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FROM THE PRESIDENT David Gonski’s report to the Federal Government, Review to Achieve Educational Excellence in Australian Schools, has just been released and reminds us that seemingly educational standards in Australian schools are falling according to several key indicators. Gonski suggests many remedies and doubtless some of them will find their way to fruition. In our small sector of private music teaching there are also many challenges afoot and in recent times MTASA has been endeavouring to meet them in ways that we hope may occupy a shorter timeframe. Broadening our membership base is one response and this year measures reaching out to related private music teaching sectors are commencing. Negotiations are already under way to sponsor a major rock event in July at the Governor Hindmarsh Hotel entitled Megastar Musos’ Masterclass as well as a visit from Dr Tim Jones (University of Nevada) to give a rock percussion masterclass at Elder Conservatorium the same month. These ventures are targeted at private rock music teachers in schools and studios as proof there are advantages for them within MTASA rather than outside it. We aim also to expand our provision for a wider variety of classical and popular instruments by shortly offering some space to various specialist instrumental associations in our quarterly magazine. We aim to encourage teachers not currently in MTASA that belonging to several teaching associations is probably a good thing! Finally, we continue to cultivate our existing iconic events. Our Concert Performance Day for pupils on April 14 was a roaring success with around eighty participants spread across three sessions. We thank all our helpers and especially the amazingly energized reviewers Anna Lester, Samantha Penny, Debra Andreacchio and Koula Raptis, whose reports all performers valued greatly. We are also delighted this year’s Competition Day on June 24 will feature adjudicators Dr Graham Strahle and Jeffery Kong. The four prizes involved have achieved considerable prestige over many years and MTASA is proud to support and encourage the art of fine performance amongst our pupils in this way.

Rodney Smith, President


TABLE OF CONTENTS “THE MUSIC STAND” The Magazine of the Music Teachers’ Association of South Australia Incorporated Print Post Pub. No 100003224 VOLUME 26 NO 2 – Winter 2018 PATRONS: PRESIDENT:

Dr Doreen Bridges AM Emeritus Professor David Lockett AM Rodney Smith


Robert Brown

SECRETARY: Masako Kondo TREASURER: Samantha Penny AUDITOR: Australian Independent Audit Services COUNCIL 2017/2018: Sofie Arhontoulis, Pete Barter, Robert Boundy, Robert Brown, Naomi Hede, Masako Kondo, Monika Laczofy, Carly McDonald, David Metin, Samantha Penny, Rodney Smith, Hayley Wedding EDITOR: Layout:

Robert Brown Masako Kondo

MEMBERSHIP ENQUIRIES to the Secretary – PO BOX 4, RUNDLE MALL, ADELAIDE SA 5000 Mobile: 0402 575 219 E-mail: ADVERTISING – Please contact the Secretary Please see MEMBER INFORMATION page for Advertising Price List. CONTRIBUTIONS and DEADLINES for 2018/2019 Contributions to The Music Stand are most welcome. All items to be included must reach the Editor, Robert Brown ( no later than these deadlines: Monday July 16, Wednesday October 31, Thursday January 31, 2019, Tuesday April 30, 2019.








5 6 7





Dr DOREEN BRIDGES AM CENTENARY compiled by Robert Brown


ACCOMPANYING - MY STORY! by Frances Norton






CONCERT PERFORMANCE DAY No 1 by Sofie Arhontoulis




FRONT COVER Masako Kondo submitted the photo on the cover for the Front Cover Photo Competition.

MTASA WEBSITE Please visit MTASA FACEBOOK Please visit the MTASA Facebook page at


Ar e you a member of M TASA who would lik e t o cont r ibut e t o our fabulous event s but doesn't have t ime t o commit t o being on t he Council? We are introducing a new way to be involved for our members, the MTASA Event Volunteers group! Simply let us know if you would like to assist at any of our events and we will contact you closer to the time to confirm the details. Event Volunteers will be an essential part of the fabric of our Association. Volunteers can help support the events, network and get a volunteer hours certificate for your CV!

Register at 4



COMPETITIONS DAY: June 16 Miriam Hyde Awards Open to The Miriam Hyde Open Award

All instrumental/vocal students of any member of the MTASA or related organizations

The Miriam Hyde Junior Award

Age limit Students of any age Students who are 15 years or under on the closing date of entry

Venue: Salvation Army Citadel, 55 George Street, Norwood Admission: Gold coin

June 23

MTASA membership fees will be increased from the next billing cycle. This will allow the Association to continue providing a sustainable service for its members.

Norman Sellick Memorial Prize Reimann-Robinson Scholarship Venue: Salvation Army Citadel, 55 George Street, Norwood Admission: Gold coin Open to The Reimann-Robinson Scholarship The Norman Sellick Memorial Prize

Age limit Students who are 18 All instrumental/vocal years or under on the students of any member of closing day of entry the MTASA who are Students who are 12 teaching in a private years or under on the capacity closing day of entry

The new membership fees are: Full member $120 Associate member $110 Student member $60 Friends and Institutional $30 membership


July 7


Madley Rehearsal Studio, University of Adelaide


August 26

CONCERT PERFORMANCE DAY 2 Venue: Westminster School Band Room, Alison Avenue, Marion Admission: gold coin

September 23


Thebarton Community Centre, corner South Rd & Ashwin Parade, Torrensville 5

Aon, our recommended insurance provider, has over 50 years experience and a dedicated Entertainment team who understand your needs. As we move into the second half of the year, why not organise your insurance and peace of mind, for another year. Aon’s Music Teacher Insurance Policy is affordable, easily purchasable online and comprehensive, covering you for Public and Product liability (including wrongful allegation), Professional liability and Personal accident. For more information and to buy online visit

All welcome!


MTASA MEMBERSHIP SUBSCRIPTION RENEWALS 2018/2019 Most Subscriptions for the 2018/2019 Financial Year will be due on 30 June 2018. Please keep an eye on your inboxes in June for a reminder e-mail to log in and renew your membership. If you miss your e-mail, it may be in your junk folder. You can log in and renew at any time. Members who prefer to receive a paper invoice will be sent one in June. For help with our website, e-mail For help with financial matters, e-mail

DIRECTORY OF TEACHERS OF MUSIC The 44th Edition of ‘The Directory of Teachers of Music’ has been published by the Association and distributed to music stores throughout Adelaide, and is available to students/parents who are seeking a teacher. Production of ‘The Directory of Teachers of Music’ is made possible by the businesses and associations who have placed advertisements. Members are asked to check their entry in the ‘The Directory of Teachers of Music’ and to advise Masako Kondo ( of any updates or errors. The 45th Edition will be published in late 2018.


Selling for $7 each, the proceeds support MTASA. The Music Diary features day-to-apage journaling, staves for each week, holiday challenges and games every ten pages, with space for personal notes, lists and goal setting. Visit for more information.

TEACHERS OF THEORY/MUSICIANSHIP To be listed in the ‘The Directory of Teachers of Music’ 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

PERCUSSION WORKSHOP WITH Dr TIMOTHY JONES When: Saturday July 7, live audience and webinar Where: Madley Rehearsal Studio, University of Adelaide More information will be provided later. Anticipated Programme 1. Psychology of learning in relation to percussion. 2. Selection of the percussion student, study of total percussion, and, importance of private lessons and percussion ensemble. 3. Pedagogy in relation to batterie instruments through study of the snare drum and timpani. 4. Pedagogy in relation to keyboard percussion. 5. Raising the bar for high school percussion students. Expectations, practice models and care of instrument inventory. 6. The band and orchestra directors guide to getting the most from your percussion section. Dr Timothy Jones is an Assistant Professor of Music in Percussion Studies and the Co-ordinator of History of Rock at the University of Nevada’s School of Music in Las Vegas. His book Rock ‘n’ Roll Origins and Innovators is in its second edition and he has several published articles in Percussive Notes, DrumScene, PercusScene and Not So Modern Drummer. His TedX presentation on the marimba is published as the introduction to the keyboard chapter of Gary Cook’s Teaching Percussion enhanced 3rd edition. In May 2009, Dr Jones was awarded the CFA ‘Outstanding Teacher of the Year’ and in 2011 the ‘Outstanding Alumnus of the Year’. He has served as Co-ordinator for the LVMF Percussion Institute, faculty on ZISAMP-USA and the Vienna Percussion Symposium, TAPS Long Beach and Adelaide, and served as co-director of the Australian National Drum and Percussion Camp. Beyond solo and chamber percussion engagements Dr Jones has a long list of performing credits including the Amadeus Orchestra, Las Vegas Opera, the Las Vegas Philharmonic, Mary Wilson, Andrea Bocelli, Michael Buble, Sarah Brightman, Josh Groban, Peter Cetera, Natalie Merchant, Don Rickles, the Irish Tenors, the Wild Celts, Mojo Risin’ Nick Hawkins, Carl Fontana and Nebojsa Zivkovic. Performance CD and DVD credits include Hit Man (David Foster), Under a Desert Sky (Andrea Bocelli), Songs From The Drunk Tank (Wild Celts), Leaving Las Vegas (The Killers), four UNLV Marimba Band recordings, A Tribute to Peggy Lee (Buddy Greco), and Live at the Desert Inn (Brian Evans).

OTHER ORGANISATIONS’ EVENTS METROPOLITAN MALE CHOIR ANNUAL MUSIC SCHOLARSHIP FOR 2018 The Metropolitan Male Choir Annual Music Scholarship is to encourage music making and love for music in the young and encourage those with talent to continue to the point of making music their career choice. It was decided to do this by providing monetary awards to assist with ongoing expenses and giving them opportunities to perform in front of audiences. The choir offers an annual scholarship with a first prize of $2,000 and, subject to a satisfactory standard, a second prize of $1,000. The Scholarship is open to any young person with proven musical ability, vocal and/or instrumental, aged between 12 and 16 years as at January 1 in the year following auditions. 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.


equivalent. Send to ( Visit the website for more information.






SAMii MEGASTAR MUSO MASTERCLASS Officially supported by MTASA Featuring Justin Derrico (Guitar), Mark Schulman (Drums), Eva Gardner (Bass) and Jason Chapman (Keys) Where: When: Tickets:

The Governor Hindmarsh July 12 Doors 6:30 pm Event 7:00 pm

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.




WEDNESDAY LUNCH HOUR CONCERTS 2018 Where: Pilgrim Church, 12 Flinders Street, Adelaide What time: at 12-10 pm and 1-10 pm Admission: Adults: $5 Tickets at the door Enquiries: Ph. 8266-4936 Visit for more information

ELDER HALL CONCERTS 2018 Lunch Hour Concert Series When: Fridays, 1-10 pm General admission: $12. Gold Pass Subscriptions available

Evenings at Elder Hall Ticket Prices: $30 Adult; $24 Concession; $19.50 Student Visit for more information


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.

YOUNG VIRTUOSO SA FINAL 2018 Adjudicators: When: Where:

Visit ome-a-member/ to join MTASA.

Rodney Smith and Josie Hawkes OAM Sunday, October 14, 2-30 pm St John’s Anglican Church, 379 Halifax Street, Adelaide Adult $15, 5MBS Member $10, Student $5



The following teaching rates are recommended to members by the MTASA Council for 2018. Full Member

$70 per hour

Student Member

$45 per hour



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. Dr Melanie Walters

Full Member

Mr Marcus Becker

Full Member

Miss Liu Zuoyu Mrs Alana Muhlack

Full Member Full Member Full Member

Jane Robinson


E-MAIL ADDRESSES, QUALIFICATIONS AND CERTIFICATES MTASA would like to update all members’ email addresses, latest qualifications and certificates. Please e-mail the Secretary at

Although the Teachers’ Registration Board is currently conducting a review of its ‘Special Authority to Teach’ category I believe major changes are unlikely. The category is working well for the private music teaching sector and offers a way forward for the large number of freelance teachers whose qualifications are not what some might call ‘mainstream’. In that context, the Graduate Certificate in Music Teaching is likely to be offered for the final time, commencing July 2018. It has run successfully on several previous occasions since 2015 and its special arrangement with the Teachers’ Registration Board was always planned to cease in 2019. That is because the Graduate Certificate offers a remarkably high level award with entry determined through recognition of prior learning for teachers whose qualifications may amount to ‘experience’ only or whose qualifications are some way below the normal entry expectation. It is also a part-time program over one year offered partly on-line to allow ‘in service’ teachers to go on working. In 2015 it was recognised that a ‘special deal’ for unqualified private instrumental and vocal music teachers working in schools was needed to allow them access to the TRB’s ‘Special Authority to Teach’ category. Naturally, the TRB has overarching standards to uphold and therefore it agreed to a limited timeframe only for the program, terminating in 2019. While the word ‘certificate’ may sound slightly ordinary the significant word is ‘graduate’ as it indicates the holder already had qualifications before taking the award. As a consequence a Graduate Certificate is mapped against ‘Level Eight’ under the Australian Qualifications Standards, one level higher than is set for the current fouryear degree (‘Level Seven’) for full registration. Fees are involved, but FEE-HELP is available to offset costs over a period of time. Further information can be obtained through the University of Adelaide website and/or by phoning the Conservatorium office on 8313 5995. But act soon as the program won’t be there for much longer! ♫♫♫


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. 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


( or obtained from the Secretary.

THE PERIPATETIC MUSIC TUTOR by Sofie Arhontoulis No one is happy in that moment, except perhaps little Johnny.

Sofie Arhontoulis

The workforce is changing to such a degree that the peripatetic worker is becoming more commonplace. ‘Peripatetic’ by definition means on the outskirts, or ‘a person who travels from place to place, especially a teacher who works in more than one school or college’. Music tutors fall firmly into this category. They visit schools, during school hours, to give individual tuition in piano, voice, strings, brass, and the list goes on. Little Johnny is wrenched out of his class once a week, usually at a pre-agreed time, and given an intensive 30 minute music lesson on his chosen instrument. To parents, this is the ultimate in convenience (no running around after school to get children to lessons) and often to little Johnny it is a welcome break from the noise of class time. However to class teachers it can be anathema. Students leave their class in staggered numbers, disrupting carefully planned lessons, which the student then needs to ‘catch up on’. Music tutors usually hover nervously at the classroom door, softly asking for the student, as to not disturb the class.

Music tuition in schools in Australia has experienced a drop in availability due to governmental funding cuts. Independent schools have historically been a haven for music tutors and tuition, until recent years. The status of children’s education, College desire to beckon enrolment and the NAPLAN juggernaut has begun to threaten the corner of individual music tuition as a valuable part of student life. Colleges want to impress parents with their NAPLAN status and to build on the promise of high-level academia, science and sport prowess in their child’s education, because the perception is that music just isn’t as important. Alternatively, academic planners of schools could extol the virtues of music tuition, its fruitfulness in the education map for the student, and the documented benefits of learning an instrument. Many studies have demonstrated how learning a musical instrument benefits the brain, increases focus, and in particularly boosts mathematical understanding in a student. This is in addition to the sublime joy of learning, then knowing, how to play a musical instrument. In an ideal world, peripatetic music tutors would be highly regarded, equally respected and invited into the daily discussion of educating children. Here’s hoping.



ADVERTISING PRICE LIST FOR THE MUSIC STAND, 2018 A4 size page (210 mm X 297 mm)

Full Page 1/2 Page 1/3 Page 1/4 Page

1/6 Page

Per issue

For 4 issues





$263 $132 $88 $67 $45

$210 $105 $71 $53 $35

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$672 $336 $224 $168 $113

INSERTION FEE FOR POSTERS AND FLYERS One issue $100. Four issues $360. Advertisers have two choices: 1. To provide the inserts, 2. To provide the artwork, MTASA will arrange the printing and invoice for this. Members placing an ad are entitled to a 15% discount.

CLASSIFIED AD MTA Members, free. Non-members, $15. Please contact the Secretary about advertising. Mobile: 0402 575 219 E-mail:


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 e-mail the Secretary, Masako Kondo, at

Dr DOREEN BRIDGES AM CENTENARY Compiled by Robert Brown President of Dalcroze Australia for many years and is now the Patron. During their 2018 Summer School Dalcroze Australia awarded one of the Dalcroze students the Doreen Bridges Centenary Award.

TEACHING IN THE COUNTRY In recent years each issue of The Music Stand 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 would like to write something please do so – 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. Email to Robert Brown at

Dr Doreen Bridges AM (Courtesy of Dalcroze Australia) One of MTASA’s two Patrons, Dr Doreen Bridges (known as ‘Dee’), celebrates her 100th birthday on Monday June 11. She is recognised nationally and overseas as a distinguished music educator and researcher.

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

Born at Glenelg in 1918, her parents were Sir Roland and Olga Jacobs. As a young child Dee remembers listening to her father singing while sitting on his knee and her mother playing nursery rhymes on the piano. At the age of five she went to a small school where songs and musical games were included in the daily curriculum. Dee also went to ‘Aural Culture’ classes with British music teacher Agnes Sterry, who soon after returned to England. Heather Gell (1896-1988) took over the classes, which included singing, creative movement and learning time names and solfa. As a student at the Adelaide Kindergarten Training College from 1915-16, Heather Gell was influenced by the Eurhythmics course that Agnes Sterry conducted. Heather became a Eurhythmics pioneer in Australia and was also a broadcaster, producer and director. Dalcroze Eurhythmics encourages the awakening, developing and refining of innate musicality through rhythmic movement, eartraining and improvisation. It was developed by the Swiss composer and educator Emile Jaques-Dalcroze (1865-1950). Years later, when Heather Gell opened a Dalcroze training school in Sydney, Dee taught piano and harmony there. As an adult Dee studied piano improvisation with Heather Gell. Dee was


Aged 8 Dee became a pupil at Walford and began piano lessons, learning from several local teachers until she began studies at the age of 14 with Maude Puddy (1883-1974) at the Elder Conservatorium. She also began theory classes and because she was awarded Honours for AMEB practical and theory exams was credited with the subject Music for Intermediate and Leaving Public Exams. At Walford she regularly topped her class and was a member of the Music Club and Hymn Committee. For the Leaving exams she obtained the top place in French, Second in English and Fourth for Latin and History. Dee’s parents encouraged her to enroll in an Arts course at Adelaide University and she also enrolled in the Diploma course in Music, beginning in Second year because she had obtained the AMEB Associate Diploma and was exempted from First year. She did well in her arts subjects, tying for top place in French and was second in English. Without her parents knowing Dee applied for a scholarship for the Bachelor of Music course, which she was awarded. Her parents became reconciled to the fact their daughter was going to be a musician. She was elected President of the Women’s Union and Vice-President of the Adelaide University Union, the first music undergraduate to be elected to these positions. She studied the cello and played in the Conservatorium Orchestra. Dee graduated with a Bachelor of Music degree in 1941. During her time at the Elder Conservatorium E. Harold Davies (1867-1947) was the Elder Professor of Music. Dee found the course at the Elder Conservatorium was very conservative because it was designed ‘to train 19th century church organist-composers’ and following her graduation was able to persuade Prof. Davies to initiate some changes to the ‘antiquated regulations’. This experience led Dee to begin her continuing quest to ‘explore principals and ideas to make music teaching more effective and more relevant’. While completing her studies war had broken out and following graduation Dee presented voluntary musical appreciation classes for the

Workers’ Educational Association, taught the piano privately and played for Joanne Priest’s ballet classes. Tiring of the music in the ballet excerpts book Dee began to improvise the music for the classes, developing a new skill. In 1943 she taught music at three kindergartens, pursuing her interest in early childhood music. Wanting to contribute to the war effort Dee wrote to Group Officer Stevenson, Director of the Women’s Auxiliary Australian Air Force, and was advised to apply to become an officer. Following selection she was sent to the RAAF School of Administration at the University of Melbourne where she was the only civilian in the training course for WAAF Officers. On completion of the course Dee was posted to Brisbane as an assistant to the Officer-In-Charge of the 500 WAAAF personnel at RAAF Command Headquarters. Group Officer Stevenson asked her to form a WAAAF Choir but nobody was interested because ‘there were so many American servicemen in town’! In late 1944 Dee was appointed one of six WAAAF Education Officers to organise educational facilities and leisure time activities that would assist the many WAAAF personnel to return to civilian life. Dee was responsible for Southern Queensland and then New South Wales. Dee left the WAAAF in 1946 and took up a Commonwealth Government position with the Universities Commission as Professional Officer for Music, being responsible for placing eligible ex-service personnel for training in music, dance or drama under the post war Reconstruction Training Scheme, monitoring their progress and for writing a survey of tertiary music courses, including music teacher education. In 1948 Dee resigned following an offer from her parents to send her to England to chaperone her younger sister who was to marry a Rhodes Scholar, and to undertake further study. Dee decided to study composition with Alan Bush at the Royal Academy of Music. During her year away Dee also attended classes given by Jeuan Rees Davies and obtained all three School Music diplomas offered by the Royal Academy of Music. She also taught part time at Evelyns Comprehensive School on the outskirts of London. Dee returned to Sydney in 1950 and for the next ten years conducted Adult Educational Classes for the University

Tutorial Class Department, gave private piano and theory lessons and taught the Saturday morning children’s theory classes at the NSW Conservatorium. She was a Council member of the NSW Music Teachers’ Association. Dee was also in charge of music classes at Ascham, a prestigious girls’ school, but gave this up when she married architect Peter Bridges in 1952. Their son was born the next year. In 1957 Dee began her long association with the Music Department of the University of Sydney, initially tutoring in harmony and counterpoint, and later also teaching other subjects. In 1963 she was appointed a Fulltime Temporary Lecturer and was reappointed each year to fill in because staff members had resigned. Eventually she was appointed a Senior Tutor. Whatever her status Dee supervised theses and conducting an honours/post graduate seminar of Theories of Music Education, a course that she had initiated and continued to teach for five years after she resigned in 1969 to concentrate on her Doctoral thesis, for which she had enrolled in 1965. In 1971 she was awarded a PhD for her thesis, titled ‘The Role of Universities in the Development of Music Education in Australia, 1885-1970’ (University of Sydney), which was the first to be awarded in music education from any Australian university. In 1948 Donald Peart (1909-81) had taken up the post of foundation Professor of Music at the University of Sydney. He introduced studies in performance practice, ethnomusicology and the sociology of music and revitalized university music education in Australia. Dee had noticed that the teaching of harmony and counterpoint at university level had changed very little over the years, and was largely British in origin. She was able to persuade Prof. Peart to allow her do away with examination based harmony exercises and to have some integration between the subjects being offered. She became convinced that AMEB and university theory teaching was ineffective and that there should be a system of comprehensive musicianship, which was already happening in the United States. This had led her to undertake the research for her PhD thesis. Dee was awarded a Commonwealth Government Grant to work with the Australia Council for Educational Research to develop the Australian Test for Advanced


Music Studies which covered the musical concepts and aural abilities students should have when applying to study music at a tertiary level. It was recommended that rote learning, which was characteristic of much music teaching, should have no place in the proposed test. In 1974 Dee was appointed Senior Lecturer at the Nursery School Teachers’ College in Sydney, succeeding Heather Gell. Dee had become convinced that many of the problems music students had as they got older originated in early childhood, before they began formal music lessons. She was able to pass on helpful ideas about early childhood music to the teachers of young children. Dee retired from the Nursery School Teachers’ College at the age of 60, and for ten years conducted preschool music classes at the North Sydney Leisure Centre, and gave piano lessons to some of the children after they went to school. She collaborated with Deanna Hoermann to update the latter’s Kodaly based Developmental Music Program, Stages 1-3, and in preparing Catch A Song, an album of children’s songs widely used around Australia and published in the United States. Dee taught for the NSW Conservatorium’s graduate program in Primary Music Education and presented in-service courses in early childhood for music teachers. Dee’s ongoing research and writing is extensive. ASME published a Monograph, edited by Martin Comte, titled Doreen Bridges: Music Educator in 1992 to celebrate its 25th anniversary. This gathered together many of the articles that she had written. Music, Young Children and You, A ParentTeacher Guide to Music for 0-5 Year-Olds was published in 1994. In 2006 Australian Scholarly Publishing, Melbourne published her book More Than A Musician, A Life of E. Harold Davies. Dee has been an office bearer for a number of organisations. She chaired the NSW Chapter of ASME, was a member of the National Council and a member of the Governing Body of the Kodaly Music Institute of Australia. She was a member of the NSW Department of Education’s Board of Senior Studies

Committee (and an examiner) and the K-6 Music Syllabus Committee. From 1974-80 Dee was an active member of the ISME Research Commission and was also involved with the ISME Early Childhood Commission. She was awarded Honorary Life Membership of ASME. She was a Council member for the Australian National University School of Music and a member of the NSW Conservatorium Board of Governors, and was Chairman from 197982. For her services to music education Dee was made a Fellow of the Australian College of Education in 1982 and a Member of the Order of Australia in 1984. In February 2006, not long after returning to live in Adelaide, Dee was invited to be a Patron of the Music Teachers’ Association of South Australia.



ACCOMPANIST’S CORNER ACCOMPANYING – MY STORY! By Frances Norton, April 2018 The course was very thorough and I was often underprepared, hanging in there by the ‘skin of my teeth’, but there were lots of ideas and discoveries to make, aided by the many supportive staff who contributed to that course.

Frances Norton The work of an accompanist is indeed an art, a vocation, not to be practised by just anyone! The prima donna ballerina would not be nearly as impressive without her male counterpart, whose impeccable timing and flawless skill she trusts and relies upon. So too, the solo musician requires these essential qualities from an accompanist. I started piano lessons in my 10th year and by the age of 13, when asked, annoyingly, what I wanted to do when I was ‘grown up’, replied that I would be a musician! I think I surprised myself at that point! I do remember at that age, recognizing that I really enjoyed playing music with other people, more so than solo playing.

I started my accompanying career with my high school choir, but by the time I had completed my first year of University, I was accompanying most instruments. I said ‘yes’ to most anything that came my way and learnt the hard way about spreading myself thinly - the true meaning of ‘stress’ that is - a huge pile of music on top of the piano needing to be learnt within two weeks! This was quite a valuable time of learning really, coming to realise my capabilities, trying to improve on them, and also not being too scared to ask to see the music first - people can be very pushy!!!! I learnt that ‘It’s only Grade 6!’ probably means that the accompaniment is much more difficult than the soloist’s part, and also that no one else wants to do it at the last minute either!

I quietly laboured, no doubt astonishing my first teacher, Mrs Blair, with my career choice and commenced a Bachelor of Music degree in music performance at Adelaide University shortly after turning 17. Once there, I enrolled in Diana Harris’ ‘Certificate in Accompanying’ Course (Flinders Street School of Music, TAFE) as part of my General Studies component and this really paved the way to finding a way to help support myself financially within the profession.


I must say that I have particularly enjoyed accompanying singers, and I view the ability to accompany the vocalist as of paramount importance in the craft of accompanying. Whilst many instrumentalists are unfettered by the need for breath, the soloist still has to make the music breathe, and the accompanist needs to sense this, almost without thinking about it. This brings to mind the ‘Basic Voice’ classes (another General Studies subject in the Bachelor of Music) run by Christine Halbert, where we all had to learn a piece to sing each week and accompany each other. Invaluable! I feel very privileged to have accompanied many musicians - children, high school and university students, adults and my own children (which is rather special), and consequently have made many lovely friendships. The work has been very rewarding personally, helped me maintain and improve my technical skills, and I consider that I am still learning… ♫♫♫


DO MUSICIANS RESPECT THEMSELVES ENOUGH TO BE PAID? by Michelle T. Holland, Co-Founder SAMii ( and valuable, then others will also. He works hard to professionalise the music teaching sector, because he wants musicians to be more respected by society. Our company, SAMii, helps private music teachers by giving them more time to focus on growing a new kind of musician that respect themselves and the professional musician.

Michelle Holland That is the question that popped into my head after many hours of watching my friends and loved ones playing live music for peanuts. Many of my loved ones are artists and work damn hard to be respected within their profession. Let me prepare you for this blog by saying I believe that anyone who is providing value to society should get paid for their contribution. I have seen many of my musician friends spend hours and hours working at mastering their craft. I have also seen many of their band mates turn up to gigs late, wearing ripped and dirty clothing, drunk or worse. I believe that the contribution you make must be of value to society, but you must also value your contribution to be paid for it. My partner Pete is a music teacher. I have watched him say no to bands and reject paying gigs because of the attitudes and activities of the band members. He is particular with his brand and image. This is important because he wants to demonstrate to his students that you can be a musician and have the rock and roll, without the ‘sex and drugs’. He teaches his students to respect themselves and respect their profession. This for me is the key. Pete teaches his students that music is a noble profession, and therefore they have respect for themselves, and for the service they are providing. If you view your work as noble

We know many music teachers, like Pete, who are providing a professional learning environment for their students and are teaching the noble art of music. Many are putting polish on the classical student so that they can shine at Juilliard if that is their goal. We also know of other music teachers who are passing on the bad habits that they picked up from the music teacher that taught them that music and partying are synonymous. Most people have contact with musicians either through the Symphony Orchestra, watching them from afar at the Entertainment Centre, or more commonly, at a live music gig in a pub. Sadly, there are still musicians that walk in late to a gig, who aren’t staying back to help their band mates, and who are getting so drunk on stage that it makes the people watching the show look sober… if these are the people most commonly representing your profession, is it any wonder that musicians are getting paid peanuts. If they don’t respect themselves, why would the business owner respect them? You cannot expect society to take you seriously if you are not taking your professional image seriously. When you turn up late, smelling like you’ve been ‘smoking the yellow pages’, as my granddad would say, then you must accept that people will treat you with less respect. Think about it this way. You would never expect a lawyer to turn up in anything less than a suit and shiny shoes. Granted, how they look has nothing to do with their talent or skills as a lawyer, but it does represent the respect you have and the credibility that they present. If they meet


with you in a Metallica T-shirt, you may think they are cool, but what will the 60 year old judge think when they turn up like this to defend you in court? When you walk into a pub late for your gig, smelling of ‘whatever’, and drink until you can’t stand on stage… the drunks in the pub may think you are cool… but what does the pub owner, who will rebook you, think? There is always a middle ‘man’. They could be the radio station owner, the pub owner, the event manager or the studio agent. These people are the ones that will put you on the stage, the album or the air waves, and they are expecting you to be talented, unique…and reliable. Once you are ‘Metallica’, ‘Madonna’ or ‘Mozart’, you can get away with a less than traditional image and brand. You will be able to pay people to keep your brand in check and clean up after yourself. However, these famous musicians manage their brand carefully. Yes, there are the famous ones who have made a mess of themselves on stage, and have let people down. The question is, ‘do you respect them more or less because of that?’ The role of the music educator is clear. You are teaching the next generation of professional musicians. It’s not just about giving a piano lesson to a child, and it’s much more than a drummer just teaching a person to play a paradiddle. There must be more emphasis placed on creating a respect for the person, the music, the industry, the business owners, and the service they will provide. The more that music teachers are able to help their students understand that being a musician is a noble profession, the more society will view it as one. It is your brand and profession so manage it as if you respect yourself, your profession and the people around you. However, the next time you hear complaints that musicians don’t get paid enough or they aren’t taken seriously, or they aren’t respected... think about how

society views musicians and what you are contributing to this image. ♫♫♫

LIFE AND MUSIC TEACHING IN THE TUMBY BAY DISTRICT by Christine Charlton, Cert.Ins.Mus., M.T.A.S.A., HPI Alison Holder also examined me. Many of my earlier students sat for AMEB exams in a similar manner.

Music Teaching: five days, five different schools My piano teaching career began after I married a farmer, Ian, from Butler Tanks in 1972. Although as isolated lifestyle, I enjoyed it.

Tumby Bay Foreshore Park with a mural on the old Rotunda Those were the days my friend…1960! I have lived in the Tumby Bay district all my life, a neat, pristine coastal town with friendly locals. I began my piano lessons in 1960, at the age of 8, with Miss Greta Cocks who taught fifty students a week, all out of school hours. She taught for about 70 years and the Arts Council Greta Cocks Fund was created through a musical fundraiser held at the Tumby Bay Town Hall. Music students compete for the Outstanding Performance Award and Encouragement Award at the Annual Greta Cocks Performance Concert held at the Senior Citizens Clubrooms (the 27th Concert was held in December 2017). The winners of the Performance Award also receive the perpetual metronome for twelve months.

An Annual Greta Cocks Performance Concert Christine Charlton, Andrew Bee (adjudicator) Elizabeth Charlton (Performance Award), Penny Will (Encouragement Award) My piano lesson was at 7.45 am on a Monday morning. If I had not practiced on the weekend, it was not a good feeling arriving so early on a Monday. I loved piano pieces, and really enjoyed my scales. My theory lesson was at 9.00 am on Saturday morning. I always concentrated on my bookwork and finished on time to squeeze in some sport as well. My mum knew my moods by the sounds that came from the piano room. If I was in love; been dropped; angry; happy; lonely; sad, eventually, Mum would call out, ‘Play some Church Hymns’, which I did. That brought me back to reality and piano practice. My first piano was a ‘Gors and Kallmann’, which went to the Port Lincoln CWA. I was examined by a person who would drive from Adelaide examining students at towns along the way. What a marathon! I sat for AMEB exams up to and including 7th Grade Pianoforte. I was examined twice by Clemens Leske, receiving Distinctions for Second and Third Grade.


Two parents asked if I could teach their children after they got off the school bus at Butler Tanks, having come from Ungarra School 20 kilometres away. There was a hall and a piano at Butler, so I met the bus and began lessons. The distance to travel to other teachers was 65 kilometres to Cummins, 63 kilometres to Cleve, 45 kilometres to Tumby Bay and 90 kilometres to Port Lincoln. The Ungarra school bus had no connection with these schools. Sometimes I would leave our son, aged 4, with Ian and he looked after him very well. One day I came home to find him sound asleep in half a 44 gallon drum, curled up and cosy! Piano lessons have never been included in Education Department musical programs like brass or woodwind, which the students could hire and learn in a classroom situation. Not everyone had a piano at home. A short time later, I was asked by the five small schools in the area, the SEEP Network, if I could come to their schools and teach Classroom Music and give private piano lessons. I would teach thirty Piano students across the five schools and work towards an annual school concert. I became an HPI for public schools. Coincidentally, at the same time, a Certificate of Instrumental Music, through a pilot scheme for regional areas, at the

Flinders School of Music, Adelaide, was advertised. We were given worksheets and practical lessons, to complete at home, then once a term we visited Adelaide for practical and theory tuition.

schools combined: Pen Pals and The Lizard of OZ. Each school had a chapter, which came together when they performed in the Tumby Bay Hall to fit everyone in. Over 700 people attended.

Rodney Smith was our ‘Master of Instrumental Music’. I was privileged to receive a Distinction on completion of the three year course. I am a member of MTASA and a registered Private Music Instructor, able to teach in DECD Schools. It was here I met three lifelong friends and piano teachers, Judy Pearce (Port Lincoln), Elaine Elson (Cleve) and Cheralyn Noske (Port Lincoln).

It was a fulfilling experience to travel and teach. The greater distance from their farms to the larger schools meant the small schools existed, although remote. Eventually this rewarding opportunity for the students and myself, was unable to be funded: sadly a part of our education ceased.

Meanwhile, on the farm, it seemed as isolated place to consider teaching the piano, however the five small schools were in close proximity, Port Neill - 26 kilometres, Ungarra - 20 kilometres, Wharminda - 30 kilometres, Karkoo - 40 kilometres and Darke Peak - 90 kilometres. This meant I visited a different school each day. See the map. One school only had 20 students from R-7, 130 students all up.

Piano Tuition

Musical Appreciation

Over the years, many students have worked towards AMEB Pianoforte exams. Disciplinary practice and perseverance is beneficial over the week as new techniques require consistent work. The role of families offering support and encouragement is greatly appreciated. Introduction of the AMEB Leisure Book was a welcome addition. Beautiful music is being written for the generation of students today with technology being at the forefront when searching for current musical trends. Many students move on to Private Schools in Port Lincoln or Adelaide to further their education. The SACE Board acknowledges the completion of Fifth grade and I encourage students to continue AMEB exams when moving to Adelaide.

Butler Tanks was the ‘Centre of the Musical Universe’ Each day I would head off in a different direction. I travelled in rain, hail, heat, wind and sunshine, all gravel roads, watching out for trains, trucks and wildlife, leaving the farm at 7.00 am for Darke Peak. I once hit a Kangaroo and stopped to assess the damage and settle my nerves. All was well. The ‘Roo looked my way, twitched his ears, hopped over the fence into the paddock, and away. The Kodaly School of Music was most valuable and a unique classroom learning tool which I used across the five schools. I also wrote Musical Productions for the five

Some move onto other instruments to perform within a band, having the added skill of musical knowledge already. We are privileged to commence their musical career at an early age. I see enjoyment and satisfaction blended with the curiosity of young children to move up and down the keys, sharing a tune with a friend. Students have enjoyed their scale and technical work. Introducing it can create an element of fun. Playing rhythmically, a minor scale can be a snake charmer, mysterious or sad. Some tutors enjoy starting piano lessons on the black keys. Young children are amazed at the number of pieces they can play on five notes. Good finger control. ‘Pedal with your Ears’ is quite challenging advice - however one must listen to the depth, vibration and resonance of sound relevant to the musical interpretation.


Students play for School Assembly and Church: the challenge is to continue even if a mistake is made as the singers wait for no-one. I have assisted in the welfare of several students through Musical and Mental Therapy. It has assisted them in a positive lifestyle experience. Once again scales were a solid foundation and a vital part of their mental recall. This involved me playing the piano for recognition of intervals, rhythm and favourite tunes they could sing: Thumbelina, 4 note phrases, falling a note in sequence. Intervals: 3rd = Kum Bah Yah; 4th = Amazing Grace; 5th = Twinkle Little Star; 6th = Where Do I Begin. Our local medical practitioner is a musician and our Year 12 maths teacher relates music to maths. A very talented Angus (a former student) excells in piano and is majoring in four fields of science and mathematics.

Thanks for the Memories Moving into Tumby Bay ten years ago I bought an Upright Yamaha and more recently, a Baby Grand, keeping both. Several students play two pianos, Clementi Sonatinas are a favourite and now a Japanese composer is popular, latest piece, Bloody Stream.

(once my piano examiner), often had her pieces transposed - an excellent learning skill for me. This was all part of the expectation of the local piano teacher. I train students to transpose by starting on the note and/or chord then playing by ear, if possible, sometimes with one’s eyes shut!

Tayla Coad plays the Baby Grand

I enjoy playing at the Aged Home Uringa and the Hospital as it offers recall for older people. They will smile and recollect past times. The photo is part of the group with Ron Dorward, 106 years old.

I teach eleven children at Tumby Bay Area School from 6-11 year olds. One senior student attends her lesson after school at my home.

Musical therapy gathering at Uringa Aged Home Playing at the funerals of two young men was very emotional, having worked with both (a suicide and a motorbike accident). I played the piece one was learning at the time. I have taught people of many ages - with memories of nursing a small child whilst their mother took piano lessons. I recall putting the child down to demonstrate a section, only to find the child had bitten along the back of the piano stool!


I have played twelve different pianos across the district for many functions: Old Time Dances, Singers, Christmas Concerts, Funerals, ANZAC Day and three Gilbert and Sullivan musicals. The leading lady Shirley Wibberley, a close friend of Alison Holder

CONCERT PERFORMANCE DAY No 1 by Sofie Arhontoulis Held: Saturday April 14, Salvation Amy Citadel, Norwood A cool autumn day provided the perfect opportunity to settle oneself down in the Salvation Army Citadel’s comfortable interior, for a delightful afternoon of young musicianship. The MTASA’s first of two annual Concert Performance Days was held on Saturday April 14. Over the range of three sessions, at roughly 1.5 hours each, the audience was treated to a show of excellent young musicality. Students demonstrated the fruits of disciplined practice, devoted teaching, and the backbone of many a success, the support of parents and family. There was a pleasing representation of all levels, from Preliminary grade to Certificate of Performance.


Sofie Arhontoulis announces


It was wonderful to experience the sweet tones of two saxophone performers, an exciting violinist, and some excellent flautists. These performances included the joyous Swing and Swang (Kerin Bailey) by Alanna Kennedy on violin, Waltz of the Flowers (Delibes) by Hope Sawers on flute, and Snakes Alive (Walton) by Madeline Clegg on saxophone. Piano players were in abundance and presented a large variety of performances; the ethereal The Enchanted Castle (Poldini) by Krystelle Tham, a jazzy arrangement of Yesterday (Beatles) by Brianna Arnoldus, the peckish imagery of La Poule (Rameau) by Edmund Black, and a sensitive performance of Fantasie-Impromptu (Chopin) by Alannah Pham. Whilst it was evident that much work and dedication had gone into the preparation of their pieces, nerves did play a part in the

pinnacle of the students’ labours, which is performance. Students must be commended in their triumph over their nervousness, as was apparent. Therefore teachers are encouraged to enter their students into as many performance events as possible. The MTASA has calendared two more events this year, the Competitions Day on 23 June, and a second Concert Performance Day on 26 August. The excellent timing of these concert days is also a great opportunity for students preparing for instrumental examinations.

Performers Sincere thanks are due to the wonderful and encouraging reviewers Anna Lester and Samantha Penny in Session 1, Anna Lester and Debra Andreacchio in Session 2, and Koula Raptis and Debra Andreacchio in Session 3. Congratulations to Rodney Smith and Sofie Arhontoulis for presenting with such warmth, David Metin for photography, and especially Masako Kondo for her flawless organisation of the event.



CONTACT DETAILS FOR OTHER ORGANISATIONS 5MBS Visit: ABODA ABRSM International Representative – South Australia – Anastasia Chan E-mail: Tel: 08-8234 5952/ 0423 282 589 ACCOMPANISTS’ GUILD of SA INC. Contacts: The President, Monika Laczofy,, mobile 0411 271 215 or the website

AMEB E-mail:

ELDER HALL or Contact: Elder Hall Concert Manager 8313 5925

ANATS SA & NT CHAPTER E-mail: Website:

FLUTE SOCIETY of SA INC. MUSICA VIVA for concert details.






ADELAIDE PHILHARMONIA CHORUS For enquiries please contact the Secretary at,

BALAKLAVA EISTEDDFOD or write to PO Box 253, Balaklava, SA 5461 or Ph/fax (08) 8863 1242.






Profile for Music Teachers' Association of SA Inc.

The Music Stand Winter 2018  

Winter Edition of The Music Stand

The Music Stand Winter 2018  

Winter Edition of The Music Stand