SA Music Teacher Summer 2023 by Music Teachers' Association of SA Inc.

SUMMER 2023

IN THIS ISSUE

2024 Summer Conference – The 21st Century Music Studio Teaching Singing for Music Teacher – When was your last lesson? MTASA Grace Barbara Turner Awards winners Published by The Music Teachers’ Association of South Australia Inc.

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WELCOME FROM THE PRESIDENT Dear esteemed members and fellow music educators, It is with immense excitement and anticipation that I extend a heartfelt welcome on behalf of the Music Teachers’ Association of South Australia Inc (MTASA) as we gear up for the eagerly awaited “The 21st Century Music Studio” Summer Conference, scheduled for January 18th and 19th, 2024. We are thrilled to invite you to join us at the prestigious Prince Alfred College for two extraordinary days of inspiration, innovation, and musical camaraderie that will undoubtedly invigorate your passion for teaching music. At MTASA, our commitment to advancing the art of music education in South Australia is unwavering. The Summer Conference stands as a testament to our dedication by providing an exceptional platform for music educators, students, and enthusiasts to unite, exchange insights, and explore the transformative potential of music in the 21st century. Here are compelling reasons why you simply cannot miss “The 21st Century Music Studio” Summer Conference: Leading Voices in Music Education We have assembled an elite panel of speakers, distinguished musicians, educators, and industry trailblazers who will guide you through thought-provoking sessions and hands-on workshops. From cutting-edge teaching techniques to exploring the latest technological innovations, our speakers will inspire and empower you. Networking Excellence The conference offers an invaluable opportunity to connect with like-minded professionals, share your experiences, and create lasting connections within the music education community. Collaborate, discuss, and exchange ideas with fellow enthusiasts who share your unwavering love for music. Diverse & Innovative Themes Our conference encompasses a wide array of topics, embracing both classical and pop music, pedagogy, performance, and more. Expect to leave with a treasure trove of knowledge and fresh ideas to enhance your teaching and personal musical journey. Inspiration and Transformation Music is a dynamic art form that continually evolves, and our conference equips you with the tools to stay ahead of the curve. Prepare to be inspired by innovative approaches to teaching and explore the limitless potential of music in the 21st century. Majestic Venue The historical charm and modern amenities of Prince Alfred College, located in the heart of Adelaide (Kent Town), provide the perfect backdrop for this event, creating an inspiring atmosphere for our conference. In addition to these incredible offerings, our “The 21st Century Music Studio” Summer Conference will feature captivating talks, showcases, and opportunities to immerse yourself in rich musical heritage. This experience is bound to be unforgettable and invaluable for anyone passionate about music and music education. Seize this golden opportunity to be part of this remarkable event. Tickets are available now, and early bird registration is open until December 17, 2023, offering an exclusive discount. To learn more and secure your spot, visit our website or contact our dedicated team for assistance. “The 21st Century Music Studio” Summer Conference is an enthusiastic celebration of music, learning, and the vibrant community of music teachers and enthusiasts in South Australia. We eagerly anticipate your presence at this extraordinary gathering, and together, we will embark on a harmonious journey into the future of music education.

Sofie Arhontoulis, President MTASA

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VOLUME 31 No 4 SUMMER 2023 PATRONS :

Her Excellency the Honourable Frances Adamson AC, Governor of South Australia and Mr Rod Bunten Dr Doreen Bridges AM Emeritus Professor David Lockett AM

CONTENT WELCOME FROM THE PRESIDENT By Sofie Arhontoulis

PRESIDENT

: Sofie Arhontoulis

COMING MTASA EVENTS

VICE-PRESIDENT

: Rodney Smith, Wendy Heiligenberg

MEMBER INFORMATION

SECRETARY

: Michael Thompson

TREASURER

: Samantha Penny

RECENT EVENTS Visit to Government House by Sofie Arhontoulis

AUDITOR

: Australian Independent Audit Services

Miriam Hyde Awards Report by Wendy Heiligenberg

World Teachers’ Day Award by Sofie Arhontoulis

MTASA Grace Barbara Turner Awards 2023

ARTICLES PEDAGOGY MATTERS MTASA Summer Conference by Rodney Smith

TEACHING SINGING FOR MUSIC THEATRE When was your last lesson? by Pat. H. Wilson

REGIONAL TEACHING David Morgan by Ryszard Pusz

TALKING BUSINESS WITH PETE BARTER Harmony in Learning: A Symphony of Professional Growth by Pete Barter

Italics and inverted commas for quotations - text is to be either in Italics or inside inverted commas, not both.

Accompanist’s Corner What is an artist’s responsibility to audience expectations? by Michael Ierace

Single inverted commas to be used; double inverted commas only inside single inverted commas.

The perils and pleasures of Hymn accompaniment by Leon Le Leu

The inverted comma at the end of a sentence is to be inside the fullstop; outside for ! and ?

OTHER ORGANISATIONS’ NEWS & EVENTS

MTASA WEBSITE

OTHER ORGANISATIONS’ CONCERTS

Please visit mtasa.com.au

CONTACT DETAILS FOR OTHER ORGANISATIONS

COUNCIL 2022/2023 :

COUNCIL 2023/2024: Sofie Arhontoulis, Pete Barter, Wendy Heiligenberg, Zuoyu Liu, Yong Cheong Lye, Yuxin Men, Samantha Penny, Michael Thompson, Rodney Smith, Emmy Zhou

EDITOR

: Masako Kondo

LAYOUT

: Sectrix

MEMBERSHIP ENQUIRIES to the Secretary PO Box 4, RUNDLE MALL, SA 5000 Mobile: 0402 575 219 E-mail: info@mtasa.com.au ADVERTISING - please contact the Secretary Please see MEMBER INFORMATION page for Advertising Price List. DEADLINES FOR 2024 Contributions to SA Music Teacher are most welcome. All items to be included must reach the Editor (info@mtasa.com.au) no later than these deadlines: Friday October 27, 2024 - Friday 26 January, Friday 26 April, Friday 19 July. SOME CONTRIBUTING GUIDELINES All text is to be submitted to the Editor for review.

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

Front cover: 2024 MTASA Summer Conference By Pete Barter

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COMING MTASA EVENTS 18 & 19 January, 2024 Summer Conference 2024 – 21st Century Music Studio Venue Time Ticket

: Prince Alfred College : 9:00 am to 5:30/4:30 pm : Via website

Saturday, April TBC Concert Performance Day 1 Venue Time Ticket

: TBC : TBC : Via website

Saturday, 29 June Professional Learning Day 1 Venue Time Ticket

: TBC : TBC : Via website

Saturday, Late August TBC Concert Performance Day 2 Venue Time Ticket

: TBC : TBC : Via website

Late September or Early October Professional Learning Day 2 Venue Time Ticket

: TBC : TBC : Via website

Sunday, 17 November AGM Venue Time Ticket

: St Spyridon College : 5:30 pm : Via website

MEMBER INFORMATION MTASA MEMBERSHIP FEES The membership fees are: Full member Associate (continuing only) Student member Friend Institution

$125 $115 $62 $33 $33

RECOMMENDED TEACHING FEES The following teaching rates are recommended to members by the MTASA Council for 2024. Full Member Student Member -

$80 per hour $55 per hour

MTASA MEMBERSHIP RENEWALS Membership Subscription Renewals for 2023/2024 was due on June 30. Subscription renewal notices were sent in late June via e-mail to remind members to log in and renew their membership for the 2023/2024 financial year. If you are a Full member you will be asked to indicate that you have completed seven hours of Professional Development during the previous twelve months. If you don’t receive an e-mail please check your spam folder. You can log in at any time to renew your membership. If it seems that you didn’t receive an e-mail, have forgotten your username or are having problems logging in please contact the Secretary (info@mtasa.com.au). Paper invoices were sent to members who prefer to receive them.

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

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RECOMMENDED TEACHING FEES The following teaching rates are recommended to members by the MTASA Council for 2024. Full Member Student Member -

$80 per hour $55 per hour

REQUIRED PROFESSIONAL LEARNING FOR FULL MEMBERS OF MTASA MTASA has introduced a Professional Learning scheme for Full members. This commenced on July 1, 2019 when Full members began accumulating their seven hours of Professional Development. The scheme is designed to underpin and enhance MTASA’s established reputation for the professional excellence of its members, ensuring its standards are fully compliant with current educational expectations. These are clearly outlined in the Australian Professional Standards for Teachers (visit www.aitsl.edu.au/teach/standards) and similar documents. From July 1, 2020 onwards Full members, when renewing their membership, will be asked to tick a box declaring that they have undertaken at least seven hours of Professional Learning during the previous twelve months. The following examples are provided to give general guidance for Full members about Professional Learning that would be acceptable to MTASA. These examples represent only a small sample of all the possibilities available to Full members. Generally Full members should feel comfortable about their own choices but in case of doubt you are welcome to contact the Secretary for further advice (info@mtasa.com.au). Improved music teaching should be a major factor in all activities that Full members wish to count towards their MTASA Professional Learning. MTASA will undertake random checks from time to time to ensure the system is working properly. So, on very rare occasions a Full member may receive a request from the Secretary for information about their Professional Learning. In such instances you may submit evidence such as certificates, programs, diary notes, recordings and so forth.

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EDUCATORS SA

Examples of Professional Learning that would be acceptable to MTASA: 1. Online. Attending a webinar or similar event; undertaking an online e-learning course. 2. Face-to-Face. Attending a conference, workshop, masterclass or lecture. 3. Formal Study. Undertaking a qualification or part-qualification delivered by a recognised institution. 4. Personal Research. Studying books, journals, articles, musical scores, musical theory, analysis, etc., which lead to an example of improved music pedagogy and/or pupil performance. Self-conducted research leading to a presentation, masterclass or workshop at a conference. Composing an educational piece of music that motivates a group of pupils. 5. Team Research. A joint project with others that achieves particular improvements in a training ensemble. Joint creation of music teaching materials that improve learning in a group of pupils. Remember! These are only a few amongst many possibilities. MTASA is a community of creatives. You are encouraged to be creative in your Professional Development!

As a member of Educators SA, MTASA can offer benefits to its members. Here are some offers: Andersons Solicitors offer MTASA members: • 10% off legal services, in ALL areas. • Free initial phone conversation with a lawyer. When contacting Andersons Solicitors tell them you are a member of MTASA, which is a member organisation of Educators SA (CEASA). Visit the website at www.andersons.com.au/. Credit Union SA has a range of education only offers. Visit the website at www.creditunionsa.com. au/community/education-communitybanking-benefits/ for more information.

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

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WORKING WITH CHILDREN CHECK (WWCC) New Legislation regarding Child Protection was introduced with effect from September 1, 2019. A ‘Police Check’ is now known as a ‘Working With Children Check’ (WWCC). The Working With Children Check is the most comprehensive check that exists. Anyone found guilty of breaching this legislation can be fined up to $120,000. People working or volunteering with children in South Australia must, by law, have a Working With Children Check. A DHS/DCSI child-related check will be recognised as a Working With Children Check until it expires. People need a Working With Children Check if they are in a ‘prescribed position’. This means people who are in paid or volunteering roles where it is reasonably foreseeable that they will work with children; run or manage a business where the employees or volunteers work with children; are employed to provide preschool, primary or secondary education to a child. A Working With Children Check is needed for all schools (Government, Catholic and Independent). For further information go to www.screening. sa.gov.au/types-of-check/new-working-withchildren-checks.

EVENT VOLUNTEERS NEEDED Enthusiastic volunteers are needed to help with various jobs at MTASA events. Tasks include setting up the venue, helping with registration at the check in table, ushering, assisting performers, helping with meals, and packing up afterwards. It is a great way to network and a volunteering certificate will be provided, which will enhance your CV! For more information, please e-mail the Secretary at info@mtasa.com.au.

TEACHING IN REGIONAL SA In recent years each issue of SA Music Teacher has included an article about music teaching in a country region of South Australia. There are some regions that haven’t been visited yet. If you haven’t done so please write something – it doesn’t need to be very long – and also include a photo. If you have written something before you are welcome to send an update. E-mail the Secretary at info@mtasa.com.au.

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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).

ADVERTISE WITH SA MUSIC TEACHER Per issue

For 4 issues

A4 SIZE (210mm x 297mm)

Colour

Full page

$270

$900

1/2 page

$140

$440

1/4 page

$70

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1/6 page

$50

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Announcing MTASA Partners! We invite organisations to partner with MTASA on our website. Benefits include advertising via a clickable link and two free tickets to our events for an annual fee of just $100. Please go to our website. CLASSIFIED AD MTASA Members, free. Non-members, $17. Please contact the Secretary (info@mtasa.com.au) about advertising. 2024 MTASA eDM and Media Advertising rates 1 Email to members

$60

1 Facebook post

$35

1 Facebook and Instagram post

$40

1 Email and Facebook combo

$80

1 Email, Facebook and Instagram

$90

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.

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RECENT EVENTS Visit to Government House by Sofie Arhontoulis

Government House of South Australia

Her Excellency the Honourable Frances Adamson AC, Governor of South Australia, and her husband, Mr. Rod Bunten, Patrons of MTASA, extended a gracious invitation to President Sofie Arhontoulis to Government House on Friday, 11 August 2023. The purpose of this distinguished meeting was to discuss Her Excellency’s patronage of MTASA and explore opportunities for future collaborations.

This remarkable occasion signifies the importance of the partnership between Government House and MTASA, highlighting the shared commitment to advancing music education and cultural enrichment in South Australia. President Sofie Arhontoulis’s participation in this engagement exemplifies her dedication and leadership in fostering the arts and education within the community.

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Miriam Hyde Awards Report by Wendy Heiligenberg

The Miriam Hyde Award is hosted biennially by MTASA. It features 2 sections- Junior (ages 15 and under) and Open (no age limit). The event was held in the lovely Hartley Concert Room on September 16th, 2023. Our two adjudicators were Monika Lakzofy OAM (Junior section) and Rodney Smith OAM (Senior section). The younger performers have a maximum of 15 minutes of performance time, the senior group are allowed up to 30 minutes. Each performer must perform a work by Miriam Hyde. There were 6 performers in the Junior section, and our adjudicator praised the overall standard of performance. The prize winners were as follows: Equal First Prize: Jessica Le-Ping Mah flute (with co-artist Sachiko Hidaka) and Luca Shin violin (with co-artist Won Jung Lee ). Second Prize: Sharon Zhang piano Honourable Mention: Anthony Tan piano In the afternoon we heard 5 performers in the Open Section.

Prize winners were as follows, First Prize: Kristopher Man piano Second Prize: Jonathan Wong piano The adjudicators congratulated all performers. They were delighted that every performer had made their own individual impact on the audience, and that they all gave Miriam Hyde’s music the attention and the considered interpretations it truly deserves. Rodney Smith also congratulated the Senior section on performing to such a high standard. “These performances occupied a high echelon in terms of overall standard and preparation”. Thank you and congratulations to all the teachers of these talented young musicians, and to the MTASA Committee Members, who make such events possible. A brief note about Miriam Hyde (1913-2005). Miriam Hyde began her studies at the Elder Conservatorium of Music when she was only 12 years old. After further studies at the Royal College of Music she gave her first London piano recital in 1933, and she performed her own Piano Concerto

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Number 1 with the London Philharmonic a year later. Returning to Australia in 1936, she was active as a recitalist, composer, (composing over 150 works for piano, 50 songs and other instrumental and orchestral works), teacher, examiner, and lecturer, as well as publishing books on sightreading, aural tests, tutor books, and even found time to write poetry (over 500 poems), some of

which she set to music. Her music has been described as pastoral/romantic or romantic impressionist. You can still hear her speak and see some of her performances on You Tube. I was particularly fascinated by the video of her performance of “The Fountain”, composed by her in 1928. The recording was made in 1991, when she was 78 years old.

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World Teachers’ Day Award By Sofie Arhontoulis We are thrilled to extend our heartfelt congratulations to Rodney Smith OAM, Vice-president of MTASA, on receiving the prestigious Educators SA MTASA Award at World Teachers’ Day for Outstanding Service to Music Educators. This well-deserved recognition is a testament to Rodney’s unwavering dedication and commitment to the field of music education. His passion and tireless efforts have undoubtedly left an indelible

mark on the music teaching community. Rodney’s award, coupled with this recent OAM recognition, underscores his remarkable contributions and enduring impact on music education in South Australia. We are honored to have such an exemplary figure among us, and we look forward to his continued leadership and inspiration in the world of music education. Congratulations, Rodney Smith OAM!

From left; Rodney Smith OAM, Sofie Arhontoulis and Samantha Penny

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MTASA Grace Barbara Turner Awards 2023 The Music Teachers’ Association provides the Music Teachers’ Association of SA Inc./Grace Barbara Turner Awards for Excellence in Performance every year at the Adelaide Eisteddfod. The recipients for 2023 are listed below. Piano Division

: Joey Yan

Vocal Division

: Callum Logan

Woodwind Division : James Skelton String Division

: Christopher Shi

Piano Joey Yan

Joey Yan is a Year 11 student at St Peter’s College studying the piano and pipe organ under his Music Scholarship. Under the tutelage of Irina Lioubimova and Monika Laczofy OAM, Joey has attained both the AMEB AMusA (2022) and LMusA (2023) in piano. Joey has been awarded many prizes in piano competitions including Silver Medalist of the 17+ Solo Piano Recital section of the Eisteddfod this year. Joey also enjoys other genres of piano including Jazz, and is currently the pianist of his school’s division 1 Big Band.

Vocal

Callum Logan Callum is a keen singer, dancer and actor. He has been studying classical voice for the last 9 years and currently learns from Stephanie Acraman who is coaching him in the development of his countertenor range. He has also studied dance for the last 4 years, doing contemporary, jazz, tap and hip hop and studied acting under the guidance of coaches Mark Fantasia and Tony Knight. He has been successful in various singing competitions (including the Adelaide and Balaklava Eisteddfods), was awarded the Clara Serena Memorial Vocal Scholarship and a highlight was the honour of singing the National Anthem in the 2019 National Pharmacies Christmas Pageant.

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MTASA Grace Barbara Turner Awards 2023 Woodwind James Skelton

James is a Year 11 student at Trinity College, Gawler. He studies piano with Monika Laczofy OAM and clarinet with Darren Skelton. In 2019, James performed with an International Youth Orchestra in London’s Royal Festival Hall; he has been a member of AdYO and in 2022 was Principal Clarinet in the Australian Youth Orchestra “Young Symphonists” and will take part in the 2024 AYO National Music Camp. James won the 2022 Metropolitan Male Choir Scholarship and the 2023 Lobethal Harmony Club Instrumental Scholarship. He was awarded the Gabor Reeves Woodwind Medallion at both the 2021 and 2022 Adelaide Eisteddfods and won the MTSA “Grace Barbara Turner Award for Excellence in Performance (Woodwind)” in both 2022 and 2023. James performed as soloist for the 2023 Recitals Australia Lunch Hour Concerts in May (accompanied by Jamie Cock) and won First Prize (Berenice Harrison Award) in the series finale event in July. In October, 2023, James competed in the 5mbs Young Virtuoso Awards final and was the winner of the Woodwind Division. James recently achieved his L.Mus.A Diploma (Clarinet) Award with Distinction and is currently working towards his A.Mus.A (Piano). James studied Year 12 Solo Performance and Ensemble Performance in 2022 while still a Year 10 student at Trinity College, resulting in a SACE Merit Award in both subjects and hopes to continue his music studies in London upon finishing school.

Strings

Christopher Shi Christopher Shi is currently a Y5 student at St Andrews school. Since the age of 4 and a half, Christopher has been studying piano with Lishan Xiao, Kenan Henderson and Lye Yong Cheong. In addition to the piano, he has also played the violin since 2000. Last year, he learned to play the saxophone and this year he has added the viola and oboe to his repertoire. Christopher has won several accolades for his musical talent. In 2022, he won the 1st prize in the string solo and 10-year-old piano at the Adelaide Eisteddfod. In 2023, he won the 1st prize in the grade 5/6 string and 11-year-old Woodwind at the Adelaide Eisteddfods. He also received the 3rd prize in the 12-and-under string solo in the same year. Christopher has been recognized for his outstanding performance by receiving the Grace Barbara Turner award for excellence in performance in 2023.

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ARTICLES PEDAGOGY MATTERS

MTASA Summer Conference By Rodney Smith The schedule for our upcoming Summer Conference is now largely in place and I can outline how various issues identified as relevant to the Conference Theme “The 21st Century Music Studio” will be explored. Although discussing instrumental technique for pupils is hardly something new, the main elements have now been understood for long enough to achieve general agreement (contrast that with 100 years ago!). Rae de Lisle from the University of Aukland will summarise and solidify best practice for us so that harmful technical habits can be avoided and better pathways utilized. Increasingly this century neuro diverse pupils find their ways to our studios and rightly deserve the best teaching and advice we can offer. Daphne Proietto, founder of Keys of Life will outline the approaches taken by her pioneering association to support and encourage these pupils. She will also describe how teachers themselves can gain further skills in the area through Keys of Life. Teaching popular, jazz and rock styles has been a necessary approach for many teachers over the years as increasingly this century classical music is seen as one style of many. AMEB has been at the forefront in providing suitable materials for teachers (Piano for Leisure first appeared in 2001 and Rock School was introduced to Australia in 2016.) Thomas Saunders is both an experienced

AMEB examiner and a Rock School examiner and will address questions relating to teaching these various genres and how teachers can increase the effectiveness of their studios by doing so. If music isn’t a place where emotions are explored and discovered, then what is? That said, many teachers are wary of seeking to help pupils get in touch with their emotions in light of the prominence of child safety and related issues in today’s society. Nathan Jones is an experienced Emotion Researcher (and musician) who is taking a deep interest in this area. He will explain his research and discoveries to help teachers turn around this “problem” into something positive and fulfilling for all parties. Perhaps the most obvious element marking out the 21st century studio is the use of IT. To keep pace with developments we’re delighted to have Antony Hubmayer with us once more, outlining how matters are trending in this ever-present and often contentious area. Of course there will be many more presentations during our two-day conference and we hope you will take advantage of this treasure trove of PL information and advice by attending the event at PAC. Rodney Smith

MTASA Summer Conference The 21st Century Music Studio 18 - 19 January 2024 Prince Alfred College The latest Draft Timetable at time of going to press Thursday 18 January Time

Prince Philip Theatre.

8.00

Registration

9.00

Acknowledgement

9.05

Welcome Sofie Arhontoulis

9.10

George Pearce Oration

9.30

Rae de Lisle - Keynote Setting the Stage for Healthy Playing: a 21st century approach to teaching technique

10.00

Additional Presentation Area

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Thursday 18 January 10.30

Break

11.00

Daphne Proietto - Keynote Keys of Life: Success in supporting neuro-diverse pupils

11.30 12.00

Sofie Arhontoulis Good Mental health for Studio Teachers

12.30

Lunch. Sandro Performance

1.30

Prizewinners Showcase

Rodney Smith What curriculum can I offer? Presenter

2.45

Nathan Jones Learning music: an empowering and satisfying means for channelling emotions

3.15

Break

3.45

Thomas Saunders. Keynote. Popular Music in Instrumental Teaching

Yong Cheong Lye Multicultural musical approaches in the Music Studio Presenter

5.00

Rae de Lisle Fit 4 Piano Etudes: 12 Etudes by New Zealand composers: Applying the technique in a musical context

5.30

Finish

2.00 2.15

4.15 4.30

Presenter

Friday 19th January Time

Prince Philip Theatre.

8.30

Registration

9.00

Thomas Saunders Popular Music as an aid to student retention

Mandy Hutchinson Physical Health for music teachers Samantha Penny

10.00

Antony Hubmayer Technology in the 21st Century Music Studio

10.30

Break

11.00 11.30

Rae de Lisle Classical Masterclass

12.00

Wendy Heiligenberg Career Paths in Music

12.30

Lunch

1.30 2.00 2.30 3.00 3.15 3.45 4.30

Thomas Saunders and Antony Hubmayer Pop Music Showcase and Masterclass

9.30 9.45

Additional Presentation Area

Presenter Presenter

Presenter

Daphne Proietto Keys of Life: success in supporting neuro-diverse pupils Break Pete Barter

Presenter

Finish

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TEACHING SINGING FOR MUSIC THEATRE When was your last lesson? by Pat. H. Wilson When was your last singing lesson? No, not a lesson you gave to a student. I’m talking about a time when you became a student and had a lesson with a singing teacher you respect and trust. A time when you worked on your voice – nobody else’s. Psychotherapists undergo psychotherapy sessions themselves, not just during their training, but throughout their careers, as a way of maintaining their professional edge. Shouldn’t we singing teachers do the same? Doing a lesson with a teacher helps to remind you how it feels to be a student. It will refresh old information you may have forgotten and give you new insights into your craft while turning a spotlight on your very own instrument. You wouldn’t want to learn to play the violin from me if you heard me trying to play the violin! (My children will gladly tell you how woeful my attempts were.) For all singing teachers, our voices are our instruments. And not just for singing either… we frequently use our voices during lessons. Some wise observers have suggested that we speak too frequently during the singing lessons we give (as Adele Nisbet’s smart article reminds us). But, spoken or sung, voice is our trade. When you teach, is your spoken voice consistently healthy, well-produced and vibrant? It’s as much your stock-in-trade as is your glorious singing voice. And because we teach the styles and genres of music theatre, we need to remember that our students will be both speaking and singing on -stage.

Zac Bradford, Director of New York Vocal Coaching Australia. (Zac’s a Brisbane boy who’s a brilliant NYC coach)

Humility always precedes learning. If you doubt my assertion, hear what famous Japanese-American entrepreneur and author Robert T. Kiyosaki (1947 - ) says: “Humility is the first step towards learning. You can’t learn until you are humble enough to realise there is something for you to learn.” Being able to enter a teaching space as a pupil, ready to watch, listen, observe, question, succeed, fail, wonder, hypothesise and attempt, will make you a finer – and kinder – teacher. Now, back to the question at the start of this article… when was your last lesson? If your response to it goes along the lines of “But there’s nobody in our town/city who works at a sufficiently high level to be my teacher”, then your choices are (a) regular travel to the teacher of your choice, or (b) online sessions – and many world-class singing teachers work online. I suspect that music teachers of all kinds agree with poet and academic Matthea Harvey’s often-quoted “Teaching is a great way to keep learning”. So why not do yourself a favour and set up a singing lesson with someone you admire and know you’ll enjoy working with… and discover how it energises your teaching. Reference Nisbet, A. (2003). Singing teachers talk too much. Reimagining practice; Researching change, 3, 8-17.

Dame Joan Sutherland in full flight teaching.

Generic singing lesson (bloke at piano, girl singing)

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REGIONAL TEACHING David Morgan by Ryszard Pusz

David Morgan

* 18.5.1932 - † 16.7.2023 David Morgan understood life through sound. His English origin was, from age 4, embedded in the Australian context of schooling in postDepression Sydney, overlaid with a Central European music influence that informed his oboe, conducting and composition pursuits. Throughout his music life David singularly determined a unique two-fold direction of activity. With a rare talent not often recognised, David arranged and composed pieces for odd and difficult combinations of student music groups that naturally arise in schools. He not only met this requirement with gusto, but composed a convincing rendition of the musical intent. At the same time, he composed works in virtually every genre with an output that includes fifteen symphonies, concerti, chamber music, works for concert band, instrumental pieces, songs and choral works; and he continued to compose till shortly before his death at 91 as enthusiastically as in his teens. Into this mix, wanting Australian pieces for percussion, I asked if he could compose a work for me, a commission that initiated some fifty delightful and productive years of collaboration, expanding and deepening my own technical skills and musical understandings. Drawing on his life experiences, David expressed ideas, through symbolism, metaphor and allegory. Presenting profound thoughts and feelings of joy, sadness, nature and death within a thematic whole he also extrapolated musically on the fallout from significant international events and their personal consequences. Loss, commissioned in 1981 for my quartet, Adelaide Percussions, focused on the crushing of the Solidarity movement in Poland, the country of my origins; this historic event occurred in conjunction with the ‘disappearance’, under very mysterious circumstances, of the brother of a close friend. Both clearly were of deep personal interest. These facts impelled a referencing of Chopin’s Marche Funèbre from his Sonata op. 35, but in two different time signatures simultaneously, of 5/8 against 3/4, emphasizing the incongruity of such unlikely connections. Concerto for Percussion

centred on the violent death of a young girl in Brisbane, contextualising the tragic brevity of her life and horrific consequences for her family. It opens with a gentle Pastoral Prelude of a tune that Morgan’s father whistled as he worked mixed with bird calls heard in his garden. A sentimental and sweet contrasting entree into the greater context. Played on marimba and answered in rhythm on bongos, their action of beating reflects the idea of work tunefully to symbolise innocence of youth and its promise unfulfilled. In similar fashion the calibrated percussive rhythmic development escalates expressively culminating in the cacophony of violent death and profiling the human reactions of anger, sorrow, frustration, and acceptance before being brought to a conclusion in a Toccata and Coda. A video of its realisation with digital orchestra created by David Stanhope, can be seen on https://ryszardpusz.com.au/ performances/. Technical demands pepper David’s works. Voyage into Solitude asking the percussionist to play a different rhythm with each limb; Lachy’s Lullaby calling for extended one-handed tremolo in the upper, and so less resonant and less gentle, register of the marimba; contrary motion across wide spacing needed in Grand Old Duke of York are some examples. And in each case the essence of the work necessitates mastering of percussive technique in order to portray the musicality of each theme. David constantly provided these magnificent challenges, surprises and delights requiring our close productive collaboration over many years of joyful experience. He taught me a lot! David Morgan, a Represented Artist at the Australian Music Centre, was a prolific and influential composer, and his music has received significant performances in Australia, the USA, UK, Poland, Czechia, Hungary, Germany, and Hong Kong. The beauty and conceptual depths of his harmonies are a legacy we can presently embrace but, as with many greats, his contribution to the global archive is yet to be realised in its entirety. He has not left us.

As portrayed by Una Grimshaw

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Talking Business with Pete Barter: Harmony in Learning: A Symphony of Professional Growth By Pete Barter

transcends mere necessity and becomes a melody of fulfillment. Consider these learning opportunities as notes in a composition, each contributing to the beautiful tapestry of your professional and personal life.

In the vast landscape of education, the correlation between learning and earning, along with thinking clearer, is undeniable. Poignantly, the more we learn, the richer our lives become. In the realm of music education, the same holds true, where continuous learning harmonises with personal and professional development. In today’s digital age, a wealth of learning opportunities lies at our fingertips. In my personal journey from a very young age to now I would have invested well over $100,000 into personal development and growth. The first business seminar I went to in Adelaide was when I was 12. It was hosted by a business coach by the name of Bradly J Sugars, whom I still follow today. Subscribing to channels like TED or TEDx opens doors to a myriad of insights on many topics, covering technology, education, and design. As an advocate for lifelong learning, I’ve had the privilege of sharing my own experiences on the TEDx stage. This is an honour, which considering the amount of professional learning, I have encountered From purely TED Talks alone. The Music Teacher Association of South Australia (MTASA) stands as a beacon for educators seeking personal and professional growth. Throughout the year, MTASA orchestrates a symphony of personal development opportunities. These initiatives are not mere obligations; they are invitations to a transformative journey. In our pursuit of knowledge, it’s crucial to understand that these opportunities should never be viewed as burdensome “have-tos.” Instead, they should be embraced as passionate “want-tos.” PL IS A, WANT-TO, NOT A, HAVE-TO. When we approach learning with enthusiasm, it

Attend workshops, engage in discussions, and immerse yourself in the vibrant community that organisations like MTASA cultivates. Let the desire to learn be the driving force behind your educational journey. Just as a musician refines their craft, educators refine their skills through continuous learning. The pursuit of knowledge should be a lifelong commitment, echoing the sentiment that the more we invest in learning, the greater the dividends in our lives. So, let’s embrace the melody of learning, making it a harmonious and enriching part of our professional and personal symphony. **Avenues for Opportunities:**

Professional

Learning

1. **TED and TEDx Talks:** Explore a treasure trove of ideas and insights through TED and TEDx talks. These platforms offer a diverse range of talks by experts in various fields, including music education. It’s an excellent avenue for gaining fresh perspectives and staying informed about innovative practices. Jump onto YouTube and type Pete Barter TEDx. This would be a good place to start. 2. **Online Courses and Workshops:** Invest in online courses or workshops offered by reputable institutions. Platforms like Coursera, Udemy, or specialised music education platforms provide a plethora of courses designed to enhance your teaching skills, business acumen, and overall professional development. 3. **MTASA Professional Development Events:** Take advantage of the professional learning opportunities provided by the Music Teacher Association of South Australia. Attend workshops, seminars, and events organised by MTASA to stay connected with the local community and learn from experienced professionals within your network. 4. **Industry Conferences:** Attend music education conferences and seminars specific to your area of interest. These events offer a chance to learn from leading experts, engage in

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discussions, and network with peers who share your passion for music education. 5. **Online Forums and Communities:** Join online forums and communities dedicated to music education. Platforms like LinkedIn groups, specialised forums, or even social media groups provide spaces for professionals to share experiences, ask questions, and learn from each other’s journeys.

Embrace the wealth of opportunities available, and tailor your learning experiences to align with your unique interests and aspirations. Whether it’s through digital platforms, local events, or personal connections, each avenue contributes to the symphony of your professional development. Your students need you to be the best that you can be, so they can be the best that they can be. Good luck in your endeavours.

6. **Professional Journals and Publications:** Subscribe to professional journals and publications related to music education. Stay informed about the latest research, trends, and best practices in the field. Reading scholarly articles can deepen your understanding and inform your teaching methodologies. 7. **Mentorship Programs:** Seek mentorship from experienced music educators who have walked a similar path. Establishing mentor-mentee relationships can provide valuable insights, guidance, and personalised advice tailored to your professional goals. Remember, the journey of professional learning is ongoing and dynamic.

Pete Barter

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ACCOMPANIST’S CORNER What is an artist’s responsibility to audience expectations? by Michael Ierace

Michael Ierace

Let me introduce myself foremost as a performer of art music, or what is generally referred to as ‘Classical Music Music’. Having completed my performance degree at the Elder Conservatorium, I moved to London to continue my studies at the Royal College of Music. Here, I also spent time working as an associate artist to some remarkable talents, before moving back to Australia where I am currently working at the Conservatorium as a teacher and pianist. Along with this, I am also a pianist for the State Opera, The Adelaide Festival and freelancing as a performer, chamber musician and arranger. However, what astonishes me the most is the engrossed curiosity I receive when I tell individuals that I am also in a rock and roll band! Very specifically, a cover band for Elvis Tribute Artists! This double life gives me a unique and advantageous insight into two vastly different musical worlds and aids my understanding of how they compare and how they very much differ. I find most fascinating the expectations of audiences prior to the concert or gig and the reactions during and at the conclusions of these performances. At a recital, the focus is heavily placed upon the composer and their music. As much as the performer may be used as a draw card through publicity, they are at the service of the composer and their music and that is the intention the artist should wish to convey to the audience. As a performer of art music, I believe it is the artists responsibility to do the music justice. We spend years training, fine tuning our technique and studying the composers’ catalogues to develop an understanding on how to approach the works, so we can convey this to the audience who are

expecting to (even if they do not fully understand) experience a professional recital and a prominent level of music making. Further, being a specialised field, it is expected that experienced performers and listeners will be in the audience casting a discerning ear over the playing, alongside the general public. When at a gig, particularly a tribute show, the emphasis is equal parts (if not more) on the performer and the visual rather than the music. The audience will scrutinise the front man for all sorts of reasons, whether this be their appearance, charisma, interaction, song choice, but very rarely musical performance. However, it is quite often enough for the audience member to be entertained by recognition of the song being performed, rather than how that song is executed which is of little consequence to people without a critical ear. I have been fortunate in my career to have immersed myself in the company of many renowned artists, both in the art music and tribute artist worlds and with this, have seen indelible passion and incredible respect of the work being conveyed to the audiences. This is why I find it hard as a trained performer to observe the general public and see them salivating over very clearly, (to those in the know), subpar shows! This is of course, exacerbated by certain TV shows and the media push and is certainly not limited to the pop field. It is not to speak disrespectfully of the general audience, quite the opposite. It’s not always possible for them to discern mediocre from quality, rather it should be the performer’s responsibility to ensure that they deliver a professional product. Artists performing at distinguished venues and especially those with higher priced tickets, should have more particular attention paid to the quality of their performances. Although in the end it is the audience that decides whether what the artist is presenting is enjoyable, but it should be the artist’s responsibility to make sure it is worthy.

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Piano photo is 2023 Elder Hall Lunch Hour Series Solo Recital

Crowd Photo is 2022 Cooly Rocks On Festival with Tributes in Concert Band

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The perils and pleasures of Hymn accompaniment by Leon Le Leu Some of us totally avoid performing anything in public. Others force themselves, despite great discomfort, to prove something: that they hate performing in public. This is my continuing experience. I was a nervous, unconfident teenager and suffered greatly at the all-male Anglican private school I attended. Nevertheless, in a fit of truly unhinged madness, I agreed to play the piano for morning Chapel every day (except on those days when “Chapel” occurred in The Chapel – a piano-free zone). I had the idea repeated exposure to public performance would make things easier; it didn’t. Even then, I knew the technique used by the great 20th century Belgian pianist, Lazare Levy, to cope with his life-long stage-fright: he pictured the front row of the audience as wearing only underpants. Underpants in the front row didn’t work for me; I tried underpants for the entire congregation – no good. Then I ditched the underpants. Well, it was different. At that age, I was an excellent sight-reader so never had to prepare hymns. I just worked on other pieces to play before and after Chapel; and I could choose anything I wanted apart from rock and blues (no heavy metal in those days). I played Chopin, and Schumann – the latter because the deputy headmaster purported to be a direct descendant of Robert Schumann. He never commented on the Schumann works I played; music of any kind seemed to leave him cold. Schumann’s genes had been sadly diluted. I had good times and bad times with Chapel. I felt a tremendous sense of power. I could make 600 people start singing whenever I liked; slow them down if I wanted; speed them up if I had a mind to do so. I could put a thoughtful, meditative, pause between verses causing the congregation, ready to recommence singing, to turn blue. I could choose an alternative tune for some hymns and the well-loved tune, which the audience would be waiting to bray out like a mob of asses, would be replaced by something they had never encountered. Nobody could complain since the alternatives were clearly set out in ‘Hymns Ancient and Modern’. But I was hardly capricious; sadly, I was mostly rather conservative; the cane was still an available punishment. I had this problem with

authority figures – particularly ones carrying canes. It was wonderful to be playing a great piano. Our new music master had arranged for a Bösendorfer to be purchased, a piano ranking with the Bechstein, Steinway, and, much later, Fazioli. At the time, there were less than 20,000 Bösendorfers in the world, but they were still making them despite the bombing of their prized lumbar yard in 1944 (the source of their spruce soundboards), the shelling of their factory in 1945 and the obliteration of their offices and showrooms the same year. The current equivalent of the school’s piano would set you back a cool $140,000 - $200,000. And I, a little vegemitemouthed, greasy-fingered schoolboy, was playing a Bösendorfer grand every day for Chapel (except, of course, when Chapel was in the Chapel). A member of the Deller Consort, during one of the ensemble’s several visits to the school in those faroff times, remarked to me he had not known there were any good pianos outside of England until he saw ours; a typical superior, imperialist comment of the type that made the English so endearing. How he expected an Australian schoolboy to react to a combined compliment-putdown like that I don’t know; I was speechless. Appropriate expletives were not in my vocabulary then. My ability to sight-read hymns without any preparation brought about my undoing. One morning the school was visited by the Archbishop of Polynesia, an august and colourful figure (up to that time none of us knew there was an Archbishop of Polynesia). The headmaster was his unctuous self - he carried unctuousness to an egregious level - and had assured himself that everything was just right to welcome this distinguished, surprise visitor. The only thing he had not considered, because it was so far beneath his headmasterly notice, was me. The critical event occurred after the Archbishop finished his sermon. The sermon must have been good because the Latin master, a man the image of Basil Rathbone’s Sherlock Holmes, did not snore once. The ancient maths master, with the habit, when distracted, of moving his false teeth around and poking them out on the tip of his tongue, managed to keep his putrid prosthesis to himself. There was an appreciative audience of assorted dignitaries; a couple of other robed

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bishops of wherever, a gaggle of invertebrate schoolmasters, and the headmaster in premier place, his unctuousness now having reached an actively oozing phase. With perfect timing, after a respectful pause, I played halfway through the accompaniment of the assigned hymn and slowed to indicate I expected the throng to start their customary braying. I felt that rush of power as I led 600 boys, an assortment of secular and ecclesiastical dignitaries, the schoolmaster gaggle, and the ingratiating, sycophantic, oleaginous headmaster in song. I was confident; I was in control. I could accelerate and decelerate as I strove to extract every gram of theological meaning from this work (if there was any). Things went very well, and I came to a glorious end with just the right amount of ritenuto. My final chords were defiant, yet hopeful. Good would win out over evil. I stopped playing, and there was silence. I suddenly froze in horror. The congregation wanted to go on singing! The deputy head rushed over to me and said, in his characteristic nasal twang: “Why don’t you keep going?” Can Schumann himself have had a voice like that? No, his union with Clara could never have occurred. I recommenced playing. My brain was racing. I was certain I had played through all six verses. Yet, they wanted to go on singing. Why, in Heaven’s name? Now it was a matter of what we would later term crisis control. The power relationships had changed. The congregation was driving the pianist. At the end of each repeat I had to stop, check the faces of those in the front row, and try to interpret whether their expressions meant they were having an asthma attack, needed to go to the boys’ room quickly, or intended to continue singing. For a while I thought I was going mad and that this would go on forever. I ceased counting how many times I banged out the dreary accompaniment. Then, abruptly, after yet another repeat, I noticed a shift in the atmosphere. The congregation had had a surfeit of braying and wanted to sit. As a precaution, I played a tentative chord to test the waters. Maybe I was wrong. Perhaps they were just resting. But I had no takers. Their braying urges had been satisfied. Just as inexplicably as they had continued singing, they now, as one, no longer desired to sing. I had time to blush, feel acutely embarrassed, and wish I were dead.

I soon realised the fundamental error I had made and cursed the thoughtless individual who would write a hymn requiring two melody repeats for each verse. Schumann’s descendant gave me a dirty look, perhaps of the type his manic-depressive forebear would have bestowed late in his descent into insanity. But I was the one wanting to jump off the bridge into the icy Rhine. I knew I was in big trouble and was destined for the private school equivalent of death row. In the event, no punishment followed. They probably thought I had had punishment enough. (I later discovered that this was because the Archbishop of Polynesia, on exiting “Chapel”, had fallen down and broken his hip. Everyone forgot about me.) A few weeks later, I was allowed back on the Bösendorfer, but things had changed forever. I no longer feared the congregation and my mental embellishments on Lazare Levy were now superfluous (I retained them nonetheless for my own amusement). I had been embarrassed as much as any human could be and had come out the other side. I knew my attitude to my audience had dramatically changed. I was back in control of a twelve-cylinder, supercharged Bösendorfer and calling the shots. My performance anxiety had vaporised. Now it was the congregation’s turn to explore the outer realms of fear at the behest of a pianist who was indomitable, implacable, and a mite idiosyncratic. Alas, my performance anxiety eventually returned. I attribute that to Bösendorfer withdrawal since I have not had a Bösendorfer “fix” for many years. I intend to do something about that one day but, in the meantime, I suffer. © 2023 Leon Le Leu

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OTHER ORGANISATIONS’ NEWS & EVENTS AUSTRALASIAN PIANO PEDAGOGY CONFERENCE 2024 Dates : 8-12 July 2024 Venue : Monash University, Melbourne Website : appca.com.au

MITCHAM ORCHESTRA

Rehearsals : Venue : Contact Ph. Email

: : :

The Mitcham Orchestra is looking for lower strings, Oboe and Horns. Saturday afternoons 1.30pm – 4.15pm Cumberland Park Community Centre, 390 Goodwood Rd, Cumberland Park Ros Keynes 8390 3053 rosalind@keynes.id.au

METROPOLITAN MALE CHOIR OF SOUTH AUSTRALIA Theme

: 2023 INSTRUMENTAL/VOCAL Music Scholarship-2023 Metropolitan Male Choir of South Australia Inc. Website : www.mmcsa.org/about/music-scholarships/ The Metropolitan Male Choir Y2023 music scholarship program for solo Instrumental/Vocal performance, is offered to young people with proven musical ability. Applicants must be 12 to 16 years of age on January 1, 2023.

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OTHER ORGANISATIONS’ CONCERTS RECITALS AUSTRALIA WEDNESDAY LUNCH HOUR SERIES Tickets : $10 or online via website, Facebook, or Vimeo for free. Enquiries : Ph. 08 8236 7488 Website : www.recitalsaustralia.org.au for more information.

ELDER CONSERVATORIUM OF MUSIC CONCERT SERIES Lunchtime Concerts Evening Concerts Website : www.able.adelaide.edu.au/music/engage/concert-series Contact : For booking and enquiries: Tel: +61 8 8313 5925 Email : concertmanager@adelaide.edu.au

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

MUSICA VIVA www.musicaviva.com.au/concert-season/

FLINDERS STREET BAPTIST CHURCH Tuesday on Flinders Time : 1:00 pm Entry : Free Website : www.fsbc.asn.au/concerts/

NORWOOD SYMPHONY ORCHESTRA Venue : Norwood Concert Hall Tickets : Adult $20, Concession $15, Children Free Website : www.norwoodorchestra.com/

BURNSIDE SYMPHONY ORCHESTRA Venue : Burnside Ballroom, 401 Greenhill Road, Tusmore 5065 Tickets : $20 Please purchase online Website : www.bso.org.au/concerts-2021/

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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 5952/0423 282 589 abrsmsa@hotmail.com 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 10 Clarence Avenue, Klemzig SA 5087 ADELAIDE CHAMBER SINGERS www.adelaidechambersingers.com/ +61 8 8352 1329 admin@adelaidechambersingers.com ADELAIDE EISTEDDFOD SOCIETY INC. www.sacoment.com/aes/eisteddfod/ Secretary: Jane Burgess adleisteddfod@adam.com.au jane@janeburgess.com.au ADELAIDE HARMONY CHOIR www.facebook.com/adelaidephilharmoniachorus/ Secretary: Sherry Proferes adelaideharmonychoir.info@gmail.com ADELAIDE PHILHARMONIA CHORUS www.philharmonia.net/ ADELAIDE YOUTH ORCHESTRAS www.adyo.com.au/ 8361 8896 Executive Director: Ben Finn claire@adyo.com.au AMEB EXAMINATIONS: SA AND NT www.sa.ameb.edu.au/ 8313 8088 ameb@adelaide.edu.au AUSTRALIAN NATIONAL ASSOCIATION OF TEACHERS OF SINGING (ANATS) ANATS: SA AND NT CHAPTER www.anats.org.au/sant-chapter Secretary: Dianne Spence 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

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

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

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

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

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

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