SA Music Teacher Spring by Music Teachers' Association of SA Inc.

WELCOME FROM THE PRESIDENT In early July, the Presidents of all Australian states gathered online in our annual meeting to check how we are travelling, without actually travelling anywhere for the first time in decades. I felt it was a very useful meeting, exchanging ideas which hopefully will move us all forward. MTASA has continued our webinar series since gathering restrictions have been implemented, which has been not only been warmly received but a great success. For the online aficionados, our recent webinar was pushed live to Facebook and also encouraged attendees to insert comments, chat and questions as the webinar progressed. We are so pleased to be able to deliver free PD as a special service to members. We are fortunate in SA to be able to attend events in person, and along with our COVID safe plan, we are excited to be returning to in-person competition dates and concert performance days, listed here in the magazine. Members are urged to enter their students in these events, as the students gain to benefit so much from public and community events, which develop confidence, poise, performance technique and the human touch of proximity. Although we are returning to gatherings in person, we are still unable to host a large party for our 90th anniversary, but we are confident that it shall soon be a possibility, even if next year. MTASA is your association, with a professional and fantastic council, and we are excited to serve you, our members, with as many PD and networking opportunities as possible. On a happy note, MTASA’s Patron Doreen Bridges AM celebrated her 102nd Birthday on June 11 (the same day as MTASA’s 90th Birthday!). Happy Birthday, Dee, from MTASA! With all best wishes

Sofie Arhontoulis, President, The Music Teachers’ Association of South Australia Inc.

SA MUSIC TEACHER THE MAGAZINE OF THE MUSIC TEACHERS' ASSOCIATION OF SOUTH AUSTRALIA INCORPORATED

SA MUSIC TEACHER

TABLE OF CONTENTS

Print Post Pub. No 100003224 VOLUME 28 NO 3 – Spring 2020 CELEBRATING 90 YEARS IN 2020

WELCOME FROM THE PRESIDENT by Sofie Arhontoulis

PATRONS:

COMING MTASA EVENTS

MEMBER INFORMATION

OTHER ORGANISATIONS’ NEWS OTHER ORGANISATIONS' CONCERTS

His Excellency the Honourable Hieu Van Le AC, Governor of South Australia Mrs Lan Le Dr Doreen Bridges AM Emeritus Professor David Lockett AM

PRESIDENT:

Sofie Arhontoulis

VICE PRESIDENTS:

Rodney Smith, Robert Brown OAM

SECRETARY:

Masako Kondo

TREASURER:

Samantha Penny

AUDITOR:

Australian Independent Audit Services

COUNCIL 2019/2020:

Sofie Arhontoulis, Pete Barter, Robert Brown

PAN compiled by Robert Brown OAM 10

OAM, Wendy Heiligenberg, Masako Kondo, Irina Lioubimova, Zuoyu Liu, Yong Cheong Lye, Samantha Penny, Rodney Smith, Cheryl Van Wageningen 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. DEADLINES for 2020/2021

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: 2020: Saturday October 31. 2021: Sunday January 31, Friday April 30, Tuesday July 13. SOME CONTRIBUTING GUIDELINES All text is to be submitted to the Editor for review. Italics and inverted commas for quotations - text is to be either in Italics or inside inverted commas, not both. Single inverted commas to be used; double inverted commas only inside single inverted commas. The inverted comma at the end of a sentence is to be inside the fullstop; outside for ! and ? MTASA WEBSITE Please visit mtasa.com.au MTASA FACEBOOK

IN MEMORIAM: TONI SPINKS EXPLORING BIGGER BETTER BRAINS reviewed by Sofie Arhontoulis and Samantha Penny PEDAGOGY MATTERS: PREPARING FOR EXAMS by Irina Lioubimova ALL IN THE FAMILY! by Tiensa and Cecilia Tran

AUSTRALIAN BAND AND ORCHESTRA DIRECTORS ASSOCIATION: SOUTH AUSTRALIA by Darryl J. Pope OAM CLASSIC AND CONTEMPORARY RESOURCES TO DEVELOP PERFORMANCE by Juanita Simmonds MIRIAM AND ME: MEMOIR OF A SPECIAL FRIENDSHIP by Judy Pearce CELEBRATING 90 YEARS IN 2020: MTASA’S HISTORY FROM 1990-2020 by Robert Brown OAM

ZOOM PARTY MESSAGES MTASA PRESIDENTS: 1930-2020 MTASA SUMMER SCHOOLS

CONTACT DETAILS FOR OTHER ORGANISATIONS

Front cover: Pan fountain, Veale Gardens, Adelaide. Sculptor: John Dowie AM, 1962. Photographer: Robert Brown OAM.

Please visit the MTASA Facebook page at facebook.com/MusicTeachersSA

26 26

COMING MTASA EVENTS MEMBER INFORMATION NEW MEMBERS

August 2

Concert Performance Day 2 Venue:

Flinders Street Baptist Church 65 Flinders Street, Adelaide gold coin

Admission: 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. Ye Jiang, Full, P, Dulcimer Michelle Allibon-Burns, Full, S Samantha Reed, Full, F, T

QUEEN’S BIRTHDAY HONOURS 2020

Celebrating 90 Years

August TBA

Free Webinar 5: AMEB Exam Preparation (Flute) collaboration with the Flute Society of SA Presenters: Tickets:

Paula Winter and Karen Fletcher available from our website Events page

October 17

Competitions Day Norman Sellick Memorial Prize and ReimannRobinson Scholarship MEDAL OF THE ORDER OF AUSTRALIA (OAM) Congratulations to Monika Laczofy for being awarded an OAM for ‘Service to music education’. Congratulations to Darryl Pope for being awarded an OAM for ‘Service to surf lifesaving, and to music education’. Congratulations to Bruce Raymond for being awarded an OAM for ‘Service to music, particularly to brass bands’.

Venue:

Flinders Street Baptist Church 65 Flinders Street, Adelaide gold coin available from our website Events page

Admission: Entry:

November 15

Annual General Meeting Venue:

TBA

REQUIRED PROFESSIONAL DEVELOPMENT FOR FULL MEMBERS OF MTASA MTASA has introduced a Professional Development scheme for Full members. This commenced on July 1, 2019 when Full members began accumulating their seven hours of Professional Development. The scheme is designed to underpin and enhance MTASA’s established reputation for the professional excellence of its members, ensuring its standards are fully compliant with current educational expectations. These are clearly outlined in the Australian Professional Standards for Teachers (visit https://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 Development during the previous twelve months. The following examples are provided to give general guidance for Full members about Professional Development that would be acceptable to MTASA. These examples represent only a small sample of all the possibilities available to Full members. Generally Full members should feel comfortable about their own choices but in case of doubt you are welcome to contact the Secretary for further advice (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 Development. MTASA will undertake random checks from time to time to ensure the system is working properly. So, on very rare occasions a Full member may receive a request from the Secretary for information about their Professional Development. In such instances you may submit evidence such as certificates, programs, diary notes, recordings and so forth. Examples of Professional Development that would be acceptable to MTASA: 1. Online. Attending a webinar or similar event; undertaking an online elearning 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!

MTASA MEMBERSHIP RENEWALS Membership Subscription Renewals for 2020/2021 became due on June 30. A notice was sent in late June via e-mail to remind members to log in and renew their membership for the 2020/2021 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 didn’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 were sent to members who prefer to receive them.

MTASA MEMBERSHIP FEE Full member $122 Student $62 Friend $32 Institution $32

POSTNOMINALS

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.

Educators SA

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). If your church, club or association has significant membership of (or involvement by) children, the people delivering the services/activities need a Working With Children Check. This may include: Churches of all denominations; Scouts and Guides; Sport and recreation clubs; Cultural or artistic schools/service providers (e.g. theatre, music, dance, arts and crafts). What is a Working With Children Check? It is a checking process undertaken by the Department for Human Services (DHS) Screening unit. It involves checking the person’s criminal history and any other relevant information that is lawfully available to the Screening unit. It can include information from the police, courts, prosecuting authorities, child protection and professional registration bodies. A Working With Children Check assesses whether a potential employee or volunteer could pose a risk to the safety of children, based on criminal history and child protection information. Some of the main changes with regards to volunteers are: WWCC are valid for five years; the current police checks for registered volunteers will be valid until their expiry date but then WWCC will be required; the clearance letter sent out will identify if the WWCC is for employment or volunteering; anyone 14 years of age and above requires a WWCC; anyone aged 80 years or over is no longer excluded and now requires a WWCC. If an existing volunteer allows a police check or WWCC to lapse, they will not be allowed to do any volunteering until a new WWCC has come through. For further information go to https://screening.sa.gov.au/types-of-check/newworking-with children-checks.

MTASA MEMBERSHIP NOTES Visit http://mtasa.com.au/index.php/me mbers/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.

RECOMMENDED TEACHING FEES The following teaching rates are recommended to members by the MTASA Council for 2019/2020. Full Member - $75 per hour Associate Member - $64 per hour Student Member - $48 per hour

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).

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 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).

OTHER ORGANISATIONS' EVENTS

Presented by Theme: Date: Venue: Website:

AUSTRALASIAN PIANO PEDAGOGY CONFERENCE 2022

UWA in collaboration with WAMTA The Holistic Piano Teacher July 4-8, 2022 - note change of date. UWA Conservatorium of Music, University of Western Australia, Perth Website: https://www.appca.com.au/

Due to the shut-down of the travel industry with the COVID-19 situation and the ongoing uncertainty regarding when travel restrictions may be lifted - with the potential that international travel may not resume until 2021 - it has been regretfully decided to postpone the APPC until July 2022. A successful conference of this calibre requires its keynote speakers to be locked in well in advance. The organisers cannot begin to source presenters until they can be sure that travel is possible. They are committed to ensuring that sessions will be high quality and engaging and that there are no barriers to attending.

METROPOLITAN MALE CHOIR ANNUAL MUSIC SCHOLARSHIP The 2021 Scholarship Auditions would usually be held in September but due to COVID-19 restrictions and the consequent uncertainty surrounding gatherings and concerts, no arrangements have been made to conduct them at this stage. Should circumstances change to the extent that auditions will be held this year, information will be advertised. Visit http://www.mmcsa.org/about/musicscholarships/ to check for updated information.

MITCHAM ORCHESTRA

The Mitcham Orchestra is looking for string players: violin, viola, cello and double bass. Rehearsals: Saturday afternoons Venue: Cumberland Park Community Centre, 390 Goodwood Road, Cumberland Park Time: 2 pm-4.30 pm Contact: Robert Brown, 8431-0452, or e-mail robbrown@adam.com.au, for more information. 8

OTHER ORGANISATIONS' CONCERTS

RECITALS AUSTRALIA

ELDER HALL CONCERTS 2020

Wednesday Lunch Hour Series Pilgrim Church 12 Flinders Street, Adelaide 12-30 pm 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. The Recitals Australia Council has organised live stream until further notice. You can watch via the Home Page at https://recitalsaustralia.org.au/ (there will be a Vimeo link) from 12-30 pm. 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. The Lunchtime and Evening Concert Series for the first half of 2020 have been cancelled. Concerts are streamed live every Friday from https://arts.adelaide.edu.au/music/engag e/concert-series or via https://www.facebook.com/pg/ElderCons ervatorium/videos/. 9

ADVERTISING PRICE LIST For the SA Music Teacher for 2020

INSERTION FEE FOR POSTERS AND FLYERS One issue $102. Four issues $366. 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.

MUSIC DIARY

Selling for $7 each, the proceeds support MTASA. The Music Diary features dayto-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/mtasamusic-diary/ for more information.

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.

PAN

MITCHAM ORCHESTRA IN CONCERT Date: Venue: Time: Admission:

Includes music by Beethoven, Bartók and Mozart. Soloist: Joaquin Velasco, violin. Winner of Mitcham Orchestra/Mitcham Rotary Club Prize 2019. Sunday October 25 Cumberland Park Community Centre, 390 Goodwood Road, Cumberland Park, 2-00 pm Conductor: Tully Brookes $12, Children 12 Years and under free, at the door.

compiled by Robert Brown OAM

In ancient Greek religion and mythology, Pan is the god of shepherds and their flocks, nature, mountains, rustic music and impromptus, and companion of the nymphs (the maidens who guarded the realms of nature). He has the hindquarters, legs and horns of a goat. With his homeland in rustic Arcadia, he is also recognized as the god of fields, groves, wooded glens and connected to fertility and the season of spring. The ancient Greeks also considered Pan to be the god of theatrical criticism. The word panic is derived from the god’s name, as is the word pandemonium. In Roman religion and myth, Pan’s counterpart was Faunus. One of the famous myths of Pan involves the origin of his pan flute, fashioned from lengths of hollow reed. Syrinx was a lovely wood nymph of Arcadia, daughter of Ladon, the river god. As she was returning from the hunt one day, Pan met her. To escape from his importunities the fair nymph ran away. He pursued her from Mount Lycaeum until she came to her sisters, who immediately changed her into a reed.

Pan

When the wind blew through the reeds, it produced a plaintive melody. Pan, still infatuated, took some of the reeds, because he could not identify which reed she became, and cut seven pieces (or nine according to some versions), joined them side by side in gradually decreasing lengths, and formed the musical instrument bearing the name of his beloved Syrinx. Henceforth Pan was seldom seen without it.

Debussy was inspired to compose his composition Syrinx for solo flute in 1913. It was written as part of the incidental music for the play Psyché by Gabriel Mourey and was originally called Flûte de Pan. The story of Pan has also influenced other composers and also poets and writers.

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. … LETTERS TO THE EDITOR can be sent to https://mtasa.com.au/lettertoth eeditor.

IN MEMORIUM: TONI SPINKS edited by Robert Brown OAM Mary Margaret Antonia (Toni) Spinks died on June 20, 2019, aged 87 years. She was born on August 8, 1931 at Port Lincoln, the elder daughter of Henry (Harry) and Anne Hill. Cecilia (Cecily) was her younger sister. Toni had an enthusiastic spirit and a sense of adventure for travel, culture and the arts brought about by her love of reading. She began learning the piano at the age of 10, getting off to a rocky start because her first teacher did not have any patience, and often ejected Toni from the classroom, with instructions not to come back. When her mother went to cancel the music lessons the teacher wouldn’t hear of it, saying that Toni was one of her best students. Toni wondered what the teacher did to the not so good students! Sister Philomena took over during Toni’s second year. Toni flourished under her guidance, completing all her grades by the age of 15. Her father Harry was an accomplished singer and asked Toni to accompany him for concerts. Toni and Cecily were boarders at Cabra Convent. Toni studied the piano at the Elder Conservatorium for two years. Aged 18 Toni began working for TAA airlines in the teletype and communications department, staying there for five years. Harry Hill died on February 13, 1957 at Kurralta Park, aged 60. Cecily had married, so Toni and Anne moved from Kurralta Park to Rosslyn Park. In 1958 Toni met Tom Spinks at a social function. He was involved with the Air Trials Unit at the RAAF Base Edinburgh. They married in June 1959 at Rostrevor College Chapel. Tom was assigned to No 11 Squadron and went to America for two months. While he was away Toni did some voluntary work as the RAAF Women’s Association Secretary. Tom was then posted for the next three years as Squadron Leader at the RAAF Base at Richmond, 50 kilometres north-west of Sydney. During this time Toni met Sister Aelred, organist at the local church, who was a talented music teacher. Toni began taking piano lessons from Sister Aelred and competed in the Sydney and Paramatta Eisteddfods. She also did some accompanying and began organ lessons.

TEACHING IN THE COUNTRY

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.

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CLASSIFIED ADS

Tom was posted to the staff of the Australian Anti-Submarine School at Nowra. Toni heard that Sister Aelred had been transferred to the Wollongong Convent, 1½ hours away. Every Monday morning Toni caught the train to Wollongong at 5.30 am to have piano and theory lessons, gaining ATCL and LTCL diplomas, and also received advice about music teaching. Toni regarded Sister Aelred as her friend and mentor.

MTA Members, free. Non-members, $17. Please contact the Secretary about advertising. Mobile: 0402 575 219 E-mail: info@matsa.com.au

In January 1966 Tom was posted to the Department of Air in Canberra, where they bought their first home. Toni became involved in the Contemporary Music Studio at the Canberra School of Music; and gave piano lessons. In December 1971 Tom was posted back to the RAAF Base at Edinburgh.

NEW ARRIVAL

Toni is a former MTASA Council Member, serving from 1988-92, 1995-98 and in 2011. She was awarded Life Membership by Recitals Australia in the early 1990s for 30 years of service as a committee member, her work as archivist and for assisting with the newsletter. Toni was organist at Rostrevor College Chapel for 18 years and involved with St Joseph’s Church at Tranmere for 16 years.

Congratulations to Samantha and Alex Penny on the birth of Kai Edmund Penny on May 29.

Back in Adelaide Toni took up the position of RAAF Women’s Association Secretary again and resumed music teaching. She taught at Pembroke School for 18 years and St Peter’s College for 20 years. After retiring Toni was inundated with private student requests which she took on until she was in her early 80s. Her students won awards at Eisteddfods and Music Competitions and gained top grades in music examinations. Toni’s mother, Anne Hill, died on November 9, 1996, aged 90.

Toni loved animals, especially cats. Her beloved husband Tom died on August 12, 2012, aged 88. Toni is remembered as a loving Aunty by her nephews and nieces, and as a friend, colleague and inspiring teacher.

Educators SA

RECENT EVENTS

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/.

Samantha Penny

2020 SUMMER CONFERENCE SUMMARIES Held: Theme:

January 22/23 Hartley Building, University of Adelaide Beyond the instrument: musicianship in private lessons

EXPLORING BIGGER BETTER BRAINS

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.

reviewed by Sofie Arhontoulis and Samantha Penny Samantha presented a fun, engaging and informative talk on Dr Anita Collins’ Bigger Better Brains advocacy, based on music and neuroscience research. She discussed the three areas of brain development - language acquisition, executive function and social skills - which have been proven to be enhanced by engagement in learning a musical instrument, particularly in the early years. Twenty-five years of research across a broad field of disciplines has conclusively shown the overarching impact that music education has on a student’s studies, life and career options by extension. Sam expanded on the more particular areas of brain development. Some interesting ones included: prosody in speech - prosody is all the emotional meaning in speech (everything except the words and sound-to-symbol); focus skills focusing on a problem and thinking about it in different ways (which recruits something called divergent thinking); problem solving skills - skills such as active listening, analysis, research,

Hotel Grand Chancellor Adelaide offers an exclusive accommodation deal for 2020. This includes WiFi, welcome drink cards on arrival, a uniquely South Australian gift and the paper daily. Go to https://www.grandchancellorhotel s.com/hotel-grand-chancelloradelaide to book! Enter the promo code EDSA to access the member exclusive rates and offers.

SUMMER CONFERENCE EXPLORING BIGGER BETTER BRAINS (Cont'd) creativity, communication, dependability, decision making and team-building; and prosocial behaviour - the intent to benefit others, which is a social behaviour that can benefit other people or society as a whole. We engaged in a fun activity demonstrating some of these behaviours called Gotcha. We were asked to stand in a circle, left hand finger pointing down, right hand palm up. Sam directed us to either ‘switch hands’, or when she said Gotcha, we were to try to catch our neighbour’s finger without being caught ourselves. It was an activity that required us to listen, see and do. A lot of fun and hilarity ensued, and it was interesting to observe how we responded with all three actions simultaneously. Sam described Music as a Teaching Tool, Diagnostic Tool, and BBB as a pathway to advocacy for music education. We felt more attentive and engaged after participating in the activity, and inspired by the leadership in music education, and neuroscience evidence of music as a powerful and essential tool in children’s brain development. She drove home the important job that we as music-educators are charged with, in the development of our students into well-rounded members of society.

Gotcha

PEDAGOGY MATTERS: PREPARING FOR EXAMS by Irina Lioubimova As a girl in Russia, I worked hard for my upcoming exams. I was not so much scared, but excited to present my achievements for the year. We always used to wear our school uniform - for me, this was a brown dress with a black apron, but for concerts and exams, we wore a white one! The Special Music School I attended had its own stage and hall. We always presented our program to a panel of four judges - my teacher would always sit very seriously, with her eyes closed! I have always believed that exams should be a celebration of achievement. However, in recent years, I have found that AMEB exams are becoming much more casual, light-weight, not very serious affairs some students even doing two or three exams a year, each time receiving a C or a C+. Is that really the kind of pedagogy we want to achieve? When I prepare a student for an exam, I like to think of the process in three stages. First, there is the complexity of choosing the right repertoire. I often play many, if not all, the pieces in the syllabus for the student, so that they can be part of the process of choosing something which suits their personality and their ability. They also have to be willing to play a piece, so that they don’t get bored. Second, I don’t just get the student to begin with playing the notes straight away, but I draw their attention to the title, the composer, the form, the structure, the markings. How does this student imagine what this piece will be like? Third, then we start learning the notes. Students also need time over the year to understand the character of the piece or bring their own sense of humour or ideas to the piece. During the lesson, I try not to spend more than 15 minutes on one thing. I like to mix things up, doing some aural training, general knowledge, scales, Czerny, sight-reading, or whatever. Scales need to have a significant role in teaching - I like to show students how scales connect to their repertoire. They also need to have some pieces for fun, rather than just four or six pieces per year. I have had many students who have been desperate to play ‘Für Elise’ or ‘Rondo Alla Turca’! Why not give them the opportunity to try? Throughout the year, there needs to be regularity in all aspects of the exam - not introducing aural tests one week before the exam, or general knowledge two days before! If students are not prepared properly for exams, it could be quite traumatic and discouraging for them. We don’t want that. It takes a lot of preparation and care to put a student forward for exams. My experiences with exams as a child were so positive - I hope that many more students in Australia can also look forward to exams in the same way.

THE ACCOMPANISTS’ GUILD OF SA INC. Celebrating the art of the accompanist and collaborative pianist

ALL IN THE FAMILY! I am TIENSA TRAN. I began music lessons on both violin and piano, and first started accompanying when I was ten years old. I still remember the experience really well because my piano teacher at the time signed me up for the Accompanists’ Guild Junior Ensemble Musicians (JEMs) Concert. I remember having the masterclass at Monika’s house - she stopped me and asked if I was late for an appointment because I tended to rush my playing, especially when I was nervous! Soon after that experience my mother began pairing my sister Cecilia and me together to accompany each other for violin concerts. We used to do a party trick, swapping instruments which would delight audiences. A few years later my little brothers would pick up their instruments (Tim on viola and Theo on cello) and my sister and I would accompany them as they progressed. Playing with siblings can be difficult at times. Last minute practice before a concert is always stressful and there is a big sigh of relief after the performance, as we go to celebrate at our favourite restaurant. Accompanying has taught me many things. It has definitely made me a better musician and has brought our family closer and strengthened our bonds. Tiensa and Cecilia Tran

I am CECILIA TRAN and I have been playing piano ever since I was six years old. I started accompanying when I was nine and had so much fun playing with my older sister Tiensa on the violin and piano. I also accompanied other players and eventually started accompanying my two little brothers Tim and Theo. As the boys became more confident in their own music-making, we formed a family string quartet - named TRANQUILITY - which has given us all a love for chamber music and taught us musical partnership and cooperation.

Having been accompanying for over a decade now, I have also participated in various ensembles, such as the JEMs, using my skills and experiences from accompanying to assist with my playing. Playing in such ensembles has really elevated my level of musical understanding. Working with others as a team has helped to improve my skills and taught me to listen, accommodate, support and blend with other instrumentalists.

Over the years I have become more involved with accompanying, playing in various events such as the Adelaide Eisteddfod, exams, Recitals Australia lunch hour concerts and many more.

Are there musical siblings in your family? Make music one of your family’s shared activities - it’s rewarding and so much fun!

In 2017 I was awarded the AMEB Student Accompanist Award, having accompanied my brother in his viola exam. It was an honour to win such an amazing award and it gave me great joy having my efforts recognised.

WORKING IT OUT

compiled by Robert Brown OAM Do

your

students

something work

out

need

help

and

them

remember

the lines and spaces on the stave

sharps

the

order

and

flats?

the Try

these!

Treble Clef Spaces: FACE or Four Agile Cats Entertain. Lines:

Every

Good

Boy

Deserves Fruit (or Fun) or Every

Girl

Buys

Designer

Fashion. Bass Clef Spaces: All Cows Eat Grass. Lines: Gertie Bought Dolls For Alice.

Alto Clef (used by viola players) Spaces: Giant Boulders Dropping Fast. Lines: Fancy Antics Can Energise Greatly.

Order of sharps: Father Charles Goes Down And Ends Battle or Father Christmas Got Dad An Electric Blanket.

Order of flats: Battle Ends And Down Goes Father Charles or Blanket Exploded And Dad Got Cold (or Charred) Feet.

If you have suggestions for ‘Working It Out’ please send them to the editor.

AUSTRALIAN BAND AND ORCHESTRA DIRECTORS ASSOCIATION: SOUTH AUSTRALIA by Darryl J. Pope OAM, President, ABODA SA The Australian Band and Orchestra Director's Association (SA)

ABODA SA was formed by a dedicated group of Music Educators in 1999 after the attendance by some South Australians at a National ABODA conference. ABODA is a group of affiliated State bodies that come together under a National umbrella. Our principal interest is in supporting the development of Ensemble Music making mostly, but not exclusively, in schools. To this end the offerings are usually around conducting skills and supporting instrumental teachers in pedagogy that supports the development and continual improvement in Bands and Orchestras within an education environment.

For the last 17 years the festival has been run at Westminster School in their large auditorium, which creates a meaningful experience for students and conductors alike.

ABODA SA makes its principal contribution to the school landscape in South Australia through the efficient running and delivery of a Band and Orchestra Festival in third term each year. This Festival was first help in 2003 and ran for a day and an evening and catered for Concert Bands and Big Bands. This quickly grew to meet demand and included String Orchestras and Full Orchestras. After a few years we then introduced Percussion Ensembles.

ABODA SA has recently focused on providing meaningful professional development for teachers and conductors with targeted workshops that focus upon conducting, repertoire selection for different ensembles and grade levels, and specific interests such as developing ‘rhythm section’ for Big Bands or how best to audition and select students for different bands/ensembles.

This year as we find ourselves in uncertain times due to COVID-19 we are running the Festival as a ‘virtual festival’ where schools submit videos of their performances online. These are then adjudicated by our team of adjudicators and awards will then be announced online. COVID-19 continues to spring new surprises on us!

Currently ABODA SA is about to launch an exciting three-part online Conducting course delivered by Bryan Griffiths. ‘Foundations in Conducting’ will start on Tuesday July 21 at 6.30 pm. (details on the ABODA SA website: www.abodasa.com.au) - or follow us on Facebook for details.

We now run the Festival over three (very) full days and evenings and cater for 14 different divisions within these ensemble groups. Set recommended repertoire is to be played in everyone’s program and this material is sourced and selected from various publishers and often new works are commissioned from Australian composers.

ABODA is committed to improving the conducting skills of music educators and the repertoire selections for school ensembles to ensure that the educational value of ensemble music is understood and appreciated whilst maintaining its place in schools as a fun and engaging activity. New members are always welcome!

Over the many years that it has been held we have been successful in attracting high profile adjudicators from interstate and overseas as well as selecting the best of the available South Australian adjudicators. Wherever possible at least one interstate adjudicator is engaged for each section to avoid perceived favoritism and ensure objectivity.

CLASSIC AND CONTEMPORARY RESOURCES TO DEVELOP PERFORMANCE by Juanita Simmonds

[Juanita Simmonds performs regularly as an event pianist, piano accompanist and harpsichord continuo player. She lectures in undergraduate and pre-tertiary Aural and Theory at the Queensland Conservatorium.] [This article was first published in ‘Bravura’ (December 2019), the Journal of the Queensland Music Teachers’ Association. Reprinted with permission.]

Walking out on stage to play a piece has challenges and rewards for a musician; body, mind and soul are involved. The demands differ from the learning stage and for that reason many teachers encourage students to take a piece to fulfilment by performing it. If the student is disappointed in the performance, in addition to their teacher’s advice, they may want to explore ways to improve this aspect of musicianship.

The Art of Practicing Although Madeline Bruser’s book, ‘The art of practicing’, was originally published in 1997 and therefore dates from last century, it remains in print and highly relevant. The backbone of this publication is ’A Ten-Step Approach’ that includes preparation exercises and ways to focus physically and mentally in practice and subsequently in performance. Bruser is a pianist but mechanical issues are illustrated and specific to woodwind, brass, percussion, string and piano playing. Mindfulness and a spirit of generosity during performance are advocated and applicable to any musician. The email newsletter, ‘Performing Beyond Fear’ contains thoughtful articles, while online workshops further develop this approach.

The list of books that deal with issues in performance is extensive. A selection of resources from the last three decades of the twentieth century will be mentioned before considering more modern options. Havas (1973) has several chapters that deal specifically with the violin but there are many valuable concepts applicable to any instrumentalist.

Beyond Talent

From the 1980s, ‘Anxiety and musical performance’ (Reubart, 1985) is an excellent reference book outlining the options for dealing with different aspects of performance anxiety, while ‘The inner game of music’ (Green and Gallwey, 1987) contains practical exercises for overcoming mental obstacles to allow optimal performance.

Angela Myles Beeching is a cellist and career consultant for musicians, and the many elements that contribute to a musician’s success are covered in her book, ‘Beyond talent: Creating a successful career in music’ (Beeching, 2010). Topics include promotion, recordings, networking and media, funding, management and freelancing. There is a chapter dedicated to aspects of performance including stage presence, performance anxiety and health. The blog and weekly newsletter have helpful advice on building the skills needed by working musicians, while the ‘Musicians Making It’ Facebook group offers support for career development.

The final decade saw ‘Notes from the green room: Coping with stress and anxiety in musical performance’ (Salmon and Meyer, 1992), and the book and CD pair, ‘Effortless mastery: Liberating the master musician within’ (Werner, c1996) with the latter containing exercises and meditations to let go of expectations and be ‘in the moment’ when performing.

Bulletproof Musician

These publications still have much to offer musicians, but newer resources are available and, on top of that, today’s music students are digital natives happy to explore online options.

Noa Kageyama is a Julliard violinist who then trained as a performance psychologist. The aim of Kageyama’s ‘The Bulletproof Musician’ is to apply the findings of performance psychology research, including sports psychology, to help musicians practise and perform well. Blog articles summarise and interpret research, and these are also available as audio through the usual podcast channels.

There are four contemporary resources that are helpful and encouraging to musicians of all accomplishment levels, via books, eBooks, podcast, websites and online groups. These approaches often acknowledge the importance of careful practice as a scaffold to performance so are useful at any point in the learning process.

CLASSIC AND CONTEMPORARY RESOURCES TO DEVELOP PERFORMANCE (CONT'D) Bulletproof Musician (Cont'd)

REFERENCES

A monthly podcast features a long interview with an expert on various aspects of practice and performance. There is a free weekly newsletter and to take this deeper, an online course is available for purchase.

Beeching, Angela Myles (2010), ‘Beyond talent: Creating a successful career in music’ (2nd ed.). Oxford, England: Oxford University Press. Beeching, Angela Myles (2019). Angela Myles Beeching. Retrieved from https://angelabeeching.com/. Bruser, Madeline (1997), ‘The art of practicing’. New York, NY: Three Rivers Press. Bruser, Madeline (2019). Madeline Bruser. Retrieved from https://artofpracticing.com/. Fitch, Graham (2019a), ‘Practising the piano’. Retrieved from https://practisingthepiano.com/. Fitch, Graham (2019b), ‘Practising the piano online academy content index’. Retrieved from https://online academy.informance.biz/online-academy/content-index. Green, Barry, and Gallwey, W. Timothy (1987), ‘The inner game of music’. London, England: Pan; first published New York, NY: Doubleday, 1986. Havas, Kato (1973), ‘Stage fright: Its causes and cures with special reference to violin playing’. London, England: Bosworth. Kageyama, Noa (2019a), ‘The bulletproof musician’. Retrieved from https://bulletproofmusician.com/. Kageyama, Noa (2019b), ‘The bulletproof musician’ [Audio podcasts]. Retrieved from https://podcasts.apple.com/au/podcast/thebulletproof-musician/id1402378177. Reubart, Dale (1985), ‘Anxiety and musical performance’. New York, NY: Da Capo. Salmon, Paul G. and Meyer, Robert G. (1992), ‘Notes from the green room: Coping with stress and anxiety in musical performance’. New York, NY: Lexington Books; Toronto, Canada: Maxwell Macmillan Canada; New York, NY: Maxwell Macmillan International. Werner, Kenny (c1996), ‘Effortless mastery: Liberating the master musician within’. Book and CD. New Albany, IN: Jamey Aebersold Jazz.

Practising the Piano Graham Fitch’s ‘Practising the Piano’ resources are useful for teachers, students and performers. The home site has a free blog with helpful articles and videos on teaching or learning specific repertoire, as well as practice and performance. Multimedia eBooks are targeted towards improving practice itself, technique and performance, and these as well as annotated study scores are available for purchase via the website. ‘Practising the Piano Online Academy’ requires a subscription but the free trial gives access to five articles. Apart from specific piano technique and repertoire, the topics do include practise strategies as well as stage fright and development of performance.

MIRIAM AND ME: MEMOIR OF A SPECIAL FRIENDSHIP by Judy Pearce [Judy Pearce, retired music teacher of Port Lincoln, pays tribute to her former teacher Miriam Hyde (19132005), composer, pianist, teacher, former patron of MTASA, who is recognised through the biennial Miriam Hyde Awards. Transcript from an Adelaide Fringe event, presented on Friday March 13, 2020. Acknowledgement to pianist Tim Barton, The Red Door, Goodwood.]

was sad when she left Adelaide. The war had ended, and for her it was a rapturous reunion when her POW husband Marcus Edwards was repatriated to Sydney, where they had briefly begun their marriage in 1939. I wrote to her a few times, and always received an affectionate reply. But meanwhile for me, Miriam had arranged a smooth family transition … with her mother Mrs Muriel Hyde continuing expert guidance at the piano, and her aunt Miss Clarice Gmeiner teaching me the violin sufficiently to play in the Unley High School orchestra (under another remarkable teacher Duncan McKie). My teenage life in Albert Street, Goodwood was crammed full with education, career journalism, activities and interests, particularly theatre, concerts, church commitments and much piano playing, accompanying singers, choir and ballet classes. Then came marriage and a total change of scene… learning to be a farmer’s wife on Eyre Peninsula, through drought, an occasional flood, with little income but keeping afloat by a sense of adventure.

Judy with pianist Tim Barton at his Fringe concert (March 13, 2020)

In 1944, when I was eight years old, the eldest child in a Goodwood musical family, my mother took me to the Adelaide Town Hall to hear Miriam Hyde perform a piano concerto with the orchestra. She was already a celebrated pianist and composer in SA musical circles. I was smitten with her grace and virtuosity. Mum wrote to her asking if she would accept me as a pupil, which she graciously did. I was by far her youngest student. A strong memory is my first hearing of the harmonic minor scale resonance as I walked past an Elder Hall practice room. After my late Friday lessons at the Elder Conservatorium, Miriam would personally deliver me to the Colonel Light Gardens tram stop on North Terrace, in those safe public transport days - when the tramlines turned south into King William Street. I made excellent progress in that year with her when you love your teacher, anything is possible. I

Miriam and Judy, Port Elliot, 1989 Photo taken by Professor David Galliver AM

MIRIAM AND ME: MEMOIR OF A SPECIAL FRIENDSHIP (CONT'D) Culture was in short supply in our farming community. When we could finally afford a piano, in between raising three boys, I began to teach music, albeit without much pedagogical awareness. by Judy Pearce

In Cleve, we formed a family Music Club in the 1960s, and one day I wrote again to Miriam Hyde to ask if she would contribute something to share with our enthusiastic group. She generously sent a tape, playing and commentating on some of her own works. This was the catalyst for our correspondence to resume again. I poured out my stories of the cultural desert I was attempting to ‘nourish’. She answered every letter with encouragement while sharing her own family and professional doings. This continued throughout our departure from farming, when a move to Port Lincoln brought expanding artistic horizons.

Miriam trying out Judy’s piano

Altogether I had five happy reunions with Miriam, three in Adelaide, one in Sydney and the standout in 1988 when, to my great joy, she came to stay with us in Port Lincoln. At the time I was a classroom teacher at the High School and had a private studio piano practice. While with us, Miriam not only gave a full recital on my home piano as a house concert, but also a master class to my students, in front of music teachers from all over Eyre Peninsula.

Judy welcoming Miriam to Port Lincoln

I treasured Miriam’s letters, and have kept them all more than a hundred over 60 years, the last written when she was terminally ill. I won’t forget the day she died - January 11, 2005 - because nine other people in our part of the world also died that day in the catastrophic Eyre Peninsula Wanilla bushfire. Miriam was a wonderful correspondent, disarmingly personal as well as responsive to my news. Her comments help me recall my own life journey, as well as describing with wry anecdotes her busy round of performing, recording, composing, teaching, and examining, worked out against a suburban domestic background. She carried a spare piece of paper or manuscript where-ever she travelled, in case an idea came to her. She never wasted a minute, or any space on a page when writing a letter if it meant saving paper. Her manuscripts were meticulous, as was her grammar and spelling. Her love of Nature inspired many of her writings, both music and poetry.

It was a wonderful few days - a dream come true for me. She loved the National Parks and our drives to the ocean. There was silence in the car for many minutes as we stopped at Sleaford Bay on the edge of the surf endlessly rolling in along miles of coast. ‘Oh… doesn’t this ventilate the mind, dear Judy?’, she finally said. She had a charming whimsical nature and style. In her autobiography ‘Complete Accord’, published in 1991 (Currency Press, Sydney), she wrote: ‘In May (1988), after having given some recitals in Adelaide, I overcame my fear of small planes and went on a musical mission to Port Lincoln, another link in the chain of a lifetime. It was a very different Port Lincoln from the bush-surrounded harbour into which the Paringa and Moonta used to sail, in the era of the Gulf Trip. My hostess was my wartime student, Judith Yeatman (now Pearce), whose enterprising work in bringing music to many outback parts of the Eyre Peninsula earned her the Bicentennial award of Port Lincoln Citizen of the Year. I was very touched by her special surprise for me: a newly decorated bathroom with a tapestry panel on the door proclaiming it “The Hyde Room”. Politicians may have suburbs and buildings named after them, but how many are immortalised by a bathroom?’

MIRIAM AND ME: MEMOIR OF A SPECIAL FRIENDSHIP (CONT'D) Miriam’s music was mainly programmatic. She wrote for her instrument, the piano, with great familiarity and tone colour. Many of her titles read almost like Pictures at an Exhibition, ‘Magpies at Sunrise’, ‘Lamp with a Fringe’, ‘Earrings from Spain’, ‘Wet Night on the Highway’. My friendship with Miriam is testimony to the lifetime effect and mentorship of an inspiring teacher. To me she was the essence of grace, generosity and goodness. Miriam was still performing, on occasion, at age 89. I’m now nearly 85, and I think she might be smiling down on me doing my best to honour her tonight, as Tim Barton and I play her piano duet ‘Autumn Stream’.

Miriam wearing Earrings from Spain at her Port Lincoln recital

Opening ‘The Hyde Room’

CELEBRATING

90 YEARS IN 2020: MTASA’S HISTORY FROM 1990-2020 by

Robert

Brown

OAM

During 2020 we will be celebrating the Music Teachers’ Association of South Australia’s 90th Anniversary. This article covers MTASA’s history from 1990 to 2020 and acknowledges the contributions of those people who helped develop MTASA into the organisation that we know today. It is impossible to mention every individual who has made a contribution to MTASA’s progress over the years in this article, so please accept our grateful thanks if your name does not appear.

1990 was MTASA’s Diamond Jubilee Year. The Music Teachers’ Association celebrated 60 years with a Diamond Jubilee Festival of Flowers and Music held at Pilgrim Church on September 7 and 8 as part of their Spring Festival. David Merchant, a MTASA Council member, invited MTASA be involved in what was also a celebration of his 25 years as organist and choir master at Pilgrim Church. He invited three organists from other city churches to participate, Mel Waters from St Francis Xavier’s Cathedral, David Swale AM from St Peter’s Cathedral and James Thiele from Bethlehem Lutheran Church. Two winners of the Elder Overseas Scholarship, Miriam Hyde AO OBE and Lucinda Collins, were guest artists, and associate artists were pianist Merryn Brose and the Australian String Quartet. The choirs from St Francis Xavier’s Cathedral and Pilgrim Church participated. In 2005 MTASA celebrated 75 years with a 75th Anniversary Concert in Pilgrim Church on Sunday September 4. This concert was a tribute to Miriam Hyde, who had died on January 11. Performers included David Lockett AM, Elizabeth Koch AM, Guila Tiver. Martin Phillipson, Kerin Bailey, John Hall OAM, Stella Panozzo, Imants Larsens and the 2005 MTASA Competition Prize Winners. Each year MTASA presents two Concert Performance Days for the students of its members. In recent years venues for these have included Unley Uniting Church, Salvation Army Citadel, Norwood, and Westminster College. Professional Development Days or Afternoons are offered regularly to keep music teachers stimulated and informed about the latest music teaching ideas and developments. Attendance certificates are issued so music teachers can use them for Teachers Registration

Participants at a Concert Performance Day

requirements. Full members are now required to undertake seven hours of professional development each year. During Rodney Smith’s term as President there was a review of where MTASA was going. The MTASA website and Facebook page were updated and provide a source of information for members and the general public. A new look was introduced with a new logo. The ‘Music Teachers Directory’ was first published and distributed to music shops in 1975. It is now available on the MTASA website and was last published in 2017. The Constitution was reviewed and updated during 2016 and 2017, with the assistance of Lawyer Margaret Minney. The membership categories were revised to include Full, Student, Friend, Honorary Friend, Honorary Life, Institution and Temporary. Associate membership was discontinued but Associate members who were

CELEBRATING 90 YEARS IN 2020 CONT'D financial on September 24, 2017 were allowed to continue this membership category. Two types of Full membership were introduced: Full Membership by Tertiary Level Qualification and study and Recognition of Prior Learning (RPL). General membership was also discontinued. Before 1980 the financial year was from July 1 to June 30 and from 1980 onwards it ran from January 1 to December 31. July 1 to June 30 was reinstated for the financial year with the Annual General Meeting to be held within five months of the end of The Associations’ financial year.

Torrensville. This allows music related businesses and organisations of all kinds to showcase their wares and to talk with music teachers, students, parents and the general public. Expos were also held in 2017 and 2018. In March 2020, partly in response to the COVID19 restrictions, and to make timely use of online training, the MTASA Council decided to introduce a series of six 30 minute webinars for music teachers, and a MTASA Facebook Group was also established. Webinar topics and presenters so far have included ‘Online Delivery of Instrumental Lessons’ (Pete Barter), ‘Tax Deductions for Music Teachers’ (Samantha Penny), ‘Online Lesson Pedagogy’ (Sofie Arhontoulis and Wendy Heiligenberg) and ‘Wellbeing for Music Teachers’ (Wendy Heiligenberg and Catherine Sanders).

Involving music teachers who teach all types of music was considered important and percussion and rock music events were introduced and music teachers who teach rock, pop music and jazz encouraged to join MTASA. In July 2018 two events to help expand into the worlds of percussion and rock music took place. A Percussion Workshop with Dr Timothy Jones, Assistant Professor of Music in Percussion Studies and the Co-ordinator of History of Rock at the University of Nevada’s School of Music in Las Vegas took place at the Madley Rehearsal Studio, University of Adelaide. The Megastar Muso Masterclass, organised by Pete Barter, took place at the Governor Hindmarsh Hotel, featuring the backing musicians for Pink’s Australian tour: Justin Derrico, guitar; Mark Schulman, drums; Eva Gardner, bass; Jason Chapman, keyboards; and Adriana Balic, vocalist.

MTASA’s 90th Birthday was celebrated on the evening of Thursday June 11 with a Zoom Party that was open to all MTASA members: 24 people joined in. The birthday cake was cut by the President, Sofie Arhontoulis. There were reminiscences about past MTASA events and some reasons for students not practising were mentioned! An event for MTASA’s 90th Anniversary (or possibly the 91st!) will be announced once the easing of COVID-19 restrictions allows the MTASA Council to organise a celebration. If the South Australian Music Teachers’ Association had continued being active after being founded in 1907, and had not ceased its activities by 1916, they would be celebrating 113 years: something to think about!

Another innovation was the Music Educators Expo, which was first held in September 2016 at the Thebarton Community Centre at

Music Educators Expo!

Music Educators Expo scene

Sources of information: ‘The Register’, periodic reports from 1907-1911 about the South Australian Music Teachers’ Association; ‘Sands and McDougall South Australian Directories 1911-1916’; ‘1930-1990, A History of the Music Teachers’ Association of South Australia Inc.’, Nina Murton 1990; ‘More Than a Musician, A Life of E. Harold Davies’, Doreen Bridges, ASP 2006; ‘The Language of Human Feeling, A Brief History of Music in the University of Adelaide’, V.A. Edgeloe 1984; ‘From Colonel Light into the Footlights’, edited by Andrew McCredie, Chapter 21, ‘Music Education in South Australia 1936-1984’, Malcolm Fox, Pagel 1988; ‘The Music Teachers’ Association of South Australia Inc., Handbook for MTASA Council Members, revised February 27, 2013’; ‘Norman Sellick’: Robert Brown OAM, compiled for the Music Teachers’ Association of South Australia’s 75th Anniversary, 2005; published in ‘The Music Stand’.

Celebrating 90 Years

ZOOM PARTY MESSAGES Happy 90th Birthday MTASA and best wishes for the continuation of your excellent contribution to the support of music teachers and music students - long may you continue - from former MTASA President Diana Harris OAM.

Mary Raptis: Congratulations MTASA on the 90th!

Sorry to miss the occasion.

Still teaching at

that time:)

Congratulations and WELL DONE! (I too was still teaching, hope you had a great night!).

HAPPY

BIRTHDAY MTASA! Alison Hams.

Sorry I wasn’t free to drop into your Zoom Party.

I hope everyone’s well; wishing you all a

productive rest of the year, Monika Laczofy OAM.

Happy 90th Birthday MTASA - wow, what a milestone! home

from

Adelaide

last

night

was

unable

I’m so sorry I was in the car at 7 pm driving

zoom.

Thanks

for

all

you

do,

always

inspirational and interesting. Best wishes, Meriel Lane (Balaklava).

MTASA PRESIDENTS: 1930-2020 Gotthold Reimann (1930-32), Wallace Packer (1932-34), Arthur Williamson (1934-38), Oscar Taeuber (1938-41) Norman Sellick (1941-45), Horace Perkins (1945-48), Norman Sellick (1948-69), Daphne Goodall (1969-73), Ian Harrison (1973-74), Daphne Goodall (1974-75), Joan Pitchford (1975-78), Norma Hunter (1978-81), Florel Gallasch (1981-84), Daphne Goodall (1984-85), Audrey White OAM (1985-89), Rosemary Tiller (1989-90), Edna Walford (1990-91), Nina Murton (1991-95), Audrey White OAM (19952000), Malcolm Potter OAM (2000-04), Diana Harris OAM (2004-09), Debra Andreacchio (2009-13), Elizabeth Koch AM (2013-2015), Rodney Smith (2015-19), Sofie Arhontoulis (2019-).

MTASA SUMMER SCHOOLS In 1945 Lloyd Davies joined the MTASA Council and suggested having Music Teachers’ Schools during the Summer holidays: he was the first person to propose having them. The idea was discussed in 1961 but it wasn’t until February 1971 that the first Summer School was held after the President, Daphne Goodall, attended a similar school arranged by the Victorian Music Teachers’ Association and thought that this was an ideal way of offering stimulation and new ideas for music teachers. Subsequent Summer Schools have been held every two years. Until 2013 it was held over three days, becoming a two-day event in 2015 and given the title ‘Summer Conference’ for the first time. An additional Summer Conference was held in 2016.

LIST OF MTASA SUMMER SCHOOLS / CONFERENCES: 1971-2020

Rodney Smith

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 info@abodasa.com.au ABRSM EXAMINATIONS https://us.abrsm.org/en/home SA Rep.: Anastasia Chan 8234 5952/423 282 589 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://www.sacoment.com/aes/eisteddf od/ Secretary: Brenda Rayner OAM 8366 6531 adleisteddfod@adam.com.au ADELAIDE HARMONY CHOIR www.adelaideharmonychoir.org.au/ Secretary: Sherry Proferes adelaideharmonychoir.info@gmail.com 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 (ASME) ASME: SOUTH AUSTRALIA CHAPTER http://www.asme.edu.au/sa/ President: Luke Gray graylu@trinity.sa.edu.au AUSTRALIAN STRINGS ASSOCIATION (AUSTA) AUSTA: SA CHAPTER www.austa.asn.au/chapters/sa/ President: Fiona Patten fionapattenausta@gmail.com AUSTRALASIAN DOUBLE REED SOCIETY www.adrs.org.au Contact: Josie Hawkes OAM josie.bassoon@gmail.com AUSTRALIAN STRING QUARTET https://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 https://music.adelaide.edu.au/ 8313 5995 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 KODALY MUSIC EDUCATION ASSOCIATION OF SA https://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 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 ORFF SCHULWERK ASSOCIATION OF SA https://www.osasa.net/ info@osasa.net PRIMARY SCHOOLS MUSIC FESTIVAL www.festivalofmusic.org.au 8261 5438 office.psmf799@schools.sa.edu.au ST CECILIA EXAMINATIONS PTY. LTD. www.st-cecilia.com.au 1800 675 292 info@st-cecilia.com.au SOUTH AUSTRALIAN BAND ASSOCIATION www.sabandassociation.org Secretary: David Corkindale secretary@sabandassociation.org SOUTH AUSTRALIAN MUSIC CAMP ASSOCIATION www.samusiccamp.net.au Administrator: Samantha Taylor admin@samusiccamp.net.au THE SOCIETY OF RECORDER PLAYERS SA INC. www.facebook.com/recorderplayerssa/ 0410 109 135 npope@bigpond.net.au TRINITY COLLEGE LONDON EXAMINATIONS www.trinitycollege.com.au 1300 44 77 13: National 8345 3117: Local stanley.tudor@iinet.net.au UKARIA CULTURAL CENTRE www.ukaria.com 8227 1277 info@ukaria.com