WELCOME FROM THE PRESIDENT
Building a community of likeminded music educators is so exciting. As we enter a new decade, the task of marrying traditions with digital modernisations is a thrill and a challenge.
It is an honour to take up the reins as President, as I take over from Rodney Smith, who has led us so graciously in the last four years. On January 22 and 23, 2020, the MTASA held a hugely successful 2020 Summer Conference. Over 90 Music educators and instrumental music teachers attended at the Hartley Concert Room at Adelaide University. The diversity of knowledge, ideas, information and teaching practice was warmly welcomed by an engaged crowd. Building a community of like-minded music educators is so exciting. As we enter a new decade, the task of marrying traditions with digital modernisations is a thrill and a challenge. The MTASA Council worked hard under Convenor Rodney Smith, and the presenters were pleased by the reception and interaction by you, the delegates. I thank and congratulate our presenters, our attendees and our Council! In our next issue we will deliver a comprehensive report on the Summer Conference. Now our sights are set on celebrating a fantastic milestone, the 90th Anniversary of MTASA! We will celebrate together in a special way, and more information is to come. Stay connected through our Facebook (The Music Teachers’ Association of South Australia), Instagram (@musicteacherssa), website (www.mtasa.com.au) and check your e-mail for news. With all best wishes,
Sofie Arhontoulis, President, The Music Teachers’ Association of South Australia Inc.
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SA MUSIC TEACHER THE MAGAZINE OF THE MUSIC TEACHERS' ASSOCIATION OF SOUTH AUSTRALIA INCORPORATED
SA MUSIC TEACHER
TABLE OF CONTENTS
Print Post Pub. No 100003224 VOLUME 28 NO 1 – Autumn 2020 CELEBRATING 90 YEARS IN 2020
WELCOME FROM THE PRESIDENT by Sofie Arhontoulis
PATRONS:
COMING MTASA EVENTS
Dr Doreen Bridges AM Emeritus Professor David Lockett AM
PRESIDENT:
Sofie Arhontoulis
VICE PRESIDENTS:
Rodney Smith, Robert Brown OAM
SECRETARY:
Masako Kondo
TREASURER:
Samantha Penny
AUDITOR:
Australian Independent Audit Services
COUNCIL 2019/2020:
Sofie Arhontoulis, Pete Barter, Robert Brown OAM, Wendy Heiligenberg, Masako Kondo, Irina Lioubimova, Zuoyu Liu, Yong Cheong Lye, Samantha Penny, Rodney Smith, Cheryl Van Wageningen
EDITOR:
Robert Brown OAM
Layout:
Masako Kondo, Zuoyu Liu
MEMBERSHIP ENQUIRIES to the Secretary – PO BOX 4, RUNDLE MALL, ADELAIDE SA 5000 Mobile: 0402 575 219 E-mail: info@mtasa.com.au ADVERTISING – Please contact the Secretary
Please see MEMBER INFORMATION page for Advertising Price List. DEADLINES for 2020/2021
Contributions to SA Music Teacher are most welcome. All items to be included must reach the Editor, Robert Brown OAM (https://mtasa.com.au/lettertotheeditor.) no later than these deadlines: Thursday April 30, Tuesday July 14, Saturday October 31, Sunday January 31, 2021. 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 ? MTASA WEBSITE Please visit http://www.mtasa.com.au/ MTASA FACEBOOK
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MEMBER INFORMATION
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OTHER ORGANISATIONS’ NEWS
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EISTEDDFODAU AND SCHOLARSHIPS OTHER ORGANISATIONS' CONCERTS RECENT MTASA EVENTS: PROFESSIONAL DEVELOPMENT AFTERNOON SUMMER CONFERENCE GEORGE PEARCE MEMORIAL AWARD 2019 PEDAGOGY MATTERS by Rodney Smith THE COLOURFUL LIFE OF THE ACCOMPANIST by Stephen van der Hoek CELEBRATING 90 YEARS IN 2020: MTASA’S HISTORY FROM 1930-2020 by Robert Brown OAM CLEMENS LESKE - MY TEACHER AND MY INSPIRATION by Chris Adlard THE SOCIETY OF RECORDER PLAYERS (SA) INC. by Neville Pope MAY THE MUSIC WIN: ART + SINGER + ACCOMPANIST by Pat. H. Wilson CONTACT DETAILS FOR OTHER ORGANISATIONS
Please visit the MTASA Facebook page at https://www.facebook.com/The-Music-Teachers-Association-of-SA-Inc883307955101655/
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Front cover: roses in Fergusson Square, Toorak Gardens. Photograph taken by Robert Brown OAM.
COMING MTASA EVENTS MEMBER INFORMATION Celebrating 90 Years
NEW MEMBERS
April 4 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. Jaein Im Friends
Concert Performance Day 1 Venue:
Salvation Army Citadel 55 George Street, Norwood gold coin https://mtasa.com.au/event/concertperformance-day-1-4/
Admission: Booking:
Susu Yang Full Member, P, T Jenny McDonald Full Member, VC, V, Suzuki, Sight impaired Angel Lee Full Member, P, T
June 27
Competitions Day 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 $122 Student $62 Friend $32 Institution $32
The Reimann-Robinson Scholarship The Norman Sellick Memorial Prize Venue:
Flinders Street Baptist Church 65 Flinders Street, Adelaide gold coin https://mtasa.com.au/event/2020competition-day/
Admission: Booking:
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 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.
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August 2
Concert Performance Day 2 Venue: Admission: Booking:
Flinders Street Baptist Church 65 Flinders Street, Adelaide gold coin https://mtasa.com.au/event/2020concert-performance-day-2/
November 15
Annual General Meeting Venue:
TBA
RECOMMENDED TEACHING FEES The following teaching rates are recommended to members by the MTASA Council for 2019/2020. Full Member - $75 per hour Associate Member - $64 per hour Student Member - $48 per hour
MTASA MEMBERSHIP RENEWALS Membership Subscription Renewals for 2020/2021 will become due on June 30. Subscription renewal notices will be sent in late June via email to remind members to log in and renew their membership for the 2020/2021 financial year. If you don’t receive an email 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 will be sent to members who prefer to receive them.
NEW MUSIC DIARY Selling for $7 each, the proceeds support MTASA. The Music Diary features dayto-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
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 2020. This includes WiFi, welcome drink cards on arrival, a uniquely South Australian gift and the paper daily. Go to https://www.grandchancellorhotel s.com/hotel-grand-chancelloradelaide to book! Enter the promo code EDSA to access the member exclusive rates and offers.
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). If your church, club or association has significant membership of (or involvement by) children, the people delivering the services/activities need a Working With Children Check. This may include: Churches of all denominations; Scouts and Guides; Sport and recreation clubs; Cultural or artistic schools/service providers (e.g. theatre, music, dance, arts and crafts). What is a Working With Children Check? It is a checking process undertaken by the Department for Human Services (DHS) Screening unit. It involves checking the person’s criminal history and any other relevant information that is lawfully available to the Screening unit. It can include information from the police, courts, prosecuting authorities, child protection and professional registration bodies. A Working With Children Check assesses whether a potential employee or volunteer could pose a risk to the safety of children, based on criminal history and child protection information. Some of the main changes with regards to volunteers are: WWCC are valid for five years; the current police checks for registered volunteers will be valid until their expiry date but then WWCC will be required; the clearance letter sent out will identify if the WWCC is for employment or volunteering; anyone 14 years of age and above requires a WWCC; anyone aged 80 years or over is no longer excluded and now requires a WWCC. If an existing volunteer allows a police check or WWCC to lapse, they will not be allowed to do any volunteering until a new WWCC has come through. For further information go to https://screening.sa.gov.au/types-ofcheck/new-working-with children-checks.
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OTHER ORGANISATIONS' NEWS
SOUTH AUSTRALIAN MUSIC CAMP 2020
South Australian Music Camp 2020 will be held in July. The Camp offers instrumentalists aged from nine to twenty-three 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.
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).
MTASA MEMBERSHIP NOTES
AUSTRALASIAN PIANO PEDAGOGY CONFERENCE 2021 Presented by Theme: Date: Venue: Website:
NOTICE TO STUDENT MEMBERS
UWA in collaboration with WAMTA The Holistic Piano Teacher July 5-9, 2021 UWA Conservatorium of Music, University of Western Australia, Perth Website: https://www.appca.com.au/
MITCHAM ORCHESTRA
The Mitcham Orchestra is looking for string players: violin, viola, cello and double bass. Rehearsals: Saturday afternoons Venue: Richmond Road Hall 1 Richmond Road, Westbourne Park Time: 2 pm-4.30 pm Contact: Robert Brown, 8431-0452, or e-mail robbrown@adam.com.au, for more information. 7
Visit http://mtasa.com.au/index.php/me mbers/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.
EISTEDDFODAU AND SCHOLARSHIPS REQUIRED PROFESSIONAL DEVELOPMENT FOR FULL MEMBERS OF MTASA MTASA is introducing a Professional Development scheme for Full members. 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 and similar documents. Commencing July 1, 2019 Full members will begin accumulating their seven hours of Professional Development. From July 1, 2020 onwards Full members will be required to submit a pro forma declaration confirming that they have undertaken at least seven hours of Professional Development in the previous 12 months. The declaration will also require Full members to confirm their willingness to provide MTASA with evidence of their PD for that year if requested by the Secretary. Such requests will be made occasionally at random to ensure the integrity of MTASA’s requirements. MTASA will itself continue to provide at least seven hours of PD each year and members’ attendance at these sessions will automatically be recorded by MTASA.
2020 ADELAIDE EISTEDDFOD Entries for the 2020 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 9 at 5 pm. No late entries will be accepted. Divisions being offered in the 2020 Adelaide Eisteddfod will include Choral, Vocal, Piano, String, Guitar, Flute, Woodwind/Recorder, 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 $5,000. 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 11, 2.30 pm, at St John’s Church, Halifax Street, Adelaide. The prizes for the SA Final will be: Vocal Prize: $600; Instrumental Prize: $600, SA Finalist Prize: $1,100. The National Final will be held in Canberra in November.
24th BALAKLAVA EISTEDDFOD The 24th Balaklava Eisteddfod will be held from July 31 to August 2, 2020. Disciplines included are Instrumental Ensembles, Bands, Choirs, Vocal Ensembles, Vocal, Musical Theatre, Contemporary Vocal, Vocal Scholarship, 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, e-mail info@balaklavaeisteddfod.org.au for more information. General Enquiries: 0417 891 834. Entries open on March 30 and close on May 4.
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WHY ENTER AN EISTEDDFOD?
TEACHERS OF THEORY/MUSIC -IANSHIP 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 or Student 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
METROPOLITAN MALE CHOIR ANNUAL MUSIC SCHOLARSHIP FOR 2020 The Metropolitan Male Choir Annual Music Scholarship will be offered again in 2020. 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.
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Full members of the Music Teachers’ Association of South Australia may use the letters MMTA (member of Music Teachers’ Association) as a postnominal while they are financial members. Interstate Music Teachers Associations are also encouraging their members to use this or a similar postnominal.
IN MEMORIUM Former MTASA Member Helen ‘Barl’ Greacen died on January 16, 2020, aged 94 years.
OTHER ORGANISATIONS' CONCERTS
RECITALS AUSTRALIA
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.
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. … LETTERS TO THE EDITOR can be sent to https://mtasa.com.au/lette rtotheeditor.
ELDER HALL CONCERTS 2020
MITCHAM ORCHESTRA IN CONCERT
Wednesday Lunch Hour Series Pilgrim Church 12 Flinders Street, Adelaide 12-30 pm Two half hour recitals with high calibre new and experienced musicians. Adults: $5 for both recitals. Tickets at the door. Enquiries, 0432-114-127. Visit https://recitalsaustralia.org.au/ for more information. 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. Cumberland Park Community Centre, Sunday May 24 390 Goodwood Road, Cumberland Park 2-00 pm Conductor: Tully Brookes. Soloist: Joaquin Velasco, violin. Winner of Mitcham Orchestra/Mitcham Rotary Club Prize 2019. Includes music by Beethoven and Mozart. Admission: $12, Children 12 Years and under free, at the door. Musical Instrument Hire and Repair mountfordmusic.com.au Email sales@mountfordmusic.com.au Phone 0408 944 034
ADVERTISING PRICE LIST
RECENT EVENTS PROFESSIONAL DEVELOPMENT AFTERNOON, AGM AND DINNER
For the SA Music Teacher for 2020
by Cheryl van Wageningen Held:
SUNDAY NOVEMBER 10 Unley Uniting Church, 187 Unley Rd, Unley
Theme: Practising and Performing: teaching for successful outcomes This was the last event presented by the Music Teachers’ Association of SA Incorporated for 2019 and it was the first time that it was followed by an AGM and an informal Dinner.
Cheryl van Wageningen
The Unley Uniting Church provided an excellent venue for the event and the attendees were treated to three hours of extremely qualified, varied and entertaining presenters.
The theme was titled ‘Practising and Performing: teaching for successful outcomes’ and the five presenters certainly enlightened us on their own experiences and wealth of knowledge. The five presenters were Amanda Grigg (Percussion), Richard Craig (Clarinet), Alan Aungles (Flute), Sofie Arhontoulis (Piano) and Samantha Penny (Violin).
INSERTION FEE FOR POSTERS AND FLYERS One issue $102. Four issues $366. 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.
TEACHING IN THE COUNTRY
Amanda Grigg started the proceedings with an ‘Artist in Conversation’ approach and emphasized the difference between certain performances and individuals. A message that I particularly liked was to reiterate to the student/performer that they are ‘giving the gift of music, already gift wrapped’ to the audience. A gift that is personal and unique. Richard Craig also took an informal approach to his presentation. He bravely placed himself in the position of a performer with anxiety by playing a piece that was no longer familiar to him. He also spoke about his own teaching methods and experiences. Alan Aungles provided an in-depth and more structured approach about teaching in group lessons and motivating students to practice. As is often expected, the modern teacher needs to be savvy with technology and up-to-date with mediums such as backing tracks and the internet. The confidence that we gain can then be successful in building the confidence of our students for performances.
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In recent years each issue of SA Music Teacher has included an article about music teaching in a country region of South Australia. There are some regions that haven’t been visited yet. If you haven’t yet 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.
CLASSIFIED ADS MTA Members, free. Non-members, $17. Please contact the Secretary about advertising. Mobile: 0402 575 219 E-mail: info@matsa.com.au
RECENT EVENTS PROFESSIONAL DEVELOPMENT AFTERNOON, AGM AND DINNER CONT'D Sofie Arhontoulis delivered her presentation in a very personal manner by sharing her cultural background. She talked about the different musical styles and performances that the student may, over time, encounter and the need to embrace the diversity within our society. Samantha Penny ended the afternoon with a performance in collaboration with Sofie Arhontoulis which ensued into audience participation. Our ‘Bigger, better brains’ were certainly explored!
AUSTRALIA DAY HONOURS 2020
As a pianist, teacher and composer, I learnt more than I expected from this afternoon. The initiative of the MTASA to hold the AGM straight after and then follow with a delightful meal at La Scala restaurant nearby was a wonderful way to complete the years’ activities.
MEDAL OF THE ORDER OF AUSTRALIA (OAM) Congratulations to
Peter Combe for being awarded an OAM for ‘Service to performing arts, particularly music for children’. Congratulations to
Brenda Rayner for being awarded an OAM for ‘Service to music’. Brenda is Secretary of the Adelaide Eisteddfod Society. Congratulations to
Karen Redman for being awarded an OAM for ‘Service to music through concert bands’. Karen is Musical Director of the Mount Barker District Concert Band and Mount Barker Big Band. Congratulations to
Emma Webb for being awarded an OAM for ‘Service to the performing arts, particularly in Port Adelaide’. Emma is Director of Vitalstatistix, based in Port Adelaide.
Clockwise from Top left: Richard Craig, Sofie Arhontoulis, 2020 MTASA Council Members, Samantha Penny
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RECENT EVENTS SUMMER CONFERENCE by Robert Brown OAM Held:
JANUARY 22/23, 2020 Hartley Building, University of Adelaide
Theme: Beyond the instrument: musicianship in private lessons
Susan Head
Alice Yap
The 2020 Summer Conference was a well-attended event with nearly 100 people participating. We thank the Convenor, Rodney Smith, and the organising team from the MTASA Council, Sofie Arhontoulis, Pete Barter, Wendy Heiligenberg, Masako Kondo, Zuoyu Liu, Yong Cheong Lye, Samantha Penny and Cheryl Van Wageningen for presenting such a wonderful event. We were encouraged to participate with this description: ‘How can we possibly cram in extras like aural, theory and improvising into a single instrumental lesson? Isn’t learning exam pieces or band parts enough to cope with in a half hour? But some teachers seem to manage it. How do they find time? What do they teach? And how do they integrate it all? The MTASA Summer Conference will explore these issues using experts to outline their ways and means. In addition, there will be more familiar events such as master classes, concerts and presentations by members. The keynote addresses were presented by Susan Head (Whole Body Learning - what is it? Incorporating the approach for beginners to intermediate level up to age 14; How I came to love teaching. Engagement and motivation: ideas to add to your Treasure Chest, and Structure the year, the term, the lesson. Create a curriculum using Whole Body Learning for older
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beginners and more advanced students) and Alice Yap(Smart Learning and Musicianship; Inspiring the Very Young, and Present-day Pedagogy and Musicianship). These sessions were useful and thought provoking. Other sessions included Stephan Richter (Introducing and developing string parts and music on the spot, without the need for writing), Matthews Tyson (St Cecilia International Examinations - how your teaching can benefit), Sue Fox (Updates on Registration and Special Authorities), Mark Matthews (Motives and Motifs meet @ Musicianship), Samantha Penny (Exploring Bigger Better Brains), Amelia Monaghan (Dep Ed IM Programs throughout SA and joining IM as a teacher), Zuoyu Liu (A new piano practice online app in Australia), Dr Melisande Thompson (AMEB Examinations), David Lockett AM Master Class with MTASA Piano Pupils, George Pearce Oration: Robert Brown (How did we get here?), Rodney Smith (How are we travelling?), Pete Barter (Finding and keeping great students), Sarah Porter (An introduction to Con Brio Examinations) and Council Panel (Wrap-Up: beyond the instrument). The MTASA Pupils’ Showcase featured four young pianists and there were exhibits by Richard Craig Woodwind and Art Design By Sam. A more detailed report will be included in the Winter 2020 issue of ‘SA Music Teacher’.
RECENT EVENTS GEORGE PEARCE MEMORIAL AWARD 2019 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 2019 is Royce Wong, whose teacher is Debra Andreacchio.
George Pearce
Royce Wong
My name is Royce Wong and I’m 13 years old. I’m honoured to be the 2019 recipient of the George Pearce Memorial Award based on my Grade 7 AMEB Piano exam. I’ve been learning the piano and flute for six years. I enjoy learning piano because of its diverse repertoire, and that piano music is complete, not needing an accompanist. Learning the piano helps me to understand music theory, which also helps to learn other instruments quickly. Some of my favourite composers are Chopin, Beethoven, Liszt, Mozart and Prokofiev. These composers represent different eras and styles and they provoke various emotions through their challenging pieces. There have been many highlights in my short time learning music. In August 2019, I had the privilege of joining the piano lecture/demonstration and masterclass with Virginia Black, who specialises in Baroque music. This event was organised by the Music Teachers’ Association of South Australia. In the masterclass, I learnt that dynamics during the Baroque period were quite sparse because the harpsichord couldn’t create different levels of volume. Instead, the Baroque composers used other techniques to influence dynamics, such as speeding up or slowing down and emphasizing notes to lead to a climax.
to attend Immanuel College, without their help. In 2017 and 2018, I performed in the Adelaide Youth Sinfonia (AdSI), and in 2019, continued my ensemble participation in the Senior Concert Band at Immanuel College. I have enjoyed these experiences because there is much repertoire to learn, both famous and less well known, and it is an opportunity to socialize with other students who value music. In 2018 I had the honour of receiving the David Merchant Prize from the AMEB, the Dulcie Holland Award from the Adelaide Eisteddfod Society, and the Lobethal Harmony Club Instrumental Scholarship. I am grateful for these awards as they have enabled me to build my music library, and provided performing opportunities, where I could share my music, even though it can be a bit nerve-wracking. My interests other than music are chess, soccer and badminton. I like these activities because of the different tactics involved, and as with music events and ensembles, I can meet different friends.
I would like to thank my piano teacher, Ms Debra Andreacchio, who has taught me piano for the last four years. She always believes in me; her encouragement and patience give me confidence to perform better. I would also like to thank my flute teacher, Ms Karen Fletcher, who has also influenced my musical journey. I would not have achieved so much, including receiving a music scholarship
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I am grateful to be able to learn music, to express musically, and to perform through my parents’ support. I appreciate the opportunities provided through my music teachers, and the commitment of experienced musicians and related organizations that are so important to our community. I look forward to continuing my musical journey in the coming years and throughout my life.
PEDAGOGY MATTERS by Rodney Smith There is a small minority of the teaching profession who see PD, Professional Development - or Professional Learning - as an imposition on their valuable time. Perhaps this stems from the word ‘requirement’ which presents a positive image to the general public but elicits negative connotations for those that ‘have to do it’. It can be useful to ‘flip the coin’ and see the current situation as a ‘recognition’ of PD. Teachers have always learned on the job, reflected and improved but until this recognition took place twenty to thirty years ago, the public regarded teaching as ‘cushy’ work with long holidays and easy repetitive conditions once you’d ‘learned to be a teacher’. Recognition of PD in the public domain immediately focused everyone’s attention on the need for teachers to continually ‘upgrade’ their skills so that they could remain relevant in an educational setting - work that often took place during vacations or so-called ‘free time’. So, what is PD? Clearly it involves teachers reflecting on and using any new directions that may come to their attention and that appear to be worthwhile. In instrumental music teaching this could well encompass a performance by the teacher and its attendant preparation, encompassing ways and means of interpreting, improving technique and so forth. Equally it can involve hearing or reading about new developments in education and seeking to apply some of them. In other words it’s a very personal thing. As such, teachers can plan and execute through keeping notes, or formulating new developments through their pupils’ newsletters. Equally, they can just ‘keep things in their head’ and simply apply and reflect afterwards. There is no need for them to sit through endless presentations taking notes. While some teachers thrive on this, others prefer to research and discover for themselves. With the model MTASA has adopted teachers will be simply asked to indicate, by ticking a box, that they could justify around seven hours annually spent on such research and discovery if requested to do so. Clearly possession of certificates indicating attendance at particular presentations is one way forward. But there is no need to collect such certificates if the teacher prefers to keep notes either on paper or ‘in their head’. So, this should be a ‘win/win’ situation all round. MTASA’s Register of Teachers gains reputationally and teachers themselves are recognised as ‘lifelong learners’ in their demanding profession, a fact that is often obscured in the public mind. I’m happy to respond to enquiries from members including what might or might not encompass worthwhile areas for their own PD. Please email me via our MTA Secretary.
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THE ACCOMPANISTS’ GUILD OF SA INC. Celebrating the art of the accompanist and collaborative pianist THE COLOURFUL LIFE OF THE ACCOMPANIST by Stephen van der Hoek For example, we all know well the arrogance of the brass player, the sensitivity of the violinist, the inferiority complex of the ‘cellist, the nobility of the flautist, the incompetence of the violist, and of course, the blamelessness of the oboist and clarinettist (it’s never the player, it’s always ‘the reed’!). And not to mention singers … sigh!
Stephen van der Hoek
I actually met my wife through being her accompanist! She had turned up for a rehearsal at our family home the same day that I was supposed to choose wedding music for a bubbly bride-to-be. This meant that the first encounter between my future wife and my mother was when mum greeted her at the front door with those weighty words retrospectively prophetic, ‘Are you the bride?’ … and the rest is history. Ah, such is the life of an accompanist! A life, though, which is certainly one in which we introverted, pianistic types have ample opportunity to get out there and ‘meet people’. Yes - in fact there are many different people who come across our way, and many different instruments. Sometimes we all wonder: did people choose their instrument to suit their personality, or is there some mystical cosmic force which melds people’s personalities to the character of their instrument?
Many of us (accompanists) have a love-hate relationship with the ‘orchestral reduction’. There’s something slightly impure about treating the piano like some kind of orchestral juke-box - a symphony orchestra all in-one package, but without the effort. The combined minimal effort of the forty-piece orchestra is reduced to the maximal effort of the one-piece pianist, with Of course, we know as only ten fingers. However, at least, accompanists that we are dealing when we pianists play a concerto with both the talented, and with someone, we always have a sometimes, the musically hopeless. good excuse to play louder than There is a special category for those we’re used to, and to blame any singers and instrumentalists for excess on the trombone section! whom their teachers ring us in advance to say things like, ‘He’s Whatever repertoire a particular really quite lovely, but I wasn’t there instrumentalist has been ‘lumped’ on the day the Conservatorium was with, there is always the difficulty of doing those auditions, or ‘I’m hoping starting together. Sometimes, the she might downgrade next year to sensible composer grants us our Music Education’. rightful honour of setting the tempo by writing an introduction. However, But we pianists also discover not many times, we accompanists need only the different personalities of to spend some time instructing the the instrumentalists, but also their instrumentalist how to ‘sniff’ the terrible repertoire. We discover accompanist in. The timeliness of composers like Walton, Hindemith, the sniff, the snootiness of the sniff, Finzi and all those ‘one-hit-wonder’ and also the length of the sniff, are composers, who are generally all important factors in beginning the renowned for writing things like ‘the performance well. We must instruct first great Heckelphone concerto of the instrumentalist not to smell the twentieth century that survived roses, but rather to give a into the mainstream Heckelphone determined, but subtle, whiff of nasal repertoire’. Seriously, though, all we spray. (By way of side-note, flautists pianists understand it well: who must give the ‘asthmatic gasp’, needs Walton and Hindemith, when clarinettists the ‘eyebrow raise’, and you have Chopin, Liszt and trombonists the ‘cheesy grin’ out of Rachmaninoff? the side of their mouthpiece.)
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THE COLOURFUL LIFE OF THE ACCOMPANIST CONT'D by Stephen van der Hoek No reflection on the life of an accompanist is complete without mention of ‘pianist’s prison’. Every accompanist must do their time for their crime - the crime of being just so incredibly useful to everyone. Yes - it’s the Eisteddfods! Night after night of patiently wading through countless performances, and catching up with all our fellow inmates, with conversations such as ‘Hi Snezhana - you here again? Who are you playing for tonight? I’m playing Wieniawski for Number 27. I think they’re last’. ‘No - I’m last. I’m playing Mendelssohn for Number 28’. ‘Really? That’s the fourth Mendelssohn for tonight’ - and so it goes! It’s also the same group of pianists that catch up two months later for the AMEB exams!
But at Eisteddfod time, it is always the little people that give the most entertainment, whether it is the tiny violinists with their tiaras, or the ‘Under 8 years old Musical Theatre vocal solo with costume’. We pianists can always sit back and play wholesome games such as, ‘Guess the song from the costume’, from which certain formulae derive, like: Sack for dress + feather in hair = Pocahontas Bare feet + matted hair + bucket = Hard knock life, which is not to be confused with, Bare feet + matted hair + old teddy bear = Castle on a Cloud. There are many other things that we could consider as integral to the life of an accompanist - like the University violin student who asks you to play Messiaen’s ‘Theme and Variations’, Ravel’s ‘Tzigane’ and the Franck ‘Sonata’, all in the same concert, in front of the entire Conservatorium establishment, with a 10 minute rehearsal… but let’s leave those stories for another day. After all, we accompanists don’t hold grudges (much). If we don’t like playing for someone, we can always recommend them one of our fellow inmates from last year’s Eisteddfod!
CELEBRATING 90 YEARS IN 2020: MTASA’S HISTORY FROM 1930-1970 by
Robert
Brown
OAM
During 2020 we will be celebrating the Music Teachers’ Association of South Australia’s 90th Anniversary. This article covers MTASA’s history from 1930 to 1970 and acknowledges the contributions of those people who helped develop MTASA into the organisation that we know today. First there is a brief detour…
THE SOUTH AUSTRALIAN MUSIC TEACHERS’ ASSOCIATION REVISITED The ‘Sands and McDougall South Australian Directory’ for 1911 records that SAMTA meetings were held on the first Saturday of each month at the Lyric Club Rooms in the State Bank Chambers in Pirie Street. The 1913 Directory indicates the number of meetings had been reduced to four, held on the first Saturday of March, June, September and December at the Lyric Club Rooms. In 1914 and 1915 the SAMTA office bearers are listed; Harold Davies was still President. SAMTA wasn’t included in 1916 or in any following issues.
THE MUSIC TEACHERS’ ASSOCIATON OF SOUTH AUSTRALIA Miriam Hyde was awarded the Elder Overseas Scholarship in 1931, which enabled her to study in London at the Royal College of Music for three years; she was congratulated by MASA. Following this she returned to Australia and a distinguished career as a composer, performer, teacher and pedagogue.
Norman Sellick
By the end of its first year (1930) the Musical Association of South Australia (MASA) had 101 members. Four musical evenings were held during the second half of 1930 and the Association worked towards enrolling more members and compiling a register of qualified music teachers.
the National Anthem was played at the commencement of all MASA meetings. The Council considered moving from the Claridge Theatre in Gawler Place, but reduced the number of annual meetings from eight to four to help lower the costs.
In July 1941 Norman Sellick was elected President. He was born at Bowden on After Gotthold Reimann died in March June 13, 1895. Norman’s first music 1932 he was succeeded as President by teacher was his uncle, Frank Bowering, Wallace Packer. MASA collaborated with who was known as ‘Professor’. He then the Australian Broadcasting Commission studied with English violinist Gerald to present Music Week in August 1933 Walenn, who taught at the Elder to encourage a community interest in Conservatorium from 1917 to 1923. music. Norman sometimes deputised for his Master while he was on leave. Norman In July 1935 MASA presented its first gained the L.A.B. Diploma, awarded by Music Teachers’ Conference. This was the Royal College of Music and Royal opened by the Minister of Education, Academy of Music. While a student at Mr S.W. Jeffries (later Sir Shirley Jeffries) the Elder Conservatorium he met Lilian with presenters including Prof. Keen, who was studying the piano. Harold Davies, Prof. Kerr Grant (noted Norman and Lilian were married at the Physicist), Heather Gell, Maude Puddy, Unley Park Baptist Church on June 27, Arved Kurtz and Clifford Lathlean. 1922, by the Rev. Samuel Bowering. They had two daughters, Natalie and MASA celebrated its 10th Anniversary Norma. Establishing himself as a violin in 1940. The Annual Report indicated teacher in the Unley area, Norman there were 164 members. However, opened a studio at 218 Unley Road, World War II was underway, and opposite the Unley Town Hall, in the Councillors and members started to area now occupied by the Unley resign. Horace Perkins and John Horner Shopping Centre. In the late 1950s he took leave to join the AIF and RAF established a studio at 69 Flinders respectively. MASA raised £80 ($160) for Street, Adelaide. Norman taught the the Fighting Forces Comfort Fund and violin at Unley High School, Adelaide Boys High School and Loreto 18 College, Marryatville.
CELEBRATING 90 YEARS IN 2020 CONT'D Norman founded the Unley Orchestral Society in 1924, which he conducted. His violin students formed the nucleus of what he hoped would become a permanent orchestra for the City of Unley. Once the strings had gained enough experience Norman recruited brass and woodwind players and gradually built up the orchestra. He played First violin in the Adelaide Symphony Orchestra from its inception in 1936 until the early 1950s and was sometimes Deputy Leader. In 1944 he conducted the A.B.C. Studio Orchestra for the first Carols by Candlelight celebration, organised by Radio station 5AD and the C.T.A. Choir. John Bishop was appointed Professor of Music in 1948 and asked Norman to conduct a Junior Orchestra and Preparatory Class at the Elder Conservatorium. He carried on this work for over ten years.
nothing eventuated. Lloyd Davies had joined the Council and suggested finding a permanent home for MTASA, establishing a music library and having music teachers’ schools during the Summer holidays (the first time this was suggested). After Harold Davies had died in July 1947 the Council appointed a new Patron, Mrs F.W. (Marjorie) Cornell, a prominent arts promoter and enthusiast.
In 1946 the MTASA Council was concerned about the lack of a permanent professional orchestra in South Australia. The South Australian Orchestral Association was formed on July 15, 1948 to raise funds to establish a permanent Symphony Orchestra in South Australia. Office bearers in the Association were Mrs F.W. Cornell, In 1928 Norman was elected Chairman Honorary Organiser, Mrs G. Phelps, of the L.A.B. Club of Australasia Honorary Secretary, and Miss G.L. (Adelaide Branch), a society for Pelzer, Honorary Treasurer. Working graduates of the Royal College of Music with the Association were the South and Royal Academy of Music. Very few Australian Government, the Australian musicians have become actively Broadcasting Corporation, Adelaide City involved with local Government. Council and ‘The Advertiser’, who Norman was elected a Councillor for the supplemented the funds raised by the Parkside Ward on November 13, 1937 Association. In November 1948 an and held office until 1945. He was appeal for funds was launched by the ‘Chairman of nearly every Council Lord Mayor of Adelaide, Mr John committee at one time or another’, a McLeay. Substantial sums of money Member of the Library Board and a were donated by the people of South Justice of the Peace. He was a member Australia, through the Association. As a of the Post-War Rehabilitative result, the South Australian Symphony Committee. Orchestra was formed as a permanent body of 45 players on July 4, 1949. Some MASA members had been critical about the AMEB’s conduct of exams Norman Sellick was re-elected President since the association was established in 1948. For 1948 nine musical evenings and voiced their concerns to Prof. were held in the Elder Conservatorium’s Harold Davies, which resulted in the South Hall. MASA President being appointed to the AMEB Board. In 1941 music teachers were demanding that experts for each instrument did the examining and that there was a consistent standard for each instrument listed in the syllabuses. This was passed on to Harold Davies. A general meeting of music teachers in 1943 saw some action taken by the AMEB. In 1942 the number of MASA meetings were reduced to three because of the war effort. Norman relinquished the position of President in August 1945. A name change for the Association was suggested in 1944 and ‘The Musical Association of South Australia’ became ‘The Music Teachers’ Association of South Australia’ on August 24, 1945. In September 1945 the MTASA Council approached ‘Mr Chambers MP’ about the registration of music teachers’ but
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In 1950 it was hoped registration of music teachers would be achieved, but by 1951 nothing had eventuated. Prof. John Bishop was invited to be the second Patron. Raising funds for Club Rooms began with concerts given by students and Council members. Raymond O’Connell adjudicated a Concerto Competition and Harold Wylde judged a Student Competition. In 1954 the Club Room Fund had reached £339/12/7 ($679.09) and the Piano Fund £122/17/1 ($245.08). A fete held at the home of Sable Grivell in Woodcroft Avenue, St Georges, supported the Club Room Fund. Suitable rooms were sought and in 1958 MTASA moved into Meeting Room 7 at the Flinders Street Baptist Church. A Scheidmayer grand piano was purchased for £865 ($1,730) and placed in Mead Hall, adjacent to the Baptist Church. The 1960s began with the Lord Mayor, Charles John Glover (later Sir John Glover), being invited to be a Patron and Canon W.R. Ray, Headmaster of Pulteney Grammar School, was invited to be Vice-Patron. On March 2, 1961, two Council members, Mr R. Cross and Sable Grivell, attended Percy Grainger’s funeral at St Matthew’s Church, Marryatville. The Beta Sigma Phi Competitive Concert, organised and funded by this association, was first presented on April 7, 1962, and then held biennially; this is no longer offered. Having a Summer School was again suggested. Garden parties were held at Sable Grivell’s home to raise further funds
CELEBRATING 90 YEARS IN 2020 CONT'D which were divided between MTASA and a selected charity. The news of Prof. John Bishop’s untimely death on December 14, 1964 at Australia House in London shocked many people from the music and arts world. His legacies included founding the Adelaide Festival of Arts, the National Music Camp Association and Australian Youth Orchestra. David Galliver was appointed the fifth Elder Professor of Music in 1966 and was invited to be a Patron of MTASA. The Music Teachers’ Association of South Australia was incorporated ‘on and from the fourteenth day of March 1966’ under the ‘Associations Incorporation Act’. Norman Sellick announced his retirement at the beginning of 1969, having been President for a record span of over 25 years. He was elected an Honorary Life Member in recognition of his services to MTASA and music teaching. Norman Sellick died on January 13, 1970, aged 74. To commemorate Norman Sellick’s significant contributions to music teaching the MTASA Council established the Norman Sellick Memorial Scholarship in 1971, using the balance in the Benevolent Fund. It is open to students who are 12 years or under on the closing day of entry.
Sellick Headstone, Centennial Park, General AF, Path 21, Grave 241A
Sources of information: ‘The Register’, periodic reports from 1907-1911 about the South Australian Music Teachers’ Association; ‘Sands and McDougall South Australian Directories 1911-1916’; ‘1930-1990, A History of the Music Teachers’ Association of South Australia Inc.’, Nina Murton 1990; ‘More Than a Musician, A Life of E. Harold Davies’, Doreen Bridges, ASP 2006; ‘The Language of Human Feeling, A Brief History of Music in the University of Adelaide’, V.A. Edgeloe 1984; ‘From Colonel Light into the Footlights’, edited by Andrew McCredie, Chapter 21, ‘Music Education in South Australia 1936-1984’, Malcolm Fox, Pagel 1988; ‘The Music Teachers’ Association of South Australia Inc., Handbook for MTASA Council Members, revised February 27, 2013’; ‘Norman Sellick’: Robert Brown OAM, compiled for the Music Teachers’ Association of South Australia’s 75th Anniversary, 2005; published in ‘The Music Stand’.
CLEMENS LESKE - MY TEACHER AND MY INSPIRATION by Chris Adlard, Humbug Scrub, SA. music. I remember his studio with the large window and the two black grand pianos. He was the most charming man and the most patient teacher. I would play a piece and sometimes he would offer to play the same sections for me to illustrate a point. He made the piece sound wonderful and completely different from my own efforts. He taught me how to relax at the piano and to visualise the piano as just a few notes well within my reach. The problems I had experienced for my whole life just melted away and playing became easy with no strain or effort. He was hardly ever critical, although I do remember one day when I must have not been at my best, and he asked me gently, ‘Did you actually listen to what you just played?’ :)
Clemens Leske AM and Beryl Kimber OBE
I am so sad to hear of the passing of my wonderful teacher, Mr Clemens Leske AM.
At one lesson I had worked hard on the first movement of the Schumann ‘G Minor Sonata’, which I was studying for my Licentiate exam. I played the opening chord with gusto and Clemens asked me to stop while we discussed the chord. For most of the lesson, we worked on that single chord, arm weight, tone, attack, mood. He was a gentle perfectionist.
When I was four years old I heard ‘Sparky’s Magic Piano’, a story about a boy who dreamed that his piano could play for him. There I heard Chopin’s ‘Etude, Opus 10, No 12’ (‘Revolutionary Study’) and decided that I had to be able to play it. So my Grandma bought me an old piano and my Dad fixed up all the keys. My Mum used to clap her hands to help me keep time when playing. I started lessons with Miss Lily Thorrington at the back of a music shop in Walsall, England. She was a very strict teacher, but she taught me so much and my lessons with her only ended when my parents moved away when I was eleven years old.
We once somehow got into the topic of my fear of spiders and he said he was afraid of them too. He described being in the middle of a piano concerto with a large audience in the Festival Theatre when he saw a large spider coming down from the roof to dangle over him as he played. He was weaving from side to side to avoid it and to continue playing at the same time. It eventually landed on the lid of the piano so he made himself believe it wouldn’t come any closer until the concerto ended.
For various reasons my musical education for many years after that was intermittent, mainly group classes at school, school concerts and performances. After leaving school we moved to Australia where I began a long successful career as a computer programmer in Defence. My busy life was full of learning and many new professional and personal challenges, but piano and Chopin were never far from my mind. Years later my daughter, who played the flute, told me that her teacher was a concert pianist and arranged for me to go and play for him. Her teacher was Graeme Tyler, who is now the Head of Performing Arts at the Australian International School in Hong Kong. Graeme is a wonderful teacher and he taught me for a number of years. He suggested that I should audition for a Single Studies scholarship at Elder Conservatorium of Music at the University of Adelaide. I was terrified, especially when I walked into the audition room to see a panel of Elder Conservatorium staff sitting behind a large desk, and one of them simply waved a hand and said, ‘There is the piano’. Of course, I played the Chopin ‘Etude, Opus 10, No 12’, and I was offered a place. I was honoured to be able to study with Clemens Leske for two years. It was such a wonderful time for me, the atmosphere of the University, the performances, the
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He always sent me Christmas cards with his best wishes and little anecdotes about his family and what was happening. Sometimes he would include advice on the piece I was currently studying. Given the number of pupils he had and that I was a minor player in his musical world, I was very touched by his cards. I still have all of them with his writing and his good wishes. I use the methods he taught me with my own students, from complete beginners to advanced performers, and love helping them gain confidence and to experience so much joy from playing. I went to his Farewell Concert in Adelaide with my daughter, a wonderful performance. I felt sad that he was leaving, and I was aware that I would never see him again. My lessons were some of the best times of my life with an unforgettably inspirational pianist and teacher who gave me his patient guidance. I will always remember you with much love, Mr Clemens Leske. You changed my life and you will be in my heart forever.
THE SOCIETY OF RECORDER PLAYERS (SA) INC. by Neville Pope The Sylvan Players is a performance group for retired people (membership by invitation only) that has a close association with the SRPSA. They are available to perform in schools, promoting knowledge of the recorder beyond the ubiquitous descants, so readily known in classrooms.
The Society was founded in 1966, under the patronage of Dr Carl Dolmetsch, CBE, principally by Cecily Wood, one of the few recorder teachers in Adelaide at that time. The Society has since enjoyed a prominent place in the musical life of many South Australian recorder players. Cecily Wood continued to serve as President of the Society until 1997. The SRPSA is currently under the patronage of Lynton Rivers, B Mus, Dip T, local recorder identity and educator who is extremely supportive in aiding the development of future directions for the Society. Through its many varied activities and resources, the Society endeavours to cultivate a more complex understanding of the nature of the recorder in performance, historical, contemporary and social settings. An extensive library of recorder music is available with an electronic catalogue. In co-operation with kindred societies, emphasis is placed upon enjoyment of social events and fostering links between like-minded associates. The Society promotes and encourages interest in the recorder and its music by providing opportunities for members to share the diverse range of experiences innate to the recorder. The program includes plenty of opportunity for members and friends to play ensemble works. In addition, special events are co-ordinated to include other instruments, particularly those of the Renaissance and Baroque eras. A soirĂŠe, held annually since 2016, provides opportunity for small ensembles and soloists to perform for a sympathetic audience. A recorder workshop is run every year or two and draws players from country regions as well as interstate.
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The Society is also proud of its commitment to students, sponsoring prizes in the Adelaide Eisteddfod Recorder Division as well as co-ordinating a Student Recital each June to provide performance experience for students. Students in public schools are supported by maintaining links with the relevant staff in the Department of Education. An ensemble group for enthusiastic young adults, who are no longer studying, but interested in continuing to play the recorder, meets monthly under the leadership of Jayne Varnish and Amelia Monaghan. The Recorder Society meets monthly (usually the second Sunday of each month at 2.30 pm), most often at the Meeting House in North Adelaide next to St Peter’s Cathedral, but special events are often hosted at other venues. For further information, contact Merilyn Shield (meshield@bigpond.com or (08) 8278 1739) or Neville Pope (npope@bigpond.net.au or (08) 8278 9280).
The massed players at the end of the 2019 SoirĂŠe
MAY THE MUSIC WIN:
ART + SINGER + ACCOMPANIST by Pat. H. Wilson First of all, thank you, Andrew Georg, for your broad-ranging ‘Accompanist’s Corner’ article in the last ‘SA Music Teacher’ [Spring 2019] issue. Your observations on the care and feeding of that temperamental animal, ‘The Singer’, were fascinating. May I make a few comments from ‘Singers’ Corner’, please? My credentials: I sing, I teach singing, I play piano, I work as an accompanist, and I am also a composer and lyricist. If our art is to be collaborative, it’s my belief that accompanists and singers should open up more lines of communication than currently exist. Mr George’s article is a welcome start. Making music together can be a syncretic pleasure instead of a competition for the audience’s attention. Both singers and their collaborative artists (pianists, lutenists, guitarists, harpists or whoever) bear the responsibility for serving the whole song with their conjoined artistry. And this is as true for all sung genres – ‘Die Forelle’ (Schubert), ‘Defying gravity’ (Schwartz),
‘Dindi’ (Jobim), or ‘Don’t dream it’s over’ (Finn). Neither doormat nor dominatrix, the canny accompanist must become many people: Parent – ‘Tuck your shirt in before you go on stage’. Work colleague – ‘Sorry, I’m not quite secure enough in this bit; would you mind if we ran through it again, please’ (A useful sentence to memorise and employ when singers aren’t quite as gifted as they think they are.) Friend - ‘She/he dumped you just then? In a text? Oh, that’s awful … you poor thing’. Safari guide in the Genre Jungle - ‘Yes, I know mountains are made out of rocks, but ‘Climb every mountain’ might not be the best song choice for your ‘We Will Rock You audition’. There’s a delicate balance in all human relationships, and the singer/ accompanist symbiosis is as tricky as any. Being supportive is NOT being a doormat. I’ve known kind, sensitive and
musically glorious collaborative artists whose singing associates have presumed far too much on their accompanists’ willingness to help. It’s a two-way working relationship, and the rules are the same for all good work colleagues. Tradition, as Georg signals in his article, can impact significantly upon singers and their accompanists. He lists alternative notes, cadenzas and timehonoured abbreviations in long arias as areas which require examination and consensus between artists. In case it all sounds too ‘classical’ to you (whatever ‘classical’ means), these self-same interpretative issues exist across music from metal to Mahler. I’ve locked horns with a supercilious accompanist who said (sneeringly), ‘OK, I will follow your tempo (audible sigh), but when I accompanied (and here insert the name of a world-famous singer), she always sang it much faster’. Some inexperienced singers lack the confidence to reply ‘I don’t want to be
(Audra McDonald/Esperanza Spalding/ Taylor Swift/whoever). I’m doing it at my pace, thanks’. This is the moment when we singers find out whether our accompanist is a one-trick pony or not. If your associate artist can only approach the interpretation of the music from one (pre-learned) direction and cannot adjust to their singer’s musical and emotional choices, then the resultant performance is doomed. It will be less collaborative artistry and more of a melodic joust. Although some of us take guilty pleasure in high-impact contact sports, the musical end-product is unlikely to honour much of its composer’s and lyricist’s intentions. There will be blood. The inexorable rise of the YouTube Conservatorium since its inception (St Valentine’s Day, 2005) has given universal access to live and studiorecorded sung performances in all genres. The dreadful reality for many tertiary-level singers is that they only pay Uni fees and turn up to lectures so they can get their degree. Their predominant practical teaching input is from that motley crew, the faculty of the
YT Conservatorium. Students watch, listen and learn. For hours and hours. Georg gently mentions cadenza-copying. In my world, it’s worse than that I hear whole sung performances replicated, phrase by phrase. And unless the singer is headed for a career in a tribute band (dress like ABBA, sing ABBA repertoire, etc.), they will have no place in a brutally competitive artistic marketplace.
will try to convey changing emotional temperatures and pressures throughout the song by subtleties within their playing. They may even venture a question, such as ‘Do you feel as if I should be playing a little more quietly and sadly under your death scene?’ (Hint: Verdi wrote ‘pp’ for a reason.) Whether preparing for concert performance, audition, cabaret, eisteddfodau or competitions, or simply within a singing lesson or coaching session, As Georg observed in his article, an accompanist can be a singer’s best discussing both text and music with your friend. Associate artists are our collaborative artist isn’t simply courteous - accomplices, whose magic is musical it makes practical good sense. And if your makeup - hiding our flaws and highlighting mere pianist comes up with a fresh our best features. insight on the emotional and intellectual content of the sung work - hooray! And finally, in the spirit of Richard Strauss’ Humility and grace are vitamins every ‘Vier lezte Lieder’ (The Four Last Songs), artist needs to take daily. here are The Four Last Phrases I ever want to hear a singer say to an accompanist: It’s sad to report that there are still some 1. OK if I look over your shoulder? I forgot singers out there whose awareness of to bring my copy. text has never moved beyond 2. [‘Accompanied by rhythmic finger ‘accelerando, diminuendo, allegretto, clicks’.] Here’s the tempo. vivace’, and similar. To them, the lyric of a 3. I sing it three semitones lower than song is an arcane sequence of beautiful written, thanks. vowels inconveniently punctuated by the 4. It’s mostly rubato; just ignore the odd consonant. Meaning is beyond markings and follow me. them. Dear, long-suffering accompanists
CONTACT DETAILS FOR OTHER ORGANISATIONS ADELAIDE YOUTH ORCHESTRAS 5MBS: MUSIC BROADCASTING https://adyo.com.au/ SOCIETY OF SA 8361 8896/0410 062 677 www.5mbs.com General Manager: Claire Oremland 8346 2324 claire@adyo.com.au 5mbs@5mbs.com AUSTRALIAN BAND AND ORCHESTRA AMEB EXAMINATIONS: SA AND NT DIRECTORS’ ASSOCIATION (ABODA): https://ameb.adelaide.edu.au/ 8313 8088 ameb@adelaide.edu.au ABODA SOUTH AUSTRALIA www.abodasa.com.au AUSTRALIAN NATIONAL ASSOCIATION abodasaonline@gmail.com OF TEACHERS OF SINGING (ANATS) ANATS: SA AND NT CHAPTER ABRSM EXAMINATIONS www.anats.org.au/sant-chapter https://us.abrsm.org/en/home Secretary: Dianne Spence SA Rep.: Anastasia Chan anats.sa.nt@gmail.com 8234 5952/423 282 589 abrsmsa@hotmail.com ANZCA EXAMINATIONS www.anzca.com.au ACCOMPANISTS’ GUILD OF SA INC. (03) 9434 7640 http://accompanist.org.au admin@anzca.com President: Leonie Hempton OAM 8272 8291/0404 145 502 AUSTRALIAN SOCIETY FOR MUSIC leoniehempton@gmail.com EDUCATION (ASME) ASME: SOUTH AUSTRALIA CHAPTER ADELAIDE BAROQUE http://www.asme.edu.au/sa/ www.adelaidebaroque.com.au President: Luke Gray 8266 7896 graylu@trinity.sa.edu.au manager@adelaidebaroque.com.au AUSTRALIAN STRINGS ASSOCIATION ADELAIDE CHAMBER SINGERS https://adelaidechambersingers.com/ (AUSTA) AUSTA: SA CHAPTER www.austa.asn.au/chapters/sa/ 8352 1329 admin@adelaidechambersingers.com President: Fiona Patten fionapattenausta@gmail.com ADELAIDE EISTEDDFOD SOCIETY INC. http://sacomment.com/aes/eisteddfod/ AUSTRALASIAN DOUBLE REED SOCIETY www.adrs.org.au Secretary: Brenda Rayner OAM Contact: Josie Hawkes OAM 8366 6531 josie.bassoon@gmail.com adleisteddfod@adam.com.au AUSTRALIAN STRING QUARTET ADELAIDE HARMONY CHOIR https://asq.com.au/ www.adelaideharmonychoir.org.au/ 1800 040 444 asq@asq.com.au Secretary: Sherry Proferes adelaideharmonychoir.info@gmail.com BALAKLAVA EISTEDDFOD SOCIETY ADELAIDE PHILHARMONIA CHORUS www.balaklavaeisteddfod.org.au Contact: Trish Goodgame http://philharmonia.net/ 0417 891 834 info@balaklavaeisteddfod.org.au
MUSICIANS’ UNION OF AUSTRALIA CON BRIO EXAMINATIONS ADELAIDE BRANCH www.conbrioexams.com https://musiciansunion.com.au/ 9561 3582/0401 014 565 8272 5013 lily@conbrioexams.com musosa@bigpond.net.au ELDER CONSERVATORIUM OF MUSIC ORFF SCHULWERK ASSOCIATION OF SA https://music.adelaide.edu.au/ https://www.osasa.net/ 8313 5995 info@osasa.net music@adelaide.edu.au PRIMARY SCHOOLS MUSIC FESTIVAL ELDER HALL www.festivalofmusic.org.au https://music.adelaide.edu.au/concerts/ 8261 5438 8313 5925 office.psmf799@schools.sa.edu.au concertmanager@adelaide.edu.au ST CECILIA EXAMINATIONS PTY. LTD. FLUTE SOCIETY OF SA INC. www.st-cecilia.com.au www.flutesocietyofsa.org 1800 675 292 Secretary: Masako Kondo info@st-cecilia.com.au 0448 730 845 secretary@flutesocietyofsa.org SOUTH AUSTRALIAN BAND ASSOCIATION INSTRUMENTAL MUSIC: DEPARTMENT www.sabandassociation.org FOR EDUCATION Secretary: David Corkindale Instrumental Music Office - Klemzig secretary@sabandassociation.org 8261 8988 IM.KlemzigOffice608@schools.sa.edu.au Instrumental Music Office - Morphett Vale SOUTH AUSTRALIAN MUSIC CAMP ASSOCIATION 8392 3800 IM.MorphettValeOffice896@schools.sa.edu www.samusiccamp.net.au Administrator: Samantha Taylor .au admin@samusiccamp.net.au Music Programs 8226 1883 education.musicprograms@sa.gov.au THE SOCIETY OF RECORDER PLAYERS SA INC. KODALY MUSIC EDUCATION www.facebook.com/recorderplayerssa/ ASSOCIATION OF SA 0410 109 135 https://kodalysa.com/ npope@bigpond.net.au 0405-066-469 kodalysa@gmail.com TRINITY COLLEGE LONDON EXAMINATIONS MUSICA VIVA www.musicaviva.com.au for concert details www.trinitycollege.com.au 1300 44 77 13: National Box office: 1800 688 482 8345 3117: Local contact@musicaviva.com.au stanley.tudor@iinet.net.au MT GAMBIER EISTEDDFOD UKARIA CULTURAL CENTRE www.backstageinc.org.au www.ukaria.com Secretary: Maxine Chalinor OAM 8227 1277 0457 067 555 info@ukaria.com tonymaxine@internode.on.net