WELCOME FROM THE PRESIDENT The MTASA Summer Conference was enormously successful in January 2020 but imagine if we were to know what was coming our way with Covid-19. Our topics would have been slightly different, if not richer, in offerings for the ‘how’ of giving music lessons. Nevertheless, this issue is bursting with detailed reviews on the Summer Conference, so if you missed out, or would like a refresher, this is the place to find information and knowledge to further deepen your expertise and artistry in pedagogy. Since late February, music and arts educators have upskilled rapidly to meet the challenge of delivering their lessons remotely, online, or with at least the mandated 1.5 metres distance. It is interesting to see that many people who may have considered themselves not technically minded have embraced technology and the internet to continue educating and guiding their music students. It is also testament to the commitment and dedication of you, the teachers, who are driven by the conviction that the music must go on. In times of crisis in history, it is always the arts and music that alleviate the anxiety, calm the hysteria and soothe the people. The World Economic Forum states that ‘with constraints on our movements and general way of life becoming more and more restricted, we are feeling a loss of control not experienced since the Second World War. In being confined to our homes, we are missing our normal social support from friends and family, and our freedom to control our day-to-day lives. But making music provides a means to regain control’. Did you know that ‘The Musical Association of South Australia’, renamed in 1945 ‘The Music Teachers’ Association of South Australia’ was founded on June 11, 1930 at a general meeting of music teachers held in the Banqueting Room of the Adelaide Town Hall? Therefore in 2020 we are celebrating MTASA’s 90th Anniversary, an important milestone. The MTASA is actively delivering support to you, via Facebook events and webinars, on topics such as ‘Online learning’ and ‘Tax Deductions for Music Teachers’. You can find everything at your fingertips by simply ‘liking’ our Facebook page (search for ‘The Music Teachers’ Association of South Australia’), or simply keep up to date by visiting our website at mtasa.com.au. 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 2 – Winter 2020 CELEBRATING 90 YEARS IN 2020
WELCOME FROM THE PRESIDENT by Sofie Arhontoulis
PATRONS:
COMING MTASA EVENTS
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 Mobile: 0402 575 219
E-mail: info@mtasa.com.au
ADVERTISING – Please contact the Secretary
Please see MEMBER INFORMATION page for Advertising Price List. DEADLINES for 2020/2021
Contributions to SA Music Teacher are most welcome. All items to be
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MEMBER INFORMATION
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OTHER ORGANISATIONS’ EVENTS AND NEWS OTHER ORGANISATIONS' CONCERTS
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IN MEMORIAM LADY ANNE MILLER 2020 SUMMER CONFERENCE SUMMARIES PEDAGOGY MATTERS by Rodney Smith RECITALS AUSTRALIA LOVE IN THE TIME OF CORONA by Leonie Hempton OAM WORKING AS A MUSIC TEACHER IN THE COUNTRY by Bronwyn Smith CELEBRATING 90 YEARS IN 2020: MTASA’S HISTORY FROM 1970-1989 by Robert Brown OAM
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CONTACT DETAILS FOR OTHER ORGANISATIONS
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included must reach the Editor, Robert Brown OAM (https://mtasa.com.au/lettertotheeditor.) no later than these deadlines: Tuesday July 14, Saturday October 31, 2021: Sunday January 31, Friday April 30. SOME CONTRIBUTING GUIDELINES All text is to be submitted to the Editor for review. Italics and inverted commas for quotations - text is to be either in Italics or inside inverted commas, not both. Single inverted commas to be used; double inverted commas only inside single inverted commas. The inverted comma at the end of a sentence is to be inside the fullstop; outside for ! and ? MTASA WEBSITE Please visit http://www.mtasa.com.au/ MTASA FACEBOOK
Front cover: President Sofie Arhontoulis addresses attendees at the 2020 Summer Conference. Photographer: Pete Barter.
Please visit the MTASA Facebook page at https://www.facebook.com/MusicTeachersSA/
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COMING MTASA EVENTS MEMBER INFORMATION Celebrating 90 Years
NEW MEMBERS
The Music Teachers’ Association extends a warm welcome to the following music teachers who have joined the Association. We are looking forward to meeting them at our events.
MTASA Council is delighted to announce that His Excellency the Honourable Hieu Van Le AC, Governor of South Australia and his wife Mrs Lan Le have accepted the invitation to be Patrons of MTASA.
Tianfei Ren, Friend
MTASA MEMBERSHIP FEE Full member $122 Student $62 Friend $32 Institution $32
MTASA MEMBERSHIP RENEWALS Membership Subscription Renewals for 2020/2021 will become due on June 30. Subscription renewal notices will be sent in late June via e-mail to remind members to log in and renew their membership for the 2020/2021 financial year. 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 Masako Kondo (info@mtasa.com.au). Paper invoices will be sent to members who prefer to receive them.
June 27
Competitions Day Postponed until further notice.
August 2
Concert Performance Day 2 Venue: Admission: Booking:
Flinders Street Baptist Church 65 Flinders Street, Adelaide gold coin https://mtasa.com.au/event/2020concert-performance-day-2/
November 15
Annual General Meeting Venue:
TBA 4
REQUIRED PROFESSIONAL DEVELOPMENT FOR FULL MEMBERS OF MTASA MTASA has introduced a Professional Development scheme for Full members. This commenced on July 1, 2019 when Full members began accumulating their seven hours of Professional Development. The scheme is designed to underpin and enhance MTASA’s established reputation for the professional excellence of its members, ensuring its standards are fully compliant with current educational expectations. These are clearly outlined in the Australian Professional Standards for Teachers (visit https://www.aitsl.edu.au/teach/standards) and similar documents. From July 1, 2020 onwards Full members, when renewing their membership, will be asked to tick a box declaring that they have undertaken at least seven hours of Professional Development during the previous twelve months. The following examples are provided to give general guidance for Full members about Professional Development that would be acceptable to MTASA. These examples represent only a small sample of all the possibilities available to Full members. Generally Full members should feel comfortable about their own choices but in case of doubt you are welcome to contact the Secretary for further advice (info@mtasa.com.au). Improved music teaching should be a major factor in all activities that Full members wish to count towards their MTASA Professional Development. MTASA will undertake random checks from time to time to ensure the system is working properly. So, on very rare occasions a Full member may receive a request from the Secretary for information about their Professional Development. In such instances you may submit evidence such as certificates, programs, diary notes, recordings and so forth. Examples of Professional Development that would be acceptable to MTASA: 1. Online. Attending a webinar or similar event; undertaking an online 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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RECOMMENDED TEACHING FEES The following teaching rates are recommended to members by the MTASA Council for 2019/2020. Full Member - $75 per hour Associate Member - $64 per hour Student Member - $48 per hour
MUSIC DIARY Selling for $7 each, the proceeds support MTASA. The Music Diary features dayto-a-page journaling, staves for each week, holiday challenges and games every ten pages, with space for personal notes, lists and goal setting. Visit https://mtasa.com.au/mtasamusic-diary/ for more information.
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).
Educators SA
As a member of Educators SA, MTASA can offer benefits to its members. Here are some offers: Andersons Solicitors offer MTASA members: 10% off legal services, in ALL areas. Free initial phone conversation with a lawyer. When contacting Andersons Solicitors tell them you are a member of MTASA, which is a member organisation of Educators SA (CEASA). Visit the website at www.andersons.com.au/.
Credit Union SA has a range of education only offers. Visit the website at www.creditunionsa.com.au/comm unity/education-communitybanking-benefits/ for more information.
Hotel Grand Chancellor Adelaide offers an exclusive accommodation deal for 2020. This includes WiFi, welcome drink cards on arrival, a uniquely South Australian gift and the paper daily. Go to https://www.grandchancellorhotel s.com/hotel-grand-chancelloradelaide to book! Enter the promo code EDSA to access the member exclusive rates and offers.
WORKING WITH CHILDREN CHECK (WWCC) New Legislation regarding Child Protection was introduced with effect from September 1, 2019. A ‘Police Check’ is now known as a ‘Working With Children Check’ (WWCC). The Working With Children Check is the most comprehensive check that exists. Anyone found guilty of breaching this legislation can be fined up to $120,000. People working or volunteering with children in South Australia must, by law, have a Working With Children Check. A DHS/DCSI child-related check will be recognised as a Working With Children Check until it expires. People need a Working With Children Check if they are in a ‘prescribed position’. This means people who are in paid or volunteering roles where it is reasonably foreseeable that they will work with children; run or manage a business where the employees or volunteers work with children; are employed to provide preschool, primary or secondary education to a child. A Working With Children Check is needed for all schools (Government, Catholic and Independent). If your church, club or association has significant membership of (or involvement by) children, the people delivering the services/activities need a Working With Children Check. This may include: Churches of all denominations; Scouts and Guides; Sport and recreation clubs; Cultural or artistic schools/service providers (e.g. theatre, music, dance, arts and crafts). What is a Working With Children Check? It is a checking process undertaken by the Department for Human Services (DHS) Screening unit. It involves checking the person’s criminal history and any other relevant information that is lawfully available to the Screening unit. It can include information from the police, courts, prosecuting authorities, child protection and professional registration bodies. A Working With Children Check assesses whether a potential employee or volunteer could pose a risk to the safety of children, based on criminal history and child protection information. Some of the main changes with regards to volunteers are: WWCC are valid for five years; the current police checks for registered volunteers will be valid until their expiry date but then WWCC will be required; the clearance letter sent out will identify if the WWCC is for employment or volunteering; anyone 14 years of age and above requires a WWCC; anyone aged 80 years or over is no longer excluded and now requires a WWCC. If an existing volunteer allows a police check or WWCC to lapse, they will not be allowed to do any volunteering until a new WWCC has come through. For further information go to https://screening.sa.gov.au/types-ofcheck/new-working-with children-checks.
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OTHER ORGANISATIONS' EVENTS AND NEWS
MTASA MEMBERSHIP NOTES
*Because of the COVID-19 virus pandemic check on-line or by telephoning that concerts and events haven’t been cancelled. South Australian Music Camp 2020, the Adelaide, Balaklava and Mt Gambier Eisteddfodau have all been cancelled.
Presented by Theme: Date: Venue: Website:
AUSTRALASIAN PIANO PEDAGOGY CONFERENCE 2021
UWA in collaboration with WAMTA The Holistic Piano Teacher July 5-9, 2021 UWA Conservatorium of Music, University of Western Australia, Perth Website: https://www.appca.com.au/
METROPOLITAN MALE CHOIR ANNUAL MUSIC SCHOLARSHIP FOR 2020 The Metropolitan Male Choir Annual Music Scholarship will be offered again in 2020. Applications from young musicians are invited from May/June onwards each year with auditions usually held in September. Visit http://www.mmcsa.org/about/music-scholarships/ for more information.
MITCHAM ORCHESTRA
The Mitcham Orchestra is looking for string players: violin, viola, cello and double bass. Rehearsals: Saturday afternoons Venue: Richmond Road Hall 1 Richmond Road, Westbourne Park Time: 2 pm-4.30 pm Contact: Robert Brown, 8431-0452, or e-mail robbrown@adam.com.au, for more information. 8
Visit http://mtasa.com.au/index.php/me mbers/become-a-member/ to join MTASA. Current Full, Student or Associate Members are not required to submit any supporting documentation to continue their MTASA membership. Anyone applying for Full Membership (either Tertiary Level Qualification and Study or Recognition of Prior Learning and Experience) or Student Membership for the first time must fulfil all of the requirements listed and submit the appropriate supporting documentation. Associate Membership is no longer being offered but those who were Associate Members on September 24, 2017 can continue their membership provided they remain as financial members. Full Membership (Recognition of Prior Learning and Experience) has replaced General Membership. MTASA Members are always encouraged to write to the Secretary about any concerns that they may have. The MTASA Council will consider your request.
TEACHERS OF THEORY/MUSIC -IANSHIP To be listed in the ‘The Directory of Teachers of Music’ on the MTASA website as a teacher of theory/musicianship applicants for Full or Student membership must supply evidence of having completed studies in this field to at least AMEB 5th Grade theory/musicianship standard or equivalent. Full or Student MTASA members wishing to have theory and/or musicianship included in their Directory listing should send copies of the relevant certificates to the Secretary (info@mtasa.com.au).
POSTNOMINALS
OTHER ORGANISATIONS' CONCERTS
RECITALS AUSTRALIA
Wednesday Lunch Hour Series Pilgrim Church 12 Flinders Street, Adelaide 12-30 pm Two half hour recitals with high calibre new and experienced musicians. Adults: $5 for both recitals. Tickets at the door. Enquiries, 0432-114-127. Visit https://recitalsaustralia.org.au/ for more information. The Recitals Australia Council has organised live stream until further notice. You can watch via the Home Page at https://recitalsaustralia.org.au/ (there will be a Vimeo link) from 12-30 pm.
ELDER HALL CONCERTS 2020
Lunch Hour Concert Series Fridays, 1-10 pm. General admission: $14. Gold Pass Subscriptions available. Evening Concert Series 6-30 pm. Ticket Prices: $30 Adult; $25 Concession; $19 Student. Visit www.elderhall.adelaide.edu.au for more information. The Lunchtime and Evening Concert Series for the first half of 2020 have been cancelled. Concerts are streamed live every Friday from https://arts.adelaide.edu.au/music/engag e/concert-series or via https://www.facebook.com/pg/ElderCons ervatorium/videos/.
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.
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.
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RECENT EVENTS 2020 SUMMER CONFERENCE SUMMARIES Held:
January 22/23 Hartley Building, University of Adelaide
Theme: Beyond the instrument: musicianship in private lessons
SUSAN HEAD, KEYNOTE PRESENTER
MTASA President Sofie Arhontoulis welcomes everyone
‘Whole Body Learning - what is it? Incorporating the approach for beginners to intermediate level up to age 14’. ‘How I came to love teaching. Engagement and motivation: ideas to add to your Treasure Chest’. ‘Structure the year, the term, the lesson. Create a curriculum using Whole Body Learning for older beginners and more advanced students’. Reporter: Liz Pearce
At the 2020 Summer School this year we were treated to the rich and varied teaching experience of Susan Head. Over three sessions she shared with us her passion for teaching lessons that are educational as well as engaging and fun. With many years of teaching experience and incorporating the principles of the Dalcroze, Kodaly and Orff methods, her enthusiasm shone through with presentations that were informative and inspiring. In the first session, ‘Whole Body Learning - what is it?’, Susan shared with us how to use a whole body approach for beginners to Grade 4 by incorporating movement, song, play and experimentation into the music lesson. We were encouraged to start our lessons with warm ups as it’s important to care for posture and to prevent injury. Warm up exercises also prove useful in managing ‘fidgety students’ and could be used at other times too if needed. We experienced these as a group under instruction as we would do in a lesson. Susan talked about the importance of understanding the needs of the student from the earliest lessons. The body and brain learn by doing. The body needs to sing and move; therefore music, movement and multisensory experience enhance the brain’s development. Our students need to ‘experience’ the music first as this then enhances the learning process by giving a framework for learning to occur.
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IN MEMORIUM MTASA member Lady Anne Miller died on April 28, two days short of her 90th birthday. She was a teacher of piano, singing and elocution, and was also a choral conductor, accompanist, actress and organist. Anne studied the piano with Hooper Brewster Jones and then George Pearce at the Elder Conservatorium. She studied singing with Gladys Bailey OAM, Barbara Howard and Max Worthley at the Elder Conservatorium. Anne became a church organist at the age of 11, began teaching the piano, elocution and singing aged 17 and started conducting choirs when she was 22. Anne performed on radio and television and in operas and musicals and was also an actress. She adjudicated Piano and Choral Sections for various competitions and compered many concert performances. Anne was contract choir trainer for the South Australian Education Department for 28 years, training up to ten choirs weekly and conducted ten adult choirs weekly for 16 years. She arranged and directed concerts for charity, donating all proceeds, usually $2,000-$3,000 per performance. Anne was a member of several committees, including the Adelaide Eisteddfod Society, George Pearce Memorial Prize and the Adelaide Repertory Theatre. She sponsored the Lady Anne Miller Awards in the Adelaide Eisteddfod, presented to the competitors with the highest aggregates in the Vocal, Piano and Speech, Drama and Communication Divisions: these will continue to be awarded. In 2000 Anne convened the Bagpipes and Highland Drumming Division of the Adelaide Eisteddfod. Anne was Chief of the Royal Caledonian Society from 20072010 and was a member for many years. MTASA sends condolences to her daughter Kaye and son-in-law Jim Gifford, and the members of their family.
NEW ARRIVAL Congratulations to Yong Cheong Lye and Yee Ruh Siew on the birth of Avery Yun Yuan Lye on April 30.
EVENT VOLUNTEERS NEEDED Enthusiastic volunteers are needed to help with various jobs at MTASA events. Tasks include setting up chairs, tables and piano, helping with registration at the check in table, ushering, assisting performers, helping with morning tea, lunch and afternoon tea, and packing up afterwards. It is a great way to network and a volunteering certificate will be provided, which will enhance your CV! For more information please email the Secretary, Masako Kondo, at info@mtasa.com.au.
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. … LETTERS TO THE EDITOR can be sent to https://mtasa.com.au/lettertoth eeditor.
Susan Head
The second session incorporated how to engage and motivate your students with tips, games and inspiring books to add to your teaching ‘tool box’. The use of technology included the use of music education focused apps. These can be useful to emphasize a new concept or to enhance learned principles. The teacher also benefits from on-line communities which are available for sharing teaching ideas, sites and joining discussion forums. Other topics touched on during this session included how to prepare your student for a performance and how to manage performance anxiety. The use of flash cards, the importance of spending plenty of time in the early stages of learning on topography, and the management of students with learning disabilities were discussed. Games were shared that develop finger dexterity as well as how to use rewards and motivation. The final session focused on how to integrate all these strategies into a lesson, the answer being good planning. Structure the year, the term, the lesson. Having an overview of the year ahead is helpful to keep on track. It is important to regularly evaluate the progress that is being made and to plan what you want to fit into lessons. The whole body approach condenses the time used in each lesson. Employing the principles of Solfège, Kodaly and Orff into a lesson provides a platform where a multi layered approach is possible, incorporating multiple concepts as well as enhancing musical awareness and developing the inner ear. Thank you Susan for sharing with us a window to your success and how you deliver a rounded teaching experience to your students. A very worthwhile and inspiring set of presentations.
Musical Instrument Hire and Repair mountfordmusic.com.au Email sales@mountfordmusic.com.au Phone 0408 944 034
ALICE YAP, KEYNOTE PRESENTER
TEACHING IN THE COUNTRY
In recent years each issue of SA Music Teacher has included an article about music teaching in a country region of South Australia. There are some regions that haven’t been visited yet. If you haven’t yet done so please write something – it doesn’t need to be very long – and also include a photo. If you have written something before you are welcome to send an update. E-mail to Robert Brown at robbrown@adam.com.au.
Alice Yap
‘Smart Learning and Musicianship’. ‘Inspiring the Very Young’. ‘Present-day Pedagogy and Musicianship’. Website: https://www.fingerssmart.com/ Interviewer: Yong Cheong Lye Alice Yap has always been a great advocate of the Multiple Intelligences Approach in her pedagogical philosophy and practice, which is apparent in her GYM books that co-sync with other teaching methods for a more effective and complete whole-brain learning experience. I interviewed her to seek some advice for all the music teachers here. 1. This is the first time you have visited Adelaide. What are your first impressions? Yes indeed - this was my very first time in Adelaide, where I found it widely spatial and its very friendly people were enjoying a slower lifestyle-pace with a cooler temperate climate.
CLASSIFIED ADS MTA Members, free. Non-members, $17. Please contact the Secretary about advertising. Mobile: 0402 575 219 E-mail: info@matsa.com.au
2. How do you manage your time as a piano teacher, the Principal of a music school, an author, a wife and mother of two daughters? Well, I think setting the right priorities using a planner and having the discipline to keep datelines with a good checking system in place certainly help me a great deal. But my greatest strength in this is the tremendous support that I consistently receive from my husband James and a very dedicated work team my teaching staff and specialists with whom I constantly and closely connect, communicate and discuss. 3. I observed that your husband, James Yap, always accompanies you on all the business trips and book launchings. What is his role in your career? Despite his very busy schedule running several companies and being an active music lecturer, James is always there for me - as my very special confidant and a business partner who fully supports my endeavours while always having great confidence, and he takes pride in whatever I do. He would, for instance, among many other things, tirelessly help proof-read all my books before publication.
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4. I could see you brought a lot of books that you have written to the Summer Conference including the ‘5 Minutes Finger Gym’ series and ‘10 Minutes Piano Gym’ series. Who inspired you to write the Finger Gym and Piano Gym book series? What was the most difficult thing about preparing them? I would say that the Finger Gym series were the positive outcome that I developed mainly from customizing teaching materials and adapting various methodologies creatively when teaching my two daughters music at home, who were very young then (my little cute guinea pigs!!) along with the parents and their young children with whom I worked very closely at the different centres and kindergartens while I was a preschool music lecturer and trainer. The Piano Gym series on the other hand was the practical solution aimed to tackle the problems faced by many students nowadays (eg lacking time, distractions) and to provide their needs where we constantly seek to work closely with one another within the teaching team, and the parents using a very pragmatic, up-to-date, adaptive and ‘trendtech’ approach that appeals to both the youngsters and their teachers. 5. In short, what is the best way for all instrumental teachers to apply the musicianship in 30/45 minute lessons? It would always be great to start off any lesson (about 2-3 minutes) with some fun customized warm-up workouts together using any good available material or resource like the Piano Gym’s Note Reading Challenge and Rhythmic Ensemble exercises. During the lesson proper, one may creatively and purposefully work on any of the musicianship components extracted directly from the study piece itself to help strengthen students’ aural sense, rhythmic skills, harmonic knowledge, etc., with a rewarding system. But careful planning is still important. 6. In your Session 2 topic ‘Inspiring the Very Young’, how do you ‘blend’ all the teaching methodologies including Suzuki, Kodály, Carl Orff, Dalcroze and Multiple Intelligences approaches for today’s younger students? Well, first of all, the experience that I gathered as an active on-the-ground preschool practitioner/music educator helped me gain an in-depth understanding of the strengths of each great pedagogue’s methodology. During those years, especially when I was a preschool music lecturer/trainer at the SIM University of Singapore, where I was tasked to study the integration of the best of all earlier music method approaches with the latest Multiple Intelligences learning philosophy and today’s tech-savvy, adaptive and blended learning concepts that formed a synergized learning approach - being more relevant and effective for the younger students’ learning nowadays. 7. In your Session 3 topic you talked about the ‘Present-day Pedagogy and Musicianship’. What is the biggest challenge that the teacher faces nowadays and how can teachers overcome it? 8. What is your advice to the Australian music teacher since you gave the talk at the Summer Conference? I think I will answer both these questions together. Perhaps one of the greatest challenges faced is students being overwhelmed by overly diversified interests and distractions, who are at the same time, rather weak in discipline and lacking the ability to manage time efficiently, coupled with the great disparities of parents’ expectations, especially those of the millennials with ourselves gradually feeling out of place. I would suggest that all of us constantly connect with parents, working closely with them and convince them through music bonding activities with their children in different focus groups (before combining all of them): for example, through the channels of performance gatherings, mini concerts and contests, all of which help to create teachable moments for both the children and their parents to convince them that they are a critical part of the children’s learning journey with a three-in-one growth partnership: teacher-student-parent(s). As for ourselves, we should always be passionate, positive, constructive, hopeful in our mindsets and being resourceful and inspiring with openmindedness and adaptiveness, especially to the technological advancements, while keeping ourselves physically fit. I thank Rodney, Sofie and Yong Cheong for their warm invitation and encouragement, and the opportunity offered by MTASA to allow my sharing. I’m personally grateful to many who have inspired me tremendously during the Summer Conference, especially David and Pete. Finally, to all my friends - stay safe, strong and healthy. Thankyou Alice for giving us some positive feedback. We really appreciate your time and effort coming to visit us from Singapore.
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SUMMER CONFERENCE STEPHAN RICHTER
Stephan Richter with participants
‘Introducing and developing string parts and music on the spot, without the need for writing’ Website: www.stephanrichter.com.au Reporter: Wendy Heiligenberg Swiss born composer, cellist and teacher, Stephan Richter presented a lively, in part hands on session, introducing participants to his method of encouraging and challenging improvisation for young players. His method employs many musical genres, classical, hip-hop, jazz, blues etc., which makes it attractive to a wide range of young and developing musicians.
The method trains good listening skills, interaction and improvisation, give and take, collegiality, with participants spontaneously reacting to the musical ideas of others, ‘getting into the groove’ and being part of what could be termed a ‘jam session’. This is a great way of engaging students and even promotes inventing ways to practise various technical difficulties in a fun way, eg string crossings, scales, rhythms, etc.
Participants in this spontaneous form of ensemble playing are encouraged to play according to their capabilities, even if they are only able to play open strings, repetitive ostinati or enjoy tapping simple or even complicated rhythms on the corpus of the instrument. Lower strings have an advantage here, as the larger corpus of these instruments resonate much more satisfactorily and with more variety than that of horizontal strings. Primarily melody instruments, upper strings can still benefit from attempting chord progressions, arpeggii, etc.
Stephan introduced us to his own published compositions which cater to various ensembles and varying standards. We all left the room with the strains of ‘The Girl from Ipanema’ in our ears and a spring in our step.
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SUMMER CONFERENCE MTASA PUPILS’ SHOWCASE Reviewer: Rodney Smith The AMEB has a regular Showcase in Elder Hall and its choice of name indicates an attempt to demonstrate the best things it can offer. Similarly, this event was designed as a kind of peak achievement in relation to MTASA members’ pupils, but in the end, there was a more restricted definition to high classical performance standards on the piano. It’s curious how over the years MTAs have become so associated with the piano and with classical music. What the program didn’t say was that the performers were all prize-winners in the MTASA’s annual prize competitions and that would have explained a lot. Nevertheless, this concert undoubtedly showed the high achievement of some of MTASA’s top teachers and furthermore provided very enjoyable listening and musical engagement for conferees. But there again, with the notable exception of JS Bach, the program was restricted to about 100 years from 1830 to 1930 or thereabouts. That’s
education for you. Teachers have to lay the groundwork in their pupils’ early years, which generally means exploring well-worn pathways before lesser known ones. A rather conservative atmosphere can result. The four performers were a multi-talented bunch and reading from the program notes for example, Eric Chen could well have played violin on this occasion rather than piano. That he performed the sole Baroque offering in the program is to his credit. Casey Sullivan, Cyrus Nuthakki and Eugene Wei all contributed strongly with music by piano stalwarts Chopin, Debussy, Prokofiev and Bartok. All performers demonstrated interestingly the interconnections between Adelaide’s special music schools, the newly formed Elder Conservatorium Open Academy and MTASA’s elite level piano teaching fraternity.
SUMMER CONFERENCE MATTHEWS TYSON ‘St Cecilia International Examinations how your teaching can benefit’ Website: http://www.st-cecilia.com.au/ Reporter: Robert Brown OAM The St Cecilia School of Music was established in 1974 in Launceston, Tasmania. The initial aim was to develop a professional, full-time teaching School which catered for the growing number of music students in Northern Tasmania. This aim was rapidly fulfilled. The tradition of offering highquality music education continues to this day.
Matthews Tyson
of all ages with an examination experience that will complement their overall musical development. St Cecilia Examinations operate centres in major towns and cities throughout Australia, New Zealand, Asia and Italy and plans to open more centres throughout the world.
Forty-five years ago, the St Cecilia School of Music began establishing the St Cecilia Examinations to fulfil the need for a more relevant, innovative and exciting approach to assessing the capabilities of music students at all levels. The examination system offers all grades from one to eight, concert and recital certificates and a suite of diplomas that provide professional teaching and performance qualifications. For some subjects an ‘Own Choice’ section is available. Ear tests are not required for the St Cecilia grade one to eight examinations and Sightreading is not examined at any level. A separate series of graded musicianship examinations are also offered. The aim is to provide people
The St Cecilia examination system is designed and administered by professional teachers and experienced business leaders. Teachers are regularly invited to contribute to the content of the syllabuses and are encouraged to submit ideas and suggestions that will allow for continued improvement and efficiency. Each examiner must be a practicing teacher and have proven teaching, performing and communication skills.
SUE FOX, Manager, Registration, Teachers Registration Board of South Australia ‘Notes on updates to Registration and Special Authorities’ Website: https://www.trb.sa.edu.au/ Summary provided by Sue Fox Special Authority for an Unregistered Person to Teach as an Instrumental Music Instructor (previously Teacher, changed to Instructor). National Review of Teacher Registration conducted in 2018, https://www.trb.sa.edu.au/Registration-Buzz-106. Special Authority Policy changes to requirements including English Language and Professional Learning being investigated. Provisionally Registered Teachers must transition to (full) registration within six years. Registered Teachers to complete 60 days of professional practice in addition to 60 hours of professional learning. The new Registrar Ms Leonie Paulson commenced at the Board on Monday March 2, 2020. For further information: Sue Fox, Manager, Registration, Teachers Registration Board of South Australia. Ph 8253 9705, e-mail sue.fox@trb.sa.edu.au. Sue Fox
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SUMMER CONFERENCE MARK MATTHEWS ‘Motives and Motifs meet @ Musicianship’ Website: www.remarkablemusic.net Reporter: Cheryl van Wageningen It is always a challenge to present after lunch and towards the end of an afternoon session. Mark Matthews was well and truly up to that challenge. From the very start of his presentation Mark managed to not only capture the attention of attendees but also maintain a lively, fast-paced session. The audience were able to follow (via a Power Point presentation) his own compositions and at times, exuberant piano playing. The pre-eminent American lyricist and Broadway composer, Stephen Sondheim (1930-) was quoted as saying ‘My main goal is to tell a story’ (Anderson, p 14) and that aim is certainly evident in the work of Mark Matthews. Through Wirripang Publishing, Mark has released a plethora of albums with titles such as ‘Music for the Heart and Soul’, ‘Piano solos on life, love and friendship’ and ‘Moonlight Meditations’. He incorporates his own stories and reflections on life in these works but with a very unique and musical approach. The three key elements discussed in this session being Motive, Motif and Musicianship. The first element, Motive, is evident in his composition ‘Emily’s Etude’ which was written for his daughter. The second element, Motif, incorporates a one bar phrase and becomes a sequential theme to be expanded throughout the piece. The final element of Musicianship with ‘Emily’s Etude’ involves the Circle of Fifths cadences before returning the theme to the original key. All of the work of Mark Matthews is an evolution and ever-changing musical story and through his diverse composing techniques, he conveys many moods. Descending progressions, an alternation of non-diatonic notes, one or two bar phrases, uses of an ostinato and two chord wonders are all exciting exponents of his music. The introduction of an open ‘power’ chord at the start of ‘About the Drought’ employs a suspended 4th chord to emulate the profound effect that the current climate has had on Mark. As a composer, pianist and teacher, Mark Matthews is passionate about music that tells a story but also expands our own ideas on teaching and promoting musical compositions. The theme of the 2020 Summer Conference, ‘Beyond the Instrument: Musicianship in private lessons’ challenges music teachers to incorporate and encourage composing within the allocated private lesson time. The notion of engaging and empathising with the student is paramount to encouraging an exploration of their own ideas and musicianship. In this session Mark emphasized the importance of analysing works with purpose yet maintaining the interest of the student.
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Mark Matthews
Igor Stravinsky (1882-1971) once stated, ‘I have learnt throughout my life as a composer chiefly through my mistakes and pursuits of false assumptions, not by my exposure to wisdom and founts of knowledge’ (Anderson, p 16). Mark Matthews is a wonderful example of a musician who creates music that not only reflects his personal thoughts and circumstances but also one who isn’t afraid to go beyond the instrument, beyond the traditional musicianship in private lessons. More about his published works can be sourced on the website https://www.australiancomposers.com.au/pages/m ark-matthews, and these include seven albums in all the white keys and ‘Ten Shades of Ebony’ for the black keys, available through Wirripang Publishing. Finally, Mark Matthews has a website at www.remarkablemusic.net for those who may be keen to learn more. Work cited: ‘The Little Red Book of Musician’s Wisdom’, Sheila E. Anderson, Skyhorse Publishing, New York, 2012.
SUMMER CONFERENCE SAMANTHA PENNY
ZUOYU LIU
‘Exploring Bigger Better Brains’
‘A new piano practice online app in Australia’. Website: https://koalamusic.com.au/ E-mail: info@koalamusic.com.au. A screenshot of the app is on the website homepage (currently available for iPhone and iPad. Android will be coming soon.)
Sam Penny and the audience
An article on this topic will be included in the Spring 2020 issue of ‘SA Music Teacher’. Zuoyu Liu and Sofie Arhontoulis
AMELIA MONAGHAN
What is Koala Music? It is an online teaching platform that provides music students with professional instruction in the piano and violin from qualified and experienced music teachers, who then follow up by supervising practice sessions and providing immediate feedback for the students to follow up. Koala Music provides a weekly practice plan for music students. The music teacher will suggest what to practice and outline the key things that need special attention for the following week’s practising sessions. Through this process music students will gain marked improvement in the learning of musical exercises and repertoire.
‘Department of Education Instrumental Music Programs through-out South Australia’ and ‘Joining Instrumental Music as a teacher’ Website: https://www.education.sa.gov.au/teaching/ projects-and-programs/music/schoolmusic-programs/instrumental-musiceducation Diagram supplied by Amelia Monaghan
Why choose Koala Music? Because Koala Music provides easy access to music lessons from qualified music teachers, regardless of where you live, by providing online tuition at home. Koala Music saves parents time; they do not need to take their children to music lessons and the teachers supervise their practise sessions. Our professional teachers can help students to improve their efficiency in a short period of time, especially when they are preparing for exams. As an introduction Koala Music provides one free lesson for beginners. An important thing that Koala Music does is to provide opportunities for students to listen to and watch performances by leading performers and fellow Koala students. Koala teachers regularly assess performances by their students. Music students will receive a high-quality education from Koala Music. Koala Music believes that we can help every child to play and enjoy making music.
Amelia Monaghan
Please see the diagram on page 19.
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RECENT EVENTS Dr MELISANDE THOMPSON ‘AMEB Examinations’ Website: https://ameb.adelaide.edu.au/ Reporter: Cheryl van Wageningen
Dr Melisande Thompson
The Australian Music Examinations Board (A.M.E.B.) has maintained a high profile within the Australian community for over 130 years. It is a privately funded corporation that provides examinations in the areas of music, speech and drama. The qualifications gained are recognized both nationally and internationally and according to the A.M.E.B.’s website ‘provide a national benchmark and a measure of excellence’.
Another major change is the ongoing availability of exam dates and venues. The A.M.E.B. has not limited examination dates to selected times throughout the year but have made most exams available all-year round. There is also the possibility of increasing shared private venues and allowing for a greater expansion within metropolitan and regional areas. This will enable teachers who may only have a few students to contact others in their zone. The A.M.E.B. has an Internet site where teachers based in South Australia or the Northern Territory can collaborate (ie ‘AMEB SA and NT Venue Connect’ via Facebook). The use of private venues is not possible on Public Holidays but can be available on Sundays from this year.
Melisande Thompson is certainly qualified to hold the position of State Manager for the A.M.E.B.’s SA and NT office based in Adelaide. Melisande’s credentials include a PhD (Composition), Grad.Dip. in Screen Studies, BMusHons and AMusA. and she grew up learning the violin, harp and piano (selftaught). Her passion is song writing and especially Ashkenazi folk music (Klezmer). Over time, and through her own experiences, Melisande has witnessed the evolvement of the A.M.E.B. within the 21st century and is excited about future developments.
In conclusion, the AMEB has provided examinations in both theory and piano for myself and my students for many years. This session ensured that I was up-to-date with the latest changes within the A.M.E.B. system and most importantly, comfortable with enrolling students on-line.
In this session, specifically on A.M.E.B. Examinations, the process of enrolling students in exams (both practical and theory) were detailed by Melisande and discussed with the audience. The 2020 Teachers’ Handbook provides valuable information for music teachers. One of the main areas of change implemented by the A.M.E.B. is that on-line portals are being increased. The use of the Internet allows for efficient and user-friendly registration. Hand-written enrolment forms are still available but the intention of the A.M.E.B. is to substantially decrease paper usage in line with environmental concerns and to allow for a more stream-lined registration process. Payment is safe, secure and instant.
Melisande certainly came well-prepared and ready to answer questions. Her pleasant and approachable manner enabled for a relaxed yet most informative session. The 2020 Teachers’ Handbook and other resources are available at the Adelaide office, 1st floor of the Hartley Building, University of Adelaide, during office hours and the website is ameb.adelaide.edu.au for those who require any further information. Please note that changes concerning COVID-19 are automatically e-mailed to registered teachers.
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SUMMER CONFERENCE DAVID LOCKETT AM ‘Master Class with MTASA Piano Pupils’ Reporter: Rodney Smith The program was even more restricted in style than the Showcase, containing works only by Chopin, Debussy and Hyde, but David Lockett used that to advantage, exploring connections and contrasts as matters of technique and interpretation arose for discussion. Participants Edmund Black, Jasmin Baker, Alexander Rouss and Teresa Kennedy played more than the piano in making this event a success. They entered into the spirit of David Lockett’s explanations and did their best to respond to his suggestions. In a Master class there is no more testing moment than when something has been thoroughly explored and the performer is told ‘ok, let’s try that again now’. Often the passage seems hardly different than before proving that repeated practice needs further repeated practice for change to take place.
David Lockett demonstrates
Master classes can give a very confusing impression to listeners when mishandled. But on this occasion David Lockett was in charge and everyone could relax in the certainty he knows exactly what he’s doing. In particular, master and pupil have only a fleeting chance to establish connections as well as to discuss the piece being performed. David Lockett immediately homed in on a particular aspect or two (no more, there wasn’t time) and subtly engaged with each youthful player to obtain results. Of course, there are listeners to satisfy as well and he made sure everyone was ‘in on the dialogue’ as things moved along.
But David Lockett, always aware of that pitfall, frequently indicated ‘well, that’s going to need practising so let’s move on’. Taking a Master class is a subtle business and listeners were given a bucketful of useful information, not only on technical interpretive and stylistic matters but also on how to get the best out of pupils.
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SUMMER CONFERENCE PETE BARTER ‘‘Finding and keeping great students’ Website: https://petebarter.com/ As educators our job is to share our knowledge of the instrument(s) that we teach and to lift the professionalism of the music industry. 1. Finding students. Promotional and advertising materials (website, posters, flyers, business cards, ads, etc.) need to look professional! Why?? Because it lifts Your standards.
Pete Barter, right, with Mark Matthews, and Mark’s book ‘Mark My Word!’
2. If someone finds your ad (YAY!) and calls, e-mails or sends a SMS be ready for any questions they ask, such as what you teach, where you teach, what days and times you have available, how much you charge, the preferred payment type (full term payment or direct debit each week) and so on.
know if I can help you with anything. See you soon’ The day before Term 1 starts. ‘Let’s do this. Term 1 starts again tomorrow. Let’s make this the best year ever. I know I’m ready. Weekly direct debits have recommenced, and invoices have gone out; let me know if you haven’t received them’. During each term send out messages such as ‘The newsletter that I sent home with all the students this week has important and useful information’. ‘Visit “Weblink” to see the updated lessons agreement’. Have printed quality newsletters. Content can include your thoughts (blog), teaching locations, your upcoming performances, interview with a student/parent/artist, must see YouTube clips (make a playlist), interesting facts, things for sale, student birthdays, etc. One week before the end of Term, ‘that term went way too fast. Just a reminder that lessons will resume on…’. Last day of Term. ‘Can you believe it? This term is already over? What a great bunch of legends all my students are. It’s going to be a great year. Enjoy your break from lessons but remember to keep the momentum. Check out “Weblink” for good progress tips for the break’. Middle of two-week break. ‘Lessons begin again soon and I’m looking forward to hearing the progress you’ve made during the break’. For Christmas and New Year send out ‘well wishes’ to the students. ‘What a great year and thank you for sharing your musical journey with me’. Send personalised birthday messages to students (and parents if you have that information).
3. Rules. Create an agreement and information document (have it accessible on-line), outlining the terms, conditions and payment information. Include advice about practising and outline some lesson goals. For public and school holidays, no lessons on these days, and direct debits will be paused. 4. For gathering information, use a printed form, webform, Google doc, etc. For enrolment you will need the student’s details: name, date of birth, parent details, phone number (landline/mobile), email and bank account details for direct debit. 5. Agree on the expectations at the very beginning, even before the first lesson, which is where we set the standards. Have a welcome/information pack and a welcome video (Vimeo suggested) embedded on your website. Create a short questionnaire and fill it out at the first lesson. What would you like from me at the lessons? I’m looking forward to working with you to achieve this. What is important to you and why? What would happen if you never achieved that? How would you feel? Ask the student what gets you excited about playing music? Do you see yourself playing on a big stage someday with thousands of fans, playing just for fun or do you just want to see what happens?
7. Resources. Date cards, stickers, drumsticks, tuner, metronome, lesson resources (all branded), etc.
6. Staying in touch, communication via SMS. Three weeks before Term 1 starts send a message to your students. ‘Hope you are having a good break; I’ve been gearing up to deliver another great year of teaching. Looking forward to seeing your excited faces again in a few weeks. Invoices for Term 1 will go out in the next few days. If you have a weekly direct debit arrangement, this will start again in the week that lessons resume. Let me
8. Practising. Fail to prepare, prepare to fail! Insist on a daily commitment of time which the student will set aside for development. You don’t get better at the lesson, you get better because of the information provided at the lesson, but only if you do the followup work. Pete would say, ‘Priceless and I don’t charge for the time you spend getting better!’
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SUMMER CONFERENCE RODNEY SMITH
SARAH PORTER
‘How are we travelling?’
‘An introduction to Con Brio Examinations’. Website: https://www.conbrioexams.com/ Con Brio Examinations offers the world’s First Online Music Examinations. In 2018 Con Brio’s Head Office was established in Shanghai, China to expand Online Music Examinations and Remote Learning. 1. The Pioneer of Online Music Examinations. Displaying the true ability of candidates through pre-recorded video clips, Con Brio Examinations can easily be used in conjunction with all major examination syllabuses. 2. Recognised Worldwide. Selected by teachers and students from over 50 countries around the world, providing a universal benchmark. Exam videos have been utilised for admission to top International Conservatories as well as major International Competitions. 3. True Flexibility. A music library with over 30,000 professionally graded pieces that is continually growing. It features all genres from Classical to Pop, Jazz and even themes from Movies and Anime. 4. Anytime, Anywhere. With our easy submission process, exams can be conducted and uploaded at any time of the year via the YOUBRIO APP or website. This flexibility allows students to progress unhindered by exam time restraints. 5. International Board Members. The Con Brio Examinations Board is a collaboration of leading musicians of our time, ranging from professors of prestigious conservatories to concert artists and winners of International competitions from across the world.
Rodney Smith
1. Current environment. An increasingly multicultural society and an increasing diversity in Schools, AMEB and Tertiary Music Programs. 2. The Profession. The performing musician/educator. A freelance profession based on full time or part time work. Selfregulating. No legislation underpinning how the profession works. Much tends to be informal. No Government funding supporting the profession. 3. The Music Teachers’ Associations of New South Wales, Queensland and South Australia and the Tasmanian, Victorian and West Australian Music Teachers’ Associations. Loose affiliation through annual Presidents’ meetings (over last 15-20 years). Ethically, MTASA can’t act unilaterally, yet MTASA doesn’t benefit from being part of a bigger organisation. A national standard for membership. Suggestion that a ‘lite’ federal approach be revisited in last ‘SA Music Teacher’. Many equivalent organisations have a federal structure, eg AUSTA, ASME, ANATS, ISM in the UK and MTNA in the USA. 4. MTASA Achievements. Identity - credentialing and PD. Simple aims and scope. Tech savvy depending on available membership. Quality events - depending on membership available. 5. Challenges. Reaching out to the pop and rock sector. Embracing professional educational practice. Assisting members with their career building. No easily identified career paths. No legislative requirement for qualifications and PD. A freelance environment. 6. Already in Immediate Focus. Meeting the needs of instrumental instructors in all fields. Presenting them publicly in the best possible professional light. Developing a ‘lite’ federal system.
Con Brio Examinations is officially supported by the Australian Government and the Chinese Department of Education. It represented Australia as a leading education service provider in the China International Import Expo.
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PEDAGOGY MATTERS by Rodney Smith For me, two aspects of pedagogy have emerged from our current spate of online instrumental teaching that highlight the diversity of our instrumental sector. The first is the gulf that divides acoustic performance from electronically enhanced performance and the second is the divide between teaching that relies more or less on voice and gesture alone and teaching that includes hands-on contact. Our sector sometimes appears to contain a preponderance of acoustic performance learning. But that perspective can be deceptive as there is a seeming imbalance between instrumental teachers working within the professionally credentialled environment with which we are familiar (such as MTASA) and those working outside it. In short, classical/jazz based teachers appear to form the vocal majority and pop/rock teachers the silent minority. Nothing could be further from the actual situation and since the current emergency developed, we have seen a significant rise in the profile of pop and rock musicians giving advice and help based on their extensive experience in digital and electronic sound production. What can we learn from this? Many acoustic instrumental teachers have felt challenged and then disappointed with the results of their labours. Whether using Zoom, Team or another platform the sound quality has seemed less than ideal for the subtleties of timbre and pitch they often insist on in lessons. But a good number of pupils are quite conditioned to electronically produced sound, for example keyboard pupils who practice on digital instruments. Are we forgetting this challenge when teaching? The second matter, involving teaching that relies on voice and gesture rather than a more handson approach, has divided our sector for some time now. Matters of child-safety and wellbeing are constantly on teachers’ minds, not to mention the views of their more influential classroom colleagues for whom voice and gesture are the given tools of trade. With Zoom, Team and other systems all instrumental music teachers have suddenly had no recourse but to use voice and gesture alone and for some the experience may have been illuminating. Perhaps they have found more confidence in teaching that way. In such cases it’s important for them to remember not to confuse the difficulties online platforms present with the success they may have achieved teaching in this new fashion. Of course, there is no substitute for hands-on teaching from time to time, especially in the technical area, but perhaps our current circumstances will have given some teachers added authority in their studios when they return to face-to-face teaching. They may realise that their voices are a more powerful tool than they at first thought.
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RECITALS AUSTRALIA Recitals Australia plays a special role in the musical life of Adelaide by annually providing over 100 performance opportunities for artists of all ages and levels. For nearly 50 years Recitals Australia has provided a platform for young Adelaide musicians to reach their first public audience. But don’t be fooled by the age, Recitals Australia can turn on a five-cent coin to adapt to changing environmental impacts. When COVID-19 hit and restrictions were put in place, Recitals Australia missed only one week of our weekly Lunch Hour Series recitals before reimagining the concept into an online only concert, and with begged and borrowed equipment, managed to not only serve their regular audience, but grow their audience into the hundreds as people watch online - from all over the world. The exposure these emerging artists enjoy is tremendous. Recitals Australia is an Adelaide-based non-profit organisation that presents leading performances by virtuoso musicians from Australia and around the world. It also, very importantly, provides performance opportunities, support and educational incentives for talented emerging musicians. The youngest are able to participate in Home Recitals. More experienced students and semi-professional artists and professionals seeking additional opportunities are included in the Lunch Hour Series each Wednesday at Pilgrim Church. Established in 1972 as the Australian Society for Keyboard Music (Adelaide) with recitals held in Edmund Wright House, the organisation was renamed Recitals Australia in 2009. Governance of the organisation is by a volunteer Council, many of whom are also professional musicians, who work tirelessly to both manage and fund-raise for the organisation and enable student participation. The current President is Mark de Raad. The Recitals Australia volunteers do not rest on their laurels. During this down-time when large concerts are not allowed, they are spending time planning new projects - experiences for emerging artists as well as a national project for next year! The Lunch Hour Series has become something of an institution for a core group of loyal supporters who visit each week. They provide a friendly and supportive audience for emerging artists and at the end of each season, a special awards concert is held, with a substantial prize pool of $3,000 on offer for successful performers. For a free weekly livestream of the Lunch Hour Series recitals, please visit recitalsaustralia.org.au. For students wishing to apply to the Lunch Hour Series, and all other enquiries, please visit recitalsaustralia.org.au.
Livestreaming
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THE ACCOMPANISTS’ GUILD OF SA INC. Celebrating the art of the accompanist and collaborative pianist
LOVE IN THE TIME OF CORONA (with apologies to Gabriel García Márquez) by Leonie Hempton OAM, President, Accompanists’ Guild of South Australia Being able to join with friends, colleagues, family to make music must surely be one of our most precious privileges, something which I wish everyone was able to enjoy.
Leonie Hempton OAM
I’ve been thinking about the sort of article people would like to read during this most challenging of times. We’ve all been bombarded with horrible statistics. Data is coming out of our ears and we’re probably completely fed up with going to the supermarket to find the pasta/rice/toilet rolls/sanitiser shelves completely empty! So, what about love? As musicians, we are some of the best placed people to know about this! Music has always been centre stage when it comes to matters of heart or the wider concepts of love. From the music in the most cheesy movies (think When Sally met Harry; Casablanca; Four Weddings and a Funeral…) to some of the greatest music ever written on that theme (Romeo and Juliet Tchaikovsky or Prokofiev, Widmung by Schumann…) it is obvious that music is a powerful aphrodisiac.
We have an opportunity at the moment to encourage our young people to become more involved in making music together. School orchestras and choirs are not functioning, so now is the time to find ways of playing together in small groups. With the emergence of technology platforms which provide access to multiple venues, coupled with their extraordinary skill at navigating, young people have the most wonderful opportunities to make music together - AND they’ll have such fun! If you’re interested, just go onto YouTube and type in Chamber music during lockdown and you’ll see some extraordinary performances - sharing the love! Along with almost every other arts organisation, the Accompanists’ Guild has been stymied by this awful pandemic. We were well into
Wonderful loving relationships throughout history have been formed through music making. Many have been enduring, some less so, but mostly the love of music has provided strong support. If you think about it, it has led to some of the greatest compositions, some of the most exciting performances you may have witnessed.
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organising a wonderful Festival in June featuring the fabulous musicians, Daniel de Borah (piano) and Umberto Clerici (cello). Daniel and Umberto were to be part of a conference involving workshops with young pianists and cellists. We are now arranging for this Festival to be transferred to midyear 2021. Both artists are very keen to be involved. One piece of good news is that the Composition Award linked to this will still be able to go ahead. Seven young composers will be writing short pieces of music for cello and piano. They will be submitted to Daniel and Umberto who will study them and choose one to be workshopped and performed. Also put on hold will be our regular activities for our student accompanists - Young Accompanists’ Showcase (YAS) and Junior Emerging Musicians (JEMS). While we are very sad that these events cannot take place at the moment, it is clear that many musicians are taking the opportunity to reach out to the community and to each other and use their talent to provide the much needed emotional support which will take us through this dark season, and make the world a richer place. Stay safe, stay healthy, make music!
WORKING AS A MUSIC TEACHER IN THE COUNTRY by Bronwyn Smith Where do I begin? From the beginning I suppose! I was very fortunate to be born into a singing family from the Eyre Peninsula five girls and one boy (who plays the spoons!). As the famous song goes ‘we began to sing long before we could talk’. Harmonising was our speciality. Teaching was also in the veins so fast forward to the end of Year 12 and off to ‘the big smoke’ (600 kilometres away) I went. I very much felt like a country kid in a huge city, knowing next to no-one. I studied Early Childhood with my major being music. My only ‘formal’ music learning up to this stage was from the local Church organist, so to say my introduction to Musicianship was a huge learning curve is an understatement! I hadn’t even heard of Solfa! My saving grace was my voice and I loved the opportunity to further my knowledge under the close supervision of Guido Coppola. He invited me to join the (to me) massive choir ‘The Monteverdi Singers’. More opportunities to learn, and the love the Italians showed made me more at home in this huge, lonely city. The next three years flew - learning new instruments (guitar, flute, bass) and of course teaching. Adelaide became a not so foreign place and I left with many amazing memories and friends.
I began teaching at Tumby Bay Kindergarten, was married 12 months later to a local farmer and became the most committed ‘kindergarten guitarist’ in the district!! I changed every song to simple chords to play daily to very keen vocalists! This was my passion for the next chapter of life - installing a love of music in young children and bringing up four of my own. This continued to include primary classroom music teaching and for the last couple of years SACE music and private instrumental teaching based in two local schools, Cleve Area School and Cowell Area School. So... the major hurdles of teaching music in the country. Distance - I travel 300 kilometres a week to teach at two schools, and 1,200 kilometres for a three-hour T&D session (well worth it) and live concerts. Also, the distances that the students need to travel.
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Lack of opportunity - I had wanted to teach music for a very long time, but it wasn’t until a long-time teacher left the district that I had the opportunity to do so (too small for more than one!). Isolation - I hope I’m doing a good job(?) but the lack of support is challenging (this has been alleviated greatly by joining organisations such as MTASA). The closest music teacher is 120 kilometres away, so further study is much more difficult to do, etc., ... and I could continue. But I feel privileged to do what I do; both passions, music and teaching. The support from meeting other teachers at T&D sessions and technology has ‘lessened the distance’. It doesn’t matter where you live - the joy of a student nailing a note, music piece or chord is priceless!
View from studio window
CELEBRATING
90 YEARS IN 2020: MTASA’S HISTORY FROM 1970-1989 by
Robert
Brown
OAM
During 2020 we will be celebrating the Music Teachers’ Association of South Australia’s 90th Anniversary. This article covers MTASA’s history from 1970 to 1989 and acknowledges the contributions of those people who helped develop MTASA into the organisation that we know today. It is impossible to mention every individual who has made a contribution to MTASA’s progress over the years in this article, so please accept our grateful thanks if your name does not appear.
In 1970 Daphne Goodall was the new President. The first MTASA Summer School was held in February 1971 with Miriam Hyde as the guest lecturer. Badged as the ‘Summer School’, these events have been held every second year. Since 2015 the title ‘Summer Conference’ has been used. In recent years venues for the Summer Conference and Professional Development Days have included the Hartley Concert Room and Madley Rehearsal Studio at the University of Adelaide and the Performing Arts Centre at Seymour College. At the end of 1973 a dinner was held at the Lyceum Club in Angas Street; the first of many dinners that have been held in conjunction with the AGM or during a Summer School. They provide a social forum so that members get to know each other and socialise.
The Coffee Van line-up - always an important activity for PD!
The Reimann-Robinson Scholarship was established in 1974 when Mrs Gwen Robinson provided funds for an annual award; it is open to students who are 18 years or under on the closing day of entry. It was originally known as the Gwen Robinson Scholarship, but later changed to the Reimann-Robinson Prize, to include Gwen Robinson’s esteemed teacher, Gotthold Reimann.
Gwen Robinson was one of Adelaide’s leading piano teachers and for many years taught at Wilderness School. Grace Barbara Turner left some money in her will to MTASA, which is used to provide four $100 prizes for the Music Teachers’ Association of SA Inc./Grace Barbara Turner Awards for Excellence in Performance in the Adelaide Eisteddfod for Piano, Strings, Wind and Vocal competitors. Some past students of George Pearce met at the home of Andrea Williams on November 21, 1975 to establish an Annual Prize in his memory. Contributions poured in from friends and his past students and together with numerous fund-raisers, the committee was able to award the first George Pearce Memorial Prize in 1976. In 2005 the George Pearce Memorial Prize Committee asked the Music Teachers’ Association to take over the responsibility for managing this award. It was decided that the funds would be used for the George Pearce Memorial Oration on topics related to piano pedagogy at the MTASA Biennial Summer Conferences and the George Pearce Memorial Award of $100 which is awarded each year by the Australian Music Examinations Board (SA and NT) to a Seventh Grade piano student. Following a proposal for a newsletter the first issue, edited by Ellen Fisher, was posted to members in early 1970. The newsletter was given the title ‘SAMTA’, but when it was realised that this acronym was incorrect because the association’s name was ‘The Music Teachers’ Association of South Australia’ the title was changed to ‘The Music Stand’. From the Spring 2018 newsletter onwards the title has been changed to ‘SA Music Teacher’.
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June Thomas was the longest serving editor of ‘The Music Stand’, undertaking this task for 18 years. In October 2006 June was presented with an award in recognition of her ‘long and distinguished service to the Music Teachers’ Association of South Australia’ by the Hon. Dr Jane Lomax-Smith, Minister of Education and Children’s Services, and in 2007 she was made an Honorary Life Member of the Music Teachers’ Association. Mary and Susan Janaurajs began addressing and posting the MTASA newsletter in 1985. They continued to do this until 2019 and both were awarded Honorary Life memberships. In 1969 MTASA received a letter from the Victorian MTA about the proposed formation of a Federation of Music Teachers’ Associations. Daphne Goodall was appointed SA’s representative. Warren Thompson from the NSW Conservatorium had suggested the
‘SAMTA’, April 1979
CELEBRATING 90 YEARS IN 2020 CONT'D formation of FAMTA. The MTASA Council decided to join FAMTA in 1970. FAMTA commissioned Miriam Hyde to compile ‘Aural Tests for all Grades of Practical Examinations’, which was published in 1973. Miriam Hyde included a ‘Supplement’ of atonal melodies intended for rhythmic clapping or sight reading, prophesising that ‘the day will probably come when aural tests are presented in an atonal idiom’. A ‘Year Book’ was published by FAMTA in 1974, with all of the MTAs in Australia being listed as members. FAMTA arranged visits to Australia by overseas artists during the 1970s and early 1980s, including Sergei Dorensky, Erich Vietheer, Ronald Smith, Evon Enoch, Lidia Baldecchi-Arcuri, Kendall Taylor and James Lyke. This was made possible with the assistance of the Australia Council for the Arts and the initiative of and organisation undertaken by FAMTA. FAMTA established a music teachers accreditation scheme and outlined the qualifications required for accreditation. For those who did not have the necessary qualifications MTASA offered a course that required 15 assignments and 45 hours of lectures; this commenced in 1979. By 1981 148 MTASA members had been granted accreditation, 32 provisional accreditation and 16 were working towards accreditation. In 1978 FAMTA offered the ‘FAMTA Quarterly Magazine’ to its member Associations. This was sent to MTASA members with the SA Newsletter ‘SAMTA’. It was edited by Warren Thompson and featured articles written by prominent teachers from Australia and overseas.
‘‘The Music Stand’, March/April 2008
The 1979 issues of ‘FAMTA Quarterly Magazine’ indicate that the MTAs of NSW, QLD, SA, TAS and WA were the members of FAMTA: Victoria had bowed out by this time. A ‘National Directory of Private Music Teachers’ was published by the NSW Conservatorium and FAMTA in 1980. In the 1982 issues of the ‘FAMTA Quarterly Magazine’ the WA MTA is not listed as a member. These were the last issues of the ‘FAMTA Quarterly Magazine’ to be published. The Music Teachers’ Association of NSW offered to provide their Quarterly Magazine to MTASA, which was sent to MTASA members from 1983 to 1988. MTASA had been contributing to the cost of printing the NSW Quarterly Magazines and decided to discontinue to reduce expenses. Warren Thompson resigned after eleven years as FAMTA’s President and looked for someone to take over the Presidency, but no-one put up their hand. Some proposed changes to the Constitution were an additional stumbling block. All of FAMTA’s organisation had been taking place in New South Wales. No other state was willing to take over from New South Wales and by 1984 FAMTA ceased to exist. In 1987 Warren Thompson was awarded the Medal of the Order of Australia for ‘his services to music education’. FAMTA’s demise ended the music teacher accreditation scheme. The MTASA Council found a replacement, the Institute of Music Teachers (IMT), established by the Australian Society for Music Education (ASME). This was first offered in September 1985 when the IMT had become autonomous. The organisation of the Institute of Music
‘FAMTA Quarterly Magazine’, November 1979
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Teachers was to be rotated between the various states. After some time based at the Flinders Street School of Music no other organisation was willing to take over the management of the IMT. As a result, it was no longer possible for the IMT accreditation to be offered. Music teachers who were approved by either, or both, of these accreditation schemes are entitled to use the post-nominals FAMTA and/or MIMT. In 1969 Eric McLaughlin QC was asked to review MTASA’s Constitution. The revised Constitution was approved and adopted at the 1971 AGM. One significant change made to the Constitution meant that the MTASA President had to stand down for twelve months after serving for four years. Daphne Goodall completed her term as President in 1974 and Ian Harrison was elected to this position. Daphne Goodall was made an Honorary Life member for her service to MTASA. Miriam Hyde was made a Patron in 1975. MTASA relocated to the South Australian Institute of Teachers’ building on Greenhill Road, Parkside in 1972, where the meetings took place and the grand piano was placed in the auditorium. From about 1978 MTASA began a relationship with the Flinders Street School of Music. The grand piano was moved into the auditorium and the facilities were used for MTASA events. MTASA continued the association with the Flinders Street School of Music until its unfortunate closure at the end of 2001. MTASA’s grand piano was eventually sold. Rodney Smith established the Music Teachers’ Council in 1981 to be a forum for SA music organisations. The Music Teachers’ Council organised an Annual Performance Festival for music students and festivals in country districts. The Music Teachers’ Council was eventually wound up. By the time of the Annual General Meeting held in March 1982 MTASA had reached 400 members and there were four membership categories: Full Membership, Student Membership, Honorary Life Membership and Honorary Associate Membership. The membership requirements were reviewed by a sub-committee in 1981. The Country Membership classification, with its lower standard of academic requirements and lower subscription fee was abolished. The MTASA Council set these requirements for the other membership classifications: to become a Student Member a minimum of 8th
CELEBRATING 90 YEARS IN 2020 CONT'D Grade Practical was required and to become a Full Member a minimum of A.Mus.A. was required and three years teaching experience. Over the years MTASA has arranged for music teachers from Adelaide to visit various regions in the country and to present workshops for the local music teachers. Grants from the SA Government were obtained to assist some of the country music teachers to attend MTASA events in Adelaide. A visit to Darwin was organised in 1978 by Mr and Mrs I.G. Drummond. This created much enthusiasm and some of the teachers there joined MTASA. South Australia’s Jubilee 150 was held in 1986. MTASA held a workshop in January and the Jubilee 150 Instrumental Competition, with the prize money donated by the Metronome Music Centre being divided into five prizes in the junior and senior sections.
Australia’s Bicentenary was celebrated during 1988. A Beethoven Festival was held during the first half of the year. A recital was given by Miriam Hyde at Pilgrim Church to celebrate her 75th birthday. The programme included some of her own compositions and she provided a commentary about how she came to write them. The door takings were $908, to which Miriam Hyde added $92. This was to be used to start a fund for the Miriam Hyde Award. MTASA later added $2,000 and in 1990 Miriam Hyde gave a generous donation of $1,000. Finalists for the first Miriam Hyde Award were selected in the latter part of 1988. Miriam Hyde adjudicated the Final during the 1989 Summer School and announced the first winner, Edythe Tham. The Miriam Hyde Open Award is open to all instrumental/vocal students and the Miriam Hyde Junior Award is open to students under 15 years of age on the closing date of entry. Originally it was to be held biennially.
Sources of information: ‘The Register’, periodic reports from 1907-1911 about the South Australian Music Teachers’ Association; ‘Sands and McDougall South Australian Directories 1911-1916’; ‘1930-1990, A History of the Music Teachers’ Association of South Australia Inc.’, Nina Murton 1990; ‘More Than a Musician, A Life of E. Harold Davies’, Doreen Bridges, ASP 2006; ‘The Language of Human Feeling, A Brief History of Music in the University of Adelaide’, V.A. Edgeloe 1984; ‘From Colonel Light into the Footlights’, edited by Andrew McCredie, Chapter 21, ‘Music Education in South Australia 1936-1984’, Malcolm Fox, Pagel 1988; ‘The Music Teachers’ Association of South Australia Inc., Handbook for MTASA Council Members, revised February 27, 2013’.
CONTACT DETAILS FOR OTHER ORGANISATIONS 5MBS: MUSIC BROADCASTING SOCIETY OF SA www.5mbs.com 8346 2324 5mbs@5mbs.com AUSTRALIAN BAND AND ORCHESTRA DIRECTORS’ ASSOCIATION (ABODA): ABODA SOUTH AUSTRALIA www.abodasa.com.au abodasaonline@gmail.com ABRSM EXAMINATIONS https://us.abrsm.org/en/home SA Rep.: Anastasia Chan 8234 5952/423 282 589 abrsmsa@hotmail.com ACCOMPANISTS’ GUILD OF SA INC. http://accompanist.org.au President: Leonie Hempton OAM 8272 8291/0404 145 502 leoniehempton@gmail.com ADELAIDE BAROQUE www.adelaidebaroque.com.au 8266 7896 manager@adelaidebaroque.com.au ADELAIDE CHAMBER SINGERS https://adelaidechambersingers.com/ 8352 1329 admin@adelaidechambersingers.com ADELAIDE EISTEDDFOD SOCIETY INC. http://www.sacoment.com/aes/eisteddf od/ Secretary: Brenda Rayner OAM 8366 6531 adleisteddfod@adam.com.au ADELAIDE HARMONY CHOIR www.adelaideharmonychoir.org.au/ Secretary: Sherry Proferes adelaideharmonychoir.info@gmail.com ADELAIDE PHILHARMONIA CHORUS http://philharmonia.net/ ADELAIDE YOUTH ORCHESTRAS https://adyo.com.au/ 8361 8896/0410 062 677 General Manager: Claire Oremland claire@adyo.com.au AMEB EXAMINATIONS: SA AND NT https://ameb.adelaide.edu.au/ 8313 8088 ameb@adelaide.edu.au AUSTRALIAN NATIONAL ASSOCIATION OF TEACHERS OF SINGING (ANATS) ANATS: SA AND NT CHAPTER www.anats.org.au/sant-chapter Secretary: Dianne Spence anats.sa.nt@gmail.com ANZCA EXAMINATIONS www.anzca.com.au (03) 9434 7640 admin@anzca.com
AUSTRALIAN SOCIETY FOR MUSIC EDUCATION (ASME) ASME: SOUTH AUSTRALIA CHAPTER http://www.asme.edu.au/sa/ President: Luke Gray graylu@trinity.sa.edu.au AUSTRALIAN STRINGS ASSOCIATION (AUSTA) AUSTA: SA CHAPTER www.austa.asn.au/chapters/sa/ President: Fiona Patten fionapattenausta@gmail.com AUSTRALASIAN DOUBLE REED SOCIETY www.adrs.org.au Contact: Josie Hawkes OAM josie.bassoon@gmail.com AUSTRALIAN STRING QUARTET https://asq.com.au/ 1800 040 444 asq@asq.com.au BALAKLAVA EISTEDDFOD SOCIETY www.balaklavaeisteddfod.org.au Contact: Trish Goodgame 0417 891 834 info@balaklavaeisteddfod.org.au CON BRIO EXAMINATIONS www.conbrioexams.com 9561 3582/0401 014 565 lily@conbrioexams.com ELDER CONSERVATORIUM OF MUSIC https://music.adelaide.edu.au/ 8313 5995 music@adelaide.edu.au ELDER HALL https://music.adelaide.edu.au/concerts/ 8313 5925 concertmanager@adelaide.edu.au FLUTE SOCIETY OF SA INC. www.flutesocietyofsa.org Secretary: Masako Kondo 0448 730 845 secretary@flutesocietyofsa.org INSTRUMENTAL MUSIC: 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 https://kodalysa.com/ 0405-066-469 kodalysa@gmail.com
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MUSICA VIVA www.musicaviva.com.au for concert details Box office: 1800 688 482 contact@musicaviva.com.au MT GAMBIER EISTEDDFOD www.backstageinc.org.au Secretary: Maxine Chalinor OAM 0457 067 555 tonymaxine@internode.on.net MUSICIANS’ UNION OF AUSTRALIA ADELAIDE BRANCH https://musiciansunion.com.au/ 8272 5013 musosa@bigpond.net.au ORFF SCHULWERK ASSOCIATION OF SA https://www.osasa.net/ info@osasa.net PRIMARY SCHOOLS MUSIC FESTIVAL www.festivalofmusic.org.au 8261 5438 office.psmf799@schools.sa.edu.au ST CECILIA EXAMINATIONS PTY. LTD. www.st-cecilia.com.au 1800 675 292 info@st-cecilia.com.au SOUTH AUSTRALIAN BAND ASSOCIATION www.sabandassociation.org Secretary: David Corkindale secretary@sabandassociation.org SOUTH AUSTRALIAN MUSIC CAMP ASSOCIATION www.samusiccamp.net.au Administrator: Samantha Taylor admin@samusiccamp.net.au THE SOCIETY OF RECORDER PLAYERS SA INC. www.facebook.com/recorderplayerssa/ 0410 109 135 npope@bigpond.net.au TRINITY COLLEGE LONDON EXAMINATIONS www.trinitycollege.com.au 1300 44 77 13: National 8345 3117: Local stanley.tudor@iinet.net.au UKARIA CULTURAL CENTRE www.ukaria.com 8227 1277 info@ukaria.com