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PRESIDENT’S WELCOME Why is there no national MTA body to give us a stronger collective voice? The answer is far too complex to canvass here, but members may be aware there are small but significant events from time to time that allow dialogue between all state MTAs. One such is the annual meeting of Presidents, which SA was pleased to host on July 15 this year. The daylong event has been taking place for some time and allows for face-toface informal networking and more formal discussion in meetings. While our MTA ranks fourth out of six in terms of membership numbers my impression is we are well placed in our use of digital media and our close ties with government and independent educational bodies. We are determined to build on these assets to gain further relevance and traction for members in the competitive environment surrounding private music teaching providers these days. To that end your Council will be holding a Development Day during October for Council members to explore in depth our Association’s vision for the future and recent track record. We are all too aware that the one thing of which we can be certain is change. In the meantime we look forward to our second Concert Performance Day on August 27, this time at Carclew, and we hope for another enormously successful Music Teachers’ Expo at Thebarton on September 24. We are fortunate to have a wonderfully dedicated and talented Council working hard for everyone, in which much responsibility rests for further improvements as we move into 2018. My very best wishes for a successful completion of this year’s teaching endeavours.
Rodney Smith, President
FROM THE TREASURER
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Sam Penny
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TABLE OF CONTENTS
“THE MUSIC STAND”
PRESIDENT’S WELCOME by Rodney Smith
The Newsletter of the Music Teachers’ Association of South Australia Incorporated
FROM THE TREASURER by Sam Penny
Print Post Pub. No 100003224
COMING MTASA EVENTS
VOLUME 25 NO 3 – Spring 2017
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MEMBER INFORMATION OTHER ORGANISATIONS’ NEWS OTHER ORGANISATIONS’ CONCERTS
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PEDAGOGY MATTERS by Rodney Smith
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PATRONS: Dr. Doreen Bridges AM Emeritus Professor David Lockett AM PRESIDENT:
Rodney Smith
VICE PRESIDENT:
Robert Brown
SECRETARY:
Masako Kondo
TREASURER:
Samantha Penny
ACCOMPANIST’S CORNER –
AUDITOR: Australian Independent Audit Services COUNCIL 2016/2017: Pete Barter, Robert Boundy, Robert Brown, Norma Knight, Masako Kondo, Monika Laczofy, Carly McDonald, David Metin, Samantha Penny, Rodney Smith, Betty Snowden, Hayley Wedding, Pat Wilson
EDITOR: Newsletter Layout:
Robert Brown Masako Kondo
MEMBERSHIP ENQUIRIES to the Secretary – PO BOX 4, RUNDLE MALL, ADELAIDE SA 5000 Mobile: 0402 575 219 E-mail: info@mtasa.com.au
ADVERTISING – Please contact the Secretary Please see MEMBER INFORMATION page for Advertising Price List.
CONTRIBUTIONS and DEADLINES for 2017/2018 Contributions to The Music Stand are most welcome. All items to be included must reach the Editor, Robert Brown (robbrown@adam.com.au) no later than these deadlines: Tuesday October 31; Wednesday January 31; Monday April 30, 2018, Monday July 16, 2018.
MTASA WEBSITE
GEOFFREY PARSONS: RENOWNED ACCOMPANIST! by Guy Noble
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LYNDALL HENDRICKSON AM TURNS 100
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IN MEMORIAM: STEVE GARIE, COMMUNITY PERFORMING ARTS ENTHUSIAST AND PROMOTER by Robert Brown
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LEARNING WITH THE ASO by Lisa Gill
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ADVICE FOR PIANISTS: PIANO LESSON MYTHS, PART 5 by Howard Richman
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MUSIC TEACHING AT PORT LINCOLN by Maurine Hopping
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ARE YOU A MUSICIAN OR ENTREPRENEUR? BOTH! by Pete Barter
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CONCERT PERFORMANCE DAY 1 by Dr Betty Snowden
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COMPETITIONS DAY by Pat. H. Wilson and Norma Knight
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CONTACT DETAILS FOR OTHER ORGANISATIONS
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Please visit http://www.mtasa.com.au/
MTASA FACEBOOK Please visit the MTASA Facebook page https://www.facebook.com/The-Music-TeachersAssociation-of-SA-Inc-883307955101655/.
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COMING MTASA EVENTS, 2017/2018 Sunday August 27
Concert Performance Day 2 Where: Carclew, 11 Jeffcott Street, North Adelaide Admission: gold coin Download the entry form at https://mtasa.com.au/events/ Sunday September 24
Music Educators’ Expo 2017 Venue: Thebarton Community Centre, Torrensville Book your ticket at https://www.eventbrite.com.au/e/2017-expofor-music-teachers-tickets-33847932076 Sunday October 22 On the evening of Thursday May 18 at Government House, the Governor, who is Patron, and Mrs Le hosted a reception for The Council of Education Associations of South Australia. President Rodney Smith, and our Student Council Member, Hayley Wedding, had the pleasure of attending and the opportunity to mingle with teachers across a series of Education Associations: they did us proud!
Spring Professional Development Day Where: Hartley Concert Room, The University of Adelaide. Fee: Member $85, Non-Member $105, Student $45 Topic: Human Learning in Music Presenters will include Alan Braley and Ian Vayne. January 17-18, 2018
Summer Conference Venue:
Seymour College, Glen Osmond
MEMBER INFORMATION MEMBERSHIP OF MTASA Visit http://mtasa.com.au/index.php/members/becomea-member/ to join the Music Teachers Association of South Australia Inc.
◆NEW AND LONG TERM 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. Enoch Ho
Full member
Alixe Dique
Associate member Friend member General member
Jude Williams Ken Cooke
Piano, Electronic Keyboard, Music Tech, Theory, Musicianship Singing, Theory
Commercial & Rock Guitar
THE PHOTO COMPETITION CONTINUES Musicians are artists and we know that a lot of you are keen photographers as well as fine music educators. We’re running a competition for the best artistic photo of music in action... because we want to feature our members’ photographic skills on the front cover of The Music Stand. Who can enter? Only members of MTASA. Entry is free. What’s the prize? Free membership of MTASA for one year! So get snapping!! Because it’s a competition, there have to be rules. Visit the MTASA website at www.mtasa.com.au (https://mtasa.com.au/music-in-action-photo-competition/), log into the members area (top right corner of the Home page) and then follow the prompts to submit your photo.
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PROPOSED CHANGES TO THE MTASA CONSTITUTION After the proposed changes to the MTASA Constitution were approved at a Special General Meeting on July 6, 2016 the President Rodney Smith said the Council would seek to have the Constitution reviewed by a lawyer for advice about any adjustments that are required to ensure that current legal requirements and legal language are used in the Constitution. Lawyer Margaret J. Minney LL.B. has reviewed the Constitution and has recommended some changes. The proposed changes are outlined in the members area on the MTASA website at https://mtasa.com.au (log in at the top right corner of the Home page). If you need a printed copy or to have a PDF e-mailed to you please contact the Secretary, Masako Kondo. A Special General Meeting will be held on Sunday September 24 following the Music Educators Expo at Torrensville Community Centre.
OTHER ORGANISATIONS’ NEWS ABRSM NEWS
Dorothy Blair Jillian Miller Lady Anne Miller Elizabeth Nichols
RECOMMENDED TEACHING FEES
The following teaching rates are recommended to members by the MTASA Council for 2017.
Last day of entry for Theory Exams on November 4 is November 4. Please send entries and direct enquiries to ABRSM local representative Anastasia Chan, 35 Henley Street, Mile End, SA 5031; 0423-282-589 or 8234-5952, e-mail abrsmsa@hotmail.com, website www.abrsm.org/. Entry forms available booking/download-entry-forms/.
The following members are acknowledged for being members for 50 or more years:
from
http://au.abrsm.org/en/exam-
Free Music Theory resources now available at http://au.abrsm.org/en/about-abrsm/news-articles-and-comment/latestnews/article/free-music-theory-resources-now-available/855/. The ABRSM magazine Libretto contains news and syllabus updates together with articles on a broad range of music education topics. All issues of Libretto, current and past, are available to download from http://au.abrsm.org/en/about-abrsm/news-articles-and-comment/librettoabrsms-magazine/. For the Guide ‘These Music Exams’ download as a PDF from http://www.abrsm.org/resources/theseMusicExams0607.pdf.
Full Member General Member Associate Member Student Member
$70 per hour $70 per hour $60 per hour $45 per hour
MTASA MEMBERSHIP CATEGORIES AND FEES Full Member General Member Associate Member Student Member Friend Member Institution Member
$105 $105 $100 $52 $30 $30
MTASA MEMBERSHIP SUBSCRIPTION RENEWAL 2017
ARSM (Associate of the Royal Schools of Music) is a new post Grade 8 performance-only diploma. It’s an opportunity for your students to demonstrate performance skills after Grade 8. Find out more at http://au.abrsm.org/en/our-exams/diplomas/music-performance/arsmassociate-of-the-royal-schools-of-music/.
Most membership subscriptions were due on June 30, 2017. Subscription renewal notices were sent out in June via e-mail, with a link provided to instantly update your membership online. Both on and offline payment options are available by following the link. Please pay your subscription promptly. 7
EMAIL ADDRESSES
MTASA would like to update all members’ email addresses. Please send to the Secretary at info@mtasa.com.au.
NOTICE TO STUDENT MEMBERS
Have you fulfilled the requirements for Associate or Full Membership? Student members are reminded that Student membership is restricted to four years after which time it is expected that they would be eligible for another membership category. Student members who are ready to upgrade their membership are invited to submit an application form to the Secretary together with the required supporting documents. Criteria can be downloaded from the MTASA website (www.mtasa.com.au) or obtained from the Secretary.
ACCREDITATION
Members are invited to seek accreditation by obtaining applications forms from the MTASA Secretary and submitting them to the Music Teachers’ Association of New South Wales. Visit http://www.musicnsw.com.au/teachers/accredi tation/ for more information. Upon gaining accreditation members are then requested to advise the MTASA Secretary if they wish to have this qualification entered either on our website or in ‘The Directory of Teachers of Music’. This information cannot be supplied by the Music Teachers’ Association of New South Wales due to privacy laws.
METROPOLITAN MALE CHOIR ANNUAL MUSIC SCHOLARSHIP FOR 2018
The Metropolitan Male Choir of SA Inc. invites applications for the Annual Music Scholarship. Valued at $2,000, the scholarship is open to young musicians with proven musical ability and a strong desire to continue their musical development. A second prize of $1,000 may be awarded on the recommendation of the adjudicating panel. 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. Applicants must be aged between 12 and 16 years as at January 1, 2017. Enquiries: Bill Scott, Ph. 8227-0472, e-mail bandliscott@gmail.com, or Geoff Sieben, Ph. 8242-7333, e-mail geoff@sieben.com.au, or visit the website at www.mmcsa.org. Entries close on Saturday, September 2, and the auditions will be held on Saturday, September 23.
OTHER ORGANISATIONS’ CONCERTS RECITALS AUSTRALIA WEDNESDAY LUNCH HOUR CONCERTS 2017 Where: Pilgrim Church, 12 Flinders Street, Adelaide, When: at 12-10 pm and 1-10 pm. Adults: $5. Tickets at the door. Enquiries: Ph. 8266-4936. Also 2017 Virtuoso Series Visit http://www.recitalsaustralia.org.au/ for more information.
ELDER HALL CONCERTS 2017 Lunch Hour Concert Series, 1-10 pm General admission: $12. Gold Pass Subscriptions available. Evening Concert Series Ticket Prices: $30 Adult; $24 Concession; $19.50 Student. Visit www.elderhall.adelaide.edu.au for more information.
MITCHAM ORCHESTRA When: Where: Conductor: Admission:
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Sunday October 22, 2-00 pm Westbourne Park Memorial Hall 390 Goodwood Road, Cumberland Park Tully Brookes. $12, Family $20 (2 Adults, 2 Children), at the door.
ADELAIDE EISTEDDFOD PROGRAMME FOR 2017
DIRECTORY OF TEACHERS OF MUSIC
General admission for sessions: $8, Adelaide Eisteddfod Members and Children 12 years and under free
The Music Teachers’ Association of South Australia Incorporated
PIANO DIVISION Adjudicators: Roseanne Hammer and Teresa Lavers When: Saturday August 19th, 9-30 am When: Thursday August 24th, 1-00 pm When: Friday August 25th, 9-30 am When: Saturday August 26th, 9-30 am Venue: Salvation Army Citadel, 55 George Street, Norwood When: Sunday August 27th, 9-30 am Venue: Scotch College, Drawing Room, Carruth Road, Torrens Park
ADELAIDE EISTEDDFOD CONCERTO Adjudicator: Anna Goldsworthy Heat: Tuesday August 22nd, 7-30 pm Final: Tuesday August 29th, 7-30 pm Venue: Salvation Army Citadel, 55 George Street, Norwood
VOCAL DIVISION Adjudicator: Keith Hempton When: Tuesday September 5th, 10-00 am to 8-30 pm When: Wednesday September 6th, 12-30 pm to 5-00 pm When: Thursday September 7th, 1-00 pm to 8-15 pm When: Saturday September 9th, 1-00 pm, Australian Song; 2-00 pm,
Friends of the State Opera Dawn Wallace Award Heat Venue: When:
Salvation Army Citadel, 55 George Street, Norwood Sunday September 10th,
Friends of the State Opera Dawn Wallace Award Final Venue:
Flinders Street Baptist Church, 65 Flinders Street, Adelaide, 7-30 pm Admission: Adult $10; Senior/Fulltime student $8; Member $5 (2 tickets per member), Children under 12 free
ADELAIDE EISTEDDFOD SPECIAL AWARD WINNERS CONCERT When: Where: Admission:
Monday, September 25, 7-30 pm Salvation Army Citadel, 55 George Street, Norwood Adult $10, Seniors/Student $8, Children under 16 free
THE DIRECTORY OF TEACHERS OF MUSIC
43rd EDITION 2017 FREE TRB: Registered teacher with the TRB, SAT: Special Authority for un unregistered person to teach Instruments as an Instrumental Music Teacher(TRB) DCSI: National Police Clearance, RAN: Reporting Abuse and Neglect Training certificate For instruments code, refer to page xx
The 43rd Edition of ‘The Directory of Teachers of Music’ produced by the Association has been distributed to music stores throughout Adelaide, and is available to students/parents who are seeking a teacher. The 44th Edition will be issued towards the end of 2017. Production of ‘The Directory of Teachers of Music’ is made possible by the businesses and associations who have placed advertisements. Members are asked to check their entry in the ‘The Directory of Teachers of Music’ and to advise Masako Kondo (info@mtasa.com.au) of any updates or errors.
ADVERTISING PRICE LIST FOR THE MUSIC STAND, 2017 A4 size page
(210 mm X 297 mm) Full Page Half Page Third Page Quarter Page
Sixth Page
Per issue
For 4 issues
Colour
B/W
Colour
B/W
$250 $125 $83 $63 $42
$200 $100 $67 $50 $33
$800 $400 $267 $200 $133
$640 $320 $213 $160 $107
INSERTION FEE FOR POSTERS AND FLYERS
One issue $100. Four issues $360. Advertisers have two choices: 1.to provide the inserts, 2. To provide the artwork, MTASA will arrange the printing and invoice for this.
Members placing an ad are entitled to a 15% discount.
YOUNG VIRTUOSO SA FINAL 2017 (previously MBS Young Performer) Adjudicators: When: Where: Admission:
Monika Laczofy and Pat Wilson Sunday, October 15, 2-30 pm St John’s Anglican Church, 379 Halifax Street, Adelaide Adult $15, 5MBS Member/Student $5
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CLASSIFIED AD MTA Members, free. Non-members, $15. Please contact the Secretary about advertising. Mobile: 0402 575 219 E-mail: info@matsa.com.au
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PEDAGOGY MATTERS by Rodney Smith Members will recall that the name of our biennial Summer School was altered to Summer Conference in 2016. This was to reflect a change in emphasis from ‘information given’ to ‘ideas shared’ with greater participation from members themselves. We are hoping to continue this trend in our January 2018 Summer Conference and I am therefore inviting members to send in a proposal for a short paper, presentation or workshop on a topic of their choice that they would be willing to give during the conference. The timeframe would be flexible, from 15 minutes to something rather more expansive. It is likely the conference theme will centre around teaching for improved outcomes. We are aware there is a great deal of musical and educational talent within our ranks, some of it far too hidden. We’d be happy to assist if you haven’t presented before but have a topic of interest and would like some initial help. Do please e-mail me via our Secretary if you have any questions you wish to discuss. Alternatively there is a website form to be completed if your topic is already more developed.
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ACCOMPANIST’S CORNER GEOFFREY PARSONS: RENOWNED ACCOMPANIST! by Guy Noble I first met Geoffrey Parsons in 1984 when I went as pianist with the Australian Youth Orchestra to the Proms in London. On the program was Stravinsky’s Petrouchka with its nasty technical and exposed solo piano moments. At the reception afterwards Geoffrey arrived with a cassette tape of our performance, recorded at home from BBC Radio 3. He presented it to me, said some lovely things about my playing and mentioned that if I ever wanted to return to study in the UK, to look him up, and that is exactly what I did three years later.
Geoffrey Parsons I was in and around Geoffrey’s orbit for about four years. I choose that word carefully, because he was a big musical planet, and I felt like a very small satellite. His piano playing was exceptional. I used to wonder if a different pianist could really get different sounds out of a piano and he proved it. His tone was rich and deep, his favourite chord to play to warm up and get the feel of a piano was a low D flat major, he would put his hands on the keyboard and sink into the sound. He once told me that his technique changed entirely when his dog Victoria put her
paw on his hand and pulled down as a reminder for dinner. Something about her pressure on his wrist made him aware that he had a lot of upwards tension, and from then on he changed his technique and sank into the keys rather than dancing awkwardly on top. His technique was formidable. He was never particularly comfortable playing solo concerti, but he could have if he wanted. In all the concerts I heard him play, I only ever heard him make one mistake, and funnily enough that was when we were playing four hands piano together in the Brahms Liebeslieder in the Sydney Town Hall. I am sure it was just because I got in the way, and was quite happy for everyone to think it was me who played a bum note. Geoffrey’s personality was absolutely suited to the role of an accompanist. He was gracious, going with the singer’s performance, but also no shrinking violet, he supported the singer with an almost orchestral sound. He worked with all the major singers of his day - Elizabeth Schwarzkopf, Victoria de los Angeles, Jessye Norman, Thomas Allen, Olaf Bär, and most notably Janet Baker. In the final few months of my time in the UK I made a radio documentary about him and interviewed some of these singers to find out why Geoffrey was the go-to accompanist of his day. Janet Baker put it most eloquently - she said working with him was like ‘coming home’. He knew what she was going to do before she even knew it herself. I had many lessons with Geoffrey where I would play and he would listen, but the most illuminating experiences I had were page turning for him in recitals at Wigmore Hall in London or even on
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the stage of the Royal Opera House. Sitting so close to the action and watching and listening to what he did was magical. He said the most important thing for a Lieder accompanist is to know what on earth the song is about, because the accompaniment is the emotional soundtrack. He also said once that he would NEVER ever let a singer know he was nervous about a performance; his role was emotional and musical support, however jittery he might have been on the inside. He had a wicked sense of humour and used to dissolve into fits of giggles. He also loved food with a passion, and would return from concerts in Europe with a massive chunk of parmigiano or some superb smoky Speck. Although I mostly conduct orchestras these days, there are times when I find myself sitting on the stage of the Joan Sutherland Theatre at the Sydney Opera House, accompanying and hosting Great Opera Hits for Opera Australia, and I still judge everything I am playing by Geoffrey’s standards, some 22 years after his death. He had a huge effect on my development as a musician and as a person, and I still wish I could drop in to his old house at 176 Iverson Road in West Hampstead and hear the booming sound of his laughter.
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Guy Noble
LYNDALL HENDRICKSON AM TURNS 100 Renowned violinist and teacher Lyndall Hendrickson AM celebrated her 100th birthday on May 16. A child prodigy, she started learning the violin at the age of six. At 14, she won a scholarship to the Elder Conservatorium and in her teens performed for the ABC. Her musical career included performances under the batons of Sir Malcolm Sargent, Sir Thomas Beecham and Sir Bernard Heinze. An inspirational teacher and mentor, international violinists Jane Peters and Adele Anthony are among her many students. Lyndall Hendrickson has received acclaim for her teaching methods and achieved success with very gifted children and those with severe autism. She has researched psycholinguistics and presented papers at scientific conferences throughout the world. She was awarded the Don Banks Music Award in 2002 and in the 2004 Queen’s Birthday Honours she received the Member of the Order of Australia (AM) ‘For service to music and to children with autism through creating music and sound programs for speech development’.
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Lyndall Hendrickson AM
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Steve Garie
IN MEMORIAM: STEVE GARIE, COMMUNITY PERFORMING ARTS ENTHUSIAST AND PROMOTER by Robert Brown Every so often someone comes along with a vision to make the world a better, more wonderful and worthwhile place that provides opportunities for everyone. Steve Garie was such a person and he also had the enthusiasm, drive, energy and people skills to make his visions a reality. Steve was born on October 6, 1941; his parents were James and Jean Garie. He went to Norwood High School and then studied Emerging Technologies at the PMG Training School in Pirie Street, Adelaide. He worked for 46 years as an Exchange Installation Technician for the PMG, which became Telecom and eventually Telstra. In 1960 he met Barbara at a dance at Glenelg. They were married and have two daughters, Sharon and Susan. Steve started his musical life as a trumpet player in the Campbelltown City Band. After becoming involved with community orchestras he began to play the French horn. His music
teachers were Barry Sadler and Tom Lambert MVO. The list of Steve’s ‘musical adventures’ is impressive: 1964-1976 Campbelltown City Band, Secretary; 1976-1990 Kensington and Norwood City Band, Secretary; 1971 onwards, Adelaide Village Band, Leader; 19911997 South West Orchestra; 19972009 Mitcham Orchestra, President; 1998 onwards ARPA Orchestra, Secretary; 2002-2013 Adelaide Festival Centre, Tour Guide; 20052010 Adelaide Eisteddfod Society, Brass Convenor; 2005 onwards Adelaide Eisteddfod Society, Webmaster and Website Host; 2006 ARPA 25th Anniversary Festival, Director; 2011 ARPA 30th Birthday Celebration, Organiser; and 2011 International Volunteers Day Celebration. But Steve wasn’t just a participant; he was also a guiding light who helped these organisations provide opportunities for participation,
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development and achievement by being well managed through his involvement as an office bearer or committee member. Steve’s vision extended much further: he wanted to ensure that everyone knew about and could be involved in community arts. This included bands, choirs, orchestras, ensembles, exhibitions, community events and more. Using his computing skills Steve established the SA Community Entertainment Website (www.sacomment.com) on May 5, 2001, which he used to promote coming events, listed numerous community arts groups, music resources and vacancies in choirs, bands and orchestras. Steve explained, ‘This unique, unfunded, FREE web site endeavours to present correct information and balanced opinion relying on information being submitted in good faith. The focus is Community Bands, Choirs and Orchestras and the multitude of small Groups providing entertainment, often
high quality but low costs and invariably you may know persons involved’. The domain name was registered on July 17, 2009. Steve converted the website to WordPress on July 27, 2016 so it was accessible to more electronic devices. The website also included wise advice about how to invest for retirement, how to have a trouble free overseas holiday (Steve and Barbara regularly travelled overseas), computer information and more. He also used the website for promoting reunions and included his family tree. Steve generously offered to create and host a website for any arts organisation that didn’t have one. Publicity for concerts by arts and educational organisations was important for Steve. The website says that ‘COMING EVENTS are listed as received and MONTHLY EVENT lists are emailed to the MEDIA and interested persons’. This was to ensure that performers and artists would have an audience for their events. He maintained a monthly calendar on the website for community concerts and educational events. Steve organised seven different events for Out Of The Square (OOTS), a network of suburban arts centres outside Adelaide’s CBD where in a given week 5 or 6 performances are presented at different theatres by the
same group of performers. OOTS is supported by the Cities of Tea Tree Gully, Playford, Marion, Onkaparinga and Prospect, the Rural City of Murray Bridge and the Parks Community Theatre. OOTS events organised by Steve were: September 2005 ARPA Orchestra; October 2007 Top Adelaide Eisteddfod Talents with accompanist Alexander Hanysz; May 2008 ARPA Orchestra presenting ‘We Love an Orchestra’; August 2009 Adelaide Village Band and Grace Bawden; January 2012 ARPA Orchestra presenting ‘Summer Symphonies’; December 2012 Adelaide Village Band and Phyl Skinner; October 2014 ARPA Orchestra presenting ‘From The Stage, Music and Images’; and November 2015 André Rieu Tribute Show with Adelaide Village Band and Adelaide Allsorts. In 2015, as another Steve Garie initiative, S.A. Community Bands, Choirs and Orchestras were asked to participate in the S.A. Community Music Festival, which was a profitshare venture to raise the profile of Community Music Groups using varied, low cost, quality performances and widespread co-operative publicity by all the groups participating. The venue was the Cumberland Park Community Centre and the event presented ‘sixteen different entertaining shows given by 20 community groups involving over 500
In Memoriam
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musicians’. Front-of-House involved ‘setting up and clearing down, selling tickets, ushering and serving free tea and coffee’, these being ‘critical elements’ in presenting a successful show. Held in October and November, the Festival won the City of Mitcham Community Event of the Year Award which was presented on Australia Day 2016 at Carrick Hill by His Excellency Hieu Van Le AC, Governor of South Australia, to the sponsor and organiser, the ARPA Orchestra. Steve Garie died on May 29, 2017 from cancer. A friendly and talented man who was always very cooperative and helpful he will be remembered for his many community contributions. It is hoped to keep the SA Community Entertainment Website going in some way, which is what Steve intended. Mike Kenny, conductor of the Mitcham Orchestra for 25 years, wrote that ‘Steve put in boundless enthusiasm and hard work for community music in this town. He will be missed by all who knew and worked with him’. The Kidson family’s tribute in The Advertiser says ‘Gentleman, musician, technician, traveller and wine buff. Your friendship was highly regarded by all’. Farewell Steve ... and thank you.
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LEARNING WITH THE ASO by Lisa Gill As a born Adelaidean, I feel both proud and privileged to have been a full-time member of the Adelaide Symphony Orchestra for the last 15 years. After completing my tertiary studies at Flinders Street School of Music (plus one Honours year at the Con.) I spent a couple of years as an instrumental teacher at several Adelaide schools. I then followed in my teacher’s footsteps in 2002 when I was appointed as Second Flute of the ASO. I am extremely grateful to my teacher, Elizabeth Koch AM. Not only did the job vacancy come at the perfect time for me, but Liz was able to train me in the specific style of orchestral playing and through her guidance and encouragement I was also fortunate to be employed, on a casual basis, with the ASO fairly regularly from 1997. My career with the ASO so far has included many highlights. I have enjoyed some wonderful tours to Kuala Lumpur and both LA and New York when the orchestra performed in Carnegie Hall as part of the G’day USA event. Of course, regional touring, while not quite as glamorous, is also lots of fun and it’s rewarding bringing your craft to South Australians in all areas. Concert highlights include performing the Alto Flute part of Stravinsky’s Rite of Spring with Yan Pascal Tortelier; all of the Mahler Symphonies under the direction of the ASO’s previous chief conductor, Arvo Volmer; and performing Wagner’s Ring Cycle twice. Working with comedian/musician Tim Minchin was an absolute riot and I’ve also loved the challenging but rewarding experience
of playing Prokofiev’s stunning music to the ballets, Romeo and Juliet and Cinderella. I’ve worked with many fantastic conductors but was deeply saddened to learn recently of Sir Jeffrey Tate’s passing. He was such an inspiring and humble person and it was an absolute honour working under this world-class musician. Certainly, my favourite conductor to date… The ASO’s 2017 Season is incredibly varied and provides concerts to suit all tastes. This year we offer 9 concerts in our Masters Series plus a Great Classics, Showcase, Classics Unwrapped, Mozart at Elder and Gigs at Grainger series. On top of all of this, we also perform in collaboration with the State Opera of SA and The Australian Ballet and deliver our everexpanding Learning Program. The ASO Learning Program’s goal is to inspire and educate the entire community of SA including students of all ages, teachers and community musicians, through live music presented in a variety of formats. We have recently held our third Festival of Learning (a week jam-packed with educational performances) led by internationally acclaimed composer and educator, Paul Rissmann. Paul’s expertise in this field is astonishing and he truly understands how to connect in the most effective way with students. A feature of his presentations is his use of visual examples and images which enhance the student’s learning. The Learning Program offers both excursions and incursions for school students and a program entitled ASO
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Lisa Gill
Jams enables parents the chance to expose their children to the world of live music in a fun, participatory session. Music students are able to participate in the Big Rehearsal events by sitting alongside an ASO musician during rehearsal and an informal performance. There are also opportunities to observe certain ASO rehearsals and a program called Professional Pathways for those young musicians that are interested in pursuing a career in the performing arts. Applications for the 2018 Professional Pathways program are due to open in October. Teachers are certainly not neglected either with four Professional Development sessions scheduled this year and the Come and Play event, where adult community musicians have the opportunity to experience playing in a symphony orchestra. So, with all of this on offer, I encourage you to familiarise yourselves with what the ASO has designed, for both you and your students, and I hope to see you at an ASO event soon!!
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ADVICE FOR PIANISTS: PIANO LESSON MYTHS, PART 5 by Howard Richman
Howard B. Richman is a pianist, composer, songwriter, teacher and author. Mr. Richman’s formal training is in music. He received a B.A. degree in piano performance from UCLA in 1980 and an M.F.A. (Master Fine Arts) degree from California Institute of the Arts in 1984, where he also taught on the faculty for three years. Mr. Richman was selected to be a participant in the very first film scoring workshop with Earle Hagen in 1986, sponsored by BMI. He is President of Sound Feelings Publishing (http://www.soundfeelings.com).
‘I could never be a great pianist if I don’t have long, slender fingers’. Reality: Great pianists come in all shapes and sizes. There is no preference for long slender fingers. In fact, if there were a preference, it would be tapered fingers. These are fingers that are thick and muscular at the point where they connect to the hand, but become thinner towards the tips. This allows the fingers to have strength yet can also easily fit between the black notes, when necessary. In fact, comments I’ve often heard from people who have the fabled long, slender fingers are that they make MORE mistakes, their fingers get ‘tied up in knots’, and that they are more prone to carpal tunnel injury! ‘Improvisation is something I will only be able to do in the future, after I understand theory better’.
Reality: Start now. Don’t be limited by what is normally thought of as ‘jazz improvisation’. This type of improvisation is what I call ‘mental improvisation’. In order to do this type of improvisation, you must use your mind to be aware of chord changes and understand various scales and notes that correspond to the current chord. But there are other types of improvisation. There is ‘emotional improvisation’ and ‘spiritual improvisation’. Emotional improvisation is when you express your emotions through music. Spiritual improvisation is when you are tuning-in to something bigger than you (‘channelling’). Ironically, in order to do either of these two other types of improvisation you must turn OFF your mind. Therefore they are NOT mental. I find that it is valuable to allow yourself to develop these alternative methods of self-expression concurrently (while) you are studying theory. This is because they will create an intimacy or connection to the keyboard that you ultimately will want. For example, if you studied theory for eight years, you might STILL feel a veil between your fingers and the keyboard. Knowing theory alone will not make you a better improviser. You also need courage, spontaneity and freedom to express what you hear in your head instantly. How will you develop this intimacy with the piano? Playing your feelings and tuning-in to something bigger than you, without judgment, a little bit every day, is a wonderful way to develop this comfort level. Eventually, when you do know all the theory you desire, your fingers will be at liberty to execute every musical whim. ‘When initially learning piano, it is good training to “lift the fingers high with precision” ’. Reality: This dictum from the Hanon finger exercise books and other old-
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fashioned technique carry-overs causes more problems than anything else. When you train the fingers to rise higher than necessary, you are training them to travel a greater distance than necessary. The key depth is approximately 3/8ths of an inch. If you could let the finger tips rest on the tops of the keys themselves, the only distance required for each finger to travel is 3/8ths of an inch! But many people are misguided into raising their fingers high with each key stroke, so they are compelled to make each finger travel up to THREE and 3/8ths of an inch! This seriously slows down your potential speed and creates much more tension in the playing than necessary. ‘My practice session should always begin with finger drills to warm up the hands’. Reality: Start your practice session with the most difficult activity, while your mind is freshest. Generally, the most mentally taxing aspect of studying piano is learning new repertoire. The assumption that we need to warm up the hands before we work on our pieces is truly misguided. When you first sit at the piano, you are the most alert. It therefore would be more efficient to do the most difficult thing (which is usually learning new notes of a new section of a piece) when you are the freshest mentally. When you become fatigued mentally, say after 20 to 30 minutes, THEN do some finger technique. Then come back and work some more on repertoire. This way, when your mind is tired, you can work your fingers. When your fingers become tired, you can work your mind. This constant alternation of activities when practicing is highly efficient, prevents boredom and enhances the ‘layering’ effect of repetition that is needed to excel both at technique and learning repertoire at maximum speed.
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MUSIC TEACHING AT PORT LINCOLN by Maurine Hopping, A.Mus., Cert.Ins.Mus., S.M.I.M.T. Piano, Classical, Folk Guitar, Recorder, Singing and Theory of Music. www.maurinesmusic.com Kindy Music Movement sessions are held at Park Terrace and Bishop Street Kindergartens. Similar programs for pre-school children are provided at Kiddywinks, Toybox and Poonindie Early Childhood Centre. Each week I use the program from CDs of Encore music by Mark Gibson from the Education Department of Queensland. Children learn together about counting and using physical actions with songs and dance.
Photos: Some of Maurine’s students
Maurine Hopping Port Lincoln has a wonderful team of music teachers based in the Department for Education and Child Development (DECD) schools, the private schools Navigator College and St Joseph School, and also Maurine’s Music Room, where students come from St Joseph’s School, Port Lincoln Primary School, Poonindie Early Learning Centre, Cummins Area School and Junior Primary School, and Music Movement. I am a private music instructor registered to teach in DECD schools. Initially students learn by having fun. Eventually some begin to study seriously for AMEB examinations and finally their goal is to gain the completion of 5th grade towards their SACE Board of South Australia Stage 1 credits. Congratulations to all the pianoforte students who worked hard and were successful in the recent AMEB exams. A note of appreciation and thanks is extended to all the families for the support and encouragement given throughout the examination training.
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In 1985 I had my first experience with the Kodaly School in Estergon, Hungary and this continues annually. The International Kodaly Society (I.K.S) has provided an opportunity to study with some of the best teachers in Europe. My personal overseas study program in 2017 includes the 29th International Kodály Seminar (http://www.kodaly.hu/) in Hungary, Verbier Festival and Academy in Switzerland (www.verbierfestival.com/academy), Schleswig-Holstein Musik Festival in Lubeck, Germany (www.shmf.de/en/masterclass2017) and the International Summer Academy 2017 in Salzburg, Austria with Prof. Dmitri Bashkirov, a Russian pianist and educator (http://www.summeracademymozarteu m.at/).
Testimonials from Parents Parent: Tracey McNamara - Student: Maya Radford For the last 4 years my daughter has been learning the piano, she was 6 when she started. It was a rather naïve decision on my part, but I value music education and that is something I wish to hand to my children. The lessons are the reality of learning tangled with hard work, discipline and practice. My daughter has had her days when the TV is preferable. I see in her an enjoyment and satisfaction that drives her curiosity and desire now to play music. Together we have made a commitment to make music a part of our daily routine and to watch her learn and discover a new song is a reward itself.
mainly because he wanted to, enjoyed it and kept at it. Eric was also very good in my opinion at learning music. Learning from the same teacher he has been improving every year and gaining great results from AMEB music exams. Thank you to Maurine for teaching Eric for the last 7 years and guiding him in music.
which promotes a balanced education. Maurine has supported my daughter Jamie for the past 8 years and this year she is looking to sit her Grade 5 practical exam which will also be recognised in the SACE towards Year 12 Stage 1 credits. Extra practice, ongoing encouragement, clear instruction and an appreciation of how to maintain student’s interest throughout their teenage years are qualities in Maurine’s program which as a parent I hold in high regard.
Maurine’s Statement
Deng Family
Parent: Li Ling Mai - Student: Eric Deng
Parent: Sonia Ford - Student: Jamie Ford
One of the reasons I got Eric to learn to play piano was I thought at the time if he learnt how to play music he would become smarter and more adaptive. After a few lessons I found he had enjoyed learning and playing music. The reason Eric continued to learn and practice the piano was
Maurine offers her students a wonderful opportunity to develop excellent technical, practical and theoretical musicianship. In a digital age where screen distractions are ever present, Maurine provides students with skills to develop proficiency in music performance
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I believe in the importance of music education and over the years I have had the privilege to teach music to students from early childhood. Today, these students are ‘Successful Professionals’ in Medicine, Law, Science and Technology. Children who study a musical instrument are more likely to excel in all of their studies and work better in teams. Perseverance is developed and strengthened through music education and supports better study habits and self-esteem.
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ARE YOU A MUSICIAN OR ENTREPRENEUR? BOTH! by Pete Barter, ETI_Music GPA’s were not a determinant of later success. Instead, what made the difference was their ability to think outside of traditional frameworks and take action with their creativity. Being a successful musician = being a successful entrepreneur. Think about it. Many of the same skills overlap whether you are running a business or playing as a musician. First, you have to be creative. Setting yourself apart from everyone else is the challenge of both musicians and entrepreneurs. Constantly inventing and reinventing yourself to stay ahead of the curve is the only way to survive. Let’s face it. Most entrepreneurs only know how to spell entrepreneur because all we have to do is get relatively close and spell check takes it from there. Rarely will you find the valedictorian leading a start up. However, guess who you will often find building companies... that guy in the back of the class drumming on anything and everything! Study after study has found that musicians are naturally inclined to entrepreneurial pursuits. According to the Berklee College of Music this is partially because ‘making music and running an entrepreneurial career are dual roles now required of today’s artists’ (http://www.berklee.edu/institutionaladvancement/musicians-are-naturalentrepreneurs). Having a creative background seems as effective, if not a better prerequisite, for business success than academic acumen. Jobs, Branson, Gates; each of these business giants have left their mark, yet they came into business through creative pursuits. Undoubtedly their
Second, musicians know how to problem solve. A stick breaks mid song, the van runs out of gas, you name it. Being able to assess the situation and act quickly is a skill learned with practice and it is impossible to pick up in a lecture. Musicians learn how to think on their feet and are therefore more effective at pivoting their businesses quicker than the competition. You can have the best song in the world, be a prodigy on the keyboard, but that won’t get you anywhere unless someone hears your music. That’s why we musicians know how to hustle! We network, we market, we play for free, whatever it takes to get out there and be heard. No surprise that when it comes to business, musicians know how to network, market and get themselves heard. Then there is the ability to see detail as well as the big picture. Musicians find this to be second nature. We critique each note, analyse each song, co-ordinate each performance and build a schedule. From the fine details to how it all comes together, musicians
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can adjust their focus. As entrepreneurs this is immensely beneficial to finding inadequacies in an organization from the big picture view and then zooming in to find solutions. Musicians also know the value of having a good team. Through the experience gained playing in bands, musicians learn how to work with others and co-ordinate efforts. There is nothing worse than a band whose timing is off. Same with a business and musicians are among the best at pulling a team together to get them all on the same rhythm. When hiring, musicians have also developed the skills to assess new members and determine if they will be a good fit with the rest of the band... or, I mean, the other employees. Finally, musicians love a challenge. If they didn’t, then they wouldn’t make it past playing Mary Had A Little Lamb. Making a living as a musician often times is not easy; the same goes for entrepreneurship. We musicians however, thrive on a challenge. The possibility of using our creativity to support ourselves and influence others is addictive. It is also the reason musicians are able to persevere as entrepreneurs. As you can see, being a musician equips you with the business skills required to be an entrepreneur. Most of these skills are not the kind you are going to learn by busting open a text book and shading in the right answer. No, these skills are built through experience. So let the class begin! 1, 2, 3, 4...
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From top left (clock-wise): The reception team, What parents and siblings really do!, Elegant poise, Violin duo, All smiles, More smiles
CONCERT PERFORMANCE DAY 1 Held: Saturday May 13 Venue: Salvation Army Citadel, 55 George Street, Norwood
by Dr Betty Snowden Once again, MTASA has done it. With the superb organisational skills and commitment of our dear Secretary Masako, our first of two annual concert performances was held at the Salvation Army Citadel in Norwood on May 13. The three sessions provided the audience with a show of exceptional musicality clearly due to disciplined and consistent practice, inspired teaching, and the critical support of parents. Two widely varying performances in age and composition were four-year-old Ella Ma’s Kanzonetta by Neefe and Sophie Haselgrove’s Sonatine by Sculthorpe. Both were absolutely musical and controlled. Over the three sessions the range of composers and styles was exceptional, from Chua’s T-Rex hungry, Albeniz’s Tango, Bartok’s Six Rumanian dances and works by Schubert, Mozart, Debussy and Bach, to more modern composers Miriam Hyde, Arthur Benjamin and Trynes. While inevitably some performers are nervous and don’t play at their best in these situations, this is the very reason to hold these events. Students gain a great deal from the experience of playing to their families and a wider unknown audience. It is usual to have an abundance of piano players at these performances; therefore most pleasing to be able to include a delightfully capable violinist, two excellent flute players, two beautiful singers and a lone brave cellist. Anyone with students preparing for exams or who just want the performing experience, please consider entering them in Performance Day 2 in August. Our sincere gratitude is due to the esteemed adjudicators, Elizabeth Koch, Lillian Fung for the first session, Anthony Zatorski and Elizabeth Koch for the second, and Debra Andreacchio and Kerin Bailey for the third.
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COMPETITIONS DAY Held: Saturday June 24 Venue: Cynthia Poulton Hall, St Peter’s Cathedral, North Adelaide Miriam Hyde Awards, Reimann-Robinson Scholarship, Norman Sellick Memorial Prize 22
RESULTS Award/Scholarship
Miriam Hyde Open Award
Prize
Competitor
Teacher
1st Prize
Eugene Wei
Gil Sullivan and David Metin
2nd Prize
Richer Su
Gil Sullivan and David Metin
Chloe Wong En Xi
Alicia Lai
1st Prize
Chloe Wong En Xi
Alicia Lai
2nd Prize
Cindy Shi
Debra Andreacchio
Hon. Mention
Kyogo Sakai
Masako Kondo
Marc Vaccaro
Lynne Reynolds
Reimann-Robinson Scholarship
Miriam Hyde Junior Award
Norman Sellick Memorial Prize
THE MORNING SESSIONS by Pat. H. Wilson
Kathryn Schleyer plays the flute
Getting ready
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Prof. David Lockett AM
Saturday morning sun shines brightly through the big blue circular stained glass window high in the back wall of the stage of Cynthia Poulton Hall, St Peter’s Cathedral. A little Greek text about St Peter encircles the centre of the window. The ever-urbane Rodney Smith, President of the Music Teachers’ Association of SA, opens proceedings by welcoming the audience to the first competition of the day, the Miriam Hyde Open Award. He introduces the adjudicator for the morning’s sessions, Prof. David Lockett AM, acknowledging his eminent position amongst Australian musicians and music educators. The Miriam Hyde Open Award, open to all students of MTA of SA members, requires performers to present a performance programme comprising works by three composers, including one work by Australian composer Miriam Hyde. There are four pianists (Khanh Vy Nguyen, Richer Su, Eugene Wei and Lydia Low) and a flautist (Kathryn Schleyer). Programmes are gloriously varied, and include Haydn, Papa Bach, Beethoven, Chopin, Bloch, Quantz and Ravel. After all have performed, Prof. Lockett addresses the audience of
performers, teachers, parents and friends. He speaks encouragingly about the process of performing in competitions like this, observing that it is an invaluable means for students to hone both playing and performance skills. ‘It’s not easy to get up on that platform… treat it as a useful learning experience, whether you win or not’, he says.
Hubczenko, Kiley Li, Yian Zhao, Chloe Wong En Xi and Kye Zhang.
Second prize ($200) is awarded to Richer Su. Prof Lockett praises his fluent performance and very promising playing. Winner of the $500 First prize is 15-year-old Eugene Wei. His programme: Beethoven - 52 Variations in C minor / Hyde - Brownhill Creek in spring / Ravel Ondine. ‘Thoughtful and engaged’, says Prof. Lockett, adding that Eugene had given an impressive performance of very difficult music. I loved his lusciously watery Ondine.
Prof. Lockett’s informal remarks at the conclusion of all performances in this competition included generous praise for all competitors, especially for their exploration of the breadth of dynamic range in piano music. He added that the individuality of each performer was a welcome feature in this section. He awarded the Reimann-Robinson Scholarship to Chloe Wong En Xi, aged 14-and-ahalf. Her programme: Ginastera Danzas Argentinas I & II / Beethoven - Sonata in E flat major, Opus 31, No. 3 (1st and 3rd movements) / Chopin - Nocturnes, Opus 27, No. 1. Chloe was especially praised by Prof. Lockett for her performance of Danzas Argentinas II. I certainly enjoyed her elegant phrasing. Yian Zhao was also commended by Prof. Lockett for a well-played Khachaturian Toccata.
After a short break, the ReimannRobinson Scholarship competition began. Again, there were five competitors for a single $500 scholarship. This competition is for students aged 18 years or younger who learn from MTA of SA member teachers. Although the Scholarship is open to singers and performers of any instrument, all five are pianists: Yekaterina
Gil Sullivan, Richer Su, Eugene Wei and David Metin
Again, the programmes are eclectic, with Ginastera, CPE Bach, Moszkowski and Khachaturian rubbing shoulders with the meat-and-potatoes of Beethoven, Chopin and Schumann.
Chloe Wong En Xi with Prof. David Lockett
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THE JUNIOR SECTIONS by Norma Knight
Dr Emily Dollman with Chloe Wong En Xi
Dr Emily Dollman with Cindy Shi
The Junior Section of the Miriam Hyde Award as well as the Norman Sellick Memorial Prize were held on the afternoon of June 24 at Cynthia Poulton Hall. The adjudicator for both sessions was Dr Emily Dollman, who is currently the Co-ordinator of Undergraduate Pedagogy at the Elder Conservatorium of Music. Emily has extensive experience as both a teacher and performer in Australia and the United Kingdom. She studied baroque violin with Lucy van Dael in Amsterdam and has freelanced extensively with major European and Australian ensembles. She gained her Master of Music Degree at the Sydney Conservatorium and completed Doctoral Studies at the University of Adelaide.
how they showed ‘real musical intent’. She reminded us all that ‘we are the messengers of the composer’, and that while we strive for perfection that is not the most important reason to make music. In choosing the winners Emily quoted from Charles Rosen - ‘I listen for the performer I want to hear more of’.
In both competitions Dr Dollman was delighted with the high level of musicality shown by all the young performers and
The winner, showing remarkable maturity and musicality, was Chloe Wong En Xi who started her program with
For the Miriam Hyde Award an Honourable Mention was given to Kyogo Sakai (accompanied by Jamie Cock) who played flute repertoire by Chedeville and Donizetti, as well as Miriam Hyde’s Beside the Stream. Second place was won by Cindy Shi who played a Mozart Rondo, Slominsky’s Cartoons (great fun!) and Concert Waltz for left hand by Miriam Hyde.
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Hyde’s Woodland Sketch, followed by Ginastera’s Danzas Argentinas I and II. She finished with the lovely Nocturne, Opus 27, No 1 by Chopin. The Norman Sellick Memorial Prize for students aged 12 and under was convincingly won by Marc Vaccaro who was very well prepared and achieved the greatest contrast between his two pieces, Nocturne in F minor by Chopin and Sonatina by Khachaturian. All the teachers who prepared and entered students into our Competition Day are to be commended for their expertise and hard work. It bodes well for the future of musical training in South Australia. All in all, a delightful way to spend a winter afternoon. ♫♫♫
Dr Emily Dollman with Marc Vaccaro
HUMOUR A man went into a music shop and asked if he could order a copy of a song called ‘Could I but express in song’. Two weeks later he received a postcard from the shop, which read: Dear Sir, I regret to inform you that we can find no trace of Kodaly’s ‘Buttocks Pressing Song’. The Italian term ‘Bel Canto’ means literally ‘Beautiful Song’, and is applied to certain kinds of operatic singing. Many music teachers and critics will tell you that the most appropriate English translation of this is ‘Can Belto’!
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CONTACT DETAILS FOR OTHER ORGANISATIONS 5MBS Visit: www.5mbs.com
AMEB Email: ameb@adelaide.edu.au
FLUTE SOCIETY of SA INC. http://saflutesociety.org/
ABRSM International Representative – South Australia – Anastasia Chan Email: abrsmsa@hotmail.com Tel: 08-8234 5952/ 0423 282 589 http://au.abrsm.org/en/home
ANATS SA & NT CHAPTER The Australian National Association of Teachers of Singing, Ltd. Enquiries: President (Pat. H. Wilson) – (08) 8355 3526 Email: anats.sa.nt@gmail.com Website: www.anats.org.au
MUSICA VIVA http://www.musicaviva.com.au/ for concert details.
ACCOMPANISTS’ GUILD of SA INC. Contacts: The President, Monika Laczofy, mlaczofy1@bigpond.com, mobile 0411 271 215 or the website www.accompanist.org.au ADELAIDE BAROQUE www.adelaidebaroque.com.au ADELAIDE CHAMBER SINGERS www.adelaidechambersingers.com
ASME www.asme.sa.edu.au AUSTRALASIAN DOUBLE REED SOCIETY http://adrs.org.au/web/ AUSTRALIAN STRING QUARTET www.asq.com.au
ADELAIDE PHILHARMONIA CHORUS For enquiries please contact the Secretary at, secretary@philharmonia.net
BALAKLAVA EISTEDDFOD www.balaklavaeisteddfod.org.au or write to PO Box 253, Balaklava, SA 5461 or Ph/fax (08) 8863 1242.
ADELAIDE EISTEDDFOD SOCIETY INC. http://www.sacomment.com/aes/eisteddfod/
ELDER CONSERVATORIUM OF MUSIC www.music.adelaide.edu.au
ADELAIDE YOUTH ORCHESTRA www.adyo.com.au
ELDER HALL www.elderhall.adelaide.edu.au or Contact: Elder Hall Concert Manager 8313 5925
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Mt GAMBIER EISTEDDFOD Enquiries, Secretary, PO Box 1711, Mt Gambier, SA 5290, telephone (08) 8725 5905, E-mail backstageinc@internode.on.net, website www.backstageinc.orgf.au/default.asp. PRIMARY SCHOOLS MUSIC FESTIVAL http://www.decd.sa.gov.au/musicprograms/pages/ MusicPrograms/PSMusicFestival/?reFlag=1 AUSTRALASIAN DOUBLE REED SOCIETY http://adrs.org.au/web/ THE SOCIETY OF RECORDER PLAYERS SA INC. Society mobile number 0410 109 135, E-mail npope@bigpond.net.au SOUTH AUSTRALIAN BAND ASSOCIATION http://www.sabandassociation.org/ SOUTH AUSTRALIAN MUSIC CAMP ASSOCIATION INC., www.samusiccamp.net.au ANZCA MUSIC EXAMINATIONS http://www.anzca.edu.au/
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