37466 CFMTA spring edition 04 · 2017. 2. 7. · Think Jazz! Bill Boyd.....$9.95 INTERMEDIATE...

THE CANADIAN MUSIC TEACHERLE PROFESSEUR DE MUSIQUE CANADIEN

CFMTA FCAPMS P R I N G ED I T I ON • 2004

THE CANADIAN MUSIC TEACHERLE PROFESSEUR DE MUSIQUE CANADIEN

Official Journal of The Canadian Federation of Music Teachers’ Associations

Vol. 54, No. 3Circulation 3400Founded 1935

WHAT’S INSIDE . . .Greetings from CFMTA...................... 4

National Convention .......................... 6

Contemplating the Art of Teaching .. 12

ACNMP ........................................... 18

Carleton W. Elliott............................ 19

Marek Jablonski Endowment ............ 21

Music Teachers’ North AmericaConference ....................................... 22

From the Provinces ...........................24

Multimusic Canada for the NewMillennium....................................... 31

Where Once They Stood .................. 32

The Science and Art of MusicalMemorization ................................... 36

30 Fingers, 6 Feet Under.................. 43

Networking With Piano TeachersAcross Canada .................................. 44

Book Reviews ................................... 45

Executive Directory .......................... 53

The Associated Board of the Royal Schools of Music (Publishing) Limited

New Piano Syllabus 2003–2004from The Associated Board of the Royal Schools of Music

ABRSM (Publishing) Ltd 24 Portland Place London W1B 1LU United Kingdom [email protected] www.abrsmpublishing.co.uk

For further information on Associated Boardexaminations in Canada contactInternational DepartmentThe Associated Board of the Royal Schools of MusicTel +44 20 7636 5400Fax +44 20 7637 [email protected]

Selected Piano Examination Pieces 2003–2004

• new syllabus

• one album per grade, Grades 1 to 8

• each album contains nine pieces from the syllabus for Grades 1 to 7,and twelve pieces for Grade 8

Teaching Notes on Piano Examination Pieces 2003–2004

Clara Taylor and Anthony Williams

• detailed information on each piece in the syllabus, Grades 1 to 7

• encourages a fresh and imaginative approach to playing

Recordings of the complete piano examination syllabus

• recordings of all pieces available on CD and cassette

• performed by international concert artists: Rolf Hind, Piers Lane, Dennis Lee,Paul Lewis, Noriko Ogawa, Mary Mei-Loc Wu and Sophie Yates

To order these publications in Canada contact

The Music BookstoreRemenyi House of Music210 Bloor Street WestToronto, ON M5S 1T8Tel (416) 961 3111 Fax (416) 961 [email protected]

Tom Lee Music Co Ltd929 Granville StreetVancouver, BC V6Z 1L3Tel (604) 685 8471 Fax (604) 685 [email protected]

Ward Long & McQuade Music412 West Hastings StreetVancouver, BC V6B 1L3Tel (604) 682 5288 Fax (604) 682 [email protected]

T h e C a n a d i a n Mu s i c Te a c h e r L e P r o fe s s e u r d e Mu s i q u e C a n a d i e n

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UPCOMING EDITIONS OF The Canadian Music TeacherCanada Music Week™ Edition 2004

Publication: September 2004 • Submission Deadline: August 10, 2004Winter Edition 2005

Publication: January 30, 2005 • Submission Deadline: December 10, 2004Spring Edition 2005

Publication: May 25, 2005 • Submission Deadline: TBA

SEND ALLMATERIALS FOR ALL EDITIONS TO:Lore Ruschiensky, Editor, The Canadian Music Teacher

94 Green Meadow Road, Regina SK S4V 0A8Phone (306) 789-8414, Fax (306) 751-4883 [email protected]

ADVERTISINGSend all advertising inquiries and orders to: Lore Ruschiensky, Advertising Manager

94 Green Meadow Road, Regina SK S4V 0A8Phone (306) 789-8414, Fax (306) 751-4883 [email protected]

PUBLICATION INFORMATION

The article about the Esther Honen’s pianocompetition that appeared on page 29-30 in the WinterEdition of The Canadian Music Teacher inadvertently didnot include the credit to the writer, Janet Leffeck.

Janet Leffek taught piano in Halifax for over 30 years,for 12 of those years heading an innovative programme ofgroup teaching in the Halifax schools which took childrenfrom beginning level piano to Grade 9. In 1995 Janet andher husband retired to Victoria, B.C. She is a Life Member of

NSRMTA, of which she was President, as well as being onthe national executive of CFMTA for several terms. She isnow a member of BCRMTA, Victoria Branch. She hasserved as a piano adjudicator in all four Atlantic provinces,and in many communities in British Columbia, includingVancouver.My apologies for the omission and thank you Janet for

your time in writing this fine article for all to enjoy.Lore Ruschiensky

APOLOGIES

WE NEED YOUR HELP:

I would like my donation _________________________________ bequest _________________________________ to be given to:

a) Canada Music Week® _______________________________________________________________________ $ __________________

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A receipt for Income Tax purposes will be issued for a donation of $50.00 or more from the office of the Secretary-Treasurer, Beryl Wiebe, #2-28-15153 98th Ave., Surrey, BC V3R 9M8

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I WISH TO MAKE A FINANCIAL CONTRIBUTION TO THECANADIAN FEDERATION OF MUSIC TEACHERS’ ASSOCIATION SPECIAL PROJECTS.


4

I am standing in the wings of the MunicipleAuditorium/Music Hall stage in Kansas City,Missouri, listening to the voice of Gary Ingle,Chief Executive Officer of the Music TeachersNational Association. Gary is briefing the audienceon the upcoming CFMTA/MTNA partnership.

“Tonight, I am pleased to announce formallythat the Board of Directors of both MTNA andthe Canadian Federation of Music Teacher’sAssociations have approved this importantpartnership that will have as its first culminatingevent a joint conference between MTNA and CFMTA in2007 in Toronto, Ontario.”

A mix of enthusiasm and apprehension suddenly racesthrough my body. Will the more than two thousand musicteachers in the audience cheer at this news? Will they sharethe same excitement that our own CFMTA Executive hasdisplayed?

Thankfully, my tension is short-lived as I hear a roar ofapproval from the audience. Happily, everyone seems toshare the idea that this is an historic opportunity. Ourrespective conferences have never been held outside ourhome countries before. What our associations can learn fromeach other is phenomenal and the potential of this type of

partnership is limitless. The exchange on thedollar has to be attractive to US participants aswell!

So as the plans for 2007 fall nicely into place,so the plans for 2005 begin to really “heat up”!Linda and her committee have been hard at workas the Calgary conference looms ever closer.Fabulous showcases and inspiring clinicians areonly the beginning. I hear that these folks reallyknow how to plan a party, and I can hardly wait!

By now your provinces will have completed and returneda membership questionnaire prepared and implemented byPat Frehlich, Peggy L’Hoir and Nancy Nowasad. This surveyrequests information from each RMT group regarding thetypes of steps taken to solicit new members. The CFMTAExecutive, as part of our membership drive, has collectedthis information knowing it will be helpful for both ourExecutive and for the provinces as each group strives toincrease its member base. We plan to continue to worktogether with each provincial group, encouraging more andmore independent music teachers to enjoy the benefits ofmembership.

Victoria Warwick, President, CFMTA

GREETINGS FROM CFMTA

NOTICE OF ANNUAL GENERAL MEETING 2004Take notice that the Annual General Meeting of the members

of the Canadian Federation of Music Teachers’ Associations will be held at the

Navajo Room, Stagewest All-Suite Hotel,Mississauga, Ontario on Sunday, July 11, 2004 at 9:00 a.m.

Business to be conducted includes to:• Receive and consider the Financial Statements of the period ending.• Receive and relate the Provincial Reports. • Appoint Auditors.

• Transact such other business as may properly come before the meeting.

The Executive & Delegates Meeting will be held onSaturday, July 10, 2004 at 8:30 a.m. at the Stagewest All-Suite Hotel.By order of: Victoria Warwick, President • Beryl Wiebe, Secretary/Treasurer

Dated at Surrey, British Columbia, this 8th day of September 2003.

HAVE YOU MOVED?Address changes should be reported through your provincial executive.

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Canadian Federation of Music Teachers’ AssociationFederation Canadienne des Associations des Professeurs de Musique

NATIONAL CONVENTION“PEAK PERFORMANCE”

Conference and CelebrationCalgary, AB, July 3rd - 9th, 2005

Seymour BernsteinSeymour Bernstein's concert career hastaken him to Asia, Europe and throughoutthe Americas where he has appeared in solorecitals and as guest artist with orchestrasand chamber music groups. He is also aninternationally known writer, composer,

teacher and lecturer from New York, New York.

Piano Master ClassMr. Bernstein will present a two hour master class,working with two teenage students, a girl and a boy.They are to prepare two or three pieces that they wouldlike to perform, and one piece will be chosen, perstudent. The students, or their teachers, must maketransparencies of the pieces they will perform. After thestudents perform, the transparencies will be projected onthe screen during discussion of the pieces. Mr. Bernsteinwill discuss many related aspects of practice andtechnique.

With Your Own Two Hands1. Four to six students may participate.2. Students should be seated on the stage, or in the frontof the room in a semicircle to the left of the piano.

3. Participants should be no younger than 13. Collegestudents and teachers are welcome. No preparation isnecessary, nor will any of the participants be requiredto perform. But they must speak and understandEnglish thoroughly.

4. It is desirable to have the students who haveperformed or will perform in the master classparticipate in the seminar as well.

5. Subjects to be discussed will include: How to preparefor a performance, Concentration, Teacher-pupilrelationships, Nervousness-what causes it and how tocope with it, Memorization, The ultimate reason forstudying music.

Tracy DahlColoratura soprano, Tracy Dahl, hasestablished herself as an important artist onthe international concert and opera stages.Ms. Dahl has given performances withevery major Canadian orchestra and manyorchestras and opera companies throughout

North America. Equally at home in recital, Ms. Dahl hasperformed solo recitals across North America, in France,and in joint recital with tenor Richard Margison.Ms. Dahl will give a recital and will be a voice masterclass clinician. She will chair the voice jury for the RozsaFoundation Voice Competition and will also judge the“Amour” Competition.

Noelle DaudelinActualize your Ambitions - Opening Keynotefor “Peak Performance”Be your own inspiration by discoveringwhat you want out of life. Know yourrights and make the decision to live the lifeof your dreams. Cultivating the gift of

music is a privilege; look inside, you are the gift. Learnhow to elevate your success by identifying what you areprepared to give in exchange for living your dream.Believe in yourself and commit to your action plan. Tocommit to something is to take a risk. Are you worth it?Be action oriented; don’t expect to find time to achieveyour goals, make the time. Be thankful and expectmiracles!

CFMTA Convention 2005, Chair, Linda Kundert-Stoll228 Parkside Way SE • Calgary, AB • Phone: 403-271-0418 • Fax: 403-278-3236

• www.cfmta.org • E-mail: [email protected]

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NATIONAL CONVENTIONOther Piano Master Classes• Tema Blackstone: 20th Century Master Class - twospaces

• Hung-Kuan Chan: Open Repertoire - two spaces• Peter Turner: Early Beethoven Sonatas up to andincluding the opus 22 - two spaces

Other Voice Master ClassesAllan Monk, baritone: Operatic Repertoire - two spacesMonik Grenier & Roland Gosselin: La Melodie via lapoesie francophone, Mrs. Gronier, pianist and Mr.Gosselin, bass, from Montreal, will discuss the art ofsinging the Melodie via francophone Poetry, followed by ademonstration through master class. This session will givemaster class opportunities to two performers singing inFrench.

Master Class Audition Application1. Applicants for piano and voice master classes must bestudying with a Canadian Registered Music Teacher.

2. Applicants must submit an audio c.d. or tape (c.d.preferred) no later than March 1, 2005.

3. The c.d./tape must be accompanied by the applicant’sname, address, telephone number, birth date and theirteacher’s name, address and telephone number.

4. The fee to perform in a master class is $25.00. Pleaseenclose a $25.00 cheque made payable to: CFMTAConvention 2005. Cheques will be returned if theapplication is not chosen.

5. A copy of the composition must be included. Thecomposition and the c.d./tape will be returned.

6. Applicants who are selected to perform will be notifiedby telephone or e-mail.

7. Performers are responsible for their own expenses.Vocal performers should indicate whether they willrequire an accompanist.

8. The clinicians for piano will be Seymour Bernstein,Hung-Kuan Chan, Peter Turner and Tema Blackstone.(subject to change)

9. The clinicians for voice will be Tracy Dahl, Alan Monkand Monik Grenier/Roland Gosselin. (subject tochange)

10. The violin/cello master class participants will bechosen by the Alberta String Association. (details tobe announced)

11. See the web site for updates and more details:www.cfmta.org.

12. Please send the audition c.d./tape & information to:Bettijo Smith, Box 57, Jarvie, AB T0G 1H0For further information call Bettijo Smith at780-954-2464 or e-mail [email protected]

SeminarsThree sessions specifically for teachers and studentsof strings - details to be announced

Colleen AthpariaCreative Ways of Practising! - Are you efficient whenyou practice? Do you repair or prepare? Are youpractising what you already know? Are you learningsomething every day when you practice? Is what you arelearning what you want to be learning? Have youexperimented with different orders of practising? Whenpractising do you repeat a passage when you get it theway you want it or do you go on to something else? Everget bored of practising scales? Here are some creativeways to practice technique!

Francis BalodisLearning Styles of Teachers, Students and Parents. Wow!What Opportunities! - This presentation will help theteacher examine her learning style and her teaching style.It will help the teacher realize the learning style of thestudents and also of their parents - and how these stylesall interact to both help and hinder the whole process ofmusic lessons and learning at home. Teachers will havepractical exercises to help themselves understand howthey learned repertoire -- and why they remember it andwhy they forget it. They will have exercises to learn howto help their student learn more efficiently - and realizemore about themselves! - Elizabeth & Marcel Bergmann

Elaine CaseThe Song As Scene - a lecture highlighted by studentdemonstration. Come and explore the elements of asuccessful ‘scene’. Focus, attitude, gesture, context andthe full realization of text are just some of theconsiderations we will investigate.

Edwin GnandtSeven Pianistic Habits for a Highly EffectivePerformance - Do you feel at times that an essentialcomponent is missing in your student’s performance?Professor Gnandt will discuss seven essentialcharacteristics that make a winning performance at anygrade level! - John Hall

Susan Hlasny & Peter JancewiczMusicians and RSI - Repetitive Strain Injury (RSI) is anarea of growing concern to performers and musicteachers. As many as 80% of professional musicianssustain a playing-related RSI at some point in theircareers. These injuries are usually caused by unnecessarilyinefficient and often harmful technical habits combined


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with a relentless schedule of practising and performing.Susan Hlasny and Peter Jancewicz are both professionalpianists who have sustained career-threatening RSI. TheirCFMTA presentation grows out of their experience inrecovering from their injuries, and will include adiscussion of early warning signs of RSI, what to look forin students, and technical suggestions for the preventionof and/or recovery from RSI. The presentation will beaccompanied by a demonstration at the piano.

Dale JacksonBaroque Ornamentation - a mandatory and integral partof baroque performance. The How - When - Which Onenecessary for any baroque performance to be complete.

John ReidThe Best of Contemporary Showcase - The Repertoire -Contemporary Showcase is a noncompetitive festival ofCanadian music held annually during Canada MusicWeek across the country. The C/S Syllabus of Canadianmusic is at the heart of the festival and in this sessionwhich will feature student performances, Mr. Reid willalso present scores and recordings of some of the finemusic of the repertoire with an emphasis on those worksthat have been published and recorded commercially,principally for piano and voice.

Allen ReiserImpressionistic Byways - Mr. Reiser will present aworkshop on the music of the ‘other’ Impressionists -Ireland, Ibert, Griffes, Palmgren, Scott, Beach, Grovelez- using selections from their music - (Ireland) IslandSpell, The Darkened Valley, (Ibert) Le Vent dans lesRuins, selections from Histoires pour piano, (Griffes)The Lake at Evening, The Fountains of the Aqua Paola,The White Peacock, (Palmgren) May Night, The Sea,(Scott) Lotus Land, (Beach) A Hermit Thrush at Eve(Grovlez) and selections from L’almanach aux images.

Gordon RumsonReclaiming 19th Century Performance Practice -Historical performance practice has studied the music ofthe Renaissance, the Baroque and the Classical eras ingreat detail. However, in the only era for which there arerecordings, performance practice has been stifled. Thereason is simple: we have not yet moved beyond thereaction to the Romantic era and its “excesses.” What did19th century performers sound like? Would anyone dareplay that way now? Listening to the historic recordingsand reconsidering documentary sources, we may discovernew ways of playing that will make music come alive inthe Romantic fashion.

Susana SingerThe Influence of Scarlatti in Spanish Piano Music -Susana Singer will talk about the lasting influence ofScarlatti in Spanish music, from Antonio Soler to the20th century. Susana Singer will perform illustrations ofmusic by Soler, Scarlatti, Granados, Turina and ErnestoHalffter.

Roberta StephenWomen in Music - Rewards and Difficulties - Thisillustrated lecture will look at the role of women in musicfrom a historical perspective and contrast it with thepresent situation. We have a musical history which islargely unknown, a rich tradition of performers,composers and patrons. Live demonstrations, and a lookat manuscripts, performing editions and recordings, willgive a taste of this music.

Derek StollJazz and the “Classical Pianist” - Mr. Stoll will discusshow to introduce jazz to conventionally trainedmusicians. He will “take the mystery out,” and will talkabout how much there is in common between jazz andclassical styles. Conventionally trained musicians AREwell-equipped to pursue jazz!

James Picken & Douglas Hales- will present an organ lecture - demonstration at St.David’s Church.

Merlin ThomsonSuzuki Piano - Mr. Thomson is one of Canada’s leadingSuzuki Piano authorities. A graduate of the MatsumotoTalent Education Institute, Mr. Thompson is ArtisticDirector of the Suzuki Piano Program at the MRCConservatory in Calgary, Alberta. He also directs SuzukiPiano apprentice teachers in the two-year Suzuki PianoPedagogy Program. In September 2003, Mr. Thompsonestablished the first online distance delivery Suzuki PianoPedagogy course, combining web-based activities withvideoconference technology.

Janice WaiteNever the Bride - Chronicles of an OverworkedAccompanist - A twenty-year veteran of the Banff Schoolof Fine Arts and Mount Royal College AcademyProgram, pianist Janice Waite, through musical examplesand quotes from the likes of Gerald Moore, DaltonBaldwin, et al., takes a humble and humorous historicallook at the unsung hero of the concert stage - thecollaborative artist.

NATIONAL CONVENTION


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Dale WheelerTeaching: A Dynamic Balancing Act - As with manythings in life, the principles of teaching are not alwaysblack and white. The best solution for students is oftennot “Either/Or” but “Both/And”. What works for onestudent will not always work for another. There will be adiscussion of such issues as: Directed vs. Non-directedteaching, The Pros and Cons of Exercises, Playing as aMental vs. Physical Act, To Compete or Not toCompete, Short-term Pain vs. Long-term Gain.Conservatory CanadaHave lunch with Conservatory Canada. The topic will beannounced at a later date.Royal Conservatory of MusicHave lunch with the RCM. A Chief Examiner will talkabout the new ARCT Teacher diploma format,expectations and pedagogy.Frederick Harris Music Company- will present sessions on all levels of the “CelebratePiano” series.Cantos Music Foundation- Andrew Mosker will talk about historical perspectivesand community. In addition, a tour of the Cantos MusicFoundation will take place on July 9, 2005. Cantosoperates in the historic Customs House located in theWarehouse District of downtown Calgary. Enjoy thisunique music facility through its extensive collection ofover four hundred keyboard and electronic instruments.Performances and Special Events• CFMTA-FCAPM National Piano Competition• Rozsa Foundation Voice Competition• “Amour” Competition• Tracy Dahl - Voice Recital on July 4, 2005• Roberto Plano - a 2003 Honens International PianoCompetition Laureate, will present a piano recital onJuly 3, 2005. Mr. Plano will also give an interview,hosted by CFMTA-FCAPM Vice-President, PatriciaFrehlich. He will be a juror for the CFMTA-FCAPMNational Piano Competition.

• Pro Cathedral Men’s Choir - The twenty voice malechoir will perform works for TTBB, a cappella andaccompanied; they are conducted by Winston Noren.

• Prime Time Big Band - This twenty piece band,conducted by Dave Jones, features professional Calgarymusicians playing Big Band Swing, Latin, Rock, Pop,

Ballads and Blues. Be ready to swing along at thecabaret on July 5, 2005.

• Alberta Heritage Music Project - This project, led byNathene Arthur, culminates with a performance of the“Alberta Heritage composition,” a 10-minute longmedley of music, as a celebration of Alberta’scentenary.

• Organ concert at Jack Singer Concert HallTours• City of Calgary - Sunday, July 3, 2005• Calgary Stampede Day - Friday, July 8, 2005• Banff and Lake Louise - Sunday, July 10, 2005More tour informtion will be available in the fall‘Canadian Music Teacher.’AccommodationAccommodation is available on the University of Calgarycampus through the U of C Conference Centre. Thefollowing choices are available; prices are subject tochange. To book, contact the University of Calgary andreserve your room(s). The booking is listed under thename - CFMTA Convention 2005.Telephone: (403) 220-3203 Fax: (403) 220-6760E-mail: [email protected] Web site:www.ucalgary.ca/residenceDormitory bedrooms with common bathroom facilitiesare situated in Kananaskis and Rundle Halls. No cookingfacilities are provided. Guests may eat in the Dining Centreor at a number of eateries in MacEwan Student Centre.Rates are per person per night.Adult Single $35.84 • Adult Twin $24.64Apartments are self contained units with bedroom(s),kitchen, living room and bathroom. Although there is astove in each apartment, a hook up fee of $25.00 appliesto the activation of the stove. Kitchens are NOTequipped with cooking utensils.Studio Single/$56.00-$62.72 • Shared/$35.84-$36.962 - 4 bedroom BedroomSingle/$43.68--$45.92 • Shared/$30.24-$31.36Hotel Style Accommodation:A. One queen and 1 twin $122.08B. One queen $99.68RegistrationEarly Bird Special: $350.00 and $300.00 for seniorsand studentsFor more information contact Sharon Carne, Registrar at403-239-3784 or e-mail: [email protected]

NATIONAL CONVENTION


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RULES AND REGULATIONSREGULATIONS GOVERNING THE ROZSA FOUNDATION VOICE COMPETITION

1. Each provincial association willchoose, by audition orcompetition, the competitor whowill represent that province as asemi-finalist in the RozsaFoundation Voice Competition.

2. Vocal competitors must be 18 - 33years of age as of January 1, 2005and be Canadian citizens orpermanent residents (landedimmigrants).

3. A competitor may be the studentof a Registered Music Teacher orthe student of a non-member.Provincial winner applicationsmust be received by thecompetition conveners on orbefore Friday, April 1, 2005. Ifthe competitor is the student of aRegistered Music Teacher as ofJanuary 1, 2005, the registrationfee is $75.00 payable by eachprovince to CFMTA Convention2005. If the competitor is not thestudent of a Registered MusicTeacher as of January 1, 2005, thefee is $100.00 payable to CFMTAConvention 2005. Late applicationswill not be accepted under anycircumstances.

4. Competitors in the semi-finalcompetition must present a well-balanced program representing avariety of periods, styles andlanguages. An operatic aria iscompulsory. The entire programmust be at a senior concert levelor higher. The semi-final programmust be 25 to 40 minutes inlength.

5. Three finalists will be selectedfrom the semi-final competition toproceed to the final competition.They are to perform a well-balanced program of their ownchoice including an operatic aria.Only ONE selection from thesemi-final round MAY be repeatedin the final program. The entireprogram must be at a senior

concert level or higher. The finalprogram must be 25 to 40minutes in length.

6. “Amour,” by William Jordan, maynot be used as a selection in theRozsa Foundation VoiceCompetition.

7. Each provincial association will beresponsible for the financialexpenses incurred during theselection of its competitor. Oncethe competitor is chosen, theprovincial association will beresponsible for the competitor’stravel expense as prorated anddetermined by CFMTAConvention 2005.

8. CFMTA Convention 2005 willprovide all competitors withaccommodation, meals andground transportation during thecompetition in Calgary.

9. Professional accompanists will beavailable upon request at no cost tothe competitors. This will includetwo rehearsals and the competitionperformances. If competitors bringtheir own accompanist, only theaccompanist’s performance andtwo rehearsal fees will be coveredin the amount determined byCFMTA Convention 2005. Allother costs for the accompanist(accommodation, transportation,etc.) are the responsibility of thecompetitor.

10.PRIZES:First Place - $5,000.00Second Place - $3,000.00Third Place - $2,000.00

Brian Hanson Calgary OperaScholarship - $1,000.00 for thebest performance of an operatic ariaMountain View Festival prize:Tuition scholarship to the twoweek master class programme atthe thirteenth Mountain ViewInternational Festival of Song,August, 2007, with Rudolf Jansen

OR a recital appearance on theMountain View Connectionconcert series at the Rozsa Centre,University of Calgary in the2006/07 season. (The choice ofaward will be made by the ArtisticDirectors of the Mountain Viewfestival and concert series.)

REGULATIONS GOVERNINGTHE “AMOUR” COMPETITION- the commissioned Canadian work

for voice and piano1. Each provincial representative may

also compete in an additionalseparate competition for the bestperformance of the commissionedCanadian work, “Amour,” poem byAnne Hébert and music composedby William Jordan. The RozsaFoundation Voice competitor willcollaborate with the CFMTA-FCAPM National Piano competitorfrom the SAME province. In theevent that the province does nothave both a voice and pianocompetitor, that province is noteligible to compete in thecommissioned work competition.

2. There is no additional registrationfee required to participate in the“Amour” Competition.

3. The voice and piano team will bejudged together, similar to afestival lieder class.

4. The World Premiere of “Amour”is to take place in Calgary, Albertaon July 7, 2005. Copies of“Amour” will be received by thecompetitors after they have bothbeen chosen by their provincialassociations. “Amour” cannot beused in competition or in publicperformances prior to the“Amour” Competition.

5. PRIZES: Prizes will be given toboth members of the team.First Place - $1,000.00 (ea.)

NATS Calgary Prize - $1,000.00 for voiceSecond Place - $500.00 (ea.)

Composer’s Choice prize - $250.00 (ea.)


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RULES AND REGULATIONSREGULATIONS GOVERNING THE CFMTA-FCAPM NATIONAL PIANO COMPETITION

CALGARY, ALBERTA • JULY 3-9TH, 2005

1. Each provincial association maychoose, by audition or otherwise,ONE competitor who willrepresent that province.

2. Competitors must be no morethan 24 years of age as of January1, 2005. They must be Canadiancitizens or permanent residents(landed immigrants). Studentsunder 16 years of age must beaccompanied by a chaperone, atthe students’ expense.

3. Competitors must have studiedwith a Registered Music Teacherfor two (2) consecutive years ormore within two (2) years of theapplication deadline.

4. Competitors in the CFMTANational semi-final competitionmust present a program consistingof the following:- one complete Canadian solocomposition,- one complete solo compositionfrom the Classical or Baroqueperiod,- a variety of shorter solo works toform a well-balanced program.The entire program must be at thesenior concert level or higher. Thesemi-final program must be 30 to45 minutes in length. At the

provincial level, it is highlyrecommended to follow theseguidelines. To be eligible for theMarek Jablonski prize, theprogram must include a work byChopin. The Chopin winner andthe Canadian winner will bedecided at the semi-final round.No changes to the repertoire listare allowed after June 1, 2005.

5. Three finalists will be selectedfrom the Semi-final Competitionto proceed to the FinalCompetition. Each finalist MAYrepeat ONE selection from thesemi-final program. The finalprogram must be 30 to 45minutes in length.

6. Each provincial association will beresponsible for the financialexpenses incurred during theselection of its competitor.

7. Each provincial association will beresponsible for the expense of itscompetitor’s travel, as prorated byCFMTA, to and from Calgary,Alberta.Associations are stronglyencouraged to solicit corporatesponsorship in this regard.

8. All piano competitors shouldcheck the regulations and

application for the RozsaFoundation Voice Competitionand “Amour” Competition, if theyare going to enter the specialcompetition for the commissionedCanadian work for voice and pianoby William Jordan. There will beseparate prizes for thiscompetition. The “Amour”Competition is scheduled at adifferent time than the pianocompetition.

9. Applications must be received bythe convenor, Rosalyn Martin, atthe address shown on theregistration form, on or beforeMay 1, 2005. A registration fee of$75.00, made out to CFMTA, ispaid by each province and mustaccompany each application. Lateapplications will NOT be acceptedunder any circumstances.

10.PRIZES:First Prize: $5,000.00Second Prize $3,000.00Third Prize: $2,000.00

The Dorothy Buckley Prize - forthe best performance of aCanadian composition: $500.00

The Marek Jablonski Prize - forthe best performance of a Chopincomposition: $500.00

See the Winter edition of “The Canadian Music Teacher” for application forms.All provincial associations should have their provincial competitions in place.

Contact your appropriate association for more details.


12

(an abridged version of a workshop givenat the National Convention of theCanadian Federation of Music Teachers’Associations, St. John’s, Newfoundland,July 2003)

In the 1950s, the great Russianpianist, Emil Gilels, was appointedProfessor of Piano at the renownedMoscow Conservatory of Music. A fewyears later he resigned and in aninterview in the late 1970s, stated:

“I never fully appreciated theinfluence of a teacher until I tried itmyself. When I was working withstudents, I treated them more likecolleagues than students. I thought thatif I explained an idea once, they wouldgrasp it. I liked working with them, butI found I couldn’t express myself theway I wanted. Then I would have torepeat my ideas, and I just didn’t likethat at all. I just couldn’t bear all therepetition necessary if one wants toteach well. A good teacher, to my wayof thinking, has to project himself andhis ideas; it is a very special art, Ibelieve, and it demands a specialmanner. Many musicians, perhaps,cannot play extraordinarily well, butthey become wonderful teachersbecause they can project ideas. Icouldn’t, so I felt teaching was not thething for me to do, even though I wasat the Moscow Conservatory. I gave itup and I could never envision teachingagain. I don’t feel I have the extra giftthat is necessary for good teaching.”

It does indeed require talent anddedication to work effectively in thestudio, and those who teach carryenormous responsibilities. Ourprofession is both challenging andrewarding. Regardless of the ages andlevels of our students, they come to uswith vastly different backgrounds,musical aptitudes, and short- and long-term aspirations. The teacher’s primaryrole is to shape and nurture the artisticpotential of each student, and this is acomplicated process involving manyparameters. In order to successfullycarry out our work, it is important toestablish pedagogical goals and torevisit and re-assess them on a regular

basis. A list of general and specificobjectives might include the following:

1. To develop the student’s ability tocommunicate through themedium of music.

2. To develop technical control andartistic insight in each student,regardless of age or degree oftalent.

3. To teach respect for the music -preferably, to instill a sense of aweand wonder about the creativegeniuses behind the greatmasterpieces, and to encouragestudents to reinforce theirunderstanding with historical andtheoretical knowledge.

4. To promote good work habits,dedication, and commitment instudents.

Frank Abrahams, a researcher in thefield of music education, conductsworkshops where he often asks teachersto consider several important questionsabout themselves:Is my teaching authentic?Does it promote substantiveconversation?

Do I...focus on depth of knowledge ratherthan breadth?promote higher thinking?

make connections to the worldbeyond music?provide students with support whenthey achieve and when they havenegative experiences?engage a variety of learning typesand know multipleaptitudes/intelligences?allow students to construct theirown meaning?All of the aforementioned points are

valid and, undoubtedly, more could beadded to the list by the many fineteachers across this country. Success inteaching could perhaps be defined asachieving a convincing interconnectionbetween the musical demands of therepertoire and attributes of the student.Each individual we encounter in thestudio brings to the instrument a

personality and most teachers haveexperienced the gamut, ranging fromthe rather dull to the out-of-control!When added to the mix, the personalityissue is perhaps one of the mostchallenging and fascinating aspects ofteaching. After all, music is a highlyindividual art form and its history hasbeen marked by strong personalities.For example, it was very clear thatArthur Rubenstein was destined to playthe piano:

“My father had a predilection for theviolin; he found it more human, moredistinguished than the piano. Thesuccess of a number of child prodigieshad also impressed him. He presentedme with a small fiddle, which Ipromptly smashed into pieces.”

At each lesson, the teacher is facedwith a personality possessing a musicalaptitude - in rare instances, the talent isgreat, in many cases, it is not. Inaddition, that same individual may havelife experiences that have shaped thedistinct personal attributes and areoften far from anything we haveencountered. Nevertheless, teacher andstudent embark on a journey ofdiscovery and development throughmusic. As noted above, the centralobjective is to combine the musicaldemands with the complexcharacteristics of each student in such away that the integrity of the repertoireis upheld and the student is bothinspired and challenged to continue tofurther progress in the art form.

Furthermore, if what we do is tohave any lasting significance in society,our goals must extend beyond passingon skills and knowledge. Over the yearsI have met dozens of people who workand often volunteer in artsorganizations ranging from local musicfestivals to concert series and symphonyorchestras. What is abundantly clear isthat the most passionately dedicated arethose who have forged a deep personalconnection with music. In my teaching,I am constantly looking for ways toignite and sustain in my students aninterest and excitement which will helpthem both inside and outside the realm

Contemplating the Art of Teaching: Shaping and Preserving the IndividualBY DR. EDMUND DAWE

of music. The renowned pedagogue,Frances Clark often said, “We teach theperson first, music second, and thepiano third.”

Ultimately, the teacher is faced withthese challenges inherent in a complexprocess. Perhaps Sviatoslav Richtersummed it up most effectively:

“The interpreter is really theexecutant, carrying out the composer’sintentions to the letter . . . If he’stalented, he allows us to glimpse thetruth of the work that is in itself a thingof genius and that is reflected in him.”

Throughout a student’s training,musical development and personalexpression are intertwined. I have beenfortunate to enjoy a twenty-five yearteaching career, working with a widerange of students from five to seventy-five years of age. My own formaltraining included studies with eleventeachers (in Canada, England, andFrance), some of whom had vastlydifferent approaches. Over time, I havecome to isolate the following sevenareas which I believe warrant regularconsideration with respect to everystudent.Teaching = Interaction:

Teaching is more than just telling; itis interacting. How easy it is to slip into“telling mode” at each lesson. Studentsoften bring works we have taught manytimes and performed ourselves. One istempted to use the entire lesson timetelling the student everything youknow about the piece. While it is afundamental role of the teacher to passon knowledge, students should remainpartners in this endeavor. Interaction isvital for a healthy learning environmentif one is to bring out the potential ofeach individual. Often we encounterstudents who are shy and quitereluctant to engage in extensivedialogue in the lesson. Over the years Ihave tried different techniques to helpthem feel more comfortable. Isometimes ask them to keep a practice

journal which we discuss at thebeginning of the each lesson. Writingdown and presenting their impressionsof different recordings of the piecesthey are preparing is also useful.Assigning an article to be discussed thefollowing week is another means ofgetting a student to open up.A Concept of Sound:

Nelita True describes sound as “ourbasic raw material”. I believe that mostof what we do at the piano shouldbegin with a concept of sound, and Ifear that we do not do enough inmainstream music education to developthe student’s ability to listen and tocreate a range of sounds. From theearliest lessons, the ears must beengaged. Exposure to music throughconcerts and recordings, and regularpractice and experimenting at thekeyboard can enable students to

become aware of the many possibilitiesof color and nuance which, in turn,make their studies far more engagingand exciting. Young children haveincredible imaginations which can beutilized to the fullest during their earlyyears of training in laying thefoundation for a palette of sounds.An Artistic Concept/Plan:

From the first lessons, students canbegin to develop a musical concept of apiece. The great Russian pedagogue,Heinrich Neuhaus devoted a chapter inThe Art of Piano Playing to the subjectof the “Artistic Image” of acomposition. This is important forevery student, regardless of age orability. The daily practice routine gainsnew relevance if every aspect of it isdirected towards achieving the artisticplan. Many students flounder becausethey have no plan, or “artistic image”as the focal point of their preparation.From the young student playing ClimbUpon an Elephant by Nancy Telfer tothe advanced pianist preparing aChopin Ballade, formulating an artisticgoal is the basis on which aperformance is built. Neuhaus states:

“Work on the artistic image shouldbegin at the very first stage of learningthe piano and note reading. By this Imean that if a child is able to reproducesome very simple melody, it is essentialto make the first ‘performance’expressive, in other

words, that the nature of theperformance should correspond to thenature (the ‘content’) of the melody;for this purpose, it is especially advisableto use folk tunes in which theemotional and poetic element is muchmore apparent than even in the besteducational compositions for children.The child should be made, at theearliest possible stage, to play a sadmelody sadly, a happy melody happily, asolemn melody solemnly, etc., andshould make his musical and artisticintention completely clear”.Piano Playing = Choreography:

Perhaps it is time that we considerredefining the word, “technique”.While methods and approaches havemade considerable progress throughoutthe twentieth century, our concept oftechnique remains too narrow as it isoften limited to those requirements


13

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C.P.E. Bach, Polonaise in G Minor, BWV Anhang 125 (RCM Grade 6�)Couperin, Le Moucheron (The Gnat)Handel, Air and Variations (Harmonious Blacksmith)Rameau, Rigaudon II from Suite I (RCM Grade 5�)Scarlatti, Sonata in D Major, K. 96; L. 465

Anthology of Classical Piano Music with DVD248 pages (21450)

Beethoven, Country Dance, WoO14, No. 1Clementi, Sonatina in G Major, Op. 36, No. 5, 6th ed.Haydn, Piano Sonata in B Minor, Hob. XVI/32Mozart, Fantasy in D MinorFantasy in D MinorF , K. 397 (RCM Grade 9�)Schubert, Hungarian Melody, D. 817y, D. 817y

Anthology of Romantic Piano Music with DVD248 pages (21451)

Brahms, Intermezzo in E-flat Major, Op. 117, No. 1 (RCM Grade 10�)Chopin, Waltz in A-flat MajorWaltz in A-flat MajorW , Op. 69, No. 1 (RCM Grade 8�)Liszt, Consolation No. 3, S. 172:3 (RCM Grade 9�)Mendelssohn, Venetian Boat SongVenetian Boat SongV , Op. 30, No. 6Schumann, Warum?Warum?W , Op. 12, No. 3

Anthology of 20th Century Piano Music with DVD208 pages (21452)

Bartók, Bear Dance, Sz. 39:10 (RCM Grade 9�)Grainger, The Sussex Mummer’s Christmas CarolJoplin, The Ragtime DanceSatie, Le Piccadilly (Marche)Schoenberg, Short Piano Piece, Op. 19, No. 2 (RCM Grade 10�)

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15

found in conservatory syllabi: scales,chords, arpeggios, etc. We often add toour studio curriculum healthy doses ofHanon, Czerny, Pischna, etc., with theultimate goal of arriving at etudes byChopin, Liszt, and Rachmaninoff. It istrue that the standard technicalrequirements noted above represent thefoundation on which solid pianoplaying is built. World champion athleteand coach, Dan Millman states:

“If you lack a solid foundation, youcompromise the entire structure. Asolid foundation is based uponcomplete preparation of body, mind,and emotions . . . In fact, nearly everydifficulty you face in your chosentraining can be traced to skipping stepsin the past - to weakness in yourfoundation.”

But the structure must extendbeyond the foundation to include manydimensions and components. Perhapswe need to revisit the origins of theword technique - from the Greek,teckhnikos, meaning “art”. Playing thepiano is a complex activity whichrequires the precise movement andcoordination of many body parts. Theauthors of The Well-Tempered KeyboardTeacher discuss this aspect in extensivedetail. As an example, they cite theperformance of a two-note slur which,when broken down into its separatemovements, is by no means simple:1. Move the arm to the keyboard2. Select the finger that will play thefirst note of the slur

3. Drop the finger to the keyboard4. Depress the key5. Transfer weight from the finger thatplays the first key to the finger thatplays the second key.

6. Release the second key7. Move the hand and arm up from thekey.From the earliest years of study,

students should build a repertoire ofgestures and movements that will allowthem to progress comfortably in theirstudies. Piano playing is choreographyinvolving the fingers, thumbs, wrists,forearms, arms, shoulders, torso, etc.,and the teacher must realize thecomplexity of what might appear to bea very simple visual indication on theprinted score. Many separate

movements must work together if theentire routine is to be smooth.

Keyboard choreography remains oneof my pet subjects and I incorporatethis into my teaching in several ways.First and foremost is the regularattention devoted in each lesson topolishing the movements necessary forthe repertoire being prepared. I also tryto spend time with my studentsworking on specific aspects ofchoreography. For example, in additionto structural and harmonic analysis ofmusic, I often ask them to complete agesture analysis of a piece. The purposehere is to help the student translate thevisual into the physical. A student willreturn the

following week with a score analyzedfrom a gestural standpoint and he/shethen takes me through the piecedescribing the movements necessary toplay the various figures and passages.Students in my pedagogy course use asimilar approach when analyzing a piecethey are preparingto teach to a youngstudent. Thisenables the youngteacher to gain acomprehensivepicture of thephysical demands ofeven the mostelementaryrepertoire.Utilizing theVisual:

Visualdemonstration is animportantcomponent ofeffective teaching.In addition, manyteachers owncamcorders, therebyofferingopportunities tovideotape andevaluate studentperformances fromseveral perspectives.Furthermore, wenow have at ourdisposal a greatresource of videosand DVDs whichfeature

internationally renowned performers.In recent years, video documentariesabout famous pianists of the past haveprovided incredible footage of liveperformances by artists who, for manystudents, are merely names in CDbooklets or textbooks. This has openedthe possibility of utilizing the visual andincluding this type of analysis in thestudio, all of which can be extremelybeneficial. In addition to videotapingmy students, we spend time watchingand analyzing the performances ofartists such as Horowitz, Rubenstein,Arrau, de Larrocha, MichelangeliArgerich, Richter, and Kissin. Onefascinating exercise is to comparedifferent interpretations of the samepiece. For example, video footage ofHorowitz and Rubenstein performingChopin’s Polonaise, Opus 53, can openpossibilities for great discussions aboutstyle, tempo, rubato, sound, artistictemperament, and so on.Selection of Repertoire:

The extensive repertoire for the


16

piano is perhaps our greatest resource.Given this ever expanding library,regular time should be devoted toexploring new and less familiar music soas to increase our knowledge andenable us to be wise counselors to ourstudents in this regard. Repertoire canbe used in various ways and must bechosen with careful consideration. Aspecific piece might capitalize on theparticular strengths of a student, whileother works might be needed to helpnurture the less developed aspects ofhis/her piano playing. A student who

possesses great finger agility can deriveenormous satisfaction and be highlymotivated by repertoire which placeshuge demands on the fingers.However, the same student might belacking in subtlety of nuance and mayequally need a piece which will helpimprove this weaker aspect of theplaying. Some pieces serve as excellentquick studies to promote independencein students while other works representmore long-term preparation strategiesin helping a young musician move to ahigher level of performance bypresenting the “ultimate challenge” at aspecific point in his/her development.The Teacher and Consideration forDifferent Types of Learners:

In an era where we have beeninundated with methods, it is essentialto remember that the teacher, not themethod, is the key determining factorfor success. The great pedagogueTheodore Leschetiszky (1830-1915)was emphatic when he asserted:

“Don’t have a method; it is farbetter to leave your mind blank for thepupil to fill in. You will discover moreeasily, in this way, what he needs. Evenin technique it is impossible to have amethod for every hand is different. Ihave no method and I will have nomethod. Go to concerts and be sharp-witted, and if you are observing youwill learn tremendously from the waysthat are successful and also from thosethat are not. Adopt with your pupilsthe ways that succeed with them, andget as far away as possible from the ideaof a method. Write over your music-room door the motto: ‘NOMETHOD’ I have no method, there isno one method.”

Progress in the studio is contingentupon the realization that there aredifferent types of learners. In recentdecades, a vast amount of research hasbeen carried out in the field of musiceducation and numerous publicationsattest the fact that there are differentlearning styles. All of this information isuseful to studio teachers, consideringthe fact that we are afforded the luxuryof working one-on-one with studentsover an extended period of time.

In conclusion, the field of pianopedagogy has made great strides in thetwentieth century. A holistic approach

to education in recent decades has,thankfully, moved us in the direction ofre-evaluating basic objectives andgaining a better understanding of themany complex facets of studioinstruction. As we continue to developand refine the tools of our profession, itis always good to revisit ourphilosophies and to consider new ideas.Regardless of any changes which mayoccur, we remain in the privilegedposition of shaping the lives of manyoutstanding individuals.___________________________________________________________________

BIOGRAPHYDr. Edmund Dawe - Praised for hisimpressive technical command of thepiano combined with sensitive andinsightful interpretations, EdmundDawe has performed recitals in Canada,the United States, Great Britain,France, Korea, and Hong Kong. Dr.Dawe's work as an artist-teacher hasbeen widely recognized, and he hasreceived numerous awards and honours.In 1996 and 2001, he was the recipientof a Paul Pare Award at Mount Allisonfor excellence in teaching andperformance, He is a regular presenterat provincial, national andinternational pedagogy conferences.Edmund's research interests are diverseand include areas such aschoreographyand gesture in piano playing,motivation, performance anxiety and theteacher's role in shaping and preservingthe individual student.___________________________________________________________________

Endnotes

i. Elyse Mach, Great Contemporary Pianists Speak forThemselves (New York: Dover Publications, Inc.), p.122.

ii. Kris Kropff, ed. A Symposium for Pianists and Teachers:Strategies to Develop the Mind and Body for OptimalPerformance (Dayton, OH: Heritage Music Press, 2002),p.244.

iii. Rubenstein, Arthur, My Young Years (New York: Alfred A.Knopf, 1973), p.14.

iv. Conversations with Frances Clark Volume One: Her Life andTeachings (SH Productions, Inc., 1992).

v. Monsaingeon, Bruno, Sviatoslav Richter Notebooks andConversations (Princeton: Princeton University Press, 2001),p.153.

vi. Nelita True at Eastman: Technique Through Listening (SHProductions Inc., 1991).

vii. Neuhaus, Heinrich, The Art of Piano Playing (London:Barrie and Jenkins Ltd., 1973), p.10.

viii. David Millman, Body Mind Mastery (Novato, CA: NewWorld Library, 1999), p. 27.

ix. Marienne Uszler, Stewart Gordon, and Scott McBride, TheWell-Tempered Keyboard Teacher, 2nd edition (New York:Schirmer Books, 2000), p.242.

x. Ibid, p.293.

11. Keith Golay, “Four Types of Keyboard Learners” KeyboardArts (Spring, 1988): pp.3-7.


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If www.acnmp.ca isn’t part of yourdaily internet routine, you could bemissing out on some amazing musicaladventures! This year has been atremendous year of growth for theAlliance for Canadian New MusicProjects (ACNMP) and there is noslowing down in sight, especially whenit involves the ACNMP’s majorproject, Contemporary Showcase.

Contemporary Showcase is a one ofa kind music festival devoted topromoting the music of Canadiancomposers in a non-competitivemasterclass environment. What beganin 1970 by four Toronto musicteachers has grown into a nationalfestival held every November duringCanada Music Week. In 2003, 15centres across the country hostedContemporary Showcase and due togrowing demands for more centres,we hope to double in size for 2004.The locations for new centres includeGrande Prairie, Alberta, Barrie,Ontario and Yorkton inSaskatchewan.

Due to growing interest inContemporary Showcase the ACNMPcompleted a promotional video whichfeatures excerpts from our workshopsand festivals and may be rented fromthe National office. If you would liketo have a Contemporary Showcase inyour area please visit our website fordetails. In addition to the video we arecurrently offering a bilingual syllabusand computer based start-up package.

Student Composer Workshop isalso a major project for the ACNMP.The workshop is committed toproviding opportunities for youngcomposers to work with mentors andhave their compositions performed.We are pleased to announce thatDavid Duke will be returning toOntario as the composer clinician forour upcoming workshop at theNational Arts Centre in Ottawa. Thedates for this workshop are June 19th,20th, 26th and 27th.

This past year the Honourable JohnGodfrey, Parliamentary Secretary forUrban Renewal, visited the Canadian

Music Centre in Toronto where hewas entertained by Tara Liese Strattonand August Murphy King. Both Taraand August have been repeatedparticipants in Student ComposerWorkshop. It was mentioned thatcities that do not have a strongcultural base are not thriving.

In June, the ACNMP will be doinga series of workshops which will takeplace in Ontario, Quebec and theMaritimes. David Gordon Dukeand Clifford Crawley will be thecomposer clinicians for theworkshops.

We are also very priviledged to havecomposer Stephen Chatman comingto Ontario in May! Mr. Chatman willbe doing a workshop and interactiveconcert as a fund raiser for MississaugaContemporary Showcase. The datesfor this workshop are May 13th and14th.

The supplement for the syllabus willbe available online in the spring of2004. Be sure to check our websitefrequently for updates on coming

events such as workshops.There are so many valuable

reasons to keep informed on allthe projects the ACNMP has tooffer young musicians andcomposers. The ACNMP is anorganization dedicated toproviding opportunities! TheACNMP exists as one of the onlyorganizations which are dedicatedto building future audiences,performers, and composers ofCanadian contemporary music. Ifwww.acnmp.ca isn’t part of yourinternet routine, you really couldbe missing out!ACNMP20 St Joseph StToronto ON, M4Y 1J9Phone: 416.963.5937Website: www.acnmp.caEmail: [email protected] Ellis-Mobbs27 Cuthbert StBarrie ON, L4N 6X8Phone: 705.734.0512


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MEMORIAL FOUNDATION DONATIONS INVITEDDonations to this Foundation give family, friends, students and colleagues opportunity toexpress appreciation and to honour deceased CFMTA/FCAPM members. Donor individualsand organizations will be listed in subsequent editions of The Canadian Music Teacher.

CFMTA Memorial Scholarship Foundation________________________________________________________________________________________

Donor Name

________________________________________________________________________________________Address City Prov. & Postal Code

__________________________________________________________ ____________________________Area Code & Phone In Memory of

One Time Donation? __________ Annual Donation? __________Please make donations payable to CFMTA.

A receipt for Income Tax purposes will be issued for a donation of $50.00 or morefrom the office of the Secretary-Treasurer, Beryl Wiebe, #2-28-15153 98th Ave.,Surrey, BC V3R 9M8

ACNMP


19

KILBY HUME

The New Brunswick RegisteredMusic Teachers’ Association is saddenedat the recent death of one of ourcharter members, Carleton Elliott.Professor Elliott’s death occurredsuddenly at the Dr. Everett ChalmersHospital , Fredericton, NB on Sunday,August 24, 2003 following a lengthyillness, recovery and rehabilitation.

Born in Welland, Ontario, he wasthe son of the late Weir and Gertrude(Chrysler) Elliott. A theorist, composerand choir conductor, he was ProfessorEmeritus of Mount Allison University.B. Mus. (Mount Allison University)1951. M. Mus. (Redland, California)1959; further studies in theory andchoral conducting at Indiana University.He began a distinguished career atMount Allison University in 1951,teaching there until 1993. He was thefounder-director of the Mount AllisonConservatory Chorale and the

supervisor for Mount Allison LocalCentre Examinations in Music from1967 – 1993. As an adjudicator, headjudicated at many music festivals inthe Atlantic Canada region. Hecomposed numerous choral works, butmost of his published compositions arefor young pianists. He was a member ofLebanon Masonic lodge # 28 F & AM.

Carleton will be sadly missed by hiswife, the former Patricia Lewis, 2 sons,David and Grant ; a daughter, Anne ;and 4 grand-daughters. He will also besadly missed by his many friends andcolleagues both at Mount AllisonUniversity as well as throughout theAtlantic region.

On a personal note . . . I first metCarleton when he was the examiner formy piano exam when I was about 8 or9 years old. Many years later, I had theprivilege of renewing acquaintance withboth him and Patricia when they wereexamining the students in my studio.

He shared many a humorous story andwas certainly an advocate for youngstudents taking exams. I recall on oneoccasion, the Mom of three of mystudents came in to the studio at theend of the examination session andasked to speak to Carleton. She thankedhim for his time spent with each of herchildren and then said to him,“Regardless of how my children faredwith this exam, I want you to knowthat you have made this experience avery positive one for them . . .” Eachone as he/she returned to her car hadcommented on how much they hadenjoyed the experience and how at easethey felt during the whole process. Hehad dispelled their fears andnervousness by his gentleness and hisgenuine interest in them as people aswell as musicians. I think that says it all!We will all miss him.

CARLETON W. ELLIOTT

Bach’s ideas about interpretation strongly influenced the playing of the entire classic period. That hewrote a lengthy paragraph on tempo rubato may come as a surprise to those who consider rubato a romanticphenomenon. Bach was one of the first to describe it and his remarks were taken up by Mozart. Bach’shistoric statement deserves to be quoted in full.

On entering a fermata expressive of languidness, tenderness or sadness, it is customary to broaden slightly.This brings us to the tempo rubato. Its indication is simply the presence of more or fewer notes than arecontained in the normal division of the bar. A whole bar, part of one, or several bars may be, so to speak,distorted in this manner. The most difficult but most important task is to give all notes of the same valueexactly the same duration. [That is, do not distort note values: a quarter note remains a quarter note; aneighth, an eighth. ] When the execution is such that one hand seems to play against the bar and the otherstrictly with it, it may be said that the performer is doing everything that can be required of him. It is onlyrarely that all parts are struck simultaneously. The beginning of a caesura which terminates in a tempo rubatomay be drawn into manipulation, but the end, as in all endings of this tempo, must find all parts togetherover the bass. Slow notes and caressing or sad melodies are the best, and dissonant chords are better thanconsonant ones. Proper execu-tion of this tempo demands great critical faculties and a high order ofsensibility. He who possesses these will not find it difficult to fashion a performance whose complete freedomwill show no trace of coercion, and he will be able to manipulate any kind of passage. However, practicealone will be of no help here, for without a fitting sensitivity, no amount of pains will succeed in contriving acorrect rubato. As soon as the upper part begins slavishly to follow the bar, of rubato the essence is lost, forthen all other parts must be played in time. Most keyboard pieces contain rubato passages.

From "The Great Pianists" by Harold C. Schonberg


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The Marek Jablonski Endowment iscelebrating its fifth anniversary with are-release of the CD Marek Jablonski –The Edmonton Years, Part 1.

The first Marek Jablonski Prize forChopin was presented by ARMTAEdmonton Branch in July 1999 toThomas Yu at the CFMTA NationalPiano Competition in Winnipeg. Oneof the jury members, internationallyrenowned Canadian pianist Jon KimuraParker and former student of MarekJablonski was approached on thatoccasion and graciously agreed to play abenefit recital in Edmonton’s FrancisWinspear Centre for Music on January27, 2000. Actually, he would be sittingin for Marek himself, who had plannedto play the recital to help establish TheMarek Jablonski Prize for Chopin as anongoing award at the competition.Marek lost his battle with cancer beforehe was able to do that, but his dreamwas more than realised. Five years later,The Marek Jablonski Endowment

continues to award the original biennialprize of $500 for the best performanceof a work by Chopin at the CFMTAPiano Competition, as well as a biennialprize of $500 to the winner of theAlberta round of the CFMTA PianoCompetition, an annual prize of $500to a worthy student in pianoperformance at the University ofAlberta Department of Music, anannual prize of $250 to the winner ofthe Edmonton Kiwanis Festivalcomplete piano concerto class, and anannual award of $60.00 in the seniorpiano classes of the Sherwood ParkMusic Festival. In addition, selectionsof archival recordings of Marek’sperformances at Convocation Hall,University of Alberta have beenreleased on two CDs - MarekJablonski – the Edmonton Years, Parts1 and 2. Part 1 was made possible withthe generous sponsorship of RemyMartin Cognac and sold out almostimmediately. Both CDs were produced

with the special assistance of GarthHobden of Arktos Recordings and theUniversity of Alberta, Department ofMusic.

Who was Marek Jablonski? He wasa pianist of international stature andmember of ARMTA Edmonton Branchwho dedicated much of his teachingand performance to the works ofChopin. He was incredibly generous insharing his time, expertise andfriendship with teachers and students inEdmonton, throughout the country,and internationally. Many students andteachers across Canada will have knownhim through his teaching as a memberof the piano faculty at the University ofAlberta and at the Banff Centre’ssummer program. Held in high andaffectionate esteem, he was a uniquelygifted and inspiring teacher. Hiscolleagues, students and friends areprivileged to remember him throughthe legacy of The Marek JablonskiEndowment.

MAREK JABLONSKI ENDOWMENTCELEBRATES IT’S FIFTH ANNIVERSARY

BY SUSAN WILSON

Anyone wishing to order CDs may do so as follows:• All orders prepaid, payable to The Marek Jablonski Endowment.• Single CD: $20.00 each• 2 CD package of Part 1 and Part 2: $35.00• Shipping: $3.00 for one CD, $4.50 for 2 CDs• Payment and shipping information to: Jennifer Bossé, 14111 – 52 Ave., Edmonton AB T6H 0P9.• Further information: [email protected]

Marek Jablonski – The Edmonton Years, Part 1Chopin

• Sonata No. 3 in b minor, Op.58• Polonaise – Fantasie Op.61• Mazurkas• Op.24 No. 3 & 4• Op.63 No.1• Op.56 No.3• Op.67 No.1• Op.17 No.3• Op.30 No.4• Op.17 No.4• Op.24 No.2

Marek Jablonski – The Edmonton Years, Part 2Chopin

• Polonaise in E flat minor, Op.26 No.2• Mazurkas• Op.59 No.1• Op.6 No.3• Op.7 No.3, 4 & 5• Op.17 No.1• Op.41 No.1 & 4• Andante Spianato and Grande Polonaise, Op.22

Schubert• Impromptu, Op.90 No.4

Beethoven• Sonata in F minor, Op.57


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Dr. Brent LeeB.Mus., M.Mus. (McGill),

D.M.A. (British Columbia), AssistantProfessor: Music Theory/Composition

...

Dr. Sally BickB.Mus. (Toronto), M.M. (Indiana),

M.Phil. (Music History) (Yale),Ph.D. (Yale), Assistant Professor:

Music History/Literature...

OFFERINGHonours Bachelor of Music (4 yr.);

Bach. of Musical Arts (3 yr.);Hon. Bach. of Music Therapy (4 yr.);Concurrent Bach. of Musical Arts/

Bach. of Education/Early ChildhoodEducation.

CONTACTSchool of Music,

Professor David Palmer, Director,UNIVERSITY OF WINDSOR

Windsor, ON N9B 3P4 CanadaPhone: (519) 253-3000 ext. 2780

Fax: (519) 971-3614Email: [email protected]

Web: www.uwindsor.ca/music

WE WELCOMEYOUR INQUIRIES!Our faculty will be happy to speakto you personally about your area

of musical interest.

Dr. Sandra L. CurtisB.Mus. (McGill), M.Mus. (MusicTherapy), (Florida State, Ph.D.)

(Concordia), Associate Professor:Music Therapy

...

School of MusicWe welcome our newfaculty appointments.

MUSIC TEACHERS’ NORTH AMERICA CONFERENCEHow can I best describe an MTNA conference? Let’s begin by saying that the Program Book is

125 pages long! It is filled with clinician names that read like the Who’s Who of music.Names like: Barry Green (author of The Inner Game of Music)

Paul Scheftel (Juilliard)William Westney (Texas Tech University)Martha Sanchez (Dalcroze Eurhythmics Specialist)Barbara Kreader (author of the Hal Leonard Student Piano Library)

to name just a few.And for concerts: Jon Kimura Parker (piano)

Zephyr (flute, cello and piano trio)Bobby Watson (all-star jazz artist)

There are more than 85 exhibitors! Maybe it would help to take you through a typical day at theconference. I leave the hotel for the first “showcase” from 8am until 9am. Showcases areopportunities for the dealers to demonstrate their products.

My choices this morning are: Frederick Harris Music: Celebrate Piano!Neil A. Kjos Music Company: Keith Snell Master ClassSteinbuhler and Company: The 7/8 Piano KeyboardYamaha Corporation of America: Software Support for Teachers

During this hour, the student competitions (all disciplines) have already begun and are inlocations throughout the hotel.At 9:15 I must choose my first session from the following:

Beginning notation with SibeliusTwo’s Company!-Adventures for One Piano, Four Hands10 Common-Sense Ways to Restore Your Student’s Natural Zest and ConfidenceMartinu’s Second Cello Sonata: A Depiction of His Personal Tragedies in WWIIThe Church Organist: A Fresh Approach to Hymn-Based Literature for Worship

At 10:30 my choices are:Sequencing 201-Taking Your Skills to the Next LevelAll About the ARTS Program for High School SeniorsBela Bartok’s For ChildrenMusic of Black Composers: Art Songs, Folk Songs and SpiritualsA Pilgrim’s Progress: Liszt’s Annees de Pelerinage: Suisse

And so it continues . . . a plethora of choices – all top quality, professional, informative andinspiring sessions. I have only provided here a “taste” of what is available. One o’clock there isanother “showcase” hour followed by two more workshop sessions.

At 3:30 each day there is a concert/awards ceremony for the winners from the competitionsheld the previous day. Disciplines represented are string, brass, wind, voice, percussion,composition and piano. Each winner receives a cash award and an inscribed plaque. Some levels ofthe competition provide a further award - the piano winner at the young artist level actually wins a7 foot Steinway piano! Major donors are Yamaha, Warner Brothers, Baldwin, Steinway and theMTNA Foundation.

I leave the concert studying the program, reminding myself that these performers are, indeed,KIDS. The junior level performers (competition levels include junior, intermediate, senior andyoung artist) are 11 to 14 years of age. I am astounded by the high quality of their playing and thelevel of difficulty of their selections.

A quick trip back to the hotel to freshen up and grab a bite to eat and then off to the eveningconcert: Zephyr, (Lady Jeanne Galway, flute, Darrett Adkins, cello and Jonathan Feldman, piano).The program included selections by Martinu, Villa-Lobos, Doppler, Liebermann (who happens tobe a former MTNA composition competition winner) and Weber. I have been invited to areception given by the President of the MTNA, Phyllis Peiffer, and I am excited to meet many ofthe clinicians there who are presenting at the conference.

Bedtime about midnight and alarm set for 7 the next day to begin my inspirational journeyagain!

Next year’s conference will be held in Seattle, Washington April 2-6, 2005. I would encourageall members of the BCRMTA, and, indeed across the country, to make a special effort to attend.You won’t regret it!

Victoria Warwick, CFMTA President

C a n a d a M u s i c W e e k ™

ALBERTAJANICE DAHLBERG

Alberta teachershave so far enjoyed a season rich inproductive activities. The ARMTAProvincial Executive met in Red Deerin September. The provincialnewsletter “Tempo” was revived andmailed out to the membership in lateAugust.

The Alberta Music Conference washeld in Edmonton on October 23, 24and 25. Christopher Norton was themain clinician. New CFMTA PresidentVictoria Warick was introduced at theARMTA Annual General Meetingwhere she spoke on ConservatoryCanada’s new e# program, announcedthat a keyboard improvisationworkshop tour by Dr. Cook will cometo Western Canada, and urgedeveryone to attend the CFMTAconference at Calgary in 2005. PatFrehlich was introduced as CFMTAVice President. The ARMTA SpecialRecognition Awards were presented atthe AMC Banquet on Saturdayevening to Rosalyn Martin, CalgaryBranch, and Marilyn Sinclair,Lethbridge Branch, for their manyyears of dedicated service to ARMTA.Honourary Lifetime Membership wasawarded to Vera Shean. Newly electedofficers for the provincial organizationare Bettijo Smith, President, andDorothea Johanson, Vice President.ARMTA is grateful to Teresa Allred(now Past President) for her manyhours of toil and travel on its behalf—all dispatched with competence andgood cheer.

Calgary Branch Executive meetsmonthly. The October AGM featuredguest speaker Bob McPhee of theCalgary Opera. The C3 Gala Concert,performed by past and present winnersand competitors of the CalgaryConcerto Competition, was held atSteinway Hall in November. Thewinners of the C3 competitionscheduled in February will play withthe Calgary Civic Symphony on May

30, 2004. STAG, the Student TeacherAffiliate Group, meets once a month.A successful Honours and ScholarshipRecital was presented in January, atwhich time Canadian Music Weekscholarships were also awarded. TheRoyal Conservatory Alumni Group (allARMTA members) hosted the RCMSilver Medal Awards in November. Aworkshop was offered in November,by Dr. David Mitchell, “Playing byEar and Jazz Improvisation.” Twoworkshops are scheduled for May: NeilCockburn, “Organ Masterpieces;” andPat Jewell, “The Art of PianoAccompanying.” Student recitals occurthroughout the year. ContemporaryShowcase was held at St. AndrewsUnited Church in November, whichincluded – unique to Calgary – a classfeaturing Alberta composers. Threebenefit master classes were held for theCalgary Arts Summer SchoolAssociation scholarship program: Dr.Peter Jancewicz offered one on hisown compositions in November atMount Royal College; Lai-See Changave one on all piano literature, grades1 to 8 in February; and MilaBrandman heard pianists playingclassical pieces, grades 6 to 9, in April.Plans for The Alberta Music Heritageproject are underway.

The Honens: 2003 InternationalPiano Competition took place inCalgary from October 23 toNovember 7. Master Classes wereoffered on stage at the Eckhardt-Grammatte Hall in the Rozsa Centreat the University of Calgary.Supported by the Calgary Foundation,the classes were free of charge to thepublic and to the participants.Honens: 2003 judges ChristopherTaylor, Ursula Oppens, AndreLaplante, Emanuel Kraskovsky, andRudolph Jansen also acted as cliniciansfor the master classes. RMT’s fromB.C., Saskatchewan, and Albertaattended the piano competition as wellas the master classes.

CFMTA-FCAPM “PeakPerformance” 2005 committee met inSeptember. The commissioned piece

for voice and piano, “Amour” byWilliam Jordan is now published. TheRozsa Foundation will support thevocal competition for jurors,accompanists, and first, second, andthird prizes for the three finalists. Itwill be named The Rozsa VoiceCompetition. Additional support bythe Calgary members of the NationalAssociation of Teachers of Singing willbe awarded to singer and pianist. Thebeautiful “Heritage Quilt” iscompleted.

Edmonton Branch offers manyservices to its members and theirstudents. The Challenges and Joys ofLieder--bringing life to the text--waspresented by Allan Monk in the Musicand Fine Arts Building at theUniversity of Alberta. STAFF clubenjoyed a presentation by ElsieHepburn in March on the business ofsetting up a professional studio andincluded a discussion on copies ofmusic – allowed vs. not allowed. MarkFuykishima spoke to STAFF onMethods, Old and New. An annualMembership Appreciation evening washeld in September, remembering thecontributions of Thelma O’Neill andBeulah Doney. ContemporaryShowcase was held at TaylorUniversity College, in November. Dr.Terry Dawson was the clinician, andJean Coulthard was the featuredcomposer. The Young Composers classwill be held next year. A benefitconcert will feature the music ofGaugeon. Both Magenta Monday andSTAFF enjoyed a master class withBoris Konovalov. A STARS recital isoffered in the spring, the proceeds ofwhich will offer scholarships andbursaries to music students.

A baroque Master Class withStillman Metheson was held duringOctober in the Chapel at TaylorUniversity College. The NorthernAlberta Concerto Competition finals,featuring piano and voice, were held inJanuary at Alberta College, MuttartHall. Professor Leonard Ratzlaff wasthe featured speaker at the GeneralMeeting in February. Edmonton will

FROM THE PROVINCES - CANADA MUSIC WEEK™ REPORTS

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be the site for The Great HumanRace, a major fundraiser.

Fort McMurray reports eight newmembers. The popular TechniqueOlympics required two sessions. Thisevent is held before the January andJune practical exams. “MorningMusicale” was featured in October.James Lawless of the RCM offered apiano pedagogy workshop on the new“Celebrate Piano!” method.

Also in October, a ChristopherNorton Festival occurred featuringstage bands from local high schools aswell as solo instrumental performers.The Festival included a recital withcommentary. Christopher Nortontoured Fort McMurray elementaryschools, speaking about compositionas a career.

Fort McMurray enthusiasticallygreeted Canada Music Week with aCreative Music Writing Competitionin November, judged by Dr. JeffreyAnderson. A scholarship recital plancame to fruition with generouscontributions from local businessesand the Chinese Cultural Society--afirst annual presentation. Throughoutthe year in Fort McMurray, studentrecitals include pre-exam and pre-festival performing opportunities withmaster classes at both junior andsenior levels. The RCM has agreed tore-instate the January practical examsat Fort McMurray.

Lethbridge Branch has nineteennew members. Last spring, TeresaAllred visited Lethbridge to make apresentation to City Council regardingbusiness licenses for music teachers,who currently pay a fee of $150 to$165. The Branch is trying to create amusic educator’s certificate to replacethe regular business license.

A workshop and master class was heldin October on the Romantic period:“Putting Romance Back into YourMusic.” Forthcoming is a presentationon piano tuning. Student recitals occurthroughout the year: the AwardsPresentation and General Recital washeld in February; Festival Preparation inMarch; Pop/Duet Recital is planned forMay; and an Adult Recital happensannually in June. An RCM HistoryWorkshop was presented to the Branch

in September. A Practice-a-thon washeld in October to raise funds forachievement awards. The family of thelate Philip Smerek – an honourarylifetime member of ARMTA – donatedhis extensive music library as well assome cash to Lethbridge Branch.

Lethbridge is developing a new website, www.lrmta.tymely.com, which willbe updated monthly.

Lloydminster Branch had severalfunctions last year. A workshop andmaster class in March with SylviaShaddick Taylor on “CreativeTeaching.” It has held two performanceopportunities for their students: a Pre-Festival Recital and a Pre-Exam Recitalin April and June respectively atBlackbox Theatre. In July, this Branchheld a Hamburger and Pop Fundraiser.It presented a Canada Music Weekrecital in November, and enjoyed alecture by Shelagh Scott on style andinterpretation from Baroque toContemporary periods of music.

Medicine Hat branch is a small butenthusiastic group of teachers. Studentrecitals are presented monthly, with aspecial one for Halloween in which theperformers dress in costume. AwardsPresentation and Canada Music WeekRecital was held in November. Pre-exam and pre-festival recitals are alsooffered regularly.

Members at Large reports some newfaces and that some familiar faces havejoined local branches.

Red Deer Branch also presented avariety of activities for teachers andstudents. Last March, it offered a Pre-Festival Jitterbug Recital. Many Branchmembers volunteered at the KiwanisFestival in April. A Twentieth CenturyWorkshop with recital and master classeswith Cheryl Cooney and Anta Bhadressawas held in May. Red Deer Branch hascreated a student group, STAFF –Student Teacher Advancement For theFuture. It held an Adult Recital lastJune. The Annual General Meeting wasenriched with music provided by anARCT student. Joe Ringhofer presentedan RCM History Workshop inSeptember.

The Alberta Music EducationFoundation offered support in 2003 forthe following ARMTA projects with

funding and/or scholarships: Keyboardsfor Kids, Continuing Education,Professional Development for Teachers,Outreach Alberta (ContemporaryShowcase, Canada Music Week, theConcerto Competitions), the AlbertaHeritage Project, Classical Pop Fest,Musicamp Alberta, and the Calgary ArtsSummer School.

ARMTA’S President, the intrepidBettijo Smith, has visited all of thebranches and communicates regularlywith her board. ARMTA has a newAdministrator, Dale Bawol, #209, 152Stony Plain Road, Edmonton, AlbertaT5N 3R3.

BRITISHCOLUMBIA

ERNST SCHNEIDER

Our branches have reported manyactivities since the beginning of thenew teaching season in September –Canada Music Week recitals andrelated workshops, master classes, etc.The Richmond Branch was involvedwith the 10th Pacific PianoCompetition held in February. It wasa very successful event withcompetitors coming from severalcountries. The first place winner wasYi-Fei Hu of Vancouver, second-placewinner was Michael Schneider of theUS, and third-place winner was CongFan, also of the US.

March and April are of coursemusic festival months and all teachersare extremely busy preparingparticipating students. Several of ourbranches are also involved in theactual sponsorship and operation oftheir community’s festival, which addsan enormous amount of work to theiralready full schedule.

The North Shore Branch is nowvery involved in the preparation of theSeptember 2004 provincialconvention. This promises to beanother great event with Jane Coop asthe major clinician. The B.C. PianoCompetition will also take placeduring the convention, so it should bea very exciting weekend.

The Abbotsford Branch has aninteresting fund-raiser – it’s a 32-page


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package (27 pages of explanation,examples and exercises plus a 5 pageanswer key) of materials relating to therecent syllabus changes for Rudiments1 and 2. The package is available inpaper or on CD. If you are interested,contact Joyce Janzen at 604-859-1502or e-mail: [email protected].

Our provincial association has onceagain provided a $500 bursary to thestudent with the highest mark in theTeacher’s ARCT examination. Thisyear the bursary went to PhyllisHeppner.

BCRMTA’s 2004 fund-raisingevent for the “Variety – TheChildren’s Charity” was a big success.Under the very capable leadership ofCarol Shinkewski students andteachers raised just over $15,000 forthe charity. The Richmond Branchtopped the list of contributors with$3,350, followed closely by the NorthShore Branch with $3,225 and SouthFraser Branch with $2,442. We cannow have our association’s nameplaced on another 11 coaches orcombine this year’s funds with themoney raised last year and sponsor onecoach. In any event, as Carol puts it“either way, we will certainlyaccomplish our goal to have Our kidshelping kids”.

MANITOBANANCY NOWOSAD

The weather may notalways make us feel like spring

has arrived, but as music teacherswe know it has! Festivals,competitions, workshops, recitals,exam preparation, the list goes on.

The 15th annualPianothon/Musicthon was held inFebruary, and once again over$10,000 was raised for Variety ClubSpecial Arts Programs. Earlychildhood music sessions in 19subsidized day care centres, and groupmusic therapy for special needschildren in 2 schools and at theCanadian National Institute for theBlind are made possible by the fundsraised through this wonderful event.Our students love to be part of “KidsHelping Kids”.

After a year hiatus, the Young ArtistSeries is back on track in Manitoba.Auditions were held the end ofFebruary with five very talentedperformers participating. ViolinistTanya Gerl was selected as the winnerof the Manitoba competition, andwent on to be selected as the WesternYoung Artist for 2004.

Winnipeg Branch has sponsoredworkshops on “Successful PracticeTechniques”, with the focus being onvoice and strings in January, and pianoand winds upcoming in May. TheScholarship Series auditions andcompetitions have been ongoing overthe past couple of months, with thefinals set for April 25. Approximately$6000.00 will be awarded todeserving students in both voice andinstrumental categories. The WinnipegBranch Annual Meeting was held inMarch, with entertainment from astring quartet from the WinnipegSymphony Orchestra. The SpringLuncheon will be held in June, withentertainment by Prairie Winds.

Both Brandon and SouthernManitoba Branches continue toprovide their students with highcalibre music teaching andopportunities for performance, as wellas support and cameraderie for theirmembers. Southern Manitoba teachersare so busy that the only time they canget together is for breakfast! BrandonBranch held its Annual Meeting earlyin the new year, and now many oftheir teachers are preparing for theupcoming Egre Competition atBrandon University.

The Provincial By-Laws have beenrevised over the course of this year,and will be voted on at the ProvincialAnnual General Meeting on April 25.Certificates will also be presented to30 and 40 year members.

NEW BRUNSWICKKILBY HUME

Greetingsonce againfrom the

province ofNew Brunswick.

The snow is almostgone and the air is beginning to feel

like spring!! Many music festivals arejust around the corner and studentsand teachers alike are feeling the“heat!”

The period from December to thepresent has been a relatively quiet timefrom the stand point of branchactivities. After the Canada Music Weekrecitals and celebrations, Christmasmusic took the stage and most teachersand students enjoyed a few short weekswith carols and Christmas songs. Boththe Fredericton and Saint John teacherstook the opportunity to get together atChristmas Luncheons. The Frederictonteachers met at the Pond Spa andResort while the Saint John teachersmet at the Shadow Lawn Dining Roomin Rothesay. Elegant meals in elegantatmospheres and warm fellowship withone’s colleagues make for a wonderfulway to start the Yuletide season!

The Fredericton branch held theirtraditional Post New Year Potluck inJanuary. UNB’s resident musician,Peter Allen, joined with the teachers ina discussion about performance anxietyand ways to cope with it. Peter hasbeen giving regularly scheduledmasterclasses with the Frederictonstudents. So far this year, he has donefour – October, January, February andMarch.

The Saint John branch held theirsecond annual Technique Olympics onFebruary 21st. This is an opportunityfor students to get their technicalrequirements well under their fingersearly in the year. Teams are formed andscales, triads, chords, and arpeggios areperformed for a panel of judges afterwhich prizes are awarded. The teacherswho have students who participate inthis event find it is a valuable tool indeveloping the technical part of anexamination, not to mention theadvantages for the students in handlingthe technical aspect of the pieces andstudies.

February is also Festival month inMoncton, so the NBRMTA memberswere busy not only with their ownstudents, but also serving oncommittees and in various roles at theFestival itself.

The Fredericton branch held aworkshop on Teaching EspeciallyYoung Children in March. Linda


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Sprague, Joy Broad and Tanya Clarkeach brought a young student fromtheir studio and demonstrated some ofthe techniques that they use inteaching them. Geraldine Mitchell alsoexplained a motivational tactic whichcan be used to encourage students topractise more.

The Sackville branch has also heldseveral recitals . . . many of them inconjunction with Mount AllisonUniversity. Their Festival is usuallyheld in early April and some of theSackville RMT’s are heavily involvedwith the organization of that Festivalas well.

April and early May are Festivalmonths in Saint John and Fredericton.Recitals are being planned in bothplaces to give students an opportunityto have a “dry run” at performingtheir Festival pieces.

The Saint John RMT’s are busy

planning the NBRMTA Annualconvention which will be held in June.It is my understanding that manywonderful activities and workshops arebeing planned. We expect to haveRebecca Maxner from Nova Scotia asour key-note speaker.

On a more serious note, we offerour condolences to Patricia Elliot andElizabeth Armour who have bothsuffered the loss of their husbands inthe past months. Many of you knowboth Patricia and Elizabeth whoserved so faithfully as CFMTAdelegates in years past. Our hearts goout to them in their loss.

We trust all our Canadian musicteachers are enjoying these days with apromise of summer to come.NBRMTA wishes you all success withyour students during the currentexamination season followed by arestful, well-deserved summer break!

NEWFOUNDLANDJOAN M. WOODROW

Greetings toeveryone fromNewfoundland!How is it thatspring is herealready?

As usual, we’ve been musically verybusy here throughout the wintermonths.

In December we held our annualChristmas Food Bank series of recitals.Individual teachers booked recitaltimes, and performances ran fromFriday evening through to Sundayevening. Admission was by donationsto the local food bank. Once again,our project was a great success, andour students really felt the spirit ofgiving through their music-making.

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Early in January we were treated toa workshop for young composers bywell-known Ccanadian composerClifford Crawley, who is now aresident of St. John’s. The workshopwas open to the public and free ofcharge, and those who attended spenta delightful and very informativeafternoon with Mr. Crawley. He sentthe participants home with a project,and he will follow up with anotherworkshop in late March. We are veryfortunate to have such a wonderfulmentor and extremely kind andsensitive person working with ourchildren and teachers.The MUN Masterclass series got

off to a busy start in January withclasses full and a waiting list ofperformers. Four of our music facultyfrom the Memorial University ofMusic gave these classes and we arethankful to Maureen Volk andTimothy Steeves, piano, and JaneLeibel and Catherine Fitch Bartlett,voice, for so generously donating theirtime and expertise to our students.Our Young Artist Atlantic Tour

winner this year, Patrick Cashin, wasalso the winner of the Petro CanadaYoung Artist award and gave asplendid performance with theNewfoundland Symphony Orchestraon March 13. Congratulations,Patrick, we are all very proud of you!To all CFMTA members--until next

time--keep sharing all your skills andyour love of music!

ONTARIOBY FRANCES MAE BALODIS

ORMTA executive and council arepreparing for our upcomingconvention in Waterloo, Ontario inJuly. Judy Home will be welcomed inas our new president. We also havesome retiring council members, pluswe have a new treasurer Nancy Dale.Our competitions will be held at

the convention. This promises to bean exciting time for students, parents,and teachers.

Other activities such as up-datingour By-laws, organizing and executingthe tour of our Young Artist,tabulating the results of the ORMTAparticipants in the Terry Fox Run,keeping the website up-to-date, plushandling the frequent requests forinformation from members andprospective members keep us all busyand focused on ORMTA matters.Judy Home and Doranne Cooper

(as our new 2nd delegate) are lookingforward to the CFMTA meeting inToronto this July.Best wishes all.

PRINCE EDWARD ISLANDSUZANNE CAMPBELL

It’s been a busy year as usual forthe PEIRMTA. We started the yearwith several teaching workshops thatwere well received by the members inattendance. The fall also featured theAtlantic Young Artists Tour, where wehad a great turnout for Newfoundlandpianist, Patrick Cashin. Canada Musicweek was also a success with manyentries in our music, art and writingcompetition. In December, as most ofour members are private teachers, wedecided to have a Christmas “StaffParty” to get the season started.We are now in the planning stages

for our annual Loonie Tunes Cabaret,in which PEIRMTA members let theirhair down and perform music frommany different genres in betweensegments of our lively Loonie Auction.This event is always popular and is agreat fundraiser for our ScholarshipFund. Plans are also underway for ourconvention and agm. This year as partof our convention, members will enjoytwo workshops on the use of popularmusic in students’ lessons.We continue to hold our ever

popular Young Musicians’ RecitalSeries. With an average of 40participants per month, we arereaching a lot of students who wouldotherwise be without regularperformance opportunities.

From the PEIRMTA, good luck toall CFMTA members who are busypreparing their students for festivalsand exams! Perhaps we may see someof you at the National Music Festivalin Charlottetown in August 2004.

QUEBECCHRISTIANE CLAUDE

Greetings from Quebec! TheQMTA continues its activities, some ofwhich are repeated annually becausethey are so popular, and others whentime permits.In November we had a workshop

on jazz and musical creativity.Although our emphasis is on classicalmusic, we felt an understanding of thebasics of jazz, improvisation,arranging, etc. would prove to be anasset for teachers and their students. Itwas attended by many and enjoyed byall.Also in November, Canada Music

Week drew about 100 participants.Seventeen were chosen for a galaconcert. Several well-knownpersonalities attended. Present werethe following composers: PaulFrehner, LoPol, Rhené Jaque, JacquesHétu and John Rae.On December 14th, Santa Claus

visited our Kinder Club at its annualrecital. This is always a great hit withthe little ones.In January we were pleased to

welcome Mr. Michel Fournier, pianist,for a master class. Praised as a soloistand chamber music player, Mr.Fournier has performed with severalorchestras and is widely appreciatedfor his numerous recitals given inCanada, Europe and the UnitedStates. Five students participated inthe class and appreciated the insightson interpretation of the music as wellas the approach and practice requiredto meet the composer’s expectations.Both parents and students agreed thatit was a truly positive experience forour young students. Mr. Fournierended the class by playing

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“Improvisation: Hommage à EdithPiaf” (1960) by Poulenc which wasenjoyed by all.On February 25, the QMTA in

collaboration with the QMEF,sponsored a concert by the OrchestreMétropolitain du Grand Montrealdirected by Yannick Nézet-Séguin.The theme was “Pages d’amour” andincluded Roméo et Juliette, Tristanund Isolde, Psyché et Eros andDaphnis and Chloé. Wonderfulprogram, wonderful music! Proceedsfrom this recital go towards prizesawarded at the Montreal ClassicalMusic Festival.April 25 is the date of our Spring

Recital this year, and May 21-24 is thedate for the Montreal Classical MusicFestival. Both these activities requireco-operation and co-ordination frommany members. They provide anopportunity for our students to beheard, rated and compete with theirpeers, an invaluable experience andmuch appreciated by parents andstudents alike.Our best wishes for a relaxing

summer to all CFMTA members.

APMQCHRISTIANE CLAUDE

Bienvenue à tous. L’APMQpoursuit ses activités; quelques-unessont répétées annuellement grâce àleur grande popularité, et d’autres ontlieu si le temps le permet.En novembre s’est tenu un atelier

de jazz et de créativité musicale. Bienque nous mettons l’emphase sur lamusique classique, nous pensons quele fait de comprendre les principes debase du jazz, de l’improvisation, del’arrangement, etc., est un atout pourles professeurs et leurs élèves. Cetatelier fut fort apprécié par toutes lespersonnes présentes.Également en novembre, la

Semaine de la Musique Canadienne aattiré une centaine de participants.Dix-sept ont été choisis pour unconcert gala. Plusieurs invités demarque se sont joints à nous. Étaientprésents les compositeurs: PaulFrehner, LoPol, Rhené Jaque, JacquesHétu, John Rae.

À l’occasion de son récital annueldu 14 décembre dernier, le club destout-petits a reçu la visite du PèreNoël. Cet évènement est toujours unegrande réussite. Tous se sont bienamusés.En janvier, nous avons eu le plaisir

de recevoir le pianiste Michel Fournierpour une classe de maître. Acclamécomme soliste et comme chambriste,M. Fournier a joué avec plusieursorchestres et il est grandementapprécié pour ses performances auCanada, en Europe et aux États-Unis.Cinq étudiants ont participé à cetteclasse de Maître. Ils ont pu bénéficierdes judicieux conseils d’interprétationsur la manière d’approcher et depratiquer une oeuvre de façon àrencontrer les attentes ducompositeur. Parents et élèves étaientd’accord pour dire que cetteexpérience fut vraiment positive pournos jeunes pianistes. Michel Fournier aterminé sa classe en interprétant unepiece intitulée: “Improvisation:Hommage à Édith Piaf” (1960) dePoulenc, à la joie de tous.Le 25 février dernier, l.’APMQ a

parainné en collaboration avec laFQEM, un concert de l’OrchestreMétropolitain du Grand Montréalsous la direction de Yannick Nézet-Séguin, concert ayant pour thème“Pages d’Amour” incluant Romée etJuliette, Tristan et Isolde, Psyché etÉros et Daphnis et Chloé. Magnifiqueprogramme, merveilleuse musique!Les bénéfices de ce concert serontversés au Festival de MusiqueClassique de Montréal sous forme deprix aux élèves méritants.Le récital du Printemps aura lieu le

25 avril cette année, et le Festival deMusique Classique de Montréal setiendra du 21 au 24 mai. Ces activitésrequièrent de la coopération et de lacoordination de la part de plusieursmembres. C’est une occasion pour nosélèves d’être entendus et évaluer ainsique de rivaliser avec leurs pairs: uneexpérience inestimable appréciéeautant des parents que des élèves.Nos meilleurs souhaits pour une été

reposant à tous les membres duCFMTA.

SASKATCHEWANPEGGY L’HOIR

Saskatchewan’s nine branchescontinue to keep music educationand professionalism alive and wellin Saskatchewan. Interesting

meeting topics have included teachingstudents with disabilities, discussionson ornamentation, preparing studentsfor performance, motivation andincentives, professionalism in teachingas well as interesting Saskatchewanfacts.Six branches warmly received

Young Artist, Becky Peters. Studentsand teachers were inspired by thecompositions of Sarah Konescniduring her series of recitals across theprovince. Contemporary Showcaseswere hosted in the three Saskatchewancenters.Yorkton included in its activities a

workshop/recital with Robin Harrisonas well as its first ContemporaryShowcase. Prince Albert Branchhosted Robin in a lecture/recitalformat and continues to contributetwo scholarships to the local KiwanisFestival. The Battleford’s Branch hasfeatured recitals by Michael Swan,Robin Harrison, John Griffiths, JaninaKuzmas and Lynn Channing. SwiftCurrent was treated to a workshop byDebra Wanless, followed later in theyear by visit from a music dealer whobrought out much music to peruseand purchase. Enthusiasm ineducation continues to exude from theEast Central Branch after their finehosting of this Fall’s Annual Meetingand they continue to share throughperformance. The West CentralBranch is continuing its journey

through the Beethoven Sonatas withwondrous performances by Mary LouDawes, and is eagerly anticipating itworkshop with Steven Chatman onOctober 16. Lloydminster has beenbusy with fundraising, recitals andworkshop planning including aworkshop with Sheila Scott. Membersof the Saskatoon Branch have beentreated to a workshop with GregChase as well as various fine recitals.Regina continues to promoteperformance and education, whilepreparing for the Fall Conventionfeaturing “A Musical Showcase ofSaskatchewan Composers”, workshopsrelated to using the art of creativity, avocal recital with Sophie Bouffard, anda piano recital with Suzanne Beaubian.Provincially, we are seeing some

endings and some new beginnings.Our Act/Bylaw chapter is quicklycoming to a close, our web-site is upand running (check us out atwww.srmta.com). Fundraisingcontinues with a delectable newprovincial cookbook. A travellingmusic box (filled with used music forsale ) is presently travelling frommeeting to meeting. In anticipation ofSaskatchewan’s Centennial, we are inthe process of compiling a book ofcompositions for piano, chosen fromSaskatchewan’s finest composers.Look for its release in early 2005.Saskatchewan Registered Music

Teachers continue to celebrate theirenthusiasm for music in over sixtycommunities in our large province.The result is a generous network ofexcellent and accessible musicalpedagogy that stretches across themiles and continues to have an impactlocally, provincially and nationally.

30


28th/ème

Concours E-gré Competition

Canadian Musicmusique canadienne

VOICE

VOIX

29 & 30 April, 1 May, 2005et avril mai

1stPRIZE: $5000,

a Canada-wide tour (recital fees ca.$5000), & The Canadian Opera

Volunteer CommitteeJean A. Chalmers Award of $5000

1er PRIX: 5000$,une tournée du Canada (cachets ca.5000$) et le prix Jean A. Chalmers

remis par le Canadian OperaVolunteer Committee, 5000$

DEADLINE

October 22, 2004

For information or an application/brochure:Concours E-gré Competition

Brandon, MB CanadaPH/Téléphone: 204-728-8212

e-mail/courriel: [email protected]

http://www.brandonu.ca/egre

“MULTIMUSIC CANADA FOR THE NEW MILLENNIUM”BY MAYA BADIAN

“MultiMusic Canada for the NewMillennium” by Maya Badian wasselected by the jury of the CanadianMusic Centre for the ProfessionalOrchestral Reading Session to beperformed by the Kitchener WaterlooSymphony Orchestra, conducted byDan Warren, on February 4, 2004.Dr. Maya Badian is invited to be in

attendance in Kitchener, Ontario, topresent her music to performers andaudience. This session will result in therecording of a CD including her work.Moreover, “MultiMusic Canada forthe New Millennium” will make part ofthe standard repertoire of Canadianorchestras.

‘MultiMusic Canada for the NewMillennium’ Orchestral Fresco wascomposed in 1999 for an orchestrarequiring 69 performers. It is ahistorical soundscape conceived toreflect a synthesis of the PastMillennium and to envision thesonorities of the New Millennium,proposing a musical springboard intothe Third Millennium, and includingall of the people who share new life inCanada. This work is structured in sixmodules. In Genesis (Module I) itevokes the vastness of the land. This

module remarks on the space ofCanada before the coming ofEuropeans. Various musical structuresof First Peoples, Francophones, andAnglophones are used to reflect on thehistory of their interaction,culminating in the CanadianConfederation of 1867; in Indigenos(Module II), the roots of itsinhabitants; in Francophonos (ModuleIII), Anglophonos (Module IV), andCanada Altogether (Module V), thediversity of Canadian cultures,exploring Canada’s rich and uniquemulticulturalism. This modulecombines musical structures of allCanadians into a positive approach tothe New Millennium; and inCelebration (Module VI) - a vision ofCanada’s future. This final module isbased on the Canadian Anthem. MayaBadian has searched her creativedepths to find a fresh way to workwith and develop Calixa Lavallée’snation - binding hymn.The philosophic Message of the

Fresco symbolizes the relationbetween The Permanent and TheEphemeral.A musical representation of Time is

related to this message. The circularityof time (composed by the time in a

circle and time in a spiral), and theunidirectional time (characterized byirreversible time, and historic time),are symbolized by the content of thesix modules. At an opposite to historictime, one could think of historicallyunmeasured time as a static effectreflected in the idea of mobility. Itssignificance is important, because it isthe source of ritual. Without thisprimary time, action could not have abeginning. As it is related to theimaginary, it cannot be strictlyestablished. With regard to thisOrchestral Fresco, one could think ofa process having no beginning, butinstead a sonorous reality. Thus,Interlude, appearing identically in thefirst and in the fifth modules,symbolizes the Permanent in contrastwith the other modules symbolizingthe Ephemeral. The double aspect ofTime - historical and historicallyunmeasured time with its ephemeraland permanent meanings - isemphasized in MultiMusic Canada forthe New Millennium.You are cordially invited to visit Dr.

Maya Badian’s website at:http://www.musiccentre.ca/apps/index.cfm?fuseaction=composer.FA_dsp_biography&authpeopleid=9643&by=B


31

One of the Special Projectssponsored by CFMTA is theMemorial Pedagogy Award.This award is offered to the

candidate who receives the highestmark in the Teachers’ WrittenExamination of either the RoyalConservatory of Music orConservatory Canada. This awardhas been established to honorteachers who have been recognized

for their contributions to theprofession.The award is presented biannually

and in 2004 it was won by AnnEmpey of Kanata, Ontario with amark of 98%. Congratulations to Annand her teachers, Mary Mackay andSandra Cooke. Ann has won manyawards and scholarships as have herstudents. She has been an activemember of ORMTA since 1997 and

currently holds the positions of 2ndVice-President and Secretary for theOttawa branch. She has worked withschool choirs and a theatre group .She has performed as a soloist and hasan active music studio and althoughher formal training is through shecontinues with regular piano lessonswith Mary Mackey.

MEMORIAL PEDAGOGY AWARD WINNER


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(an abridged version of a workshop givenat the National Convention of theCanadian Federation of Music Teachers’Associations, St. John’s, Newfoundland,July 2003)To say that Newfoundlanders have

long been a musical and music lovingpeople would be an understatement.Long before the arrival of Europeanexplorers, in fact, there is compellingevidence that music played a role inancient cultures in the region. Amongartifacts discovered in an archaeologicaldig near L’Anse-Amour, Labrador in the1970’s was a 7500-year old bone fluteused by the Maritime Archaic people3000 years before the Egyptianpyramids!Given that permanent settlement was

discouraged for much ofNewfoundland’s colonial history infavour of migratory fishing fleets fromEngland, it is nothing short ofremarkable that a tradition of musicalexcellence was given the chance todevelop at all. While the practice ofmilitary music, church music, and folkmusic was widespread by the eighteenthcentury, it was not until the nineteenthcentury that musical performance andeducation saw significant growth anddevelopment. A tradition of publicconcerts in Newfoundland dates from1827 when, shortly before the death ofBeethoven, mixed concerts of vocal andinstrumental music were held at the St.John’s Amateur Theatre. Aside fromtheir entertainment value, these concertsheld important social meaning,signifying both a nostalgic connection tothe musical culture of the Old Worldand a sense of buoyant optimism for theemerging culture of the new. As thePublic Ledger exclaimed prior to aconcert in March of that year, “Thenumber as well as excellence of themusicians will far exceed any estimatewhich those unacquainted with theactual state of the harmonic science herecould imagine. We wish our friends onthe other side of the Atlantic couldwitness the display.” By 1828, a vibrant

concert tradition could also be observedin communities such as Carbonear andHarbour Grace, the latter of whichwould later boast of its own HarmonicSociety.Sporadic visits by guest artists aside,

the development of musical culture inNewfoundland was dependent upon thetireless dedication of a large andenthusiastic population of amateurmusicians and a select group of musicprofessionals. As early as 1811,advertisements for private musicalinstruction could be observed inNewfoundland’s first newspaper, theRoyal Gazette, where a Mr. LaTour hadplaced an advertisement for music anddancing lessons. By 1830, ProfessorJames Putlock was offering instructionin pianoforte, French horn, and trumpet(as well as operating a piano tuning andrepair business), while a year later therecently arrived Joseph Bacontaught pianoforte, violin, flute, viola,and cello. Like Putlock and most otherimmigrant musicians in the New World,Bacon was a musical jack-of-all-tradeswho supplemented his teaching with thetuning of pianos and the sale of musicand musical instruments. The fact thatsuch a business could thrive and prosperin Newfoundland in 1831 is remarkablein itself. Even more intriguing perhaps isthe quality of the music for sale, whichincluded collections of classical sonatas,variations, and marches for the piano, aswell as method books for the piano,violin, cello, flute, and clarinet. By 1851,another Newfoundland music dealernamed McCoubrey claimed to have instock more than 1000 pieces of newmusic!While private music teachers attended

to the families of merchants,professionals, government officials, andmembers of the clergy, it was the tirelessdedication of religious groups such asthe Presentation and Mercy convents onthe island of Newfoundland, and theMoravian missionaries in coastalLabrador, that made musical instruction

available to those less privileged. By1833, the Presentation nuns hadincorporated hymn singing into the dailyschool routine, the legacy of whichcould be observed decades later. At oneperformance by girls of the conventschool in 1861 it was noted that “someof the girls sang solos and duets, playingthe piano accompaniment, and showingmuch progress and taste in music . . .These institutions must truly beregarded as amongst the greatestblessings to society, when we rememberhow largely its well being depends onfemale education — more especially theeducation of the female poor, who if nottaught at such establishments, wouldprobably be denied all educationwhatever . . .” (Newfoundlander, 5August 1861)The most significant singing society

in nineteenth-century Newfoundlandwas the non-denominational St. John’sChoral Society, founded in 1878. Led byEmile Handcock, choirmaster at GeorgeStreet Methodist Church, and laterAnglican Cathedral choirmaster GeorgeRowe, the Choral Society wasnoteworthy for its longevity, largemembership, and sophisticatedrepertoire. In April of 1880, the grouppresented the first complete performanceof Handel’s Messiah in Newfoundland toa throng of fervent patrons. By the mid-1880’s the Choral Society had grown toover 200 members and achieved anenviable standard of performance,prompting the critic of the EveningMercury to proclaim that “Our choralsociety has now reached a state ofmusical excellence which enables it tocompare favorably with any similarassociation elsewhere. It is one of whichwe may well feel proud. It has now wona high place in public estimation, asproviding for the community pure andelevating enjoyments; and every year itsefforts are more widely appreciated.”Such activities were by no meansconfined to the capital of St. John’s.Accomplished church, school andcommunity choirs contributed

“WHERE ONCE THEY STOOD”: MUSIC IN NINETEENTH-CENTURY NEWFOUNDLANDBY DR. GLENN DAVID COLTON


34

immeasurably to the cultural and sociallife of communities such as BayRoberts, Bonavista, Brigus, Burin,Carbonear, Greenspond, HarbourGrace, Heart’s Content, River Head,Trinity, and many others. The town ofTrinity, moreover, enjoyed a ratherillustrious history in the field ofhymnody. It was there, in 1827, thatthe Rev. William Bullock wrote one ofthe first hymns in North America, “WeLove the Place, O Lord,” for theconsecration of the newly constructedAnglican Church.As the curtain was about to fall on a

century of musical development, a newstar emerged who would eclipse allothers to become Newfoundland’s mostcelebrated concert artist. GeorginaStirling was born in the town ofTwillingate in 1867, where she studiedmusic with Robert Temple, organist atSt. Peter’s Anglican Church. Followingfurther study with Carl Martens inToronto from 1883 to 1884, shereturned to Twillingate to appearbefore adoring throngs of hometownadmirers. By 1888, Stirling decided topursue an operatic career in Europe,and one can only imagine what a bravenew adventure this must have been forthe teenager from Twillingate. Shemoved to Paris to study with MadameMathilde Marchesi, one of Europe’spremiere voice teachers and a formerpupil of the legendary Manuel Garcia.One of Stirling’s fellow pupils inMarchesi’s studio was the greatAustralian diva Nellie Melba, for whom“Melba toast” and “Peach Melba” werenamed! In 1890 Stirling secured herfirst professional engagement in Milansinging the role of Azucena in Verdi’s IlTrovatore. Traveling under the name ofMarie Toulinguet (in honour of herbirthplace), she performed widelythroughout Europe and the UnitedStates during the 1890’s, includingacclaimed operatic performances inParis, London, Venice, New York, andBoston. She never forgot herNewfoundland roots, however, andwhen the city of St. John’s wasdevastated by the Great Fire of 1892,Georgina Stirling headed the list ofartists lined up to perform in a benefitconcert. She would frequently return toher homeland in the years thatfollowed, juggling her hectic operatic

schedule to accommodate benefitconcerts in St. John’s, Twillingate andother communities for a host of worthycauses. Wherever she went, she was thetoast of the town, drawing capacitycrowds of adoring patrons and ravereviews in the local press. GeorginaStirling was for them not merely a greatsinger but a great Newfoundlander.No less of a patriot himself was

Charles Hutton (1861-1949), eminentNewfoundland organist, conductor,impresario, and music storeowner. In1906, Hutton published an importantcollection of music entitled theNewfoundland Folio of Over Fifty OldFavorite Songs. The Folio is aninvaluable compendium of a bygoneera, preserving for posterity the musicthat helped define an emergingNewfoundland society. Included in theFolio are six works by Newfoundlandcomposers, including four by Huttonhimself, as well as Sir Hubert Parry’sfamous setting of Sir Cavendish Boyle’sOde to Newfoundland. Boyle’s stirringwords, as they did over a century ago,serve as a fitting tribute toNewfoundland’s rich history and

culture and the intense pride of placethat lies at the heart of Newfoundlandmusic:

“As loved our fathers, so we love,Where once they stood we stand;Their prayers we raise to heav’n above;God guard thee Newfoundland.”

________________________________________________________

BIOGRAPHYGlenn D. Colton, Ph.D., is AssociateProfessor and Chair of the Departmentof Music at Lakehead University, wherehe teaches courses in Music History,Canadian Music, Form and Analysis,and Music Criticism. His research areasinclude Canadian music andnineteenth- and twentieth-century pianomusic, with a special interest in themusic of Jean Coulthard and themusical traditions of Newfoundlandand Labrador. He has contributedarticles to publications such as theCanadian University Music Review, theInternational Alliance for Women inMusic Journal, the University of TorontoQuarterly, The Phenomenon of Singing,Fermata, and the NewfoundlandQuarterly. Recent projects include

extensive research toward the firstcomprehensive history of music inNewfoundland and Labrador, and aperiod study of music in St. John’s,Newfoundland entitled A History ofMusic in North America’s Oldest City,1800-1949.________________________________________Selected Bibliography

Colton, Glenn D. “She’s Like the Swallow: Creative Responses toNewfoundland folksong in the choral music of HarrySomers,” in Sharing the Voices: The Phenomenon of Singing 3.Andrea Rose and Ki Adams, eds. (St. John’s: MemorialUniversity of Newfoundland, 2002), 71-82.

Colton, Glenn D. “The Athenaeum Concerts: Music and Societyin Nineteenth-Century Newfoundland,” NewfoundlandQuarterly, 96/3 (Fall 2003), 27-31.

Doyle, Gerald S. Old-Time Songs and Poetry of Newfoundland(5th ed.). St. John’s: Gerald S. Doyle Ltd., 1978.

Evening Mercury, St. John’s, Newfoundland, 31 December,1885.

Greenleaf, Elisabeth Bristol. Ballads and Sea Songs ofNewfoundland. Hatboro, PA.: Folklore Associates Inc.,1968.

Hutton, Charles. Newfoundland Folio of Over Fifty Old FavoriteSongs. St. John’s: Charles Hutton, 1906.

Kallmann, H., Potvin, G., Winters, K., eds. Encyclopedia of Musicin Canada (2nd ed.). Toronto: University of Toronto Press,1992.

Karpeles, Maud. Folk songs from Newfoundland. London: Faberand Faber, 1971.

Lehr, Genevieve, ed. Come and I Will Sing You: A NewfoundlandSongbook. Songs collected by Genevieve Lehr and Anita Best.Toronto: University of Toronto Press, 1985.

Major, Kevin. As Near to Heaven by Sea: A History ofNewfoundland and Labrador. Toronto: Penguin Books,2001.

Mercer, Paul. Newfoundland Songs and Ballads in Print, 1842-1974. St. John’s: Memorial University of Newfoundland,1979.

Newfoundlander, St. John’s, Newfoundland, 5 August 1861.

O’Flaherty, Patrick. Old Newfoundland: A History to 1843. St.John’s: Long Beach Press, 1999.

O’Neill, Paul. The Oldest City: The Story of St. John’s,Newfoundland. Portugal Cove-St. Philip’s, Newfoundland:Boulder Publications, 2003.

Peacock, Kenneth. Songs of the Newfoundland Outports. Bulletinno. 197, Anthropological Series no. 65. Ottawa: NationalMuseum of Canada, 1965.

Peyton, Amy Louise. Nightingale of the North. St. John’s:Jesperson, 1983.

Prowse, D.W. A History of Newfoundland. London: Eyre andSpottiswoods, 1896.

Public Ledger, St. John’s, Newfoundland, 27 March 1827.

Royal Gazette, St. John’s, Newfoundland, 16 July 1816.

Rowe, Frederick W. Education and Culture in Newfoundland.Toronto: McGraw-Hill Ryerson, 1976.

Russell, Kelly. The Fiddle Music of Newfoundland & Labrador,Volume 1: The Music of Rufus Guinchard and Emile Benoit.St. John’s: Pigeon Inlet Productions, 2000.

Russell, Kelly. The Fiddle Music of Newfoundland & Labrador,Volume II. St. John’s: Pigeon Inlet Productions, 2003.

Ryan, Shannon and Larry Small. Haulin’ Rope & Gaff: Songs andPoetry of the Newfoundland Seal Fishery. St. John’s:Breakwater, 1978.

Smallwood, J.R., ed. Encyclopedia of Newfoundland and Labrador(5 vols.). St. John’s: Newfoundland Book Publishers, 1981-94.

Smallwood, J.R., ed. The Book of Newfoundland (4 vols.). St.John’s: Newfoundland Book Publishers, 1937, 1967.

Story, George M. People of the Landwash: Essays on Newfoundlandand Labrador. M. Baker, H. Porter, and S. Ryan, eds. St.John’s: Harry Cuff, 1997.

Taft, Michael, A regional discography of Newfoundland andLabrador 1904-1972. St. John’s: Folklore and LanguageArchives, Memorial University of Newfoundland, 1975.

Woodford, Paul. “We Love the Place, O Lord”: A History of theWritten Musical Tradition of Newfoundland and Labradorto 1949. St. John’s: Creative, 1988.

RCM Examinations News

RCM Examinations has Workshops & Lectures coming up in 2004!

Art of Teaching (June 28-30, 2004)RCM Examinations will be presenting two workshops at the Art of Teaching Symposium at the RoyalConservatory of Music in Toronto.

On Monday, June 28, 2:45-3:45, Peteris Zarins, Chief Examiner Training & Development will be the clinician/examiner for the Simulated Piano Examination workshop – ‘Put yourself in the examiner’sshoes!’

Then on Tuesday, June 29, 2:45-3:45, Dr. Janet Lopinski will be ‘Looking ahead to the Piano Syllabus,2008 edition’ – the Technical Requirements.

ORMTA Provincial Convention 2004 (July 25-28, 2004)RCM Examinations will be taking part in the Ontario Registered Music Teacher’s Convention thissummer. ‘Musicianship: From JS to J Lo’ will be the topic of discussion by Peteris Zarins.

Alberta Music Conference (November 4-6, 2004)RCM Examinations will be participating in the Alberta Music Conference taking place in Edmonton.Peteris Zarins will be presenting ‘Examination Repertoire’ for the Alberta Registered Music Teacher’sAssociation on Saturday, November 6 at 3:00 p.m.

Fall 2004 Practical WorkshopsRCM Examinations is pleased to be presenting workshops on a practical theme.The three-hour presentations will feature a lecture on the development of musician-ship throughout the grades, and two simulated examinations - Grade 2 and Grade 7.

Maria Case, Dr. Thomas Green, Christopher Kowal, Chief Examiner PracticalSubjects, Heather Laliberte, Dr. Janet Lopinski, Susan Steele, and Peteris Zarins,Chief Examiner Training & Development will be presenting these workshops all across Canada inSeptember and October.

Start your teaching year ‘con brio’! These workshops are FREE of charge and are open to all teachers.Once again RCM Examinations would like to thank the many Registered Music Teacher’s branches thatwill be co-hosting the events. Watch for further details in the July/August issue of Music Matters, ourwebsite, and your local RMTA branch newsletters.

Practice Theory AssessmentsSubmit a practice paper from the RCM Examinations Official Examination Papers,2003 edition, available for Grades 3 and 4 Harmony, and Grade 5 Harmony andCounterpoint for assessment in preparation for your actual examination.

Receive the Practice Theory Assessment, marked by a member of the College ofExaminers, 2-3 weeks after the date of submission. Your assessment will include amark and brief comments.

New in September 2004! Students will also be able to submit for assessment theGrade 4 Counterpoint and the Grade 5 Analysis examination papers. Students canuse the RCM Examinations Official Examination Papers, 2004 edition. Check outour website for instructions and the form.


36

Thanks in large part to the virtuoso tradition dating back to Paganini and Franz Liszt, many performers today—especially pianistsbut also other instrumentalists as well as singers—are expected to perform solo repertoire from memory. Memorization can be afrustrating process for many of us, but it need not be a mystery. Researchers have learned a lot about how the brain creates and storesmemories, and there are a number of fine books, videos and online resources available that describe the application of these researchfindings to the process of musical memory.Components of Music MemorySeveral sources describe the components of musical memory. Stewart Gordon’s video Memorization in Piano Performance, Volume 8

of the The Taubman Techniques video series, and the book Practicing Perfection by Chaffin, Imreh and Crawford each describe fivecomponents of memory, as shown in the table below:

THE SCIENCE AND ART OF MUSICAL MEMORIZATIONBY DR. MAUREEN VOLK

Gordon Taubman Chaffin et almotor kinetic muscle (motor)aural (inner hearing) aural aural (auditory)analytical conceptual conceptual (declarative)visual (score) visual (score and keyboard) visual (score and keyboard)spatial/tactile (keyboard) technical automatic (incidental)

As you can see, four of thecomponents are common to all threeauthors. We are all familiar with kineticmemory (also referred to as motormemory or muscle memory), the abilityof the fingers to remember elaboratesequences of movements withoutconscious direction. Kinetic memory isessential for fluency, especially in fast andcomplex passages. However, it is alsodescribed as dangerous, because when aperformer relies on kinetic memoryalone, performances become high-wireacts without a net. The slightestinterruption of kinetic memory cantrigger a memory slip and the performerwill have no means of recovery.

Aural memory, the ability toremember what a piece sounds like,allows us to hear what comes next beforewe play or sing it and to respond to whatwe have just heard. If a performer hasgood aural skills and is able to identifywhat s/he is hearing, aural memory canbe especially useful and powerful. StewartGordon points out that pianists tend toignore this form of memory because wedon’t need to listen for intonation in thesame way that singers and otherinstrumentalists do. On the other hand,jazz musicians use aural memory moreconsciously than many classically trainedmusicians. Regardless of the level of one’saural skills, aural memory is essential to

musical memorization—just try playingon a silent keyboard to see how difficultit is to maintain continuity withouthearing what you are playing.The third component of musical

memory is analytical or conceptualmemory, Chaffin et al use the word“declarative” to describe this component,since it includes anything that we tellourselves about the music to make senseout of it, by recognizing patterns andlabelling what we see and hear. Analyticmemory ensures the piece is a logicalsequence of ideas, rather than gibberishin a foreign language that has nomeaning for us. This component ofmemory is essential for keeping track of


38

where we are in a long piece and forrecovering from slips. However, it is notsufficient to prevent slips in the first placebecause it is not as quick and automaticas kinetic and aural memory.Visual memory is the ability to picture

the score in your mind. This is not a formof photographic memory; most of us willnot be able to visualize details such asarticulations, phrasing, or even individualnotes. But we do have a visual map of thework, and a sense of where we are onwhich page most of the time. You canprove that we use this form of memoryby trying to read a piece of memorizedmusic from a different edition than youused to learn it; the change in pagelayout and general appearance of thescore will be very confusing. Likeanalytical memory, visual memory doesnot provide fluency, but it helps us keeptrack of the architecture of the work, andcan also be useful in recovering frommemory lapses.All three authors also describe a

second type of visual memory which isparticularly applicable to pianists,visualization of the shapes of chords andthe position of the hands on thekeyboard. (Gordon considers this part ofa fifth component, which he labelsspatial/tactile memory). This componentis especially important in learningcomplex music with unfamiliar chordsthat are difficult to analyze.Taubman’s fifth component of

memory is what she calls “technicalmemory”. She points out that often whatwe call a memory slip is really a technicalslip that disrupts the memory. Playing apassage using awkward fingerings andincoordinate movements will increase thelikelihood of such slips, so it is importantto learn the music using movements thatare coordinate. Technical memory maybe thought of as a sub-component ofkinetic memory; however, it is a veryimportant element and worthhighlighting.Chaffin’s fifth component, which is

described as automatic or incidentalmemory, arises from a series of interviewswith famous pianists, in which the pianistsfrequently talk about an aspect ofmemory which “just happens” withoutconscious effort. I am not convinced thatthis is really a separate component ofmemory; rather I suspect that the pianistsare describing kinetic and aural memory,which do become automatic and are

often acquired without apparentconscious effort, especially by experiencedperformers.Taubman insists that all components

must be working together for memory tobe secure, and that isolating one or moreof the components can be destructive tomemory. In order to ensure that allcomponents work together, it is essentialto memorize consciously and to startdoing this before motor memory hasbecome too highly developed. Taubmancautions against mental practice awayfrom the instrument, as this separates thekinetic and aural memory from the visualand conceptual. She also points to theimportance of continuing to use thescore regularly after memorizing, in orderto keep visual memory integrated withthe other components.Memorization: From STM to LTMWhen we first learn something, it is

stored temporarily in our short-termmemory (STM). Permanent retention of

the new information requires frequentand immediate relearning to get thematerial into our long-term memory(LTM). Once the information has beentransferred to LTM, it can be retainedwith less frequent repetition.Scientists have found that STM is

capable of holding only a limited numberof units of information at one time. Formost of us that limit is between five andnine items, with seven being average. Ifwe try to memorize too muchinformation—or too large a passage ofmusic—at once, we will overload theSTM, and the beginning of the passagewill have been forgotten by the time weget to the end of it. In order to learnefficiently, we need to limit the passage toapproximately seven “units” ofinformation.This does not mean that we can only

memorize seven notes at a time, becausewe can use a technique that psychologistscall chunking, combining individual unitsinto larger a unit. The key to successfulchunking is that the larger units mustmake sense or have meaning to thelearner. For example, we would have avery hard time memorizing forty randomletters, but most of us would have littledifficulty memorizing a meaningfulsentence that contained forty letters.When we memorize music, analysis is ourmain chunking tool. By using our

Compositions by

Canadian Composers

Maryanne Rumancik

piano music currently featured on theManitoba Festival Syllabus

Christopher Robinson

On the Banks of the Nile (SATB)

*New Release* an imaginative setting of an

old Canadian folk song

Coming Soon!

keyboard & choral music bymusic educator and conductor

Timothy Cooper.

- check website for availability -

Imaginative music for recitalsand festivals!

Order from your music store or on-line at:

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Piano – Vocal – ChoralBrass - Winds

Chamber Music


40

knowledge of scales, chords, phrases, andother meaningful musical patterns to labeland describe chunks of music, we are ableto learn the music more quickly. Studentswho do not learn music theory as theylearn to sing or play an instrument willfind it very difficult to learn music ofincreasing complexity because they lackthe chunking tools needed to learnefficiently.Timing is an important element in

transferring information from STM toLTM. If new information is not repeatedand rehearsed immediately, there is a sharpdecline in our retention of it over the firstten hours, then a more gradual declineover the following weeks. (This is knownas Ebbinghaus’s forgetting curve, namedfor the scientist who first identified it.)The obvious implication of this finding isthe need for frequent and regular practicewhen we are learning and memorizingmusic. It is also helpful to return to themusic being memorized several timesduring a practice session, so that thematerial is “re-learned” after a small bit offorgetting has occurred.An obvious but often overlooked aspect

of memorization is the need to use thesame movements and fingerings each timewe repeat a passage. Scientists can nowobserve increases in the size and density ofspecific areas of the brain that occur as welearn. One group of researchers observedsubjects practising complex fingersequences similar to playing the piano.After thirty minutes of practising, the areaof the brain that represents the fingers wasenlarged. If the subjects continued topractise these movements over the nextweek, thereby transferring the movementsinto LTM, the enlargement became stable,but only if subjects practised the samesequence of movements. If they justimprovised other similar movements, thetemporary enlargement disappeared after aweek.Another factor to keep in mind in

memorizing music is a phenomenon calledinterference. When we try to learn twothings within a short time period, thesecond one interferes with the first. Themore alike the two things that you aretrying to learn, the greater theinterference. For example, if you spend anevening studying French and Spanish,interference will be a bigger problem thanit would be if you spent the eveningstudying French and math. When learningmusic, it will be more efficient to

memorize two short contrasting passages,possibly from different pieces, during onepractice session, rather than a longerpassage composed of similar material. Youmay also benefit from ending your practicesession by playing the piece or passage thatyou are trying to memorize, so that it willnot be followed by a potentially interferingpassage.Finally, we need to recognize that LTM

is not like the hard drive on a computer,which stores information exactly as weentered it. The human memory becomesinaccurate over time. Psychologists havefound that over time, people will recall astory with omissions and transformations,changing unusual elements of a story intomore familiar and conventional forms asthey make logical inferences to fill in gapsin memory. So even after something hasbeen memorized, the memory will need tobe reinforced and corrected periodically—another reason to heed Taubman’s adviceto keep practising with the score, as ifreading it for the first time, once a piecehas been memorized.

Retrieval from LTMThe more thoroughly something is

learned, the easier it is to recall and apply.However, storage in LTM is not the onlyrequirement for secure memory inperformance. We have all heard a studentsay, “I don’t know why I had a memoryslip. I know this passage so well I couldwrite it out.” The problem is that theprocess of recalling stored informationwhen we need it requires whatpsychologists call retrieval cues, remindersof what to look for next in memory.Without such cues, there is no guaranteethat the memorized material will berecalled at the right time or in the rightorder.Chaffin believes that musicians use a

hierarchical retrieval scheme by startingwith basic cues that link small chunks. Aswe learn a new piece, each note or passagecues the next one. What we are doing iscreating a mental “soundtrack” thatconnects the chunks as we memorizethem.Chaffin suggests that as we continue to

memorize a piece of music, the basic cuesbecome automatic and we are able to startthinking of the piece in larger chunks, sothat an entire phrase may now be recalledas one meaningful item rather than as agroup of chunks. Such re-chunking

requires the development of new retrievalcues to go along with the bigger chunks.These new cues, which Chaffin callsinterpretive cues, will also includereminders about things like pedaling,phrasing, dynamics, and changes in tempo.Finally, as the interpretive cues are

memorized and become automatic,performers develop what Chaffin callsperformance cues or expressive cues. Nowthe music is re-chunked into largersections and the retrieval cues focusprimarily on expressive goals such as themood or character of a passage,conversations between voices, emotionalcontent, and dramatic effect. The idealperformance would be guided entirely byexpressive cues, but Chaffin finds that evenat this level, some of the lower-level cuesmust be retained in order to keep aperformance on track.There are a few interesting points to

keep in mind here. One is that basic cuesneed to be largely automatic before we canfree up enough capacity in STM to copewith interpretive cues, which will also needto become automatic before we can shiftto performance cues. This does not meanthat musical issues cannot be consideredbefore the notes are learned. To thecontrary, all practice, even at the basiclevel, should be informed by the bigpicture, so that work on the local level isdirected toward appropriate musical goals.However, it is important for students tounderstand that detailed work at the basiclevel will make interpretive and expressivework possible—and that’s what makesmusic fun.Secondly, the retrieval cues must be

memorized as we memorize the music.Many of us do this without being fullyaware of the process, especially in the earlystages of learning a piece. But we mayneed to work more consciously atmemorizing the higher-level cues. Manystudents have difficulty incorporating ateacher’s interpretive suggestions into theirplaying because they don’t realize thatthey will need to integrate thosesuggestions into their mental soundtrackeach and every time they play the pieceuntil they become automatic.Finally, we all tend to underestimate the

amount of time needed to progressthrough these three levels of retrieval cues,and as a result most students beginmemorizing too late and never get muchpast the basic cues. No wonder they aredisappointed with their lack of confidence


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New Teachers can:

• Register for aTeacher Number

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• Verify examination details(e.g., schedule & location)

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42

and fluency in performance. Chaffinfound that Gabriela Imreh, a concertpianist who was learning the thirdmovement of the Bach Italian Concertofor performance, spent approximatelytwice as much time polishing the workafter it was memorized as she had spentlearning and memorizing it.ConclusionPerhaps the most significant scientific

finding of all is that the only way to getbetter at memorizing music is to practisememorizing music. Start small, bymemorizing only a phrase or two eachday. Be sure to use all of the componentsof musical memory as you learn a newwork. Plan your practice time tomaximize your efficiency at getting themusic into your head and into your body.Pay conscious attention to thedevelopment and memorization ofretrieval cues. And memorize early toallow plenty of time to work at theinterpretive and expressive levels afterbasic memorization is complete.By using the information available to

us about how the brain processes, stores

and retrieves musical information, we canall become more efficient learners andmore confident performers. The sourceslisted below may be of interest to thosewho want to pursue this fascinating topicfurther.___________________________________________________________________

BIOGRAPHYDr. Maureen Volk - Maureen Volkbegan her piano studies in Saskatchewan,and received her Bachelor of Musicdegree from the University of Regina.With the assistance of The CanadaCouncil, she continued her studies at TheJulliard School in New York, where shereceived her Master of Music degree, andat Indiana University, where shecompleted her doctorate in 1992.Her piano teachers include SashaGorodnitzki, Shigeo Neriki, Ilya Itin,and Edna Golandsky. She was presidentof the Canadian University MusicSociety from 1997 to 1999 and directorof the School of Music at Memorial from1990 to 2000. She remains on faculty atthe School of Music, where she teachespiano, piano literature and pedagogy,

and aural skills.Dr. Volk has performed as a recitalist,orchestral soloist and chamber musicianin Canada and the United States. Herrepertoire spans a wide range of styles,from the Baroque to newly commissionedworks. Her most recent soloperformances have reflected her stronginterest in the music of Schubert andDebussy. In 2002 she received a CanadaCouncil Grant to attend the TaubmanInstitute and International PianoFestival in Williamstown.___________________________________________________________________

BOOKS:

Chaffin, Roger, Gabriela Imreh, and Mary Crawford. PracticingPerfection.Mahwah, NJ: Lawrence Erlbaum Associates, 2002.

Johnston, Philip. The Practice Revolution. Pearce, Australia:PracticeSpot Press, 2002.

Parncutt, Richard and Gary E.McPherson, ed. The Science andPsychology of Music Performance: Creative Strategies for Teachingand Learning. Oxford: Oxford University Press, 2002.

VIDEOS:

Golandsky, Edna. The Taubman Piano Techniques, Volume 8. TheDorothy Taubman Institute of Piano, Inc., Medusa, NY 12120.

Gordon, Stewart. Memorization in Piano Performance. Alfred MusicPublishing Company, 1995.

WEB SITE:

Johnston, Philip. PracticeSpot. Available: .


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BY MARY GARDINER

When adjudicatingat the Winnipeg MusicFestival last March, Iheard a class of pianostudents playing 4-and 6-handarrangements. Onegroup was made up ofthree boys, about 11-13, who appeareddressed alike in longblack pants, long-sleeved white shirts,black bow ties andbraces. They played asparkling version ofJoplin’s, ‘TheEntertainer’ and Ilearned afterwards thatthey had beentogether for a few yearsappearing always as ‘Stars of the Festival’. Addressing theclass afterwards and complimenting them all on theirperformances, I spoke directly to the boys and suggestedthey commission a Manitoba composer to write a workespecially for them.A few weeks after returning home, I received an email:

the boys, after talking with their teacher, Lydia Wiebe,asked me to write the work. I decided to make it a‘learning experience’ for them and replied stipulating that itbe a ‘commission’ ($5.00 from each) half ‘up front’ andthe rest upon completion. I also recommended that it bebased on Canadian folksongs to make it a Canadian workand asked each of them to write me a letter telling meabout himself, his interests and for any suggestions aboutspecific songs to be used.At the end of the summer, I received a cheque for

$7.50, indicating it as ‘half the commission amount’ andthree wonderful letters: these are obviously not averageboys. Patrick wrote he really liked the tune of ‘The MapleLeaf Forever’, wasn’t sure if it qualified as a folksong butthought perhaps ‘Red River Valley’ would. Radi was bornin Bulgaria and sent me several versions of that country’sfolk music to illustrate their “excitement and rhythm”.Wesley’s parents were from Hong Kong so he knew noCanadian songs but he really loved ‘Turkey in the Straw’!So, my work was cut out for me.

I finally selected‘I’se the B’y thatBuilds the Boat’ and‘Red River Valley’ forthe arrangement,named the finishedversion, ‘The Red RiverB’ys’ and sent off thecompleted version withthe inscription on thetitle page,“Commissioned byand dedicated to . . .”‘naming each of theboys. Inside are thewords of the songs,and their origin asfound in ‘Folk Songs ofCanada’ edited byEdith Fowke andRichard Johnston.

The second installmentcheque arrived later and I am delighted to report the boysare excited about premiering their very own work in thenext festival. Incidentally, I managed to slip in a few barsof ‘Turkey in the Straw’.

(Report after festival)Our performance at the festival went very well and the

adjudicator was actually one of your friends, Mrs. McInnis.She was very excited that she got to adjudicate our piece afterhearing so much about it. She talked about the story of youwriting the piece and I think she was very impressed with ourplaying. She gave us the mark of 91. We were even invited tothe Gala! I think this is the third or fourth time we have beeninvited! We are very proud with this achievement.

I just got back from the Gala Performance this afternoonand you would not believe how many congradulations (sic)and other positive comments we got from people at the concert.One lady said to me she wished the piece would go on forever.We are going to send you the programmes from the Gala, thefestival class and the Junior Musical Club concert, along witha recording of the piece which we hope to do soon.

I do not think there is anyway that I can express in wordshow happy we are that you have created this masterpiece forus. I definitely think this has been one of the greatestexperiences I have ever been through. Thank you so very much.Patrick Boreskie

� � �

� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �

� � �30 FINGERS, 6 FEET UNDER . . . THE STARS CAME OUT AGAIN

Patrick Boreskie, Radi Andonov, Wesley Chan


44

BY GREGORY CHASE

One of the advantages of 21stCentury is that we have theopportunity to network with teachersfrom right across Canada. One of thedisadvantages of being anindependent music teacher is thatoften times we feel isolated in ourprofession.Now teachers can network from

coast to coast from their own homeand remove the sense of isolationthat is often felt. In January 2004,Canadian Piano Pedagogy discussion

group was created to give teachers anopportunity to learn, share, andnetwork with other piano teachersacross Canada. Currently there arealmost 90 teachers from coast tocoast who have subscribed to thediscussion group who are sharingideas. Topics of conversation havevaried from quick recipe ideas forfamily preparation while teaching, todetailed discussion and interpretationof individual pieces.To join the Canadian Piano

Pedagogy discussion group send an

email to: [email protected] if you need further assistance

email the list moderator:[email protected] quote one teacher:“Finally, isolated piano teachers can

be “together” and interact withouthaving to travel or spend a lot ofmoney! It’s great how we can nownetwork with colleagues across thecountry from our own homes!”

– Tenley Dyck, Boissevain, MB

NETWORKING WITH PIANO TEACHERS ACROSS CANADA

BOOK REVIEWSTHE FOLLOWING REVIEWS BY: MARYANNE RUMANCIK,PRAIRIE SKY MUSIC PUBLISHING

24 EXPRESSIONS OPUS 33Intermediate piano by Robert Schultz.

Published by F.J.H. Music Company Inc. Robert Schultz is a composer, arrangerand editor from Miami, Florida.

This collection of character pieces is reminiscent ofetudes by Czerny, Burgmüller and Heller in that each piecefocuses on a particular technical challenge. Eachpiece has a motive which is repeated often tofacilitate quick learning of accompaniments so thestudent may focus on the playing of melodic lines.The titles are imaginative and interesting; WindChimes, Sizzle, Power, and Mischief to name a few.The composer’s goal is to guide students indeveloping a wide range of expressive playing styles.The music is accessible and has a contemporaryflavour.

THE BEST OF KEVIN OLSON BK 2Early intermediate & intermediate piano by Kevin Olson.

Published by F.J.H. Music Company Inc. Kevin Olson is an Americancomposer, teacher and pianist.

This book is a collection of nine character pieceswritten in a variety of Twentieth century styles.Some of the titles include; Melted Ice Cream Blues,Tick – Toccatina, Time’s Up and At a Paris Café.These pieces would appeal to students and be greatperformance repertoire.

KEYS TO SUCCESS BK 1: MAJOR PENTASCALESEarly piano by Kevin Olson.

Published by F.J.H. Music Company Inc.Olson’s goal with this book is to make young

pianists comfortable reading in a variety of keys. Apentascale is the first five notes of a major scale andshould not be confused with a pentatonic scale.Students learn how to navigate scales with 7 sharpsor 7 flats. Confidence is developed throughtechnique, composition, improvisation,transposition and note reading. These activities willencourage students to make music “off the page”.

CELEBRATE PIANO!A Comprehensive Piano Method by Cathy Albergo, J. Mitzi Kolar

and Mark Mrozinski.Published by F.J.H. Music Company Inc. Beginner piano levels 1A,

1B, 2A and 2B.This series is designed to prepare piano students

for graded classical music repertoire. Particularly,

the Celebration Series and The Piano Odyssey gradedrepertoire books used by RCM Examinations.Each book is divided into chapters with color coded

pages for quick reference. Lessons and Musicianship arecombined in one book at each grade level for an integratedapproach to teaching music. A Supplementary Solorepertoire book is also available for each grade level.Teachers and students who wish to take advantage of recenttechnology may purchase the practice CD or MIDIaccompaniments available with each grade level.

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•Piano: Leslie De’Athand Heather Dawn Toews


Practice tips are given throughout theLesson and Musicianship books alongwith creative activities to reinforceconcepts. Short duets are also given withmany of the pieces. These could beplayed by the teacher, an older student ormusical family member.The artwork in these books is well

done and is not gender specific. Many ofthe pictures are about animals, birds,insects, reptiles and nature themes.Students who like lively and colorfulpages will find this series interesting.Although the co-authors of the series

are from the United States efforts havebeen made to include Canadian folksongs and original music by Canadiancomposers. Some of the Canadiancomposers represented are Dale Reubart,Anne Crosby, Stephen Chatman, PierreGallant and Linda Niamath.

SONATA ALBUM: 10 SONATAS BY HAYDN,MOZART AND BEETHOVEN

Advanced piano, grade 8 and up edited by MauriceHinson, Alfred Publishing Co., Inc.

Volume 1 • Volume 2Dr. Hinson has selected twenty two

complete sonatas from the ClassicalPeriod which he considers to beimportant in developing a solid keyboardtechnique. The Sonatas are published intheir original form and are arranged inorder of increasing difficulty. Editorialmarks are clearly identified on the scorealong with finger sets and metronomemarks from Dr. Hinson. Explanatorynotes, such as historical context andinterpretation, are provided at thebeginning of each volume. Sonatasincluded are:

F. J. Haydn Sonata C+ Hob XVI:35,Sonata G+ Hob XVI:27Sonata D+ Hob XVI:37,Sonata b- Hob XVI:32Sonata G+ Hob XVI:40,Sonata E flat+ HobXVI:49

W.A. Mozart Sonata C+ K545, SonataF+ K547a, Sonata G+

K283,Sonata A+ K331, SonataB flat + K570, Sonata F+K280Sonata a- K310, SonataF+ K332

Beethoven Sonata g- Op 49 No. 1,Sonata G+ Op 49, No.2Sonata G+ Op 79, SonataE+ Op 14 No. 1Sonata f- Op. 2 No. 1,Sonata c- Op. 13Sonata A flat + Op. 26,Sonata c#- Op. 27, No.2

Although Dr. Hinson indicates thatthese scores are performer orientated,they would be equally well suited forstudents of musical analysis. Thesevolumes are reasonably priced and wouldbe a great resource for young musiciansworking at the advanced levels.

THE FOLLOWING REVIEWS BY: GREG CHASE

Conservatory Canada Theory Book 3The Official Companion forConservatory Canada Theory

ExaminationsBy D.F. Cook, Published by Waterloo Music Company,

2003The Theory 3 book reviews theory

rudiment material from Theory 1 and 2,and builds upon it by introducing newmaterial in accordance with ConservatoryCanada syllabus requirements. Theworkbook format offers graded exercisesfor each topic, with regular review testsafter every two chapters -- based on thematerial covered.The Theory 3 book has a spacious

layout and provides many charts, hintsand illustrations to aid students in theirlearning.

Beyond the Romantic Spirit – Book 2Selected, edited and annotated by Nancy BachusPublished by Alfred Publishing Co., Inc. 2004Beyond the Romantic Spirit, is a

continuation of the Spirit Series publishedby Alfred Publishing. This collection


46

BOOK REVIEWS (CONT’D.)


47

contains 16 intermediate and earlyadvanced piano solos reflecting theinfluence of 16 great composers, withmusic originating in Russia, England,France, Finland, Hungary, and NorthandSouth America of the 20th Century.Students will easily catch the spirit ofthe 20th Century period with a wealthof societal, stylistic and musical insightfrom editor-historian-teacher NancyBachus. Bachus has edited andannotated this collection of music andhas enhanced it with interesting factsabout fashions, fads and dances thatswept Europe and North America atthe turn of the century. Also includedare societal customs and politicalupheavals; demands on composers bypatrons and audiences; and fascinatingbiographical information aboutfeatured composers.

Lichner, Three Sonatinas for thePiano

Edited by Keith SnellPublished by Neil A. Kjos Music Company –

Publisher, 2003The Lichner Sonatinas for the Piano

are published in three separatevolumes, Opus 4, Opus 49, and Opus66 and are the first modern editions ofthe complete sonatinas by HeinrichLichner (1829 - 1898). Thesecharming and accessible sonatinas area welcome change of pace for teachersand students alike. Each sonatina iswritten in traditional three-movementform and provides ample opportunityfor intermediate students to explore avariety of time signatures, tempos, andtextures. Quicker first and thirdmovements use frequent scale passagework and broken chordaccompaniment patterns; slowersecond movements have beautiful“cantabile” melodies and include aliberal use of pedal. Each thirty-two-page book contains one sonatina in CMajor, one in F Major, and one in GMajor.These three collections are part of

the Neil A. Kjos Master ComposerLibrary compiled by Keith Snell.

Jazz, Rags & Blues for Two, DuetBook 3 & 4

By Martha MierPublished by Alfred Publishing Co.,Inc. 2003The magic of Martha Mier’s new

Jazz, Rags & Blues for Two series hasadded two more books to the series.Jazz, Rags and Blues for Two, Book 3contains six original duets forintermediate to late intermediatepianists, while Jazz, Rags and Blues forTwo, Book 4 contains four originalduet for late intermediate to earlyadvanced pianists. The series reflectsthe various styles of the jazz idiom andnow students can experience thesewith a duet partner.Each book includes all-new pieces

and students will love the syncopatedrhythms and colorful, rich harmoniesfound in these collections.

Accelerando, Books 1 – 3By Robert Schultz and Tina Faigen

Published by The FJH Music Company Inc. 2003The Accelerando Series is a

collection of keyboard studiesdesigned to accelerate the progressand development of the studentpianist. Each edition within the seriespresents a progressive sequence ofstudies that provide a foundation ofstandard technique.Accelerando Book 1 contains 72

studies for beginning piano studentsand may be incorporated from the firstlesson. To ensure even development ofall fingers, the majority of the studiesin Book 1 are written for one hand ata time. An in-depth exploration of thecontrast between two fundamentalarticulations – legato and staccato – isa primary element of the studies.While the early studies begin in theMiddle C position, later studiesintroduce smooth thumb-underpassagework as the reading rangeexpands to include the octave belowand above Middle C.Accelerando Book 2 contains 60

studies for early elementary piano

students and is to be used followingthe completion of Accelerando Book 1.To ensure the continued evendevelopment of all fingers, the studiesin Book 2 provide equal activities forboth hands through a balancedcombination of hands-together andhands-separate studies. An in-depthexploration of the contrast betweenthree fundamental articulations –legato, staccato, and 2-note slurs – is aprimary element of the studies.Transpositions assignments of 5-fingerpositions are a vital part ofAccelerando Book 2.

Accelerando Book 3 contains 61studies for early elementary pianostudents of any age and is to be usedfollowing the completion ofAccelerando Book 2. To ensure thecontinued even development of allfingers, the studies in Book 3 provideequal activities for both hands througha combination of parallel motion andcontrary motion writing. An in-depthexploration of the contrast betweenthree fundamental articulations –legato, staccato, and slurs – is aprimary element of the studies.Transpositions assignments of majorand minor 5-finger positions are a vitalpart of Accelerando Book 3.Leading to a secure and even

technique, the Accelerando Seriesprovides the foundation for studentsto accelerate their learning process andultimately create colorful andexpressive interpretations of thestandard piano repertoire.

Planets and StarsThe Sun and the Moon

Space TravelBy Nancy Telfer

Published by Frederick Harris Music 2004The albums, Planets and Stars, The

Sun and the Moon, and Space Travel,are part of the Nancy Telfer Librarypublished by Frederick Harris Music.Telfer’s fascination and love of thesun, the moon, the stars, and the hugesize of everything in space has beencaptured in these three albums.

BOOK REVIEWS


48

The Sun and the Moon containsthirteen elementary piano solos in thisawe-inspiring phenomenon. TheRising Sun is depicted as a black-keypiece with each group of notes risingin pitch as the sun slowly rises. In awarm romantic mood, The Moon’sOrbit spins its way around the earth ina 6/8 meter, which creates a circlingmotion that carries the music throughthe air. The steady eight-note rhythmcatches The Great Fire of the sun whilethe hot and darting flares are depictedby harmonic 3rds and 2nds in a strongstaccato dance in Solar Flares.Planets and Stars holds twelve

imaginative early intermediate pianosolos and offers a fascinating view ofthe nine planets in our solar system.Mighty Neptune describes the stormsof Neptune through a series of chordsthat lumber slowly about thekeyboard. The millions of stars in The

Milky Way dance playfully through thealternation between 6/8 and 5/8meter. The Big Dipper, one of theeasiest constellations to find, isrepresented through the half-notemelody that creates a silvery soundwhile the repeated rhythmicaccompaniment patterns create adreamy effect.

Space Travel is a collection of nineintermediate piano solos that allowstudents to experience the perils ofspace travel while seated at their piano.As students Blast Off! they willexperience the majestic sound ofsmooth trills, clean accents, eveneighth notes and legato sixteenthnotes. Traveling for Light Years willgreet a speedy travel in 5/8 meter.Tone clusters, while the right handplays only white keys and the left handplays only black keys will create someunusual sounds with pitches as

students enter a Meteor Shower. As thestudents’ technology breaks down inMalfunction! Malfunction! they will befaced with rhythmic energy and risingmelodies in this piece of mechanicalsounds and machine-like rhythms.After students enter Hyperspace, quitSpinning through Space, and seeHalley’s Comet, they will have time toend with a Space Station Party, whichis a very rhythmical piece with someclangy, but warm and relaxed, yetexcited sections. Have a blast!

Jazz Piano from ScratchBy Dr. Charles Beale

Published by Hal Leonard in association with theAssociated Board of the Royal Schools of Music.

2002Jazz Piano from Scratch a how-to

guide for students and teachers is acomplete step-by-step guide to playing



49

jazz with confidence and style. Designedfor the absolute beginner, it breaks downthe process into simple yet fun activities,with many musical examples to illustratethe points made. The accompanying CDprovides examples, activities, and somegreat trio playing to use as the backdropto your own work.Part I deals with beginning skills,

looking in turn at rhythm, melody, andharmony. Part II extends these techniquesand makes clear the structure, harmony,and common changes of standards.Companion volumes to this one: Jazz

Piano, Levels 1-5Jazz Piano, The Complete Method Level

1 – 5Published by Hal Leonard in

association with the Associated Board ofthe Royal Schools of Music. 2002A pioneering set of publications and

optional assessment materials provide thebuilding blocks needed to play jazz withimagination, understanding, and style, andto improvise effectively right from thestart. Jazz Piano is based on the world-famous ABRSM assessment program infive levels of graded pieces. Containing awealth of jazz repertoire from the African-American tradition to the multi-culturalnature of today’s jazz, Jazz Piano providesa wide range of styles which include Funkyjazz, Calypso, Latin, Jazz waltz, Bebop,and Ragtime to name only a few.Within each level there are 15 pieces,

aural tests, quick studies, scales, arpeggios,and a CD with minus one practise tracks.The pieces are presented in threecategories – blues, standards, andcontemporary jazz. Each piece provides ahead/melody, which contains all thecharacteristic voicings, phrasing, andrhythmic patterns needed for a stylishperformance. An improvised sectionfollows, where guideline pitches and left-hand voicings are given as a practicalstarting point for solos.Totally accessible, these pieces provide

the opportunity to play jazz confidentlyand creatively.Companion volumes to this one: Jazz

Piano from Scratch.

Just for Fun, Book 1Jazzy RagsBy Melody Bober

Published by The FJH Music Company Inc. 2003Just for Fun, Book 1 and Jazzy Rags by

Melody Bober are part of the Composers inFocus collection written for today’sdeveloping pianist that celebrates thecreative artistry of contemporarycomposers.

Just for Fun, Book 1 is a collection ofeight late elementary / early intermediatepianos solos. This album by Melody Boberincludes pieces that are interesting to hearand play, yet also serve a pedagogicalpurpose. Written in a variety of keys, theyhelp students to become proficient inplaying major and minor pentascalepatterns.

Jazzy Rags is a collection of eightintermediate / late intermediate ragtimepiano solos. Students will enjoy playingthese clever ragtime pieces. Imaginativecompositions offer great opportunities forpracticing right-hand and left-handmelody and cross-hand arpeggios. MelodyBober gives ragtime lovers the chance toreally shine!

THE FOLLOWING REVIEWS BY: LORERUSCHIENSKY

MacDowell – Selected Works for thePiano

Compiled and edited by Keith Snell.Published by Neil A KJOS Music Company

Edward MacDowell, considered to bethe first truly professional composer,wrote many romantic “character pieces”using titles borrowed from mythicalhistory, painting or literature.This compilation includes many of his

most famous pieces including To a WildRose from Woodland Sketches Op.51,Tarantella, Shadow Dance and Hungarianfrom 12 Etudes Op 39, Witches DanceOp17 No2. These delightful pieces showhis German musical training and arerepresentative of the late 19th CenturyRomanticism.


Pathways to Artistry – Techniqueand Repertoire Book 2

By Catherine RollinPublished by Alfred Publishing

This is the second book in thePathways to Artistry Series and ismeant to develop the physical skillsneeded to play artistically and to givestudents the physical vocabulary thatwill equip them to play themasterworks.The Technique Book includes a

Prelude that reviews the 12 Basic Skillsfrom Book 1. The new techniquesinclude four scale skills – thumb rolls,thumb and finger pivots, thumbunders and legato arm; six newtechniques- overlapping pedal, under-over wrist rolls, portato, wrist staccato,trills and voicing. These are followedby exercises using each of the newtechniques and etudes.The Repertoire Books bridge the

gap between the early levels ofmethod books and intermediatemasterwork repertoire using thetechniques learned in the TechniqueBook. These original late elementarycompositions by Catherine Rollin aremeant to develop strong reading skillwith form and style periods identified

to aid in learning, memorization andstylistic performance. They include avariety of keys and tonalities.

Expressive Etudes Book 5Compiled and Edited by Suzanne GuyPublished by FJH Music Company

This fifth in a series of six books,provides more progressive etudes bymany composers, in many styles, keysand tempi represented. There is ahelpful page of practice suggestions tofollow for learning and improving anetude and each etude is prefaced by asummary of specific technicalelements.This 45 page volume includes 20

etudes by composers such as Bach,Bartok, Berens, Clementi, Czerny,Gurlitt, Heller, Saint Saens andSchumann. Composer biographies areincluded at the end of the book.

THIS REVIEW ORIGINALLY APPEAREDIN THE BRITISH COLUMBIANEWSLETTER.

Canadian Art Songs,Selected and Edited by Phyllis Mailing

Alberta KeysThe three books of Canadian Art

Songs (for High, Medium and LowVoice), Selected and Edited byrenowned Canadian mezzo sopranoPhyllis Mailing, should be in everyvoice teacher's library. It is importantto realize that the three books containdifferent selections (not the samesongs arranged for a different voice).Composers represented are: VioletArcher, John Beckwith, Allan GordonBell, Jean Coulthard, CliffordCrawley, Chester Duncan, EuphrosyneKeefer, John Oliver, Barbara Pentland,Frederick Schipizky, and ThomasSchudel. The three songs by E. Keeferuse French lyrics and all others arewritten with English lyrics. All of theseselected works are quite "singable"and the accompaniment is quite"playable". In other words, they arcwritten very much along traditionallines with contemporary harmonicinfluence. The songs are of differentgrade levels-many are of onlymoderate difficulty while others arequite challenging for both the singerand the accompanist. Notes about thepieces, the composers and the poetsare provided throughout.


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MEMORIAL PEDAGOGY AWARD

TEACHING CREATIVE ACCOMPANIMENTCAN TEACHERS BE CONVINCED THEY CAN AND SHOULD TEACH ACCOMPANIMENT

BY GAYLE DUNSMOOR

Teachers should know that they can easily teach this area of music - even if it has not been part of their own formaltraining. In the same way that students gain sight-reading and technical skills by structured, routine practice, the skill ofanticipating chord changes and selecting chords can also be taught. By routinely assigning two or three melodies, along withsuggested pattern instructions, students can be given the tools needed to creatively accompany melodies. However, withoutboth teachers and examining institution determined to make it work, this very important music subject could remain buried.Unfortunately, until examining institutions recognize that teachers W ANT their students to learn how to create

accompaniment for melodies (at the keyboard) and are persuaded to provide motivation with effective teaching material andmarks on the grades one through diploma level examinations, teaching of the subject will continue to be avoided.Exploring chord progressions and experiencing the joy of creating, can be fascination and exciting! Shouldn't this aspect

of music be available to all our students? Some parents find it impossible to understand why something as basic as 'how toaccompany a melody' (at the keyboard) is not a part of their child's music training.

CFMTA is pleased to offer a MemorialPedagogy Award to the candidate whoreceives the highest mark in the Teacher’sWritten Examination of either the RoyalConservatory of Music or ConservatoryCanada. This award has been established tohonor teachers who have been recognizedfor their contributions to the profession. Asa tribute to these teachers, the PedagogyAward is being offered to a deservingcandidate who has recently qualified in thisfield. It was initiated upon the passing ofRobert Pounder, the CFMTA’s firstHonorary President from 1975 to 1996.The applicant must be studying with a

current CFMTA/FCAPM teacher and the

examination must be from a nationallybased teaching institution, which examinesin every province ( Royal Conservatory ofMusic or Conservatory Canada ). Alongwith an official transcript of the PedagogyExamination mark, the applicant will berequired to submit a summary of musicaltraining and interim teaching, which will beconsidered in the case of a tie.The Memorial Pedagogy Award will be

presented biannually in the non-conventionyear and will be governed by the SpecialProjects Convenor. The closing date forapplications to be received by theConvenor will be February 15th of thenon-convention year, and anyone

completing the requirements in the twoyears prior will be eligible. The first awardwill be granted in 2004 and anyonecompleting the requirements fromJanuary 2002 to December 2003 will beeligible to apply.The amount of the award will be

governed by the availability of funds. It ishoped that CFMTA members will wish tohonor teachers and mentors with donationsto this Pedagogy Award. For moreinformation please contact Rosalyn MartinRosalyn Martin, 144 Hawkwood Dr. N.W.,Calgary, AB T3G 2V8Fax: (403) 242-5856 • E-mail:[email protected]


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EXECUTIVE DIRECTORYCFMTA EXECUTIVE OFFICERSPresident - Victoria Warwick, 168 Stanley Street S., Thamesford ON N0M 2M0, Phone (519) 285-2151, Fax (519)285-3260, [email protected] President - Barbara Clarke, 86 Old Topsail Rd., St. John’s NF A1E 2A8, Phone (709) 579-1758, Fax (709) 579-0421, [email protected] President - Pat Frehlich, 72 Manor Drive, Sherwood Park, AB, T8A 0S4, Phone (780) 467-0779, Fax (780) 417-3149 [email protected] - Beryl Wiebe, #228 - 15153 - 98th Ave., Surrey BC V3R 9M8, Phone (604) 587-5153, Fax (604) 587-1853, [email protected] Columbia - (1) Jean Grieve, 125 – 101 Parkside Dr., Port Moody BC V3H 4W6, Phone (604) 949-1648, Fax (604) 949-1650

(2) Lynne Carmichael, 215 Arrowstone Dr., Kamloops BC V2C 1P8, Phone (250) 374-4741, Fax (250) 374-3525(2) Alternate Darlene Brigidear, 13407 - 14A Avenue, Surrey, BC V4A 7P9, Phone (604) 531-8840, Fax (604) 531-8747

Alberta - (1) Annette Bradley, 17 Hermary Street, Red Deer AB T4N 6S2, Phone (403) 346-0065 [email protected](2) Janice Dahlberg, 405 Cliffe Avenue, S.W., Calgary AB T2S 0Z3, Phone (403) 287-1856, Fax (403) 287-2490, jadahlberg@shaw ca

Saskatchewan - (1) Verna Martens, Box 15, Main Centre SK S0H 2V0, Phone (306) 784-2962. Fax (306)784-3313(2) Peggy L’hoir, Box 627, Biggar, SK, S0K 0M0 Phone (306) 948-5231

Manitoba - (1) Faith Reimer, 7 Lake Linnet Pl., Winnipeg MB R3T 4N2, Phone (204) 269-1150 [email protected](2) Eleanor Lwiwski, 86 Shoreview Bay, Winnipeg, MB M8N R2J 3E3, Phone (204) 255-3403 [email protected] Nancy Nowosad, 6 Sammons Cres., Winnipeg, MB, R3R 3P8, Phone (204) 896-4414 [email protected]

Ontario - (1) Judy Home, 5 Christena Cres., Ajax ON L1S 6A4, Phone (905) 683-9493, Fax (905) 683-6353 [email protected](2) Doranne Cooper, 8181 Lynhurst Drive, Niagara Falls, ON L2H 2A3, Phone (905) 354-1842, [email protected]

Quebec - (1) Hélène Lord, 63 Bachand Sud, Boucherville, QC J4B 2N8, Phone (450) 449-7580, Cell (514) 702-5000 [email protected](2) Katharine Notkin, 4814 Cedar Cres., Montreal, PQ H3W 2H9, Phone (374) 733-1270Alternate Helene Lemoine

New Brunswick - (1) Kilby Hume, 4 Wendy Court, Rothesay NB E2E 3J3, Phone (506) 847-3277, [email protected](2) Caroline Britten, 26 Stoneyplain Ave., Quispamsis NB E2E 1G9, Phone (506) 847-1753, [email protected]

Nova Scotia - (1) Janet Atwood, Box 2840, RR#5, Yarmouth NS B5A 4A9, Phone (902) 749-1792 [email protected](2) Peggy Harrison, 38 Wanda Lane, Dartmouth NS B2W 3A7

Newfoundland - (1) Joan Woodrow, 1 Marigold Place, St. John’s NF A1A 3T1, Phone (709) 722-9376 [email protected](2) Judy Sneddon, 85 Barnes Road, St. John’s, NF A1C 3X5

Prince Edward Island - (1) Jacqueline Sorensen, 168 Weymouth St., Charlottetown, PE C1A 4Z3, Phone (902) 892-1809, [email protected](2) Suzanne Campbell, 100 Hillsboro St., Charlottetown, PE C1A 4W4, (902) 628-1133, [email protected]

CONVENORSArchives - Hugheen Ferguson, 169 King St. E., Kingston ON K7L 3A3, Phone (613) 542-6467, Fax (613) 542-8470, [email protected] & Standing Rules - Kilby Hume, 4 Wendy Court, Rothesay NB E2E 3J3, Phone (506) 847-3277, [email protected] Music WeekTM Convenor - Ron Spadafore, Box 635, Timmins, ON, P4N 7G2 Phone (705)267-1224 Fax (705) 264-0978, [email protected] Canadian Music Teacher Editor & Advertising Manager - Lore Ruschiensky, 94 Green Meadow Rd., Regina SK S4V 0A8, Phone (306) 789-8414,Fax (306) 751-4883, [email protected] Chair - Patricia Frehlich, 72 Manor Drive, Sherwood Park, AB, T8A 0S4, Phone (780) 467-0779, Fax (780) 417-3149 [email protected] & Elections - Barbara Clarke, 86 Old Topsail Rd., St. John’s NF A1E 2A8, Phone (709) 579-1758, Fax (709) 579-0421,[email protected] Projects Co-ordinator - Rosalyn Martin, 144 Hawkwood Dr., Calgary AB T3G 2V8, Phone (403) 239-5847, Fax (403) 241-5856,[email protected] Artist National Co-ordinator - Barbara Clarke, 86 Old Topsail Rd., St. John’s NF A1E 2A8, Phone (709) 579-1758, Fax (709) 579-0421,

[email protected] Artist Atlantic Co-ordinator - Margaret Ann Craig, 93 York Street, Sackville, NB E4L 4R6, Phone (506) 536-0295 [email protected] Artist Ontario Co-ordinator - Victoria Warwick, 168 Stanley St. S., Thamesford, ON N0M 2M0, Phone (519) 285-2151, Fax (519) 285-3260,

[email protected] Artist Western Co-ordinator - Barbara Eriksson, 714 Trent Cres., Saskatoon SK S7H 4S5, Phone (306) 774-2796, [email protected] EXECUTIVE OFFICERSPRESIDENTSBritish Columbia - Lynne Carmichael, 215 Arrowstone Dr., Kamloops BC V2C 1P8, phone (250) 374-4741, Fax (250) 374-3525, [email protected] - Bettijo Smith, Box 57, Jarvie AB T0G 1H0, Phone (780) 954-2464, [email protected] - Bev Tillman, 24 Cecil Cres., Regina SK S4T 5Y5, Phone (306) 949-5757, [email protected] - Faith Reimer, 18-600 Dovercourt Dr., Winnipeg MB R3Y 1X4, Phone (204) 269-1150, [email protected] - Frances Balodis, 39 Leacock Way, Kanata ON K2K 1T1, Phone (613) 592-7565, Fax (613) 592-9353 [email protected]


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EXECUTIVE DIRECTORY (CONT’D.)Québec - Christiane Claude, 8260, Rue St-Denis, Montreal QC H2P 2G6, Phone (514) 389-9511New Brunswick - Gayle Carleton, Box 5272 Dalhousie NB E8C 3B9, Phone (506) 684-2532Nova Scotia - Rafael Alcolado, 6366 Cork Street, Halifax, NS B3L 1Z2, [email protected] - Joan Woodrow, 1 Marigold Place, St. John’s NF A1A 3T1, Phone (709) 722-9376 [email protected] Edward Island - Suzanne Campbell, 100 Hillsboro St., Charlottetown PE C1A 4W4, Phone (902) 628-1133, [email protected] Columbia - Barbara Siemens, #401 2155 West 11th Ave., Vancouver BC V6K 1X9, Phone (604) 734-1077, Fax (604) 734-1079,[email protected] - Dale Bawol, #209 14218 Stony Plain Rd., Edmonton, AB T5N 3R3, Phone 1-877-687-4239, [email protected] - Penny Joynt, 3954 Parkdale Road, Saskatoon SK S7H 5A7, Phone (306) 343-1835, Fax (306) 373-1390, [email protected] - Holly Harris, 140 Borebank Street, Winnipeg, MB R3N 1C9Ontario - Ron Spadafore, Box 635, Timmins ON P4N 7G2, Phone (705) 267-1224, Fax (705) 267-1224, [email protected]ébec - Danielle Laberge, 82 St.-Joseph, app 8, Chateauguay, J6K 4T3, Phone (450) 691-7800, Fax (450) 691-7800, [email protected] Brunswick - Joy Broad, 74 Kelly’s Drive, Fredericton NB E3B 7R6Nova Scotia - Pat Quinn, R.R. #2, South Ohio, Yarmouth Co. NS B0W 3E0, Phone (902) 761-2071Newfoundland - Catherine Cornick, 34 Circular Rd., St. John’s NF A1C 2Z1, Phone (709) 726-0826, [email protected] Edward Island - Claire Caseley-Smith, Box 797, Kensington PE C0B 1M0, Phone (902) 836-4902, [email protected] Columbia - Ernst Schneider, 197 Vancouver Ave, Penticton BC V2A 1A1, Phone (250) 492-8944, Fax (250) 493-9130, [email protected] - Dale Bawol, #209 14218 Stony Plain Road Edmonton, AB T5N 3R3, Phone (780) 488-7648, Toll Free: 1-877-687-4239, [email protected] - Penny Joynt, 3954 Parkdale Road, Saskatoon SK S7H 5A7, Phone (306) 343-1835, Fax (306) 373-1390, [email protected] - Marlene Dahl, 47 Carbutt Pl., Winnipeg MB R3R 3N7Ontario - Nancy Dale, P.O. Box 1639, 58 Shakespeare Ave., Niagara-On-The-Lake ON L0S 1J0, Phone (905) 468-5639, [email protected]ébec - Claude M. Walker, 525 St. Charles West, Apt. 503, Longueuil QC J4H 3Y5, Phone (450) 670-9702, [email protected] Brunswick - Patricia Lee, Music Dep’t Mt Allison U,134 Main St, Sackville NB E4L 1A6, Phone (506) 536-2819, Fax (506) 364-2376, [email protected] Scotia - Heather Selig, 6472 Young St, Halifax NS B3L 2A3, Phone (902) 454-6303, [email protected] - Catherine Cornick, 34 Circular Rd., St. John’s NF A1C 2Z1, Phone (709) 726-0826, [email protected] Edward Island - Melanie Walsh-Fraser, 263 Keepoch Rd., Stratford, PE C1B 2J5, Phone (902) 569-1604, [email protected] Columbia - Susan Olsen, 13088 Huntley Ave, Surrey BC V3V 6B8, Phone (604) 584-0916, Fax (604) 583-5837, [email protected] - Dale Bawol, #209 14218 Stony Plain Road Edmonton, AB T5N 3R3, Phone (780) 488-7648, Toll Free: 1-877-687-4239, [email protected] - Penny Joynt, 3954 Parkdale Road, Saskatoon SK S7H 5A7, Phone (306) 343-1835, Fax (306) 373-1390, [email protected] - Cathy Dueck, 18 DeJong Cr., Winnipeg MB R2K 3M1, Phone (204) 668-3704, [email protected] - Ron Spadafore, Box 635, Timmins ON P4N 7G2, Phone (705) 267-1224, Fax (705) 267-1224, [email protected]ébec - Danielle Laberge, 82 St.-Joseph, app 8, Chateauguay, J6K 4T3, Phone (450) 691-7800, Fax (450) 691-7800, [email protected] Brunswick - Mabel Doak, 672 Scully St, Fredericton NB E3B 1V2, Phone (506) 454-2056, [email protected] Scotia - Sandra Britten, 12 Cranberry Cresc., Dartmouth NS B2W 5A1, Phone (902) 434-0824, [email protected] - Catherine Cornick, 34 Circular Rd., St John’s NF A1C 2Z1, Phone (709) 726-0826Prince Edward Island - Dr. Frances Gray, c/o UPEI Music Department, University of PEI, 530 University Ave., Charlottetown, PE C1A 4P3, Phone (902)566-0680, [email protected] NEWSLETTER EDITORSBritish Columbia - Ernst Schneider, 197 Vancouver Ave,. Penticton BC V2A 1A1, Phone (250) 492-8944, Fax (250) 493-9130, [email protected] - Tempo - Charmain Hausauer, 436 – 10th Street N., Lethbridge AB T1H 2C7, Phone (403) 380-6068, [email protected] - OPUS - Lore Ruschiensky, 94 Green Meadow Rd., Regina SK S4V 0A8, Phone (306) 789-8414, Fax (306) 751-4883,[email protected] - Take Note -Ontario - NOTES - Shirley Efford, 1435 Georgia Park Heights, Crofton, BC V0R 1R0, (250) 246-1453, [email protected], after July 31:[email protected] - Musifax - Danielle Laberge, 82 St.-Joseph, app 8, Chateauguay, J6K 4T3, Phone (450) 691-7800, Fax (450) 691-7800, [email protected] Brunswick - The Quarter Note - Anne Marie Murphy, 178 Cambridge Cr., Fredericton, NB, E3B 5V4, [email protected] Scotia and Prince Edward Island - Arabesque - Nancy Smart, 38 Auburn Dr., Dartmouth, NS B2W 3S6, Phone (902) 434-5930,[email protected] -

YYaammaahhaaGGrraanndd PPiiaannooss110000 YYeeaarrss11990022 -- 22000022

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