SA Music Teacher Winter 2022

WINTER 2022

IN THIS ISSUE 2022 SUMMER CONFERENCE REPORT HOW DO WE TEACH TECHNIQUE? BALAKLAVA EISTEDDFOD IN FULL SWING FOR 2022

Published by The Music Teachers’ Association of South Australia Inc.

SA MUSIC TEACHER

WELCOME FROM THE PRESIDENT Professional development is the cornerstone of teaching in all spheres, and no more so than in the arena of instrumental music teaching. Whilst developing our strategies, methods and approach are certainly unique to each of us as music educators, there is always scope to adapt a new perspective in our teaching.

A recent webinar on the subject of teaching pulse, presented

by Roseanne Hammer, highlighted the importance of students developing a secure and deep understanding of pulse in performances. Even the most experienced teacher would have benefited from this session of professional development, as it presented the opportunity to reflect on one’s own practice of teaching, and highlighted the importance of effectively teaching pulse to our students.

Increasing your expertise in your field, building confidence in what you do, and resetting old knowledge in modern times; these are excellent by-products of professional development.

Connecting with other like-minded peers, discussion and query, and discovery of new ideas, have the capacity to deliver huge benefits to you as educators.

MTASA holds webinars, professional development days and talks in an effort to keep us connected, engaged, and part of this community of music educators. Pedagogy is better for it, and as teachers we are better for it too.

With all best wishes,

Sofie Arhontoulis, President, The Music Teachers’ Association of South Australia Inc.

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VOLUME 30 No 2 WINTER 2022 PATRONS :

Dr Doreen Bridges AM, Emeritus Professor David Lockett AM, Her Excellency the Honourable Frances Adamson AC, Governor of South Australia and Mr Rod Bunten

PRESIDENT

: Sofie Arhontoulis

VICE-PRESIDENT

: Rodney Smith, Wendy Heiligenberg

SECRETARY

: Masako Kondo

TREASURER AUDITOR

CONTENT WELCOME FROM THE PRESIDENT by Sofie Arhontoulis

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COMING MTASA EVENTS MEMBER INFORMATION

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: Samantha Penny : Australian Independent Audit Services

IN MEMORY Malcolm Potter OAM by Mark Potter

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EDITOR

: Masako Kondo

12 RECENT EVENTS Summer Conference Report Brief review of the Keynote Lecture by Dr Angela Turner at the 2022 MTASA Summer Conference

By Debra Andreacchio

LAYOUT

: Sectrix

Angela Turner grading presentation

By Elsabeth Lang

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MEMBERSHIP ENQUIRIES to the Secretary PO Box 4, RUNDLE MALL, SA 5000 Mobile: 0402 575 219 E-mail: info@mtasa.com.au

Motivated education - Oliver FartachNaini By Elsabeth Lang

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Creativity in the instrumental lessonRuth Saffir By Norma Knight

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ADVERTISING - please contact the Secretary Please see MEMBER INFORMATION page for Advertising Price List.

MTASA WEBINAR with Roseanne Hammer - The Importance of Musical Pulse and ways to cultivate better understanding By Sofie Arhontoulis

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Concert Performance Day 1 Report

By Yuxin Men

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ARTICLES Accompanist’s Corner My Memories as an Accompanist in Adelaide by Wayne Hancock

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Jazzin’ Around Lead Sheet Interpretation Part 2

by Kerin Bailey

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Regional Teachers Balaklava Eisteddfod in full swing for 2022 By Meriel Lane

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Pedagogy Matters How do we teach technique?

By Rodney Smith

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MTASA WEBSITE

OTHER ORGANISATIONS’ NEWS & EVENTS

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Please visit mtasa.com.au

OTHER ORGANISATIONS’ CONCERTS

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MTASA FACEBOOK

CONTACT DETAILS FOR OTHER ORGANISATIONS

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COUNCIL 2021/2022 :

Sofie Arhontoulis, Pete Barter, David Brookes, Wendy Heiligenberg, Masako Kondo, Zuoyu Liu, Yong Cheong Lye,Yuxin Men, Anthea Mur, Samantha Penny, Rodney Smith

DEADLINES FOR 2022/2023 Contributions to SA Music Teacher are most welcome. All items to be included must reach the Editor, Masako Kondo (info@mtasa.com.au) no later than these deadlines: Friday July 15, Friday October 28, 2023: January 27, April 29 SOME CONTRIBUTING GUIDELINES All text is to be submitted to the Editor for review.

Italics and inverted commas for quotations - text is to be either in Italics or inside inverted commas, not both.

Single inverted commas to be used; double inverted commas only inside single inverted commas.

The inverted comma at the end of a sentence is to be inside the fullstop; outside for ! and ?

Please visit the MTASA Facebook page at www.facebook.com/MusicTeachersSA/

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Front cover: Concert Performance Day 1 Photo by Yuxin Men

SA MUSIC TEACHER

COMING MTASA EVENTS Monday, June (TBC) MTASA Webinar: Tax Matters (Updated)

by Samantha Penny Time : 7:30pm Ticket : Via Eventbrite

Sunday, August 7 Concert Performance Day 2 Venue : Flinders Street Baptist Church Time : 3:00pm & 4:30pm (2 sessions only) Ticket : Via Eventbrite

Mondays, September 5, 12 & 19 Alexandra Frost Presentation and subsequent Masterclasses (online webinar) Time : TBC Ticket : Via Eventbrite Presentation : To what extent is performance viewed by music students as a threat or a challenge? How to support optimal performance, mental health and wellbeing in music students.

Masterclass Performance Enhancement Masterclasses 1 & 2

MEMBER INFORMATION NEW MEMBERS The Music Teachers’ Association extends a warm welcome to the following music teachers who have joined the association. We are looking forward to meeting them at our events.

Jude Williams, Friends Jaein Im, Full, Piano, Theory Penelope Cashman, Full, Piano, Specialist pianist - vocal coach for trained classical singers Eunice Presser, Friends Wayne Hancock, Friends

NEWS Congratulations to Yong Cheong Lye and Yee Liu for the birth of their baby Ethan Yu Shen Lye on 27thApril.

Saturday, October 29 Competition Day: Reimann-Robinson Scholarship & Norman Sellick Memorial Prize Venue : Flinders Street Baptist Church Time : 9:00am Ticket : Via Eventbrite

Monday, November 7 MTASA Webinar with Melanie Spanswick Topic : Wrist and hand flexibility and release, and how this can help with the development of a relaxed torso and firmer fingers when teaching our students Time : 7:00pm Ticket : Via Eventbrite

Sunday, November 13 AGM Venue : St Spyridon College, 52 Oxford Tce, Unley Time : 5:30pm Ticket : Via Eventbrite

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MTASA MEMBERSHIP FEES The membership fees are: Full member : $122 Student member : $62 Friend : $32 Institution : $32

MTASA MEMBERSHIP RENEWALS Membership Subscription Renewals for 2022/2023 will be due on June 30.

Subscription renewal notices were sent in late June via e-mail to remind members to log in and renew their membership for the 2022/2023 financial year. If you are a Full member you will be asked to indicate that you have completed seven hours of Professional Development during the previous twelve months. If you don’t receive an e-mail please check your spam folder.

You can log in at any time to renew your membership. If it seems that you didn’t receive an e-mail, have forgotten your username or are having problems logging in please contact the Secretary (info@mtasa.com.au). Paper invoices were sent to members who prefer to receive them.

RECOMMENDED TEACHING FEES The following teaching rates are recommended to members by the MTASA Council for 2022.

Full member Associate member Student member

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: $75 per hour : $64 per hour : $48 per hour

REQUIRED PROFESSIONAL DEVELOPMENT FOR FULL MEMBERS OF MTASA MTASA has introduced a Professional Development scheme for Full members. This commenced on July 1, 2019 when Full members began accumulating their seven hours of Professional Development. The scheme is designed to underpin and enhance MTASA’s established reputation for the professional excellence of its members, ensuring its standards are fully compliant with current educational expectations. These are clearly outlined in the Australian Professional Standards for Teachers (visit www.aitsl.edu.au/teach/standards) and similar documents.

From July 1, 2020 onwards Full members, when renewing their membership, will be asked to tick a box declaring that they have undertaken at least seven hours of Professional Development during the previous twelve months.

The following examples are provided to give general guidance for Full members about Professional Development that would be acceptable to MTASA. These examples represent only a small sample of all the possibilities available to Full members. Generally Full members should feel comfortable about their own choices but in case of doubt you are welcome to contact the Secretary for further advice (info@mtasa.com.au).

Improved music teaching should be a major factor in all activities that Full members wish to count towards their MTASA Professional Development.

MTASA will undertake random checks from time to time to ensure the system is working properly. So, on very rare occasions a Full member may receive a request from the Secretary for information about their Professional Development. In such instances you may submit evidence such as certificates, programs, diary notes, recordings and so forth.

SA MUSIC TEACHER

Examples of Professional Development that would be acceptable to MTASA: 1. Online.

Attending a webinar or similar event; undertaking an online e-learning course.

2. Face-to-Face.

Attending a conference, workshop, masterclass or lecture.

3. Formal Study.

Undertaking a qualification or part-qualification delivered by a recognised institution.

4.

Personal Research.

Studying books, journals, articles, musical scores, musical theory, analysis, etc., which lead to an example of improved music pedagogy and/or pupil performance.

Self-conducted research leading to a presentation, masterclass or workshop at a conference.

As a member of Educators SA, MTASA can offer benefits to its members. Here are some offers: Andersons Solicitors offer MTASA members: • 10% off legal services, in ALL areas.

• Free initial phone conversation with a lawyer.

When contacting Andersons Solicitors tell them you are a member of MTASA, which is a member organisation of Educators SA (CEASA). Visit the website at www.andersons.com.au/.

Credit Union SA has a range of education only offers. Visit the website at www.creditunionsa.com. au/community/education-communitybanking-benefits/ for more information.

Composing an educational piece of music that motivates a group of pupils.

5. Team Research.

A joint project with others that achieves particular improvements in a training ensemble.

Joint creation of music teaching materials that improve learning in a group of pupils.

Remember! These are only a few amongst many possibilities.

MTASA is a community of creatives. You are encouraged to be creative in your Professional Development!

NOTICE TO STUDENT MEMBERS Have you fulfilled the requirements for Full Membership? Student members are reminded that Student membership is restricted to four years after which time it is expected that they would be eligible for another membership category, either Full Membership by Tertiary Study or Full Membership by RPL (Recognition of Prior Learning and Experience).

Student members who are ready to upgrade their membership are invited to submit an application form to the Secretary together with the required supporting documents. Criteria can be downloaded from the MTASA website (www.mtasa.com.au) or obtained from the Secretary (info@mtasa.com.au).

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SA MUSIC TEACHER

MTASA MEMBERSHIP NOTES Visit www.mtasa.com.au/index.php/members/ become-a-member/ to join MTASA. Current Full, Student or Associate Members are not required to submit any supporting documentation to continue their MTASA membership. Anyone applying for Full Membership (either Tertiary Level Qualification and Study or Recognition of Prior Learning and Experience) or Student Membership for the first time must fulfil all of the requirements listed and submit the appropriate supporting documentation. Associate Membership is no longer being offered but those who were Associate Members on September 24, 2017, can continue their membership provided they remain as financial members. Full Membership (Recognition of Prior Learning and Experience) has replaced General Membership.

POST-NOMINALS Full members of the Music Teachers’ Association of South Australia may use the letters MMTA (member of Music Teachers’ Association) as a post-nominal while they are financial members. Interstate Music Teachers Associations are also encouraging their members to use this or a similar post-nominal.

ADVERTISE WITH SA MUSIC TEACHER Per issue

For 4 issues

A4 SIZE (210mm x 297mm)

Colour

Colour

Full page

$268

$854

1/2 page

$135

$427

1/4 page

$68

$214

1/6 page

$46

$143

FEE FOR POSTERS AND FLYERS

MTASA Members are always encouraged to write to the Secretary about any concerns that they may have. The MTASA Council will consider your request.

One issue $102. Four issues $371.

TEACHERS OF THEORY/ MUSICIANSHIP

2. To provide the artwork, MTASA will arrange the printing and invoice for this.

To be listed in the ‘The Directory of Teachers of Music’ on the MTASA website as a teacher of theory/musicianship applicants for Full or Student membership must supply evidence of having completed studies in this field to at least AMEB 5th Grade theory/musicianship standard or equivalent.

Full, Student or Associate MTASA members wishing to have theory and/or musicianship included in their Directory listing should send copies of the relevant certificates to the Secretary (info@mtasa.com.au).

CLASSIFIED AD

Advertisers have two choices: 1. To provide the inserts

Members placing an ad are entitled to a 15% discount.

MTASA Members, free. Non-members, $17.

Please contact the Secretary (info@mtasa.com.au) about advertising.

2022 MTASA eDM and Media Advertising rates 1 Email to members

$55

1 Facebook post

$30

1 Facebook and Instagram post

$35

1 Email and Facebook combo

$75

1 Email, Facebook and Instagram

$85

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SA MUSIC TEACHER

WORKING WITH CHILDREN CHECK (WWCC) New Legislation regarding Child Protection was introduced with effect from September 1, 2019. A ‘Police Check’ is now known as a ‘Working With Children Check’ (WWCC). The Working With Children Check is the most comprehensive check that exists. Anyone found guilty of breaching this legislation can be fined up to $120,000.

People working or volunteering with children in South Australia must, by law, have a Working With Children Check. A DHS/DCSI child-related check will be recognised as a Working With Children Check until it expires.

People need a Working With Children Check if they are in a ‘prescribed position’. This means people who are in paid or volunteering roles where it is reasonably foreseeable that they will work with children; run or manage a business where the employees or volunteers work with children;

are employed to provide preschool, primary or secondary education to a child.

A Working With Children Check is needed for all schools (Government, Catholic and Independent).

For further information go to www.screening. sa.gov.au/types-of-check/new-working-withchildren-checks.

SA MUSIC TEACHER

EVENT VOLUNTEERS NEEDED Enthusiastic volunteers are needed to help with various jobs at MTASA events. Tasks include setting up the venue, helping with registration at the check in table, ushering, assisting performers, helping with meals, and packing up afterwards.

It is a great way to network and a volunteering certificate will be provided, which will enhance your CV! For more information, please e-mail the Secretary at info@mtasa.com.au.

TEACHING IN THE COUNTRY In recent years each issue of SA Music Teacher has included an article about music teaching in a country region of South Australia. No article was received this time and there are some regions that haven’t been visited yet. If you haven’t done so please write something - it doesn’t need to be very long - and also include a photo. If you have written something before you are welcome to send an update. E-mail the Secretary at info@mtasa. com.au.

CONTRIBUTIONS TO ‘SA MUSIC TEACHER’ The Editor is always looking for things to include in SA Music Teacher. Articles can be about any music related topic. If you would like to write an article this is your invitation! A helpful hint, a comment, a joke, a poem, a cartoon, etc. … please e-mail them to the Secretary at info@mtasa.com.au.

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SA MUSIC TEACHER

IN MEMORY

Malcolm Frederick Potter OAM 23/6/1933 – 18/9/2021

By Mark Potter It is with great sadness, that I write this on the passing of my father Malcolm Potter.

Malcolm leaves many people with great memories of a distinguished professional singer, as well as a dedicated teacher who had a genuinely hilarious sense of humour!

Malcolm started his professional recording and performing career as a boy soprano. He performed concerts, tours, and on radio (5DN, 5KA, 5AD), and won many awards culminating in the 1947 Royal Exhibition. He was known as the “Wonder Boy Soprano”.

From there he went to Melbourne to study with Henri Portnoj, then back to the Adelaide Conservatorium to study on the advice of Prof John Bishop. While there he met his wife-to-be Nancy, and they married soon after and remained totally dedicated to each other for just under 60 years.

In 1959 Malcolm became a member of the ABC Adelaide Singers for 18 years (from 1959 - 1976). This was a full-time singing and recording position, and a highlight of his life:- something that he was truly born to do.

He did many professional recordings for the ABC as a soloist including “Joy of Life Symphony” by Alfred Hill, and “Hiroshima Panels” by James Penberthy. He also sung tenor solo in many oratorio and cantatas, Handel, Bach, Haydn, Mozart etc, as well as contemporary composers, with orchestras under visiting conductors both in Adelaide and Interstate. He later did two privately funded albums with organist David Merchant, and associate artist Dr Ray Booth.

After the ABC Adelaide Singers were disbanded in 1976, he became a member of the Adelaide Consort,

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singing Opera in schools and touring around Australia doing concerts for the Arts Council of Australia into the 1980s. He had many hilarious stories to tell from this period! All the while, Malcolm was teaching late into the night at his home studio, as well as taking care of his young family (I was born in 1963).

In 1986 Malcolm travelled with Nancy to Innsbruck, Austria, to present a paper on Community Music at ISME (International Society for Music Education), and he had various articles published in music magazines.

Malcolm was passionate about community choirs, and I remember as a youngster playing drums and xylophone along with his children’s choir “The Koolangatta Songsters”. He was also Music Director of the Camerata Singers from 1973 until recently, as well as Music Director of the COTA (Council of the Ageing) from 2003 on. Dad was Grand Director of Music Grand Chorister for the Freemasons, as well as Choir Master at Pilgrim Church 1996 – 1997 (he was also an accredited lay preacher from 1954 on). Among other things, Malcolm became both a Justice of the Peace, and Civil Marriage Celebrant in 1991.

He performed over 900 weddings – the last one being his grandson Ben’s wedding to Emma. Malcolm was immensely proud of his great grandson who was named Jace Malcolm.

Dad was awarded the Order of Australia Medal in 2006 for Service to the Community through Music Education and Music Appreciation Organisations.

He was President of the MTA from 2000 - 2004, and president of the Adelaide Eisteddfod Society 1979 – 1983, and 1999 – 2003.

Dad was renowned for his sense of humour, and being able to turn any situation into something fun. I have spoken to various members of this Council while my father was president, and they have all remarked on the sense of fun that he brought to the meetings.

In the words of Vince Contarino (long-time student of my father and singer of Zep Boys) at Dad’s funeral – “Malcolm gave so much more than singing lessons – he gave lessons of life. Malcolm has made a difference to the lives of so many people – he was a life coach”.

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RECENT EVENTS Summer Conference When: 20-21 January 2022 Online live-streaming

Brief review of the Keynote Lecture by Dr Angela Turner at the 2022 MTASA Summer Conference

By Debra Andreacchio

A problem well stated is a problem half solved: Helping students to develop purposeful practice strategies and techniques In her opening keynote lecture, Angela deftly outlined how identifying learning challenges is the foundation for successful musical problem solving.

She highlighted that practice between lessons is the major contributing factor to a student’s improvement. Nonetheless, research is showing that this practice needs to be purposeful. Angela outlined that the approach to learning is the first step that informs how students practice, but that practice is also influenced by personal motivations, mindset, and level of talent. She discussed the current consensus that deliberate practice is more significant than talent, and that talent does not outweigh effort. Teachers assist at every stage, and need to understand the science of practice that underlies the acquisition of expertise.

Practice builds on innate potential. Practice makes permanent.

A good teacher facilitates and works through the inevitable learning plateaus that a student encounters, understanding that plateaus are a natural part of the learning process. Anders Ericsson, a psychologist who specialised in the research of the nature of expertise and human performance, recommended that the best way to work through a plateau is to approach the difficulty with a new challenge, or from a different perspective.

Angela outlined some common practice problems: procrastination, playing through the music without attending to mistakes, not listening, not knowing what to do to improve, and insecurity. Angela had suggestions for teachers to inspire and direct their students:

• Give constructive feedback • Explore problems perspectives

through

a

variety

of

• Embrace the notion of trying differently versus trying harder • Allow time to think and reflect • Understand what strategies are likely to be effective and when to apply them • Question rather than tell: for example, How did we work on this? How would you practice that?

Angela recommended that lesson notes need to provide a plan, rather than a shopping list.

Research shows that students only remember a small amount from a lesson to embellish a list.

Students tend to remember more of how they have been guided musically during the lesson than rely on implementing verbal instructions. Angela encouraged the repetition of challenges, but spaced through incorporating associated musical ideas. For example, guide a student to play a related scale or arpeggio, or walk around the room in character to understand the rhythm of a dance movement. Then revisit the musical passage.

Angela reminded us that fundamental to effective practice is the student’s understanding of the style and genre of the music – often indicated in the title. Then, musical and technical mastery can be developed through: • Practising each hand separately • Slow practice that incorporates active thinking • Awareness of structural phrase points • Mastering dynamic shifts and changes • Being able to count while playing

• Determine and maintain their individual interests

• Breaking down musical ideas conceptually

• Encourage them to articulate their goals

• Mental practice: playing without sound highlights what a student hears internally.

• Guide them individually to develop their musical focus • Inspire through modelling of examples

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Angela’s presentation was a skilful blend of research and anecdotal experience that established a beneficial foundation for our following conference sessions.

SA MUSIC TEACHER

ANGELA TURNER GRADING PRESENTATION

By Elsabeth Lang

Angela Turner is always a pleasure to listen to, whether she’s delivering a keynote address, conducting a masterclass, or presenting an interesting and informative lecture. All three of these things were done by Ms Turner at the 2022 MTASA Summer Conference, and done excellently. In particular, her lecture-demonstration was practical and insightful, offering many answers to a common instrumental teacher’s question.

“What grade is this piece really?” We’ve all wondered that, whether about an Own-Choice work for James Student’s upcoming exam, or about a supplementary piece that Jane Student might really enjoy... if she can play it, that is. As there are no magical runes which will place the work beyond doubt in one grade level or other, we must decide this for ourselves. And that depends on us having a thorough knowledge of various exam syllabi, and a deep understanding of the musical elements in the piece itself.

Fortunately for attendees of the Summer Conferece, Angela Turner is rather an expert in this sort of thing! Near the beginning of her presentation, Ms Turner explained some of the pitfalls involved in ‘grading’ a piece of music. For one thing, it’s easy to be misled by editions, which often vary in the

precision of articulation, pedalling and pedaling called for. The same piece in a very simple edition may be a grade or two harder in a more complex or heavily-edited version.

Various publications have been released over the years to aid in navigating this issue, and Ms Turner recommended several books and a website, PianoSyllabus.com. I’ve already checked out the latter and found it very helpful – I’m looking forward to profitable days of browsing ahead!

A helpful way of gauging a piece’s difficulty is to see which exam grades it appears in around the world, using such various syllabi as RCM, ABRSM or AMEB. While encouraging this, Ms Turner also shared her fascinating research showing that, in fact, many of these syllabi can overlap by several grades. Her visual illustration was very helpful in showing how one piece which is, say, an easy Grade 6 in one syllabus, might be offered by a different exam board as a challenging work for Grade 4.

Of course, the most thorough way to grade a piece of music is to understand the skills it demands in technique and interpretation. Ms Turner took us through a list of such questions to ask as, “What key is the piece in? What are the roles of the hands?

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How is the pedal used?” Then she explained some of the skills typically expected at several grade levels.

Angela’s presentation was typically wellresearched, clear and approachable, and full of

practical suggestions. After having attended this session, I feel I have a better grasp on how to approach choosing appropriately-graded repertoire for my students.

SA MUSIC TEACHER

MOTIVATED EDUCATION OLIVER FARTACH-NAINI Report By Elsabeth Lang Dr Fartach-Naini pointed out that this is an excellent reason to dedicate some teaching time to actively practising with students. This way they will experience improvement in the lesson itself – as well as learning important practise skills! – and will be more motivated to continue.

As a further consequence of this idea, Dr FartachNaini then invited us to consider curriculumbuilding. Naturally, different students progress at different rates. However, in order to be motivated each student needs to be able to track their own improvement, then teachers must be experts at giving them tasks of just the right difficulty. This requires us to have a wide knowledge of repertoire so that we can design and refine a good learning scaffold for each student, according to what makes them excited.

One of the joys of MTASA’s Summer Conference is the constant reminder that, regardless of the various instruments we may play, we music teachers have far more in common than we may realise. Beyond the basic techniques of our craft, there is the pedagogy of it – understanding the way students think, how to recognise and solve probems, how to shape their learning experience well. Whether we are used to doing this with a violin in hand, guitar on lap or fingers on keyboard, many of our approaches are similar, and there is so much we can learn from one another’s insight.

This is one reason why, in January this year, I was delighted to find on my Conference program a keynote presentation by Oliver Fartach-Naini, a German-born guitarist and educator and one of the senior lecturers at the Elder Conservatorium.

His topic was to be on motivating students – surely a matter on which we would all appreciate some pointers, guitarists and pianists alike!

Well, I wasn’t disappointed. It wasn’t that the concepts presented were wholly new to me, but that Dr Fartach-Naini’s approach cast some new light on the subject. For instance, I knew that my students were generally happier when they were progressing. But I hadn’t quite connected the dots that when students can see that they’re already improving, they are motivated to keep improving.

Of course, Dr Fartach-Naini also covered the difference between intrinsic and extrinsic motivation – the joy of the process itself, versus the pleasure of external rewards or recognition.

We would all love our students to find their greatest motivation simply in the pleasure of playing! But, as our presenter explained, it is often in our power to foster or quench this very thing.

I found the negative illustration particularly powerful!

How to destroy motivation? Give a student a piece that’s too difficult, that they don’t like, and leave them to learn it themselves. Conversely, I reasoned, to foster a student’s intrinsic motivation it’s important to assign music they love, to calibrate the difficulty so that they can see themselves improve, and to learn it with them.

In all, I found Oliver Fartach-Naini’s presentation an empowering reminder that, as teachers, we do have the ability to foster motivation in our students and need merely rely on what they bring to the lesson. With some careful planning and a deep understanding of their needs and goals, our studios can blossom with joyful and motivated learners!

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CREATIVITY IN THE INSTRUMENTAL LESSONRuth Saffir

By Norma Knight start being creative with the solutions. Let’s give the student permission to be creative. In classical music we can vary the phrasing, dynamics, rubato, and tonal colour. In jazz we can alter the notes and/ or the rhythm, improvise over different harmonies etc.

There are Multiple Possibilities for finding ways to help the student find their own personal artistic and emotional expressiveness. These can include explanation, research, modelling, questioning and discussing, comparison, role reversal (let the student give you a lesson), and finally experimenting and exploring. Be less than perfect – be weird!!!

Use extremes of sound or phrasing. Not everything in life has to be beautiful, but it can be Interesting.

Late on the afternoon of the second day of the MTASA Summer Conference Ruth Saffir presented 45 minutes jam-packed with ideas for Creativity in the Instrumental Lesson. Whose creativity?? Well, the teacher’s and the student’s of course. But for the purposes of this presentation Ruth chose to concentrate on the creativity that enlivens teaching and learning rather than that which births a new composition. Any successful learning/teaching strategy will include the following: Identifying problems, Considering multiple possibilities, Finding solutions and Making decisions. To identify any problem the teacher needs to consider several things about the student, e.g.

1. The age of the student. Questions will vary for a 6 year old or a teenager.

2. Musical and life experience of student.

3. Instrument being studied.

4. Educational level – not school level but considering musical numeracy.

5. Learning style and communication preference of student.

Now that any problems have been identified we can

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Studying the Masters who have gone before can give inspiration. And it doesn’t have to be musicians. Dancers (classical and modern), or painters (impressionist or traditional), can bring new ideas to performing. What story does the melody bring to mind? Singers have words to help but can always benefit from coming from a different angle. Actually even singers need to come up with a story when singing wordless vocalise, and we all know a story has a beginning, a middle and an end. Our imaginations can call on all our senses to use verbal, visual, tactile and kinetic ways of expression. Dalcroze Eurythmics encourages movement using balls and ribbons. A teacher can call out and correct a flat note or wrong rhythm, but who can say that a waving ribbon was ‘wrong’?

Another concept is that of ‘energy’. Rather than thinking ‘loud’ or ‘soft’ why not ask how much energy, and what sort was needed to play that passage? The volume is the end result of the energy expended.

I feel I have barely scratched the surface of Ruth’s excellent presentation but I hope I have given you all some ideas to add to your toolbox.

Here’s to Creativity!

May it always be fun!

SA MUSIC TEACHER

MTASA WEBINAR with Roseanne Hammer The Importance of Musical Pulse and ways to cultivate better understanding.

Report By Sofie Arhontoulis

On Monday 4 April 2022 at 7.30pm, MTASA was proud to host a webinar presented by Roseanne Hammer, on the importance of musical pulse.

Roseanne was unable to present at our Summer Conference, and she kindly presented the webinar as a replacement of the missed session.

The webinar began with Roseanne giving a clear definition of pulse - a division of beat into smaller parts. In lessons she liked to talk first and have a conversation about the piece. This included clef(s), time signature, key signature, style and form.

Together with the student, Roseanne would look at it as a sound story.

Roseanne described pulse as a tool for developing rhythm, and she stressed the importance of assessment and recognition of pulse from the outset. Learning to control the dimensions of pulse, through pulsing practice to hear note values, such as playing the quaver pulses rather than crotchets, were an effective method in developing a secure feel for pulse. A time signature of 4/4 would be inspected as 4 crotchet beats in every bar, and as 4 strong moments. The way that the notes were divided into smaller parts was determined by their rhythm.

Pulse and rhythm were detailed as concepts that are nested within each other, which was an elegant way of describing it. Beat as a division of the bar, pulse as a division of the beat, and rhythm as short and long sounds and rests. When teased out in these short steps, pulse could begin to be effectively taught to students.

Roseanne discussed further development of the role of musical pulse. She detailed that inner pulse as something that needed to be imbued with natural inflection and breathing. There was some time spent in discussing the application of pulse and in understanding swing rhythm. Roseanne gave some examples, using pieces of varying grades, which was a good way to demonstrate the exercises in developing musical pulse.

It was an enjoyable and informative webinar, with several questions answered at the end, and as always, left us wanting more. Warm thanks to Roseanne for presenting an excellent webinar for MTASA.

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CONCERT PERFORMANCE Day 1 Report

By Yuxin Men Held: Saturday, April 9th Flinders Street Baptist Church

Saturday, April 9th was the first in-person concert of MTASA this year. All performers and audiences wore masks to attend the concert to build a safe environment for everyone. The MTASA concert performance day is divided into three sessions, session one starts at 1.30 pm, session two starts at 3 pm, and session three starts at 4.30 pm. We had a total of 24 performers. Although several performers cancelled, all programs were completed in an orderly manner.

The coordinator of the concert was Wendy Heiligenberg, and the programme layout designer was Masako Kondo. The reviewers of the concert were Frances Norton and Yong Cheong Lye for session one, Wendy Heiligenberg and Zuoyu Liu

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for session two, Graeme Quinn and Yuxin Men for session three. Flinders Street Baptist Church is a fully equipped performance venue, with grand piano, music stands, microphone, etc.

All performances are presented one by one from beginner to advanced level, and the piano was cleaned after each program. Many performers memorized the entire piece, which was very commendable. Memorizing is a very important skill for musical performance, which enables the performer to perform more freely and fluently and to present a good stage performance to the audience.

There were nine performers in the first session.

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Eight performers played the piano, and one performed both the saxophone and the piano.

Adding another instrument to the piano makes the dialogue between the instruments more interesting. At the end of the first session, Frances Norton made a speech. She expressed that she was very happy to be the reviewer of the concert, and expressed her recognition of all the performers. She encouraged everyone to keep performing to practise “performance.” The second session consisted of ten players, nine pianists and one violinist. Some players perform superbly to our surprise. It is worth mentioning that the violin player, although there was no accompaniment, performed the repertoire completely, which is a good exercise for the player. Wendy Heiligenberg made a summary and speech after the session. She advised the performers to breathe before they play, to compose themselves, and congratulated them.

For the last session, although there were only five players, each player was extremely well prepared.

In this session, there were one violinist and four pianists. Graeme Quinn took the stage at the end to express his appreciation for the concert. He said everyone was unique, it was his pleasure to hear each with beautiful style and with confidence. He wished everyone all the best.

To close the Concert performance Day 1, Wendy Heiligenberg gave the final thank you to everyone.

Each session had a group photo of the reviewers and the performers. Players came to the stage to receive reports after the performance, and some reports were sent by email.

The MTASA Concert Performance Day provides players performance opportunities in a relaxed atmosphere to express themselves, and we hope that more performers will join in the future.

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ARTICLES ACCOMPANIST’S CORNER My Memories as an Accompanist in Adelaide

By Wayne Hancock

Growing up on a farm at Andrews in the Mid North in the 1960s, I was somewhat isolated in a musical sense. Opportunities to perform were, however, certainly not lacking. My first concert piece was a Kuhlau sonatine and I was soon playing piano gems like Rustle of Spring, The Robin’s Return and Leybach’s Fifth Nocturne in school concerts, fetes and carols nights throughout the Clare and Spalding districts. Not surprisingly, when I commenced my B.Mus at the Elder Conservatorium, my interests lay entirely in playing works for solo piano. This was to gradually change over the next four years as the world of chamber music and more particularly accompanying was revealed to me. Courses in the art of the collaborative pianist had yet to be established at the conservatorium, so one learnt

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to be an accompanist ‘on the job’. In addition to my course work and piano lessons, I spent a significant amount of time accompanying for lessons, master classes, examinations and concerts. My fellow students Lillian Lim (Camphausen) and Greg Roberts were also hard-working accompanists.

We were guided immeasurably by the wonderful conservatorium teachers of that period.

Throughout my time as a student and in the years which followed, I focused to a large extent on the violin and piano repertoire. I had a long association with Beryl Kimber and was a frequent accompanist for her many gifted students. By observing and participating in lessons, I learnt a great deal from Miss Kimber. Relating specifically to accompanying, I vividly recall her insistence on

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precise ensemble - the absolute necessity of the violinist and pianist being exactly together, and her not unreasonable expectation that orchestral reductions, of Mozart concertos for example, be as technically and musically polished as sonata work.

In a more general sense, the great enthusiasm she evoked as a teacher and her artistry as a performer, always made me strive to play at my best. I was fortunate on a number of occasions to be called upon to act as Miss Kimber’s ‘rehearsal pianist’ and in this capacity played with her such works as the Beethoven and Mendelssohn concertos and the Grieg C minor Sonata.

In the late 1980s I made the acquaintance of Carmel Hakendorf (for whom the Adelaide Guadagnini violin was originally purchased in 1955) and became her accompanist for the later years of her career. We played a wide range of sonatas, violin favourites and neglected works by early South Australian composers, such as the Brewster Jones Sonata in E minor. I remember well the unusual intensity that Carmel brought to all aspects of concert giving.

Before every performance, as we were about to step onto the platform she would murmur “I hope I don’t let you down” (a curious pre-concert foible which I believe remained constant throughout her distinguished career) - of course, she never did.

Carmel shared with me many anecdotes regarding Sir John Barbirolli, Rafael Kubelik, Daisy Kennedy, Ernest Lush, Geoffrey Parsons and others. In her youth Carmel had been an accomplished pianist, and she once showed me how to discreetly simplify a tricky left hand passage in Saint Saëns’ Introduction and Rondo Capriccioso, a tip which had been passed on to her by her violin teacher Ludwig Schwab, who had in turn been the accompanist of the legendary virtuoso Jan Kubelik.

Another remarkable South Australian violinist I had the pleasure of working with was Lyndall Hendrickson. Lyndall taught many young students who could deservedly be called prodigies. I accompanied one of them in the highly praised documentary film about Lyndall’s life, ‘Facing the Music Lyndall Hendrickson’s Way’. Lyndall had devised her own unique teaching method, and for recital repertoire she favoured old fashioned showstoppers like Zarzycki’s Mazurka, which she no doubt learnt as a child. I recall one occasion when Lyndall and Jane Peters visited my home for a runthrough of the Prokofiev Concerto No. 1. Jane was at the time well established as a concert violinist in Europe. In this instance, Lyndall’s role had shifted from teacher to valued mentor. Lyndall had an intense dislike of Mozart and Benjamin Britten.

On a personal note, I loved working with instrumentalists and solo singers but was uncomfortable with occasional forays into choir accompanying and repetiteur work. I have happy memories of certain works that I was particularly drawn to – the Poulenc and Dutilleux oboe sonatas and the violin sonatas of Elgar, Strauss, and Rubbra. I have less pleasant memories of playing Lalo’s Symphonie Espagnole and tripping about the sharps in the Chausson Poeme!

I left the Elder Conservatorium about twenty years ago to concentrate on teaching and musicological work. I have done very little accompanying since.

I look back on my years as an accompanist with satisfaction. I developed in both musical and professional terms, but when I think of those times, more than anything else I cherish the opportunity I had to work intensively with some very extraordinary musicians.

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JAZZIN’ AROUND Lead Sheet Interpretation Part 2

By Kerin Bailey Having acquired the facility for playing RH melody line with LH accompanying block chords from my previous article, the reader/student is now ready for step 2: RH melody plus chords, with a LH bass line. The easiest solution for bass lines is simply minims – generally the root and/or 5th of the chord. For a swing jazz piece, a walking bass line in crotchets is very effective. Ex.1 is a basic example of this style.

On the adjoining page to Standard Procedure in Jazzin’ Around 2 is Triadic Excursion, a good study in this style and achievable with smaller hands. Note the rhythmic pattern in the LH. This is a more typical Latin bass line, and suits rock or swing pieces. It also keeps the beat ticking over for solo piano. The RH is the melody with two chord tones voiced underneath – many including the 7th; e.g., bar one. Depending on the experience of the student, I often teach this as an A minor triad, 1st (2nd finger) and 2nd (3rd finger) inversions; functionally though it is Fmaj7. Bar 4 beats 3-4 is a LH ‘fill’. Gm/F = RH Gm chord with F bass.

Morning Song is a step up in level, with upper chord extensions – 9ths, 11ths, 13ths and suspensions, RH ‘comping’ under a melody tone, and two-handed voicings in the bridge. Even there the dotted crotchet/quaver appears – sometimes tied. The style is set up from the outset with the bass pattern. Note the syncopated RH across the bar line 1-2 and 3-4, with the LH quaver on 4 +. The RH chord at this point in bar 1 is Fmaj9, i.e., anticipating the harmony in bar 2, so the C bass note is the 5th of F. Similarly, on 4 + in bar 3 the chord is A7 aug, bass note E, its 5th. This is tricky to play, and I avoid it in easier pieces as above. Note the comping in bar 2, marked p in brackets to allow the melody note G to sing through. Further comping occurs under the melody note in bars 7-8.

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Finally, an excerpt from my arrangement of the Bacharach David hit The Look of Love, published on www.sheetmusicplus.com. Readers by now will recognise the style immediately. Points of interest: 21-22, 26-27: the melody allows voicing the same chord tones under the one hand position; syncopation and articulation.

23: LH descending passing notes from A9-Dm7, acting as a ‘fill’.

24: L/R is simply chord/bass note.

27: Shearing style – LH doubles RH melody/chords (see Shearing and Peterson reviews in previous editions).

25-28: busy pedal for clarity.

Further Study Other pieces in my Jazzin’ Around series in this style in a rough order of difficulty include: Two For One – introduction to LH pattern (JA3); Silken Touch – RH mainly 2 voices (JA4); Riff-Raff Rock – RH triads (JA3); Left Hand Drive – RH 2/3 note chords (JA5); Miss Miles – gr.6 (JA1); Giant Strides – see bridge for a walking bass (JA4).

Apply these techniques to favourite lead sheet melodies to form your own arrangements. Also, to embellish and fill out standard sheet music pieces.

See my YouTube channel for tutorial/demonstrations of most of my piano pieces and copyright arrangements: www.youtube.com/channel/UCP_sKBc6buqANdhgkTBveWw

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REGIONAL TEACHERS Balaklava Eisteddfod in full swing for 2022

By Meriel Lane

We moved to Balaklava from southwest England at the end of 2002, 3 children (a 4th born in Australia), the dog, the piano and husband of course! I had been promised the Adelaide Hills which would feel a little like England I was told and somehow have ended up in the small dusty mid north town of Balaklava, where my husband found a job and co-incidentally it is the town that he grew up in. I was so happily surprised to find such a welcoming community and a buzzing musical life here and very quickly gathered my first few Australian piano students. I was playing the church organ, playing in community arts bands, accompanying Festival of Music choir at our local primary school and I also took up the harp – which I had been waiting to do since the age of 7 – it’s never too late!

When we arrived here the Balaklava Eisteddfod was relatively young and it’s been amazing to see it grow over the years. We had hoped to host our 25th Eisteddfod last year, which was sadly cancelled, as was 2020, but we are in full swing for 2022! The event is held over the first weekend of August.

On the Friday the town is full of school students – with often up to 30 schools attending competing in choir, concert band, rock band and ensemble competitions as well as a choir workshop. On the Saturday the town is hectic with competitors, some just entering one discipline, but many manage to fit multiple performances into a day (fun and games for the programmers – as well as making sure their accompanists are all in the right place at the right time!) – disciplines include piano, instrumental, musical theatre, speech and drama and vocal (classical and contemporary). The various sections are all held in halls, school spaces and churches around the town, and it’s hard to know where to be as there is so much to see! Ages of participants range from around 4 to 60 years old. As a local

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piano teacher, it’s a wonderful event to have on our doorstep and fits in very well with the regional AMEB exams which are often at the end of August – many students have found it a good dress rehearsal for a couple of exam pieces! We are so grateful to our incredible adjudicators, who always make it such a positive and encouraging experience for everyone.

When we moved to Balaklava I don’t think I could have imagined how my initial group of students would expand and am now busy visiting 4 local schools and teaching in my own studio. Reflecting on the last 20 years, I couldn’t have foreseen the opportunities that would come my way in a small rural community.

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PEDAGOGY MATTERS How do we teach technique?

By Rodney Smith To be clear, we need a more targeted question. For example, it must be obvious to most that different instruments make different demands and for some technique looms very much larger than for others.

One way of looking at it is that the more physical contact the player has with the instrument, the more technique seems to be a constant issue.

Of course, that pre-supposes that technique is seen as a physical area of concern. Historically that looks like the case with nineteenth century pianists, but these days psychological aspects appear to be considered just as important – and maybe indivisible from physical aspects anyway.

If we just consider physical matters for the moment (keep it simple, stupid), singing would stand at the top of the tree for physical contact and possibly piano might sit at the base for lack of it. I mention this because if we further curtail the investigation to beginner and elementary pupils only, the piano is often cited as a “good instrument to start with”.

So is the voice. As the voice is so totally physical and the piano has so little physical contact there is curiously a certain simple quality about technique at the earliest stages in both cases.

Of course, that leaves instruments around which players wrap themselves, such as violins, or blow with exquisite finesse, such as trumpets, as highly technical from a physical perspective. Naturally these teachers’ concerns are very focused on “set up” and associated underpinning to ensure the actual sound is tolerable at least.

For pianists early physical technical development can be relatively simple and that allows teachers to concern themselves more avidly with issues such as musical hearing, reading and understanding.

In fact, how piano technique is approached with beginners and elementary students is often avoided in discussions between teachers because a common vocabulary hasn’t evolved strongly as it has with some other instruments. And there are so many blurred boundaries. An instrument where – to coin a phrase - only fingertips and toes make contact leaves enormous room for variation.

Recent interest in teaching piano technique using good repertoire has been building. Hours spent learning Hanon often don’t produce desired results and it’s significant that the best nineteenth century book of exercises, written by Brahms no less, comprises many passages derived from his own piano works. Furthermore, the AMEB’s recent replacement of a “scales and arpeggios only” approach with some specially composed and beautifully written exercises for all grade examinations shows the value of early level pianists practising quality music for technical development.

Why? Because they can. It’s fingers and toes only!

To sum up, for violinists, issues such as how to stand and sit and move around that tiny instrument are fundamental, with many rights and wrongs. For pianists the same issues raise lots of grey areas.

So, how do we teach technique? With great care would be a good start.

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OTHER ORGANISATIONS’ NEWS & EVENTS ADELAIDE EISTEDDFOD Dates : Check website for each divisions schedule Website : www.sacoment.com/aes/eisteddfod/

SOUTH AUSTRALIAN MUSIC CAMP 2022 Dates : 18-22 July Venue : Elder Conservatorium of Music Website : www.samusiccamp.com.au/

THE 26TH BALAKLAVA EISTEDDFOD Dates : 5-6 August 2022 Website : www.balaklavaeisteddfod.org.au/

MUSICA VIVA PROFESSIONAL LEARNING Strike A Chord Teachers’ Conference Date : Sunday 28 August, 2022 Website : Monash University, Melbourne Exploring music from the Torres Strait Date Time

: 20 Oct, 2022 : 5:30pm Online event Website : www.musicaviva.com.au/workshops/

AUSTRALASIAN PIANO PEDAGOGY CONFERENCE 2023 Theme When Where

: The Holistic Piano Teacher : 3-7July, 2023 : UWA Conservatorium of Music, University of Western Australia, Perth Website : www.appca.com.au

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SYDNEY INTERNATIONAL PIANO COMPETITION Dates

: 5-22 July, 2023 Applications open in Mid 2022 : www.thesydney.com.au/

Website

MITCHAM ORCHESTRA

Rehearsals : Venue : Contact Ph. Email

: : :

The Mitcham Orchestra is looking for lower strings, Oboe and Horns.

Saturday afternoons 1.30pm – 4.15pm Cumberland Park Community Centre, 390 Goodwood Rd, Cumberland Park Ros Keynes 8390 3053 rosalind@keynes.id.au

METROPOLITAN MALE OF SOUTH AUSTRALIA Theme

: 2023 INSTRUMENTAL/VOCAL Music Scholarship-2023 Metropolitan Male Choir of South Australia Inc. Info : PLEASE CHECK IN JULY Website : www.mmcsa.org/about/music-scholarships/

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OTHER ORGANISATIONS’ CONCERTS RECITALS AUSTRALIA WEDNESDAY LUNCH HOUR SERIES 2022 Tickets : Enquiries : Website :

$10 or online via website, Facebook, or Vimeo for free.

Ph. 08 8236 7488 www.recitalsaustralia.org.au for more information.

• 1 June, 12:30pm Lauren Borg, Flute – Carl Reinecke • 18 June, 2:00pm Autumn Series Final

ELDER CONSERVATORIUM OF MUSIC CONCERT SERIES 2022 Lunchtime Concerts Evening Concerts Website : www.able.adelaide.edu.au/music/engage/concert-series Contact : For booking and enquiries: Tel: +61 8 8313 5925 Email : concertmanager@adelaide.edu.au

ADELAIDE SYMPHONY ORCHESTRA Check their website for the upcoming concerts and support our local orchestra!

Website : www.aso.com.au/concerts-tickets/whats-on/

MUSICA VIVA www.musicaviva.com.au/concert-season/ • A Winter’s Journey Thursday 21 July, 7:30pm Adelaide Town Hall • Z.E.N. Trio Thursday 25 August, 7:30pm Adelaide Town Hall

• Avi Avital & Giovanni Sollima Thursday 6 October, 7:30pm Adelaide Town Hall • Signum Saxophone Quartet & Kristian Winther Thursday 10 November, 7:30pm Adelaide Town Hall

FLINDERS STREET BAPTIST CHURCH Tuesday on Flinders Time : 1:00pm Entry : Free Website : www.fsbc.asn.au/concerts/

NORWOOD SYMPHONY ORCHESTRA Venue Tickets Website

: Norwood Concert Hall : Adult $20, Concession $15, Children Free : www.norwoodorchestra.com/

BURNSIDE SYMPHONY ORCHESTRA Venue Tickets Website

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: Burnside Ballroom, 401 Greenhill Road, Tusmore 5065 : $20 Please purchase online : www.bso.org.au/concerts-2021/

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CONTACT DETAILS FOR OTHER ORGANISATIONS 5MBS: MUSIC BROADCASTING SOCIETY OF SA www.5mbs.com 8346 2324 5mbs@5mbs.com 4A River Street Hindmarsh SA 5007 AUSTRALIAN BAND AND ORCHESTRA DIRECTORS’ ASSOCIATION (ABODA): ABODA SOUTH AUSTRALIA www.abodasa.com.au info@abodasa.com.au ABODA SA C/-PO Box 327 Walkerville SA 5081 ABRSM EXAMINATIONS www.us.abrsm.org/en/home SA Rep.: Anastasia Chan 8234 5952/0423 282 589 abrsmsa@hotmail.com ACCOMPANISTS’ GUILD OF SA INC. www.accompanist.org.au President: Leonie Hempton OAM 8272 8291/0404 145 502 leoniehempton@gmail.com ADELAIDE BAROQUE www.adelaidebaroque.com.au 8266 7896 0400 716 554 General Enquiries manager@adelaidebaroque.com.au 10 Clarence Avenue, Klemzig SA 5087 ADELAIDE CHAMBER SINGERS www.adelaidechambersingers.com/ +61 8 8352 1329 admin@adelaidechambersingers.com ADELAIDE EISTEDDFOD SOCIETY INC. www.sacoment.com/aes/eisteddfod/ Secretary: Jane Burgess adleisteddfod@adam.com.au jane@janeburgess.com.au ADELAIDE HARMONY CHOIR www.facebook.com/adelaidephilharmoniachorus/ Secretary: Sherry Proferes adelaideharmonychoir.info@gmail.com ADELAIDE PHILHARMONIA CHORUS www.philharmonia.net/ ADELAIDE YOUTH ORCHESTRAS www.adyo.com.au/ 8361 8896 Executive Director: Ben Finn claire@adyo.com.au AMEB EXAMINATIONS: SA AND NT www.sa.ameb.edu.au/ 8313 8088 ameb@adelaide.edu.au AUSTRALIAN NATIONAL ASSOCIATION OF TEACHERS OF SINGING (ANATS) ANATS: SA AND NT CHAPTER www.anats.org.au/sant-chapter Secretary: Dianne Spence anats.sa.nt@gmail.com 0435 300 070 admin@anats.org.au

ANZCA EXAMINATIONS www.anzca.com.au (03) 9434 7640 admin@anzca.com.au AUSTRALIAN SOCIETY FOR MUSIC EDUCATION (ASME) ASME: SOUTH AUSTRALIA CHAPTER www.asme.edu.au/sa/ President: Luke Gray graylu@trinity.sa.edu.au asme@asme.edu.au AUSTRALIAN STRINGS ASSOCIATION (AUSTA) AUSTA: SA CHAPTER www.austa.asn.au/chapters/sa/ President: Fiona Patten fionapattenausta@gmail.com +61 439 885 754 AUSTRALASIAN DOUBLE REED SOCIETY www.adrs.org.au Contact: Josie Hawkes OAM josie.bassoon@gmail.com

MUSICA VIVA www.musicaviva.com.au for concert details Box office: 1800 688 482 contact@musicaviva.com.au boxoffice@musicaviva.com.au MT GAMBIER EISTEDDFOD www.backstageinc.org.au Secretary: Maxine Chalinor 0457 067 555 tonymaxine@internode.on.net MUSICIANS’ UNION OF AUSTRALIA ADELAIDE BRANCH www.musiciansunion.com.au/ 8272 5013 industrial.officer@musicians.asn.au Federal Treasurer-Sam Moody 0412933865 musosa@bigpond.net.au ORFF SCHULWERK ASSOCIATION OF SA www.osasa.net/ info@osasa.net

AUSTRALIAN STRING QUARTET www.asq.com.au/ 1800 040 444 asq@asq.com.au

PRIMARY SCHOOLS MUSIC FESTIVAL www.festivalofmusic.org.au 8261 5438 office.psmf799@schools.sa.edu.au

BALAKLAVA EISTEDDFOD SOCIETY www.balaklavaeisteddfod.org.au Contact: Trish Goodgame 0417 891 834 info@balaklavaeisteddfod.org.au

RECITALS AUSTRALIA www.recitalsaustralia.org.au 8236 7488 info@recitalsaustralia.org.au

CON BRIO EXAMINATIONS www.conbrioexams.com 9561 3582 / 0401 014 565 lily@conbrioexams.com ELDER CONSERVATORIUM OF MUSIC www.music.adelaide.edu.au/ 8313 5995 music@adelaide.edu.au ELDER HALL www.music.adelaide.edu.au/concerts/ 8313 5925 concertmanager@adelaide.edu.au FLUTE SOCIETY OF SA INC. www.flutesocietyofsa.org Secretary: Catherine Anderson secretary@flutesocietyofsa.org INSTRUMENTAL MUSIC: DEPARTMENT FOR EDUCATION Instrumental Music Office - Klemzig 8261 8988 IM.KlemzigOffice608@schools.sa.edu.au Instrumental Music Office - Morphett Vale 8392 3800 IM.MorphettValeOffice896@schools.a.edu.au Music Programs 8226 1883 education.musicprograms@sa.gov.au KODALY MUSIC EDUCATION ASSOCIATION OF SA www.kodalysa.com/ 0405 066 469 kodalysa@gmail.com

ST CECILIA EXAMINATIONS PTY. LTD. www.st-cecilia.com.au 1800 675 292 info@st-cecilia.com.au SOUTH AUSTRALIAN BAND ASSOCIATION www.sabandassociation.org Secretary: David Corkindale secretary@sabandassociation.org SOUTH AUSTRALIAN MUSIC CAMP ASSOCIATION www.samusiccamp.com.au Administrator: Samantha Taylor admin@samusiccamp.com.au THE SOCIETY OF RECORDER PLAYERS SA INC. www.facebook.com/recorderplayerssa/ 0410 109 135 srpsainc@gmail.com TRINITY COLLEGE LONDON EXAMINATIONS www.trinitycollege.com.au 1300 44 77 13: National Mr Stanley Tudor 8345 3117: Local stanley.tudor@iinet.net.au UKARIA CULTURAL CENTRE www.ukaria.com 8227 1277 info@ukaria.com

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www.MTASA.com.au Est. 1930