not only a somewhat flexible curriculum for music students, but also is a model for training piano teachers.
| TABLE OF CONTENTS |
|---|