Qualification Specification

MUSIC PERFORMANCEDIPLOMAS
from 2024
LRSM (Licentiate of the Royal Schools of Music)
FRSM (Fellowship of the Royal Schools of Music)

Version 1, November 2023

Contents
Introduction ........................................................................................................................... 3
About ABRSM .................................................................................................................................................................................... 3
This qualification specification ...................................................................................................................................................... 3
LRSM and FRSM diplomas at a glance ........................................................................................................................................ 4
About these qualifications............................................................................................................................................................... 5

Music Performance diplomas ................................................................................................9
General information ......................................................................................................................................................................... 9

LRSM Level 6 and FRSM Level 7 Diploma Syllabus ........................................................... 10
Unit 1: Your Performance (LRSM and FRSM) ............................................................................................................................ 11
Unit 1: Administrative information ...............................................................................................................................................12
Unit 2: Performance in Context (LRSM) Research and Reflection (FRSM) .................................................................... 14
Unit 2: Performance in Context (LRSM) topics ........................................................................................................................15
Unit 2: Research and Reflection (FRSM) topics ........................................................................................................................17
Unit 2: Administrative information ............................................................................................................................................. 19

LRSM Assessment and marking ......................................................................................... 20
Assessment objectives and Learning outcomes..................................................................................................................... 20
Assessment criteria – Unit 1: Your Performance.......................................................................................................................21
Assessment criteria – Unit 2: Performance in Context .......................................................................................................... 23

FRSM Assessment and marking ......................................................................................... 24
Assessment objectives and Learning outcomes......................................................................................................................24
Assessment criteria – Unit 1: Your Performance...................................................................................................................... 25
Assessment criteria - Unit 2: Research and Reflection .......................................................................................................... 27

Grading and awarding ......................................................................................................... 28

Introduction
About ABRSM
ABRSM is The Associated Board of the Royal Schools of Music and a global music education charity. At the heartof everything we do is our belief that music enriches lives. Building on our heritage, we offer face-to-face and digital
exams, sheet music, recordings, apps and courses for students and teachers across the world. Our music
qualifications provide clear goals, reliable and consistent marking, and guidance for future learning.
In partnership with four Royal Schools of Music, we carry on a long legacy of musical excellence. More than anawarding organisation, we support learners from the first note they play, and empower teachers who help build
musical skills and encourage progress around the world.
As a charity, we use all of the surpluses we generate to make significant donations towards music education
initiatives and to develop our support for learners and teachers around the world. We advocate for music and its
many forms, playing our part to ensure the future of music education and its place in society.
Together with our partners, our teachers and others around the world, we’ve been nurturing the future of musicsince 1889 – to help people start or continue their journey.

This qualification specification
What it covers
This specification provides all the relevant requirements and information learners need to prepare for the following
qualifications:• ABRSM Level 6 Diploma in Music Performance (LRSM)• ABRSM Level 7 Diploma in Music Performance (FRSM)
Repertoire lists specific to individual instruments and levels can be found at: www.abrsm.org/otherassessments/diplomas/music-performance

Validity of this specification
This specification is valid from November 2023 until further notice. We may update this document from time totime but will not make changes to the syllabus other than in exceptional circumstances. In such cases, advancenotice of any changes will be posted on our website.

Validity of the repertoire lists
The LRSM and FRSM repertoire lists are valid from November 2023 and we may expand these periodically. The
latest versions can be found at: www.abrsm.org/other-assessments/diplomas/music-performance3

LRSM and FRSM diplomas at a glance
Diploma content
Unit 1:

Your Performance

Unit 2: LRSM Performance in Context
FRSM Research and Reflection

Assessment
Unit 1: Your Performance (LRSM and FRSM)
What is assessed
This unit assesses the performance of a programme of music, comprising pieces selected from the publishedlists and own choice repertoire, including• Instrumental (or singing) technical control• Musical interpretation• Communication• Delivery• 45 minutes duration (± 10%) (LRSM)• 55 minutes duration (± 10%) (FRSM)
How it is assessed
A live performance, digitally assessed• Pieces/Songs presented• Performance as a whole

30 marks (40%)
30 marks (40%)

60 marks total (80% of Diploma)

Unit 2: Performance in Context (LRSM)
Research and Reflection (FRSM)
What is assessed
A written or spoken piece of work connected to the Unit 1 Performance, chosen from a list of four options.
1. Informing your audience
2. Detailed analysis of a work or works
3. Programming your Performance
4. Preparation for Performance
LRSM: Written: 2000 words (± 10%) or
Spoken: 10 minutes (± 10%)
FRSM: Written: 3500 words (± 10%) or
Spoken: 17 minutes (± 10%)How it is assessed• Written: one or more documents in pdf format OR• Spoken: one video presentation
15 marks (20% of Diploma)

4About these qualifications
Qualification objectives
Encouraging diverse approaches to music, these diplomas stimulate enjoyment and achievement through theprogressive development of skills, knowledge and understanding, and enable a learner’s advanced performanceskills to be formally recognised and rewarded. They encourage lifelong learning without restrictions on length of
study or the need for formal study in a college or university.

Who the qualifications are for
Our LRSM and FRSM Music Performance Diplomas provide a pathway for a wide range of musicians and have beendeveloped to reflect the day-to-day performance experience, whether amateur or professional. They also allow alearner to measure their abilities against internationally recognised levels:• Level 6 - equivalent in level to the final year of an undergraduate degree course• Level 7 - equivalent in level to a master’s level degree course
ABRSM Diplomas are available to anyone who is able to demonstrate the appropriate level of skill andunderstanding required for the qualification. Information about entry requirements can be found below.

Progression routes
As learners move through the diploma levels, they will find that the repertoire becomes more demanding, stamina
increases as the length of the performance time extends, and the complexity of the supporting evidence required
increases.
The LRSM and FRSM Diplomas are progressive from the ARSM, our Level 4 Diploma in Music Performance. Thisqualification is progressive in level of demand from ABRSM’s two suites of graded music exams: Practical Musicand Music Performance. Both give learners flexibility and responsibility in programme building, as well as providing
further opportunity to develop performance technique while extending their repertoire. Details of the ARSM in
Music Performance can be found at: www.abrsm.org/other-assessments/diplomas/music-performance
Through a combination of live performance and written or spoken components, learners at LRSM and FRSM level
demonstrate an advanced level of musicianship, evaluation skills and provide contextual evidence to support theperformance decisions they have made.
Irrespective of a learner’s personal motivation to achieve one of ABRSM’s Performance diplomas, each qualification
can provide a pathway to:• Higher level qualifications offered by other awarding organisations• Graduate or Postgraduate programmes of study• Employment in the creative arts sector
Further details of our diploma suite of qualifications can be found at: www.abrsm.org/other-assessments/diplomas

Entry requirements
There are no lower or upper age limits. For both LRSM and FRSM, candidates must already have passed ABRSM
Grade 8 (Practical Music or Music Performance) or equivalent in the instrument being presented or be able todemonstrate appropriate professional experience (detailed below).
Candidates should ensure that their music performance and supporting skills are commensurate with the level of
diploma they wish to be examined in. Further information on the requirements of each diploma can be found on therelevant page.

5

In place of an ABRSM Grade 8, we accept the equivalent qualification from these awarding organisations:• Australian Music Examinations Board• Dublin Institute of Technology Conservatory ofMusic & Drama• Guildhall School of Music & Drama• London College of Music• Music Teachers’ Board• Royal Conservatory of Music (Canada) (Grade 9)• Royal Irish Academy of Music• University of South Africa• Trinity College London

We also accept Grade 8 in an instrument closely related to that being examined:• Piano – Harpsichord – Organ• Violin – Viola• Harp (Pedal) – Harp (Non-pedal)• Soprano Saxophone – Alto Saxophone – Tenor Saxophone – Baritone Saxophone• Trumpet – Cornet (B♭ Cornet or E♭ Soprano Cornet) – Flugelhorn• Trombone – Bass Trombone• Baritone – Euphonium – Tuba
• Percussion – Percussion (Combined) – Tuned Percussion – Timpani – Snare Drum
• Singing – Singing for Musical Theatre
We may request a copy of the appropriate certificate as evidence of the entry requirement. If this cannot beprovided when requested, the exam entry will be rejected without refund of the fee.

Appropriate professional experience
Learners may apply to offer appropriate professional experience as a substitution for the Grade 8 entry
requirement. For more details on how to apply, please see: www.abrsm.org/other-assessments/diplomas
Important: Applying for this substitution is a separate procedure from registering for the qualification and can takeup to six weeks. Approval of professional experience must already have been granted before a candidate enters for a
diploma.

How we are regulated
ABRSM exams are regulated in the UK by the Office of Qualifications and Examinations Regulation (Ofqual),
Qualifications Wales and Council for Curriculum, Examinations and Assessment (CCEA Regulation). They are partof the Regulated Qualifications Framework (RQF) in England and Northern Ireland.

Regulated qualification details
The table below shows the regulated titles and qualification numbers of Music Performance diplomas. Further
information can be found at: https://register.ofqual.gov.uk/
Qualification number

Qualification title

ABRSM title*

610/3336/4

ABRSM Level 6 Diploma in Music Performance

LRSM

610/3337/6

ABRSM Level 7 Diploma in Music Performance

FRSM* Throughout this document, the ABRSM title is used to refer to each diploma.

Regulation (rest of world)
Information on how ABRSM exams are recognised in individual countries can be found at: www.abrsm.org/moreinformation/regulation-and-ucas-points

6Qualification size
Diploma

Guided Learning Hours (GLH)

Total Qualification Time (TQT)

Credits

LRSM

108

1800

180

FRSM

134

2250

225

The GLH and TQT are estimates of the average time required and should be used as guidance only; it is recognised that there
will be variance dependent on each individual’s level of experience and ability.

Malpractice and maladministration
We take any form of malpractice or maladministration very seriously.
• Malpractice is defined as any act that compromises or is an attempt to compromise the assessment process,the integrity of any qualification or the validity of a result or certificate. This also includes any act that damages
our reputation or credibility as an awarding organisation.
• Maladministration is defined as any act that breaches the regulations through a mismanagement ofadministrative processes, particularly where such a breach could compromise the integrity of a qualification orassessment.
Applicants and learners must follow the requirements set out in the relevant specification, Exam Regulations andall other ABRSM policies about the delivery of our exams. In cases where applicants or candidates have committed
malpractice, a sanction or penalty may be given. Further information about our Malpractice and Maladministration
Policy can be found at: www.abrsm.org/more-information/policies

Plagiarism
ABRSM defines plagiarism as an attempt by the candidate to reuse the work of others as their own. This meansthat copying from a published or unpublished source without acknowledging it, constructing a précis of someone
else’s writing or ideas without citing that writer, or colluding with another candidate to submit the same or similar
work, constitutes plagiarism. Plagiarism applies to all sources.
The Compliance Officer, in accordance with the Malpractice and Maladministration Policy (www.abrsm.org/moreinformation/policies ), will consider all suspected cases and candidates will be penalised or disqualified if a chargeof plagiarism is upheld. Candidates will have a right of appeal and representation if such a charge is made.

Infringements
It is important that the relevant exam requirements as set out in this Qualification Specification are read andunderstood in full. If these are not met in any way, it could lead to a warning, mark deduction or disqualification at
ABRSM’s discretion. Examples of infringements include:• Offering an inappropriate standard of own-choice repertoire.
• Presenting a programme or supporting evidence that is too short or too long.
• Presenting a programme containing more than the required minutes of own-choice music, without priorapproval.
• Presenting music from the relevant diploma repertoire lists, but not as specified (e.g., incorrect number ofmovements).
• Submitting a video of the performance that has not been made in one single take or that has been edited insome other way.
The above list is not exhaustive. Action is typically taken as follows:• Warnings, in the form of written correspondence, are applied to minor infringements.
• Mark deductions from a component of the exam are applied to more serious cases (e.g. own-choice repertoireof an inappropriate standard) and may be two marks, or more, depending on the circumstances.

7• Disqualification is applied to cases where requirements are not fulfilled in a fundamental way:o programmes that are significantly too shorto where the performance recording has been edited in some way
o where we believe evidence submitted may not the candidate’s own
o evidence (the performance or written/spoken work) is posted on any social media channels

Examiners report infringements to ABRSM who investigate and decide what action is to be taken. This process may
delay the release of the exam result.
ABRSM’s decision on any infringement is final. Prior acceptance of an infringement without penalty does not set a
precedent and appeals will not be accepted on this basis.

Access (for candidates with specific needs)
We are committed to providing fair access to our assessments for candidates with specific needs by putting inplace access arrangements and reasonable adjustments. ABRSM’s Fair Access Guidelines and Specific Needs
Policy are available at: www.abrsm.org/about-our-exams/specific-needs
Where a candidate’s needs are not covered by the guidelines, each case is considered individually.

Special considerations
Special consideration is given to candidates who suffer temporary illness, injury or indisposition, or adverse
circumstances at or near the time of the assessment that are beyond the candidate’s control. This will not result inan adjustment to marks and will not change the assessment criteria. Please refer to our Special Consideration
Policy at: www.abrsm.org/more-information/policies

Diversity
ABRSM is committed to creating greater diversity, equality and inclusion in the field of music and we are actively
working to achieve this across our portfolio of assessments, and wider organisation. Our Diversity and Inclusion
Plan is available at: www.abrsm.org/diversity-inclusion

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Music Performance diplomas
General information
Exam Regulations
When preparing for an exam, it is important to read ABRSM’s Exam Regulations, which set out the rules forcompleting the exams listed in this specification. This information is available at: www.abrsm.org/about-ourexams/exam-regulations

Amendments
Any updates to this specification, such as minor corrections or clarifications, will be posted at:www.abrsm.org/about-our-exams/syllabuses

Making an entry
Details of exam dates, fees and how to book an exam are available at: www.abrsm.org/how-to-book

Available subjects
The LRSM and FRSM diplomas are available for the following subjects:
Keyboard:

Piano, Harpsichord, Organ

Strings:

Violin, Viola, Cello, Double Bass, Guitar, Harp

Woodwind:

Recorder, Flute, Oboe, Clarinet, Bassoon, Saxophone

Brass:

Horn, Trumpet, Cornet, Flugelhorn, E♭ Horn, Trombone,Bass Trombone, Baritone, Euphonium, Tuba

Percussion
Singing

Related-instrument option
For certain instruments, candidates have the option to play work(s) on a related instrument, while ensuring thatthe majority of the programme is performed on their main instrument. Further information is contained in the
Diploma Repertoire Lists.

9

LRSM Level 6 and FRSM Level 7
Diploma Syllabus
LRSM (Licentiate of the Royal Schools of Music) and FRSM (Fellowship of the Royal Schools of Music) are both
performance-focused diplomas, designed to showcase performance skills at a level beyond the ARSM (Level 4).
They provide musicians with flexibility and responsibility in programme building, encouraging and equipping themto extend and explore repertoire for their instrument. They also provide further opportunity for musicians todevelop their performance technique and interpretative skills and to provide contextual evidence to support theperformance decisions they have made.
Candidates awarded the diploma can use the relevant letters LRSM or FRSM after their name.
These qualifications allow learners to receive formal recognition of their level of achievement, in addition to
feedback to support their learning journey. They provide learners wishing to hone and refine their performanceskills with motivation and structure, as well as providing an opportunity to demonstrate contextual understandingof the music they are performing.

Structure
These exams have been carefully designed to synoptically assess the underpinning knowledge and understanding
required for music performance. Performers’ creative skills are presented through the technical control of an
instrument, interpretation of repertoire, the delivery and successful communication of a sustained programme ofrepertoire, and an understanding of the context in which both the music and the individual performance take place.
Candidates are also provided with the opportunity for critical evaluation and self-reflection, allowing for continuous
improvement in musical dexterity.

How the exams work
• Both the LRSM and FRSM exams are delivered as digital exams, where a video recording of the candidate’s
performance and the supporting evidence (written or spoken) are assessed by one of our examiners.
These exams are ‘on demand’ in nature, and the performances can be presented and recorded at a venue of thecandidates choosing. Further guidance on digital exams is provided on page 12.

Exam content
The LRSM and FRSM exams consist of two components: Unit 1 and Unit 2.

LRSM

FRSM

Unit 1: Performance (45-minute (± 10%))
performance of a programme chosen by thecandidate

Unit 1: Performance (55-minute (± 10%))
performance of a programme chosen by thecandidate• At least 50% of repertoire must be selectedfrom the LRSM published listand• The remainder of the programme may be
own-choice repertoire (at or beyond ARSM
standard)• At least 50% of repertoire must be selectedfrom the FRSM repertoire listand• The remainder of the programme may be
own-choice music (at or beyond LRSM
standard)

Unit 2: Performance in Context

Unit 2: Research and Reflection

2000-word written submission or 10-minute video
submission (± 10%) on a topic selected from given
options

3500-word written submission or 17-minute video
submission (± 10%) on a topic selected from given
options10

Unit 1: Your Performance (LRSM and FRSM)
What is assessed
The performance component of both diplomas is designed to give you the opportunity to demonstrate a
combination of key performance-related skills such as: instrumental (or singing) technical control, musicalinterpretation, communication, and delivery, over a sustained programme of music.

How it is assessed
Two separate marks will be awarded for the following:• Your Performance (30 marks)• Performance as a Whole (30 marks)Your Performance and Performance as a Whole
Performing repertoire is at the heart of the Music Performance Diplomas. Designing balanced and varied
programmes that play to learners’ strengths as performers, and then delivering them with a real sense of musicalintent and communication, is central to musical development. This also builds stamina and embeds the technicalcontrol required to play an extended programme of music, including managing the transitions from one piece toanother.
Successful candidates should be able to deliver performances that are broadly consistent across the entire
programme of selected music. Repertoire choices should be made that allow for creativity, communication of
personal involvement and musical characterisation, interpretation of musical elements, and effective technicalcontrol of the instrument. Candidates should also be aware of the ensemble skills needed whilst performing withan accompaniment or with others, as well as the stamina to maintain and deliver a reliable performance.

Selecting repertoire
Performance duration:

LRSM 45-minute (± 10%)FRSM 55-minute (± 10%)

This is the total performance time, from the first note, to the last. (Not including prior tuning)• The total performance time includes any transition between items.
• Woodwind, brass and singing candidates may take one break of up to four minutes (LRSM) or five minutes(FRSM) (within the prescribed programme length). The exam recording must not be paused or stopped during
the break.

Programming
The minimum requirement is to perform 50% of pieces/songs chosen from the published repertoire lists. The
remainder of the programme may be own choice music of the appropriate standard, but is not mandatory. The
entire programme can be selected from the published relevant Diploma lists, should you prefer.
Allowing up to 50% own choice music provides individuals with as much autonomy, creativity and ownership ofthe music they love to perform as whilst allowing them to demonstrate the appropriate breadth and depth of skills
to be demonstrated.
If candidates wish to perform more than 50% own choice music, and therefore less than the prescribed 50% of
repertoire from the published lists, prior authorisation must be obtained. Please email syllabus@abrsm.ac.uk formore information.
Further detail on programming music can be found on the next page.
The diploma repertoire lists are available at: www.abrsm.org/other-assessments/diplomas/music-performance11

Unit 1: Administrative information
Programming Music
The programme should be balanced and varied, containing:• a variety of moods, keys and tempi• at least two contrasting (by period or style) pieces, or movements from larger works• Candidates can perform music of their own choice for both the LRSM and FRSM diplomas.
Candidates should perform all works/movements complete, unless otherwise indicated in the repertoire list. Allother additional instructions shown in the relevant repertoire list must be followed.

Own-choice repertoire:
LRSM: Maximum of 50% of own-choice repertoire, at or beyond ARSM standard
FRSM: Maximum of 50% of own-choice repertoire, at or beyond LRSM standard• Own-choice repertoire may be a candidate’s own composition or arrangement (see below)• Prior approval from ABRSM cannot be given to standardise own-choice repertoire.
• In cases where there is a concern about the standard of any own-choice piece presented, ABRSM reserves theright to request a copy, which may delay the issuing of the exam result.
• The first page (only) of own choice pieces must be uploaded as PDFs at the same time as the performance video
and written/spoken evidence.

Own composition
ABRSM welcomes the inclusion of candidates’ own compositions or arrangements to be performed as own-choicerepertoire. We will not judge or provide feedback on the structure or quality of the composition, only theperformance of it. However, as with all other own-choice repertoire, the technical demand of the composition mustbe at or above the standard expected for the level of qualification.

Performing from memory
Although there is no specific requirement to perform from memory, candidates are encouraged to do so if they
consider it will enhance their Performance.

Accompaniment
All music published with an accompaniment should be performed as such. Accompaniment may be provided byany suitable instrument(s), so long as the performer remains the main soloist throughout. It is the candidate’s
responsibility to arrange any accompanists and/or ensemble members. Pre-recorded accompaniments are notpermitted, unless originally intended by the composer.

Exam music and editions
Candidates may use any edition that matches the piece and composer/arranger information given in the repertoire
lists. All own-choice repertoire must exist in a legible and fully notated score.

Photocopies
Performing from unauthorised photocopies of copyright editions is not allowed. We may withhold the exam result
where there is evidence of an illegal copy (or copies) being used. In the UK, copies may be used in some limited
circumstances – for full details, see the MPA’s Code of Fair Practice at: www.mpaonline.org.uk

Audiences
Candidates are encouraged, but not required, to perform to an audience at both levels of the Music Diplomas.
Candidates should take into account whether to invite an audience and consider its intended size when choosing
their venue and their option for Unit 2.
12Digital exams
Venues, instruments and equipment

Candidates’ performances are video-recorded and submitted to ABRSM for assessment. The recording is made ata venue of the candidate’s choosing. This can be any location with the required space for performance, any
audience and available instruments. The candidate is responsible for organising the venue and any equipment
needed to run the exam (e.g., music stand, recording device).

Making the recording

The repertoire must be performed and recorded in one continuous take and the recording must not be paused at
any point during that take. Where candidates are under 18, the recording process must be overseen by a
Responsible Adult who must be aged 18 or over, and may be the Applicant, teacher or parent/carer.
Detailed instructions on how to record and submit the exam are given in the guidance available at:www.abrsm.org/other-assessments/diplomas/music-performance

Overlong performances

The examiner may stop listening to the recording if a candidate’s performance goes over the time limit.

13

Unit 2: Performance in Context (LRSM)
Research and Reflection (FRSM)
This component of both the LRSM and FRSM diplomas is designed to give candidates the opportunity todemonstrate their contextual understanding of the music presented in their Performance and share the results ofthe personal research and reflection they have engaged in as part of its preparation.
For both the LRSM and FRSM diplomas, candidates have been provided with four topics, from which they mustchoose one. The choices have been designed to provide every candidate with the opportunity to showcase theirstrengths – irrespective of whether that is an academic approach with detailed musical analysis, or a morepractical approach focusing on performance preparation. The topics are listed on the following pages.

What is assessed
This component of the Diplomas is a piece of written work or a verbal presentation, video recorded. It can include
musical examples, and instrumental/vocal demonstration. As well as the content outlined in the topics below, yoursubmission should include examples of where reflection informed your choices, an evaluation of the effectivenessof your approach and how it evolved over time, and any specific insights that will inform your approach in the
future. The verbal presentation (if chosen) does not have to be recorded at the same time as the Unit 1 Your
Performance.
• Candidates can submit the written document in any language. If English is not used, a certified translation into
English must be provided at the same time. All written evidence must be uploaded in PDF format, including
PowerPoint Presentations, MS Word documents, etc.
• Candidates can give their verbal presentation in any language. If English is not used, English subtitles must be
provided on the video recording.
• Some candidates may choose to submit a video recording of a PowerPoint presentation delivered to a group, ora similar scenario where documentation is used with video. Should this be the case, both the video recording
and accompanying documents in PDF format must be uploaded.

How is it assessed?
For this unit, examiners are looking for evidence of analytical skills, well-developed and convincing insights, basedon thorough and relevant research, confident communication, whether written or verbal, and thorough selfevaluation, based on significant personal investment and thought. Specific assessment criteria can be found on therelevant pages.

14

Unit 2: Performance in Context (LRSM) topics
LRSM candidates must choose ONLY ONE of the four topics listed below.
The submission must be 2000 written word (± 10%) or 10 minutes (± 10%) spoken word.
Candidates are encouraged to read the assessment criteria on page 23.

Option 1: Informing your audience
Provide an informative overview of the music in your LRSM performance. Suitable for a generalist concert
audience, your work should:
1. inform and support others to see the pieces in context
2. identify musical features such as structure, style, and character, and how these relate to one another3. engage the listener and make the music accessible to them
Topics may include, but are not limited to:• background information about the composer(s)• the contextual place of the work(s) in the output of the composer(s)• supporting detail concerning musical periods and styles• an overview of the musical structures and forms involved• points of note relating to instrumental / vocal technique• character and mood
You should conclude with a short reflection on how effectively you achieved the aim of informing your audience,and how this insight will influence your approach in the future

Option 2: Detailed programme analysis
Choose a 20-minute section of your LRSM programme and provide a thorough and detailed exploration, throughone of the following lenses:
A. Context and analysis (including information about the composer(s) and musical period(s), influences on theorigins of the work(s), their significance in musical development more widely, etc.)
B. Performance history/discography (including piece dedications, premieres and/or early performances throughto contemporary concerts, references to recordings, notable performers/performances, etc.)
C. Significance in the development of your instrument (including information about the composer(s) andmusical period(s), the impact of technical developments in the construction of the instrument, relationship toother key works in the history of your instrument, etc.)
You should conclude with a short reflection on the impact this research has had on your own practice as aperformer, and an evaluation of how this will continue to inform your approach in the future.

15

Option 3: Programming your performance
Consider your LRSM performance programme as a whole and provide a thorough and detailed commentary on
your reasons for choosing this programme and its order.
Topics may include, but are not limited to:• overarching themes• contrasts in musical periods and styles• the ways in which the research informed your developing interpretation• which works suit your performing style and the reasons for this• areas of challenge and strategies employed• how you managed the transitions between pieces/movements• the suitability of works you have chosen for the venue
You should conclude with a short reflection on the insights you gained through preparing your programme,
particularly how they have impacted your performance and continuing performance practice. You should also
include an evaluation of the effectiveness of your approach and of the programme itself.

Option 4: Preparation for performance
Provide a holistic overview of your preparation for your LRSM performance from the very beginning of yourpreparatory journey to the final performance. Give a detailed account of the technical and musical demands
required, and of your specific preparation to master these.
Topics may include, but are not limited to:• researching and choosing repertoire• programme planning, including strategies for overcoming the technical and interpretative challenges yourchosen programme presents• contextual information from your own personal research that has informed your interpretation, including
available discography• your approach to communicating as a performer• reference to published literature and technical exercises you studied• practice strategies you developed to prepare the programme, including any teacher input
You should conclude with a short reflection on the insights you gained from the preparation process, particularly
how they have impacted your performance and continuing performance practice. You should also include anevaluation of the effectiveness of your approach and of the eventual result.

16Unit 2: Research and Reflection (FRSM) topics
FRSM candidates must choose ONLY ONE of the four topics listed below.
The submission must be 3500 written word (± 10%) or 17 minutes (± 10%) spoken word.
Candidates are encouraged to read the assessment criteria on page 27.

Option 1: Informing your audience
Present information, suitable for an audience at a professional public concert venue, that will enhance youraudience’s understanding of and engagement with your programme. Drawing on substantial personal research andreflection, provide information covering each work in your FRSM performance that will support an informed andexperienced audience to see the works in context and identify features of the music that may be new to them.
Topics may include, but are not limited to:• background information about the composer(s)• the contextual place of the work(s) in the output of the composer(s)• supporting detail concerning musical periods and styles• an overview of the musical structures and forms involved• points of note relating to instrumental / vocal technique• character and mood, and musical analysis.
The information you present is designed to enhance your audience’s understanding and share insights about themusic that are original and authentic. You should conclude with a short evaluation of how effectively you realised
this aim.

Option 2: Detailed programme analysis
Choose a 30-minute section of your FRSM programme and explore the music you have chosen in depth. You
should provide a thorough and detailed analysis of this part of your programme through one of the following
lenses:A. Musical analysis (including information about the composer(s) and musical period(s), influences on the originsof the work/s, their significance in musical development more widely, etc.)
B. Performance history/discography (including information on any dedications on the part of the composer,
premières and / or early performances through to contemporary concerts as appropriate, references torecordings, or champions of a work, etc.)
C. Significance in the development of your instrument (including information about the composer(s) and musicalperiod(s), how the impact of technical developments in the construction of the instrument has opened new
tonal possibilities, relationship to other key works in the history of your instrument, etc.)
You should conclude with a short reflection on the impact this research has had on your own practice as aperformer, and an evaluation of how this will continue to inform your approach in the future.

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Option 3: Programming your performance
Consider your FRSM performance programme as a whole and explore the music you have chosen in depth. You
should provide a thorough and detailed commentary on your reasons for choosing this programme and its order.
Topics may include, but are not limited to:• overarching themes• contrasts in musical periods and styles, and how this has influenced your interpretation• the ways in which personal research informed your developing interpretation• ways in which one or more work(s) suit your performing style and strengths, and others have challenged you todevelop• how you managed the transitions between pieces• musical insights gained through the preparation process• suitability of works you have chosen for the venue
You should conclude with a short reflection on the insights you gained through preparing your programme, andhow they impacted your performance and continuing performance practice. You should also include an evaluationof the effectiveness of your approach and of the programme itself.

Option 4: Preparation for performance
Provide a holistic overview of your preparation for your FRSM performance from the very beginning of yourpreparatory journey to the final performance. Give a detailed illustration of the technical and musical demands
required, and of your specific preparation to master these.
Topics may include, but are not limited to:• researching and choosing repertoire• programme planning, including strategies for overcoming the technical and interpretative challenges yourchosen programme presents• contextual information from your own personal research that has informed your interpretation, including
available discography• your approach to communicating as a performer• reference to published literature and technical exercises you studied• practice strategies you developed to prepare the programme, including any teacher input
You should conclude with a short reflection on the impact the insights you gained from the preparation process
have had and will continue to have own your own practice as a performer, and an evaluation of the effectiveness ofboth your approach, and the performance you delivered.

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Unit 2: Administrative information
Submitting written or spoken evidence for LRSM and FRSM (Unit 2)
In addition to a live performance recording (Unit 1), candidates must also submit supporting evidence which can beeither written or spoken (video-recorded) at their choice. Candidates should be aware of the following:• For quality assurance purposes, candidates should use their Contact ID, not their name, on any submitted work
• Submitted work may not be re-used at a higher level of ABRSM diploma, although reference to it can be made• ABRSM reserves the right to refuse examination of any submitted work if it contains material of an unsuitable
natureWritten evidence format
Candidates must upload their Unit 2 written evidence together with their Unit 1 Performance recording, along withany necessary translation.
The document must be in the following format:• typed and saved as a .pdf file• all pages must be numbered• the front page must contain:o ABRSM Contact ID
o instrumento chosen option title
o dateo word count (excluding any footnotes, bibliography/ discography)• the work must be consistent in its presentation and referencing style

Spoken evidence format
Candidates must upload the video of their Unit 2 spoken evidence together with their Unit 1 performance, alongwith any supporting documentation if appropriate (e.g. PowerPoint slides). If this is in a language other than English,
English subtitles must be provided on the video recording.
The spoken evidence must:• be saved in an identical video format to the Unit 1 Performance• be recorded with the candidate visible to camera throughout• follow the guidance on recording and submission at: www.abrsm.org/other-assessments/diplomas/musicperformance• The spoken evidence does not have to be recorded in one continuous take• include a verbal introduction by the candidate, which includes:o ABRSM Contact ID
o instrumento chosen option title
o dateo length of video (excluding any footnotes, bibliography/ discography)• include reference to sources, including bibliography/discography
ABRSM regrets that it cannot return any submitted work; candidates are advised to keep a copy for their records.

Declaration of genuine work
All evidence must be the candidate’s own, and they are required to complete the candidate declaration form aspart of the online submission process.

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LRSM Assessment and marking
Assessment objectives and Learning outcomes
The following table describes the level of knowledge and skills required of the candidate. It also shows the
specific expertise successful candidates will be able to demonstrate.

LRSM (RQF Level 6)
Assessment objectives

Learning outcomes

Perform a programme of music of prescribed length,with a variety of mood, key and tempo, of which asignificant proportion will be at a level beyond ARSM.

1. Perform a 45-minute programme of technicallydemanding repertoire with fluency and accuracy.
2. Demonstrate advanced musicianship skills andcontextual awareness throughout a sustained
programme of music.
3. Communicate a thorough knowledge of the different
techniques and strategies relevant to music
performance.

40%

Design, deliver and sustain the performance as awhole, matching the demands of the performancecontext and programme.
40%

1. Devise and deliver a stylistically balanced andsustained programme of music, with confidence.
2. Demonstrate a developed understanding and controlof advanced performance skills, such as performanceawareness, textures and ensemble skills.
3. Demonstrate musical connectivity to the score, toothers, and to the performance situation.

Demonstrate knowledge and understanding of themusical context of the performance by presenting
persuasively and convincingly the results of personalresearch and reflection, by preparing either a written or
spoken submission chosen from a specified list.

1. Demonstrate the ability to gather, process, andanalyse information related to a subject.

20%

3. Structure and communicate information relating to
the performance in context, with autonomy andcreativity.

2. Appraise different perspectives that influence
performance choices, including self-evaluation andreflection.

Mark allocation

Result categories

Marks are allocated for each component of theassessment, as shown in the table below:

The result categories for the LRSM diploma are set
as follows. A Pass in each component of theassessment is not required to pass overall.

Component

Maximum
marks% of total
mark

Result category

Mark band

Pieces/Songs presented

30

40%

Distinction

68-75

Performance as a whole

30

40%

Merit

60–67

Performance in Context

15

20%

Pass

50–59

TOTAL

75

100%

Below Pass 1

37-49

Below Pass 2

25–36

20

Assessment criteria – Unit 1: Your Performance

PERFORMANCE AS A WHOLEPIECES OR SONGSDistinction

30-27 marks

Merit26-24 marks

Pass

23-20 marks• Authoritative performance• Good performance• Competent performance• Engaging and persuasive
characterisation,
demonstrating extensive
understanding of the chosenmusic• Acute awareness andsensitive exploration of thetonal colours of the
instrument• Expressive and idiomaticmusical shaping and detailwith sophisticated stylistic
awareness• Performance underpinned byexcellent technical andmusical control• Engaging characterisation,
demonstrating thoroughunderstanding of the chosenmusic• Sufficient characterisation,
demonstrating overall
understanding of the chosen
music• Sensitive awareness andexploration of the tonal
colours of the instrument• Some awareness andexploration of the tonal
colours of the instrument• Expressive musical shaping
and detail with good stylistic
awareness• Some musical shaping,detail and stylistic
awareness• Performance underpinnedby adept technical andmusical control• Performance underpinned
by reliable technical andmusical control• Authoritative and wellprojected performance style,with strong musicalconviction and vivid
communication across the
programme• Sophisticated control oftextures and ensemble, withassured blending andbalancing• Authoritative management of
the performance situation• Well-projected performancestyle, with musicalconviction and strong
communication across the
programme• Generally well-projected
performance style, withsome musical conviction
and communication acrossthe programme• Adept control of texturesand ensemble, with effective
blending and balancing• Good control of textures andensemble, with competent
blending and balancing• Skilful management of theperformance situation• Proficient management of
the performance situation• Highly effective sequence andpacing of programme• Effective sequence andpacing of programme• Good sequence and pacingof programme• Profound musicalunderstanding isdemonstrated, throughassured stylistic interpretationand delivery• Thorough musicalunderstanding isdemonstrated, throughaccomplished stylistic
interpretation and delivery• Musical understanding isdemonstrated, throughcompetent stylistic
interpretation and delivery

21

Assessment criteria - Unit 1: Your Performance (Cont.)

PERFORMANCE AS A WHOLEPIECES OR SONGS

Below Pass 1

19-15 marks

Below Pass 2

14-10 marks• Insecure Performance• Inadequate Performance• Inconsistent characterisation, demonstrating
limited understanding of the chosen music• Little evidence of characterisation orunderstanding of the chosen music• Limited awareness and exploration of thetonal colours of the instrument• Little or no awareness and exploration of thetonal colours of the instrument• Limited musical shaping, detail and stylistic
awareness• Little or no musical shaping, detail andstylistic awareness• Unreliable technical and musical control• Inadequate technical and musical control• Inconsistently projected performance style,with limited musical conviction andcommunication across the programme• Performance style lacks projection, musicalconviction and communication across the
programme• Poor control of textures and ensemble, withinconsistent blending and balancing• Little control of textures and ensemble, withfrequent lapses in blending and balancing• Ineffective management of the performance
situation• Inadequate management of the performance
situation• Unconvincing sequence and pacing of
programme• Incoherent sequence and pacing of
programme• Limited musical understanding isdemonstrated, through inconsistent stylistic
interpretation and communication• Inadequate musical understanding isdemonstrated, with little or no stylistic
interpretation and communication

22

Assessment criteria – Unit 2: Performance in Context
Distinction

15-14 marks

Merit13-12 marks

Pass

11-10 marks• Sophisticated and perceptive
evaluation of the music, withevidence of strong analyticalskills• Insightful and detailed
evaluation of the music, withevidence of solid analytical skills• Thorough evaluation of themusic, with evidence ofdeveloping analytical skills• Submission brings together
material from an extensive
range of sources, with evidence
of detailed and relevant
research• Submission brings together
material from a wide range ofsources, with evidence of
relevant research• Submission brings together
material from a range ofsources, with evidence of
research• Submission is excellently
structured; specific terminology
is appropriate throughout andconclusions are authoritativeand convincing• Submission is effectively
structured; specific terminology
is mostly appropriate andconclusions are convincing• Submission is clearly structured;
specific terminology is generally
appropriate and conclusions arecoherent• Content is entirely relevant tothe chosen task andcommunication is compelling• Content is largely relevant to thechosen task and communicationis strong• Content is generally relevant tothe chosen task andcommunication is clear• Self-evaluation iscomprehensive, with compelling
evidence of significant personal
insight, reflection and original
thought• Self-evaluation is thorough, withdetailed evidence of personal
insight and reflection• Self-evaluation is sufficient, withclear evidence of personal
insight and reflection

Below Pass 1

9-7 marks

Below Pass 2

6-5 marks• Unconvincing evaluation of the music, with limited
evidence of analytical skills• Evaluation of the music is weak, with little or noevidence of analytical skills• Submission brings together material from a narrow
range of sources, with limited evidence of research• Submission brings together material from few
sources, with no evidence of research• The submission is poorly structured; specificterminology is rarely appropriate and conclusions
are unconvincing• The submission is unstructured; specificterminology is used inappropriately andconclusions are incoherent• Content is inconsistently relevant to the chosentask and communication is only partially clear• Content is not relevant to the chosen task andcommunication is unclear• Self-evaluation is unconvincing, with limited
evidence of personal insight and reflection• Lacking self-evaluation with little or no evidence of
personal insight and reflection

23

FRSM Assessment and marking
Assessment objectives and Learning outcomes
The following table describes the level of knowledge and skills required of candidates taking an FRSM diploma. It
also shows the specific expertise successful candidates will be able to demonstrate.

FRSM (RQF Level 7)
Assessment objectives

Learning outcomes

1. Perform a 55-minute programme of technically challenging
repertoire with flair, artistry and creativity.
Perform a programme of music of prescribed2.
Demonstrate,
across an extended programme of music, a level
length, with a variety of mood, key andofmusicianshipskill and contextual awareness commensurate
tempo, of which a significant proportion willwithaprofessional
performance standard.
be at or beyond LRSM level.
3. Demonstrate exceptional instrumental/vocal dexterity and a40%wide range of different techniques and strategies within music
performance.
1. Devise and seamlessly deliver a creative programme of music,emphasising the technical and expressive capabilities of the
instrument or voice.
Design, deliver and sustain the performance 2. Communicate an advanced understanding and control of the
as a whole, matching the demands of thediffering interpretative skills, such as performance awareness,
performance context and programme.
textures and ensemble skills, required across distinct styles orgenres of music, revealing new and original musical insights in40%
the process.
3. Demonstrate musical connectivity and empathy to all aspectsof the performance situation.
Demonstrate knowledge and understandingof the musical context of their performanceby presenting persuasively and convincingly
the results of personal research andreflection, by preparing either a written orverbal submission chosen from a specified
list.
20%

1. Demonstrate critical thinking and analytical skills to facilitate
the evaluation and synthesis of material or information,
presenting comprehensive and convincing arguments to
support conclusions.
2. Critically evaluate different perspectives that influence
performance choices, from a range of sources including selfevaluation and reflection, to reach innovative conclusions.
3. Structure and communicate research and reflection findings to
a musically informed and experienced audience or recipient.

Mark Allocation

Result categories

Marks are allocated for each component of theassessment, as shown in the table below:

The result categories for the FRSM diploma are
set as follows. A Pass in each component of theassessment is not required to pass overall.

Component

Maximum
marks% of total
mark

Result category

Mark band

Pieces/Songs presented

30

40%

Distinction

68-75

Performance as a whole

30

40%

Merit

60–67

Research and Reflection

15

20%

Pass

50–59

TOTAL

75

100%

Below Pass 1

37-49

Below Pass 2

25–36

24

Assessment criteria – Unit 1: Your Performance

PERFORMANCE AS A WHOLEPIECES OR SONGSDistinction

30–27 marks

Merit

26–24 marks

Pass

23–20 marks• Highly accomplished andthoroughly engaging
performance - to the standardof a public recital• Accomplished andengaging performance• Mostly accomplishedperformance• Consummate exploration of thetonal colours of the instrument• Skilful and effective
exploration of the tonal
colours of the instrument• Good and effective
exploration of the tonal
colours of the instrument• Expressive, idiomatic playing at
an exceptionally high level ofmusical artistry andcommunication• Expressive, idiomatic
playing at a high level ofmusical artistry andcommunication• Expressive, idiomatic
playing with musicalartistry and communication• Authoritative and vivid
characterisation, demonstrating
personal individuality andprofound stylistic understanding• Assured and persuasive
characterisation,
demonstrating thoroughstylistic understanding• Clear and engaging
characterisation,
demonstrating goodstylistic understanding• Performance underpinned byexemplary technical andmusical control• Performance underpinnedby excellent technical andmusical control• Performance underpinned
by good technical andmusical control• Compelling and authoritative
performance style, withexceptional musicalcommunication andcommitment across the
programme - a strong musicalvoice• Outstanding control of textures• Authoritative performancestyle, with excellent
musical communicationand commitment acrossthe programme• Convincing performancestyle, with good musicalcommunication andcommitment across the
programme• Sophisticated control of• Adept control of textures• Commanding management of
all aspects of the performance
situation• Authoritative managementof the performance
situation• Skilful management of theperformance situation• Exemplary sequence and pacingof programme• Highly effective sequenceand pacing of programme• Effective sequence andpacing of programme• Exceptional musicalunderstanding is demonstrated,through consummate stylistic
interpretation and delivery• Profound musicalunderstanding isdemonstrated, throughassured stylistic
interpretation and delivery• Thorough musicalunderstanding isdemonstrated, throughgood stylistic interpretationand delivery

and ensemble and artistic
blending and balancing

textures and ensemble withassured blending andbalancingand ensemble with effective
blending and balancing

25

Assessment criteria - Unit 1: Your performance (cont.)

PERFORMANCE AS A WHOLEPIECES OR SONGS

Below Pass 1

19–15 marks

Below Pass 2

14–10 marks• Partially secure performance• Insecure Performance• Partial and inconsistent exploration of the tonal
colours of the instrument• Limited exploration of the tonal colours of the
instrument• Inconsistently expressive and idiomatic playing,
with limited musical artistry andcommunication• Intermittent characterisation, demonstrating
inconsistent stylistic understanding• Playing lacks expression and musical artistry• Partially reliable technical and musical control• Unreliable technical and musical control• Unconvincing performance style with limited
musical communication and commitment
across the programme• Little or no performance style with weakmusical communication and commitment
across the programme• Partial control of textures and ensemble with• Limited control of textures and ensemble with

• Inconsistent management of the performance
situation• Ineffective management of the performance
situation• Partially effective sequence and pacing of
programme• Musical understanding is inconsistently
demonstrated; ineffective stylistic interpretationand delivery• Ineffective sequence and pacing of programmeinconsistently effective blending and balancing• Little or no characterisation, demonstrating
limited stylistic understanding

frequent lapses in blending in balancing• Limited musical understanding is demonstrated;little or no stylistic interpretation and delivery

26

Assessment criteria - Unit 2: Research and Reflection
Distinction

15–14 marks

Merit

13–12 marks

Pass

11–10 marks• Sophisticated and perceptive
critical evaluation of the music,
with evidence of highly
developed analytical skills• Insightful and detailed
critical evaluation of themusic, with evidence ofstrong analytical skills• Thorough critical evaluationof the music, with evidenceof solid analytical skills• Submission brings together andsynthesises material from anextensive range of sources, withevidence of comprehensive andrelevant research• Submission brings together
material from a wide rangeof sources, with evidence ofdetailed and relevant
research• Submission brings together
material from a range ofsources, with evidence of
relevant research• Submission is expertly
structured; specific terminology
is appropriate throughout andconclusions are authoritativeand convincing• Submission is excellently
structured; specificterminology is largely
appropriate and conclusions
are convincing• Submission is effectively
structured; specificterminology is mostly
appropriate and conclusions
are coherent• Content is entirely relevant tothe chosen task, creating an
authoritative and persuasive
argument; communication iscompelling and captivating• Content is relevant to thechosen task, creating apersuasive argument;
communication iscompelling• Content is largely relevant tothe chosen task, creating acohesive argument;
communication is strong• Outstanding self-evaluation –comprehensive and perceptive,
with compelling evidence
throughout of significant
personal insight, reflection andoriginal thought• Excellent self-evaluation –thorough, with detailed
evidence of personal insight,
reflection and original
thought• Good self-evaluation – clear,with detailed evidence of
personal insight andreflection

Below Pass 1

9–7 marks

Below Pass 2

6–5 marks• Unconvincing critical evaluation of the music,
with limited evidence of analytical skills• Weak critical evaluation of the music, with little
or no evidence of analytical skills• Submission brings together material from few
sources, with limited evidence of research• Submission brings together material from very
few sources, with no evidence of research• Submission is ineffectively structured; specificterminology is only generally appropriate andconclusions are mostly unconvincing• The submission is poorly structured; specificterminology is rarely appropriate andconclusions are unconvincing• Content is partially relevant to the chosen task,
creating a partially cohesive argument;
communication is inconsistently clear• Content is inconsistently relevant to the chosentask, creating an unclear argument;
communication is weak

• Unconvincing self-evaluation - partially clear,with limited evidence of personal insight andreflection• Lacking in self-evaluation - unclear, with little
evidence of personal insight and reflection27

Grading and awarding
In order to achieve either the LRSM or FRSM, candidates must:• Complete all tasks relevant to the qualification• Achieve the minimum mark required across the totality of the qualification.

Marking
The evidence submitted by candidates is measured using the assessment criteria found on the preceding pages.

Awarding
An examiner’s assessment will be based on the performance given at that time towards the Diploma. Prior
performances of the same pieces will not be considered for the qualification, nor will marking appeals be acceptedon that basis.
For digital exams, a recording can only be submitted as evidence for any qualification once. It cannot be re-used
for the same or a different qualification at any point in time. If a previously submitted video is uploaded as
evidence a second time, this will be discounted, and the candidate disqualified from that second assessment.

Synoptic assessment
Synoptic assessment is a form of assessment that requires candidates to demonstrate that they can identify andeffectively use a selection of skills, techniques, concepts and knowledge to carry out a key task. The diploma
allows candidates to demonstrate their ability to draw together different skills, knowledge and understanding:theory, notation, instrument control, listening skills, creative interpretation – and apply these collectively during
the performance of a sustained programme of music.

Results
All candidates receive a copy of their mark form. Successful candidates also receive a certificate that shows thequalification title as well as the subject and level that they have been examined in. We aim to release results for
Diplomas in line with the schedules at: www.abrsm.org/about-our-exams/results-and-certificates; however,some results may take longer if selected for random sampling. We regret that we are not able to give any resultsby telephone, nor can we accept any responsibility for the loss of certificates in the post.
Unless otherwise requested at the time of booking, mark forms and certificates are issued to the applicant,whose responsibility it is to pass them on to candidates.

Postnominals
Candidates awarded the diploma can use the relevant LRSM or FRSM letters after their name.

Appeals and feedback
Appeals

If a candidate has received an unexpected exam result, this can be appealed by requesting a Results Review.
This process allows us to revisit the marks awarded by an examiner and, subject to the outcome of the review, may
result in a mark amendment.

Feedback

In addition to a Results Review, we also welcome feedback about other matters, such as the overall exam
experience or the mark form. All feedback is logged and plays a valuable part in our commitment to continuous
improvement and quality assurance procedures.
For further information on our processes and deadlines for appealing a result, or submitting feedback, visit:www.abrsm.org/about-our-exams/results-and-certificates/appeals-and-feedback

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