SA Music Teacher Summer 2021

WELCOME FROM THE PRESIDENT

The role of the music teacher cannot be underestimated. Over the aeons of history, the role of people of the arts, and particularly music teachers, carry the responsibility to lighten hearts, foster creativity, innovation, expression, and dare I say, passion, in students.

Recently, Tina Arena, one of Australia’s most successful and respected artists, stated on a morning tv programme that in these difficult times of restrictions, particularly in NSW and Victoria, it has been the Arts community that has lacked enough support by the government.

Tina passionately confirmed that the people of the arts community are happy to work hard to deliver quality performances and education even in times of stress and duress, and that these same people should be supported with as much priority as say the sports community. Sadly, she is probably accurate when she says that the Arts community is definitely not supported with enough infrastructure, media and plain old money.

Whatever the opinion may be, one thing is certainly true. As the restrictions begin to lift, and the dust of the pandemic settles, we the artists, musicians and educators are still here, having bravely shouldered through the zoom lessons, masks and video exam submissions! In a very brief space of time, the music teachers of all generations have learned a new way of communicating music, navigating new technology to deliver lessons, and you are to be highly commended for tenacity and dedication. And so we must keep advocating for the vital importance of music and instrumental education in young peoples’ menu of learning.

One type of advocacy is through community, so I encourage members to reach out to MTASA, join our council as a volunteer on Concert Performance Days, write an article or report for this magazine, network with members on our social media to grow ideas, share tips, knowledge, and maybe even have a grumble. We can connect in our love of music and teaching. As Paul Kelly sang, from little things, big things grow.

Sofie Arhontoulis,

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

COMING MTASA EVENTS

Summer ConferenceTheme - Musical performance: helping pupils unravel its challenges

Venue: Seymour College 546 Portrush Rd, Glen Osmond

Dates: January 20-21, 2022

Time: 9:00 am - 5:30 pm

Sat, April 9

Concert Performance Day 1

Venue: Flinders Street Baptist Church

Time: 1:00 pm

Ticket: Via Eventbrite

Sunday, August 7

Concert Performance Day 2

Venue: Flinders Street Baptist Church

Time: 2:30 pm

Ticket: Via Eventbrite

October TBC

Competition Day: Reimann-Robinson Scholarship & Norman Sellick Memorial Prize

Venue: TBC

Time: 9:00 am

Ticket : Via Eventbrite

November TBC

AGM

Venue:TBC

Time: TBC

Ticket: Eventbrite

MTASA Council is also planning webinars in 2022. Details to be released soon.

MEMBER INFORMATION

NEW MEMBERS

The Music Teachers’ Association extends a warm welcome to the following music teachers who have joined the association. We are looking forward to meeting them at our events.

Heather Nel: Full member, Piano, Flute Theory

Julio Stefanoni: Full member, Guitar, Ukulele, Brazilian Percussion

WORLD TEACHERS DAY 2021

World Teachers’ Day is an opportunity to celebrate, acknowledge and thank educators for the important role they play inside our classrooms and in the community.

World Teachers’ Day is held internationally on the 5th of October. In South Australia, World Teachers’ Day was commemorated on Friday the 29th of October 2021. Association Awards Outstanding Service to Music Education: Wendy Heiligenberg

MTASA MEMBERSHIP FEES

The membership fees are:

Full member: $122

Student member: $62

Friend: $32

Institution: $32

MTASA MEMBERSHIP RENEWALS

Membership Subscription Renewals for 2021/2022 was due on June 30. Subscription renewal notices were sent in late June via e-mail to remind members to log in and renew their membership for the 2021/2022 financial year. If you are a Full member you will be asked to indicate that you have completed seven hours of Professional Development during the previous twelve months. If you don’t receive an e-mail please check your spam folder. You can log in at any time to renew your membership. If it seems that you didn’t receive an e-mail, have forgotten your username or are having problems logging in please contact the Secretary (info@mtasa.com.au). Paper invoices were sent to members who prefer to receive them.

RECOMMENDED TEACHING FEES

The following teaching rates are recommended to members by the MTASA Council for 2021/2022.

Full Member: $75 per hour

Associate Member: $64 per hour

Student Member: $48 per hour

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 e-learning course.

2. Face-to-Face. Attending a conference, workshop, masterclass or lecture.

3. Formal Study. Undertaking a qualification or part-qualification delivered by a recognised institution.

4. Personal Research. Studying books, journals, articles, musical scores, musical theory, analysis, etc., which lead to an example of improved music pedagogy and/or pupil performance.

Self-conducted research leading to a presentation, masterclass or workshop at a conference.

5. Team Research. A joint project with others that achieves particular improvements in a training ensemble.

Composing an educational piece of music that motivates a group of pupils.

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!

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 andersons.com.au/.

Credit Union SA has a range of education only offers. Visit the website at creditunionsa.com.au/community/ education-community-banking-benefits/ for more information.

NOTICE TO STUDENT MEMBERS

Have you fulfilled the requirements for Full Membership? Student members are reminded that Student membership is restricted to four years after which time it is expected that they would be eligible for another membership category, either Full Membership by Tertiary Study or Full Membership by RPL (Recognition of Prior Learning and Experience). Student members who are ready to upgrade their membership are invited to submit an application form to the Secretary together with the required supporting documents. Criteria can be downloaded from the MTASA website (www.mtasa.com.au) or obtained from the Secretary (info@mtasa.com.au).

MTASA MEMBERSHIP NOTES

Visit mtasa.com.au/index.php/members/becomea-member/ to join MTASA.

Current Full, Student or Associate Members are not required to submit any supporting documentation to continue their MTASA membership. Anyone applying for Full Membership (either Tertiary Level Qualification and Study or Recognition of Prior Learning and Experience) or Student Membership for the first time must fulfil all of the requirements listed and submit the appropriate supporting documentation. Associate Membership is no longer being offered but those who were Associate Members on September 24, 2017 can continue their membership provided they remain as financial members. Full Membership (Recognition of Prior Learning and Experience) has replaced General Membership.

MTASA Members are always encouraged to write to the Secretary about any concerns that they may have. The MTASA Council will consider your request.

TEACHERS OF THEORY/ MUSICIANSHIP

To be listed in the ‘The Directory of Teachers of Music’ on the MTASA website as a teacher of theory/musicianship applicants for Full or Student membership must supply evidence of having completed studies in this field to at least AMEB 5th Grade theory/musicianship standard or equivalent. Full, Student or Associate MTASA members wishing to have theory and/or musicianship included in their Directory listing should send copies of the relevant certificates to the Secretary (info@mtasa.com.au).

POST-NOMINALS

Full members of the Music Teachers’ Association of South Australia may use the letters MMTA (member of Music Teachers’ Association) as a post-nominal while they are financial members. Interstate Music Teachers Associations are also encouraging their members to use this or a similar post-nominal.

ADVERTISE WITH SA MUSIC TEACHER

INSERTION FEE FOR POSTERS AND FLYERS

CLASSIFIED AD

2021 MTASA eDM and Media Advertising rates

Please contact the Secretary (info@mtasa.com.au) about advertising.

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.

A Working With Children Check is needed for all schools (Government, Catholic and Independent).

For further information go to screening.sa.gov.au/ types-of-check/new-working-with-children-checks.

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.

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 e-mail the Secretary at info@mtasa.com.au.

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. No article was received this time and there are some regions that haven’t been visited yet. If you haven’t done so please write something – it doesn’t need to be very long – and also include a photo. If you have written something before you are welcome to send an update. E-mail the Secretary at info@mtasa. com.au.

CONTRIBUTIONS TO ‘SA MUSIC TEACHER’

The Editor is always looking for things to include in SA Music Teacher. Articles can be about any music related topic. If you would like to write an article this is your invitation! A helpful hint, a comment, a joke, a poem, a cartoon, etc. … please e-mail them to the Secretary at info@mtasa.com.au.

RECENT EVENTS

MTASA Webinar 3: Enabling Music Students to Realise their Potential in Practical Examinations By Sofie Arhontoulis

On July 27, 2021, MTASA held a very successful webinar as part of our Webinar Series, hosted by Monika Laczofy OAM, discussing methods and ideas to enable instrumental music students to realise their potential in practical examinations.

Monika warmly congratulated all the attendees, especially younger people, who were joining in the effort to make the world a happier place through music teaching. She acknowledged that although she had strong ideas, everyone probably had their own opinions on how to best prepare students, based on experience, temperament, their own views, and through each person’s own experience in preparing students for examinations, each teacher finds their own truth behind their opinions.

In discussing the title, Monika pointed out that ‘potential’ in this case means possibility, ability, and after years of experience in teaching, an understanding of what we think that the student can achieve, and a degree of insight into the different student learning processes, although we can also be very surprised. Sometimes a slow struggler can have a sudden awareness, or someone experiencing technical difficulties can learn to relax.

When it comes to exams, if we teachers were exclusively given the choice to enter them or not to enter them, that would be fantastic, but parent expectation means we sometimes do not have the choice.

Some children do well under pressure, but others don’t, and play at their worst from nerves. A young beginner may be very intelligent, play well, have a quick mind, but they have very soft hands and underdeveloped ligaments, and so should we rush them into exams? Monika advised against enrolling such young students too early in an exam. These young players would therefore be spared the disappointment of having to receive examiners’ criticisms for example the running passages were uneven, or tonal control wasn’t there.

Monika said that it was important to remember that every student has the ability to shine in their own individual way. “If you can’t shine like a star, shine like a candlestick”.

Monika was keen to encourage her students to go into the exam with the thought of showing the examiner of what they can do, and to avoid thinking that they are on trial. This mindset begins with the examiner wishing to see the best in each candidate, beginning with an A+, and lowering the grade only as is necessary.

By choosing the program with extra care to suit the student, one that will demonstrate the student’s best ability, and avoid the challenges that highlight their weaknesses, this would give the student more confidence in performing at their own exam.

Monika discussed the importance of holistic knowledge of music, and that students should have a deep understanding of their work, explore and investigate behind the notes on the page, which then enables them to form their own opinions, take ownership of their work and perform it with some individuality and conviction. A convincing performance will always convince the listener, even though we may disagree with the interpretation.

Expressive and communicative playing is always best, and Monika said we would all accept some weakness in the technique in the playing, if the performance captured our interest.

A lively and informative session ended with questions from attendees, and Monika also generously emailed answers to some of the presubmitted questions, after we had run out of our webinar time. It was an excellent and informative webinar which captured our attention, giving us all rich food for thought.

Concert Performance Day 2 By Wendy Heiligenberg

On the 8th of August, the MTASA presented the second of its biannual Concert Performance Days at the Flinders Street Baptist Church. Reviewers Monika Laczofy, Graeme Quinn, Diana Harris (OAM), Kaye Fitton, Yeong Chong Lye and myself spent a wonderful afternoon listening to over 40 young performers during 3 sessions, with works ranging through all standards of ability from Grade Preliminary to Associate levels.

These Concert Performance Days give students a chance to perform to a live audience under noncompetitive circumstances, whilst still learning the conventions for a proper performance, ( e.g. being appropriately dressed to honour the occasion, bowing to, acknowledging and appreciating that the audience is part of the performance, smiling even if all has not gone quite according to plan etc.) but without the pressure of an exam or a competition. These are ideal occasions to test oneself. How well have I prepared this piece? Where might passages need more work? How good is my memory work under these more relaxed, but still challenging conditions? What about my stamina, my focus and concentration? How is my playing affected by the unfamiliar surroundings, possibly the unfamiliar instrument? What is it like performing in front of an audience of my peers and complete strangers, including other music teachers and not just in front of my teacher, family and friends? It is an opportunity, too, for teachers to also assess the student’s performance and see how they project and engage with the audience and gauge just how we can help the student when the next performance comes around.

It was truly heart-warming to see how the students presented themselves and how they clearly enjoyed the opportunity to play after the recent limitations to live performances. Diana Harris (OAM) in her summing up after the first session was delighted to see students “having a go.” As many of the works presented were dances, Diana suggested that students watch the dances on U Tube for example, to really understand the music they are presenting, e.g. the moody Tango, the lively Mazurka with its odd accentuation of the second beat , the romantic Waltz etc. She suggested students should look at the indications of the composer- either in the title or within the piece- e.g. “Mad World” by Orzabal- overdo “Mad”, or Scherzo- a joke, project the sense of fun to the audience, con spirito - spirited and lively etc.

Kaye praised the performance etiquette of the students, that everyone had been brave and confident. She suggested that recording oneself to hear if the melody is able to come through with a singing tone is an extremely useful exercise. For the more advanced students she suggested they explore the use of rubato to give deeper meaning to their performance.

Following the third session I encouraged the students to hold the tension of the performance right until the end, enabling the audience to take a breath before applauding, and to realize that the performance is not over until you have left the stage. Opportunities such as these are inspiring for the not so advanced students to hear others and know what is possible, and to what they can aspire and it is also a chance for the more advanced performers to see how far they have come.

Much to my own personal regret, we only heard pianists on this day, and I for one will be encouraging my violin students to perform next year- even if it is a solo piece- Bach, Telemann, Biber, a Concert Etude. Performing with an accompanist is wonderful, but it does involve rehearsal time and added expense to the family budget, but let’s see if we non-keyboard instrumental teachers can up our game and give our students a chance to play at such wonderful occasions.

Review - Kym Purling Jazz Piano Workshop and Masterclass October 17 2021

By Sofie Arhontoulis

On a sunny October afternoon, MTASA ticket holders were treated to a fabulous workshop and masterclass in person, at Adelaide University, and via live streaming online, presented by international jazz pianist Kym Purling,

Kym started off the masterclass with a performance by Lucas, student of Kerin Bailey, of Kerin’s composition Triplet Falls.

The next performer was Jordan, student of Peter McMillan, performing Donna Lee by Charlie Parker.

Suddenly Kym called up Peter McMillan to join his student Jordan which turned into a duet on two pianos, what a treat! Kym directed Peter and his student to swap solos, completely ad lib.

Without skipping a beat, Kerin walked on to the stage to take Jordan’s place and we were further treated to the two greats, Peter McMillan and Kerin Bailey in duetting on the same piece.

As if that wasn’t enough, Kym then hopped in, and drop the piano to continue the improv duet with Kerin Bailey, in an astonishing display of colourful improvisation.

Jordan then sat down to take over Kerin’s piano, and the duet became a wonderful ad lib performance by Kym and Jordan.

The next performer was Alex, student of Kerin Bailey, who gave a lovely lyrical performance of “All of you” by Cole Porter.

Archie, student of Kerin Bailey, then performed a powerful rendition of “All of Me” by the Piano Guys.

Kym then suggested to Alex to memorise his piece, to enable him to have freedom to further express himself.

Kym said that jazz is a language and that enables strangers to get up and play together. He showed a simple page on Pete’s phone that held a few chords, and said it was all that was needed to play many minutes of improvisation.

He handed out a small workbook with notes so that the audience could interact and develop their learning! Online attendees were emailed their worksheets.

Kym talked about colouring the chords with extensions and that some notes are added to give colour and some to add function. He went into great detail, which was of enormous benefit to everyone there.

He explained the workings of the chords, their relationship with the intervals and inverted chords that work together on the piano, with much added details on the worksheets.

Kym spoke about the ease of understanding these chord relationships, and gave attendees homework to go home and practice.

He likened building jazz chords to painting; you start with your basic idea and then add layers of notes, and he does the same thing with cords where he adds layers notes.

Adding notes and offering options to the chords, Kym said that he was being very systematic, using the metaphor that he was putting down the thick paintbrush and using a thinner one, and adding coloured little notes.

Stacking minor chords as well, Kym described adding a fistful of notes, adding more colour and density to the LH bass note, in great detail.

Kym and Kerin Bailey then performed Paper Moon, demonstrating on two pianos, with a walking bass line by Kerin, and chords and melody by Kym they created an arrangement before our very eyes, demonstrating and unpacking the process. Kym went on to show us how to solo, describing the chord changes, solo scales on top, sections of changes, re-quoting the melody, and much much more.

Kym told the group to not be scared to improvise, beginning with a few chords, take risks, and to also explore them in all twelve keys, and that it wasn’t out of reach for anyone.

The Masterclass and workshop presented by Kym Purling was a rich, full and highly enlightening session, bursting with ideas, practical knowledge and education for all teachers and students. We were incredibly fortunate to attend and learn from the great jazz piano master.

The Importance of Music Theory and Musicianship in Instrumental Teaching by Yong Cheong Lye

Ying Ying Ng developed her interest in the area of musicianship after she was introduced to the Kodaly Method in 1992. She began publishing in 2003 after 15 years of teaching. She maintains that her extensive teaching experience equipped her to be able to understand teachers and students alike.

She launched POCO Studios in 2004, more than 17 years ago, and she continues to write books which are suited to teaching young children, in particular those who may have started playing the piano at a very early age (e.g. 3 to 4 years old), and focussing on a child-centred approach, which combines philosophy with logical pedagogical progression. Each concept of theory which is introduced is done so in a progressive manner, proceeding from the known to the unknown, from the easy to the difficult. She also created the Poco Keyboard Flashcards to help teachers reinforce the concepts of the music in the lessons.

Teachers of the 21st Century need to be equipped with rich musical knowledge and should focus on appropriate teaching methods and strategies, combining teaching a with passion and a strong sense of purpose, preparing lesson plans before the lesson takes place and presenting content in an engaging and stimulating manner. They should be able to instil creativity in their students together with a positive learning mindset, engaging students in multimodal learning activities, building all round musicianship skills and also encouraging expression of musical ideas both individually and collaboratively.

Realising the importance of music theory enables students to maximize their performance skills, to understand music as a language and to develop their skills in sight-reading, sight-singing, memorization, improvisation, composition writing, musical interpretation, musical appreciation and musicianship. We music teachers need to connect all of the musical elements including pulse, rhythm, pitch/melody, tonality, harmony, structure, texture, tempo and dynamics during our teaching.

From her research, Ying Ying established that there are the “5 Cs of music education”, which include Communication, Connection, Collaboration, Creativity and Child- centred approach. She mentioned that the challenges of music theory education for teachers include making the learning process easy, enjoyable and effective, presenting students with age-appropriate materials, presenting common difficulties in a readily understandable manner and finding ways to retain the students’ interest. Teachers should help the students to find learning fun and easy, and we should focus on a child-centred approach, improving self-directed learning and including using the different senses to take in information and aid in understanding concepts that may be complex or difficult.

Ying Ying stressed the importance of musicianship training in our instrumental lessons. She shared some activities which can be used in the music theory class situation. Musicianship skills enable and empower us to become musicians with aural awareness. She demonstrated how to teach a piece of music by applying all of the above-mentioned musicianship skills.

To sum up, she suggested we should integrate musicianship in lessons through listening to the piece, analysing the music, singing with solfege, performing rhythmic and polyphonic activities, developing music creativity and employing more reading and writing activities.

Please view her Facebook page: pocostudio or email: poco_studio@yahoo.co.uk or WhatsApp: +60136185289

IN MEMORY

Lillian Fung

The untimely early passing of piano teacher Lillian Fung recently robbed Adelaide of one its most distinguished group piano teaching practitioners. During the period when the University of Adelaide’s Young Conservatorium was in existence from 2008 to 2012,I regarded myself fortunate to have secured her services teaching piano to many of the pupils using the group approach.

Following undergraduate studies at the Elder Conservatorium with Clemens Leske and a postgraduate Diploma in Education she had been accepted into a Master of Music (Performance and Pedagogy) at Princeton with Frances Clark and Louise Goss supervising her pedagogy work at the New School of Music in Kingston, NJ.

She often told me how demanding the program was and yet she graduated successfully, returning to Adelaide to work as a classroom and a piano teacher in various schools and colleges. I was lucky enough to be able to observe her work in the Young Conservatorium from time to time and I learned a great deal from her elegant, focused and captivating teaching style. Frankly, it shone.

Lillian had a quiet unassuming nature that exuded charm but shunned the limelight. She would never push herself forward. I persuaded her to give one or two presentations to MTASA but she was in her real metier when surrounded by pupils engaged in the excitement of learning music. Unfortunately, that will happen no more but the sheer quality of what she achieved will live on with her pupils.

Rodney Smith

ARTICLES

Accompanist’s Corner

SHARING THE MUSIC! Review by By Judy Homburg

My earliest experiences of accompanying were with my younger sister who is a cellist.

This was a very good way to get to know the cello repertoire. I don’t remember much about the rehearsals, but I do remember the impromptu concerts we gave to our next door neighbours who were most appreciative. Later on, when working as a specialist music teacher in a high school, I enjoyed playing with a talented oboist and also a violinist. It was then I learnt that the tempo agreed to in a rehearsal doesn’t necessarily match that in a performance! After teaching for a few years, I did some further study in England where my piano teacher teamed me up with a singer, thus introducing me to the wonderful world of lieder. Collaborating with the singer proved to be both an enjoyable and stimulating experience and we have remained friends ever since.

On my return to South Australia I was employed by TAFE in a country town where, apart from teaching, my main job seemed to be playing for community and high school musicals. This was valuable from the point of view of learning to follow a conductor which I’d rarely done before. Soon after this I was married and over the next seven years had three daughters, all of whom learnt violin by Suzuki Method. This meant that I became very familiar with the repertoire used in this method and later became the unofficial accompanist for the Suzuki Association, a job which I have been privileged to do for many years now. I enjoy the interaction with the children, both those at a basic level of playing and those who are advanced, and find that, even though the students are working on the same pieces as each other, each performance is unique.

In 1993 I made the very wise decision to enrol for the accompanying course created by the inimitable Diana Harris at the Flinders St School of Music. This course addressed all sorts of relevant areas such as sight reading, fast learning and harmonic awareness as well as providing many valuable performance opportunities. It also introduced me to playing with brass and percussion which had been a very limited part of my experience up to that point and it gave me the chance to work with various students at Flinders St, both instrumentalists and vocalists.

Soon after completing the accompanying course I started playing for school choirs preparing for the Public Schools’ Music Festival. This had the effect of broadening my skills as I had to adapt to many different styles of playing, including jazz and pop. It also meant that I had to be quite flexible and inventive when confronted with a variety of keyboards, some with limited range, some without pedals, and occasionally even without a music stand! In spite of these challenges I enjoyed working with the teachers and students and also learnt a great deal about vocal music.

I have just retired from playing for school choirs but am happily continuing with other accompanying, mainly instrumental. I find that working with young people has made me a sensitive listener and flexible player. You never know when a phrase might be skipped, that repeat missed, or even when a child might start playing the wrong piece by mistake! As we all know, life is never perfect and there wouldn’t be any interesting anecdotes to relate if these things didn’t happen. Music has enriched my life and I count it a privilege to be able to share it in a practical and rewarding way with others who share the same passion.

2021 Geoffrey Parsons Award Conquers COVID Lockdown with Technology And a Victorian Musician Wins $7000 Prize!

On Sunday 19 September in Adelaide, Melbourne musician Yasmin Rowe won the $7000 Geoffrey Parsons Award, the Accompanists’ Guild of South Australia’s national competition for piano accompanists.

Judging panel Chairperson, acclaimed collaborative pianist Leigh Harrold, praised all the contestants on the high standard of their performances saying that it was absolutely inspiring –and indicative of the tenacity and resilience of a new generation of artists. He also congratulated all finalists on their choice of works saying that they were “at the pinnacle” in terms of the complexity that this genre can offer.

“But,” he said “there was one finalist in particular where all these elements were in near-perfect balance. This pianist was assertive and supportive, she allowed herself to be inspired by her partner, and in turn often inspired her partner. And yet, one wasn’t really aware of any of these machinations, because everything was subsumed towards the end goal of conveying the true essence of the music. For these reasons, the panel decided unanimously to give the 2021 Geoffrey Parsons Award to Yasmin Rowe.”

The Geoffrey Parsons Award has, for almost three decades, invited interested pianists to compete for one of Australia’s most important prizes for accompanists. For the first time in this award’s long history, Interstate entries were accepted in digital format: USB’s, Video, YouTube or DVD.

Yasmin 22, won the award despite being in lockdown in Melbourne. She and her associate artist, cellist Yelian He, performed via a pre-recording which was screened to a live audience here in Adelaide.

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SA MUSIC TEACHER

ARTICLES

JAZZIN AROUND

BAKING A JAZZ CAKE & THE BROKEN BUTTON BLUES By Kym Purling

Based in New York City and Paris for the past 23 years and now back in Australia, Kym Purling has constantly been stated as world renowned and world class. Purling has enjoyed a diverse career spanning almost three decades, taking his music and passion for travel to 144 countries around the world, while making significant contributions in the worlds of television, entertainment, jazz and musical theatre. He has established himself as a pianist, conductor and entertainer in Australia, Asia, Europe and the United States and has conducted several Broadway shows and musicals directed for some of the biggest names in show business such as Engelbert Humperdinck and Natalie Cole.

After being approached by MTASA and the reputable and exalted Kerin Bailey about writing an article for the Summer SA Music Teacher, I pondered on what topic to write about from the myriad of jazz topics available. (By the way, Kerin Bailey was my first jazz piano teacher when I was a mere teen in late high school – the perfect first jazz piano teacher I must say - and it has been a pleasure to reconnect with him, to see and hear him play again and for him to have honoured me by attending my recent MTASA masterclass at Adelaide University).

Since my arrival back in Australia, many things have unfolded, the most obvious being the work I have done with music students and music teachers here in South Australia; from one-to-one lessons with advanced students to workshops with high school music groups to larger masterclasses, to addressing full student assemblies of several hundred kids. One commonality I have found across a wide and varied group of all ages and abilities is the desire to improvise, (call it jazz or otherwise), often accompanied by a distinct fear of being able to let go and express oneself musically through improvisation. It would be true to say that this fear is most understandable and prevalent amongst classical musicians that are usually well accomplished yet bound by the restraints of a body of music that came into existence centuries before the relatively recent advent whose jazz, who’s centenary is still on the brink of being reached.

So why is the freedom of improvisation and expression so difficult to attain for so many of our talented and gifted musicians who continue to carry the flame for classical repertoire, yet yearn for the ability to improvise? In the first instance, I believe it may be best to compare such a bold or complex undertaking to an activity that is less daunting or intimidating, yet in reach of us all – like baking a cake for example. So, let’s consider baking a “jazz cake”.

For further simplicity, let’s bake a simple jazz cake, where the actual cake - or sponge if you will – is the same as a classical cake, where the ingredients are generally the same but just the icing and toppings differ. Where the musical ingredients of chords and harmony can be bought at the same store where both jazz and classical musicians shop and all go into the mixing bowl the same way. But despite the sponge of each cake all being made similarly, what is going to make each person’s cake look and taste different? How does each musician express themselves and decorate their cake in their own individual style to excite, invigorate or move the audience who gets to taste it?

The chords and harmony between classical and jazz disciplines are not so vastly different and certainly not technically or academically more complicated in jazz over classical music. I believe that jazz harmony is actually simpler and narrower in its scope than the longer, richer history of classical music. Therefore, it is important to point out that one’s approach and attempt to improvise should not be hindered by the mindset that jazz and improvising is beyond the broad number of recipes already studied by classical musicians.

So, let’s look at the ingredients in our cake and take a simple 12 bar blues for example and consider that each “different” chord in the 12 bar form is an ingredient. With 12 bar blues chord progressions developing in harmonic structure throughout the short lifetime of jazz so far, we’ll bake a simple traditional blues cake with the following recipe of 12 bars and only three different chords or ingredients: C7, F7 and G7 chords (with the C blues scale being a reliable and ‘tasteful’ way to decorate the cake in icing).

In Diagram 1 below, the three ingredient chords appear as follows: C7 from Bars 1-4, F7 from Bars 5-6, C7 again from Bars 7-8, G7 in Bar 9, F7 again in Bar 10 and C7 again in Bars 11-12. Each chord appears in root form (1,3,5,b7), 1st Inversion (without the root and with a 9th colour tone on top), and then voiced off the 3rd and b7 (and omitting the 5th and replacing it with a 6th or 13th colour tone). These voicings off the 3rd (3,6/13,b7,9) and off the b7 (b7,9,3,6/13) serve as good sounding, reliable and effective LH voicings used by many jazz pianists the world over. Learn both voicings off the 3rd and b7 and practice them in all 12 keys and commit them to memory.

Diagram 1:

On the treble staff lie the notes in the C, F and G blues scales in Bars 1,5 and 9 respectively. Obviously where the C7 and F7 chords return, the same Blues scales and voicings would apply in the way they did when they first appear in the form. Note: Each chord can be improvised upon by applying its own Blues scale, while the main key C Blues scale may also be used throughout the entire form and also over the F7 and G7 chords. Try playing both the C Blues scale over the whole form and over all the chords and also try playing the C Blues scale over the C7 chord, the F Blues scale over the F7 chord and the G Blues Scale over the G7 chord.

So, we now have a cake with a functional and effective sponge consisting of easy to play and good sounding LH bluesy chords and some Blues scale icing for the right hand from which to draw our improvisation from. Play the form over and over with good time, a walking bassline from a bassist, Band-In-A-Box or iReal Pro app for example and swing those blues scales over the form, deriving melodies and creating your own improvisations. Have fun with it, as this is the basis of what jazz musicians do upon all their repertoire wherever it may be sourced from.

The goal of every improvising musician should be to develop their improvised solo in melodic and rhythmic complexity and density throughout – taking the solo on a journey and lifting it to new heights where the listener can appreciate the development of spontaneous ideas and themes that allow the other musicians (in most cases a rhythm section) to respond, interact and communicate with the soloist. When this takes place, it’s when the soloist and accompanying musicians can say, “Yeah, we baked an awesome cake and it tasted ooh so good!”

I would like to offer you a listen to one of my own live concert tracks from my trio in the U.S. to demonstrate how a simple blues form can develop chorus after chorus. “Broken Button Blues” was a completely made-up, spontaneous and improvised melody that happened when I walked out onstage of La Grande Hall and my suit coat button broke off and rolled all the way across the stage in plain view of the audience. I sat down at the piano and started improvising the opening 12 bar blues riff in F, not C, (see Diagram 2) at an unusually slower tempo and feel than most 12 bar blues tunes are played at.

Kym Purling Trio - “Broken Button Blues”. https://youtu.be/gRY43o3ZDnw

Diagram 2:

The rhythm section of bassist Alejandro Arenas and drummer Mark Feinman join in, and the trio continues to create, communicate and develop the song as we go, resulting in a cake almost 10 minutes long but iced and topped with lots of goodies. I have included the final chorus of the piano solo in Diagram 3 to show the growth in development from the opening melody (improvised riff) in Diagram 2 to the final chorus of the solo from 5:24 - 5:55. Enjoy!

Kym Purling is available for private lessons with instrumentalists and vocalists, masterclasses at schools and organisations and for performances and events. Kym can be contacted at kympurling@ gmail.com and on Facebook at Kym Purling (Account One).

Diagram 3:

KYM PURLING

Based in New York City and Paris for the past 23 years and now back in Australia, Kym Purling has constantly been stated as world renowned and world class. Purling has enjoyed a diverse career spanning almost three decades, taking his music and passion for travel to 144 countries around the world, while making significant contributions in the worlds of television, entertainment, jazz and musical theater. He has established himself as a pianist, conductor and entertainer in Australia, Asia, Europe and the United States and has conducted several Broadway shows and musical directed for some of the biggest names in show business such as Engelbert Humperdinck and Natalie Cole.

Piano Lessons

by Heather Lucas

I have been a self-employed piano teacher for many years.

As most of you may know, it is a lonely life as you have few to share your experiences with, especially for Regional Teachers. In 1983, I commenced the Certificate of Instrumental Music in Mount Gambier with such teachers as Rodney Smith and Audrey White. This gathering of teachers helped me to see that what I felt at times, was an experience shared by many other music teachers. What a relief, I thought it was “just me”!!!! I had learnt the importance of sharing with other teachers so being part of AMEB and Music Teachers Association was a key to that development.

Fast forward to 2011, and after attending a conference with Samantha Coates (Blitz), I was left with a new sense of purpose. I wanted to try a new approach- place my students in teams, to encourage a sense of being part of a group. It made sense, as a teacher, I had felt isolated, so students probably felt the same. AND it worked. Students began being more responsible, practising more and “caring” how they were stacking up against their team- mates. My son came on board, offering to build an interactive website that students and parents could view.

In 2015 and 2016, Justin (my son) and I presented our new website to AMEB conferences and by this stage the student results were soaring. Websites and rewards may not be every teacher’s “cup of tea” but it was working for me and my students. In 2016, I also opened my piano school with two adult teachers on board with me. Everything worked well. Our group of students looked forward to the beginning of the New Year when a new theme and new teams for the year were announced. They consistently asked in November, “what is next year’s theme”? Student exam results were also very high.

As a teaching team, we decided that some areas for exam students, needed attention.

Students liked groups, so we began offering students and extra half hour shared lesson where students worked together on such delicacies as technical work, aural tests, sight reading and theory. Students didn’t mind so much doing scales with a partner- it was more fun. Secretly, I hoped it also put them in the picture as to how they compared to others. The standard for these areas in exams has certainly lifted with this development.

We needed more teachers- I decided to invite some experienced exam students to be mentors for younger students. This worked well. Those younger students could see first-hand, how well those advanced students were doing- a great boost of effort occurred.

We have found that the benefits for us as teachers (a group) and our students (in teams) has worked so well that we are one big family. Everyone looks forward to their next lesson, the next exam, the next concert. We have support for each other. We all know it is hard work but we are doing it together. It is no longer a solo performance. It’s a group performance.

That brings us to 2020 “Covid”. During early 2020, I decided that a project lying on the shelf a while, should be finalised. I had written a children’s book about a successful piano student some years before but just didn’t know how to go the next step. I selfpublished in March 2020. The book titled: Anxious Annabelle and the mysterious 88 Keys is written about Annabelle, a student who just completed her 8th Grade exam in real life this year. I aim to let children know that it’s worthwhile to work hard, that success is there if you work for it.

PEDAGOGY MATTERS Individual Music Teaching - Focus on teenagers

By Yuxin Men

In my opinion, there are two main factors that teachers need to consider in individual music teaching.

One is the different teaching methods for different age groups, and another aspect is the need to consider students’ personalities and circumstances.

For children, keeping their attention and interest is the teachers’ main goal in designing the lessons. For adults, helping them to achieve their learning goals and cultivating interest are the main aims of teaching.

For teenagers, they need more extra attention. As teachers, we not only need to help them establish clear learning goals but also play a significant role in guiding them. The course schedule and lesson books selection should be different from children as their acceptance and understanding ability is stronger than children, and their plasticity is stronger than adults. Therefore, exam systems can be very suitable for teenagers. In addition, when teaching teenagers, teachers should focus on the ways of communicating with them, giving them more respect considering their sensitive emotions.

how to prioritize the violin. Then, I explained my point of view, and I told her the following: ‘Learning music needn’t be so all consuming. To learn a musical instrument will bring many benefits, such as opportunities to perform, relieving the pressure brought by study, and accompanying you to grow up like your friend’. After this communication, she regained the motivation of continuing learning violin.

In teaching, understanding the teenagers’ thinking is necessary, so building a good relationship between student and teacher is a priority. Once the teacher and the student are on the same page, they can explore learning goals and plans with much greater success. Practice plans that are better suited to the student’s circumstance should flow from this.

I have one student who hasn’t got enough time to practice the violin due to increased homework and activities. This causes her to appear negative in learning violin. I tried to communicate with her after the lesson, and then she told me that she enjoys the violin, but music doesn’t feature strongly in her future plans. Hence, she was confused about

THE ALEXANDER TECHNIQUE EXPLORING HABITS

By Rosslyn McLeod

Timing is everything in making music; from the simplest sounds to the most complex, from the long sustained notes needing connection to each other, to the fastest sounds needing such precision for execution.

How we produce sounds, whether with voice or with instruments, depends on many factors including control of breathing, of muscles, manipulation of fingers; all these are physical aspects. Then there is the imagination – how we first conceive the sounds and bring them to life.

Control of sound production means exploring the fundamentals of making sounds. Example, many years ago there was a wonderful cellist on the staff of the Elder Conservatorium, James Whitehead. When walking past his room at the Conservatorium one could hear the sound of open strings played very slowly, it was not a student playing but James Whitehead himself. He always practised open strings as part of his study so there was time to explore all the subtleties of producing sound. Then later would come practice of pieces.

As there is need to explore fundamentals of sound so too the need to explore the basics of human movement.

For example, a pianist-the fingers are in touch with the piano but how the fingers can act depends on the co-ordination of the whole body, particularly the dynamic constantly changing relationship of the head to the torso then to the limbs.

All performers at times face challenges, the sounds do not come as we would like, perhaps there is strain, injury. Each person has to work out an individual solution.

One performer who was doing well then faced problems in performance was the Australian actor, Frederick Matthias Alexander (1869-1955). Melbourne, the 1890’s, the young Alexander was making a name for himself as an actor then breathing problems and voice hoarseness meant he was losing engagements.

What to do? He consulted various medical people but no answer came. Rather than just give up his developing acting career Alexander decided to try to find his own solution to the problem. He had a very important piece of knowledge to start with. When he spoke to friends there were no problems, speaking on stage soon brought breathing difficulties and voice hoarseness.

Alexander used mirrors for observation, he watched himself carefully as he alternated the two activities – speaking as though to friends, speaking as though on stage. Gradually he started to notice differences in his “manner of use” when speaking “off stage” then “on stage”.

These differences included, ”on stage” his neck was tighter, the angle of the head in relation to the spine was different, he noted too, other differences. For speaking with friends – he had certain habits of use; then different habits of use had developed for his voice work on stage.

Understanding how Alexander successfully regained control of his breathing, developed fine voice resonance and improved his general health is best achieved by reading his book The Use of the Self especially chapter one the Evolution of a Technique. This chapter gives much detail of how he learnt to change his harmful habits of voice production to a general improved manner of use so new horizons opened up for his acting career.

Once his breathing and voice problems were solved Alexander did not concentrate solely on acting. At the time (the 1890’s) other people who had noticed Alexander’s improved speaking ability wanted him to teach them his methods. Good elocution teachers were highly sought after not only by actors but by all those involved in public speaking such as lawyers, politicians, clergy etc. So for a time Alexander had a dual career; actor and teacher of Elocution.

Until 1904 Alexander worked in various places; Tasmania, New Zealand – quite an extensive tour there, Melbourne then Sydney 1900 to 1904. Here as well as teaching Alexander formed a touring Shakespearean Company, performing plays in many country towns in NSW as well as in Sydney, and even reaching as far north into Queensland.

As his teaching skills grew Alexander was being sent patients with breathing problems, by doctors who knew of his successful work; his teaching

to help people improve “the use of the self” had expanded beyond helping people with mainly voice problems. In 1904 doctors encouraged Alexander to go to England. He went, for the next fifty years he taught his methods in England and the USA, never returning to Australia.

Alexander’s success as a teacher grew, by the early 1930’s friends were asking him to train others to teach his methods. The first teacher training course began in London in 1931. Three yeas duration with emphasis first that each student improve his/her own use then followed working with one’s hands on another person to guide that person to improved use, in any given activity.

From that small beginning there has been great expansion of the Alexander Technique, it is now taught in more than forty countries with Alexander teacher training schools in many of these. Especially in the performing arts the Alexander Technique is widely used. In Europe and America there are Alexander teachers on the staffs of many performing arts institutions.

A fascinating book Touching Lives by British Alexander teacher Sue Laurie tells of her work for many years with the Royal Shakespeare Company and the National Theatre. On the front cover of the book is a lovely photo of Dame Judi Dench having her Alexander lesson. There are a number of books describing how musicians can use the Alexander Technique plus many web site entries. The Alexander DVD I have produced, Frederick Matthias Alexander His Life….His Legacy… includes interviews with James Galway and three Choral Scholars from the King’s College Choir.

Reading about the Alexander Technique cannot replace the practical experience of working one to one with an Alexander teacher. Verbal instruction only does not take into account the differences in movement quality of each person. In an Alexander lesson the individual is being monitored moment to moment by the Alexander teacher whilst doing a given activity. For example the activity could be changing from standing to sitting in readiness to play.

Whatever the activity muscles are being used, during which time some are shortening and some lengthening. In an Alexander lesson this antagonistic action of muscles is explored, maybe some muscles need to do more, but of equal importance, other muscles may need to do less.

Fundamental to all this, what is happening to the person’s breathing? Ease of breathing allows for more “flow” in performance. Music practice is exploring how to use oneself with better coordination so the sounds come seemingly “spontaneously”.

For ease of breathing the whole torso needs to be upright but not held stiffly. Concepts of posture change in societies. Look at the two seated figures from Egyptian antiquity,they are very” up”. (Figure 1,2) Compare this with what one all too often sees in our society of adults at work, such as the person at the computer. (Figure 3)

Figure 1: Statue of Egyptian goddess Isis seated

Credit: Wikimedia Commons

Figure 2: Statue of Egyptian goddess Nefer-Hotep seated

Credit: Wikimedia Commons

Figure 3: Sitting at a computer

Credit: Photo by Andrea Piacquadio from Pexels

It need not be like this in adults, as small children we all had “good use”. Look at the two babies sitting, the backs are of “one piece” with heads nicely balanced on top of the spines. (Figure 4) As children grow older, backs start to “collapse” or become “stiff” it need not be like this; the shapes we grow into depend largely on the “use of the self”.In the English language we have various sayings re “backs”; for example if we are in a difficult situation it is good to have someone to “back you up”, or if a difficult situation it is not good to have someone “stab you in the back”. It is important to become more aware of one’s own physical back, the state it is in and how it can be developed to become more “up and solid”.

Figure 4: Babies sitting

Credit: JGI/Jamie Grill / Getty Images

An activity we all need to do each day is bending, try getting up one morning and decide not to bend you could not stay at full height for long! HOW we bend is important. It is simply a matter of folding up the legs to various degrees depending on the task at hand, using a combination of hip, knee and ankle hinges as appropriate. Too often people bend in the waist to get lower but there is no proper hinge there and when we were small we did not do this poor action but instead used our leg hinges as needed. (Figure 5) The action of sitting then later standing up involves partial folding or unlocking of the leg hinges. Too often this is done with poor balance and as it is such a repeated daily action many problems can arise through this “misuse.’

Figure 5: Children playing

Credit: Image by Hai Nguyen Tien from Pixabay

We can change our habits. The Alexander Technique explores the fundamentals of use; how the head relates to the spine, how the whole back operates, how the limbs do their work – without distortion of the head/torso relationship. The Alexander Technique does not just deal with the physical aspects of being but the integration of the mind/body. Our use affects our function. A stimulus to action causes us to respond, it is HOW we respond that matters; will the response be a habitual one or choice of a more appropriate response for any given activity?. Exploring choice of response leads to many new paths.

For anyone interested in finding out more about the Alexander Technique I am arranging free one hour sessions in groups of three people, held on a weekend time. For details phone 8338 2262

My seventy-minute documentary film about the life and work of F M Alexander – with modern information as well – is available from my web site, cost $20, plus postage. Website www.fmalexanderdoc.com

Rosslyn McLeod rj.mcleod1@bigpond.com

Rosslyn McLeod A.U.A., B.Mus., Dip.Ed., Austat, ATI

Rosslyn is a music and education graduate from Universiites of Adelaide, Melbourne and La Trobe. After qualifying as a teacher of the Alexander Technique she mainly taught in Melbourne - Melbourne University and the Victorian College of the Arts, plus private practice. She is the author of the book about Alexander’s Australian years Up From Down Under; the Australian Origins of Frederick Matthias Alexander and the Alexander Technique (pub. Mouritz) and producer of the 70 minute documentary film Frederick Matthias Alexander His Life... His Legacy... (www. fmalexanderdoc.com). She is a member of two professional Alexander Technique organisations, one national and one international. Rosslyn now teaches piano, and the Alexander Technique in Adelaide; she is a member of the MTASA.

CHAMBER MUSIC: THE JOY OF THINGS BEING VARIOUS

The 2021 Musica Viva Strike a Chord Teachers’ Conference

By Elsabeth Lang

I’m a piano teacher. (No surprises there!) So, given the abundance of resources, webinars and other PD opportunities specifically tailored to my instrument, why did I choose to invest time in attending a conference designed for teachers of chamber music?

Well, there are so many reasons why I’m glad I did. But before we dive in, let’s start with some background information!

Strike a Chord is Musica Viva’s national chamber music championship. Impressively, Musica Viva inaugurated this program last year, in spite of the significant stress they must have been under as an arts organisation. Not content with merely offering prizes for secondary- and primary-school-aged ensembles, Musica Viva also set up a concurrent Teachers’ Conference to support and encourage teachers in the chamber music field as well.

This year’s Conference in August was only a oneday event, but so much was packed into that small time-frame! Presenters such as Monica Curro and Howard Penny offered thought-provoking sessions on everything from the source of true artistry to the source of good funding. Of course, with so many speakers and participants cooped up at home, this was an online event and accessible to teachers all around the country. And, to top it all off, the Conference was completely free to attend.

Several sessions were really detailed masterclasses with young ensembles, and these spoke most immediately to me. It was wonderful to be a virtual ‘fly on the wall’ as Leigh Harrold coached the Staccato Piano Trio on Mozart’s Divertimento in Bb major K254, and Howard Penny put the Taralindi Quartet through their paces in Haydn’s String Quartet in D major Op. 20 no. 4.

I was completely unfamiliar with both works, and I play no string instruments. But what delighted me (and perhaps shouldn’t have surprised me as much as it did!) was that the concepts presented were so versatile. All the musical nuances which were being explored in these sessions were just the same kinds of things which I strive to express in my own playing and teaching. I learned so many things about tempi, phrasing, style and performance practice, to name just a few. It didn’t matter at all that the approach wasn’t piano-centric! The joy and character of the music was what mattered, and it strikes me that this is what always actually matters.

Another wonderful session was offered by Wenhong Luo, violist and faculty member at the Melbourne Conservatorium. The Art of Effortless Playing centred around helping students to feel truly ‘at home’ in their own skins – and with their own instruments! – in order to enable confident and expressive playing. Wenhong graciously shared her own journey of moving beyond physical unease to discover greater poise and cohesion when playing. She also demonstrated lots of exercises (both on and off her instrument), expressive skills and imaginative tips which I will definitely be borrowing from in the future. Who wouldn’t want their students to experience a greater sense of physical ease?

There was so much more. With the enthusiasm which I suspect she devotes to everything she does, Monica Curro gave the Keynote Address on how to network and raise financial support for music education projects. Very relevant in our world of ever-mounting funding cuts! I also enjoyed the culminating panel discussion on how to source chamber music for your ensembles, and even as a solo studio teacher I gleaned much on repertoire options from this session.

Life being what it is, I found myself unable to watch all of the sessions live. Those which I missed, however, I was able to catch up on a few weeks later through recordings released by Musica Viva.

The impression which the Strike a Chord Teachers’ Conference has left with me, even after a couple of months, is that music is awesome. Of course, I already knew that! But I am sure I’m not alone in acknowledging that, sometimes, a hard slog teaching can obscure even the joy of music itself. Getting together with other musicians, even virtually, can be a wonderful way to counteract that unfortunate tendency in our work-life.

Naturally, I found it was professionally satisfying to watch excellent tutors work with talented students, or to hear them share with passion about aspects of music that they hold dear. However, experiencing all this through the chamber music medium instead of through my own instrument was refreshing, and actually inspiring, in a way I hadn’t expected.

Ultimately, the Strike a Chord conference reminded me of the universality of music: that Mozart wrote string quartets as well as piano sonatas, and that I and my students have much to learn from the violin (or the cello, or the flute or horn or bassoon) – about playing the piano.

OTHER ORGANISATIONS’ NEWS & EVENTS

Australasian Piano Pedagogy Conference 2022

Presented by UWA in collaboration with WAMTA

Theme: The Holistic Piano Teacher

When : July 4-8

Where: UWA Conservatorium of Music, University of Western Australia, Perth

Website: www.appca.com.au

Mitcham OrchestraThe Mitcham Orchestra is looking for a Bassoon player.

This friendly group of musicians rehearse on Saturday afternoons from 2pm-4.30pm at the Cumberland Park Community Centre at 390 Goodwood Road.

Performance: two major concerts per year for the public and several private concerts for retirement villages and nursing homes.

Repertoire ranges from Symphonies to light classical works at approximately a grade 4-5 AMEB standard.

For more information please contact our secretary Ros via email: rosalind@keynes.id.au or Ph: 8390 3053 Website: mitchamorchestra.com.au

OTHER ORGANISATIONS’ CONCERTS

RECITALS AUSTRALIA WEDNESDAY LUNCH HOUR CONCERTS 2021

Tickets : $10 or online via website, Facebook, or Vimeo for free.

Enquiries: : Ph. 08 8236 7488

Website : recitalsaustralia.org.au for more information

Chamber music recitals and supporting emerging artists — Recitals Australia

ADELAIDE SYMPHONY ORCHESTRA

Check their website for the upcoming concerts and support our local orchestra! Website: www.aso.com.au/concerts-tickets/whats-on/

FLINDERS STREET BAPTIST CHURCH

TUESDAY ON FLINDERS

Time: 1:00 pm

Entry: Free

Website: fsbc.asn.au/concerts/

FLINDERS UNIVERSITY LUNCHTIME CONCERTS

MUSIC AT FLINDERS 2021

Time: 4:10 pm

Entry: Free

Venue: Flinders University Oasis Function Centre Humanities Road, Bedford Park, SA 5042

Website: www.flinders.edu.au/engage/culture/lunchtime-concerts

NORWOOD SYMPHONY ORCHESTRA

NORWOOD CHRISTMAS GALA

Date : Sunday 12 December 2021

Time: 2:30pm

Conductor : Michael Milton

Special Guests : Pipes & Drums of the Royal Caledonian Society of SA

Venue: Norwood Concert Hall

Tickets: Adult $20, Concession $15, Children Free

Website : www.norwoodorchestra.com/

MUSICA VIVA

Chopin’s Piano Online Concert

Date: 16 December

Time: 7 pm

Ticket: www.musicaviva.com.au/ concert-season/

CONTACT DETAILS FOR OTHER ORGANISATIONS

5MBS: MUSIC BROADCASTING SOCIETY OF SA www.5mbs.com 8346 2324 5mbs@5mbs.com 4A River Street Hindmarsh SA 5007

AUSTRALIAN BAND AND ORCHESTRA DIRECTORS’ ASSOCIATION (ABODA): ABODA SOUTH AUSTRALIA www.abodasa.com.au info@abodasa.com.au ABODA SA C/-PO Box 327 Walkerville SA 5081

ABRSM EXAMINATIONS www.us.abrsm.org/en/home SA Rep.: Anastasia Chan 8234 5952/423 282 589 abrsmsa@hotmail.com 4 London Wall Place London EC2Y 5AU

ACCOMPANISTS’ GUILD OF SA INC. www.accompanist.org.au President: Leonie Hempton OAM 8272 8291/0404 145 502 leoniehempton@gmail.com

ADELAIDE BAROQUE www.adelaidebaroque.com.au 8266 7896 0400 716 554 General Enquiries manager@adelaidebaroque.com.au Adelaide Baroque Inc 10 Clarence Avenue, Klemzig South Australia 5087

ADELAIDE CHAMBER SINGERS www.adelaidechambersingers.com/ +61 8 8352 1329 admin@adelaidechambersingers.com

ADELAIDE EISTEDDFOD SOCIETY INC. www.sacoment.com/aes/eisteddfod/ Secretary: Brenda Rayner OAM 8366 6531 adleisteddfod@adam.com.au robbrown@adam.com.au

ADELAIDE HARMONY CHOIR www.adelaideharmonychoir.org.au/ Secretary: Sherry Proferes adelaideharmonychoir.info@gmail.com

ADELAIDE PHILHARMONIA CHORUS www.philharmonia.net/

ADELAIDE YOUTH ORCHESTRAS www.adyo.com.au/ 8361 8896/0410 062 677 General Manager: Claire Oremland claire@adyo.com.au

AMEB EXAMINATIONS: SA AND NT www.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 0435 300 070 admin@anats.org.au

ANZCA EXAMINATIONS www.anzca.com.au (03) 9434 7640 admin@anzca.com.au

AUSTRALIAN SOCIETY FOR MUSIC EDUCATION (ASME) ASME: SOUTH AUSTRALIA CHAPTER www.asme.edu.au/sa/ President: Luke Gray graylu@trinity.sa.edu.au asme@asme.edu.au

AUSTRALIAN STRINGS ASSOCIATION (AUSTA) AUSTA: SA CHAPTER www.austa.asn.au/chapters/sa/ President: Fiona Patten fionapattenausta@gmail.com +61 439 885 754

AUSTRALASIAN DOUBLE REED SOCIETY www.adrs.org.au Contact: Josie Hawkes OAM josie.bassoon@gmail.com

AUSTRALIAN STRING QUARTET www.asq.com.au/ 1800 040 444 asq@asq.com.au

BALAKLAVA EISTEDDFOD SOCIETY www.balaklavaeisteddfod.org.au Contact: Trish Goodgame 0417 891 834 info@balaklavaeisteddfod.org.au

CON BRIO EXAMINATIONS www.conbrioexams.com 9561 3582/0401 014 565 lily@conbrioexams.com

ELDER CONSERVATORIUM OF MUSIC www.music.adelaide.edu.au/ 8313 5995 music@adelaide.edu.au

ELDER HALL www.music.adelaide.edu.au/concerts/8313 5925 concertmanager@adelaide.edu.au

FLUTE SOCIETY OF SA INC. www.flutesocietyofsa.org Secretary: Catherine Anderson secretary@flutesocietyofsa.org

INSTRUMENTAL MUSIC: DEPARTMENT FOR EDUCATION Instrumental Music Office - Klemzig 8261 8988 IM.KlemzigOffice608@schools.sa.edu.au Instrumental Music Office - Morphett Vale 8392 3800 IM.MorphettValeOffice896@schools.a.edu.au Music Programs 8226 1883 education.musicprograms@sa.gov.au

KODALY MUSIC EDUCATION ASSOCIATION OF SA www.kodalysa.com/ 0405-066-469 kodalysa@gmail.com

MUSICA VIVA www.musicaviva.com.au for concert details Box office: 1800 688 482 contact@musicaviva.com.au boxoffice@musicaviva.com.au

MT GAMBIER EISTEDDFOD www.backstageinc.org.au Secretary: Maxine Chalinor 0457 067 555 tonymaxine@internode.on.net

MUSICIANS’ UNION OF AUSTRALIA ADELAIDE BRANCH www.musiciansunion.com.au/ 8272 5013 industrial.officer@musicians.asn.au Federal Treasurer-Sam Moody 0412933865 musosa@bigpond.net.au

ORFF SCHULWERK ASSOCIATION OF SA www.osasa.net/ info@osasa.net

PRIMARY SCHOOLS MUSIC FESTIVAL www.festivalofmusic.org.au 8261 5438 office.psmf799@schools.sa.edu.au

RECITALS AUSTRALIA recitalsaustralia.org.au. 8236 7488 info@recitalsaustralia.org.au

ST CECILIA EXAMINATIONS PTY. LTD. www.st-cecilia.com.au 1800 675 292 info@st-cecilia.com.au

SOUTH AUSTRALIAN BAND ASSOCIATION www.sabandassociation.org Secretary: David Corkindale secretary@sabandassociation.org

SOUTH AUSTRALIAN MUSIC CAMP ASSOCIATION www.samusiccamp.com.au Administrator: Samantha Taylor admin@samusiccamp.com.au

THE SOCIETY OF RECORDER PLAYERS SA INC. www.facebook.com/recorderplayerssa/ 0410 109 135 srpsainc@gmail.com

TRINITY COLLEGE LONDON EXAMINATIONS www.trinitycollege.com.au 1300 44 77 13: National Mr Stanley Tudor 8345 3117: Local stanley.tudor@iinet.net.au

UKARIA CULTURAL CENTRE www.ukaria.com 8227 1277 info@ukaria.com