Having last been revised at the turn of the century, diplomas have long been an established part of the ABRSM. The only significant update in two decades was in 2016, which saw the introduction of the ARSM (Level 4, equivalent to the end of the first year of an undergraduate course). This served to bridge the gap between Grade 8 and Dip ABRSM and has proved a popular exam and remains unchanged. However, all of the other products – Dip ABRSM, LRSM (Level 6, equivalent to the end of the final year of an undergraduate course), and FRSM (Level 7, equivalent to the end of a postgraduate course) – have now been withdrawn or replaced. Performance diplomas are now joined by a raft of new assessments for teachers and musical directors ranging from ARSM to FRSM level.
Examination medium
For the performance diplomas, there are two major changes. First, the Dip ABRSM has been totally withdrawn, now leaving candidates (and their teachers) with the rather daunting leap from ARSM to LRSM. Second, with the exception of the ARSM, all of the diplomas (performance, teaching and musical direction) are now digital submission only. In the case of the performance diploma, the syllabus does encourage candidates to perform their recital to an audience while recording, which retains the live aspect. Indeed, if embraced, this approach has the potential to provide a more realistic situation for a performance as opposed to simply playing (or singing) to one or two examiners. However, were this ‘audience option’ not encouraged by teachers, I struggle to see how a performance of this level could remain relevant or satisfying to learners. Perhaps this is sentimental, but part of me also feels for the examiners, who I'm sure will miss the opportunity to hear live performances.
Performance diploma format
The second change comes in the format of the performance diploma, which has been simplified into two units: Performance (Unit 1) and Written/Spoken Submission (Unit 2). The quick study element and viva voce have been completely removed. The quick study was often a stumbling block for candidates, so this may make the exam more accessible. However, I suspect that this will provoke a marmite reaction from many teachers. Could it be argued, for instance, that certain corners of rigour are being shaved off? Perhaps too many candidates were being discouraged by these more rigorous elements. The written submission, or alternative option to submit a video of a spoken presentation, replaces the programme notes, offering a similar, if slightly more flexible, approach. There is sadness, on my part, that the viva voce element has been removed from the performance exam, and I do wonder if this could (or should) have been retained.
There are some other changes and updates within the new performance diplomas. Flexibility is key and candidates can now enter 50% of the submission as own choice repertoire. The repertoire lists have also been refreshed and new items added across the board. As seems to be largely the fashion with repertoire lists, these are more additions rather than replacements, and syllabuses will no longer be printed but updated periodically online. It is good to see a wealth of under-represented composers throughout the lists.
Music directing and teaching diplomas
Turning to music direction and teaching, these diplomas offer a fresh and exciting development for those taking some first steps into teaching. It could be said that ABRSM is a little late to the party here, as other exam boards have been offering similar qualifications for some time. Here, however, the digital format seems to make much more sense. For both pathways the digital exam is more of a portfolio, comprising a video, two substantial written assignments, and finally a live conversation and interview with an examiner. This diploma makes more sense in the recorded format, although I do wonder why the viva voce element could not have been retained in the performance exam in a similar fashion.
Summary
It will be interesting to see how these developments are received by the teaching community. I am mystified by the decision to remove the Dip ABRSM – the leap between ARSM and LRSM will seem too intimidating for most learners. However, the developments in the teaching and musical direction diplomas are exciting and I will look forward to trying these with my students (although I do wonder if the ARSM level was really appropriate or necessary here). The teaching diplomas could have tangible benefit to younger teachers working within organisations such as music hubs, which could use them to structure teacher training. Used in the right way, these could become an important force across music education.
One final thought: there feels like an inevitable march towards full digitisation of exams. I do hope that in planning these changes, exam boards consider how both live and digital exams can help enhance learning, and that perhaps both are not suitable for every situation. There is an obvious place for digital exams, but I welcome research into what works best for which groups in the fullness of time.
