The Music Stand Summer 2017 by Music Teachers' Association of SA Inc.

MTASA ABN 80 062 304 126

Summer Conference 2018 Teaching for Creative Outcomes 17-18 January 2018 The Performing Arts Centre, Seymour College 546 Portrush Road, Glen Osmond SA 5062 Book tickets at https://www.eventbrite.com/e/mtasa-summer -conference-2018-tickets-30111925580 2

PRESIDENT’S WELCOME I write this shortly before our Council’s first ever Development Day, an occasion that might once have been called a retreat but could not possibly be given that title in current times. Contemplation there will be however as a wide range of topics to do with the future of your MTA come up for discussion. One item at the forefront of most people’s minds will be the fact that MTA does not currently represent a broad cross-section of the instrumental teaching community. And large swathes of the instrumental teaching community are not represented by any organization at all. To some it seems a no-brainer that MTA should do something about that and doubtless you will hear more on this and other hot topics following the day’s discussions. In the meantime, with a re-written Constitution and new more relevant membership categories and requirements, all of which is in the process of being made public on our new website, you can be assured MTA is positioning itself to represent your interests to the best of its ability in our rapidly changing world. We look forward to seeing you at our upcoming Summer Conference on January 17 and 18, 2018. Our previous Summer Conference in 2016 contained some excellent presentations from members themselves and we are keen for that to happen again. Please consider giving a presentation, however short, and be in touch with our Secretary, Masako Kondo. Shared information and ideas are what it’s all about. With all good wishes,

FROM THE TREASURER

Rodney Smith, President Sam Penny

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TABLE OF CONTENTS

“THE MUSIC STAND” The Journal of the Music Teachers’ Association of South Australia Incorporated Print Post Pub. No 100003224 VOLUME 25 NO 4 – Summer 2017 PATRONS: Dr. Doreen Bridges AM Emeritus Professor David Lockett AM PRESIDENT:

Rodney Smith

VICE PRESIDENT:

Robert Brown

SECRETARY:

Masako Kondo

TREASURER:

Samantha Penny

AUDITOR: Australian Independent Audit Services

PRESIDENT’S WELCOME by Rodney Smith FROM THE TREASURER by Sam Penny

3 3

COMING MTASA EVENTS MEMBER INFORMATION OTHER ORGANISATIONS’ EVENTS

6 6 9

IN MEMORIAM: LYNDALL HENDRICKSON AM

JEAN M. KELSO AM: A QUIET ACHIEVER by Rosslyn McLeod

ACCOMPANIST’S CORNER by Jeannie Marsh

PEDAGOGY MATTERS by Rodney Smith

MUSIC ALIVE IN THE RIVERLAND AND MALLEE: THE PROS AND CONS OF BEING A COUNTRY MUSIC TEACHER by Karyn Skewes and Merrilyn Braun

CHAMBER MUSIC MATTERS Fartach-Naini

COUNCIL 2017/2018: Sofie Arhontoulis, Pete Barter, Robert Boundy, Robert Brown, 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

ADVERTISING – Please contact the Secretary Please see MEMBER INFORMATION page for Advertising Price List.

CONTRIBUTIONS and DEADLINES for 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: Wednesday January 31; Monday April 30, Monday July 16, Wednesday October 31.

MTASA WEBSITE

Oliver

ADVICE FOR PIANISTS: PIANO LESSON MYTHS, PART 6 by Howard Richman

MUSIC TEACHERS’ ASSOCIATION OF SA INC./GRACE BARBARA TURNER AWARDS FOR 2017

AUSTRALASIAN PIANO PEDAGOGY CONFERENCE 2017, PART 1 by Jane Burgess

CONCERT PERFORMANCE DAY 2 by David Metin

MUSIC EDUCATORS’ EXPO 2017 by Hayley Wedding

CONTACT DETAILS FOR OTHER ORGANISATIONS

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/.

FRONT COVER The front cover was designed by Samantha Penny.

MEMBER INFORMATION MEMBERSHIP OF MTASA Visit http://mtasa.com.au/index.php/members/become-amember/ to join the Music Teachers’ Association of South Australia.

◆NEW MEMBERS◆

COMING MTASA EVENTS 2018 January 17-18

Summer Conference

Teaching for Creative Outcomes Guest presenters include: Mark Gibson Venue: Seymour College Performing Arts Centre, 546 Portrush Rd, Glen Osmond Booking via Eventbrite or email info@mtasa.com.au

May 12

Concert Performance Day 1 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. Dr Christopher Waite

Student Member

Ms Sofie Arhontoulis

Full Member

Admission:

P, COMP, HARM, MC, MTech, T ACCOMP, P, S, T

Venue: Norwood Closing date: Admission:

Monday 30 April gold coin

June 23

Competitions Day:

Miriam Hyde Awards, Reimann-Robinson Scholarship, Norman Sellick Memorial Prize Venue: Closing date:

Salvation Army Citadel, 55 George Street, Norwood Friday 11 May

gold coin The Miriam Hyde Open Award

RECOMMENDED TEACHING FEES

The following teaching rates are recommended to members by the MTASA Council for 2018. Full Member Student Member

Salvation Army Citadel, 55 George Street,

$70 per hour $45 per hour

Open to

Age limit

All instrumental/vocal students of any member of the MTASA or related organizations

Students of any age

Students under 15 years of age on the closing date of entry Students who are 18 years or The Reimann-Robinson All instrumental/vocal under on the closing day of Scholarship students of any member of entry to the Scholarship the MTASA who are Students who are 12 years or teaching in a private The Norman Sellick under on the closing day of capacity Memorial Prize entries to the competition Booking via Eventbrite or email info@mtasa.com.au The Miriam Hyde Junior Award

August 26 MTASA MEMBERSHIP CATEGORIES AND FEES Full Member Student Member Friend Member Institution Member

$105 $52 $30 $30

Concert Performance Day 2 Venue: Admission:

TBA gold coin

September 23

Music Educators’ Expo and AGM Venue:

Thebarton Community Centre, corner South Rd & Ashwin Parade, Torrensville All welcome! 6

FRONT COVER PHOTO COMPETITION A photograph entered by Lesley Beale was selected as the winner of the Front Cover Photograph Competition. It will appear on the cover of the Autumn 2018 issue of The Music Stand. Lesley receives 12 months free membership of MTASA as her prize. Congratulations, Lesley!

CHANGES TO THE MTASA CONSTITUTION A Special General Meeting to consider the proposed changes to the MTASA Constitution was held on Sunday September 24 following the Music Educators Expo at Thebarton Community Centre. The MTASA members present voted to accept the proposed changes. The revised Constitution can be found on the MTASA website.

MTASA MEMBERSHIP SUBSCRIPTION RENEWAL 2017/18

Subscription renewals are due annually. Reminder notices are primarily sent out via email, with a link provided to instantly update your membership online. Both on and offline payment options are available by following the instructions given in the link. Please keep your subscriptions up to date.

EMAIL ADDRESSES

REVISED MTASA MEMBERSHIP CATEGORIES Section 5 a. of the revised Constitution reads: ‘Membership consists of seven categories - Full, Student, Friend, Honorary Friend, Honorary Life, Institution and Temporary. A Friend is any person who shows a genuine interest in supporting The Association and its objects. Institution membership entitles an organisation to be placed on the mailing list. An additional category of Associate membership will be available to those members who were financial Associate members on 24 September 2017, who may continue as Associate members by due payment of annual fees and abiding the rules of the Association’. Associate Membership is no longer being offered by MTASA but those members who were financial Associate Members on September 24, 2017 can continue their membership provided they remain as financial members. Two types of Full Membership are now being offered: 1. Full Membership by tertiary level qualification and study. 2. Full Membership by Recognition of Prior Learning and Experience (RPL), which is replacing General Membership. Full Membership by tertiary level qualification and study. A professional standard of teaching is required. The Membership Committee will apply the following criteria in assessing applications: 1. evidence of a major study in the instrument(s) to be taught as part of an approved music degree, diploma or equivalent qualification awarded on satisfactory completion of a tertiary course of study that is of at least three years full-time duration, and 2. evidence of approved studies in music education/teaching/pedagogy consisting of at least 135 hours of study (approximately one quarter of a full-year’s academic study) in tertiary courses, or evidence of equivalent attendance hours at recognized Professional Development Courses such as those offered by universities, TAFE colleges and professional music organisations such as MTASA (or another MTA), AMEB, Orff, Yamaha, Suzuki, AUSTA, ANATS, ASME, etc. Full Membership by Recognition of Prior Learning and Experience (RPL). A professional standard of teaching is required. The Membership Committee will apply the following criteria in assessing applications:

MTASA would like to update all members’ e-mail addresses. Please send to the Secretary at info@mtasa.com.au.

NOTICE TO STUDENT MEMBERS

Have you fulfilled the requirements for Full Membership? Student members are reminded that Student membership is restricted to four years after which time it is expected that they would be eligible for another membership category. 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

1. a minimum age of 23 years, 2. a minimum five years successful teaching in the applicant’s instrumental specialty demonstrated by evidence of pupils’ attainments from a wide variety of sources such as concerts, examinations and testimonials, 3. evidence of ongoing teaching/performance skill upgrades in the applicant’s instrumental specialty through undertaking a variety of professional development courses, courses leading to recognized awards and/or own initiatives in teaching practice, and

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/accr editation/ 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.

4. the contact details of three referees willing to endorse the applicant’s effectiveness as a music teacher. Applicants are encouraged to submit the fullest possible supporting documentation to assist the Membership Committee to make a fair assessment. Student Membership enables tertiary students who intend to work as instrumental/vocal music teachers to join MTASA and benefit from the Association’s Professional Development program and from networking with member teachers. Student membership is available for a maximum of five years from commencement. Student members are expected to move to Full Membership when they meet the necessary criteria. The Membership Committee will apply the following criteria in assessing applications: 1. a minimum age of 18 years, and 2. evidence of current enrolment in a music program at a recognised tertiary institution with a major study in the instrument(s) to be taught, or in the instrument(s) to be taught evidence of a study path being followed in the upper levels of a recognized music examination system involving Performance, Teaching and Theory/Musicianship examinations.

DIRECTORY OF TEACHERS OF MUSIC

For Full, Associate and Student Members a minimum of seven hours documented Professional Development will be required each year. MTASA Members are always encouraged to write to the Secretary about any concerns that they may have. If you are wishing to obtain exemption from the annual Professional Development requirement you should write and include copies of supporting documents (medical certificate, etc.) with your letter. The MTASA Council will consider your request.

MTASA EVENT VOLUNTEERS WANTED!

The 44th Edition of ‘The Directory of Teachers of Music’ will be published soon by the Association and distributed to music stores throughout Adelaide, and will be 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.

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 at info@mtasa.com.au.

please

e-mail

the

Secretary,

Masako

Kondo,

PLEASE REGISTER at https://mtasa.com.au/register-for-event-volunteers/

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.

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

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$263 $132 $88 $67 $45

$210 $105 $71 $53 $35

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$672 $336 $224 $168 $113

INSERTION FEE FOR POSTERS AND FLYERS

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 in early August 2018. Sections included are Instrumental Ensembles, Bands, Choirs, Vocal Ensembles, Vocal, Musical Theatre, Contemporary Vocal, Instrumental, Piano, Speech and Drama and the Finale Concert including adjudication of the Adelaide Plains Vocal Scholarship. Visit http://www.balaklavaeisteddfod.org.au or the Facebook page at www.facebook.com/BalaklavaEisteddfod for more information.

The Mount Gambier Eisteddfod is part of the ongoing work of Backstage Incorporated (founded in 1978). Enquiries, Secretary, Backstage Inc., PO Box 1711, Mount Gambier, SA 5290, Ph./fax 8725-5905, e-mail backstageinc@internode.on.net, or visit http://www.backstageinc.org.au/default.asp for further information. Entries will be via Stardom, visit http://www.stardom.com.au/ and look for ‘Mt Gambier

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. CLASSIFIED AD MTA Members, free. Non-members, $15. Please contact the Secretary about advertising. Mobile: 0402 575 219 E-mail: info@matsa.com.au

Eisteddfod’ under ‘Competitions’. Choral, Vocal and Music competitions are held in July and August.

WHY ENTER AN EISTEDDFOD? Performance experience •Irrespective of students’ aims in music the experience of performing in public is vital. This builds confidence, and above all, the chance to experience the enjoyment and excitement of performing. 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.

METROPOLITAN MALE CHOIR ANNUAL MUSIC SCHOLARSHIP FOR 2018 The Metropolitan Male Choir of SA Inc. has announced the results for the Annual Music Scholarship. Such was the quality of many of the applicants this year the Choir awarded a Third prize for the first time in the 19 year history of the Scholarships. 1st Prize, Phuong Do, 16 year old pianist. Emeritus Professor David Locket AM.

Teacher:

2nd Prize, Lewis Blanchard, 15 year old clarinettist. Teacher: Mary Waterhouse. 3rd Prize, Joseph Yuan, 16 year old pianist. Teacher: Debra Andreacchio. The June Genders Encouragement Award, Lynda Latu. Teacher: Jill Folauhola. The Metropolitan Male Choir Annual Music Scholarship will be offered again in 2019. Applications from young musicians are invited from May/June onwards each year with auditions usually held in September. Visit http://www.mmcsa.org/about/music-scholarships/ for more information.

CALLING ALL STRING PLAYERS! Come & join Burnside Symphony Orchestra! String players, particularly violinists, who play at AMEB Grade 6 level or above are encouraged to contact us.

BURNSIDE SYMPHONY ORCHESTRA INC. The Burnside Symphony Orchestra is keen to inform music teachers and students about its activities and opportunities for performance. Positions are available for violinists. Established in 1956, Burnside Symphony Orchestra provides the opportunity for amateur musicians to play major works from the symphonic repertoire. The orchestra is funded by membership subscriptions and the proceeds of concerts. We are supported by the City of Burnside.

Rehearsals: weekly Tuesday 7.45pm-10pm FebNov at Burnside Town Hall; 4 concerts per year More information: bso.org.au Enquiries: info@bso.org.au

Rehearsals are held at the Burnside Town Hall from 7.45 pm10 pm on most Tuesday evenings from February through November. Our Conductor (since 2013) is Philip Paine, an experienced conductor and Horn player with the Adelaide Symphony Orchestra. We would like to expand our strings, particularly our violin sections. Grade 6 AMEB is the standard needed. Expressions of interest are also very welcome from any player of an orchestral instrument. We are building a data-base of interested players. Extra players are occasionally needed for the larger full symphonic works. Our website at www.bso.org.au contains an archive of our concerts since inception in 1956. Contact info@bso.org.au for enquiries and more information. Our last concert of the year is for Sailability on Wednesday November 29 at 8 pm, at the Burnside Ballroom, with works by Von Suppe, Massenet, Chabrier, Wagner and Borodin.

UP FROM DOWN UNDER The 4th edition of Rosslyn McLeodâ&#x20AC;&#x2122;s book about F. M. Alexander, Up From Down Under, has just been published. Further information is available from Mouritz, an independent publisher of books on the Alexander Technique, at https://www.mouritz.co.uk/.

IN MEMORIAM: JEAN M. KELSO AM:

LYNDALL HENDRICKSON AM

A QUIET ACHIEVER by Rosslyn McLeod

Lyndall Hendrickson AM

Rosslyn McLeod and Jeannie Kelso AM, after the Investiture Ceremony at Government House, September 6, 2012

Renowned violinist and teacher Lyndall Hendrickson AM passed away at her Woodside nursing home on July 22 shortly after her 100th Birthday. It was her wish ‘that there be no funeral service and no immediate announcement’. ‘Lyndall Hendrickson AM Turns 100’ can be found on page 13 of the Spring 2017 issue of The Music Stand. An event to remember Lyndall Hendrickson was organised by Brian Chatterton and held at Echunga on September 9.

Jean Maxwell Kelso (1939-2017) was born in Blantyre, Scotland. From an early age singing was part of her childhood years. Family and friends sang the Scottish folk songs and Jeannie especially loved singing with her grandfather and learnt so much from him about the meaning and history of these songs. Leaving school at an early age Jeannie worked to support her vocal studies and took part in the rich variety of music activity that Glasgow had to offer including music theatre groups and choirs. She migrated to Australia in 1960, arriving in Fremantle on her 21st birthday and then settling in Adelaide where she had relatives. Work as a dental nurse was her daytime job but evenings were spent singing with various performing groups and singing Scottish folk songs at many Celtic functions.

♫♫♫

Marriage, family, the challenge of living in various parts of Australia: all this occupied Jeannie for the

next twenty years although singing and making music was always part of her life, such as taking CWA choirs. In the late 1970s the family settled in Sydney and as her four children grew older Jeannie found opportunities to really develop her singing career. Her association with three different accompanists led to a great variety of solo performances. Emily Courtwright, pianist, played for Jeannie for many concerts in and around Sydney for over twenty years. Organist David Kinsella was Jeannie’s musical partner for concerts in New South Wales and a tour to New Zealand; the programs always included baroque music. Jeannie’s Sydney Town Hall concerts with Robert Goode, Associate Town Hall Organist, were legendary and attracted large audiences. A wide variety of music was performed and many of the songs were later recorded for CDs with Robert playing either organ or piano. Recently he has put some of these songs on YouTube.

Jeannie Kelso playing the harp I first met Jeannie whilst living in Sydney in the early 1980s. The contact was fleeting because I moved to Melbourne soon after. Between 1986 and 1996 when Opera Australia made lengthy visits to Melbourne I organised a few concerts for Jeannie. I then moved to Adelaide and lost contact for ten years. In 2006 I was pleased to learn Jeannie was now living in Adelaide. I became her accompanist for the many concerts that we did and also sometimes played violin for her harp/singing of Celtic songs. Her understanding of the Scottish songs was profound and her singing of some of these songs as duets with her daughter Katrin gave special joy to people.

Emily Courtwright and Jeannie Kelso Jeannie taught music at inner city Sydney schools at Newtown and Alexandria during the early 1980s, inspiring all the classes to be involved in performance.

Although ‘retired’ in 2005 from her major career with Opera Australia, her ten years here in Adelaide saw Jeannie’s musical adventures take new directions. She formed a local choir, built it up to fifty members, a number of whom came from supported living facilities: the weekly rehearsals were the highlight of their week. All Choir members of this Hope and Harmony Choir were especially honoured for their talents and encouraged to take solo roles in concerts as appropriate.

The most exciting and rewarding development of Jeannie’s career came in the mid 1980s. She was becoming known in Sydney as an artist of repute. Opera Australia personnel heard Jeannie at a concert and asked her to audition for the Chorus of Opera Australia. Her audition was successful so from 1985-2005 she was a truly loved and respected member of the Chorus and also sang minor roles and did covers. Her characterisation in minor roles was highly valued as was her mentoring and friendship with younger Chorus members. For twenty years the Sydney Opera House was Jeannie’s second ‘home’.

Jeannie’s singing pupils, both adults and the young ones, benefited from her deep understanding of breathing and voice production and her talent to always honour the composer whose song she was singing or teaching. Jeannie’s early musical training had included the study of solfa; she had a keen ear for tonality. When she did keyboard accompaniments for her Choir or singing students the ability to easily transpose proved a useful talent.

Despite her heavy workload with Opera Australia Jeannie continued to give concerts in and around Sydney. As well in the mid 1980s Jeannie learnt the harp from Marshall McGuire so she could play her own accompaniments for singing Celtic songs.

In 2012 Jeannie was awarded an AM for her contributions to Australian society, both in music - these 13

were many and diverse - and for her community work, particularly whilst she lived in Redfern, New South Wales, and worked tirelessly for Uniting Church activities there.

to connect, to honour each member of an audience, was one of Jeannie’s strengths. I have wonderful memories of playing for Jeannie and can best quote from a review of her singing to conclude: ‘Jeannie possesses a voice which transcends the physical senses and reaches the soul’. Her life of song has been an inspiration. ♫♫♫

Jeannie’s sudden death from a car accident on August 1st has left a big gap: her family, friends and the many people who were touched by her music and her humanity feel a deep sense of loss. After her concerts a comment I most often heard people say was ‘I felt you just sang to me’. This uncanny ability

ACCOMPANIST’S CORNER Accompanists’ Guild of South Australia, Festival of Accompanists, August 2-6, 2017

Theme: Keyboard Accompaniment in Choral Music. Thoughts by Jeannie Marsh, Choir Leader/Music Teacher from Melbourne, August 2017. Congratulations to all the organisers and participants of the Festival for their wonderful achievement! I am so glad I came, and I gained so much from this weekend. I attended the whole weekend, consisting of the conference all day on Saturday and Three Choirs Recital on Sunday. The excellent conference dinner on Saturday provided me with a great opportunity

to talk informally to leaders in the choral and accompanist scene. I was sorry to have missed the Wednesday youth-focused event, which I would certainly have attended with interest if I had been able to stay longer in Adelaide. Three cheers to Leonie Hempton for her magnificent curating of the Festival. The thing I appreciated most about the weekend was the 14

thoughtful planning that had gone into the shape of the weekend. Firstly being able to see choir conductors, accompanists and choristers giving fascinating glimpses into their collaborative artistic work, in an informal setting on the Saturday, and then on the Sunday being able to see all this come together in a superb concert. What a brilliant way to see ‘behind

reflections about his life and work, especially his work with singers. An extremely engaging speaker and interesting topic. The SA Accompanists’ Guild offers a valuable annual scholarship for young pianist collaborators, the Geoffrey Parsons Award (offering a prize of $6,000), so it was most fitting that there should be a talk about this famous artist.

the scenes’ principles and processes and then see them applied in the concert setting. The weekend was full of invaluable insights, gained through this beautifully integrated approach. I was also very impressed with each of the presenters and the care they had taken to prepare material that would be useful, interesting, and engaging. The Panel Discussion on the role of the choir accompanist was a great way to start, with many ideas raised here that could be reflected upon throughout the following activities and performances. A lively and rich discussion between some of Australia’s leading choral directors (Carl Crossin, Christie Anderson, Aldis Sils) and two outstanding choral accompanists (Nerissa Pearce and Karl Geiger). In this event and across the festival it was enlightening and encouraging to see the mix of female and male, emerging and established, artists working in this field. Some interesting ideas that kept coming up included the need for the choral accompanist to be totally engaged, ready to come in and out as required, knowing the score inside out, knowing what to play and what to leave out (especially in big orchestral works), the goal of a ‘mind-meld’ between conductor and accompanist, with discussion and preparation prior to rehearsals and shared musical goals and the need to mentor young pianists who may be new to this field (including working with a conductor). After the panel discussion there was a choice of workshops and I

chose to observe the Tutti Choir, and found this session moving and delightful. My work in Melbourne is mainly with community, openaccess choirs and I found the standard of the musical work being achieved by this community choir inspiring. The singers in Tutti Choir have a mixed range of disabilities and it was clear that choral singing provides much joy and sense of achievement to the choristers. It was also great to see the positive community arts principles in action in this group. This demonstration of what has been achieved through effective team teaching (Carol Young and Laura Ellis) and musical leadership from the piano was very useful for me. The following Rehearsal Coaching session was also excellent, with strong communication between the two leaders (Nerissa Pearce and Aldis Sils), the young accompanying student (Nicholas Bennett) and the outstanding school choir (Marryatville High School Chamber Choir). This ‘masterclass’ approach was very effective, providing many useful tips for accompanists starting to work with choirs, and plenty of interesting ideas for choral conductors. It was also inspiring to see an example of the extraordinary standard of performance and music education taking place at the Specialist Music Centre at Marryatville High School. The choice of repertoire was also a treat, songs from Bartok’s Four Slovak Folk Songs. Guy Noble’s talk about legendary Australian pianist Geoffrey Parsons was a great addition to the weekend, with fascinating anecdotes and 15

In the next session, it was a delight to see Jason Hammond in full flight about jazz and pop accompaniments. Like many choral conductors, my training was in classical music. However, much of my work now involves arranging and conducting pop music for choirs. So, to hear from such a knowledgeable enthusiast was very helpful. The workshop presented by Christie Anderson, Karen Yee and Young Adelaide Voices was a festival highlight for me. The exploration of text, movement and humour within a choral context was totally relevant to the work I do with choirs. This was a rare opportunity to see musicians demonstrating and explaining the deep layers of thought and care that go into preparing a choral work. The works by Ola Gjeilo and Paul Stanhope were a perfect choice for the superkeen, super-skilled young singers. To be able to then see the result of their rich workshop/rehearsal processes the next day in the concert was worth the airfare from Melbourne on its own! After lunch, the Showcase Concert of young accompanists was very enjoyable. This project clearly provides wonderful opportunities for young pianists to move outside the restrictions of solo study and to experience the joys and challenges of working in collaboration with a solo singer or instrumentalist. School students are paired up with experienced professional musicians to work on this project and the results were impressive. What a great initiative! The conference was held in Cynthia Poulton Hall next to St Peter’s Cathedral in North Adelaide, where Festival Curator Leonie

Hempton conducts the Cathedral Choir. To make the most of this connection, the Cathedral Workshop was a great idea, and worked very well. It provided many insights into the work of church musicians, and the specific challenges and pleasures they encounter. Hearing the wonderful, expressive young treble soloist from the choir sing the solo about the cat (from Britten’s Rejoice in the Lamb) with the organ in that beautiful space was very moving. The presentations about organ accompaniment (by organists David Heath and Andrew Georg) were most useful and interesting, as was the presentation by Leonie about preparing Britten’s Rejoice in the Lamb and the work of the cathedral choir. Being provided with score samples and singing opportunities really enhanced the whole experience. A fine way to end the day! The Three Choir Recital on Sunday was magnificent. The choirs, conductors and accompanists all presented work of the highest

standard. The event demonstrated Adelaide’s position as a ‘centre of excellence’ for Australian choral training, preparation and performance, and the art of the accompanist. Highlights for me were the vibrant Spiritual Children Go Down Where I Send Thee (Elder Conservatorium Choir, conducted by Carl Crossin, accompanied by Karl Geiger), the rare opportunity to hear the complete Britten work Rejoice in the Lamb (St Peter’s Cathedral Choir, conducted by Leonie Hempton, accompanied by David Heath) and the inspired use of movement and expressive delivery of text in works by Stanhope (Losing the Plot, text by Michael Leunig) and Bach/Sandberg (Young Adelaide Voices, conducted by Christie Anderson, accompanied by Karen Yee). As the sun streamed in and we watched the young singers performing a serene series of movements while singing Sandberg’s inspired arrangement of Komm Süsser Tod, the audience experienced a ‘magic moment’ that I expect many will never forget. We

were lucky to be there, to be given one of those glimpses into the sublime that musicians and musiclovers are always hoping for, but only rarely encounter. Bravo to everybody involved in the Festival! In addition to all the musical highlights, everything was wellorganised and ran smoothly. This is no mean feat with multiple choirs, presenters, and locations. A particularly loud cheer is due to the incomparable Diana Harris, with her organisational and artistic skills yet again on display, as they have been every year since the inception of the Accompanists’ Guild of SA and the Accompanists’ Festival. I thoroughly recommend future Festivals to musicians in South Australia and beyond. The event was definitely worth the effort and expense of travelling from Melbourne!

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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

PEDAGOGY MATTERS by Rodney Smith Judging by initial feedback the Australasian Piano Pedagogy Conference held at the University of Adelaide from July 10-14 it seems to have been a hit. A very large percentage of delegates had not attended one of these conferences before and we are hoping they will have been convinced to attend further conferences of this type from now on. Following vetting and editing many of the presentations and papers will be permanently available on the conference website from the beginning of 2018 as has been the case for previous conferences. Members are asked to recall this time last year when a high level of insecurity was being generated over the SA Industrial Relations Commission’s ruling in relation to private music providers in DECD schools. While it is pleasing MTA’s information posts at the time on that matter were correct and hopefully helpful to members we must not forget private music providers in schools still occupy a relatively precarious position if unqualified. The University of Adelaide will once again offer its part-time year-long Graduate Certificate in Music Teaching from January 2018. Members are reminded it is likely 2019 will be its final year of delivery. The program is offered in conjunction with DECD IMS and provides an outstanding opportunity for insufficiently qualified private providers of instrumental music teaching in schools to gain greater job security quickly and efficiently.

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MUSIC ALIVE IN THE RIVERLAND AND MALLEE: THE PROS AND CONS OF BEING A COUNTRY MUSIC TEACHER by Karyn Skewes and Merrilyn Braun a student in before school. The day is filled with pairs, groups, individuals, laughter and lots of music, and we begin the long drive home watching out all the way for kangaroos and pot holes.

Karyn Skewes It is 6.00 am on a frosty Monday morning as we both struggle from our respective beds in our respective homes in Loxton. Today Merrilyn is teaching at Waikerie and Karyn is heading for Pinnaroo. We fill the thermos, pack a day’s worth of finger food as we will both be teaching all day without a break. We travel the 100 or more kilometres to our respective schools, aiming to get there by 8.30 am so we can squeeze

Karyn Skewes is the owner of Music Alive, a large and very busy music school which caters to over 200 students from all over the Riverland and Mallee. Merrilyn Braun has worked there since its inception in 2006 and both know the importance of weekly trips to small rural schools. Put simply, if we don’t travel there, most of those children would not be able to learn piano. There are no music teachers in these schools and the parents cannot afford to travel to Loxton every week. They are hugely grateful that we make the effort to get to them and share our love of music with their children. The children often bring an extra muffin for recess to share with Mrs Skewes. They send e-mails and texts to tell us what a great job we are doing. 17

They drop in to school to chat about their child’s progress and make sure the work gets done at home. Teaching country kids is a privilege. Of course, they come in all shapes and sizes but are generally very grounded, polite, respectful and full of fun. They know about hard work and commitment; working on a farm teaches them that. They know about community and generosity; helping in the hotdog stall at the local fundraiser teaches them that. They know about leadership and respecting each other; going to a school with only 19 other children teaches them that. They understand technology and all own iPads, iPods and iPhones yet they know the delight of playing in the dirt. They climb trees and have imaginary friends. They do chores before school and ride their bikes to footy practice. In essence these are delightfully creative and responsive children to teach and our days, although incredibly long, are incredibly rewarding.

The distances we need to travel are just one of the disadvantages of teaching in a regional area. Another is the distance from the city and professional development opportunities. The exam period is a highlight as we get to meet with another music professional. The AMEB examiners generously give up their time during a busy examining period to meet with us in a more social setting. This is such a valuable time for us as networking opportunities are few and far between. We would also love to have the ability to take our students to live music performances and look with envy at the concerts available to Adelaide students and teachers. So we try to spend as much of our January holidays as possible in hunting down performance and professional development opportunities!

our students can have the benefit of seeing a large range of music to tempt them into learning and playing more and more. Similarly, we became Yamaha agents so we could help provide quality instruments to our students to enrich their musical journey. In the past 12 years we have expanded the footprint of the store several times so we now have a complete retail section for the wider community to benefit from also.

Merrilyn with two students Another disadvantage has always been in sourcing sheet music. Travelling to Adelaide to look at new music is not often a viable option so early on we became Hal Leonard sheet music resellers. This means we can buy in music wholesale and

kerinBAILEYmusic

Finding experienced and qualified instrumental teachers is always difficult in a regional setting, so we are very fortunate to have a total of 10 wonderful teachers giving lessons in 7 different instruments. A saying which is pinned up at Music Alive, ‘We all have the potential to be extraordinary, all we need is the opportunity’ sums up what we are about as a team. We joyfully provide a musical adventure to help as many people as possible to achieve their extraordinary. What a privilege and a blessing, no matter where we are planted!

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CHAMBER MUSIC MATTERS by Oliver Fartach-Naini, Elder Conservatorium of Music, University of Adelaide, October 2017

Oliver Fartach-Naini (Photo: Tony Lewis)

Since moving from Berlin to Adelaide a good decade ago I have been impressed by the vitality and diversity of musical culture in Australia. In its varied landscape of festivals and musical societies alongside ensembles, orchestras, bands and big bands in schools, Australia’s music educators have cultivated a fertile environment for young performers. A powerful stimulant for Australian music pedagogy - if applied judiciously - is the combined benefit of AMEB exams and Eisteddfod competitions as these can encourage breadth of study, boost motivation and underpin student learning. However, at times goal posts for such milestone events are set and prioritised at the expense of deep learning. This is when poorly timed or overdosed exposure to these fantastic resources can lead students to mistake music-making for a race on grade level exams and competition prizes rather than seeking a broader engagement with music as an interactive art form.

Music’s power to convey the ineffable affords communicative processes between composer, performer and audience. Add to this the enjoyment and the challenges that musical collaborators can bring to the table and the phenomenon we call music becomes so much more exciting and rewarding. Apart from its more prominent tactile and aesthetic appeal it is this social agency combined with its ability to prompt emotional processes that lie at the heart of music. Especially in the context of an ever-increasing drift towards solitary online activities and other competing pastimes it is therefore our responsibility as pedagogues and mentors to maintain a modus operandi that upholds these tenets. Frédéric Chopin once famously said ‘nothing is more beautiful than a guitar, save perhaps two’. For most instrumental chamber music combinations a quick search will reveal that the number of extant compositions is much greater than commonly assumed. In the case of classical guitar for instance there are sources that claim that the canon of nineteenth century guitar music contains more guitar chamber music than solo works. Although a significant portion of these would include guitar duos and didactic works there is indeed a plethora of compositions and instrumental pairings to be rediscovered. For example, among many of his other guitar chamber music works Niccolò Paganini alone wrote fifteen quartets for violin, viola, cello and guitar! In recent decades a surge in facsimile and high quality performance score publications accompanied by the emergence of public domain databases such as the Petrucci Music Library (www.imslp.org) have made repertoire searches faster and easier than ever.

Despite an abundance of choice, its evident pedagogical benefits and the sheer enjoyment that chamber music’s artistic interaction can bring with it, it is an activity that is often underrepresented in our instrumental teaching practice. This is acutely the case in the area of ‘solo’ instruments such as the guitar and to a degree even the piano. Incidentally, in contrast to orchestral instruments, these two also have very limited opportunities for involvement in orchestral performances. Rather than opting for two guitars or four hands at the piano it is the combining of different instruments that enables chamber music to be even more rewarding as it can contribute to a profound expansion of a student’s musical and intellectual horizon. Whether it is the art of leading or following, interpreting unfamiliar compositional voices and genres or acquiring and refining the ability to hear one’s own voice within the totality of a composition; it is in the exchange of ideas and the negotiation of solutions with musical partners from a different instrumental background where a collaboration can quickly extend itself far beyond the details of articulation, dynamic parameters and phrasing. Apart from the obvious fun factor, social and aural competence, musical literacy and sense of pulse, there are so many learning outcomes that chamber music is capable of delivering. By involving our students in chamber music we can not only fundamentally enrich their musical, social and even professional development but we can also implement catalysts for learning processes that reside outside the confines of our individual teaching spheres.

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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!

ADVICE FOR PIANISTS: PIANO LESSON MYTHS, PART 6 by Howard Richman ‘I must not work on any new pieces until I master the one I’ve already started’.

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).

‘When practicing, I should never rush’. Reality: It is PREFERABLE to play any sections of a piece you are learning FASTER than you need! Eventually, when you attach each section to one another, you will be inclined to slow down because it is harder. But you will slow down to the correct speed of the piece. Most people have a very hard time getting the piece up to the right tempo because they practice each section at the right tempo and then when they attach the sections to one another, it becomes TOO SLOW! This commonly-heard advice about not rushing is only applicable AFTER you have learned the piece when one may be tempted to sacrifice accuracy for speed. In that case ONLY would it be true that one should not rush.

Reality: Professional pianists have 10 or 20 pieces that they are working on concurrently! There are sections within each piece that are at varying levels of mastery. This is really a good way to go about practicing, because if we become fatigued or bored, we become much less efficient with our learning. By giving yourself permission to switch your attention to different compositions or to different sections within one piece, you are actually BECOMING efficient. This happens for two reasons: 1) You are honouring your fatigue level on any one piece, 2) When you step away from working on something you allow your subconscious to do ITS job and continue processing it without giving it your attention. This dramatically increases the results, better than if you had been exclusively working on the one piece.

‘I should learn a new piece in order, from the beginning to the end’. Reality: The most efficient way to study a composition is to learn the most difficult sections FIRST! Here’s why: the typical way that people learn is to learn the first part first. Then, each day they push forward and learn a few new measures. The problem is that it’s very tempting to stop pushing forward and to prematurely reward yourself by playing through the part you’ve already learned. This, of course, is the beginning section. As you approach the part that you don’t yet know, you hear the music getting slower and sloppier until it just stops. Then, this is so frustrating, you are tempted to repeat the part that you know again rather than work on the new section. So in essence, when you do this, you end up ‘practicing’ the part you already know and avoiding the parts that you don’t yet know. This is so common, yet so ineffective! The worst part of it is that the part you

already know is often the easiest portion of the music, as composers rarely start out with the most difficult passages. So think about it: you end up practicing and practicing and practicing the first section of the piece every time you ‘run through the part you already know’. Yet this is the EASIEST section and requires collectively the LEAST time. Whereas the hardest parts that require the MOST time collective are the parts you tend to avoid each day. It would be so much more efficient if you could get out of the assumption that you should learn the first part first. Instead, scan through the new composition and determine which sections appear to be the most difficult. Start on THESE sections, even if they are not connected. Eventually, each section will grow and they will overlap into each other. NOW, when you want to play through the sections you ‘already know’, it will be the HARDEST sections that you play through rather than the easiest. This means even if you avoid learning the new sections and you fall back on playing the parts you already have learned, you will still be doing some good, because these sections are the ones that will benefit by the continued review since they are so difficult. In the end, you will have over-practiced the hard sections and under-practiced the easy sections. The result will be that all the sections will be equally-mastered and this is what will help you reach your goal sooner than later!

‘If I want to play other instruments, the piano is a good foundation and will make those other instruments easier to learn’. Realty: This is a serious myth. Some of the best violinists and flautists and cellists and saxophonists NEVER had piano lessons. Learning any instrument will have its challenges. There ARE certain things that are clearer on the piano because the notes are laid out in a linear order, so

in certain cases, when you are learning scales or chord theory, it is often easier to understand. However,

it does not necessarily make you BETTER on other instruments

because you have had piano training first. ♫♫♫

MUSIC TEACHERS’ ASSOCIATION OF SA INC. / GRACE BARBARA TURNER AWARDS FOR 2017 The Music Teachers’ Association provides the Music Teachers’ Association of SA Inc./Grace Barbara Turner Awards for Excellence in Performance every year at the Adelaide Eisteddfod. The recipients for 2017 are:

WIND

Madeleine Stewart, flute Her recent solo performance highlights include attaining her LMusA last year and performing the Nielsen Flute Concerto with the Adelaide Youth Orchestra earlier this year. Madeleine Stewart is a 21 year old flautist in her last year of the Bachelor of Music (Classical Performance) at the Elder Conservatorium of Music, studying under Associate Professor Elizabeth Koch AM. Her recent achievements include being awarded the David Cubbin Medallion at the Adelaide Eisteddfod and being the recipient of the Victor Edgeloe Scholarship for Woodwind for excellence in performance at the University of Adelaide in both 2016 and 2017.

With the goal of becoming a professional orchestral flautist, Madeleine has recently participated in the Adelaide Symphony Orchestra’s training program, Professional Pathways, which includes organising ASO Learning activities, rehearsal viewings, masterclasses and the opportunity to meet visiting conductors and soloists. She has also performed in numerous ensembles, ranging from the multiple award-winning Marryatville High School Big Band I to the Elder Conservatorium Chorale.

She previously held the position of Principal Piccolo in the Adelaide Youth Wind Orchestra before being appointed Principal Flute of both the Adelaide Youth Orchestra and Elder Conservatorium Wind Orchestra in 2015. In the past two years, Madeleine has also performed in the Adelaide Youth Wind Quintet and the Elder Conservatorium Symphony Orchestra. Outside of performing, Madeleine has had experience working as an accompanist, piano teacher and orchestral manager. When she finishes her undergraduate degree, Madeleine hopes to pursue further studies overseas and is looking forward to the Elder Conservatorium’s study tour to London in late January next year.

STRINGS

Jasmine Milton, violin Jasmine Milton is 13 years old and has been playing the violin from an early age. She also enjoys playing the piano, singing

and reading. Jasmine is in Year 8 and goes to Concordia College. She is heavily involved in the orchestral music program there, plays in the String Quartet and sings in the Jazz choir. The music program at Concordia has allowed Jasmine the opportunity to play lead violin in their recent production of Annie and to sing at Generations in Jazz at Mt Gambier. In addition to her school music responsibilities at Concordia, she also plays in the Adelaide Youth Orchestra. Jasmine took part in the 22

2017 ACO Academy (an intense chamber orchestra workshop involving some of the best and brightest young string players nationally) that took place in Sydney in July. She was the winner of the Music Teachers’ Association of SA/Grace Turner Award for excellence in performance (Strings) for the 2017 Adelaide Eisteddfod. Most recently Jasmine performed as soloist for the Male Metropolitan Choir Proms Concert at the Adelaide Town Hall in August.

PIANO

Eugene Wei last year he began lessons with Gil Sullivan.

Eugene Wei was born in March 2002 and his earliest piano lessons began when he was six years old while he was still in China. He then came to Adelaide and learned from David Metin for three years. Early

In this year’s Adelaide Eisteddfod Piano Division Eugene won some First Prizes and the Lady Anne Miller Award - Piano and The Music Teachers’ Association of SA Inc./Grace Barbara Turner Award Piano. Eugene is looking forward to playing in a lunch hour concert for Recitals Australia and doing the LRSM exam for piano next year. Other than piano Eugene also plays the cello and learns from Janis Laurs. He didn’t compete in the

Adelaide Eisteddfod String Division this year because the dates clashed with his work experience schedule. Eugene is a year 10 student and goes to Marryatville High School, where he is in the school’s Special Interest Music program. One of the music activities he does in school is playing the cello in the Marryatville School Orchestra. Eugene is ambitious about becoming a professional musician, and in his spare time he is an enthusiastic cyclist and loves road cycling and races.

VOCAL

Charlotte Kelso, Mezzo-soprano

Charlotte Kelso is a recent graduate of the Elder Conservatorium, studying Classical Performance. During her studies she was awarded a Director’s Award and the Rae Cocking Memorial Prize for her achievements. Charlotte has been a core member of Adelaide

Chamber Singers since 2014. With ACS, she has toured to France, recorded a critically acclaimed 30th anniversary album, One Voice, and collaborated with artists such as the Tallis Scholars, the King’s Singers and the Hilltop Hoods. She also performs as a concert soloist and recitalist, and holds a choral scholarship position with the choir of Pilgrim Church, performing regularly both in the choir and as a soloist. Charlotte sings with the State Opera of South Australia chorus, notably in the award-winning 2017 Adelaide Festival production of Handel’s Saul. Some of Charlotte’s past operatic

roles include Cherubino (Co-Opera, The Marriage of Figaro), Hänsel (Elder Conservatorium of Music, Hänsel und Gretel), Second Sprite (Elder Conservatorium of Music, The Magic Flute), and Second Witch (Ensemble Galante and Mopoke Productions, Dido and Aeneas). Charlotte is currently undertaking a Masters of Philosophy in English literature at the University of Adelaide, and is continuing her vocal study with Cheryl Pickering.

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AUSTRALASIAN PIANO PEDAGOGY CONFERENCE 2017, PART 1 by Jane Burgess Held: July 10-14, University of Adelaide Theme: Unlocking the Past, Present and Future Theme, with works by Chopin, Field and Rachmaninoff.

If you have never been to an Australasian Piano Pedagogy Conference (APPC), you certainly have missed a real treat. This is unquestionably true of APPC 2017 that was held at the Adelaide University July 10-14, 2017. The conference theme, Keys to a changing world: unlocking the past, present and future, provided a great diversity of sessions with a choice of up to four presentations occurring at any one time. We were delighted to welcome 431 participators to this conference including 195 from South Australia, 218 from other States and Territories and 18 from overseas. There was a great deal of collegiality and friendliness as teachers, educators, academics and performers networked and shared ideas. The spectacular Banqueting Room at the Town Hall was the venue that hosted the APPC 2017 Opening Cocktail Reception. Attendees enjoyed hot and cold Canapes and a selection of wines from wine sponsor Coriole Vineyards and the chance to network and connect with colleagues. Piers Lane AO, Patron of the Australasian Piano Pedagogy Conference delighted his audience with a Recital, Variations on a

It is at these biennial conferences that new ideas are challenged, new friendships are forged, and networks are established. APPC was initiated by Rodney Smith in 1993 and met again here in 2005. One of APPCA’s strengths lies in attracting international specialists and in enabling practitioners across the whole of Australia to meet and network. Moving from one city to another each conference reflects worldwide trends. The Adelaide committee successfully encapsulated these trends ensuring that underlying currents were represented as well. But questions were also raised about our pupils’ perceptions of so called classical music, the need for teachers to better confront issues relevant to human learning and the value of human learning and the value of stylistic fidelity, amongst many other things. The Keynote speakers challenged teaching methodologies and delivery methods in thought provoking presentations. Prof. Robert Duke challenged us to empower the learner to think, choose and learn. We learnt that the human memory is dynamic rather than static - and real learning starts when a student makes connections with what they already know.

Prof. Thomas Hecht’s Encoding a Smart Studio demonstrated the mapping of learning methodologies considering the process of choosing suitable repertoire, and analysing, preparing and performing this repertoire through an intriguing system of ‘apps’ that he has devised for students’ smart devices as a ‘smart’ motivational tool in student learning.

Prof. Thomas Hecht

Assoc. Prof. Nicholas Mathew demonstrated how drawing upon fundamental lessons from historically informed performance can renew and reanimate the teaching of the piano to achieve stylistic fidelity and textual interpretation.

Assoc. Prof. Nicholas Mathew

Prof. Robert Duke

Dr Anna Goldsworthy challenged piano teachers to use their influence to prepare future performers, future teachers and future parents that can

lead a cultural shift of embracing Classical Music and preserving the art of listening for future generations.

Dr Anna Goldsworthy

Lisa Bastien presented a range of engaging methodologies for use within studio settings and challenged practitioners to teach every student as though they are your best. Lisa’s participation in APPC 2017 was facilitated by Kjos and Encore publications, and the AMEB.

Lisa Bastien

The conference committee consisted of a team of dedicated members including Conference Chair Rodney Smith, Deputy Chair Debra Andreacchio, Secretary Jane Burgess, Treasurer Natalia Hubczenko and committee members Dr Anna Goldsworthy, Kerin Bailey, Rosanne Hammer, Marianna Grynchuk, Ashley Hribar, Carly McDonald, Yong Cheong Lye, Koula Raptis and Stephen

Whittington. The APPC 2017 committee has not only been successful in producing a conference of international standing, but also developed the APPCA brand through the creation of the first APPCA logo. The organising committee is immensely grateful to the major sponsors Kawai Australia, The University of Adelaide and Hal Leonard. Through their generous support, we were able to provide top-quality instruments in wellplanned surroundings with deservedly high profile motivational presenters. In addition, close collaboration with our major sponsors, the State Music Teachers Associations and AMEB branches, promoted and built the success of the conference. Madley Rehearsal Studio was home to the trade displays. These included a display of Kawai pianos and a broad range of publications from Devirra (Alfreds) Music, Size Music, Encore, AMEB, Wirripang, Sarabande Music and Alexander Technique. There was a constant buzz and hive of activity in this meeting place where friendships were forged, ideas shared and stories told. Those attending the Conference Dinner at the Hotel Richmond would agree that this was a fitting celebration of all that the conference had to offer. A beautiful relaxed surrounding, a delightful menu, stunning wine from our wine sponsor Coriole Vineyards and of course the friendly connections between the attendees contributed to an unforgettable night. Each day the participants were treated to gourmet food prepared by Grass Roots in the On-Stage Café. Two lunch sittings were essential to

cater for the large numbers of attendees. Each afternoon we were treated to a selection of delicious cheeses sponsored by Woodside Cheese Wrights. The conference concluded on Friday July 14 with the 5MBS Composition Awards. Ten outstanding compositions were chosen from the entries and performed: five for the Hal Leonard Composition Award and five for the Kawai Composition Award. We were also treated to the world premiere performance of Drowsy Bees and Butterflies composed and performed by Kerin Bailey, composer based in Adelaide and Committee member. One international presenter commented, ‘Once again, big thanks to everyone that has contributed to the success of this session. I have been to numerous piano master classes or festivals worldwide but I have never witnessed such a versatile and packed program that could appeal to any kind of piano teacher, researcher or pianist. All the organization team as well as the other fellow presenters, pianists and teachers made my week a great, stimulating and extremely positively boosting experience. It was absolutely worth flying that far to meet you all’. APPC was certainly and enriching and unforgettable week. Part 2 will feature in the next edition of the Music Stand and will include a report on Academic papers, Master classes, Recitals, Hal Leonard Solution Stream and Practitioner Presentations.

♫♫♫

CONCERT PERFORMANCE DAY 2 by David Metin Held: August 27, Carclew Ballroom, 11 Jeffcott Street, North Adelaide

Reviewers Carclew

Assembled performers

Carly welcomes everyone

Young vocalist

Carclew Ballroom

What a terrific day this was: 66 wonderful performing artists in three sessions with a plenitude of 53 pianists, 8 vocalists and 5 strings in the beautiful settings of Carclew, a Federation style mansion built in 1897, located in the Adelaide suburb of North Adelaide, overlooking the Adelaide city centre from Montefiore Hill. A great age range from very young Ada Wang, who almost needed a stepping stool to climb onto the piano stool to young adults. Nerves were well controlled, especially for the lovely singers who have to face the audience throughout their performance and great to hear and see duets and accompanists in time. From Baroque to Popular repertoire the entire afternoon was very entertaining. There was a low key special appearance from composer, examiner, teacher and pianist, Kerin Bailey who sat in front row. A great big thank you to all the staff and council members of the MTASA, who generously donated their time and efforts to make this event a success. Norma Knight was our Concert Co-ordinator, Pat Wilson did the programme layout, our amazing Secretary, come concierge and crowd controller Masako Kondo and not to forget the wonderful Reviewers for their report writing. The Reviewers were Monika Laczofy, Dr Helen Payne, Diana Weekes and Koula Raptis. Thank you also to the performers and parents and other invitees who were almost busting the door down trying to get in … looks like we need a larger venue for our upcoming musicians to perform.

Concentration

Looking forward to many more performance in 2018.

♫♫♫

MUSIC EDUCATORS’ EXPO 2017 by Hayley Wedding Held: September 24, Thebarton Community Centre, Torrensville The 24th of September was a MASSIVE day in our Music Teachers 2017 Calendar! Our Annual Music Educators EXPO was an amazing success. As big as its 2016 Predecessor, Music Teachers from all over SA united to network with Professional Speakers, Examination and competition boards, Instrumental Businesses, and each other. With great coffee in hand (thanks to Luigi’s Coffee!) David Grice, Profession Development Speaker, provided two amazing sessions with advice regarding Music Technology in the studio classroom. Listing online resources, creative tasks and games, how to use tech devices to your advantage, and endless suggestions of small business support apps and ideas; he alone made the day a well worth the expedition (thanks for those PD hours David!). 27

Our Exhibitors were also amazing and we’d like to thank each and every one of you! Bringing forward new musical programs such as ‘AMEB Rock School’, presented by Stuart Storer, new repertoire and teaching concepts, performance opportunities and programs for students and an overall incredible atmosphere, your presence was hugely appreciated! Thank you to our Platinum Sponsors, AMEB, Size Music, Winston Music and Hal Leonard for their support to the event. Without Platinum sponsors, events like these cannot happen - so here’s to you from both the Council team and all attendees! BUT, it doesn’t stop there … we will be bringing 2018 events to you even bigger and better than ever before! With a MEET n’ GREET opportunity to network and expand your business, Professional Development Days, another ANNUAL EXPO, Concert performance opportunities, Competition Days and a few bigger collaborations (our secret!) are coming your way. Be sure to keep informed on MTASA events through our Facebook Page, Website and check your e-mails. After such an amazing EXPO, your Council can’t wait for next year! Get ready for 2018 and we’ll see you soon!

♫♫♫ Synchronised viewing at the check in table

Networking

Bikey Busker welcomes everyone

Socialising

Drums and guitars

Itâ&#x20AC;&#x2122;s all happening!

Keynote Speaker David Grice, Music Education Technology Trends

Raiders Drum Corps and MJB Dancers

It was good for broadening my general awareness and exposing me to what is happening in the music industry. I would not have accessed this detail of information anywhere else in my present circle of influence. There were so much to look at!

Overall the talks are a great idea!!

Thank you for doing a great job MTASA, look forward to next year!

Please do it again next year! Loved it. Thank you.

vHUMOURv Beecham Quotes To the orchestra, querulously, tapping the score: ‘Nobody is playing anything like what I’ve got here’. ‘What have we got this morning?’ ‘The Pathétique, Sir Thomas’. ‘Oh well, let’s see what we can do to cheer it up’. One cold November morning in the old Free Trade Hall, Manchester, the intonation was appalling. Beecham seemed to bear it for an abnormally long time, and then came the sniff and the inevitable pronouncement: ‘It sounds like an Eisteddfod!’ ‘At Figure 19, cymbals, a grand smash of your delightful instruments to help in the general welter of sound, if you please’.

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CONTACT DETAILS FOR OTHER ORGANISATIONS 5MBS Visit: www.5mbs.com 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 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

AUSTRALASIAN DOUBLE REED SOCIETY http://adrs.org.au/web/

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 YOUTH ORCHESTRA www.adyo.com.au

MUSICA VIVA http://www.musicaviva.com.au/ for concert details. 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

ASME www.asme.sa.edu.au

ADELAIDE BAROQUE www.adelaidebaroque.com.au

ADELAIDE EISTEDDFOD SOCIETY INC. http://www.sacomment.com/aes/eisteddfod/

FLUTE SOCIETY of SA INC. http://flutesocietyofsa.org

ELDER CONSERVATORIUM OF MUSIC www.music.adelaide.edu.au ELDER HALL www.elderhall.adelaide.edu.au or Contact: Elder Hall Concert Manager 8313 5925

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/

SUBSCRIBE TODAY!

Discover the dazzling beauty of classical music performed by the very best international artists in 2018!

CALL 1800 688 482 OR VISIT MUSICAVIVA.COM.AU/2018 32