In Part 1, I mentioned that there are two different learning paths:
- To be trained as a Pianist, and
- To be trained as an All-Rounded Musician.
The current popular Digital Performance Grades are designed to train pianists, while the traditional Face-to-Face Practical Grades aim to develop all-rounded musicians.
But here's the question we must ask:
Before the pandemic in 2020, almost everyone was taking Face-to-Face Practical Grades. Yet, how many of these students — supposedly trained as “all-rounded musicians” — are still enjoying music today, actively involved in musical activities, or even creating their own music?
There is nothing wrong with the examination systems themselves. The real issue lies elsewhere — there is no structured system to support private instrumental teachers in implementing these examinations effectively.
Every country has its own education system, with a national curriculum designed by the Ministry or Department of Education. School teachers receive ongoing training and professional development so they can guide their students step by step towards the national standards.
In contrast, instrumental music education operates differently. We have international examination boards such as The Associated Board of the Royal Schools of Music (ABRSM), Trinity College London, and our local NZMEB. Across the Tasman, there are AMEB and St Cecilia. These boards provide a range of examinations for different instruments — but they are examination boards, not teacher training institutions.
And this is where the gap lies.
Most instrumental teachers were never formally trained to teach. They teach because they know how to play — but knowing how to play is not the same as knowing how to teach.
I have said this many times, but it's worth repeating: private instrumental teaching is a profession not monitored by any authority, yet it allows teachers to charge high fees simply because they can play their instruments.
The result? Too many students drop out after only a few years of learning. Many teachers simply don't have the training, structure, or pedagogical foundation needed to nurture a student's full musicianship.
I know this because I was once one of them.
When I began teaching 44 years ago, I was passionate but untrained. Fortunately, I had the opportunity to pursue various Teaching Diplomas, which opened my eyes to my own weaknesses as a teacher.
In 1984, I founded Dorayme in Malaysia, and later brought it to New Zealand in 1992. From the beginning, my dream has always been to nurture my students into all-rounded musicians.
Of course, this journey was not easy. Over the years, I have failed many times — often falling back into the old habit of focusing solely on exam results. But at Dorayme, we have persisted. Through years of reflection and development, the Dorayme Education System was created (dorayme.co.nz/our-system).
Today, we are beginning to see the results — students who learn not just to pass exams, but to truly enjoy music, create music, and become independent learners.
Yet, we are still not there — not 100%. The limitation of time in a weekly piano lesson remains a challenge. But step by step, we continue to move closer to our mission:
to raise a generation of all-rounded musicians.
To be continued — Part 3