SA Music Teacher Summer 2019 by Music Teachers' Association of SA Inc.

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

SA MUSIC TEACHER

TABLE OF CONTENTS

Print Post Pub. No 100003224 VOLUME 27 NO 4 – SUMMER 2019

PRESIDENT’S WELCOME by Rodney Smith

CELEBRATING 90 YEARS IN 2020

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COMING MTASA EVENTS PATRONS: Dr Doreen Bridges AM Emeritus Professor David Lockett AM PRESIDENT: Rodney Smith VICE PRESIDENT: Robert Brown OAM SECRETARY: Masako Kondo TREASURER: Samantha Penny AUDITOR: Australian Independent Audit Services COUNCIL 2018/2019: Sofie Arhontoulis, Pete Barter,

MEMBER INFORMATION

OTHER ORGANISATIONS’ EVENTS OTHER ORGANISATIONS'S CONCERTS

WORLD TEACHERS' DAY 2019 by Sofie Arhontoulis

RECENT EVENTS CONCERT PERFORMANCE DAY 2

PIANO LECTURE AND MASTERCLASS WITH VIRGINIA BLACK by Rodney Smith

CELEBRATING 90 YEARS IN 2020: REMEMBERING MTASA’S FOUNDERS AND SOME EARLY HISTORY by Robert Brown OAM

ADELAIDE EISTEDDFOD PIANO ADJUDICATORS’ REFLECTIONS

Robert Boundy, Robert Brown OAM, Naomi Hede, Masako Kondo, Monika Laczofy, Zuoyu Liu, Heather Lander, Yong Cheong Lye, David Metin, Samantha Penny, Rodney Smith, Ian Vayne. EDITOR: Robert Brown OAM Layout: Masako Kondo, Zuoyu Liu MEMBERSHIP ENQUIRIES to the Secretary – PO BOX 4, RUNDLE MALL, ADELAIDE SA 5000 Mobile: 0402 575 219 E-mail: info@mtasa.com.au ADVERTISING – Please contact the Secretary

Please see MEMBER INFORMATION page for Advertising Price List. DEADLINES for 2020

Contributions to SA Music Teacher are most welcome. All items to be included must reach the Editor, Robert Brown OAM (robbrown@adam.com.au) no later than these deadlines: Friday January 31, Thursday April 30, Tuesday July 14, Saturday October 31. SOME CONTRIBUTING GUIDELINES All text is to be submitted to the Editor for review. Italics and inverted commas for quotations - text is to be either in Italics or inside inverted commas, not both. Single inverted commas to be used; double inverted commas only inside single inverted commas. The inverted comma at the end of a sentence is to be inside the fullstop; outside for ! and ? MTASA WEBSITE Please visit http://www.mtasa.com.au/ MTASA FACEBOOK

ADELAIDE PIANIST WINS NATIONAL COLLABORATIVE PIANO AWARD by Damien Mansfield

MUSIC TEACHERS’ ASSOCIATION 22 OF SA INC./GRACE BARBARA TURNER AWARD RECIPIENTS FOR 2019 DO YOU HAVE TO BE AN ACCREDITED MUSICIAN TO PLAY 23 ON THE BIGGEST ROCK STAGES EVER? by Pete Barter HOW TO GET THE MOST OUT OF A MUSIC CONFERENCE by Wendy Zhang, August 21, 2019 25 CONTACT DETAILS FOR OTHER ORGANISATIONS

Please visit the MTASA Facebook page at https://www.facebook.com/The-Music-Teachers-Association-of-SA-Inc883307955101655/

PRESIDENT'S WELCOME If you look at the ‘about us’ section in our MTASA website it lists the two fundamental aims of MTASA as: 1. to provide public recognition of appropriately credentialled private music teachers. 2. to provide suitable professional development for members. Generally, it would be fair to say these are similar for all MTAs in Australia. Recently we have introduced a requirement for all members to undertake a minimum seven hours accountable Professional Development each year. This is in line with thinking across the teaching sector where PD is an accepted way of life. No reputable educational body can publicly proclaim the professional integrity of its members simply through a ‘one-stop’ admission process without ensuring members ongoing fitness to teach as the years pass. Furthermore, producing a string of ‘A’ examination grade passes and/or Eisteddfod prizes doesn’t completely meet the brief either these days. The public demands learning music should be a fulfilling process that enhances a pupil’s life skills and helps pupils contribute positively to society. Ongoing professional development is hugely important, then, as we teachers go on learning and being more creative ourselves. Of course, ours is a freelance profession and so we can’t expect others should necessarily provide PD for us free of charge. But MTASA does arrange at least seven hours of PD each year at a reduced cost for members. And it’s automatically logged into our data base. Consequently, it’s particularly apt that I mention MTASA’s PD afternoon on Sunday November 10 and its Summer Conference on January 23 and 24, 2020. Both offer tremendous value with intersecting themes ‘Practising and Performance: teaching for success’ and ‘Beyond the Instrument: musicianship in private Wouldn’t it be a great step lessons’ that should motivate and inspire. Presenters for both are first rate with our two conference keynotes from interstate forward if they could agree to and overseas bringing reputations in the area of enlivened and consult further within the musically stimulating private lessons. framework of a lightweight By the time you read this I will have completed my term as Federal system through which MTASA’s President at the Annual General Meeting on November they could all speak with a truly 10 which follows the PD afternoon already mentioned. It has united voice? been an honour to serve MTASA over the past four years and I can honestly say that MTASA is in fairly good shape as it moves forwards with a new President. All Australia’s MTAs have made strides recently in meeting the changing demands of education and increasingly they consult over long-term initiatives. Wouldn’t it be a great step forward if they could agree to consult further within the framework of a lightweight Federal system through which they could all speak with a truly united voice? MTAs in Australia seem so isolated in lacking the Federal structure enjoyed by their cousins in AUSTA, ASME, ANATS and many other similar organisations, not to mention overseas organisations such as ISM in the UK and MTNA in the USA. Others have tried to move in that direction during past years and I was associated with both the now ceased FAMTA and IMT schemes. Perhaps their lack of long-term success is a disincentive for the MTAs to try again. But surely, if so many others can do it, is it not time to look again at ways and means for us to achieve a more influential voice in the education and arts scene?

My very best wishes for an enjoyable Christmas season and a successful 2020.

Rodney Smith, President November 3, 2019

COMING MTASA EVENTS MEMBER INFORMATION

Celebrating 90 Years

NEW MEMBERS

January 22/23, 2020

Summer Conference Venue: Hartley Building, University of Adelaide Beyond the instrument: musicianship in private lessons

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.

How can we possibly cram in extras like aural, theory and improvising into a single instrumental lesson? Isn’t learning exam pieces or band parts enough to cope with in a half hour? But some teachers seem to manage it. How do they find time? What do they teach? And how do they integrate it all? The MTASA Summer Conference will explore these issues using experts to outline their ways and means. In addition, there will be plenty of more familiar events such as master classes, concerts and presentations by members. Start the 2020 teaching year with an abundance of new ideas. Join us. Tickets available from our website, or enter via eventbrite.

The following teaching rates are recommended to members by the MTASA Council for 2019/2020.

April 4

Full Member - $75 per hour Associate Member - $64 per hour Student Member - $48 per hour

Concert Performance Day 1 Venue: Salvation Army Citadel, Norwood Tickets will be available from our website. 5

Leah O'Rouke Full member, P, S, C, T, Harp Wendy Heiligenberg Full member: V, Vo, Chamber Music, Alexander Technique Yuxin (Melody) Men Full member, V, HIS, M, T Beth Lyon Full member, Sax Alan Aungles Full member, F, C, Sax

RECOMMENDED TEACHING FEES

MTASA MEMBERSHIP FEE INCREASES MTASA membership fees have been increased. This allows the Association to continue providing a sustainable service for its members. The new membership fees are: Full member $122 Student $62 Friend $32 Institution $32

MTASA MEMBERSHIP RENEWALS Membership Subscription Renewals for 2019/2020 were 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 2019/2020 financial year. If you didn’t receive an e-mail please check your spam folder. You can log in at any time to renew your membership. If it seems that you didn’t receive an e-mail, have forgotten your username or are having problems logging in please contact Masako Kondo (info@mtasa.com.au). Paper invoices will be sent to members who prefer to receive them.

NEW MUSIC DIARY Selling for $7 each, the proceeds support MTASA. The Music Diary features dayto-a-page journaling, staves for each week, holiday challenges and games every ten pages, with space for personal notes, lists and goal setting. Visit https://mtasa.com.au/mtasamusic-diary/ for more information.

June 27

Competitions Day Reimann-Robinson Scholarship Norman Sellick Memorial Prize Venue: Flinders Street Baptist Church Tickets will be available from our website

August 2

Concert Performance Day 2 Venue: Flinders Street Baptist Church Tickets will be available from our website

November 15

AGM Venue: TBA

WORKING WITH CHILDREN CHECK (WWCC) New Legislation regarding Child Protection was introduced with effect from September 1, 2019. A ‘Police Check’ is now known as a ‘Working With Children Check’ (WWCC). The Working With Children Check is the most comprehensive check that exists. Anyone found guilty of breaching this legislation can be fined up to $120,000. People working or volunteering with children in South Australia must, by law, have a Working With Children Check. A DHS/DCSI child-related check will be recognised as a Working With Children Check until it expires. People need a Working With Children Check if they are in a ‘prescribed position’. This means people who are in paid or volunteering roles where it is reasonably foreseeable that they will work with children; run or manage a business where the employees or volunteers work with children; are employed to provide preschool, primary or secondary education to a child. A Working With Children Check is needed for all schools (Government, Catholic and Independent). If your church, club or association has significant membership of (or involvement by) children, the people delivering the services/activities need a Working With Children Check. This may include: Churches of all denominations; Scouts and Guides; Sport and recreation clubs; Cultural or artistic schools/service providers (e.g. theatre, music, dance, arts and crafts). What is a Working With Children Check? It is a checking process undertaken by the Department for Human Services (DHS) Screening unit. It involves checking the person’s criminal history and any other relevant information that is lawfully available to the Screening unit. It can include information from the police, courts, prosecuting authorities, child protection and professional registration bodies. A Working With Children Check assesses whether a potential employee or volunteer could pose a risk to the safety of children, based on criminal history and child protection information. Some of the main changes with regards to volunteers are: WWCC are valid for five years; the current police checks for registered volunteers will be valid until their expiry date but then WWCC will be required; the clearance letter sent out will identify if the WWCC is for employment or volunteering; anyone 14 years of age and above requires a WWCC; anyone aged 80 years or over is no longer excluded and now requires a WWCC. If an existing volunteer allows a police check or WWCC to lapse, they will not be allowed to do any volunteering until a new WWCC has come through. For further information go to https://screening.sa.gov.au/types-ofcheck/new-working-with children-checks.

Educators SA

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

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

Hotel Grand Chancellor Adelaide offers an exclusive accommodation deal for 2019. This includes WiFi, welcome drink cards on arrival, a uniquely South Australian gift and the paper daily. Go to https://www.grandchancellorhotel s.com/hotel-grand-chancelloradelaide to book! Enter the promo code EDSA to access the member exclusive rates and offers.

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

MTASA MEMBERSHIP NOTES Visit http://mtasa.com.au/index.php/me mbers/become-a-member/ to join MTASA. Current Full, Student or Associate Members are not required to submit any supporting documentation to continue their MTASA membership. Anyone applying for Full Membership (either Tertiary Level Qualification and Study or Recognition of Prior Learning and Experience) or Student Membership for the first time must fulfil all of the requirements listed and submit the appropriate supporting documentation. Associate Membership is no longer being offered but those who were Associate Members on September 24, 2017 can continue their membership provided they remain as financial members. Full Membership (Recognition of Prior Learning and Experience) has replaced General Membership. MTASA Members are always encouraged to write to the Secretary about any concerns that they may have. The MTASA Council will consider your request.

OTHER ORGANISATIONS' EVENTS

SOUTH AUSTRALIAN MUSIC CAMP 2020 South Australian Music Camp 2020 will be held in July. The Camp offers instrumentalists aged from nine to twenty-three years an opportunity to play in one of five orchestras or concert bands which cater for a wide range of ages, standards and levels of experience. The daily routine includes a mixture of tutorials and rehearsals. State Music Camp will culminate with a concert that showcases the achievements of the five ensembles. For more information please visit the website at www.samusiccamp.net.au. Auditions will be held towards the end of Term 1.

AUSTRALIAN YOUTH ORCHESTRA

From Symphonic Greats to exciting contemporary music, there’s something for everyone at the Adelaide Youth Orchestra’s Summer Concert Series! Joined by a stellar line-up of guest artists including renowned conductors Matthew Coorey and Tze Law Chan, violinist Natsuko Yoshimoto and didgeridoo virtuoso William Barton, some of the country’s best young musicians will come together to combine their enthralling energy and passion for music in a series of performances at Elder Hall in January 2020. Visit https://www.ayo.com.au/content/ayo-summerconcert-series/gjge0u for more information.

EISTEDDFODAU AND SCHOLARSHIPS 2020 ADELAIDE EISTEDDFOD Entries for the 2020 Adelaide Eisteddfod will be via Stardom; go to http://www.stardom.com.au/. All of the participating competitions can be viewed from the Homepage. To enter a competition you will need to be registered to login. Visit the Adelaide Eisteddfod website at http://www.sacomment.com/aes/eisteddfod/ to read the General Rules and look for any news. Entries will close on April 9 at 5 pm. No late entries will be accepted. Divisions being offered in the 2020 Adelaide Eisteddfod will include Choral, Vocal, Piano, String, Guitar, Flute, Woodwind/Recorder, Brass, Eisteddfod Ensemble Event and Eisteddfod Concerto. Entry in the SA Final of Young Virtuoso, offered by the Australian Fine Music Network of community radio stations, is through the Adelaide Eisteddfod. The winner of the National Final will receive the Young Virtuoso Scholarship of $5,000. The adjudicators will select the SA finalists through Recitals offered via the Vocal, Piano, String, Guitar, Flute, Woodwind, Recorder and Brass Divisions. The SA Final for Young Virtuoso will be held on Sunday October 11, 2.30 pm, at St John’s Church, Halifax Street, Adelaide. The prizes for the SA Final will be: Vocal Prize: $600; Instrumental Prize: $600, SA Finalist Prize: $1,100. The National Final will be held in Canberra in November.

24th BALAKLAVA EISTEDDFOD The 24th Balaklava Eisteddfod will be held from July 31 to August 2, 2020. Disciplines included are Instrumental Ensembles, Bands, Choirs, Vocal Ensembles, Vocal, Musical Theatre, Contemporary Vocal, Instrumental, Piano, Speech and Drama and the Finale Concert including adjudication of the ‘Adelaide Plains Male Voice Choir’ Vocal Scholarship. Visit http://www.balaklavaeisteddfod.org.au, the Facebook

REQUIRED PROFESSIONAL DEVELOPMENT FOR FULL MEMBERS OF MTASA MTASA is introducing a Professional Development scheme for Full members. The scheme is designed to underpin and enhance MTASA’s established reputation for the professional excellence of its members, ensuring its standards are fully compliant with current educational expectations. These are clearly outlined in the Australian Professional Standards for Teachers and similar documents. Commencing July 1, 2019 Full members will begin accumulating their seven hours of Professional Development. From July 1, 2020 onwards Full members will be required to submit a pro forma declaration confirming that they have undertaken at least seven hours of Professional Development in the previous 12 months. The declaration will also require Full members to confirm their willingness to provide MTASA with evidence of their PD for that year if requested by the Secretary. Such requests will be made occasionally at random to ensure the integrity of MTASA’s requirements. MTASA will itself continue to provide at least seven hours of PD each year and members’ attendance at these sessions will automatically be recorded by MTASA.

TEACHERS OF THEORY/MUSIC -IANSHIP

WHY ENTER AN EISTEDDFOD?

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

POSTNOMINALS

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

METROPOLITAN MALE CHOIR ANNUAL MUSIC SCHOLARSHIP FOR 2020 The Metropolitan Male Choir Annual Music Scholarship will be offered again in 2020. Applications from young musicians are invited from May/June onwards each year with auditions usually held in September. Visit http://www.mmcsa.org/about/music-scholarships/ for more information.

OTHER ORGANISATIONS' CONCERTS

RECITALS AUSTRALIA

ELDER HALL CONCERTS 2020

Wednesday Lunch Hour Series, Pilgrim Church, 12 Flinders Street, Adelaide, at 12-30 pm. Two half hour recitals with high calibre new and experienced musicians. Adults: $5 for both recitals. Tickets at the door. Enquiries, 0432-114-127. Visit https://recitalsaustralia.org.au/ for more information. Lunch Hour Concert Series, Fridays, 1-10 pm. General admission: $12. Gold Pass Subscriptions available. Evening Concert Series. 6-30 pm. Ticket Prices: $30 Adult; $24 Concession; $19.50 Student. Visit www.elderhall.adelaide.edu.au for more information.

IN MEMORIUM Former Council Member of MTASA Toni Spinks died on June 20, 2019, aged 87 years.

EVENT VOLUNTEERS NEEDED Enthusiastic volunteers are needed to help with various jobs at MTASA events. Tasks include setting up chairs, tables and piano, helping with registration at the check in table, ushering, assisting performers, helping with morning tea, lunch and afternoon tea, and packing up afterwards. It is a great way to network and a volunteering certificate will be provided, which will enhance your CV! For more information please email the Secretary, Masako Kondo, at info@mtasa.com.au.

ADVERTISING PRICE LIST

WORLD TEACHERS' DAY 2019 By Sofie Arhontoulis

For the SA Music Teacher for 2020

INSERTION FEE FOR POSTERS AND FLYERS One issue $102. Four issues $366. Advertisers have two choices: 1. To provide the inserts, 2. To provide the artwork, MTASA will arrange the printing and invoice for this. Members placing an ad are entitled to a 15% discount.

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

Samantha Penny with her award

With the Education Minister John Gardner

On October 25 Educators SA’s World Teachers' Day 2019 Celebration was held at the Grand Chancellor Hotel, and attended by our Counci members Sofie Arhontoulis and Samantha Penny. We congratulate Samantha Penny, who was honoured with an award for outstanding contribution to the teaching profession in SA from The Music Teachers’ Association of SA. Samantha is recognised for her excellence and dedication in bringing together the music community of Adelaide to network and collaborate, leading the Association through the development and implementation of the Strategic Plan. She initiated the new MTASA Expo, dedicated her services as Treasurer, and designed an MTASA Branded Instrumental/Vocal Music Diary where profits from sale go directly back into the Association. Samantha is a respected Instrumental Teacher of 20 years in Bassoon, Violin, Viola, Flute and Cello, and Ensemble Director, delivering a wide range of school band and string programmes throughout South Australia.

Musical Instrument Hire and Repair mountfordmusic.com.au Email sales@mountfordmusic.com.au Phone 0408 944 034

RECENT EVENTS CONCERT PERFORMANCE DAY 2 Held: August 25, Westminster School Band Room, Alison Avenue, Marion.

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

TEACHING IN THE COUNTRY

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

From Top: Elizabeth Koch AM talks to the audience, Performers 1, Performers 2, Performers 3, Rodney Smith thanks the performers and helpers

PIANO LECTURE AND MASTERCLASS WITH VIRGINIA BLACK Held: August 31, Madley Rehearsal Studio, University of Adelaide by Rodney Smith

Virginia Black

This event took place in the Madley Rehearsal Studio, University of Adelaide, and drew an enthusiastic group of listeners and performers, all interested to know more about ‘Baroque Repertoire played on the Piano’. Black is one of a small group of performers with top credentials as a pianist and a harpsichordist as well as a serious reputation as a teacher, having been Chair of London’s Royal Academy of Music Postgraduate Programs.

She didn’t disappoint. Admirably succinct and clear in her explanations, she first presented and then applied in masterclass both principles and practice that she believes should inform all pupils starting out on their explorations into Baroque music. She countered the often heard cry from both teachers and pupils, ‘But how can I achieve that on a piano … it’s all very well if you have a harpsichord … by asking “Did you know that Bach probably intended it to sound like …?” ’ Familiarity with Baroque practice was her strong point and her carefully delivered information proved highly informative and enjoyable. The following young players performed music by Bach with polish and creativity during Black’s masterclass: Eugene Wei - ‘Prelude and Fugue in C#, Book 1 BWV 848’ Royce Wong - ‘Sinfonia 15 in B, BWV 801’ Samantha Li -‘Toccata in E, BWV 914’ Danny Ha - ‘Invention 13 in A, BWV 784’ Cyrus Nuthakki - ‘Capriccio from Partita No 2 in C, BWV 826’ Alex Forbes - ‘Movements from French Suite No 5 in G, BWV 816’ MTASA is very grateful to their teachers Monika Laczofy, Rodney Smith, Gil Sullivan and Diana Weekes, for their expert training and assistance in providing such a talented group of players.

Virginia Black working with Eugene Wei Virginia Black with Sofie Arhontoulis

CELEBRATING 90 REMEMBERING MT AND SOME EARLY BY ROBERT BROW

YEARS IN 2020: ASA’S FOUNDERS HISTORY N OAM

During 2020 we will be celebrating the Music Teachers’ Association of South Australia’s 90th Anniversary. This article is to acknowledge the contributions made by the MTASA’s founders and to outline the events that lead to the establishment of MTASA.

THE FOUNDERS Immanuel Gotthold Reimann was born near Hahndorf in 1859 and received his first musical instruction at the Hahndorf Academy. Gotthold left for Germany in 1880 to further his musical education. He went to Berlin, where he studied with Theodor Kullak and Hans Bischoff at the Neue Akademie der Tonkunst, and later at the Berlin Gotthold Reimann Conservatorium with Xaver Scharwenka. Having gained his diplomas Gotthold returned to Adelaide in 1883 to begin his pioneering work with music education in South Australia. He founded the Adelaide College of Music in October 1883. This was in Wakefield Street, located between St Stephen’s Lutheran Church and Frome Street. Cecil Sharp (later involved with folk song collecting) was Co-Director from 1889-92. Otto Fischer and Guli Hack taught singing. Gotthold encouraged other German musicians to come to South Australia to teach at the College. Two of these musicians stayed and contributed greatly to Adelaide’s musical life, Hermann Heinicke, violinist and founder of Heinicke’s Grand Orchestra, and first Conductor of the Elder Conservatorium Orchestra, and ‘cellist and pianist Hermann Kugelberg. The new College quickly gained repute and by 1896 had 250 students. Gotthold’s gentleness made him a popular teacher, his strongest criticism being ‘Mein Gott, mein Gott, what a row’! He was the organist at Bethlehem Lutheran Church, Flinders Street, and the Bachmann Organ that he brought from Germany was installed in the church.

E. Harold Davies

Edward Harold Davies was born in 1867 at Oswestry in Shropshire, England; the third son of John Whitridge Davies, an accountant and amateur musician. Harold attended Oswestry Grammar School. He was then apprenticed in architecture and studied music with Joseph Bridge at Chester Cathedral. He followed his brother Charles to South Australia, arriving in January 1887. Charles was organist at the Gawler Congregational Church.

He died on March 1, 1889 at Gawler, aged 25 years, soon after returning from a visit to England. Sir H. Walford Davies (18691941), Master of the King’s Music from 1934 to 1941, was Harold’s younger brother. Harold became organist and choirmaster at Christ Church, Kapunda and conducted musical societies there and in Gawler. He went to England in 1890 for the purpose of attaining the Associate of the Royal College of Organists and was organist and choirmaster at the Chapel Royal, Windsor Park for six months. Following his return to South Australia Harold was appointed organist at St Peter’s Church, Glenelg, and then went to St Paul’s Church, Adelaide. From 1897 until 1919 he was organist and choirmaster at Kent Town Methodist Church. Harold studied at the University of Adelaide, graduating with a B.Mus. in 1896 and D.Mus. in 1902, the first to be conferred by an Australian university. He taught the piano, organ, singing and composition privately and, later, class singing at Methodist Ladies College. In 1902 Harold founded the Adelaide Bach Society, which he conducted for twenty years. He played a leading role in the teaching and examination of music and was involved with the founding of the Australian Music Examinations Board and its university antecedents.

In 1897 Sir Thomas Elder’s bequest of £20,000 ($40,000) enabled the foundation of a Conservatorium at the University of Adelaide. Joshua Ives came from England in 1885 to initiate the Bachelor of Music course at the University of Adelaide. In 1898 Gotthold accepted Prof. Ives’ proposal to merge his College with the about-to-be-formed Elder Conservatorium of Music, forming its nucleus. For over thirty years he was the Conservatorium’s Chief Piano Teacher and Acting Director in 1927. For the first two years of its existence the Elder Conservatorium was located at the Adelaide College of Music’s premises in Wakefield Street while the Conservatorium building was erected at Adelaide University, and then opened in 1900. Gotthold helped to shape the curriculum for music studies at the University of Adelaide and was a long-term advisor and editor of music for the AMEB. He returned to Europe periodically to keep up with the latest developments and innovations in music education. Gotthold owned one of the finest collections of piano music in Australia.

MTASA’S PREDECESSOR An earlier organisation, the South Australian Music Teachers’ Association, seems to have been established in 1907. A report in ‘The Register’ on March 14, 1910, refers to the ‘third annual general meeting of the South Australian Music Teachers’ Association’. ‘The Register’ reported on December 16, 1907, ‘On Saturday evening members of the South Australian Music Teachers’ Association met at Bricknell’s. Mr C.J. Stevens presided. The meeting took the form of a conference, and there was a good attendance. The date chosen proved a week too early for country teachers, whose presence had been specially invited, but about a dozen came from Clare, Moonta, Wallaroo, Kapunda, and other important towns, and most of these gave in their names for membership. In all, 16 new nominees were

CELEBRATING

YEARS

received, and five nominees of the previous meeting were elected. It was decided to hold a conference on the first Saturday in July in each year in order to give country teachers better opportunity to attend. The President (Mr C.J. Stevens) and the secretary (Mr E.E. Mitchell) by a unanimous vote were nominated as the association’s representatives on the Faculty of Music at the University. Messrs. W. Hambidge and W.K. Hill were appointed auditors for the year’s accounts. The secretary gave motion of notice of alterations in rules Nos 1 and 2. After the formal business, the President welcomed the visitors. He reviewed the work for the year and expressed himself as sanguine respecting the usefulness of the association. Various reforms had been suggested to and urged upon the University council. So far there was little definite response in these respects, but the association intended to persevere. A largely increased membership was urgently required. Though there were now 130 members, that number should be tripled. He was glad to see indications of that being brought about. When teachers understood better the aims of the association, they would join quickly enough for their own sakes'. 'Dr E. Harold Davies spoke of the need for registration of music teachers. It might be either protective or penal; that was, it might (a) simply aim at supplying an authoritative list of qualified teachers without restraining the unqualified from practising, or it might (b) provide legal penalties to restrain the unregistered. The former method seemed preferable and easier of application. Every reputable teacher would become registered, and the better class of the public would rapidly learn to discriminate and learn to ignore the unregistered. It was proposed to admit to the register all teachers who had been teaching for a year or two years prior to the passing of the Act; but, to accelerate the benefits of the Act, the first registration might be provisional, and a second and final registration might be made at the end of three or perhaps five years, in which, the special qualification required could be insisted upon, at least for all teachers under a given age limit, say, of 40 or 45 years. It would devolve upon teachers to secure from responsible bodies such certificates as might be properly recognised, for example, any degree or diploma in music granted by a chartered university, any diploma or higher certificate issued by the Associated Board of the R.A.M. and R.C.M., or of either separately, or of the Royal College of Organists, or of Trinity College, London. The question of adopting more than one grade were worthy of consideration'. Details of further meetings were covered by ‘The Register’. ‘The annual meeting’ for 1909 held on March 3 was reported on March 8; ‘Mr W.R. Pybus presided over a large attendance’. ‘The Secretary (Mr. Ernest Mitchell)’ read his report and stated that ‘our aims are worthy of support’ and ‘the prospects of future success are assured’. Dr Davies was elected Chairman. Taking the chair, he ‘thanked the members for the honour done him … he briefly spoke about ‘ethics of association … the basics of an association must be that of common helpfulness and support. Each member should gladly serve the others according to his abilities. All should contribute something to the common prosperity, even if it be only a regular attendance. By way of perversion of this ideal some were incited to ask, “What can I get out of it?” That should not be the aim of those united in such an association as this. Rather should it be, “How much can I put into it?” Then, certainly each would get out of it at least as much as he put in. The speaker urged those present to realize a strong sense of personal responsibility for the success of the Association’.

2020

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‘The Register’ listed speakers at the ‘third annual general meeting’ in 1910: ‘’The Director of Education (Mr Alfred Williams) gave an address “upon the need for registration of teachers”; Prof. Ennis, Mus.Doc. lectured upon “Beethoven - his life and works”; and the Rev. Brian Wibberley discoursed of “The musicians of Robert Browning”; a lecture upon “Westminster Abbey - its history and its organists”, had been given by Mr John M. Dunn, and the Secretary [Mr Ernest. Mitchell] gave an address upon “the ethics of teaching”. A 'plea by the South Australian Music Teachers’ Association for the registration of music teachers’ appeared in ‘The Register’ on June 10, 1909. ‘The proposed indicates - after full and careful deliberation - the unanimous resolution of the association, which is fairly representative of the musical profession. It is intended to request Parliament to pass an Act providing for voluntary registration of persons qualified to impart instruction in the musical art, with a distinctive grade for an advanced course, but, in order not to inflict hardship, teachers who have been practising for six months prior to the enactment would be entitled to enrolment irrespective of their qualifications or lack of qualifications. Should the voluntary system ultimately prove ineffective, the way would be prepared for compulsory registration’. The registration of music teachers was not enacted by the South Australian Parliament at this time. The activities of the South Australian Music Teachers’ Association seem to have ceased in the period just before the outbreak of the ‘Great War’ in 1914. The last reference discovered by the author appeared in ‘The Register’ on March 6, 1911; this concludes by announcing that ‘in the April meeting Herr Reimann would give an address on the work of Heinrich Germer’.

HAROLD DAVIES BECOMES THE PROFESSOR OF MUSIC Harold was appointed Professor of Music at the University of Adelaide in March 1919. His predecessor, Matthew Ennis, died on May 31, 1921, aged 54, and was buried at West Terrace Cemetery. A memorial was ‘erected as a tribute of respect by members of the musical profession and friends’. Following his appointment Harold worked to raise the standards for all courses at the Elder Conservatorium. He soon expanded the faculty by appointing new teachers: William Silver, George Pearce and Maude Puddy (piano), Sylvia Whitington (violin and viola), Hilda Gill (singing), Stanley Baines (flute) and W.H. Foote (woodwind, orchestral playing). In 1920 Harold founded and conducted the South Australian Orchestra (later conducted by W.H. Foote), which evolved into the Adelaide Symphony Orchestra in 1936. In the late 1920s he was a member of four expeditions to Central Australia undertaken by the University Board for Anthropological Research, and was the first person to record, transcribe and write about aboriginal tribal songs. In 1931, along with Bernard Heinze and W. Arundel Orchard, he was elected a Fellow of the Royal College of Music, London, the first Australians to be accorded this honour. Harold was devoted ‘to the cause of promoting musicianship and the appreciation of music’ and ‘seized every opportunity of securing publicity in the press both for his cause and for his institution’ and by giving public lectures and radio broadcast talks on ‘music and on more general cultural and philosophical matters’.

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He also wanted to raise the standards of music teaching in South Australia and invited music teachers from the city and country to attend a Music Teachers’ Conference at the Elder Conservatorium from July 11-14, 1921. Over 200 teachers attended the conference. Lectures and demonstrations were given by Conservatorium staff and other leading teachers, which were reported in the daily newspapers. At the end of the Conference there was a resolution to ‘form a society with the object of endeavouring to secure the registration of music teachers, and in other ways to safe-guard their interests’. Harold Davies offered more Music Teachers’ Conferences during the 1920s. He had suggested that a Music Teachers’ Association could take over organising these conferences.

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Dame Nellie Melba died in Sydney on February 23, 1931, aged 69. Memorial events for Melba were held in many parts of the world. The Musical Association organised a tribute to Melba which was held on Sunday March 22 at the Adelaide Oval, with a crowd of over 50,000 people. There was a choir of 3,000 voices, a 250 piece orchestra and many bandsmen for this event. The oration, written by Harold Davies, was read by James Anderson. Among the items performed were ‘Song of Australia’, Handel’s ‘Largo’, ‘Hallelujah Chorus’ and ‘Dead March’ from Saul, two hymns ‘Jesu Lover of My Soul’ and ‘O God, Our Help in Ages Past’, ‘The Long Day Closes’, Elgar’s ‘Pomp and Circumstance March’ and ‘The National Anthem’. This was a unique occasion and the largest event organised by the Association. The Musical Association was renamed The Music Teachers’ Association of South Australia in 1945. In the early 1950s the MTASA Council had hopes that the registration of music teachers would finally be achieved but again this did not come to fruition.

Attendees at the Music Teachers’ Conference, July 11-14, 1921

THE FOUNDATION OF THE MUSIC TEACHERS’ ASSOCIATION It took some time before there was any further action to establish ‘a society’. A meeting was held at Harold Davies’ home in Hutt Street on March 15, 1930 to discuss the formation of a Music Teachers’ Association in South Australia. Prof. Davies chaired the meeting, and those present were John Dempster, Gotthold Reimann, Wallace Packer, Thomas Grigg, John Dunn and G.H. Allan (Secretary). This was the first of five meetings; Gotthold Reimann chaired the last two meetings. The Musical Association of South Australia was founded on June 11, 1930 at a general meeting of music teachers held in the Banqueting Room of the Adelaide Town Hall. Harold Denton moved that the Association be formed, and Peter Bornstein seconded. A General Meeting held on July 16 at the ANA Hall in Flinders Street ratified the Constitution. Gotthold Reimann was elected as the first President, with John Dunn - Vice-President, C.H. Mates - Secretary, Elsie Willsmore - Treasurer, and Misses W. Eitel and K. Cook, John Dempster, Thomas Grigg, Hooper Brewster-Jones, Ernest Mitchell, Wallace Packer and Arthur Williamson as Committee Members. Harold Davies decided not to be involved in the management of the new organisation and was invited to be the Patron. The first meeting of the Musical Association was held on August 30, 1930 at Lady Colton Hall in Hindmarsh Square. Gotthold Reimann spoke about the piano duet and played some examples with Mrs E. Shoebridge. Aussia Reka and Charles Gordon presented some vocal solos, Elsie Willsmore played Chopin, and Hilda Reimann, H. Kugelberg and Captain Hugh King performed Beethoven’s ‘C minor Trio’, Opus 1.

Lady Colton Hall, Hindmarsh Square

Gotthold Reimann died on March 19, 1932, aged 73 years. Members of the Musical Association of South Australia, former students of the Adelaide College of Music and associates donated money for a headstone to be erected on his grave at West Terrace Cemetery as a lasting tribute for his many contributions to music education. ‘The Australian Musical News’, May 1932, wrote that ‘For 57 years he exercised a wonderful influence over the musical life of South Australia’.

Reimann Headstone, West Terrace Cemetery, Road 5, Path 25, west side

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Harold Davies was intending to retire (when a replacement professor was found) but before he could do so died of a heart attack on July 1, 1947, aged 79. He was cremated at the West Terrace Cemetery Crematorium and his ashes were interred at Willaston Cemetery where his brother Charles was buried 58 years before. The Music Teachers’ Association Council noted with regret the passing of their Patron and founder. Harold Davies is remembered for his continual insistence of high standards for music education, creating a professional orchestra in South Australia and encouraging the establishment of the Music Teachers’ Association. He prepared ‘The Children’s Bach’ for publication in 1933 (Allans Music). As a result, generations of young pianists have discovered and learned to play and love the music of J.S. Bach; a wonderful continuing legacy.

Davies Headstone, Willaston Cemetery, Section 4, Row B

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Sources of information: 'The Register’, periodic reports from 1907-1911 about the South Australian Music Teachers’ Association; ‘1930-1990, A History of the Music Teachers’ Association of South Australia Inc.’, Nina Murton 1990; ‘More Than a Musician, A Life of E. Harold Davies’, Doreen Bridges, ASP 2006; ‘The Language of Human Feeling, A Brief History of Music in the University of Adelaide’, V.A. Edgeloe 1984; ‘From Colonel Light into the Footlights’, edited by Andrew McCredie, Chapter 21, ‘Music Education in South Australia 1936-1984’, Malcolm Fox, Pagel 1988

ADELAIDE EISTEDDFOD PIANO ADJUDICATORS’ REFLECTIONS REFLECTIONS by Glenn Riddle It was a pleasure to be invited to adjudicate the Adelaide eisteddfod in 2019. It is encouraging that the Eisteddfod sees fit to engage a disinterested interstate adjudicator, one who is neither already familiar with the young performers nor connected with the teachers who present their students. As far as is possible this ensures unbiased judgements. As adjudicators we can never guarantee to give the ‘correct’ results; we can only endeavour to offer our personal subjective responses to the best of our ability, in the fairest possible way, while hopefully providing encouragement and some positive feedback along the way. (And moreover, hope that it is received in such spirit). Consistently the performances throughout the eisteddfod were strong, reflecting careful and sustained preparation and I never once had to revert to that dreaded option of needing to withhold a prize.

Glenn Riddle with some competitors

Many students presented in multiple sections, so it was always interesting to hear them with their various strengths in differing genres and styles. The venues and pianos provided were of exceptional quality - allowing the students to perform at their best. As an adjudicator and examiner I always try to remain cognisant of the fact that pianists, unlike their instrumental brothers and sisters, are required to immediately adapt both to an unfamiliar instrument, its differently weighted touch, different sound, different-feeling pedals and even a different type of piano stool to that on which they are accustomed at home. It was enormously encouraging to see so many entries in the duet sections - where we heard works for 4, 5 and 6 hands from students who in some cases seemed to have been learning for maybe only a few months! It is wonderful that teachers, and the eisteddfod, are encouraging such ensemble work, since playing the piano as personally rewarding as it is - can often be a lonely endeavour. Similarly, the concerto section at the other end of the learning spectrum - witnessed many professional-level performances, aided by adept and sympathetic associate artists. For many years now I have restricted my adjudicating and jury duties exclusively to interstate and overseas competitions. This year I headed also to the Toowoomba Eisteddfod in Queensland and in December I head to Christchurch in New Zealand for their National Piano Concerto Competition. It is always interesting to hear how different repertoire gets played in different parts. In Adelaide, I distinctly recall a wonderfully buoyant ‘Polka’ by American composer Amy Beach from her Children’s Album, Opus 36. And in the duets I heard a riveting performance of a ‘Spring Festival Overture’ from an album of Chinese duet music that was totally new to me. Of course, I immediately rushed to purchase these engaging works. (In Toowoomba I heard a terrific work ‘Lucky 13’ by Australian composer John Peterson. A well-crafted, rhythmically vital - written in 13/8 - and thoroughly engaging work for any early-teenage boy or girl). Perhaps readers are thoroughly familiar with all these works already, but alas I wasn’t, but I am delighted that they have all now entered my teaching repertoire. As always, it was a delight to hear the youngest, bright-eyed and immaculately-dressed, neophyte performers, perhaps giving their first public performances in front of what were enthusiastic audiences. But equally, in the more senior sections, it was a privilege to hear what were riveting performances of substantial works by Beethoven, Chopin, Liszt, Ravel and Carl Vine that would delight any adjudicator or audience member. Clearly there is much wonderful teaching, and musical nurturing, going on in Adelaide and beyond. I certainly enjoyed the professionalism of the volunteer support staff who made the event run so smoothly. As both teacher and adjudicator, I am always extremely grateful to the volunteers - for without them, eisteddfods and the valuable performance opportunities that they provide, would cease to exist. The role of eisteddfods in the musical development of our young musicians can never be over-stated. Therefore a molto bravissimo to Jane Burgess and her team is in order! Long may the Adelaide Eisteddfod continue to support such young, enthusiastic talent!

ADELAIDE EISTEDDFOD EISTEDDFOD PIANO ADJUDICATORS' REFLECTIONS - CONT'D

REFLECTIONS by Dr Antony Hubmayer It was my pleasure to recently adjudicate the 2019 Adelaide Eisteddfod Piano Division and what a marvellous two weeks of music making was presented by our hundreds of young performers. I witnessed high standards of personal performance across being matched by a healthy spirit of appreciation and support for all performers. As an educator, I am a firm believer in the motivational and personal learning value of musical competitions and performance festivals. Although I do not wish to linger on the merits and abuses of musical competitions, I am respectful that the ‘psychology’ of competitions can cause philosophical division. I believe the Adelaide Piano Eisteddfods have created a healthy balance between providing critical feedback and respectfully acknowledging achievement ranking.

Dr Antony Hubmayer with some competitors

My advice in feedback across all divisions comes down to being musically expressive and in control of whatever work you are presenting. A simple question every performer should be able to answer is ‘what am I saying in this piece?’. This transformative perspective from being a ‘do-er’ to a ‘say-er’ realigns their focus to conveying their intention through using their technical skills. Accuracy is always important within competitions and performances but having something expressive and insightful to share with your audience, and in this instance the adjudicator, is often the difference between a good and a very good performance when it comes to ranking. Common feedback themes were; maintaining steady pulse, dynamic levels, hand volume balance, knowing where the melody line is, softening accompanying figures, consistency with phrasing, slightly stressing the first note of two note slurs, shaping the dynamics within a melodic phrase, bringing out top note of chords/octaves (balance), not breaking chords (across both hands), points of style. Regarding repertoire, the AEMB repertoire lists were predominant but it was pleasing to hear the ‘new-age’ styles of minimalist music being performed. My wish list for future directions would include a balance of improvisation and jazz-based music as well as own compositions. I thoroughly enjoyed the duet and trio section and encourage studio teachers to design opportunities for their students to experience this social aspect of music making in preparation for accompanying roles into the future. So, in closing, congratulations to our performers who have undertaken many hours of preparation to be ready to present their performance skills in a public forum where their expressive and technical skills are ranked against other performers. Next, and most importantly, many thanks to our community of piano teachers who with the support of parents, nurture and encourage young performers along their musical journey. Your passion, vision, encouragement and drive are critical for our next generation of trained musicians. Finally, such events do not occur without ‘Champion’ organisers and Jane Burgess and her team of volunteers continue to do an outstanding job of making the impossible, possible.

THE ACCOMPANISTS’ GUILD OF SA INC. Celebrating the art of the accompanist and collaborative pianist ADELAIDE PIANIST WINS NATIONAL COLLABORATIVE PIANO AWARD BY DAMIEN MANSFIELD The panel of adjudicators, Diana Harris OAM, Keith Crellin OAM and Dean Newcomb, was chaired by David Miller AM, Head of Ensemble Studies at the Sydney Conservatorium. Although competition was intense, with outstanding performances from all finalists, it was not difficult to accept the judges’ choice of MEKHLA KUMAR as winner of the award; she showed mastery of her instrument and collaborative role in the power and subtlety of her musical interpretation and performance.

MEKHLA (in her own words)

Mekhla Kumar

On Sunday September 15, the Accompanists’ Guild of South Australia held the biennial GEOFFREY PARSONS AWARD to commemorate the great Australian pianist remembered for his collaboration with many of the greatest classical singers of the second half of the twentieth century. Parsons was international patron of the Guild until his death in 1995. The award, worth $6000, is the most valuable prize in Australia for a pianist in collaborative performance with other instrumentalists. The four finalists, Stephen van der Hoek, Adam McMillan, Mekhla Kumar and Simón Pazos Quintana, were set a test piece from the Brahms ‘Sonata for clarinet and piano in F minor’, Opus 120, No.1, to be performed with the warmtoned, mellow participation of Dean Newcomb, Principal Clarinettist of the Adelaide Symphony Orchestra. In addition, each finalist was asked to present a short program of works for piano in collaboration with an associate musician. These associates, baritone Anthony Waack, violinist Anna Freer, ‘cellists Thomas Marlin and Greg Tuske, all gave excellent support.

I’m extremely honoured to be the winner of the Geoffrey Parsons Award for 2019. It was a wonderful experience to work with associate artists, ‘cellist Thomas Marlin and clarinettist Dean Newcomb. The competition allowed participants to choose most of their program which meant I could present contrasting works that I connect with, as well as the set piece of Brahms’ ‘First Clarinet Sonata’. Collaborative piano performance is a rewarding and enriching aspect of music making. Having been trained as a solo pianist I primarily spend a lot of time practising alone so I’m very grateful to the Accompanists’ Guild for giving me a fantastic opportunity to work with two of Australia’s finest musicians. The exposure the Award has given me will hopefully lead to more collaborative music making with other musicians in Australia and the generous prize money is a huge help!

MUSIC TEACHERS’ ASSOCIATION OF SA INC./GRACE BARBARA TURNER AWARD RECIPIENTS FOR 2019 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 2019 are listed below.

Wind- Maria Zhdanovich, flute Maria Zhdanovich was also awarded the Music Teachers’ Association of SA Inc./Grace Barbara Turner Award in 2016 and her biography appears in the October-December 2016 issue of ‘The Music Stand’.

Strings- Jasmine Milton, violin Jasmine Milton was also awarded the Music Teachers’ Association of SA Inc./Grace Barbara Turner Award in 2017. Her biography appears in the Summer 2017 issue of ‘SA Music Teacher’.

Maria Zhdanovich

Piano- Eric Chen

Jasmine Milton

Eric Makoto Chen, AMusA (Violin) currently is in Year 9 at Pembroke School as a Music Scholarship student where he performs in five ensembles. He has won numerous awards including a few Special Awards at the Adelaide Eisteddfod for both violin and piano. He was also the finalist at the Recitals Australia Spring Recital in 2017 and 2018. At his previous school, St Andrew’s (2015-2017), he was also a Music Scholarship student as a leader of the String Orchestra for three years and played in four different ensembles. While attending St Andrew’s School he won both the violin and piano Special Awards three years in a row and in 2017, he also won the Principal’s Award for Music. Eric started violin at the age of six where he learnt from Jill Folauhola for four years. He then learnt from Keith Crellin OAM for a further three years and is currently a student of ASO violinist Lachlan Bramble. He also started learning piano at the age of seven from Lynne Reynolds for six years before pursuing his studies under the guidance of Professor David Locket AM. Eric’s special interest in piano music ranges from the Classical to Romantic era. This includes composers such as Chopin and Beethoven. Aside from music Eric also enjoys other activities such as cross country running, tennis, swimming and cycling. He plays tennis under the Pembroke School Sport program and he trains at the Norwood Swimming Club four times a week. Eric obtained his AMusA for violin in November 2018 and is expected to undertake his AMusA exam for piano in November 2019.

Eric Chen

Marie Campbell

Vocal- Marie Campbell, Mezzo-Soprano Marie Campbell was also awarded the Music Teachers’ Association of SA Inc./Grace Barbara Turner Award in 2018. Her biography appears in the Summer 2018 issue of ‘SA Music Teacher’.

DO YOU HAVE TO BE AN ACCREDITED MUSICIAN TO PLAY ON THE BIGGEST ROCK STAGES EVER? by Pete Barter

Clint Brice

New Speaker: A degree of professionalism would be ‘okay, Pete Barter: For any musician, traveling we’re just playing in a mate’s backyard’, or ‘we’re playing a interstate, overseas or playing at major festivals, do they need to have a Masters house show’. So, yes, it’s a hobby. It’s a fun thing that we like Degree in Music if they’re playing in a rock band? to do and if we get a couple of beers out of it or fifty bucks, that’s great. But if we do actually want to earn some serious cash, well then, we are going to have to take it seriously. And you probably are going to have to look at being more professional about the way that we operate as a band. Communication, stage presence, the kind of gigs that you want to play.

Clint Brice: Bands that do want to take it to the next level, I think they do need some sort of degree of being a more professional musician because they’re going to be playing in front of bigger crowds. They’re going to have to be at the top of their game. So, I think that’s the big difference between being a hobbyist, just playing for fun and then actually trying to make something of it, earn some money out of it, sell some records, sell some merchandise.

Pete Barter: Yes, I understand. It does absolutely. I’ve worked alongside some amazingly huge bands at festivals like WOMAD and Big Day Out and BIGSOUND just recently knowing that some of these guys have only just come from backyard gigs onto some of the world’s largest stages. I can see very obviously there’s so much room to move with regards to crowdinteraction, in managing themselves before the show and after the show and during the show. That comes from the drive of putting on the best show ever but having the ability to work the audience is usually a skill that is worked on parallel alongside learning their instrument.

Pete Barter: Let’s clarify the word degree. So, a degree of professionalism or a Degree earned from a University? Are we talking about the same thing? Clint Brice: No, we’re talking about something different. It’s probably just a level of professionalism. So, a Degree in as musician would be going to University or going to a Music School and really learning their craft and honing the skills on how to play their instrument in detail. Being ‘Certified’.

DO YOU HAVE TO BE AN ACCREDITED MUSICIAN TO PLAY ON THE BIGGEST ROCK STAGES EVER? CONT'D Pete Barter: Going back to the degree, like as in a university Degree, it’s not necessarily needed even at the highest levels and you don’t necessarily have to read a musical note at all in your life. I can read music pretty well but I’m not sure how that plays a part in my performance for the kind of work that I do as a musician. Some of the world’s largest touring musicians, for example, Jason Chapman, who’s a Musical Director for Pink (he was a guest of the Megastar Muso Masterclass we did a little while ago, sponsored by the Music Teachers’ Association of South Australia) cannot read a note of music. Yet he is in charge of the sound that comes from the band members on the stage that Pink has been touring with for the last six or so years. Can’t read a note. He’s never been to Uni or College and doesn’t understand music. New Speaker: If you are an accredited musician, you spent so much time honing your craft, would that allow you any different level of exposure or respect or more money at gigs? Clint Brice: I think that’s something that the music industry and the culture is still trying to establish because I think it’s a bit of a gray area. What it comes down to is a musician playing on a Saturday night and getting some money for a show. But then you look at a plumber who has a trade, who gets called out on a Saturday night and they’ll expect to get paid 200 bucks or whatever it is for a call out plus the cost of doing the work. So I think having a Degree as a musician - I guess you would be entitled to literally charge what you think that you’re worth.

Pete Barter: Interesting. I agree, but the problem here is there are always hobbyist musicians ‘without a trade’ that will always undercut the fee. In Singapore the cover bands that play in touristy areas are actually put together by the pub owner. The pub owner will find individual musicians and he will pay them independently, separately as an employee of the venues and, if they have Degrees in music they earn more money, they get paid more. And they get paid quite well.

Clint Brice: Yes, and that’s the right way and that’s the way it should be done. Because you look at even using both of us for an example, if we’ve studied at TAFE or we’ve studied at Uni and we’ve got a qualification, well then, that separates us from someone who’s literally just walking in off the street with no experience.

Pete Barter: Yes. That’s an interesting topic and I think we should explore this further in a much longer chat. But for now, thank you very much for your time Clint. You’re an amazing asset to the South Australian community of music. Clint Brice: Thanks for having me Pete. Appreciate the work you do.

AUSTRALASIAN PIANO PEDAGOGY CONFERENCE 2019 Held: July 8-12, University of Queensland, Brisbane. Theme: Variations on a Theme: The Portfolio Piano Teacher.

HOW TO GET THE MOST OUT OF A MUSIC CONFERENCE by Wendy Zhang, August 21, 2019 Max Olding at the opening of the conference

This July, I had the opportunity to attend the Australasian Piano Pedagogy Conference for the first time. I registered for this mainly out of curiosity - what would a one-week conference do to help me as a teacher, and musician, that I cannot get from the abundance of resources on-line? Well, I certainly did not expect the amount and quality of information, advice, and tips that I would receive. I probably learnt more about piano teaching and music in general from this conference than an entire year of information consumed on-line. I also made quite a lot of connections there - fellow piano teachers, pianists, and music researchers from all over Australia and internationally. Private piano teaching, in my opinion and experience, is a lonely profession: you teach students by yourself in your own studio, and normally don’t get much interaction and support from other teachers. You have to be self-motivated to keep it going. That’s why this conference was so valuable, as it provided the much-needed forum for private studio teachers to meet, exchange ideas and learn from each other, celebrate each other’s success, and support each other.

This one is a biennial conference, held at a different city in Australia each time. It is mainly for piano teachers (private and classroom), but music researchers, students, and performers may also benefit from attending. Some of the keynote speakers are internationally recognised pianists/educators, and it is worthwhile to check out their profiles before the event. If you’re wondering what it might be like to attend this conference, here is a list of things I learnt and some useful tips. The 2019 conference was held over five days, with three full days in the middle and two half-days at start and finish. With no interstate conference experience whatsoever, I didn’t do much research, and briefly looked at the schedule before I caught the plane. I had no idea how full-on the week would be. From Tuesday to Thursday the day would start with a breakfast session at 8.30 am, with keynote presentations and breakout sessions throughout the day right until 5.30 pm, and usually a concert that would end at 9 pm. The breakout sessions usually have three streams running at the same time at different venues, so this requires some strategy and research on the topic and speaker - such as their agenda and area of expertise - so you can get to the sessions that would benefit you the most.

HOW TO GET THE MOST OUT OF A MUSIC CONFERENCE Cont'd I did not do much research and panicked when I had to choose sessions. But I was lucky to have found some friends quickly and got some advice on the sessions and speakers. We also shared notes for the sessions that we could not attend, which was tremendously helpful. Some of the highlights for me were actually attending the concerts. Initially, I thought the concerts were just add-ons to the conference and a bit inconvenient to attend as they were usually held at night-time, but I was so glad I was there to see them. Joanna McGregor’s concert was so electrifying and energetic that even though I was exhausted from a full day of learning, I came alive when she hit the first keys! Her encore piece was her own piano arrangement of the Piazzolla ‘Libertango’, and I was so fascinated by her playing that it became my Spotify track on repeat. Joanna McGregor gives a keynote at the conference

As she presented her pieces and introduced her music career in her keynote speech beforehand, it helped me to gain a deeper and thorough understanding of her musical background and influence, and where the ideas and interest came from. Another fascinating concert was Stalin’s Piano from Sonya Lifschitz, showcasing pieces composed by Robert Davidson to suit various politicians’ speeches as shown on the big screen (including Stalin, John F. Kennedy, Trump, and Gillard). I can suddenly hear the pitch that each politician used, and it was such a tight collaboration between Davidson and Lifschitz that the speeches and piano music became unified to portray certain characters and political ideas - both entertaining and thought-provoking for the audience. There were many attendees travelling to Brisbane from interstate, and careful planning was required to get the most out of the conference and ensure a safe and productive week. Doing some research on the venue, the start and finishing time for each day, and transport options were important in making sensible accommodation and transport choices. In my case, I initially wanted to stay in Southbank as it was closer to the University Campus where the conference was held, and I could walk there in 30 minutes. However, I checked the schedule and found that the night-time concerts would finish at 9 pm or 9.30 pm and walking back by myself would not be sensible; there were not many buses running to Southbank at that time. I checked hotels in the city and found one quite central, which had a lot of buses going to and from the campus at all times. I was glad I picked this hotel to be my accommodation, as I was able to attend all concerts and some breakfast sessions without thinking too much about transport.

A few teachers I talked to also mentioned that they did not check the transport options before booking the hotels, and regrettably had to miss out on some concerts and breakfast sessions. Many private teachers work by themselves and develop a set way of teaching. The point of the conference is to learn from others and be challenged on your own assumptions, beliefs, and methods of teaching, and I found that coming with an open mind and ready to be challenged was very important. An example of this was that I always believed in the importance of sight-reading as the crucial first step for beginner lessons. However, I was challenged a lot on this idea, as many teachers presented on teaching rote (repetition) or other methods to young beginners. Jocelyn E. Kotchie presented on teaching by colour-play (assigning colours for each note, and teaching the children to do colouring-in on the notes before letting them play), which was very insightful from a child psychology perspective and made me question my own assumptions and teaching methods. I was a bit scared when I first registered for this conference, travelling to Brisbane alone and not knowing anyone attending this event. What if I make no friends and be there for five days all by myself? Well, this did not happen. On the contrary, I made a lot of connections and really enjoyed the social aspect of this conference. The moral of this story? If you attend this type of conference by yourself, go with an open mind and you will meet people, because that’s what other people are there for too.

HOW TO GET THE MOST OUT OF A MUSIC CONFERENCE Cont'd I talked to many people at the conference - some of them just brief chats at start or end of a session, but they were all meaningful exchanges of ideas, information and stories that I was able to learn and appreciate. These conversations made me realise that I am not so alone in my pursuit of music making and teaching; that others share the same struggles, challenges and joys of being piano teachers. I am so grateful to have met these wonderful people through this conference, and I am sure this won’t be my last time. The next Australasian Piano Pedagogy Conference will be held at Perth in 2021 (which I have already marked in my diary).

Wendy Zhang

Wendy with a fellow conference delegate

Wendy with John Bloomsfield

CONTACT DETAILS FOR OTHER ORGANISATIONS 5MBS: MUSIC BROADCASTING SOCIETY OF SA www.5mbs.com 8346 2324 5mbs@5mbs.com AUSTRALIAN BAND AND ORCHESTRA DIRECTORS’ ASSOCIATION (ABODA): ABODA SOUTH AUSTRALIA www.abodasa.com.au abodasaonline@gmail.com ABRSM EXAMINATIONS https://us.abrsm.org/en/home SA Rep.: Anastasia Chan 8234 5952/0423 282 589 abrsmsa@hotmail.com ACCOMPANISTS’ GUILD OF SA INC. http://accompanist.org.au President: Leonie Hempton OAM 8272 8291/0404 145 502 leoniehempton@gmail.com ADELAIDE BAROQUE www.adelaidebaroque.com.au 8266 7896 manager@adelaidebaroque.com.au ADELAIDE CHAMBER SINGERS https://adelaidechambersingers.com/ 8352 1329 admin@adelaidechambersingers.com ADELAIDE EISTEDDFOD SOCIETY INC. http://sacomment.com/aes/eisteddfod/ Secretary: Brenda Rayner 8366 6531 adleisteddfod@adam.com.au ADELAIDE HARMONY CHOIR www.adelaideharmonychoir.org.au/ Secretary: Sherry Proferes adelaideharmonychoir.info@gmail.com ADELAIDE PHILHARMONIA CHORUS secretary@philharmonia.net http://philharmonia.net/

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

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

ELDER CONSERVATORIUM OF MUSIC https://music.adelaide.edu.au/ 8313 5995 music@adelaide.edu.au ELDER HALL https://music.adelaide.edu.au/concert s/8313 5925 concertmanager@adelaide.edu.au FLUTE SOCIETY OF SA INC. www.flutesocietyofsa.org Secretary: Masako Kondo 0448 730 845 secretary@flutesocietyofsa.org INSTRUMENTAL MUSIC: AUSTRALIAN SOCIETY FOR MUSIC DEPARTMENT FOR EDUCATION EDUCATION (ASME)ASME: SOUTH Instrumental Music Office - Klemzig AUSTRALIA CHAPTER 8261 8988 http://www.asme.edu.au/sa/ IM.KlemzigOffice608@schools.sa.edu. President: Luke Gray au graylu@trinity.sa.edu.au Instrumental Music Office - Morphett Vale AUSTRALIAN STRINGS ASSOCIATION 8392 3800 (AUSTA) AUSTA: SA CHAPTER IM.MorphettValeOffice896@schools.sa www.austa.asn.au/chapters/sa/ .edu.au President: Agnes Weinstein Music Programs AustaSA@hotmail.com 8226 1883 AUSTRALASIAN DOUBLE REED SOCIETY education.musicprograms@sa.gov.au www.adrs.org.au KODALY MUSIC EDUCATION Contact: Josie Hawkes OAM ASSOCIATION OF SA josie.bassoon@gmail.com https://kodalysa.com/ 0405-066-469 AUSTRALIAN STRING QUARTET kodalysa@gmail.com https://asq.com.au/

AMEB EXAMINATIONS: SA AND NT https://ameb.adelaide.edu.au/ 8313 8088 ameb@adelaide.edu.au AUSTRALIAN NATIONAL ASSOCIATION OF TEACHERS OF SINGING (ANATS) ANATS: SA AND NT CHAPTER www.anats.org.au/sant-chapter Secretary: Dianne Spence anats.sa.nt@gmail.com ANZCA EXAMINATIONS www.anzca.com.au (03) 9434 7640 admin@anzca.com

1800 040 444 asq@asq.com.au

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

MUSICA VIVA www.musicaviva.com.au for concert details Box office: 1800 688 482 contact@musicaviva.com.au MT GAMBIER EISTEDDFOD www.backstageinc.org.au Secretary: Maxine Chalinor OAM 0457 067 555 tonymaxine@internode.on.net

MUSICIANS’ UNION OF AUSTRALIA ADELAIDE BRANCH https://musiciansunion.com.au/82 72 5013 musosa@bigpond,net.au ORFF SCHULWERK ASSOCIATION OF SA https://www.osasa.net/ info@osasa.net PRIMARY SCHOOLS MUSIC FESTIVAL www.festivalofmusic.org.au 8261 5438 office.psmf799@schools.sa.edu.au ST CECILIA EXAMINATIONS PTY. LTD. www.st-cecilia.com.au 1800 675 292 info@st-cecilia.com.au THE SOCIETY OF RECORDER PLAYERS SA INC. www.facebook.com/recorderplayer ssa/ 0410 109 135 npope@bigpond.net.au SOUTH AUSTRALIAN BAND ASSOCIATION www.sabandassociation.org Secretary: David Corkindale secretary@sabandassociation.org SOUTH AUSTRALIAN MUSIC CAMP ASSOCIATION www.samusiccamp.net.au Administrator: Samantha Taylor admin@samusiccamp.net.au TRINITY COLLEGE LONDON EXAMINATIONS www.trinitycollege.com.au 1300 44 77 13: National 8345 3117: Local stanley.tudor@iinet.net.au UKARIA CULTURAL CENTRE www.ukaria.com 8227 1277 info@ukaria.com