First a little background. When I learnt piano as a boy, I did a piano exam each year. This was common and indeed such exams still occur.
Historically, it’s very much a British empire kind of thing, rather on the model of the University of London as an examining body. A number of these bodies are based in London, and there has long been a local outfit, the AMEB (Australian Music Examination Board) which was originally a kind of condominium of the various state conservatoriums and music faculties.
Looking back, it was a funny little world. But with these exams you knew where you stood. I remember looking up in awe at T, the elder sister of a friend of my elder sister, probably aged about eleven or twelve. She was doing fourth grade. Only recently my sister told be that T hated piano lessons and exams and gave them up as soon as she could.
The justifications for exams are many, and not uncontroversial. Some are that this way learners can have a goal to meet, which includes getting a group of pieces up to a reasonable and simultaneous level of finish. They get to play for someone other than their teacher – which is an indirect check on the teacher. The syllabus provides guidance on pieces in a graded sequence and there is a kind of canon-formation project involved. Parents often seem to like exam results as a validation of what they have been paying for.
After a number of grades the whole edifice culminates in a series of diplomas.
In truth, these days, with the proliferation if not over-proliferation and prolongation of tertiary level music study, these diplomas are pretty well meaningless save as badges of honour for talented high school students (or even younger wunderkinder). When standards were lower and playing the piano still had a vestigial life as a (feminine) accomplishment, they probably served as some kind of a distinction/accreditation for suburban and rural piano teachers, though the AMEB always disclaimed that the exams were a test of any teaching ability. (Later it introduced some teaching diplomas but maybe these have fallen away.)
My friend ST, opera- and music-lover, has sent me extracts from the AMEB 1980 and 1985 piano syllabuses for eighth grade and the associate diploma. Below are my rather blurry pictures of the 1980 pages with his annotations, in red.
ST , persisting with or returning to the piano as a kind of unfinished business after he left school and into his twenties, did his 8th grade exam at this time and also tackled pieces for the Associate diploma. I think the latter eventually proved a bridge too far. He explains his annotations as follows:
Crossed items are composers dropped. Some other reductions, & the very few composer additions are marginally noted,
Particularly irksome
wereare the dropping of whole sets (exclamation marks) like the “Sarcasms” (all five) & the opus 111 Fantasies (all three).In summary, 15 8th g. composers & 24 Assoc composers dropped with respectively 4 additions & 5 additions. Why so? (Debussy & Ravel go from list C to list D).


Why indeed? I myself played a Prokofiev Sarcasm for my AMusA exam in 1976, so I feel a little wrench – slighted, even, by its banishment from the list.
ST adds:
These changes, notated herewith, made me angry in the early to mid 80s. That emotion was never resolved but by sharing it now, that resolution is thereby achieved.
All good, then.


