Mtasa newsletter apr jun 2016

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The Newsletter of the Music Teachers’ Association of South Australia Inc. Vol. 24 No. 2 – Apr/Jun 2016

The Newsletter of the Music Teachers’ Association of South Australia Incorporated Vol. 24 No. 2 – Apr/Jun 2016 PO Box 4 RUNDLE MALL SA 5000 Print Post Pub. No 100003224 www.mtasa.com.au

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MUSIC TEACHERS’ ASSOCIATION OF SOUTH AUSTRALIA – COME TO JAMESTOWN! By Margie Symonds

Welcome to Jamestown (photo courtesy of TripAdvisor) Background Jamestown is a medium sized country town in the mid north of South Australia, about 230 kilometres north of the Adelaide General Post Office, with a stable population of around 1,500 people. It is a regional agricultural centre with good services, good facilities and good shopping. Jamestown Community School has students from birth to year twelve, 262 of whom are in years R -12; and across the road, St James’ Catholic School has 92 students in years R-7. Each week five private music teachers come to JCS, as well as one IMS music teacher. The private teachers each have a whole day at the school and teach piano, drums, guitar and vocal lessons. At the time of writing this article, JCS had been allocated two IMS group lessons of flute, clarinet and saxophone to students in year 5. Students at St James have two visiting instrumental music teachers and the opportunity to visit JCS for drum lessons. There are three private piano teachers in Jamestown, two of whom live here and the other travels to Jamestown from Yacka. We are all very busy. My Teaching I teach thirty private piano students, who range in age from 6 to about 60. My lessons are held in private and public schools, churches, in students’ homes and in my own home. Half of these students live at Peterborough, which is about 40 kilometres away and I teach there one day a week. I give students choice and opportunities. They can choose to play for their own enjoyment, prepare and sit for AMEB exams, and perform if they wish. There are many opportunities for performance in our town, including school assembles, school arts’ evenings, the local Jamestown Show and annual piano concerts. Senior students are also encouraged to perform or accompany others at the Lions’ Carols in the Park, the regional SAPS Festival of Music Choir performance, Probus Christmas dinner, church fellowship groups and regional school Showcase Concerts. All of the teachers work together, to ensure as many opportunities for our students as possible. Benefits? Many!! Students practise harder when they have something to play for. They thoroughly enjoy the experience, gain valuable performance skills and love the attention from their friends, teachers and parents. Their confidence grows. Also ... others are inspired to learn! JCS doesn’t offer music as a high school subject. If students wish to study music, they have to travel to

At the recent MTASA summer conference in January, I was honoured to be asked to write an article for The Music Stand about ‘Music in Jamestown’. Thank you for the opportunity.

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Peterborough and join the classes there. We, as private providers, help these students prepare for their assessments and accompany those who need it. (We are thrilled that one of last year’s students is studying a Bachelor of Music at Adelaide University this year!)

Bridge over Belalie Creek

Music in Our Community Piano teachers play a big role in the community. We do a lot of organising. We organise piano tuners to come to town. Robin Stevens from Port Pirie tunes most of the pianos in our region and we work together to keep Jamestown and areas in good pitch! We’re given boxes of music from families who’ve lost family members, and we love looking through them to find golden oldies and wonderful treasures! We’re also forever being asked by people for music, and we love finding it for them. I’ve catalogued mine now for easier access. Because we’re such a small community, we work together to organise functions, and everyone uses their talents. Musicians and singers from nearby towns are encouraged to join us when we need a band or a choir for Carols by Candlelight, or the regional SAPS Festival of Music, or the Sing Australia Choirs, etc. We all help with the sing-a-longs for the residents of the old folk’s home, the hospital, the Church fellowship groups or the service groups. The five churches in the town also keep us busy. Musos are needed for Sunday services, weddings and funerals - and there are lots of these! However, we have all benefitted greatly from the opportunities provided by the churches. They have helped improve our time management, sight reading and performance skills, and given many novices experience and the opportunity to play in front of others. Our town also has a vibrant group called the Whyte Yarcowie Vaudeville Troupe, which is coordinated by local identity Judy Lewis. It is well known in our region for its comedy sketches, dance routines, bright costumes and uplifting music. After thirty two years of entertainment raising over $250,000 for charity, it’s still going strong, spreading laughter and goodwill. This season’s new show is called ‘It’s a Fine Life’ and will have its opening night on June 25. We are very proud of this troupe and I feel honoured to belong. Fund-raising At JCS, I work with a group of eight students called the J.E.T. (Jamestown Enterprise Team). Every Friday afternoon they have two lessons where they learn life skills, such as team work, cooking, communication and working with money. They make produce at school and then sell it in the main street of Jamestown through the Lions’ Donut Van. The Lions’ Club donates its van, the local Council donates the power, parent volunteers help in the van and the community supports us with their patronage. Money raised from this enterprise team has paid for many musical things in our school including an electric piano, two full size keyboards, a drum kit, guitars, a ukulele, flutes, saxophones, clarinets, music books, assisting with camp fees for music students and so much more. The students and teachers at our school are so blessed to have such quality instruments. My Dream We have a small school which can’t support a full time music teacher. My dream is that someone with energy, ability and a passion for music and perhaps drama, will apply to work at our school. This person will have to be able to teach other subjects as well. If they come to our school, they will be embraced by the community, the students and certainly by me!

R.M. Williams Memorial

Australian bushman and entrepreneur born near Jamestown in 1908. ♫♫♫

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“THE MUSIC STAND”

The Newsletter of the Music Teachers’ Association of South Australia Inc. VOLUME 24 NO 2 – April/June 2016

PATRONS:

Emeritus Professor David Lockett AM

Dr. Doreen Bridges AM

PRESIDENT: Rodney Smith

VICE PRESIDENT: Robert Brown

SECRETARY: Masako Kondo

TREASURER: Samantha Penny

COUNCIL: Pete Barter, Robert Brown, Malcolm Day, Norma Knight, Masako Kondo, Monika Laczofy, Carly McDonald, David Metin, Elizabeth Pearce, Samantha Penny, Rodney Smith, Betty Snowden, Hayley Wedding, Pat Wilson EDITOR: Robert Brown Newsletter Layout: Masako Kondo Membership enquiries to the Secretary – PO BOX 4, RUNDLE MALL, ADELAIDE SA 5000 Mobile: 0402 575 219 E-mail: [email protected] For more about us, please visit our website - http://www.mtasa.com.au Advertising – Please contact the Secretary Please see MEMBER INFORMATION page for Advertising Price List. Mobile: 0402 575 219 E-mail: [email protected] CONTRIBUTIONS TO THE NEWSLETTER ARE WELCOME. Material to be printed in the next issue must reach Robert Brown ([email protected]) no later than Thursday, June 30. MTASA WEBSITE AND FACEBOOK The MTASA website has had a makeover. Please visit http://www.mtasa.com.au/ to have a look. Please visit the new MTASA Facebook page at https://www.facebook.com/The-Music-Teachers-Association-of-SA-Inc-883307955101655/.

TABLE OF CONTENTS

MUSIC TEACHERS’ ASSOCIATION OF SOUTH AUSTRALIA: COME TO JAMESTOWN! by Margie Symonds…………… 1 PRESIDENT’S WELCOME by Rodney Smith…………………………………. 4 ACCOMPANIST’S CORNER: A LIFE IN MUSIC by Stefan Ammer…………... 5 PEDAGOGY MATTERS: CREATING ENGAGING PERFORMANCE OPPORTUNITIES FOR BEGINNERS by Carly McDonald………………………………. 6 IN MEMORIAM: WENDA WHITTING compiled by Jillian Tierney……………………… 8 F I N G E R S by Rosslyn McLeod………………. 9 SUMMER CONFERENCE 2016 TEACHING FOR TODAY, LEARNING FOR TOMORROW SUMMARIES OF SOME PRESENTED SESSIONS KEYNOTE ADDRESS

presented by Annie Kwok………………….. 10 MASTERING RHYTHM READING

by Nick Peterson…………………………….. 16 TECHNOLOGY AND BUSINESS

by Madeline Procopio………………………. 17 MEMBER INFORMATION……………………... 19 CONTACT DETAILS FOR OTHER ORGANISATIONS……………………………….. 20

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PRESIDENT’S WELCOME

FROM THE TREASURER 2016/2017SUBSCRIPTIONSThankyoutomemberswhohavepaidtheirJanuary/June2016MembershipSubscription.Wearenowpreparingtosendoutsubscriptioninvoicesforthenextperiod:2016/2017FinancialYear.CURRENTSUBSCRIPTIONFEES12MONTHMEMBERSHIPJULY2016toJUNE2017.

●Fullmembership$105●Generalmembership$105●Associatemembership$100●Studentmembership$52TheduedateforthesenewsubscriptionsisJune30,2016.★Invoicesarepayablebycash(bydepositatanANZbranchandquotingourBSBandAccountnumber),cheque,orEFT.★PleaseclearlymarkyourpaymentwithyourSURNAMEandINVOICENUMBERsowecaneasilymatchyourtransactiontoourrecords.PleaseensureyoudepositfundsintotheANZbankaccountlistedonyourinvoice.Bynotbeinga2016/17subscriber,yourcurrent2016membershipofMTASAwilllapseatDecember31,2016,accordingtotheMTASAConstitution,andyouwillberequiredtocompleteanewapplication.ACCOUNTCLOSUREPleasebeadvisedthattheMTASAaccountheldatthePeople’sChoiceCreditUnionwillbeclosingsoon,duetoitbeingsurplustotheneedsoftheAssociation.Ifyoustillusethisaccountwhendepositingfunds,pleasechangetoourANZaccount:BSB015208ACC286881594.Thankyouandwarmregards,

Samantha Penny, Treasurer

It was an honour to represent MTASA at the recent funeral service of our late Treasurer Rolf Sherwin. Rolf gave of his time unselfishly and was always keen to assist MTASA beyond the strict call of duty. A modest man, his varied life including academic studies, supporting social causes and working overseas was unknown to many. But the large number attending his funeral was testament to the high regard in which he was held throughout the community.

Delay in activating our new website has proved frustrating but intelligent use of our Facebook plus e-mail and electronic banking by talented members of our Council is helping to bridge the communications gap until the new website is fixed.

In the meantime we look forward to Professional Development Day on April 20 and Concert Performance Day on May 14 with the Miriam Hyde Awards further ahead on June 25. You will see we are trialling new venues for some of these events. Council is constantly on the lookout for enhanced but economical ways to deliver MTA services and hopes members will make known their feelings about these initiatives in the light of their experiences.

Council is also very aware of its responsibility to promote events that many members can use for their skills development as registered teachers. We are keen to hear from members about the provision we are making for them and how we can improve this aspect of our work.

Robert Brown and Norma Knight have kindly agreed to step in as Acting President and Vice President respectively until June 30 while I meet some crucial work deadlines. I’m most grateful for their help and know MTASA will be in safe hands during my short absence.

Rodney Smith, President

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ACCOMPANIST’S CORNER A LIFE IN MUSIC By Stefan Ammer (former Head of Keyboard, Elder Conservatorium)

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There are many ways to make friends for life; playing chamber music is perhaps the best one! It creates a bond far beyond small talk and mateship, often mistaken for friendship. I have played chamber music all my life in concerts, for radio recordings, for students and privately for pure enjoyment.

Yesterday, after years of silence, I rang the German violinist Wolfgang Roesch who was a member of the piano trio I had for many years in Germany, before my emigration to Australia in 1984. We had a long chat about the past, sharing memories about concert tours and funny situations on and off stage – broken pedals two hours before the concert (the whole story is too long for this article), the pedals had to be welded in the emergency department of a blacksmith and in the first trio I still could feel the heat in my feet; my fight with a page turner on stage (‘Not two pages! Three pages back for the repeat! Not yet!!’), the poor girl could not follow the music; being stranded on the alpine mountains in a thunderstorm and arriving at the last minute with frozen hands in the concert hall and having to play Mozart!; our tour to Denmark with lovely memories of our very friendly hosts; and many more stories from our musical life.

I also became good friends with two eminent musicians: the violinist Ron Woodcock with whom I made many recordings and concerts – I enjoyed the rehearsals, the travelling together, the meals and drinks after the concert and the great company while visiting the Woodcocks at home; and the wonderful clarinettist Peter Handsworth with whom I toured Germany and visited my home town in East Germany. We had lots of fun with the locals and visiting pubs and places I had not seen for decades. The main purpose of this tour was to make recordings for the Bavarian radio in Munich of Australian music.

And of course I should mention playing piano trios with my grown up children – not always easy, but a wonderful time to spend together. The ‘cellist of the ‘Ammer Trio’ lives in Switzerland therefore we’ve played for many years now trios with my son (violin) and ‘cellist Janis Laurs. Janis is high on the list of my chamber music

Need an accompanist for your students?

Consult the Guild’s Register of Accompanists. The Register lists accompanistsalphabetically & by area. It includes qualifications and work preferences. The latest Register is available in hard copy for $10. Better still, consult the Guild’s

website for current listings and news about Guild activities.

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friends and we have shared over the years not only many of the great works but also many of the great wines! Pianists are lonely animals and playing with other musicians is a necessity for balancing a musician’s life style.

♫♫♫

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PEDAGOGY MATTERS CREATING ENGAGING PERFORMANCE OPPORTUNITIES FOR BEGINNERS by Carly McDonald

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In the coming weeks we are hosting a performance party in my home studio. It is the first performance opportunity within our studio for students this year. I started these parties just over two years ago and we now do three a year. At first it took a little while to get students into the swing of things but now they are very popular. Why performance parties? Initially we were looking to create opportunities for younger students to be able to get to know one another and have a more relaxed entry into performance than the recitals and concerts we host. Creating a music community for students from the outset and the chance to share their music and discoveries with one another is a priority. It is a fantastic listening and learning experience for students in a format that is approachable and very child friendly. What is a performance party? It can take whatever format you like. For our studio they are hosted mid-afternoon and students arrive, bringing with them a plate of afternoon tea to share. We have some board games set up and students quickly get into playing them on arrival. It is a great icebreaker and we have found the best games are those that are quick and simple. Games like Trouble, Operation, Jenga and Uno for the older kids are very popular and work well in this setting. Prior to the party I ask some of the older students if they would be my helpers and be in charge of a game each. The benefit of this is twofold. Firstly, the teenage students have purpose when they walk in and they have a buy-in to the process so they will attend. Secondly, it means each of the games is

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being supervised by someone other than me, which leaves me free to supervise everything else! After about half an hour, students begin playing their pieces. It is very relaxed and everyone sits around and listens. It is a great, very informal way of them playing in front of other people, learning elementary performance skill and audience skills. As needed we stop for food breaks, game breaks and then more music. After the more directed activities are completed, it is always interesting to watch how the children interact with one another. Many are at their instruments in groups of two or three, playing duets or showing one another something that they have recently learnt. These moments are invaluable in creating connection and community, both elements that are fundamental to students’ musical experience. While this is all happening parents get a chance to chat in the kitchen, have a coffee and watch from a distance. It isn’t a concert. The atmosphere is always a little hesitant at first and then everyone warms up and has a great time. I’ve found that the more parties we have, the better everyone gets to know each other and has better interaction. Now students are disappointed if they can’t attend and I take their enthusiasm as a good sign that they have enjoyed themselves. Not to worry, there is always the next one for them! The more they perform and create together the better!

From an organisational perspective, these parties from set up to pack up, take two hours.

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PEDAGOGY MATTERS: CREATING ENGAGING PERFORMANCE OPPORTUNITIES FOR BEGINNERS (Cont’d)

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Here is a quick guide to hosting a performance party!

1. Make it quite relaxed and informal - students get plenty of other chances to do formal performances.

2. Ask each student to bring food to share.

3. Have icebreaker games available such as board games or small group games.

4. Ask older students to be responsible for supervising each game.

5. Have something for parents to do if they wish to stay (try coffee in the kitchen).

6. Be specific with a short time frame for the party (this makes it easy to fit in and will maintain your

sanity).

7. Decide on a rough structure for the party. My choice is usually games, music, food, music, games.

I find these parties enjoyable. It is great to see students developing friendships, having fun and gaining more performance confidence.

♫♫♫

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IN MEMORIAM: WENDA WHITTING Born 26.08.1935. Died 26.11.2015. Compiled by Jillian Tierney

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I first met Wenda in the 1980s when I was looking to upgrade my piano skills. I went to her for lessons, and after awhile, as well as doing work toward exams, we were doing duets and works for two pianos. The friendship grew and my husband and I were asked to join the weekend tennis group on the well maintained lawn tennis court in the Whitting’s beautiful garden. We often went to concerts together and a number of times holidayed together on the Sunshine Coast. When I was notified of her death, my immediate response was to listen over and over to Schubert’s Fantasia in F minor, Opus 103, a favourite of ours to play and my mind was flooded with the beautiful music we had either listened to or played together; Schubert’s Fantasia, Debussy’s Petite Suite, Mozart’s works for piano four hands and two pianos, a duet version of Gershwin’s Rhapsody in Blue were some of the works that came to mind that morning. Wenda was born in Brisbane on August 26, 1935. She frequently spoke of her memories of wartime rationing, blackened windows, frugal living and the widespread gratitude for the arrival of the Americans after the bombing of Darwin. Her mother died when she was 11, and she was sent to Ipswich Girls Grammar as a boarder for the remainder of her school life. She was an excellent scholar and an accomplished pianist when she completed school. In 1953, she married Keith Whitting and the couple had three children. In 1966, as a result of a promotion in Keith’s work the family moved from Brisbane to Adelaide and settled in Clapham. It was here that Wenda resumed her music studies. She studied piano and theory and achieved her Diploma in piano as well

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as the Certificate of Instrumental Teaching, a course offered by the Flinders Street School of Music at the time. Some of her piano teachers were Mrs Daphne Goodall, Mrs Dorothy Blair and Ms Audrey White OAM. She began teaching many students and this became her major interest for the remainder of her life. She mainly taught from home, but did some years at Walford School as well during the time that Mara Laschuk OAM was Director of Music. Later, she and Keith moved to Millswood and then to Glynde where she continued her teaching. She also found time to help at Sophia teaching English to refugee women for a number of years. Wenda was extremely generous with her time with her students and passionate about her teaching. Many would remember her as a strong, organised, determined woman with high expectations of herself and others. At the same time she was deeply caring and sensitive. Teaching, playing music, reading and her complete love and commitment to her family were the driving motivations and purpose to her life. She embraced technology when many of her contemporaries thought it a passing fad. When her children began to use computers she did also and searching the Web opened a new world for her. She had all of the latest audio equipment to listen to music and music was always being played and listened to in the home. Wenda practised Mindfulness long before it became a trendy thing to do, and this helped her when her health began to fail. She served on the MTA Council from 1986 to 1988, and then again from 1999 to 2001. For a number of these years her husband, Keith, served as Treasurer of the association. She is lovingly remembered by her three children, eight grandchildren and one great grandson. As a bookmark, I have a postcard featuring a Renoir painting (1877) entitled ‘Young Woman in Blue Going to the Conservatory’. It was given to me by Wenda some years ago. On the back, in her handwriting, is the following reflection:

I am free from all stress and strain. My mind is tranquil and serene

The peace of God fills my heart and mind. I am grateful.

♫♫♫

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F I N G E R S by Rosslyn McLeod, A.U.A., B. Mus., Dip.Ed. Member Austat, ATI.

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Rosslyn is a music and education graduate from Universities in Adelaide and Melbourne. After qualifying as an Alexander Technique teacher she taught for some years at Melbourne University and Victorian College of the Arts. She now lives in Adelaide, teaching privately piano and the Alexander Technique. Rosslyn is a member of MTASA. Machines are everywhere – from largest to smallest; the small ones are the challenge for fingers. It is so easy to poke away with staccato finger jabs for texting but if the same type of finger use is applied to playing one’s musical instrument, what quality of sounds will be the result? As a piano teacher – and teacher of the Alexander Technique – I am becoming more aware of how pupils’ use of their hands in other activities affects how they play a musical instrument. For texting there does not have to be subtle changes in finger pressure as is required for music making where the demands of interpretation need constant fine adjustment of touch so that infinite variety of nuance can be explored. Also it is not just finger use itself that matters, but so often when a person texts the wrist is tight, the whole arm is usually stiff and worst of all the head and neck droop forward and down in relation to the rest of the body – so poor ‘use’ will affect a person’s well being. The habit patterns of ‘use’ for texting or for using a computer keyboard will affect how a person’s muscular system functions when playing a musical instrument. The music teacher needs to be observant and inventive! So often students are sitting for too long each day so in the music lesson ask a student to walk around the room humming or singing the music to be played, or doing a variety of gentle arm stretches is helpful. It is not useful to ask a student to ‘sit up straight’.

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This usually results in stiffness and trying to achieve a ‘posture’, a fixed position. The opposite applies if a student is stiff and too ‘upright’ and asked to ‘relax’; this usually results in ‘collapse’, a downward heaviness. When I trained as a teacher of the Alexander Technique, two years of the three years study course were done in London; this was the 1970s. The main teacher was Mr Patrick Macdonald (he had trained with Alexander), who was remarkably skilled. One of the things we students wanted to know was the best or right movement activities. Questions would be asked about a particular Yoga, Tai chi or other movement activity; what was ‘right’? Always Mr Macdonald replied, ‘I do not mind what you do as long as when you do it, the neck is free, the head is forward and up in relation to the spine and the back is lengthening and widening’. These instructions or directions are not ‘doings’ but a framework of reference so that whether one is texting, playing an instrument or whatever the activity there can be appropriate effort or energy use for the required activity. So Mr Macdonald was telling us students that we had to develop responsibility for our own actions, to understand how to apply the Alexander Technique principles to any given activity. I have now produced a 70 minute documentary film about the life and work of F.M. Alexander. The first part covers his life in Australia and how he solved his own health problems (1869-1904). F.M. Alexander then went on to teach for 50 years in England and USA (1904-1955). As well there are a number of interviews, including Sir James Galway, members of the King’s College Choir, Professor Paul Little, Professor of Preventative Medicine, Southampton University (UK) and a practical Alexander lesson with a 16 year old student. More information is on my website at http://www.fmalexanderdoc.com/. ABC Radio National’s Program the Body Sphere broadcast Saturday February 6 a program about the Alexander Technique; for podcast, transcript, the website is http://www.abc.net.au/radionational/programs/bodysphere/.

♫♫♫

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SUMMER CONFERENCE 2016 TEACHING FOR TODAY, LEARNING FOR TOMORROW January 14-15, The Performing Arts Centre, Seymour College SUMMARIES OF SOME PRESENTED SESSIONS

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KEYNOTE ADDRESS, presented by Annie Kwok Music Homework: Classroom Music Teaching, The Viewpoint from A Short Colourful Teacher.

Annie Kwok is the Classroom Music Teacher at Pulteney Grammar School. She was awarded a Bachelor of Music from the Elder Conservatorium and Graduate Bachelor of Education in Secondary Arts from the University of South Australia. Annie has been on staff with the South Australian Public Primary School’s Music Festival (2000-2004), Young Adelaide Voices (1999-2012) and Brighton Secondary Special Interest Music School (2004-2013). At the beginning of 2014 she accepted a teaching position at the Sydney Conservatorium High School. Her passion for choral excellence and the positive holistic development of her students inspired Annie to embark on a Master of Education in 2013 with the focus on ‘The Power of Positive Interaction in the Teenage Choral Experience’. It was my great pleasure to be invited to speak as the keynote presenter for the 2016 Music Teachers’ Association of South Australia conference. I have been privileged in my teaching career to work with some exceptional educators, students, and musicians, all of whom have influenced my teaching practice, and shaped me as a person. Without them, this keynote address would not have been possible. I wish you all the very best for a joyful and rewarding year of music! Getting into the Heads of Teenagers…Do You Dare?! Teenagers, as with anyone, want to be seen and valued for who they are. Not just for their academic kudos, or their ‘good’ skills, such as punctuality, organisation or presentation; they want to be deeply seen and heard for their whole person, their strengths, and their vulnerabilities. Isn’t this true for all of us? But how often do we find ourselves saying,

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‘Excellent! You’ve got the technique right on that!’ or ‘Well done on that A!’ without actually taking the time to put the comment in context. When we do this, we devalue the passage of learning, and place the focus on the result. The technique developed becomes a true success if the student understands how to incorporate it into their playing independently of the teacher, how to practise it, and how to extend his or herself on it. The ‘A’ earned in the face of other extracurricular events and the demands of being a teenager is significant, and must be acknowledged in the correct context. Teenagers may not give much away, but they hear your words and intent, and deeply value the acknowledgement when it has personal meaning. As teachers, we have to balance how we respond to these young adults. On one hand, we need to empathise with their sometimes erratic thinking, but on the other, we need to be a source of grounded constancy. Teenagers are at a point where they are bombarded with new information and expected to handle more responsibility, but sometimes not given a chance to safely fail, and to practise new skills. I believe that they need to be silly, joyful, hilarious, imaginative, messy and playful in productive ways so that they may trust in the process of learning, and to understand the consequences of their actions in a secure environment. And while we may know it is fine to fail and learn from the experience, teenagers desperately need to hear this more, and in ways that makes sense to them. At a time where their very identity is threatened by anything which makes them look weak or incompetent, they need to work harder than they ever have to keep this door to vulnerability open. I would suggest that they need to laugh, fall, play, explore, create, fail, and look stupid MORE than they do in primary school, because every part of their emotional and intellectual wiring goes against it. How does this look in the classroom? Here are the ways I connect with my students: wBe the best version of yourself that you are able, and be aware that they learn much more from your attitude, your thinking, and your person, than your words and instructions. Students have in-built crap-detectors on their heads that can pick up the intent behind words and actions. That doesn’t mean you have to get every interaction right, or that they won’t be forgiving of your mistakes as a teacher. But you do need to be willing to acknowledge your mistakes

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KEYNOTE ADDRESS, presented by Annie Kwok (Cont’d)

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and model a growth mindset. wIn demonstrating a growth mindset, you need to acknowledge your own failures and model the development and recovery process for your students. For example, if a performance I’m conducting doesn’t go well, I need to get very clear about my own concerns regarding the performance, and then clarify what I’m going to say to my ensemble in my next rehearsal. I would seek to identify the problems, acknowledge what was successful, and suggest ways that we can improve. I would do everything possible to make them understand that failure and mistakes are part of a healthy learning process. wI acknowledge effort, persistence, and struggle, just as much as I acknowledge success. wYour disappointment in your students can never EVER be a reflection of you as a teacher. If your students let you down, their well-being always comes first. Students know when they’ve sold themselves short; they want to hear what YOU have to say about it, how YOU’RE going to deal with THEM. One of my Year 7s said on reflection; ‘Everyone gets nervous. That shows you’re alive and that you care. But if you don’t change those nerves into “giving” in a

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performance, then some part of your personality isn’t getting shared with the rest of the world. And that’s a waste of you’. wIf you want your students to be curious, you need to be curious. As I’ve grown in my teaching job, I have become more invested in asking questions for my own learning. The more challenging the idea, the more I like to explore it. It comes down to my having the weight and confidence now to look stupid…because when you’re really learning and completely engrossed in what you are doing, you really don’t care how you look. wIf you want to care for your students, care for yourself. Take time out, say no, and set boundaries. This gives the message that your time is valuable, and the time you do share with your students is of the best quality. wIf you want them to be interested in their presentation in a healthy way, you need to do the same for them. If you are neatly dressed, students notice. It’s a way of caring for them and showing them that they matter.

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wIf you want them to be articulate on a range of topics outside of music, and to want to put music in context, you need to ask the questions. So this means getting curious then and there in the lesson, looking things up with them, and telling them the story behind a piece. They might roll their eyes, but they will not be able to mistake your interest and passion. Even the most apathetic teenager can see when you are genuinely invested.

Conducting the Pulteney Grammar Concert Band

To the new teachers: you have a message. Your age and level of experience does NOT define what skills you have to give right now. You have every right to be here, to develop, and to contribute. Have an open and genuine respect for those teachers around you who have more experience that you. When you find someone who exemplifies excellence in teaching to you, ask him or her about it. Learn. I’d venture to say that it is your job to find yourself a mentor. If you are very lucky, someone will gravitate toward you…that’s what teachers are like. If not, go find someone who represents what you value as a teacher, has the qualities you’d like to develop and learn from them. And mentors are not all-inclusive; you might have a leadership mentor, an ensemble mentor, or someone who is excellent at problem solving…identify the skills you need, and then go ask. To all teachers: your job first is to be a teacher to your students. Not to be funny, or to be their buddy, or their jail warden…you are there to teach. That goes against everything I’ve ever thought of for the first eight years of my teaching career. I used to think, ‘Inspire them first, and then hit them with the quality teaching and learning!’ And while this is actually still what I do, my thought process is very different. My first goal is to teach. I just happen to love being playful, having fun and engaging students in new and different ways. But when I am exhausted and have been tested beyond all limits, I ask myself, ‘Did I TEACH today? Was I an effective TEACHER? Did I exercise duty of care?’ If I can answer yes to all those, then I have cared for my classes. I can treat myself with compassion, recover, and then think about how I’d like to reapproach something in the classroom. While as instrumental staff your

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classroom looks very different to mine, it’s sometime helpful to remember that the learning is more important than if you have been an effective psychologist to all their worries, or their parents’ concerns. Listen to them and support them, but where possible, make the lesson the constant and your role as teacher the driving force.

Follow me!

A Glimpse into the Secondary Classroom Music Program It’s hard to see into a music program if you are not a classroom music teacher, so beginning a dialogue with your student and finding out a little of their school life is helpful. Music programs generally consist of the following: � Theory, Musicianship and Aural � Arranging and Composing � Creative Work [composing, group work, ensemble work, small percussion ensemble and improvisation] � Practical Ensemble [Band, Choir, Ensemble] � Solo Performance [First instrument] � Music Appreciation [Music in Context] The idea is that students are able to learn and apply the theoretical concepts to practical and creative outlets. The outcomes are: 1. Critical + Creative Thinking: Understanding a

concept, being able to evaluate it, being able to use the correct terms, being able to identify it, being able to use it in a new situation.

2. Self-Awareness + Self-management: Being able to manage all the elements of an assignment, being able to decide how to demonstrate knowledge, being able to choose the best way to demonstrate a skill in a personal capacity.

3. Literacy: Understanding the words and concepts connected to the topic, being able to write a short response, review, analytical essay, summary of the task at hand. There is also the concept of musical literacy, being able to confidently and independently navigate a musical score.

4. Numeracy: The counting and order behind a piece, rhythm, time signature, pulse, beat, metre and patterns.

5. Intercultural Understanding: How the piece of

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music is connected to real life, the contextual placement of learning, relevancy and the social, political and artistic context of the work.

My job as a classroom teacher is to provide an access point for all students, regardless of their background. It is definitely a challenge, but the way I do this is by levelling the playing field with the assignments that allow all students the same starting point, but have scope for extension for students who have a musical background. How Do I Define My Role In The Classroom? Here are the questions I ask myself if I am in struggle or doubt: wHave I cared for their personal safety and well being in the classroom? wHave I ensured that each student had access to resources, information and instructions? wHave I acknowledged them? wHave I responded with as best energy as I can? wHave I practiced duty of care? I’m a little mystified as to how that looks in the classroom, because I am the one doing this. I know that I aim to be a lot of things I value; fair, tolerant, patient, enthusiastic…and the list goes on. What I do know is that I’ve become more compassionate but more boundaried and I teach with far more clarity now than ever. I annoy more students now

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that I ever did, but I know they feel safe in my classes, and are more settled than previously where I haven’t been as clear with my boundaries and expectations. I strive for excellence and I have many different ways of achieving this for different learners, but I never do so at the expense of the emotional well being of a student. I am more perceptive and more capable in my repertoire of behaviour management strategies, but I also choose my moments. I acknowledge things safely; successes, mistakes, sadness, grief and joy. However, if students have done something that is deeply against some of my teaching values or against the behaviour code of the school, I will spend time working with them, as well as carrying out the necessary behaviour management. I think it IS possible to have the hard conversations, however raw and difficult, if you are able to find the right pathway into that conversation with the student. It comes down to the connection with the student, and how courageous you are. I have more fun in my classes that ever; I am more joyful and energised than when I first started teaching, but I also have more moments of intense focus than I ever had; and I expect this of my classes. I’m kinder to myself, but I expect a great deal during my times of work. I say no to students more often, so that they may understand that I’m not unlimited, and learn to value the time I give them. I don’t know how this looks from the outside, but from

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inside, it feels very healthy, authentic and empowering. Play, Imagination, Connection + Vulnerability. I have often wondered why a sense of play stops at Year 7 or 8. Certainly, there are greater expectations upon curriculum, development and personal maturity, but that doesn’t mean the fun has to be drained out of learning. In fact, there should be MORE of it to hook teenagers into lessons, and break down the learning barriers that they are so expertly putting up during their teenage years. I know myself to be an innately playful teacher, and I spend a lot of my time starting sentences with, ‘What if…?’ or…‘I wonder what would happen if…?’ I was truly blessed during my time teaching at Brighton Secondary School as every other staff member was of a similar imaginative mindset…and the ideas that we generated were imaginative and exciting. What Does Play Look + Sound Like? Play can be:

Curiosity w Asking ‘What if…’ or ‘I wonder what would happen if…?!’ w Asking for a different way of describing something. w Asking students to create a storyline to a piece of music. w Understanding that it is okay to ‘play’ or ‘explore’ a sound, and that the exploration process can be messy. w Developing an interest in composition or improvisation. w Encouraging imperfection, exploration, and mess. w Finding every pathway into a topic. How many different ways can you explain or language that? How can you demonstrate that?

Being playful and messy is scary. Yet I see it as an essential process of learning; another pathway in, rather than just chaos. For example, I know that when I teach Year 6s, the creating and collaborating part of the lesson will be noisy and messy…but I am confident that I can read when good work is happening, and when they are off-task. Paul Holley, the conductor of the Birralee Blokes once said that there is a ‘synchronised chaos’ to a boys’ choral rehearsal like no other…as a conductor, it is your responsibility to read and understand it. So as an instrumental teacher, that you might be able to encourage confidence in a student’s abilities to master their practise skills, you might need to encourage ‘messy’, in order to get refinement. Developing Independent Life-Long Learners Our ultimate goal as teachers is to develop

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independent, life-long learners. You want for your students to be able to listen to, and evaluate, the sounds they are producing, be curious about the context of a piece, and to have their own level of excellence to aspire to independently of you. But getting there? That’s the challenge. Learning looks very different today. We have access to more resources and more presentation formats than ever before, yet to build an innate drive and motivation in students is still a challenge. Students are often surprised at how much time it takes to develop something. They hear us say, ‘That skill will take a month to build’, but don’t really believe us because they can reproduce it, somewhat, after a few attempts. They are not necessarily trying to be inflexible, they haven’t figured how much better they can be, or indeed, what they’re aspiring to. What they need is a teacher to help them see and hear what an ‘excellent’ sound is, how to get there, how to practise and nurture the skill, and then how to recognise when milestones have been achieved. The biggest ‘put-off’ to a student is when something seems undesirable, or out of reach. So your student may be completely disinterested in excellence because they’re protecting themselves. Therefore, in order for them to be truly motivated, they need to be personally invested in what they are doing, and believe that they are capable of it. Here is how I start the dialogue with students: w I listen closely to what their concerns are, what they enjoy and what they find challenging. I ask them to articulate their own observations so they understand that their learning is their own investment. w I listen critically to where they are in their musical development and provide immediate things they can fix. This begins the working relationship. While this is developing, I am keenly aware of long-term goals and how I might structure learning to accommodate these goals whilst taking the personality of the student into account. w I introduce musicians for them to listen to on recordings or on Youtube. We start the listening process together and I ask them to respond to everything…sound, interpretation, tone, performance etiquette and so forth. This allows the student to formulate and idea of what sort of performer they want to be. w I record my students as a normal part of the learning process and we listen to the recordings together as a way of learning critical reflection. This is often an uncomfortable process for the student, so to do this alongside the student and to ‘normalise’ this learning tool is very powerful. w I throw new repertoire at my students and we sight-read, muck around with, and improvise around

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new pieces. Not only is this great ‘on the spot performance’ practise; it builds a playful rapport to learning new repertoire, and a healthy attitude towards sight-reading. w I am upfront about my own study and practise skills. I tell students exactly how much time is required for me to develop and maintain new technique and the commitment I make to my own piano practise in order to be well prepared for Year 11 and Year 12 Solo Performance assessments. I demonstrate my own life-long learning. w I model a good practise session; the student and I sit down and problem-solve together and I model what it looks like to be fully present in a rehearsal session. Nothing is more powerful than when a student sees that you are completely invested in their learning. They start wondering, ‘And what could I be doing? If my teacher is doing that, I’d better try and match it’. Take time to walk alongside them and explore with them; it’s a stepping-stone to them becoming self-sufficient. Homework: The Ultimate Challenge I believe homework should be: Self-motivated. w A safe time to practise skills and gain personal autonomy in the instrument of study. w A time where students can explore different practise strategies, make mistakes and figure out how to fix them. w Develop discipline + time management, as required. w Be completely creative and free, as required. w Develop the ability to create short + long term goals that grow with their mental ability. w Be a regular rather than sporadic occurrence. I get asked all the time by parents for a time frame on homework; how much should my child be practising; and I always try to give a concrete answer based on the instrument, the year level, the stream of music being studied and the maturity level of the student. I encourage my Year 12s to clock between 45-60 minutes of practise daily. Some students may decide to split this into two 30-minute practise sessions; some prefer the continuity, and some prefer to do smaller technique sessions and a longer repertoire session. I believe this is all possible and productive, as long as each individual student has a clear understanding of what works for them. I think the bigger questions to students are: w Do you know yourself well as a learner? Do you know how to maximise your thinking style, your energy levels and how to concentrate in different ways for different types of practise? w Do you know when your most efficient thinking

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times are? w Do you have a repertoire of practise techniques? w Can you monitor yourself and have the discipline to stop when you are not being productive and change approaches? w Do you maximise your practise time or do you write-off the little gaps of time? My latest challenge for my Year 11s and 12s is how to use those little 10-minute gaps of time when they are too exhausted to approach their instruments. I suggest that they find a quiet corner of the Performing Arts Centre; plug themselves into their phones or laptops and do one complete listening of their repertoire and completely pay attention to all the nuances. w Do you enjoy your practise or do you watch the clock and resent every moment? w Do you know how to practise for each aspect of your technique and musicianship and do you use your time wisely? w Do you know how you spend your time each day/ each week? For productive practise to occur, I believe the following things need to be considered: w That the emotional and mental capacity of the student be taken into account. w That practise is a skill that needs to be learned. w That there are a variety of ways to practise and students get to build their repertoire of different practise strategies. w That there is intellectual practise and messy practise. Intellectual practise is the slow practise that requires great concentration + focus. It’s amazing how few students know how to slow practise effectively, listening critically for phrase shape, articulation and teaching their minds and bodies how to create different sounds. w Messy practise is the final play-through, or the exploration of new and different sounds. And contrary to popular belief, I actually don’t think that you do any harm in having a messy run through; I think bad habits are learned when there isn’t proper awareness. The ability for a student to be able to switch on mode, whether or not they are fully prepared, is a powerful skill. w Something is better than nothing. The author, Liz Gilbert, terms this beautifully, in terms of her creative work. She calls this the ‘trickster’ approach; that her writing isn’t all about being a martyr; that there are days where the thought of long periods of intellectual writing is exhausting. So she tricks herself into just turning up for 10 minutes, because she’s made a commitment to her writing. And those 10 minutes often turn into 30, or 40, or an hour, without any additional duress. Students are naturally going to have some unproductive and challenging practises, where little gets achieved. But if they can turn up, that is a step in the right direction in their

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MASTERING RHYTHM READING by Nick Peterson

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commitment to their instrument, and a powerful change in mindset. w That the homework must be self-motivated. For this to happen, students have to know WHY they are invested in this enterprise; the learning. Why are they here? Teaching today: To be an educator today is to teach in an ever-evolving environment. I am amazed and challenged by my students daily, and they are a constant impetus for my own learning. The braver I have become in recognising all the different forms of

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At the 2016 MTASA Summer Conference, the session ‘Mastering Rhythm Reading’ asserted that all music students (including the very youngest musicians) could gain the ability to read the most complicated rhythms instantly, accurately, fluently and confidently at sight!

Teachers were invited to consider why it is, that the vast majority of learners taught to read language notation do so successfully, while in complete contrast, the preponderance of students taught to read music struggle with notation, become frustrated, and opt out of music altogether. If the musicians who drop out of music experience no problems when reading their language, then a disparity in teacher training must account for the discrepancy.

Able to speak their language fluently, prospective early childhood teachers focus on pedagogy when they are at university. There they study psycholinguistics, learn all about the processes involved in reading, and become endowed with the prerequisite knowledge, skills and strategies to

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‘excellence’ in music education, the more effective, imaginative and connective I have become as a teacher. Every day I am challenged to be the best version of myself possible. I am asked to hold up my actions against my values on a daily basis, and it’s scary, but so exciting. I am grateful for this mirror, because without it, I don’t know that I’d be here as this version of myself. I am starting to become more perceptive in how I access quality learning. So in challenging my students to extend themselves, I find myself extended, challenged, growing and completely engrossed in the craft of teaching. ♫♫♫

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impart the ability to read. So equipped, the bulk of their students succeed. However, there is no equivalent course encompassing reading processes for trainee music educators. Since their own music teachers were pedagogically ill-equipped, music students at university still focus on developing artistic skills rather than the ability to impart.

The processes involved in reading anything are essentially the same. It is rational therefore to assume, that pedagogy contributing to successful language reading could have equal application to music reading.

Thus attending teachers were introduced to basic psycholinguistics and guided through: Rhythm Reading and Dictation’ a resource which has psycholinguistics at its heart. Not only did the rhythm reading skills of attendees become polished during the course of the presentation, but video footage of students verified that by reading through the graded program for just a minute or two each day, the ability to read complicated rhythms perfectly at sight was indeed a possibility, even for very young musicians.

Equipped with such a valuable facility, students become musically empowered. They can learn pieces accurately from the very first attempt, they can learn pieces faster, and with the time saved can learn more pieces; setting them on a path towards greater musical literacy. By turning frustration into fulfilment, music’s high dropout rate has every chance of being reversed.

♫♫♫

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TECHNOLOGY AND BUSINESS by Madeline Procopio

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Sick and tired of chasing payments from students and parents? Have students forgotten their music lesson and expected you to make up their lesson? Do your students cancel their lesson hours before their scheduled lesson and expect you to find another time?

These are just a few problems that many studio music teachers face in the industry today. Whether we like it or not, policies and guidelines are a necessity when running even the smallest of studios, either in commercial or residential premises.

A study that was conducted in 2013 by the Public Relations Institute of Australia revealed that 13 million Australians spend an average of 18 hours a day online; 3.6 hours of that was spent on social media. With so many Australians using technology for personal and business uses, it is easy to understand why the demand for online management programs has become available.

There are many ways that teachers manage their studio policies without online support. However for bigger studios and businesses this can become problematic in the long term trying to manage a school

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size of say 100 students.

There are new online programs that have been designed by music teachers for music teachers. Many of the features in these online programs contain calendars with lesson times in them, a complete database featuring all the contact information about the students, invoice generators, income and expense reports that are able to be generated for tax time and a library database.

Many of these programs are also able to accommodate larger music schools that have more than one teacher working for them. Teachers are then able to log in to the program and view their timetable for the week, month or term. This saves the business valuable time, which would otherwise be spent emailing or calling clients or teachers.

Unfortunately there are none of these programs available in Australia at this point in time. However there are many options that are available overseas. Pricing varies from program to program. They average between AU$18 to $40 depending on how many teachers are working for the business.

Recommended online programs are: • www.mymusicstaff.com/ • www.musicteachershelper.com/ • www.privio.net/ • www.teacherscompanion • www.jackrabbitmusic.com/ • www.tibbs-vision.com/vismus/ • www.teachworks.com/music ♫♫♫

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FOR SALE

36 string “Celtic” harp made by Tim Guster (2002)

• full set of camac levers • gut strings • recently regulated and serviced by

harp-maker Tim Guster • dark mahogany lacquer • tuning key & assorted strings included

Contact Anna email: [email protected]

HARP AND COVER

$4,000 ONO

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MEMBER INFORMATION RECOMMENDED TEACHING FEES The following teaching rates are recommended to members by the MTASA Council for 2016;

Full Member $70.00/hr General Member $70.00/hr Associate Member $60.00/hr Student Member $47.00/hr

MTASA MEMBERSHIP SUBSCRIPTION RENEWAL 2015/2016 Subscriptions were due on December 16, 2015. These are for a period of six months. Subscriptions will be due again in the middle of the year, when the membership renewals will coincide with the financial year, and be for a full twelve months. ACCREDITATION Members are invited to seek accreditation by obtaining applications forms from the MTASA Secretary and submitting them to the NSWMTA. Upon gaining accreditation members are then requested to advise the Secretary of the MTASA if they wish to have this qualification entered either on our website or in “The Directory of Teachers of Music”. This information cannot be supplied by the Music Teachers’ Association of New South Wales due to privacy laws. EMAIL ADDRESSES MTASA would like to update all members’ e-mail addresses. Please contact the association Secretary: [email protected] DIRECTORY OF TEACHERS OF MUSIC The 42nd Edition of ‘The Directory of Teachers of Music’ produced by the Association has been distributed to music stores throughout Adelaide, and is available to students/parents who are seeking a teacher. The 43rd Edition will be issued towards the end of 2016. Production of ‘The Directory of Teachers of Music’ is made possible by the businesses and associations who have placed advertisements. NOTICE TO STUDENT MEMBERS Have you fulfilled the requirements for Associate or Full Membership? Student members are reminded that student membership is restricted to four years, after which time it is expected that they would be eligible for another membership category. Therefore student members who have been a student member for four years and are now eligible for Associate or Full Membership are invited to advise the Secretary and submit an updated application form together with the required supporting documents. Criteria for the above membership categories can be downloaded from the MTASA website, www.mtasa.com.au or from the Secretary.

ADVERTISING PRICE LIST FOR THE MUSIC STAND, 2016

A4 size page Per issue For 4 issues (210 mm X 297 mm)

Colour B/W Colour B/W

Full Page $250 $200 $800 $640 Half Page $125 $100 $400 $320 Third Page $83 $67 $267 $213 Quarter Page $63 $50 $200 $160 Sixth Page $42 $33 $133 $107 Members placing an ad are entitled to a 15% discount. Classified Ad MTA Members, free. Non-members, $15. Please contact the Secretary about advertising. Mobile: 0402 575 219 E-mail: [email protected] NEW MEMBERS The Music Teachers’ Association extends a warm welcome to the following music teachers who have joined the association in the period from August 2015 to January 2016. We look forward to meeting them at our events. Angus Birdseye, Student member, Singing IN MEMORIAM Rolf Sherwin, who was the Music Teachers’ Association’s Treasurer for a number of years, died on March 20, aged 76 years. He was also the Treasurer for Recitals Australia. We extend our sympathies to the members of his family. MTASA EVENTS 2016 April 20 Professional Development Day Hartley Concert Room, Elder Conservatorium of Music, The University of Adelaide May 14 Concert Performance Day 1 Unley Uniting Church, 187 Unley Road, Unley June 25 Miriam Hyde Awards Cynthia Poulton Hall, St. Peter’s Cathedral August 13 Concert Performance Day 2 St Andrews by the Sea Uniting Church, 92 Jetty Road, Glenelg

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September 17 Reimann – Robinson Scholarship Cynthia Poulton Hall, St. Peter’s Cathedral, North Adelaide

October 22 Norman Sellick Memorial Prize Cynthia Poulton Hall, St. Peter’s Cathedral, North Adelaide

EVENTS ORGANISED BY OTHER ORGANISATIONS ABRSM NEWS

MUSIC TEACHERS' MEETING (SA) 2016 The ABRSM examiner from UK will conduct a Teachers’ Meeting in June 2016 at Pilgrim Church, 12 Flinders Street, Adelaide. The examiner has kindly agreed to present a meeting focusing on teaching ideas and exam preparation. A number of topics will be discussed and it should be a lively and enlightening discussion. All teachers (including advanced students who are thinking of teaching) are invited. Please e-mail [email protected] for more information. Exam Dates and Last Date of Entry for Diploma, Jazz and Practical Exams October- December: Friday, July 22 Theory of Music Dates and Last Date of Entry Saturday, June 18: Friday, April 29 Saturday, November 5: Friday, September 16 ABRSM Exam regulations and information, free syllabuses, entry forms, etc., are available upon request from the local ABRSM Representative, Anastasia Chan, e-mail [email protected] or phone 0423-282-589. For more information, please visit ABRSM’s website at www.abrsm.org. 20th BALAKLAVA EISTEDDFOD

The 20th Balaklava Eisteddfod will be held on Friday, August 5 (Instrumental Ensembles, Bands, Choirs, Vocal Ensembles), Saturday, August 6 (Vocal, Musical Theatre, Contemporary Vocal, Instrumental, Piano, Speech and Drama) and Sunday, August 7 (Finale Concert including adjudication of the Adelaide Plains Male Voice Choir Vocal Scholarship). Entries will be open from April 1. Visit http://www.balaklavaeisteddfod.org.au/, e-mail [email protected], ‘phone 0428-631-243. Entries close on May 16. The Mount Gambier Eisteddfod is part of the ongoing work of Backstage Incorporated (founded in 1978). Enquiries, Secretary, Backstage Inc., PO Box 1711, Mount Gambier, SA 5290, Ph./fax 8725-5905, e-mail [email protected], or visit http://www.backstageinc.org.au/default.asp for further information.

Entries will be via Stardom, visit http://www.stardom.com.au/ and look for ‘Mt Gambier Eisteddfod’ under ‘Competitions’.

The Metropolitan Male Choir of SA Inc. invites applications for the Annual Music Scholarship. Valued at $2,000, the scholarship is open to young musicians with proven musical ability and a strong desire to continue their musical development. A second prize of $1,000 may be awarded on the recommendation of the adjudicating panel. The award is designed to recognise the ability of outstanding young musicians, to encourage them to pursue their studies and to provide opportunities for the winners to perform publicly as associate artists with the choir. Applicants must be aged between 12 and 16 years as at January 1, 2017. Enquiries: Bill Scott, Ph. 8227-0472, e-mail [email protected], or Geoff Sieben, Ph. 8242-7333, e-mail [email protected], or visit the website at www.mmcsa.org. Entries close on Saturday, September 3, and the auditions will be held on Saturday, September 24. CONTACT DETAILS FOR OTHER ORGANIZATIONS 5MBS Visit: www.5mbs.com ABRSM International Representative – South Australia – Anastasia Chan Email: [email protected] Tel: 08-8234 5952/ 0423 282 589 http://au.abrsm.org/en/home ACCOMPANISTS’ GUILD of SA INC. Contacts: The Secretary, Frances Wood, [email protected], the President, Monika Laczofy, [email protected] or the website www.accompanist.org.au ADELAIDE BAROQUE www.adelaidebaroque.com.au ADELAIDE CHAMBER SINGERS www.adelaidechambersingers.com

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ADELAIDE PHILHARMONIA CHORUS For enquiries please contact the Secretary at, [email protected] ADELAIDE EISTEDDFOD SOCIETY INC. www.sacomment.com/aes.htm. ADELAIDE YOUTH ORCHESTRA www.adyo.com.au AMEB Email: [email protected] ANATS SA CHAPTER www.anats.org.au ASME www.asme.sa.edu.au AUSTRALASIAN DOUBLE REED SOCIETY http://adrs.org.au/web/ AUSTRALIAN STRING QUARTET www.asq.com.au BALAKLAVA EISTEDDFOD www.balaklavaeisteddfod.org.au or write to PO Box 253, Balaklava, SA 5461 or Ph/fax (08) 8863 1242. ELDER CONSERVATORIUM OF MUSIC www.music.adelaide.edu.au ELDER HALL www.elderhall.adelaide.edu.au or Contact: Elder Hall Concert Manager 8313 5925 FLUTE SOCIETY of SA INC http://saflutesociety.org/ MUSICA VIVA http://www.musicaviva.com.au/ for concert details. Mt GAMBIER EISTEDDFOD Enquiries, Secretary, PO Box 1711, Mt Gambier, SA 5290, telephone (08) 8725 5905, E-mail [email protected], website www.backstageinc.orgf.au/default.asp. PRIMARY SCHOOLS MUSIC FESTIVAL, http://www.decd.sa.gov.au/musicprograms/pages/MusicPrograms/PSMusicFestival/?reFlag=1 AUSTRALASIAN DOUBLE REED SOCIETY, http://adrs.org.au/web/ THE SOCIETY OF RECORDER PLAYERS SA INC. Society mobile number 0410 109 135, E-mail [email protected] SOUTH AUSTRALIAN BAND ASSOCIATION, http://www.sabandassociation.org/

SOUTH AUSTRALIAN MUSIC CAMP ASSOCIATION INC., www.samusiccamp.net.au ANZCA MUSIC EXAMINATIONS, http://www.anzca.edu.au/ OTHER ORGANISATIONS’ CONCERTS

ADELAIDE EISTEDDFOD SPECIAL AWARD WINNERS’ CONCERT When: Monday, September 26, 7-30 pm Where: Salvation Army Citadel, 55 George

Street, Norwood. Admission: Adult, $10; Seniors/Students, $8;

Children under 16 free. YOUNG VIRTUOSO SA FINAL 2016 (previously MBS Young Performer) Adjudicators: Tim Sexton and Norma Knight When: Sunday, October 16, 2-30 pm Where: St John’s Anglican Church, 379 Halifax

Street, Adelaide Admission: Adult $15, 5MBS Member/Student $5 Recitals Australia Wednesday Lunch Hour Concerts 2016 When: at 12-10 pm and 1-10 pm Where: Pilgrim Church, 12 Flinders Street,

Adelaide Admission: Adults: $5. Tickets at the door. Enquiries: Ph. 8266-4936. Visit http://www.recitalsaustralia.org.au/ for more information. ELDER HALL Elder Hall Lunch Hour Concert Series 2016, 1-10 pm. Elder Perspectives 2016, Intimate Concerts at Elder Hall. Admission: $30/$24/$19.50. Evenings at Elder Hall 2016. Visit www.elderhall.adelaide.edu.au for more information. Mitcham Orchestra, When: Sunday May 22, 2-00 pm Where: Mitcham Uniting Church, 103a Princes

Road, Mitcham. Conductor: Mike Kenny. Soloist: Hannah Kovilpillai, oboe (winner of 2015

Music Teachers’ Association of SA Inc./Grace Barbara Turner Award: Wind), performing Mozart Oboe Concerto.

Admission: $12, Family $20 (2 Adults, 2 Children), at the door.

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Website: www.musicalexcellence.com.au

Postal address: PO Box 1060 North Adelaide 5006 / Premises: 12 Melbourne St, North Adelaide Enquiries: email [email protected] / Phone 1300 55 88 34

Director, Stella Panozzo: email [email protected]

PROFESSIONAL DEVELOPMENT FOR MUSIC TEACHERS Teaching Skills All of the teachers at CME have been teaching for many years at a variety of levels from beginners to professional musicians. We also have a range of specialties which cover most of the skills that music educators need to have to be successful and enjoy their teaching. We cater for all music educators, from those who are new to teaching to those who are highly experienced. Our aim is to help teachers develop new skills and to integrate and consolidate understanding of the findings of music education research.

The following services are offered for the development of teaching skills:

Preparation for Australian Music Examination Board (AMEB) Certificate Teacher of Music Australia (CTMusA); Associate Teacher of Music Australia (ATMusA) Diploma; & Licentiate Teacher of Music Australia (LTMusA) Diploma.

Instrument specific Technique & Repertoire sessions focused on the student target group. Aural & Musicianship sessions developed specifically for the student target group. Composing and Arranging sessions tailored to the needs of the teacher. Musicology sessions targeting the requirements for teaching advanced students. Drama sessions to guide music teachers who work with Music theatre repertoire.

Practical Skills The specialist teachers at CME are dedicated to supporting all music teachers in our community and schools. We understand that it can be difficult to maintain technical skill as well as musical flexibility in our teaching environments. The following services are offered in a non-judgmental and supportive way to help all music teachers to remain satisfied and enthused with their personal musical skills.

Instrument specific Skill & Technical review: advice and development of the teacher’s instrumental technique.

Repertoire review & advice for personal musical exploration and fulfilment. Speech, Drama & Communication sessions for developing presentation/performance skills. Preparation for AMEB Certificate in Performance & the Performance Diplomas, AMusA,

LMusA. Preparation for ABRSM Performance Diplomas, DipABRSM & LRSM. Preparation for Trinity College London Performance Diplomas, ATCL & LTCL.

NB. Teacher PD Certificates available if required.

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Mtasa newsletter apr jun 2016

Documents

Transcript of Mtasa newsletter apr jun 2016