Examining a Tradition: Teachers' Views on the Content, Accessibility and Use of Graded Performance Examinations

Graded music performance examinations have long been valued in many countries,
and UK exam boards offer qualifications across the globe. However, in the UK, the
number of candidates entering exams of the Associated Board of the Royal Schools of
Music (ABRSM), Trinity College London and Rockschool has decreased year on year
since 2012, mirroring declining numbers of pupils studying music as a curriculum
subject in UK state schools (Daubney, Spruce and Annetts 2019). In recent years,
the authors of this chapter have perceived changes in their pupils’ attitudes towards
graded exams. To investigate whether such changes are part of a widespread trend,
UK instrumental teachers were asked about their motivations for using graded
music exams; their views on examination requirements, repertoire, marking and
accessibility; possible implications of examination-led teaching and alternatives
to examinations for motivating focused practice. Beginning with a brief history of
music performance examinations in the UK, we consider the appeal, advantages
and potential limitations of the options currently available to exam candidates with
reference to relevant literature, as well as the views of teachers and their pupils.