ABRSMannualReview12.pdf

(1)

Enriching

lives by

inspiring

musical

(2)

(3)

ABRSM is the exam board

of the Royal Schools of Music.

We have been supporting

and promoting the highest

standards of musical assessment

and learning since 1889.

(4)

2 Inspiring musical achievement

03 Who we are

About ABRSM

04 Chief Executive’s statement

A year of growth and positivity

06 Our global reach

Highlights from around the world

08 Exams and assessments

Expanding horizons

12 Professional development

Supporting teachers

18 Syllabuses and resources

Syllabuses, digital and published materials

24 Supporting music education

Donations, scholarships and sponsorship

32 Chairman’s statement

The final word

34 Celebrating achievement

New diploma holders

Scholarships and bursaries

Gold and Silver Awards

New CT ABRSM holders

UK and Ireland prize winners

Thank you/Obituary

(5)

Who we are

About ABRSM

ABRSM delivers over 650,000 exams

every year in more than 90 countries.

Our exams are designed to motivate

students at all levels and ages,

providing realistic goals and tangible

rewards for achievement.

We believe that good foundations

in performance and theory create

rounded and confident musicians.

So, we aim to encourage a love

of music through our stimulating

syllabuses and objective and

respected assessments.

We offer exams for more than 30

instruments, singing, Jazz, and

ensembles, as well as Music Theory

and diplomas. We also provide other

assessments, such as the Prep Test,

the Performance Assessment and our

popular Music Medals assessments

for the youngest learners.

As part of our commitment to

inspiring musical achievement we

provide a rich range of resources for

teachers, students and musicians.

In particular, we are committed

to supporting teachers worldwide

through high quality, innovative digital

and printed resources as well as

through face-to-face events.

To build on more than 120 years of

inspiring generations of musicians,

we work with a variety of organisations

in the UK and around the world,

providing donations, scholarships

and sponsorship.

We believe that good

foundations in performance

and theory create rounded,

confident musicians.

(6)

When reflecting on ABRSM’s

achievements and activities during

2012 it became clear that this had been

a good year for us as an organisation,

but not one without its challenges.

This was a year of healthy entry

figures for our exams and

assessments. In particular, our Music

Medals assessments continued to

grow in popularity in the UK, while

internationally we recorded our

highest number of exams taken in any

one year, and in China entries grew

by 38%. The good news was not just

restricted to exams and assessments,

and over the year we sold well over

two million books and CDs.

We continued to review and refresh

our syllabuses and administrative

systems. We published new Brass

and Piano syllabuses, with a host

of supporting resources, and began

the process of revising the marking

criteria for our instrumental and

singing exams at Grades 1 to 8. We

also launched a new user-friendly

website and, for the first time,

undertook research to find out what

candidates and teachers think about

ABRSM exams.

People have always

been and always will be

at the heart of ABRSM

... brought together

by music.

— Leslie East,

Chief Executive

We supported a variety of music

education organisations and charities

in the UK and around the world,

while continuing to offer ABRSM

scholarships, both at the Royal

Schools in the UK and the Hong Kong

Academy for Performing Arts. As ever,

we provided significant funding for

the four Royal Schools of Music with

whom we are so closely linked.

Against this growth and positivity

we recognised that certain areas

of our operations, particularly the

systems supporting our drive towards

administrative and customer service

excellence, needed review. We also

faced an exceptional set of financial

challenges. We are now in the

process of meeting these challenges

– identifying weaknesses and ways to

eliminate them, putting plans in place

and making decisions about long term

goals and ways to achieve them.

Chief Executive’s statement

(7)

None of this would be possible without

people. People have always been and

always will be at the heart of ABRSM

as an organisation – from the teachers

and candidates who use our exams

and resources, to the examiners,

representatives and staff who play such

vital roles in the ABRSM success story.

In the context of this review, I’d like to

thank and welcome respectively two

people in particular: Guy Perricone,

who stepped down as Chief Executive at

the very beginning of 2013, and Colette

Bowe, who became our Chairman

during 2012.

Of course, there is one thing that brings

us all together – music. And it is music

that gives ABRSM its reason for existing

and its mission: to inspire musical

learning and achievement, participation

and enjoyment. This is something that

will never change.

Leslie East

(8)

Bringing teachers together

More than 800 teachers attended our

teachers’ conferences in Birmingham,

London and Manchester.

Spreading the word

We attended events

and conferences hosted by

a wide range of music

education organisations and

providers around the UK.

International trade

We exhibited at many of the

world’s major trade fairs,

including the Frankfurt

Musikmesse and Music China.

Our global reach

Highlights from around the world

Supporting teachers

Our Centenary Travel Grant

fund provided scholarships

for three teachers from South

Africa. They spent a term

studying jazz at the Royal

Northern College of Music.

Sponsorship

We awarded the first grants

from our International

Sponsorship Fund. These went

to inspirational organisations

in India, Jamaica, Malaysia, the

Philippines and Uganda.

(9)

Celebrating success

Successful diploma candidates

from Hong Kong, Macau and

South and East Asia celebrated

at ABRSM award ceremonies in

Hong Kong and Singapore.

Syllabus presentations

We introduced teachers to our

new Piano syllabus at events

worldwide, including seminars in

Hong Kong, Indonesia, Malaysia

and Singapore.

Making connections

We held two conferences for our

international representatives, bringing

together key contacts from Europe and

the Arab States.

International growth

ABRSM exam entries in China

grew by 38%. There was a

2.6% rise in exam entries in

Malaysia and we also saw a 7.2%

increase in the number of exam

applicants outside the UK and

Ireland, Hong Kong, Malaysia

and Singapore.

Professional development

Teachers in Hong Kong, Singapore

and the UK took our CT ABRSM Plus

professional development course.

Effective teaching

We ran our Teaching Music

Effectively course, designed to

help teachers develop skills and

confidence, in Indonesia and

Malaysia.

New exam centres

We opened new centres in China

(Baoding, Dongguan and Shenzhen),

India and Nepal.

In translation

We published more books and

resources in both Traditional and

Simplified Chinese than ever before.

Our Music Theory exams are now

available in 17 different languages.

(10)

Our core activity is the worldwide

provision of high-quality music exams,

and this continued successfully during

the year. There were 672,000 ABRSM

assessments taken in 2012–13, an

increase of 2.5% on the previous

year. Practical graded music exams

remained the most popular.

Exams and assessments

Expanding horizons

We know that to maintain

our high standards we must

continually review, and where

necessary improve, all aspects

of the ABRSM exam experience.

(11)

We continued to train new examiners and

support our existing team through courses,

conferences and new resources.

UK and Ireland

During 2012, 357,000 assessments –

graded music exams, diplomas and

Music Medals – were taken in the UK

and Ireland. This represented a 2.8%

increase on the previous year and was

the highest number of UK and Ireland

exam entries since 2006.

Our diploma exams remained popular,

with the number of entries exceeding

our expectations for the year by

16%. Theory entries also exceeded

predictions by 2.5%, while entries for

Music Medals were up 8% compared

with the previous year. There were

declines for some instruments within

the woodwind and brass families,

however. Overall, Piano and Singing

exams were the most popular.

Around the world

A total of 315,000 assessments were

taken internationally – an increase

of 2.2% on the previous year. We saw

particularly strong growth in China

with entries up by 38%. Hong Kong,

Malaysia and Singapore now account

for 61% of our international exam

entries and overall our income from

international activities increased

by 4% in 2012, compared with the

previous year.

Examiners

We held Initial Training and

Assessment Weekends for trainee

examiners in February, June and

November. Sixty-six musicians

attended these courses and 36 have

since joined our examining panel. Our

June training session was, for the first

time, held offsite. This allowed us to

accommodate more trainees and was

so successful that we are now planning

further offsite training in the future.

We also organised jazz training for

examiners. Twenty-three attended the

workshop and, as a result, 18 are now

dual jazz and classical examiners.

A total of 641 classical, jazz and

diploma examiners worked for

us in 2012. In addition, 90 Music

Theory examiners marked ABRSM

exam papers.

We also updated many of our examiner

reference materials, producing a new

examiner role description and person

specification, application guidance

notes and a new Code of Conduct. We

also developed online examiner tools

for viewing and downloading candidate

lists and ordering mark forms, and a

range of audio visual resources for use

during examiner training.

We replaced our usual small-scale

regional examiner seminars with

four large-scale conferences in

Manchester and Reading. This new

approach meant that we could run

different sessions simultaneously

throughout the day, with a wider range

of content and more presenters.

Music Theory

In response to customer

feedback we introduced faster

access to Music Theory results.

They are now available online

after four weeks, as opposed to

six weeks. We also published

our Music Theory marking

criteria online.

UK and Ireland

This was the first full year of

our new exam timetabling

framework in the UK and

Ireland – the first step

towards future customer

service developments. We

continued to work hard to

improve customer service and

efficiency on a day-to-day basis

and, at the end of the year,

launched a major initiative

to encourage more online

exam bookings.

Around the world

70% of our international

representatives are now using

our new online administration

system – ExAM.

Exams and

assessments

(12)

Researching the exam experience

More than 2,200 candidates completed

our online survey after taking an exam.

We wanted to find out how they felt

about taking an ABRSM exam, what the

experience was like for them, and what

we might do to improve it.

The majority of participants had a good

exam experience. They felt welcomed

at their exam centre and rated ABRSM

staff and examiners highly in terms

of friendliness. Candidates were also

happy with the pace of the exam itself.

Unsurprisingly, many were nervous

before the exam but they also felt

‘determined’ and ‘excited’.

In 2012 we conducted our first ever survey of

ABRSM candidates to find out what they thought

about their exam experience, from arrival at the

centre to the exam itself. Flyers at exam centres

throughout the UK were used to invite candidates

to take part.

On leaving the exam room, they

felt relief together with a range of

positive emotions – they were ‘happy’,

‘satisfied’, ‘relaxed’, ‘proud’ and

‘cheerful’. The majority of candidates

were keen to go on to take another

exam, and saw ABRSM exams as an

important part of their learning.

The survey confirmed that what makes

all the difference to candidates in the

exam situation is the manner of the

examiner. Candidates welcomed a

‘calm and supportive’ atmosphere, and

noted when an examiner did everything

he or she could ‘to make the exam as

relaxing as possible’. Other candidates

referred to friendly examiners who

helped to ‘get rid of nerves’ or to ‘being

made to feel at ease’.

Later in the year we carried out a

survey of teachers in the UK and we

will be continuing with similar research

involving candidates and teachers in

2013 and beyond.

83% of candidates said

they wanted to take

another ABRSM exam

in the future.

Taking an exam gives

me something to aim for.

Without that I wouldn’t

have the incentive to

work so hard.

(13)

In revising our

marking criteria we

aimed to maximise

consistency, while

promoting transparency

and objectivity in

our exams.

Exams and

assessments

HLRs in focus

This was a year of significant

focus on our Honorary Local

Representatives (HLRs)

and stewards – our external

network of ‘volunteers’ who

play an essential role in the

successful delivery of our

exams. We now have more

than 300 HLRs, and 2012

was the first full year of

operation for our dedicated

HLR Administration Team.

We also introduced a new

HLR focus group to draw on

their significant expertise and

revised our HLR induction

process. At the end of the year

HLR numbers had risen to 314.

Music Medals

As we moved into 2013 we

passed the milestone of 60,000

Music Medals candidates

since their launch in 2004.

Entries continue to grow, with

Violin being the most popular

instrument. A growing

number of teacher-assessors

used Music Medals for the first

time, following online or

face-to-face training. During

the year we held free Music

Medals training sessions for

more than 400 teachers at

16 music services.

Revising our marking criteria

Over the year we spent a considerable

amount of time on research and

consultation regarding our marking

criteria. As a result, we have since

published a set of revised marking

criteria for instrumental and singing

exams at Grades 1 to 8. These will be

used from January 2014 by all ABRSM

examiners when awarding marks in

our exams.

The criteria are fundamental to

the consistency and integrity of our

marking, so it is essential that we

review and revise them from time to

time. We took a long, hard look at the

criteria to see how we could refresh

and improve them.

In revising the criteria, we retained

what works well, making changes only

where there was an opportunity to

bring greater clarity and consistency.

We also took great care to keep the

standards exactly the same. This

means that everyone involved can be

absolutely confident that in terms of

assessment, nothing will change. The

exam experience for candidates will

not be affected in any way.

Overall we aimed to produce a set of

criteria that maximises consistency

of marking, while also promoting

transparency and objectivity in our

exams. For all concerned, we wanted

the criteria to be more logical and

straightforward to use, simpler to

understand, and easier to read at a

glance. For teachers and candidates

especially, we wanted to provide

helpful information about how marks

are awarded in each category of result,

and in each section of the exam, all in

an easily accessibly format.

(14)

Throughout 2012 we continued

to support teachers by providing

innovative courses, online learning

opportunities and a range of short

workshops and seminars. These

included a series of 12 continuing

professional development (CPD)

workshops in Manchester and London

on topics such as teaching in groups,

developing aural skills and the art

of accompaniment.

Professional development

Supporting teachers

We continued to support teachers

by providing innovative courses,

online learning opportunities,

workshops and seminars.

We also organised courses, workshops

and seminars for teachers in Hong

Kong, Indonesia, Malaysia and

Singapore. In addition, our CT ABRSM

Plus course had another successful

year in the UK and abroad.

Online learning continued to prove

popular. Being an Effective Teacher,

our bespoke online course, has now

been taken by more than 200 teachers

around the world since its launch

in 2010.

(15)

Centenary Travel Grant fund

In September 2012 three teachers –

flautist Ilke Lea Alexander, trombonist

Justin Sasman and pianist and

saxophonist Hayley White – travelled

from South Africa to Manchester,

thanks to ABRSM’s Centenary Travel

Grant (CTG) fund. They spent a term

at the Royal Northern College of

Music (RNCM) studying jazz, from its

performance and history to effective

methods for teaching improvisation

and motivating beginners. They also

gained from advanced instrumental

coaching and access to Manchester’s

vibrant cultural scene. The scholars,

selected by audition and interview,

were at different stages in their

teaching careers.

Justin, who had worked for nearly

seven years as bass trombonist

with the Cape Town Philharmonic

Orchestra, recalled that he had no

idea what to expect from the CTG

programme. ‘I thought let’s go along

and see what happens. I’m so glad I

did.’ He admitted that after four years

away from the orchestral workplace,

his playing skills had grown rusty.

Individual lessons and a place in the

RNCM Big Band rapidly revived Justin’s

enthusiasm for practice and appetite

for improving his performance.

‘After holding down an orchestral job

in Cape Town, I thought I could play

trombone,’ he said. ‘And then realised

how much there was still to learn!

The approach to playing and teaching

the instrument was different and

things which seemed impossible, like

lip-slurring between first and fourth

or fifth position, turned out to be very

possible indeed!’

ABRSM is committed to working

ever more closely with music

teachers to help them bring out

the best in every student.

At the RNCM

I realised how

much there is

still to learn!

— Jason Sasman,

CTG scholar

(16)

ABRSM’s support

allowed me to reconnect

with the fundamental

values of teaching.

— Hayley White,

CTG scholar

As part of their studies, the CTG

scholars also visited Scotland to

explore jazz teaching with renowned

jazz educators Richard and Morag

Michael. Ilke Lea Alexander, the

youngest of our 2012 CTG recipients,

was certainly inspired by them and by

her pedagogy and teaching studies at

the RNCM.

Having graduated in music from the

University of the Witwatersrand in

Johannesburg in 2011, Ilke had been

teaching in schools and privately but

had never been trained as a teacher.

‘I didn’t think teaching was something

that you could learn – that’s not the

idea I was exposed to in Johannesburg.

All my friends teach part-time but

none of them studied music teaching.

I took back tools from the Royal

Northern which made me better able

to teach my kids, such as ways to make

lessons more creative and interactive.

This experience opened my eyes to

how much there is to learn and

how much further I can take my

teaching studies.’

Hayley White’s Manchester experience

was stimulating and demanding.

Although many of her pupils, at

a school outside Richards Bay in

KwaZulu-Natal, had expressed interest

in learning jazz, she was unsure

about how to teach them to improvise.

Individual lessons and classes at

the RNCM helped her demystify

improvisation and acquire the skills

to teach it.

‘The learning experience there was

challenging and even humbling at

times but I really made progress.

My experience in Manchester was

refreshing and ABRSM’s support

allowed me to reconnect with the

fundamental values of teaching

and think about the future evolution

of my own teaching practice.

I feel incredibly grateful for the

opportunities I’ve received.’

(17)

Networking

Our conferences in

Manchester, Birmingham

and London gave hundreds

of teachers in the UK the

opportunity to network and

to explore new repertoire,

resources and teaching ideas

through presentations and

workshops. Around 800

teachers attended these events.

Flexible learning

The CT ABRSM Plus

course combines two highly

respected qualifications – the

Certificate of Teaching and

our DipABRSM Principles

of Teaching diploma. This

is a part-time course which

provides teachers with the

opportunity to spend an

extended period of time

exploring, reflecting on and

developing their teaching with

the input of specialist mentors.

In 2012 we ran the CT ABRSM

Plus in Hong Kong, Singapore

and the UK.

Working with teachers

Workshops

We held many workshops

for teachers around the

world during the year. These

included: sessions on the

new Piano syllabus in Hong

Kong, Indonesia, Malaysia and

Singapore; training to support

preparation for our LRSM

Teaching diploma in Hong

Kong; and a Music Theory

workshop in Singapore.

International

conferences

Our international conferences

included a weekend event

for CT ABRSM holders from

Hong Kong and Singapore.

Teachers explored a range

of topics, including choral

singing, developing advanced

aural skills and leadership

in education.

(18)

(19)

ABRSM’s innovative and farsighted work has

never been more important or relevant to

the music education world as a whole.

— Darren Henley OBE, Managing Director of

Classic FM and ABRSM trustee

(20)

Syllabuses and resources

Syllabuses, digital and published materials

We are committed to actively

supporting high quality

music making, learning and

development throughout the world,

and to producing the best possible

resources for music teachers

and students.

In 2012 we published a range of books

to support our syllabuses, including a

new suite of Piano Exam Pieces, as well

as Shining Brass, an innovative series

for beginner brass players.

Throughout the year we also focused

on developing digital resources. We

produced our first app, Aural Trainer,

and developed a mobile version of our

Speedshifter practice tool, launched

in 2013.

Our social networking communities

continued to grow rapidly throughout

the world, giving us the opportunity

to engage with ever more teachers

and learners. We also launched a new

website, which drew on feedback from

extensive research and user testing to

offer a more user-friendly experience.

We provide a rich and varied

selection of supporting materials,

including syllabus publications,

online resources, apps and films.

(21)

Music and

CD sales

In 2012 we sold well over

two million publications

and CDs worldwide.

Bowed Strings

Revised repertoire lists for

Violin came into use in

January 2012, along with

new scales and sight-reading

for Violin, Viola, Cello and

Double Bass.

Piano and Brass

We published new syllabuses,

featuring refreshed repertoire

lists for Piano, Horn, E flat

Horn, Baritone/Euphonium

and Tuba. These came into

use in January 2013.

In 2012 our Publishing and Syllabus

teams worked jointly on a number

of major projects, from our annually

published Music Theory Past Papers and

Model Answers

to new volumes of Piano

Exam Pieces

to support the 2013 & 2014

Piano syllabus.

With the publication of new

syllabuses for Horn, E flat Horn,

Baritone/Euphonium and Tuba we

brought out books of repertoire for

brass players at all levels - Shining

Brass

and Principal Horn. We were

delighted that Shining Brass, one of our

most exciting publications of 2012, was

shortlisted for the Best Print Resource

award at the inaugural 2013 Music

Teacher Awards for Excellence.

We also published a range of other

books, including Joining the Dots for

Guitar

(Grades 1–5), Aural Training in

Practice

(Grades 6–8), Music in Words

(2nd edition), and Spectrum for Piano

Duet

, the ninth book in our Spectrum

series of contemporary albums for

players of all ages.

ABRSM is one of the UK’s leading

music publishers. Our publications not

only support our exam syllabuses but

also provide additional repertoire for

teachers and learners.

Syllabuses

and publications

A highlight of the year was the

expansion of our Chinese language

books, produced with our partner,

PMPH, in Beijing and showing our

commitment to this developing market.

During 2012 we published Chinese

editions of Piano Exam Pieces, Piano

Scales & Arpeggios

, Specimen Aural

Tests

, and Music Theory Past Papers

as well as a translation of our

Violin syllabus.

Finally, at the close of 2012, Boydell

& Brewer published ABRSM: A Social

and Cultural History

, by David Wright.

This fascinating volume plots the

development of ABRSM from 1889

to the present day.

We listened to brass teachers and extended

the syllabus to include more choice and

more instrument-specific music.

— Nicky Daw, ABRSM Brass syllabus

consultant and Head of Worcestershire Youth

Music’s Brass and Percussion Faculty

(22)

There is something here for

everyone ... a selection of the most

varied pieces you could ask for.

— Anthony Williams, ABRSM Piano syllabus

selector and examiner and teacher

(23)

A Fresh Approach to Sight-Reading

Joining

the Dots

for Guitar

Alan Bullard and Richard Wright

Joining the Dots for Guitar

Grade 1

Shining Brass, Book 1 Part Book with CD

& Brass • ?Brass • ?Eb Tuba Grades

1–3

with CD Shining Br as s, Book 1 Gr ades 1–3 ABRSM 24 Portland Place London W1B 1LU United Kingdom www.abrsm.org

18 repertoire pieces and studies

Brass

Shining

Part Book with CD

Book

1

Shining Brass is an exciting series of graded repertoire pieces and studies

that can be played by any brass instrument. Book 1 contains 18 pieces in a variety of attractive styles, specially commissioned from seven of the fi nest composers of brass music writing today.

Key features:

• two pieces from each of Lists A, B, and C of Grades 1–3 of the ABRSM 2013 syllabus for Eb Horn, Horn, Baritone, Euphonium and Tuba • a single part book that can be used by treble- and bass-clef brass including Eb Tuba • CD featuring performances and all backing tracks • separate Bb, Eb, and F piano accompaniment books

Shining Brass, Book 2 and piano accompaniments Shining Brass, Book 1 piano accompaniments

The following resources are available from the ABRSM app centre: www.abrsm.org/appcentre

ABRSM is the exam board of the Royal Schools of Music. We are committed to actively supporting high-quality music-making, learning and development throughout the world, and to producing the best possible resources for music teachers and students.

Audio downloadsSpeedshifterAural Trainer

Music in

Words

Trevor Herbert

A guide to researching and writing about music

SECOND EDITION

Piano

Piano Exam Pieces 2013 & 2014 Grade

Exam Pieces

ABRSM Grade 1

Selected from the

2013 & 2014 syllabus

1 In October 2012 we launched our

new website. Developed using

feedback from extensive research

and user testing, the site provides

visitors with quick and easy access

to information and resources.

(24)

Some of the most innovative and

far-reaching work we undertook

in 2012 was in the area of digital

and online learning.

Aural Trainer

We continued to develop digital

resources to support teachers and

students. Launched in 2012, our Aural

Trainer app now has more than 30,000

users in 88 countries and regularly

ranks among the top 30 education apps

in the UK.

It was nominated for the Best Digital

Resource award at the 2013 Music

Teacher Awards for Excellence and won

the Life Tools App Award at the 2012

Meffy Awards. The Meffys recognised

Aural Trainer as ‘setting a benchmark

for how apps can be used to create

useful and immersive experiences,

helping students achieve their

educational goals.’

Using mobile recording and touch

screen technology, Aural Trainer

offers a new way to practise aural

skills. Through a series of interactive

challenges, students can develop their

ability to identify and describe musical

features quickly and accurately.

The app covers all elements of our

aural tests at Grades 1 to 5, including

sight-singing and the echo test,

while also providing comprehensive

feedback and a page for tracking

progress. We are now working on an

Android version of the resource.

A new website

As a result of the 2012 redesign, our

website now features localised content

for every country in which we operate,

devoted pages for every instrument

and grade, and a new exam support

section providing tips and guidance for

teachers and candidates.

The ‘hub’ pages for each instrument

and grade allow users to download

syllabuses and find all relevant

supporting resources from a single

location. New exam guidance

materials, videos, podcasts, resources

and applications are also available.

The website layout now adapts itself

automatically to work effectively on

popular mobile and tablet devices.

These website changes have resulted

in a 23% increase in pages viewed per

visit and a 6% increase in the average

length of visits. Visits on mobile devices

are up by 46%. In total, our website

was visited over six million times

by approximately 2.5 million unique

visitors between January 2012 and

July 2013.

(25)

The new ABRSM

website was visited

over six million times

by approximately

2.5 million unique

visitors between

January 2012 and

July 2013.

Newsletters by email

The number of applicants receiving

our regular enewsletters continued

to grow. We now send these to more

than 68,000 applicants every month,

providing the latest information about

our exams, products and services,

and teacher support activities.

Social media

We saw major growth in the number of

people using social media to connect

with ABRSM. We now have more

than 85,000 Facebook fans and 8,000

followers on Twitter.

During the year we added several

films to our YouTube channel,

including an introduction to our Brass

syllabus and three films about our

Music Medals assessments. The

channel now offers a variety of useful

resources and short films.

(26)

Supporting music education

Donations, scholarships and sponsorship

We support music education through

charitable donations, scholarships

and sponsorship of organisations and

initiatives around the world.

A large proportion of our charitable

donation goes to support four Royal

Schools of Music in the UK: the Royal

Academy of Music, Royal College of

Music, Royal Northern College of

Music and Royal Conservatoire of

Scotland. In 2012 we also provided

scholarships and bursaries to 72

outstanding junior, undergraduate

and postgraduate students at

these colleges.

We also awarded new scholarships to

students studying at the Royal Welsh

College of Music and Drama (RWCMD)

and at the Hong Kong Academy for

Performing Arts (HKAPA). The first

recipients of our RWCMD scholarships

were Welsh undergraduate cellist

Luke Millard and Chinese postgraduate

harpsichordist Chubing Wang.

Eventually awards will also be made

to younger musicians at the college’s

Junior Department. In Hong Kong,

pianist Andy Chung Hok-chun was

awarded a scholarship for his

four-year course at HKAPA.

Through sponsorship we supported a

number of organisations in the UK and

around the world including: Music for

Youth; the National Youth Orchestra

of Great Britain; the Mayor’s Fund

for Young Musicians; the Singapore

Symphony Orchestra’s Youth

Mentoring Scheme; and the Chamber

Music New Zealand competition.

This was also the first year for our

International Sponsorship Fund.

In 2012 we awarded new

scholarships to students

(27)

Our International Sponsorship Fund

is open to individuals, groups or

organisations outside the UK and

Ireland engaged in activities that

inspire people to participate in music.

International sponsorship

In 2012 we awarded our first

International Sponsorship Fund (ISF)

grants to the following recipients:

the Kampala Music School (KMS) in

Uganda; the Mandaluyong Children’s

Choir in the Philippines; Musica

Sinfonietta in Malaysia; the Providence

Heights Community Band in Jamaica;

the Tender Talents Magnet School in

Uganda; and the India National

Youth Orchestra.

The Kampala Music School used

its grant to implement a teacher

development programme designed

to further the skills of staff and other

teachers in the region. The programme

included instrument-specific teaching

workshops as well as covering general

musicianship, sight-reading and aural

skills, exam preparation, performance

practice and instrumental lessons.

‘We also hope to organise training

from beyond Uganda for our teachers,‘

explained Natasha Chong, Deputy

Director at KMS. ‘The teachers here

have so much drive and commitment

and long to have the opportunity

to progress,’ she added, ‘but until

now neither KMS nor the teachers

themselves have been in a position to

pay for such development. We hope

that in the long term this funding will

help the school to grow, providing

more work for teachers and new

musical learning opportunities for

young people in Uganda.’

The teachers here have so much drive

and commitment and long to have

the opportunity to progress ... this

funding will help the school to grow,

providing more work for teachers and

new musical opportunities for young

people in Uganda.

— Natasha Chong, Deputy Director of

Kampala Music School

(28)

The Mandaluyong Children’s Choir,

works with underprivileged but

musically talented children from

Mandaluyong City. The choir used

its funding to support a

wide-ranging education programme,

while Malaysia’s Musica Sinfonietta

was able to host a five-day intensive

‘music camp’ that brought together

80 music educators and performers.

Formed in 2010 by a group of music

educators and performers, the

Sinfonietta promotes music-making

and the arts in Penang, and across

the wider Malaysian community. ‘As

a non-governmental organisation

we’re always looking for sponsorship,’

June Ong, the Sinfonietta’s President,

commented. ‘We took the opportunity

to apply for ABRSM’s help to make

a better camp, with more tutors and

better facilities.’

Funding from ABRSM also helped

Jamaica’s Providence Heights

Community Band to launch a new

Community Recital Programme and

to repair and purchase instruments.

‘Before receiving the grant it was

challenging to conduct a rehearsal,’

Music Director Dwayne Haughton

explained. ‘Our instruments were

second-hand and donated, and their

condition had deteriorated. We had

no funding to repair them or buy new

ones. ABRSM’s support made this

possible. It also meant that some

of our students could take part in

seminars and local programmes.

Our grant has changed the future of

the band.’

ABRSM’s grant

allowed us to buy

musical instruments

and start a concert

band. We’ve already

bought a five-piece

drum-kit, a bass

guitar and amplifier,

ten music stands

and percussion

instruments.

— Providence Heights

Community Band

This sponsorship is all about strengthening

our engagement with the international

music education community. We have been

delighted by the difference our funding

has made to those involved.

(29)

Music for Youth

In 2012 we continued our long

term sponsorship of Music for

Youth. Its Regional Festival

Series (RFS) took place in

February and March with

around 70 festivals held in

more than 50 UK venues and

involving some 50,000 young

musicians. These festivals offer

young performers playing in

groups of all sizes and in a

wide range of styles the chance

to perform to each other

and gain valuable feedback.

The Music for Youth year

culminated in November with

the celebratory Schools Prom

concerts at London’s Royal

Albert Hall.

National Youth

Orchestra

We sponsored the National

Youth Orchestra’s (NYO)

Inspire Days across the

country. In April, 50 young

musicians joined NYO

principals for an Inspire

Day in Durham, working on

Tchaikovsky’s Suite No. 3

and Bernstein’s overture to

West Side Story. The NYO also

held further Inspire Days in

London and Derry later in

the year.

Supporting music

education

The full rehearsals were electrifying and it was

incredible to see how much we’d achieved in just

one day ... lots of players said they couldn’t wait

to go away and practise and hopefully audition

in the future.

— Lily Whitehust and Laura Rickard,

NYO Inspire Day participants

(30)

For many children the experience of

performing is a first step away from the

margins of society towards a future where

they have a contribution to make.

— Jeremy Bradshaw, Musequality/Tender

Talents Magnet School

The ISF also meant that Uganda’s

Tender Talents Magnet School for

deprived children could continue with

its music programme, set up by charity

Musequality. Since 1999 the school

has taught around 450 students at

Kasangati, near Kampala, thanks to

the vision of its founder Frank

Katoola and his wife, Brenda.

Dependent entirely on donations, the

school teaches young people from the

most deprived parts of the community.

‘We urgently needed funds to continue

with our music education programme,’

said Frank, himself a choir trainer

at the school. ‘With ABRSM’s help

we’ve been able to support the

music teachers who come to us from

Kampala Music School and buy a piano

we’d been renting.

‘The school has shot up the table of

academic achievement in Uganda

and we believe music has been a key

element in promoting that. Learning a

musical instrument or to sing provides

the discipline, practicality and sense of

personal responsibility that then spins

off into academic subjects.’

(31)

Mayor’s Fund for

Young Musicians

In June 2012, we began

working with the

London-based Mayor’s

Fund for Young Musicians

(MFYM), funding scholarships

over four years. MYFM works

with music services and local

schools to identify and support

talented children who show

outstanding potential and

commitment to learning

an instrument.

Federation of

Music Services

We continued to support

the Federation of Music

Services in 2012, sponsoring

workshops and masterclasses,

in particular as part of

the organisation’s annual

conference.

Singapore

Symphony

Orchestra

At the start of 2012, we

launched a new initiative

with the Singapore Symphony

Orchestra: a Youth Mentoring

Scheme for promising

instrumentalists who have

excelled in ABRSM’s diploma

exams. The scheme is

continuing in 2013.

Supporting

music education

Finally, we supported a residential

course for members of India’s National

Youth Orchestra (INYO). Launched

in 2010, some 150 musicians,

representing 12 different Indian

states, have since become involved

with the orchestra

Key to the orchestra’s development is

training for players, but also ongoing

professional development for teachers.

The INYO yearly schedule includes a

10- to 15-day course, which in 2012

was held in Bangalore. ‘We received

enough funding from ABRSM to get

our musicians from Kolkata and

Kalimpong to Bangalore and also to

pay for their accommodation,’ said

Sonia Khan, INYO Managing Director.

‘Intensive training has meant rapidly

improving standards which in turn

have widened horizons. Our musicians

have had the opportunity to rehearse

and perform with German, Austrian,

Italian and Canadian orchestras.’

(32)

ABRSM has played a key part in helping

Music for Youth support many thousands

of young musicians and teachers through

the provision of professional-standard

performance platforms and live

music-making events all over the UK.

— Judith Webster, Chief Executive of

Music for Youth

(33)

(34)

32

Chairman’s statement

The final word

In July 2013 the UK government

pledged £292m to support young

peoples’ engagement in cultural

activities until 2015. The announcement

led to an interesting debate over

the future of music education, as

well as the arts, in this country. We

were, of course, encouraged by

many elements of the Department of

Culture, Media and Sport’s Cultural

Education

document, particularly

the recommendation that all young

people should have the opportunity ‘to

learn about, take part in and enjoy the

cultural life of our country’.

We all know that music, of all kinds,

is central to young peoples’ cultural

experience, but we believe it’s an

essential part of their education too.

ABRSM is well placed

to use its expertise,

experience and

influence to secure

a positive future for

young musicians in

the UK and around

the world

— Colette Bowe,

Chairman

At a time of significant

change in

our sector, ABRSM is well placed

to use

its expertise, experience

and influence to secure a positive

future for young musicians in the UK

and around the world. However, we

cannot do this alone. It’s increasingly

important that we continue to build

partnerships globally with those who

believe in giving developing musicians

the skills they need to get the most

from music and their music-making.

So, we are putting in place new ways

to strengthen our relationships with

teachers and candidates, and with

those who have a positive impact on

music learning and participation more

broadly. Together we can make a real

difference.

The coming year will see us continuing

to carry out our work to the highest

standards. Our passion for music and

music education, and commitment to

integrity and innovation are fundamental

to ABRSM’s continuing success.

I’d like to thank you for your continued

support as we seek to strengthen our

position as an exam board with a global

reach and reputation – one that is

intent on inspiring musical learning

and achievement.

Colette Bowe

Chairman

(35)

Patron

Her Majesty The Queen

President

His Royal Highness The Prince of Wales

Governing Body

Colette Bowe

Chairman

Professor Jonathan Freeman-Attwood

Principal of the Royal Academy

of Music

Darren Henley OBE

Professor Colin Lawson

Director of the Royal College of Music

Professor Linda Merrick

Principal of the Royal Northern

College of Music

Philip Ramsbottom

David Roper

Tony Travis

Professor John Wallace CBE

Principal of the Royal Conservatoire

of Scotland

Nicholas Ward

Who’s who at ABRSM

Executive Directorate

Leslie East

Chief Executive

Lincoln Abbotts

Director of Strategic Development

Tim Arnold

International Operations Director

Robin Barry

Publishing and Product

Development Director

Sue Cambridge

Executive Director:

Finance and Administration

Vicki Fruish

Human Resources Director

John Holmes

Chief Examiner

Penny Milsom

UK Operations Director

Eugene O’Donnell

IT Director

Nigel Scaife

Syllabus Director

Ben Selby

Marketing Director

You can find lists of all

our current examiners,

representatives and contacts

at www.abrsm.org.

Examiners,

representatives

and contacts

(36)

Each year we celebrate the

achievements of students and teachers

who have worked hard to develop

their musical or professional skills.

We congratulate many people, from

those who have gained an ABRSM

diploma, a Certificate of Teaching

(CT ABRSM) or an ABRSM scholarship

or bursary, to those who have

performed exceptionally in graded

music exams.

Celebrating achievement

These are the people who

make ABRSM what it is.

(37)

Diploma of the

Associated Board of the

Royal Schools of Music

ABRSM diplomas are designed to

encourage a diversity of approaches

to performing, directing, and teaching

music and to stimulate achievement

through acquiring skills, knowledge

and understanding. These highly

respected and letter-bearing

qualifications carry worldwide

recognition. ABRSM diplomas are

available at three levels – Diploma,

Licentiate and Fellowship – and in

three subjects: Music Performance,

Music Direction and Instrumental/

Vocal Teaching.

China

Manshu Cai Wing Yin Winnie Chan Roseanne Ruo Xi Chao Chen Jin

Meilun Chen Cheung Tsam Jenny Chiu Man Him Joshua Cui Amanda Chuxuan Hong Bok Thoe Wallace Huang Ren Ke Huang Shih Ting Huang Yin Ru Law Chi Teng Michelle Hang Yee Lee Jack Li Jiajun Li Li Xin Zi Wen Li Liang Yin Yan Lin Yi Liu Yu Xin Lu Rui Ngiaw Jing Tian Alexander Chen Pan Shen Yue

Su Peng Ting Gloria Yujin Yi Ting Wong Wu Xinyi Hao Tian Yang

Zeng Wen Tao Zhang Lin Zhang Si Han Zhao Jing Wei Zheng Xian Rui Jiale Zhou Zhu Mei Cyprus Amanta Andreou Giannakis Kalogirou Konstantina Maimari Lambis Pavlou Christina Themistocleous Maria Zenonos Denmark Mikkel Lundkvist Egypt

Mina Nabil Hanna Barsoum Nada Ahmed Mohamed Mahmoud France Ka Lun Cheung François Etchebarne Germany Gudrun Tomlinson Greece Despoina Skandalaki Hong Kong

Wai Ling Ang Chak Ching Yi Chak Sin Oi Chi Kit Chan Chan Ho Ying Ivan King Heng Chan Jason Yiu Ho Chan Chan Kai Yin Kit Ying Chan Chan Kwan Pui Lai Fun Chan Chan Lok Yan Chan Mei Yee Chan Pui Yee

Suk Wah Margaret Chan Tsun Heng Chan Chan Tsz Yan Chan Yet-Chung Christopher Australia Alexandra Brewington Margaret Buck Loreen Chui Silvia De Almeida Catherine Jensen Letao Jian

Daniel Sidney Francis Johnson

Sarah Ruth Leard Alicia Limasa Jack Johnstone Main Laura Alice Morell Melissa Voyias Wan Yuen Yee

Samantha Jane Williams Man Yau Wong Nancy Yao Yu Sze Ling Belgium Sarah Lebrecht Canada Chang Wei-Han Wan-Ju (Angela) Lee Phan Han Anh Khiet Bernard Chi-Hay Szeto Rachel Tandun Rhythm Tang Amy Yen

Wun Ming Chan Cheng Chi Wah Hong Cheuk Cheng Cheng Ka Shun Cheng Kwan Kit Lap Ting Cheuk Ho Cheung Cheung Ho Ching Cheung Ho Ting Chris Cheung Hoi Ching Cheung Cheung Mei Yi Ray Yeung Cheung Suen Kong Raymond Cheung

Sin Yue Cheung

Tsing Lam Christy Cheung Chi Wai Ching Andy Choi Yim Kee Christine Choi Yuen Tsing Yuk Wan Choi Man Fei Ivy Chou Choy Man Wai Angela Chu Ka Hing Nog Qin Chui Chung Ji Hin Chung Pui Man Chi Ching Ingrid Fan Fu Ho Cheong Kat Ho Fu Kin Tsun Fung Fung Kwan Lok Fung Wai Ting Tiffany Lok Hang Ho Ho Miles Yue Kiu Sin Ning Shannon Ho Ho Yan Tat

Hon Yee Leung Hsu Ming Fen Angel Hui Yiu Tung Yee Hung

Kam Ka Him Kenneth Yin Wai Wailly Kau Wai Fung Ko King Lam Kwan Kwan Wan Yi Kwok Hoi Kit Kelly Kwok Kwok Pui Yee Kwok Wing Yin Yi Tak Kwok Kwong Ho Ching Wai Ting Kwong Chung Foon Lai Lai Yin Ting

An Ning Lam Hau Man Cecilia Lam Lam Hei Yu Ho Yin Lam Lucas Chadwick Lam Lam Pak Lai Lam Pak Lun Lau Kwan Lam Lau Yik Ching Jonathan Dominic Law Lee Cheuk Yan Fung Yee Lee Lee Lai Man

Leung Chi Ho Jonathan Leung Chun Tao Darren Ho Yat Elliot Leung Hui Ling Leung Leung Ka Ming Kwai Fan Leung Pui Ying Leung Leung Siu Hey Michael Leung Wai Man Leung Yi Ting Yiu To Leung Ho Ting Li Li Nap Ki Li Siu Lun Tsz Ki Li Li Yuk Lok Li Zi Jun Ho Ka Claudia Lin Liu Tung Bo Lo Chi Pang Lo Siu Kee Lo Tsz Ching Wing Sze Lo Lui Chit Ling Jeanie Ma Hin Yung Ma Kei Yan Karen Yip Wah Anwar Ma Mo Man Tina Mak Mok Siu Wai Winnie Wai Ling Mok Wai Man Nam Ng Cheuk Sze Jessy Ng Chi Ho Wallace Ho Ching Ng Ng Man Yui Ng Wing Yan Wing Yee Queenie Ng Kei Foon Ngai Chung Hin Pang Kit Yan Rebekah Poon Poon Wing Yan Suki

(38)

Pu Jessica Huan Jia Kwan Wai Cheng Ka Yan Shiu Hiu Shan Siu Hiu Tung Siu Siu Wai Chee Siu Yeung Yiu Szeto Chun Kin Tam Ho Wai Choi Yi Joyce Tang Hiu Sze Tang Suet Man Tang Yi Lam Tang Tao Yilan Ting Hon Man Tsz Wai Edith Ting Tong Ka Wun Kong Yan Tong Tong Ming Chak Tong Wendy Tsang Ho Ting Jeremy Wing Lam Tsang Tsang Yip Ho David Tse

Wing Sheung Tammy Tse Ka Chai Eric Tso Tso So Yee Tsui Sheung Tsun Tsui Yee Man Elaine Wang Wong Ching Laam Wong Ellis Ho Ching Hiu Wai Wong Wong Kar Ho Toby Karen Wong Wong Kin Cheung Wong Nga Yin Cecilia Sin Hang Wong Sui Xin Daphne Wong Wong Tin Yan Carina Wong Wang Shun Wing Yin Wong Wong Yin Ho Wong Yuen Wai Yung Hong Wong Woo Angel Wu Tsz Hin Elton Dan Xie Bertram Ross Yap Chie Annie Yeung Ho Yan Annette Yeung Yeung Hoi Ching Ka Wai Yip Yu Man Bill

Yu Po Yan Grace Yu Tsz Ching Wan Ting Yu Yuen Lai Ming Serena Tsui Ying Yuen Chi Nga Yung Zhao Wei Iceland Margrét Árnadóttir Þorhallur Barðason Björg Birgisdottir Ásdís Björg Gestsdóttir Ása Björg Guðlaugsdòttir Maria Vigdis Kjartansdóttir Salka Rùn Sigurðardóttìr

India

Cheon Enok Ye Jin Kim Karnajit Laishram Ryan Matthew Lewis Sarah Mathews Rim Zion Aching Shaiza Christopher Williams Indonesia Devi Adiwinoto Elsa Angelie Katherine Arianti Metta Faurizka Ariono Anita Djunaedi Fifi Embut Gracia Halim Juuke Hartana Tanoto Jeremiah Constantine Leonardi Joewono Koslinda

Ricky Indra Kusuma Miriam Chandra Maleeva Lestari Daniel Marihat H Pasaribu Reynaldi Raharja Lucas Sebastian Karina Setiawan Angelia Soegito Irine Soesanto Alice Theodora Subrata Dessica Sandra Surya Lilian Suwandi Muliaty Syary Carol Natasha Tamara

Cindy Andrio Putri Chris Tanto

Billy Tanujaya

Geraldine Megan Tauran Gloria Teo

Geoffrey Sartona Lumban Tobing Mercillia Widodo Mrs Yulisetiana Ireland Brid Cannon Adeleh Davis Aisling Douris Edmond Michael Dwan Ciarán Elster Eveline Glynne Jones Caitriona Hegarty Alena Kabylianets Rachael Keating John Kehoe-Roche Deirdre Lynn-Rodgers Toni Martin Declan McGoldrick Elvie Miller James O’Doherty Mary Quinn George Rice Alan Shinkins Nathan Thompson Italy Vittoria Avogadro Francesco Banchini Lianka Bedeschi Filippo Scarafia

Maaike (Alfreda) Van Ingen Paola Zambetti Jamaica Regnarene Brown Japan Yuuichi Kawamata Aya Murayama Jordan Samir Hashweh Megan Madison Kenya

Grace Nanjala Nangabo Corrine Towett

Korea

Hyunji Kim Amy Ryu

Kuwait

Heui Sung Kim

Macao

Che I Kei Cheong Man Chong Han Ji Won Ieong U Kei Kok Hio Lok Ka In Lei Ling Seng I Lo Zaneta Lok Weng Cheng Sam Ka Lon Tam Iat Hin Zhou Cheng Lam

Malaysia

Bong Fui Choo Charissa Li San Chan Dawn Chin Shen Peng Chyn Thong Chong Clarissa Mei En Chan Alistair Brian Hamilton Heng Bee Lee Amy Kok Yet Lin Bosco, Khun Hung Lai Qiao Ying Leong Pang Khai Shuen Ling Sze Mei Ong Ee May Caterine Seah Luoh Chuin Tan Ching Tan Elaine

Heather Ashley Chien Wen Tan

Megan Gail Rumbaoa Ventura

Winnie Ling Chai Wei Wong Sheu Fan Yeo Hui Lin

Malta

Kevin Azzopardi Miryea Borg Petra Magri Gatt Sarah Mercieca

NEW DIPLOMA HOLDERS

DipABRSM continued

Mexico

Juan Carlos Lara Lara Ana Paula Sanchez Barragan

Jacques Zafra Garcia

New Zealand

Mark Edward Bevin Catherine Bracegirdle Ellen Charlotte Callister Austin Hong Chun Chan An Ran Chen

Benjamin Chen Yeonhee Choi Bethany Sharon Cox Dawn Ee Rebecca Grimwood Zhinan Hu Tiger Huang Jack Humphrey Carolyn Irons Gian-Luca Kane Anne Yuen Mon Kei William Kingi Koh Esther Yi Li Ye Ji (Julia) Lee Grace Leehan Islay Louise Leov Harris Pok Hei Leung Tom Levy

Tianwei Liu Richard Yuchen Lu Li Yang Luo Clare Mcdonald Choong Won Park Juno Sung Woong Pyun Anna Roznawska Isaac Logan Shatford Tina Tian Yang Sun Nicole Ting Tracy Tsai

Alexander Van Laar-Veth Rebecca Whalley Marilyn Jin Yie Woo Gen Woods Briana Lucy Wu Shirley Yueling Xu Nigeria Ezekiel Adedoyin Oluwafemi Emmanuel Ayodeji Oluwaseun Daniel Oluwabusuyi

(39)

Yap Yun Xian Yap Jia Yu Joey Grace Marie Yeh Yip Ting Yuan Darren Seung Won Winston Yoo Zhang Wenhan Zheng Kai Zheng Qiao Zheng Zhongxi

South Africa

Nicolaas Jacobus Allers Adam David Campbell Jennifer Chuan-Hwa Chang Alice Clegg

Alanna Ann Davy Claudia Dehnke Jaydene Du Preez Karin Groenewald Cathryn Anne Galliers Okuhle Mahlangeni Ndumiso Manana Belinda Meyer Takunda Rukanda Deirdré Strauss Judy Twycross Pieter Van Zyl Clare Vandeleur

Spain

Agustin Camino Beta Maria Victoria Navarro Serrano

Pedro Abelardo Rodríguez Pérez Claire Smith St. Vincent Kendol Bacchus Switzerland Jessie Vergeres Taiwan Jiang Yi-Han Lee Lee-Ying Perng Lih-Jing Tanzania

Olga Van Doorn

Thailand

Runn Charksmithanont Emma Jane Louise Dunnell

Oman

Intisar Al Wahaibi

Portugal

Francisca Coelho Aires Mateus

Ana Catarina Bernardino Costa

Renata Maria Silva Oliveira

Singapore

Ang Wei Yang Daniel Ang Wei En Chan Ling Ying Lynn Cheung Wei Sum Benjamin Chew Min Hao Chia Tui Ling Caroline Chia Ying Yin Chng Ee Pheng Arlene Chong Chian Chin Choong Lee Wen Chua Peng Peng Margaret Ms Dyana

Go Ling Hong Goh Javier Goh Jing Yi Goh Ping Audrina Goh Rui Qi Rachel Goh Teck Koon Mathea Goh Xinyi Jordan Alexandra Junyi Hadrill

Han Rong Zhou Ryan Alison Margaret Harvey Ho Yoke Fun Audris Nabillah Binte Jalal Khoo Mei Ling Ko Pei Chyi Koay Hao Yan Kwa Chu Hsian Tiffany Kyaw Han

Lau Yan Shan Law Jun Wen Lee Hong Xuan Lee Hui Ling Lee Jia Ying Lee Mian Jun Lee Mi-En Lee Shao-Wei Lee Ting Hui Lee Yu Tse Sandra Lee Yan Mun Lieu Tze Ern Samuel Lim Jia Yu Anne Maria

Lim Nicole Lee Lim Wei Xuan Nigel Lim Zhan Feng Christel Lim Shi-Rui Charmaine Lim Wan-Qing Lesley Evita Lin David Lin Kewei Liu Ziyuan Lo Jia’en Carolyn Loy Zhi Jun Lum Zhi Yong Aaron Solomon David Ng Ng Sze Wei Melissa Ng Li Ling Kevin Ng Man Hon Ng Xin-Yu Nicole Ong Ai Ling

Ong Hui Ling Emmerlyn Ong Min Chen Eileen Phua Huijie (Pan Huijie) Poh Jer Lin

Quek Chiew Kwee Evelyn Quek Shui Herng Quek Yu Chern

Nicholas Quek Wei Sheng Soh Ker Sing

Soh Kian Bin Niall Yang Sohan Song Yueyao Livia Sutrisno Tan Chun Kwang Aileen Tan Ai Ling Joel Tan Junyao Alvin Tan Wei Ming Meri Tan Wei Yan Zantha Tan Xuanlin Shenny Tantarica Tay Shu Wen Tay Yih Shiang Tanya Christopher Tay Joshua Teo Siew Ting Teo Sue Ying Thong Ying Xuan Timothy Thong Zhi Ming Meyliana Tjoe Toh Si Yin Hilary Too Hwee Ling Charlyn Tseng Hong Kai Wong Ee Peng Wong Kin Leng Wong Poh Ling Xu Cheng Yin Yap Mian Hui Yap Qian Hui Stephanie

Weerapitch Panlertkitsakul Saratham Saranya Phapimol Yoovidhya

The Netherlands

William Harry King

Trinidad and Tobago

Sameer Alladin

United Arab Emirates

Michael Rex Bacarra Zoryana Herun Abhimanyu Joshi Amir Sarrafi Zandjani

United Kingdom

Joshua Howard Abbott Emma Abell Karen Adamson William Aitchison Ailsa Aitkenhead Milena Albrecht Benjamin Aldren Clare Aldrich Catherine Al-Ghabra Dawn Allen James Alster Forbes Anderson Amanta Andreou Eliana Andreou Kate Apley James Arnold Terence Au Mary Backholer Alistair Backhouse Catriona Baker Harry Baker Karen Baker Lorraine Banning Janet Barbour Fiona Anne Elizabeth Barker

Peter Baumann Michelle Bee Joseph Beech Philippa Beeson Thomas Edward Bell Stephen Bennett Deanna S M Bernthal Thomas Binnie Gabriel Bintley Edward Birchinall Elinor Bishop Charles Black Emily A Blackledge Melinda Blackman Thomas Blomfield Claire Marie Boleat Isaac Booth James Bowstead Anthony Boyle Fiona Brindle Alice Brooks Savannah Brown Harry Brownlie Maryanne Bruce Ellen Brunet Amy Bryce Konrad Bucher Thomas Buckley Samuel Buckton Laura Buntine Claire Burgess Frankie Burrows Mary-Jane Byrne Orlando Byron Peter J Cain

Jennifer Susanne Caisley Hannah Caldecott Heather Calow

Katherine Alice Sarah Carr Michael Cavanagh Luke Cave Samuel Chadd Laura Chan Pui Ling Chan Aditya Chander Florence Chapman Grace Elizabeth Chapman Daniel Ze Chen

Nicholas Sikun Chen Vanessa Cheung Emily Lok-Yee Ching Philip Christian Joshua Cirtina David Clappison Kirsty Clark Dermot Clenaghan Lydia Catherine Clough Caitlin Coady

Isabelle Lydia Cochrane Laurence Cochrane Julie Collins Leo Collins Jolene Cook Sinead Cook