MTASA Autumn SA Music Teacher by Music Teachers' Association of SA Inc.

AUTUMN 2022

IN THIS ISSUE 2022 SUMMER CONFERENCE REPORT MY JOURNEY, ACCOMPANIED BY THE PIANO LEAD SHEET INTERPRETATION

Published by The Music Teachers’ Association of South Australia Inc.

SA MUSIC TEACHER

WELCOME FROM THE PRESIDENT At the dawn of 2022we were again struck by a Covid boom and gathering restrictions threatened to disrupt our biennial Summer Conference plans. Not to be deterred, the MTASA typically shifted course, and made the brave decision to forge ahead with the Summer Conference, 100% online. Hence on January 20/21, 2022, the MTASA Summer Conference was held at the University of Adelaide, Elder Conservatorium, convened expertly by Rodney Smith. With live performers and presenters, virtual attendees, and with the invaluable expertise of our amazing skeleton tech crew who literally worked around the clock, we did our very best to deliver the Conference as professionally as possible. We were pleased to enable you to visit two rooms of presentations, our main room and the breakout room. Attendance was only slightly lower than our live events, and we were absolutely thrilled that so many music teachers came on board to enrich their professional development. With the main topic being musical performance and helping pupils unravel its challenges, via a series of talks, by wonderful keynote speaker Angela Turner from Queensland, it was a varied yet focused conference. We enjoyed an ensemble performance of Morning Star conducted by Samantha Penny, live performances by our prize winners in a showcase concert, talks by Cheryl Van Wageningen, Mark Matthews, Sarah Porter, Rosslyn McLeod, Dr Oliver FartachNaini and Rodney Smith, and more. I would like to congratulate all attendees for, well, attending! The hurdles presented by the pandemic have required us to become more creative and innovative, in order to connect and collaborate, despite not being in the same room. This puts me in the mind of something called radical resilience, a term coined by Australian Eileen McDargh, Chief Energy Officer of the Resilience Group. Radical resilience is “growing through challenge or opportunity so that you end up wiser and smarter on the other side”. We have had to learn an extraordinary amount of technical spark and grow in a new way as a result of the difficulties that the pandemic, and its new rules, have imposed on us. Times have changed, and as Greek Philosopher Heraclitus said, you cannot step in the same river twice. This has prompted us to be resilient as educators, and with some encouragement, we can develop something even better called Radical Resilience, which includes adaptability, reframing, intelligent optimism, and disruption. Adaptability is something familiar to music teachers, who are constantly required to respond in many ways to changing situations, for example by selecting repertoire for each individual student, rather than sticking to a prescribed list. Or adapting our expectations to a pupil’s physique, or injury, or a changing situation. Reframing is the ability to find opportunity in any situation. When we realised that we could not compromise the safety and health of our attendees, we as a council decided to take the big step online, putting something that has been traditionally our flagship information, development, meet and greet event into the digital world. We had to reframe. Intelligentoptimism is another facet of radical resilience. We are constantly learning to reframe difficult situations into those with potential for positive outcomes, and this creates intelligent optimism. As music teachers, we hope to embrace a growth mindset that comes with adaptability. By using reframing to recognize the opportunity that otherwise may lay hidden, we as a council have found that although it necessitated much more hard work to bring this online, we have also learned so much more. Disruption. Performance is something that can be totally outside of a student’s comfort zone. But it can be argued that everything that truly matters IS going to happen outside the comfort zone. Disruption can be our friend: we learn to cope with the organisational changes, we are learners alongside our students, and we harness our habit of continual learning to navigate disruption skilfully. By educating ourselves, we can educate others more successfully. And there is no better time than right now, amid these disruptions, changing situations and challenges, to embrace this opportunity to truly grow stronger and smarter in our roles as guides and educators. With all best wishes,

Sofie Arhontoulis, President, The Music Teachers’ Association of South Australia Inc.

SA MUSIC TEACHER

VOLUME 30 No 1 AUTUMN 2022 PATRONS :

Dr Doreen Bridges AM Emeritus Professor David Lockett AM Her Excellency the Honourable Frances Adamson AC, Governor of South Australia and Mr Rod Bunten

PRESIDENT

: Sofie Arhontoulis

VICE-PRESIDENT

: Rodney Smith, Wendy Heiligenberg

SECRETARY

: Masako Kondo

TREASURER

: Samantha Penny

AUDITOR

: Australian Independent Audit Services

CONTENT WELCOME FROM THE PRESIDENT by Sofie Arhontoulis

COMING MTASA EVENTS MEMBER INFORMATION

In Memory Robert Brown OAM by Felicity Brown Malcolm Potter OAM by Mark Potter

RECENT EVENTS Summer Conference Report Cheryl van Wageningen “Performing in the 21st century: An Indigenous Perspective” By Jane Burgess

“Musical performance from the heart and soul”, Presented by Mark Matthews by Pat. H. Wilson

The George Pearce Oration: “The challenge of change”Presented by Antony Hubmayer by Pat. H. Wilson

Angela Turner Masterclass by Wendy Heiligenberg

ADVERTISING - please contact the Secretary Please see MEMBER INFORMATION page for Advertising Price List.

Collaborative music-making and music by Melanie Walters

DEADLINES FOR 2022 Contributions to SA Music Teacher are most welcome. All items to be included must reach the Editor, Masako Kondo (info@mtasa.com.au) no later than these deadlines:

DAVID LOCKETT “Joyful Music Making: Achieving a fluent, comfortable, confident and satisfying performance experience” by Wendy Heiligenberg

ARTICLES ACCOMPANIST’S CORNER My journey, accompanied by the piano by Lillian Camphausen

JAZZIN’ AROUND Lead Sheet Interpretation – by Kerin Bailey

Two Music teachers from the Past (Adelaide) By Leon Le Leu

PEDAGOGY MATTERS Curating MTASA’s Summer Conference By Rodney Smith

MTASA WEBSITE

OTHER ORGANISATIONS’ NEWS & EVENTS

Please visit mtasa.com.au

OTHER ORGANISATIONS’ CONCERTS

MTASA FACEBOOK

CONTACT DETAILS FOR OTHER ORGANISATIONS

Please visit the MTASA Facebook page at www.facebook.com/MusicTeachersSA/

Front Cover: Haneulle Loveday photo by Anthe Mur

COUNCIL 2021/2022 :

Sofie Arhontoulis, Pete Barter, David Brookes, Wendy Heiligenberg, Masako Kondo, Elsabeth Lang, Zuoyu Liu, Yong Cheong Lye,Yuxin Men, Anthea Mur, Samantha Penny, Rodney Smith

EDITOR

: Masako Kondo

LAYOUT

: Sectrix

MEMBERSHIP ENQUIRIES to the Secretary PO Box 4, RUNDLE MALL, SA 5000 Mobile: 0402 575 219 E-mail: info@mtasa.com.au

Friday April 29, Friday July 15, Friday October 28. SOME CONTRIBUTING GUIDELINES All text is to be submitted to the Editor for review. Italics and inverted commas for quotations - text is to be either in Italics or inside inverted commas, not both. Single inverted commas to be used; double inverted commas only inside single inverted commas. The inverted comma at the end of a sentence is to be inside the fullstop; outside for ! and ?

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COMING MTASA EVENTS Mon, April 4 Webinar with Rosanne Hammer Venue Time Ticket

: Flinders Street Baptist Church : 7:30 pm : Via Eventbrite

Sunday, August 7 Concert Performance Day 2 Venue Time Ticket

: Flinders Street Baptist Church : 3 pm& 4:30 pm (2 sessions only) : Via Eventbrite

Saturday, October 29 Competition Day: Reimann-Robinson Scholarship & Norman Sellick Memorial Prize Venue Time Ticket

: Flinders Street Baptist Church : 9:00 am : Via Eventbrite

Sunday, November 13 AGM Venue Time Ticket

: TBC : TBC : Via Eventbrite

MTASA Council is also planning webinars in 2022. Details to be released soon.

MEMBER INFORMATION NEW MEMBERS The Music Teachers’ Association extends a warm welcome to the following music teachers who have joined the association. We are looking forward to meeting them at our events. Eduardo Ruiz, Full, Classical Guitar, Commercial Guitar, Folk Guitar Yueqi Li, Full, Classical Guitar Pam Davis, upgrade to Full, Piano Karen Redman, Full, Clarinet, Flute, Saxophone, Theory

NEWS MTASA member Alison Hams from Whyalla was on 17th November inducted by the Governor of SA at Government House in Adelaide into the State Government’s SA Womens Honour Roll- an in-perpetuity State Library record of outstanding SA women and their dedicated contribution to our State: https://officeforwomen.sa.gov.au/__data/ assets/pdf_file/0010/124759/OFWWomens-Honour-Roll-2021.pdf If this wasn’t enough - the next evening 18th November - Ali WON theSOUTH AUSTRALIAN MUSIC AWARDfor “Best Music Educator” https://glamadelaide.com.au/2021-southaustralian-music-awards-announced/ https://scenestr.com.au/music/ south-australian-music-awards-2021winners-20211119

SA MUSIC TEACHER

MTASA MEMBERSHIP FEES The membership fees are: Full member : $122 Student member : $62 Friend : $32 Institution : $32

MTASA MEMBERSHIP RENEWALS Membership Subscription Renewals for 2022/2023 will be due on June 30. Subscription renewal notices were sent in late June via e-mail to remind members to log in and renew their membership for the 2022/2023 financial year. If you are a Full member you will be asked to indicate that you have completed seven hours of Professional Development during the previous twelve months. If you don’t receive an e-mail please check your spam folder. You can log in at any time to renew your membership. If it seems that you didn’t receive an e-mail, have forgotten your username or are having problems logging in please contact the Secretary (info@mtasa.com.au). Paper invoices were sent to members who prefer to receive them.

RECOMMENDED TEACHING FEES The following teaching rates are recommended to members by the MTASA Council for 2022. Full Member Associate Member Student Member

: $75 per hour : $64 per hour : $48 per hour

REQUIRED PROFESSIONAL DEVELOPMENT FOR FULL MEMBERS OF MTASA MTASA has introduced a Professional Development scheme for Full members. This commenced on July 1, 2019 when Full members began accumulating their seven hours of Professional Development. The scheme is designed to underpin and enhance MTASA’s established reputation for the professional excellence of its members, ensuring its standards are fully compliant with current educational expectations. These are clearly outlined in the Australian Professional Standards for Teachers (visit www.aitsl.edu.au/teach/standards) and similar documents. From July 1, 2020 onwards Full members, when renewing their membership, will be asked to tick a box declaring that they have undertaken at least seven hours of Professional Development during the previous twelve months. The following examples are provided to give general guidance for Full members about Professional Development that would be acceptable to MTASA. These examples represent only a small sample of all the possibilities available to Full members. Generally Full members should feel comfortable about their own choices but in case of doubt you are welcome to contact the Secretary for further advice (info@mtasa.com.au). Improved music teaching should be a major factor in all activities that Full members wish to count towards their MTASA Professional Development. MTASA will undertake random checks from time to time to ensure the system is working properly. So, on very rare occasions a Full member may receive a request from the Secretary for information about their Professional Development. In such instances you may submit evidence such as certificates, programs, diary notes, recordings and so forth.

SA MUSIC TEACHER

Examples of Professional Development that would be acceptable to MTASA: 1. Online. Attending a webinar or similar event; undertaking an online e-learning course. 2. Face-to-Face. Attending a conference, workshop, masterclass or lecture. 3. Formal Study. Undertaking a qualification or part-qualification delivered by a recognised institution. 4.

Personal Research. Studying books, journals, articles, musical scores, musical theory, analysis, etc., which lead to an example of improved music pedagogy and/or pupil performance.

Self-conducted research leading to a presentation, masterclass or workshop at a conference.

As a member of Educators SA, MTASA can offer benefits to its members. Here are some offers: Andersons Solicitors offer MTASA members: • 10% off legal services, in ALL areas. • Free initial phone conversation with a lawyer. When contacting Andersons Solicitors tell them you are a member of MTASA, which is a member organisation of Educators SA (CEASA). Visit the website at www.andersons.com.au/. Credit Union SA has a range of education only offers. Visit the website at www.creditunionsa.com. au/community/education-communitybanking-benefits/ for more information.

Composing an educational piece of music that motivates a group of pupils. 5. Team Research. A joint project with others that achieves particular improvements in a training ensemble. Joint creation of music teaching materials that improve learning in a group of pupils. Remember! These are only a few amongst many possibilities. MTASA is a community of creatives. You are encouraged to be creative in your Professional Development!

NOTICE TO STUDENT MEMBERS Have you fulfilled the requirements for Full Membership? Student members are reminded that Student membership is restricted to four years after which time it is expected that they would be eligible for another membership category, either Full Membership by Tertiary Study or Full Membership by RPL (Recognition of Prior Learning and Experience). Student members who are ready to upgrade their membership are invited to submit an application form to the Secretary together with the required supporting documents. Criteria can be downloaded from the MTASA website (www.mtasa.com.au) or obtained from the Secretary (info@mtasa.com.au).

SA MUSIC TEACHER

MTASA MEMBERSHIP NOTES

POST-NOMINALS

Visit www.mtasa.com.au/index.php/members/ become-a-member/ to join MTASA.

Full members of the Music Teachers’ Association of South Australia may use the letters MMTA (member of Music Teachers’ Association) as a post-nominal while they are financial members. Interstate Music Teachers Associations are also encouraging their members to use this or a similar post-nominal.

Current Full, Student or Associate Members are not required to submit any supporting documentation to continue their MTASA membership. Anyone applying for Full Membership (either Tertiary Level Qualification and Study or Recognition of Prior Learning and Experience) or Student Membership for the first time must fulfil all of the requirements listed and submit the appropriate supporting documentation. Associate Membership is no longer being offered but those who were Associate Members on September 24, 2017, can continue their membership provided they remain as financial members. Full Membership (Recognition of Prior Learning and Experience) has replaced General Membership. MTASA Members are always encouraged to write to the Secretary about any concerns that they may have. The MTASA Council will consider your request.

TEACHERS OF THEORY/ MUSICIANSHIP To be listed in the ‘The Directory of Teachers of Music’ on the MTASA website as a teacher of theory/musicianship applicants for Full or Student membership must supply evidence of having completed studies in this field to at least AMEB 5th Grade theory/musicianship standard or equivalent. Full, Student or Associate MTASA members wishing to have theory and/or musicianship included in their Directory listing should send copies of the relevant certificates to the Secretary (info@mtasa.com.au).

ADVERTISE WITH SA MUSIC TEACHER Per issue

For 4 issues

A4 SIZE (210mm x 297mm)

Colour

Full page

$268

$854

1/2 page

$135

$427

1/4 page

$68

$214

1/6 page

$46

$143

INSERTION FEE FOR POSTERS AND FLYERS One issue $102. Four issues $371. Advertisers have two choices: 1. To provide the inserts 2. To provide the artwork, MTASA will arrange the printing and invoice for this. Members placing an ad are entitled to a 15% discount. CLASSIFIED AD MTASA Members, free. Non-members, $17. Please contact the Secretary (info@mtasa.com.au) about advertising.

2022 MTASA eDM and Media Advertising rates 1 Email to members

$55

1 Facebook post

$30

1 Facebook and Instagram post

$35

1 Email and Facebook combo

$75

1 Email, Facebook and Instagram

$85

SA MUSIC TEACHER

WORKING WITH CHILDREN CHECK (WWCC) New Legislation regarding Child Protection was introduced with effect from September 1, 2019. A ‘Police Check’ is now known as a ‘Working With Children Check’ (WWCC). The Working With Children Check is the most comprehensive check that exists. Anyone found guilty of breaching this legislation can be fined up to $120,000. People working or volunteering with children in South Australia must, by law, have a Working With Children Check. A DHS/DCSI child-related check will be recognised as a Working With Children Check until it expires. People need a Working With Children Check if they are in a ‘prescribed position’. This means people who are in paid or volunteering roles where it is reasonably foreseeable that they will work with children; run or manage a business where the employees or volunteers work with children; are employed to provide preschool, primary or secondary education to a child.

A Working With Children Check is needed for all schools (Government, Catholic and Independent). For further information go to screening.sa.gov.au/ types-of-check/new-working-with-children-checks.

SA MUSIC TEACHER

EVENT VOLUNTEERS NEEDED Enthusiastic volunteers are needed to help with various jobs at MTASA events. Tasks include setting up the venue, helping with registration at the check in table, ushering, assisting performers, helping with meals, and packing up afterwards. It is a great way to network and a volunteering certificate will be provided, which will enhance your CV! For more information, please e-mail the Secretary at info@mtasa.com.au.

TEACHING IN THE COUNTRY In recent years each issue of SA Music Teacher has included an article about music teaching in a country region of South Australia. No article was received this time and there are some regions that haven’t been visited yet. If you haven’t done so please write something - it doesn’t need to be very long - and also include a photo. If you have written something before you are welcome to send an update. E-mail the Secretary at info@mtasa. com.au.

CONTRIBUTIONS TO ‘SA MUSIC TEACHER’ The Editor is always looking for things to include in SA Music Teacher. Articles can be about any music related topic. If you would like to write an article this is your invitation! A helpful hint, a comment, a joke, a poem, a cartoon, etc. … please e-mail them to the Secretary at info@mtasa.com.au.

SA MUSIC TEACHER

IN MEMORY

Robert Brown BROWN was a gem of the South Australian musical world. He contributed so much to music in his teaching, playing the flute, and assisting as a member of boards, committees, playing groups and orchestras -By Felicity Brown Robert was the eldest son of Robert McCallum Brown and Josephine Rosemary June Brown. He grew up in Glen Osmond and attended Linden Park Primary School until grade five when he became a student at St. Peter’s College. It was there that he discovered his love of and talent for playing the flute, recorder, and fife, but primarily the flute. He went on to attend the Flinders Street School of Music and became a music teacher. He was always generous with his time, teaching at many schools and providing private tuition. At the same time he became a member of two orchestras, the Norwood Symphony Orchestra and Mitcham Orchestra, the latter of which he was President until illness required him to retire. A flute radio programme on Community Radio Station 5MBS was produced by Robert, who was also editor of the publication the SA Flute News. He helped form the Gully Winds Quintet with his friends, he performed with “The Music Hall Show”, and was also a board member or committee member of the Flute Society, the Flute Teachers’ Association, and the Music Teachers’ Association. He will be greatly admired for his long term service as a Member of the Board and President of the Eisteddfod Society which provides opportunities for young musicians to present their skills in the public arena. Robert became a member of the South Australian Genealogy and Heraldry Society, not only contributing to his own family history, but researching and writing books about various South Australian orchestras and the Eisteddfod Society. His books are in the Mortlock Library in the State Library. An Order of Australia Medal was awarded to Robert in 2019 for Service to the Community through Music. A gregarious person, Robert was always on the go, but always able to find time for an unexpected request. He loved playing tennis and growing roses, fruit, and vegetables. His family parties were convivial and noisy. His memory is in many people’s hearts. A gregarious person, Robert was always on the go, but always able to find time for an unexpected request. He loved playing tennis and growing roses, fruit, and vegetables. His family parties were convivial and noisy. His memory is in many people’s hearts.

SA MUSIC TEACHER

IN MEMORY

Malcolm Frederick Potter OAM 23/6/1933 – 18/9/2021 By Mark Potter It is with great sadness, that I write this on the passing of my father Malcolm Potter. Malcolm leaves many people with great memories of a distinguished professional singer, as well as a dedicated teacher who had a genuinely hilarious sense of humour! Malcolm started his professional recording and performing career as a boy soprano. He performed concerts, tours, and on radio (5DN, 5KA,5AD), and won many awards culminating in the 1947 Royal Exhibition. He was known as the “Wonder Boy Soprano”. From there he went to Melbourne to study with Henri Portnoj, then back to the Adelaide Conservatorium to study on the advice of Prof John Bishop. While there he met his wife to be Nancy, and they married soon after and remained totally dedicated to one another for just under 60 years. In 1959 Malcolm became a member of the ABC Adelaide Singers for 18 years (from 1959 - 1976). This was a full-time singing and recording position, and a highlight of his life:- something that he was truly born to do. He did many professional recordings for the ABC as soloist including “Joy of Life Symphony” by Alfred Hill, and “Hiroshima Panels” by James Penberthy. He also sung tenor solo in many oratorio and cantatas, Handel, Bach, Haydn, Mozart etc, as well as contemporary composers,

with orchestras under visiting conductors both in Adelaide and Interstate. He later did two privately funded albums with organist David Merchant, and associate artist Dr Ray Booth. After the ABC Adelaide Singers were disbanded in 1976, he became a member of the Adelaide Consort, singing Opera in schools and touring around Australia doing concerts for theArts Council of Australia into the 1980s – He had many hilarious stories to tell from this period! All the while, Malcolm was teaching late into the night at his home studio, as well as taking care of his young family (I was born in 1963). In 1986 Malcolm travelled with Nancy to Innsbruck Austria, to present a paper on Community Music at ISME (International Society for Music Education), and he had various articles published in music magazines. Malcolm was passionate about community choirs, and I remember as a youngster playing drums and xylophone along with his children’s choir “The Koolangatta Songsters”. He was also Music Director of the Camerata Singers from 1973 until recently, as well as Music Director of the COTA (Council of the Ageing) from 2003 on. Dad was Grand Director of Music Grand Chorister for the Freemasons, as well as Choir Master at Pilgrim Church 1996 – 1997 (he was also an accredited lay preacher from 1954 on).

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Among other things, Malcolm became both a Justice of the Peace, and Civil Marriage Celebrant in 1991. He performed over 900 weddings – the last one being his grandson Ben’s wedding to Emma. Malcolm was immensely proud of his great grandson who was named Jace Malcolm. After the ABC Adelaide Singers were disbanded in 1976, he became a member of the Adelaide Consort, singing Opera in schools and touring around Australia doing concerts for theArts Council of Australia into the 1980s – He had many hilarious stories to tell from this period! All the while, Malcolm was teaching late into the night at his home studio, as well as taking care of his young family (I was born in 1963). In 1986 Malcolm travelled with Nancy to Innsbruck Austria, to present a paper on Community Music at ISME (International Society for Music Education), and he had various articles published in music magazines. Malcolm was passionate about community choirs, and I remember as a youngster playing drums and xylophone along with his children’s choir “The Koolangatta Songsters”. He was also Music Director of the Camerata Singers from 1973 until recently, as well as Music Director of the COTA (Council of the Ageing) from 2003 on. Dad was Grand Director of Music Grand Chorister for the Freemasons, as well as Choir Master at Pilgrim Church 1996 – 1997 (he was also an accredited lay preacher from 1954 on). Among other things, Malcolm became both a Justice of the Peace, and Civil Marriage Celebrant in 1991. He performed over 900 weddings – the last one being his grandson Ben’s wedding to Emma. Malcolm was immensely proud of his great grandson who was named Jace Malcolm.

SA MUSIC TEACHER

RECENT EVENTS When: 20-21 January 2022 Online live-streaming Cheryl van Wageningen Performing in the 21st century:An Indigenous Perspective By Jane Burgess Cheryl performed her composition Coorong Trilogy, a work inspired by her connection with the land and her love of the South Coast of South Australia where the Murray River connects with the sea. The Coorong extends down to Pelican Point and enjoys an abundance of Flora and Fauna. The Coorong Trilogy is featured in the documentary Dot Music. This documentary a Red Wall Films Production supported by NITV and Media Resource Centre tells of Cheryl’s inspirational story of her discovering her heritage and how she uses Classical Music to reconnect with her family and culture. Cheryl explained that when she performs her original works, they are never performed the same way twice. In this way they remain original and can be adapted for the audience she performs them to. The Coorong Trilogy focuses on three different aspects of this landscape: 1. Daydreaming at Dusk, the stillness and tranquillity of the Coorong in the twilight Cheryl is an Aboriginal musician of Ngarrindjeri and Peramangk descent, She is passionate about performing and composing piano music that demonstrates her upbringing, cultural heritage and experiences. In her presentation,Performing in the 21st Century: An Indigenous Perspective, Cheryl shared ideas about performance and performance experiences, demonstrated her own composition Coorong Trilogy and challenged us to use storytelling in our own performance. Music plays an import role in Aboriginal culture. The performance of music is about coming together, about community and connections, sharing experiences and storytelling. Cheryl highlighted that every person has a story and experiences that make that person who they are. In Aboriginal culture these stories were traditionally verbalized and passed down to future generations with words, ceremonies and music. Cheryl explained that while aboriginal people are inherently shy and reserved, they come together with the common bond to inspire the next generation.

2. Pelicans Rising where Pelicans are heard flapping their wings, taking off, gliding and landing and 3. The Calling of the Coorong, where Cheryl encouraged us to close our eyes, to listen to the wildlife and to take in the salty air. Cheryl in her presentation encouraged us to use the music we perform and teach as a medium through which our stories can be told. Cheryl highlighted the importance of authenticity in performance, being aware of our surroundings, the people present and the expectations of the performance. The power of an authentic performance enables connections and can be harnessed through being: • focused in the moment • true to the composer and • true to yourself Thank you, Cheryl, for challenging us to make personal connections with what we perform and the way we perform.

SA MUSIC TEACHER

MTASA Summer Conference 20th January 2022

“Musical performance from the heart and soul”, Presented by Mark Matthews by Pat. H. Wilson

Brace yourself. This will be a rave. This was the first optional breakout session offered in our two-day conference. I was glad I made the choice. In the MTS’s swiftly-repositioned all-online conference, Mark Matthews’ presentation could not have been better aligned with electronic-base information and effective communication. He gave a sparkling 45 minutes of education, encouragement and entertainment to teachers of any instrument at any level. It was such an artful lecture that you hardly noticed you were being taught. The format was fully video-based, with Matthews assuming a range of personas (with an equally dazzling range of music-motif decorated shirts). Plain-spoken, curly-haired, easy-going Australian music teacher; his English cousin, all upper-crust vowels and British propriety, his nephew, a gormless Eastender called Jayden, complete with back-tofront cap and a string of just the sort of questions your students come up with; an Akubra-hatted outback Aussie… all brought to life by Matthews’ excellent acting and spoken-voice skills. Although it was all immense fun, it also enabled Matthews to address a huge range of pedagogical questions in a jargon-free, intensely practical approach. In considering the heart and the soul of the student

within their musical training, Matthews emphasised the primacy of repertoire choice. Because he is a prolific composer of material for student pianists, he played (or showed footage of young students from all over the world playing) many of his compositions, whilst explaining how they focussed specific pedagogic requirements. The net effect was a consistent reinforcement of the need to engage, inspire and lead students through material that makes emotional and intellectual sense to them as artists. “A student needs to believe in a piece”, he said. Matthews discussed the physiological similarities between fear and excitement, giving practical tips for changing anxiety into a happy anticipation of performance. The thorny old area of practice was revisited with vigour and humour. Breaking the nexus between soft-and-slow and between loudand-fast was also given practical consideration. There was a superhero called Sebastian. Sanitiser also featured. As did hand claps and finger-snaps in the middle of piano pieces. I own a 2009 book of Matthews’ piano pieces (“Music for the heart and soul, Opus 3”). It is evidence that his care and concern for the spirit behind performance has been consistent throughout his work as a performer, composer and educator. Long may he continue.

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MTASA Summer Conference 20th January 2022 The George Pearce Oration: “The challenge of change” Presented by Antony Hubmayer by Pat. H. Wilson This special Oration honours Balaklava boy George Mayo Pearce (1892-1975), pianist, teacher and collaborator. The indefatigable Vice-President of MTASA, Rodney Smith, in his introduction, explained that its endowment was designed to offer distinguished musicians an opportunity to examine a broader panorama of music education, allowing wider latitudes for context and a discussion of the big picture in today’s world. This year’s orator, Dr Antony Hubmayer, in choosing to address “The challenge of change”, brought both authority and experience to his talk. Hubmayer began by asking his audience three questions: 1. What has changed in society since you began teaching? 2. How has your teaching changed since you began teaching? 3. What would you like to change in your teaching in 2022? After a quick outline of his own professional career, he explained that he is re-entering the world of studio music teaching after many years’ absence. In facing this personal challenge of change, Hubmayer offered the suggestion that the challenge of change is in how we choose to either react to it or embrace it. He referenced Toffler’s seminal book on change (Toffler, A., Farrell, A. (1970). Future shock. Random House), remembering the impact it had upon him when he read it at the age of fifteen. Toffler’s viewpoint, pivoting on the idea of “too much change in too short a period of time”, is a relevant text for today. Hubmayer considered three questions relating to change for musicians and their educators: 1. What are the changes in the way we regard our roles as music educators? 2. How do we learn and, in consequence, how should we design information? 3. What is the purpose of education?

Service. Referencing Peter Drucker’s management theory work (“a company’s primary responsibility is to serve its customers”), he hypothesised that the customer is the student’s parent (because they are paying), the product is skill-based tuition, and the student is the end user of that product. As an integral part of a music educator’s development, Hubmayer recommended contact with ASME www.asme.edu.au and the work of Anita Collins www.biggerbetterbrains.com in order to understand the research which supports music education. Looking at cognitive theory and, in consequence, the way educators need to design information for maximum assimilability, Hubmayer reflected upon constructivism as an educational approach, whilst mentioning Dewey, Bruner and Piaget. Hubmayer’s take on the purpose of education was “to perpetuate a society”, observing that “we are products of how we were taught.” A question Hubmayer likes to ask his students is “How good do you want to be?” The student’s response thus bears the onus of the teaching design. In conclusion, Hubmayer returned to his first three questions, answering them personally and reflecting his own choices relating to the challenges of change. 1. What’s changed in society? Technology, learner-focussed, indigenous related. 2.

How has my teaching changed? Greater pedagogical support for other styles, studentcentred teaching, self-directed learning, and more deeply embedded technology.

What would you like to change? Work on performance skills, setting up a business to help transition from classroom to studio, while continuing deep involvement in curriculum writing.

“Professional music teachers need to understand the purpose of our business – providing a tuition product that is right for our customers.”

In considering the changing roles of music educators, Hubmayer stated that music educators are in the People Business, running Customer

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SA MUSIC TEACHER

MTASA Summer Conference 20th January 2022

Angela Turner Masterclass by Wendy Heiligenberg

HANEULLE LOVELL Violin, and LILLIAN CAMPHAUSEN, Piano, performed the first movement of the Brahms G Major Sonata for Violin and Piano. This is apparently one of Angela’s favourite works by Brahms. She encouraged Haneulle to leave space to breathe and referred to Brahms’ “Regenlied”, and the words of this song so closely connected with the work. She advised Hanuelle to pay close attention to the piano score, discover the multitude of wonderful suspensions and to bring out the wistfulness, taking time to find the space for reflection and colour. She also recommended adhering to the rhythmic devices used by Brahms, not adapting to match the piano, but to own the cross rhythms and respect the synergy of the voices.

ANGELA TURNER, pianist, chamber musician and lecturer based in Queensland gave an on-line Master Class with four talented young musicians of varying ages, stages and genres. It was marvellous to see how Angela adapted to each performer and tailored her suggestions perfectly to each age group. Young ELLA CHEN, Piano, aged 8, performed a Mozart D Major Rondo K485. As Angela described it, it is an adventurous Rondo, verging on Sonata form. Angela praised Ella’s delicacy of touch, beautiful phrasing and her real understanding of the harmonies and the “journey” through the work. Angela worked on breathing, pointing out that the work was originally written by J.S. Bach for oboe, and that breathing was essential. She suggested that repeated phrases need to be different the second time. Different articulations in left and right hands need to be explored, as do varying levels of dynamics not necessarily differentiated in the score. She encouraged Ella to “hear the conversation” between the voices. Ella responded remarkably well and was able to incorporate Angela’s suggestions immediately.

SEAN ZHANG, Piano, aged 8, performed a movement from a Beethoven G minor Sonata Op.49 No.1. Angela praised his performance and suggested he explore the contrasts of the characters of the various themes. She encouraged Sean to practise the themes with separate hands and to add more drama to changes in atmosphere, varying repetitive 2 bar phrases depending on how Beethoven has chosen them to proceed. Young Sean was able to adapt extremely quickly to Angela’s great advice. JORDAN ZORZIJ, Jazz Piano performed a jazz version of Sherwin’s “A Nightingale sang in Berkley Square”. Angela really enjoyed the way he introduced the theme with very simple chords, showing the clear thread of the melody, before the right hand broke away. She praised the structure and embellishments used and commented on how well Jordan was able to fill the space of the Hartley Concert Room, despite not having the “back up” band. She encouraged him to fill out the chords more and really “own the space”. Jordan described his journey towards jazz, finding at quite an early age that exploring chords and melody interested him more than sight-reading and classical music.

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ELLA CHAN

SEAN ZHANG

HANEULLE LOVELL

JORDAN ZORZIJ

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MTASA Summer Conference 20th January 2022 Collaborative music-making and music by Melanie Walters A presentation on research about Adelaide’s pub rock scene and a session on the benefits of collaborative playing for classical piano students might seem worlds apart. But both Robert Boundy and Gina Macri highlighted the importance and educational benefits of musicians performing together in their respective MTA Summer Conference presentations. Boundy is currently a PhD candidate at the University of Adelaide whose research is investigating the hard rock genre that developed in Adelaide from the 1960s to the 1990s. His presentation for the conference, “Becoming musicians; music and education as an identity”, discussed how participation in music-making can be a vital part of identity formation for young people. His research is still in its early stages, but has already shown some interesting trends in how rock musicians in Adelaide acquired musical skills. In contrast to the more formal instrumental tuition and mentoring common to classical and jazz training, the rock musicians interviewed for the project described learning technical skills and musicianship through performing in bands alongside more experience musicians. There were a few points raised that would have benefited from further discussion. Boundy gave examples of participants describing musical skill as

an innate gift, and, in the context of a music teacher’s conference, it would have been worth noting the problems of that type of fixed mindset (versus a growth mindset). There was also criticism of a lack of pop and rock genres in schools, which is perhaps less relevant in 2021 than it was in the period that this research is focusing on. Nevertheless, this was a thought-provoking presentation and is a valuable area of research. With fewer opportunities for young pianists to participate in youth ensembles than students of other instruments, learning the piano can be an isolating experience. Gina Macri’s presentation “Collaborative Playing- A way to engage students to develop their music skills” - showed how providing piano students with opportunities to perform with their peers or experienced musicians can increase motivation and consolidate musical skills. Macri outlined various opportunities available to students through the Accompanists’ Guild of SA, and demonstrated how to mentor students preparing for duet performances. Although these two presentations focused on very different forms of music-making, the common theme that emerged was the importance of collaboration for our students in developing practical skills, increasing engagement, and in creating a sense of identity and community.

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MTASA Summer Conference 20th January 2022 DAVID LOCKETT “Joyful Music Making: Achieving a fluent, comfortable, confident and satisfying performance experience” by Wendy Heiligenberg This was the final presentation of the Information days, and we ended the MTASA Information Days on a truly high note from the Master Presenter himself. I am a violinist, but I was truly fascinated by this presentation, which was just as relevant for the pianists of this world, as it was to every other musician, be they vocal or instrumental. David explored the subject that a performance makes demands on the performer that are Technical, Musical and Psychological. During a positive performance experience, the performer can play without too much effort, using a free and naturally coordinated body. David has observed his own responses to performing, as well as those of other performers and students. He said that these principles apply not just to the piano, but to other instruments. A teacher’s aim should be to maximise technical fluency and comfort of playing in students which will set them up to achieve a positive performance experience. David’s 3 key principles in learning are: 1. Establishing a strong learning foundation 2. Relaxation developing coordination 3.

natural

bodily

Promoting the bigger musical and expressive picture- lifting the sights from just “getting through” to really engaging with the musical and structural dimensions and understanding the inner logic of a work.

Technique - David pointed out that there are many dogmas, but through his experience he has come to realise that there should be no single approach to learning. In his opinion, most things will look after themselves, especially if the player uses natural and relaxed movements. A pianist’s motor skills are easily associated with everyday life. Anxiety blocks ease of playing and affects comfort and accuracy and sound. This feeling of comfort transfers to the instrument “if it feels good it sounds good.” Simple activities away from the instrument were demonstrated. These involved exploring the range of movements with each joint of the

arms and hands, thereby developing sensations and awareness of how the body moves. It was stressed that breathing is extremely important. Before playing the first note at home, as well as at the performance, David suggested breathing in, then relaxing by breathing out with a sigh and then beginning. The relaxed physical state will then be transferred to the playing. DISCIPLINE and COMMITMENT are 2 key factors in practising. David pointed out that “the best players practice the best”, combining purpose with concentration. Initial learning needs to be deliberate and careful. This provides a foundation from which to progress, hence accurate learning right from the start is essential. EFFECTIVE PRACTISING involves some sort of simplification, e.g.in piano, in particular, hands separate, isolation of chord progressions, recognising patterns, “hand shapes and shifts” is the next phase. Building up the piece layer by layer, fragment by fragment is necessary and enables the student to feel the individual character of the voices and how they combine together. Using different rhythms- every rhythm you use throws the emphasis and awareness onto a different note. David recommends establishing a TOOLBOX of practice methods and choosing the best one, or more for the context. David then pointed out that practising and performing are very different and that ANXIETY is an added element in preparation. He pointed out that we should aim for perfection but that we should never apologise for being human. A small slip rarely ruins a good performance and there are risks involved in a performance, however a little edge of apprehension can draw forth an added edge and sensitivity that can make an everyday performance great. With regards to pre-concert anxiety- some measure is normal, but anxiety should enhance and not detract from the performance. Disciplined preparation is essential, but there are a few mental and physical strategies which may help keep body and mind relaxed. Sensations of freedom and

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naturalness can be achieved by simple physical exercises, mentioned above. Breathe in and let go before starting, factoring this in during practice as well during a performance. MATCH PRACTISING- a recording device adds an element of extra pressure and allows reviewing, performing to friends and family, rehearsing in the venue and playing at house concerts test what happens in the performance. Analyse how the extra pressure affected the performance- did you experience shallow breathing, hands shaking, shoulders tightening? Avoid the accumulation of tension when practising

too long, switch off and do something else. Step back and keep the bigger picture in mind, which should be the joy of exploring music. Study the musical score away from the instrument. Imagine playing it and this will aid memorising. To sum up this extremely informative presentation, David stressed the following. Practising demands full concentration and awareness. Use your toolbox of practising strategies. Anxiety can be turned to your advantage. Aim for excellence not perfection.

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ARTICLES MY JOURNEY, ACCOMPANIED BY THE PIANO By Lillian Camphausen I enjoy a contented and fulfilling life as an ensemble musician and often wonder how I got here! I was probably what people call “talented” but not extraordinarily, I didn’t practise as much as I should have (or as others did), at least not for the first few years. But I was lucky to have the right parents and teachers! My parents, like many others, paid for and drove me to lessons, got me to practise, bought all the music and did everything my teachers asked for, and attended all my performances. This would have resulted in my learning to play the piano, maybe even quite well, but would not necessarily have made me a happy musician. Much more their own love of music. My parents are not musicians, but always had the radio on and from what I remember of their remarks, were discerning listeners. “That [piano] sounded like a faraway horn!”, “sounds like they’re fighting instead of playing together” “he plays it so dreamily, it’s usually more singing”… They engaged actively with beauty, whether in nature, art, books, ideas or in ways of doing things. They fostered the natural curiosity of us children, answering our questions with more questions as well as providing means of exploring and discovering: careful looking and listening, weekly visits to the library, experiments, talking to someone else who might know more… “What’s that squiggle mean?”, ”Let’s see what’s on the next page” later became “what does Brahms mean when he writes an accent, or an sfz” and “I wonder what the next movement sounds like”, or “what else did this composer write?” I think a lot of my inner pictures of landscapes and sense of “style” derive from the many books we devoured, with pictures and stories of other times, countries, cultures and people. I was also lucky with my teachers. More than anything else, they opened doors through which I still go. My first lesson began with my teacher showing me a plant in his studio. “Look at how

it’s dark here and how it gets lighter as it curves upwards”. We then recreated that on the piano. He took my hands in his and we gradually worked our way up from long, very low single ppp notes up to bright strident high clusters. I don’t think he taught me much about piano-playing, but 6-year-old me learnt that music can paint pictures and non-sound experiences. Noreen Stokes worked hard on my basic technique (lots of scales and Czerny), but had the wisdom to also feed me new pieces every week, at first correcting only basic things like notes, rhythms, and phrasing, but with every new piece gradually adding more aspects like dynamics, articulation, balance between hands or voices, style etc. She also helped me if I flipped the page and wanted to play the next piece as well (or instead). No doubt I played many pieces badly, but I had fun exploring and maybe started to absorb the style of individual composers doing so. Because I didn’t practise much, I learnt to sightread well and thought I could bluff my way through. It was only 18 months later when she said ”So, Miss Lim, I think it’s time you start practising” that I realised she hadn’t been fooled all along! My sister’s violin teacher, Harold Fairhurst, got me to accompany her from Day 1. It was a while before I realised it wasn’t normal for everyone to always learn every piece together from the start. Between Noreen and Harold, I learnt to identify what the essence of the composer’s intentions were, what the most important parts of a score are, when and how to simplify or skeletonise if something was too difficult, or my hands weren’t big enough, how to work out fingerings, etc. We were encouraged to learn everything we wanted to play, even if “not yet suitable”. They (also my other teachers later) never once said ”that’s too hard, let’s leave it for later”. We tackled the pieces with whatever technique we had at the time, with the understanding that we could always come back to them later and play them “even better”. We learnt 50-80 pieces every year (most probably not to performance standard), and I played for all of Shirin’s AMEB exams and other performances. Harold also got me to learn the recorder so I could play “oboe” in his Junior Orchestra. It must have sounded dreadful, the

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We all learnt lots of repertoire, inspired by what we heard on Radio 5CLor records or each other’s performances or the Tuesday and Thursday lunchhour concerts which we attended every week.

whole woodwind section consisting of bad recorder players! But we learnt to watch, listen, read and play all at the same time. And to hear instruments of such different colours interacting with each other. I remember being electrified the first time I sat there, immersed in a sea of sound, an experience we sadly miss as pianists. (I love choral singing for the same reason.) Most of us did eventually learn the actual instruments, and though I played the oboe badly, have found it was invaluable in training my ear for pitch and timbre. Also for understanding how different one feels physically and mentally playing a different instrument. At the Con in the 70s, there were no “collaborative pianists”. We just played the piano, sometimes with others, sometimes alone. I took accompaniments, duo sonatas, chamber music, concerti as well as solo pieces along to my lessons with Clemens Leske, sometimes alone, sometimes with my musical partners. He worked on all music in the same way - technique, phrasing, texture, colour, style, voicing, and always, listening to the sound. I also went along to my partners’ lessons and worked on these pieces with their teachers, so we all ended up having much more than our scheduled 2hrs/week lessons! We performed frequently at lunch-hour recitals (some of which were assessed as our “exams”). I also played the piano for Jiri Tancibudek’s oboe class (most of my fellow pianists similarly for other instrumental or singing classes).

In Germany, every lesson with Detlef Kraus was in front of the whole class, we came with piles of scores and were expected to learn from each other’s lessons. Detlef gave us many books to read-not necessarily about music and took us to exhibitions. He felt obliged to educate us international students about the European-ness of Western thinking and mentality which then find their way into our classical music. A 2-year switch to harpsichord taught me more about the nuanced use of silence and note duration for articulation and “dynamics”. Studying Lied interpretation with Hartmut Höll opened up a whole new way of listening and playing. Having a text not only means depicting its mood and emotive content, but also deciding when and how to underline the associations around individual words. Consonants and vowels become part of our sound vocabulary - how to articulate a note or chord to match the singer’s “m” at the beginning of a word as opposed to a hard “t” or an “f”, how to balance the notes within a chord to match the colour of a vowel or the voice in that register, how to extend the shape of a thought or phrase beyond breathing points. When (as in all chamber music) am I the protagonist together with the singer, when the antagonist with whom he/ she is speaking? or do I play an outside narrator? Again, we were encouraged to attend symposiums on poets and writers and to attend operas and plays, to learn languages. How lucky I am to still be excited by music and music-making - heartfelt thanks to my parents and teachers for showing me the road!

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ARTICLES

JAZZIN AROUND LEAD SHEET INTERPRETATION By Kerin Bailey In the jazz world musicians invariably work with music consisting of just a melody line and chord symbols – a so-called lead sheet. I’ve always believed all pianists should be able to read one and spontaneously improvise an arrangement for piano solo or accompaniment. The top line in ex.1 is an example of the most basic style. It is also commonly applied in a jazz piano trio setting.

chord progressions – e.g., ascending bass line in bars 1/2, and the II-V (I) patterns in the bridge (B); 4. RH jazz phrasing, articulation and syncopation.

Standard Procedure is a piece from my Jazzin’ Around 2 album and the title is a reference to: 1. The above-mentioned lead sheet format; 2. Standard 32-bar song form – AABA; 3. Standard

Note: The LH 7th chords for a fuller sound (try playing it with just basic triads); the compass for these is less than an 8ve and a half, and the hand span just a 7th, encompassing the more complex 9th and 13th voicings; the voice leading – minimal shifts, repeated notes from one chord to the next, and the 2nd finger within about a 3rd of middle C. These factors make playing the passage much easier.

Ex.2: Bridge – key change to Bb. Note the classic II-V-I progression and LH voicing (B form). From the bottom up, II (Cm9) is 7, 9 (2nd), 3 and 5; V (F13) is 3,13 (6), 7 and 9; I (Bbmaj7) 3rd inversion. I teach this as a Bb major triad with the major 7th (A) tucked underneath. Combined with the RH – especially the 3rds in bar 12 – this gives a very full, professional sound – achievable with small hands.

Note the LH voice leading from II to V – top 3 notes common to both chords, bass note steps down a semitone. Tip – play this progression with RH crossing over to play the root below to get a better understanding of the chord progression. Also – see jazz piano maestro Kim Purling’s excellent article in the Summer edition for his explanation of the dominant 13th chord and more – p.22.

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In ex.3, this phrase is repeated in C major with the A form of the II-V. In this voicing II (Dm9), is built up from the 3rd of the chord – 3, 5, 7 and 9; V (G13) from the 7th up – 7, 9 (2nd), 3 and 13 (6). Instead of

resolving to I (C), G13 (dominant) becomes Gm9, progressing to C13 (B form). I.e., II-V for a return to the tonic key F major for A3.

Note: The A and B forms are different voicings (inversions) of the same chord tones. This allows following the 2nd finger rule – keeping the chords in the best sounding register of the piano. Notice the

same common tones in the A form – 7th of II still stepping down a semitone to the 3rd of V. These voicings may seem a bit complex at first; e.g., in the bridge only the Bbmaj7 contains the chord root.

Further Study Many pieces in Jazzin’ Around 1-6 are in this format – some with arpeggiated chords (see Summer Rain, JA3); chord shells – root plus 5th or 7th (Study in Latin, JA2); tritone – 3rd and dom. 7th (Blue Waltz, JA3). Use the chord symbols where provided to better understand the chord voicings and progressions. Play through lead sheets from fake books or standard sheet music melodies with just LH chord accompaniment. Start with triads if necessary, then progress to 7th chords. Listen to jazz piano trios – such as the Oscar Peterson and Bill Evans albums reviewed in previous magazine articles. For more serious study see the Jazz Improvisation Series vols 1-4 by John Mehegan (pub. AMSCO Music Publishing Company). The voicings in ex. 2 and 3 above are covered in depth in vol.4 – Contemporary Piano Styles.

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TWO MUSIC TEACHERS FROM THE PAST (ADELAIDE) By Leon Le Leu Just a couple of years past the 50th anniversary of her death, I have been contemplating my first and most memorable piano teacher, Miss Jean Drummond, who was the Director of Music at the Woodville Presbyterian Church in Adelaide and taught students in the church itself. I have vaguer memories of my music teacher, MissMarjory Hartley, at Woodville Primary School. By coincidence, Jean and Marjory lived together. I would not comment on their relationship; in those near antediluvian days, women living together were quite acceptable, but men doing the same thing were completely unacceptable. There was no logical basis for that distinction, but, just as in our time, there were vast logical lacunae. I was taught by Jean from the age of six to perhaps 11. I was not a good student; I was a lazy student. She would ask me at every lesson – if I turned up for a lesson – whether I had practised the pieces and exercises she had set. I was not always honest in my response, but she could soon tell by listening that exceedingly little development had taken place between lessons.She would regard me with contemplative resignation. She was so patient. For me, she remains the embodiment of what a good, patient person is. If she ever became a little bit irritated by me (and presumably others), she would simply say “botheration”; that was the maximum level on her swearing dial. She maintained her equanimity in the days before widely-prescribed tranquillizers and sedatives; she was calm, worthy and self-contained. Marjory, I knew less well since I was never taught by her one-to-one – always in a noisy, primary school rabble. I never saw her angry; she was smiling all the time, even when others might have been screaming. She seemed to possess the same inner calm and patience as Jean. Where did it come from? As a child of that age, I gave no thought to what my piano teacher and school music teacher did outside of lessons. That they might have led independent lives of their own did not occur to me; they were just there for me. I imagine most children of that age have the same approach. In these days of the Internet and widely available historical newspaper databases, I can now get some sparse inkling of what they were doing. The Adelaide musical scene was remarkably active and productive in the first half of the last century. Like other Australian cities, the scourges of television and so-called social media had not arrived; people used their personal resources to entertain themselves. There was a complicated schedule of music competitions, including Eisteddfods just as we have now, but the results were more widely publicised. They were not obliterated by news of the latest footballer scandal or trivia about media stars – although there were some visiting musical stars of which I shall intersperse a few. For example, Ignace Jan Paderewski gave his first recital in the Adelaide Town Hallon 17 October 19041. His performance of the Erl-King – presumably the arrangement of Schubert’s song by Liszt – was a favourite; Beethoven’s Moonlight Sonata was said to demonstrate his power “by his quiet manner, not distracting or annoying or with mannerisms; his own absorption so intense, he carries you off with him.”2 I wonder whether these newspapers still carry classical music reviews. Incidentally, Paderewski returned to Adelaide in 1927.

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So far as I could determine, Jean Drummond’s name first appears on a program in 1907, but she could not be present3. “Her place was kindly filled by Miss L. Fitzgerald, who sang “Call Me Back,” (composer unknown) and Miss N. Warren, who gave Hoben’s “Ave Maria.” (Sydney Francis Hoben – 1866 - ? – a Sydney composer) According to a long-extinct journal4, in 1926, Jean Drummond played the piano at a verywell attended Adelaide City Mission Christmas luncheon for 100 male old age pensioners and invalids. The Lady Mayoress presented every man with a box of cigars which must have done them a world of good, hastening their demise. On 12 July 1928, Jean performed “Hexetanz” (Fantasiestücke, Op.17No. 2, Edward MacDowell, 1883), which was said to have won “well-deserved appreciation”5 . Later that year, Wilhelm Backhaus visited Adelaide. By that time he was described as “the world’s greatest pianist” (presumably by his publicists). A local journalist is exultant6: “Backhaus fairly revelled in the difficult passages with which his program abounded. It would be impossible even for mechanical art to emulate the amazing exhibitions of the eminent pianist.” He started his recital with three preludes and fugues from Bach’s ‘Well Tempered Clavichord.’ Interestingly, he played the Brahms Variations and Fugue on a Theme by Handel. “… a composition so difficult that only the greatest of artists attempt it. It calls upon every phase of pianoforte technique… The wonderful climax left the vast audience gasping.” (I wonder whether they might have been recipients of the Lady Mayoress’s cigars.) Then there was a Chopin group and two preludes by Rachmaninov. A couple of months later, August 27, 30, and 1 September, Adelaide was graced with three recitals by Ignaz Friedman who specialised in Beethoven (but was also praised for his Mozart and Chopin). The Adelaide evening paper7 condescendingly announced: “In order that all classes of the community may have the opportunity of hearing this great artist, Mr Carroll has fixedthe prices for the Adelaide recitals at agratifying minimum.” On 3 December 1928 “A melodious pianoforte duo, Andante, and Variations by Schumann (was) played by Miss Jean Drummond and Miss Salomé Kentish (Elsie Willsmore).”8 Miss Salomé Kentishwas not Miss Willsmore’s stage name; Kentish was a pupil of Miss Willsmore, as was Jean Drummond. This appearance was just 23 years after the premiere of Salomé by Richard Strauss at the

Sem peroper in Dresden. Salomé is not a common girl’s name now; those who have gone through the relevan tNew Testament passages, read the play by Oscar Wilde or attended Strauss’s opera might choose other names for a daughter. In the competition results for the Ladies Duet of 19309, Jean Drummond and Marjory Hartley (both sopranos) came second with 87 points (just behind the winners who scored 89 points). This is next to an item stating that Lon Chaney, star of horror films, had succumbed to pneumonia in Vancouver the day before. The piece the pair sung is lost to history. On 5 September 1931, there was a concert in Kapunda (Barossa Valley) for the Kuitpo Industrial Colony (established for reforming alcoholics). “Songs were rendered by Misses Marjory Hartley and Jean Drummond of Adelaide, and their items were much appreciated. Miss Drummond also contributed a pianoforte solo, which was much enjoyed.”10 Again, what they performed is lost to history. A concert by the Adelaide Orpheus Society on 17 December 1931 contained the item Henry Smart’s “Night Sinks on the Wave”, which was sung as a trio by Misses Jean Drummond, Linda Riebe, and Dora Seidel. Smart, an organist and composer, is now almost solely known for his hymn tune “Regent Square”. Things suddenly looked up in 193411: “There was good singing in the sessions taken by Mr John Bishop at Adelaide Competitions yesterday. In the Duet, for any voice, at Way Hall last night, the outstanding performance was that of Jean Drummond and Marjory Hartley, who gained first place. The unknown examiner – possibly Mr John Bishop, who was instrumental in starting the Adelaide Festival of Arts – writes: “Splendid performance, nicely matched voices with most sensitive balance of tone and ensemble, though one was not always alive to the partner.” A little sting in the tail there.

Kalgoorlie Miner, 18 October 1904, page 7 Barrier Miner, October 1904 3 Southern Cross, Adelaide, 19 April 1907 4 The Register, 23 December 1926 5 The Advertiser, 13 July 1928 6 Adelaide Mail, 21 June 1928 7 The News, 13 August 1927 8 The Register, 4 December 1928 9 Adelaide Advertiser, 27 August, 1930 10 Kapunda Herald, 17 November, 1931 11 Adelaide Advertiser, 15 September 1934, page 18 12 The News, 22 October, 1934, page 2 1 2

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Marjory went further in the Adelaide Competitions that year, singing Hamilton Harty’s “Sea Wrack” on 20 October 1934. “This young singer possesses a fine contralto voice, and displayed taste and purity of pitch in her interpretation.”12

created by the Adelaide artist, Mr Jean Orval for the Woodville Presbyterian Church (reinstalled in the Woodville Uniting Church after the former church was closed). The notes about the stainedglass window read:

On 15 June 1935, Jean came third in the Champion Women’s Solo13; Marjory was absent on this occasion.

“In November 1969, the board of management agreed to commission Jean to produce a stainedglass window memory of Jean Drummond, organist of this church 1930-1967.”

In the Wireless Weekly in 193714, Marjory made it into the electromagnetic media on Monday Miniature Matinee “featuring South Australian talent” on 5CL. She performed as a contralto with Gil Bishop (violinist) and Jessica Dix (pianist). The items performed are unknown. Jessica Dix was still famous when I was a teenager. This radio performance would have been live – there was no choice then - in the ABC’s beautiful, atmospheric old premises in Hindmarsh Square, Adelaide, (incorporating a relatively ancient church). These premises have since been replaced by an office precinct of incandescent mediocrity. In July 1938, the conductor, George Szell, visited Adelaide, marking a welcome relief from a prolonged drought of international musicians (although Alexander Kipnis, the basso, performed in Adelaide on 24 May of that year). On 27 March 1939, Jean Drummond and others sang Madrigals of Bateson and Gibbons. Orlando Gibbons (1583 – 1625) remains well-known; Thomas Bateson (1570-1630) is a lesser-known contemporary. During World War II, Jean and Marjory were very active in arranging student recitals for Comfort Funds to support the war effort. Up to this point, much of Jean’s public activity had been as a singer and,to a lesser extent, a pianist. On 1 April 1945, she was organist at a performance of “The Crucifixion” at Woodville Presbyterian Church – presumably that by John Stainer (18401901). A combined choir was conducted by Marjory Hartley. On 21 June 1947, Claudio Arrau gave his second Adelaide piano recital in the Town Hall and included works by Bach, Beethoven, Liszt (the Mephisto waltz was a favourite – “as dazzling and dramatic as any performance ever given by the great Liszt himself”15 ; I am not sure who was alive to judge that). He concluded with pieces from Ravel, Chabrier and Poulenc. Jean and Marjory continued to play an active part in the Adelaide musical scene. Marjory outlived Jean and was partly instrumental in organising a stained-glass window dedicated to Jean. This was

Marjory corresponded with Jean (Orval) regarding this window and wrote that Jean Drummond “was interested all kinds of people and a considerable number of working hours were spent in teaching children to play the piano.”One such child – who must have caused Jean so much angst – was me. The window was installed on 12 April 1970, and Marjory Hartley wrote to “express my delight at the beautiful window in memory of my close friend.” This overview of the activities of Jean Drummond and Marjory Hartley is, unfortunately, short on repertoire; with few exceptions, I have no idea what Jean would typically play at a concert; there is more information of that type about Marjory. But it has been revealing because I was utterly unaware Jean was an accomplished singer. I knew she had a beautiful speaking voice and spoke very correctly. I can still imagine her speaking now; her voice was so distinctive – those rounded, calm tones giving an impression of infinite tranquillity. It was with great sorrow and a strong sense of loss that, at 19, I received the news she had died of cancer (the news conveyed to my mother by Marjory). I regret all those lessons I missed, all that practising I failed to do, and the heartache I must have caused Jean. I retain the notebook in which, 60 years ago, she wrote progress notes and tasks for the next lesson; I feel renewed guilt just opening the cover. She tried so hard and patiently and would have done the same with all her other students. I know from first-hand many of them matched or surpassed me in bone-headed laziness. Despite those barriers, she fought on – a remarkable and very memorable piano teacher and human being. Note: the photograph of the strained glass window above is provided with the expressed permission of the Orval family (Rachel and Noel) obtained by email on 29 October, 2021.

The Advertiser, 15 June 1935, page 23 Wireless Weekly, 3 September, 1937 15 Adelaide Advertiser, 23 June 1947 13 14

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PEDAGOGY MATTERS

Curating MTASA’s Summer Conference By Rodney Smith

Preparatory work on most music education conferences needs to begin at least a year prior to the conference opening. One reason is that worthwhile speakers’ diaries are generally filled one year or more in advance. In the case of MTASA’s conference the general focus had been set even before, as feedback from the previous event in 2020 indicated a strong preference for “performance”. Working through a sub-committee to endorse the curator’s initial thoughts has always been MTASA’s way of operating and although it undoubtedly slows the process it also ensures the direction being pursued has general support. Fleshing out “performance” into a workable theme was an imperative. Knowing MTASA well proved an advantage as I was able to produce “Musical performance: helping pupils unravel its challenges” without undue difficulty. Key words “musical”, “pupils” and “challenges” then helped inform the conferences structure encompassing speakers addressing three main areas - “musicianship”, “performance” and “motivation”. Throughout this process it was important to bear in mind that all instrumental and vocal specialties needed to feel included.

Further consideration led me to nominate subsets of these three principal areas as follows: Musicianship •

Creativity

•

Style and interpretation

•

Musicianship skills

Performance •

Psychology - health and well-being

•

Psychology - self efficacy

•

Psychology -projection and purpose

•

Technical - fluency

Motivation •

Interest

•

Empathy

•

Ambition

SA MUSIC TEACHER

Our three keynote speakers Dr Angela Turner, Alexandra Frost and Dr Oliver Fartach-Naini were each asked to look into one of the three as follows: Musicianship - Dr Angela Trevor Performance - Alex Frost Motivation - Dr Oliver Fartach-Naini Further speakers were invited for particular emphasis - such as Dr David Lockett addressing technical fluency and Wendy Heiligenberg addressing motivation. Naturally speakers were perfectly free to adopt their own perspective on these matters in a similar fashion to performers giving their own interpretation of a musical work. My role as the curator was to set the conference’s overall perspective and general format trusting that a stimulating flow of ideas would emerge through individual contributions. After all, a conference is designed to facilitate an exchange of ideas rather than the promotion of a particular focus as may occur in an educational course or program.

Finally, many other presenters offered their contributions and were gratefully accepted. They knew the conference theme and retained it as a backdrop for their sessions. It was extremely gratifying to welcome so many – the largest number since MTASA turned its summer school into a conference in 2016 and began encouraging members to contribute presentations. In the event covid intervened to re-shape the conference in a way I had never envisaged. Alex Frost was unable to attend, removing the highly desirable psychological perspective that would have given a more rounded experience for delegates. And the conference was delivered solely online and so lacked the person-to-person networking which can be such a valuable feature. Nevertheless, it was a near miracle the conference took place at all and the sub committee’s determination for it to proceed in some fashion shows the value of strong sub-committee support in the conference creation process.

SA MUSIC TEACHER

OTHER ORGANISATIONS’ NEWS & EVENTS AUSTRALASIAN PIANO PEDAGOGY CONFERENCE 2023 Presented by UWA in collaboration with WAMTA Theme : The Holistic Piano Teacher When : TBC Where : UWA Conservatorium of Music, University of Western Australia, Perth Website : www.appca.com.au

SA MUSIC TEACHER

OTHER ORGANISATIONS’ CONCERTS RECITALS AUSTRALIA WEDNESDAY LUNCH HOUR CONCERTS 2022 Tickets

: $10 or online via website, Facebook, or Vimeo for free.

Enquiries

: Ph. 08 8236 7488

Website

: recitalsaustralia.org.au for more information. ADELAIDE SYMPHONY ORCHESTRA

Check their website for the upcoming concerts and support our local orchestra! Website: www.aso.com.au/concerts-tickets/whats-on/ FLINDERS STREET BAPTIST CHURCH TUESDAY ON FLINDERS Time

: 1:00 pm

Entry

: Free

Website

: www.fsbc.asn.au/concerts/ NORWOOD SYMPHONY ORCHESTRA

Venue

: Norwood Concert Hall

Tickets

: Adult $20, Concession $15, Children Free

Website

: www.www.norwoodorchestra.com/ BURNSIDE SYMPHONY ORCHESTRA

Venue

: Burnside Ballroom, 401 Greenhill Road, Tusmore 5065

Tickets

: $20 Please purchase online

Website

: www.bso.org.au/concerts-2021/ MUSICA VIVA

Website

: www.musicaviva.com.au/concert-season/

SA MUSIC TEACHER

CONTACT DETAILS FOR OTHER ORGANISATIONS 5MBS: MUSIC BROADCASTING SOCIETY OF SA www.5mbs.com 8346 2324 5mbs@5mbs.com 4A River Street Hindmarsh SA 5007 AUSTRALIAN BAND AND ORCHESTRA DIRECTORS’ ASSOCIATION (ABODA): ABODA SOUTH AUSTRALIA www.abodasa.com.au info@abodasa.com.au ABODA SA C/-PO Box 327 Walkerville SA 5081 ABRSM EXAMINATIONS www.us.abrsm.org/en/home SA Rep.: Anastasia Chan 8234 5952/0423 282 589 abrsmsa@hotmail.com ACCOMPANISTS’ GUILD OF SA INC. www.accompanist.org.au President: Leonie Hempton OAM 8272 8291/0404 145 502 leoniehempton@gmail.com ADELAIDE BAROQUE www.adelaidebaroque.com.au 8266 7896 0400 716 554 General Enquiries manager@adelaidebaroque.com.au 10 Clarence Avenue, Klemzig SA 5087 ADELAIDE CHAMBER SINGERS www.adelaidechambersingers.com/ +61 8 8352 1329 admin@adelaidechambersingers.com ADELAIDE EISTEDDFOD SOCIETY INC. www.sacoment.com/aes/eisteddfod/ Secretary: Jane Burgess adleisteddfod@adam.com.au jane@janeburgess.com.au ADELAIDE HARMONY CHOIR www.facebook.com/adelaidephilharmoniachorus/ Secretary: Sherry Proferes adelaideharmonychoir.info@gmail.com ADELAIDE PHILHARMONIA CHORUS www.philharmonia.net/ ADELAIDE YOUTH ORCHESTRAS www.adyo.com.au/ 8361 8896 Executive Director: Ben Finn claire@adyo.com.au AMEB EXAMINATIONS: SA AND NT www.sa.ameb.edu.au/ 8313 8088 ameb@adelaide.edu.au AUSTRALIAN NATIONAL ASSOCIATION OF TEACHERS OF SINGING (ANATS) ANATS: SA AND NT CHAPTER www.anats.org.au/sant-chapter Secretary: Dianne Spence anats.sa.nt@gmail.com 0435 300 070 admin@anats.org.au

ANZCA EXAMINATIONS www.anzca.com.au (03) 9434 7640 admin@anzca.com.au AUSTRALIAN SOCIETY FOR MUSIC EDUCATION (ASME) ASME: SOUTH AUSTRALIA CHAPTER www.asme.edu.au/sa/ President: Luke Gray graylu@trinity.sa.edu.au asme@asme.edu.au AUSTRALIAN STRINGS ASSOCIATION (AUSTA) AUSTA: SA CHAPTER www.austa.asn.au/chapters/sa/ President: Fiona Patten fionapattenausta@gmail.com +61 439 885 754 AUSTRALASIAN DOUBLE REED SOCIETY www.adrs.org.au Contact: Josie Hawkes OAM josie.bassoon@gmail.com

MUSICA VIVA www.musicaviva.com.au for concert details Box office: 1800 688 482 contact@musicaviva.com.au boxoffice@musicaviva.com.au MT GAMBIER EISTEDDFOD www.backstageinc.org.au Secretary: Maxine Chalinor 0457 067 555 tonymaxine@internode.on.net MUSICIANS’ UNION OF AUSTRALIA ADELAIDE BRANCH www.musiciansunion.com.au/ 8272 5013 industrial.officer@musicians.asn.au Federal Treasurer-Sam Moody 0412933865 musosa@bigpond.net.au ORFF SCHULWERK ASSOCIATION OF SA www.osasa.net/ info@osasa.net

AUSTRALIAN STRING QUARTET www.asq.com.au/ 1800 040 444 asq@asq.com.au

PRIMARY SCHOOLS MUSIC FESTIVAL www.festivalofmusic.org.au 8261 5438 office.psmf799@schools.sa.edu.au

BALAKLAVA EISTEDDFOD SOCIETY www.balaklavaeisteddfod.org.au Contact: Trish Goodgame 0417 891 834 info@balaklavaeisteddfod.org.au

RECITALS AUSTRALIA www.recitalsaustralia.org.au. 8236 7488 info@recitalsaustralia.org.au

CON BRIO EXAMINATIONS www.conbrioexams.com 9561 3582 / 0401 014 565 lily@conbrioexams.com ELDER CONSERVATORIUM OF MUSIC www.music.adelaide.edu.au/ 8313 5995 music@adelaide.edu.au ELDER HALL www.music.adelaide.edu.au/concerts/ 8313 5925 concertmanager@adelaide.edu.au FLUTE SOCIETY OF SA INC. www.flutesocietyofsa.org Secretary: Catherine Anderson secretary@flutesocietyofsa.org INSTRUMENTAL MUSIC: DEPARTMENT FOR EDUCATION Instrumental Music Office - Klemzig 8261 8988 IM.KlemzigOffice608@schools.sa.edu.au Instrumental Music Office - Morphett Vale 8392 3800 IM.MorphettValeOffice896@schools.a.edu.au Music Programs 8226 1883 education.musicprograms@sa.gov.au KODALY MUSIC EDUCATION ASSOCIATION OF SA www.kodalysa.com/ 0405066469 kodalysa@gmail.com

ST CECILIA EXAMINATIONS PTY. LTD. www.st-cecilia.com.au 1800 675 292 info@st-cecilia.com.au SOUTH AUSTRALIAN BAND ASSOCIATION www.sabandassociation.org Secretary: David Corkindale secretary@sabandassociation.org SOUTH AUSTRALIAN MUSIC CAMP ASSOCIATION www.samusiccamp.com.au Administrator: Samantha Taylor admin@samusiccamp.com.au THE SOCIETY OF RECORDER PLAYERS SA INC. www.facebook.com/recorderplayerssa/ 0410 109 135 srpsainc@gmail.com TRINITY COLLEGE LONDON EXAMINATIONS www.trinitycollege.com.au 1300 44 77 13: National Mr Stanley Tudor 8345 3117: Local stanley.tudor@iinet.net.au UKARIA CULTURAL CENTRE www.ukaria.com 8227 1277 info@ukaria.com