Rodney Smith reports on the 15th Australasian Piano Pedagogy Conference
Lead Sheet Interpretation4th in the series from jazz expert Kerin Bailey
WELCOME FROM THE PRESIDENT
Dear MTASA Members,
As I pen this message, I am filled with both a deep sense of gratitude and a touch of melancholy as my term as President of MTASA comes to an end. The past five years have been a fulfilling and educational journey, filled with moments of inspiration, growth, and a shared passion for nurturing the next generation of musicians.
I would like to extend my heartfelt thanks to Wendy Heligenberg and Rodney Smith, my incredible vice-presidents. Your unwavering dedication, wise counsel, and tireless efforts have been a source of strength for me throughout this term. The countless hours you’ve both invested behind the scenes have ensured the success of so many initiatives, and I couldn’t have asked for better partners on this journey.
To the MTASA Council, I am immensely proud of the work we have done together. Your collective wisdom, creativity, and enthusiasm have shaped this organisation into what it is today. The challenges we have faced have only highlighted the unity and resilience within our council, and I am confident that the future of our association is in very capable hands.
A special thank you to Michael Thompson, our outgoing secretary. Michael, your meticulous attention to detail and commitment to keeping us all organised has been nothing short of extraordinary. You’ve managed every task with grace and efficiency, and we are all deeply grateful for your service.
As I step down, I do so with the assurance that the future of MTASA remains bright, thanks to the extraordinary people I’ve had the privilege of working with. I look forward to seeing the continued growth and success of our community, and I will always treasure the memories and relationships forged during this time.
With deep gratitude and best wishes,
Sofie Arhontoulis Outgoing President, MTASA
VOLUME 32 No 3
SPRING 2024
PATRONS : Her Excellency the Honourable Frances Adamson AC, Governor of South Australia, Mr Rod Bunten, and David Lockett AM
PRESIDENT : Sofie Arhontoulis
VICE-PRESIDENT : Rodney Smith, Wendy Heiligenberg
SECRETARY : Michael Thompson
TREASURER : Samantha Penny
AUDITOR : Australian Independent Audit Services
COUNCIL 2024/2025 : Sofie Arhontoulis, Michael Thompson, Wendy Heiligenberg, Samantha Penny, Pete Barter, Zuoyu Liu, Yong Cheong Lye, Yuxin Men, Emmy Zhou, Rodney Smith, Pat H. Wilson.
EDITOR : Paulo da Costa
SUB-EDITOR : Pat H. Wilson
LAYOUT: : Sectrix
MEMBERSHIP ENQUIRIES to the Secretary –
PO Box 4, RUNDLE MALL, SA 5000 Mobile: 0402 575 219 • E-mail: info@mtasa.com.au
ADVERTISING – Please contact the Secretary
Please see the MEMBER information page for the Advertising Price List.
DEADLINES FOR 2024/ 2025
Contributions to SA Music Teacher are most welcome. All items to be included must reach the Editor (info@mtasa.com.au) no later than these deadlines:
Thursday, October 29th, 2024, and Wednesday, January 29th 2025.
SOME CONTRIBUTIONS 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.
CORRECTION:
In the previous issue (Winter 2024), the Volume number was cited incorrectly as Vol. 33., Number 1
The Winter 2024 issue is Volume 32, Number 2 of “S.A. Music Teacher” magazine. We apologise for this error. Editor
Welcome from the President Sofie Arhontoulis
Coming MTASA Events
Member information
Interview Farewell to Sofie as MTASA President Wendy Heligenberg
Jazzin’ Around
Lead Sheet Interpretation 4 – Left
Hand Ballad/Latin Styles
Kerin Bailey
Regional Teaching Vivace Berrima! Concert Season
Lyndall Foldvary-Khouri
Pedagogy Matters
15th Australasian Piano Pedagogy Conference, 8 – 12 July 2024. Monash University. Rodney Smith
On the Voices
A chorus of singing teachers
Pat H. Wilson
Remembering Una Joan Reuther Robyn Reuther
Accompanists’ Corner
A parent’s point of view: AGSA + AMEB Duo Day of collaborative music. Katie Schiavone
Bagatelle
A short, informal portrait of an MTASA Council member.
Spring Spotlight - Vice-President
Wendy Heiligenberg
5MBS: A unique source of music
Adelaide
David Corkindale
COMING MTASA EVENTS
Sunday, 17th November 2024
AGM 2024
Thursday, 23rd January 2025
Summer Professional Learning Day
Saint Spyridon College, 52, Oxford St., Unley 6:00pm Via website Hartley 9:30am Via Website
Saturday, 5th April 2025
Concert Performance Day 1
June 2025
Government House Event
Saturday, 14th June 2025
Winter Professional Learning Day
Venue
MEMBER INFORMATION
MTASA MEMBERSHIP FEES The
RECOMMENDED
TEACHING FEES
The following teaching rates are recommended to members by the MTASA Council for 2024. Full Member - $80 per hour
MTASA MEMBERSHIP RENEWALS
Membership Subscription Renewals for 2023/2024 was due on June 30. Subscription renewal notices were sent in late June via e-mail to remind members to log in and renew their membership for the 2023/2024 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 (info@mtasa.com.au). Paper invoices were sent to members who prefer to receive them.
POST-NOMINALS
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.
REQUIRED PROFESSIONAL LEARNING FOR FULL MEMBERS OF MTASA
MTASA has introduced a Professional Learning 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.
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 Learning during the previous twelve months.
The following examples are provided to give general guidance for Full members about Professional Learning 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 (info@mtasa.com.au).
Improved music teaching should be a major factor in all activities that Full members wish to count towards their MTASA Professional Learning.
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 Learning. In such instances you may submit evidence such as certificates, programs, diary notes, recordings and so forth.
Examples of Professional Learning that would be acceptable to MTASA:
1. Online.
Attending a webinar or similar event; undertaking an online e-learning course.
2. Face-to-Face.
Attending a conference, workshop, masterclass or lecture.
3. Formal Study.
Undertaking a qualification or part-qualification delivered by a recognised institution.
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.
Composing an educational piece of music that motivates a group of pupils.
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.
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!
EDUCATORS SA
As a member of Educators SA, MTASA can offer benefits to its members. Here are some offers:
Andersons Solicitors offer MTASA members:
• 10% off legal services, in ALL areas.
• Free initial phone conversation with a lawyer.
When contacting 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/.
Credit Union SA has a range of education only offers. Visit the website at www.creditunionsa.com. au/community/education-communitybanking-benefits/ for more information.
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, either Full Membership by Tertiary Study or Full Membership by RPL (Recognition of Prior Learning and Experience).
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).
WORKING WITH CHILDREN CHECK (WWCC)
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.
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.
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.
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 VOLUNTEERS NEEDED
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 CV!
For more information, please e-mail the Secretary at info@mtasa.com.au.
TEACHING IN REGIONAL SA
In recent years each issue of SA Music Teacher has included an article about music teaching in a country region of South Australia. 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.
MTASA MEMBERSHIP
NOTES
Visit mtasa.com.au/index.php/members/becomea-member/ to join MTASA.
Current Full, Student or Associate Members are not required to submit any supporting documentation to continue their MTASA membership. Anyone applying for Full Membership (either Tertiary Level Qualification and Study or Recognition of Prior Learning and Experience) or Student Membership for the first time must fulfil all of the requirements listed and submit the appropriate supporting documentation. Associate Membership is no longer being offered but those who were Associate Members on September 24, 2017, can continue their membership provided they remain as financial members. Full Membership (Recognition of Prior Learning and Experience) has replaced General Membership.
MTASA Members are always encouraged to write to the Secretary about any concerns that they may have. The MTASA Council will consider your request.
TEACHERS OF THEORY/ MUSICIANSHIP
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. 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).
CONTRIBUTIONS TO ‘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.
We invite organisations to partner with MTASA on our website. Benefits include advertising via a clickable link and two free tickets to our events for an annual fee of just $100. Please go to our website.
MTASA Members, free. Non-members, $17.
Please contact the Secretary (info@mtasa.com.au) about advertising.
INTERVIEW
Farewell to Sofie as MTASA President Wendy Heligenberg
Sofie Arhontoulis
[Photo credit: Wendy Heiligenberg]
It is with genuine regret, that I am writing this article as I am very sad to announce the retirement of our much-loved President of the MTASA, Sofie Arhontoulis. Sofie has been President for 5 years, having had her arm twisted by the Committee to persuade her to continue for one year longer than the usual term of Office (as permitted by our constitution, of course.)
We are very sorry to see Sofie relinquish this office. An advocate for modern methods of communication, she has helped our association realise the advantages of the transition to 21st century methods of communication, amplifying social media and helping sensitively and gently to bridge the generations whilst promoting digital membership and ticketing of events. She has, among other things, created partnerships with the AMEB and collaborations with Her Excellency the Honourable Frances Adamson AC, Governor of South Australia. Sofie’s goal has been to better support our members in their professional learning by tailoring and providing for our members’ needs.
Sofie’s instrument is the piano. Surprisingly, she only began learning piano at the age of 15. Her first love was classical ballet, where she was introduced to classical music, having been exposed to Greek folk music from birth. She only began her piano lessons at high school, but her talent was soon recognised by the school Head of Music, and it
was recommended that she continue with private lessons. Mrs Blair, her teacher, also recognised Sofie’s innate ability and, just two years later, Sofie auditioned for the Music Degree at the Elder Conservatorium of Music.
Reading music was extremely challenging and Sofie often relied on her outstanding aural memory to get by. She would read the score two bars at a time, memorising them, then proceeded with the work to be mastered. Sofie said she only really felt comfortable reading music fluently about 10 years ago. Her lecturer in piano at the Con. was Diana Weekes. One story Sofie told was when she felt extremely inadequate at a lesson, having just heard the previous student perform a work with amazing technical brilliance. Upon telling Diana how she felt, Diana said, “He may be technically brilliant, but when you play, the music sings.”
Graduating from the Elder Con. in 1991, she began teaching at three Catholic schools at $8:00 for a half-hour lesson! From there she was encouraged by a Greek music colleague who was teaching at PAC to apply for a position there as a piano teacher. (The interview even included sightreading, which, considering her background, was quite challenging.)
Sofie greatly admired the then Head of Music, Pam Freeman, who was a great advocate for promoting a wide cross section of musical genres to the students. Sofie describes her as a “powerhouse” and cherishes the close connection and strong friendship which developed between them and is profoundly grateful to Pam for her respect and support for her as a single parent of 4 children. PAC has been a continuing thread in Sofie’s career.
Greek music has always been a passion of hers, and, after completing her Music Degree, she became involved in performing in bands, and in directing Greek music concerts together with her husband Ilias. This gave her the opportunity to perform collaboratively as well as develop her improvisation skills. Tragically, in May 2007, when Sofie was raising 3 children under 5 years of age and 3 months pregnant with her fourth child, her husband passed away unexpectedly. Six months later, Pam Freeman encouraged her to go back to teaching at PAC. “It will be good for you, and we need you. You can work as little or as much as you want.“ Sofie has shown great courage and strength of character over these difficult times, but
she humbly honours all the people who have had a hand in her development, both personally and musically.
Sofie began teaching at Saint Spyridon College in 2006. The school had no budget for music until 2020. She started a music programme there anyway, and taught classroom music for free for 14 years. The school is very small (65 students), but she is now employed by the school and just loves teaching there. She understands the needs of the school and how music elevates the education of the students. All the students sing in the yearly school musical, and students aged 5-12 are trained in music right from the first day of school. Recently her choir was invited by Bishop Silouan of the Greek Orthodox Archdiocese of South Australia to perform for the Lord Mayor of Adelaide and Archbishop Makarios of Australia.
World Teachers’ Day Award 2024 awarded to Sofie Arhontoulis
Congratulations to MTASA President Sofie Arhontoulis on receiving the Educators SA Association Award for Outstanding services to Music Education
Nominated by her peers, Sofie received the award for outstanding service to the music teacher community, leading the team as a forward thinker, innovator, and creator of problem solving strategies to better serve music teachers.
Sofie Arhontoulis has gone beyond the remit of normal Presidential duties. She has skilfully moved the Association into the digital age across multiple areas of its agency. Sofie has dedicated considerable personal time and effort, in being attentive and active on several Boards in music education advocacy, In addition, she has shown exemplary vision in networking with other organisations to extend MTASA’s influence and impact for the benefit of MTASA members and professionals generally.
Sofie also runs a multi-teacher music studio - Saili Music - which offers lessons in piano, guitar and saxophone. She chose the name Saili to honour her late husband (Saili is an anagram of Ilias). Above all else, Sofie is deeply committed and passionate about raising her four children, Eleni, Yiannis, Stella and Iliesa, who are her greatest joy, inspiration and fulfilment. We are extremely grateful to Sofie for the passionate and wholehearted way she has led and guided the Association throughout her term as President. She expressed her thanks to the Association for giving her the opportunity to grow and develop as a President.
JAZZIN’ AROUND
Lead Sheet Interpretation 4 –Left Hand Ballad/Latin Styles
Kerin Bailey
See my previous three articles for preparatory steps to this: 1: RH melody with LH chords; 2: RH melody/ chords and LH bass line; 3: Stride.
Ex.1 shows a few easy LH patterns. 7th (a) and 10ths (b c d) provide a full sound and are manageable by students with smaller hands – pivot on the 2nd finger for the 10ths. Substitute the 8ve note in lieu of the 7th for more basic harmonies.
Following are some musical samples demonstrating how these patterns can be easily put into practice. A facility with arpeggios is helpful!
Ex.2a is pattern a, and ex.2b is pattern b in Summer Rain, from Jazzin’ Around 3. The A1 theme is in 2 parts only, with arpeggiated 7ths in LH (a). This theme develops at A2, (bar 10), with RH 6ths, and again at A3 (ex.2b) with the same RH 6ths and LH now in (arpeggiated) 10ths for an even fuller sonority.
© 1994 Kerin Bailey
Ex.3 is the A3 theme of Morning Song from Jazzin’ Around 4, bars 25-26, with LH 10ths in the Latin/rock bass rhythm from preparatory step 2.
Ex.3c is the c pattern (arp. 10th and Cmaj7 chord) in bars 33-34, the start of an eleven bar coda alternating I and IV chords – Cmaj7 and Fmaj7. This is a common pop/jazz song technique. Note: same pattern for both chords – makes learning easier!
© 1982 Kerin Bailey
I used the d pattern in sections of an arrangement of Paul McCartney’s Here There and Everywhere, published in the AMEB PLF series 4 grade 7 book – ex.4d.
Copyright © 1966 Sony/ATV Music Publishing LLC Copyright Renewed All Rights Administered by Sony/ATV Music Publishing LLC, 8 Music Square West, Nashville, TN 37203 International Copyright Secured All Rights
It works particularly well with this stepwise harmonic progression. Easy to play, a bit more difficult when the harmony moves in skips or leaps. Note: the bass notes form the dotted 1/4 – 1/8th note rhythm from preparatory step 2 – see ex.3 above.
Ex.4 is a more florid LH, using a mix of arpeggio and passing (scale) notes between chord tones. The bass note Eb is a pedal tone under the changing chords. This is tricky to play and requires more preparation than the above examples – which, with practice and experience, can be improvised on the fly
Moonlight Serenade, arranged by George Shearing, from the PLF series 2 gr. 7 book. © 1939 (renewed 1967), 1965 by Robbins Music Corp
If your students show an interest in popular/jazz tunes, the sheet music for which is generally very basic, these patterns are an easy way to fill out the LH for a more satisfying sonority and rhythmic pulse. With experience it may spark an interest to develop their own ideas through listening to recordings and analysing and ‘borrowing’ from good arrangements. It’s how I did it – still doing it!
https://youtu.be/H8-JfHgxWAo Summer Rain
https://kerinbailey.com.au/music-shop/jazzin-around-4-piano/ Morning Song
https://www.youtube.com/watch?v=vXdc_EHKxpU&ab_channel=CarolineAlmonte-Topic Here There and Everywhere
https://www.youtube.com/watch?v=qw7aQh8q1_A&ab_channel=KerinBailey-Topic Moonlight Serenade
[Editor: The three previous articles in this Lead Sheet Interpretation series appeared in these “SA Music Teacher” issues;
Lead Sheet Interpretation 1 – Vol. 30 No. 1 (Autumn 2022) p. 23
Lead Sheet Interpretation 2 – Vol. 30 No. 2 (Winter 2022) p. .22
Lead Sheet Interpretation 3 – Vol. 31 No. 3 (Spring 2023) p.18]
Kerin Bailey
Classically-trained pianist, composer, jazz educator, and performer with the Kerin Bailey Trio as well as performing with a range of nationally and internationally famed musicians. As the head of Kerin Bailey Publishing, he has written and published a dazzling range of jazz-infused student-friendly music for numerous instruments.
REGIONAL TEACHING
Vivace Berrima! Concert Season
Lyndall Foldvary-Khouri, BA, LLB, MDR, DipLM
The Vivace Berrima! Concert Series takes pride of place in the social fabric of the historic town of Berrima and within the wider music-loving community of the beautiful Southern Highlands in New South Wales.
The series was launched in January 2022 by Lyndall Foldvary-Khouri, the widow of Murray Khouri who was an international clarinet virtuoso, founder of the Bowral Autumn Music Festival in the Southern Highlands and one of Australia’s most outstanding musicians. Lyndall herself successfully completed seven Grades of piano & music theory with the AMEB at the Sydney Conservatorium of Music, having been introduced to great music played by great artists from an early age by her Hungarian father Gabor Zoltan Foldvary, a Mozart scholar, and her Australian mother Beryl.
Conceived therefore in the aftermath of the COVID Pandemic, the immediate raison d’etre for the Vivace Berrima! Concert Series is to place as much money into the pockets of performing artists as possible, given that many were out of work for two years.
The intimate performance space offered by the enchanting and historic Berrima Village Hall, built in the 1830s, has proven to be a real drawcard in and of itself, with a real rustic feel.
The series presents about eight concerts per year. Programming is eclectic with a focus on great music of the last 400-plus years, 20th century contemporary music, recently composed music, French popular music as well as good jazz.
Performers are all high-calibre artists, drawn from Sydney, regional NSW & ACT as well as locally in the Southern Highlands including young, emerging
artists. All are passionate about promoting fine arts in areas such as the Southern Highlands and credit concert series such as Vivace Berrima! and the Bowral Autumn Music Festival for maintaining a rich arts scene. As one performer says, “Vivace Berrima! is a vital concert series wherein Lyndall provides good performers and great music, thus making a major contribution to the continuance of the fine arts in our region. We have a reputation for being a highly artistic place and such a series as this helps preserve such a profile.”
Artists have included talented Australian tenor Andrew Goodwin, renowned pianists Katherine Day, Tonya Lemoh and Daniel Herscovitch, cellists Minah Choe and Susan Blake, Myee Clohessy (violin), Deborah de Graaf (clarinet) and John Martin (musician extraordinaire and piano accompanist who gave a solo music theatre performance at the Adelaide Fringe in March 2024). Ensembles have included the Marais Project, Milko Foucault-Larche’s French Popular Music Concert and Kjell Goyer’s Jazz Band. Lyndall’s enthusiastic audience enjoys a glass of wine and canapes post-performance, thereby allowing the opportunity to speak to performers and create musical connections that she firmly believes enhances social well-being in a turbulent world. As the orchestral conductor for the Paris Olympics 2024 recently expressed: “The truly great are those who bring humanity into everything they do’.” Beyond that, Lyndall regards regional music-making to be vitally important in maintaining Australia’s artistic heritage and in forging new paths.
It will be of interest to South Australian readers in particular to note that Lyndall’s maternal greatgrandfather was high-profile master builder Walter
Torode (1858-1937) who built numerous prominent public buildings in Adelaide including the Elder Conservatorium at the University of Adelaide (1897), the Adelaide Stock Exchange (1900), the Adelaide Campbell Building at the (then) Adelaide Children’s Hospital (1896) and the Lady Chapel and western towers of St Peter’s Cathedral (1901). Outside Adelaide, Torode built the Anglican Church of St George the Martyr at Goodwood (1902), St Paul’s Anglican Church at Port Adelaide
(1905), the Presbyterian church at Woodville (1906), extensions to the Unley Town Hall (1907) and Ruthven Mansions (1913) and buildings for Pulteney Grammar School (1920). Many of Torode’s structures are still standing today for all to see, very well preserved. For enquiries about the Vivace Berrima! concert series (or indeed Walter Torode’s legacy!) contact Lyndall Foldvary-Khouri on 0408 839 687.
John Martin
Myee Clohessy
Andrew Goodwin
We know that being a music teacher can be a lonely job…. We get it. There are so many times when you wish you could talk through a professional problem with a wise colleague.
That’s why we now have MTAS for you – the
Music Teachers’ Advisory Service.
Here’s how it works:
You’ve hit a problem in your professional life as a music educator. Examples…
Worried about a particular student’s learning or progress?
Concerned about your independent studio’s business model?
Confused by the rules and regulations of the institution where you teach?
Wondering about your career path as a music educator?
Any old problem facing private music teachers, ranging from educational questions to business issues. The scope of this service does not, however, cover legal matters.
Your first point of contact is:
The Secretary, MTASA. [E-mail – info@mtasa.com.au / Phone – 0402 575 219]
Depending on the nature of your query, you will be referred to the MTASA Council member most suitable to advise you… and they will get in touch with you.
Service cost:
Although MTASA Council members give their services free of charge in order to offer collegial support to their fellow music teachers, there is an $80:00 an hour charge (around the same rate you’d charge for a single lesson). Most queries will be sorted within an hour.
Reminder: this service is not designed to help with professional expertise in specific instrumental areas. We can’t help you locate cheap oboes or a reliable harp technician. It’s all about helping you in your private music teaching situation.
It’s just like Phone-a-Friend for all MTASA members
PEDAGOGY MATTERS
15th Australasian Piano Pedagogy Conference.
8 - 12 July 2024. Monash University.
Rodney Smith.
This usually biennial conference generated more than the normal level of anticipation as it was the first since the 2019. Covid was to blame, and subsequent conferences will now occur on even numbered years. Adelaide has been selected for the 16th conference in 2026, to be chaired by Dr Debra Andreacchio.
The Monash schedule was exceedingly busy, more often than not with three or four events running simultaneously in and around the Sir Zelman Cowan School of Music buildings. Given a turnout of approximately 250 conferees, audiences were usually numerous wherever one attended. Conference Chair Dr Aura Go, Head of Piano at Monash’s School of Music and her Organising Committee certainly lived up to her name in energy and enthusiasm.
Pleasingly there was a particularly strong international presence amongst the speakers. In that context one noticed the lengthy list of generous sponsors (maybe loosening the conference purse strings) but another reason perhaps was that international academics were welcoming opportunities to present following the covid drought. Readers can easily find information about the presenters by visiting the APPCA website. and my comments relate simply to my own experience
at the conference. Paul Harris in particular neatly straddled the narrow divide between delivering “infomercials” about his vast output of books and outlining the genuinely creative research he has made into learning approaches. The divide between commercial and academic has of course been present throughout preceding conferences with publishing house promotions and purely academic presentations sometimes standing in stark contrast.
But of course at a conference like this with a richly divergent menu, conferees can choose what to hear, ingesting a balance of commercial realism (can I use that, now?) with thought provoking lateral thinking (am I on the right path?). And at face-to-face conferences one can also network with colleagues very easily.
All the keynote speakers presented on multiple occasions so there was the opportunity to obtain a rounded view of what they stand for as well as being able to chat with them individually. Given its 13 keynote presenters, 6 sponsored presenters and 41 other presenters, the 15th APPCA delivered plenty of variety, even for those with more demanding musical tastes.
Dr Aura Go
ON THE VOICES
A chorus of singing teachers.
Pat H. Wilson
My regular column used to be called “Teaching singing for music theatre”. It has now been broadened to cover all genres of singing teaching… so the new title is “On the Voices”. In this first article of the new series, I celebrated the expansion of subject area by getting in touch with a wide variety of South Australian singing teachers and asking each one of them a simple question:
Briefly tell me about one tip, trick or pedagogic lightbulb-moment you’ve come across in the last 6 months.
Might have been at a Professional Development session.
Might have been in a session with one of your students.
Might have been a quiet AHA moment you had.
Something about the teaching of singing which really works in your area.
With a wonderful breadth of topics and approaches, here are some responses:
LAUREN HENDERSON
Adelaide CBD
Genres: Contemporary, Jazz
My favourite PD of the year has been Tom Burke’s* Twang Farm, which I completed over two months at the start of the year. To sum it up (too briefly), he uses animal sounds (sheep, cat, mouse etc.) to help voice users access sounds/feelings/parts of their range they can’t find using more traditional methods and change the space in their vocal tract. It’s very fun and silly (the perfect way to learn and make things stick).
I also love his Awesome A’s of Singing:
1. Attunement (mindfulness)
2. Alignment (neutral posture)
3. Anchoring (support)
4. Airflow (SOVT - lung volume)
5. Aliens (resonance)
6. Animals (vt spaces)
7. Articulation (diction)
8. Artistry
9. Acting
[Editor: *Tom Burke – Speech-language pathologist and voice coach, https://www.tomburkevoice.com/]
Deanna CARBONE
Voicehouse - Adelaide CBD
Genres: Music theatre, Pop contemporary, Rock
ALISON HAMS
Stormfront ProductionsWhyalla.
Genres: Contemporary Pop & Rock, Country & Folk, Musical Theatre, Singer/ Songwriters and young vocalists.
In a world where new and improved vocal techniques are popping up all around us, as coaches we must not forget the importance of training our singers’ ears. There can be too much emphasis on the way the sound ‘feels’, deterring from the potential of how great someone will inevitably SOUND when the foundation of their training is a well-trained ear
Stormfront Productions is based in Whyalla, on the edge of the South Australian Outback. We try to be a “one stop music shop” that can foster anybody to enjoy, and learn about music. Our passion is to teach students using the music they love - and to provide them a space that beyond everything else is safe and supportive.
Over our decades of tuition we continue to see many students with diagnoses like ASD [Autism Spectrum Disorder] - and they’ve taught us to “always assume competency”. When you give students the chance to shine they usually do - and often much more brightly than you thought possible.
DAVID GAUCI
Adelaide CBD
Genres: Music theatre, Contemporary popular, Classical
CHERYL PICKERING
Adelaide CBD
Genre: Classical
Something that I am passionate about is allowing each student to discover ‘their’ voice. Singers can be great mimics; so often they will listen to the voices of other vocalists and think that is how they should sound (and go about trying to sound like that by compromising their technique). Getting students to understand that the ultimate version of a song has never been sung often takes away the burden of where they are at, in comparison with their vocal heroes. I encourage student to go and hear live performances to understand the difference between produced recording and actual performance sound. We aim for excellence rather than perfection; that way we celebrate where we are and work towards the journey of vocal discovery. More often than not, students get to really love what they sound like.
These days I tend to teach from a holistic, whole person perspective, framing technical adjustments within the current perspective and psycho/emotional physical experience of the singer.
Some of my favourite quotes are:
• ‘support’ is what breath does -
• awareness is your superpower -
• the reason for mastering technique is to make sure the body does not prevent the soul from expressing itself-I mainly teach classical singing to advanced and professional singers, privately and at the Elder Conservatorium.
STELLA PANOZZO
Adelaide CBD
Genres: Classical, Music theatre, Pop/rock
NICOLA BEVERIDGE
Redwood Park
Genres: Classical, Folk, Contemporary, Music Theatre
Here is something new in my understanding of vocal endurance: A few months ago I watched a webinar given by Mary Sandage from Auburn University (USA). She is currently researching the role of lactate in voice function, using some of the approaches used in endurance training in sports. Although the research is still in its early stages, the early results suggest that singers may need to follow the 70% rule used in high-level sports - that is, when having a “rest period”, the singer needs to continue 70% of the vocal load so that when they resume their full vocal load, they are less likely to easily fatigue.
I have a foot in each camp, being a singing teacher for some jobs and a flute and clarinet teacher for others. So, here’s one for the “doublers”!
“Breathing /Singing starts where you sit.”
The pelvic floor, the back - muscles go all the way round, the hips.
Some singers I’ve met insist they can’t breathe sitting down. Well, as a wind instrumentalist in an orchestra or concert band, you can’t stand up. And yet we breathe through long passages, play 3rd and 4th octaves, support pianissimo high sustained migraine-inducing phrases and all that stuff. There is room for a crossover.
Instrumentalists need to sing their melody - “inside ear” aural training. Knowing lyrics (if applicable, gives you instant access to breath marks and expression). Singers need to know their accompaniment for harmony, mood and tone colour.
This one is about posture. It’s from an old teacher friend of mine. (The language may need modifying depending on the student.)
“ If you stand/sit like a sack of sh**, you’ll sound like a sack of sh**.”
Be upright, relaxed, not rigid, with limbs under control… no hands in pockets, etc.
No raising of shoulders on the inhale, etc.
Blowing bubbles into a water bottle with a straw - the old SOVT trick.
I sing as much in a flute or clarinet lesson as I do in a voice lesson. The two become one.
REMEMBERING UNA JOAN REUTHER
(23.10.1934 - 04.10.2023)
By Robyn Reuther
Music was Una’s passion and she shared this passion with so many people during her life. Her love of music began at a young age of 8, when her parents purchased for her a Rudolf upright pianola from New York. This took several months to get to Australia by ship, and then it was trucked overland to her home outside of Albury NSW. It took pride of place in the family living room. This piano is still in use today.
Una was a Life Member of Music Teachers Association of South Australia (MTASA) from 1997. In the early days, before photocopiers, Una printed the MTA magazine on an old spirit duplicator. She wasn’t the editor, but assisted the association by printing and stapling the magazine using equipment from Concordia College where she was a teacher (Maths and Music). In 1981 she became the first of two people to become fully accredited through the MTASA accreditation course.
Una was Vice-President of MTASA in 1991, 1992, 1994, 1995, 1996 and 1997. She was on the council as a member from 1981-1997 as well. She would often set up for events or support events in any way she could.
Una was also the SA representative for Trinity College. She succeeded from Marie Roberts. She would look after the examiners coming from London by picking them up from the airport, booking their accommodation, take them around to the studios where the exams were held, and out to tea. Many of the exams were held at her Caprice studio at 9 Ferguson Avenue, Myrtle Bank, where she taught piano and theory for many years until she was 83.
With her husband, Una regularly attended Musica Viva concerts and concerts at the Elder Conservatorium. She instilled the love of music also into all three of her daughters, all achieving high grades in AMEB and learning a second instrument. Her two grandsons also learnt a variety of instruments. She was also very involved in her church’s choir, regularly singing and later becoming the conductor, as well as being a regular on the roster to play the pipe organ for services.
Una’s life revolved around music. She passed away in October 2023, a few days short of her 90th birthday. She is sorely missed, but her love of music lives on through her family.
“Music is the spiritual expression of what I am: my faith, my knowledge, my being”. John Coltrane
ARTICLES
ACCOMPANIST’S CORNER
A PARENT’S POINT OF VIEW!
AGSA+AMEB DUO DAY of Collaborative Music
It was such an honour and privilege for my 14-year-old son, Isaac Schiavone to have had the opportunity to play collaboratively Saint-Saëns’ Clarinet Sonata with the highly talented young chamber musician, James Skelton at the AGSA and AMEB’s DUO Day on Aug 25th at Adelaide University.
When we learn an instrument, we spend most of our time playing and practising alone. However, music education is never just working by oneself but always being curious and prepared to explore, elaborate, and develop new skills with others. During Isaac’s musical journey, his beloved music teacher and mentor, Monika, has always encouraged him to explore, develop new skills, and nurture a fine taste and appreciation of music.
It was a wonderful experience for me to watch Isaac and James rehearsing in the past several weeks. James was able to come to Isaac’s piano lessons, so finding times for rehearsal was not a problem – some of the usual piano time became a ‘get-together’ time! I was delighted to see the two young musicians elaborate on each other’s ideas, sharing their understanding of the music, offering fresh new perspectives on the interpretation of the music, and gradually developing the chemistry and bond, allowing them to present their music collaboratively in a very special way.
This experience is absolutely invaluable. I am so thrilled to watch my son develop another skill dimension as an accompanist, become more sensitive to another player’s musical needs, get out of his comfort zone, acquire new insights from another musician, and, at the same time, develop a new friendship.
As a parent, I am pleased that we have introduced music into Isaac’s life, giving him an oasis from this fast-paced modern life. As Plato says: “music gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and everything.”
The DUO DAY workshop was a preparation for subsequent examination performance and for a young person to have the opportunity to work toward a worthy goal such as sharing music with others, is definitely time and effort well spent.
An old Chinese quote says: “It takes 10 years to grow a tree, but a hundred years to nurture a real man”.
Things we choose to spend time on and people we choose to be with make up our lives and who we are. One day, when my child looks back to his younger days, he will realise that all these wonderful experiences — the performances he participated in, the musicians he worked with, the friends and teachers in his life — together made him a more complete person and enriched his life.
Thank you, AGSA and AMEB, for the wonderful opportunity given to our children.
KATIE SCHIAVONE
BAGATELLE
It’s time we introduced our hard-working MTASA Council members to you! In each magazine issue, I will interview a Council member so you can get to know them better. The series is called “Bagatelle”. It’s a light-hearted way to get to know the people who help run the Music Teachers’ Association of SA.
(Pat Wilson, Sub-editor)
Spring Spotlight is on.
BAGATELLE (Fr. ‘a trifle’). A short piece of music in a light style. It was probably first used by Beethoven in his ‘Seven Bagatelles,’ op. 33. The form of the bagatelle is entirely at the composer’s discretion, the only restriction being that it must be short and not too serious in character.
WENDY HEILIGENBERG
Once upon a time…
Where were you born? Adelaide, South Australia
What’s your first language? English
And your second language? German
What did you look like as a child?
Were your parents musical? My mother played piano. (She wanted to learn violin but was unable to.). My father played fife, and had a very good musical ear. My Scottish grandfather was the conductor of the Police Band.
Who was your first music teacher? Käthe Yoerger, my first violin teacher, at Linden Park Primary School.
What was your favourite book as a child? “Black Beauty” by Anna Sewell
What was your first paid job? Selling handkerchiefs and gloves at David Jones’ at Christmas time. This job taught me a lesson: I realised that retail was not my career pathway. Growing up…
What’s your primary instrument? Violin
How many instruments do you play? Two: violin and viola
How about a picture of your favourite instrument?
My father’s favourite – the Messiah Stradivarius, 1716. Still in near-perfect condition, and valued at $20million. My father made me a copy of this instrument, which I love.
Can you name some of your formative teachers?
Beryl Kimber
Teachers at the Finishing School in Cologne (Germany), Igor Ozim, Max Rostal and the Amadeus Quartet
Composers whose works you love to play and/or teach? Brahms and Bach
Scariest performance? I recall two that fit this category:
1. Performing the Brahms Violin Concerto Op. 77 with the Cologne Music School Orchestra.
2. An off-the-cuff performance of 8 bars of “Turkey in the straw” on live pan-European television for Leonard Bernstein.
3. How do you handle performance anxiety? Once I get on stage I’m all right, but I still get nervous sitting in an orchestra because I always want to do my best.
And today…
So what do you look like now?
Are you a dog person or a cat person? Dog person… also a horse person. A picture of your current pets?
Feature plants in your garden?
Orchids and camellias. And my citrus trees supply enough fruit for me and my neighbours.
Your favourite meal?
Main: Fresh home-made pasta with porcini mushrooms.
Dessert: Crème caramel
Drinks: Champagne
Your favourite recipe?
Grapefruit Rosemary Shortbread
Ingredients -
225g plain flour
60g rice flour
½ tsp. salt
2 tbs. rosemary leaves, finely chopped 115g caster sugar, plus 1 tablespoon 2 tspgrapefruit zest, finely grated
Flaky salt for topping
Method - Use a 20cm square baking dish lined with baking paper, leaving a few centimetres of overhang on two sides for lifting out later.
Mix plain flour, rice flour, salt and rosemary in a medium size bowl. Either using a food processor or by hand, combine butter, sugar and zest until homogenous.
Add flour mixture and form into a ball.
Transfer to prepared pan, pressing mixture evenly into the pan with a spatula.
Refrigerate for 1 hour.
Preheat oven to 180OC.
Prick shortbread with a fork in about ten places, then sprinkle the extra sugar and flaky salt over the top.
Bake until slightly brown around the edges and evenly golden on the surface (30-35 minutes), rotating the pan halfway through.
Remove from the oven and cut the shortbread with a sharp knife to the desired size whilst it is still in the pan.
Let it cool in the pan.
[NOTE: You could also use thyme or lavender, and orange or lemon zest. If you don’t have rice flour, increase the amount of plain flour.]
Any hobbies?
Gardening, horse-riding, cooking.
Scotch collies Tux and Charlie
And my 29-year-old horse, Kiesha
5MBS - AN UNIQUE SOURCE OF MUSIC FOR ADELAIDE
David Corkindale (5MBS Marketing Coordinator)
5MBS is unique in providing only classical and jazz music, in equal proportions, 24 hours a day, 7 days a week. Originally its music could only be heard by listening to a radio - and many people still listen on their car radios - but it is now accessible online and on-demand on our website, and through the Community radio app (cbaa.org.au).
At the 5MBS headquarters in Hindmarsh there are two studios and very extensive digital and CD music libraries used by presenters to create their programs, although many presenters also draw on their personal resources (including vinyl records).
5MBS differs from ABC classical and ABC jazz in that all the two-hour programs are curated by specialist enthusiasts who are keen to bring fine music to everyone across metropolitan Adelaide. Many of the classical presenters have been professional musicians, while some of the jazz presenters currently play in bands in the city. Visit the website (Https://5mbs.com/about/presenters/ ) to see the background of many of the presenters.
Listeners to 5MBS include classical and opera lovers, jazz enthusiasts, students and their families both in high school and at the Elder Conservatorium. As part of our community support activities, 5MBS volunteers record and produce CDs of over 100 concerts per year. These concerts feature local artists, with a free CD to each artist recorded. Most of these CDs may then be used in later programs. Each week there is a program called Kaleidoscope, in which visiting soloists and particularly interesting musicians are interviewed.
5MBS provides an information service about upcoming music events in Adelaide over the next few weeks. Arts Diary is a 5-minute “bulletin board” used by performing artists to publicise events such as concerts, advising title, time and place. It is broadcast four times a day for five minutes prior
to 8:00am, 10:00am, noon and 4:00pm. Anyone wishing to have an event publicised this way over a two-week period can go to: https://5mbs.com/ articles/arts-diary/ where details of an upcoming event can be posted for a very modest fee. The equivalent noticeboard for jazz events is the 5MBS Jazz Diary: https://5mbs.com/articles/jazz-diary/. This is broadcast in jazz programs, 14 times a week.
An example of scheduled programs, and specific pieces of music to be played in them, is given below. The full schedule for a month can be seen on our website at https://5mbs.com/programs/ program-guide/
The classical music played ranges from overtures, symphonies, chamber music to operas, while the jazz programs, at lunchtime and from 4:00pm to 6:00pm, feature a different genre each day. Blues music comes into its own on Friday and Saturday evenings and World Music on Wednesday evenings, to indicate some of the strengths of 5MBS programming.
5MBS is financially supported primarily by 500 - 600 people in the Adelaide community who appreciate the fine music that it provides, and who pay an annual membership subscription.
If you would like to be involved with 5MBS in one of the many ways it needs support - as a presenter, a technical person or to fulfil one of the many administrative roles - phone the office (8347 2324) during business hours or visit the website https://5mbs.com/community/volunteer/ and complete the form there. Please do get in touch; volunteers are always needed.
An example of 5MBS scheduled programming
Presenters Dave Anthony (L) & Tom Doran (R) presenting the 5MBS lunchtime jazz programme.
[Photo credit: John Stanwick]
Suzanne Pedersen, 5MBS classical presenter
[Photo credit: Patricia Rademaker]
CONTACTS
Some music-related organisations useful for South Australian music teachers
5MBS: MUSIC BROADCASTING SOCIETY OF SA www.5mbs.com 8346 2324
5mbs@5mbs.com
4A River Street Hindmarsh SA 5007
AUSTRALIAN BAND AND ORCHESTRA DIRECTORS’ ASSOCIATION (ABODA): ABODA SOUTH AUSTRALIA www.abodasa.com.au info@abodasa.com.au
ABODA AS C/-PO Box 327 Walkerville AS 5081
ABRSM EXAMINATIONS www.us.abrms.org/en/home
SA Rep.: Anastasia Chan 8234 5952/0423 282 589
ACCOMPANIST’S GUILD OF SA INC. www.accompanists.org.au
President: Leonie Hempton OAM 8272 8291/0404 145 505 leoniehempton@gmail.com
ADELAIDE BAROQUE www.adelaidebaroque.com.au 8266 7896
0400 716 554 General Enquiries manager@adelaidebaroque.com.au 10 Clarence Avenue, Klemzig SA 5087
ADELAIDE CHAMBER SINGER www.adelaidechambersingers.com/ +61 8 8352 1329 admin@adelaidechambersingers.com
ADELAIDE EISTEDDFOD SOCIETY INC. www.sacoment.com/aes/eisteddfod/ Secretary: Jane Burgess adleisteddfod@adam.com.au jane@janeburgess.com.au
ADELAIDE HARMONY CHOIR www.facebook.com/adelaidephilharmoniachorus/ Secretary: Sherry Proferes adelaideharmonychoir.info@gmail.com
ADELAIDE PHILHARMONIA CHORUS www.philharmonia.net/
ADELAIDE YOUTH ORCHESTRAS www.adyo.com.au/ 8361 8896
Execute Director: Ben Finn claire@adyo.com.au
AMEB EXAMINATIONS: SA AND NT www.sa.ameb.edu.au/ 8313 8088 ameb@adelaide.edu.au
AUSTRALIAN NATIONAL ASSOCIATION OF TEACHERS OF SINGING (ANATS) ANATS: SA AND NT CHAPTER www.anats.org.au/sant-chapter Secretary: Dianne Spence 0435 300 070 admin@anats.org.au
ANZCA EXAMINATIONS www.anzca.com.au (03) 9434 7640 admin@anzca.com.au
AUSTRALIAN SOCIETY FOR MUSIC EDUCATION (ASME) ASME: SOUTH AUSTRALIA CHAPTER www.asme.edu.au/sa/ President: Luke Gray graylu@trinity.sa.edu.au asme@asme.edu.au
AUSTRALIAN STRINGS ASSOCIATION (AUSTA) AUSTA: SA CHAPTER www.austa.asn.au/chapters/sa President: Fiona Patten fionapattenaista@gmail.com +61 439 885 754
AUSTRALIAN DOUBLE REED SOCIETY www.adrs.org.au
Contact: Josie Hawkes OAM josie.bassoon@gmail.com
AUSTRALIAN STRING QUARTET www.asq.com.au/ 1800 040 444 asq@asq.com.au
BALAKLAVA EISTEDDFOD SOCIETY www.balaklavaeisteddfod.org.au
Contact: Trish Goodgame 0417 891 834 info@balaklavaeisteddfod.org.au
CON BRIO EXAMINATIONS
www.conbrioexams.com 9561 3582 / 0401 014 565 lily@conbrioexams.com
ELDER CONSERVATORIUM OF MUSIC www/music.adelaide.edu.au/ 8313 5995 music@adelaide.edu.au
ELDER HALL www.music.adelaide.edu.au/ 8313 5925 concertmanager@adelaide.edu.au
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
IM.KlemzigOffice608@schools.sa.edu.au Instrumental Music Office – Morphett Vale 8392 3800
IM.MorphettValeOffice896@schools.a.edu.au Music Programs 8226 1883 education.musicprograms@sa.gov.au
KODALY MUSIC EDUCATION ASSOCIATION OF SA www.kodalysa.com 0405 066 469 kodalysa@gmail.com
MUSICA VIVA www.musicaviva.com.au for concert details Box office: 1800 688 482 contact@musicaviva.com.au boxoffice@musicaviva.com.au
MT GAMBIEREISTEDDFOD www.backstageinc.org.au
Secretary: Maxine Chalinor 0457 067 555 tonymaxine@internode.on.net
MUSICIANS’ UNION OF AUSTRALIA ADELAIDE BRANCH www.musiciansunion.com.au/ 8272 5013 industrial.officer@musicians.asn.au
Federal Treasurer – Sam Moody 0412 933 865 musosa@bigpond.net.au
ORFF SCHULWERK ASSOCIATION OF SA www.osasa.net/ info@osasa.net
PRIMARY SCHOOLS MUSIC FESTIVAL www.festivalofmusic.org.au 8236 7488 info@recitalsaustralia.org.au
ST CECILIA EXAMINATIONS PTY. LTD. www.st-cecilia.com.au 1800 675 292 info@st-cecilia.com.au
SOUTH AUSTRALIA BAND ASSOCIATION www.sabandassociation.org Secretary: David Corkindale secretary@sabandassociation.org
SOUTH AUSTRALIAN MUSIC CAMP ASSOCIATION www.samusiccamp.com.au Administrator: Samantha Taylor admin@samusiccamp.com.au
THE SOCIETY OF RECORDER PLAYERS SA INC. www.facebook.com/recorderplayerssa/ 0410 109 135 srpsainc@gmail.com
TRINITY COLLEGE LONDON EXAMINATIONS www.trinitycollege.com.au 1300 44 77 13: National Mr. Stanley Tudor 8345 3117: Local stanley.tudor@iinet.net.au
UKARIA CULTURAL CENTRE www.ukaria.com 8227 1277 info@ukaria.com
