Perfecting Performance

ARSMWhat is performance?
Paul Harris
- and with
‘Performing is an act of giving. If we perform with - at any level
then everyone is artistry and skill unconditional generosity, the better for it.’
DoingThinking
Eye/hand coordination
Expression of feelings and
supported by
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• Generally correct notes
• Fluent with flexibility where appropriate
• Rhythmic character well conveyed
• Suitable tempo • Generally stable pulse • Overall rhythmic accuracy
• Well projected • Sensitive use of
tonal qualities
• Some realisation of musical shape and/or detail
• Assured • Fully committed • Vivid communication of character and style
• Positive • Carrying musical conviction • Character and style communicated
• Generally secure, prompt recovery from slips • Some musical involvement
Pitch Time Tone
• Well projected • Sensitive use of
tonal qualities
Pitch Time Tone
DoingThinking Art Craft
Character
Sensitivity
Style
Awareness
Involvement
Expression
Conviction
tonal qualities
• Expressive, idiomatic musical shaping and detail
• Clear musical shaping, well- realised detail
Pitch Time Tone
Character
Sensitivity
Style
Awareness
Involvement
Expression
Conviction
Shaping
Realisation
Assurance
Commitment
Communication
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Pitch: Accuracy, clarity and definition of notes and/or intonationPitch
Time: Suitability of tempo, stability of pulse, sense of rhythm Time
Tone: Control and projection of the sound, sensitivity and awareness in use of tonal qualitiesTone
Shape: Effectiveness and clarity of musical shaping and detailingShape
Performance: Overall command, involvement with the music, musical communicationPerformance
At times the effect became a little relentless, with shaping not always totally sympathetic to the musical line,
This was performed with authority and confidence;
showing good musical detail and firm direction.
but articulation was crisp, with positive rhythmic character.
Played with real commitment.
and capturing much of the musical drama.
There was a strong sense of stylistic idea,
supported by musical shaping of phrases and good dynamic contrasts.
The tone became a little hard at times
and there were some note errors and losses of rhythmic precision,
but communication was positive.
Sensitively paced, imaginative playing
with a natural sense of phrasing and feel for the expressive idiom.
Good use of rubato,
and convincing control of texture and balance.
There were some briefly wayward harmonies
and moments of uneven tonal control.
There is no ABRSM way to play
Chopin; Nocturne in B, Op.32 No.1
Arrau Ashkenazy Rubinstein
• A performance-only Diploma
• Awarded by ABRSM, endorsed by the four Royal Schools of Music
What is ARSM?
• For candidates of any age who have passed Grade 8
• For all instruments currently examined in Grades
• For all countries where Grades are currently offered
• A letter-bearing Diploma; successful candidates can add ARSM after their name
• Designed to attract and be accessible to a wide range of candidates
What is ARSM?
0
5
10
15
20
25
30
35
40
45
50
55
(max 10 mins)
• Prior approval of programme not required
• For woodwind, brass and singing candidates, a break of up to 3 mins can be included
• Candidates hand completed programme form, including timings, to the examiner; (copies of music not required)
Programme and repertoire
• FAQ responses
Resources for the ARSM exam
• An accessible first Diploma qualification
• Sense of purpose and direction to post Grade 8 learning and progress
Why take ARSM?
• Feedback from an ABRSM examiner
• Opportunity to put together and perform your own programme of music
Grade 8 ARSM
30 minute programme
Optional 30% own choice at Grade 8 standard (or above)
Skills, knowledge & understanding brought together
and assessed within the performance context
30 minute exam
Skills, knowledge & understanding assessed
Grade 8 ARSM
then
(Does not serve as a pre- requisite for DipABRSM)
Each exam section marked individually
(Pre-requisite for ARSM and/or DipABRSM)
How will it be examined?
• Same examiner team as for Grades
• One ‘Generalist’ examiner
• The chosen works combine to form a programme, so are marked ‘as one’ (unlike
the ‘itemised’ approach of Grade exams, where pieces are marked separately)
• Grade criteria for the pieces
combined with
• new set of criteria for the performance as a whole
Basis of assessment:
Marking out of 30
Romance
5’30
9’30
7’00
8’00
Romance
5’30
9’30
7’00
8’00
Programme form
Communication Interpretation Delivery
You and your listener: You and your music: You and your instrument:
Projection and musical involvement
Performance awareness and control
Stylistic realisation and characterisation
Interpretative demands of programme
Blending and balancing
Performance awareness and control
Stylistic realisation and characterisation
Interpretative demands of programme
Blending and balancing
Well managed and consistent performance
Strong musical involvement and projection
Interpretative insights shown across the programme
Some flaws and inconsistencies in delivery
Sometimes tone and attack were a little forced
This felt a very well managed and consistent performance, with a sense of strong musical involvement and projection. In terms of delivery, there were some flaws and inconsistencies, but these were always well covered or assimilated. Sometimes tone end attack felt a little forced, but interpretative qualities were always involving. 18
Piano Candidate 1
Perfecting Performance
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Chopin; Nocturne in B, Op.32 No.1
Break time
Why take ARSM?
Slide Number 38
Slide Number 39
Basis of assessment:
Slide Number 44
Slide Number 45

Perfecting Performance

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