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EVENT VOLUNTEERS NEEDED! Are you a member of MTASA who would like to contribute to our fabulous events but doesn't have time to commit to being on the Council? We are introducing a new way to be involved for our members, the MTASA Event Volunteers group! Simply let us know if you would like to assist at any of our events and we will contact you closer to the time to confirm the details.' Event Volunteers will be an essential part of the fabric of our Association. Volunteers can help support the events, network and get a volunteer hours certificate for your CV!
Register at https://mtasa.com.au/register-for-eventvolunteers/ 2
FROM THE PRESIDENT Welcome to our first Music Stand for 2018. One of MTASA’s aims this year is to increase and broaden our membership base significantly. In particular we wish to reach out to teachers working in genres other than classical music – jazz and popular musics for example – as their work occupies a large proportion of all the private teaching being undertaken in this state. We have carefully crafted our new membership rules to allow such teachers, who could be very experienced but may not have followed a traditional academic path of study, to achieve membership in a fair and equitable manner. In doing this we wish to assure our established membership that we are not ‘relaxing standards’ or neglecting our traditional fields of endeavour. Indeed we are seeking to increase the influence of MTASA through introducing more widely its practice of selfregulation through voluntary professional development and adherence to professional standards. While we continue as last year with a schedule including our hugely popular Expo in September, our Competitions Day in June and our Concert Performance Days for pupils in May and August it is also likely we shall be offering a further PD day especially for percussionists of all persuasions, classical, jazz, rock and pop. Readers will be advised as preparations become more complete for this exciting event. Finally, I wish to mention the success of MTASA’s two-day Summer Conference in January at Seymour College. Keynote presenter Mark Gibson gave virtuoso performances during the two days that ensured we all think more creatively than ever before, while a host of speakers and clinicians kept our minds buzzing along. Many thanks to our Council for all their hard work in making this happen so effectively. My very best wishes for a successful start to the teaching year.
Rodney Smith, President
INSTRUMENTAL/VOCAL MUSIC DIARY ORDER YOURS NOW AT www.mtasa.com.au Proceeds from sales support MTASA
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TABLE OF CONTENTS FROM THE PRESIDENT by Rodney Smith
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The Journal of the Music Teachers’ Association of South Australia Incorporated Print Post Pub. No 100003224 VOLUME 26 NO 1 – Autumn 2018
COMING MTASA EVENTS MEMBER INFORMATION OTHER ORGANISATIONS’ EVENTS OTHER ORGANISATIONS’ CONCERTS
5 5 6 8
PATRONS:
GEORGE PEARCE MEMORIAL AWARD
9
GEORGE PEARCE
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ACCOMPANIST’s CORNER 2018 ACCOMPANISTS’ FESTIVAL
11
UP FROM DOWN UNDER reviewed by Robert Brown
13
PEDAGOGY MATTERS by Rodney Smith
14
AUSTRALASIAN PIANO PEDAGOGY CONFERENCE 2017, PART 2 by Rodney Smith
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WHY DO MANAGERS EARN MORE THAN MUSICIANS? by Michelle T. Holland
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“THE MUSIC STAND”
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 2017/2018: Sofie Arhontoulis, Pete Barter, Robert Boundy, Robert Brown, Naomi Hede, Masako Kondo, Monika Laczofy, Carly McDonald, David Metin, Samantha Penny, Rodney Smith, Hayley Wedding EDITOR: 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
SUMMER CONFERENCE 2018 GEORGE PEARCE MEMORIAL ORATION by Emeritus Prof. David Lockett AM
ADVERTISING – Please contact the Secretary Please see MEMBER INFORMATION page for Advertising Price List. CONTRIBUTIONS and DEADLINES for 2018/2019 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: Monday April 30, Monday July 16, Wednesday October 31, Thursday January 31, 2019. MTASA WEBSITE Please visit http://www.mtasa.com.au/ MTASA FACEBOOK Please visit the MTASA Facebook page at https://www.facebook.com/The-Music-Teachers-Association-of-SA-Inc883307955101655/.
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COMMON TAX DEDUCTIONS FOR MUSIC TEACHERS by Samantha Penny
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MUSIC TEACHERS’ QUALIFICATIONS – PAST, PRESENT AND FUTURE by Rodney Smith
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THOSE EXCUSES FOR NOT PRACTICING
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CONTACT DETAILS FOR OTHER ORGANISATIONS
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FRONT COVER Lesley Beale is the winner of the Front Cover Photo Competition. The photograph (see the front cover) was taken by Paula Thompson from Ovation Photography during ‘A Day with Christopher Norton’ held in the July 2017 school holidays. Lesley has also won two complimentary tickets for ‘Fame, Fortune and Lies: The Life and Music of Eileen Joyce’ in the raffle at the Summer Conference. Congratulations, Lesley!
NEW LOGO
Launched at the Summer Conference by President Rodney Smith, MTASA’s new logo is being used for the first time in this issue of The Music Stand. It was used in the 44th Edition of The Directory of Teachers of Music and the Summer Conference brochure, and will be appearing in other places such as the MTASA website and Facebook page. The logo gives MTASA a new vibrant look and a photo taken at Eight Mile Creek by Samantha Penny is being used as a background.
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MEMBER INFORMATION NEW MUSIC DIARY
COMING MTASA EVENTS 2018 April 14 (Date changed)
CONCERT PERFORMANCE DAY 1 Venue:
Selling for $7 each, the proceeds support MTASA. The Music Diary features day-to-apage journaling, staves for each week, holiday challenges and games every ten pages, with space for personal notes, lists and goal setting. Visit https://mtasa.com.au/mtasa-musicdiary/ for more information.
AON’S MUSIC TEACHER INSURANCE
Salvation Army Citadel, 55 George Street, Norwood Closing date: Monday 30 March Entry: $10+ Admission: gold coin See entry form inside Music Stand or download from https://mtasa.com.au/event/concert-performance-day-1-2/
June 23
COMPETITIONS DAY:
Miriam Hyde Awards, Reimann-Robinson Scholarship, Norman Sellick Memorial Prize Venue: Closing date: Entry: Admission:
Admission:
Salvation Army Citadel, 55 George Street, Norwood Friday 11 May $20+ Gold coin
gold coin The Miriam Hyde Open Award
Aon, our recommended insurance provider, has over 50 years experience and a dedicated Entertainment team who understand your needs. As the New Year is already upon us, what better time than now to organise your cover and peace of mind for the rest of the year! Aon’s Music Teacher Insurance Policy is affordable, easily purchasable online and comprehensive, covering you for Public and Product liability (including wrongful allegation), Professional liability and Personal accident. For more information and to buy online visit aon.com.au/musicteachers.
The Miriam Hyde Junior Award The ReimannRobinson Scholarship The Norman Sellick Memorial Prize
Open to
Age limit
All instrumental/vocal students of any member of the MTASA or related organizations
Students of any age
All instrumental/vocal students of any member of the MTASA who are teaching in a private capacity
Students under 15 years of age on the closing date of entry Students who are 18 years or under on the closing day of entry to the Scholarship Students who are 12 years or under on the closing day of entries to the competition
See entry form inside Music Stand or download from https://mtasa.com.au/event/competitions-day-2/
August 26
CONCERT PERFORMANCE DAY 2 Venue: Admission:
TBA gold coin
DIRECTORY OF TEACHERS OF MUSIC
The 44th Edition of ‘The Directory of Teachers of Music’ has been published by the Association and distributed to music stores throughout Adelaide, and is available to students/parents who are seeking a teacher. 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.
September 23
PD DAY, MUSIC EDUCATORS’ EXPO AND AGM Venue:
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Thebarton Community Centre, corner South Rd & Ashwin Parade, Torrensville All welcome!
TEACHERS OF THEORY/MUSICIANSHIP
OTHER ORGANISATIONS’ EVENTS SOUTH AUSTRALIAN MUSIC CAMP 2018 South Australian Music Camp 2018 will be held in July. The Camp offers instrumentalists aged from nine to twenty-three years an opportunity to play in one of five orchestras or concert bands which cater for a wide range of ages, standards and levels of experience. The daily routine includes a mixture of tutorials and rehearsals. State Music Camp will culminate with a concert that showcases the achievements of the five ensembles. For more information please visit the website at www.samusiccamp.net.au. Auditions will be held towards the end of Term 1.
To be listed in the ‘The Directory of Teachers of Music’ 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.
POST-NOMINALS
2018 ADELAIDE EISTEDDFOD Entries for the 2018 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 2018 Adelaide Eisteddfod will include Choral, Vocal, Piano, String, Guitar, Flute, Recorder, Woodwind, Brass, Eisteddfod Ensemble Event and Eisteddfod Concerto. Entry in the SA Final of Young Virtuoso, offered by the Australian Fine Music Network of community radio stations, is through the Adelaide Eisteddfod. The winner of the National Final will receive the Young Virtuoso Scholarship of $10,000. The National Final will be held in Brisbane in late November. The adjudicators will select the SA finalists through Recitals offered via the Vocal, Piano, String, Guitar, Flute, Woodwind, Recorder and Brass Divisions. The SA Final for Young Virtuoso will be held on Sunday October 14, 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, Size Music and 5MBS.
22nd BALAKLAVA EISTEDDFOD The 22nd Balaklava Eisteddfod will be held from August 3-5. Friday August 3, Bands, Rock Bands, Instrumental Ensembles, Choirs, Vocal Ensembles. Saturday August 4, Vocal (Classical and Non-classical), Musical Theatre, Contemporary Vocal, Instrumental, Piano, Speech and Drama. Sunday August 5, Finale Concert including adjudication of the Adelaide Plains Male Voice Choir Vocal Scholarship. Entries will open on April 6 and close on May 7. Visit http://www.balaklavaeisteddfod.org.au, Facebook www.facebook.com/BalaklavaEisteddfod, e-mail info@balaklavaeisteddfod.org.au.
Full members of the Music Teachers’ Association of South Australia may use the letters MMTA (member of Music Teachers’ Association) as a post-nominal while they are financial members. Interstate Music Teachers Associations are also encouraging their members to use this or a similar postnominal.
MTASA MEMBERSHIP NOTES Visit http://mtasa.com.au/index.php/members/b ecome-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.
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◆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. Mrs Lei Liao Ms Sheryl Beck Mrs Catherine Anderson Mrs Shreeni Randeniya
Ms Helen Hopping
Full Member Full Member Full Member Full Member
Full Member
The Mount Gambier Eisteddfod is part of the ongoing work of Backstage Incorporated (founded in 1978). The various divisions include Choral and Vocal (July 27-July 31) and Music (August 2-4). Entries will be via Stardom, visit http://www.stardom.com.au/ and look for ‘Mt Gambier Eisteddfod’ under ‘Competitions’. Visit the website at http://www.backstageinc.org.au/.
P, S, T V, VA
LIMESTONE COAST CHORAL AND VOCAL SHOWCASE
F, P, SAX, T
The Limestone Coast Choral and Vocal Showcase is presented annually by the Mount Gambier Choral Society. Part of their charter is to foster singers of all ages to develop their skills and enjoyment of vocal and choral music and singing. The dates for 2018 are Tuesday August 27 to Saturday September 1. A $1,500 Scholarship in memory of Helen Schultz is offered. Entries open on April 26 and close on Friday June 16 at 11.59 pm ACST. Visit the website at http://www.limestonecoastshowcase.com.au/ Entries will be via Stardom, visit http://www.stardom.com.au/ and look for ‘Limestone Coast Choral and Vocal Showcase’ under ‘Competitions’.
P, M, T P, C, COMP, HIS, JAZZ IMP, M, MC, SACE, T, IB Diploma
RECOMMENDED TEACHING FEES
WHY ENTER AN EISTEDDFOD? Performance experience
The following teaching rates are recommended to members by the MTASA Council for 2018.
Full Member Student Member
$70 per hour $45 per hour
MTASA MEMBERSHIP CATEGORIES AND FEES
Full Member Student Member Friend Member Institution Member
$105 $52 $30 $30
EMAIL ADDRESSES, QUALIFICATIONS AND CERTIFICATES MTASA would like to update all members’ email addresses, latest qualifications and certificates. Please email the Secretary at info@mtasa.com.au.
•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. 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.
Performance Opportunities •The finals of the advanced competitions are held in prestigious venues. Several musical organisations look for their soloists at the Eisteddfod competitions.
Valuable Prizes and Recognition •Prizes include certificates, vouchers, medallions, cash and a major scholarship. All are evidence of achievements to enhance CVs.
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NOTICE TO STUDENT MEMBERS
METROPOLITAN MALE CHOIR ANNUAL MUSIC SCHOLARSHIP FOR 2018 The Metropolitan Male Choir Annual Music Scholarship is to encourage music making and love for music in the young and encourage those with talent to continue to the point of making music their career choice. It was decided to do this by providing monetary awards to assist with ongoing expenses and giving them opportunities to perform in front of audiences. The choir offers an annual scholarship with a first prize of $2,000 and, subject to a satisfactory standard, a second prize of $1,000. The Scholarship is open to any young person with proven musical ability, vocal and/or instrumental, aged between 12 and 16 years as at January 1 in the year following auditions. The award is designed to recognise the ability of outstanding young musicians, to encourage them to pursue their studies and to provide opportunities for the winners to perform publicly as associate artists with the choir. Visit the website at http://www.mmcsa.org/about/music-scholarships/ for more information.
Have you fulfilled the requirements for Full Membership? Student members are reminded that Student membership is restricted to four years after which time it is expected that they would be eligible for another membership category. Student members who are ready to upgrade their membership are invited to submit an application form to the Secretary together with the required supporting documents. Criteria can be downloaded from the MTASA website (www.mtasa.com.au) or obtained from the Secretary.
OTHER ORGANISATION’S CONCERTS RECITALS AUSTRALIA WEDNESDAY LUNCH HOUR CONCERTS 2018 Where: Pilgrim Church, 12 Flinders Street, Adelaide What time: at 12-10 pm and 1-10 pm Admission: Adults: $5 Tickets at the door Enquiries: Ph. 8266-4936 Visit http://www.recitalsaustralia.org.au/ for more information.
ADVERTISING PRICE LIST FOR THE MUSIC STAND, 2018 A4 size page (210 mm X 297 mm)
Full Page 1/2 Page 1/3 Page 1/4 Page
1/6 Page
Per issue
For 4 issues
Colour
B/W
Colour
B/W
$263 $132 $88 $67 $45
$210 $105 $71 $53 $35
$840 $420 $281 $210 $140
$672 $336 $224 $168 $113
ELDER HALL CONCERTS 2018 Lunch Hour Concert Series When: Fridays, 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.
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.
MITCHAM ORCHESTRA When: Where:
Sunday May 27 Cumberland Park Community Centre, 390 Goodwood Road, Cumberland Park What time: 2-00 pm Conductor: Tully Brookes Soloist: Daisy Elliott, violin. Includes music by Mozart and Schubert. Admission: $12, Children 12 years and under, free, at the door.
YOUNG VIRTUOSO SA FINAL 2018 When: Where: Admission:
Sunday, October 14, 2-30 pm St John’s Anglican Church, 379 Halifax Street, Adelaide Adult $15, 5MBS Member/Student $5 8
CLASSIFIED AD MTA Members, free. Non-members, $15. Please contact the Secretary about advertising. Mobile: 0402 575 219 E-mail: info@matsa.com.au
AUSTRALIA DAY HONOURS Congratulations to Ulrike Klein for being awarded an AO for ‘Distinguished service to the performing and visual arts through philanthropic support for a range of cultural organisations, particularly to classical and chamber music, and to the skincare manufacturing industry’. Congratulations to Dr Jennifer Rosevear for being awarded an AM for ‘Significant service to music education in South Australia, particularly through curriculum development at the tertiary and secondary levels’. Congratulations to Josie Hawkes for being awarded an OAM for ‘Service to the community through music’.
EVENT VOLUNTEERS NEEDED
GEORGE PEARCE MEMORIAL AWARD 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 2017 is Daniel Milton, whose teacher is Libby Phillips. Daniel is currently in Year 5 at Mitcham Primary School and has been playing the violin and piano (studying the latter with Libby Phillips) since he was even younger! He has been concertmaster of the Mitcham Primary School string ensemble for the last two years and joined Adelaide Youth Daniel Minton Strings at the age of 7 as a violinist. This last year Daniel played in AYS as a leading member of the viola section. In 2015 and 2016 Daniel played piano for the Accompanists Guild of SA Junior Ensemble Musicians Program run by Monika Laczofy and in 2017 won First Prize in the Grade 7 and 8 Piano Solo at the Adelaide Eisteddfod. Daniel learns ballet, jazz and tap through the Terry Simpson Ballet School and he also sings in the Second Concert Choir of Young Adelaide Voices. In September 2017 Daniel was cast in the role of Gavroche (a streetwise urchin) in the Gilbert and Sullivan Society production of Les Miserables. He likes reading anything by David Walliams and doesn’t have a FaceBook page or an ipad!
GEORGE PEARCE George Mayo Pearce was born on July 14, 1892 at Balaklava, the second son of the Methodist Minister Rev. John Pearce and Louisa Jane Ellis. Announcing the Rev. Pearce’s retirement in early 1928 Rev. C. H. Nield writing for The News mentioned ‘The musical gifts of Rev. Pearce, and those of his sons, Messrs. George and John Pearce, are widely known’. George went to Prince Alfred College and studied the piano with William Silver, ‘winning his scholarship for pianoforte for five years in succession’. He also studied ensemble playing with Eugene Alderman.
Enthusiastic volunteers are needed to help with various jobs at MTASA events. Tasks include setting up chairs, tables and piano, helping with registration at the check in table, ushering, assisting performers, helping with morning tea, lunch and afternoon tea, and packing up afterwards. It is a great way to network and a volunteering certificate will be provided, which will enhance your CV! For more information please e-mail the Secretary, Masako Kondo, at info@mtasa.com.au.
George enlisted in January 1916 and served in France in the original A.I.F. 11th Field Ambulance under Lieutenant-Colonel Downey. His brother John was wounded at Gallipoli. During the Battle of Messines in June 1917 George was gassed and then sent away to convalesce. While in France George conducted the orchestra attached to the 3rd Division Headquarters under General Monash and performed in Paris with the Divisional Concert Party. After being discharged he went to London to study the piano at the Royal Academy of Music with Oscar Beringer and Herbert Fryer, gaining the Associate of the Royal Academy. He also studied singing there. In 1919, George joined the staff of the Elder Conservatorium and taught the piano there until 1958. He was a long term examiner for the A.M.E.B. and was also an examiner for overseas scholarships. He participated in a private performance of Percy Grainger’s The Warriors given by the composer at the Adelaide Town Hall and was associated with the South Australian Orchestra. George Pearce married violinist and orchestra leader Sylvia Whitington on December 15, 1927 at the residence of Mrs Whitington, Glenelg. They gave many public performances together and Sylvia taught the violin and viola at the Elder Conservatorium. Sylvia died on January 27, 1944, aged 54. On December 27, 1945 George married Dorinda Bedson at Brighton. George was an ‘ardent motorist’ and tennis and golf player. Many cups and trophies for his prowess as a tennis player adorned his music studio at his home in Downing Street, Hove.
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George Pearce had many students who made a place for themselves in the musical profession. Three of the most important are Dr Alex Barnard, formally The Advertiser’s music critic, he later taught at the Sydney Conservatorium; Jessica Dix, who is remembered for her outstanding work as an accompanist with the ABC; and Carmel Hakendorf, an accomplished pianist and violinist. He was the teacher of Joyce Sumner, who was winner of the Elder R.C.M. Overseas Scholarship for 1935. During his lifetime, George was organist at Flinders Street Baptist Church, Adelaide, Trinity Methodist Church, Glenelg and then Brighton Methodist Church. George Pearce died on February 23, 1975, aged 83. The inaugural meeting of past students of George Pearce to establish an Annual Prize in his memory was held on November 21, 1975 at the home of Andrea Williams. Contributions poured in from friends and his past students and together with numerous fund-raisers, the committee was able to award the first George Pearce Memorial Prize in 1976.
TEACHING IN THE COUNTRY In recent years each issue of The Music Stand has included an article about music teaching in a country region of South Australia. No article was received this time and there are some regions that haven’t been visited yet. If you haven’t done so please write something – it doesn’t need to be very long – and also include a photo. If you have written something before you are welcome to send an update. E-mail to Robert Brown at robbrown@adam.com.au.
In 2005 the George Pearce Memorial Prize Committee asked the Music Teachers’ Association to take over the responsibility for managing this award. It was decided that the funds would be used for the George Pearce Memorial Oration on topics related to piano pedagogy at the Music Teachers’ Association Biennial Summer Conferences and the George Pearce Memorial Award of $100 which is awarded each year by the Australian Music Examinations Board (SA and NT) to a Seventh Grade piano student.
♫♫♫ CONTRIBUTIONS TO
THE MUSIC STAND The Editor is always looking for things to include in The Music Stand. Articles can be about any music related topic. If you would like to write an article this is your invitation! A helpful hint, a comment, a joke, a poem, a cartoon, etc. … please e-mail them to Robert Brown at robbrown@adam.com.au.
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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ACCOMPANIST’S CORNER 2018 ACCOMPANISTS’ FESTIVAL ACCOMPANISTS ALL! – wishing you a very happy and productive 2018! Read about the Accompanists’ Guild’s exciting venture for this year, in a letter from the Festival Convenor and Guild Founder Diana Harris OAM.
Dear AGSA Members and Friends, It’s an absolute pleasure to let you know that this year’s Festival – TWO PIANOS TWO PIANISTS – is shaping up beautifully – well enough in fact for our honorary publicist, Christopher Wainwright, to have already posted out early a ‘Save the Date’ release to his contacts in the Media. Do check the release and the information following it on our website: http://accompanist.org.au/2017/11/28/save-the-date-festival-ofaccompanists-2018-2-pianos-2-pianists-13-17-june/.
Lisa Moore and Sonya Lifschitz
My negotiations with our guest artists, LISA MOORE and SONYA LIFSCHITZ, were in place months ago. Confirming other aspects has taken much longer. Many thanks to the team, Christopher Wainwright (publicity), Anna Mackenzie (graphic artist – posters, website, etc.) and my personal assistant, Dani Raymond, who set up the ticketing through TryBooking (quite complex as the Festival offers three different packages, see BOOKINGS below).
Some of the problems in presenting a TWO Piano Festival which have arisen along the way have provided some puzzling challenges and fascinating solutions. TWO Pianos Elder Hall OK, Pilgrim Church OK, rehearsal spaces in two AGSA Council members’ private studios and any offers from AGSA Members and Affiliates who have two pianos and would like to have them used would be appreciated. THIRTY TWO Pianos ONE Piano Marryatville High School, just ONE grand piano. PianoMax has come on board as a principal sponsor to provide Marryatville High School with a second matching grand piano for activities on Friday/Saturday June 15/16, including the Conference, as part of their sponsorship.
•
FIVE DAYS, our recent Festivals have generally covered THREE, but 2018 covers FIVE. Date
Day 1
PianoMax will host (on Thursday June 14 late afternoon) a Multi Piano Extravaganza, not just TWO pianos but, on last count, THIRTY TWO pianos. Our resident conductor extraordinaire, Leonie Hempton, has already jumped at the opportunity to conduct at least 32 pianists (more possible) on 32 pianos in a couple of items during the Extravaganza. Performances will involve students and professionals on two pianos plus. We have lots of repertoire possibilities. We’ll be getting in touch for volunteer pianists later and would love to receive expressions of interest from AGSA Members and Affiliates and your students.
Wednesday June 13
Venue
What’s on
Pilgrim Church
Lunch hour concerts: at 12.10 pm by the JEMS (Monika Laczofy’s versatile Primary School students’ Junior Ensemble Musicians) followed by professional musicians at 1.10 pm FOR JEMS with the focus on Saint-Saëns’ Carnival of the Animals for two pianos and instrumental ensemble.
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Day 2
PIANOMAX Magill Road Showrooms at Maylands
Multi Piano Extravaganza, 2 to 32 pianos and Pianists.
Day 3
Friday June 15
Marryatville High School
Lisa Moore and Sonya Lifschitz, Educational Outreach, with invited performers and observers plus rehearsals for Lisa and Sonya.
Marryatville High School
2018 Accompanists’ Conference Full details available early in 2018 – much is on the planning slate – with such extraordinary guest musicians at the centre, too many possibilities really!! – Lisa and Sonya master classes, demonstrations, rehearsing the winning work in the composition award, duo repertoire old and new, current trends in performer expectations for duo piano performance including using the professional toy piano, Q&A, and more.
Elder Hall
Piano Duo RECITAL – Lisa and Sonya – in association with Recitals Australia, Bach Goldberg Variations, arranged by Australian pianist/composer Stephen Emmerson (remember he joined us for the 2016 Festival with the Endeavour Trio) – AND recent works by Martin Bresnick Handwork, John Adams Hallelujah Junction PLUS the premiere of the winning AGSA Composition Competition by an SA young composer. Martin Bresnick, Lisa’s husband and Head of Composition at Yale, intends joining us so there’ll be the opportunity for interested musicians – young and old – to meet him.
Day 5
Day 4
Thursday June 14 5pm
Saturday June 16 9.30 am - 4.00 pm
Sunday June 17 2.30 pm
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IN BETWEEN – we will be encouraging as much two PIANO playing and rehearsing in private studios as possible – if you have two acoustic pianos or one and a keyboard do encourage your students to play two piano music with you or with student colleagues.
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PD CERTIFICATES will be available for delegates attending the Full Festival, the weekend events or the Conference (not the recital alone).
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EARLY BIRD BONUS – the Adelaide Symphony Orchestra has generously donated TWO x A reserve double passes for Friday June 22. The program includes Stephen Hough performing Rachmaninov’s Rhapsody on a Theme of Paganini. Each double pass is valued at $205! Great pianist – great value – the early bird applications for Full Festival or Weekend events or Conference close on March 1 to go into the draw for this fabulous concert.
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BOOKINGS are open at www.trybooking.com/TCLR or check out www.accompanist.org.au for more information and booking link, there are three packages:
1. Full Festival (everything) 2. Weekend events (Conference and Recital) 3. Conference only For Sunday Recital ONLY book via https://recitalsaustralia.org.au/whats-on/lisa-moore-and-sonya-lifschitz/. However, I hope you will buy one of the packages that includes Accompanist Festival events. Two packages include the Recital, ie Festival Package (everything), Weekend Package (Conference and Recital). FESTIVAL OF ACCOMPANISTS JUNE 13-17 2018
The 2018 Festival will be my last for the Guild so naturally I would love to see a huge number of delegates attending. It is definitely time I bowed out and time we ALL encouraged others to join the Guild and ‘Keep Supporting Accompanists’ (and ALL collaborative pianists).
LISA MOORE & SONYA LIFSCHITZ Wednesday 13, Pilgrim Church: Junior Ensemble Musicians (JEMS) 12.10pm Peter and the Wolf; 1.10pm for JEMS, Carnival of the Animals Thursday 14, PianoMax: 5pm Multi Piano Extravaganza, 2–32 pianos Friday 15, Marryatville High School: Educational Outreach Saturday 16, Marryatville High School: Accompanists’ Conference Sunday 17, Elder Hall: 2.30pm 2 Piano Recital, Lisa Moore and Sonya Lifschitz ASO Early Bird Prize: Deadline Mar 1–June 22, Hough Paganini Variations Festival Packages available: www.accompanist.org.au Recital only available: www.recitalsaustralia.org.au *PD Certificates on request
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UP FROM DOWN UNDER, THE AUSTRALIAN ORIGINS OF FREDERICK MATTHIAS ALEXANDER AND THE ALEXANDER TECHNIQUE by Rosslyn McLeod, reviewed by Robert Brown Order from www.mouritz.co.uk Frederick Matthias Alexander was an Australian elocutionist and actor who in the 1890s experienced problems with laryngitis and breathing when he performed. His doctors could not help so he experimented and found his own solutions to these problems. His friends and the doctors he had consulted persuaded Alexander to teach others what he had learned and he kept exploring. In 1931 he began to train others to teach what has become known as the Alexander Technique. The Alexander Technique is now taught throughout the world and focuses on teaching the avoidance and control of unconscious habits relating to posture, movement and responses to stressful situations.
during the 1890s and the people and places that influenced F. M. Alexander’s evolution as an actor and the development of the Alexander Technique. The many newspaper references and photographs give a feeling of being there at the time. Alexander’s Autobiographical Sketch and a list of the poems that he recited are useful inclusions. I have enjoyed reading Rosslyn McLeod’s account of the early life and development of a significant Australian.
F. M. Alexander was born near Table Cape, close to the town of Wynyard, in Tasmania, on January 20, 1869. He died in London on October 10, 1955, aged 86. He arrived in London in 1904 and that became his base for research, working with clients and for eventually training Alexander Technique teachers. He also made extended visits to America.
F.M. Alexander The Life of Frederick Matthias Alexander, Founder of the Alexander Technique by Michael Bloch, the first complete biography, published in 2004 by Little, Brown and Company, acknowledges Rosslyn’s pioneering work as Alexander’s first biographer.
From 1986 to 1996 Rosslyn McLeod lived in Melbourne, teaching music and the Alexander Technique, and was puzzled why there was no recorded detail of Alexander’s life, particularly his Australian years? Alexander had been based in Melbourne during the 1890s. Determined to find out more Rosslyn looked in old newspapers and made personal contacts to find out about Alexander’s early career there as both performer and teacher. Her research also revealed that Alexander had spent time based in Auckland and Sydney, had visited other Australian towns and made return visits to Tasmania before going to England.
In 2015 Rosslyn produced a documentary, Frederick Mathias Alexander, His Life, His Legacy, about his life and teaching in Australia, England and America, which is available as a DVD which can be borrowed from your local library or ordered from fmalexanderdoc.com. When Australia celebrated its Bicentennial in 1988 the Australian Bicentennial Authority Heritage 200 Committee undertook to compile a list of ‘200 people who made Australia great’ and to recognise them for their achievements. On Table Cape Promontory, near Wynyard, is a plaque which reads ‘On a nearby property was born FREDERICK MATTHIAS ALEXANDER, 20 Jan 1869-10 Oct 1955, Founder of The Alexander Technique, Discoverer of fundamental facts about functional human movement, One of the ‘200 people who made Australia great’.
Rosslyn’s research led her to write and publish Up From Down Under; the Australian Origins of Frederick Matthias Alexander and the Alexander Technique, which was published just in time for the 1994 Sydney World Alexander Congress. Since then the 2nd and 3rd editions have been published, and in 2017 Mouritz (www.mouritz.co.uk) published the 4th edition, which includes additional information and some colour photographs. Mouritz publishes an extended library of books about the Alexander Technique. Rosslyn tells us about the hardships of the early pioneers in Tasmania, the lifestyles in Australia and New Zealand
♫♫♫
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PEDAGOGY
MATTERS
by
Rodney Smith With MTASA’s aim this year to broaden its membership base, existing members are asked to bear in mind that teaching pedagogies generally function in a cross-genre way. In general the currents of teaching and learning work similarly whether we teach popular voice or classical piano, to take two extremes. One of the great challenges to face in our field is that it is all too easy to focus on the differences rather than the similarities. Perhaps focusing on the undoubted fact that we all work with pupils in performance art of some kind or other helps us to sustain our educational role alongside the multiplicity of variations we encounter when switching from teaching, say, flute pupils, to teaching saxophone pupils. Just as continuing to practice our instrumental specialties is an important element in maintaining our skills, so we should
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continue to develop our educational/pedagogical proficiencies through PD and through research. MTASA provides PD opportunities through the year that span the instrumental/vocal spectrum and our teaching is the poorer if we ignore such opportunities. Conducting our own research into the teaching we undertake is also a vital element in our ongoing development as teachers. Research is not beyond any of us if we can find some time and the results for our pupils are well worthwhile. We do not need to slavishly follow the ideas of others – a path that often leads to sterile and lacklustre teaching. May I draw readers’ attention to a change of schedule for the University of Adelaide’s Graduate Certificate in Music Teaching? It is now likely to be offered for the final time from July 2018 to June 2019. For further information please contact the Elder Conservatorium office on 8313 5995 or visit the conservatorium’s website at music@adelaide.edu.au. ♫♫♫
AUSTRALASIAN PIANO PEDAGOGY CONFERENCE 2017, PART 2 by Rodney Smith Held: July 10-14, University of Adelaide Theme: Keys to a Changing World: Unlocking the Past, Present and Future elements of putting a studio together and keeping it on the rails. Their impressive line-up of clinicians was headed by keynote speaker Eric Baumgartner and included Christopher Norton, Angela Turner, Sonny Chua, Carly McDonald, Brad Cohen and Nathan Rippon. Readers should consult Issue 12 of The Piano Teacher magazine published in November 2017 for more information about how all this worked.
A distinguishing feature of the thirteen APPC conferences that have been held since 1993 has been their variety of content and shape. This is largely the result of a different local committee undertaking the organizational heavy lifting on each occasion and is in stark contrast to many other such conferences worldwide that are run by one central organization. However there are some traits to be found almost universally across conferences and which APPC exhibits too. One of the most obvious is the apparent divide between commercial or semi commercial presentations and those of a purely academic nature. APPC 2017 was fortunate in attracting a strong attendance of delegates from interstate and overseas, but pleasingly the SA contingent was especially strongly represented. Feedback received has indicated a significant proportion of delegates had not attended a conference of this type before and it is hoped they negotiated the pitfalls of deciding which presentations to attend. They would have needed to bear in mind that commercial sessions frequently contain strong educational and musical messages while academic presentations can contain much solid advice that is commercially valuable. The Hal Leonard Solutions Stream has music industry and business facets and has become a genuinely valued part of the conference over a number of years, providing much useful practical and technical advice for teachers on recent developments in print music, technology and the
Eric Baumgartner APPC 2017’s significant overseas contingent was on show amongst the many academic papers. Multiple authors tend to add colour to a paper and Ruby Chou, Kirsten Smayda, doctoral candidates from the University of Texas at Austin, with Dr Joshua Straub, produced a very well researched paper entitled Behind the Scenes: Pedagogical Insights from an Adult Group Piano Course in a Speech Perception Study. Another joint paper was presented by Dr Stephanie Neeman and Dr Edward Neeman from ELMS Conservatory of Music in Jakarta on The Duet and the Dance: American Duet Repertoire for Advanced Students mixing their own performance and pedagogy in fine style.
Ruby Chou 15
At the opposite end of the scale, Helen Kasztelan Chapman, long-time staff member at VCA School of Music, gave not one but two papers, the first on Approaches to Teaching Atonal Music, the other on How to Incorporate Analysis during the Learning Process. Additionally we were delighted to hear from SA researchers such as Alan Braley whose paper on The Importance of Creativity in Music Education resonated with many delegates. More than forty scholarly papers were given over the four days of the conference and it was gratifying to know this number is as great as any during the twenty-four years of APPC conference history. As with past conferences many of these papers will appear shortly on the conference website where papers from previous conferences back to 2005 are archived for public reference. In addition, those in Part 1 of the Proceedings file on the website have been peer reviewed for excellence in scholarly standards of content and presentation. Currently the website is being upgraded and so it is likely APPC 2017 papers and associated information may not appear before March 2018.
Dr Stephanie Neeman and Dr Edward Neeman When that happens I recommend readers who were not at the conference or the sessions concerned to acquaint themselves with what was presented. Just as academics would have profited greatly from attending commercial and semi commercial sessions so can private teachers benefit from hearing what researchers have to say. We need to work towards reducing that apparent divide. Recitals, elegant, provocative or sometimes simply stoic, permeated the conference at lunchtimes and evenings. Piers Lane at the Town Hall on Monday, Seraphim Trio and Thomas Hecht on Tuesday and Thursday evenings respectively in Elder Hall,
underpinned the offerings with immense distinction. At lunchtimes in Scott Theatre Nicholas Mathew’s fortepiano, Mark Ferguson’s Jazz Trio, Ashley Hribar’s exploratory modernism and Marianna Grynchuk’s poetic romanticism drew attention yet again to our keyboard repertoire’s immense breadth. Judging from comments received many delegates felt reinvigorated by these fine performances as they ploughed through the almost mind-numbing variety of presentations and events each day. However, from traditional master-classes to Nik Preston’s paper An approach to teaching contemporary harmony for the 21st Century Classical Student delivered live from the UK via Skype, delegates were never able to complain of boredom.
concerning emerging big-picture trends and ideas. Who could forget Robert Duke’s mindful insights on teaching or Nicholas Mathew’s views on The End of Classicism?
So what is the point of a conference such as this and what did we get out of APPC 2017?
From another angle, South Australia came out of it looking bright and shiny educationally/pedagogically. Nearly everyone acknowledges the immense confluence of talent and activity in Queensland for example but it was heartening to see SA on the map for this occasion.
Networking with people and ideas would certainly be one reason why such a gathering is worth all the effort and expense. With 63% of delegates from interstate and overseas South Australians were like kids in a lolly shop with so many differing perspectives on tap. Amongst those perspectives were some carrying great academic weight
USA and Europe. Its continued good health is a significant indicator of the ongoing high profile and reputation of piano practitioners in this country. APPC last visited Adelaide in 2005 and prior to that in 1993. On this basis we can next expect it to roll into town in 2029! Whether it’s sooner or later we can say at least with some conviction that we gave it our best shot in 2017 and it met our hopes and expectations with a good degree of style and character.
♫♫♫ Ashley Hribar
On a national level this is Australia’s only regular dedicated piano pedagogy conference of comparable extent and variety to examples in the
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WHY DO MANAGERS EARN MORE THAN MUSICIANS? by Michelle T. Holland,
SAMii, creativity, culture and leadership
specialist My partner, in life and business, is a musician. He’s many other things of course, an entrepreneur, a speaker, a mentor, a teacher and a coach. But at his heart of hearts, he’s a musician. Similarly I’m an author. I’m also an entrepreneur, a speaker, a mentor, a teacher and a coach. But in my heart of hearts, I’m an author.
worked and then played from 6 pm to midnight. Before they got there they had rehearsed for about 10 hours each. They were paid $250 each. That works out to $11.36 per hour. In Australia, that is $7 below the minimum wage. The value we place on music in our society has a much higher monetary value than $11 per hour.
Both of us are creative and if we had all the money in the world would dedicate ourselves to our art. Which begs the question, why don’t we?
There are rich artists so there doesn’t appear to be a problem. Sigh… This one makes me sigh in disbelief even though I hear it over and over again. Yes, Pink and Al Pacino and Guy Sebastian are doing extraordinarily well for themselves. If the artist can break through into the ‘celebrity’ artist world, then ChaChing baby! However, that is a rare outcome for the professional artist.
1. Because managers get paid more that musicians. 2. Because professionals get paid more than photographers. 3. Because accountants get paid more than artists. Now when I say this kind of thing, often I get three common arguments thrown back at me to deny my need to understand this obvious and blatant discrimination.
Honestly, this argument is just like saying there’s no such thing as gender inequality because Melissa Myer heads up Yahoo and Indira Gandhi was Prime Minister of India in the 1980s. Julia Gillard even made it to the top in Australia for about five minutes so obviously there’s no problem with gender equality… I’m just going to leave you with my sarcasm and a big ‘pishposh’ for this one. And another sigh ... really?
The three arguments are: 1. But artists love what they do so money is not important. 2. But what about Pink/Picasso/Pacino? 3. But lawyers/doctors/accountants/professionals study for years so they deserve to be rewarded.
And then finally… If you study and work hard on your craft you deserve to be rewarded. This one is my favourite. As a person from a professional background I believe this. As a person with a creative passion, I still do. I was a HR Manager in my past life and I loved it. I was paid very well for my contribution to the business and at times I even thought that I made a difference in someone’s life. I studied for over eight years doing various degrees and worked for ten years before hitting a management position where I was paid over $100k per annum for the role. My eight and ten years overlapped so all up twelve years of very hard work. So yes, I think I deserved to be paid appropriately for the role and responsibility I took on.
Okay, let’s cover number 1. first. If you love what you do you shouldn’t be paid for your craft? Say what? I’m often left with my mouth open wide when I hear this statement. Essentially it’s saying that if you enjoy something then you should do it for the love of it. This can’t apply to creative people without it also applying to doctors, lawyers and culture coaches. I love my work and I also get paid really well for it. I would expect that many lawyers and doctors also love their work and we would never expect them to do it for free. Yet we consistently offer musicians ‘unpaid work’ that is ‘great exposure’. Get lost. If you want to utilise someone’s skills then in our economy a fair trade for their service is a fair day’s pay.
The thing is the twelve years is nothing when you compare it to that of the average musician. The average musician starts their learning experience as a child. They go to lessons, they spend their pocket money (and their parent’s money) on instruments, they
I once watched my partner and his band set up for a wedding. They got in at midday, carried in all their gear, set up the audio, tested everything to make sure it 17
dedicate their spare time to practicing their craft, and by the time most professionals are ready to enter University or the workforce to begin learning their craft, the musician has mastered theirs.
music teacher so has found a way of earning an income from his passion (he is involved in the development of SAMii, visit www.samii.com.au). So why is it that I studied and worked hard for twelve years and receive $100k per annum from society, yet he studied and worked hard for 25 years to receive $20k per annum if he’s lucky? This figure is the average amount earned by performing musicians in Australia when you remove the top 1% of them.
They don’t stop there. My partner joined his first performing band when he was 15. Playing in pubs as an under aged performer meant he had to be chaperoned by his Dad. Just imagine having to have your Dad at your apprenticeship? Now 20 years on, he works for hours on songs he already knows, to rehearse with the band before a gig, aiming always for excellence.
So the argument is that if you work for years and study for years on your craft you should be rewarded for that … couldn’t agree more. So there’s something holding back the income of musicians and artists. What’s going on? In the next blog I ask, ‘Do Artists value themselves enough to deserve to be paid more?’ ♫♫♫
He is a professional musician and he values his time and craft, therefore he charges more than the average musician, and yet if we were to try and live on his musical income…we’d starve. Thankfully he also is a
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SUMMER CONFERENCE 2018 Held: January 17/18, Seymour College Performing Arts Centre Theme: Teaching for Creative Outcomes Another wonderful Summer Conference has inspired all those who attended. Our President Rodney Smith said in his Welcome that ‘the main aim of MTASA’s 2018 Summer Conference is to pursue in depth one of the strongest bonds uniting our membership - our professional interest in the field of teaching and learning. A complementary aim is to involve as broad a spectrum of musical genres and instruments as possible in the presentations. Our theme “Teaching for Creative Outcomes” gives some cohesion to these aims, for without the benefit of musical creativity what worthwhile reason could our pupils have for putting in all their hard work?’
Gibson whose whole career has been dedicated to ensuring pupils can reap the rewards of musical perception and creativity. We also have what I think will be MTA’s first pop/rock/jazz conference master class under the energized and engaging David Hopgood and Creative Technology with one of the Elder Conservatorium’s most original artistic/technological minds Christian Haines’.
Great expectations
Mark Gibson
President Rodney Smith welcomes everyone ‘Our speakers reflect this broad approach. We have been fortunate in engaging the exceptional talents of Mark
Mark Gibson was the keynote speaker. He has a reputation as of one of Australia’s most outstanding music educators and fulfils a demanding schedule internationally as an examiner, composer, adjudicator, master teacher, workshop presenter and curriculum writer. His dedication and passion are the driving force behind Encore Music Education and Accent Publishing. Mark presented four sessions. 1. Rhythm, Pulse of the World The temporal aspect of music is fundamental to all styles, yet it often presents significant challenges to teachers and students. Counting may keep one in time, but a natural, innate sense of time and space comes from feeling the beat, moving to the rhythm and becoming part of the groove. This session explored the internalisation of key rhythmic structures through engaging
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musically and regularly with familiar patterns. This engagement is of most benefit when it involves learning through multiple intelligences. 2. Creative Outcomes versus Creative Teaching As teachers, we may choose to stay within defined boundaries or dare to extend both ourselves and our students by exploring new frontiers. It is like working with a score that has limited detail. The challenge is to move beyond the page and consider all the musical options and creative extensions. Spontaneous moments of musical creativity will occur if the teaching process is sufficiently creative. This session revealed how we can be more assured of creative outcomes for our students when we think beyond the page, and challenge ourselves to be more creative in our teaching. 3. Multi Sensory Learning Traditionally, the optimum age to commence learning a musical instrument was considered to be around the age of 7 or 8 years – when a student was capable of reading and writing their own language. The premise was that the language of music would be taught through reading musical signs and symbols; that is, reading from a score. This presentation considered the myriad ways that students are able to learn a musical instrument through multi sensory experiences, and can do so, from as early as 3 years of age. 4. The Creative Learning Environment We all experience environments where we feel comfortable and less comfortable. The examination room may be an example of the latter while a creative learning environment may represent the former. A creative learning environment may also be a state of mind, a way of thinking that produces greater clarity and focus, or result from associating with certain people. Mark’s final session considered all the permutations and benefits of a creative learning environment for both teachers and students.
Design by Sam and ANZCA and to peruse Gwenda Rees’ Music Collection, which is for sale.
Eugene Wei performing This was the main attraction!
David Hopgood David Hopgood is a respected drummer, percussion teacher and leader with the South Australian Department of Education and Child Development’s Instrumental Music team. He presented what is believed to be MTASA’s first pop/rock/jazz Masterclass. The participants were: Owen Selby (Saxophone), Tony Vacca: Fall 4 U Will Rana (drums), Soundgarden: Spoonman Salome Gerhard (Voice), Sam Smith: Too Good at goodbyes Hannah Helbig (Voice), Sara Bareilles: Brave It soon became evident that many of the considerations for performing classical music also apply to pop/rock/jazz.
Exhibits, networking and coffee
Ian Vayne gave a talk about the brain and education and the importance of music in the development of the brain. The primary purpose of the presentation was to clarify the evidence of what happens to a human biologically when they make music. Areas covered included IQ raising through increased neural network activity that occurs during music making, stress reduction, personal wellness and reducing mood disturbance through recreational music making and strategies for encouraging families to support daily music practice.
Where the coffee came from
Stephen Whittington
Looking down Council member Carly McDonald spoke about the Art of Listening, which was followed by performances given by some MTASA/AMEB Prize Winners: Pop reflections The lunch break on both days allowed attendees to network, enjoy the sandwiches, cheese and fresh fruit provided by Kay’s Kitchen and to visit the exhibits presented by Winston Music, Art
Cindy Shi (Piano), Mozart: Sonata in E flat major, 1st movement, Hyde: Concert waltz for left hand, Slonimsky: Cartoons Eugene Wei (Piano), Liszt: Legend No 2 St Francis of Paola walking on the waves Nicky Poznak (Piano), Debussy: Tocatta from Pour Le Piano
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The Advanced Classical Master Class was presented by Stephen Whittington, who is a composer, pianist, writer and music critic. He is head of Sonic Arts at the Elder Conservatorium of Music and teaches composition, music theory and sonic arts. The participants were: Cyrus Nuthakki (Piano), Bartok: Free Variations (Mikrokosmos Vol. VI. No. 140) Tim Tran (Viola), R. Schumann: Zart und mit ausdruck from the Fantasy. Accompanist: Cecilia Tran. Jasmine Pater (Piano), Poulenc: Novelette No.3 in E minor
Chris Buckley (Bassoon), Weber: Bassoon Concerto first movement. Accompanist: Larissa Schneider. Stephen asked each performer what they knew about the piece of music and encouraged them to delve further into the music to help with the interpretation.
Louise Borgo gave a talk about collaborations for music and drama teachers, and Julie Cranswick, State Manager AMEB spoke about recent developments.
Reception area Masterclass performers with Stephen Whittington Yong Cheong Lye compared the piano syllabuses of four examination boards: AMEB, ANZCA, ABRSM and Trinity. Barry Walmsley spoke about inspiring students with the new Trinity Piano syllabus by discovering less-known repertoire and gave a focus on technique and some teaching tips.
The secret IT discussion! Maureen Milton OAM gave a talk about Music Examinations, a fresh and modern approach: an introduction to ANZCA Music Examinations. She spoke about ANZCA Music Examinations and recent developments which include a Jazz Syllabus for Wind, Brass and Piano with eighty original pieces written by internationally acclaimed composer and educator, Christopher Norton. A new Performance Syllabus offering an alternative to traditional examinations where candidates are required to present four pieces only on examination day. ANZCA’s traditional Classical and Modern Syllabuses were also discussed. Emeritus Prof. David Lockett AM spoke about the AMEB’s new and very different Piano Syllabus, AMEB Speech Advisor
Ruth Bormann gave a presentation about Audition Techniques, indicating that there are many factors involved in teaching our students to perform at their best. What differentiates the winner of a scholarship or Eisteddfod from the other contestants? Students come to their teacher with different strengths and different needs. Ruth discussed a toolbox of skills to give students to help them prepare to compete. Some MTASA Council Members gave some contributions. David Metin spoke about Performance, Robert Brown gave a talk about Competitions, Scholarships, Eisteddfods and Performance Afternoons and the valuable opportunities and experiences they provide for music students, Pete Barter discussed MTASA Branding, and Samantha Penny outlined Tax Deductions for Music Teachers (see page 26).
Oration, which honours the memory of George Pearce (see page 22). David Lockett has pursued a multi-faceted career as pianist, teacher, adjudicator, examiner, researcher and administrator. His performances have included solo and ensemble concerts in four continents, recordings for CD, radio and television, and many première performances of new works by Australian composers. He has had an almost continuous association with the Elder Conservatorium of Music over more than fifty years, from enrolment as a twelve-year-old Single Study student to his appointment as Professor and Director. He was the first person to receive a Doctor of Music degree in the field of performance from the University of Adelaide and, upon his retirement from the full-time staff, he was awarded the title of Emeritus Professor. Rodney Smith, MTASA President, gave a presentation about Music Teachers’ Qualifications – past, present and future (see page 28). Following on from this Sue Fox, Manager, Registration, Teachers Registration Board of South Australia gave an explanation concerning how the Board currently applies the requirements for Registration and for the Special Authority to teach music.
Christian Haines
Emeritus Prof. David Lockett AM Emeritus Prof. David Lockett AM gave the Biennial George Pearce Memorial
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Christian Haines is a composer, improviser and practitioner working with sound and technology. He lectures in electronic music, sound design and music technology at the University of Adelaide and co-directs the Elder Conservatorium’s Electronic Music Unit. He presented the final session, The Sonic Arts and Creative Technology. He examined the broad field of sonic arts in the tertiary setting and objectives of courses and programs
within the creative technology space. Topics covered included learning and teaching methods areas specialisations such as sound engineering, sound design for games and film, interaction design, sound and music performance, computer music programming and theoretical
studies, and recent changes in the music technology and sonic arts field. The Conference Dinner was held at Nonna and I at Kensington Park on the evening of Wednesday January 17, and a convivial time was had by all in attendance.
Do come along to future MTASA Professional Development Days and Conferences to learn about the latest music teaching ideas, to network and to be inspired and stimulated.
GEORGE PEARCE MEMORIAL ORATION presented by Emeritus Prof. David Lockett AM at MTASA Summer Conference 2018 It is a real honour to be here this afternoon. I put a very high
programs and it is the private studios that have provided music
value on my involvement with the Music Teachers’ Association and admire their commitment to supporting the community of
graduates with a significant component of their career portfolios. But a number of questions have always worried me. What
music teachers in South Australia. I am also honoured to be
happens to all the pianists who graduate from our conservatoria?
associated with the name of George Pearce, who contributed so much to the Elder Conservatorium and to the lives and careers of
When a Year 12 student decides to study music at university, do they do so with a real passion for music and a feeling that they
his students. To the best of my recollection, I only ever met George Pearce once, and that was when, as a young teenager, I
must pursue it at all costs? Or do they drift into it because they have achieved better than average success at school or in AMEB
was auditioning for the inaugural William Silver Scholarship. George Pearce had been a student of William Silver and was a
exams, and consider music to represent the line of least resistance? Given the large number of piano graduates, why are
member of the adjudication panel. I was fortunate to win that
there so few really good accompanists who can be called upon to
scholarship, something that meant a great deal to me at the time. So there is, in that sense, a very tenuous connection between us.
work at the highest level, people who are excellent pianists but who also have the skills, the temperament and the desire to work
From what I know about him, our careers shared certain elements in common, most particularly a long association with
collaboratively with other musicians? How can we provide the very best opportunities for our most talented pianists at a time
the Conservatorium and the AMEB and a strong interest in the performance of chamber music. But I’m sorry to say that his long
when, in our universities, the funding level per student that is devoted to teaching is plummeting? I can’t deal with all these
list of sporting achievements is something that I cannot claim to
questions today, but they do all relate to the bigger issue of
share.
whether or not Adelaide has the ability to provide the sort of
When I was invited to present this talk, I accepted readily, but
musical education that is needed for our most gifted students to
thereafter struggled for some months pondering what line I might take. Eventually, I decided to share my thoughts on
succeed in a highly competitive profession. Everyone here who has ever taught piano, whether in a corner
something that has, for me, become a very thorny philosophical and practical issue concerning the education of pianists and of
of their living room, in a well-equipped studio or within the walls of a conservatorium, knows that all students come from different
musicians more generally. My thoughts have developed over
backgrounds, study for different reasons, possess differing levels
more than forty years, a period during which there have been constant and often tumultuous changes at all levels of education.
of natural aptitude, show varying levels of commitment and have different learning styles. Looking back on the students whom I
Some of these have been the result of government policy, while
have taught over the years, they tend to fall into distinct
others have stemmed from decisions taken by individual
categories. Some have come to the piano because their parents
institutions. Through all the changes that have taken place, it has
believed that it would encourage confidence and develop
been the private teaching profession that has been the engine room of pianistic education. It is the private studios that have
intellectual skills and emotional maturity that will have long term benefits in whatever career pathway they pursue. Wise parents,
nurtured the vast majority of students admitted to tertiary music
I would say. Others fit it in around soccer, rowing and extra maths
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coaching, wanting to achieve success but unwilling or unable to
morning I would catch a bus from Stirling to Adelaide, have a
put in the sustained effort to make it all happen. Some may have passed an audition for entry into the conservatorium. They may
piano lesson in a room that now forms part of the Elder Hall foyer and then take a theory class with Alison Holder, a lady who has a
or may not be talented; they may or may not have experienced genuine inner engagement with music; and they may or may not
very special place in my memory. I give this little biographical snapshot to make the point that
be willing learners. I have had a few students, mostly of more mature years, for whom music is a really central and essential
things have changed a great deal during the last fifty years, sometimes for the better, sometimes for the worse. I am
part of their lives. They do not necessarily play all that well, but
probably in a better position than most to provide a commentary
their engagement is total. The parents of one of my students started him on piano lessons because, when he was a very young
on the ups and downs of the Elder Conservatorium. I will refrain from doing so, at least for today. But I am grateful that I was in
child, they were worn out by his hyper-activity. They hoped that he might engage with the piano sufficiently to calm down and
my formative years at a time when the Con offered exceptional opportunities for pre-tertiary students. Elder Hall really buzzed
learn to focus and to concentrate. This boy turned out to be
on a Saturday morning. It was a big disappointment a few years
probably the most naturally talented and most technically brilliant student I have ever taught, one of the very few who I felt
ago when the Con wound down its single study and access programs. The view at the time was that they did not represent
had the capacity to pursue a truly successful career as a musician. You will all be able to reflect upon your own teaching practice
‘core business’. But unquestionably the Con was left the poorer for their absence, and it is to be hoped that they will be restored
and identify types similar to, or perhaps different from, those that I have briefly and arbitrarily described.
once more. When I commenced my music degree in 1968, I was one of an
I have always taken the view that, when it comes to working
intake of perhaps twenty-five students. We had about four hours
with a new student, it is my role to accept them as they are, and to find a way of leading them to the next level of achievement
of lectures a week. There were some great performers and teachers on staff and those of us taking the performance
and to the point where they can make a personal connection with music. It matters not a jot to me how advanced they are
specialisation were, in most respects, well served. But we had one music history lecturer who dictated his lecture notes and
technically or whether or not they have the capacity or the wish to pursue a career in music. All I ever ask of a student is the
expected us to write them down verbatim. He would repeat some of the more complex sentences (of which there were
desire to learn and a willingness to listen and to try things out. In
many) and perhaps spell the German words that he frequently
reflecting on the students who have contributed to my own richly rewarding teaching experience, I can, in many cases, recall the
used. Another lecturer would arrive with a pile of books under his arm and proceed to read from one and then another. That
precise moment at which the penny dropped for them: the point at which they discovered an inner response to music that they
style of teaching would never be accepted today. Most of the current non-performance courses at the Con are infinitely
had not hitherto experienced; the point at which they first fully
superior to anything we experienced in the 1960s and 70s. It is
engaged with the expressive and emotional aspects of music; often, I can remember the very work that stimulated such a
a pity that education has now become bureaucratised to the extent that is has, and that, in some quarters, on-line delivery is
remarkable transformation. This sort of ‘eureka moment’ is in no
thought to be an adequate, even desirable, substitute for face to
way restricted to the super talented; any student is capable of
face teaching. There is no doubt that technology offers many
experiencing it and, when it happens, there is nothing more
opportunities for education, and that music, like other
satisfying for a teacher.
disciplines, should embrace its potential benefits. But only to the
In terms of my own musical journey, the stars were favourably
extent that it improves the educational processes and outcomes,
aligned at the time of my birth. I had parents who, though money was tight, wanted the very best for their three children. I
and not to fulfil any ideological mission. There is one system-wide change that has posed huge
was started on piano lessons with a lady in her eighties – almost entirely blind but with an acute ear and the ability to draw the
challenges for conservatorium courses around Australia. As successive governments of both persuasions have demanded a
best out of me. After four years, she felt that I needed a different level of teaching, and she phoned Clemens Leske to see if he
continuous increase in student numbers, so the pressure has been on conservatoria to increase the size of their intakes. But
would be willing to audition me. It was then that I began my long
the pool of school leavers who are adequately equipped to study
association with the Elder Conservatorium, an association that has been almost unbroken, to this very day. Every Saturday
music at the tertiary level has not necessarily increased to the
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same extent, so it does not take much imagination to work out
all-round musical education.
what the impact has been on standards.
reasons, is no longer seen as being the most natural place for the most gifted young players to gather. Perhaps it is sufficient that
One way of dealing with this has been to offer new programs
But the Con, for a variety of
it simply provides a sound university level education for the majority. Perhaps it is not unreasonable to expect the truly gifted
that do not demand the same level of musical background and which are not so resource intensive as traditional performance-
to look elsewhere. But what does that say about our cultural values and our attitude to excellence?
based courses. This is not in itself a bad thing if it caters for a genuine community need and provides meaningful opportunities for a previously excluded group of students. But it
The University of Adelaide has, quite reasonably, positioned
does not alter the fact that, now more than ever, it is the quality of the educational outcomes that really counts. Those seeking a
itself as an elite research university and it is rising slowly but steadily in the international rankings. The Times Higher
musical career need to achieve two things. They need to be outstanding at what they do – whether it be playing the piano,
Education World University Rankings for 2018 were released recently. For each university assessed, there was an overall score
composing or producing a commercial recording. And they need
that determined their place in the rankings. This was in turn
to be versatile enough and adaptable enough to recognise and embrace the sometimes-unexpected opportunities that often
based upon scores in a number of categories: teaching, research, citations, industry income and international outlook. I found the
come along. That sometimes means stepping out of one’s comfort zone to tread new pathways and to tackle new
categories themselves to be both revealing and interesting, but some of the results even more so. The top ranked Australian
challenges. There are a number of those moments that have been critical in the development of my own career.
institution was the University of Melbourne, coming in at number 32 in the world. Its aggregate score was 77.5, compared with the top-ranking institution, the University of Oxford, at 94.3.
There is no doubt that there has been, in recent years, growing
Its highest rating was in International Outlook (92.7) and Citations (90.3). Teaching scored a relatively modest 64.9. The
pressure to move away from traditional, highly specialised conservatorium training, the type that produces excellent
University of Adelaide ranked 8 in Australia and 134 in the world, up from 142 in 2017. Its highest scores were in the same areas
executant musicians who might find their way into symphony orchestras, opera companies, chamber ensembles and major
as Melbourne’s: International Outlook (86.6) and Citations (85.3). These were very respectable results. Teaching was 35.9.
concert venues. The argument is that it is too expensive and does not lead to realistic or sustainable career outcomes. That is
By comparison, the highest-ranking institution for teaching was
a very easy shot to fire, though it is not entirely without its
the California Institute of Technology, with a teaching score of 90.3, an overall score of 93 and a world ranking of number 3.
validity. But if we accept that argument, it leaves us with a big problem, one with which I have had to wrestle with regard to some of my most gifted students. What do we do with those rare students who show extreme talent, and who have the capacity
An institution that positions itself as a world class research university makes a strategic decision that filters down to all
to rise well above the level of their peers? Such students, of
aspects of its operations, including academic and administrative
course, need great teachers. But they also need to be in an environment that not only recognises excellence but demands it.
organisation, resource allocation, staffing, curriculum design, course delivery and marketing. It is perfectly reasonable for a
They need to be surrounded by students who are at least as good
university to make its primary focus the conduct of world class
as they are, perhaps even better. They need to be constantly
research.
stimulated, inspired and extended. The last thing they need is to
tensions for teaching-intensive disciplines such as music. Such
be dragged down by a culture of mediocrity.
tensions are further exacerbated by what might be described as
My point is that this decision inevitably creates
the ‘massification’ of university education, which, as I noted
The pre-tertiary teenage years are the most critical ones for the
earlier, places a premium on student numbers, often at the expense of quality.
development of the technical skills and the disciplined mindset that are necessary to succeed as a professional musician. The trajectory needs to be set early and must be backed up by rigorous and comprehensive tertiary studies. Sadly, on the
Music courses have always been resource-intensive, especially with the amount of one to one instruction that is involved. Many
evidence of the last few years, I am not sure that Adelaide is able to support these very special students to the extent that it once
educators and administrators have tried to find effective, less costly alternatives but none has succeeded. Every great music
was. Yes, there are some very fine instrumental and vocal
school throughout the world has individual and small group
teachers and there are a few schools that seek to provide a good
instruction at its pedagogical core. So you can see the dilemma.
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If an institution declares research to be its chief priority, this
administrations have dealt with these and similar challenges.
must, of necessity, be reflected in its resource allocation. But where does that leave a discipline such as music? Certainly,
But for all that, the tertiary level represents only a very small, though critical, segment of what I see as the continuum of
research activity in music fits comfortably into that primary strategy, and the relatively recent inclusion of certain types of
musical experience. A little while ago, I described the private teaching profession as the ‘engine room of pianistic education’.
music performance within the definition of research was an extremely welcome development. But it still leaves the discipline
It is most often the private teachers who introduce young people to the mysteries, challenges and joys of musical experience. It is
in a precarious position when it comes to properly funding its
they who nurture and inspire. It is in the private studio where
teaching program. It may be possible to fit three hundred Psychology students into a lecture theatre and to stream the
many of our most talented pianists can be found: learning, practising and striving, not necessarily with any career ambitions
session to an adjoining space to cater for the overflow. There may be disciplines for which it makes sense to abandon lectures
but simply for the personal satisfaction that high achievement can bring.
altogether and simply make the course materials available on-
As private teachers, we can be extremely influential, setting off
line. But that approach to pedagogy is not going to help the violinist seeking to join an elite chamber orchestra, or the pianist
a chain of events that can transform lives. If little old Miss Finnis had not made that phone call to Clemens Leske all those years
seeking to establish a career as a collaborative artist. It is an area where one size definitely does not, and should not, fit all.
ago, if the Con had not offered a comprehensive program for pretertiary students, and if they had not been willing to allow a
There are no easy ways to resolve these tensions. If there were, they would have been found long ago. But it does bring us back
twelve-year-old to study with one of their best teachers, I would not be standing here today. George Pearce likewise must have
to some of the questions I raised earlier. How does an institution
set off a chain reaction in at least some of his students,
reconcile the demand for increased student numbers with the need to maintain standards? Is it possible to cater for both the
prompting a group of them to perpetuate his memory by establishing a prize in his name. Most of you will be able to think
majority and the elite? How does an aspirational research university develop its research profile, while at the same time
of similar figures in your past, people who encouraged or supported you, people perhaps whose influence became
ensuring the integrity and effectiveness of its teaching program? Our approach to these problems should not, in my view, seek to
apparent to you only in retrospect. I still do not have a definitive answer to the big question that I
achieve simply one outcome or another, simply so that boxes of
posed earlier: is Adelaide able to provide the sort of musical
a strategic plan can be ticked. That might suit the bureaucrat whose world centres around spread sheets and cost centres, but
education that is needed for our most gifted students to succeed in a highly competitive profession? Much will continue to
it does not suit the artist or the educator. Instead of either/or solutions, we should be seeking outcomes that achieve
depend upon what happens at the tertiary level, and how well the educational pathways are built and integrated. But
both/and. With the amount of intellectual firepower that exists
irrespective of that, it is the private teachers who will continue
within our universities, surely this not an unreasonable expectation.
to provide the education and experiences from which our most talented students will emerge. Whether or not these students
The issues that I have been talking about are not new and they
will need to leave Adelaide at a very young age, in order to gain
are by no means unique to Adelaide. I undertook not to provide
an education commensurate with their talent, is yet to be seen.
a commentary on the ups and downs of the Elder
I really do hope that we can find a way to keep them, to nurture them and to cherish them.
Conservatorium, but there is a sense in which the fortunes of the Con have been inextricably linked to the way successive
♫♫♫
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COMMON TAX DEDUCTIONS FOR MUSIC TEACHERS by Samantha Penny Deductions incurred in carrying on a business as a Music Teacher: Car Expenses
Generally use cents per kilometre method if claiming less than 5000 kilometres @ 66c per kilometre, or the log book method if claiming more than 5000 kilometres. For the log book method, keep records of all kilometres and car expenses for six weeks; work out the business percentage and pro rata across the full year.
Repairs and Maintenance
Instrumental repairs, servicing and piano tuning.
Consumables
Stationery, strings, rosin, valve oil, spare parts, etc.
Resources
Books, eBooks, sheet music downloads, audio downloads, software, subscriptions, small equipment purchases.
Equipment Purchases
May be written off as a full deduction OR may require depreciation at a rate determined by the Australian Tax Office, depending on the purchase price or market value.
Home Office
45c per hour. Add up your weekly hours spent teaching/administrating/preparing in your home office, multiply by weeks worked during the year.
Telephone/Internet
Estimate your business percentage.
Administrative Costs
Overheads, insurance, business registration, etc.
Deductions incurred in working to earn assessable income: Association Memberships
MTASA, AGSA, ANATS, AUSTA, FSSA, ASME, ADRS, ABODA, etc.
Business Parking
When you go to an alternative workplace, eg concert or exam venue, professional development venue.
Professional Development/Selfeducation
Costs incurred in professional learning or study that directly relate to your work, eg further university study, music teacher conferences and PD events, etc.
Cost of Managing Tax Affairs
Any photocopying, home office time (@ 45c per hour) and accountant/consultancy fees incurred in completing your tax return.
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Record Keeping Tips: Australian Tax Office requires you to keep all of your financial records for a period of seven years. Storing your receipts and records electronically is acceptable. I recommend scanning all of your paperwork and uploading to a cloud-based storage service such as Google Drive or Dropbox. For small sundry items, diary entries where you record your purchases of small items, ie under $10. Recurring items, eg subscriptions, giving can use bank statements to prove your expenditure, unless they total more than $500 pa, then you will need your official EOFY receipt. Online payments such as Paypal or Stripe will automatically e-mail you a receipt. Offline payments (Cash, Cheque, EFT). Any one of the following is acceptable: A receipt, a cheque butt, an invoice marked ‘paid’, a bank statement entry.
This list is not exhaustive; it just provides examples of common deductions available to you as a music teacher. If you would like further information on any of the points above, please consult ato.gov.au and search for your topic of interest. If you have any questions on any of the above points, please email me at mtasatreasurer@gmail.com and I will be happy to talk to you.
Disclaimer: This information is intended as a guide only. It is not intended to provide professional advice and should not be relied upon for tax, legal or accounting advice. The author does not provide legal, tax or accounting advice. Contact your personal tax consultant for further information. ♫♫♫
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MUSIC TEACHERS’ QUALIFICATIONS – PAST, PRESENT AND FUTURE by Rodney Smith Why is such a fuss made about music teachers’ qualifications? Where does MTASA stand in relation to the various arguments? Might things get better or worse?
guideline for applicants’ performance capability. Applicants’ record of pupil achievement in AMEB grade exams served to round out the requirements. No AMEB exams were available in jazz or popular music and so these sectors were generally unrecognized by the MTAs throughout the 20th century. Each state MTA had slightly different requirements.
Freelance workers require public confidence to succeed in their chosen field. How that confidence is sustained continues to be a subject of debate. The question of qualifications/fitness for work is at the root of the debate.
Efforts to reach agreement on a voluntary national membership standard for private music teachers were made during the 1970s. Two schemes, IMT and FAMTA, existed for some years. They eventually failed due to lack of robust funding and strong state MTA independence and antipathy to ‘any attempt at monopoly or tyranny’.
At the end of the nineteenth century private music teaching was one of the few socially acceptable occupations open to women. It was not unionized. It was freelance. Thérèse Radic relates that in Victoria during 1908 it was proposed to amend the Teachers’ and Schools’ Registration Act so that private music teachers should have to pass particular examinations at the University of Melbourne in order to teach. This was based on the model already in place for teachers in schools. The move was strongly resisted by private teachers who protested against ‘any attempt at monopoly or tyranny’. Their freelance status was threatened. The proposal was dropped.
Shifts in public musical tastes and the absorption of jazz, popular and ethnic musics into mainstream education – primary, secondary and tertiary – have impacted private music teaching in the 21st century. Moves to regulate the freelance basis of private teaching took hold more strongly this century with perceived need: 1. to regulate for child protection and Occupational Health and Safety. 2. to ensure private teachers working in schools adhere to school norms. 3. to ensure private teachers working in schools operate subject to union agreements on school use of such teachers.
In 1918 the AMEB issued its first manual of exams and the first Board met in Sydney in May 1918. A system became entrenched in private music teaching where pupils were examined by the AMEB (a legally constituted entity) but their teachers were not. Without uniformly recognized qualifications themselves, private teachers relied on AMEB examinations to give confidence to the general public that their teaching was being efficiently conducted.
To meet these challenges MTASA has recently adopted more focused membership requirements. MTASA has altered its full membership qualification requirements to mirror those of the TRB of SA Special Authority to Teach. This is set at AQF Level 6 (para professional) or 7 (professional) – a three-year undergraduate qualification. Studies in music teaching are required. The current TRB registration requirement for school teachers is an AQF Level 7 or 8 four-year undergraduate qualification.
Private Teachers’ freelance status had been maintained but was it at the expense of losing their ‘professionalism’? Generally the professions were and are regulated and moderated by statute. Such was the case with school teachers. The private teaching profession was and is not so regulated. MTASA was founded in 1930 and similar organisations had been or were about to be set up in other states around that time. Their aim was to look after the interests of private music teachers. Membership was voluntary, not mandatory.
To include musicians teaching without qualification (particularly in the jazz and popular genres) MTASA full membership may can be gained through RPL (recognition of prior learning/professional development and experience). Seven hours of professional development will now be required each year to retain MTASA full membership.
AMEB provided public diploma examinations in performance and these were gradually accepted as a 28
To assist in-service unqualified instrumental music teachers to meet TRB Special Authority to Teach requirements the University of Adelaide and DECD have provided a one-year part-time Graduate Certificate in Music Teaching program in recent years. This is a AQF Level 8 award. It will be offered for the last time from July 2018 to June 2019. It runs online and face-to-face only in vacation periods.
visualize SA returning to a point where professional qualifications will not be required for work in schools and by default in private studios. The public is demanding more transparency and competency than ever before in relation to teachers’ dealing with all pupils. Public confidence depends on teachers meeting approved codes of ethics and standards of teaching. These generally emanate from recognized qualifications.
Currently the status quo remains in schools around SA with schools employing unqualified instrumental teachers where principals can find no qualified alternative teacher. This applies particularly in country areas. In the Adelaide area such conditions are likely to decrease as increasing numbers of qualified teachers become available.
If you are planning to remain an active instrumental teacher in SA over the next five to ten years you should aim to become at least recognized by MTASA and the TRB with a Special Authority to Teach. ♫♫♫
Worldwide instrumental teachers operate on a freelance basis. It is difficult to envisage a fully regulated completely professional sector in Australia in the future. It is difficult to
HUMOUR A year or two after the film The Jazz Singer appeared its star Al Jolson was on stage in Memphis. There was a persistent heckler in the audience. Eventually Jolson called out, ‘Let’s do a double act? I’ll sing Swanee River and you can jump in it!’
I like Wagner’s music better than any other music. It is so loud that one can talk the whole time without people hearing what one says. That is a great advantage. Oscar Wilde.
The first thing to do on arriving at a symphony concert is to express the wish that the orchestra will play Beethoven’s Fifth. If your companion then says ‘Fifth what?’ you are safe for the rest of the evening. Donald Ogden Stewart.
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THOSE EXCUSES FOR NOT PRACTISING reported by Music Teachers on the internet. Water came into my kitchen and touched my book.
I couldn’t practise all week because I had to go out with my family on Monday.
We couldn’t find the piano... (Well! My house is usually pretty messy, but I’ve never actually lost the piano!)
I couldn’t practise because my mum was on the ‘phone (‘All week?!’). She was talking to friends in Denmark and had to listen carefully because Denmark is so far away, so I wasn’t allowed to play my saxophone. I couldn’t practice this week as I’ve got two new gerbils!! Teacher: Are they inside your saxophone? How about ‘My hands have grown since last week’ as an excuse for playing wrong notes?
We had to go to my neighbour’s dog’s birthday party!
I couldn’t practise because my Mum had a headache (an oldie!).
The cleaner tidied up my music and I can’t find it.
We’re having an extension and I can’t get to the piano.
A slug ate my homework! (The student actually brought in the evidence…)
I couldn’t practise because it was raining. Sorry? Well, I’m only allowed to play at the bottom of the field because otherwise it drives the dog mental.
The music teacher asked a pupil what made her do so much practice one week because normally she doesn’t do any. ‘I practiced because I was bored’. That didn’t fill the teacher with confidence! It is a shame that she isn’t ‘bored’ more often!!!!
We moved house and left my music behind.
Send in some of the excuses you’ve heard so they can be included in The Music Stand.
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CONTACT DETAILS FOR OTHER ORGANISATIONS 5MBS Visit: www.5mbs.com ABODA https://www.abodasa.com.au/ ABRSM International Representative – South Australia – Anastasia Chan Email: abrsmsa@hotmail.com Tel: 08-8234 5952/ 0423 282 589 http://au.abrsm.org/en/home ACCOMPANISTS’ GUILD of SA INC. Contacts: The President, Monika Laczofy, mlaczofy1@bigpond.com, mobile 0411 271 215 or the website www.accompanist.org.au
AMEB https://ameb.adelaide.edu.au/ Email: ameb@adelaide.edu.au
ELDER HALL www.elderhall.adelaide.edu.au or Contact: Elder Hall Concert Manager 8313 5925
ANATS SA & NT CHAPTER Email: anats.sa.nt@gmail.com Website: www.anats.org.au
FLUTE SOCIETY of SA INC. http://flutesocietyofsa.org MUSICA VIVA http://www.musicaviva.com.au/ for concert details.
ANZCA MUSIC EXAMINATIONS http://www.anzca.edu.au/ ASME http://www.asme.edu.au/ AUSTA, Australian Strings Association https://www.austa.asn.au/chapters/sa/
ADELAIDE BAROQUE www.adelaidebaroque.com.au
AUSTRALASIAN DOUBLE REED SOCIETY https://www.adrs.org.au/
ADELAIDE CHAMBER SINGERS www.adelaidechambersingers.com
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/ ADELAIDE YOUTH ORCHESTRA www.adyo.com.au
ELDER CONSERVATORIUM OF MUSIC www.music.adelaide.edu.au
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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 http://www.backstageinc.org.au/ PRIMARY SCHOOLS MUSIC FESTIVAL https://www.decd.sa.gov.au/teaching/projects-andprograms/music/school-music-programs/primaryschools-music-festival THE SOCIETY OF RECORDER PLAYERS SA INC. Society mobile number 0410 109 135, E-mail npope@bigpond.net.au SOUTH AUSTRALIAN BAND ASSOCIATION http://www.sabandassociation.org/ SOUTH AUSTRALIAN MUSIC CAMP ASSOCIATION INC., www.samusiccamp.net.au
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