PRESIDENT'S WELCOME Lifelong Learning is something we music teachers hope our pupils will embrace but with today’s hustle and bustle it is easy to forget our own needs in that area. Professional Development (PD) ensures teachers remain current in their thinking, open to change and perhaps even able to move ahead with new ideas and directions of their own. This year MTASA joins many professional educational associations that already give transparency to their members’ hard work by requiring some of each member’s PD be documented. Not only does this bring us into line with the education profession but it also ensures the public can retain confidence in MTASA’s membership register as a credentialing benchmark contrasting starkly with some seriously doubtful website collections of music teachers who may or may not be appropriately qualified.
Professional Development (PD) ensures teachers remain current
MTASA doesn’t wish to inconvenience members in this process and is devising the most suitable method for handling the exercise without taking up too much of their time. The required Information will be sent to members as it comes to hand and they need not be unduly concerned about initial timelines.
in their thinking, open to change and perhaps even able to move ahead with new ideas and directions of their own. I should add that MTASA will continue to provide more than seven hours PD every year although it recognises that PD can take many forms and its members will doubtless also avail themselves of the wide variety of offerings to be found elsewhere if they are more appropriate. Finally let me say that many publishers’ workshops are commercially driven and offer overviews designed to facilitate purchasing decisions. They have their place, but MTASA aims to offer PD Days that are set at a professional level dealing with educational issues in depth and in line with our role as a professional association.
MTASA aims to offer PD Days that are set at a professional level dealing with educational issues in depth and in line with our role as a professional association.
My very best wishes for the New Year.
Rodney Smith, President 2
SA MUSIC TEACHER THE MAGAZINE OF THE MUSIC TEACHERS' ASSOCIATION OF SOUTH AUSTRALIA INCORPORATED
Print Post Pub. No 100003224 VOLUME 27 NO 1 – AUTUMN 2019
TABLE OF CONTENTS
PATRONS: Dr Doreen Bridges AM Emeritus Professor David Lockett AM PRESIDENT: Rodney Smith VICE PRESIDENT: Robert Brown OAM SECRETARY: Masako Kondo TREASURER: Samantha Penny AUDITOR: Australian Independent Audit Services COUNCIL 2018/2019: Sofie Arhontoulis, Pete Barter, Robert Boundy, Robert Brown OAM, Naomi Hede, Masako Kondo, Monika Laczofy, Heather Lander, David Metin, Samantha Penny, Rodney Smith, Ian Vayne EDITOR: Robert Brown OAM Layout: Masako Kondo MEMBERSHIP ENQUIRIES to the Secretary – PO BOX 4, RUNDLE MALL, ADELAIDE SA 5000
PRESIDENT’S WELCOME by Rodney Smith COMING MTASA EVENTS MEMBER INFORMATION OTHER ORGANISATIONS’ NEWS Dr DAVID LOCKETT AM GEORGE PEARCE MEMORIAL AWARD MUSIC TEACHING AT CLARE by Paul Gibson
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Mobile: 0402 575 219
ANATS SA/NT CHAPTER by Di Spence
E-mail: info@mtasa.com.au ADVERTISING – Please contact the Secretary Please see MEMBER INFORMATION page for Advertising Price List. CONTRIBUTIONS and DEADLINES for 2019 Contributions to SA Music Teachers are most welcome. All items to be included must reach the Editor, Robert Brown OAM
PEDAGOGY MATTERS by Rodney Smith
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ACCOMPANIST’S CORNER: JOHN HALL OAM - DECISION 17 TO RETIRE!
(robbrown@adam.com.au) no later than these deadlines: Tuesday April 30, Tuesday July 16, Thursday October 31, Friday Janurary 31, 2020. MTASA WEBSITE Please visit http://www.mtasa.com.au/ MTASA FACEBOOK
Please visit the MTASA Facebook page at https://www.facebook.com/The-Music-Teachers-Association-of-SAInc-883307955101655/
Front cover: Ian Vayne peering through a grand piano. Photographer: David Metin.
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PERFORMANCE AND THE ART OF LISTENING by Heather Lander
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MUSIC AND THE BRAIN, PART 19 1 by Ian Vayne 5 MINUTES WITH DIANA 20 HARRIS OAM! by Hayley Wedding 26 CONTACT DETAILS FOR OTHER ORGANISATIONS
COMING MTASA EVENTS MEMBER INFORMATION
NEW MEMBERS
April 13
Concert Performance Day 1 Salvation Army Citadel, 55 George Street, Norwood Admission: gold coin
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. Antony Hubmayer, Full member: Acc, EK, P, COMP, HARM, JAZZ Imp, MusTech, SACE, T John Callisto, Full Member: DB, BGLin (Uta) Tong, Full Member: P, T Elsabeth Parkinson, Full Member: ACC, P, MC, T Peta Quilliam, FRIENDS Natasha Samarinoff, Full Member: P, Button Accordion Eun Hae (Grace) Jung, Full Member: ACC, P, MC, T Joyce Kee, Full Member: P, S, SACE, T
AUSTRALIAN HONOURS QUEEN’S BIRTHDAY 2018 Congratulations to Martin Butler for being awarded an OAM for ‘Service to the performing arts, particularly through music’. AUSTRALIA DAY 2019 Congratulations to Alison Rosser for being awarded an OAM for ‘Service to the community’.
See the Entry form inserted in this issue of SA Music Teacher or download from mtasa.com.au events page. Entry via mtasa.com.au, email or post.
June 22 and 23
Competition Days Miriam Hyde Awards, Reimann-Robinson Scholarship, Norman Sellick Memorial Prize Madley Rehearsal Studio The University of Adelaide Admission: gold coin The Reimann-Robinson Scholarship is open to all instrumental/vocal students of any member of the MTASA who are teaching in a private capacity. Open to students who are 18 years or under on the closing day of entry to the Scholarship. The Miriam Hyde Open Award is open to all instrumental/vocal students of any member of the MTASA or related organizations. Open to students of any age. The Miriam Hyde Junior Award is open to all instrumental/vocal students of any member of the MTASA or related organizations. Open to students under 15 years of age on the closing date of entry. The Norman Sellick Memorial Prize is open to all instrumental/vocal students of any member of the MTASA who are teaching in a private capacity. Open to students who are 12 years or under on the closing day of entries to the competition.
See the Entry form inserted in this issue of SA Music Teacher or download from mtasa.com.au events page. Entry via mtasa.com.au, email or post.
August 25
Concert Performance Day 2 Westminster School Band Room, Alison Avenue, Marion Admission: gold coin Entry form will be available download from mtasa.com.au events page soon. Entry via mtasa.com.au, email or post.
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August 31
Piano lecture and Masterclass with Virginia Black (UK) Madley Rehearsal Studio The University of Adelaide Entry form will be available download from mtasa.com.au events page soon. Entry via mtasa.com.au, email or post.
September 22
Music Educators' Expo Thebarton Community Centre corner South Road and Ashwin Parade, Torrensville Ticket will be available via mtasa.com.au events page soon.
November 3
Professional Development Day, AGM and Dinner
IN MEMORIAM
Malcolm Orchard, partner of MTASA member Lady Anne Miller, died on December 15, 2018. We send condolences to the members of their families. Richard Gill AO, distinguished Conductor and Music Educator, died on October 28, 2018 in Sydney, aged 76. Bruce Hancock, former Head of Jazz at the Elder Conservatorium, died on October 31, 2018. He was an exceptional jazz artist, educator and administrator. Bob Hower died on January 26 after a short illness. Bob taught brass at the Elder Conservatorium and conducted the Elder Conservatorium Wind Orchestra for 20 years. He mentored and advised many teachers and conductors and was an adjudicator for Band Competitions
Accent on Woodwind Venue: TBA
NEW MUSIC DIARY Selling for $7 each, the proceeds support MTASA. The Music Diary features day-to-a-page journaling, staves for each week, holiday challenges and games every ten pages, with space for personal notes, lists and goal setting. Visit https://mtasa.com.au/mtasamusic-diary/ for more information.
Educators SA
OTHER ORGANISATIONS' NEWS MITCHAM ORCHESTRA
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/comm unity/education-communitybanking-benefits/ for more information. Hotel Grand Chancellor Adelaide offers an exclusive accommodation deal for 2019. This includes WiFi, welcome drink cards on arrival, a uniquely South Australian gift and the paper daily. Go to https://www.grandchancellorhot els.com/hotel-grand-chancelloradelaide to book! Enter the promo code EDSA to access the member exclusive rates and offers.
The Mitcham Orchestra is looking for string players: violin, viola, cello and double bass. Rehearsals are held on Saturday afternoons at Richmond Road Hall, 1 Richmond Road, Westbourne Park, from 2 pm4.30 pm. Please contact Robert Brown, 8431-0452, or e-mail robbrown@adam.com.au, for more information.
ADELAIDE EISTEDDFOD SOCIETY
The Adelaide Eisteddfod Society needs an Assistant Development Fund Treasurer. This position involves assisting with recording paid sponsorship and issuing receipts, issuing invoices for unpaid sponsorship and looking after the Trust Funds and investments. Please contact Brenda Rayner (8366 6531) for more information.
SOUTH AUSTRALIAN MUSIC CAMP 2019 South Australian Music Camp 2019 will be held in July. The Camp offers instrumentalists aged from nine to twentythree years an opportunity to play in one of five orchestras or concert bands which cater for a wide range of ages, standards and levels of experience. The daily routine includes a mixture of tutorials and rehearsals. State Music Camp will culminate with a concert that showcases the achievements of the five ensembles. For more information please visit the website at www.samusiccamp.net.au. Auditions will be held towards the end of Term 1.
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AUSTRALASIAN PIANO PEDAGOGY CONFERENCE 2019 July 8-12, University of Queensland, Brisbane. Variations on a Theme: The Portfolio Piano Teacher. The Australasian Piano Pedagogy Conference was launched in 1993 in Adelaide, and brings together pianists, teachers, students, scholars, piano enthusiasts and composers from all over Australia and beyond. APPCA has engaged an impressive line up of keynote and invited speakers and recitalists. Further information from the website at https://www.appca.com.au/. Enquiries: appca.secretary@appca.com.au. The full Conference Program will be available in May.
ADELAIDE CHAMBER MUSIC SCHOOL 2019 July 18-21, Hahndorf Resort Tourist Park. Registrations are now open, visit https://www.adelaidecms.org/contact.html for full details and register before April 1 for the discounted early bird rate! Website: https://www.adelaidecms.org/school-2019.html. E-mail: adelaidechambermusicschool@gmail.com. Tutors: Benaud Trio, Lachlan Bramble, violin; Ewen Bramble, cello; Amir Farid, piano.
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MTASA MEMBERSHIP FEE INCREASES MTASA membership fees have been increased. This allows the Association to continue providing a sustainable service for its members. The new membership fees are: Full member $120 Student $60 Friend $30 Institution $30
RECOMMENDED TEACHING FEES The following teaching rates are recommended to members by the MTASA Council for 2018/2019. Full Member - $73 per hour Associate Member - $62 per hour Student Member - $46.50 per hour
MTASA MEMBERSHIP RENEWALS Most subscription renewal notices were sent in late June 2018 via e-mail to remind members to log in and renew their membership for the 2018/2019 financial year. The increased membership fees were applied in this billing cycle. If you didn’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 Masako Kondo (info@mtasa.com.au). Paper invoices were sent to members who preferred to receive them. Membership Subscription Renewals for 2019/2020 will become due on June 30, 2019.
ANNUAL PROFESSIONAL DEVELOPMENT REQUIREMENT All Full members, Student members and Associate members of the Music Teachers’ Association of South Australia are required to undertake a minimum of seven hours documented Professional Development each year. The Council is currently considering how this will be administrated; on-line is one possible option. Further information will be given in the Winter 2019 SA Music Teacher, via e-mail and on the MTASA website.
AON’S MUSIC TEACHER INSURANCE
EISTEDDFODS AND SCHOLARSHIPS GENERATIONS IN JAZZ 2019 - THE STARS ARE COMING!
Chicago’s Grammy award-winning singer, Kurt Ellling, has been confirmed as one of the major acts at this year’s Generations in Jazz (GIJ) Festival being held in Mount Gambier from May 3-5. Participants will have the opportunity to sign up for a Kurt Elling workshop on the Sunday morning and he will be judging entrants for the 2019 GIJ Vocal Scholarship during their first adjudication performance at Mount Gambier’s Sir Robert Helpmann Theatre (Thursday May 2). Prize money for the Vocal Scholarship has been increased to $10,000 by major sponsor The Border Watch, matching the $10,000 James Morrison Jazz Scholarship for instrumentalists generously donated by Andrea Evans. Both scholarships are open to Australian and overseas-based performers aged 19 and under. The deadline for entries is March 15. Entry forms are available at generationsinjazz.com.au.
2019 ADELAIDE EISTEDDFOD
Aon, our recommended insurance provider, has over 50 years experience and a dedicated Entertainment team who understand your needs. As the New Year is already upon us, what better time than now to organise your cover and peace of mind for the rest of the year! Aon’s Music Teacher Insurance Policy is affordable, easily purchasable online and comprehensive, covering you for Public and Product liability (including wrongful allegation), Professional liability and Personal accident. For more information and to buy online visit aon.com.au/musicteachers.
Entries for the 2019 Adelaide Eisteddfod will be via Stardom; go to http://www.stardom.com.au/. All of the participating competitions can be viewed from the Homepage. To enter a competition you will need to be registered to login. Visit the Adelaide Eisteddfod website at http://www.sacomment.com/aes/eisteddfod/ to read the General Rules and look for any news. Entries will close on April 12 at 5 pm. No late entries will be accepted. Divisions being offered in the 2019 Adelaide Eisteddfod will include Choral, Vocal, Piano, String, Guitar, Flute, Recorder, Woodwind, Brass, Eisteddfod Ensemble Event and Eisteddfod Concerto. Entry in the SA Final of Young Virtuoso, offered by the Australian Fine Music Network of community radio stations, is through the Adelaide Eisteddfod. The winner of the National Final will receive the Young Virtuoso Scholarship of $10,000. The adjudicators will select the SA finalists through Recitals offered via the Vocal, Piano, String, Guitar, Flute, Woodwind, Recorder and Brass Divisions. The SA Final for Young Virtuoso will be held on Sunday October 13, 2.30 pm, at St John’s Church, Halifax Street, Adelaide. The prizes for the SA Final will be: Vocal Prize: $750; Instrumental Prize: $750, SA Finalist Prize: $1,500. The National Final will be held in Adelaide on Sunday November 24, 2.30 pm, at St John’s Church.
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TEACHERS OF THEORY/MUSIC -IANSHIP
23rd BALAKLAVA EISTEDDFOD
The 23rd Balaklava Eisteddfod will be held from August 2-4, 2019. Disciplines included are Instrumental Ensembles, Bands, Choirs, Vocal Ensembles, Vocal, Musical Theatre, Contemporary Vocal, Instrumental, Piano, Speech and Drama and the Finale Concert including adjudication of the ‘Adelaide Plains Male Voice Choir’ Vocal Scholarship. Visit http://www.balaklavaeisteddfod.org.au, the Facebook page at www.facebook.com/BalaklavaEisteddfod or e-mail info@balaklavaeisteddfod.org.au for more information. Entries open on April 1 and close on May 6.
MOUNT GAMBIER EISTEDDFOD
The Mount Gambier Eisteddfod is part of the ongoing work of Backstage Incorporated (founded in 1978). Enquiries, Secretary, Backstage Inc., PO Box 1711, Mount Gambier, SA 5290, Ph./fax 8725-5905, e-mail backstageinc@internode.on.net, or visit http://www.backstageinc.org.au/default.asp for further information. Entries will be via Stardom, visit http://www.stardom.com.au/ and look for ‘Mt Gambier Eisteddfod’ under ‘Competitions’. Choral, Vocal and Music competitions are held in July and August.
LIMESTONE COAST CHORAL AND VOCAL SHOWCASE
The Limestone Coast Choral and Vocal Showcase is presented annually by the Mount Gambier Choral Society. Part of their charter is to foster singers of all ages to develop their skills and enjoyment of vocal and choral music and singing. Visit the website at http://www.limestonecoastshowcase.com.au/ for more information.
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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).
POSTNOMINALS
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 postnominal.
MTASA MEMBERSHIP NOTES Visit http://mtasa.com.au/index.php/mem bers/become-a-member/ to join MTASA. 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.
METROPOLITAN MALE CHOIR ANNUAL MUSIC SCHOLARSHIP FOR 2019 The Metropolitan Male Choir Annual Music Scholarship will be offered again in 2019. Applications from young musicians are invited from May/June onwards each year with auditions usually held in September. Visit http://www.mmcsa.org/about/music-scholarships/ for more information.
WHY ENTER AN EISTEDDFOD OR SCHOLARSHIP?
EVENT VOLUNTEERS NEEDED Enthusiastic volunteers are needed to help with various jobs at MTASA events. Tasks include setting up chairs, tables and piano, helping with registration at the check in table, ushering, assisting performers, helping with morning tea, lunch and afternoon tea, 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 email the Secretary, Masako Kondo, at info@mtasa.com.au.
Musical Instrument Hire and Repair mountfordmusic.com.au Email sales@mountfordmusic.com.au Phone 0408 944 034 10
OTHER ORGANISATION’S CONCERTS
RECITALS AUSTRALIA WEDNESDAY LUNCH HOUR CONCERTS 2019
Pilgrim Church, 12 Flinders Street, Adelaide, at 12-10 pm and 1-10 pm. Adults: $5. Tickets at the door. Enquiries, mobile 0432114-127, e-mail info@recitalsaustralia.org.au. Visit http://www.recitalsaustralia.org.a u/ for more information.
ELDER HALL CONCERTS 2019
Lunch Hour Concert Series, Fridays, 1-10 pm. General admission: $14. Gold Pass Subscriptions available. Evening Concert Series. 6-30 pm. Ticket Prices: $30 Adult; $25 Concession; $19 Student. Visit www.elderhall.adelaide.edu.au for more information.
MITCHAM ORCHESTRA IN CONCERT
Cumberland Park Community Centre, Sunday May 26, 390 Goodwood Road, Cumberland Park, 2-00 pm. Conductor: Tully Brookes. Soloist: Tahlia West, flute, recipient of 2018 Music Teachers’ Association of SA Inc./Grace Barbara Turner Awards for Excellence in Performance - Wind. Includes music by Mendelssohn, Schubert, Chaminade and Mozart. Admission: $12, Children 12 Years and under free, at the door.
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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. 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.
ADVERTISING PRICE LIST For the SA Music Teacher, 2018/2019
INSERTION FEE FOR POSTERS AND FLYERS One issue $100. Four issues $360. 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 MTA Members, free. Nonmembers, $15. Please contact the Secretary about advertising. Mobile: 0402 575 219 E-mail: info@matsa.com.au
DR DAVID LOCKETT AM 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 Robert Brown at robbrown@adam.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 to Robert Brown at robbrown@adam.com.au.
Emeritus Professor David Lockett AM is a Patron of the Music Teachers’ Association of South Australia. He is a willing supporter of the Music Teachers’ Association and we always look forward to David’s involvement in MTASA events. The piano has formed the core of David Lockett’s long and varied career. He has given performances throughout Australia and New Zealand, as well as many parts of Asia, Europe and North America. He has recorded frequently for radio, CD and television. In addition to a large repertoire of standard solo works he has presented much new music by Australian composers. As a collaborative pianist he has performed a vast number of instrumental duos and other chamber works. He has a distinguished track record as a teacher, adjudicator, examiner, researcher and administrator. As part of his commitment to music by Australian composers David Lockett has made a particular study of the piano music of Margaret Sutherland. This work resulted in an ABC Classics CD followed by a performing edition prepared from the composer’s own manuscripts. After early piano studies in the Adelaide Hills, David Lockett enrolled at the age of twelve as a Single Study student with Clemens Leske at the Elder Conservatorium. After completing an Honours degree in Performance he undertook postgraduate studies with Kendall Taylor at the Royal College of Music in London. His first academic appointment was at the University of New England in Armidale, NSW, after which he undertook a variety of roles in tertiary institutions within South Australia. During his long association with the Elder Conservatorium he served in the roles of Head of Keyboard, Associate Dean (Learning and Teaching) and Director. He was the first performer to be promoted to the rank of full professor and the first to receive a Doctor of Music degree in the field of performance. Upon his retirement from the full-time staff of the University of Adelaide he was awarded the title of Emeritus Professor. Other awards have included a Stephen Cole the Elder Prize for excellence in teaching, a nomination for CD of the year in the APRA/AMC music awards, an Honorary Life Membership from the Piano Teachers’ National Association of Japan and an Honorary Fellowship from the AMEB. He was made a member of the Order of Australia (AM) for ‘service to music as a concert pianist, educator and researcher, and as an advocate and supporter of Australian music and composers’ in June 2010. He is a proud Patron of the Music Teachers’ Association of South Australia. David Lockett has had many different roles within the AMEB, including that of Director and member of the Federal Board, and chair of various syllabus committees. In 2014 he compiled and edited the Series 17 set of Piano Grade Books and subsequently became Chief Practical Examiner overseeing Licentiate and Fellowship diploma examinations. In 2017 he was appointed Principal Consultant leading a process of syllabus review and publication development to coincide with the AMEB’s centenary in 2018. This resulted in the release of new Grade Books from Preliminary to Grade 8, a new set of manual lists up to diploma level and two volumes of innovative technical work, incorporating a mix of traditional scales and arpeggios with specially composed exercises. The new syllabus also incorporated for the first time an option in collaborative piano.
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GEORGE PEARCE MEMORIAL AWARD
The George Pearce Memorial Award is awarded to a Seventh Grade piano student who has excelled in the Australian Music Examinations Board (SA and NT) examinations. The recipient for 2018 is Odette Biggs, whose teacher is Anne Hutchesson.
Odette Biggs is a 16 year old pianist and violinist. She is currently studying at Marryatville High School, where she attends the Special Interest Music Program. Odette began her musical pursuit after having been inspired by her older sister’s piano and violin playing. Determined to follow in her sister’s footsteps, Odette began to learn the piano at the age of seven, under the guidance of Anne Hutchesson and shortly thereafter, the violin at the age of 9 under the tutelage of Kemeri Spurr. Since beginning her studies of the piano and violin, Odette has taken every opportunity to further her musical skills through performance, theory tests and practical exams. These opportunities include her completion of AMEB piano exams of grades preliminary through to seven, her participation in school performances and her involvement in music groups such as the Marryatville High School Orchestra, the Swing Tones and Pops Vocal groups, as well as her involvement in various school choirs and small string ensembles. In addition to her participation in musical ensembles, Odette has also enjoyed accompanying her classmates at various school performances. Odette’s musical excellence is reflected in the various awards she has received over the years including that of AMEB exam certificates, the 2016 Piano Sixth Grade Prize and most recently the 2018 George Pearce Memorial Award. Odette is honoured to have received such awards, especially that of the George Pearce Memorial, which is awarded to a piano student annually in memory of the beloved music teacher, George Pearce. Odette’s involvement in her music studies has not only allowed her to receive awards, but has also enabled her to travel to places such as Mount Gambier and Japan through the music program at Marryatville High School. These music travels have allowed her to greatly further her musical abilities through performance in different environments, all while allowing the opportunity to discover new places and cultures. Odette hopes to further her musical pursuits by continuing her studies within the Marryatville High School Special Interest Music Program and to complete more AMEB exams for both the piano and violin, as well as to maintain and build her musical interests throughout her future life. 13 20
MUSIC TEACHING AT CLARE
BUSKING: SARAH CREMER, TRUDY HART AND ADAM WEST FROM CLARE HIGH SCHOOL
BY PAUL GIBSON Most instrumental teachers that work in our amazing Clare Valley work in similar ways as far as having multiple sites to work from each week. I tend to float a little from year to year, usually having 4-5 schools per week, simply depending on the instrumental demand. In recent times a number of smaller primary schools have become more positive with music development of their students so I have been lucky enough to assist a number of schools with short term Orff based curriculum programs to further strengthen music education leading to secondary school. The value of these programs is huge as they move into High School, with students being familiar with many elements including rhythms; pitch and dynamics.
The Clare Valley is certainly a well known place, not too far from Adelaide and perfect for those looking for fine wine experiences; and high quality restaurant dining. It is very lush and picturesque with greenery for much of the year with Clare being the main heart of the valley. The Clare Valley has over 25 wineries in the region; most with cellar doors for tasting and sales and a number of attached restaurants that are amazing quality that strive to use local produce. If you are not looking just for the wine and cuisine there are many other places of interest including the Burra Mines, Mintaro Maze, seasonal open gardens and a nice golf course! As for schools and education there are many small primary schools in the area including three in Clare plus a public High School.
So it seems all roads lead to Clare High School, where students have more of an opportunity to really dive deeper and become more serious with their music, in whatever form. One of my highlights each week is working at Clare High School. The school has around 500 students, taking in from a number of mentioned feeder Primary Schools. Like many country schools Clare High takes its sporting achievements fairly seriously; however, in recent years music is becoming much stronger in a number of ways. There are approximately seventy-five students expected to partake in instrumental music lessons this coming term; in many areas including singing, percussion and rhythm sections, brass; woodwind and piano. Clare High’s Head of Music, Trudy Hart, is incredibly passionate and driven and has been a welcome addition to Clare High since returning at the beginning in 2018. Ben Fuller, who had been at Clare High for many years prior to Trudy, had done an amazing job developing the range of music opportunities, including performances to a point where he was able to send a band to the Generations In Jazz Festival for the first time in 2017.
With so many teaching opportunities in the area Clare is an ideal place to base myself as an instrumental music teacher. To my knowledge Clare High School is one of only two secondary sites within an eighty kilometre radius that has a full time music teacher, so the ten or twelve schools (mostly primary schools) inside that area simply do their best with the staff they have and by using community resources and skills. Instrumental Music does of course have a presence in some rural schools, however student numbers and distance presents challenges. In an effort to try and cater for some of these small outlying schools IM encourages students from these communities once a week to join in at the larger sites so they can still access lessons. This is of course a time consuming challenge for parents and the like with sometimes seventy-five or so kilometres in a round trip. Certainly for some, when they transition to Clare High School, for instance, they are far more easily able to slip into the existing programs and Junior Band quite quickly, creating a strong positive for the Music Department.
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MUSIC TEACHING AT CLARE (Cont'd) In 2019 Clare High will be on their way again in a joint band with music students from Kadina. The music area each day at Clare High has transformed in the last ten years into a vibrant and busy place. Booking a rehearsal area is almost required at recess and lunch these days with students from Years 7 through to 12 working together in a close knit group. A highlight from 2018 was a music camp to Adelaide for year 9-12 students, where our young musicians were introduced for the first time to busking in Rundle Mall and Jetty Road in Glenelg. There were so many nervous students in the first hours, but by the end of three days you could barely hold them back! A last minute opportunity after busking for the day was to perform a number of solo and group performances utilising a grand piano at the new Royal Adelaide Hospital.
This was both a thrill and also a daunting hour or so, but the look and smile on the faces of patients and staff as they went by was an incredibly emotional and uplifting experience. The positive outcomes were amazing from this three day experience and did nothing other than inspire and motivate our country students ten-fold. I expect a very exciting year in 2019; a little crazy busy too (working with students from six sites!) in Primary and High Schools; but another incredibly rewarding year working with some amazing and passionate music educators. I am sure I will find a little time to relax and indulge with one of the world’s best Clare Valley Rieslings in between performances or rehearsals. However, busy is great, and I can hardly wait to begin!
ANATSA SA/NT CHAPTER BY DI SPENCE, VICE-PRESIDENT As our name indicates, we are part of a world-wide body of singing teachers and researchers who share ideas and workshops over the internet and at conferences. We have close connections with NZ, UK and USA teachers who come to our conferences to present and teach, and our members do likewise. We represent and embrace all singing styles for which we run professional development sessions throughout the year. Every form of music is respected and supported. In May we run a special workshop for teachers who are involved in preparing singers for SACE 1 and 2 assessments. Singers present their songs, and the Chief examiner for SACE music guides us through the assessment of these students. As well as this, we have forums at which we all sit together and teachers can bring up the issues they want to discuss around the teaching of singing. Recently, some have taken the opportunity to prepare for pedagogy examinations as offered by the AMEB in these forums. ANATS at a national level now offers webinars to the membership. These are interactive, and will become more available from now on. There are also interest groups available to members through the ANATS Facebook site. Great ideas and material are available from these. The Young Voices interest group is one really worth following.
Every two years ANATS has a national conference. This is one of the most powerful networking and educational experiences for those who attend. Key note speakers come from overseas, papers are presented by those who are following research and singers perform in masterclasses. We eat together and get to know each other. One third of ANATS membership comes from regional Australia. ANATS addresses this problem with the internet as its instrument. The next ANATS conference will be in Adelaide in 2020 – very exciting!! Visit the website at https://www.anats.org.au/santchapter for the 2019 Calendar of Events.
WORKING HARD ON A 2018 PD DAY!
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PEDAGOGY MATTERS by Rodney Smith
How much of our lesson should be teacher talk?
A podcast conversation in April 2018 between Jon Severs, Commissioning Editor of TES (Times Educational Supplement) and Professor Neil Mercer, Emeritus Professor of Education, University of Cambridge and Director of Oracy, Cambridge, entitled ‘How much of our lesson should be teacher talk?’ proved to be irresistible listening. Mercer has made a lifelong study of spoken language, particularly in educational settings, and suggests that evidence is on the side of pupils receiving helpful, attractive, well-expressed explanations from a young age. Observing student teacher practicums, as I do, one is struck how beginning student teachers overwhelmingly adopt the expository teaching style (teacher talk) explaining in detail, but poorly, and then expecting their pupil(s) to remember and to perform. Teacher-pupil discussion in these lessons is often absolutely minimal. Later on, such ‘student teachers usually start’ to ‘let their pupils in’ after having examined the merits of questioning and allied teaching techniques to the extent that some of them even go too far the other way and their own voice is hardly heard.
Given Mercer’s view that teachers using ageappropriate but richly illustrative language (and presumably playing in a music lesson) are likely to strongly foster a child’s cognitive and creative growth, we should ensure lessons contain distinct elements of teaching direction and explanation couched in language-rich terms where possible. However, as Mercer acknowledges, teacher-pupil discussion is equally beneficial. Otherwise, how can we know with certainty what is going on in our pupil’s head? Mercer wants a balanced lesson containing both direction and discussion, of course, and who could argue with that? Nevertheless, it is remarkable how unbalanced some lessons can become. While there may be good and sufficient reasons for an unbalanced lesson occasionally, during our own reflection we teachers need to be alert to our use of language and how it can impact our pupils for the better.
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ACCOMPANIST’S CORNER JOHN HALL OAM - DECISION TO RETIRE!
John Hall grew up in a Church community where he was encouraged to enjoy his musicmaking; by the time he was fourteen, he was accompanying the Church Choir in Messiah excerpts and a wide range of other music. This led to accompanying the Church of Christ Youth Choir; a few years later some Gilbert and Sullivan productions and other choral music. From there he was involved in full performances of Messiah and other works for the Choral Association. In the early sixties John accompanied a few young people in the Adelaide Eisteddfod. He joined the Adelaide Harmony Choir as a singer, becoming its accompanist, then eventually also conductor. This gave him the opportunity to accompany complete performances of Messiah, Elijah, Creation and Bach’s Christmas Oratorio, among others. He was repetiteur with Intimate Opera (the precursor to the State Opera) and also for Arnold Matters’ ‘Pro-opera Consort’. Another great opportunity for him was the engagement to accompany the ABC Adelaide Singers, as well as several soloists, for ABC broadcasts.
All of the above consolidated his love of vocal music, giving him the chance to explore the vast area of vocal repertoire and to work with numerous soloists - local, interstate and from overseas. For almost 40 years he accompanied vocal students at the Elder Conservatorium, working with vocal teachers, among them, particularly, Gwenyth Annear and Guila Tiver. During this time he did occasionally accompany instrumental students but his real love remained with the voice. His policy was to try to make the associate artist feel safe, comfortable and calm. John declares that he has had a wonderful life - meeting and supporting many fine artists and enjoying wonderful music. He was awarded an OAM in 1998 for his dedicated work as accompanist and his contribution to music in Adelaide.
John Hall OAM
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PERFORMANCE AND THE ART OF LISTENING by Heather Lander
Recently, I was attending a Violin Masterclass and there came a time in the Masterclass where the maestro taking the class told everyone in the audience to turn off their mobile phones and to pay attention to the student performing. At the time, I myself was guilty of this offence. I was on my mobile phone. I was busy taking notes of information being shared but, I admit, I was also replying to an e-mail that a parent had sent me. As a teacher I lead by example, so this faux pas was emphatically drawn to my attention. Communication between performer and audience is what makes a concert. From the early stages it is essential in my view that students have the opportunity to be heard and to know they are being heard. How much we can pay attention is as important as the effort the individual is putting into their performance. The distraction of a device, whether it be from recording a video of the concert, or being distracted by what someone else is looking at all diminish our awareness. These actions most certainly take away from the present experience of being an audience member. I should mention that I do use video frequently in my teaching and find it a very useful tool in assisting practice and measuring progress on the instrument. However, what I am talking about here is listening as an audience member, being present to performance.
This started me thinking about deep listening and how do I train my students to be great listeners and great audience members? So I wrote a list of questions I wanted my students to answer when they were listening to our end of year concert. The purpose was to enhance their focus and mitigate somewhat against the temptation of distraction. Some of the questions included: • What sort of picture or scene from a movie would this music go with? • What were two contrasts in this piece? • Can you draw what you hear in this piece? There were interesting outcomes. Some students had opted to do some pictures, one student decided to try his hand at writing some fingering on the reverse of the sheet, which being recycled paper had a piece of music that was poorly photocopied. Another activity that I find can be beneficial to check on the students’ listening abilities (although this activity is better in groups) is to play a piece and ask the student to write down ten things that they hear in the piece, to have a discussion about it and then to play the piece again and requiring the student to write down a further ten possibilities. I believe this encourages deeper listening for the student. This is needed in this day and age when devices are so omnipresent with parents and students in our performing environment.
2018
5 MINUTES WITH DIANA HARRIS OAM!
Hayley meets the Performance Professional and Piano Teacher by Hayley Wedding Former MTASA President and Honorary Life Member. Founder of the Accompanists’ Guild of SA. Retired Musician and Music Educator. Currently part time Piano Teacher. Performance is built upon a series of components: the technique, the emotion, the ability to communicate a story! But a component that can entirely reshape and develop a student’s connection to their own performance is Accompaniment. Accompanists expose our students to interpret and hear music in its entirety. I had the privilege of speaking with Diana Harris, former MTASA President and Founder of ‘The Accompanists’ Guild of SA’. We discussed the value that accompaniment can bring to a student’s musical performance, the perfect time to introduce it, opportunities available for learning this, and hot tips and tricks for both teachers and students. Read here for more!
1. Can you tell us what the Flinders Street School of Music was and what opportunities it brought to musicians? The FSSOM no longer exists (it was located at 279 Flinders Street, Adelaide). It was absorbed into the Elder Conservatorium in 2002 despite recommendations to the contrary by the SA Review in to Tertiary Music Education. Many of its student centred vocationally oriented courses were lost or considerably diminished in the merger. Previously Elder Conservatorium piano students included a minimum of two subjects (Accompanying Repertoire, Accompanying Tutorial, Keyboard Musicianship, etc.) in their course work. Some continued to complete up to B.Mus Accomp. (Hons).
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Graduates from all levels of the Accompanying Course are currently working far and wide and include (to name just a few) Stacey Bartsch (Assoc. Prof., Graz, Austria), Jillianne Stoll (Lecturer, Griffith University Conservatorium, Répétiteur, Opera Australia, Queensland Opera), Nicole Panizza (UK collaborative pianist and academic), Leigh Harrold (ANAM and freelance collaborative pianist), David Barnard (recently appointed Head of Accompanying and Vocal Coaching, NZ SOM, Wellington) and many more in SA, including some MTASA members.
2. What benefits and lessons can accompanists bring to students’ performances? a) Combining with an advanced musician and thereby experiencing the totality of the music as the composer conceived it and not the ‘solo’ part with an optional accompaniment; b) Knowing the pianist will always be there and come to the rescue no matter how tentative the student might be – experiencing the joy of collaborative performance; c) experiencing well structured rehearsal techniques - particularly if there are two or more rehearsals.
3. When do you feel accompaniment should be brought into students learning? Naturally as soon as possible - initially via recordings so the student hears the whole work hopefully with the teacher playing with them (piano if the teacher is able, if not piano then selected segments from the piano score using the teacher’s own instruments or voice). The least educationally and musically useful to the student is to have the accompanist ‘latch on’ at the actual performance. It’s cheaper but is it educationally sound??
4. What is the Accompanists Guild Festival and how can Teachers get involved? The Guild has been presenting Festivals almost every year since 2004 when our international patron, Phillip Moll, joined us for classes and a major recital with soprano, Yuko Takemichi and flautist Elizabeth Koch. Since then Accompanists’ Festivals have presented a range of visiting artists (always different musicians and topics) involved in a one day Conference, a Recital and supporting classes.
Some recent Recitals have included a new work by local emerging composers. The past decade has presented special concerts performed by young accompanists from two important AGSA educational projects, the Primary School JEMs (Junior Ensemble Musicians pianists combined with junior instrumentalists and singers) and the Secondary School YAS (Young Accompanists Showcase with pianists combined with professional musicians). MTASA teachers should consider involving their student pianists in these events.
5. What are some of the most valuable tips and tricks you’ve learned through your career in Music Lecturing, Teaching and Accompanying? a. Above all - BE PREPARED! b. Knowing that you are well prepared for whatever situation - class teaching, lecturing, one to one lessons, performing as accompanist, collaborative pianist or soloist, running meetings, convening festivals - maintain SELF CONFIDENCE. c. If troubles arise in any of the above pursuits BELIEVE IN YOURSELF - that you will immediately (as in the performance situation) or with persistence and determination (as in replacing a vital component in one of your projects) - find a solution. d. COLLABORATION - has been the most valuable aspect in my career as a musician and music educator - not just in playing music with others. PS: Be in Touch - I’d love to hear from anyone who was a student in subjects in the FSSOM Accompaniment Courses back in the 80s, 90s and early 20s. Let me know any memories you have of this course and what you are doing now (diana.harris@museco.id.au)? Speaking with Diana really identified the benefits that accompaniment in music can bring to a students learning, be it solo performance or ensemble work. Accompaniment can bring such value and depth to a piece, and the emotional and interpersonal skills that this births in children shapes every performance individually. Diana, thank you for illustrating the influence that accompanists can have on their students.
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Hayley Wedding
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HUMOUR A flautist was hiking in the mountains, and he came upon a shepherd who was tending a large herd of sheep that were grazing in the alpine meadow. The flautist took a fancy to the sheep, and asked the shepherd, ‘If I can guess how many sheep you have, can I have one?’ The shepherd thought this was an odd request, but thought that there was little chance that the man would guess the exact number of sheep, so he said, ‘Sure’. The flautist guessed, ‘You have 287 sheep’, to the shepherd’s astonishment, since this was exactly how many sheep he had. The flautist got all excited and asked, ‘Can I pick out my sheep now?’, and the shepherd grudgingly gave his permission. The flautist selected his sheep, bent over, and swung the sheep over his shoulders, to carry home with him. The shepherd then got an idea and asked, ‘If I guess what your occupation is, can I have my sheep back?’ The flautist was a bit surprised by this, but figured it was unlikely that the shepherd would be able to guess his occupation, and went along with the deal. The shepherd then guessed, ‘You’re a flautist, aren’t you?’ The flautist was very surprised and asked, ‘How did you know’? The shepherd responded, ‘Put the dog down and we’ll talk about it!’.
CONTACT DETAILS FOR OTHER ORGANISATIONS 5MBS Visit: www.5mbs.com ABODA https://www.abodasa.com.au/ ABRSM International Representative – South Australia – Anastasia Chan E-mail: abrsmsa@hotmail.com Tel: 08-8234 5952/ 0423 282 589 http://au.abrsm.org/en/home ACCOMPANISTS’ GUILD of SA INC. Contacts: The President, Monika Laczofy, mlaczofy1@bigpond.com, mobile 0411 271 215 or the website www.accompanist.org.au ADELAIDE BAROQUE www.adelaidebaroque.com.au ADELAIDE CHAMBER SINGERS www.adelaidechambersingers.com ADELAIDE PHILHARMONIA CHORUS For enquiries please contact the Secretary at secretary@philharmonia.net ADELAIDE EISTEDDFOD SOCIETY INC. http://www.sacomment.com/aes/eisteddfod/ ADELAIDE YOUTH ORCHESTRA www.adyo.com.au AMEB https://ameb.adelaide.edu.au/ E-mail: ameb@adelaide.edu.au ANATS SA & NT CHAPTER E-mail: anats.sa.nt@gmail.com Website: www.anats.org.au ANZCA MUSIC EXAMINATIONS http://www.anzca.edu.au/ ASME http://www.asme.edu.au/ AUSTA, Australian Strings Association https://www.austa.asn.au/chapters/sa/ AUSTRALASIAN DOUBLE REED SOCIETY https://www.adrs.org.au/ AUSTRALIAN STRING QUARTET www.asq.com.au
BALAKLAVA EISTEDDFOD www.balaklavaeisteddfod.org.au or write to PO Box 253, Balaklava, SA 5461 or Ph/fax (08) 8863 1242. ELDER CONSERVATORIUM OF MUSIC www.music.adelaide.edu.au ELDER HALL www.elderhall.adelaide.edu.au or Contact: Elder Hall Concert Manager 8313 5925 FLUTE SOCIETY of SA INC. https://www.flutesocietyofsa.org/ MUSICA VIVA http://www.musicaviva.com.au/ for concert details. Mt GAMBIER EISTEDDFOD Enquiries, Secretary, PO Box 1711, Mt Gambier, SA 5290, telephone (08) 8725 5905, E-mail backstageinc@internode.on.net, website http://www.backstageinc.org.au/ PRIMARY SCHOOLS MUSIC FESTIVAL https://www.decd.sa.gov.au/teaching/projects-andprograms/music/school-music-programs/primaryschools-music-festival THE SOCIETY OF RECORDER PLAYERS SA INC. Society mobile number 0410 109 135, E-mail npope@bigpond.net.au SOUTH AUSTRALIAN BAND ASSOCIATION http://www.sabandassociation.org/ SOUTH AUSTRALIAN MUSIC CAMP ASSOCIATION INC., www.samusiccamp.net.au
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