PRESIDENT'S WELCOME Our Summer Conference on January 22/23: Beyond the Instrument: musicianship in private lessons, will we hope cause thoughtful music teachers to reflect on how and what they teach, making us all more responsive to our pupils’ musical and educational needs. A number of teaching conferences these days devote sizeable chunks of time to commercial matters such as entrepreneurial success through clever use of IT and leveraging maximum profit through business acumen. In a freelance environment that’s natural and MTASA will undoubtedly continue to offer such insights in the future as time permits. But, on this occasion we’re looking forward to exploring the options for better private lessons with our pupils’ music education in mind. MTASA has four more events before the end of 2019 and they’re all foreshadowed in this magazine. One type of event that has not been promoted for some years (other than in Summer Conferences) is the Piano Master Class on 31
Our Summer Conference will
August. Your Council is aware of our large
cause thoughtful music teachers
contingent of piano teaching members and hopes
to reflect on how and what they
they will welcome hearing from a distinguished UK artist teacher who is relatively unfamiliar in
teach, making us all more
SA and as a pianist and harpsichordist of long
responsive to our pupils’
experience will bring great breadth and depth to
musical and educational needs
the afternoon’s proceedings. Our annual Expo cannot be passed over without a mention as it has become a tangible symbol of MTASA’s relevance in SA’s musical scene. Doubtless its organisers will seek to improve on past Expos (where possible!) and you can be sure that your attendance during the day on September 22 at Thebarton Community Centre will prove extremely worthwhile.
Rodney Smith, President 2
SA MUSIC TEACHER THE MAGAZINE OF THE MUSIC TEACHERS' ASSOCIATION OF SOUTH AUSTRALIA INCORPORATED
Print Post Pub. No 100003224
TABLE OF CONTENTS
VOLUME 27 NO 3 – SPRING 2019 CELEBRATING 90 YEARS IN 2020 PATRONS: Dr Doreen Bridges AM Emeritus Professor David Lockett AM PRESIDENT: Rodney Smith VICE PRESIDENT: Robert Brown OAM SECRETARY: Masako Kondo TREASURER: Samantha Penny AUDITOR: Australian Independent Audit Services COUNCIL 2018/2019: Sofie Arhontoulis, Pete Barter, Robert Boundy, Robert Brown OAM, Naomi Hede, Masako Kondo, Monika Laczofy, Heather Lander, Yong Cheong Lye, David Metin, Samantha Penny, Rodney Smith, Ian Vayne EDITOR: Robert Brown OAM Layout: Masako Kondo MEMBERSHIP ENQUIRIES to the Secretary – PO BOX 4, RUNDLE MALL, ADELAIDE SA 5000 Mobile: 0402 575 219 E-mail: info@mtasa.com.au ADVERTISING – Please contact the Secretary
Please see MEMBER INFORMATION page for Advertising Price List. CONTRIBUTIONS and DEADLINES for 2019/2020
Contributions to SA Music Teacher are most welcome. All items to be included must reach the Editor, Robert Brown OAM (robbrown@adam.com.au) no later than these deadlines: Thursday October 31, Friday January 31, 2020, Thursday April 30, 2020, Tuesday July 14, 2020. 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 http://www.mtasa.com.au/ MTASA FACEBOOK
Please visit the MTASA Facebook page at https://www.facebook.com/The-Music-Teachers-Association-of-SA-Inc883307955101655/
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PRESIDENT’S WELCOME by Rodney Smith COMING MTASA EVENTS MEMBER INFORMATION OTHER ORGANISATIONS’ NEWS OTHER ORGANISATIONS’ EVENTS ADELAIDE EISTEDDFOD PROGRAMME FOR 2019 RESULTS OF MTASA COMPETITIONS IN MEMORIAM - CLEMENS THEODOR LESKE, AM PEDAGOGY MATTERS by Rodney Smith MUSINGS ON ACCOMPANYING SINGERS (AND A FEW TIPS FOR THE KEEN PIANIST!) by Andrew Georg MUSIC: IN THE EARS OR BETWEEN THEM? by Alex and Sam Penny HOW THINGS ARE AT MY MUSIC STUDIO AT GEORGETOWN by Alixe Dique MUSIC TEACHING – ALIVE AND WELL IN YANKALILLA! by Jillian Langford AUSTRALIAN FLUTE CLUBS AND THE 2019 AUSTRALIAN FLUTE FESTIVAL by Robert Brown OAM SOUTH AUSTRALIA DEPARTMENT FOR EDUCATION: THE MUSIC EDUCATION STRATEGY MUSIC EDUCATION PANEL MEETS CONTACT DETAILS FOR OTHER ORGANISATIONS
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COMING MTASA EVENTS MEMBER INFORMATION
MEMBER INFORMATION
August 25
NEW MEMBERS
Westminster School Band Room 12:15 pm Alison Avenue, Marion Admission: gold coin
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. Abdul Nanou, Full member: V
RECOMMENDED TEACHING FEES The following teaching rates are recommended to members by the MTASA Council for 2019. Full Member - $73 per hour Associate Member - $62 per hour Student Member - $46.50 per hour
MTASA MEMBERSHIP FEE INCREASES MTASA membership fees have been increased. This allows the Association to continue providing a sustainable service for its members. The new membership fees are: Full member $120 Student $60 Friend $30 Institution $30
Concert Performance Day 2
See the entry form inserted in SA Music Teacher, download from our website, or enter via eventbrite.
August 31
Piano Lecture-Demonstration and Masterclass with Virginia Black (UK) Madley Rehearsal Studio 2 to 4 pm The University of Adelaide Member $35, Non-Member $50, Student $20 A certificate for 2 hours of PD will be provided. See the entry form inserted in SA Music Teacher, download from our website, or enter via eventbrite.
September 22
Music Educators' Expo Thebarton Community Centre 11 am to 3 pm corner South Road and Ashwin Parade, Torrensville Tickets from $10 Ticket will be available via the MTASA website (mtasa.com.au) on the Events page. A certificate for 4 hours of PD will be provided.
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MUSIC TEACHERS' ASSOCIATION OF SA INC PRESENTS
PIANO LECTURE-DEMONSTRATION AND MASTER CLASS WITH VIRGINIA BLACK (UK) Playing Baroque music on the piano Virginia Black established an active career performing, recording and broadcasting in the UK and internationally as a harpsichordist and pianist, subsequently serving as Chair of Postgraduate Programs at London's Royal Academy of Music. She has visited Australia a number of times and on this occasion listeners and performers will benefit from her extensive experience in the field of Baroque music as she discusses and illustrates how best to interpret works of that era on the piano.
31.08.19 | 2PM MADLEY REHEARSAL STUDIO, THE UNIVERSITY OF ADELAIDE
MTASA MEMBERSHIP RENEWALS Membership Subscription Renewals for 2019/2020 will become due on June 30. Subscription renewal notices will be sent in late June via e-mail to remind members to log in and renew their membership for the 2018/2019 financial year. 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 Masako Kondo (info@mtasa.com.au). Paper invoices will be sent to members who prefer to receive them.
AON’S MUSIC TEACHER INSURANCE
November 10
Professional Development Afternoon Followed by AGM and Dinner at La Scala. Practising and Performing: teaching for successful outcomes - a woodwind perspective with Elizabeth Koch AM, Celia Craig, Lynton Rivers and Josie Hawkes OAM. Venue: Unley Uniting Church, 187 Unley Rd, Unley. 2 pm to 5 pm Member $50, Non-Member $65, Student $35 We all have pupils who practise poorly. We all have pupils who perform poorly. Does practice really make perfect? What are the recipes for better connections between these two fundamental activities that lead to good outcomes for our pupils? Our invited speakers are all highly regarded woodwind specialists. But what if I’m a violin teacher or a piano teacher? New approaches can be refreshing and the wealth of experience these experts bring will easily transfer to most instrumental areas. A certificate for 3 hours of PD will be provided. See the entry form inserted in SA Music Teacher, download from our website, or enter via eventbrite.
January 22/23, 2020
Summer Conference Aon, our recommended insurance provider, has over 50 years experience and a dedicated Entertainment team who understand your needs. As the New Year is already upon us, what better time than now to organise your cover and peace of mind for the rest of the year! Aon’s Music Teacher Insurance Policy is affordable, easily purchasable online and comprehensive, covering you for Public and Product liability (including wrongful allegation), Professional liability and Personal accident. For more information and to buy online visit aon.com.au/musicteachers.
Beyond the instrument: musicianship in private lessons Venue: Hartley Building, The University of Adelaide A certificate for 16 hours of PD will be provided. How can we possibly cram in extras like aural, theory and improvising into a single instrumental lesson? Isn’t learning exam pieces or band parts enough to cope with in a half hour? But some teachers seem to manage it. How do they find time? What do they teach? And how do they integrate it all? MTASA Summer Conference will explore these issues using experts to outline their ways and means. In addition, there will be plenty of more familiar events such as master classes, concerts and presentations by members. Start the 2020 teaching year with an abundance of new ideas. Join us.
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MUSIC
TEACHERS' ASSOCIATION PRESENTS
OF
SA
PROFESSIONAL DEVELOPMENT AFTERNOON followed by AGM AND DINNER AT LA SCALA
NOVEMBER 10• 2PM UNLEY UNITING CHURCH 187 UNLEY RD, UNLEY Practising and Performing: teaching for successful outcomes - a woodwind perspective with Elizabeth Koch AM, Celia Craig, Lynton Rivers and Josie Hawkes OAM.
INC.
Educators SA
OTHER ORGANISATIONS' NEWS MITCHAM ORCHESTRA
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/comm unity/education-communitybanking-benefits/ for more information. Hotel Grand Chancellor Adelaide offers an exclusive accommodation deal for 2019. This includes WiFi, welcome drink cards on arrival, a uniquely South Australian gift and the paper daily. Go to https://www.grandchancellorhotels .com/hotel-grand-chancelloradelaide to book! Enter the promo code EDSA to access the member exclusive rates and offers.
The Mitcham Orchestra is looking for string players: violin, viola, cello and double bass. Rehearsals are held on Saturday afternoons at Richmond Road Hall, 1 Richmond Road, Westbourne Park, from 2 pm4.30 pm. Please contact Robert Brown, 8431-0452, or e-mail robbrown@adam.com.au, for more information.
From January 5, 2020, musicians playing mandolins, mandolas, classical guitars, mandocello and double basses and acoustic bass guitars will arrive at Aquinas College, North Adelaide, to participate in the second Adelaide Mandolin Festival run by FAME, the Federation of Australasian Mandolin Ensembles. For six days a repertoire of classical and contemporary music from Australia, Europe and the Americas will be intensively rehearsed under the baton of Brisbane conductor, classical guitarist and mandolinist, Joel Woods, before performing an exciting public concert in St Peter’s Cathedral at 7pm on Saturday January 11. A new work by Marcus Kha was commissioned by FAME and will be premiered at the concert. For more information about the Adelaide Mandolin Festival 2020 please visit the Festival website at adelaidefamefestival2020.com. For more information contact Festival Director, Murray Green, at murraygreen3@bigpond.com.
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NOTICE TO STUDENT MEMBERS Have you fulfilled the requirements for Associate or Full Membership? Student members are reminded that Student membership is restricted to four years after which time it is expected that they would be eligible for another membership category. Student members who are ready to upgrade their membership are invited to submit an application form to the Secretary together with the required supporting documents. Criteria can be downloaded from the MTASA website (www.mtasa.com.au) or obtained from the Secretary (info@mtasa.com.au).
MTASA MEMBERSHIP NOTES Visit http://mtasa.com.au/index.php/memb ers/become-a-member/ to join MTASA. Current Full, Student or Associate Members are not required to submit any supporting documentation to continue their MTASA membership. Anyone applying for Full Membership (either Tertiary Level Qualification and Study or Recognition of Prior Learning and Experience) or Student Membership for the first time must fulfil all of the requirements listed and submit the appropriate supporting documentation. Associate Membership is no longer being offered but those who were Associate Members on September 24, 2017 can continue their membership provided they remain as financial members. Full Membership (Recognition of Prior Learning and Experience) has replaced General Membership. MTASA Members are always encouraged to write to the Secretary about any concerns that they may have. The MTASA Council will consider your request.
EISTEDDFODS AND SCHOLARSHIPS METROPOLITAN MALE CHOIR ANNUAL MUSIC SCHOLARSHIP FOR 2019 The Metropolitan Male Choir Annual Music Scholarship will be offered again in 2019. Applications from young musicians are invited from May/June onwards each year with auditions usually held in September. Visit http://www.mmcsa.org/about/music-scholarships/ for more information.
OTHER ORGANISATIONS' CONCERTS
RECITALS AUSTRALIA WEDNESDAY LUNCH HOUR CONCERTS 2019
Pilgrim Church, 12 Flinders Street, Adelaide, at 12-30pm. Two half hour recitals with high calibre new and experienced musicians. Adults: $5 for both recitals. Tickets at the door. Enquiries, 0432-114-127. Visit https://recitalsaustralia.org.au/ for more information.
ELDER HALL CONCERTS 2019
Lunch Hour Concert Series, Fridays, 1-10 pm. General admission: $14. Gold Pass Subscriptions available. Evening Concert Series. 6-30 pm. Ticket Prices: $30 Adult; $25 Concession; $19 Student. Visit www.elderhall.adelaide.edu.au for more information.
MITCHAM ORCHESTRA IN CONCERT
Cumberland Park Community Centre, Sunday October 27, 390 Goodwood Road, Cumberland Park, 2-00 pm. Conductor: Tully Brookes. Admission: $12, Children 12 Years and under free, at the door.
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ADELAIDE EISTEDDFOD PROGRAMME FOR 2019 The venue for events is Salvation Army Citadel, 55 George Street, Norwood unless otherwise specified. General admission for sessions: $8, Adelaide Eisteddfod Members and Children 12 years and under free. The programme for each Division can be downloaded from the Adelaide Eisteddfod website at http://sacomment.com/aes/eisteddfod. The Guitar and Choral Divisions took place in June and the Recorder Division was cancelled due to insufficient entries. The String Division, Eisteddfod Ensemble Event and String and Wind Recitals took place between July 30 and August 2. FLUTE DIVISION Adjudicator: Vernon Hill When: Friday August 9th, 6.30 pm Venue: Unley Uniting Church, 187 Unley Road, Unley When: Saturday August 10th, 9.00 am-6.25 pm Venue: Salvation Army Citadel, 55 George Street, Norwood WOODWIND DIVISION Adjudicator: Tim Nott When: Sunday August 11th, 1.30 pm Venue: Unley Uniting Church, 187 Unley Road, Unley
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REQUIRED PROFESSIONAL DEVELOPMENT FOR FULL MEMBERS OF MTASA MTASA is introducing a Professional Development scheme for Full members. 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 and similar documents. Commencing July 1, 2019 Full members will begin accumulating their seven hours of Professional Development. From July 1, 2020 onwards Full members will be required to submit a pro forma declaration confirming that they have undertaken at least seven hours of Professional Development in the previous 12 months. The declaration will also require Full members to confirm their willingness to provide MTASA with evidence of their PD for that year if requested by the Secretary. Such requests will be made occasionally at random to ensure the integrity of MTASA’s requirements. MTASA will itself continue to provide at least seven hours of PD each year and members’ attendance at these sessions will automatically be recorded by MTASA.
TEACHERS OF THEORY/MUSIC -IANSHIP 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 or Student 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).
ADELAIDE EISTEDDFOD PROGRAMME FOR 2019 (CONT'D) BRASS DIVISION Adjudicator: Kevin Joughin When: Sunday August 11th, 4.20 pm Venue: Unley Uniting Church, 187 Unley Road, Unley VOCAL DIVISION Adjudicator: Brian Gilbertson Tuesday August 13th to Saturday August 17th When: Tuesday August 13th, 4.00 pm When: Wednesday August 14th, 4.00 pm When: Thursday August 15th, 4.00 pm When: Friday August 16th, 4.00 pm When: Saturday August 17th, 10.30 am; Friends of the State Opera SA Inc. Dawn Wallace Award, 7.00 pm PIANO DIVISION Adjudicators: Glen Riddle and Antony Hubmayer Thursday August 22nd to Sunday September 1st When: Thursday August 22nd, 9.30 am-6.00 pm When: Friday August 23rd, 9.30 am-6.30 pm When: Saturday August 24th, 9.30 am-9.50 pm Venue for above: Salvation Army Citadel, 55 George Street, Norwood When: Sunday August 25th, 9.30 am-4.25 pm; Senior Recital, 11.30 am, 2.15 pm Venue for above: Scotch College, Carruth Road, Torrens Park When: Thursday August 29th, 9.30 am-6.30 pm When: Friday August 30th, 9.30 am-6.35 pm When: Saturday August 31st, 9.30 am-6.25 pm Venue for above: Salvation Army Citadel, 55 George Street, Norwood When: Sunday September 1st, 9.30 am-6.20 pm; Junior Recital, 11.05 am, 2.05 pm, 4.20 pm Venue for above: Scotch College, Carruth Road, Torrens Park ADELAIDE EISTEDDFOD CONCERTO Adjudicator: Dr Anna Goldsworthy Heat: Wednesday August 28th, 7.30 pm Final: Wednesday September 4th, 7.30 pm Admission: $10; Adelaide Eisteddfod Members and Children 12 years and under free
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ADELAIDE EISTEDDFOD SPECIAL AWARD WINNERS CONCERT YOUNG VIRTUOSO AWARD 2019
Monday, September 23, 7-30 pm Salvation Army Citadel, 55 George Street, Norwood. Admission: Adult, $10; Seniors/Students, $8; Children under 16 free
SA FINAL Adjudicators: Anna Lester and Gisele Blanchard When: Sunday, October 13, 2.30 pm Where: St John’s Anglican Church, 379 Halifax Street, Adelaide Admission: Adult $20; 5MBS Members $15; Student $10 Available from trybooking.com BEGJB OR 531571. NATIONAL FINAL Adjudicators: Konstantin Shamray and Guila Tiver When: Sunday, November 24, 2.30 pm Where: St John’s Anglican Church, 379 Halifax Street, Adelaide The winner of the National Final receives a $5,000 prize sponsored by the Fine Music Network. Admission: Adult $20; 5MBS Members $15; Student $10 Available from trybooking.com BEGJO OR 531584.
POSTNOMINALS
Full members of the Music Teachers’ Association of South Australia may use the letters MMTA (member of Music Teachers’ Association) as a postnominal while they are financial members. Interstate Music Teachers Associations are also encouraging their members to use this or a similar postnominal.
NEW MUSIC DIARY Selling for $7 each, the proceeds support MTASA. The Music Diary features day-to-a-page journaling, staves for each week, holiday challenges and games every ten pages, with space for personal notes, lists and goal setting. Visit https://mtasa.com.au/mtas a-music-diary/ for more information.
Musical Instrument Hire and Repair mountfordmusic.com.au Email sales@mountfordmusic.com.au Phone 0408 944 034
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QUEEN’S BIRTHDAY HONOURS 2019 Four musicians/performers with a South Australian connection were recognised in the Queen’s Birthday Honours. Congratulations to Guy Sebastian for being awarded an AM for ‘Significant service to the music recording industry and to charitable initiatives’. Congratulations to David Campbell for being awarded an OAM for ‘Service to Entertainment and the Arts’. Congratulations to Shirley-Anne Gale for being awarded an OAM for ‘Service to music’. Congratulations to Kevin Hein for being awarded an OAM for ‘Service to the performing arts, and to the community of Mt Gambier’.
EVENT VOLUNTEERS NEEDED Enthusiastic volunteers are needed to help with various jobs at MTASA events. Tasks include setting up chairs, tables and piano, helping with registration at the check in table, ushering, assisting performers, helping with morning tea, lunch and afternoon tea, and packing up afterwards. It is a great way to network and a volunteering certificate will be provided, which will enhance your CV! For more information please email the Secretary, Masako Kondo, at info@mtasa.com.au.
RESULTS OF MTASA COMPETITIONS Held: June 22 and 23 Venue: Madley Rehearsal Studio, University of Adelaide The Miriam Hyde Junior Award is open to all instrumental/vocal students of any member of the MTASA or related organisations. Open to students 15 years of age on the closing date of entry. Adjudicator: Graeme Quinn First Prize: Samantha Li, piano. Teacher: Monika Laczofy. Second Prize: Teresa Kennedy, piano. Teacher: Dr Diana Weekes. Honorary Mention: Cyrus Nuthakki, piano. Teacher: Rodney Smith.
Graeme Quinn
Miriam Hyde Junior Award participants with Graeme Quinn
The Miriam Hyde Open Award is open to all instrumental/vocal students of any member of MTASA or related organisations. Open to students of any age. Adjudicator: Graeme Quinn First Prize: Maria Zhdanovich, flute. Teacher: Elizabeth Koch AM. Second Prize: Xiaoyin Wang, flute. Teacher: Elizabeth Koch AM.
Miriam Hyde Open Award participants with Graeme Quinn
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The Norman Sellick Memorial Prize is open to all instrumental/vocal students of any member of the MTASA who are teaching in a private capacity. Open to students who are 12 years or under on the closing day of entries to the competition. Adjudicator: Dr Diana Weekes. First Prize: Samantha Li, piano. Teacher: Monika Laczofy. Second Prize: Joshua Song, piano. Teacher: Meredith Wilson Honorary Mention: Dan Do. Teacher: Gil Sullivan. Honorary Mention: Elaine Chen, piano. Teacher David Lockett AM.
ADVERTISING PRICE LIST For the SA Music Teacher, 2019
INSERTION FEE FOR POSTERS AND FLYERS
Dr Diana Weekes
Norman Sellick Memorial Prize participants with Dr Diana Weekes
One issue $100. Four issues $360. Advertisers have two choices: 1. To provide the inserts, 2. To provide the artwork, MTASA will arrange the printing and invoice for this. Members placing an ad are entitled to a 15% discount.
CLASSIFIED AD The Reimann-Robinson Scholarship is open to all instrumental/vocal students of any member of the MTASA who are teaching in a private capacity. Open to students who are 18 years or under on the closing day of entry to the Scholarship. Adjudicator: Graham Strahle First Prize: Kristopher Man, piano. Teacher: Gil Sullivan. Second Prize: Cyrus Nuthakki, piano. Teacher: Rodney Smith. Honorary Mention: Cindy Shi, piano. Teacher: Debra Andreacchio. Honorary Mention: Jasmin Baker, piano. Teacher: Dr Diana Weekes.
MTA Members, free. Nonmembers, $15. Please contact the Secretary about advertising. Mobile: 0402 575 219 E-mail: info@matsa.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 Robert Brown at robbrown@adam.com.au.
Graham Strahle
Reimann-Robinson Scholarship participants with Graham Strahle
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TEACHING IN THE COUNTRY
IN MEMORIAM CLEMENS THEODOR LESKE,
AM, B.Mus. (Melbourne), Dip. D’Etudes (Paris) COMPILED BY ROBERT BROWN OAM 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 yet done so please write something – it doesn’t need to be very long – and also include a photo. If you have written something before you are welcome to send an update. E-mail to Robert Brown at robbrown@adam.com.au.
Distinguished Australian pianist Clemens Leske AM died on Saturday July 6 at the Royal North Shore Hospital in Sydney, aged 95. The son of a Lutheran pastor, he was born on September 24, 1923 at Rainbow, a town in the Shire of Hindmarsh in northwest Victoria. Known as Clem, he went to Wesley College in Melbourne before studying music at the University of Melbourne. His studies were interrupted by service in the Army from 1942-1945; he returned to the University of Melbourne to complete them in 1946. Clem made his concert debut with the Melbourne Symphony Orchestra in 1947 and he has been soloist with symphony orchestras throughout Australia and in the United States. John Bishop became Director of Music at Scotch College (Melbourne) in 1937. In 1947 he asked Clem to be his assistant. Clem taught upper school music classes and prepared the boys for solos and choruses from Elijah. John Bishop had intended recommending Clem to be his successor at Scotch College (he had been appointed Elder Professor of Music) but Clem had decided to undertake further studies overseas in Paris. In 1948 Clem began his studies with Marcel Ciampi at the Conservatoire National Supérieur de Musique de Paris, where he gained a Premier Prix in Piano in 1949. Clem returned to Melbourne and soon after John Bishop suggested that he came to Adelaide to replace Maude Puddy, who had retired from the Conservatorium. Clem accepted and was appointed to the untenured staff of the Elder Conservatorium in 1950 (he was John Bishop’s first staff appointment). He accepted an invitation to join the MTASA Council in 1951. In 1957/58 Clem spent the summer session at the Eastman School of Music at the University of Rochester, USA and gained further experience in Italy and Switzerland. In 1960 Clem was appointed with academic status, salary and tenure at the University. MTASA held a series of Guest Evenings in the early 1960s, and Clem was one of the invited performers. MTASA established the Norman Sellick Memorial Scholarship in 1972, and 12 year old Stephanie Wendt, a student of Clemens Leske, was the inaugural winner of this award. Clem was Dean of the Faculty in 1974 and Director of the Elder Conservatorium from 1977-83. He was the teacher of Peter Waters, who was recipient of the Elder Overseas Scholarship for 1973, tenable for three years study at the Royal College of Music, London. Clem was Chairman of the Australian Music Examinations Board from 1977-1987. In the Queen’s Birthday 1990 Honours Clemens Theodor Leske became a Member of the Order of Australia ‘for service to music’.
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Clem married violinist Beryl Kimber OBE (a fellow staff member) in 1969. They continued to give concerts in Australia and abroad until their Farewell Recital in Elder Hall in 1999. They were a revered part of Adelaide’s cultural life and had a devoted following. Their children are Timothy, Mark, Fiona and Clemens, and there are eight grandchildren. Clemens Leske junior is also a distinguished concert pianist and is Senior Lecturer in Piano at the Sydney Conservatorium.
Clemens Leske AM and Beryl Kimber OBE
Clem retired in 1998 after 49 years as an Elder Conservatorium staff member and Beryl retired after 34 years. Many of Australia’s most distinguished pianists were among Clem’s pupils. Clem and Beryl left Adelaide to live in Sydney at Milsons Point. On Thursday December 13, 2007 Clemens Leske was awarded the University’s Distinguished Alumni Award for his sustained and outstanding service to the Elder Conservatorium over many years and his distinguished national and international profile as a pianist. Beryl Kimber was awarded the University’s Distinguished Alumni Award for her sustained and distinguished service in the performing arts, both nationally and internationally, as one of Australia’s leading violinists and pedagogues, and her ongoing support for the Elder Conservatorium over many years. They last visited Adelaide in 2015 for a Gala Concert in Elder Hall presented by many of their former students. Clemens Leske and Beryl Kimber are Honorary Life Members of the Music Teachers’ Association of South Australia and VicePatrons of the Adelaide Eisteddfod Society. Clem will be remembered for his ‘dignity, fantastic sense of humour, humility and compassion, and intellectual brilliance’. He was a ‘Dedicated Christian’ and ‘AFL and cricket devotee’. Jeffrey Kong says that ‘Mr Leske was my piano teacher from 1976 till his retirement. A great musician and a wonderful human being’.
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PEDAGOGY MATTERS by Rodney Smith
I wonder when some presenters at music conferences will stop banging on about improvising. For most teachers in the piano world it’s simply a matter of knowing some basic harmonies and planting melodic decoration on top. Interesting, creative even, but not that smart or difficult. Indeed, we had some carefully composed pieces written in such a way played by pupils during the recent Australasian Piano Pedagogy Conference 2019 and to be frank they were rather repetitive. Of course, good improvising moves on from that, and takes really skilled teaching and practice, but it’s a start. Nevertheless, some presenters especially those with jazz and pop backgrounds - still look condescendingly at their audience of ‘classical’ piano teachers and lecture them on being creative by making sure their pupils improvise, as if they don’t. The topic began to gain traction at least 50 years ago and many ‘classical’ (does that term apply anymore?) teachers have taken the advice on board and do some improvising - and composition - with their pupils. Don’t these presenters know that? Indeed, I tackled one or two presenters during the conference and was met with silence when I asked if they knew how much the topic had been aired over the years and if they had evidence their listeners really needed to be told about it yet again! On the subject of APPC 2019 I can tell readers that team Brisbane organised a wonderfully varied program that went off more or less without a hitch. Much has been aired on Facebook and elsewhere and the APPC 2019 website contains its entire schedule so there is no need to repeat the details here. Papers and presentations from APPC 2019 should be published on the website by January 2020. And just for your information APPC 2021 will be held on the beautiful University of Western Australia campus in Perth. By the way, papers going back to 2005 can also be accessed through the website so we can obtain plenty of good reading. Indeed, plans are afoot to publish all papers since the first conference in 1993 in due course and this should make a first-class piano pedagogy resource. Happy reading and happy improvising!
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ACCOMPANIST’S CORNER MUSINGS ON ACCOMPANYING SINGERS (AND A FEW TIPS FOR THE KEEN PIANIST!) by Andrew Georg, July 2019 Your singer will have spent a good deal of time coming to terms with the poetry, analysing how the composer has set each phrase, looking at the overall structure and flow of the song, and so on. There is no reason an accompanist should not go into the same depth of preparation. Having done so, the singer and pianist are able to be equal partners and can truly respond to each other. As with anything, the deeper you go into something the more you have to give, and the more you can personally get out of it. And, even more importantly, the more you both can connect and communicate with an audience in performance. Andrew Georg
Accompanying singers is a rewarding and challenging field for the accompanist. The repertoire is vast and often difficult, but it is some of the most wonderful music. The extra element of poetic text makes it a very different undertaking to playing purely instrumental music. The musings below mainly refer to classical singing which is the land I’ve dwelled in most, but much could also be applied to other genres. Singing is a very brave activity to undertake. Singers are exposed in a way that no instrumentalists are. Their instrument is intimately entwined with their body, and is at the mercy of their health (both physical and mental). It is an intensely personal undertaking and full respect should be given to those brave enough to bare their souls in such a way. Singing teachers, by necessity, work a lot in metaphor as most of the actual apparatus of vocal production is not visible or touchable. Many of the challenges of singing are psychological, and an accompanist needs to always bear this in mind when giving feedback. Technical advice should remain the domain of a voice teacher. Being supportive and encouraging, giving the singer self-confidence, goes a long way. Discuss issues musically - a singer in good control of technique will know how to implement the issue technically, or can seek advice from a teacher in doing so. Singers too are musicians after all, and it is respectful and mutually beneficial to be discussing things on a musical level.
The two main things I’ve found that get in the way of a singer giving his or her best and most personal performance are competitiveness and tradition/‘copycatting’. Making a career as a singer is by nature a competitive business and this competitiveness often flows into a singer’s approach to the music. The temptation to hold a high note excessively long to ‘prove I can do it’ or to ‘show I can hold it for as long/longer as so-and-so’ usually leads to an unnatural distortion of the music. There are times and places to show off the ‘money-notes’, but it must always be done musically and tastefully and not at the expense of the integrity of the music. The great operatic composers give opportunities within the music to show off technical prowess - we do well not to overstay that welcome. Another form of competitiveness, attempting to get through a very long phrase without breath because ‘so-and-so does it on such-and-such a recording’, gains nothing if the quality of the phrase is ill-affected by lack of breath support; more often taking extra breaths and staying in control right to the end of a phrase far outweighs any showiness. In opera there are many traditions which have been handed down from generation to generation of singers and conductors. These include traditional cuts in long arias, ways of modifying (or ignoring) the written phrasing and text, alternative notes, and cadenzas. Most of these traditions exist for good reasons, but I believe should always be examined rather than simply ‘taken as gospel’, particularly when it comes to cadenzas. There is a strong tendency for singers to simply copy the cadenzas that their favourite singers use, whereas there is a great opportunity for creativity in devising their own.
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An accompanist can work with singers to help shape these aspects of their performance, and to act as an extra ear. Indeed, one of the most valuable things an accompanist can be to a singer is a monitor and an attentive listener. What singers hear in their heads is quite different to what anyone else hears, and they do require honest and supportive feedback to gauge how things are sounding. Be brave along with your singers, always be supportive, and enjoy the fruits of this most incredible repertoire.
MUSIC: IN THE EARS OR BETWEEN THEM? by Alex Penny BMus BEd (JP/P) GCCoun and Sam Penny BMus Hons BCom (Acc) GCMusT MMTA
Sam and Alex Penny with Dr Anita Collins (Left)
Recently, we participated in the inaugural Bigger Better Brains Educators Course, spending two full days listening to and learning from Australia’s leading neuromusical researcher and educator, Dr Anita Collins. You may have seen her on the ABC Documentary Series ‘Don’t Stop the Music’ - if you haven’t, we strongly recommend that you jump onto ABC iView and watch it! Neuroscience has proven through the use of functional magnetic resonance imaging (FMRI) of the extensive impact that music education has on brain development, growth and function from before birth. What is really exciting is that neuroscientific research has unequivocally justified the necessity of music education for all. The part of the brain that processes sound is the first to develop. We process a parent’s voice as music, the heartbeat as music and we are therefore ‘musical from birth. When we play music on an instrument, the imaging
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Alex and Sam Penny – MUSIC: IN THE EARS OR BETWEEN THEM? - Cont'd shows every part of the brain lighting up auditory, visual and motor corticies. It activates and grows the neural networks, resulting in musicians developing higher functioning and more efficient neural activity in the areas of problem solving, executive function, memory systems, general cognitive capacity, and the challenge of learning. Musicians actually have a larger corpus collosum - the bridge between the brain’s two hemispheres, where scientists have detected higher levels of activity, creating efficient and diverse information transfer across the brain. The children you teach who struggle in any area of learning and function absolutely need your musical coaching to exercise their brain and rebuild it. Students with special needs will be enabled to overcome their difficulties. It is therefore not ethical to refuse lessons because of age or maturity or ability. Your students need music training to assist with becoming functional, empathetic and socially cohesive members of society. Regardless of the child - gifted, special needs, anyone - instrumental tuition is money well spent - and is for all! Many peer reviewed research articles show that the learning of a musical instrument is automatically followed by improvements in the skills required for speaking, reading and writing. Musicians notice and understand more of the sounds that occur around them. Music Learning is synonymous with language learning, and will therefore improve a student’s literacy abilities. Significant and school-changing NAPLAN improvements in large cohorts of students can be linked to implementation of instrumental learning programs.
So, what can you do to help young students to grow their brains? • Encourage music reading (sound-tosymbol correlation) from an early age. • Encourage playing by ear. • Encourage large and small body movements and singing while learning. • Encourage students to learn at a younger age. • Be broad-minded with all students especially young ones: think about trying shorter lessons more regularly, dancing, singing, using percussion instruments, composing, allowing students to record themselves and then listen/watch. • Encourage short, everyday practice rather than long sessions. • Encourage playing in ensemble at every opportunity, including piano students. • Encourage parents to look at music education as brain training, and how it will improve other areas of study. • Build professional relationships with students that are warm and kind. • Visit www.biggerbetterbrains.com.au to find out more! References: Collins, A. (2014) TEDx Canberra: What if every child had access to music education from birth? https://www.youtube.com/watch? v=ueqgenARzlE. Collins, A. (2014) How playing an instrument benefits your brain: https://youtu.be/R0JKCYZ8hng. White E.J. et al. (2018) ‘Learning, neural plasticity and sensitive periods: implications for language acquisition, music training and transfer across the life span’. Musemuci, L. (2019) Lee Musemuci - The story behind ‘Don’t Stop The Music’: https://youtu.be/nnMtgDI8OTA.
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HOW THINGS ARE AT MY MUSIC STUDIO AT GEORGETOWN by Alixe Dique L.T.C.L., A.T.C.L. Around this time there were three Banks, a Swimming Pool, Post Office, three Restaurants, a Blacksmith, Dairy, Drapery, Hair Salon, Convent and Catholic School, Uniting Church, Anglican Church and various necessary small factories for the town’s needs. Most of these enterprises became obsolete when the railway tracks were removed. Only the State Primary School, General Store and one Hotel, Catholic Church and Anglican Church continued to function.
Alixe Dique
Georgetown is located 196 kilometres from Adelaide in the mid north region of South Australia on the Horrocks Highway (Main North Road). Georgetown was surveyed in 1869 by Conrad Wornum on the rich lower Broughton Plains. The town was laid out in a similar way to Adelaide, bounded by North, South, East and West Terraces and surrounded by parklands. Land was first offered for sale on September 15, 1870. Nearby Bundaleer Station was owned by Charles and George Fisher and several of the streets in Georgetown were named after family members including Fisher Street, Hurtle Street, James Street, Charles Street and William Street (Hurtle Square in Adelaide was named after James Hurtle Fisher). It seems that Georgetown was named after either George Fisher or Sir George Kingston, who was elected as the local member of Parliament in 1870. In its early days Georgetown was a changing place (horses) for the mail route between Adelaide and Port Augusta. In the early 1870s with good rains there were excellent crops and sixteen bushels to the acre was common in the mid north. Georgetown was proclaimed a district in 1876. It was the seat of the District Council of Georgetown from 1876 to 1988 but following amalgamations with neighbouring councils in 1988 and 1996/7 it became the Northern Areas Council on May 3, 1997. Georgetown was served by the Gladstone railway line from Adelaide which was constructed in 1894 as a narrow gauge line and converted to broad gauge in 1927; it was closed in 1988.
Originally spelt George Town, the name was officially changed to Georgetown in 1979 and many other rural towns also had their spelling changed (eg, Walker’s Flat became Walkers Flat). Generally, I conduct half hour string, vocal, piano or theory lessons. During the first practical lesson I grade the student’s aural level using the Trinity College or A.M.E.B. Syllabus text books. The songs that I set are decided by the aural level of the student. For practising I suggest 10-15 minutes of technical exercises, breathing exercises for vocal students and the set songs and pieces. I accompany all vocal and string students on the piano. Every second or third lesson I include 5-10 minutes of theory comprehension and in some cases written homework is also set. An understanding of the nature and theme of the set pieces is talked over, and also the lives of the composers. People who have attended lessons here at Georgetown are happy to leave with faith in their ability to produce listenable music and the selfesteem to continue learning whenever they can. I am an avid painter in oils and watercolour and enjoy drawing in pencil and charcoal. I have painted thirteen backdrops for theatre companies for various plays and ballets. My involvement in researching plays, literature, poetry and the need for story-telling and performance for my A.T.C.L. Teaching degree for Speech and Drama, inspired me recently to write and illustrate three children’s books about Australian wildlife, Imogen and the Shrine, Zep and Don and About Some Owls. Last year these books were accepted and published by an American Company and are available for purchase online.
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MUSIC TEACHING – ALIVE AND WELL IN YANKALILLA! by Jillian Langford Being retired for me means being extra busy on the Festival Fleurieu Board, Yankalilla Council Arts and Cultural Advisory Committee, playing keys for a city based jazz/swing band and other commitments, but I do look forward to ‘Teaching Day Tuesday’ and celebrating the achievements of my students as they move along their own individual journey. All students are given a variety of repertoire of different musical genres to work on. Students have, on occasions, brought along an audio version of a particular tune they enjoy listening to. Assumptions based on age can be very deceiving - not so long ago, one of my students brought me a piece of music that he loved. I was expecting to hear a recent pop song, so was surprised to be listening to Rachmaninov. The following year, we worked on a purely classical repertoire. At the end of every year, we celebrate with a musical soiree in the ‘The Conservatory’ in my garden. Parents and friends of students attend and it is wonderful to see all working so hard in the weeks up to the recital to ensure they put their best foot forward at the performance.
Jillian Langford with some students: Orion, Jillian, Marlene, Deja and Bella
After many years living in the hustle and bustle of Melbourne, I have been lucky enough to live in a beautiful heritage cottage in Yankalilla for the past 10 years and for most of this time have been teaching piano in my home studio. Our local Area School has limited musical education available to students, so it is my privilege to share my musical knowledge, with students from the start of their journey up to around AMEB Grade 4. Some of my students over the years have moved to other schools outside the area, but still come to my home to continue their musical education.
I have just returned from the Australasian Piano Pedagogy Conference in Brisbane which was simply wonderful and inspirational. I came home with much excitement about the new music books purchased for my students (and self) to work from. The MTASA is a wonderful organisation to be part of - keeping music educators of all levels up to date with new repertoire, tools and the opportunity for professional development. Music is certainly a lifelong journey for us all!
I also have the privilege of working with adult students who are revisiting earlier piano study; it’s certainly a great deal of fun to assist them with their amazing journey. I do love to see young people grow and blossom with their music.
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AUSTRALIAN FLUTE CLUBS AND THE 2019 AUSTRALIAN FLUTE FESTIVAL by Robert Brown OAM peers. Sydney Conservatorium student Paul Curtis was persuaded to play by his teacher, Victor McMahon. This hesitance to perform for Rampal prompted Linda Vogt (ex Sydney Symphony Orchestra) to encourage a group of professional flautists to meet regularly, having prepared a set piece, and to play in front of one another, with the intent of prompting constructive criticism and learning from one another. The Flute Night, as this study group came to be called, met in members’ homes on the second Sunday of every second month. Camaraderie developed from these regular gatherings, with friends and colleagues commenting about each other’s playing, a sort of friendly masterclass.
South Australian Flute Club
The flute was a popular recreational instrument for English gentlemen in the mid 1800s; Prince Albert amongst them. An orchestra on the Isle of Wight had to limit the number of flute players to 16! This popularity led to flute clubs being active in London, Birmingham and other places. Flute clubs began to flourish in other places after World War I. The New York Flute Club was founded in 1920. This is now the oldest flute club in the world; it will celebrate 100 years in 2020. In 1925 The Flutist magazine listed 25 flute clubs located in various parts of the world. The Sydney Flute Club was established in 1923, followed by the South Australian Flute Club in 1926, with flute clubs also founded in Melbourne and Brisbane. Most of the flute clubs had ceased their activities by the beginning of World War II in 1939. A reason given for the cessation of the flute clubs in Australia is that they were generally not supported by the professionals. Two events in the 1960s began the revival of ‘flute clubs’ in Australia. In 1966, Nicola Snekker organised the first masterclass to be given at the Sydney Conservatorium, presented by French flautist Jean-Pierre Rampal during his first Australian tour for the ABC. There was a large turn-out of the local flautists, professionals, amateurs and students, for this event, but only Nicola was prepared to perform before her
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Leslie Barklamb (Lecturer in Flute, University of Melbourne) attended a meeting of the Flute Night while in Sydney. This made him determined to establish another flute club in Melbourne and in 1969, when two of his former students, Douglas Whittaker and John Wion, were visiting Australia, he invited them to participate in a concert in Melba Hall at the University of Melbourne on July 27. To gain admission, each audience member had to bring some type of flute, and the concert culminated with 296 flautists playing their flutes together. As a result, the Victorian Flute Guild was established with Leslie Barklamb as President. The Victorian Flute Guild’s 50th Anniversary was celebrated with performances by the VFG 50th Anniversary Massed Flute Ensemble given at the Australian Flute Festival in Sydney on Monday July 8 and a Gala Concert on Wednesday July 10 at the Australian National Academy of Music, South Melbourne Town Hall. Australian Flute Festival artists Ian Clarke, Wissam Boustany and Matthias Ziegler were the special guests. In 1971 Professor James Pellerite from Indiana University, USA, visited Sydney and Melbourne for concerts with the Baroque Players from Bloomington. This visit encouraged Linda Vogt to negotiate a three-month placement for him as Artist-in-Residence at the Sydney Conservatorium in 1973. He was the first Artist-
Robert Brown OAM – AUSTRALIAN FLUTE CLUBS AND THE 2019 AUSTRALIAN FLUTE FESTIVAL - Cont'd
In-Residence at an Australian Conservatorium. Professor Pellerite’s visit culminated with the First Australian Flute Seminar, held at Easter 1973 at the Sydney Conservatorium. This was the first flute seminar or convention held anywhere in the world. Because of his pioneering work as a flute teacher and strong support for the flute clubs Leslie Barklamb was dubbed ‘Mr Flute in Australia’ during the First Australian Flute Seminar. At Linda Vogts’s instigation the Flute Night was rebadged as the Sydney Flute Society in 1973, becoming the Flute Society of NSW in 1985.
meeting held in Melbourne at Easter 1975. The Second Australian Flute Convention was held in Adelaide at Easter 1976, followed by conventions in Melbourne (1978) and Canberra (1980). A local flute society or guild was responsible for organising each successive Flute Convention.
Leslie Barklamb, James Pellerite and James Carson First Australian Flute Seminar, Sydney, 1973
First Australian Flute Seminar tutors: Vernon Hill, Leslie Barklamb, James Carson, Margaret Crawford, Victor McMahon, Linda Vogt AM
The Flute Society of South Australia was founded in July 1972 at the instigation of David Cubbin. Flute Societies and Guilds were also established in Brisbane, Perth, Hobart, Canberra, Darwin, Alice Springs, Darling Downs, Lismore, Newcastle and Grafton. Today, only the Flute Societies and Guilds in Brisbane, Sydney, Melbourne and Adelaide are active.
Australian Flute Society was formed at an inaugural meeting held in Sydney on Sunday September 20, 1981 to replace AFCACC.
National flute organisations began to be established, among them the National Flute Association (USA) founded by Mark Thomas in 1972 and the British Flute Society founded by Trevor Wye in 1983. After the success of the First Australian Flute Seminar there was a desire to continue having Flute Conventions in Australia. The Australian Flute Convention Advisory and Co-ordinating Committee (AFCACC) was established at a
Discussion during the 1980 Convention in Canberra highlighted the need to have a national voice; a flute organisation that could act on behalf of all flautists and to oversee the organising of each successive convention. The
Flute Conventions were held in Sydney (1983), Brisbane (1986), Adelaide (1988), Perth (1991), Canberra (1995), Brisbane (1999), Melbourne (2002) and Coffs Harbour (2005). Meetings held during the Coffs Harbour Convention indicated there was a general reluctance from the local flute societies to accept responsibility for future Convention organizing because of the financial risks and lack of volunteers. It seemed there would be no more flute conventions. However, David Leviston, a Sydney based flute retailer, announced that he would take over responsibility for organizing the Conventions, which were rebadged as the Australian Flute Festival. These have been held eight times so far, Sydney (2006, 2007), Adelaide (2009),
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Robert Brown OAM – AUSTRALIAN FLUTE CLUBS AND THE 2019 AUSTRALIAN FLUTE FESTIVAL - Cont'd Canberra (2011, 2013, 2015), Brisbane (2017) and Sydney (2019). The next Australian Flute Festival will be held in 2021.
compositions, with imaginative titles such as Orange Dawn, Zoom Tube, Hatching Aliens and Deep Blue. Ian Clarke’s music has found its way into the flute repertoire for exams and recitals, so it was wonderful to hear the composer performing. Wissam Boustany specializes in performing recital programs from memory; items included sonatas by Jindrich Feld and Samuel Zyman and his own composition Future Blossom. Matthias Ziegler performed solopolymorphic music for flute for his recital. He makes use of ‘key noise, winds, tongue stops’ and other sounds by placing microphones inside the flute. He performed on bass and contrabass flutes and also used his own invention, the ‘Matusiflute’, which has a vibrating membrane. Matthias’ program of his own compositions opened up a totally new sound spectrum, with titles such as Stop ’N Go and Contrabasics.
The 2019 Australian Flute Festival was held at the Sydney Conservatorium from July 5-8. The Professional Learning Day was held on July 5 with presenters Patrick Nolan and Joanna Sullivan covering many topics. Margaret Crawford spoke about ornamenting music of the French Baroque. The guest artists from overseas for the other three days included Denis Bouriakov (Principal Flute, Los Angeles Philharmonic Orchestra), Erin Bouriakov (soloist, Lecturer at UCLA), Ian Clarke (Professor of Flute, Guildhall School of Music and Drama), Wissam Boustany (Professor of Flute at Trinity Laban and Royal Northern College of Music) and Matthias Ziegler (Principal Flute, Zurich Chamber Orchestra). They each gave a masterclass, with Ian, Wissam and Matthias working together as a trio (which they do at other festivals), bouncing off each other for helpful ideas and perspectives.
Other recital programs were shared by several performers, and there were performances given by some visiting flute ensembles. Joshua Batty, the new Principal Flute of the Sydney Symphony Orchestra was invited to give a recital and take a masterclass. Peter Verhoyen, Principal Piccolo of the Antwerp Symphony Orchestra, gave a Piccolo Recital, which included the Poulenc Oboe Sonata alluded to earlier. TrioBamboo gave a concert using Asian ethnic flutes.
The guest artists each gave a solo recital and participated in the Sunday Night Gala Concert. Denis Bouriakov received a standing ovation for the performance of his transcription of Tchaikovsky’s Violin Concerto. Performing transcriptions of music composed for other instruments seemed to be a sub-theme at this Festival. These included Poulenc’s Oboe Sonata performed on the piccolo and a flute version of Brahm’s Clarinet Sonata No 2. Erin Bouriakov’s recital included music by Bach and Widor and she was joined by her husband Denis for Swanlake Fantasie for two flutes and piano. Ian Clarke is a noted flautist/composer and makes extensive use of extended techniques. His recital consisted entirely of his own
The Junior Day was presented on July 6 at the Conservatorium High School. This was directed by English flautist Abigail Burrows. Her husband, Gareth McLearnon, directed the Flute Festival Flute Orchestra, in which all Flute Festival participants were able to participate. The performances given during the Closing Concert, with approximately 140 players, included four contrabass flutes, ten bass flutes, as well as alto and concert flutes. Peter Verhoyen was invited to be the piccolo soloist. Gareth McLearnon presented a talk entitled ‘Deconstructing Zoom Tube’, a tribute to his teacher, Ian Clarke. They played a duet version to finish the session.
Sydney Conservatorium
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Robert Brown OAM – AUSTRALIAN FLUTE CLUBS AND THE 2019 AUSTRALIAN FLUTE FESTIVAL - Cont'd Three competitions were held during the Flute Festival, the Open Flute Competition, Young Artist Competition and Composition Competition. Mention must be made of the amazing associate artists (accompanists); Leigh Harrold, Alan Hicks, Gabriella Pusner and Anna Rutkowska-Schock. They don’t seem to need any sleep - they just keep popping up during the Festival! And they keep coming back each time… The reality is that there isn’t enough time to attend everything at a Flute Festival. To get
some time to visit the exhibits area some other things just had to go! The exhibits area had many flutes on display, ranging from piccolos to contrabass flutes. Materials used to make these flutes include silver, gold and wood. There were also displays of sheet music and CDs. The other attraction of the exhibits area is that you get to talk to those people that you haven’t seen since the last Flute Festival! Another wonderful Flute Festival and we’ve been promised that it will all happen again in 2021!!
Clockwise from top left: Denis Bouriakov, Erin Bouriakov, Wissam Boustany, Ian Clarke, Rows of flutes, Bass and contrabass flutes, Socialising in the Exhibits Area, and Matthias Ziegler.
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SOUTH AUSTRALIA DEPARTMENT FOR EDUCATION: THE MUSIC EDUCATION STRATEGY The Music Education Strategy will improve the delivery of music education in public schools and provide greater pathways for students to pursue further study and careers in the music industry. Music provides numerous benefits to children and young people, including developing thinking and learning skills, lifting literacy and numeracy standards, building social inclusion and reducing disadvantage. Early exposure to music activates social, behavioural and academic benefits that persist throughout a child’s education, regardless of their continuation in music studies. The Music Education Strategy is investigating ways to make sure children and young people can access the benefits of music in schools. This includes understanding local, national and international music education practices. The strategy will explore ways South Australian teachers, schools, families, communities, and children and young people, understand and engage with music.
MUSIC EDUCATION PANEL MEETS The new Advisory Panel for the Music Education Strategy has met for the first time to discuss the strategy’s implementation and ensure its initiatives and programs are on track. The panel consists of internal and external music and education leaders who are providing advice and direction towards strengthening and expanding the quality of music education across South Australian early years and primary schools. The first panel was chaired by Anne Millard, Executive Director, Partnerships, Schools and Preschools. The external experts are: Professor Graeme Koehne AO, Director, Elder Conservatorium of Music. Mr Vince Ciccarello, Managing Director, Adelaide Symphony Orchestra. Dr Anita Collins, Neuromusical educator. Dr Jenny Rosevear AM, Visiting Research Fellow, Elder Conservatorium of Music, Australian Society for Music Education (SA Chapter) representative. Initially, the expert panel will meet once per term. Having an expert panel is one of the key requirements outlined in the Music Education Strategy 2019 to 2029, which sets our ten year aspiration to ensure all children and young people in South Australia have access to quality music education. A new music innovation fund will be launched. The fund will be open to schools and the community to provide music education programs and equipment. It will also encourage and sponsor innovative approaches to music education.
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HUMOUR A STUDENT’S PLEDGE TO HIS TEACHER I promise to give 100% to my practicing this week: 12% on Monday 23% on Tuesday 58% on Wednesday (my lesson is on Thursday) 5% on Thursday 2% on Friday…
GOLDEN RULES FOR ENSEMBLE PLAYING by J.W. Swing 1. Everyone should play the same piece. 2. Stop at every repeat sign and discuss in detail whether to take the repeat or not. The audience will love this alot! 3. If you play a wrong note, give a nasty look to one of your partners. 4. Keep your fingering chart handy. You can always catch up with the others. 5. Carefully tune your instrument before playing. That way you can play out of tune all night with a clear conscience. 6. Take your time turning pages. 7. The right note at the wrong time is a wrong note (and vice-versa). 8. If everyone gets lost except you, follow those who get lost. 9. Strive to get the maximum NPS (note per second). That way you gain the admiration of the incompetent. 10. Markings for slurs, dynamics and ornaments should not be observed. They are only there to embellish the score. 11. If a passage is difficult, slow down. If it’s easy, speed it up. Everything will work itself out in the end. 12. If you are completely lost, stop everyone and say, ‘I think we should tune’. 13. Happy are those who have not perfect pitch, for the kingdom of music is theirs. 14. If the ensemble has to stop because of you, explain in detail why you got lost. Everyone will be very interested. 15. A true interpretation is realised when there remains not one note of the original. 16. When everyone else has finished playing, you should not play any notes you have left. 17. A wrong note played timidly is a wrong note. A wrong note played with authority is an interpretation.
CONTACT DETAILS FOR OTHER ORGANISATIONS 5MBS: MUSIC BROADCASTING SOCIETY OF SA www.5mbs.com 8346 2324 5mbs@5mbs.com AUSTRALIAN BAND AND ORCHESTRA DIRECTORS’ ASSOCIATION (ABODA): ABODA SOUTH AUSTRALIA www.abodasa.com.au abodasaonline@gmail.com ABRSM EXAMINATIONS https://us.abrsm.org/en/home SA Rep.: Anastasia Chan 8234 5952/0423 282 589 abrsmsa@hotmail.com ACCOMPANISTS’ GUILD OF SA INC. http://accompanist.org.au President: Leonie Hempton OAM 8272 8291/0404 145 502 leoniehempton@gmail.com ADELAIDE BAROQUE www.adelaidebaroque.com.au 8266 7896 manager@adelaidebaroque.com.au ADELAIDE CHAMBER SINGERS https://adelaidechambersingers.com/ 8352 1329 admin@adelaidechambersingers.com ADELAIDE EISTEDDFOD SOCIETY INC. http://sacomment.com/aes/eisteddfod/ Secretary: Brenda Rayner 8366 6531 adleisteddfod@adam.com.au ADELAIDE HARMONY CHOIR www.adelaideharmonychoir.org.au/ Secretary: Sherry Proferes adelaideharmonychoir.info@gmail.com ADELAIDE PHILHARMONIA CHORUS For enquiries please contact the Secretary at secretary@philharmonia.net ADELAIDE PHILHARMONIA CHORUS http://philharmonia.net/ ADELAIDE YOUTH ORCHESTRAS https://adyo.com.au/ 8361 8896/0410 062 677 General Manager: Claire Oremland claire@adyo.com.au AMEB EXAMINATIONS: SA AND NT https://ameb.adelaide.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 anats.sa.nt@gmail.com ANZCA EXAMINATIONS www.anzca.com.au (03) 9434 7640 admin@anzca.com
AUSTRALIAN SOCIETY FOR MUSIC EDUCATION PRIMARY SCHOOLS MUSIC FESTIVAL www.festivalofmusic.org.au (ASME) 8261 5438 ASME: SOUTH AUSTRALIA CHAPTER office.psmf799@schools.sa.edu.au http://www.asme.edu.au/sa/ President: Luke Gray THE SOCIETY OF RECORDER PLAYERS SA graylu@trinity.sa.edu.au INC. www.facebook.com/recorderplayerssa/ AUSTRALIAN STRINGS ASSOCIATION (AUSTA) 0410 109 135 AUSTA: SA CHAPTER npope@bigpond.net.au www.austa.asn.au/chapters/sa/ President: Agnes Weinstein SOUTH AUSTRALIAN BAND ASSOCIATION AustaSA@hotmail.com www.sabandassociation.org Secretary: David Corkindale AUSTRALASIAN DOUBLE REED SOCIETY secretary@sabandassociation.org www.adrs.org.au Contact: Josie Hawkes OAM SOUTH AUSTRALIAN MUSIC CAMP josie.bassoon@gmail.com ASSOCIATION www.samusiccamp.net.au AUSTRALIAN STRING QUARTET Administrator: Samantha Taylor https://asq.com.au/ admin@samusiccamp.net.au 1800 040 444 asq@asq.com.au TRINITY COLLEGE LONDON EXAMINATIONS BALAKLAVA EISTEDDFOD SOCIETY www.trinitycollege.com.au www.balaklavaeisteddfod.org.au 1300 44 77 13: National Contact: Trish Goodgame 8345 3117: Local 0417 891 834 stanley.tudor@iinet.net.au info@balaklavaeisteddfod.org.au UKARIA CULTURAL CENTRE ELDER CONSERVATORIUM OF MUSIC www.ukaria.com https://music.adelaide.edu.au/ 8227 1277 8313 5995 info@ukaria.com music@adelaide.edu.au ELDER HALL https://music.adelaide.edu.au/concerts/8313 5925 concertmanager@adelaide.edu.au FLUTE SOCIETY OF SA INC. www.flutesocietyofsa.org Secretary: Masako Kondo 0448 730 845 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.sa.edu.au Music Programs 8226 1883 education.musicprograms@sa.gov.au MUSICA VIVA www.musicaviva.com.au for concert details Box office: 1800 688 482 contact@musicaviva.com.au MT GAMBIER EISTEDDFOD www.backstageinc.org.au Secretary: Maxine Chalinor OAM 0457 067 555 tonymaxine@internode.on.net MUSICIANS’ UNION OF AUSTRALIA ADELAIDE BRANCH https://musiciansunion.com.au/ 8272 5013 musosa@bigpond,net.au
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