IN THIS ISSUE ON THE TEACHINGROADSINGING FOR MUSIC THEATRE THE OVERTONE SERIES Published by The Music Teachers’ Association of South Australia Inc. SPRING 2022
SA MUSIC TEACHER 01
Recentlymagazine.we introduced a mandatory 7 hour Professional Learning tick box for members, required upon renewal of membership annually. In the SA Music Teacher magazine and on our website, there are concise details on how members can achieve these 7 hours minimum Professional Learning. Aside from the attractive infographic that lists these options for PL (look for it in the next few pages), I am quite happy to list them here.
There are many ways to easily acquire professional learning. Did you know that reading - yes, reading - constitutes professional learning? Even watching a YouTube video, listening to a podcast or interview on the radio, and literally doing anything that enhances your development as an educator is valued as professional learning. Attending a seminar, working on a course, attending a lecture or workshop, these are all professional learning actions and qualify as professional learning. It is important to note that professional learning outside of MTASA events and offerings are perfectly acceptable!
With all best wishes, Sofie Arhontoulis, ThePresident,Music Teachers’ Association of South Australia Inc.
We would love to be able to share your positive experiences with members, particularly describing how these opportunities have enriched your teaching skills. Why did we introduce this requirement? In our association we gladly accept and carefully vet the best music teachers in South Australia, by way of their qualifications and/or pedagogical commitment.
MTASA members are dedicated to their pedagogical aims, and are committed to maintaining their own professional standards. These qualities are what set our members apart from the rest. And, our responsibility is to define the standard, and of course offer multiple opportunities and clear direction to enrich, grow and maintain these standards in our members as outstanding music educators.
WELCOME FROM THE PRESIDENT
As studio music educators, we often operate alone and independently of groups. This is a unique stamp of the private music teacher, even if we visit schools to tutor our instrument. Other educators often work in a team, like staff in schools and tertiary establishments, and their leadership (hopefully) provides them with information and direction regarding access to professional learning.
The MTASA is dedicated to helping our highly credentialed members by providing, facilitating and delivering expert quality Professional Learning, in the form of webinars, in-person events, and informative articles in the members’ free SA Music Teacher
SA MUSIC VOLUMETEACHER 30 No 3 SPRING 2022 WELCOME FROM THE PRESIDENT By Sofie Arhontoulis COMING MTASA EVENTS MEMBER INFORMATION RECENT EVENTS MTASA WEBINAR REPORTS: Who Would Have Thought? By Mark Walton Report by David Brookes OnARTICLEStheRoad By Gil Sullivan Teaching Singing for Music Theatre Saying hello By Pat. H. Wilson ACCOMPANIST’S CORNER AGSA in ACTION 2022 with ‘FESTIVAL 39 – PIANO, WORDS, SONG’ By Monika Laczofy JAZZIN’ AROUND The Overtone Series - Intervals chords and scales By Anthony Lillywhite REGIONAL TEACHERS Interview with Alison Hams PEDAGOGY MATTERS Elvina Truman Pearce By Rodney Smith OTHER ORGANISATIONS’ NEWS & EVENTS OTHER ORGANISATIONS’ CONCERTS CONTACT DETAILS FOR OTHER FrontORGANISATIONScover:Amy Song Photo by Anthea Mur 01 0303 1011 13 1715 19 25242221 CONTENT PATRONS : Dr Doreen Bridges AM, Emeritus Professor David Lockett AM, Her Excellency the Honourable Frances Adamson AC, Governor of South Australia and Mr Rod Bunten PRESIDENT : Sofie Arhontoulis VICE-PRESIDENT : Rodney Smith, Wendy Heiligenberg SECRETARY : Masako Kondo TREASURER : Samantha Penny AUDITOR : Australian Independent Audit Services COUNCIL 2021/2022 : Sofie Arhontoulis, Pete Barter, David Brookes, Wendy Heiligenberg, Masako Kondo, Zuoyu Liu, Yong Cheong Lye,Yuxin Men, Anthea Mur, Samantha Penny, Rodney Smith EDITOR : Masako Kondo LAYOUT : Sectrix MEMBERSHIP ENQUIRIES to the SecretaryPO Box 4, RUNDLE MALL, SA 5000 Mobile: 0402 575 219 E-mail: ADVERTISINGinfo@mtasa.com.au-pleasecontact the Secretary Please see MEMBER INFORMATION page for Advertising Price List. DEADLINES FOR 2022/2023 Contributions to SA Music Teacher are most welcome. All items to be included must reach the Editor, Masako Kondo (info@mtasa.com.au) no later than these deadlines: Friday October 28, 2023: January 27, April 29, July 14 SOME CONTRIBUTING GUIDELINES All text is to be submitted to the Editor for review. Italics and inverted commas for quotations - text is to be either in Italics or inside inverted commas, not both. Single inverted commas to be used; double inverted commas only inside single inverted commas. The inverted comma at the end of a sentence is to be inside the fullstop; outside for ! and ? MTASA WEBSITE Please visit mtasa.com.au MTASA FACEBOOK Please visit the MTASA Facebook page at www.facebook.com/MusicTeachersSA/ 02
COMING MTASA EVENTS 03 SA MUSIC TEACHER Mondays, September 5, 12 & 19 Saturday, October 29 Monday, November 7 Sunday, November 13 Alexandra Frost Presentation and Subsequent Masterclasses (Online Webinar) Competition Day: Reimann-Robinson Scholarship & Norman Sellick Memorial Prize MTASA Webinar with Melanie SpanswickTicketTimeTopicTicketTimeVenueMasterclassPresentationTicketTimeAGM 7:30 pm – 8:30 pm Via Eventbrite To what extent is performance viewed by music students as a threat or a challenge? How to support optimal performance, mental health and wellbeing in music students. Performance Enhancement Masterclass 1 & 2 Flinders Street Baptist Church 9:00 am Via Eventbrite Wrist and hand flexibility and release, and how this can help with the development of a relaxed torso and firmer fingers when teaching our Via7:00studentspmEventbrite:::::::::: INFORMATIONMEMBER NEW MEMBERS The Music Teachers’ Association extends a warm welcome to the following music teachers who have joined the association. We are looking forward to meeting them at our events. Sharon Tang, Student, Piano, Theory Yiyin (Elsa) Tian, Full Member, Singing MTASA MEMBERSHIP FEES The membership fees are: Full member : $122 Student member : $62 Friend : $32 Institution : $32 RECOMMENDED TEACHING FEES The following teaching rates are recommended to members by the MTASA Council for 2022. Full member : $75 per hour Associate member : $64 per hour Student member : $48 per hour TicketTimeVenue St Spyridon College, 52 Oxford Tce, Unley 5:30 pm Via Eventbrite:::
Full members of the Music Teachers’ Association of South Australia may use the letters MMTA (member of Music Teachers’ Association) as a post-nominal while they are financial members. Interstate Music Teachers Associations are also encouraging their members to use this or a similar post-nominal.
POST-NOMINALS
Membership Subscription Renewals for 2022/2023 was due on June 30.
MTASA has introduced a Professional Development scheme for Full members. This commenced on July 1, 2019 when Full members began accumulating their seven hours of Professional Development. The scheme is designed to underpin and enhance MTASA’s established reputation for the professional excellence of its members, ensuring its standards are fully compliant with current educational expectations. These are clearly outlined in the Australian Professional Standards for Teachers (visit www.aitsl.edu.au/teach/standards) and similar documents.
MTASA will undertake random checks from time to time to ensure the system is working properly. So, on very rare occasions a Full member may receive a request from the Secretary for information about their Professional Development. In such instances you may submit evidence such as certificates, programs, diary notes, recordings and so forth. MTASA RENEWALSMEMBERSHIP
SA MUSIC TEACHER
Subscription renewal notices were sent in late June via e-mail to remind members to log in and renew their membership for the 2022/2023 financial year. If you are a Full member you will be asked to indicate that you have completed seven hours of Professional Development during the previous twelve months. If you don’t receive an e-mail please check your spam folder. You can log in at any time to renew your membership. If it seems that you didn’t receive an e-mail, have forgotten your username or are having problems logging in please contact the Secretary. Paper invoices were sent to members who prefer to receive them.
04
The following examples are provided to give general guidance for Full members about Professional Development that would be acceptable to MTASA. These examples represent only a small sample of all the possibilities available to Full members. Generally Full members should feel comfortable about their own choices but in case of doubt you are welcome to contact the Secretary for further advice Improved(info@mtasa.com.au).musicteachingshould be a major factor in all activities that Full members wish to count towards their MTASA Professional Development.
REQUIRED FULLDEVELOPMENTPROFESSIONALFORMEMBERSOFMTASA
From July 1, 2020 onwards Full members, when renewing their membership, will be asked to tick a box declaring that they have undertaken at least seven hours of Professional Development during the previous twelve months.
Composing an educational piece of music that motivates a group of pupils.
NOTICE TO STUDENT MEMBERS
4. Personal Research. Studying books, journals, articles, musical scores, musical theory, analysis, etc., which lead to an example of improved music pedagogy and/or pupil performance. Self-conducted research leading to a presentation, masterclass or workshop at a conference.
Andersons Solicitors tell them you are a member of MTASA, which is a member organisation of Educators SA (CEASA). Visit the website at www.andersons.com.au/.
Remember! These are only a few amongst many possibilities. MTASA is a community of creatives. You are encouraged to be creative in your Professional Development!
Examples of Professional Development that would be acceptable to MTASA:
• Free initial phone conversation with a Whenlawyer.contacting
05
EDUCATORS SA
3. Formal Study. Undertaking a qualification or part-qualification delivered by a recognised institution.
5. Team Research. A joint project with others that achieves particular improvements in a training ensemble. Joint creation of music teaching materials that improve learning in a group of pupils.
Have you fulfilled the requirements for Full Membership? Student members are reminded that Student membership is restricted to four years after which time it is expected that they would be eligible for another membership category, either Full Membership by Tertiary Study or Full Membership by RPL (Recognition of Prior Learning and Experience).
2. Face-to-Face. Attending a conference, workshop, masterclass or lecture.
1. Online. Attending a webinar or similar event; undertaking an online e-learning course.
As a member of Educators SA, MTASA can offer benefits to its members. Here are some Andersonsoffers:Solicitors offer MTASA members: • 10% off legal services, in ALL areas.
Credit Union SA has a range of education only offers. Visit the website at www.creditunionsa.com. banking-benefits/au/community/education-community-formoreinformation.
SA MUSIC TEACHER
Student members who are ready to upgrade their membership are invited to submit an application form to the Secretary together with the required supporting documents. Criteria can be downloaded from the MTASA website (www.mtasa.com.au) or obtained from the Secretary (info@mtasa.com.au).
SA MUSIC TEACHER 07
A Working With Children Check is needed for all schools (Government, Catholic and Independent). For further information go to www.screening. sa.gov.au/types-of-check/new-working-withchildren-checks. EVENT NEEDEDVOLUNTEERS
WORKING WITH CHILDREN CHECK (WWCC)
SA MUSIC TEACHER 08
TEACHING IN THE COUNTRY
New Legislation regarding Child Protection was introduced with effect from September 1, 2019. A ‘Police Check’ is now known as a ‘Working With Children Check’ (WWCC). The Working With Children Check is the most comprehensive check that exists. Anyone found guilty of breaching this legislation can be fined up to $120,000.
In recent years each issue of SA Music Teacher has included an article about music teaching in a country region of South Australia. No article was received this time and there are some regions that haven’t been visited yet. If you haven’t done so please write something – it doesn’t need to be very long – and also include a photo. If you have written something before you are welcome to send an update. E-mail the Secretary at info@mtasa.com.au.
People working or volunteering with children in South Australia must, by law, have a Working With Children Check. A DHS/DCSI child-related check will be recognised as a Working With Children Check until it expires.
Enthusiastic volunteers are needed to help with various jobs at MTASA events. Tasks include setting up the venue, helping with registration at the check in table, ushering, assisting performers, helping with meals, and packing up afterwards. It is a great way to network and a volunteering certificate will be provided, which will enhance your ForCV! more information, please e-mail the Secretary at info@mtasa.com.au.
People need a Working With Children Check if they are in a ‘prescribed position’. This means people who are in paid or volunteering roles where it is reasonably foreseeable that they will work with children; run or manage a business where the employees or volunteers work with children; are employed to provide preschool, primary or secondary education to a child.
TEACHERS
Visit a-member/mtasa.com.au/index.php/members/become-tojoinMTASA.
Current Full, Student or Associate Members are not required to submit any supporting documentation to continue their MTASA membership. Anyone applying for Full Membership (either Tertiary Level Qualification and Study or Recognition of Prior Learning and Experience) or Student Membership for the first time must fulfil all of the requirements listed and submit the appropriate supporting documentation. Associate Membership is no longer being offered but those who were Associate Members on September 24, 2017, can continue their membership provided they remain as financial members.
Full Membership (Recognition of Prior Learning and Experience) has replaced General MTASAMembership.Members are always encouraged to write to the Secretary about any concerns that they may have. The MTASA Council will consider your request. OF
MUSICIANSHIPTHEORY/ ADVERTISE WITH SA MUSIC TEACHER FEE FOR POSTERS AND FLYERS CLASSIFIED AD For 4 issuesPer issue A4 SIZE (210mm x 297mm) Full page 2022 MTASA eDM and Media Advertising rates 1 Email to members 1 Facebook post 1 Facebook and Instagram post 1 Email and Facebook combo 1 Email, Facebook and Instagram $55 $35$30 $85$75 1/4 page 1/2 page 1/6 page Colour $268$68 $135 $46 Colour $427$214$854 $143 One issue $102. Four issues $371. 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% MTASAdiscount.Members, free. Non-members, $17. Please contact the (info@mtasa.com.au)Secretaryaboutadvertising. 09 SA MUSIC TEACHER The Editor is always looking for things to include in SA Music Teacher. Articles can be about any music related topic. If you would like to write an article this is your invitation! A helpful hint, a comment, a joke, a poem, a cartoon, etc. … please e-mail them to the Secretary at info@mtasa.com.au. CONTRIBUTIONS TO ‘SA MUSIC TEACHER’
MTASA MEMBERSHIP NOTES
Full, Student or Associate MTASA members wishing to have theory and/or musicianship included in their Directory listing should send copies of the relevant certificates to the Secretary (info@mtasa.com.au).
To be listed in the ‘The Directory of Teachers of Music’ on the MTASA website as a teacher of theory/musicianship applicants for Full or Student membership must supply evidence of having completed studies in this field to at least AMEB 5th Grade theory/musicianship standard or equivalent.
Who Would Have Thought?
teaching for 50 years and is still going strong. He has taught clarinet and saxophone to people from all over the world, many who now play professionally and others who have become teachers at tertiary level and in home studio practices. He does not audition prospective students; he teaches from very beginners in primary school to senior citizens. In fact, his oldest student is a lady 100 years old who started lessons at 75 years of Thisage! webinar centred mainly on teaching the laziest students you may ever encounter.
Mark’s philosophy is that if the student turns up with their instrument that is a bonus, if they have their music with them, even better, and if they smile on entering the studio, that is fantastic.
He has written and published a book titled ‘Who Would Have Thought’ which documents his experiences with many students over his 50 years of teaching. All the proceeds from the sale of this book he selflessly donates to the now struggling Christchurch School of Music where he first began his musical journey. This was an inspiring webinar presentation and I’m sure all who participated would agree. Mark still teaches seven days per week and is very active in energising community music making and nurturing musical talent throughout regional Australia, New Zealand and beyond. Indeed, 5 minutes after this webinar, he was due to give a lesson to a female saxophone student in Pakistan! She fled Afghanistan when the Taliban came back to power, knowing that she would not be able to continue having music lessons under the new regime.
Thank you, Mark Walton, for an outstanding and inspirational webinar presented for MTASA members and others.
Presented by Mark Walton
MTASA Webinar 9th May 7:30pm RECENT EVENTS
By David Brookes
SA MUSIC TEACHER
10 Mark Walton is highly respected in the Australian music scene and is known as a leading clarinet and Markandperformer,saxophoneteacher,musicadvocate.hasnowbeen
Mark explained that over the years his teaching philosophy has changed, he has discovered over decades that even if the student made seemingly little progress or never practiced between lessons, they still had an enriching life experience, which indicates it is worth persevering with what may be considered a hopeless student. Over the decades he has met many of these previous students in various situations and they have reinforced how much they enjoyed their lessons with him and how they enriched their lives.
After a couple of months, someone from that class overheard me practising Chopin’s Fantasie in another room, and strongly recommended I take piano lessons with Ffrangcon, explaining he was
a truly international concert pianist, having played with all the great London orchestras, toured Russia with the Moscow Philharmonic playing Brahms’ 2nd, and in 1969, Rachmaninov’s 3rd on an Australia-wide ABC tour.
Returning to a solo career in ‘89, I was immediately invited by the West Australian Symphony Orchestra to record for CD, the Schumann Concerto, plus Tchaikovsky’s 2nd. At this time, CD technology
SA MUSIC TEACHER
As a very high-profile, full-time ensemble-inresidence, we were reviewed in The Australian virtually every concert, and learning the piano part to a trio in just 4 days to be reviewed in Australia’s national paper was chilling! After 2 years, and many truly great concerts and live national broadcasts!, plus invitations from every orchestra in Australia to play Beethoven’s “Triple”, the trio broke up.
Immediately upon my return to Adelaide, a friend and fellow student (from 7 years earlier), by then leader of the W.A. String Quartet, told me of a cellist – a New Yorker - now living in Perth, who wanted to start a full-time piano trio, with the UWA pledging the funds. I was asked to join, though stepped off the train in Perth in the first few days of 1987 knowing only 2 trios!! In the ensuing 2 years, I learnt and performed 35 trios, many of the most difficult and demanding in the repertoire.
ARTICLES
As mentioned, I practised very hard as a student, learning as much of the repertoire as possible, whilst receiving more and more paid invitations around Australia. I was appointed to the academic staff of the Elder Conservatorium in the early 80s, completely restructuring the Aural Course to the format they still adhere to today, and the following year to the piano staff, then, a supremely great honour. In the mid 80s, an opportunity presented itself to study under one the greatest pianists of our time – Murray Perahia! Moving to London for 11 months, I took lessons with him, plus Paul Badura-Skoda in Vienna, the latter, to foster more particularly my special love for Mozart.
On the Road By Gil Sullivan
Gingerly approaching him, he surprisingly said we could go right now, whereupon I played the 1st Chopin Polonaise. With gaping mouth, and eyes of bewilderment, he looked straight at me and said, “My God, you have an international career ahead of you!”. My fate was sealed! It was that praise which ignited my passion to become a concert pianist.
“The life of a concert pianist is one, totally devoted to practise”! This almost portent admonition was handed to me by one of Adelaide’s truly wonderful pianists and musicians – the late Noreen Stokes. Nearing the end of my Masters Degree, locked in my teacher Clem Leske’s room weekends, practising up to 14 hours some days, I never dreamed of stepping upon the stages of Carnegie Hall (then - by huge demand, to be invited back 6 years later!), plus many of the great concert halls of Europe, including the Amsterdam Concertgebouw, the Berlin and Vienna Konzerthauses, the Bruges Concertgebouw etc. Performing was always in my blood, so had it in mind to do as much as I could, without ever knowing where or how far it would lead me. Constant praise for my playing certainly fueled me along, though in hindsight, I realise this was purely praise as a “professional tenderfoot”, even interstate. But one particular, spontaneous praise was at the very heart of my then future career. As a teenager, I wasn’t interested in being a concert pianist; the top of the pops for me was as a composer, then a conductor. I knew I had ‘some’ talent at the piano, but began learning at 10, so would never describe myself (even today) as “a natural pianist”. However, within 4 years I was performing Beethoven’s Appassionata, Waldstein and Moonlight sonatas, and learnt his Hammerklavier, plus Chopin’s 1st Concerto at 15, all while composing 2 symphonies, 4 piano sonatas, a string quartet, an overture etc. These compositions came to the attention of Richard Meale, arguably the greatest composer Australia has ever produced, inviting me - whilst still only 14 - to some of his classes at the Elder AtConservatorium.18,RichardHornung, then director of Flinders St. School of Music, conducted my 2nd symphony with the school’s orchestra. This was an almighty, thunder clapping revelation to hear music I’d only heard in my head, materialise before me, as I looked around the orchestra, amazed at what I had written, & how wonderful it all sounded. He invited me to sit in on some classes, one of which was Ffrangcon Davies’ “Voice-leading” (Schenker).
11
One must quickly learn the art of projection in huge concert halls, to hold thousands suspended in the palm of your hand for 2 hours.
Gil Sullivan
He has performed twice in New York’s Carnegie Hall, plus given recitals in The Amsterdam Concertgebouw, The Berlin Konzerthaus, The Bruges Concertgebouw, Chicago’s Centre for International Performance and Exhibition, New Hampshire’s Claremont Opera House, the National Opera House of Vietnam, plus the National Concert Halls of Thailand, Taiwan, Hong Kong and Korea, and has recorded concertos by Tchaikovsky and Schumann for CD with the West Australian Symphony Orchestra.
Some of my concert tours have been as long as 2.5, even 3 months long, and that’s a LOT of evenings alone in hotel rooms with nothing to do except read and listen to your iPod, night after night, week after week. Naturally, in some countries, it is safe to go out at night, but in many European countries, it can be dangerous to venture out after dark, especially as the local crims can see tourists, as people with big neon signs over their heads saying - “VICTIM”.
One of Australia’s resident full-time concert pianist, Gil Sullivan tours extensively both around Australia and overseas, performing each year throughout Asia, Europe, the U.K., and the United States.
After moving from “professional tenderfoot” onto the international stages, I quickly recognised I had to quite seriously lift my game, meaning for example, a phrase that may have been acceptable to Australian audiences, would be torn to shreds by the New York press. This truly is where the whole ball game changes. To meet an international standard, where you can keep gaining consistent invitations, concert after concert, every detail of your playing must be fully thought out and considered, every note must be properly judged and executed perfectly, one’s memory and learning skills must be quick and totally secure, and above all, every concert must be thrilling, exciting, passionate!!
SA MUSIC TEACHER
Sullivan’s performances are renowned for their freshness and spontaneity, challenging audiences, taking both them and the music to the edge with his rich palette of colours, immense tonal range, and innovative interpretations.
12 was still in its infancy, and as the LPs days slowly faded, recording engineers were getting their heads around the then extremely high CD soundquality. Due to inferior technical issues, sadly, these recordings never commercially found their way onto shop shelves, but for the remainder of 1989, I performed up and down the length and breadth of W.A. From the early 90s, I already began serious concertising around the world. In 1999, after a concert in Dresden, an agent based in Amsterdam - Mary Kaptein - approached me, asking me which management I was with. After telling her I had none, she promptly took me on as one of her artists, finding me concerts in venues one simply cannot access without management, including the abovementioned concert halls, plus the National Concert Halls of Taiwan, Hong Kong, Thailand, Korea. The National Opera House of Vietnam, the Claremont Opera House New Hampshire, the Chicago Centre for International Exhibition and Performance, and the Melbourne Recital Centre. Mary also secured masterclasses at the Royal Academy (including a lecture-recital on Mozart), the Royal College, and the Guildhall in London (where I accidentally bumped into Pierre Boulez!), the Scottish Academy of Music and Dance in Glasgow, plus my lecture/ recital on Mozart at Oxford University. Performing and conducting with the Aiken and Aragon Chamber Orchestras in the US, plus frequent recordings for Hong Kong Radio 4. On top of these, extensive concert tours of the US, Europe, and most Asian countries. When covid ‘lets up’!, I have invitations to perform with many orchestras in the US, while in January 2020, I signed a major recording contract to record the complete Mozart Piano Sonatas with a company in Houston Texas, again, when covid Forpermits!many, this all seems an exciting lifestyle, travelling the world performing, receiving glittering accolades and reviews, being pursued by newspapers, radio and television for interviews and photos. But looks can be deceiving. Anyone who travels for work will know how lonely it can be, and in the end, it’s all about work!, not holidaying or sightseeing, and especially in this kind of job, indolence can never be brooked! Whilst on tour, I practise all day every day, including practising and/ or learning new repertoire for future concert tours/ recordings. Very early on, I realised you must play so well, that people invariably invite you back, and Mary strongly impressed this work ethic upon me in order to build what she called “a concert base”!
13
The work of music theatre singing teachers – just like all singing teachers - addresses five specific areas: Breath. Inhalation / exhalation Sound. Phonation; creating the sound Resonation. Ways of amplifying that vocal sound Registration. Vocal fold muscles allied with resonance and phonation
I’m honoured to have been asked to chat with you about my specialty area. Four times a year, I’ll drop by and have a yarn about music, singing and music theatre. Music theatre
It’s refreshing to remember just how similar all good singing teaching can be. We serve different genres in very particular ways, but the basics remain. Although much music theatre singing happens as an extension of the speaking voice, the training of a good music theatre voice should not
Saying hello By Pat. H. Wilson
dressed in black tie. Sweeney Todd is a MUSICAL when the orchestra is dressed in black t-shirts.”
Stephen Sondheim (who wrote Sweeney Todd) is quoted by Diane Nottle as saying, “As for those who endlessly debate the opera-versus-musical question, he (Sondheim) clearly has no patience. ‘Making these labels,’ he said, ‘is a fool’s game.’”1
Teaching Singing for Music Theatre
Just about everyone knows someone doing a musical somewhere. Your neighbour’s kid’s in Shrek Junior at their primary school. Your niece is starring in Annie at her high school. Your uncle’s doing Professor Higgins in his local theatre group’s My Fair Lady. And your students want to sing songs from Frozen or Hamilton. Music theatre performance continues to grow in schools and community theatre. It’s also a professional career pathway. Teaching singing for music theatre has become less of a side hustle for classically trained singing teachers and more a defined set of pedagogical skills specific to the demands of this global industry. So – what’s a musical? Both opera and music theatre tell stories with music and words. What’s the difference? Is music theatre a sort of low-rent opera with bits of speaking in it and some sort of non-classical music? A wag once observed, “Sweeney Todd is an OPERA when the orchestra is Elder Conservatorium Music Theatre graduating class, Les Misérables cast, June 2022, Scott Theatre. Image: Greg Balcombe
Pedagogy for music theatre
Articulation. Shaping the voice into words
SA MUSIC TEACHER
SA MUSIC TEACHER
14
References Nottle, Diane. (August 24th, 2016) Opera or musical? Sondheim made Sweeney to scare an audience. musical-sondheim-made-sweeney-scareaudience/#:~:text=%E2%80%9CI%20made%20 June 2022 exclude classical voice production. Today’s singing teachers cannot afford to be snobs or separatists. We all learn from each other.
1.
Handouts I have a bunch of handouts, developed over the years to help my students.
In future columns I’ll swap more of my handouts… and see if you have some good ones too.
Joshua Ridge and Callum Worthington, Elder Conservatorium Music Theatre graduating class, Les Misérables, June 2022, Scott Theatre. Image: Greg Balcombe
https://everythingsondheim.org/opera-
For those singers who know few musicals and are fixated on singing material from their current obsession (whatever’s fashionable: Dear Evan Hansen, The Book of Mormon, The Last Five Years…), I have a list headed “58 Music Theatre shows I think you should listen to”. Rather than defaulting to Google-driven lists (“Top 100 Greatest Musicals” sort of stuff), I compiled it myself. It reflects what I think an emerging Australian music theatre artist should have on their Playlist in order to be respected as a part of our trade. If you’re interested, I’m happy to share this list with you. Just ask [pattbat@gmail.com].
is%20a%20musical.%E2%80%9DSweeney%20to%20scare,%E2%80%9CSweeney%20 Retrieved 29th
JUNIOR MASTERCLASS - Samantha Li and James Skelton JEMs quintet – ‘Sugarplum Fairy’ (Jonathan Wong at the piano)
3. The COMPOSITION AWARD of $1000 for young South Australian composers (15-22 year old) entering a setting of the poem “Tomatoes” by Dr. Peter Goldsworthy AM – won by Alex Newman.
15
The Accompanists’ Guild of South Australia has been busier than usual this year, beginning with the YOUNG ACCOMPANISTS SHOWCASE (YAS), our program promoting collaborative playing for SECONDARY school pianists, managed by Gina Macri. The Young Accompanists presented their concert in MAY with pianists Heidi Gong, Theo Tran, Jasmin Baker and Cindy Luo. Their professional associate artists were Jonathon Glonek - violin, Samantha Hennessy - flute, Nicholas Cannon –Addedbaritone.to the usually biennial event and leading up to our RUBY YEAR 2023, we held a special Conference in June - an extra ‘FESTIVAL 39’, prompted by the ‘return home’ visit of Dr. Nicole Panizza, Adelaide born and now one of UK’s leading recitalists, scholars and educators. She was joined by Teresa La Rocca, acclaimed South Australian operatic soprano and music director, as our Artists in Residence. With their cooperation the Guild put together a very full Festival program with four major components:
1.MASTERCLASSES for Junior ensembles (JEMs) performers - Jonathan Wong, Tiger Wu, Emily Yang, Emily Wu, Chloe Cheng, Jessica Dong, Jade Sammut, Samantha Li, James Skelton; for Advanced ensembles - Yundi Yuan, Paris and Hamish Netting (the Eurelia Trio), Haowei Yang, Jenny Hu, Jennifer Chen and Gianna Guttilla.
4. Our newest venture - building on the success of the Geoffrey Parsons Award, AGSA decided to offer a COLLABORATIVE PIANIST AWARD of $1000 for 12-22 year old South Australian pianists. Competitors were Shawn Hui, Jenny Su, Alexander Forbes and Cindy Luo, supported by associate artists Greg Tuske, Lauren Borg, Tahlia Williams and Samantha Hennessy. The performance standard of all entrants was impressively high, the prize was awarded to Cindy Luo for her most sensitive collaborative playing.
By Monika Laczofy ACCOMPANIST’S CORNER
The JUNIOR ENSEMBLE MUSICIANS, our annual project for PRIMARY school pianists performing with their peer instrumentalists, have also not been idle! We combined their performance with the YAS in May and, in response to popular request, we are now preparing for a second concert at the end of September. The program this time will feature piano duos plus two Wind Quintets with Piano, the quite substantial piano parts being shared by several young pianists. It has been surprisingly easy to find good music simply arranged for mixed ensemble – this time selections from the Saint Saens ‘Carnival of the Animals’ and theme from the ‘Pride and Prejudice’ film – and all our participants have a lot of fun learning to ‘cooperate’! (M.L. on behalf of AGSA)
ARTICLES AGSA in ACTION 2022 with ‘FESTIVAL 39 – PIANO, WORDS, SONG’
2. A RECITAL by Nicole and Teresa of Emily Dickinson poems set by Aaron Copland
SA MUSIC TEACHER
16 Advanced Masterclass – Eurelia Trio Collaborative Pianist Award RECITAL – Dr. Nicole Panizza and Teresa LaRocca SA MUSIC TEACHER
The overtone series (or harmonic series) results from the vibration of a regularly constituted body (e.g. a string or column of air or metal bar etc.) A string (to use this example) vibrates its entire length that produces the pitch we hear as the fundamental. It also vibrates in decreasing fractions that produce higher pitches called overtones. For example, the string vibrates in halves, thirds, quarters, fifths, sixths and so on infinitely. The fundamental and the overtones are collectively known as partials. Each has its number as shown below in example 1. In this example, the C overtone series to 13th partial is shown. The partial number of each tone is the wavelength as a fraction of the fundamental. For example, the 2nd partial C is the result of the string vibrating in halves. The 3rd partial G, is the result of the string vibrating in 3rds etc.
Ex. 2
In this article, following a brief explanation of the overtone series, basic intervals and selected chords and scales that are derived from the overtone series will be examined.
The first partial (or fundamental) is the acoustical root of each interval shown. The harmonic strength of an interval can be determined by its closeness to the acoustic root.
17
Ex. Notes1 that are at the interval of a perfect 8ve or multiple 8ves are said to be of the same pitch class. Note that there are 4 C’s in Example 1, the partial numbers being 1, 2, 4 and 8. Notes an 8ve higher vibrate at double the frequency of the lower note. Note also the three G’s being 3, 6 and 12; the two E’s being 5 and 10.
Example 2 shows the first appearance of each interval from the harmonic overtone series starting on C. The same result would be gained with any fundamental. The partial numbers shown give the vibration frequency ratio. Two tones sounding simultaneously as an interval produce another tone below the interval. This is called the ‘difference tone’ that results from the subtraction of the vibration frequency ratios (as shown below each interval in example 2) of the tones of each interval. From the difference tone comes the ‘acoustical root’.
The Overtone Series
Intervals chords and scales
JAZZIN’
By Anthony Lillywhite
AROUND SA MUSIC TEACHER
iv. If we place all of the tones found in the C13#11 chord in stepwise order from C, the resulting scale is the ‘C Lydian Dominant Scale. See example 4 Ex. 4
Some observations:
18
The 3rd paragraph (preceding Ex 2) has been sourced in part from ‘Modern Harmonic Technique Volume 1’ by Gordon Delamont Published by Kendor Music Inc. In my next article, I will examine some other chord types that are theoretically based on the overtone series albeit with some partials altered.
v. If we begin the above scale from G, the result is the ‘G melodic minor scale’ in its ascending form. Note here that jazz musicians consider the melodic minor in its ascending form to be ‘the melodic minor’. This is because it is a scale from which other modes used in jazz since the 1960’s are derived.
Ex. 5
i. The acoustic root of each chord is C2 (2 8ves below middle C) ii. The 2nd inversion of the C major triad appears first. iii. The E diminished triad is really a C7 without its root; likewise, the E half diminished 7th chord is really a C9th without its root. In each other chord shown, the acoustical root (C2) is represented by the presence of the 4th partial (middle C or C4). The non appearance of this partial in the E dim triad and the E half dim 7th gives a clue as to the ambiguous and unstable sound of these two chords. As incomplete (or rootless) dominant 7th and dominant 9th chords respectively, we gain insight into a common function of these chords; that is the dominant function; e.g. to resolve regularly to a tonic chord or deceptively to another diatonic chord or elsewhere involving a modulation. The half dim 7th also commonly appears as a predominant chord especially in minor keys.
We will now build some chords from the C overtone series. The partial numbers appear alongside each chord.
SA MUSIC TEACHER
REGIONAL TEACHERS
19
Hams SA MUSIC TEACHER
“What makes a good student?”
A: I love teaching because I love to see that joy and happiness in a student’s eyes when they experience a success. Now a success doesn’t mean hitting number one on the charts or getting that huge pay. Success might just be finally making that chord shape or a student coming in with an original line thinking they want to write a song. So, to each of us, the little wins and the big wins of our own individual musical story, having that little success just makes me so happy. Because we know how it feels when we have something that is so amazing when we’re making music, creating, composing, or recording music and so whether that student is 3 years old or 73, you know each of their musical journeys is just as important as mine and yours and so that’s why I love to teach because I love to see them making music.
P: Yep, perfect, absolutely. There are two words that I tend not to use, and they are homework and practise. Only because kids say, “I don’t want to do homework”, “I don’t want to practise”, but I’ve been kind of flipping in and out of that resolution these days because students do need to do the practise. I’ve never not said they don’t have to, but we practise to get better, and when we get better, we kind of inspire ourselves. As students, we learn when something goes well. “I can do that now” means, “I can do that in that setting”, and getting good at something inspires students to practise
P: Alright, let’s get going. I have a bunch of questions; some are simple, and some are a little complex. We can take as long as you need to answer these questions, but I’ll start with the first one. Finish this sentence, “I love teaching because…”
This is a short snippet of the interview Pete Barter conducted for his website.
It’s been a long time in the making trying to get Alison to come on the show. She is one of the busiest teachers that I know, and rightfully so. There’s a reason why she won the South Australian Music Award trophy for Best Music Educator (SAMMI) in Alison2021. Hams (A): Yes, Pete, it has been busy juggling diaries to get here but I’m glad to chat with you today about being a music educator, and thanks so much for having me on your web series. I’ve been watching all the other interviews, and everybody is just so inspiring. Everyone has a different story and so I’m glad that I can chat a little bit about mine.
A: That’s a good question. I think a good student is somebody who loves the reason why they’re there. We’ve all had those students that have maybe been pushed through the door by mum or dad or, you know, their interest is starting to go elsewhere, they are more interested in sport, or they are so busy that music is just one of those half hour things that they do in the week, and there’s nothing wrong with that either. I’m more than happy to support a student whose music is just that half hour thing in the week. I get that. We all live busy lives but I think a good student for me is that one who is willing to go home and think about what we’ve talked about. They are willing to practise. You know that famous word, “practise”. They are happy to proactively think about music either side of their lesson, because we teachers are only good for half an hour or maybe an hour a week. If they are going home and thinking about music, if they are practising music or going out and searching for new music, then that’s exciting, and that’s what makes them a good student.
Interview with Alison
P: Perfect. Let’s delve deeper into that response.
For Full Story, please go to https://petebarter.com/ becoming/ Pete Barter (P): I’m here With Alison Hams today.
P: Absolutely. Let’s talk about the journey. When did you start, how long ago did you decide that you wanted to be firstly a musician and then what transitioned you into becoming a music teacher?
A: I was on stage from the age of three as a dancer. All little girls sort of do that as a thing, and I learnt guitar and keyboard through my school years. Then I had the opportunity to learn bass and that was just my thing and I loved it. I belong to a family where there’s a lot of country music, so it was inevitable I would probably end up in a country band, which I did do as a bass player and harmony vocalist. I then decided to step up and become a vocalist myself and, you know, all of that started to evolve. I started writing my own songs and then I left the band and went out solo doing talent quests and then festivals and had a fair bit of success with that. Then it was time to record my own material and through all of that journey I found myself watching others, learning from others, and talking to others. Getting the opportunity to go to Sydney and record my first CD was so exciting. I just absorbed all of that and eventually I came back to performing more locally and developed a little bit of a name for myself as a country music singer/songwriter/recording artist. A few up-andcoming young performers asked me for little bit of help and so being able to mentor them with that real world experience behind me was really fun. It was exciting, like I said before, to see them having those little wins, having those successes, and it got me thinking about all the things that I kind of had to figure out for myself along the way and so that’s why I decided to try and take mentoring students a little more seriously. And so, you start doing the PD, you start doing the research into how can I do this properly? Because you know this is starting to become a bit bigger than just a couple of people coming around on the weekend. The phone is ringing every day. In the meantime, I met my husband, Mark Tempany. He’s a singer/songwriter from Queensland. We started working together as an acoustic duo. I was already teaching a few guitar and bass lessons and his Stormfront Productions business that was handling the management of his music kind of ended up becoming the umbrella business for everything that we do. I guess it was one of those things that started off as a side-line and ended up becoming my job, my vocation. I still sing music, I still perform, I still record, and I love that, but I just love that maybe now I can impart to my students some of what I had to figure out by myself along the way, and that’s why I love being able to help them with the music that they want to do. If they come to me and say, “Hey, I want to write a song” – let’s do it – “I want to be able to play guitar” – let’s do it. I think it’s been coming up to about 20 years since I started teaching, and now I’m doing it full time. It’s my passion now. I love it.
SA MUSIC TEACHER
P: Alison it has been amazing having you here. Always great to chat. Good insight!
20 more. We kind of inspire ourselves by moving Weforward.educators
suggest simple things. I’ve taken a couple of students – adult students or high school students – down this journey, and said that, “At some point in the future, you may have a role in an organisation where you’ll pay someone for their advice, like an IT consultant coming to your organisation. You pay them potentially tens or hundreds of thousands of dollars for that advice. All I’m doing as a teacher is giving you one little piece of advice every week. You’re paying for it, and so my advice to you would be to trust in the information I am giving you. if you don’t take the advice then that is totally fine, but things will just take longer.”
A: It was an absolute honour. Thank you for supporting South Australian music educators, you know behind every great musician there was somebody who gave them some advice at some point, and that’s what we’re here to do. It is just to give that advice, hope they take it on, and I just feel really proud about this because, you know, here I am, out in the sticks, doing what I can to help young people to create music, and so this is definitely for them as much as it is for me.
A: That’s exactly right. I couldn’t have expressed that better myself. If they come in saying, “I haven’t practised this week”, we can say, “That’s OK, let’s do it now”. It’s just going to slow eventual progress. But there are the ones who do go home and practise and come in all excited to show you. The parents are like, “Wow, they actually practised this weekend. They are getting better!”. That’s exactly right and we can say, “If you just want to do it as a hobby for half an hour a week, your progress is going to be slower, but if you’re going to immerse yourself into that big time, then of course you’re going to get better. You’re going to enjoy it more and that means you’re going to probably want to practise a little bit more”.
21
By Rodney Smith
Elvina
Truman Pearce
Photo credit: Raeleen Horn
A paper written by Todd Van Kekerix for University of Oklahoma doctoral studies in 2020 is available via Google (Elvina Pearce Todd Van Kekerix). It is sometimes forgotten that Piano Pedagogy is now a long-established field of study and is accumulating luminaries as time progresses.
Elvina Pearce studied piano in NYC with Isabelle Vengerova (whose students included Samuel Barber, Gary Graffman and Leonard Bernstein). She was also a pedagogy student of Frances Clark, and one of the founders of the New School for Music Study and the Frances Center for Keyboard Pedagogy in Princeton, NJ. For 14 years, she taught piano and pedagogy at Northwestern University, and from 2000— 2006, she served as Editor-in-Chief of Keyboard Companion Magazine. Elvina’s concert career is highlighted by a performance of the Liszt Concerto in E-flat with the Chicago Symphony, and by solo recitals at Carnegie Recital Hall in New York, and the National Gallery of Art in Washington, D.C. She has presented workshops and recitals in more than 40 states as well as in Canada, the Republic of China, and Australia. Elvina is nationally recognized as a composer of more than 25 published collections of piano music, and is the author of a best-selling book, “The Success Factor in Piano Teaching: Making Practice Perfect” (available via Amazon). Her awards include a 2008 nomination as an MTNA Foundation Fellow. In 2011, she received the Lifetime Achievement Award from the National Conference on Keyboard Pedagogy in recognition of her dedicated service to music-teaching and music-making for more than 50 years, and in 2014, Elvina was inducted into the Illinois Fox Valley Arts Hall of Fame. Many of her works are available through Alfred Publishing. The contributions of Elvina Truman Pearce (1931-2022) to the field of piano pedagogy were immense, as a founding faculty member at the New School for Music Study, teacher of piano and piano pedagogy at Northwestern University, author of The Success Factor in Piano Teaching, pianist, composer, clinician, and author. The Frances Clark Center is deeply indebted to her; she was an integral part of the founding of the Center, served as Editor-in-Chief of Keyboard Companion from 2000-2006, and bestowed the Elvina Pearce Teacher Education Fund in the support of resources for piano teachers worldwide. She received the 2011 Lifetime Achievement Award from the National Conference of Keyboard Pedagogy in recognition of her immense contributions to the field of music. Her influence was far reaching, through her students, compositions, workshops, and writing, and she will be deeply missed.
Elvina Truman Pearce was a major force in US piano pedagogy from the 1960s until her recent passing. Her cv follows, drawn from various publicly available online sources including Alfred Publishing and the Frances Clark Center and it will be seen how her many and various musical activities broadened her influence and leadership.
SA MUSIC TEACHER
PEDAGOGY MATTERS
22 OTHER ORGANISATIONS’ NEWS & EVENTS ADELAIDE EISTEDDFOD MUSICA VIVA PROFESSIONAL LEARNING REMIX Past. Present. Future Adelaide ANCOS Conference AUSTRALASIAN PIANO PEDAGOGY CONFERENCE 2023 Exploring music from the Torres Strait WebsiteDates :: Check website for each divisions schedule www.sacoment.com/aes/eisteddfod/ Strike A Chord Teachers’ Conference Sunday 28 August, 2022 Monash University, Melbourne 21st Biennial ANCOS National Orff Schulwerk Conference 9-12 January, 2023 Stanford Grand, Glenelg https://www.facebook.com/adelaideremix2022 Presented by UWA in collaboration with WAMTA 20 Oct, 2022 5:30 pm Online event www.musicaviva.com.au/workshops/ The Holistic Piano Teacher 3-7 July, 2023 UWA Conservatorium of Music, University of Western Australia, appca.com.auPerthWebsiteVenueDatesThemeWebsiteTimeDateWebsiteVenueDateWebsiteDate :::::::::::: SYDNEY INTERNATIONAL PIANO COMPETITION Presented by UWA in collaboration with WAMTA 5-22 July, 2023 Applications open in Mid 2022 https://www.thesydney.com.au/WebsiteDates :: SA MUSIC TEACHER
MITCHAM METROPOLITANORCHESTRAMALECHOIR OF SOUTH AUSTRALIA The Mitcham Orchestra is looking for lower strings, Oboe and Horns. Saturday afternoons 1.30pm – 4.15pm Cumberland Park Community Centre, 390 Goodwood Rd, Cumberland Park Ros Keynes 8390 3053 rosalind@keynes.id.au 2023 INSTRUMENTAL/VOCAL Music Scholarship-2023 Metropolitan Male Choir of South Australia Inc. www.mmcsa.org/about/music-scholarships/ The Metropolitan Male Choir 2023 music scholarship program for solo Instrumental/Vocal performance, is offered to young people with proven musical ability. Applicants must be 12 to 16 years of age on January 1, 2023. WebsiteThemeEmailPh.ContactVenueRehearsals ::::: :: 23 SA MUSIC TEACHER
24 OTHER CONCERTSORGANISATIONS’ Tickets : $10 or online via website, Facebook, or Vimeo for free. Enquiries : Ph. 08 8236 7488 Website : www.recitalsaustralia.org.au for more information. Tuesday on Flinders Time : 1:00 pm Entry : Free Website : www.fsbc.asn.au/concerts/ Venue : Norwood Concert Hall Tickets : Adult $20, Concession $15, Children Free Website : www.norwoodorchestra.com/ Venue : Burnside Ballroom, 401 Greenhill Road, Tusmore 5065 Tickets : $20 Please purchase online Website : www.bso.org.au/concerts-2021/ Lunchtime Concerts Evening Concerts Website : www.able.adelaide.edu.au/music/engage/concert-series Contact : For booking and enquiries: Tel: +61 8 8313 5925 Email : concertmanager@adelaide.edu.au Check their website for the upcoming concerts and support our local orchestra! Website : www.musicaviva.com.au/concert-season/www.aso.com.au/concerts-tickets/whats-on/ • Z.E.N. Trio Thursday 25 August, 7:30 pm Adelaide Town Hall • Avi Avital & Giovanni Sollima Thursday 6 October, 7:30 pm Adelaide Town Hall • Signum Saxophone Quartet & Kristian Winther Thursday 10 November, 7:30 pm Adelaide Town Hall RECITALS AUSTRALIA WEDNESDAY LUNCH HOUR SERIES 2022 FLINDERS STREET BAPTIST CHURCH NORWOOD SYMPHONY ORCHESTRA BURNSIDE SYMPHONY ORCHESTRA ELDER CONSERVATORIUM OF MUSIC CONCERT SERIES 2022 ADELAIDE SYMPHONY ORCHESTRA MUSICA VIVA SA MUSIC TEACHER
NATIONAL ASSOCIATION OF TEACHERS OF SINGING (ANATS) ANATS: SA AND NT CHAPTER
AUSTRALIAN admin@anats.org.au0435anats.sa.nt@gmail.comSecretary:www.anats.org.au/sant-chapterDianneSpence300070
5MBS: MUSIC BROADCASTING SOCIETY OF SA 4A5mbs@5mbs.com8346www.5mbs.com2324RiverStreetHindmarsh SA 5007 AUSTRALIAN BAND AND ORCHESTRA DIRECTORS’ ASSOCIATION (ABODA): ABODA SOUTH AUSTRALIA C/-POABODAinfo@abodasa.com.auwww.abodasa.com.auSABox327Walkerville SA 5081 ABRSM EXAMINATIONS abrsmsa@hotmail.com8234SAwww.us.abrsm.org/en/homeRep.:AnastasiaChan5952/0423282589 ACCOMPANISTS’ GUILD OF SA INC. President:www.accompanist.org.auLeonieHempton OAM 8272 8291/0404 145 leoniehempton@gmail.com502 ADELAIDE BAROQUE 10manager@adelaidebaroque.com.au04008266www.adelaidebaroque.com.au7896716554GeneralEnquiriesClarenceAvenue,KlemzigSA5087 ADELAIDE CHAMBER SINGERS admin@adelaidechambersingers.com+61www.adelaidechambersingers.com/883521329 ADELAIDE EISTEDDFOD SOCIETY INC. jane@janeburgess.com.auadleisteddfod@adam.com.auSecretary:www.sacoment.com/aes/eisteddfod/JaneBurgess
ADELAIDE HARMONY CHOIR adelaideharmonychoir.info@gmail.comSecretary:www.facebook.com/adelaidephilharmoniachorus/SherryProferes
ADELAIDE PHILHARMONIA CHORUS www.philharmonia.net/
SA AND NT
ADELAIDE YOUTH ORCHESTRAS Executive8361www.adyo.com.au/8896Director: Ben Finn claire@adyo.com.au AMEB EXAMINATIONS: ameb@adelaide.edu.au8313www.sa.ameb.edu.au/8088
ANZCA EXAMINATIONS admin@anzca.com.au(03)www.anzca.com.au94347640 AUSTRALIAN SOCIETY FOR MUSIC EDUCATION (ASME) ASME: SOUTH AUSTRALIA CHAPTER asme@asme.edu.augraylu@trinity.sa.edu.auPresident:www.asme.edu.au/sa/LukeGray AUSTRALIAN STRINGS ASSOCIATION (AUSTA) AUSTA: SA CHAPTER President:www.austa.asn.au/chapters/sa/FionaPatten fionapattenausta@gmail.com +61 439 885 754 AUSTRALASIAN DOUBLE REED SOCIETY Contact:www.adrs.org.auJosieHawkes josie.bassoon@gmail.comOAM AUSTRALIAN STRING QUARTET asq@asq.com.au1800www.asq.com.au/040444 BALAKLAVA EISTEDDFOD SOCIETY info@balaklavaeisteddfod.org.au0417Contact:www.balaklavaeisteddfod.org.auTrishGoodgame891834 CON BRIO EXAMINATIONS lily@conbrioexams.com9561www.conbrioexams.com3582/0401014565 ELDER CONSERVATORIUM OF MUSIC music@adelaide.edu.au8313www.music.adelaide.edu.au/5995 ELDER HALL concertmanager@adelaide.edu.au8313www.music.adelaide.edu.au/concerts/5925 FLUTE SOCIETY OF SA INC. www.flutesocietyofsa.org Secretary: Catherine Anderson secretary@flutesocietyofsa.org INSTRUMENTAL MUSIC: DEPARTMENT FOR EDUCATION Instrumental Music Office - Klemzig 8261 8988 InstrumentalIM.KlemzigOffice608@schools.sa.edu.auMusicOffice-MorphettVale 8392 3800 IM.MorphettValeOffice896@schools.a.edu.au Music Programs 8226 education.musicprograms@sa.gov.au1883 KODALY MUSIC EDUCATION ASSOCIATION OF SA kodalysa@gmail.com0405www.kodalysa.com/066469 MUSICA VIVA www.musicaviva.com.au for concert details Box office: 1800 688 482 contact@musicaviva.com.au boxoffice@musicaviva.com.au MT GAMBIER EISTEDDFOD tonymaxine@internode.on.net0457Secretary:www.backstageinc.org.auMaxineChalinor067555 MUSICIANS’ UNION OF AUSTRALIA ADELAIDE BRANCH 8272www.musiciansunion.com.au/5013 industrial.officer@musicians.asn.au Federal Treasurer-Sam Moody musosa@bigpond.net.au0412933865 ORFF SCHULWERK ASSOCIATION OF SA info@osasa.netwww.osasa.net/ PRIMARY SCHOOLS MUSIC FESTIVAL 8261www.festivalofmusic.org.au5438 office.psmf799@schools.sa.edu.au RECITALS AUSTRALIA info@recitalsaustralia.org.au8236www.recitalsaustralia.org.au7488 ST CECILIA EXAMINATIONS PTY. LTD. info@st-cecilia.com.au1800www.st-cecilia.com.au675292 SOUTH AUSTRALIAN BAND ASSOCIATION secretary@sabandassociation.orgSecretary:www.sabandassociation.orgDavidCorkindale SOUTH AUSTRALIAN MUSIC CAMP ASSOCIATION admin@samusiccamp.com.auAdministrator:www.samusiccamp.com.auSamanthaTaylor THE SOCIETY OF RECORDER PLAYERS SA INC. srpsainc@gmail.com0410www.facebook.com/recorderplayerssa/109135 TRINITY COLLEGE LONDON EXAMINATIONS stanley.tudor@iinet.net.au8345Mr1300www.trinitycollege.com.au447713:NationalStanleyTudor3117:Local UKARIA CULTURAL CENTRE info@ukaria.com8227www.ukaria.com1277 CONTACT DETAILS FOR OTHER ORGANISATIONS 25 SA MUSIC TEACHER
Est. 1930 www.MTASA.com.au
