Music Teacher Conference Singapore - Take your teaching to the next level - www.abrsm.org
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Music Teacher Conference
Singapore
Take your teaching to the next level
2019
Sponsored by
www.abrsm.org
Welcome
From our Chief Executive
I’m delighted to welcome Our Teacher Conference here in Singapore is about
so many dedicated music acknowledging the very special nature of what music
educators to our annual Music educators do. However, it’s also about offering practical
Teacher Conference, taking support by creating a unique opportunity for hundreds
place for the first time in of teachers from many backgrounds to come together to
Singapore. explore new ideas, learn new skills and gain new insights.
Music, like all art forms, has None of this would be possible without the collaboration
an immensely important role of our main sponsor, the National Instructors and
to play in our lives. We all recognise the many benefits Coaches Association (NICA), who provide an essential
and the pure enjoyment that music can bring. But in a role in supporting freelancers in Singapore. Their work is
world of rapid change music can offer something else. It so important for the music teaching profession, helping
provides a constant, a refuge we can return to whenever to bring freelancers together and to give them a voice.
we need to. As a shared language, it builds bridges, It is our pleasure to work together with NICA in order to
fosters understanding and generates a common purpose. bring you this conference.
And, of course, it inspires us and gives us the space and Finally, our aim is that you should leave this conference
the permission to tap into our emotions. today with ideas, strategies and inspiration that will help
you to get the most from your students, and help you as a
So music can do wonderful things for us on many
teacher to get the most from your teaching!
different levels. And when we become active musical
participants, and when our musical skills, knowledge
and understanding grow, these wonderful things are
multiplied and gain greater depth. As teachers, you hold a
key that can unlock this wonderful world of music. Michael Elliott
Contents
4 Teacher as Leader
6 Helping your student to
practise effectively
8 ABRSM Digital Apps
10 The making of an ABRSM syllabus
13 Teacher Development
14 Venue Map
16 Conference Programme Day 1
18 Conference Programme Day 2
20 Meet the presenters
26 New ABRSM piano books
2 ABRSM Teacher Conference - Singapore 2019
It is my pleasure to welcome The ultimate highlight from last year’s conference was
you all here to our Music seeing so many smiles from delegates who not only
Teacher Conference. Following enjoyed themselves, but left feeling reinvigorated and
the launch and positive excited about music teaching.
response of the Southeast Asia
Finally, it is important to remember the content of these
Music Teacher Conference sessions are not specifically focussed on exam preparation.
in Kuala Lumpur last year, They are sessions which focus on professional practice,
I was very keen to take the general musicianship, creativity and holistic approaches to
conference ‘on tour’. I am music education. These transferable skills, when applied,
delighted to have now organised these conferences to take will of course help your students in a whole range of ways:
place in Singapore, Malaysia and Hong Kong in 2019. broadening their understanding; furthering their interest
in music; and increasing their musical proficiency. But no
The idea of these conferences is to serve as an annual,
doubt such enhancements will ultimately shine through in
end-of-year get together and refresher for music teachers.
a future mark form as well…
An opportunity to spend time together, make new
acquaintances, share ideas and collectively learn from I must say a very special thank you to Adrian Chiang
one another. Most importantly, it is a chance to benefit and the team at NICA for their generous support of our
from a whole range of insightful and interactive sessions, conference. Please do visit their booth to find out more
all designed to help expand your teaching toolkit and about becoming a member and learn about all the great
encourage you to reflect further on your practice. ways that they can support you as a music teacher. You
can also get 50% funding towards your conference
For me, one of the success stories from last year’s attendance fee!
conference was knowing that some teachers were so
Have a wonderful time, enjoy learning and please come
inspired by the sessions, that they sought out other training
say hello during the conference.
programmes to continue exploring the same topics. We
are always learning and it is important to feed our curiosity, Ryan Lewis
remain open to new ideas and ways of teaching. South & East Asia Regional Consultant
Words from our sponsor ...
The National Instructors and conference fee under the Union Training Assistance
Coaches Association (NICA), Programme (UTAP). As a Band Director, I’ve personally
an affiliated association to benefitted from this training support which provides up
the National Trades Union to $250 per calendar year of training grant for a range of
Congress (NTUC), is the courses. This is especially useful for us freelancers as we
collective body advancing the incur additional expenses and income loss from time spent
interests of instructors and for our personal development.
coaches in the fields of sports,
To enhance the support given to instructors and coaches,
outdoor adventures/learning, visual and performing
NICA has also partnered with insurance agencies, NTUC
arts, fitness & wellness. Through joint engagements
Income and Gigacover, to provide Prolonged Medical Leave
and partnerships with industry stakeholders and
insurance for freelancers who are unable to work due to
intermediaries, we work towards enhancing skills and
prolonged injuries and illnesses.
professionalism, strengthening protection against loss
of income, and expanding business opportunities for As NICA continues our close collaboration with industry
instructors and coaches. partners to uplift the community, we look forward to going
from strength to strength as a strong and representative
We’re pleased to be a partner of the ABRSM Music
voice of instructors and coaches.
Teacher Conference, sharing a common objective of
improving the professionalism of music professionals
through training and retraining. For this conference, Adrian Chiang NICA Singapore
NICA members will be able to offset a portion of the President of NICA www.nica.org.sg
ABRSM Teacher Conference - Singapore 2019 3
Teacher as Leader
A key theme for the 2019 conference is leadership
It’s often easy to think of leaders purely as people with titles – be they politicians,
business people, campaigners, entrepreneurs – but we are all called upon to be
leaders at different times and in different ways.
LEADERSHIP IS ...
HAVING INFLUENC
TAKING RESPO E
RING O NSIB
PO WE THERS ILITY
EM INSPI
RING PEOPLE
The perception is often that to lead is to take charge, represent or advocate for a
cause in a very extrovert way. But leadership is much more than this. It has many
facets, all of which have an enormous impact on those who are learning and
seeking inspiration.
AS MUSICIANS, WE PLAY A LEADERSHIP ROLE AS MUSIC TEACHERS WE ARE RESPONSIBLE FOR
IN MANY WAYS: LEADING OUR PUPILS’ LEARNING.
• A musical leader has a vision and makes many The word ‘education’ partly stems from the Latin ‘to lead’
decisions to achieve that vision – when does a piece or ‘conduct’, so aspects of leadership have always been at
begin? How is it shaped? How fast should it go? the heart of education. Teaching music requires creativity,
• A musical leader has influence – they can raise the curiosity, confidence, persistence, energy and commitment
quality of performance through their influence on – every day! These are the same skills our pupils need in
fellow musicians order to develop as future leaders themselves. Effective
teaching requires us, therefore, to model these leadership
• A musical leader engages people – audiences,
skills in order to guide and influence the approaches,
performers, collaborators
behaviours and attitudes of the next generation.
• A musical leader coaches others – in ensembles,
in small groups We want to encourage young people to become the next
• A musical leader listens – adapting to what they hear generation of leaders. We believe that learning environments
that depend on interplay between teacher-led and young
• A musical leader has spirit, energy and – however you
people-led activities are important in enabling young people
wish to define it – is creative!
to thrive as musicians.
4 ABRSM Teacher Conference - Singapore 2019
This should be considered both in individual sessions and As teachers, we play a fundamental role in nurturing these
across longer-term programmes of engagement with future generations, who will contribute to, shape, challenge,
music, making space for young people to develop their influence and change the future landscape of the world. Our
own creative ideas and musical expression supported by pupils will continue to learn the craft of being a musician,
informed guidance. This is about much more than asking but in order to make a difference, they will also need to
young people what they would like to do and what music develop their leadership qualities, in a way that is authentic
education programmes they would like to be involved in; to their own motivations and passions. Therefore, it is the
it is about allowing young people to take the lead when they responsibility of all of us involved in education to encourage
can and then supporting them when they need direction. a generation of people who will question, adapt, take
advantage of the changing circumstances around them and
will pass on the life-long love and appreciation for music and
its many benefits to generations to come.
Music lessons should help our pupils establish a mindset
that is curious, creative, and entrepreneurial and that
looks for new possibilities, rather than simply seeking to
reflect the past. This mindset will encourage a generation
of musicians who will promote the same qualities when
they teach.
We hope that today’s conference will provide you with
the opportunity to step back from your day-to-day work,
meet others and reflect together on how we can work
collaboratively to lead the future of music teaching.
ABRSM Teacher Conference - Singapore 2019 5
Helping your student to practise effectively
YOU MIGHT BEGIN BY GIVING THEM A BROAD HELP THEM TO LEARN TO EVALUATE THEIR
STRUCTURE FOR EACH DAY’S PRACTICE OWN PRACTICE
For example: • How effective is my practice?
• Before playing a note decide how long you will • Which skills do I need to work on?
practise for and plan out your practice session • What do I need to do to get better?
into 5 or 10 min slots • What do I know already that can help me?
• Decide what you will work at in each slot
Discuss their progress at the next lesson and ask them specifically
• Think about what you will start with and what
about new ways they have discovered of structuring their
you will finish with
practice, practice strategies etc.
As a guide:
• Begin with a bar or a few bars you CAN’T ASKING YOUR STUDENT TO MAKE RECORDINGS
yet play fluently, very slowly DURING THE WEEK IS A GREAT WAY OF HELPING
THEM LEARN TO SELF-EVALUATE AND LEARN
• Work at specific bars, pieces or passages that
INDEPENDENTLY
you have agreed to work at with your teacher
• Finish by performing a piece or passage as if to an You might consider asking them to:
audience, make a note of areas that need improvement • Make a recording every time they work on a particular goal
and use this to plan the FIRST bit of your next practice
• Make a recording every practice session with the idea
that they play their best effort next lesson
DIVIDE EACH PIECE INTO SECTIONS • Make a recording as the very first and last thing they do
in a practice session
Think of working at each section in stages
They might want to think about the following aspects of music
• Divide each piece into sections or bars
and their strengths and weakness in each area when they
• Use post-it notes to isolate the bars to be practised evaluate their own recordings.
so you don’t start before or continue afterwards
• Sort the fingering, notes and rhythm PITCH: Accuracy, clarity and definition of notes and/
• Repeat these passages slowly focusing on tone, or intonation
shape and articulation TIME: Suitability of tempo, stability of pulse, sense
• Experiment with different tempi of rhythm
• Play the passage as if performing it at tempo a few TONE: Control and projection of the sound,
times and isolate areas/notes for specific work sensitivity and awareness in use of tonal qualities
• Use given practice strategies for sorting out problems SHAPE: Effectiveness and clarity of musical shaping
(these need to be offered by the teacher and built upon) and detailing
• Put the passage back into context PERFORMANCE: Overall command, involvement
with the music, musical communication
Before you leave your practice session, make a little summary
about what you are proud of achieving and one thing you really
MAKING THE MOST OF RECORDINGS OF STUDENT
want to sort out or improve the next time you practise.
PRACTICE:
Remember that you can do a lot of useful practice by imagining
the performance in your head away from the instrument. • Students will usually only upload or record something they
are proud of or need help with so make sure feedback is
appropriately positive and recognises what is good
YOU MIGHT HELP STUDENTS TO REMEMBER
WHAT HAPPENED IN THE LESSON BY: • Keep feedback simple and attainable. Prioritise those areas
that make the most difference to a performance, limit
• Making a recording of yourself demonstrating yourself to two perhaps
• Taking a photo of good posture • Make sure you reward or comment on musical,
• Linking to YouTube videos of performances expressive playing before commenting on inaccuracy so
that musical playing becomes a focus
• If they are unfairly harsh on their progress and playing,
focus on areas they have not considered that are
praiseworthy to help them put this into context. Give the
strategies to help improve
• ‘Work in progress’ is always hard to present to a teacher
and for some students it can be quite a brave move to put a
recording on or present their evaluation
6 ABRSM Teacher Conference - Singapore 2019
Music Case
83%
of students say
that Music Case is
#Practiceimproved an effective tool to
improve their practice
abrsm.org/musiccase and progress
Download the free app today!
ABRSM supports the teaching and learning of music
in partnership with four Royal Schools of Music.
www.abrsm.org /abrsm @abrsm_music
@abrsm @abrsm ABRSM YouTube
ABRSM Teacher Conference - Singapore 2019 7
ABRSM’s Practice Partner series
ABRSM has a fantastic range of Practice Partner apps to choose from, covering
piano, violin, flute, saxophone, clarinet, singing and cello. See what people are saying
about these exciting teaching tools ...
“Changing the speed is so
helpful, it means that they can
play along with the app right
from the start. Naturally my
youngest pupils love to hear just
how very slow and fast it can
play as well!”
“Encourages my pupils
to really listen; although it feels like
great fun to have the piano
“In lessons we set the
accompaniment playing in their practice,
little wedges so that the music loops;
my pupils are developing their aural
in the early stages, this is very handy for
skills, awareness and a strong sense
focussing only on the few bars that my
of pulse and rhythm.”
student has learned, and later on
it’s extremely useful to go over the
sections that need perfecting.”
“My pupils tend to stop
and make corrections in their
practice, but occasionally this
can go too far. Playing something
through, no matter what, is a crucial
performing skill, especially when
playing with others. Having Practice
Partner for practice run-throughs
is an excellent way to develop and
encourage this skill.”
8 ABRSM Teacher Conference - Singapore 2019
I’m a rest.
Shhh!
ABRSM Theory Works,
Grades 1–5.
Learn your note values and more.
abrsm.org/theoryworks
#Howmusicworks
ABRSM Teacher Conference - Singapore 2019 9
The making of an ABRSM syllabus
Siobhán Reidy, one of ABRSM’s Learning & Qualifications Development
Managers, gives a flavour of the detailed behind-the-scenes work that goes
on to bring a new syllabus to life!
HOW LONG DOES IT TAKE? AND THEN?
To a certain extent, we are reviewing all of our syllabuses Next, we appoint a team of expert consultants to make
all the time, as we seek and receive feedback, and keep a long-list of repertoire suggestions. All our consultants
abreast of developments in music education. However, are highly-experienced teachers of their instrument, with
the actual creation of the syllabus listings takes at least wide repertoire knowledge and a thorough understanding
two years – longer for more complicated projects. of our grades. They’re often examiners too, which gives
them a good understanding of what makes an effective
It very much depends on whether it’s a single instrument, exam piece.
such as Piano, or a whole family of instruments, such
as Woodwind. Is it a repertoire-only revision or are we At this stage consultants are looking at their own teaching
changing supporting tests as well? Are there books, and performing repertoire, considering suggestions and
recordings and other supporting resources? As an submissions, and going through vast quantities of newly-
example, we began work on the new 2020–2023 Bowed published and back-catalogue music from publishers.
Strings syllabus back in summer 2017, believe it or not!
In addition to core teaching repertoire, we encourage
FIRST STEPS consultants to seek out pieces we might not have
First, we review the most recent syllabus. We do this in explored before, as well as ‘hidden gems’ – music that
a number of ways; circulating surveys to teachers and isn’t widely played anymore or perhaps isn’t in print,
holding consultation meetings. We also look at what but is worth revisiting. We also encourage them to put
pieces are being played in exams and make a note of the forward music from across the globe and as wide a range
repertoire that’s proving popular, or not. What’s worked of composers as possible.
and what’s not worked? What other feedback have we
had from teachers and candidates in recent years? FROM LONG-LIST TO SHORT-LIST
The consultants then send their long-list to us for review
by the Learning & Qualifications and Editorial teams here
ola, at ABRSM, as well as additional instrumental specialists.
ncluded.
Together we scrutinise the music and choose the best
Bowed pieces for the final lists and any books of Exam Pieces. At
ades)
Strings this point we also carry out the vital checks that ensure
Syllabus
n
2020–2023
we maintain consistent standards over time.
BOOKS AND MORE BOOKS
Piano Once we have a short-list, we talk to publishers, so they
S yllabus
2019 & 2020 know we’re planning to list some of their books in the
syllabus and to make sure we have the latest versions and
correct information. This helps to ensure that candidates
d
can find and buy the correct books for as long as the
rship
on
Music
Percuus ssi syllabus is being used.
Syllab
from 20
20 At the same time, the publishing team sets to work on
preparing any supporting books and recordings. Sources
are researched, new editions prepared, new pieces and
arrangements commissioned, copyright licenses cleared,
performers and recording sessions booked, footnotes
commissioned, and cover illustrations developed.
Finally the day arrives that we’ve all been working
towards – when the syllabus is published and we can
share a great selection of new musical choices with
teachers and learners.
10 ABRSM Teacher Conference - Singapore 2019Bowed Strings
syllabus 2020–2023
Refreshed repertoire for all instruments,
from Initial Grade to Grade 8.
–2023
Pieces 2020
Violin Exam
Grade Score & Part Grade
8 5
Cello Exam Piece
s 2020–202
with Score, Part & 3
CD
CD
Violin
Exam Pieces Cello NEW FOR 2020
ABRSM Gra
de 8 Exam Pieces
Selected from
2020–2023
the
syllabus
ABRSM Gra
de
Selected from
the
5 Discover 30 pieces per grade
2020–2023
Perform duets in the exam up to Grade 3
syllabus
You can present pieces from the 2016-
2019 syllabus until 31 Dec 2020
NO UT
E
NOW W!!
Introducing Initial Grade
INITIAL GRADE EXAM PACK
Selected pieces, scales, sight-reading Grade
In
Cello Exam Pack 2020–202
3
Grade
examples and audio download codes. In Double
Bass Exam Pac
k 2020–20
23
Cello
Doub
Exam P le Bass
0–2023
Viola Exam Pack
2020–2023 Exam Pack
2020–2023
Pack 202 Grade
In
Violin Exam
ac
2020– k
Grade
In ABRSM Initial Grade
2023
Viola
Selected exam pieces
ABRSM
Violinack
Scales Initi al Grade
Sight-reading Selected
Audio downloads Scales exam pieces
Exam Pack
Sight-rea
Audio ding
Exam P
downloa
ds
23 2020–2023
2020–20ade ABRSM Initial
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ABRSM Ini Selected exam
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exam piec Scales
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CelloExamINT2023CD_v1.indd
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29/11/2018 16:08
29/11/2018
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16:10
29/11/2018 29/11/2018
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2
_v1.indd
2023CD
ViolinExamINT
ABRSM supports
supportsthe
theteaching
teachingand
andlearning
learningofofmusic
music
partnership with
in partnership with the
fourRoyal
RoyalSchools
Schoolsofof
Music.
Music.
www.abrsm.org /abrsm
www.abrsm.org /abrsm @abrsm_music
@abrsm
@abrsm ABRSM@abrsmYouTube ABRSM YouTube
ABRSM Teacher Conference - Singapore 2019 11Feel the beat!
Percussion syllabus from 2020
• Over 80 newly commissioned pieces
• Includes a variety of styles and techniques
• Updated exam structure
• New supporting publications
OUT
NOW! 1
Grade
Percussion Exam
Snare Drum Pieces & Studi
, Timpani & Tune es
d Percussion
Percussion
Exam Pieces
&
Studies
ABRSM Gra
de 1
Selected from
the syllabus
-Reading from 2020
Percussion Sight ani & Tuned Percussion
6–8
, Timp
Grades Snare Drum
Percussdiion
ng
Sight-Rea
des 6–8
ABRSM Gra
from 2020
6–8
Grades
Principal Percu Percussion
ssion Snare Dru Studies
& Arpeggios Snare Drum m & Tim
Percussion Scales , Timpani & Tune
d Percussion
pani
1–5
Grades Tuned Percussion
Grades 6–8
n Principal Percussio
Percussio
eggios Studies n
Scales & Arp Percussio
ABRSM Grades
1–5 n
9 striking pie
ces
ABRSM
Grades
from 20
20
6–8
from 2020
abrsm.org/percussion ABRSM supports the teaching and learning of music
in partnership with four Royal Schools of Music.
#ABRSMpercussion www.abrsm.org /abrsm @abrsm_music
@abrsm @abrsm ABRSM YouTube
12 ABRSM Teacher Conference - Singapore 2019Teacher development
Keep learning to take your teaching to the next level!
“ABRSM is wholeheartedly committed to supporting teachers in further
developing their skills, knowledge and understanding in what is such a
vital, yet sometimes solitary, role. Professional development is a journey
rather than a destination and an effective teacher is a reflective teacher,
so that belief lies at the heart of our support for teachers.”
John Holmes, ABRSM Chief Examiner
From lesson ideas and activities to exam resources, and
courses and events focusing on the core principles of
effective teaching, we have the tools you need to build
a successful and rewarding career as a music teacher.
TEACHING NOTES LIVE VIDEOS
Teaching Notes Live is a video based resource for
teachers and learners which helps to guide and
inform about the repertoire on our syllabuses.
DOWNLOADABLE RESOURCES
We have a downloadable resources section on
our website where you can choose from a range
of useful materials, from articles and reading
packs to lesson plans and practice activity sheets.
EVENTS
From Syllabus Seminars to Teacher Conferences,
we organise a range of events throughout the year
to support your teaching.
COURSES
Becoming a Better Music Teacher is a free
course for anyone wishing to develop their music
teaching, including teachers who are beginning
their teaching journey, or established teachers
wishing to refresh and refocus their teaching skills.
The online course will provide teachers with a
strong foundation for effective teaching. Enrolment
for ABRSM’s Becoming a Better Music Teacher is
now open. Commencing on 18 November, it will
Find out more about Teacher cover five key areas of teaching practice including:
Development resources at: Teaching and Learning Principles, Core Musical Skills,
abrsm.org/teacher-support Motivation and Progression, Developing Technical
Skills and Professional Values and Practice.
ABRSM Teacher Conference - Singapore 2019 137TH FLOOR
Toilets
Entrance to
auditorium via
7th floor foyer
AUDITORIUM
Toilets (7th floor
Entrance to
mezzanine)
Room 701
SKY TERRACE
MEZZANINE
SKY TERRACE
Sky Terrace
Tea Break / Lunch
area (7th floor
Escalators up mezzanine)
to 8th floor Stairs up to 8th
Registration Stairs down to 7th
Lifts to ground floor mezzanine
Counters floor mezzanine
and 8th floors
8TH FLOOR
Toilets (only
accessible through
Room 801)
Entrances to
AUDITORIUM auditorium
via 8th floor
mezzanine
Entrance to
Room 801
8th floor
FOYER mezzanine
area
ABRSM
Stairs up to 8th display table
Escalators up to 9th floor floor foyer
and down to 8th floor
Lifts to ground Book Display - Stairs up to 8th floor mezzanine
and 7th floors Music Asia from 7th floor foyer
14 ABRSM Teacher Conference - Singapore 20199TH FLOOR - ONLY ACCESSIBLE VIA ESCALATORS
Toilets
Entrance to
Room 903
Escalators down to
the 8th floor
What else can I do today?
GET CONNECTED GET INVOLVED GET SOCIAL
WiFi Network: NTUCPublic Be part of the conversation and have your Add #abrsmconference to
Password: iloventuc say. Visit sli.do on your smart phone or your social media posts.
tablet and enter code #ABRSMSG to
interact during selected sessions.
REGISTRATION COUNTER LUNCH / TEA BREAKS
7th floor foyer - please collect your wrist tags upon These will be served on the 7th floor mezzanine area. We
registration. You will also be able to collect your encourage you to move out from this space once you have your
Certificates of Attendance here on Day 2. food and beverages, as it may get congested at peak times!
BOOKS FOR SALE ABRSM DISPLAY
Visit Asia Music at the 8th Floor foyer to purchase a Visit the ABRSM display table on the 8th floor mezzanine
whole range of ABRSM books and other publications. (outside the main auditorium entrance), where you can
Enjoy a special discount of 25% off publications collect other leaflets and posters to take away with you.
throughout the conference.
ABRSM Teacher Conference - Singapore 2019 15DAY 1 – Monday 25 November 2019
Auditorium
Time Room 701 Room 801 Room 903
(7th floor)
8:00 – 9:00 REGISTRATION
Welcome
9:00 – 9:10
(Ryan Lewis)
Warm-up Session
9:10 – 9:55
(Darius Lim)
KEYNOTE 1:
9:55 – 10:30 Teacher as Leader
(John Holmes)
10:30 - 11:00 TEA BREAK
SESSION 1A
SESSION 1B SESSION 1C* SESSION 1D
11:00 - 12:30 Loo Bang Hean &
Darius Lim Jerison Harper Lee John Holmes
Chi Hoe Mak
12:30 - 13:30 LUNCH
SESSION 2C*
SESSION 2A SESSION 2B SESSION 2D
13:30 - 15:00 (1C repeated)
Loo Bang Hean Darius Lim Indra Selvarajah
Jerison Harper Lee
15:00 - 15:30 TEA BREAK
SESSION 3A SESSION 3B SESSION 3C* SESSION 3D
15:30 - 17:00
Loo Bang Hean John Holmes Jerison Harper Lee Indra Selvarajah
* pre-registration required to attend session. To register, please collect your registration sticker for that particular session.
Please note:
• Registration stickers are only needed for Jerison Harper Lee’s sessions. These will be made available 20 minutes
before the start of each of his sessions, outside room 801.
• Limited places and registration stickers are available on first come, first served basis.
• You can only collect one registration sticker per session.
• You cannot collect registration stickers on behalf of other people.
• You cannot collect registration stickers for later sessions in the day, since they will only be made available 20
minutes prior to the start of each particular session.
• There is a different registration sticker for each particular session, so stickers for earlier sessions cannot be used
to enter later sessions. You need a new sticker for each session.
• If you change your mind, please return to the registration counter to remove and hand back your sticker, so that
others can be given a chance to attend.
SESSION 1
SESSION 1A SESSION 1B
Collaborative Piano: the art of making music together The fundamentals to why we sing and how to sing
(Loo Bang Hean & Chi Hoe Mak) (Darius Lim)
This session will look at the relationship between the piano This workshop will provide an insight on the approach to
and the vocalist, including: understanding the integral role of singing, which includes the fundamental aspects of good and
the piano part; creating expression through understanding healthy singing technique. Why is singing so important for
of the text; phrasing, cues and other performance matters. any musician? How do I even begin to approach singing? Is
Applicable at all levels and across all styles, the importance there such a thing as “tone deaf”? This workshop will give
of the collaborative pianist is emphasized. you some basic pointers on how to improve your student’s
ability to sing. The session will also include tips on how to
inspire your students to sing and how to use that passion in
their piano playing.
16 ABRSM Teacher Conference - Singapore 2019SESSION 1C SESSION 1D
Bringing theory to life! An integrated approach. Making connections: Developing musical knowledge
(Jerison Harper Lee) & understanding (John Holmes)
We learn theory to help prepare us for performance. This session explores the vital relationship between knowledge
This session shows you how theory can be taught in a and understanding and skill, between knowing and doing,
connected, practical, and engaging way. Learning and the connection between the study and the craft of music.
musicianship as a whole subject will help children Highlighting the value of music theory, this session provides a
understand what they are playing. range of resources to demonstrate some of the intricate and
inextricable connections between practical control and mental
awareness; between musical literacy and articulacy, showing
how musical knowledge and understanding lie at the heart of
successful music-making and effective performance.
SESSION 2
SESSION 2A SESSION 2C (repeated session)
Tone, balance, and shape in piano playing (Loo Bang Hean) Bringing theory to life! An integrated approach.
How do you produce a nice tone on the piano? How do you (Jerison Harper Lee)
shape melodies? This session will look at aspects of tone We learn theory to help prepare us for performance. This
production, including voicing and balance, as well as producing session shows you how theory can be taught in a connected,
musical shaping in both hands. Using repertoire from an practical, and engaging way. Learning musicianship as a whole
elementary to advanced levels, the session will highlight how subject will help children understand what they are playing.
these important aspects of piano playing can and should be
developed from an early stage. SESSION 2D
Music Heals: Harnessing music as a resource for personal
agency and empowerment (Indra Selvarajah)
SESSION 2B Music educators and teachers who invest a lot of time and
Getting your students to sing together! effort into their students’ musical development experience
Starting a choir in your school (Darius Lim) music performance anxiety and are vulnerable to high levels of
Want to start a choir in your music school? Where do I even begin stress. The desire to help students succeed, meet examination
to teach a choir? Why is singing in a choir important for your requirements, manage parents’ expectations as well as cope with
music students? This session includes ideas on how to start a students’ who are preoccupied with their academic workload
choir, choosing the right repertoire, basic teaching tools and more. mean that today’s teachers are constantly under pressure
Choral singing is an important aspect of training musicianship, to perform in an ever changing and increasingly demanding
strengthening listening and pitching, as well as increasing world. This session addresses the ways in which music can
awareness of the only instrument in our bodies: the voice. be harnessed as a stress outlet and a source of personal
encouragement, healing and motivation to music educators.
SESSION 3
SESSION 3A SESSION 3C
The myths of pedalling (Loo Bang Hean) Thinking in sound - developing greater aural awareness
How do we know when to use the pedal? Why is it used? (Jerison Harper Lee)
When is it stylistic? Starting with some basics of pedalling Finding it hard to teach aural or practical musicianship? Apart
technique, the session will aim to demystify some of these from listening with our ears, we can also “listen” with our body.
common doubts. Choosing when to use the pedal will depend Learning musical elements through movement is a fun and
on the acoustic of the room and the instrument used, but using engaging approach to music learning, which can transform the
it will also help to add colour, create a bigger sonority, and tonal way we feel, think about, and experience music.
variety in the playing. This will lead to a discussion on what is
considered ‘stylistic’ use of the pedal when interpreting pieces SESSION 3D
of different musical periods. No Child Left Behind: Introduction to Music Therapy
from a Music Education perspective (Indra Selvarajah)
SESSION 3B Music educators cater to a wide range of students with diverse
Assessment in context (John Holmes) needs. Creating an inclusive environment that is conducive to
Is assessment only about exams? And are exams only about every child’s rate and pace of learning requires an awareness of
assessment? This session will outline the principles behind how music stimulates and supports child development (including
effective assessment and how they can be applied to the special needs children). Music education perspectives are
instrumental lesson and classroom teaching as well as the strengthened by music therapy approaches. This interactive
ABRSM exam. The session will focus on the relationship session focuses on practical classroom activities that support
between lesson planning, practice planning and assessment, students’ diverse learning needs including lesson plan ideas,
providing evaluative feedback and the pacing of assessment. adaptive strategies, motivation and management techniques that
support students’ interests and musical preferences.
ABRSM Teacher Conference - Singapore 2019 17DAY 2 – Tuesday 26 November 2019
Auditorium
Time Room 701 Room 801 Room 903
(7th floor)
8:00 – 9:00 REGISTRATION
Warm-up Session
9:00 – 9:45
(Susanna Saw)
KEYNOTE 2:
In harmony - a
9:45 – 10:20 guide to being an
integrated teacher
(Jason Lai)
10:20 – 10:30 NICA Presentation
10:30 - 11:00 TEA BREAK
SESSION 4B SESSION 4C*
SESSION 4A SESSION 4D
11:00 - 12:30 Andrew Filmer & (3C repeated)
Susanna Saw John Holmes
Leslie Tan Jerison Harper Lee
12:30 - 13:30 LUNCH
SESSION 5D
SESSION 5A SESSION 5B SESSION 5C*
13:30 - 15:00 Andrew Filmer &
Khoo Hui Ling Kathryn Ang Jerison Harper Lee
Gabriel Lee
15:00 - 15:30 TEA BREAK
SESSION 6C*
SESSION 6A SESSION 6B SESSION 6D
15:30 - 17:00 (5C repeated)
Khoo Hui Ling Susanna Saw John Holmes
Jerison Harper Lee
* pre-registration required to attend session. To register, please collect your registration sticker for that particular session.
Please note:
• Registration stickers are only needed for Jerison Harper Lee’s sessions. These will be made available 20 minutes
before the start of each of his sessions, outside room 801.
• Limited places and registration stickers are available on first come, first served basis.
• You can only collect one registration sticker per session.
• You cannot collect registration stickers on behalf of other people.
• You cannot collect registration stickers for later sessions in the day, since they will only be made available 20
minutes prior to the start of each particular session.
• There is a different registration sticker for each particular session, so stickers for earlier sessions cannot be used
to enter later sessions. You need a new sticker for each session.
• If you change your mind, please return to the registration counter to remove and hand back your sticker, so that
others can be given a chance to attend.
SESSION 4
SESSION 4A SESSION 4B
Don’t forget aural! Planning for effective musicianship Music as Society: Building the Fundamentals of Chamber
training (Susanna Saw) Music from Duos (Andrew Filmer & Leslie Tan)
Developing musicianship skills is an integral part of any This session will cover the fundamental components of
music lesson. Filled with practical ideas and fun activities to chamber music, including visual cues, constructive discussion,
take away, this session explores ways to plan and include joint interpretation. These form the basis of thinking of
musicianship training in your weekly lessons. music-making as being in society: cooperation, compromise,
collaboration, and learning new perspectives. The facilitators
will also share experiences as teachers and chamber
musicians, with a focus on celebrated cellist Leslie Tan’s long
experience in the T’ang Quartet, interviewed by co-facilitator
Andrew Filmer, who is a violist, educator and musicologist.
18 ABRSM Teacher Conference - Singapore 2019SESSION 4C (repeated session) SESSION 4D
Thinking in sound - developing greater aural awareness Creativity is our secret weapon … and teaching
(Jerison Harper Lee) creativity calls for creative teaching (John Holmes)
Finding it hard to teach aural or practical musicianship? Whilst teaching and learning will undoubtedly change in
Apart from listening with our ears, we can also “listen” response to advances in technology and artificial intelligence,
with our body. Learning musical elements through movement human creativity will hold its value well into the future.
is a fun and engaging approach to music learning, which can Creativity will become a fundamental educational objective,
transform the way we feel, think about, and experience music. applicable to every subject, helpful to every aspect of learning.
It’s easy to find ourselves focusing more on acquiring technical
skills and knowledge than the creative ‘art’ of musicianship,
but youngsters are naturally creative and imaginative, and
these most valuable skills should be nurtured from the earliest
stages of musical learning. This session will explore why and
how - irrespective of level - we might re-evaluate the place of
creativity in our music teaching.
SESSION 5
SESSION 5A SESSION 5C
Listen First, Feel it Next, Then We Play! (Khoo Hui Ling) Being creative with sound - the keys to improvisation
Piano pedagogue Theodore Leschetizky emphasises learning (Jerison Harper Lee)
musical details together with the notes. However, students Improvisation allows us to explore music freely, expressing our
are often focused on learning just the notes first and adding personality, as well as creatively fine-tuning aural skills. This
in musical details later. This workshop explores the benefits session will explore the art of improvisation through sounds
of having students learn musically from the get go. It will and movement, which can be incorporated into your music
share effective strategies on how to create musicianship lessons.
games and exercises from piano repertoire of various levels.
This is so that teachers may help students listen and feel the SESSION 5D
music instinctively whilst and even before learning the notes New Frontiers in Music Education
of a piece. Musicianship games and exercises introduced in (Andrew Filmer & Gabriel Lee)
this workshop will help teachers and students successfully
The craft of today’s performer has versatility as important - if
synthesize practical, theory and musicianship.
not more - than virtuosity. Facilitators Andrew Filmer and
Session 5B Gabriel Lee collectively have traversed quite the collection of
Building parent-teacher partnerships in music lessons genres from classical to folk to jazz, interpretative approaches
(Kathryn Ang) including baroque performance, and even external skills like
Are parent-teacher partnerships possible in music lessons? running a festival, producing research, and concert narration.
The relationship between a parent and a teacher in music lessons In this session, the facilitators will discuss their approaches to
is often considered to be fundamental to the well-being and teaching and how 21st century developments provide new ideas
learning outcomes of the learners. However, the relationship can to teaching the next generation of musicians.
be fraught with difficulties because the expectations that each
has of each other are often unclear. This workshop will explore the
values, attitudes and interactions between parents and teachers
that affect the formation of such partnerships in music lessons.
SESSION 6
SESSION 6A SESSION 6C (repeated session)
Tea for Two: Nurturing All-Rounded Musicians Being creative with sound - the keys to improvisation
Through Piano Ensembles (Khoo Hui Ling) (Jerison Harper Lee)
The experience of making music with someone else is often Improvisation allows us to explore music freely, expressing our
neglected when so much emphasis is spent on refining a personality, as well as creatively fine-tuning aural skills. This
young musician to be a soloist. Incorporating piano ensemble session will explore the art of improvisation through sounds and
into studio teaching has a multitude of benefits; families and movement, which can be incorporated into your music lessons.
friends can bond over music, students learn how to listen
critically, and those who are shy become more spontaneous! SESSION 6D
Curriculum and lesson planning (John Holmes)
This workshop explores the benefits of ensemble teaching.
Suppose you teach a student for 3 years - that would be around 100
More importantly, teachers will also gain insights on strategies
lessons, or for 5 years - it could be 150; perhaps 75 hours together.
used to coach ensembles and as well as recommended piano With your help, what would you want them to achieve through
ensemble repertoire for various levels. that time with you - what would be your long-term plan for their
progression? Would it be simply lesson to lesson, wait and see,
SESSION 6B do and adapt, or would you have an outline to your instrumental
Benefits of Sight-Singing; a step-by-step approach teaching ‘curriculum’ to guide and underpin those sets of half-termly,
(Susanna Saw) termly and annual lessons? Whether you teach classes, small groups
Why sight-sing when you learn the piano or another or individuals, evolving a curriculum is a key aspect of effective
instrument? How does it help? This practical session teaching practice. This practical session will explore ways to devise a
reveals the aural benefits of sight-singing and how to develop curriculum relevant to your students and teaching context, along with
this skill through simple, fun and progressive exercises. ideas about how and when to involve assessment.
ABRSM Teacher Conference - Singapore 2019 19Meet the presenters ...
John Holmes John Holmes is Chief Examiner and an Executive A champion for assessments that are both valid
Director of ABRSM, the UK’s largest music and reliable, which also inform and encourage
education body. future musical development. A large focus of
John’s work has been to devise clear, transparent
As Chief Examiner, John has strategic leadership and helpful criteria for assessment; designed
of the ABRSM examining community of around not only to facilitate objective and consistent
700 examiners, who deliver over 600,000 examining, but also to be a useful tool for both
music exams in over 90 countries each year, teacher and learner in music lesson and curriculum
and a department of 20 staff who manage the planning, as well as practical exam preparation.
examining standards, quality and approach
John read music at King’s College, Cambridge,
of ABRSM assessment. A teacher himself of studied piano with Bernard King and Alexander
over 30 years’ experience, John is committed Kelly, and clarinet with Jack Brymer. As clarinettist
to supporting progress in music teaching and he performed with professional orchestras, and
learning worldwide, setting the musical and for many years John was Head of Woodwind and
educational direction of ABRSM’s professional Head of Academic Music at Tonbridge School. He
development offer for music teachers. is passionate about nurturing the next generation
of teachers and musicians, and leads the ABRSM
John has experience of ABRSM exams from a
team delivering presentations, teaching courses
wide range of perspectives; as a candidate himself, and online resources in the UK & overseas,
as a parent, as a teacher, and since 1990, as an with an active schedule himself as a presenter,
ABRSM examiner. Arriving as Chief Examiner in trainer and adjudicator. John is co-author of
2010, John’s vision was to transform the traditional Aural Training in Practice (ABRSM 2012), and
perception of the examiner as ‘scary’, and his regularly publishes articles and blogs about music
ABRSM Examiner’s maxim ‘I’ll do my best to education and assessment. In 2018 John was
help you do your best’ is at the heart of ABRSM made a Visiting Professor of Music Education at
examiner training and practice. the University of Wolverhampton.
Loo Bang Hean Born in Ipoh, Malaysia, Bang Hean was the
winner of the First National Mozart Piano
He has appeared in most major concert venues
in Malaysia and has been featured as a soloist
Competition in 1987, and two years later a with many of the local orchestras, including a
scholarship from the music examination board, recent concerto performance with the Malaysian
ABRSM enabled him to study at the Royal Philharmonic Orchestra (MPO) at the Dewan
College of Music (RCM), London. Filharmonik Petronas. An active chamber
musician, he collaborates frequently with various
Bang Hean’s early teachers in Malaysia include instrumentalists and vocalists, and is a frequent
Serena Chow and Rickie Oui while in England he guest pianist at the MPO chamber concert
studied with Yonty Solomon, John Blakely and series. Bang Hean has performed abroad in
Dennis Lee. He won numerous prizes at the RCM countries such as England, Italy, Brunei, Singapore,
and upon graduating received awards from the Indonesia, Hong Kong, Cambodia and Korea.
Anthony Saltmarsh Prize and the Countess of
Munster Musical Trust to enable him to undergo Bang Hean is a lecturer at the Institute of Music,
postgraduate studies with the Hungarian teacher UCSI University and has frequently been invited to
Professor Ilonka Deckers in Milan, Italy. adjudicate, examine, and conduct masterclasses
and in various countries. A frequent presenter for
Since his return to Malaysia Bang Hean has made ABRSM, he has presented seminars around South
regular appearances in solo recitals, chamber East Asia, Taiwan, Hong Kong, Macau and China,
concerts as well as concerto performances. India and the Middle East.
Jerison Harper Lee Jerison received his Bachelor of Arts in Music Jerison has given workshops in Singapore,
and Movement and Master of Arts in Dalcroze Taiwan, Hong Kong, Malaysia, Indonesia and
Pedagogy from the Institut Jaques-Dalcroze, Thailand, Vietnam, Europe, America and
Geneva. He has travelled to several other Australia.
countries, studying with various Dalcroze A native Singaporean, Jerison has performed
teachers to understand differences in the on international stages as a member of the
approach. Whilst in Geneva, Jerison also Singapore National Youth Orchestra, National
studied ballet and modern dance in the Geneva University of Singapore Symphony Orchestra,
Dance Center and Dance Area. He is eager to The Philharmonic Youth Winds, Braddell
spread the wonders of the Dalcroze approach Heights Symphony and the Singapore Police
to music and dance educators in Asia. Force Band.
20 ABRSM Teacher Conference - Singapore 2019Chi Hoe Mak Chi Hoe enjoys a varied career as an award-
winning choral conductor, singer, adjudicator and
A singer of noted versatility, Chi Hoe was a prize
winner at several voice competitions including First
clinician. He is currently Artistic Director of Young Prizes at the 1997 and 1998 Malaysian National Art
Choral Academy, Artistic Director of the Penang Song Competition and winner of the 2015 Cameroni-
Philharmonic Chorus, Principal Artist and Resident an Arts Award for Best Vocal Performance of the year.
Chorus Master of Kuala Lumpur City Opera in He is in demand as a singer in opera, concert, recital
Malaysia. and for consort work throughout Malaysia and
abroad. He has sung as a soloist with all the major
As a choral conductor, Chi Hoe is co-founder
orchestras in Malaysia, including several collabora-
of the Malaysian Choral Eisteddfod (MCE) and
tions with the Malaysian Philharmonic Orchestra
has won numerous prizes and awards with his
(MPO). Concert engagements have taken him to
choirs. He was the first Asian conductor to win
China, Indonesia, France, Germany, Singapore, Spain
a prestigious fellowship to work with the London
and throughout the UK. He is currently a member of
Symphony Chorus in 2010 which launched his
several ensembles including Bachfest Malaysia, The
conducting career in the UK and was appointed
Wicked Music People Early Music Group and The
Resident Chorus Master at the Royal Birmingham
Song Weavers, alongside his position as Principal
Conservatoire from 2009-2012. He made his
Artist with Kuala Lumpur City Opera.
UK festival debut in 2011 as Chorus Master for
the Lichfield Festival Chorus with the City of Bir- Chi Hoe studied at the Royal Birmingham Conser-
mingham Symphony Orchestra (CBSO) followed vatoire in the UK, where he received two Master of
by positions including Chorus Master of the Music (MMus) degrees in Vocal Performance and
Birmingham Cathedral Festival Chorus, Birming- Choral Conducting, both with Distinctions and the
ham City University Chorus, Chorus Mentor for Advanced Postgraduate Diploma in Professional
Birmingham Opera Company, Conductor of the Performance. He was named one of Birmingham’s
Birmingham Junior Conservatoire Chamber Choir ‘New Generation Artists’ in 2008, winning all the
and a staff conductor with Canzonetta Children’s major conducting prizes at College including the
Choirs in Manchester. Chi Hoe has been on the 2009 and 2010 Michael Beech Conducting Awards
jury panel at several international choir competi- and the prestigious Principal’s Prize for ‘outstanding
tions in Indonesia, Malaysia, Russia, Singapore contribution to the musical life at the institution’. He
and Vietnam and has presented as a clinician has recently been conferred an Honorary Member-
in Indonesia, Ireland, Philippines, Singapore, ship (HonRBC) of the institution for his outstanding
throughout the UK and Malaysia. contribution to the profession.
Dr Indra V. Selvarajah Indra Selvarajah is the multiple award winning Malaysia (voice rehabilitation for Parkinson’s
founding president of the Malaysian Music Disease) in collaboration with the Malaysian
Therapy Association (MMTA) and first PhD Parkinson’s Disease Association (MPDA), and
qualified music therapist in Malaysia (NICU music in special education work through her
certified). She graduated with her Music social enterprise Music & Me with the support of
Therapy Masters Equivalency & Doctorate from National Autism Society of Malaysia (NASOM),
Florida State University, USA, as a government UPM Innovation Hub, Fusion Lab, Malaysian
sponsored scholar. Global Innovation Centre (MaGIC) and Social
A music therapy lecturer and music educator at Innovation Movement (SIM).
University Putra Malaysia (UPM) for the past 18
years, Dr. Indra teaches courses in music therapy, Dr. Indra is a passionate advocate for equipping
music psychology, music in child development, and empowering the local community through
music in special education, music in senior music and helmed the organization of the Music
care and music management in UPM, and is Therapy & Autism Seminar (2015), the Malaysia
also a highly sought after undergraduate and Music Cares Music Therapy Conference (2016),
postgraduate research supervisor. and most recently the Music Heals: From Tradition
to Medical Innovation (2019) Music & Medicine
In 2015 Dr. Indra was invited to set up music conference, upon the invitation of the Malaysian
therapy work at the Malaysian Institute of Ageing
Society of Music in Medicine (MSMM). In
Research under the University of the Third Age
2018, Dr. Indra was invited on board the World
(U3A) and now leads three music therapy-based
Federation of Music Therapy (WFMT), and
senior choirs catering to older adults’ health &
well-being as well as one voice rehabilitation choir, currently serves on three panels and a research
together with her postgrad students. Dr. Indra has and ethics commission representing Malaysia and
helmed the development of medical music therapy the region. Most recently Dr. Indra was invited
programmes in several government hospitals to present a special spotlight session about her
including Cheras Rehabilitation Hospital, UPM ongoing music therapy work in Malaysia, at the
Teaching Hospital, Hospital Universiti Kebangsaan 2020 WFMT Congress in Pretoria, South Africa.
ABRSM Teacher Conference - Singapore 2019 21Darius Lim Composer-Conductor Darius Lim is the Founder
of Voices of Singapore Choir Festival and Artistic
Youth and children’s choirs under Lim’s baton have
been presented in numerous national events such
Director of the Voices of Singapore Choral as the Singapore Youth Festival Opening & Closing
Society. He is Music Director of Voco Singapore concerts, Singapore Youth Festival Presentations,
Ladies Choir, Voce Singapore Men’s Choir and Singapore Youth Festival Celebrations, Aseanapol
the Voices of Singapore Children’s Choir. An in Harmony Celebrations and Singapore Youth
internationally published composer (Edition Peters, Festival International Night.
Walton Music, Cypress Publishing, Pana Musica), he Lim studied composition under Minni Ang and Eric
is one of the most sought-after Singaporean choral Watson at the Nanyang Academy of Fine Arts.
composer-conductors working today, and is most His choral works have been performed by world-
known for his unique infusion of lyrical, dramatic, renowned choirs such as VOCES8, The Choir
instrumental, and theatrical elements in both the of Royal Holloway, Hong Kong Children’s Choir,
choirs he directs as well as his choral music. Leioa Kantika Koral, Diocesan Girls’ Choir, and the
With a strong belief in instilling lifelong University of North Texas Women’s Choir just to
appreciation for choral music and promoting name a few. His works have been performed in
Singaporean music, Darius has carved a reputation China, United States, Hong Kong, Australia, Japan,
as an advocate of choral music whose choirs and Spain, South Korea, Finland, Malaysia, Taiwan,
works inspire, engage, educate and entertain Russia, Mexico, United Kingdom, South Africa,
audiences around the world. He has given lectures and The Philippines. Lim has also been a featured
on choral conducting at the Yong Siew Toh composer in the New Music segment of Choir &
Conservatory of Music and the School of the Arts, Organ, of which his composition Gloria! Alleluia!
Singapore. He has also given conducting and choir was written for and recorded by the Choir of Royal
workshops in Singapore, America, Hong Kong, Holloway. Darius’s work Puppet’s Dream has also
Malaysia, and UK. been presented the “Discovery of the Month” by
Lim’s extensive work in the choral art includes legendary composer John Rutter. He is published
chorus-mastering for Humperdinck’s Hansel & internationally by Edition Peters and Walton Music,
Gretel with the Orchestra of the Music Makers, and also self-publishes his choral works on his
John Sharpley’s Fences- An Opera in Two Acts, website www.dariuslim.com.
Aseanapol in Harmony, Unity in Diversity and An established concert pianist, Lim studied with
Phua Chu Kang The Musical. He has sung with Benjamin Loh and Yu Chun Yee. He has performed
renowned choirs such as the BBC Chorus of the Liszt Piano Concerto No.1 with the Braddell
Wales and Cardiff Polyphonic Choir. He has held Heights Symphony Orchestra and has given
former posts as President of the Choral Directors’ numerous piano recitals in Asia. His awards include
Association of Singapore, Associate Choirmaster the Gold Prizes in the 2nd and 3rd International
of the Singapore Symphony Children’s Choir Piano Festival and Competition in South Korea, 1st
and Music Director of the National University Prize in the Cristofori Piano Competition, and
of Singapore Society Choir. In the past decade, the Silver Medalist of the 6th Asian Youth Music
he has risen to prominence in the national and Competition (Open Category).
international music scene with more than 40 A former conducting student of BBC Choral
national and international awards that include Gold Director Neil Ferris and Dr Sarah Tenant-Flowers,
medals, 1st and 2nd Prizes, Category Champions, Darius Lim graduated from the Royal Welsh
and other special prizes in both local and College of Music & Drama (UK) with a Masters
international choral and composition competitions. in Choral Conducting (with Distinction). Most
Choirs under Lim’s direction have shared the recently, Lim has been nominated to sit on the
stage with some of the world’s most celebrated Asia Pacific Choir Council as the Singapore
groups that include the Vienna Boys’ Choir, representative. He is currently a doctoral candidate
Philomela (Finland), the Hong Kong Children’s at the Queensland Conservatorium of Music
Choir, and the University of London Chamber Choir. pursuing Doctor of Musical Arts.
Susanna Saw Susanna Saw is an active music educator
promoting music and choral education in Malaysia.
She organised the 24th International Kodály
Symposium in August 2019, in Kuching, Sarawak,
She obtained her Master in Music Education Malaysia, and through this, hopes to bring more
(Choral Focus) from Westminster Choir College, awareness on the Kodály teaching philosophy to
U.S.A. She is currently a Lecturer and Choir the Asia Region.
Director at the Faculty of Music at University of
From 2007 on, Susanna has been regularly invited
Malaya (UM) and the Malaysian Institute of Art
by the Interkultur Foundation, Germany, to be a
(M.I.A.), where she conducts the M.I.A. Ladies
member of the Jury for the Asia Pacific and World
Chorus, which has won many Gold Medals from
Choir Games. Susanna has been appointed a
various international competitions.
Working Committee for the Asia-Pacific Choral
In 2007, Susanna established the Young Choral Council, under the auspices of the International
Academy in Kuala Lumpur, a venue for choral Federation of Choral Music (IFCM). Susanna is
lovers to learn more about vocal and choral also an active speaker at various Music Education
education. She was instrumental in bringing the events promoting effective music teaching in the
Kodály Training Course to Malaysia to improve 21st century. She is also the newly elected Vice-
local standards of classroom music teaching. President of the International Kodály Society.
22 ABRSM Teacher Conference - Singapore 2019You can also read
