Relevant bibliographies by topics / Associated board of the royal schools of music

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  2. Dissertations / Theses
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Academic literature on the topic 'Associated board of the royal schools of music'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Associated board of the royal schools of music"

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Southcott, Jane. "Examining Australia: The Activities of Four Examiners of the Associated Board for the Royal Schools of Music in 1923." Journal of Historical Research in Music Education 39, no. 1 (May 12, 2017): 51–77. http://dx.doi.org/10.1177/1536600617709543.

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In the mid-nineteenth century, a system of music examinations was initiated in Britain that came to encompass the far-flung reaches of the British Empire. These examinations offered an internationally recognized system of professional and musical standards. For the next several decades the Associated Board of the Royal Schools of Music (ABRSM) and Trinity College London (TCL) maintained this extensive system of graded instrumental and vocal examinations across large parts of the globe, principally those countries that were part of the British Empire (later the Commonwealth). Both the ABRSM and TCL continued examining for many years and this article discusses the work of four examiners appointed by the ABRSM to travel throughout the Empire, with a particular focus on Australia. The year selected is 1923. This is for several reasons. By 1923 the system of traveling expert examiners undertaking examinations across the country was well established; the vicissitudes and hardships of World War I and the influenza pandemic had passed; the practice of examiners traveling long distances by boat and train had resumed. At this time the British examinations were at their height despite the establishment of a rival Australian system, the Australian Music Examinations Board. The examiners not only undertook all the examinations across the country but also were influential public figures who spoke about music education and modern music in Britain. They gave concerts and public lectures and their activities were influential because of repeated reporting in the popular press. As a historian I am interested in the history of the commonplace—those well-established and pervasive activities that are taken for granted. Learning a musical instrument and taking annual graded practical and theoretical examinations was and continues to be a commonplace occurrence in Australia.
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Silverman, Julian. "WHAT THEORY SAYS AND WHAT MUSICIANS DO – SOME THOUGHTS ON THE GEORGE RUSSELL EVENT." Tempo 57, no. 226 (October 2003): 32–39. http://dx.doi.org/10.1017/s0040298203000329.

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George Russell is 80. He is a band-leader. No, Tempo is not doing what everybody else is doing: dumbing down or getting on the bandwagon of cheap popularity. Nor are we in the least affected by the recent decisions of the Associated Board of the Royal Schools of Music and their ilk, to try do to jazz what they have been trying to do to classical music: replace musicians with trained dogs. George Russell is one of a very rare company of the most serious musician/misfits, one of the most innovative of jazz composers and theorists.
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McEwan, Molly. "Correspondence." British Journal of Music Education 2, no. 1 (March 1985): 95–96. http://dx.doi.org/10.1017/s0265051700004629.

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For seventy years of my life I have been a supporter of the Associated Board of the Royal Schools of Music examinations: first as a pupil, going through Grades 1–8, and then the L.R.A.M., and then as a teacher, guiding my pupils through the grades and stopping at the diploma. So I have had many, many opportunities of evaluating the work of the examinations, and to a lesser extent those of Trinity College of Music, theirs appearing less frequently. What strikes me – after probing in my memories – is how little they have changed! Surely some new thoughts should peep through the pages!
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THOMPSON, SAM, and AARON WILLIAMON. "Evaluating Evaluation: Musical Performance Assessment as a Research Tool." Music Perception 21, no. 1 (2003): 21–41. http://dx.doi.org/10.1525/mp.2003.21.1.21.

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Much applied research into musical performance requires a method of quantifying differences and changes between performances; for this purpose, researchers have commonly used performance assessment schemes taken from educational contexts. This article considers some conceptual and practical problems with using judgments of performance quality as a research tool. To illustrate some of these, data are reported from a study in which three experienced evaluators watched performances given by students at the Royal College of Music, London, and assessed them according to a marking scheme based on that of the Associated Board of the Royal Schools of Music. Correlations between evaluators were only moderate, and some evidence of bias according to the evaluators' own instrumental experience was found. Strong positive correlations were found between items on the assessment scheme, indicating an extremely limited range of discrimination between categories. Implications for the use of similar assessment systems as dependent measures in empirical work are discussed, and suggestions are made for developing scales with greater utility in such work.
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Salaman, William. "Making Music. The Associated Board Review of the Teaching, Learning and Playing of Musical Instruments in the United Kingdom. London: Associated Board of the Royal Schools of Music, 1994. £8,00, 28 pp. Available from the Associated Board." British Journal of Music Education 12, no. 2 (July 1995): 178–80. http://dx.doi.org/10.1017/s0265051700002643.

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Brightwell, G. W. E. "The Associated Board of the Royal Schools of Music: A Social and Cultural History by David C. H. Wright." Notes 70, no. 2 (2013): 283–86. http://dx.doi.org/10.1353/not.2013.0143.

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JOHNSON-WILLIAMS, ERIN. "The Examiner and the Evangelist: Authorities of Music and Empire, c.1894." Journal of the Royal Musical Association 145, no. 2 (November 2020): 317–50. http://dx.doi.org/10.1017/rma.2020.16.

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AbstractIn the 1890s, two musicians travelled between Britain and South Africa. One was the first examiner to travel abroad to examine for the Associated Board of the Royal Schools of Music, Franklin Taylor. At the same time as Taylor’s arrival in the Cape in 1894, a black South African composer, John Knox Bokwe, prepared to republish a tonic sol-fa hymnal containing many hymns that eventually became popular in Britain, to which Bokwe travelled multiple times. Although these narratives might appear to reflect highly divergent contexts for musical experience, the fluctuating constructions of imperial authority encountered in the careers of both these men link their stories together more deeply than their geographical and cultural disparities set them apart. The synchronous presentation of their stories in this article thus raises questions of how music emerged as a metaphor for constructions of imperial knowledge across shifting cultural boundaries.
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Pratt, George. "Musicianship in Practice. London: Associated Board of the Royal Schools of Music, 1991. Book I (Grades 2–3), £1.95; Book II (Grades 4–5), £2.95." British Journal of Music Education 10, no. 2 (July 1993): 135–37. http://dx.doi.org/10.1017/s0265051700001595.

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9

Davidson, Jane, and Sarah Scutt. "Instrumental learning with exams in mind: a case study investigating teacher, student and parent interactions before, during and after a music examination." British Journal of Music Education 16, no. 1 (March 1999): 79–95. http://dx.doi.org/10.1017/s0265051799000169.

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Teaching and learning dynamics in musical instrument tuition, especially in one-to-one teacher–student contexts, have not been studied in a truly systematic manner. The research described in this paper attempts to bring some insights to this area, for teachers and students were studied over a period of six months. More specifically, in the fourth month of the study, all the learners took a practical instrumental examination of the Associated Board of the Royal Schools of Music (either violin or piano, ranging from Grades 1 to 8). It thus became possible to explore how the teachers aided, developed and structured the students' preparation up to, during and after the examination, and also how the students worked and responded to the examinations within the context of their families. Furthermore, parents were observed and interviewed about their interactions with their children – the students – and the teachers. Looking at four teachers and eighteen students, the results revealed a number of complex and interconnected themes which both aided and hindered learning. The current paper highlights these.
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10

ZIMMERMAN, SALLY-ANNE. "The Associated Board of the Royal Schools of Music: A social and cultural history by David C. H. Wright . Woodbridge, UK: The Boydell Press, 2013. 274 pp., hardback. £50. ISBN: 978-1-84383-734-3." British Journal of Music Education 33, no. 1 (March 2016): 122–25. http://dx.doi.org/10.1017/s0265051716000036.

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Dissertations / Theses on the topic "Associated board of the royal schools of music"

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Kuang, Mi Li, and 鄺蜜莉. "The Investigation of Piano Graded Examination for Piano Beginners－“Associated Board of the Royal Schools of Music”and “Yamaha Piano Graded Examination”." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/98121255190752588690.

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碩士
國立屏東師範學院
音樂教育學系碩士班
93
This research is to investigate and analyze how do “the Associated Board of Royal Schools of Music” and “Yamaha Piano Graded Examination” implement their teaching, what’s the status quo, how students view the exams, how they evaluate whether the exam is difficult or not, and so on. This study has used purposive sampling measure to choose and inquire 196 Taiwan piano beginners who've attended at these exams. Then apply descriptive statistics, t-test, one-way ANOV and Scheffe post-hoc test to analyze and digest the collected data. The results are following: 1) Those kinds of exams organized by “Associated Board of the Royal Schools of Music” and “Yamaha” have been more and more rising, which indicate music learners assume positive attitudes to the piano graded examinations. 2) The main purpose for students to take those exams is to cultivate some interests for piano and evaluate their learning. 3) Students generally think that playing the self-selecting pieces is difficult because of being unable to control the playing skills. Consequently, teachers should enhance students' basic practices. 4) Students of Yamaha music classes have better abilities of music sense and harmony concepts than general students. But they still have to strengthen the ability of playing and sight-reading. 5) There was a apparent diversity of viewpoints to the difficulty degrees of piano graded examination contents among students study of different grades, piano learning years and living areas. 6) There was no apparent diversity of viewpoints to the difficulty degrees of piano graded examination contents between different genders and examination grades.
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Monard, Merryl Katherine. "An investigation into Historically Informed Performance Practice among South African flute pedagogues and players." Diss., 2008. http://hdl.handle.net/2263/29618.

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This study investigates the status of Historically Informed Performance Practice among the South African flute-playing fraternity. Consequently, grounds are established on which to claim a lack of the implementation of Historically Informed Performance Practice in South African flute pedagogy and playing. The main research question that underpins this study is:
  • Why is there a lack of integration of Historically Informed Performance Practice into the mainstream of current flute performance practice among South African flute pedagogues and players?
This research question is addressed through three sub-questions:
  • Is there an awareness of Historically Informed Performance Practice in South Africa as outlined by performance and pedagogy internationally?
  • How is Historically Informed Performance Practice incorporated into the South African flute examinations system?
  • Does the knowledge of Historically Informed Performance Practice prepare one to be a balanced musician or flautist?
The findings that emerge from the investigation of the research questions are:
  • South African flute pedagogues fail to differentiate between Historically Informed Performance Practice and ‘authenticity’. This could be attributed to the fact that relatively little research and discourse into Historically Informed Performance Practice has been conducted by South African scholars and musicologists.
  • While Historically Informed Performance Practice is thought to enhance students’ performances of Early Music, resulting in better-balanced musicians, it has not been significantly exploited by South African flute players.
  • South African flute students are superficially aware of some elements of performance practice, but are generally not historically informed with regard to the performance of Early Music.
  • There is no clear indication of Historically Informed Performance Practice being incorporated into the South African independent flute examination system.
  • While there are numerous specialists in Early Music locally, flute pedagogues and players perceive them to be scarce, perhaps due to a lack of discernable demand for historically informed performances by South African audiences.
The research synthesises questionnaire and interview data from local flute pedagogues, Early Music specialists and both national and international flute students in an attempt to discover the reason for the lack of Historically Informed Performance Practice in South Africa. Additionally, a survey of websites detailing South African Early Music activity is performed using the Internet, in order to ascertain if the basis for a future in Historically Informed Performance Practice exists nationally. Lastly, content analyses of the three primary South African independent examination boards’ syllabi and of the former flute periodical, Flufsa News, elucidate the status of Historically Informed Performance Practice nationally.
Dissertation (MMus)--University of Pretoria, 2008.
Music
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Books on the topic "Associated board of the royal schools of music"

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Sabor, Rudolph. How to do well in music exams: A guide for students, parents and teachers to the graded music examinations of the Associated Board of the Royal Schools of Music, Guildhall School of Music and Drama, Trinity College of Music and London College of Music. London: Andre Deutsch, 1989.

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2

Harvey, Jean. Commentary on piano examination pieces 1995, grades 1-7. London: Associated Board of the Royal Schools of Music, 1994.

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3

Associated Board of the Royal Schools of Music (Great Britain). Jazz syllabus: Clarinet, alto sax, tenor sax, trumpet, trombone, piano & ensembles. London, U.K: Associated Board of the Royal Schools of Music, 2004.

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4

The case of the Associated Board. [S.l: s.n., 1986.

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5

The Associated Board Of The Royal Schools Of Music A Social And Cultural History. Boydell Press, 2012.

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These Music Exams. Associated Board of the Royal School of Music, 1990.

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7

Augener & Co., ed. Augener's edition of the pianoforte music selected by the associated board of the Royal Academy of Music and Royal College of Music for local examinations in music, 1898: In eleven volumes. Toronto: A. & S. Nordheimer, 1986.

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Book chapters on the topic "Associated board of the royal schools of music"

1

"Associated Board of the Royal Schools of Music." In The Grants Register 2019, 123. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1007/978-1-349-95810-8_154.

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"Associated Board of the Royal Schools of Music." In The Grants Register 2018, 125. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1007/978-1-349-94186-5_154.

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You might also be interested in the extended bibliographies on the topic 'Associated board of the royal schools of music' for particular source types:
Journal articles
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