The Newsletter of the Music Teachers’ Association of South Australia Inc.
The Newsletter of the Music Teachers’ Association of South Australia Incorporated
PO Box 4 RUNDLE MALL SA 5000
Print Post Pub. No 100003224
Vol. 25 No. 1 – Autumn 2017
Vol. 25 No. 1 – Autumn 2017 www.mtasa.com.au
MUSIC LESSONS AT TAILEM BEND AND BEYOND By Michael Kozikowski
Preparing for the Student Showcase
lessons, had the potential to cause other tensions. In 2001 I decided to cease my school commitments and concentrate on studio lessons, where I have all the resources I need to provide a full range of instruction. Teacher numbers are limited in a small community, so I found I needed to be a ‘general practitioner’ to some degree and provide tuition for several instruments.
I have been teaching music in Tailem Bend and districts full time since 1998. During this period I have spent individual lesson time with students in schools at Meningie, Karoonda, Mypolonga and Murray Bridge, as well as providing after school tuition in my studio at Tailem Bend. Students know me as ‘Mr Kozi’ and my studio is known as Kozi’s Music. I encountered many challenges while teaching in the school environment. Among a few concerns, I found that students were easily distracted and having been taken out of the classroom environment for one on one
‘anywhere’ is simply a way of life in relatively remote areas and I am pleased to say that I have a constant flow of eager students who come from as far away as Tintinara, Karoonda, Meningie and Murray Bridge to keep me busy. I am also pleased to be able to offer many opportunities to students in relatively remote areas, some of which include helping students complement their high school music programme or through the AMEB by facilitating examinations to Grade 4 level. Usually at the end of the year I have a ‘Student Showcase’ or concert, where individual students and groups have the opportunity to perform in public. This is a very busy time and I feel it is essential to help the students’ performance skills. I am pleased to say that many past and present students actively entertain in their local communities and onward largely as a result of the opportunities provided. ♫♫♫
Being classically trained in piano and having a lifelong passion for guitar and singing held me in good stead to understand the principals for the other ‘in demand’ instruments that I felt confident to teach. These instruments include piano, guitar, beginner trumpet, beginner flute and beginner drums. Kara, Sallee, Kate and Noah perform Travelling to 1
The Newsletter of the Music Teachers’ Association of South Australia Inc.
Vol. 25 No. 1 – Autumn 2017
PRESIDENT’S WELCOME This year we have embarked on our new look schedule of events that your council feels better balances MTA’s provision for both teachers’ pupils and for teachers themselves. The two Performance Days and the Prize Day for members’ pupils are now matched by three Professional Development Days. We hope this new format finds favour and shall of course consider all your feedback when we plan for 2018. Our highly successful 2016 Expo will be repeated this year – an event for all to savour. In the meantime, our first PD Day on Wednesday January 25 worked very smoothly thanks to the high standards of professional speakers and our volunteer organisers. It’s reported more extensively elsewhere in this journal. As this is being written the final touches are being applied to our new Website and members will be contacted about that important development shortly. Our strong digital presence on Facebook and elsewhere allowed us to continue responding to events statewide throughout 2016. In particular it was gratifying to witness the resolution of some difficulties encountered by DECD towards the end of the year, as publicly called for by MTA. However, some of the underlying factors behind the problems met remain and they are referred to in Pedagogy Matters. My sincere good wishes for a successful and happy 2017.
Rodney Smith, President
FROM THE TREASURER
Sam Penny
A new way to pay in 2017! With the launch of our new website, we are excited to offer our members a new system for subscription renewal. You can now login and renew your membership online via our secure registration system. When your subscription is next due, you will receive an automated reminder email inviting you to login and renew your subscription. Payments can be made instantly via PayPal or the option of paying by Cash, Cheque or EFT can be used. For all existing members, subscription renewals for the 2017/2018 Financial Year will be due on 30 June 2017. For all recently new members, subscription renewals will occur every 12 months based on the date you became a member. FAQs: Do I need to have an online account with MTASA to continue my membership? No. MTASA values its rich history and long-standing members. We will still send you a paper invoice if you prefer it, however an online account will give you access to exclusive content only available to members. Do I need to pay via credit card when registering online? No. While our online PayPal payment system is instant and secure, Cash, Cheque and EFT payments are also a welcome option. What happens if I renew my membership after it’s due? Memberships not paid by their due date will automatically default to a ’free’ online membership and temporary removal from the mailing list, until membership is renewed and all access is restored. Coming Soon! Online registrations for Newsletter and Directory Advertising Need to ask a question? Contact Sam at mtasatreasurer@gmail.com 2
The Newsletter of the Music Teachers’ Association of South Australia Inc.
Vol. 25 No. 1 – Autumn 2017
“THE MUSIC STAND” The Newsletter of the Music Teachers’ Association of South Australia Inc. VOLUME 25 NO 1 – Autumn 2017
TABLE OF CONTENTS
PATRONS: Dr. Doreen Bridges AM Emeritus Professor David Lockett AM PRESIDENT:
Rodney Smith
VICE PRESIDENT:
Robert Brown
SECRETARY:
Masako Kondo
TREASURER:
Samantha Penny
AUDITOR: Australian Independent Audit Services COUNCIL 2016/2017: Pete Barter, Robert Boundy, Robert Brown, Norma Knight, Masako Kondo, Monika Laczofy, Carly McDonald, David Metin, Samantha Penny, Rodney Smith, Betty Snowden, Hayley Wedding, Pat Wilson EDITOR: Newsletter Layout:
Robert Brown Masako Kondo
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. Mobile: 0402 575 219 E-mail: info@mtasa.com.au CONTRIBUTIONS AND DEADLINES FOR 2017/2018 Contributions to The Music Stand are most welcome. All items to be included must reach the Editor, Robert Brown (robbrown@adam.com.au) no later than these deadlines: Sunday April 30; Monday July 31; Tuesday October 31; Wednesday January 31. MTASA WEBSITE The MTASA website has had a makeover. Please visit http://www.mtasa.com.au/ to have a look. MTASA FACEBOOK Please visit the MTASA Facebook page https://www.facebook.com/The-Music-TeachersAssociation-of-SA-Inc-883307955101655/.
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MUSIC LESSONS AT TAILEM BEND AND BEYOND by Michael Kozikowski
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PRESIDENT’S WELCOME by Rodney Smith FROM THE TREASURER by Sam Penny
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COMING MTASA EVENTS MEMBER INFORMATION OTHER ORGANISATIONS’ EVENTS OTHER ORGANISATIONS’ CONCERTS
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ACCOMPANIST’S CORNER: A PIANIST DOES NOT ALWAYS AN ACCOMPANIST MAKE… by Frances Wood
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PEDAGOGY MATTERS by Rodney Smith
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A YEAR IN THE LIFE OF AN OUTBACK MUSIC STUDIO by Alison Hams and Mark Tempany
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ADVICE FOR PIANISTS: PIANO LESSON MYTHS, PART 3 by Howard Richman
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SMALL GROUP TEACHING METHODOLOGY by Robert Boundy
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DRUMMING UP BUSINESS SKILLS by Pete Barter
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SUMMER PROFESSIONAL DEVELOPMENT DAY 2017: SUMMARIES OF GUEST SPEAKER’S PRESENTATONS
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CONTACT DETAILS FOR OTHER ORGANISATIONS
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The Newsletter of the Music Teachers’ Association of South Australia Inc.
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Vol. 25 No. 1 – Autumn 2017
The Newsletter of the Music Teachers’ Association of South Australia Inc.
MEMBER INFORMATION RECOMMENDED TEACHING FEES The following teaching rates are recommended to members by the MTASA Council for 2017. Full Member General Member Associate Member Student Member
$70 per $70 per $60 per $45 per
hour hour hour hour
MTASA MEMBERSHIP CATEGORIES AND FEES Full Member General Member Associate Member Student Member Friend Member Institution Member
$105 $105 $100 $52 $30 $30
MTASA MEMBERSHIP SUBSCRIPTION RENEWAL 2016/2017 Previous subscription renewals were sent in May 2016, due 30 June 2016, for a renewal period of 12 months. Any outstanding memberships are now non-financial. Future renewal notifications for 2017/2018 will be sent out automatically prior to our next billing cycle. See Treasurer's Notice.
NOTICE TO STUDENT MEMBERS Have you fulfilled the requirements for Associate or Full Membership? Student members are reminded that Student membership is restricted to four years after which time it is expected that they would be eligible for another membership category. Student members who are ready to upgrade their membership are invited to submit an application form to the Secretary together with the required supporting documents. Criteria can be downloaded from the MTASA website (www.mtasa.com.au) or obtained from the Secretary. ACCREDITATION Members are invited to seek accreditation by obtaining applications forms from the MTASA Secretary and submitting them to the Music Teachers’ Association of New South Wales. Visit http://www.musicnsw.com.au/teachers/accreditat ion/ for more information. Upon gaining accreditation members are then requested to advise the MTASA Secretary if they wish to have this qualification entered either on our website or in ‘The Directory of Teachers of Music’. This information cannot be supplied by the Music Teachers’ Association of New South Wales due to privacy laws.
Vol. 25 No. 1 – Autumn 2017
COMING MTASA EVENTS, 2017 Wednesday April 19
Autumn Professional Development Day Where: Unley Uniting Church, Unley Fee: Member $85, Non-Member $105, Student $45 Theme: Group Teaching. Specialists will discuss group teaching, which is something that many music teachers working at schools need to do. There will include sessions from Ian Russell, Tim Nott, Lilian Fung, Pat Wilson and Ian Boath, a Music Arrangers’ Guild of Australia Board Member, who will present a workshop entitled ‘Arranging effectively for your school ensemble’. Saturday May 13
Concert Performance Day 1 Where: Salvation Army Citadel, 55 George Street, Norwood Admission: gold coin Saturday June 24
Competitions Day: Reimann – Robinson
Scholarship, Miriam Hyde Awards, Norman Sellick Memorial Prize Where:
Cynthia Poulton Hall, St. Peter’s Cathedral, 27 King William Road, North Adelaide Admission: gold coin The Reimann-Robinson Scholarship is open to all instrumental/vocal students of any member of the MTASA who are teaching in a private capacity. Open to students who are 18 years or under on the closing day of entry to the Scholarship. The Miriam Hyde Open Award is open to all instrumental/vocal students of any member of the MTASA or related organisations. Open to students of any age. The Miriam Hyde Junior Award is open to all instrumental/vocal students of any member of the MTASA or related organisations. Open to students under 15 years of age on the closing date of entry. The Norman Sellick Memorial Prize is open to all instrumental/vocal students of any member of the MTASA who are teaching in a private capacity. Open to students who are 12 years or under on the closing day of entries to the competition. Sunday August 27
Concert Performance Day 2 Where: Carclew, 11 Jeffcott Street, North Adelaide Admission: gold coin Sunday September 24
Music Educators Expo 2017 Sunday October 22
Spring Professional Development Day Where: Fee:
Hartley Concert Room, The University of Adelaide. Member $85, Non-Member $105, Student $45 5
The Newsletter of the Music Teachers’ Association of South Australia Inc.
Vol. 25 No. 1 – Autumn 2017
COMPETITIONS DAY: Miriam Hyde Awards Saturday June 24
Miriam Hyde – piano works: Brownhill Creek in Spring (LMusA) Burlesque & Scherzo in G (LMusA/AMusA) Caprice & Impromptu (Gr 5/Gr 6) Concert Waltz for Left Hand (Gr 5) Divertimento (LMusA) Dragonflies (Gr 5) Drought-stricken Grasses (AMusA) Ear-Rings from Spain (Gr 7) Elegy (Gr 8) Evening in Cordoba (LMusA) Fantasia on Waltzing Matilda (Gr 7) Firewheel (LMusA) Five Piano Pieces (Gr 3-6) Four Dances (Gr 3-4) Grey Foreshore (Gr 7) Intermezzo for Left Hand (Gr 8) Ivy Leaves (Gr 7) Kaleidoscope (AMusA) Left Hand Study (Gr 5) Lengthening Shadows (Gr 7) Lullaby for Christine (AMusA) Memories of a Happy Day (Gr 7)
The Nest in the Rose Bush (Gr 3) Pauline (Gr 8) Poem for Right Hand (Gr 7) Rhapsodic Study – Piano for LH (Gr 7/8) The Ring of New Bells (Gr 8) A River Idyll (Gr 7) Sonata for Piano in G Minor (LMusA) The Spring of Joy (LMusA) Starry Night (Gr 2) Study in A flat (Concert Study No 4) (LMusA) Three Concert Studies for Piano (LMusA) To a Skylark (AMusA) Two Duets - Piano for Four Hands (Gr 7/8) Two Eastern Pictures (Grade 2/3) Two Preludes (Gr 8) Two Rhapsodies (LMusA) Two Studies for Tenths (Concert Studies 7&8) (AMusA) Valley of Rocks (LMusA) Variations in C minor (LMusA) The Vine Trellis (AMusA) The Vision of Mary MacKillop (AMusA) Wet Night on the Highway (AMus+)
Other works in volumes: Study for Scales and Staccato (Gr 5) A Tribute to Miriam Hyde (various composers) Sight Reading Adventures Books I, II, III, IV (Gr 1- Dip) Miriam Hyde Piano – 7 pieces for solo piano Insistent Bird (Gr 4) – from Choices by Sally Mays Ballerina and Blackbird’s Song (Gr 3) – from Australian Heritage Collection Vol III
ALSO - Miriam Hyde’s many instrumental and vocal works All works are available from:
www.australiancomposers.com.au Instant PDF downloads also available Visit Wirripang at the APPC Conference 10-14 July 2017 The University of Adelaide
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The Newsletter of the Music Teachers’ Association of South Australia Inc.
EMAIL ADDRESSES MTASA would like to update all members’ e-mail addresses. Please send to the Secretary at info@mtasa.com.au.
DIRECTORY OF TEACHERS OF MUSIC The 43rd Edition of ‘The Directory of Teachers of Music’ produced by the Association has been distributed to music stores throughout Adelaide, and is available to students/parents who are seeking a teacher. The 44th Edition will be issued towards the end of 2017. Production of ‘The Directory of Teachers of Music’ is made possible by the businesses and associations who have placed advertisements. Members are asked to check their entry in the ‘The Directory of Teachers of Music’ and to advise Masako Kondo (info@mtasa.com.au) of any updates or errors. FROM THE EDITOR The four editions of The Music Stand published each year will now be seasonal: Summer, Autumn, Winter and Spring. It usually takes two to three weeks after the deadline for the following tasks to be completed: editing, laying out, proof reading, printing, enveloping and posting.
Vol. 25 No. 1 – Autumn 2017
OTHER ORGANISATIONS’ EVENTS AUSTRALASIAN PIANO CONFERENCE 2017 by Rodney Smith, Conference Chair Visit the website of the 2017 Australasian Piano Pedagogy Conference:www.appca.com.au, for all the latest information on this significant event. The Council of MTASA supports the Conference. Therefore it has not organized a MTASA Summer Conference this year and hopes that its many keyboard specialist teachers – and others – will attend all or part of APPC 2017 instead. The first APPC took place in 1993 and it is held biennially in different centres across Australia. It was last in Adelaide in 2005. The conference has been unquestionably the principal event of its type in Australia for many years. Running from Monday July 10 - Friday July 14 at The University of Adelaide there will be an impressive line-up of major presenters from overseas and Australia, as well as many workshops, demonstrations and scholarly papers given by distinguished practitioners. If you are at all interested in the latest developments in piano teaching, music teaching generally and all other aspects connected with piano music and performance, it will be well worth the effort to attend when the conference is ‘on your doorstep’. Naturally a large number of certified PD hours will be available for delegates.
WEBSITE The new website was launched at the 2017 Summer Professional Development Day on January 25. Visit www.mtasa.com.au and have a look. We thank Pete Barter for co-ordinating the development of the new website. Members should have received an e-mail inviting them to visit the website (if you haven’t received an email info@mtasa.com.au).
ADVERTISING PRICE LIST FOR THE MUSIC STAND, 2016/2017 A4 size page (210 mm X 297 mm) Full Page Half Page Third Page Quarter Page Sixth Page
Per issue Colour B/W
For 4 issues Colour B/W
$250 $125 $83 $63 $42
$800 $400 $267 $200 $133
$200 $100 $67 $50 $33
$640 $320 $213 $160 $107
INSERTION FEE FOR POSTERS AND FLYERS One issue $100. Four issues $360. Advertisers have two choices: 1.to provide the inserts, 2. To provide the artwork, MTASA will arrange the printing and invoice for this.
Members placing an ad are entitled to a 15% discount.
PEDAGOGY
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Follow us on facebook: www.facebook.com/AustralasianPianoPedagogyConference/ Find further information on our website: www.appca.com.au
The Newsletter of the Music Teachers’ Association of South Australia Inc.
ABRSM NEWS New Diploma from ABRSM: ARSM (Associate of the Royal Schools of Music) is a performance only diploma. It’s an opportunity for you to demonstrate performance skills after Grade 8. A 30 minute programme assesses musical communication skills, interpretation and technical delivery. There are no written or spoken elements and no scales, sight-reading or aural tests, making it a very accessible exam. Exams are available worldwide from January 2017. They are held at the same venues as ABRSM’s graded music exams and during the same time periods. The ARSM is for anyone seeking a challenge beyond the Grade 8 level including musicians who want to get back into playing or singing after a break and students looking to enhance their performance skills before entering higher education. Websites: ARSM for Students: http://au.abrsm.org/en/our-exams/diplomas/music-performance/arsm-musicperformance/students ARSM for Teachers: http://au.abrsm.org/en/our-exams/diplomas/music-performance/arsm/arsm-teachers ARSM for Parents: http://au.abrsm.org/en/our-exams/diplomas/music-performance/arsm/arsm-parents ARSM Videos and Resources: http://au.abrsm.org/en/our-exams/diplomas/musicperformance/arsm/arsm-videos-and-resources, including syllabuses, marking criteria, repertoire lists.
Libretto: This is no longer available in hard copy but can be read on-line at http://au.abrsm.org/en/about-abrsm/news-articles-and-comment/libretto-abrsms-magazine/. Some interesting topics include Introducing ARSM, Exploring new repertoire for piano, trumpet and trombone, Scales and arpeggios: creating connections.
Vol. 25 No. 1 – Autumn 2017
CLASSIFIED AD MTA Members, free. Non-members, $15. Please contact the Secretary about advertising. Mobile: 0402 575 219 E-mail: info@matsa.com.au
MEMBERSHIP OF MTASA Visit http://mtasa.com.au/index.php/members/become-amember/ to join MTASA.
NEW MEMBERS The Music Teachers’ Association extends a warm welcome to the following music teachers who have joined the association. We looking forward to meeting them at our events. Thomas Saunders Pauline Cox Ian Li Alicia Lai Marcus Allum Roslyn Sarre
Full member Full member Associate member Associate member Student member Full member
Piano Piano Singing Piano Clarinet / Saxophone Piano
New International Office Address: After 26 years, ABRSM has moved to a new location in London. The new address is ABRSM, 4 London Wall Place, London, UK EC2Y 5AU, United Kingdom. CLASSIFIED AD Exam Dates and Last Date of Entry for Diploma, Jazz and Practical Exams: May-July: Friday, March 3 October- December: Friday, August 11 Theory of Music Dates and Last Date of Entry Saturday, June 17: Friday, April 28 Saturday, November 4: Friday, September 15
ABRSM Exam regulations and information, free syllabuses, entry forms, etc., are available upon request from the local ABRSM Representative, Anastasia Chan, e-mail abrsmsa@hotmail.com or phone 0423-282-589. For more information, please visit ABRSM’s website at www.abrsm.org.
SOUTH AUSTRALIAN MUSIC CAMP 2017 South Australian Music Camp 2017 will be held from Monday July 10 to Friday July 14. The Camp offers instrumentalists aged from nine to twentythree years an opportunity to play in one of five orchestras or concert bands which cater for a wide range of ages, standards and levels of experience. The daily routine includes a mixture of tutorials and rehearsals. State Music Camp will culminate with a concert on Friday July 14 at 7-00 pm that showcases the achievements of the five ensembles. For more information please visit the website at www.samusiccamp.net.au. Auditions will be held towards the end of Term 1.
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For sale. Assorted piano music that needs a new home, $40. Two colourful paintings on rice paper/canvas entitled Sumo Band featuring sumo-like musicians playing stringed instruments, $190. Would suit a music room. Contact Jess, 0433 695 888.
The Newsletter of the Music Teachers’ Association of South Australia Inc.
GEORGE PEARCE MEMORIAL AWARD 2016
The George Pearce Memorial Award is awarded to a Seventh Grade piano student who has excelled by the Australian Music Examinations Board (SA and NT). The recipient for the George Pearce Memorial Award for 2016 is Adden Chin, whose teacher is Gabriella Smart. The Music Teachers’ Association provides the prize money for this award from the George Pearce Memorial Fund. Adden has begun music studies in Year 8 at Marryatville High School. He also plays the violin, studying with Bogdan Kazimierczak, working towards Grade 7.
Vol. 25 No. 1 – Autumn 2017
ADELAIDE EISTEDDFOD 2017 Entries for the 2017 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 13 at 5 pm. No late entries will be accepted. Divisions being offered in the 2017 Adelaide Eisteddfod will include Choral, Vocal, Piano, Strings, Guitar, Flute, Recorder, Woodwind, Brass, Eisteddfod Ensemble Event and Eisteddfod Concerto. Entry in the SA Final of Young Virtuoso, offered by the Australian Fine Music Network of community radio stations, is through the Adelaide Eisteddfod. The winner of the National Final will receive the Young Virtuoso Travelling Scholarship of $10,000 provided by Freemasons Victoria and the Australian Fine Music Network. The National Final will be held in Sydney. The adjudicators will select the SA finalists through Recitals offered via the Vocal, Piano, String, Flute, Woodwind, Recorder and Brass Divisions. The SA Final for Young Virtuoso will be held on Sunday October 15, 2.30 pm, at St John’s Church, Halifax Street, Adelaide. The prizes for the SA Final will be: Vocal Prize: $750; Instrumental Prize: $750, SA Finalist Prize: $1,500. These prizes are sponsored by Beta Sigma Phi and Size Music.
21st BALAKLAVA EISTEDDFOD The 21st Balaklava Eisteddfod will be held on Friday, August 4 (Instrumental Ensembles, Bands, Choirs, Vocal Ensembles), Saturday, August 5 (Vocal, Musical Theatre, Contemporary Vocal, Instrumental, Piano, Speech and Drama) and Sunday, August 6 (Finale Concert including adjudication of the Adelaide Plains Vocal Scholarship). Entries will be open from April 7, visit http://www.balaklavaeisteddfod.org.au, Facebook www.facebook.com/BalaklavaEisteddfod, e-mail info@balaklavaeisteddfod.org.au. Entries close on May 15.
The 36th Mount Gambier Eisteddfod is part of the ongoing work of Backstage Incorporated (founded in 1978). Enquiries, Secretary, Backstage Inc., PO Box 1711, Mount Gambier, SA 5290, Ph./fax 8725-5905, e-mail backstageinc@internode.on.net, or visit http://www.backstageinc.org.au/default.asp for further information. Entries will be via Stardom, visit http://www.stardom.com.au/ and look for ‘Mt Gambier Eisteddfod’ under ‘Competitions’. Dates: Choral and Vocal, July 26-29; Music, August 17-19.
Performance experience Irrespective of students’ aims in music the experience of performing in public is vital. This builds confidence, and above all, the chance to experience the enjoyment and excitement of performing.
Valuable Prizes and Recognition Prizes include certificates, vouchers, medallions, cash and a major scholarship. All are evidence of achievements to enhance CVs.
Performance Opportunities
WHY ENTER AN EISTEDDFOD?
The finals of the advanced competitions are held in prestigious venues. Several musical organisations look for their soloists at the Eisteddfod competitions.
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Exams Every competitor receives the assessment of an accomplished and independent adjudicator. Try out and improve your programs for exams such as AMEB, ABRSM or Trinity Guildhall, and Secondary and Tertiary Level Assessments.
Audition Skills Many aspiring professionals fail to show their best at auditions and miss study or job opportunities. The answer is practice and the conditions at the Eisteddfod competitions are ideal for this purpose.
The Newsletter of the Music Teachers’ Association of South Australia Inc.
Vol. 25 No. 1 – Autumn 2017
OTHER ORGANISATION’S CONCERTS RECITALS AUSTRALIA WEDNESDAY LUNCH HOUR CONCERTS 2017 Where: Pilgrim Church, 12 Flinders Street, Adelaide, When: at 12-10 pm and 1-10 pm. Adults: $5. Tickets at the door. Enquiries, Ph. 8266-4936. Visit http://www.recitalsaustralia.org.au/ for more information.
ELDER HALL CONCERTS 2017 Lunch Hour Concert Series, 1-10 pm General admission: $12. Gold Pass Subscriptions available. Evenings at Elder Hall Ticket Prices: $30 Adult; $24 Concession; $19.50 Student. Visit www.elderhall.adelaide.edu.au for more information.
MITCHAM ORCHESTRA When: Where: Conductor: Soloist: Admission:
Sunday May 28, 2-00 pm Cumberland Park Community Centre, 390 Goodwood Road, Cumberland Park Tully Brookes. Angel Li, violin. $12, Family $20 (2 Adults, 2 Children), at the door.
YOUNG VIRTUOSO SA FINAL 2017 (previously MBS Young Performer) Adjudicators: When: Where: Admission:
Monika Laczofy and Pat Wilson Sunday, October 15, 2-30 pm St John’s Anglican Church, 379 Halifax Street, Adelaide Adult $15, 5MBS Member/Student $5
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The Newsletter of the Music Teachers’ Association of South Australia Inc.
Vol. 25 No. 1 – Autumn 2017
ACCOMPANIST’S CORNER A PIANIST DOES NOT ALWAYS AN ACCOMPANIST MAKE… by Frances Wood
was fortunate also to have lessons with Alfred Brendel. Arriving back in Australia some years later with my family I lived in Canberra where I taught and also worked with an Honours flute student of David Cubbin at the School of Music. Returning to Adelaide I completed my Diploma of Education and worked with the Instrumental Music Service, also as a classroom music teacher at the Special Interest Music Centre at Marryatville High School and later at Norwood Morialta High School. At both schools I accompanied students from Year 8 to Year 12 and so developed a wide-ranging repertoire. In the second year of my BMus, there was a unit called Accompanying. I have no memory of any lessons or mentoring, but I do remember having to ‘play with’ a flautist. At our first rehearsal I nearly fell off the piano stool when the flautist started to play. As a ‘pianist’ I had not bothered to learn the flute part as well as my own, so had no idea what sound the two of us would make, playing together!!
However, this experience made me realise, immediately, that sharing music with another musician was what I wanted to do. Many years later I still get the most amazing pleasure from being a collaborative pianist. Following my graduation from the Elder Conservatorium I spent a year completing post-graduate studies at the State Academy of Music and Dramatic Art in Vienna. Here I studied solo piano and accompanying with Professor Franz Holetschek and chamber music with Karl Ohlberger, then the Principal Bassoon in the Vienna Philharmonic Orchestra. Under his guidance I played the Quintet for Piano and Wind by Beethoven with final 8th year students at the Academy. I
Since retiring from classroom teaching in 2010 I have continued to teach piano and theory and have accompanied students of all ages and standards for exams, auditions, concerts and competitions. ‘The performance is tomorrow – when can we rehearse?’ – this is one of my favourite quotes from a list compiled by staff members at the Sydney Conservatorium of Music, Ensemble Studies Unit. Believe it or not, this does happen, and never ceases to irritate me. So often accompanists/associate artists/collaborative pianists receive no consideration, let alone recognition. It has actually happened to me recently and there was not even a suggestion that we rehearse before the performance! I always have two rehearsals, as often the student has not heard the piano part. I ask that the music be given to me at least two weeks beforehand, longer if the student is of an advanced level. ‘The piano part is really easy’ – don’t you just love that!! However the one quote that I have had said to me more than once is ‘the piano part is putting me off”. That one always makes me laugh. 11
As a collaborative pianist, my job is to support and encourage. The most important skill to have is a secure technique, but as important and sometimes more important is the ability to listen and to anticipate. Unfortunately I often hear accompanists who obviously are not listening. There is ‘give and take’ in every performance. As one’s experience grows, so does the awareness and anticipation of what may happen. Sometimes after enough rehearsal together, we have the performance settled, but then nerves set in and this causes the instrumentalist to falter. This is often the case with younger, more inexperienced students and this is when the accompanist needs to pick up the pieces, as it were. The Accompanists’ Guild of South Australia works hard to encourage pianists to learn to be accompanists or collaborative pianists through the Young Accompanists’ Showcase for high school students and the Junior Ensemble Musicians for primary school students. I cannot recommend highly enough these two programs and their dedicated leaders, Gina Macri and Monika Laczofy. Both programs have grown enormously and often the same students want to come back year after year. I know that AMEB exams are important, but for those students who play only piano, these programs give them opportunity to make music with others. Not every pianist will go on to be a concert pianist but there is always a place in society for a sensitive and musical accompanist. As I said at the beginning, sharing music with others has been amazing and until I fade away into the sunset I will continue to enjoy and to get great satisfaction out of being more than just a pianist.
♫♫♫
The Newsletter of the Music Teachers’ Association of South Australia Inc.
Vol. 25 No. 1 – Autumn 2017
Need an accompanist for your students? Consult the Guild's Register of Accompanists. The Register lists accompanists alphabetically & by area. It includes qualifications and work preferences. The latest Register is available in hard copy for $10. Better still, consult the Guild's website for current listings and news about Guild activities. Your students deserve the best support available. www.accompanist.org.au mlaczofy1@bigpond.com 0411 271 215
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The Newsletter of the Music Teachers’ Association of South Australia Inc.
Vol. 25 No. 1 – Autumn 2017
PEDAGOGY MATTERS by Rodney Smith Recent difficulties within DECD stemming from orders made by the Industrial Relations Commission of SA on August 10, 2016 have been resolved to some extent. Yet underlying problems remain for many teachers of musical instruments in this state. A major hurdle concerns the question of qualifications. MTASA unequivocally supports the concept of practitioners possessing appropriate qualifications for the task at hand. As soon as instrumental teachers become ‘private providers/contractors’ for an entity other than themselves they are subject to the regulations of that entity. Recent ‘tightening up’ of DECD protocols has resulted in DECD
teaching staff becoming the default choice for instrumental teaching with ‘private providers/contractors’ moved to the ‘end of the queue’. Suitably qualified private providers/contractors can become staff members if finance is available. Such finance is sometimes dependent on the use of some group teaching. As we move forwards, it is becoming blindingly obvious that possessing group teaching skills plus suitable qualifications will be the best way forward for those who wish to teach in DECD schools. It’s likely the same will also apply to independent schools in the long run. Appropriate qualifications generally need to encompass both performance and educational skills at degree level.
There are many possibilities and choices. One possibility recently developed by The University of Adelaide to assist DECD is a Graduate Certificate in Music Teaching for instrumental teachers currently working in DECD schools who lack such qualifications. Given what it provides this is a relatively inexpensive qualification. Possessing it enables the holder to qualify for staff membership if available or continuing private provider status if not. Unless an unqualified teacher is contemplating retirement from their school within a year or two it’s hard to fathom the logic in just doing nothing and hoping it will all go away!
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A YEAR IN THE LIFE OF AN OUTBACK MUSIC STUDIO by Alison Hams and Mark Tempany www.stormfrontproductions.info workshops) we found ourselves deliberating on a decision we never thought we’d have to make. Could we stay and ‘stick it out’, should we move to greener pastures, do we raise our prices to accommodate the already escalating loss of families and students losing jobs and leaving town for good? Alison and Mark: induction into Brand South Australian Hall of Fame 2015
As 2016 began it was ‘all systems go’ with planning and re-enrolments before the bombshell hit. Whyalla’s sole major employer – the Arrium Whyalla Steelworks – was in administration and the future of our town was now acutely in question. For our small-business offering what is essentially a luxury (music lessons, recording studio, performances and
in guitar, bass, piano, voice and song writing. Weekends are spent in our recording studio, staging Workshops or performance opportunities for our students and the community.
‘We’ are Mark Tempany and Alison Hams. As singers, songwriters and musicians we’ve released our original music to critical acclaim and chart success, and have been lucky enough to perform on stages all over the world.
Stormfront students sing at Australia Day
Since 2004 we’ve also run our award winning Stormfront Productions – a ‘one-stop music shop’ including Whyalla’s only full-time music tuition service. For 13 years we have travelled daily between three private school campuses and our after-hours teaching studio offering music tutoring
At our peak back around 2010 we were teaching up to 155 one-on-one lessons every week – but over the last two years the huge decline in local industry has seen upwards of 55 student families leave town for good – often at very short notice.
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The Newsletter of the Music Teachers’ Association of South Australia Inc. Always highly aware of the fragile socio-economic status of this town, we see our range of services as a unique and valuable add-on to Whyalla, and our region – our ‘Mission Statement’ says that we endeavour to expand the musical opportunities available to all students and enhance the quality of our community’s musical life. As such we’ve always offered highly discounted rates to keep our work affordable for anyone, and sponsor as many opportunities as we can. We live and breathe music and are so proud to see students improve, grow, perform and develop a love for music too! Central to our approach has always been encouraging students to develop personally too – not just musically – so we decided to lead by example. Since February we’ve significantly upgraded our PA system, continued our own professional development, and actively sourced ‘new and different’ performance opportunities for our students. Stormfront Productions was also engaged to provide one and two day Workshops in Whyalla, Port Augusta and Laura as well as donating twelve student performance opportunities large and small. We once again sat on various committees and offered a wide range of professional arts consultancy within the region – as well as proudly watching past and present students proactively finding and performing their own ‘gigs’ across the state. A personal performance highlight for us was featuring at Mario Maiolo’s sold out ‘Country Gold’ concert at Her Majesty’s Theatre, Adelaide with a 1,000 strong crowd enjoying the very best of South Australia’s country music talent. Both our ‘Studio A’ and ‘Studio B’ recording spaces have produced a number of sponsored and commercial products, and our Video Suite began work this year – allowing us to now record professional audition videos, online ads and music clips. Our December/January ‘break’ currently sees Stormfront Recording launch into four professional projects at once, with a major fifth project due
to commence early in 2017. The international heart and soul behind one of these projects has been an absolute honour to be part of, and we can’t wait to tell people more about it when the time is right! Our one-to-one tuition service in voice, guitar, bass, keyboard, ukulele and song writing has seen many of our students from Whyalla, Port Augusta and beyond achieve great success on both the Talent Quest and Music Exam circuits in 2016. Our entry of candidates into AMEB exams has tripled since last year and Stormfront enjoyed hosting the Examiner and other tutor’s students at our own venue in 2016 (we hope to continue each year).
Stormfront students sing at McHappy Day on November 12 Alison’s lessons for children with Special Needs have continued to be popular, and in addition to our Private tuition (proudly offered to ALL ages and abilities) our ‘CLUB Voice’ class was once again a great success. SONGS ‘N STEPS (a performing arts class) was born in 2016 as was the very popular ROCK BAND 101. Our Bucket Drumming Workshop was a great hit and due to popular demand we will most definitely be offering this again soon! We continue to both publicly and privately raise money for worthy charities through sponsorship, charity concerts, fundraising and Event Management – and are very proud to have staged our 10th Annual JAMM FOR GENES with past and present students all joining us to raise funds for the Children’s Medical Research Institute. Perhaps our proudest achievement in 2016 has been launching the Whyalla Recording Scholarship in
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Vol. 25 No. 1 – Autumn 2017 August. WRS provides the opportunity for a young Whyalla based musician aged between 12 and 19 to audition to win an all expenses paid professional studio package, working with Stormfront to record a professionally mastered debut single and support to then launch and promote the winning Single through the course of the Winner’s year. Imagine recording your debut single to release to the world for FREE! The entire audition process was a very valuable learning experience for all entrants, and we are very excited to announce the Inaugural winner as 16 year old Breeze Millard, who is already making every post a winner visit www.whyallarecording.com for more information.
Breeze Millard: winner of 2016 Whyalla Recording Scholarship As a very challenging year drew to a close Stormfront once again acted as Stageshow Co-ordinator for Whyalla LIONS ‘Carols In The Park’ – the largest free concert event outside of Adelaide. The weather was glorious, the talent on show superb – and against all odds a record crowd of over 5,000 people came out to ‘celebrate Christmas with Whyalla’. Visit www.whyallacarols.com for more information! As we write this we have opened our 2017 enrolments – however the Arrium battle still threatens at a moment’s notice to end all we have here – now we’re told any conclusive decision on a future (or not) may now be drawn out until April or May?! On behalf of Stormfront Productions we’d like to wish everyone a Happy New Year – and thank you to everyone who has supported us and our many endeavours through 2016.
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The Newsletter of the Music Teachers’ Association of South Australia Inc.
Vol. 25 No. 1 – Autumn 2017
ADVICE FOR PIANISTS: PIANO LESSON MYTHS, PART 3 by Howard Richman
Howard B. Richman is a pianist, composer, songwriter, teacher and author. Mr. Richman’s formal training is in music. He received a B.A. degree in piano performance from UCLA in 1980 and an M.F.A. (Master Fine Arts) degree from California Institute of the Arts in 1984, where he also taught on the faculty for three years. Mr. Richman was selected to be a participant in the very first film scoring workshop with Earle Hagen in 1986, sponsored by BMI. He is President of Sound Feelings Publishing (http://www.soundfeelings.com).
‘Long sessions of practice time are best’.
Reality: Shorter times are optimal. After about fifteen minutes of an activity, the average person becomes mentally fatigued. Short bursts of concentration repeated frequently are much more effective than one long session. So, even if you only have ten minutes, DO IT. Do another ten minutes later in the day or the next day. By the end of the week, you might have sixteen micro practice sessions, yet only practiced on four days. This is highly efficient. Instead, if you have the goal of practicing an hour or practicing a half hour, another day goes by with ZERO practice. Why is this? Because our life gets so busy and that half hour or hour just doesn’t
materialise. The result is that you miss practicing ALTOGETHER. If you could sneak in five minutes here or ten minutes there, you would miraculously accrue that half hour or hour that you had intended to practise! In fact, even if you had the luxury of sitting for six hours at the piano and didn’t have other typical competing issues that life brings, it would STILL be preferable to break up your practice into smaller segments. Also, do not practice if you are tired, angry, distracted, or in a hurry, or you will ‘learn-in’ these feelings. On a professional level, if you find yourself seated at the piano for an extended period of time, you can still observe these principles by rotating the activity while still remaining at the piano. For example, you can spend twenty minutes learning a new passage of one piece. Then switch to practicing some finger technique. This way, your mind is resting while your fingers are getting a workout. Then GO BACK to the same passage and you will be mentally refreshed. Then work on a section of a different piece. Then do a little sight-reading. Then back to the first piece. And so on. Keep it in rotation.
‘If I take a break from piano practice, I’ll have to work harder to make up for lost time’.
Reality: Piano growth cannot be ‘crammed’ like studying for a test. Piano growth occurs primarily from the cumulative time spent practising, even if this is sporadic. So if you work for six months and then take off three months and then practice for four months and then take off two months, it is tempting to add up all those months, including the time off, and feel that you should have a total of 15 months’ worth of progress. But you really only have ten months of actual growth. Then the average person is tempted to feel inadequate and that they have to work extra hard to make up for the ‘lost’ time. Instead, it’s
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better to think of this in the way a plant grows. You can give it sunlight, water and fertilizer, but you cannot be yelling at it ‘grow’! It will grow on its own time line. You cannot rush it. Your piano growth pretty much stops when you’re not practicing for two months or for two years, or for two decades. When you take it up again, you may have a short period of review but you will pretty much be back to where you had left off and then you will progress from that point. If you can remove the pressure of having some kind of deadline to ‘make up for the lost time’, your attitude towards the piano will be so much better and you will have so much more enjoyment!
‘Reading finger numbers is just for beginners’.
Reality: Professionals incorporate the fingering into their ability to read music. They read both the PRINTED fingering, the IMPLIED fingering, and their PERSONALIZED fingering. In fact, it is FASTER to read using a RELATIVE understanding of how the notes move from one to another than merely reading the ABSOLUTE note names. In order to do this, one must be keenly aware of the fingers to be used on a passage. For example, if you see that a passage starts on an ‘A’ and then ascends by step via linespace-line-space-line-space, then you can assume that the notes are moving directly up the scale. It is not necessary to read the actual name of each note. A professional musician will know this and not waste his or her brain power on trying to ‘read’ every note. Simply read the first note of a sequence and then relatively move to each note from there, by using adjacent fingers. This skill is developed from honouring the fingering (printed, implied and personalized.) Beginners who assume that fingering is just for beginners will NEVER develop the very professional security and speed
The Newsletter of the Music Teachers’ Association of South Australia Inc. that professionals have because the very thing that is needed will have been skipped!
‘I should never write in the sheet music’.
Reality: Professional studio musicians write in the score. They are paid to get it right the first time, because time is money. They do everything they can to make it clear for themselves, including making notes in the score. This could be adding fingering, putting note names in, circling tricky passages, enlarging time signatures, darkening repeat bars, etc. Because we all grew up with the dictum: ‘Do not write in books’, we somehow have a tendency to apply this to piano music. But if you could think of your piano music more as a workbook (like a ‘spelling book’) then it would seem more normal to write in the book. Some people don’t want to write in the score because they fear that it would
prevent them from learning how to read the notes. This is so misguided! Of course it is useful to learn how to sight read. In fact, you should be using Super Sight Reading Secrets if you are very serious about improving your sight reading. BUT... when you are working on a piece, the goal is to play it well. This means that you should use consistent fingering so the muscle memory has a chance to set in. The only way to do this is to WRITE THE FINGERING INTO THE SCORE! By the way, as a piano teacher since 1975, I can tell you that the students who don’t write in the notes on tricky sections RARELY end up being better at reading those notes! They simply ‘learn in’ a pause or a stall or a ritard when they get to this ‘unreadable’ section. Don’t go too far, however. If you write every note in, or every finger in, it becomes too cluttered and it loses its value. Also, use pencil, never pen, in case you want to make changes to your notations.
Vol. 25 No. 1 – Autumn 2017 ‘I should never look at my hands when I play’.
Reality: Concert pianists MEMORIZE the music and, of course, LOOK AT THEIR HANDS! It absolutely mystifies me why the average piano teacher indoctrinates students into not looking at their hands. It is so unprofessional and unnatural to strive to not look at one’s hands. The only time this is useful is LATER, when the student becomes a proficient sight reader, it is certainly convenient to not need to look down at one’s hands so often because it allows one to look ahead, which enhances sight reading. BUT... this is just a small aspect of the full world of piano playing. In striving for this ‘goal’ of not looking down you are limiting EVERY OTHER aspect of piano playing! For example, it is very hard to develop the muscular memory, and therefore the ability to play fast, when your eyes are always glued to the page.
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J WORKING IT OUT J Order of the sharps: Father Charles Goes Down And Ends Battle or Father Christmas Got Dad An Electric Blanket. Order of the flats: Battle Ends And Down Goes Father Charles or Blanket Exploded And Dad Got Cold (or Charred) Feet. Lines of the treble clef: for the girls, Every Girl Buys Designer Fashion; for the boys, Every Good Boy Deserves Fruit. Lines of the bass clef: for the girls, Gertie Bought Dolls For Alice; for the boys, Good Boys Deserve Fruit Always. Treble clef spaces: FACE; bass clef spaces, All Cows Eat Grass. To find the next key note: sharp keys, count up five notes (using fingers), CDEFG, GABCD, DEFGA, ABCDE, EFGAB, BCDEF, FGABC; flat keys, count down four notes, FGAB, BCDE, etc.
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The Newsletter of the Music Teachers’ Association of South Australia Inc.
Vol. 25 No. 1 – Autumn 2017
SMALL GROUP TEACHING METHODOLOGY by Robert Boundy In 1932 Sir Jack Ellerton Becker (1904-79) founded the ‘Adelaide Drum and Fife Band’, comprising the top schoolboy drum and fife players. He named his studio for part-time music teachers ‘The Adelaide College of Music’. This engaged soloists from leading dance bands and the Adelaide Symphony Orchestra as teachers. He established banjo and saxophone ensembles and the ‘the world’s largest “boys” military band’. In the spring of 1968 my father took me down to the Adelaide College of Music at the old Railways Institute Buildings in King William Street, on a Saturday morning, to take part in some of the smaller group classes of rudimental snare drummers. From this day on, I began to discover the dynamics of group teaching. Music education has advanced over the past 40 years, institutions and curriculum have evolved, and methodology has improved, whilst still embracing the same fundamental core principles.
observing techniques of top players and ensembles. I also used The Royal Scottish Pipe Band Association Structured Learning Series which presents a successful working format based curriculum that develops a responsible attitude to learning and study. This Theory of Learning parallels the Australian Curriculum Guidelines of developing and understanding specific successful practices, giving pupils the opportunity to practically explore ideas presented. While working each week with various combined small ensembles from years 6-12, it soon became evident that their skill levels were worlds apart. The group teaching dynamic suffered from students either being left behind when the work was too difficult, or being bored when the work was too easy. By teaching a majority of these students privately one to one, with the aim of their lesson plans being to explore the ideas of set works by applying the individual elements of technique, musicality and creativity, the knowledge and understanding of these students when they come together had a great effect on the group classes.
Robert Boundy, aged 8 (1968), about to play in a pageant
As an instrumental percussion teacher, my goal in 2005 was to put together a structured five year development programme based upon and influenced by DCI American Style Drum Corps, utilising small group teaching that I had learnt from
Robert’s father Travice Boundy (Drum Major) and uncle Dean Boundy, Adelaide College of Music, mid 1940s
When the more skilled students were given greater responsibility, they became section leaders, assisting with
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those less skilled students, and the creativity I noticed from these students increased. This helped develop and refine their understanding of skills and techniques, helping them learn to become more confident with their communication skills, and the group lessons turned into something the students were eager to get to. They were learning to build a community by connecting and expressing themselves in a way that was enjoyable, while gaining more confidence around the school. This teaching strategy was presented in a safe learning environment which was inclusive and challenging. By implementing fair and equitable behaviour management, rehearsing and performing the music, including music the students had composed, by improvising, sourcing and arranging ideas and making decisions, students were enabled to engage their audience. This program took into account Standard 1.1 and Standard 1.2 of the Australian Professional Standards for Teachers. This outlines for teachers how students learn, demonstrating knowledge and understanding of the physical, social and intellectual development and characteristics of students and how this may affect their learning. To continue student involvement in music making beyond Secondary level (which also improved my learning and understanding), my method is to enable old scholars/Year 12 graduates access to a band program equivalent to Professional/Tertiary level, which includes working with The Raiders Drum Corps. This ensemble consists mainly of The University of Adelaide undergraduate students, graduate students, full-time professional musicians and high achieving students from various local high schools. It also incorporates working with MJB Dancers, a professional Dance group and DCI Colour Guard, sharing Creative Australian Artworks/Compositions through choreography, performance, presentation and display.
The Newsletter of the Music Teachers’ Association of South Australia Inc. The positive impact that this group has through discussion and peer learning enables one to adapt this teaching style to encompass the roles of facilitator, and, where deemed appropriate, the pupils take control and develop independence in their learning. The practical application of this small group teaching methodology demonstrates several areas of the simultaneous learning model, teaching students to really understand every aspect of what they are doing. I believe this program provides a model for a method that incorporates several aspects that lead naturally to one another, warm-up, sight reading, rhythm, ensemble playing, improvisation, self-evaluation, memory and group and individual performance, where everything connects. I try to embrace several aspects of various methods as they all seem connected, from Ted Reed’s 1935 Practice Sight Reading Method, George Lawrence Stone’s application of weekly technical work and Frank Corniola’s Rhythm Section performance method (all used for preparation for the AMEB-CPM graded exams). Mike Mangini’s concepts of understanding the physical and psychological aspects, and relating them to The Grid, Dom Famularo’s Motions and Emotions, covering fundamentals of the range of expression, including the use of speed, control, power and endurance as taught by Sanford Moeller and Jim Chapin. Virgil Donati is one of today’s modern musical innovators and
composers at ‘the outer limits of contemporary musical expression’. His methodology from his educational texts Obsessive Rhythms, Power Drumming and Double Bass Drums embraces the common factors that I teach students. I am also inspired by Neil Peart’s instructional DVD’s, Transcription Books and performance DVD’s. Most of his compositional concepts relate to and come from a drummer’s perspective. I have had great success with my students in SACE Stage 1 and Stage 2 examinations using these methods. The attention to detail strategy is an important step for students not to overlook, while we try to maintain some sort of forward movement that satisfies today’s lessening attention spans. I feel we have a responsibility to embrace technological support and resources, and also to improve the awareness of distraction, and the benefits of contemplation (at what point does it become procrastination?). These new challenges present some very exciting parts of learning, to become a great teacher through the continuing desire for our own personal improvement and that of others. Great Teachers are great learners and learning is a lifelong activity – Paul Harris.
Vol. 25 No. 1 – Autumn 2017 ACARA, The Australian Curriculm: The Arts: Years 9 and 10-Music, Developing and refining understanding of skills and Techniques. Australian Curriculum Assessment and Reporting Authority (ACARA): The Australian Curriculum: The Arts and Music, Education Services Australia, Sydney, August 25, 2014. Corniola, Frank: Rhythm Section Drumming, Musictek, Melbourne, 1985. Donati, Virgil: Double Bass Freedom, Gildon Music, California, 2013. Donati, Virgil: Obssesive Rhythms, DBD Production, Melbourne, 1989. VHS/Book. Donati, Virgil: Power Drumming, Doni Pty Ltd, Melbourne, 1991. VHS Video. Famularo, Dom: It’s your move-Motions and Emotions, Wizdom Enterprises, N.Y., 1999. Harris, Paul: Improve Your Teaching!, Faber Music, London, 2006. Howell, P.A.: Sir Jack Ellington Becker (1904-79), Australian Dictionary of Biography, Volume 13, (MUP), 1993, accessed at http://adb.anu.edu.au/biography/beckersir-jack-ellerton-9466, September 29, 2015. Mangini, Mike: The Grid, Hudson Music, NY, 2013, DVD/Book. Moeller, Sanford A.: The Moeller Book, Ludwig Music Publishing Company, New York, 1956. Peart, Neil: visit http://www.neilpeart.net/ for list of publications and DVDs. Reed, Ted: Syncopation for the Modern Drummer, Alfred Publishing Company, New York, 1958. Royal Scottish Pipe Band Association: Structured Learning, Royal Scottish Pipe Band Association, Glasgow, 1991. Stone, George Lawrence: Stick Control, Alfred Publishing Company, New York, 1935. The Australian Professional Standards for Teachers: Standard 6: Engage in Professional Learning, 6.1,6.2,6.3., Education Services Australia, Melbourne, 2011.
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BIBLIOGRAPHY ACARA, The Australian Curriculum: The Arts: Music, Responding to and interpreting artworks.
MUSIC TEACHERS Original new piano music for intermediate students
‘RAGS AND CLASSICS’ by Tom Anderson 3 ragtime pieces (Grades 3-4) Two piano pieces including the acclaimed WATERFALL (Grade 4) Contact Reed Music: www.reedmusic.com or Google ‘Tom Anderson composer Reed Music’
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The Newsletter of the Music Teachers’ Association of South Australia Inc.
Vol. 25 No. 1 – Autumn 2017
DRUMMING UP BUSINESS SKILLS by Pete Barter, ETI_Music Boom, Boom, Crash!
Then the drummer checks to make sure everything is ready to go before the performance. Volume dynamics need to be tested with every piece to ensure sound quality and its volume in relation to the other instruments. Adjustments need to be made and co-ordinated with the rest of the performers.
Drummers do it all, from keeping the rhythm to rounding out the big finale. Even before a stick hits the set, the drummer’s mind is engaged in everything it takes to make the performance a success. Learning to be a good drummer, therefore, means learning more than how to keep a beat.
Finally it is time for the performance with the drummer leading the way by setting the tempo and keeping the rhythm. Drummers not only need to maintain the tempo, but know the song to accurately make transitions. Throughout the performance the other performers rely on the drummer to keep the beat and anchor each performance. Even from this brief overview it is easy to see there is a lot that goes into being a drummer. The skills drummers learn set them up to be leaders in several aspects of business.
From the very first time we move a drum set from our living room to the garage, we confront obstacles with logistics. Then a new set of challenges is waiting when we set out to take our gear from the garage to our first gig across town.
By being a drummer you naturally learn how to: • manage people • manage time
Logistics is crucial to being a drummer. At minimum a drum setup consists of eight separate pieces and often times many more. The average kit comes with an additional 12 components! Oh, and they are each a different weight and size from a large bass drum to a tiny cymbal. After loading and unloading a drum set from the back of that station wagon multiple times, we drummers learn spatial relations and organization very, very well.
• manage equipment • perform under pressure • visualize • co-ordinate logistics • communicate And these are just to name a few!
Drummers also need to plan ahead so they can ensure the equipment makes it to the venue well ahead of the performance. Time management skills are essential when accounting for loading, unloading, set up and take down. Most venues allow a short window before and after a performance, meaning drummers need to plan efficiently.
Very often drummers end up making the natural transition into business as logistics co-ordinators, sales managers or directors. Then there are some who choose to take these skills and strike out on their own as self employed business owners and entrepreneurs.
Once the equipment is on site the drummer’s work is only just beginning. The drummer must figure out their physical footprint on the stage, where the best fit is. The orientation of the drum set determines the positioning of everyone else.
Having that drummer’s mentality, learning these essential skills, sets drummers up for success in music and in life.
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SUMMER PROFESSIONAL DEVELOPMENT DAY 2017 Held: Wednesday January 25, Madley Rehearsal Studio Theme: WIDENING HORIZONS – engaging pupils through a variety of musical styles and genres. These days instrumental pupils often seek familiarity with a broad palette of genres in their earlier years before perhaps settling down to a favoured style later on. Most of us aren’t training musical Olympic athletes. So should we broaden our view of the earlier years of learning as suggested in the Australian Curriculum and other educational sources? Experts in their fields discussed how we may do so.
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The Newsletter of the Music Teachers’ Association of South Australia Inc.
Vol. 25 No. 1 – Autumn 2017
SUMMARIES OF GUEST SPEAKERS’ PRESENTATONS Currently Co-ordinator of Undergraduate Pedagogy at the Elder Conservatorium of Music, Emily Dollman has extensive experience as a teacher and performer in both Australia and the United Kingdom. She completed her Master of Music Degree at Sydney Conservatorium and her doctoral studies at the University of Adelaide. A student of renowned baroque violinist Lucy van Dael in Amsterdam, she has freelanced extensively with major European and Australian ensembles. Emily has researched leading international models of partnership between music performance and education organisations.
Widening Horizons by Emily Dollman The theme of ‘Widening horizons’ can be explored from many different angles. In my presentation I focused on two main themes: the importance of providing students with authentic musical experiences covering a wide range of genres, and the importance of developing students’ creativity. Students are often pigeonholed into one specific genre of music at a young age, only to discover at a later date that a different style of music appeals to them. Elissa Milne’s ‘40 piece challenge’, as detailed on her website, presents a concept that can address this problem. Essentially this idea, also promoted by Hal Leonard, is to cover 40 pieces of a range of standards and genres over the calendar year. It has been found that by simply providing students with more music that they are more stimulated and engaged, as well as developing a greater awareness of diverse musical styles. It also allows teachers to explore varied learning styles such as learning by ear, improvising, sight reading and memorising. Students could be encouraged to find points in common across different genres: for example exploring the role of improvisation in Baroque music and jazz. Widening horizons can also refer to the range of skills that we seek to develop in students. It is important to look beyond the specifics of teaching technique and repertoire (essential elements though they are) and think of how to develop a student’s general musicianship and creativity. Creativity is a very important skill that is increasingly required and valued in professional life. It can be fostered through music education; however many classically trained musicians find that their natural creativity has in fact been trained out of them through their musical education. This can be rectified by exploring creative learning activities with beginners through to advanced level students. The UK’s instrumental music curriculum, ‘A Common Approach’, which provides sequential activities to develop the full spectrum of a student’s musical development, may be of interest. Paul Harris’ ‘Simultaneous Learning’ method, as detailed in his many publications, can also spark new ideas. Creativity can also of course be included in class music activities with excellent results, following in the traditions established by teacher/composers such as Sir Peter Maxwell Davies and John Paynter. Finally, many thanks to MTASA for their role in strengthening music networking: perhaps the oldest yet most effective way to widen horizons.
As the founder and director of Education Through Inspiration, Pete Barter regularly delivers unique events that showcase outstanding education experiences from top-level global musicians. Speaker, drummer, educator, mentor, father and professional people-connector are a few of the roles he takes on.
Reflection by Pete Barter It was a privilege to be a presenter at the 2017 Summer PD Day for the Music Teachers’ Association of South Australia. There aren’t many organisations around, particularly in Adelaide, that have a vested interest in the collective good of music education.
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The Newsletter of the Music Teachers’ Association of South Australia Inc.
Vol. 25 No. 1 – Autumn 2017
The event was successful, everybody was exited with the information shared and the diversity of the information offered by the presenters was great and not to mention, thought-provoking. I’ve been to many functions and workshops where the information from each speaker was identical, which I find somewhat frustrating. The Music Teachers’ Association PD Day was a grand success, particularly because there was enough time between each speaker’s presentation to talk about the topic and to digest the information provided. Thank you one again for having me. I look forward to seeing the growing success of the Music Teachers’ Association over the coming months and years. My talk is available at petebarter.com if anyone would like to re visit.
Alan Braley comes from both a strong musical and educational background, having taught as both a classroom and instrumental music teacher in numerous private and public school for many years. He holds an Honours Degree in Piano Performance, a Graduate Diploma in Education and a Masters in Performance and Pedagogy from the University of Adelaide. Currently the Arts Co-ordinator Years 7-12 and Music Teacher at Gawler and District College, Alan has a firm grounding in current policies and methodology. He is an active performer and educator in Adelaide and regional SA.
Widening Horizons by Alan Braley There are many significant reasons as to why educators should endeavour to broaden and extend the approach to educating students of today. It is my belief that the following four areas constitute areas of importance: • it can provide a far greater engagement, understanding and a depth of understanding, • it will provide a greater access of information to a wider demographic, • it is worth the investment as the benefits on cognitive development are clearly documented, and • steers students down a learning pathway to independence. In an attempt to ‘widen’ the educational horizons of our students, educators face a plethora of challenges, some of the most restrictive being: • the students’ and educators’ misconstrued pre-conceived ideas, • mixed abilities, and • the current curriculum model. I believe educators can meet these challenges by employing the following strategies: •
by acknowledging that every student is different, and replacing the ‘one size fits all’ model for one that is flexible, sequential, relevant and embeds creativity within the learning experiences. This approach is in line with how the brain effectively receives and processes new information, and is supported by the latest research in neuroscience. It is my firm belief that education should be driven by this research rather than adhere to outdated models and methodologies that are no longer relevant to the learning needs of today’s students.
A flexible performer and mentor to young teachers, Samantha Penny holds an Honours Degree in Music Education and Classical Bassoon Performance from the Elder Conservatorium, while continuing her studies in pedagogy. Her busy life includes delivering string and band programmes, bassoon, flute, violin, viola and ensemble teaching at Brighton Secondary School, Westminster School and Woodcroft College, while being a mum and the MTASA Treasurer.
The Australian Curriculum by Samantha Penny The Australian Curriculum: The Arts – Music is not often a first consideration when planning for individual instrumental lessons. However, as teachers of small groups and individuals we have an advantage when applying the curriculum in our
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The Newsletter of the Music Teachers’ Association of South Australia Inc.
Vol. 25 No. 1 – Autumn 2017
teaching. We can create meaningful, broad and creative musical experiences for our students, by including a diverse repertoire selection. AC suggests that we begin with student’s personal knowledge of music before expanding their repertoire horizons exponentially by selecting music from their local community, greater community, Australian music, Asian music and then the world beyond. This should present a challenge to those who prefer a linear approach according to an historical timeline and those who allow the resources they use to make teaching decisions for them. The development of a student’s musical ability must include a balance of visual, aural and kinaesthetic experiences. This is particularly important when we consider how music is learnt in different places and times across the world. Not only sourcing new repertoire, but teaching it in a way that will develop a student’s ability in these three areas is key to creating relevant connections and developing a rounded musician. Accessibility to new music may be achieved by bridging styles across genres and instrumentation. For example putting a ‘rock beat’ to a classical piece or even tapping into repertoire written for other instruments, voice and groups. I encourage you to explore new repertoire and in turn teach your students and yourself to discover music learning in new ways. For more information, visit www.australiancurriculum.edu.au or download the free Australian Curriculum (AC) App from the App Store.
Kerin Bailey is a classically trained pianist and teacher with extensive experience in jazz and popular styles. He is the composer/publisher of the acclaimed ‘Jazzin’ Around’ series for piano and strings, and the Jazz Incorporated series for winds and brass.
Kerin Bailey is thanked by Rodney Smith
Jazz and Popular Styles by Kerin Bailey Kerin Bailey gave a Powerpoint presentation commencing with a lead sheet/chord chart of the evergreen Autumn Leaves – the standard means of music-reading and player communication in this medium. He demonstrated how this piece could be played in a variety of styles, and ways of gaining a facility for the basic elements of these styles. Rhythm, including syncopation and swing, and articulation, was covered with audience participation in clapping and singing examples from his text Rhythm Unravelled, with emphasis on one rhythmic phrase from exercise 30:
Time allowed for only a brief look at jazz harmony – in particular 7th chords – and the importance of playing by ear. Kerin demonstrated how a facility with these chords in the LH and the rhythmic phrase above, using arpeggios and scales associated with the chords in the RH, is a good introduction to improvisation in a song such as Autumn Leaves:
Kerin then played excerpts from his Jazzin’ Around series demonstrating the wealth of stylistic devices, techniques, harmonic ideas, articulation, etc. there-in, which with careful study can be applied to a song like Autumn Leaves. Pieces such as Triadic Excursion, Silken Touch and Morning Song are good examples for a basic chord chart interpretation of LH bass and RH chord/melody. Kerin closed with a section of Autumn Leaves demonstrating this technique. Website www.kerinbailey.com.au for sales, audio and score samples and a free download of Kerin’s arrangement of Happy Birthday. His new YouTube channel has video tutorials of some Jazzin’ Around pieces: https://www.youtube.com/channel/UCP_sKBc6buqANdhgkTBveWw. ♫♫♫
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The Newsletter of the Music Teachers’ Association of South Australia Inc.
Vol. 25 No. 1 – Autumn 2017
CONTACT DETAILS FOR OTHER ORGANISATIONS 5MBS Visit: www.5mbs.com
AMEB Email: ameb@adelaide.edu.au
FLUTE SOCIETY of SA INC http://saflutesociety.org/
ABRSM International Representative – South Australia – Anastasia Chan Email: abrsmsa@hotmail.com Tel: 08-8234 5952/ 0423 282 589 http://au.abrsm.org/en/home
ANATS SA & NT CHAPTER The Australian National Association of Teachers of Singing, Ltd. Enquiries: President (Pat. H. Wilson) – (08) 8355 3526 Email: anats.sa.nt@gmail.com Website: www.anats.org.au
MUSICA VIVA http://www.musicaviva.com.au/ for concert details.
ACCOMPANISTS’ GUILD of SA INC. Contacts: The President, Monika Laczofy, mlaczofy1@bigpond.com, mobile 0411 271 215 or the website www.accompanist.org.au ADELAIDE BAROQUE www.adelaidebaroque.com.au ADELAIDE CHAMBER SINGERS www.adelaidechambersingers.com
ASME www.asme.sa.edu.au AUSTRALASIAN DOUBLE REED SOCIETY http://adrs.org.au/web/ AUSTRALIAN STRING QUARTET www.asq.com.au
ADELAIDE PHILHARMONIA CHORUS For enquiries please contact the Secretary at, secretary@philharmonia.net
BALAKLAVA EISTEDDFOD www.balaklavaeisteddfod.org.au or write to PO Box 253, Balaklava, SA 5461 or Ph/fax (08) 8863 1242.
ADELAIDE EISTEDDFOD SOCIETY INC. http://www.sacomment.com/aes/eisteddfod/
ELDER CONSERVATORIUM OF MUSIC www.music.adelaide.edu.au
ADELAIDE YOUTH ORCHESTRA www.adyo.com.au
ELDER HALL www.elderhall.adelaide.edu.au or Contact: Elder Hall Concert Manager 8313 5925
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Mt GAMBIER EISTEDDFOD Enquiries, Secretary, PO Box 1711, Mt Gambier, SA 5290, telephone (08) 8725 5905, E-mail backstageinc@internode.on.net, website www.backstageinc.orgf.au/default.asp. PRIMARY SCHOOLS MUSIC FESTIVAL, http://www.decd.sa.gov.au/musicprograms/pages/ MusicPrograms/PSMusicFestival/?reFlag=1 AUSTRALASIAN DOUBLE REED SOCIETY, http://adrs.org.au/web/ THE SOCIETY OF RECORDER PLAYERS SA INC. Society mobile number 0410 109 135, E-mail npope@bigpond.net.au SOUTH AUSTRALIAN BAND ASSOCIATION, http://www.sabandassociation.org/ SOUTH AUSTRALIAN MUSIC CAMP ASSOCIATION INC., www.samusiccamp.net.au ANZCA MUSIC EXAMINATIONS, http://www.anzca.edu.au/
The Newsletter of the Music Teachers’ Association of South Australia Inc.
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Vol. 25 No. 1 – Autumn 2017