BOOK REVIEW by
Wendy Heiligenberg
PAT H. Wilson Sneeze’n’sniff, cough’n’croak – the joys of Winter voice
WELCOME FROM THE PRESIDENT
Dear MTASA Members,
We stand on the threshold of a significant milestone in our association’s history, and it is with a profound sense of pride and gratitude that I write this welcome. In just a few short years, the Music Teachers Association of South Australia (MTASA) will celebrate its centenary, marking a century of excellence, innovation, and dedication to the advancement of music education.
Our theme, “Eyes on 100,” serves as a reminder of the journey that lies ahead and the remarkable achievements that have brought us to this momentous milestone. For nearly a hundred years, MTASA has been a beacon of inspiration for music educators across South Australia, championing the transformative power of music and enriching the lives of countless students.
Upon reflection on the past century, it is impossible not to be awestruck by the vision, resilience, and unwavering commitment of our predecessors. From humble beginnings to becoming one of the most respected music education associations in the state, MTASA has overcome numerous challenges and obstacles, guided by a shared passion for music and a relentless pursuit of excellence.
The road to our centenary has been paved with countless moments of triumph and tribulation, each one shaping the fabric of our association and strengthening the bonds of our community. From pioneering new teaching methods to advocating for the importance of music education in schools, MTASA has been at the forefront of innovation and change.
As we look ahead to the next chapter of our journey, it is essential to acknowledge the invaluable contributions of our members, past and present. Each member has played a role in shaping the legacy of MTASA, enriching the lives of students, and fostering a deep appreciation for music in our society.
In the lead-up to our centenary celebrations, MTASA will embark on a series of initiatives and events designed to honour our rich heritage, celebrate our achievements, and lay the foundation for the next hundred years of excellence. From special concerts and recitals to educational workshops and networking events, there will be no shortage of opportunities for our members to come together, share their talents, and inspire one another.
In closing, I would like to express my deepest gratitude to each and every member of MTASA for your continued support, dedication, and passion for music education. Together, we will write the next chapter of our association’s storied history, ensuring that MTASA remains a shining beacon of inspiration for generations to come.
With warmest regards,
Sofie Arhontoulis President, Music Teachers Association of South Australia
VOLUME 33 No 1
PATRONS : Her Excellency the Honourable Frances Adamson AC, Governor of South Australia, Mr Rod Bunten, Dr. Doreen Bridges AM, Emeritus Professor and David Lockett AM
PRESIDENT : Sofie Arhontoulis
VICE-PRESIDENT : Rodney Smith, Wendy Heiligenberg
SECRETARY : Michael Thompson
TREASURER : Samantha Penny
AUDITOR : Australian Independent Audit Services
COUNCIL 2024/2025 : Sofie Arhontoulis, Michael Thompson, Wendy Heiligenberg, Samantha Penny, Pete Barter, Zuoyu Liu, Yong Cheong Lye, Yuxin Men, Emmy Zhou, Rodney Smith, Pat H. Wilson.
EDITOR : Paulo da Costa
SUB-EDITOR : Pat H. Wilson
LAYOUT: : Sectrix
MEMBERSHIP ENQUIRIES to the Secretary –
PO Box 4, RUNDLE MALL, SA 5000 Mobile: 0402 575 219 • E-mail: info@mtasa.com.au
ADVERTISING – Please contact the Secretary
Please see the MEMBER information page for the Advertising Price List.
DEADLINES FOR 2024/ 2025
Contributions to SA Music Teacher are most welcome. All items to be included must reach the Editor (info@mtasa.com.au) no later than these deadlines:
Thursday, October 29th, 2024, and Wednesday, January 29th 2025.
SOME CONTRIBUTIONS 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.
from the President by Sofie Arhontoulis
Coming MTASA events
Member information
Accompanists’ Corner Collaborative exams 2024, by Gina Macri
Winter Professional Learning Day by Rodney Smith
Music Teachers’ Advisory Service
Teaching Singing for Music Theatre Sneeze’n’sniff, cough’n’croak: the joys of winter voice, by Pat. H. Wilson
Book Review by Wendy Heiligenberg
Excerpt from “History of the Music Teachers’ Association of South Australia” by Nina Murton
COMING MTASA EVENTS
Sunday, 18th August 2024
Concert Performance Day 2
Venue Time Ticket
Madley Rehearsal Space, University of Adelaide 10:00am – 5:30pm Via website
Saturday, 14 September 2024
MTASA Quiz Night
Venue Time Ticket
Saint Spyridon College Hall, 52 Oxford Terrace, Unley 7.00pm Via website
Sunday, 22 September 2024
Bunnings Sausage Sizzle
Venue Time Ticket
MEMBER INFORMATION
MTASA MEMBERSHIP FEES
RECOMMENDED TEACHING FEES
The following teaching rates are recommended to members by the MTASA Council for 2024.
Full Member - $80 per hour
Student Member - $55 per hour
MTASA MEMBERSHIP
RENEWALS
Saturday, 5 October 2024
Masterclass - Rosanne Hammer
Venue Time Ticket Australian Piano Warehouse (formerly Winston Music) 10.00am-12.00pm Via website : : :
Sunday, 17th November 2024
AGM 2024
Venue Time Ticket Saint Spyridon College, 52, Oxford St., Unley 6:00pm Via website : : :
January 2025
Summer Professional Learning Day
Venue Time Ticket
June 2025
Government House Event
Venue Time Ticket
Bunnings Mile End 9.00am-3.00pm Via website TBC TBC Via website TBC TBC Via website
Membership Subscription Renewals for 2023/2024 was due on June 30. Subscription renewal notices were sent in late June via e-mail to remind members to log in and renew their membership for the 2023/2024 financial year. If you are a Full member you will be asked to indicate that you have completed seven hours of Professional Development during the previous twelve months. If you don’t receive an e-mail please check your spam folder. You can log in at any time to renew your membership. If it seems that you didn’t receive an e-mail, have forgotten your username or are having problems logging in please contact the Secretary (info@mtasa.com.au). Paper invoices were sent to members who prefer to receive them.
POST-NOMINALS
Full members of the Music Teachers’ Association of South Australia may use the letters MMTA (member of Music Teachers’ Association) as a post-nominal while they are financial members. Interstate Music Teachers Associations are also encouraging their members to use this or a similar post-nominal.
RECOMMENDED TEACHING FEES
The following teaching rates are recommended to members by the MTASA Council for 2024.
Full Member - $80 per hour
Student Member - $55 per hour
MTASA MEMBERSHIP RENEWALS
Membership Subscription Renewals for 2023/2024 was due on June 30.
Subscription renewal notices were sent in late June via e-mail to remind members to log in and renew their membership for the 2023/2024 financial year. If you are a Full member you will be asked to indicate that you have completed seven hours of Professional Development during the previous twelve months. If you don’t receive an e-mail please check your spam folder. You can log in at any time to renew your membership. If it seems that you didn’t receive an e-mail, have forgotten your username or are having problems logging in please contact the Secretary (info@mtasa.com.au). Paper invoices were sent to members who prefer to receive them.
POST-NOMINALS
Full members of the Music Teachers’ Association of South Australia may use the letters MMTA (member of Music Teachers’ Association) as a post-nominal while they are financial members. Interstate Music Teachers Associations are also encouraging their members to use this or a similar post-nominal.
REQUIRED PROFESSIONAL LEARNING FOR FULL MEMBERS OF MTASA
MTASA has introduced a Professional Learning scheme for Full members. This commenced on July 1, 2019 when Full members began accumulating their seven hours of Professional Development. The scheme is designed to underpin and enhance MTASA’s established reputation for the professional excellence of its members, ensuring its standards are fully compliant with current educational expectations. These are clearly outlined in the Australian Professional Standards for Teachers (visit www.aitsl.edu.au/teach/standards) and similar documents.
From July 1, 2020 onwards Full members, when renewing their membership, will be asked to tick a box declaring that they have undertaken at least seven hours of Professional Learning during the previous twelve months.
The following examples are provided to give general guidance for Full members about Professional Learning that would be acceptable to MTASA.
These examples represent only a small sample of all the possibilities available to Full members. Generally Full members should feel comfortable about their own choices but in case of doubt you are welcome to contact the Secretary for further advice (info@mtasa.com.au).
Improved music teaching should be a major factor in all activities that Full members wish to count towards their MTASA Professional Learning.
MTASA will undertake random checks from time to time to ensure the system is working properly. So, on very rare occasions a Full member may receive a request from the Secretary for information about their Professional Learning. In such instances you may submit evidence such as certificates, programs, diary notes, recordings and so forth.
EDUCATORS SA
Examples of Professional Learning that would be acceptable to MTASA:
1. Online.
Attending a webinar or similar event; undertaking an online e-learning course.
2. Face-to-Face.
Attending a conference, workshop, masterclass or lecture.
3. Formal Study.
Undertaking a qualification or part-qualification delivered by a recognised institution.
4. Personal Research.
Studying books, journals, articles, musical scores, musical theory, analysis, etc., which lead to an example of improved music pedagogy and/or pupil performance.
Self-conducted research leading to a presentation, masterclass or workshop at a conference.
Composing an educational piece of music that motivates a group of pupils.
5. Team Research.
A joint project with others that achieves particular improvements in a training ensemble.
Joint creation of music teaching materials that improve learning in a group of pupils.
Remember! These are only a few amongst many possibilities. MTASA is a community of creatives. You are encouraged to be creative in your Professional Development!
As a member of Educators SA, MTASA can offer benefits to its members. Here are some offers:
Andersons Solicitors offer MTASA members:
• 10% off legal services, in ALL areas.
• Free initial phone conversation with a lawyer.
When contacting Andersons Solicitors tell them you are a member of MTASA, which is a member organisation of Educators SA (CEASA). Visit the website at www.andersons.com.au/.
Credit Union SA has a range of education only offers. Visit the website at www.creditunionsa.com. au/community/education-communitybanking-benefits/ for more information.
NOTICE TO STUDENT MEMBERS
Have you fulfilled the requirements for Full Membership? Student members are reminded that Student membership is restricted to four years after which time it is expected that they would be eligible for another membership category, either Full Membership by Tertiary Study or Full Membership by RPL (Recognition of Prior Learning and Experience).
Student members who are ready to upgrade their membership are invited to submit an application form to the Secretary together with the required supporting documents. Criteria can be downloaded from the MTASA website (www.mtasa.com.au) or obtained from the Secretary (info@mtasa.com.au).
WORKING WITH CHILDREN CHECK (WWCC)
New Legislation regarding Child Protection was introduced with effect from September 1, 2019. A ‘Police Check’ is now known as a ‘Working With Children Check’ (WWCC). The Working With Children Check is the most comprehensive check that exists. Anyone found guilty of breaching this legislation can be fined up to $120,000.
People working or volunteering with children in South Australia must, by law, have a Working With Children Check. A DHS/DCSI child-related check will be recognised as a Working With Children Check until it expires.
People need a Working With Children Check if they are in a ‘prescribed position’. This means people who are in paid or volunteering roles where it is reasonably foreseeable that they will work with children; run or manage a business where the employees or volunteers work with children; are employed to provide preschool, primary or secondary education to a child.
A Working With Children Check is needed for all schools (Government, Catholic and Independent).
For further information go to www.screening. sa.gov.au/types-of-check/new-working-withchildren-checks.
EVENT VOLUNTEERS NEEDED
Enthusiastic volunteers are needed to help with various jobs at MTASA events. Tasks include setting up the venue, helping with registration at the check in table, ushering, assisting performers, helping with meals, and packing up afterwards.
It is a great way to network and a volunteering certificate will be provided, which will enhance your CV!
For more information, please e-mail the Secretary at info@mtasa.com.au.
TEACHING IN REGIONAL SA
In recent years each issue of SA Music Teacher has included an article about music teaching in a country region of South Australia. There are some regions that haven’t been visited yet. If you haven’t done so please write something – it doesn’t need to be very long – and also include a photo. If you have written something before you are welcome to send an update. E-mail the Secretary at info@mtasa.com.au.
MTASA MEMBERSHIP
NOTES
Visit mtasa.com.au/index.php/members/becomea-member/ to join MTASA.
Current Full, Student or Associate Members are not required to submit any supporting documentation to continue their MTASA membership. Anyone applying for Full Membership (either Tertiary Level Qualification and Study or Recognition of Prior Learning and Experience) or Student Membership for the first time must fulfil all of the requirements listed and submit the appropriate supporting documentation. Associate Membership is no longer being offered but those who were Associate Members on September 24, 2017, can continue their membership provided they remain as financial members. Full Membership (Recognition of Prior Learning and Experience) has replaced General Membership.
MTASA Members are always encouraged to write to the Secretary about any concerns that they may have. The MTASA Council will consider your request.
TEACHERS OF THEORY/ MUSICIANSHIP
To be listed in the ‘The Directory of Teachers of Music’ on the MTASA website as a teacher of theory/musicianship applicants for Full or Student membership must supply evidence of having completed studies in this field to at least AMEB 5th Grade theory/musicianship standard or equivalent. Full, Student or Associate MTASA members wishing to have theory and/or musicianship included in their Directory listing should send copies of the relevant certificates to the Secretary (info@mtasa.com.au).
CONTRIBUTIONS TO ‘SA MUSIC TEACHER’
The Editor is always looking for things to include in SA Music Teacher. Articles can be about any music related topic. If you would like to write an article this is your invitation! A helpful hint, a comment, a joke, a poem, a cartoon, etc. … please e-mail them to the Secretary at info@mtasa.com.au.
We invite organisations to partner with MTASA on our website. Benefits include advertising via a clickable link and two free tickets to our events for an annual fee of just $100. Please go to our website.
MTASA Members, free. Non-members, $17.
Please contact the Secretary (info@mtasa.com.au) about advertising.
ACCOMPANISTS’ CORNER
COLLABORATIVE EXAMS 2024
From AGSA President 2024, GINA MACRI!
The Accompanists Guild, in collaboration with the AMEB, is holding a Duo Day to promote collaborative playing for pianists on Sunday, August 25, at the Madley Building, University of Adelaide.
With the objective of attracting pianists (both primary & secondary), I write to ask you to consider this opportunity for your students who may like to develop their musicianship skills. The Guild believes raising awareness of the possibilities of duo performance and increasing numbers of enrolling for the AMEB collaborative piano exams is vital. The current AMEB syllabus has piano duets for Gr5-6, and from Gr7-8, there are added piano choices for violin, flute, and clarinet.
The proposed event will allow several participants to ‘showcase’ the ensemble works they’re preparing for their Collaborative Exams. The AGSA council will schedule activities, including coaching, masterclasses, and performances.
The students will be coached by professionals from within the Accompanists Guild, all of whom have a wealth of experience as accompanists and teachers. They will also be able to suggest ways of finding partners/associates and facilitating duo lessons – for those who haven’t explored this area before! There may be questions you have as to what repertoire and which of your students would be suited to this program.
The aim is to approach not only piano teachers but also instrumental tutors so that there is a focus on
the benefits for the instrumentalist to be involved. Some of the teachers who are already preparing their students to work with piano examinees are Helen Ayers, Minas Berberyan, Michael Beare, and Bao Shan Wu.
Apart from raising the level of performance standard, aural skills, and music appreciation, there is the added incentive to work collaboratively with a fellow musician, making this a very rewarding experience. It is important to shine a light on the potential career of every pianist who performs collaboratively. Surely, we as teachers should strive to encourage this!
A meeting at my home will be arranged for anyone keen to join a discussion.
Please feel free to contact me directly for further information.
Gina Macri President, Accompanists Guild of SA Convenor, Young Accompanists Showcase
ginamacri88@hotmail.com 0407 394 714
WINTER PROFESSIONAL LEARNING DAY
Rodney Smith
Australian Piano Warehouse Winston Avenue
Saturday, 15 June 2024
Stuart Storer
Keeping Generation A students engaged in learning
Teaching popular styles through Rockschool
This proved quite a tour de force from presenter Stuart Storer. Very well known for his activities over the years running Forte Music in South Australia and subsequently as Chief Examiner in Australia for Rock School as well as a busy music editor and composer, Stuart was almost brimming over with ideas, anecdotes, sage advice and good plain common sense drawn from a lifetime in music education.
His principal mission was to further acquaint listeners with ways and means of ensuring their music studios remain relevant and viable in today’s world, and he wasted no time in warning his audience that Generation A – students born in or after 2010 – are learners in a different mould from those previously. Technology natives, their expectations, values, and ways of applying their minds to a task have to be met by teachers in a manner that inspires and motivates them.
Briefly entering the debates about the place of music reading in our offerings for beginning students, particularly in today’s environment, the main bulk of Stuart’s advice was focused on the means whereby music that is relevant to students can be introduced and utilized.
Discussing repertoire from AMEB’s Piano for Leisure and from Rockschool he was able to present convincingly that even studio teachers whose training – and perhaps inclinations – run counter to pop and rock, can nevertheless give their students a meaningful and musically valuable experience using that genre. The most effective use of backing-tracks formed a major element in this discussion.
Stuart’s unfailing good humour, professional presentation and, above all, enormous enthusiasm for his topics were very persuasive. If they are to remain relevant, today’s music teachers have to embrace musical styles that were once regarded as anti-cultural but are now more clearly in the musical mainstream. Stuart’s ways of achieving this offered sensible, sustainable and, above all, musically enticing ideas that one sensed fell on eager ears during this vibrant PL session.
Concert Performance Day 1, Elder Hall, University of Adelaide
We know that being a music teacher can be a lonely job…. We get it. There are so many times when you wish you could talk through a professional problem with a wise colleague.
That’s why we now have MTAS for you – the
Music Teachers’ Advisory Service.
Here’s how it works:
You’ve hit a problem in your professional life as a music educator. Examples…
Worried about a particular student’s learning or progress?
Concerned about your independent studio’s business model?
Confused by the rules and regulations of the institution where you teach?
Wondering about your career path as a music educator?
Any old problem facing private music teachers, ranging from educational questions to business issues. The scope of this service does not, however, cover legal matters.
Your first point of contact is:
The Secretary, MTASA. [E-mail – info@mtasa.com.au / Phone – 0402 575 219]
Depending on the nature of your query, you will be referred to the MTASA Council member most suitable to advise you… and they will get in touch with you.
Service cost:
Although MTASA Council members give their services free of charge in order to offer collegial support to their fellow music teachers, there is an $80:00 an hour charge (around the same rate you’d charge for a single lesson). Most queries will be sorted within an hour.
Reminder: this service is not designed to help with professional expertise in specific instrumental areas. We can’t help you locate cheap oboes or a reliable harp technician. It’s all about helping you in your private music teaching situation.
It’s just like Phone-a-Friend for all MTASA members
TEACHING SINGING FOR MUSIC THEATRE
Sneeze’n’sniff, cough’n’croak – the joys of Winter voice
By Pat. H. Wilson
Since this is the Winter issue of our magazine, it seems sensible to have a chat about colder weather and how vocalists cope with it. We who live in what I like to call The Middle Kingdom have a comparatively dry winter season. Australia is the driest inhabited content on earth, and our state is the driest state in Australia. Thus, we South Australians avoid the sub-tropical humidity of Sydney, the frankly British dankness of Tasmanian winter, and the cyclones-and-sunshine of Australia’s tropical north. All this is very relevant to singers – voices hate dry atmospheres. So our state is a challenging region for any vocalist, even before the cold and ’flu season starts.
I know this state very well, having spent my early childhood and teenage years in that Temple of Culture, Port Pirie. My dear old basso profundo dad was a mainstay of the Port Pirie Music Club. Now and again, we performed deeply affecting
dad’n’daughter duets. I can only hope that the midnorth region remains in recovery. Dad, born from stout Germanic stock, set much store by onion gruel* whenever he felt a cold coming on. He cooked it; he ate it. Mother and I generally avoided the area.
So many voice users (singers, actors, auctioneers, priests etc.) have pet remedies to help them either prevent upper respiratory tract infections or ease the symptoms. Some remedies are quite sensible, while others are downright weird. I have heard performers singing the praises of manuka honey, cayenne pepper, apple cider vinegar, Pae Pa Koa, port, and even garlic suppositories as either preventatives or cures for colds and ‘flu. I remember a famous elderly actor sitting in the cast dressing room, proclaiming to us all the benefit of drinking port before a performance. “Coats me vocal cords, y’know!”, he boomed. I didn’t bother
to correct him… but singers and actors don’t want anything “coating” their vocal cords, thank you. Why? Simple anatomy. The vocal folds sit in the larynx, just above the windpipe. That larynx is equipped with an epiglottis, which makes sure that nothing goes “down the wrong way” and chokes us. Not even manuka honey or port. No food or drink down the air tube, thank you.
Here’s some quick Winter-time survival tips for South Australian singers. (They just might be useful for woodwind, brass and reed instrumentalists too – just like singers, their art relies on respiratory efficiency.)
Firstly, a few preventative measures to help canny singers dodge winter bugs:
1. Hit the pills: one high-quality multi-vitamin tablet a day, plus extra Vitamin C and echinacea.
2. Avoid air conditioning as much as you can. It dries out the moisture in your mucous membranes. These membranes line your whole respiratory system and need moisture to function. We already live in a dry climate.
3. Hydrate! Drink water. Lots and lots of little sips. Guess why? See above.
4. Eat less red meat
5. Eat more raw fruit and vegetables
6. Less alcohol; it’s a desiccant (a dry-you-out medicine).
7. Extra rest
And now, a few things to help cold and ‘flu sufferers to cope with symptoms:
1. Check your meds. Many medications have a dry-you-out side effect. Not just the obvious allergy medications (antihistamines), which are designed to dry up drippy noses. Antidepressants, diuretics, muscle relaxants and antihypertensives can all have a dryingout effect. You cannot sing on a dried-out set of vocal folds. And never use anaesthetic cough lozenges. Not only will your sore throat disappear – so will any control you may once have had over your voice.
2. Hit the steam. Inhaling steam will re-hydrate those dried-out tissues lining your respiratory system. Pour boiling water into a basin on a table. Put a towel over your head. Hold your head over the basin and breathe in the steam for roughly half an hour. It’s Old-school; a cheap and highly effective vocal health remedy.
3. Don’t yell. Avoid sporting fixtures where you will scream for your team. Avoid singing along at a rock concert or bellowing the lyrics at a head-banger’s night out. You’ll lose fine motor control of your vocal folds.
4. Avoid coughing. Well, try to. Coughing is a reflex action, so it’s a bit tricky. But coughing is one of the most abrasive things you can do to your vocal folds. Use any strategy you can to avoid coughing. Easier said than done, I know, especially in the winter months. When you feel a cough about to occur (a) swallow hard, (b) take a sip of water & (c) relax your throat. It sometimes works. Give it a try.
So, no matter whether you and your students are working on Sarah Bareilles’ Winter song, Metallica’s Trapped under ice, the Smashing Pumpkins hit My love is winter, Dickon’s glorious solo Winter’s on the wing from Lucy Simon’s “The Secret Garden”, or Franz Schubert’s delicious Winterreise, awareness of vocal health (yours, as well as your students’) will help to keep you singing.
*Dad’s onion gruel recipe for the foolhardy: Soak 3 large onions in water. Then chop them up, together with an apple. Add chopped onion and apple to water and cook until it’s all a sludge. Wimps add honey.
References
Alves, M., Krüger, E., Pillay, B., Van Lierde, K., & Van der Linde, J. (2019). The effect of hydration on voice quality in adults: a systematic review. Journal of Voice, 33(1), 125-e13.
Sataloff, R. T. (1995). Medications and their effects on the voice. Journal of Singing-The Official Journal of the National Association of Teachers of Singing, 52(1), 47-52.
Wilson, P.H. (2001). The singing voice: An owner’s manual. Sydney, Lazy O’Rhinus Press.
BOOK REVIEW
by Wendy Heiligenberg
Title. - The Lost Pianos of Siberia
Author - Sophy Roberts
Publisher - Black Swan
Publication date - 2021
Recently, I was given this book by my brother, who, as I did, grew up in a household that was interested in many styles of music. My brother’s interests were focused on folk and rock music, guitars and piano, and mine were around classical music and violins. (My mother learnt piano as a child in the Depression years, and, as her family could not afford a piano, she had to go next door to her piano teacher’s home to practise. I still remember her great excitement when we were finally able to afford our very first upright piano.) The fact that my brother and I found this book equally fascinating is a real tribute to the author, Sophy Roberts.
The book describes how the piano made its way through the wildernesses and wastelands of Siberia to bring “solace to the human spirit of exiles”, who also included aristocrats and revolutionaries,
governors and adventurers. Roberts takes us on a journey through two centuries of geography, history, literature, music, revolution and exile.
Siberia covers an eleventh of the world’s land mass. The boundaries have been fluid over the centuries. Still, Roberts describes the extreme boundaries as the Arctic Ocean in the North, the Urals in the West, the Pacific Ocean in the East and Mongolia in the South. Influenced by Catherine the Great’s interest in promoting the Arts throughout her reign, 17621796, the aristocracy travelled throughout Western Europe. It brought back with them a taste for opera and chamber music and a growing interest in the new instrument, which was referred to as “the one with the little hammers”.
The book follows the distribution of the piano through this Empire, describing the challenges of the lack of trade routes, travellers being forced to journey in the dead of winter to avoid the mud and mosquitoes of the warmer months, and the problem that the rivers invariably flow only East to West. It was no easy task to move a piano through this terrain!
Roberts embarks on a quest to find some of these pianos. This includes searching for the one played by the family of the last Tsar Nicholas whilst they were imprisoned in just four rooms prior to their execution in Ekaterinburg in 1918. There are many poignant moments, but the author is constantly overwhelmed by the generosity of spirit and surprising humanity of these remote communities and is truly amazed by their thirst for culture and education.
Penguin 2020
ISBN 9781784162849
NINA MURTON - HISTORY
Following the last issue’s successful inclusion of an excerpt from the late Nina Murton’s excellent “History of the Music Teachers’ Association of South Australia” (published 1990), we include a further excerpt continuing her narrative of early developments.
“As early as 1837-8, Mrs McLeod was teaching the piano and harp in Adelaide. She later taught Governor Gawler’s daughter, Julia.
Mary Thomas mentions in her diary that on August 12th, 1839, “Miss Williams gave Helen and me our first lesson in music from the instruction book.”
The first piano to be landed was that already mentioned belonging to the Governor’s Hindmarsh’s wife.
To make a living in the colony, professional musicians had to fulfil many roles. Mr Charles Platts and Mr. George Bennett played an organ on Sundays, whilst during the week, they taught music, sold, tuned and repaired instruments. Their nights were providing music for the first theatre in Adelaide.
When Carl Linger arrived from Germany in 1849, he took up farming at first. He returned to Adelaide one year and a half years later where he taught music and played for the society halls, to him, a degrading occupation.
John Walker advertised cabinet piano-fortes, guitars, three kinds of flutes and accordions for sale in 1838 and in spite of the recession during the Victorian Gold-Rush in the forties, W. A. Cawthorne set up a music shop in 1847. Henri Witton advertised as a music teacher and retailer in 1848.
However, the middle class could not generally afford instruments or instruction, so they enjoyed making music as members of coral societies. To cater for those people, no doubt, a young single teacher, Mark Fooks, introduced John Hullah’s solfa system in South Australia in 1849 and Curwen’s tonic solfa method arrived in 1857.
An important arrival in Adelaide in 1882, was Cecil Sharp of folksong fame. A graduate of Clare College, Cambrigde, he had a marked effect on the music life in the city. He gave violin lessons in his spare time at first. Later, his influence with the Governor, Sir William Robinson, regarding the establishment of the Chair of Music at the University and his association with I.G. Reimann in his Adelaide college of Music were important factors in the development of music education in the state.”
REGIONAL TEACHING
ONLINE EXAMS
WHAT TEACHERS NEED TO KNOW
By Dr Rita Crews OAM, Chief Examiner (Theory) AMEB
First Publisher in Bravura the magazine of the Queensland Music Teachers’ Association, December 2023
It is now several years since the AMEB introduced the exciting concept of online examinations for theoretical subjects. I’ve been marking for 35 years, all grades of the three syllabuses, as well as diploma and teaching papers, so there’s not much that I haven’t seen.
Some questions are auto-marked, and some are manually marked. This depends on whether there is a ‘black and white’ answer, for instance. “Is the key G major, yes or no?” will be auto-marked, or whether there could be a variety of correct answers for questions involving melody writing, harmony, set works, or general knowledge.
In order to familiarise yourself with the way the online are presented it is a good idea to do some exams or ‘real’ ones that will be marked by an examiner.
Some facts
● Always check a current syllabus, and don’t just assume that everything stays the same. For instance, there are changes to the Grade 6 theory in the 2024 syllabus.
● Only use resources of the particular grade.
● The questions set for the online exams are exactly the same standard as those set for the ‘physical’ exams.
● The time limit is also the same for both environments.
● Teachers can organise a group examination for several candidates, in which case they all sit on the same ‘paper’.
● Both the aural and musicianship/music craft written are contained within the same exam.
● If, for any reason, there is a technical glitch during the exam, the candidate simply notifies the Federal officer.
● The exam is marked within five days of completion and, sometimes, within minutes.
My aim in this article, is to describe the common errors that examiners see and how to avoid them, so the following information is divided into several sections.
1. Terms and conditions
For all grades there is no need to use Dr. Google to find answers to the terms and definitions questions. These types of answers usually involve long and complicated sentences that the candidate has obviously copied and may not be acceptable. Using a browser during the exam is also a form of cheating. The AMEB Graded workbooks list the terms and their definitions for all grades.
2. Melody writing – setting words to a melody Examiners are not looking for Mozarts!
It is possible to achieve full marks for a wellstructured and harmonically correct melody, including:
● Having an interesting contour with a mix of steps and skips and a sense of direction and balance, so don’t just leap around.
● Keep within the required key and include the leading note to tonic or supertonic to tonic for the last two notes.
● The best note to use for an anacrusis is the dominant.
● The best note to use at the end of the first phrase is always the dominant one.
● For the 3 and 4 grades theory and grade 4 musicianship, the melodies do not include modulation.
● Don’t leap to or from a leading note.
● In a minor key, take care not to move by augmented intervals and remember to raise the leading note.
● Create a setting that is text relevant.
● Use melisma slurs on words requiring more than one note.
● Make sure the phrase marks are included, as that feature is worth two marks.
3. Setting words to rhythm
This is another question that can result in full marks. But to achieve this, the scansion has to be correct, and the rhythm itself should show some variety, so not every bar has the same rhythm. The two-line couplets will always fall into four bars, not to two or six or eight. Candidates regularly fail this question by omitting the words and finish up with a very low mark or even zero. Without the words, there is no correlation between the rhythm and where the words are intended to be placed. Be aware that including triplets and duplets may not be successful.
Here are some hints:
● Words of more than one syllable must be hyphenated.
● Words of only one syllable are not hyphenated but may have more than one note.
● Melisma slurs should be used on words that have more than one note.
● Most couplets begin with an anacrusis.
● The words should be copied exactly as given, not changed or repeated or given capital letters except as shown.
● The words must be placed exactly under the notes to which they refer, not bunched up at the beginning of the bar.
4. General Knowledge Questions
All grades have some general knowledge questions that might include recognising or describing types of Baroque dances, naming different forms or describing a composer’s life or contribution to music, naming ornaments, recognising syncopation, naming instruments in ensembles, instrument ranges, naming clefs, describing how a theme has been varied, etc.
Sadly, candidates are not able to distinguish between ‘genre’ and ‘category’. If the question requires naming a genre, a category is not accepted. For example, genre includes oratorio, aria, sonata, suites, mass, opera, anthem, fugue, etc., whereas category refers to a group of music such as choral music, keyboard music, church music, chamber music, organ music, instrumental music, sacred music, etc.
If asked to name a city where a certain composer worked, the name of a country is not acceptable, or vice versa. A question that might ask to discuss a composer’s certain category, for instance, Hendel’s choral music, then giving an analysis of Messiah will receive no marks.
Theme and Variation questions require the candidate to describe the differences between the original theme and the given variations. The theme itself does not have to be described.
5. Baroque Dances
Another question type that candidates have difficulty with is describing the character of a named Baroque dance. Character includes these elements: texture, i.e. whether the texture is homophonic or polyphonic or imitative or contrapuntal or chordal; type of rhythm, including whether it is an anacrusis, does it has running semiquavers, is there hemiola; mood, is the dance of a serious mood or stately or happy or grave or expressive or joyful, etc; tempo which includes fast, slow, moderately paced, running passages but not time signature; are there ornaments; is there an emphasis on a certain beat, etc. Be aware that the origin of the dance or where it appears in the Suite and its time sign or which monarch was on the throne at the time, are not part of character and will attract no marks.
6. Instruments
This varies according to the grade being attempted. The question might ask you to describe the lower or higher register of a certain instrument or nominate the clef an instrument might use. An answer that
involves the clarinet should specify whether it is the A or B—flat clarinet.
7. Intervals
Questions about intervals can be tricky. In Grade 4, for instance, the question might ask to name a given interval, or it might ask to name the inversion of a given interval. In Grade 4, the interval quality will be major, minor, or perfect but not diminished or augmented. Those qualities are reserved for Grades 5 and above.
8. Harmony
This varies as to the grade being attempted and really starts with writing cadences in Grade 3. Many candidates receive very low or even no marks in this question because incorrect note values are used; incorrect doubling, particularly chord vi in the interrupted cadence; raised leading note omitted in
minor keys; leading not left unresolved; incorrect spacing between the parts; the bass voice below normal range and consecutive 5th and 8vas. So, there is quite a lot that can go wrong just in writing two chords!
For all grades, it is best only to use the resources specified in that grade’s particular syllabus. Whilst resources from higher grades might be included in the candidate’s answer, this is rarely done correctly, is not necessary and usually leads to a loss of marks. The questions are set up to include the vocabulary from a particular grade, not a higher grade.
In Grade 4, the question will involve constructing a 4-part harmony to a given melody of either four or six bars. Grade 5 also involves harmonising a melody, which could be up to eight bars, whilst Grade 6 includes a more complex vocabulary as well as modulation.
Whilst this seems a long list, these are the main errors that examiners see:
● Not recognising the key
● Weak opening
● Doubling major 3rds
● Doubling or omitting raised leading notes in minor keys
● Not including unaccented passing and auxiliary notes if requested
● Not including first inversion chords if requested
● Incorrected cadences
● The ‘Bach’ cadence may be used for the final cadence as long as the bass is not involved
● Movement by augmented seconds or fourths in a minor key
● Not using the vocabulary of a particular grade e.g. cadential 6.4 from Grade 5; suspensions from Grade 6
● Harmony not changed after a cadence
● Large internal leaps which tend to create insecure voice-leading
● Be aware of the range of the four voices, particularly the bass voice, which does not go below the stave
● Consecutive and exposed 5ths and 8vas.
9. Two-Part Writing
The aim in two-part writing is to create a part that complements the given part whilst keeping independence within the setting. In higher grades, look for imitation.
Here are some hints:
● Approach 8vas, 5ths and unisons in contrary motion.
● Vertically, don’t have more than three 3rds and 6ths in a row as more than three tends to lose independence between the parts.
● Protect the leading note.
● Confine leaps to one or two and follow them by a step in the opposite direction.
● Move the melody line, mostly the step.
10. Piano style
There is some confusion about the difference between the piano style and the four-part vocal style. The piano style includes one note in the bass and a three-note chord in the treble. If the bass is given, then place the chord in the treble; if the treble is given, then attach the two new notes under the given treble, not to create the chord.
11. Set Works
The AMEB has produced analyses of the various set works for both theory and musicianship. The information contained in the analyses will answer all questions pertaining to set works. My advice is to use this resource rather than other analyses that may not always be correct.
12. Resources
Whilst teachers and candidates are at liberty to use whichever resources they prefer, the AMEB now has a series entitled Theory of Music: integrated course and workbook for each of Grades 1 to 6. I more than strongly recommend that you become familiar with the information in these books as the theory syllabus they are also very useful to use for the musicianship syllabus. The Music Craft syllabus, on the other hand, has its own vocabulary
and rules, which are contained within the books covering each grade.
I hope this article has given hope to those floundering in the wilderness of theory and given some idea of what examiners are looking for in the various questions. The examining team is very consistent when marking, and reports will contain comments on the major issues when marks are lost. But if you do feel you want to query a mark, you can appeal to the AMEB, but be aware that the mark will be the same, or it may be higher, or it may be lower.
On a final note, the teachers have expressed concern that students will cheat and that they will be able to look at the answers and transfer them to the online questions. In fact, I challenge the scenario because if that’s the case, I am quite amazed at the number of candidates who cannot even reach the 65% pass mark. Many score in the 40s and 50s. I doubt that any candidate is deliberately failing. As with a ‘physical’ exam, if the examiner is at all in doubt as to whether any cheating has taken place, for instance, if several candidates doing a group exam have the same melody in Grade 3 Musicianship, for instance, then that incident will be reported to Federal office and necessary steps taken to investigate. Any candidate who is found to be cheating will be barred from taking further exams.
More news about Dr Rita Crews, whose article about online theory is elsewhere in this edition.
At the ANU, Canberra, on 26th August 2024, an eagerly awaited book dedicated to the life and work of Larry Sitsky (composer, pianist, music educator
and scholar) will be launched. Published by independent music publisher Wirripang, it is: A national treasure: the life and achievements of Larry Sitsky AO Authors are Assoc Prof Jeanell Carrigan AM and Dr Rita Crews OAM. Other books with the same co-authors are:
A Musical Missionary: the Life and Music of Dulcie Holland (2020) and Breaking the Drought: Roy Agnew, composer, Pianist Teacher (2022) (both published by Wirripang)
The Life and Achievements of Larry Sitsky AO
by Jeanell Carrigan AM and Rita Crews OAM
This new publication was launched on 26th August in Canberra at the ANU as part of Larry Sitsky’s 90th birthday celebrations.
Not just a biography, this book traces the family history from Sitsky’s childhood in China, the family’s emigration to Australia, his studies at the NSW Conservatorium, the inspiration for his many works and his teaching at the Canberra School of Music, ANU of which he was a foundation member. With definite political and humanitarian views and often a controversial and outspoken figure, Larry Sitsky is one of the pre-eminent composers and performers in this country and his influence on later students and teachers has been nothing less than profound.
This new publication is available from Wirripang at: australiancomposers.com.au
PEDAGOGY MATTERS
Rodney Smith.
Many teachers rely on the AMEB to provide suitable repertoire for their students and in recent years most would agree AMEB has achieved success in keeping pace with stylistic change. In particular its “For Leisure” syllabuses followed by its joint efforts with Rock School have ensured there is a wide range of repertoire available.
But for teachers who like to undertake their own repertoire research, musical developments over the last twenty-five years have traced a predictable course, when viewed in hindsight.
Firstly, works by female composers entered the arena in increasing numbers, often providing very manageable and pleasant alternatives to the standard repertory, especially from female composers of the nineteenth century. Subsequently, composers from a wide variety of cultural and ethnic backgrounds are now becoming more prominent and once again research into previous centuries is revealing many new names from those eras.
An accommodating wave of stylistic plurality in recent times has conveniently catered for the broader range of idioms involved and compositions old and new from a very wide geographical range are now available. Alongside this, research is revealing many forgotten composers from early eras onwards whose works are now seen as interesting and acceptable, especially for educational purposes.
Add these developments to the ease with which recordings and scores of new works can now be sourced and an almost bewildering array of music awaits the teacher whose curiosity still burns brightly.
MTASA’s recent Professional Learning Seminar with Stuart Storer on 15 June explored some of these issues. As an example, in 2023 ABRSM celebrated black female composers Florence Price, Valerie Capers, Isata Kanneh-Mason and Althea Talbot-Howard.
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