Spring 2012 - RCM Examinations

music 

The Royal Conservatory’s 

official newsletter for music teachers 

MATTERS 

Giving Back, 

Looking Forward 

AN INTERVIEW WITH SARAH MCLACHLAN 

In this issue: 

Spring 2012 

a The New Voice Syllabus: 

Spotlight on Singing 

a 

Spotlight on 

Atlantic Canada

Teacher 

Professional 

Development 

Seminars 

Achieving Success 

BriTiSH CoLuMBiA | ALBerTA | SASKATCHeWAn | MAniToBA | onTArio | QueBeC | ATLAnTiC CAnADA | YuKon 

Scheduled for the 2011 – 2012 academic year in locations 

across Canada, The royal Conservatory Teacher Professional 

Development Seminars will focus on the integral and 

creative aspects of music teaching in the 21st century. 

These accredited seminars will include master classes, 

teaching demonstrations, interactive sessions, online 

learning activities, roundtable discussions, and a range 

of specific pedagogical and professional topics. 

Coming soon: Theory Teacher Professional Development 

Seminars in Vancouver, Calgary, and Toronto. 

Visit rcmusic.ca/tpd for details. 

I enjoyed the chance to observe excellent teaching, 

and to have open dialogue about how to teach better. 

– Teacher 

I enjoyed meeting other teachers, making connections 

and new friends. I also learned a great deal from the 

master class. 

– Student 

For more information, contact 

teachereducation@rcmusic.ca 

or visit rcmusic.ca/tpd 

Presenters 

Marc Durand 

Dianne Werner 

James Anagnoson 

Jennifer Snow 

Thomas Green 

Janet Lopinski 

Andrew Hisey 

Linda Kundert-Stoll 

Kent McWilliams 

Christine Vanderkooy 

Christopher Hahn 

Dale Wheeler 

and more… 

Registration: 

regular $99 | Student $50 

includes lunch and light 

refreshments.

Sarah McLachlan photos, cover and this page: Kharen Hill 



Dr. Jennifer Snow, Chief Academic Officer 

Dr. Thomas Green, Chief Examiner, Practical Subjects 

Maria Case, Chief Examiner, Theoretical Subjects 

Dr. Anita Hardeman, Manager, Teacher Relations 

4 

2 9 

Music Matters aims to provide pedagogical support and 

relevant information from The Royal Conservatory in its 

mandate to develop human potential through music and the arts. 

Members of the academic community offer fresh perspectives 

and useful information on teaching and managing a successful 

music studio, while celebrating excellence in music. Current 

and previous issues of Music Matters may be downloaded free 

of charge from our website: examinations.rcmusic.ca 

music 



Spring 2012 

MATTERS 

2 a The New Voice Syllabus: 

Spotlight on Singing 

4 a Mentor Memories with singersongwriter 

Sarah McLachlan 

8 a Syllabus updates 

Grade 10 Piano Repertoire Supplemental 

iSCORE 

The Music Matters Blog 

a 

Q&A with an Examiner 

9 a The Royal Conservatory Across 

Canada: Spotlight on Atlantic Canada 

BACK a Candidate Services Corner: 

Recognition of Accomplishment – 

Certificates 

Replacement Certificates 

Duplicate Certificates 

Theory Co-requisites 

a Important Dates: 

2012 Session Dates Announced! 

Click. 

Tweet. 

Connect! 

Staying in touch with 

The Royal Conservatory 

has never been easier. 

CONTACT US 

Article requests or questions about this publication? 

Please email us at: musicmatters@rcmusic.ca 

examinations.rcmusic.ca 

music MATTERS | Spring 2012 1

The Voice Syllabus, 

2012 edition and Resonance : 

A Comprehensive Voice Series 

By BARBARA DUNN PROSSER 

Today’s performing world resonates 

with aspiring vocalists, nurtured by a 

multitude of talent shows and driven 

by the hope of being discovered as the 

next singing superstar. While these 

competitions may create a rollercoaster 

of expectation and disappointment, the 

current tide of enthusiasm for singing 

benefits the voice teacher by encouraging 

those who might otherwise not have 

thought of using their voices in this way. 

Technology and the Internet make it 

easy for us to access repertoire, transpose 

keys of songs, or discover the works of 

new composers, thereby offering our 

students more diversity than ever before. 

With such resources, it need no longer 

be just a few exceptionally talented 

individuals, or those with connections to 

the industry, who can find their place in 

the spotlight. 

In light of these developments, 

the task of revising the 2005 Voice 

Syllabus was both an exciting adventure 

and at times a daunting challenge. It 

was essential to maintain The Royal 

Conservatory’s heritage of teaching 

classical repertoire and healthy vocal 

2 examinations.rcmusic.ca 

production and musicianship. In order 

to keep up with the times, it was also 

necessary to include Popular Music lists 

for all levels, carefully chosen to be ageappropriate 

and lyrical, with musical 

and dramatic challenges for each level. 

Specific arrangements were selected and 

cited to ensure quality and consistency. 

While these lists are optional for all 

exams except the Teacher’s ARCT, it 

is hoped that singers and teachers will 

appreciate their relevance and value. 

The previous syllabus contained 

many wonderful songs for young voices, 

but it was clear that their vocabulary, 

imagery, and subject matter would no 

longer interest young people today. 

Some advanced repertoire that might be 

an exciting complement to a university 

graduate recital was found to be less 

useful or relevant to our students and 

ineffective as examination material. 

Repertoire is now limited to songs 

in English, French, German, Italian, 

Spanish, and Latin, to ensure that exam 

candidates will be equitably assessed on 

pronunciation and presentation of the 

text. Finally, at the ARCT level, some 

operatic arias too challenging for even 

this level of examination were deleted. 

Approximately 350 songs have been 

added to the syllabus lists. Standard 

repertoire from the various historical 

periods is joined by compositions by 

hitherto unpublished composers or 

composers whose works may be new to 

North Americans. The works of Betty 

Roe, Lin Marsh, and Donna Rhodenizer 

are featured in junior levels. There are 

new arrangements of songs in the public 

domain by Christine Donkin, Forrest 

and Akiko Kinney, Stephen Chatman, 

Mark Mrozinski, Kathleen Wood, and 

Nancy Telfer. In the more advanced 

levels, songs by Jeff Smallman, Berthold 

Carrière, Richard Hundley, Ben Moore, 

Martha Hill Duncan, Jack Heggie, John 

Greer, Maria Case, and Alice Ho provide 

beautiful original melodies and settings 

of familiar texts. 

Changes were made to increase the 

efficiency of the examination procedure, 

and some requirements were adjusted 

to improve accessibility and uniformity. 

The repertoire portion of the exam is to 

be sung first, with suggested time limits

a The Voice Syllabus, 2012 edition 

and Resonance: A Comprehensive Voice Series (continued from page 2) 

from Level 6 upwards. Levels 6 and 7 

now require only one vocalise using the 

five Italian vowels [i], [e], [a], [o], [u] 

and [y] (German [ü]). Sight-singing tests 

are divided into two parts: clapping the 

rhythm of a passage, then a combined 

rhythm and melody singing of the same 

test. Melody singbacks begin at Level 

5, and a mezza di voce exercise has been 

introduced at Level 8. Some descending 

intervals have been deleted from the 

tests for the junior levels. New sight 

and ear test examples in the syllabus 

more accurately reflect what will be 

asked on the examination. Finally, the 

Preparatory Level will be given a graded 

assessment based on intonation, note 

and rhythmic accuracy, diction, posture, 

facial expression, breathing, phrasing, 

and memory. 

Changes were made to the 

requirements of the Teacher’s ARCT 

exam to ensure prospective teachers’ 

familiarity with the curriculum and 

popular music. Candidates must 

demonstrate technical exercises from 

any of the lower levels, and musical 

theatre repertoire is compulsory for 

the performance part of this exam. In 

the Viva Voce section, knowledge of 

current vocal production terminology is 

expected, as is the ability to demonstrate 

all genres from the lists in Resonance TM : A 

Comprehensive Voice Series. 

In assembling the repertoire for 

Resonance TM it was necessary to meet the 

diverse needs and interests of different 

genders, ages, and voice types, and 

ensure various languages and genres 

were represented. Songs progress in 

difficulty from Preparatory to Level 

8. There are also four progressively 

graded Vocalise/Recitative volumes. 

Overall, forty percent of the content has 

changed from the previous series. 

The Preparatory to Level 3 volumes 

feature such composers as Betty Roe 

(Ten Ponder and William Songs), 

Donna Rhodenizer (Computer Cat and 

Dinosaurs, Dragons and Me) and Lin 

Marsh (Serendipity Solos). Several folk 

songs have new arrangements and some 

foreign language songs have new English 

lyrics. For example, Ma Bella Bimba in 

Level 1 has been arranged by Christine 

Donkin; Forrest and Akiko Kinney 

have arranged Auprès de ma blonde in 

Level 3; and Nancy Telfer has created 

an arrangement of the French Canadian 

classic Un Canadien Errant. Popular 

music selections range from Dites Moi 

(Rodgers), to Happiness (Schmitt), to 

Swinging on a Star (Van Heusen) 

New songs in Levels 4 to 6 include 

Gloria in Excelsis by Robert B. Anderson, 

Già la notte s’avvicina by Isabelle 

Colbran, Moon, sing by Jon Washburn, 

and Singin’ the Blues by Donna 

Rhodenizer. There are new settings 

of traditional texts and tunes, such as 

Linda Fletcher’s Olde Irish Blessing and 

Forrest and Akiko Kinney’s Morning Has 

Broken. Many will be pleased to see the 

return of Patsy Ford Simms’s favourite 

spiritual Climbin’ up the Mountain in 

Level 6. The popular music selections 

include My House (Bernstein), Oh! What 

a Beautiful Morning (Rodgers), and Little 

Maid of Arcadee (Sullivan). 

Levels 7 and 8 contain arrangements 

of Purcell’s Fairest Isle, Boyce’s Tell Me 

Lovely Shepherd, and Lully’s Bois Epais 

by Kathleen Wood; such standards as 

Handel’s Bel Piacere and Schubert’s 

Lachen und Weinen; and Roger 

Quilter’s Music When Soft Voices Die 

and Richard Hundley’s Come Ready and 

See Me. Contemporary musical theatre 

selections include Starlight by Jim Betts 

and Only Love by Frank Wildhorn. 

Two exciting additions have been 

made to each repertoire book: an 

accompaniment CD and a basic guide 

to the International Phonetic Alphabet. 

The latter is a fundamental teaching 

tool that is essential to the development 

of accurate pronunciation; it offers a 

quick resource for both the teacher 

and the student when approaching an 

unfamiliar language. 

The CD will help familiarize students 

with accompaniments and allow teachers 

to take time out from accompanying 

to observe their students. There is no 

substitute for a live accompanist, of 

course, but the CDs assist the learning 

process by providing a guide to 

performance and the chance to practise 

with accompaniments at home. 

As is often said, singing is what 

happens in operas or musicals when 

words are no longer enough to convey 

the depth of emotion felt by the 

character. The setting of words to music 

intensifies their meaning, not just in the 

mind but in the hearts of both singer 

and audience. This syllabus reflects 

our belief that there truly is a song for 

every person. We are grateful to all the 

composers, arrangers, and poets who 

offer us the chance to lift our voices out 

of the everyday darkness and into that 

shining spotlight where we all can have 

music in our lives. 

BARBARA 

DUNN PROSSER 

Barbara holds a Master 

of Arts in English 

Literature, an Honours 

Bachelor of Arts in 

Music and English, and a Bachelor of 

Education in Music, English, and Drama 

from Queen’s University as well as ARCT 

Diplomas in Voice Performance and 

Piano Performance. She is a member 

of the National Association of Teachers 

of Singing and The Royal Conservatory 

College of Examiners, where she serves 

on the Council of Examiners. Barbara 

teaches voice in Stratford, Ontario and at 

The University of Western Ontario. 

In her performing career, Barbara has 

appeared in Rhombus Media’s film of 

Mozart’s Don Giovanni, toured southern 

Ontario with her one-woman show, and 

been a featured soloist with symphony 

orchestras across North America. 

Barbara spent several seasons with the 

Canadian Opera Company, the Stratford 

Shakespeare Festival and in both the 

touring and Toronto companies of The 

Phantom of the Opera. 

Barbara, with her colleague Susan 

Ambrose, was a co-compiler of the 

Frederick Harris Music Co., Limited’s 

2012 publication Resonance TM : A 

Comprehensive Voice Series, and the 

2012 edition of The Royal Conservatory’s 

Voice Syllabus, 2012 edition. 


Mentor Memories 

with singer-songwriter Sarah McLachlan 

Mentor Memories invites leading arts professionals to share memorable moments of inspiration 

and motivation. In this issue, we are delighted to present an interview with celebrated 

singer-songwriter Sarah McLachlan, an alumna of The Royal Conservatory. 

While Sarah McLachlan is beloved by 

millions for her warm and evocative 

music, she continues to make an 

important contribution to arts education. 

Inspired by the influence of music 

in her life, she long dreamed of opening 

a music school for inner-city youth. 

Music had a profound impact on her, 

and Sarah decided she could make a 

difference by bringing music education 

into the lives of young people who 

otherwise would not have access to it. 

Her dream was first realized through 

the creation of The Sarah McLachlan 

Foundation in 1999, and was expanded 

in 2002 with the launch of a free afterschool 

program: The Sarah McLachlan 

Music Outreach – An Arts Umbrella 

Project (SMMO). 

Founded on a belief in the enriching 

power of music and the importance 

of building creative communities, the 

program, now known as the Sarah 

McLachlan School of Music, provides 


an inspirational learning environment 

fostering the confidence and success of 

its students. The school offers them a 

secure, inspiring place to learn, practice, 

and connect with other like-minded 

youth. Students acquire a lifelong 

appreciation of music, an enthusiasm 

for learning, and the skills necessary 

to unleash their creative potential 

and to develop friendships that will 

last a lifetime. Over the last ten years, 

hundreds of students have learned 

piano, guitar, percussion, voice, and 

songwriting. They have enjoyed the 

music lab and participated in children’s 

and youth choir and ensembles, 

mentored by professional musicianeducators. 

As McLachlan reflected on the 

impact of music on her life, she realized 

that music enabled her to develop a 

sense of pride and self-worth. It also 

gave her the tools she needed to tackle 

the many challenges she would face 

both personally and professionally. 

In this inspiring interview, McLachlan 

shares her insights and experiences as a 

student, a teacher, and an internationally 

successful performer. 

What do you recall about your first 

experience with music? 

I remember being four years old and 

devouring my mother’s recordings by 

artists of the time—Joan Baez, Simon 

and Garfunkel, and Cat Stevens. I 

begged her for a guitar so I could play 

and sing just like them. I was so excited 

when I was given a ukulele (as I was too 

small for a guitar) and I took lessons just 

up the street from my house. Because I 

loved to perform, my mother would have 

me sing for her friends when they visited. 

Who was your most important 

teacher and how did he or she 

influence you? 

My high school art teacher, because he 

Photo: Kharen Hill

a Mentor Memories 

with singer-songwriter Sarah McLachlan (continued from page 4) 

let me be myself and always encouraged 

me to do my very best. This really 

affected me because I liked and respected 

him, and wanted to please him. 

What impact has The Royal 

Conservatory had on you? 

The Royal Conservatory provided me 

with an excellent basic understanding 

of theory and musical structure, which I 

have carried with me throughout my life 

and career in music. 

At what point did you decide to 

become a professional musician? 

I was offered a recording contract at 

nineteen years old . . . how does one say 

“no” to that? 

What first inspired you to write 

songs? 

I’d been working with another band and 

helping to write melodies. I’d never sat 

down to write pieces all by myself, until 

I received the recording contract. So 

really, getting a record deal was hugely 

influential in pushing me to get going. 

When writing lyrics, I focused mostly 

on imagery, as until that time, I had 

been a visual artist. 

Where do you presently find 

inspiration? 

I find constant inspiration in the 

emotional struggles we all face as 

humans as we try to relate to each 

other and get along with our incredibly 

limited understanding of ourselves and 

the world around us. 

Was there a low point in your 

growth as a musician and how did 

this influence you? 

Early in my career I was signed to a 

major US label and was being “A and 

R’ed” (groomed for release by the 

Artist and Representation department) 

for the first time in my life. During 

the recording of my second album, I 

thought we were doing great, emotional 

work, but when the label’s representative 

listened to what we’d done, he was 

very dismissive. He complained that he 

“didn’t hear a single” and said, “you can 

yodel on the rest of the record for all I 

care, as long as I get three strong singles 

to work with.” I asked him if the music 

made him feel anything and he told me 

that was not the point. 

I was very disheartened, but my 

producer told me that my music was 

good. He reminded me that if you 

follow your gut and are true to yourself 

then you are already successful. 

My manager at the time convinced 

the people at the record label to leave 

me alone to “make it or break it” on my 

own. They did, and luckily, it worked! 

They liked the finished record and it did 

well. I continue to follow my instincts 

and it has served me very well. 

In your opinion, what is the value 

of music education? 

It is incredibly important for children 

to have music in their lives. Music helps 

us connect to ourselves and with each 

other. There are many studies proving 

that the study of music gives children 

a step up in other academic areas. It 

contributes to the development of wellrounded, 

emotionally connected human 

beings and helps set them up for success. 

I typically do not teach, although I 

have on occasion been in the position to 

work with a group of kids to inspire and 

guide them and I have loved it! They are 

engaged and tuned in, and so open to 

learning. 

Do you have any tips on how to 

engage students with music? 

It’s important for students to like 

what they’re playing and feel some 

connection with the music. 

Your music school gives back to 

your community in a powerful 

way. How can our readers become 

involved in similar/different ways 

to impact their own communities? 

I encourage organizations that offer 

music lessons to add some kind of 

bursary or free outreach element to their 

programs or solicit others to financially 

sponsor a child’s lessons. Teachers 

could also volunteer their time and get 

involved with music education in their 

community. 

What advice do you give the 

students at your school? 

I rarely offer advice unless it’s asked 

for, but one thing I do stress is the 

importance of trying to figure out what 

brings you joy and do it as often as 

possible. If it is music that brings joy, 

then “hooray!” 

How do you encourage the 

musicians at your school to 

collaborate? Is there one 

collaborative experience that 

stands out? 

We have no shortage of collaborations 

at our school, as it’s a big part of our 

curriculum. The students are nurtured 

to be free and open as they explore 

different ways of making music like 

singing together, and playing in 

ensembles. Music should be shared, so 

performance is encouraged. 

The children also write songs. The 

best experience thus far happened in 

December as I guided the students in 

writing a Christmas song. It happened 

spontaneously during a photo shoot. I 

spent the day at the school with various 

students. We all had instruments, so 

it was easy and natural for us to start 

playing together. A song began to evolve 

so I encouraged the students to explore 

different possibilities with lyrics and 

melody. We had the better part of a 

song by the end of the day. A senior 

student finished the lyrics at home. We 

recorded it, filmed it, and posted it for 

free on the Internet the next week. 

In your opinion, what is the place 

of popular music in a traditional 

music lesson? 

I think if you want to keep children 

engaged in their studies, then you 

need to provide a wide range of music. 

Classical music provides a good basis 

of understanding that can provide a 

jumping-off point into many other 

kinds of music. 

What is next for you as an artist, 

and as an educator? 

I’m writing songs for my next record 

and working hard on fund-raising plans 

for the school. I see the impact that 

music education has on young people. 

I would like to be able to expand our 

programming in the years to come. 

Giving more students access to music 

would be very meaningful to me. 


Summer Summits 

Inspiring the Whole Musician 

July 7 & 8, 2012 

Toronto, ON 

July 28 & 29, 2012 

Vancouver, BC 

• Join creative leaders from across North America as 

they lead practical, interactive, and insightful sessions. 

• Engage in valuable seminars and discovery 

learning activities that inspire discussion and 

creative experience. 

• Learn creative strategies to motivate and inspire 

your students. 

• Explore resources, ideas, and a range of 

teaching and professional strategies. 

• Connect and network with colleagues from 

across the continent. 

TORONTO, ON | JULY 7 & 8, 2012 

8:45am to 6:00pm (check-in starts at 8:15am) 

The Royal Conservatory 

TELUS Centre for Performance and Learning 

273 Bloor Street West, Toronto, ON, M5S 1W2 

VANCOUVER, BC | JULY 28 & 29, 2012 

8:45am to 6:00pm (check-in starts at 8:15am) 

Vancouver Academy of Music 

1270 Chestnut Street, Vancouver, BC, V6J 4R9 

FEES AND REGISTRATION 

Early rate: Teachers: $275 | Students: $150 

Regular rate (after April 30, 2012): 

Teachers $325 | Students $195 

Fee includes lunch, refreshments, a seminar package, 

and a Professional Development Certificate. Breakfast is not 

available. Seminar presenters and topics are subject to change. 

For more information, 

contact teachereducation@rcmusic.ca or visit rcmusic.ca/tpd.

JULY 7 & 8, 2012 

Toronto, ON 

Keyboard 

FEATURING 

PRESENTERS: 

Randy Faber 

• ABC’s of Artistry 

• Stages of Talent Development 

Peter Jutras 

• The Future of Pedagogy: 

Teaching the Next Generation 

• It’s Never Too Late: 

Teaching Adult Music Students 

Scott Price 

• Including Students with Special 

Needs in the Piano Studio 

• Autism and Piano Study: 

A Basic Teaching Vocabulary 

Laurel Trainor 

• Music and the Brain 

AND INTERACTIVE 

SEMINARS WITH: 

Jennifer Snow 

Thomas Green 

Janet Lopinski 

Voice 

FEATURING 

PRESENTERS: 

Mary Lou Fallis 

• Back to Basics 

• Inspiring the Whole Singer 

Scott McCoy 

• Using Acoustic Analysis as 

Feedback in the Voice Studio 

• Understanding the Relationship 

Between Vowels and Pitch 

Chris Arneson 

• Performance Anxiety: 

A 21st Century Perspective 

Susan Knight 

• Choral Pedagogy 

Donald Simonson 

• Fact Based Voice Teaching: 

Removing Myth from the 

Studio 



Robert Loewen 

Tina Torlone 

Featuring an exploration of 

Resonance: A Comprehensive Voice 

Series and the new Voice Syllabus, 

2012 edition. 

JULY 28 & 29, 2012 

Vancouver, BC 

Keyboard 

FEATURING 

PRESENTERS: 

Marvin Blickenstaff 

• Pedagogy 101: 

A Review of the Basics 

• The End is in the 

Beginning: Coaching 

a Piece to Performance 

Forrest Kinney 

• Topic TBA 

Jennifer Snow 

• Sparking The Musical 

Imagination: Inspiring 

Personal Expression in 

Student Performance 

Midori Koga 

• Balanced Poise: 

Unlocking Sound and 

Artistic Potential 



Linda Kundert-Stoll 

…and more. 

Highlights include master classes, 

teaching demonstrations, interactive 

seminars, discovery learning activities, 

and a range of specific pedagogical 

and professional topics.

SYLLABUS UPDATES 

The Guitar Syllabus, 2011 Edition, took effect 

September 1, 2011. Guitar requirements in the 

Guitar Syllabus, 2004 Edition will be accepted 

for a one-year crossover period ending August 

31, 2012. 

The Speech Arts and Drama Syllabus, 2011 

Edition took effect September 1, 2011. The new 

Syllabus has replaced the previous edition and 

there is no crossover period. 

The Voice Syllabus, 2012 Edition, will take 

effect September 1, 2012. Voice requirements 

in the Voice Syllabus, 2005 Edition will be 

accepted for a one-year crossover period ending 

August 31, 2013. 

GRADE 10 PIANO REPERTOIRE 

SUPPLEMENTAL 

Grade 10 Piano candidates are reminded 

that they may repeat, as a supplemental 

examination, any two sections of their practical 

examination, including repertoire. To satisfy 

the practical Grade 10 requirements, all 

supplemental practical examinations must be 

successfully completed within two years of the 

original practical examination period. 

iSCORE 

On January 11, 2012, The Royal Conservatory, 

together with Concordia University and Queen’s 

University, launched iSCORE, the first bilingual 

online module designed specifically to support 

music study and instruction. iSCORE helps 

facilitate communications between music 

teachers and students, regardless of distance 

or time, ensuring a thorough online learning 

and evaluation process. For more information, 

please visit iscore.rcmusic.ca 

THE MUSIC MATTERS BLOG — 

A PLACE FOR TEACHERS 

TO SHARE IDEAS! 

Connect with an international community of 

music teachers and join in conversations about 

pedagogy on our Music Matters Blog. 

This new interactive medium features speciallycommissioned 

articles, discussions with our 

noted alumni, and other personal interest blog 

posts. As well, previous Music Matters articles 

will be revisited and opened to discussion. 

Visit: rcmusic.ca/musicmattersblog 


Q&A 

How does the new Preparatory 

level differ from the Introductory 

level in the previous syllabus? 

One difference teachers and candidates 

will notice in the 2012 edition of 

the syllabus, is that the Preparatory 

Examination is graded, whereas 

candidates received comments only for 

the Introductory examination as listed 

in the Voice Syllabus, 2005 edition. 

To aid beginning vocalists, marks for 

the Preparatory level are broken down 

into two equally-weighted categories: 

Voice Production and Presentation. 

Voice Production includes diction, note 

accuracy, rhythmic accuracy, intonation, 

and posture. Presentation encompasses 

facial expression/stage presence, breathing 

and phrasing, and memory. Like the 

Introductory Examination, candidates are 

required to prepare two pieces by different 

composers from the syllabus list, and must 

sing from memory. 

Is it mandatory that music from 

the Popular Music List be included 

in the examination repertoire? 

The Popular Music List is an exciting 

addition to the 2012 Voice Syllabus. 

Candidates from Grades 1 through 10 

now have the option of preparing a 

selection from musical theatre, operetta, 

folk rock, jazz standards, and parlour 

songs for their examination. Candidates 

preparing for the Performer’s ARCT 

examination may choose to include 

a Popular Music selection. Teacher’s 

ARCT candidates must include one 

selection from the Popular Music list 

for the Performer’s ARCT (List F). 

When preparing a Popular Music 

selection, the candidate’s music must 

ABOUT THE 

VOICE SYLLABUS, 

2012 EDITION 

match the arrangements in the books 

cited in the syllabus. For Grades 1 to 

8, the music may be transposed, but 

for Grades 9 and 10 and both ARCT 

examinations the music must be 

performed in the original key. 

Will there be a crossover period 

for the new syllabus? 

Yes, teachers and candidates may 

prepare for examinations using either 

the Voice Syllabus, 2005 edition or the 

Voice Syllabus, 2012 edition for any 

examinations taking place between 

September 1, 2012 and August 31, 2013. 

I see that time limits are now 

suggested for repertoire beginning 

in Grade 6. Why were time limits 

introduced? What happens if my 

student exceeds the time limit? 

Suggested time limits for repertoire 

are provided in the new syllabus 

beginning at Grade 6. For example, 

Grade 6 candidates are advised that the 

repertoire portion of their examination 

program should not exceed fourteen 

minutes, while thirty minutes is 

suggested for Grade 10 candidates. The 

time limits were introduced to teach 

the necessary skill of appropriately 

timing a program, something that is 

crucial for auditions, recordings, and 

performances. Limits were introduced 

at the Grade 6 level in recognition of 

the increased level of maturity in the 

repertoire, which requires the same 

maturity in the candidate. Candidates 

who exceed the time limits may be 

stopped during their performance by 

the examiner. 

You Asked 

When will I receive my practical examination schedule for April? 

Confirmation numbers and schedules will be mailed to all registrants on or 

before March 9th, 2012.

a The Royal Conservatory Across Canada – The latest news about 

Royal Conservatory music and arts education in communities across Canada. 

THE ROYAL CONSERVATORY ACROSS CANADA 

Spotlight on 

Atlantic Canada 

GOLD MEDAL CEREMONY 

IN HALIFAX, NS 

An enthusiastic crowd greeted participants 

in the first ever Gold Medal Awards 

Ceremony, held Saturday, November 26 

in the Lilian Peircey Room of the Maritime 

Conservatory of Performing Arts in Halifax, 

Nova Scotia. Over 50 students and their 

teachers, as well as proud families, were 

addressed by Chief Examiner of Theoretical 

Subjects Maria Case and awarded Royal 

Conservatory Gold Medals. Several 

recipients were invited to perform in the 

Gold Medallists’ recital, which featured 

performances from piano, voice, violin, and 

speech arts and drama medalists. 

As part of The Royal Conservatory’s 125th 

anniversary celebrations, Silver Medals 

were transformed into Gold Medals. The 

recipients of these awards have achieved 

the highest mark in their region in their 

practical examination and have completed 

all theoretical co-requisites. We were thrilled 

to celebrate this significant accomplishment 

with the medalists, their families, and their 

teachers! 

We extend our thanks to Frances Royles, 

who performed the prelude, processional, 

and O Canada. Thank you also to the 

Nova Scotia Registered Music Teachers’ 

Association, particularly Lexie Blackler, 

who acted as the Reader for the ceremony, 

and The Royal Conservatory’s staff and 

volunteers, who planned and executed an 

impressive event and set a high standard for 

the next set of Gold Medal ceremonies in 

Saskatchewan and Manitoba. 

TEACHER PROFESSIONAL 

DEVELOPMENT COMES 

TO THE “ISLANDS” 

The Royal Conservatory was pleased to 

present Teacher Professional Development 

Seminars in two new Atlantic Canada 

locations this past fall. We travelled to St. 

John’s, NF on October 26 and Charlottetown, 

PEI on October 27. Master teacher Dianne 

Werner gave two master classes featuring 

each island’s best students. The discussion 

following the student performances focused 

on developing a healthy and effective physical 

approach to the practice and performance of 

technical skills, and transitioning those skills 

into the study of repertoire. 

Active conversations about these topics 

continued through the lunch hour, and 

these ideas were reinforced in the afternoon 

session by Dr. Andrew Hisey. Dr. Hisey, a 

senior examiner with The Royal Conservatory, 

addressed the subject of practical 

examinations. While students and teachers 

may view examinations with apprehension, 

Dr. Hisey reminded the seminar attendees 

that examinations should provide a positive 

personal experience that motivates students 

to continue on their musical journey. His 

y 

‘insider’ perspective allowed the group to 

look at the examination process from the 

examiner’s point of view. Helping students to 

do the same is one way to effectively prepare 

them for examination day. 

The closing discussions led by Dr. Hisey in 

both St. John’s and Charlottetown brought 

the main themes of the day to the forefront: 

that the experience of making music should 

be positive and affirming for all our students! 

Presenting our first Teacher Professional 

Development Seminars in Newfoundland 

and Prince Edward Island was a wonderful 

experience, and The Royal Conservatory looks 

forward to returning to Atlantic Canada with 

additional sessions in the spring. 

The Royal Conservatory would like to thank 

the PEIRMTA, Jean Taylor, and Jacqueline 

Sorenson Young for their contributions to 

the success of these two events. 

The virtuosos of tomorrow are seated at Yamaha pianos today 

We have been purchasing Yamaha pianos for over twenty years. 

�e tone, touch, and consistency of Yamaha pianos have made them 

the first choice of �e Royal Conservatory. 

Dr. Peter Simon 

President, �e Royal Conservatory 

ca.yamaha.com 


a CANDIDATE SERVICES CORNER 

RECOGNITION OF 

ACCOMPLISHMENT – CERTIFICATES 

Certificates are one of the ways in which 

The Royal Conservatory Examinations provides 

recognition of a candidate’s accomplishment. 

Certificates are processed separately from 

examination results and are mailed out twice 

per year. Candidates who complete the 

examination requirements for their grade level 

during the Spring (April, May, and June) or 

Summer (August) sessions will receive their 

certificates in the mail in October or November. 

Candidates who complete their examination 

requirements in the Winter session will receive 

their certificates in March or April. 

REPLACEMENT CERTIFICATES 

If you do not receive your certificate, or if it 

was damaged upon receipt, you will receive 

a replacement at no charge. 

DUPLICATE CERTIFICATES 

To order a duplicate certificate, download 

the “Duplicate Certificates/Diplomas/ 

Silver Medals” form from our website at 

examinations.rcmusic.ca. This form can 

be found under “Forms and Services – 

Additional Services”. 

There is a $42.00 charge for a duplicate 

certificate. 

IMPORTANT DATES 

2012 Session Dates Announced! 

CANADA 

Spring Session 2012 Registration Deadline Mar. 6, 2012 

Theory Examinations May 11 & 12, 2012 

Practical Examinations Jun. 11-30, 2012 

Summer Session 2012 Registration Deadline Jun. 5, 2012 

Theory Examinations Aug. 10 & 11, 2012 

Practical Examinations Aug. 13-25, 2012 

THE ROYAL CONSERVATORY EXAMINATIONS 

273 Bloor St W, Toronto, ON M5S 1W2 

T 1.800.461.6058 F 1.416.408.1538 

E musicmatters@rcmusic.ca E examinations.rcmusic.ca 

THEORY CO-REQUISITES 

Practical certificates are awarded to candidates who have completed both the 

practical examination for their grade level and the corresponding theory corequisite(s). 

The standing printed on the certificate reflects the practical mark only. 

Please refer to the list below for information pertaining to the theory co-requisites 

for each practical grade level. 

Practical Grade Level: Theory Co-requisite: 

Preparatory A No theory co-requisite 

Preparatory B No theory co-requisite 

Grade 1 No theory co-requisite 




Grade 5 Basic Rudiments 

Grade 6 Intermediate Rudiments 

Grade 7 Advanced Rudiments 

Grade 8 Advanced Rudiments 

Grade 9 Advanced Rudiments, Basic Harmony, 

and History 1: An Overview 

Grade 10 Advanced Rudiments, Intermediate Harmony, History 1: 

An Overview, and History 2: Middle Ages to Classical 

ARCT Diploma Advanced Rudiments, Advanced Harmony, 

Counterpoint, Analysis, History 1: An Overview, 

and History 2: Middle Ages to Classical, 

History 3:19th Century to Present 

Certificates are awarded for the following examinations and/or groups of theory 

examinations. The standing printed on the certificate reflects the average mark for 

all theory examinations in the particular group. 

Theory Examination: Theory Certificate Granted: 

Preparatory Rudiments Preparatory Rudiments 

Basic Rudiments Basic Rudiments 

Intermediate Rudiments Intermediate Rudiments 

Advanced Rudiments Advanced Rudiments 

Basic Harmony, History 1 History and Theory: Basic 

Intermediate Harmony, History 2 History and Theory: Intermediate 

Counterpoint, Advanced Harmony, History and Theory: Advanced 

History 3, Analysis 

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Spring 2012 - RCM Examinations

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