WELCOME FROM THE PRESIDENT Recently the MTASA held the Norman Sellick and Reimann-Robinson Competition Day. As I sat in the lovely Flinders Street Baptist Church, bathed in the sweet song of saxophone, violin, flute, voice and the ubiquitous piano, I reflected on the magic of music. The attendees sat in rapturous attention, with warm and appreciative applause after each competitor. It is an intangible thing, the spending of time, effort, sometimes sweat and tears too, to take an inanimate object and make it sing to the best of one’s ability. And so many young people, quite young, performed with mastery at such a young age at the MTASA Competition Day, no doubt driven and encouraged by their parents, teachers, and passion. The music was quite powerful. Young children, and some teens, ploughed and sang their way through difficult and challenging repertoire, with some exquisite phrasing and moments of true musical delight. It was especially appealing that competitors dressed formally for the competition, as it added gravitas to the event. I am mindful that behind all of this is the patient and expert tuition of teachers. Perhaps one of the most powerful realisations is that the high standard of young musicians’ performances comes so much from the high standard of teaching. A good teacher continues their Professional Development, as you can never be ‘finished’ with learning, as well as the truth being evident that to BE a good teacher, one must keep learning, or as the millennial term describes it, up-skilling. May it always be so. And although the two are not exclusive, may we congratulate and laud those who teach, indeed as much as those who perform. With all best wishes,
Sofie Arhontoulis, President, The Music Teachers’ Association of South Australia Inc.
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SA MUSIC TEACHER THE MAGAZINE OF THE MUSIC TEACHERS' ASSOCIATION OF SOUTH AUSTRALIA INCORPORATED
SA MUSIC TEACHER
TABLE OF CONTENTS
Print Post Pub. No 100003224 VOLUME 28 NO 4 – Summer 2020 CELEBRATING 90 YEARS IN 2020
WELCOME FROM THE PRESIDENT by Sofie Arhontoulis
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PATRONS:
COMING MTASA EVENTS
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MEMBER INFORMATION
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OTHER ORGANISATIONS’ EVENTS
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CONCERT PERFORMANCE DAY by Rodney Smith
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COMPETITIONS DAY by Wendy Heiligenberg IN MEMORIAM: DON BURROWS AO MBE IN MEMORIAM: GRAHAM POWNING TEACHING ON THE FLEURIEU by Peta Quilliam
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His Excellency the Honourable Hieu Van Le AC, Governor of South Australia Mrs Lan Le Dr Doreen Bridges AM Emeritus Professor David Lockett AM
PRESIDENT:
Sofie Arhontoulis
VICE PRESIDENTS:
Rodney Smith, Robert Brown OAM
SECRETARY:
Masako Kondo
TREASURER:
Samantha Penny
AUDITOR:
Australian Independent Audit Services
COUNCIL 2019/2020:
Sofie Arhontoulis, Pete Barter, Robert Brown OAM, Wendy Heiligenberg, Masako Kondo, Irina Lioubimova, Zuoyu Liu, Yong Cheong Lye, Samantha Penny, Rodney Smith, Cheryl Van Wageningen
EDITOR:
Robert Brown OAM
Layout:
Masako Kondo
MEMBERSHIP ENQUIRIES to the Secretary – PO BOX 4, RUNDLE MALL, ADELAIDE SA 5000 0402 575 219
info@mtasa.com.au
ADVERTISING – Please contact the Secretary
Please see MEMBER INFORMATION page for Advertising Price List. DEADLINES for 2021
Contributions to SA Music Teacher are most welcome. All items to be included must reach the Editor, Robert Brown OAM (robbrown@adam.com.au) no later than these deadlines: 2021: Sunday January 31, Friday April 30, Wednesday July 14, Sunday 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 ?
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THE SOUTH AUSTRALIAN STATE MUSIC CAMP
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PRESSURE AND PRIVILEGE, PART 1 by Leigh Harrold
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MY SHIP by Kerin Bailey 20 PEDAGOGY MATTERS: SURPRISE 21 SYMPHONY by Wendy Heiligenberg A TRIO OF APPS FOR AURAL AND THEORY by Juanita Simmonds IS THE FUTURE READY FOR THE CREATIVEPRENEUR? by Pete Barter CONTACT DETAILS FOR OTHER ORGANISATIONS
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MTASA WEBSITE Please visit mtasa.com.au MTASA FACEBOOK
Front cover. Newly elected Council Members, November 15, 2020
Please visit the MTASA Facebook page at facebook.com/MusicTeachersSA
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COMING MTASA EVENTS 2021 MEMBER INFORMATION 2020 PEOPLE'S CHOICE COMMUNITY LOTTERY
January
Professional Development Day Venue:
TBC Participation details will be posted on the Website Events page
February 11 We are in it again! The 2020 People’s Choice Community Lottery is on now! Check out the awesome prizes on offer this year and support your Association! All proceeds from ticket sales go straight back to MTASA - get your tickets here: communitylottery.peopleschoice.c om.au/products/the-musicteachers-association-of-sa-inc? _pos=1&_sid=1a4f998a5&_ss=r. Please share this link with your friends.
MUSIC DIARY
Webinar: Wellbeing for Music Teachers Presenters: Wendy Heiligenberg and Catherine Sanders Tickets: available from our website Events page
April 3
Concert Performance Day 1 Venue:
Flinders Street Baptist Church 65 Flinders Street, Adelaide Booking: available from our website Events page Closes Friday March 12, 5pm Admission: gold coin These were selling for $7, now 25% off: the proceeds support MTASA. The Music Diary features day-to-a-page journaling, staves for each week, holiday challenges and games every ten pages, with space for personal notes, lists and goal setting. Visit mtasa.com.au/mtasamusic-diary/ for more information.
May
Webinar 2
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June 26
Competition Day
NEW MEMBERS
(Miriam Hyde Awards) Venue: Admission: Entry: Closing date:
Hartley Concert Room, University of Adelaide gold coin will be via the Website Events page Friday May 28, 5pm
The Miriam Hyde Junior Award is open to all instrumental / vocal students of any member of the MTASA or related organizations. Open to students under 15 years of age on the closing date of entry. The Miriam Hyde Open Award is open to all instrumental / vocal students of any member of the MTASA or related organizations. Open to students of any age.
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. Anthea Mur, Full, C, Sax Yueqing Han, Full, P, S, T Willian Queiroz, Full, AC, BG, CG, CG, FG, RG, Ukulele, T
EDUCATORS SA WORLD TEACHERS’ DAY AWARDS, FRIDAY OCTOBER 30
July
Webinar 3 August 8
Concert Performance Day 2 Venue: Booking: Admission:
Flinders Street Baptist Church 65 Flinders Street, Adelaide available from our website Events page closes on July 23, 5pm gold coin
September
MTASA MEMBERSHIP FEE Full member $122 Student $62 Friend $32 Institution $32
Webinar 4 October
RECOMMENDED TEACHING FEES
Webinar 5 November 14
Annual General Meeting Venue:
Congratulations to PETE BARTER for being awarded ‘The Music Teachers’ Association of SA Outstanding Service to Music Educators Award’ for 2020.
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The following teaching rates are recommended to members by the MTASA Council for 2020/2021. Full Member - $75 per hour Associate Member - $64 per hour Student Member - $48 per hour
Classified Ads For Sale KAWAI GM-10K BABY GRAND PIANO Much loved, quality piano with polished ebony case for sale due to downsize. This Japanese built piano was purchased new from Piano Max in 2011; in near perfect condition. Tuned recently, still under warranty. In excellent condition with matching piano stool and furniture cups for each leg. Includes information booklet and warranty papers. Genuine offers around $9,500 will be considered. For further information please contact Sue Scott via email suescottstudio@gmail.com Estate 2 Manual Reed Organ with 4 pedal boards.10 speaking stops, 3 couplers. Motorised by George Stephens in 1999. Any reasonable offer Contact Helena Lauer Ph 8332 0767
MTASA MEMBERSHIP RENEWALS Membership Subscription Renewals for 2020/2021 became due on June 30. Subscription renewal notices were sent in late June via email to remind members to log in and renew their membership for the 2020/2021 financial year. If you are a Full member you will be asked to indicate that you have completed seven hours of Professional Development during the previous twelve months. If you 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.
REQUIRED PROFESSIONAL DEVELOPMENT FOR FULL MEMBERS OF MTASA MTASA has introduced a Professional Development scheme for Full members. This commenced on July 1, 2019 when Full members began accumulating their seven hours of Professional Development. The scheme is designed to underpin and enhance MTASA’s established reputation for the professional excellence of its members, ensuring its standards are fully compliant with current educational expectations. These are clearly outlined in the Australian Professional Standards for Teachers (visit aitsl.edu.au/teach/standards) and similar documents. From July 1, 2020 onwards Full members, when renewing their membership, will be asked to tick a box declaring that they have undertaken at least seven hours of Professional Development during the previous twelve months. The following examples are provided to give general guidance for Full members about Professional Development that would be acceptable to MTASA. These examples represent only a small sample of all the possibilities available to Full members. Generally Full members should feel comfortable about their own choices but in case of doubt you are welcome to contact the Secretary for further advice (info@mtasa.com.au). Improved music teaching should be a major factor in all activities that Full members wish to count towards their MTASA Professional Development. MTASA will undertake random checks from time to time to ensure the system is working properly. So, on very rare occasions a Full member may receive a request from the Secretary for information about their Professional Development. In such instances you may submit evidence such as certificates, programs, diary notes, recordings and so forth. Examples of Professional Development that would be acceptable to MTASA: 1. Online. Attending a webinar or similar event; undertaking an online elearning course. 2. Face-to-Face. Attending a conference, workshop, masterclass or lecture. 3. Formal Study. Undertaking a qualification or part-qualification delivered by a recognised institution. 4. Personal Research. Studying books, journals, articles, musical scores, musical theory, analysis, etc., which lead to an example of improved music pedagogy and/or pupil performance. Self-conducted research leading to a presentation, masterclass or workshop at a conference. Composing an educational piece of music that motivates a group of pupils. 5. Team Research. A joint project with others that achieves particular improvements in a training ensemble. Joint creation of music teaching materials that improve learning in a group of pupils. Remember! These are only a few amongst many possibilities. MTASA is a community of creatives. You are encouraged to be creative in your Professional Development!
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Educators SA
WORKING WITH CHILDREN CHECK (WWCC) New Legislation regarding Child Protection was introduced with effect from September 1, 2019. A ‘Police Check’ is now known as a ‘Working With Children Check’ (WWCC). The Working With Children Check is the most comprehensive check that exists. Anyone found guilty of breaching this legislation can be fined up to $120,000. People working or volunteering with children in South Australia must, by law, have a Working With Children Check. A DHS/DCSI child-related check will be recognised as a Working With Children Check until it expires. People need a Working With Children Check if they are in a ‘prescribed position’. This means people who are in paid or volunteering roles where it is reasonably foreseeable that they will work with children; run or manage a business where the employees or volunteers work with children; are employed to provide preschool, primary or secondary education to a child. A Working With Children Check is needed for all schools (Government, Catholic and Independent). For further information go to screening.sa.gov.au/types-ofcheck/new-working-withchildren-checks.
OTHER ORGANISATIONS' EVENTS
Presented by Theme: Date: Venue: Website:
AUSTRALASIAN PIANO PEDAGOGY CONFERENCE 2022
UWA in collaboration with WAMTA The Holistic Piano Teacher July 4-8, 2022 - note change of date. UWA Conservatorium of Music, University of Western Australia, Perth appca.com.au
2021 Adelaide Eisteddfod
Entries for the 2021 Adelaide Eisteddfod will be via Stardom; go to 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 sacoment.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.
BALAKLAVA EISTEDDFOD
The Balaklava Eisteddfod will be held from July 30 to August 1, 2021. 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. Entries will open on March 29. Visit balaklavaeisteddfod.org.au, the Facebook page at facebook.com/BalaklavaEisteddfod or email info@balaklavaeisteddfod.org.au for more information. Musical Instrument Hire and Repair mountfordmusic.com.au Email sales@mountfordmusic.com.au Phone 0408 944 034
WHY ENTER AN EISTEDDFOD?
TEACHERS OF THEORY/ MUSICIANSHIP To be listed in the ‘The Directory of Teachers of Music’ on the MTASA website as a teacher of theory/musicianship applicants for Full or Student membership must supply evidence of having completed studies in this field to at least AMEB 5th Grade theory/musicianship standard or equivalent. Full or Student MTASA members wishing to have theory and/or musicianship included in their Directory listing should send copies of the relevant certificates to the Secretary (info@mtasa.com.au).
MTASA MEMBERSHIP NOTES Visit mtasa.com.au/index.php/members/ 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.
POSTNOMINALS
RECENT MTASA EVENTS
CONCERT PERFORMANCE DAY by Rodney Smith Held:
Sunday August 2 Flinders Street Baptist Church
Sunday August 2 proved something of a red-letter day for MTASA, marking its return to live music making after more than six months of online only events. This was also MTASA’s first concert for some time in Flinders Street Baptist Church, a fine neo gothic hall known for its plush red carpeting and excellent music acoustic. With a good in-house piano, an elevated stage area and relatively easy parking, things worked advantageously on many fronts. While open to all instruments and all music styles, MTASA’s Concert Performance Days have remained steadfastly piano centric and this was no exception. With all the ensemble performance opportunities open to other instruments that is hardly surprising. Why would a violinist opt for MTASA’s Concert Performance Day - with the added expense of providing an accompanist - when there are orchestras in abundance to play with week in and week out? Clearly our young pianists are grateful though and thirty-nine of them opted to play during the day’s three hour-plus sessions with a cellist and three violinists added to the mix.
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.
MTASA’s Secretary Masako Kondo employs some sort of psychic magic when allocating the various performers to a particular session. Somehow, she unfailingly managed to ensure there was interesting musical variety as well as a steady progression in age and performance skill level through each session. Of course, what makes these events fairly unique is the Report each performer receives afterwards (by e-mail this time as part of MTASA’s ingenious Covid Plan) and the noncompetitive nature of the concerts. The result is hopefully a less stressful occasion for some but nevertheless one that is full of useful outcomes. So, grateful acknowledgement must
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be made for the expert reviewing by Robert Brown and Wendy Heiligenberg (Session 1), Peck Jin Gan and Yong Cheong Lye (Session 2) and Irina Lioubimova and Cheryl Van Wageningen (Session 3). Unfortunately, readers won’t be able to see any of the performers in group photographs from this occasion (another part of MTASA’s social distancing Covid Plan) but it can be reported they all acquitted themselves well and indeed sometimes outstandingly well. Your writer can certainly attest to a good musical feeling at the conclusion of each session. Finally, a word of caution and it concerns photocopied sheet music. Would it be beyond the bounds of possibility for teachers to ensure their pupils come along prepared with at least a plastic folder containing the photocopied music? A number of performers struggled with loose sheets (or sheets attached together in a long line) that fell off or wobbled precariously on the music desk causing all sorts of challenges. Please remember stages can be draughty places. Of course, playing from the original printed copy might be even better!
Thank you so much for the well-organised event. We all enjoyed it and appreciated your hard work. Kind regards, Marina Braslavskiy.
I am very happy to take my students to this performance. Thank you for the organization of you and MTASA. Looking forward to next meeting. Regards, Yuxin Men.
Thank you for all of your work to bring about this event to support our young performers. It is an invaluable experience for them. Best wishes, Debra Andreacchio.
He enjoyed yesterday’s performance and has seen so many other children who were playing really well. He was very proud of them. Thank you for providing the opportunity for young musicians to learn from each other. Kind regards, Ting. 11
ADVERTISING PRICE LIST For the SA Music Teacher for 2020
INSERTION FEE FOR POSTERS AND FLYERS One issue $102. Four issues $366. Advertisers have two choices: 1. To provide the inserts, 2. To provide the artwork, MTASA will arrange the printing and invoice for this. Members placing an ad are entitled to a 15% discount.
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.
NOTICE TO STUDENT MEMBERS
COMPETITIONS DAY by Wendy Heiligenberg Held:
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 (mtasa.com.au) or obtained from the Secretary (info@mtasa.com.au).
Saturday October 17 Flinders Street Baptist Church
Prize Winners, Elizabeth Koch AM, Sofie Arhontoulis
NORMAN SELLICK MEMORIAL PRIZE Adjudicator: First Prize: Second Prize: Hon. Mention: Hon. Mention:
Elizabeth Koch AM Jonathan Wong. Teacher: Monika Laczofy OAM. Chun Yin Anson Tang. Teacher: Yuxin Men. Xiaoyun Zhang. Teacher: Yong Cheong Lye. Eugene Lee. Teacher: Koula Raptis.
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 at info@mtasa.com.au.
Sofie Arhontoulis, Prize Winners, Keith Crellin OAM
REIMANN-ROBINSON SCHOLARSHIP Adjudicator: First Prize: Second Prize: Hon. Mention: Hon. Mention:
Keith Crellin OAM Samantha Li. Teacher: Monika Laczofy OAM. Jackson Li. Teacher: Monika Laczofy OAM. Royce Wong. Teacher: Elizabeth Koch AM. Xiaoyu Tan. Teacher: Debra Andreacchio.
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On Saturday October 17, the MTASA held the Competitions Day to award the Norman Sellick Memorial Prize and the TEACHING IN Reimann-Robinson Scholarship at the Flinders Street Baptist THE COUNTRY Church. The Norman Sellick Memorial Prize is open to all instrumental and vocal students of MTASA members who teach in a private capacity. Valued at $300 it is open to students who are 12 years or under on the closing day for entries to the Competition. Two contrasting works are to be performed with a maximum time limit of 10 minutes. We were honoured to have Elizabeth Koch AM to adjudicate In recent years each issue of SA for this prize. It was such a joy to experience live Music Teacher has included an article about music teaching in a performances again in this lovely venue. country region of South The performances began prophetically with the first piece Australia. There are some titled ‘Rustle of Spring’ on a cold and rather drizzly morning. regions that haven’t been visited I was amazed, as a string player, as to how quickly young yet. If you haven’t yet done so pianists are able to adapt to a completely new instrument: 22 please write something – it out of the 23 participants were pianists, and there was one doesn’t need to be very long – brave violinist, accompanied expertly by our very own and also include a photo. If you committee member Yong Cheong Lye. We were treated to a have written something before wealth of repertoire, ranging from Bach to Copland. you are welcome to send an Elizabeth Koch praised the overall outstanding musical update. E-mail to Robert Brown at robbrown@adam.com.au. achievement, complimenting all of the participants and especially praising the prize winners for their rhythmic sense and how they touched the audience through their feel for musical line and their passionate engagement with the music. Pianist Jonathon Wong was awarded the Norman Sellick Memorial Prize. Chun Yin Anson Tang, violin was awarded Second Prize, and Xiaoyun Zhang, piano and Eugene Lee, MTA Members, free. piano, were both awarded Honorary Mentions for their Non-members, $17. performances. Please contact the Secretary In the afternoon the sun came out and we enjoyed the about advertising. 0402 575 219 performances of the participants who competed for the info@matsa.com.au Reimann-Robinson Scholarship. This scholarship, valued at $500, is open to students of MTASA members who are 18 years and under and they are required to perform any number of works within a maximum of 15-20 minutes. Keith Crellin OAM adjudicated. Of the 13 performers, 9 were pianists and for variety we heard one flautist, one alto saxophone player, one violinist and one vocalist. In his closing remarks, Keith was very keen to stress the importance of rhythm and good technique as the foundation of great music making, and he warned that playing too fast can ruin an otherwise outstanding performance. He encouraged students to sing the music they were playing in order to truly be able to appreciate the expression and nuances that the composers intended. He recommended that candidates listen, for example, to Mozart operas, symphonies and quartets, and that they explore the different sound worlds to which each composer exposes us. He stressed that participants should enjoy listening to themselves and particularly that they should take the time before they begin performing each piece to find ‘their’ voice. Samantha Li, piano, impressed with her outstanding commitment and musical expression and was awarded the Scholarship. Jackson Li, piano, was awarded the Second Prize. Honorary Mentions were given to flautist Royce Wong and pianist Xiaoyu Tan. MTASA President Sofie Arhontoulis, who enthusiastically acted as MC throughout the day, concluded the afternoon by thanking participants, parents, teachers and the committee for their commitment and for contributing to the success of this special event.
CLASSIFIED ADS
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Educators SA IN MEMORIAM: DON BURROWS AO MBE Compiled by Robert Brown OAM
As a member of Educators SA, MTASA can offer benefits to its members. Here are some offers: Andersons Solicitors offer MTASA members: 10% off legal services, in ALL areas. Free initial phone conversation with a lawyer. When contacting Andersons Solicitors tell them you are a member of MTASA, which is a member organisation of Educators SA (CEASA). Visit the website at andersons.com.au.
Credit Union SA has a range of education only offers. Visit the website at creditunionsa.com.au/community/ education-community-bankingbenefits/ for more information.
Don Burrows AO MBE
Hotel Grand Chancellor Adelaide offers an exclusive accommodation deal for 2020. This includes WiFi, welcome drink cards on arrival, a uniquely South Australian gift and the paper daily. Go to grandchancellorhotels.com/hotelgrand-chancellor-adelaide to book! Enter the promo code EDSA to access the member exclusive rates and offers.
The Australian jazz legend Donald Vernon Burrows AO MBE died on March 12, aged 91, in his hometown of Sydney. A renowned multiinstrumentalist, Don played the clarinet, saxophones and flutes and took Australian jazz and swing music to the world stage. He also brought it into homes across the country through his countless TV appearances and recordings. He was also a noted educator, clinician, mentor, composer and arranger. In 1973 Don was the first Australian jazz musician to earn a gold record for his album ‘Just the Beginning’. In the same year, being concerned about the limited performance opportunities for young jazz players, he liaised with Sydney Conservatorium Director Rex Hobcroft to establish the Jazz Studies program at the Sydney Conservatorium, the first in the southern hemisphere. He was appointed Chairman of Jazz Studies in 1980. Don was the first jazz musician to be offered a Creative Arts Fellowship by the Australian National University in Canberra (1977) and the first jazz musician to
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be Artist-in-Residence at Sturt College of Advanced Education, Adelaide (1978). In 1994 Don was awarded a grant from the Australian Government to facilitate a nation-wide school Jazz Program, and he travelled across the country, bringing jazz to children and families in isolated communities. Don continued to visit schools in many parts of Australia, taking up residencies to nurture young musicians. During his long career Don Burrows received many Honours. He was awarded the M.B.E. in the 1973 Queen’s Birthday Honours List for ‘his services to Music’, the Queen Elizabeth Silver Jubilee Medal in 1977 for ‘his services to music’ and an A.O. in the 1987 Queen’s Birthday Honours for ‘his services to music in Australia’. In 1991 he was inducted into the ARIA Hall of Fame alongside Billy Thorpe, Little River Band’s Glenn Shorrock and bass-baritone Peter Dawson. A true pioneer, he was the first jazz artist inducted into the Hall of Fame. In 1989 and 1999 Don was named a Living Treasure and a Life Member of the Sydney Conservatorium of Music in 1988. Don was awarded Honorary Doctorates in Music from the University of Sydney (2000), Edith Cowan University in Perth (2001) and an Honorary Doctorate in Education, Central Queensland University (2004). An APRA member since 1960 Don was presented with the Ted Albert Award for Outstanding Services to Australian Music at the 2004 APRA Music Awards. He was inducted into the Australian Jazz Bell Awards Hall of Fame in 2007.
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IN MEMORIAM: GRAHAM POWNING Compiled by Robert Brown OAM
Graham Powning
Australian composer Graham Powning died in Sydney on February 12, 2020, aged 70. He was born in Sydney in 1949. Graham started flute lessons with Victor McMahon in 1957 at Eastwood Primary School. In 1962 he changed to the oboe. At that time there was no oboe teacher at the N.S.W. Conservatorium of Music, so Victor continued to teach Graham as an oboe student.
recorded his ‘Oboe Concerto’ for 2MBS FM and in November of that year his ‘Wind Quintets’ were played in Canberra for a visit by President Clinton. His ‘First Symphony’ was performed in June 1997. Graham wrote over 800 compositions, mostly for woodwind, and his great sense of humour is shown through the imaginative titles of his works. His compositions demonstrate a high degree of invention, wit and creativity, written in a style which retains an attractive and lyrical quality. His works were published in Australia, USA, UK, and Europe. Graham’s output includes numerous pieces for woodwinds (solo and ensembles, often in unique combinations), including over 100 Trios for two oboes and cor Anglais, Sonatas, two Symphonies, a Flute Concerto, an Oboe Concerto, a Bassoon Concerto, Overtures and other orchestral works, over 50 String Quartets and works for string ensembles, brass ensembles, choir, piano, organ and percussion. Graham received commissions from overseas, especially for flute and clarinet conventions. His compositions have often been used for examinations, scholarship auditions and competitions. Recordings of his music made by the Australian Broadcasting Corporation and private companies are regularly heard on Australian radio.
In 1968 Graham commenced the Diploma course at the N.S.W. Conservatorium, studying oboe with Guy Henderson and composition with Raymond Hanson. At this time Graham wrote many pieces for fellow student, flautist Roger Armstrong, who took up the post of Sub-Principal Flute with the BBC Welsh Symphony Orchestra in 1974. Following his graduation in 1970 Graham was appointed to the N.S.W. Conservatorium staff in 1971 and taught there for twenty years. From 1972 until 1985 he was Principal Oboist with the Elizabethan Trust Sydney Orchestra (now the Australian Opera and Ballet Orchestra). Graham also taught at the Newcastle and Gosford Conservatoriums. He was the first Australian oboist to be invited to give a lecture recital for the International Double Reed Society at their 12th Conference held in Florida in 1983. Graham was awarded the Queen Elizabeth Jubilee Medal for ‘services to music’ in 1977. In 1996 he
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TEACHING ON THE FLEURIEU by Peta Quilliam
Located 80 kilometres south of Adelaide is the beautiful Fleurieu Peninsula. Victor Harbor and Goolwa are popular holiday destinations for many and a home with a unique lifestyle to some. Goolwa has been accredited as the first Cittaslow or ‘Slow Town’ in Australia. Goolwa joined the international network of towns and cities that combine the efforts of Council, the business community and residents to improve the quality of life for all who live and work in their town. Between Milang and Encounter Bay, there is an abundance of wildlife to be found in the rivers, ocean and the Coorong. The scenic beauty of the Fleurieu Peninsula is complimented by many arts, cultural and musical festivities, ranging from the Guitarissimo Festival, Goolwa Concert Band and South Coast Chamber Orchestra to name a few. Prior to COVID-19 restrictions the Cittaslow would arrange a fortnightly Friday night ‘turn up and play’ venue where musicians would perform while other keen citizens listened to some freedom music. In Victor Harbor, once a month, the old RSL Club was used as a venue where anyone could come and perform at a minimal fee. These events provide an all-round musical vibe, bringing together people of many ages to share the joy of music and an opportunity for some of my students to build on their performance skills. There is always a concert within the community musical events being held within the school.
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I teach a range of levels and especially enjoy introducing music, the culture and the different ranges of music. My lessons include some theory and I encourage students to be open to participate in AMEB exams when they develop enough skills. I feel this builds a solid foundation and understanding of music as well as helping them build confidence. I use off the bench theory-based activities and games to help learning be fun as well as providing some of my younger students a time to have a movement minute. I find teaching and guiding my students on their musical journey is a privilege. I look forward to my lessons and hearing about musical pieces that have captured a student’s interest. It is wonderful to see the enthusiasm and excitement of students when their musical pieces come together or when they perform. I am a great believer in practice and encourage my students to continue to practise their repertoire during holidays. I have ongoing ideas for practice and always thank parents for supporting their child’s musical journey and am inspired when receiving the MTASA magazine. I enjoy the information, ideas and conference days that are held by the MTASA to provide opportunities for myself and others to build and collaborate knowledge. Through living and teaching on the Fleurieu, there are some great young musicians in the Community and when I see them continuing on from lessons, playing in bands and engaging musically within the community, that in itself is a great accomplishment and exciting to see them on their journey.
Alexander Orchestra 2018
Shephard Concert Band 2018
THE SOUTH AUSTRALIAN STATE MUSIC CAMP The South Australian State Music Camp was first held in Adelaide in 1962, founded as the SA May Music Camp by the National Music Camp Association. A fortuitous meeting at Scotch College in Melbourne in 1943 between John Bishop, Dr Percy Jones and newly arrived American pianist and music educator Ruth Alexander, saw the seeds of friendship sown. Throughout the ensuing years Ruth Alexander fired the imagination of John Bishop with her descriptions of American summer music camps. John Bishop travelled in the USA, on the continent and in Great Britain, and brought back a burning ambition to instigate such musical camps in Australia. The music camp movement was founded in 1947 in Melbourne but the first ever Australian Music Camp was held at Point Lonsdale, Victoria, in the summer of 1948 under the auspices of the National Fitness Council and the Victorian School Music Association. The experiment was highly successful and although the idea grew from similar activities overseas, the Australian movement developed its own individual identity.
Association in 1966 as a registered not-for-profit organisation. The mission of the SA Music Camp Association is to equip young musicians, new to advanced, with the opportunity for interaction with other like-minded musicians from all over South Australia and provide experience playing in a large orchestra or band. The annual Music Camps have become an integral part of the lives of young South Australian musicians, offering instrumentalists from the age of 9 to 23 years the opportunity to audition to participate in one of five graded ensembles, each catering for a wide range of ages, standards and levels of experience. The aims of the Music Camp are to place young players in a stimulating environment where they tackle and master challenging and enjoyable repertoire and succeed in presenting an exciting final concert to family and friends. Campers are coached by experienced professionals who are chosen for their empathy with young performers. Camp operates across five days during the July school holiday period, and the daily routine includes
Immediately following the first Australian Music Camp in 1948, John Bishop left Victoria to take up a new appointment at the University of Adelaide. His musical achievements in South Australia are distinguished and many, but for us, one of the most important was the establishment of the May Music Camp in 1962. The May Music Camp operated for 25 years until 1986 when the school holiday dates changed, and consequently the name changed to SA State Music Camp. The Camp was arranged by a dedicated team which became incorporated as the SA Music Camp
a mixture of tutorials with specialist tutors, and full ensemble rehearsals with leading conductors. Each year various scholarships are made available to enable more students to attend, funded by corporate sponsors, committee members, and tutors. The committee and organisational team offer many hours of their time and are truly dedicated to the youth music movement in South Australia. For more information please visit the website at samusiccamp.net.au.
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THE ACCOMPANISTS’ GUILD OF SA INC. Celebrating the art of the accompanist and collaborative pianist
PRESSURE AND PRIVILEGE, PART 1 by Leigh Harrold remember a mad locomotive-type rushing in my ears the whole time it was happening, so I can’t imagine it was my best work. But the Director knew what he was doing, and I learnt just enough from the experience to realise I needed to learn more. Two days later, I had my first formal piano lesson with my teacher - and soon to be valued mentor - the great Geoffrey Tozer. I told him what had happened earlier in the week, hoping to garner some sympathy for my semi-traumatic experience. He simply looked at me and said ‘Just the one movement then? That was kind of them. Have this ready by next week’, and he promptly handed me all four movements of the Brahms F minor Viola Sonata. Leigh Harrold
I’ll never forget my first week as a student at the Australian National Academy of Music (ANAM). It was 2003 and I was a year on from having graduated from Masters at the Elder Conservatorium, having spent that year as the Con’s resident woodwind accompanist. Despite the usual insecurities that most (all?) musicians have, I felt that I had a serviceable piano technique, and that I could learn a piece fairly quickly if I needed to. Most importantly, I had a burning desire to devour as much duo repertoire as I could. As much as I enjoyed the thrill of solo performance, I knew that nothing for me really beat the joy of collaboration. I had mentioned as much to the Artistic Director when I had auditioned for ANAM six months earlier, and he hadn’t forgotten. ‘We’re hoping you’d be keen to play with some of the string students in addition to your own solo course requirements’. ‘Of course’, I said, eager to please, and slightly smug that I’d been singled out for extra duties in a Teacher’s Pet sort of way. ‘Good’, the Director said nonchalantly. ‘Obviously we don’t want to overload you right away, so we’ll need just this movement ready for violin class this afternoon. You can rehearse with the violinist in an hour or so’. I smiled maniacally, my throat going dry, as he placed a copy of the first movement of the Beethoven C minor Violin Sonata in my hand. I’d only played one Beethoven Violin Sonata before, and it wasn’t this one. The C minor has a reputation among pianists for the multitude of traps that lie in wait on every page. What fresh hell was this? Even in my most frantic days of woodwind accompanying, I would always have more than 24 hours to get a major sonata to performance standard. Feeling totally ill-equipped, I gritted my teeth, found the nearest piano, and started practising. To this day, I have no real recollection about how the performance went, although I
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This time though, I wasn’t left to sinkor-swim by my own under-developed methods, and so began my two-year ANAM journey under Geoffrey’s guidance where we focussed on the art of rapid-learning through technique and analysis. Learning a piece of music quickly was no excuse to compromise on performance standard, said Geoffrey - it was a matter of having enough tools in one’s tool-box to cope. We talked about very pianistic matters such as using the weight of gravity to direct all nervous energy downwards into the key bed, and dividing the arm into a series of fulcrums to increase facility and control tone colour; as well as more esoteric ideas - chord quality and pattern identification in complicated scores to assist sight-reading, and developing a sense of trust in our accumulated musical experience to counteract the dread one might feel about compromised preparation times. (The ‘trust’ idea was a very interesting one although he wanted to me to learn the entire Brahms Sonata and play it to him in my next lesson. He insisted I was not allowed to practise the slow movement at all). (to be continued)
MY SHIP
George Shearing Solo Piano Album
by Kerin Bailey, Pianist, composer and teacher ‘How do you expect kids to learn good manners when they never see any?’, Fred Astaire. The same could perhaps be said today for music students. How many listen to good instrumental recordings - or better still, live concerts? This is especially important in jazz which is a largely aural form. My own forays into improvisation as a child were entirely through listening to radio and my father’s 78 jazz records - on a portable windup phonograph!
My Ship is a solo piano album I recommend beautifully recorded in 1974 by Hans Georg BrunnerSchwer for the MPS/BASF label - on a Bösendorfer piano. George Shearing achieved fame (and fortune) in the early 50’s with a quintet of piano, vibes, guitar, bass and drums. The slick arrangements - vibes and guitar doubling the piano lines in block chords (the socalled ‘locked-hands’ technique) created a unique ensemble and became known as the ‘Shearing Sound’. George’s solos in this setting were mostly brief, but when the quintet was finally disbanded in 1978 he released numerous solo, duo and trio recordings where his full palette of influences became obvious.
Blind from birth (1911) he took piano lessons for only four years before embarking on his professional pianoplaying career. Listening to My Ship one can only marvel at the prodigious technique, silky touch and vivid imagination on display - each track revealing influences
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from classical to jazz (ragtime to bebop) - in a stunningly original style. Kurt Weill’s ‘My Ship’ sets the scene with quotes from Debussy’s ‘La Cathedrale Engloutie’ and this atmosphere pervades the entire track with rippling arpeggios accompanying the LH theme, whole-tone passages and sparkling trills. ‘Yesterdays’ is a fast, swinging stride rendition Fats Waller influence with Art Tatum runs - and a classical quote or two, still unmistakably Shearing. ‘Happy Days Are Here Again’ is a reflective rubato interpretation with lush harmonies and quoting the opening motif of ‘A Walk in the Black Forest’ to finish. ‘When I Fall in Love’ is swinging jazz with a modern stride LH, ‘Londonderry Air’ rubato with a lush reharmonisation. ‘April in Paris’ has classical touches including Alberti bass and counterpoint. ‘The Entertainer’ is true Scott Joplin for the first section, then ‘Shearing Style’ (or locked-hands) - block chords in RH with the melody doubled in the LH.
After a rubato repeat the final chorus is pure Errol Garner! Three choice standards follow -‘Tenderly’, with a funky improvisation, ‘How Deep is the Ocean’ and ‘Autumn in New York’. ‘Greensleeves’ is a real show-stopper. A simple unaccompanied statement of the theme, then in Canon, then a lilting chorus which reminds me of Ravel’s ‘Forlane’. The first movement theme from ‘Rach 3’ is unobtrusively woven in, a rubato jazz chorus and climaxing with a Bach organlike ending. Shearing was a superb accompanist - evidenced by his many recordings with singers - and the album draws to a close with him accompanying himself on ‘Send in the Clowns’ - almost like an encore after a stunning recital of virtuosic pianism and invention. Whilst a student at the Elder Conservatorium I transcribed ‘The Entertainer’ and marvelled then at the imagination and especially the effortlessly smooth technique and gorgeous sound. I’m even more impressed after this latest listen - check it out!
PEDAGOGY MATTERS: SURPRISE SYMPHONY by Wendy Heiligenberg by Judy Pearce
I have been playing violin since I was seven, and teaching violin and viola to all age groups for dare I say it, nigh on 50 years. I regard myself as highly skilled and know that I probably studied music longer than most medical practitioners have spent at university, not including my 10 years of training prior to attending a tertiary institution. Recently I had a rather disappointing, completely unexpected and hopefully unique experience with a young student, let’s call them Taylor, who was quite talented, apparently practised diligently, according to the parent, but they did not seem to be making the progress I would have expected. I had invested many hours of extra lessons and extended lessons prior to exams and scholarship auditions, helped procure a lovely little violin for them-and I felt I had always gone that extra mile to accommodate and support this student. Scene 1: a beautiful Spring day. Strains of Grieg’s ‘Morning’ can be heard. Phone rings. Wendy (happily): Good morning. (Caller has a kind and concerned tone.) Caller: You don’t actually know me, but a mutual friend surprised me this morning by telling me that they had become aware that we are both teaching Taylor, and neither of us knew about the other teacher. A crashingly dissonant chord sounds in my head - imagine the ‘Schreckensfanfare’ (Horror Fanfare) at the beginning of the 4th Movement of the Beethoven 9th. Wendy: What? This is truly unacceptable! It takes a lot to make me speechless, but I have rarely felt so insulted and disappointed, and the other teacher felt just as betrayed as did I. Although we had never met, this could have had very awkward repercussions and jeopardised any future professional relationship between us. Believe me, I am only too happy to ‘phone a friend’ or collaborate with other teachers, but this is always with the knowledge of all concerned. This collaboration can be fruitful for pupil and teacher alike. I do understand that this parent was trying to give their child the best possible training, thinking that having extra lessons and tapping the minds of multiple teachers would result in rapid progress. Actually, the opposite was becoming evident. This might work in certain subjects, for example after school Mathematics tuition, where students are being helped with material handled at school. Taylor was being given too much information but did not have the time to assimilate it, nor work on the set tasks and was burdened with double the amount of repertoire. Taylor did not have the maturity to sort through the possibly different focal points of technique being provided by two teachers simultaneously. Moreover Taylor had obviously been told to conceal the fact that they had two teachers who were completely unaware of the presence of each other. The end of the story is that both of Taylor’s teachers decided that the teacherpupil relationship, which is so important in music, was damaged beyond repair, and neither of us was willing to continue teaching the child. So I set about finding an ideal teacher, who was forewarned and forearmed and eminently capable of dealing with the family. And we all lived happily ever after… Strains of Peter’s theme from Prokofieff’s ‘Peter and the Wolf’…
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A TRIO OF APPS FOR AURAL AND THEORY by Juanita Simmonds
[Juanita Simmonds is a professional member of the Queensland Music Teachers’ Association. She lectures in undergraduate and pre-tertiary aural and theory at the Queensland Conservatorium, and performs regularly as an event pianist, piano accompanist and harpsichord continuo player.] [This article has been checked and updated since it was first published in ‘Bravura’ (August 2017), the journal of the Queensland Music Teachers’ Association. Reprinted with permission.]
Since the release of the iPhone more than a decade ago, Australians have taken up hand-held devices enthusiastically with about 15 million smart phones and 11 million tablets now in use (see yump.com.au/2016-australian-mobile-statistics-how-digital-is-increasingly-a-mobile-firstexperience/, last accessed March 5, 2019). The effect on our society is obvious. For example, travelling by bus or train today is a different experience, as the art of gazing out the window seems obsolete. School students and grown-ups pause for barely a moment in a queue before a phone is whipped out and a thumb scrolls through feeds and messages. Whatever your point of view on this change, music students can make productive use of their time on a device by practising aural and theory skills. A search of the App Store brings up many applications for music theory and ear training that can be used on phones and tablets but it’s worth remembering that not all apps are created equal. Teachers can help students choose a better-designed app by considering these points: In aural apps, will the student have the option to replay the excerpt? Can the number of repeats be customised? How will the user receive feedback on whether they answered correctly or not? Immediate feedback and correction is helpful for building skills. If the student answers incorrectly, will there be an opportunity to reattempt the question? To help reinforce knowledge, will the correct answer be displayed? In both aural and theory apps, will the screen show the written notes when revealing or confirming the answer? Will the audio repeat while the notes are on the screen? This helps to build eye and ear, essential for both ear training and theoretical understanding. Can the exercises be customised? The capacity to include or exclude options allows you to tailor the questions to the student’s level. Here are three of the better-designed apps available in the Apple App Store costing $6 or less. All of them test for theory and aural.
1) Better Ears Beginner The Beginner version of Better Ears is free, with the option to upgrade to the full version as an in-app purchase, to access harder exercises and customisation. To find the free version, search for ‘Better Ears Beginner’ within quotes. The Better Ears app is also available for Android devices. Better Ears is organised so that users can switch between ‘learning’ (for example, first hearing the different types of intervals) and testing, called ‘training. Theory covers key signatures, intervals, scales and triads. Notes are named according to the system used in many contemporary textbooks, where C4 marks middle C. Aural covers intervals (some are named by number only, without quality), scales, triads, chord progressions, tempo, and pitch. The app shows results straight away: green and red indicates correct/incorrect as well as complete/incomplete. Answers are confirmed immediately and further clarified with the written notes and labels on the screen, helping to consolidate eye and ear. There is also a drill where students can play the written note on the screen’s keyboard (theory) or play the heard note on the keyboard (aural).
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A TRIO OF APPS FOR AURAL AND THEORY (CONT'D)
2) Tenuto This app is just under $6 although there is a free version available on the companion website musictheory.net. It has a clean layout on the screen and is ad-free. Colour is used to show correct (green) or incorrect (red) responses, giving the user immediate feedback. All tests are customisable for clef, key and range, or to have more or fewer options in the answers. This allows students to focus on particular problem areas and the app to be used from beginner level onwards. Theory testing covers all clefs, including C clefs, for notes, key signatures, intervals, scales and chords, with aural testing for intervals, scales and chords. The aural tests can be replayed before attempting an answer, and if answered incorrectly, may be replayed before attempting the question again. In the theory tests, the written example is played before moving to the next question, helping build aural skills at the same time. There are several ‘Calculators’ that generate, for example, chords on a given root note, and an ‘Analysis Calculator’ that shows root position, diatonic and chromatic chords with upper/lower-case Roman numerals distinguishing the chord’s quality, an important aspect of understanding harmony.
3) Music Theory Pro The price of this app has more than halved in the last few years, to cost the same as the Tenuto app. It is easy to use with a simple screen layout and is ad-free. Student responses are coded green/red, for correct/incorrect. Inside each test you can access the ‘settings’ at the top right of the screen where slider buttons include or exclude options. This is helpful if you need more practice in a particular area. Aural audio may be replayed and the number of replays can be customised as well. One possible disadvantage is that a wrong answer prompts a message saying the answer was incorrect, with no opportunity to reattempt the question. Speed and scores are given, with the option to post results on the Music Theory Pro website if desired. Theory testing covers the four main clefs and the grand staff, for notes, key signatures, intervals, scales and chords. Aural testing covers tempo, intervals, chords and scales. These three apps allow students to drill aural and theory skills outside of the music studio lesson with feedback on their work, and reinforcement of eye and ear.
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IS THE FUTURE READY FOR THE CREATIVEPRENEUR? by Pete Barter, samii.com.au, November 11, 2015. Are You A creative person running a business? Yes? Let’s just call you a Creativepreneur then…
You can have the best song in the world, be a prodigy on the keyboard, but that won’t get you anywhere unless someone hears your music. That’s why we musicians know how to hustle! We network, we market, we play for free, whatever it takes to get out there and be heard. No surprise, when it comes to business, musicians know how to network, market, and get themselves heard.
Let’s face it. Most entrepreneurs only know how to spell entrepreneur because all we have to do is get relatively close and spell check takes it from there. Rarely will you find the valedictorian leading a start-up. However, guess who you will often find building companies… that guy in the back of the class drumming on anything and everything!
Then there is the ability to see detail as well as the big picture. Musicians find this to be second nature. We critique each note, analyze each song, coordinate each performance and build a schedule. From the fine details to how it all comes together, musicians can adjust their focus. As entrepreneurs this is immensely beneficial to finding inadequacies in an organization from the big picture view and then zooming in to find solutions.
Study after study has found that musicians and artists are naturally inclined to entrepreneurial pursuits. According to the Berklee College of Music this is partially because ‘making music and running an entrepreneurial career are dual roles now required of today’s artists’ (berklee.edu/institutional-advancement/musiciansare-natural-entrepreneurs). Having a creative background seems as effective, if not a better prerequisite for business success than academic acumen. Jobs, Branson, Gates; each of these business giants have left their mark, yet they came into business through creative pursuits. Undoubtedly their GPA’s were not a determinant of later success. Instead what made the difference was their ability to think outside of traditional frameworks and to take action with their creativity.
Musicians also know the value of having a good team. Through the experience gained playing in bands, musicians learn how to work with others and coordinate efforts. There is nothing worse than a band whose timing is off. Same with a business and musicians are among the best at pulling a team together to get them all on the same rhythm. When hiring, musicians have also developed the skills to assess new members and determine if they will be a good fit with the rest of the band… or, I mean, the other employees.
Being a successful artist and musician = being a successful entrepreneur.
Finally, musicians love a challenge. If they didn’t, then they wouldn’t make it past playing ‘Mary Had A Little Lamb’. Making a living as a musician is often not easy; same goes for entrepreneurship. We musicians, however, thrive on a challenge. The possibility of using our creativity to support ourselves and influence others is addictive. It is also the reason musicians are able to persevere as entrepreneurs.
Think about it. Many of the same skills overlap whether you are running a business or playing as a musician. First you have to be creative. Setting yourself apart from everyone else is the challenge of bth musicians and entrepreneurs. Constantly inventing and reinventing yourself to stay ahead of the curve is the only way to survive.
As you can see, being a musician equips you with the business skills required to be an entrepreneur. Most of these skills are not the kind you are going to learn by busting open a text-book and shading in the right answer. No, these skills are built through experience.
Second, musicians know how to problem solve. A stick breaks mid song, the van runs out of gas, you name it. Being able to assess the situation and act quickly is a skill learned with practice and it is impossible to pick up in a lecture. Musicians learn how to think on their feet and are therefore more effective at pivoting their businesses quicker than the competition.
So let the class begin! 1, 2, 3, 4…
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Humour From: EFFICIENCY AND TICKET, LTD., Management Consultants To: Chairman, The London Symphony Orchestra Re: Schubert’s Symphony No 8 in B minor (Unfinished). After attending a rehearsal of this work we make the following observations and recommendations:
1. We note that the twelve first violins were playing identical notes, as were the second violins. Three violins in each section, suitably amplified, would seem to us to be adequate. 2. Much unnecessary labour is involved in the number of demisemiquavers in this work; we suggest that many of these could be rounded up to the nearest semiquaver, thus saving practice time for the individual player and rehearsal time for the entire ensemble. The simplification would also permit more use of trainee and less-skilled players with only marginal loss of precision. 3. We could find no productivity value in string passages being repeated by the horns; all tutti repeats could also be eliminated without any reduction of efficiency. 4. In so labour-intensive an undertaking as a symphony, we regard the long oboe tacet passages to be extremely wasteful. What notes this instrument is called upon to play could, subject to a satisfactory demarcation conference with the Musician’s Union, be shared out equitably amongst the other instruments.
Conclusion: if the above recommendations are implemented the piece under consideration could be played through in less than half an hour with concomitant savings in overtime, lighting and heating, wear and tear on the instruments and hall rental fees. Also, had the composer been aware of modern cost-effective procedures he might well have finished this work.
CONTACT DETAILS FOR OTHER ORGANISATIONS 5MBS: MUSIC BROADCASTING SOCIETY OF SA 5mbs.com 8346 2324 5mbs@5mbs.com AUSTRALIAN BAND AND ORCHESTRA DIRECTORS’ ASSOCIATION (ABODA): ABODA SOUTH AUSTRALIA abodasa.com.au info@abodasa.com.au ABRSM EXAMINATIONS us.abrsm.org/en/home SA Rep.: Anastasia Chan 8234 5952/423 282 589 abrsmsa@hotmail.com ACCOMPANISTS’ GUILD OF SA INC. accompanist.org.au President: Leonie Hempton OAM 8272 8291/0404 145 502 leoniehempton@gmail.com ADELAIDE BAROQUE adelaidebaroque.com.au 8266 7896 manager@adelaidebaroque.com.au ADELAIDE CHAMBER SINGERS adelaidechambersingers.com 8352 1329 admin@adelaidechambersingers.com ADELAIDE EISTEDDFOD SOCIETY INC. sacoment.com/aes/eisteddfod Secretary: Brenda Rayner OAM 8366 6531 adleisteddfod@adam.com.au ADELAIDE HARMONY CHOIR adelaideharmonychoir.org.au/ Secretary: Sherry Proferes adelaideharmonychoir.info@gmail.com ADELAIDE PHILHARMONIA CHORUS philharmonia.net ADELAIDE YOUTH ORCHESTRAS adyo.com.au 8361 8896/0410 062 677 General Manager: Claire Oremland claire@adyo.com.au AMEB EXAMINATIONS: SA AND NT ameb.adelaide.edu.au 8313 8088 ameb@adelaide.edu.au AUSTRALIAN NATIONAL ASSOCIATION OF TEACHERS OF SINGING (ANATS) ANATS: SA AND NT CHAPTER anats.org.au/sant-chapter Secretary: Dianne Spence anats.sa.nt@gmail.com ANZCA EXAMINATIONS anzca.com.au (03) 9434 7640 admin@anzca.com
AUSTRALIAN SOCIETY FOR MUSIC EDUCATION (ASME) ASME: SOUTH AUSTRALIA CHAPTER asme.edu.au/sa President: Luke Gray graylu@trinity.sa.edu.au AUSTRALIAN STRINGS ASSOCIATION (AUSTA) AUSTA: SA CHAPTER austa.asn.au/chapters/sa President: Fiona Patten fionapattenausta@gmail.com AUSTRALASIAN DOUBLE REED SOCIETY adrs.org.au Contact: Josie Hawkes OAM josie.bassoon@gmail.com AUSTRALIAN STRING QUARTET asq.com.au/ 1800 040 444 asq@asq.com.au BALAKLAVA EISTEDDFOD SOCIETY balaklavaeisteddfod.org.au Contact: Trish Goodgame 0417 891 834 info@balaklavaeisteddfod.org.au CON BRIO EXAMINATIONS conbrioexams.com 9561 3582/0401 014 565 lily@conbrioexams.com ELDER CONSERVATORIUM OF MUSIC music.adelaide.edu.au 8313 5995 music@adelaide.edu.au ELDER HALL music.adelaide.edu.au/concerts 8313 5925 concertmanager@adelaide.edu.au FLUTE SOCIETY OF SA INC. flutesocietyofsa.org Secretary: Masako Kondo 0448 730 845 secretary@flutesocietyofsa.org INSTRUMENTAL MUSIC: DEPARTMENT FOR EDUCATION Instrumental Music Office - Klemzig 8261 8988 IM.KlemzigOffice608@schools.sa.edu.au Instrumental Music Office - Morphett Vale 8392 3800 IM.MorphettValeOffice896@schools.sa. edu.au Music Programs 8226 1883 education.musicprograms@sa.gov.au KODALY MUSIC EDUCATION ASSOCIATION OF SA kodalysa.com 0405-066-469 kodalysa@gmail.com
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MUSICA VIVA musicaviva.com.au for concert details Box office: 1800 688 482 contact@musicaviva.com.au MT GAMBIER EISTEDDFOD backstageinc.org.au Secretary: Maxine Chalinor OAM 0457 067 555 tonymaxine@internode.on.net MUSICIANS’ UNION OF AUSTRALIA ADELAIDE BRANCH musiciansunion.com.au 8272 5013 musosa@bigpond.net.au ORFF SCHULWERK ASSOCIATION OF SA osasa.net info@osasa.net PRIMARY SCHOOLS MUSIC FESTIVAL festivalofmusic.org.au 8261 5438 office.psmf799@schools.sa.edu.au ST CECILIA EXAMINATIONS PTY. LTD. st-cecilia.com.au 1800 675 292 info@st-cecilia.com.au SOUTH AUSTRALIAN BAND ASSOCIATION sabandassociation.org Secretary: David Corkindale secretary@sabandassociation.org SOUTH AUSTRALIAN MUSIC CAMP ASSOCIATION samusiccamp.net.au Administrator: Samantha Taylor admin@samusiccamp.net.au THE SOCIETY OF RECORDER PLAYERS SA INC. facebook.com/recorderplayerssa/ 0410 109 135 npope@bigpond.net.au TRINITY COLLEGE LONDON EXAMINATIONS trinitycollege.com.au 1300 44 77 13: National 8345 3117: Local stanley.tudor@iinet.net.au UKARIA CULTURAL CENTRE ukaria.com 8227 1277 info@ukaria.com