SA Music Teacher Spring 2021

Avery Yun Yuan Lye at the piano

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

SPRING 2021

WELCOME FROM THE PRESIDENT

Learning to play a musical instrument is an endeavour that does not limit children to simply having fun, although it is increasingly so that “fun” is a useful tool when trying to inspire and connect with children in learning activities. It is well documented that instrumental tuition further enhances a series of transferable skills and can neurologically help children with their learning experience in other subjects. Neuroscience shows the positive impact on effective, cognitive, and evaluative skills, which will further reinforce a variety of areas of their development.

Performance is another valuable skill that is a natural byproduct of learning a musical instrument, an activity where recognition and expression of feelings are required, and the student learns that having feelings is perfectly normal and that expressing them is valuable.

Recently we were so fortunate to experience a range of performances at the Miriam Hyde Award Competitions Day, by young pupils of piano and flute, in the excellent setting of Hartley Concert Room at the Elder Conservatorium. It is always so pleasing when teachers spend time, effort and dedication nurturing their young students. Proficient and advanced motor skills, coordination, expression and physical movement are emphasized to the point of such excellence that we witnessed on that day. Families, friends and sponsors show their passion for the continuing specialist music education of young people, and this is most special.

It is certain that all of these skills will be important in not only their childhood, but also in adulthood, and encouragingly, can help them engage in more enjoyable lifestyles and more effective learning pathways.

Continuing advocacy for music education by teachers and parents, opportunities for performance, and warm attendance to live events by admirers of music, is a superb way to inspire future musicians to attain their highest standards. We are proud to continue in providing students with the opportunity to strive, express, and showcase their efforts through MTASA Concert Performance and Competition Days.

VOLUME 29 No. 3 SPRING 2021

IN THIS ISSUE

COMING MTASA EVENTS

MEMBER INFORMATION

RECENT EVENTS COMPETITIONS DAY - Miriam Hyde Awards by Sofie Arhontoulis

ARTICLES

JAZZIN’ AROUND (COLUMN TITLE) by Kerin Bailey

PEDAGOGY MATTERS by Rodney Smith

ACCOMPANIST’S CORNER (COLUMN TITLE) by Monika Laczofy OAM

SA STATE MUSIC CAMP by Wendy Heiligenberg

FROM ISOLATION TO INSPIRATION - EMBRACING THE CHALLENGING TIMES by Elizabeth Koch AM

OPEN MUSIC ACADEMY REGIONAL PROGRAM by Dr Emily Dollman

BAROQUE - MUSIC / DANCE by Rosslyn McLeod

OTHER ORGANISATIONS’ NEWS & EVENTS

OTHER ORGANISATIONS’ CONCERTS

CONTACT DETAILS FOR OTHER ORGANISATIONS

COMING MTASA EVENTS

October 17 Kym Purling Jazz Workshop

October - Webinar - Ying Yingng ( poco Studio ) on Music Theory and Pedagogy

November 14 - AGM

January 20-21, 2022 - Summer Conference3

Theme: Musical performance: helping pupils unravel its challenges

Venue: Seymour College 546 Portrush Rd, Glen Osmond

Time: 9:00 am – 5:30 pm

MEMBER INFORMATION

NEW MEMBERS

The Music Teachers’ Association extends a warm welcome to the following music teachers who have joined the association. We are looking forward to meeting them at our events.

Denise Haddad, Full Member, P

MTASA MEMBERSHIP FEES

The membership fees are:

Full member: $122

Student member: $62

Friend: $32

Institution: $32

MTASA MEMBERSHIP RENEWALS

Membership Subscription Renewals for 2021/2022 was due on June 30.Subscription renewal notices were sent in late June via e-mail to remind members to log in and renew their membership for the 2021/2022 financial year. If you are a Full member you will be asked to indicate that you have completed seven hours of Professional Development during the previous twelve months. If you don’t receive an e-mail please check your spam folder. You can log in at any time to renew your membership. If it seems that you didn’t receive an e-mail, have forgotten your username or are having problems logging in please contact the Secretary (info@mtasa.com.au). Paper invoices were sent to members who prefer to receive them.

The following teaching rates are recommended to members by the MTASA Council for 2021.

RECOMMENDED TEACHING FEES

Full Member: $75 per hour

Associate Member: $64 per hour

Student Member: $48 per hour

REQUIRED PROFESSIONAL DEVELOPMENT FOR FULL MEMBERS OF MTASA

MTASA has introduced a Professional Development scheme for Full members. This commenced on July 1, 2019 when Full members began accumulating their seven hours of Professional Development. The scheme is designed to underpin and enhance MTASA’s established reputation for the professional excellence of its members, ensuring its standards are fully compliant with current educational expectations. These are clearly outlined in the Australian Professional Standards for Teachers (visit www.aitsl.edu.au/teach/standards) and similar documents.

From July 1, 2020 onwards Full members, when renewing their membership, will be asked to tick a box declaring that they have undertaken at least seven hours of Professional Development during the previous twelve months.

The following examples are provided to give general guidance for Full members about Professional Development that would be acceptable to MTASA.

These examples represent only a small sample of all the possibilities available to Full members. Generally Full members should feel comfortable about their own choices but in case of doubt you are welcome to contact the Secretary for further advice (info@mtasa.com.au).

Improved music teaching should be a major factor in all activities that Full members wish to count towards their MTASA Professional Development.

MTASA will undertake random checks from time to time to ensure the system is working properly. So, on very rare occasions a Full member may receive a request from the Secretary for information about their Professional Development. In such instances you may submit evidence such as certificates, programs, diary notes, recordings and so forth.

Examples of Professional Development that would be acceptable to MTASA:

1. Online. Attending a webinar or similar event; undertaking an online e-learning course.

2. Face-to-Face. Attending a conference, workshop, masterclass or lecture.

3. Formal Study. Undertaking a qualification or part-qualification delivered by a recognised institution.

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

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

Composing an educational piece of music that motivates a group of pupils.

5. Team Research. A joint project with others that achieves particular improvements in a training ensemble.

Joint creation of music teaching materials that improve learning in a group of pupils.

Remember! These are only a few amongst many possibilities. MTASA is a community of creatives. You are encouraged to be creative in your Professional Development!

NOTICE TO STUDENT MEMBERS

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

MTASA MEMBERSHIP NOTES

Visit www.mtasa.com.au/index.php/members/ 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.

TEACHERS OF THEORY/ MUSICIANSHIP

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

POST-NOMINALS

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

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.

A Working With Children Check is needed for all schools (Government, Catholic and Independent).

For further information go to www.screening. sa.gov.au/types-of-check/new-working-withchildren-checks.

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.

RECENT EVENTS

Miriam Hyde

Competitions Day Miriam Hyde Awards by Sofie Arhontoulis

Held: June26, 2021

JUNIOR AWARD

Adjudicator: Antony Hubmayer

1st Prize: Amy Yizhen Song, flute (Elizabeth Koch AM)

2nd prize: Jonathan Wong, piano (Monika Laczofy OAM)

Honorary Mention: James Skelton, piano (Monika Laczofy OAM)

Honorary Mention: Royce Wong, flute (Elizabeth Koch AM)

OPEN AWARD

Adjudicator: Lucinda Collins

1st Prize: Samantha Li, piano (Monika Laczofy OAM)

2nd prize: Kristopher Man, piano (Gil Sullivan)

Honorary Mention: Amelia Wang, flute (Elizabeth Koch AM)

On Saturday 26 June, the MTASA held the biennial Miriam Hyde Awards Competition Day at the Hartley Concert Room, Elder Conservatorium of Music, University of Adelaide. It was well attended, with performances of music by various composers and Miriam Hyde, by some excellent young musicians, and adjudicated by Dr Antony Hubmayer.

The first Junior Award was open to students up to the age of 14, at a minimum of Fourth Grade level. There were some excellent performances, and Dr Hubmayer awarded First place prize to Amy Tizhen

Song (flute), Second place prize to Jonathan Wong (piano), with two Honorary mentions awarded to James Shelton (piano) and Royce Wong (flute).

Dr Antony Hubmayer said it was an honour and a privilege to hear the young performers, and he congratulated the teachers. He said it was always good to see the level that students can get to when they are focussed and encouraged, and a credit to the parents for sustaining this excitement. He was keen to see the next level as they came through.

Dr Hubmayer mentioned that as some are still developing, we heard a range of performances that day, with two honourable mentions. He was looking forward to seeing how one commands the three pieces. He said the winners didn’t necessarily show flawless performances, but it was the consistency that he was looking for and most importantly in music, expression. “Do you command the pieces or does the piece command you, is it entertaining and personally expressive?”. He stressed that the actual act of performing was a valuable experience and that students should focus on exciting programmes which would result in more balanced and rewarding performances.

The second half of the day was the Miriam Hyde Open Award Competition, adjudicated by Lucinda Collins, open to any age and at a minimum of Seventh Grade level. Five young musicians gave outstanding performances on piano and flute,

and Lucinda awarded First prize to Samantha Li (piano), Second prize to Kristopher Man (piano) with an Honorary mention awarded to Cindy Ya (flute).

Lucinda said it was always important to interpret a score and sell it to our audience. All five people were to be congratulated for their work. Lucinda said music is a form of communication and it needs to be storytelling. It has drama and intimacy and it must always commune with its listener. That is something she thought was very important. She mentioned that three people could all take home the first prize. Everyone had something they did really well, and other things that perhaps didn’t go as well. Lucinda saw quite a bit of potential, but consistency was behind the choice of winners on the day. Warm congratulations are to be given to the winners and all participants.

Miriam Hyde Junior Award - competitors

winners Miriam Hyde Open Award

Amy Yizeng Song, flute

My name is Amy Song and I am currently in Year 8 at Pembroke School.

It is such a pleasure to receive first place for this year’s Miriam Hyde Junior Awards. This is my first time attending a MTASA event and I would like to thank the adjudicator and all the staff members/ volunteers for arranging this wonderful competition day. It was a great opportunity to learn from peers and I thought it was such a delightful morning. I also would like to thank Simon Pazos Quintana for being my piano accompanist.

I’ve been learning the flute for about 4 years now. I would like to say a big thank you to my teacher, Elizabeth Koch for teaching me, especially now since I’ve just finished my Grade 8 exam. She has always been very kind, guiding me through my musical journey and helping me achieve so many accomplishments.

I started playing in the Adelaide Youth Wind Orchestra (ADYWO) last year and I currently play as first flute. I also participate in my school’s Concert Band and Wind Ensemble.

This year, I was part of the Galway Flute Festival, attending a masterclass with Lady Jeanne Galway. Only two Australians passed the auditions, and I was very lucky to be one of them. I would like to thank Lady Galway for tutoring me with my Bach C Major Sonata, which was one of my pieces for the competition.

I also enjoy singing in Concert Choir and playing the piano. I have been awarded the Lady Anne Miller Award and the Dulcie Holland Medallion in the 2019 Adelaide Eisteddfods.

Lastly, I would like to thank my mum for driving me to all those flute lessons after school, encouraging and supporting me when I needed it, and overall just dealing with me.

Jonathan Wong, piano

Born in Adelaide, Jonathan Wong is 9 years old, he started his private piano lessons in 2017, is currently studying with Ms Monika Laczofy OAM.

Jonathan achieved AMEB Certificate of Performance in Piano with High Distinction. He won several 1st prizes in the Adelaide Eisteddfod in 2018 and 2019, also won the Norman Sellick 1st prize in 2020 and 2nd Prize of Miriam Hyde Junior Award in 2021.

Recently, he was invited by Recitals Australia to participate in the 2021 Autumn Lunch Hour Series and entered the final as the youngest nominee.

He started learning violin and flute recently. He loves music and wishes to become a professional musician in the future. Jonathan also has a wide range of hobbies, he participates figure skating, tennis, swimming, and taekwondo classes, he enjoys learning all kinds of things that increase his knowledge!

James Skelton, piano

James studies the piano with Monika Laczofy OAM and the clarinet with Darren & Louise Skelton and is currently working towards his Grade 8 AMEB exams on both instruments. James has been a member of the Adelaide Youth Orchestra and Adelaide Youth Wind Quintet as one of the youngest players in the wind section for the last two years. In 2019, James was the only Australian student selected via audition to take part in the Honors Performance Series Junior Orchestra in London. This experience culminated with a memorable performance with this International Youth Orchestra in London’s famous Royal Festival Hall. James has had considerable success as a solo musician, performing in the Adelaide Town Hall as featured guest soloist (on the clarinet) with the Adelaide Youth Strings in a jazzy arrangement of Chim Chim Cheree written specifically for James by the group’s conductor, Martin Butler OAM. James has won prizes in the Adelaide Eisteddfod for his solo clarinet performances and in 2018 he was awarded the AMEB Grade 5 Piano Prize. This year, James has enjoyed performing the Beethoven Trio for Clarinet, Piano and Cello with two other talented young musicians (Samantha Li, Piano & Rafael Velasco, Cello) for the JEMS Masterclass, Workshops & Concert. James was honoured to receive an Honourable Mention for his piano performance at the 2021 Miriam Hyde Junior Award – his first time performing in a competition as a pianist!

Royce Wong, flute

My name is Royce and I am 14 years old, I have been learning the flute and piano for over 7 years.

My interests other than music are chess, soccer, and badminton.

I am involved in bands and ensembles at Immanuel College and was previously a member of the Adelaide Youth Sinfonia.

I appreciate the opportunities provided through my music teachers, and the commitment of experienced musicians and related organizations that are so important to our music community.

I look forward to continuing my musical journey in the coming years and throughout my life.

Samantha Li, piano

Samantha LI was born in Adelaide, Australia in the April of 2009. Samantha started to pick up music when she was 6 on a keyboard. After a while, she started to become really deep and into music, so she decided to learn piano seriously. She has won many Eisteddfods and passed her Australian Music Examination Board for AMUSA Diploma (2019) when she was only the age of 10.

In 2018, Samantha was awarded first prize in ‘The “3rd Xindi Cup” Practical Piano International Piano Competition’ and performed in the Adelaide Town Hall.

In 2019, Samantha attended the Recitals Australia Lunch Concert and was awarded 1st prize - the Berenice Harrison Award.

In 2019, Samantha was awarded first prize in the MTASA Miriam Hyde Junior Award UNDER 15.

In 2019, Samantha was awarded first prize in the MTASA Norman Sellick Memorial Prize UNDER 12.

In 2020, Samantha was awarded the Elder Conservatorium of Music Adelaide University 2020 Jewels Stevens Scholarship.

In 2020, Samantha was awarded first prize in the MTASA Reimann Robinson Scholarship UNDER 18.

In 2021, Samantha was awarded first prize in the MTASA Miriam Hyde Open Award.

In January of 2021, Samantha had a very exciting start to the year for she was invited to perform piano in the Ukaria Concert. This performance was very successful, and her teacher said that she was like a real concert pianist.

Samantha currently studies at St Peter’s Girls School in Year 6 and was awarded with the most prestigious music scholarship “Jane Peter’s “Music Scholarship. She is under the tutelage of Monika Laczofy OAM who has supported and helped Samantha throughout her piano journey. Now, Samantha is a member of the University of Adelaide Elder Conservatorium of Music - Open Music Academy. She also learns violin as a 2nd instrument with Keith Crellin OAM and is thoroughly enjoying learning both instruments at the same time. Through learning violin, Samantha believes that she is developing her chamber music skills and is playing in multiple orchestras throughout her school.

Samantha is a very easy-going girl who truly admires and loves music. She comes from a very lovely family, and she always thinks that she was BORN FOR MUSIC! Music is part of her life but not her whole life. Samantha also enjoys reading, studying, science, chess and sports. This year, at school, she was very proud to be chosen to participate in the da Vinci Decathlon. Her team (Year 5/6) placed second prize in SA, which was an outstanding achievement.

Samantha has many dreams about her future! One, is to become a flying doctor, travelling around the world and saving people’s lives. Samantha also wishes to be an inspirational musician and through her music to bring hope and happiness to people.

Kristopher Man, piano

Kristopher has been studying piano under Gil Sullivan since the age of six. A Year 12 student at Marryatville High School, he began attending in 2017 as part of its Special Music Program and has subsequently participated in various school ensembles such as the Big Band and Baroque Ensemble. Kristopher won the 2018 MTASA Miriam Hyde Junior Award and the 2019 Reimann- Robinson Scholarship, and also completed his ABRSM Grade 8 Piano in 2019 and ARSM in 2021. Kristopher wishes to study music at the Elder Conservatorium in future, and besides performance he devotes his time to composition.

ARTICLES

Jazzin’ Around

The Singers Unlimited – A Capella – 1972 Album Review by Kerin Bailey

Bonnie Herman, S/A; Don Shelton, T; Len Dresslar, B; Gene Puerling, Bar. and arranger/conductor.

“We did our best, but whether we reached the jazz category, I’d have to leave that for others to decide.” Gene Puerling

I suspect many of our readers will not be familiar with the name or recordings of this group – 15 albums between 1971 and 1982. Formed in Chicago in 1967 as session singers in the lucrative advertising ‘jingles’ recording industry, they were discovered when Oscar Peterson heard a demonstration multi-track tape of The Fool on the Hill. He recommended SU to recording engineer Hans Georg Brunner-Schwer at MPS Records in Germany, which led to their first recording in 1971 – In Tune, The Oscar Peterson Trio + The Singers Unlimited.

GP had sung and arranged for the Hi-Lo’s male vocal quartet, achieving considerable fame from 1953-1964, recording 13 albums and countless live, television and radio shows. The partnership with HGBS and his new 16-track tape recorder led to studio recordings and the possibilities this enabled in terms of the number of parts – often SSAATTBB – and overdubs for a fuller, at times orchestral sound. SATB were recorded first, followed by additional parts. BH then had the option to re-record the melody with her own phrasing and inflections. Hence SU never performed live.

The complex arrangements were completed well in advance but with no rehearsal before entering the studio. GP is quoted as saying BH never looked at the score until then! A full album of pieces was recorded in less than a week – highlighting the extraordinary musicianship and sight reading skills of the group; thanks in part to an estimated collective 15,000 hours together in studios.

How then do they achieve such an astonishingly smooth, lush sound? For me it’s the unique blend and balance of voices, impeccable diction and intonation, jazz feel and phrasing, total commitment to perfection, HGBS’s engineering skills etc. Add in BH’s voice – described by GP as ‘sultry’ – with a range encompassing soprano and alto; many SU tracks are her solos with choir/ band accompaniment. Perhaps the most important element is GP’s arranging – artistic, unpredictable, harmonically adventurous and challenging – even for singers with these technical skills.

Space prevents commentary on every song; instead I have chosen one excerpt for a brief analysis to convey some of GP’s (less complex) harmonic genius. Warning – not for the faint-hearted!

Emily is a song favoured by many jazz improvisers – in fact these voicings are reminiscent of Bill Evans. I’ve added chord symbols to illustrate the basic harmonic progression and highlight the inventive embellishment by GP. Bars 8 and 9 are purely diatonic I-VI, and then in 10: II (Dmsus4) to V (G9sus4) is interrupted by the Ab chord with added 6, 9, maj7 and suspended 4-3 – Db (C#) to C. Bar 11 is G9sus4, G13b9#9, G7b9; resolution to I 6/4 with added 6 and 9. 13-14 is a II-V-I to F(min) with very tight inner chromatic alterations: G9#4#5, Gm9sus4, C9 with F# bass (or F#7,#4#5b9!); this resolves not to the original F, but an Fm7sus4; a semitone shift down to E and D in bass and bar/ tenor forms an E7#4#5 (or b5b6) – i.e. V of A major key change at 16 for the B section. This is a brief tenor solo threaded between SABB with less complicated (still tightly spaced) chord voicings, in a I VI II V progression. Note the parallel 5ths between B and Bar., followed by B and S. Every rule in the traditional harmony book is broken by GP!

I trust this may pique interest in exploring more of this remarkable group’s work.

Emily - ExcerptWords by Johnny Mercer, Music by Johnny Mandel; arr. by Gene Puerling

PEDAGOGY MATTERS by Rodney Smith

A teaching and learning “black hole”.

Beginning instrumental pupils more often than not use a tutor book. Lessons and practice are generally centred around its carefully graded contents and even the most limited tutors usually contain a varied diet included musical rudiments as well as exercises.

At some point teachers move away from tutors and pupils playing orchestral and band instruments start to include more extensive ensemble as well as solo materials with the advent of significant band and orchestra rehearsals in their musical lives.

The road for keyboard players after a tutor is different. Some ensemble opportunities may eventuate and a few may still be learning keyboard in groups. But for the majority a challenging period has begun, littered with examinations, competitive eisteddfods and pupils’ concerts. How effectively do those events motivate pupils? Do they suit a particular sort of keyboard pupil? Where’s the camaraderie that permeates orchestras, bands and choirs?

Unsurprisingly keyboard teachers frequently observe a significant drop out rate in pupils from around Grade 2 onwards because in many cases their pupils’ friends are having more fun through playing in ensembles.

But there is help on the way if keyboard pupils can reach a higher playing standard. AMEB Collaborative Piano Exams commence at Grade 5. At that level intermediate keyboard players can start to participate effectively in ensembles and groups with worthwhile music.

So, there remains a “black hole” between approximately Grades 2 and 5 when piano teachers in the know realize they need to add further dimensions to learning if pupils are to retain their motivation.

Right from the start some keyboard tutors set the bar higher than others. They cover areas like transposing, improvising, composing, ensemble keyboard and so forth. Pupils used to working from those tutors can continue a familiar path when the tutor is no longer used. The teacher simply extends those skills further alongside other work such as examinations and pupils’ concerts. Such pupils are rarely bored with their music practising.

Pupils whose initial keyboard tutor didn’t include extended skills may need coaxing into areas such as improvising. But that journey is far more likely to motivate than an alternative that includes just performance and theory grade exams interspersed with pupils’ concerts and maybe competitions.

Although pupils playing orchestral and band instruments do not encounter a learning “black hole” after they’ve completed their tutor, it’s worth noting there are pitfalls for them too if their teacher neglects theory and aural training. The ubiquitous weekly half-hour lesson’s time constraints can barely contain technical and repertoire work plus, say, reviewing band ensemble music. And the results of theory and aural neglect often only become apparent further down the track when remedial work in music reading and understanding is plainly necessary.

So even though all teachers are well aware of the potential for pupil drop out when the comfortable world of beginning tutors ceases, not all see the need to maintain a broad approach. There are pressures to narrow down pupils’ curriculum concentrating more and more on repertoire performance. Doing the opposite by continuing to cultivate a broader skill set may well prove more challenging to start with but could be a better option for maintaining pupils’ motivation and ensuring they continue on rather than falling by the wayside.

ACCOMPANIST’S CORNER

Collated by Monika Laczofy OAM

Why does the label ‘accompanist’ have such a connotation of inferiority to aspiring pianists? The saying that ‘those who can’t, teach’ seems to apply here as well i.e. those who can’t be soloists, might be content to become accompanists! Nothing could be further from the truth!!!

The range of repertoire open to an accompanist is enormous, covering vocal and all instrumental material. Every singer/instrumentalist needs accompaniment or musical partnership from the early learning years through to professional performance levels, giving abundant work for pianists who read well, listen and have discovered the rewards of musical collaboration.

The first accompanist to achieve world-wide fame, Gerald Moore, writes in his book The Unashamed Accompanist “….there is more glory and glamour in the career of a solo pianist; his name is printed in big letters, whereas the accompanist’s name appears at the foot of the bill, in smallest print’ – and often not at all! Unfortunately, not much has changed over time despite the contributions of Geoffrey Parsons and Graham Johnson, both celebrated followers in his path. Accompanists/Collaborative artists are still largely ‘unsung heroes’ in music!

On a positive note: In 1983 Diana Harris OAM founded the Accompanists’ Guild of SA, to highlight the accompanist role. One of the notable outcomes has been the Geoffrey Parsons Award, now offered biennially – an Australia wide competition for concert-standard accompanists, this year to be held on September 19 – come and enjoy these great talents!

WHAT DOES AN ACCOMPANIST DO? ARE YOU WILLING TO BE/BECOME ONE?

Accompanists - who play instruments like piano, organ, or guitar - are professional musicians who make a living by supporting, collaborating with, and sometimes also educating vocalists, choirs, dancers, theatre performers and other artists. Accompanists go by many different titles depending on the specifics of their profession or employment: church musicians and church music directors, for example, may accompany the church choir as pianists or organists;television show band members accompany guest performers and sketch segments; collaborative pianists perform with vocalists and soloists; repetiteurs accompany and teach opera singers and dancers in a rehearsal environment.

Opportunities abound for accompanists, ranging from tiny theatre troupes and local choirs to major ballet and opera companies.

The work of accompanists is nuanced and demanding, requiring them to respond nimbly and sensitively to performance elements such as tempo, phrasing, and interpretation, often while collaborating with a singer for the first time and sometimes in high-pressure settings like competitions and auditions. In addition, many accompanists double as teachers or educators, accompanying in auditions, exams and competitions. They should be capable of teaching and monitoring a student’s performance while playing. Staff accompanists often perform administrative tasks such as compiling and organizing requests from students.

Career Path Professional musicians who accompany as part of their work are spread across many different industries. However, those who specialize purely in accompanying, are most common in the fields of music, dance, and theatre education. Most accompanists begin as freelancers, finding work through personal connections, networking, and job postings. Once an accompanist has achieved a certain level of expertise and prominence, he or she might be eligible for full-time, salaried positions with an arts organization or university. An accompanist might go on to a career as amusic teacheror music director.

Professional Skills

• Sight-reading

• Broad musical repertoire and knowledge

• Collaboration (rehearsed and on-the-spot)

• Great ears for musical nuance (tempo, phrasing, tone, etc.)

• Teaching

• Networking

• Punctuality Interpersonal Skills – summing up!

Accompanists are highly skilled instrumentalists with a deep interest in collaboration. The job requires immense adaptability and comfort with the unpredictability of live performance. In addition, accompanists must possess the ability to work together with almost anyone, and to take direction quickly and quietly!

SA State Music Camp 2021

by Wendy Heiligenberg

Wendy Heiligenberg

Photo by Anthony Radogna

Despite all of the nail-biting events which threatened to prevent our beloved State Music Camp from going ahead, we were thankfully able to proceed with camp as planned in the first week of July. Since Music Camp 2020 was cancelled due to Covid 19, it was especially dear to our Committees’ hearts to host this wonderful event. Thanks to the generosity of the University of Adelaide, we were able to go ahead with Camp, culminating our week of music making with a concert at Elder Hall on Friday the 9th o fJuly. Over 200 hundred Campers attended, ably guided and assisted by our 5 conductors, over 40 tutors and support staff plus our magnificent Committee.

Music Camp offers the students a chance to work with professional musicians from all facets of musical life in Adelaide, from the Universities to the Adelaide Symphony Orchestra, from Department of Education Specialist Music Schools to DEP Primary and Secondary Schools, Independent Schools and private teaching studios. Students attend from all over the state and this year we were able to welcome young musicians from Port Augusta, Mount Gambier and Victor Harbour.

We were very grateful to Martin Victory of the University of Adelaide for facilitating the internal live streaming for Campers (on site) and their families, who were unable to be present in Elder Hall, extending the audience beyond the necessary Covid limitations.

Stimson Wind Ensemble, our youngest group of wind players, began the concert, conducted by Kate Mawson. Their out standing and tight knit performances of 4 works with such descriptive names as Cobra Dance and Monster at the Drive Thru Window delighted the audience. They were followed by the Marcus String Ensemble, conducted by Erna Berberyan. The students agreed, that although they enjoyed the Handel Concerto Grosso with its fugal elements providing challenges equally to each individual section and Hofeldt’s Deerpath Triptych, which was a great exercise in rhythms, Leonard Cohen’s Hallelujah was the true highlight. The Alexander Orchestra conducted by Jakub Jankowski followed with some exciting works by Dvorak,Brahms and Ligeti, culminating in the toe-tapping Finale from Offenbach’s Orpheus (Can-Can). After the interval, the Shepard Concert Band, of almost 50 members, conducted by Andrew Barrett, who came to our aid at the last minute, performed four very contrasting pieces. The Concert Band developed into a very cohesive group over the week and balance, beauty of phrasing and rhythmic precision were features of the performances. I personally particularly enjoyed the Serenade by Bourgeois. Bishop Orchestra, conducted by Bryan Griffiths, performed the last two works of the concert, Peter Sculthorpes’s atmospheric work Sun Song, and the Finale of Sibelius’ Second Symphony. The campers revelled in rising to the challenges of the Sibelius and particularly enjoyed its richness of texture and lush palette of sound.

Our thanks must go to all of you instrumental teachers out there, who support SA State Music Camp, without whom we could not hold this truly inspiring event. Thanks too, for generous sponsorships and donations from Size Music, Consortium Music, Second-Wind Ensemble, Woodville High School, Mitch Brundsden OAM, in memory of Judy Penna and Nick Kazimierczak, in memory of his father, Bogdan.

If you are interested in learning more about usPlease visit www.samusiccamp.com.au

Photo by Anthony Radogna

From Isolation To Inspiration - embracing the challenging times

by Elizabeth Koch AM

Having slipped back into Adelaide from London in mid- February 2020, excited and with not a care in the world, things began to unravel at a fast pace. I had been in London for two main reasons, the first being to secure concerts including Proms, masterclasses, accommodation, and cultural visits for my University of Adelaide London Student Study Tour July 2020 and secondly to work with Michael Cox (Principal Flute BBC Symphony Orchestra and Academy of St Martin in the Fields) for the University of Adelaide Flute Symposium July 2020. I already had 60 registrations from Australia and one from Indonesia and students had been selected by audition to work with one of the world’s most amazing flautists and pedagogues.

Lockdown for me was an amazing opportunity to reach out to my many colleagues here in South Australia and around the country but also internationally. Realising the isolation that some teachers were experiencing, I decided to contact as many flute friends and colleagues as I could and see how they were faring in this pandemic. I decided to curate a book highlighting these reflections on COVID-19 but also including favourite teaching tips, exercises, and advice. Everyone I invited enthusiastically contributed to this not-for-profit book – the response was overwhelming which is why Book 2 is in the pipeline. I simply wanted to make it available to any teacher/professional or student who wanted a copy.

This document has a diverse mix of favourite teaching exercises and methodologies and some poignant reflections. For example, Gareth Davies, Principal Flute London Symphony Orchestra wrote this having had 16 concerts for the month of March 2020 cancelled overnight, “But perhaps even better was just now, walking my dog with my wife in the fields near our house. It was silent except for the songs of the skylarks. I’ve walked there for 20 years and never noticed it before. So practice when you feel you want to, but enjoy the silence from time to time. It will be gone before you know it.”

In addition to the book, I curated a Virtual London Study Tour with video contributions from all the flute teachers who we were due to meet in London and have classes with, and two pianists and accompanists, Roy Howat and Richard Shaw (both on staff at the Royal Academy of Music, London). I begin the tour flying into Heathrow and the tour starts from there with cultural visits throughout the presentation, and Underground maps showing how to get from A to B.

I have just completed the Michael Cox Flute Symposium 2020 and Michael has contributed 12 videos demonstrating different aspects of flute playing and technique. The passion that Michael Cox has for music making is astonishing and shows what a sought-after teacher he is around the world. I am very grateful I have been able to call on such a colleague and to have developed such a wonderful network of flute friends and colleagues both here in SA, Australia, New Zealand, USA, and Europe. Masako Kondo has been instrumental in making the book From Isolation to Inspiration look so beautiful Thankyou Masako.

Michael Cox - part 1 introduction

If any teacher reading this who wishes to get in touch regarding any of the above curations, please email: elizabeth.koch@adelaide.edu.au

University of Adelaide, Elder Conservatorium of Music Open Music Academy Regional Program

By Dr Emily Dollman

The Open Music Academy is committed to providing access to the resources of the Elder Conservatorium of Music for all South Australians, with a key focus on supporting music education in regional and remote communities. With support from the State Government Education Department, the University of Adelaide and private benefactors, our Regional Program comprises an annual Regional Tour program, with Access and Achievement Scholarships also available for Regional music students. In 2020 we were delighted to tour to Kangaroo Island and the Eyre Peninsula, despite the challenges posed to regional travel. In these tours we engaged with 1350 students and 64 teachers, visiting the three campuses of Kangaroo Island Community Education and six schools from the Eyre Peninsula.

Open Music Academy tours bring some of the best students from the Elder Conservatorium to regional areas of the State, alongside key staff members from the Conservatorium. We deliver performances, side by side ensemble sessions, masterclasses and Professional Development Sessions. In our 2020 tours we delivered performances showcasing the Elder Conservatorium’s Guitar Ensemble in Kangaroo Island and the Big Band in the Eyre Peninsula. The sessions were clearly highly motivating to the school students with the University students providing relatable and inspirational role models. Our ‘side by side’ workshops match Conservatorium students with school ensembles. These sessions have a direct and noticeable impact on the school students – the ability to sit next to a Conservatorium student lifts the standard of playing immediately. Teachers have reported that there is a lasting impact from these sessions in terms of the engagement and motivation of their students.

Our tours included fourteen Creative Music Workshops, creating new musical works together focusing on the theme of rain, linking with the Curriculum focus on Sustainability. High school students also took part in a ‘conduction’ workshop which relies on communication and teamwork to create a new piece of music composed by the conductor using set hand signals. This session noticeably increased the eye contact, communication and teamwork between the musicians, all essential skills for music as well as being highly transferable skills.

The tours included a session in KI on Saturday 26 September 2020 for students from Children’s University Australia. Children’s University has just launched on Kangaroo Island and our Tour made a wonderful opportunity for the KI Children’s University students to take part in a Learning Destination activity with the staff of the Open Music Academy.

In 2021 our Touring Program includes an upcoming tour to Clare and the Riverlands (7 – 10 September), as well as our recent tour to Flinders and the Mid North.

If you are interested in connecting with our Tour Program, or applying for our Regional Scholarship Program, please contact us at openmusicacademy@adelaide.edu.au, ph +61 8 8313 1110, or at our website Open Music Academy | Elder Conservatorium of Music | University of Adelaide.

BAROQUE MUSIC / DANCE Musicians as Dancers

By Rosslyn McLeod

If you had lived in Europe during the Baroque era (1600-1750) and been a professional performer – musician or dancer, then you possibly would have combined both skills. In the Courts at that time employment could have meant an expectation to be a musician and a dancer.

Dance formed a major part of entertainment at Courts and in aristocratic circles; there were many types of dances (e.g., minuet etc.) each with distinctive rhythmic and melodic patterns. This dance music greatly influenced the keyboard Suites of that time being written by composers who started to write dance style music as independent instrumental music; this, distinctive from the “working” dance music, intended to be danced to.

To understand and interpret musical style of the Baroque era we need to explore a wider field of the Baroque times – the social and political events, the art and architecture, and most importantly Baroque Dance.

During the reign of Louis XIV (1638-1715) in France the arts flourished. Not only was the King a great patron of the arts, he was also a skilled performer as instrumentalist, singer and above all an outstanding ballet dancer. Dancing was popular not only at Louis XIV’s court but in many aristocratic ballrooms; the influence of Louis XIV’s Court was widespread and French dancing masters (with their manuals) travelled and taught throughout Europe.

Dancing was considered to be healthful exercise for women, and was a necessary skill for men, along with fencing and riding; as well it promoted self-discipline, graceful bearing and manners.

At the instigation of Louis XIV dance notation was developed to preserve the dance choreographies of his time. Hundreds of dances for the ballroom and stage were published, first in France then also in England and Germany, along with dance treatises explaining in detail the French noble style and technique.

Dance forms included allemande, bourree, chaconne, courante, gavotte, gigue, hornpipe, minuet, musette, polonaise, rigaudon, sarabande, tambourin. Some of the dances were based on folk dances.

The Minuet was the “queen of dances”, the most popular dance of aristocratic society – often performed by one couple at a time, after bowing to the King or whomever was presiding, while others observed. The dance had small steps and a complex two bar foot pattern.

There are many web sites demonstrating Baroque dances. One is Library of Congress Baroque Dance scroll down the text to Minuet then click on video clip 26, you get an excellent demonstration of minuet steps – lasts just under one minuet – given by a young man, demonstrating with such poise and elegance. In fact, this Library of Congress web site traces the history of dance from Renaissance to Ragtime with demonstrations of each style, all excerpts under one minute, so a good overview of dance. Then for more detail explore the many other web sites of Baroque dance.

Is Dance important today? Definitely

The more intricate the steps the better as this challenges to a greater degree the need for coordination of brain and feet. So much time now is spent sitting – at computers or with i-phones, it seems many piano students do not feel in total the pulse and rhythm of the music they are playing. A certain liveliness is missing, there is a lack of energy. Yes, the student can be asked to walk the beat and clap the rhythm of the music, this is a start, a very basic Dalcroze element.

However, to actually dance, for example a Baroque dance such as a Minuet requires fine control of foot movement. The ability to rise onto the balls of the feet, to pivot smoothly, to do a gentle hop – all this and other manoeuvres develop poise and good balance. Talking of balance this is such an important skill needed by each person, especially as we get older.

Older people are prone to falls often resulting in serious injury, or death. The fall often occurs just at home from even such a simple activity as changing from sitting to standing or vice versa. Continuing to explore fine balance and coordination is important, it is a pity there is not more choice in Adelaide of dance styles. Unfortunately, there is no one here who teaches Baroque Dance.

Just after Easter this year a Baroque Academy was held at the Elder Conservatorium for four days, attended by music students and young professional musicians. Activities included two sessions on Baroque dance given by Simon Rickard (Melbourne), they were most enjoyable and appreciated by the large group of people who attended.

Interstate there are some interesting Baroque classes: Sydney, see the web site of Fiona Garlick www.earlydanceconsort.com.au Canberra, www. earthlydelights.com.au

Looks like people in those groups have a lot of fun and keep fit. I would like to meet others interested in exploring Baroque dance, maybe we could start by trying Zoom classes?

In the meantime, I am exploring Scottish Country Dance (not Highland fling) with variety of styles – jigs, reels, strathspeys - with endless combinations of dance steps to keep one alert and mindful of balance. Many of the steps are on the balls of the feet with just a few echoes of the Baroque style of dance.

Anyone for Baroque Dance?Contactrj.mcleod1@bigpond.auRosslyn McLeod A.U.A., B.Mus., Dip.Ed.

Rosslyn is a member of MTASA, a piano teacher, and teacher of the Alexander Technique – member of Austat and ATI. Her book about F M Alexander’s Australian years is published by Mouritz (UK); her 70-minute documentary film about F M Alexander’s life and work is available from www. fmalexanderdoc.com

OTHER ORGANISATIONS’ NEWS & EVENTS

Australian Youth Orchestra

2022 Programs Applications open

Apply via https://www.ayo.com.au/content/2022-programs/gke2u8

The Australian Youth Orchestra (AYO) holds a reputation for being one of the world’s most prestigious and innovative training organisations for young musicians. Our unique, specialised training pathway has been specifically created to nurture the musical development of the most gifted young instrumentalists to be found across metropolitan and regional Australia: from exceptional school-aged musicians, to emerging young practitioners, to those on the verge of a professional career. AYO presents tailored training and performance programs each year for aspiring musicians, composers, arts administrators and music journalists aged 12 to 30 to help them achieve their goals.

How should I choose a program?

Each of our programs caters to Australia’s finest young musicians at varying stages of their creative and professional development. Many participants start as young as twelve and follow the AYO training pathway from start to finish, while others select individual programs that complement their study schedule and stages of development. AYO offers the flexibility to pick and choose the programs that suit you best, and we encourage you to apply for all programs you are eligible and available for. Our programs are varied to suit your needs, and there is plenty to choose from, ranging from performance-based to non-instrumental programs.

Balaklava Eisteddfod 2021

Due to the current situation regarding Covid-19, the 25th Balaklava Eisteddfod has been cancelled.

Geoffrey Parsons Award

Accompanists’ Guild of SA Inc.

When: September 19, 3:00 pm

Where: North Adelaide Baptist Church Hall

6th NTD International PianoCompetition

Where: New York City

When : October 28 to 31, 2021

The competition aims to preserve and revitalize the art of authentic classical piano music, bringing back the glory of piano master pieces from the Baroque, Classical, and Romantic periods, which the organizer NTD believes this repertoire is a treasure of mankind and should be passed onto future generations to come.

3-minute video of comments from past contestants: www.youtu.be/bNo9mLxo7OY

The competition also features a very unique and mesmerizing commissioned piece. www.competitions.ntdtv.com/piano/commissioned-piece

To learn more about the competition: www.competitions.ntdtv.com/piano/ Contact in Australia: Emmy Pfister 0433 011 615 Contact. AU. Piano@ntdcompetitions.com

Australasian Piano Pedagogy Conference 2022

Presented by UWA in collaboration with WAMTA

Theme : The Holistic Piano Teacher

When : July 4-8

Where : UWA Conservatorium of Music, University of Western Australia, Perth

Website : www.appca.com.au

Mitcham Orchestra The Mitcham Orchestra is looking for a Bassoon player.

This friendly group of musicians rehearse on Saturday afternoons from 2pm-4.30pm at the Cumberland Park Community Centre at 390 Goodwood Road.

Performance: two major concerts per year for the public and several private concerts for retirement villages and nursing homes.

Repertoire ranges from Symphonies to light classical works at approximately a grade 4-5 AMEB standard.

For more information please contact our secretary Ros via email: rosalind@keynes.id.auor Ph: 83903053

Website: www.mitchamorchestra.com.au

OTHER ORGANISATIONS’ CONCERTS

RECITALS AUSTRALIA WEDNESDAY LUNCH HOUR CONCERTS 2021

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

Enquiries: Ph. 8266-4936

Website: www.recitalsaustralia.org.au for more information

ELDER HALL CONCERTS 2021

Lunch Hour Concert Series, Fridays, 1-10 pm. General admission: $14 via website.

EVENINGS AT ELDER HALL

Ticket Prices: $30 Adult; $25 Concession; $19 Student. Visit: www.arts.adelaide.edu.au/music/engage/concert-series for more information.

Ensemble Q Date : 26August 7:30 pm Performer : Paul Dean Clarinet and Artistic Director Trish Dean Cello and Artistic Director Virginia Taylor Flute Huw Jones Oboe Peter Luff Horn David Mitchell Bassoon

Program : Debussy Syrinx (1913)

Beethoven Variations on ‘Là ci darem la mano’ (1795)

Ligeti Six Bagatelles for wind quintet (1953)

Britten Ciaccona from Second Suite for Cello, Op. 80 (1967)

Barber Summer Music, Op. 31 (1955)

Paul Dean Concerto for Cello and Wind Quintet (2018)

Website : www.musicaviva.com.au/ensemble-q/

St Cecilia has provided high standard music examinations for over 50 years.

Australia -1800 675 292 www.st-cecilia.com.au New Zealand - 0800 151 661 www.stcecilia.co.nz

What we offer:

• Grade, Concert Certificate, Recital Certificate, Showcase examinations

• Associate, Licentiate and Fellowship Diplomas in teaching and performing

• Certificate of Music Teaching (CMT)

• Certificate of Performing Arts

• Recognition and credit for experience and prior learning

• Reciprocal qualifications with international boards

• Accreditation for music teachers

As part of National Volunteers’ Week 2021, Educators SA held a Volunteers’ Service Ceremony to recognise the enormous contribution of the volunteers in our association. Masako Kondo, Rodney Smith and Sofie Arhontoulis of MTASA received a Volunteers Award at the the ceremony held on May 20, 2021, at the Adelaide Pavilion, Veale Gardens.

ADELAIDE SYMPHONY ORCHESTRA

Check their website for the upcoming concerts and support our local orchestra!

Star Wars: Return of the Jedi in Concert

Date : 21 August 6:30pm, 7:00pm

Performer : Nicholas Buc, Conductor

Program : MARY FINSTERER New Work MOZART Symphony No.35 Haffner

TCHAIKOVSKY Symphony No.6 Pathétique

Website : www.aso.com.au/events/star-warsvi-return-of-the-jedi-in-concert/

CONTACT DETAILS FOR OTHER ORGANISATIONS

5MBS: MUSIC BROADCASTING SOCIETY OF SA www.5mbs.com 8346 2324 5mbs@5mbs.com

AUSTRALIAN BAND AND ORCHESTRA DIRECTORS’ ASSOCIATION (ABODA): ABODA SOUTH AUSTRALIA www.abodasa.com.au info@abodasa.com.au

ABRSM EXAMINATIONS https://us.abrsm.org/en/home SA Rep.: Anastasia Chan 8234 5952/423 282 589 abrsmsa@hotmail.com

ACCOMPANISTS’ GUILD OF SA INC. www.accompanist.org.au President: Leonie Hempton OAM 8272 8291 / 0404 145 502 leoniehempton@gmail.com

ADELAIDE BAROQUE www.adelaidebaroque.com.au 8266 7896 manager@adelaidebaroque.com.au

ADELAIDE CHAMBER SINGERS www.adelaidechambersingers.com/ 8352 1329 admin@adelaidechambersingers.com

ADELAIDE EISTEDDFOD SOCIETY INC. www.sacoment.com/aes/eisteddfod Secretary: Brenda Rayner OAM 8366 6531 adleisteddfod@adam.com.au

ADELAIDE HARMONY CHOIR www.adelaideharmonychoir.org.au Secretary: Sherry Proferes adelaideharmonychoir.info@gmail.com

ADELAIDE PHILHARMONIA CHORUS www.philharmonia.net

ADELAIDE YOUTH ORCHESTRAS www.adyo.com.au 8361 8896 / 0410 062 677 General Manager: Claire Oremland claire@adyo.com.au

AMEB EXAMINATIONS: SA AND NT www.ameb.adelaide.edu.au 8313 8088 ameb@adelaide.edu.au

AUSTRALIAN NATIONAL ASSOCIATION OF TEACHERS OF SINGING (ANATS) ANATS: SA AND NT CHAPTER www.anats.org.au/sant-chapter Secretary: Dianne Spence anats.sa.nt@gmail.com

ANZCA EXAMINATIONS www.anzca.com.au (03) 9434 7640 admin@anzca.com

AUSTRALIAN SOCIETY FOR MUSIC EDUCATION (ASME) ASME: SOUTH AUSTRALIA CHAPTER www.asme.edu.au/sa President: Luke Gray graylu@trinity.sa.edu.au

AUSTRALIAN STRINGS ASSOCIATION (AUSTA) AUSTA: SA CHAPTER www.austa.asn.au/chapters/sa President: Fiona Patten fionapattenausta@gmail.com

AUSTRALASIAN DOUBLE REED SOCIETY www.adrs.org.au Contact: Josie Hawkes OAM josie.bassoon@gmail.com

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

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

CON BRIO EXAMINATIONS www.conbrioexams.com 9561 3582/0401 014 565 lily@conbrioexams.com

ELDER CONSERVATORIUM OF MUSIC www.music.adelaide.edu.au 8313 5995 music@adelaide.edu.au

ELDER HALL www.music.adelaide.edu.au/ concerts/8313 5925 concertmanager@adelaide.edu.au

FLUTE SOCIETY OF SA INC. www.flutesocietyofsa.org Secretary: Catherine Anderson secretary@flutesocietyofsa.org

INSTRUMENTAL MUSIC: DEPARTMENT FOR EDUCATION Instrumental Music Office - Klemzig 8261 8988 IM.KlemzigOffice608@schools.sa.edu. au Instrumental Music Office - Morphett Vale 8392 3800 IM.MorphettValeOffice896@schools. sa.edu.au Music Programs 8226 1883 education.musicprograms@sa.gov.au

KODALY MUSIC EDUCATION ASSOCIATION OF SA www.kodalysa.com 0405-066-469 kodalysa@gmail.com

MUSICA VIVA www.musicaviva.com.au for concert details Box office: 1800 688 482 contact@musicaviva.com.au

MT GAMBIER EISTEDDFOD www.backstageinc.org.au Secretary: Maxine Chalinor OAM 0457 067 555 tonymaxine@internode.on.net

MUSICIANS’ UNION OF AUSTRALIA ADELAIDE BRANCH www.musiciansunion.com.au 8272 5013 musosa@bigpond.net.au

ORFF SCHULWERK ASSOCIATION OF SA www.osasa.net info@osasa.net

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

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

ST CECILIA EXAMINATIONS PTY. LTD. www.st-cecilia.com.au 1800 675 292 info@st-cecilia.com.au

SOUTH AUSTRALIAN BAND ASSOCIATION www.sabandassociation.org Secretary: David Corkindale secretary@sabandassociation.org

SOUTH AUSTRALIAN MUSIC CAMP ASSOCIATION www.samusiccamp.com.au Administrator: Samantha Taylor admin@samusiccamp.com.au

THE SOCIETY OF RECORDER PLAYERS SA INC. www.facebook.com/recorderplayerssa 0410 109 135 npope@bigpond.net.au

TRINITY COLLEGE LONDON EXAMINATIONS www.trinitycollege.com.au 1300 44 77 13: National 8345 3117: Local stanley.tudor@iinet.net.au

UKARIA CULTURAL CENTRE www.ukaria.com 8227 1277 info@ukaria.com

Responding to Risks of Harm, Abuse and Neglect – Education and Care Training (RRHAN-EC)

There is new mandatory reporting training which replaces the Responding to Abuse and Neglect (RAN-EC) now available. The change of name ref lects changes to legislation and the expanded content of the new courses.

The RRHAN-EC training has been developed by the Department for Education, AISSA and CESA and is specifically for staff and volunteers working in education and care sites to ensure everyone fully understands the key concepts relating to protecting children from harm and their mandatory responsibility to report suspected child abuse and neglect and children at risk of harm.

As of 1 January 2022, a RRHAN-EC training certificate with an expiry date of 31 December 2024 is required.Full or conditional certification

All certificates issued as of 2021 have a full or conditional descriptor in the heading. This helps schools and preschools identify if the training meets the requirements of a person’s role. A description of the role types is provided on the certificate.

Conditional certification meets requirements for: volunteers, bus drivers, school council/board members, canteen workers, students on professional placements (except pre-service teachers) or workplace learning; and those corporate staff or service providers who do not work directly with children.

Full certification meets the requirements for all other roles including educators and support staff working directly with children and young people.

Course types

The new training will consist of two different courses. The course required will depend on the specific role. If unsure which training is required check the Department’s RRHAN webpage or speak to your Principal/ Business/HR Manager.

2-hour online fundamentals course: an online shorter course that covers the essential knowledge. Most current staff will only need to do this course, including staff with a current certificate who need to update as well as bus drivers, school board members, canteen workers and other staff who do not work directly with children and young people.

4-hour facilitator-led masterclass: extended training/advanced knowledge. This is only for specif ic staff who work directly with children and young people, are new or do not have a current certificate. This includes people with changes to situations for example, volunteers only need to do fundamentals, however, if a volunteer is later employed as a teacher/SSO, they need to do the masterclass as well. There are two parts to the full training: the Fundamentals course needs to be completed first before Plink will allow you to book into a Masterclass workshop.

Existing teachers and staff with a current RAN-EC certificate

If you are an existing employee or service provider with a current RAN-EC certif icate that expires on 31 December 2021, you will need to complete the new online Fundamentals course between 1 July and 31 December 2021 to update for the next three-year training cycle.

Teachers need to do the update before the end of 2021 regardless of when their SA Teacher Registration is due for renewal. Please note that the three-year training cycle of the RRHAN-EC does not align with the new five-year cycle for Teacher Registration (TRB SA).

New staff or staff with expired certificates

If you are a new employee or service provider, or you have let your certificate expire or lapse, you will need to undertake the two-hour online Fundamentals course to meet the requirements for conditional certification. Depending on your role, you may also need to undertake the four-hour facilitator-led workshop (in person or on video conference) to meet the requirements for full certification. More details are available on the Department’s website regarding who should complete which course.

Volunteers and other staff

If you are a new or existing volunteer, school board member, canteen worker or in another role where you do not work directly with children and young people you will need to undertake the two-hour online Fundamentals course between 1 July and 31 December 2021 to meet the requirements for conditional certification for the next three-year training cycle unless you already have a certificate with an expiry date of 31 December 2024. More information for volunteers is available on the Department’s website.

Bridging from the Child Safe Environments training

The Child Safe Environments (CSE) training is designed for community groups and does not meet the requirements for Independent, Government and Catholic education and care settings. Bridging from the full day CSE training to the RRHAN-EC can be achieved by completing the two-hour online Fundamentals course.

ACCESSING RRHAN-EC TRAINING ON PLINKThe training is available on the Department f or Education’s learner management system ‘Plink’.Staf f and volunteers in all sectors have access to:

• the two-hour online Fundamentals training

• the registration process for the facilitator-led workshop (in person or on video conference) – Masterclass.

Plink maintains a record of training completed and allows for certificates to be reprinted when needed.Log-in steps

• The log-in page can be accessed here.

• Scroll down to the Non-Department for Education staff login and create a new log-in or, to access a current account, f ill in the required details. The Plink username is the email address you signed up with previously.

• If you have forgotten your password, click forgot password to create a new one.

Once on the Plink RRHAN-EC course site Plink will assign the appropriate course and certificate for staff when they select from the available options.

Record keeping for schools

The AISSA recommends that individuals keep a record of their own training and schools also keep a record of the course (type, date and certif icate number) completed by each staf f member and volunteer.

Please note that the three-year training cycle of the RRHAN-EC does not align with the new f ive-year cycle for Teacher Registration (TRB SA).

Further assistance

For technical issues accessing the site please contact Rae Dawkins E: dawkinsr@ais.sa.edu.au T: 08 8179 1400.

Check the Department for Education RRHAN-EC information page.For other queries please email office@ais.sa.edu.au.