THE CANADIAN MUSIC TEACHER LE PROFESSEUR DE MUSIQUE CANADIEN VOLUME 62 - NUMBER 1 - SEPTEMBER 2011
Leadership in Music Education across Canada The virtuosos of tomorrow are seated at a Yamaha piano today.
We have been purchasing Yamaha pianos for over twenty years. e tone, touch, and consistency of Yamaha pianos have made them the first choice of e Royal Conservatory.
Dr. Peter Simon President, e Royal Conservatory y ca.yamaha.com WHAT’S INSIDE . . . PUBLICATION INFORMATION Offi cial Journal of the CANADIAN FEDERATION OF MUSIC 4 Greetings from CFMTA/FCAPM TEACHERS’ ASSOCIATIONS / FÉDÉRATION CANADIENNE DES PROFESSEURS DE MUSIQUE 5 Hello from the Editor 6 Summary of Minutes of Executive and AGM Meetings CIRCULATION 3500 - FOUNDED IN 1935 CFMTA/FCAPM Offi cers and Executive UPCOMING EDITIONS OF 10 Th e Canadian Music Teacher/ le Professeure de Musique Canadian Meet your New President and Vice President 13 Winter Edition 2012 Hugheen Ferguson Awards 2011 • Publication: January 2012 14 • Submission Deadline: Dec 1, 2011 Branching Out 16 Spring Edition 2012 • Publication: May 2012 CFMTA/FCAPM Mission Statements 2011 18 • Submission Deadline: April 1, 2012
19 CANADA MUSIC WEEK® Canada Music Week Edition 2012 20 Bill Andrews Canada Music Week® Awards • Publication September 2012 23 CFMTA/FCAPM Student Composers - Winners 2011 • Submission Deadline: August 15, 2012 28 Call for Compositions - Winners 2011 SEND ALL MATERIALS FOR EDITIONS TO: 31 MUSIC IS A LIFE FORCE Dina Pollock 32 An evaluation from the Inside Phone 604.859.6333 33 Congratulations Fax 604.859.9855 [email protected] 34 Canadian Composers' Day 36 Highlights from a few Workshops ADVERTISING Send all advertising inquiries and orders to: 37 CMW Poster - French & English Dina Pollock Phone 604.859.6333 42 2011 National Piano Competition Fax 604.859.9855 [email protected] 44 Yukon - a breed apart Th e offi cial journal of the Canadian Federation Music Teachers’ 44 Creative composers' Competition Associations/Fédération Canadienne des Professeurs de Musique is published three times a year. Its purpose is to inform music teachers 45 NLRMTA is announcing the launch of a new award about the Association’s activities, provide a forum for discussion and supply information of topical interest. 46 Performing in Public: A guide for music students Inclusion of items in this journal does not imply endorsement or approval by the CFMTA/FCAPM. Children's Art tax credit 49 All opinions are those of the authors and may diff er from those of CFMTA/FCAPM. 50 Convention 2013 53 Canadian Musicians - Coast to Coast SUBCRIPTIONS
Going with Goals: Utilizing Non-Structured Practice Time 65 Non-members may receive a subscription Empowering the whole musician mind and body by submitting an annual fee to: 66 Bernadette Bullock, Secretary / Treasurer 302 - 550 Berkshire Dr. London, ON N6J 3S2 68 Review of Publications Th e fee for Canadian residents is $ 20.00 per year, 73 Delegates and Offi cers Directory and $ 30.00 for non-residents. Make cheque payable to CFMTA/FCAPM. Sauter 2011 - le Professeure de Musique Canadian 3 GREETINGS FROM THE NEW EXECUTIVE CFMTA/FCAPM Dr. Lorna Wanzel - CFMTA / FCAPM President
hank you CFMTA/FCAPM music teaching shall be regarded as a I believe we need to look more closely for allowing me the privilege continual process of self-education and at the relationships we have at the of being your President for the improvement to develop professional community and provincial level with nextT two years. excellence and improve standards?” the conservatories and faculties of As I begin my term as your President, As music teachers, it’s vital that we music. I am encouraged by the continuing welcome the opportunity to inject Can this examination and this healthy condition of the CFMTA/ new ideas and methods into our challenge, best be met at the level FCAPM. I’d like to devote my lessons. Given the healthy attitude of our provincial associations, or is remarks here to a few points that to professional development among there a role for CFMTA/FCAPM at I hope will signal the approach I’d our members, what an opportunity the national level? Should CFMTA/ like to take in my term as President. CFMTA/FCAPM and the provincial FCAPM, develop a position and My hope is to encourage and inspire associations have to inspire our engage in serious - and, I hope, you as accomplished music teachers members to approach their work with productive - discussion with the and, through you, our provincial this as their mindset. conservatories and universities on associations. Let us continue to improve ourselves behalf of our members? I’d like to raise a few questions about and have a larger vision of our role as Can we, as your national what we as music teachers need to music teachers, no matter how small representatives and spokespeople, think about in the future and how I, our community. Remember the essential assist you in dealing with and working as your President, and the CFMTA/ contribution that we make to the with these institutions, to enhance FCAPM as a national body, can work quality of education and the lives of our the ability of our members to pass on on behalf of our members generally, students. to their students, the benefi ts of new and the provincial associations more Th e next question I want to ask you ideas and discoveries? specifi cally. is: how can your national Association With these questions, I’ll wind up As teachers of music, we are the fi rst help you, as individuals and members my remarks. I look forward to having formal point of contact with music of local and provincial associations, to more specifi c discussions with you and that millions of Canadians experience, meet your local needs? your local bodies across the country whether it’s with our beginning It is you and your provincial associations in the course of my term, and fl eshing students or with parents inquiring that defi ne those needs. But I’d like out the issues that I have raised. about arranging lessons for their young to present an issue that I believe we’re Let’s look at this year as a new children. What we do, helps infl uence going to have to do some serious work beginning, the beginning of a period the cultural dimensions of the lives of on. where we inspire our members to millions of children by giving them I believe one of our biggest challenges project an even larger vision of their a level of music education rarely role as music teachers, and in which available in the education system. in the next few years will be to increase our membership, and get more of we build a more eff ective role for So, I would ask you: do you enjoy our members certifi ed. If there is the CFMTA/FCAPM to serve the learning new things and challenging agreement about the need to deal with members, our component associations yourselves to dig into new ideas of this problem, is it a challenge and task and the cause of music education in teaching and learning? that should be left in the hands of the Canada. In other words, are we willing to go provincial associations, or can CFMTA/ I wish all our members a very outside the box? In this case, beyond FCAPM as a national association play a successful teaching year. the boundaries stated in our code role in bringing about a change in this of ethics, which states “Th e art of perception of us as music teachers? 4 The Canadian Music Teacher - Fall 2011 HELLO FROM THE EDITOR Dina Pollock
Hi Everyone, Here it is - another issue - bursting I would like to thank Lore Ruschiensky, all the bio's from the student composer at the seams with ideas, workshops, Cindy Taylor, Barbara Robertson, winners and the "Call for Composition" photos, competition and lots of Solange Liang, Peter van Ginkel, winners. Th e magazine would not be information. A great way to get back Agatha Warkentin, Heather Blakley and what it is without these articles. Henry Klassen for the articles from the to thinking about the teaching year If you are interested in writing book Convention - Music is a Life Force. to come. I attended my fi rst CF reviews please let me know. convention this summer and it was Th ank you to the delegates who If you have an idea for an article a great experience. At the Executive collected the information and wrote or have an article you would like committee meeting I was warmly the articles highlighting the musician to include - please send it to me. welcomed by all the delegates and from their province. Th e members who [email protected] committee chairpersons and felt took the time to play and write book 604.859.6333 instantly included - Th ank you. New reviews and Po Yeh, for all you do for Th anks, friends made, great concerts, workshops Canada Music Week and for collecting to make us think or re-think ideas..... ® ♪ Dina
PS: Th e Canada Music Week® poster is included in this issue in both English and French (page 37).
THE CANADIAN FEDERATION OF MUSIC TEACHERS’ ASSOCIATIONS “A national association of music instructors whose purpose is to promote and maintain high standards of teaching among our members and to foster excellence in our students”
But what does being a member of CFMTA/FCAPM really mean? • Communication with colleagues and a pedagogical network across the nation. • Local and provincial acknowledgement at the national level through provincial representation. • A unifi ed body to support, promote and mentor music educators and music education at the provincial, national and international level. • Biennial conventions that create opportunities for learning, inspiration, competition and fellowship. • A national magazine published three times per year, including articles, reviews and new developments in our musical landscape. • Access to national scholarships for students in the areas of performance and composition. • Access to national awards for teachers and branches. • Liability insurance, optional home and auto insurance As independent music teachers our members have access to a national organization that provides an invaluable opportunity to impact, and be impacted by, the rest of the nation.
Automne 2011 - le Professeure de Musique Canadian 5 SUMMARY OF MINUTES OF CFMTA/FCAPM EXECUTIVE AND AGM MEETINGS Regina, Saskatchwan July 6th & 7th 2011
EXECUTIVE MEETING: Finance Chair Report: Canada Music Week®: Po Yeh gave a Room ED114, Education Building, Budget 2011 – 2012: presented by slideshow about Canada Music Week® University of Regina, Lorna Wanzel and a motion was made 2010 and unveiled the 2011 poster. Regina, SK, July 6th, 2011 and accepted to pass the budget. Motion – I move that the Student Advertising Committee Special Composer Competition categories, Call to Order and Welcome: Presentation: Peggy L’Hoir gave a scholarships and entry fees be adjusted Darlene Brigidear slideshow presentation on the work of at the discretion of Po Yeh, CMW Roll Call: Bernadette Bullock the advertising committee and the new coordinator – accepted. Acceptance of Agenda: accepted mission statement. Motion - I move that, at Po’s Executive Meeting Minutes: July 2010, Motion – I move that we accept the discretion, the adjudicators’ fees for Toronto, ON – amendment to Page 7 Mission Statement as presented - the CFMTA Student Composer Correspondence: Bernadette Bullock approved. Competition be increased – approved. reported that all correspondence is Directive – Be it directed that the Directive – Be it directed that Cindy dealt with as it is received throughout ad hoc committee stay in place to Taylor and Bernadette Bullock will the year. Most of the correspondence investigate further advertising/branding/ compile information for distribution is electronic. She reported that she has recognition initiatives. to Provincial Student Composer answered over 500 emails just since Officers Annual Reports: motion Competition coordinators and May. made was made and approved for the presidents regarding Provincial Student Financial Reports: Lorna Wanzel and acceptance of officers' annual reports. Composer Competition adjudication Bernadette Bullock reported on the rates across the country. financial status of CFMTA/FCAPM. Standing Committee Reports: A motion was made and accepted for all Archives: Darlene Brigidear spoke on accounts to be paid. the importance of sending information to our Archivist, Priscilla King.
ANNOUNCEMENT OF ANNUAL GENERAL MEETING 2012
Take notice that the Annual General Meeting of the members of the Canadian Federation of Music Teachers’ Associations will be held in Toronto - on Tuesday June 26th from 9:00 am to 12:00 pm
Business to be conducted includes: Receive and consider the Financial Statements of the period ending May 31, 2012 Receive and relate the Provincial Reports. Appoint Auditors. Transact such other business as may properly come before the meeting.
The Annual Executive Committee Meeting will be held on Monday June 25th from 9:00 am to 5:00 pm Toronto - location TBA
By order of Lorna Wanzel, President. Bernadette Bullock, Secretary-Treasurer Dated at London, Ontario, this 15th day of August, 2011
6 The Canadian Music Teacher - Fall 2011 Special Projects: Heather Blakley spoke MTNA Conference in March 2011: Motion – I move that the proposed about possible changes to the way the Patricia Frehlich gave a report on the changes be accepted, then circulated to National Competition is executed. meetings she had. provincial associations by January 15 for Motion – I move that Piano Directive - Be it directed that Pat ratification at the 2012 AGM - approved Competition entry fee be increased to pursue a Fast Track application for Policy and Procedure Manual $250.00 & be paid by the competitor membership between CFMTA/FCAPM Revisions: – defeated. Motion – I move Piano members and MTNA. Motion – I move to accept the changes competition fees be increased to Collaborative Trip to New York in to the Policy and Procedures – approved. $250.00 – approved. Motion - I move summer of 2012: Patricia Frehlich Special Projects Change of Name: that the Piano Competition entry fee reported that plans are underway for Motion – I move that the name be paid by the provincial association or June 2012 and only 150 participants “Special Projects” be changed to the competitor, at the discretion of the will be accepted. “Competitions and Awards” - approved. provincial association – approved. CMEA National Leadership Summit: Nominations Report: nothing further Darlene Brigidear reported that this Resolutions: Alberta - Resolution 1 added to report. is an ongoing collaboration with Preamble: A number of questions have Young Artist: nothing further added to approximately 20 other Canadian arisen about the Liability Insurance report. Music organizations in order to present policies, such as: Professional Development and a unified voice for the continued What is the history of this program? Research: nothing further added to importance of music education. How and when did it come about? report. CFMTA/FCAPM Certificate See addendum Report on Liability Public Relations and Marketing: of Recognition of Professional insurance. Must all CFMTA/FCAPM Pat Frehlich informed us of the Achievement: Darlene Brigidear members participate in the program? Yes. initiation of a $500.00 tax Credit from reported that we have presented 35 May an individual province opt out of Revenue Canada for music tuition. certificates to date and others are the program? Yes The Canadian Music Teacher: working towards this achievement. Do all provinces pay the same rate?Yes. Dina Pollock gave a slide show Canada Music Week’s® 50th Why does each province have a separate presentation on the magazine and a Anniversary Celebration: policy? The reason for this is because breakdown of the cost of the issues. Darlene Brigidear thanked the delegates the provinces handle membership She asked members to do reports on for their outstanding participation and registration and renewal. various aspects of the convention. enthusiasm in celebrating Canada Music Could CFMTA/FCAPM negotiate Motion – I move the acceptance of Week`s 50th Birthday in their branches. on behalf of the provinces for the best Standing Committee and Provincial The project cost us $2200.00 (in $50.00 products and prices for insurance? We Reports with the amendment to the donations to participating branches) have investigated and we have found Special Projects report. The Amendment which was offset by $2800.00 in sales that no other insurance company can should read amount of the raise in fee of Canada Music Week posters, pencils come close to competing with our rate. should be $250. and stickers. Could any changes to the insurance Provincial Reports: nothing further Unique Opportunities Fund: Darlene policies regarding rates and coverage be added. Brigidear reported this fund was used to directed to CFMTA/FCAPM which fund a consultant who worked with the in turn will notify the provinces? The Unfinished Business: Advertising Committee. provinces deal directly with the Group Insurance through the insurance company. Personal Group: Bernadette Bullock New Business Would it be more efficient to have clarified some misunderstandings about Yukon Territories Ratification Vote: one policy administered through the this insurance. Motion – I move that we ratify the CFMTA/FCAPM office? – or is there Convention 2011: Darlene Brigidear e-vote taken to accept the Yukon some legal technicality that prevents spoke about the wonderful work the Territories as a member of CFMTA/ this? Registration and renewal are Saskatchewan committee has done and FCAPM – approved. handled by the provinces therefore is doing. Bylaw Revisions: Motion – I move to the provinces also administer the Convention 2013: Rémi Lefebvre gave amend the Letters Patent at the next insurance. a slideshow presentation on the plans AGM – approved. for this convention. Automne 2011 - le Professeure de Musique Canadian 7 SUMMARY OF MINUTES OF CFMTA/FCAPM EXECUTIVE AND AGM MEETINGS - cont.
Alberta - Resolution 2: able to access this support to structure October Branching Out Proposal: Preamble: Alberta would like to its own tour within the $1000 per tour Motion – I move that CFMTA/ participate in the Young Artist funding cap and provide the greatest FCAPM will support branch initiatives Tour; however, meeting the specific opportunity to the Young Artists and to reach out to their members in requirements as set out on the CFMTA/ the communities who host them. October of 2011 – approved. FCAPM website presents problems: Peggy L’Hoir clarified the program Motion – I move that CFMTA/ The website states that in past years and announced a meeting of available FCAPM create a “Unique a vocalist and pianist have toured coordinators from the provinces the Opportunities” fund created from yearly together, as has a piano duo team. next day to discuss this matter and surplus starting with $10,000 surplus Alberta would like to include the further clarify. from the fiscal year 2010 – approved. possibility of two soloists touring Alberta - Resolution 3 separately. This would avoid Preamble: Alberta questions the Election: President - Lorna Wanzel and overburdening the schedule of one effectiveness of the CFMTA/FCAPM Vice President - Charline Farrell busy student and provide opportunity Professional Development Certificate. for another within the funding Unless it is a carefully administered Announcements and Goodwill: structure. It would also benefit a wider mandatory program, it really does Manitoba – is hosting the Convention audience. The funding allows for not have any impact in a professional in 2019 and made a presentation. Peggy $100.00 per concert to a maximum of sense. Most professional associations L`Hoir announced the launch of Prairie $1000.00 (i.e. 10 events). This could require evidence of upgrading, etc. as a to Pine Vol. 2. Draw for the order easily be shared by two Young Artists condition of continued membership. It of the National Piano Competition touring independently. Other minor is a good idea, but in its present format competitors. clarifications and changes in the current does not properly acknowledge the website wording are recommended: professional status of CFMTA/FCAPM Breakout Session: Delegates broke “Auditions are held in the spring” – this and its members. off into discussion groups and seems unnecessarily specific. “Some The delegates from Ontario, Charline brainstormed ideas for the branding and advertising expenses are met by the Farrell and Sue Jones will be reviewing ongoing advertising and promotion of CFMTA Young Artist Fund” – please the applications on behalf of the CFMTA/FCAPM. clarify – is there a budget cap?....or are CFMTA/FCAPM as they are received. After AGM Meeting: Motion - I move some forms of advertising considered Three Alberta Resolutions accepted as that the 2013 Convention Committee unacceptable, and what specifically presented. be allowed to use the CFMTA/FCAPM would not meet the standard? Is Charitable Registry number to gather there some subsidy available where New initiatives: donations through Canada Helps. accommodation in a hotel is chosen (for Group membership in ISME: org for their convention – approved. any number of reasons)? “The CFMTA/ Motion – I move that CFMTA/ Motion – I move that resolutions, new FCAPM Fund is sustained by……. FCAPM apply for group. initiatives, new expenditures, etc. be and a $75.00 return from each branch Membership in ISME: this would be a submitted by April 1st to provinces – sponsoring a recital” – should this 2 year membership – approved. defeated. read: and a $75.00 return to CFMTA/ Motion – I move that we send Pat The Yukon Delegates graciously thanked FCAPM for each recital performed” Frehlich to the ISME Event in Mexico us for our warm welcome and Dina or something similar? An individual and fund the trip up to a maximum of Pollock, the CMT Editor took pictures. branch may sponsor more than one $2,000 – approved. Darlene Brigidear mentioned the recital in more than one location. It is CFMTA/FCAPM Membership comments page that will be available stated on the website that each member Numbers: Motion– I move that in the CMT for comments on the of CFMTA/FCAPM is levied $2.00 CFMTA/FCAPM investigate the convention. Joan Woodrow moved the (annually?). As this is a mandatory levy, creation of membership numbers and adjournment of the meeting. it is important that each province be issue cards to its members – approved.
8 The Canadian Music Teacher - Fall 2011
CFMTA/FCAPM - OFFICERS AND EXECUTIVE
Front Row L to R: Dorothea Johanson - AB, Po Yeh - CMW, Lorna Wanzel - President, Darlene Brigidear - Past President, Charline Farrell - Vice President & ON, Heather Blakley - SP, Rémi Lefebvre - NS, Lynne Gagné - QC Back Row L to R: Annett e Campbell - PEI, Dorothy Lother - MB, Glory St. Germain - MB, Barbara Long - NB, Joan Milton - AB, Joan Woodrow - NL, Sue Jones - ON, Carol Schlosar - BC, Cindy Taylor - BC, Bernadett e Bullock - Secretary/Treasurer, Henry Klassen - YK, Annie Avery - YK, Sandra Kerr - SK, Hélène Lord - QC, Kilby Hume - NS Absent - Audrey Watson - SK
Introducing our newest members YUKON L to R: Henry Klassen and Annie Avery
10 The Canadian Music Teacher - Fall 2011 SUMMARY OF MINUTES OF CFMTA/FCAPM EXECUTIVE AND AGM MEETINGS - cont.
ANNUAL GENERAL MEETING In everything we do, we: RIC Atrium Foster the learning of music as an University of Regina, Regina, SK, integral part of the lives of Canadians. July 7th, 2011, 12:15 pm Provide opportunities for our members to enhance the musical experience for Welcome: Darlene Brigidear all Canadians. Acceptance of the Agenda: approved Honour and support Canadian music Minutes of the Annual General and its contribution to our culture. Meeting: July 2010, Toronto, ON Represent our membership with Motion – I move the acceptance other musical education organizations of the minutes of the 2010 AGM nationally and internationally. as read - approved Introduction of New Executive Financial Report: Motion – I move Offi cers: Darlene Brigidear introduced the acceptance of the Financial Report - President Elect Lorna Wanzel and Vice approved President Elect Charline Farrell. Appointment of Auditor: Motion – I move that Christene Scrimgeour of Hugheen Ferguson Awards: London, ON is named the auditor for Th e following members were named as the 2011 - 2012 fi scal year – approved. winners of the award: • Frances Balodis New Business: • Linda Kundert-Stoll Welcome to the members of Yukon • Darlene Brigidear. Territories: Darlene welcomed the Other: Darlene spoke about the delegates of the Yukon Territories and Branching Out Initiative. presented them with a certifi cate of membership. Announcements and Goodwill: Convention 2013 in Halifax, Gary Ingle, MTNA spoke about the NS: Rémi Lefebvre did a slideshow two organizations working together. presentation about this upcoming event. A letter from CMEA President Canada Music Week Report: Th eodora Stathopoulos was read aloud. Po Yeh spoke about 2011 events Lorna Wanzel presented Charline Farrell including the Bill Andrews Award, with the Financial Binders. Call for Compositions and CFMTA/ Darlene Brigidear thanked Peggy FCAPM Student Composer Writing L`Hoir for her dedication and Competition. enthusiasm for CFMTA/FCAPM and Report on the Advertising Initiative: presented her with a gift. Peggy L’Hoir did a slideshow Lorna Wanzel thanked Darlene presentation about this initiative and Brigidear and presented her with a introduced our new mission statement gift in appreciation for her term as We are a national organization that President. provides leadership in music education Darlene Brigidear passed the gavel to across Canada. We promote and support Lorna Wanzel. high standards of teaching among our Lorna Wanzel gave her acceptance provincial and territorial members. speech. Joan Woodrow moved the adjournment of the meeting. Automne 2011 - le Professeure de Musique Canadian 11 Statement 2
CANADIAN FEDERATION OF MUSIC TEACHERS' ASSOCIATIONS STATEMENT OF OPERATIONS AND CHANGES IN NET ASSETS FOR THE YEAR ENDED MAY 31, 2011 (with comparative balances for the year ended May 31, 2010)
2 0 1 1 2 0 1 0 Young Special Operating Artists Projects Trust Endowment Fund Fund Fund Fund Fund Total Total
Revenues Fees (schedule 1) $ 76,004 $ 76,004 $ 73,516 Canada Music Week (schedule 2) 10,237 10,237 7,144 Young Artists (schedule 3) $ 6,614 6,614 7,070 Special Projects (schedule 4) $ 7,184 7,184 4,300 Newsletter (schedule 5) 20,076 20,076 19,933 Trust (schedule 6) $ 5,200 5,200 6,980 Endowment $ 499 499 313 Convention Statement9,150 2 continued Interest and other 5,654 CANADIAN FEDERATION OF 5,654 2,504 111,971 MUSIC6,614 TEACHERS'7,184 ASSOCIATIONS5,200 499 131,468 130,910 STATEMENT OF OPERATIONS AND CHANGES IN NET ASSETS Expenditures FOR THE YEAR ENDED MAY 31, 2011 Program expenses (with comparative balances for the year ended May 31, 2010) Canada Music Week 11,377 11,377 7,565 Young Artists 9,841 9,841 3,368 Special Projects 1,674 2 0 1 1 1,674 2 0 17,0461 0 Newsletter 38,716 Young Special 38,716 37,953 Trust Operating Artists Projects Trust5,200 Endowment 5,200 6,980 Fund50,093 Fund9,841 Fund1,674 Fund5,200 Fund Total66,808 Total72,912
General and administrative expenses The accompanying notes are an integral part of these financial statements. Audit 3,255 3,255 3,075 Bank charges 27 27 181 Bonding and insurance 1,900 1,900 1,900 Office and telephone 1,339 1,339 1,489 Public relations 6,887 6,887 4,476 Scholarships 2,750 2,750 Travel and meetings 19,515 19,515 25,884 Website 1,002 1,002 438 36,675 36,675 37,443
Honoraria / Administration Secretary/Treasurer 15,745 15,745 13,686 President 900 900 800 Finance chairman 500 500 450 17,145 17,145 14,936 Other expenses Production costs 11,247
Total expenses 103,913 9,841 1,674 5,200 120,628 136,538
Excess of revenues over expenditures 8,058 (3,227) 5,510 499 10,840 (5,628)
Net assets, beginning of year 177,605 47,585 5,346 39,809 270,345 275,973
Net assets, end of year (note 2) $ 185,663 $ 44,358 $ 10,856 $ $ 40,308 $ 281,185 $ 270,345
The accompanying notes are an integral part of these financial statements.
12 The Canadian Music Teacher - Fall 2011 Statement 2 YOUR NEW PRESIDENT YOUR NEW VICE PRESIDENT CANADIAN FEDERATION OF Dr. Lorna Wanzel - Nova Scotia Charline Farrell - Ontario MUSIC TEACHERS' ASSOCIATIONS STATEMENT OF OPERATIONS AND CHANGES IN NET ASSETS FOR THE YEAR ENDED MAY 31, 2011 (with comparative balances for the year ended May 31, 2010) Lorna Wanzel - Beginnings Charline Farrell - Beginnings I grew up in England where my father was a medical doctor and • Born in Northern Ontario 2 0 1 1 2 0 1 0 immigrated to Canada when I was 19 years old. I studied piano, • father a high-school teacher, mother a homemaker Young Special voice and dance throughout my school years and completed my • father played piano and guitar, mother violin, both Operating Artists Projects Trust Endowment studies, taking my ARCT Piano Teacher’s diploma in Canada sang, both self-taught Fund Fund Fund Fund Fund Total Total and Doctor of Education degree from the University of South • often sang in church together, accompanied each other Revenues Australia. • I am youngest of a large family Fees (schedule 1) $ 76,004 $ 76,004 $ 73,516 • became an Elementary school teacher and began my Canada Music Week (schedule 2) 10,237 10,237 7,144 Favourite activities career in Toronto Young Artists (schedule 3) $ 6,614 6,614 7,070 I have always enjoyed reading, gardening and when our three Special Projects (schedule 4) $ 7,184 7,184 4,300 • was a stay-at-home mother for several years (my children were growing up, I did quite a bit of sewing and Newsletter (schedule 5) 20,076 20,076 19,933 favourite career) Trust (schedule 6) $ 5,200 5,200 6,980 knitting. Tennis and swimming were my favorite summer sports • from the time I first heard someone play a piano, I Endowment $ 499 499 313 and cross country skiing was a favourite during in the winter Convention 9,150 wanted to play Interest and other 5,654 5,654 2,504 months. 111,971 6,614 7,184 5,200 499 131,468 130,910 Thrilling moments Favourite Activities Expenditures Without a doubt my most thrilling moments have been when • quilting, sewing, scrap-booking and card-making Program expenses I first met each of our four grandsons the first time. I have had • baking Canada Music Week 11,377 11,377 7,565 so many thrilling moments that it would be hard to list them • having an after-dinner cup of tea with my husband and Young Artists 9,841 9,841 3,368 Special Projects 1,674 1,674 17,046 all here. I have been blessed with many happy memories and listening to his golf stories. Newsletter 38,716 38,716 37,953 looking back on my life, I can honestly say that it has been • making memories with my grandchildren Trust 5,200 5,200 6,980 amazingly exciting, whether it was when I visited the Great Wall • visiting my “big sisters” who live in Florida 50,093 9,841 1,674 5,200 66,808 72,912 in China or saw my first kangaroos in Australia or, when I heard The accompanying notes are an integral part of these financial statements. Rubenstein perform at Massey Hall or Margot Fonteyn and Thrilling Moments Rudolf Nureyev dance in Covent Garden. • getting up every day to find out what adventures are in store Future Projects • the gift (adoption) of both of our children This would include projects that we anticipate working on in • both phone calls from Family Services to say they had a the NSRMTA Research Group. This Fall we will be working baby for us were way better than winning a lottery ! with Dr. Jan McMillan at the Universiti Pendidikan Sultan Idris in Malaysia, conducting a research project comparing how Philosophy of Teaching adult students learn in the private piano studio in Malaysia and This has changed considerably over the years. At the Canada. We hope to present our findings at the ISME conference beginning, I taught Music to students, with a goal of in Greece next year. perfection and high marks in examinations. A few years Philosophy of teaching ago, I realized that my teaching goals had changed and I ask myself, am I a piano teacher or piano educator? One would relaxed, and I was having more fun. Somehow along the expect that these both mean the same thing; however there seems way, I realized that, for me, teaching music was a journey, to be a fine distinction. Educator seems to imply a person with with the goal (success) related to whether the students a broad frame of reference, someone who fits ideas and skills enjoyed the process; whether they played in church, at that should be taught, into a comprehensive system. During school, or for friends; and whether they became more the last twenty years or so, the transformation from teacher to comfortable sharing their talent with others. That does not educator has been gradual. Our vocabulary now includes words mean that students should not strive for excellence. It does like multiple intelligences, discovery, gestalt, problem solving, and mean that they can enjoy the ride, and develop a sense of
our approach to teaching includes more concerns than, knowing themselves through the study of music. proper fingerings and which literature to teach first. We try to integrate tasks which reinforce concepts, provide practice advice, motivate with supplementary pieces and recommend listening activities and make learning fun.
Automne 2011 - le Professeure de Musique Canadian 13 HUGHEEN FERGUSON AWARD - 2011 Frances Mae Balodis - Darlene Brigidear - Linda Kundert-Stoll
and Chairperson of the Board of Music Federation of University Women. for Young Children (MYC) which is In 2009 Frances received the Woman of celebrating thirty years and is taught in the Year Entrepreneur category award Singapore, Malaysia Korea, Vietnam, from the Women’s Business Network of New Zealand, Australia, United States Ottawa, ON. and Canada. Frances directed a young Recently, in 2008, 2009, and 2010 children’s choir, Bullfrogs and Butterfl ies Frances has had compositions published (B&B) for twenty eight years. by Northern Lights, Mayfair Music. Frances has a keen interest in how In 2008 Frances authored the Pre- people learn. She is a Neurolinguistic Grade One workbook for the Royal Practitioner, and also has certifi cation Conservatory of Music. Th is workbook with the DISC program. Frances off ers is a companion for the PreGrade One workshops to parents, teachers and Repertoire Book for RCM. Frances Mae Balodis students on how to better enhance Frances’ personal mission statement: MEd., ARCT, LCCN(H), LCNCM(H), communication and facilitate their I am a creative, caring person who lifts up RMT, MYCC is a professional speaker learning process. others. and workshop clinician, helping many Frances, as a professional speaker is a Frances and her husband Gunars live in teachers, parents and students for over member of the Canadian Association Muskoka, ON. fi fty years. She is a composer, examiner of Professional Speakers (CAPS). She and adjudicator. Frances is the Founder is also a member of the Canadian
August of 1968. After she and Dave In 1996, Darlene was the chairman of Brigidear married, they were transferred BC’s convention Encore 96 featuring Jon in 1972 and so she had to leave her Kimura Parker and took a major role in class (which included 5 RCM silver the Kelowna CFMTA Musical Odyssey medal winners) and start over again in in 2001 and the Langley Special Edition Nelson. Th is didn’t phase Darlene a bit. in 2006. In 1997 she was elected to the She transferred to the Nelson Branch BCRMTA Executive and moved up to and soon had a full class of students serve as President for a 4 year term and with many taking top honours in the she continues to serve as Past President Kootenay Music Festival and being until 2013. In 2009, she was elected to a chosen to represent the region at the BC 2 year term as President of the CFMTA. Festival of the Arts. It was during this In total this represents 16 years of active time that Darlene met Helen Dahlstrom service in the provincial and national Darlene Brigidear and thus began an inspirational levels of our organization. began her music studies with Agnes friendship that lasts to this day. Darlene Rinas in Chilliwack, BC and continued and Dave again moved their family Th e South Fraser Branch takes with Ira Swartz, Cecelia MacLean and – this time to Surrey in 1986. South great pride in nominating Darlene Phyllis Schultz, all legendary teachers in Fraser Branch welcomed her and soon Brigidear for the Hugheen Ferguson Vancouver. Darlene became a member she was involved in all of the branch Distinguished Teacher Award. of BCRMTA (Chilliwack Branch) in activities.
14 The Canadian Music Teacher - Fall 2011 of Calgary. She obtained an Associate of Music and has been a member of Teacher’s Diploma in Piano from the CFMTA and ARMTA for many years. Mount Royal College Conservatory and Many of her former students are now an ARCT Piano Teacher’s Diploma professional musicians. Linda is the from The Royal Conservatory of Music. teacher of Quinn Gomez who is the Linda’s performance experience includes Alberta competitor in the CFMTA recordings for CBC radio and giving 2011 Piano Competition. She was solo and chamber recitals both in awarded the ARMTA Recognition Canada and the United States. Award in 2006 after she served as Linda is the Co-Founder, President and Convenor of the CFMTA “Peak Artistic Director of the Calgary Arts Performance” Conference in Calgary. Summer School Association (CASSA) ARMTA members throughout Alberta, which has, for 18 years, provided artists, and from Calgary Branch particularly, Linda Kundert-Stoll young and old, with opportunities choose to honor Linda with the holds a Bachelor of Music in Piano to discover and develop their love of Hugheen Ferguson Award and thank Performance (Magna Cum Laude) from music, drama and dance by attending her for the example she sets as mentor, the University of Southern California in summer camps. teacher, friend and professional support Los Angeles and a Master of Music in Linda is a member of the College of to those around her. Piano Performance from the University Examiners for the Royal Conservatory
What is the HUGHEEN FERGUSON DISTINGUISHED TEACHER AWARD......
The Hugheen Ferguson Distinguished Teacher Awards as a method of • they have made a significant impact The funds may come from an individual honouring deserving members of in their community donation, a local branch or the province Registered Music Teacher’s Associations • they have demonstrated outstanding association. across Canada. These awards were service to the organization Please note that the distinction may created in memory of the late Hugheen • they have had an exemplary not be established in the contributors’ Ferguson, whose estate gifted the teaching career. names. This is an honour to be CFMTA/FCAPM with $5000.00. Recipients of these awards will be bestowed only by one’s peers. Hugheen, CFMTA/FCAPM president recognized at the biennial CFMTA from 1997 - 1999, was an extraordinary National Convention. Each would In the event that the recipient is unable teacher, administrator and supporter of receive a complimentary ticket to to attend the national conference, the Association and the arts throughout the Gala banquet and an attractive the certificate will be sent to the her lifetime. CFMTA- Hugheen Ferguson Award distinguished teacher’s provincial certificate. Also, new recipients would association, who would then be Individuals who have made significant encouraged to recognize the recipient. contributions to the art of music and be prominently recognized in the the profession of music teaching will Canada Music Week® Edition of the The money will be placed in the be recognized through the CFMTA/ Canadian Music Teacher. CFMTA Scholarship Fund for future FCAPM Hugheen Ferguson Distinguished Designating this award to a colleague is national competition prizes. Teacher Award for distinguished easy! teaching and/or distinguished Simply send a contribution of $250.00 QUESTIONS? service. The following criteria for along with the completed Hugheen Contact the CFMTA secretary at recommending a teacher are offered as Ferguson Awards information sheet. [email protected] a guideline: Automne 2011 - le Professeure de Musique Canadian 15 BRANCHING OUT - October is CFMTA/FCAPM Awareness Month
nce again CFMTA/FCAPM What Kind of Activities? communities and, by the way, is reaching out to our many Your planned event may focus on coffee’s on us this time! branches to ask for your help present members, being inclusive • Community Outreach: Often inO promoting our great organization of prospective members or having a hampers are given out at Christmas, right across the country. presence in your community. but in October, needy families We are designating October 2011 as We are sure you have lots of great ideas sometimes have little to be thankful “CFMTA/FCAPM Awareness Month - and you may plan any activity you for at Thanksgiving. At your special Branching Out” and we would like each wish, aside from your regular monthly branch event, ask members to branch across Canada to plan a special October meeting. We are looking for an bring a non-perishable item for a event during the month. In support “an upbeat event” and one that will be food hamper and use the $50.00 of this new initiative we have created an avenue of communication between from CFMTA/FCAPM to buy the a colour poster which is included in members, prospective members and turkey and trimmings for a special this magazine and is on the website. your community. Thanksgiving for someone in need. Also, on the website, you will find • It’s in the Bag: This could be a stickers, which you can print and use social event, where, in addition at your event. These files can be found Some Suggested Events to coffee, goodies or a brunch, under the Members only section of the • Fun and Fit: Plan a Branch “walk” each member puts a used “musical website, please contact your delegate for with an interesting route and a treasure” in a gift bag. These could the username and password. We are also place to meet after the “stroll”. be books you have read, music that offering novelty pins with the CFMTA/ This is a great time to enjoy an you might no longer use, home FCAPM logo on them which can be informal time together and share made crafts or those stored-away ordered using the Canada Music Week® ideas. When you meet for coffee at musical mementos; then the fun order form which is in this magazine the end, it can be on us! begins, drawing for the bags and or on the website. To see the design of • Member Appreciation Day: Plan a maybe even further exchanging. the pin please see page 18 and the order tea, a brunch, a wine and cheese or This is also a fun activity for your form is on page 19. whatever works for your branch as Christmas party. CFMTA/FCAPM will again support an appreciation of your members. You may use any of the above your initiative financially; very much in This is a good time to honour suggestions or design your own event the same way we helped you celebrate volunteers and outline the exciting and we will support every branch that th the 50 Anniversary of Canada Music year you have planned. Invite participates and sends us the on-line Week®, which was such a successful prospective members and friends form and a picture of your event. initiative all across Canada. of your branch who have helped All you need to do is send a picture of you throughout the year. It would your special event, along with a very be an opportunity to attract local Thank you for helping us to promote brief description on the on-line form media attention. CFMTA/FCAPM CFMTA/FCAPM. Together we can be provided in the “members only” section will donate $50.00 towards your stronger! of our website, to [email protected]. expenses. CFMTA/FCAPM will send you a • Have a Java: If you want to keep it cheque for $50.00 to help with your simple, just plan a morning to go expenses, buy the coffee, etc. out and meet for coffee with you fellow branch members. This can The pictures you send will be featured be so much fun, trading all those in The Canadian Music Teacher, on teaching anecdotes. That meeting our website and added to our national for coffee may become a monthly archives. For your information, the event. You will be visible in your website is www.cfmta.org. 16 The Canadian Music Teacher - Fall 2011 Please cut along the line to use the poster The CFMTA Mission Statement 2011 to the FUTURE We are a nati onal organizati on that provides leadership in music educati on across Canada. We promote and support high standards of teaching among our provincial and territorial members.
In everything we do, we: 1. Foster the learning of music as an integral part of the lives of Canadians. 2. Provide opportuniti es for our members to enhance the musical experience for all Canadians. 3. Honour and support Canadian music and its contributi on to our culture. 4. Represent our membership with other musical educati on organizati ons nati onally and internati onally.
Taglines for Marketi ng: Providing leadership in music educati on across Canada. Leadership in music educati on across Canada. Leadership in music educati on.
Canada Music Week® Seal Novelty Pin Branching Out Seal usique Cana ine de la M dienne ® la Sema Ca c Week FCAPM nada Musi CFMTA
Canada Music Week® Logo on Pencil 18 The Canadian Music Teacher - Fall 2011
The CFMTA Mission Statement 2011 to the FUTURE CANADA MUSIC WEEK November 20th - 26th, 2011® We are a national organization that provides leadership in music education across Canada.
We promote and support high standards of teaching THE AIMS OF CANADA MUSIC WEEK® among our provincial and territorial members. • to bring to the attention of the public, through various means, the importance of Canadian Music • to emphasize not only Canadian work, but also the significance of music generally. • to introduce contemporary music to Canadian students and stimulate a keener appreciation and understanding of this music. • to encourage music teachers to widen their knowledge and experience of Canadian works. • to support composers and performers of Canadian music.
NATIONAL CO-ORDINATOR Po Yeh 18 Strathlea Cres SW, Calgary, Alberta T3H 5A8 403.246.3269 [email protected]
ORDER YOUR CANADA MUSIC WEEK® SUPPLIES NOW! Poster, seals and pencils are available to celebrate and publicize Canada Music Week®
Name______Telephone______
Address______Postal Code______
Email address______
ORDER FORM Please send the following: Seals 30 for $5 ______@ $5 $______Pencils 10 for $5 ______@ $5 $______Novelty Pin $2 ______@ $2 $______
Total $______
An invoice with the exact mailing costs will be sent by email.
Order forms can be found on the website (www.cfmta.org) or send this order form to: CFMTA c/o Bernadette Bullock 302 – 550 Berkshire Drive London, ON N6J 3S2
To ensure prompt delivery, please order before November 1, 2011.
Automne 2011 - le Professeure de Musique Canadian 19 BILL ANDREWS CANADA MUSIC WEEK® AWARDS
DOES YOUR BRANCH HAVE AN INNOVATIVE CANADA MUSIC WEEK® EVENT? CFMTA/FCAPM is presenting two awards of $250 each to the two entries judged as the most worthy by a panel of judges from across Canada. All branches in Canada are eligible to submit an application. These awards are made possible by the generous annual donation of Bill Andrews of Toronto, ON. Bill Andrews is an excellent musician and is supportive of young musicians. In addition to his financial support for CFMTA/FCAPM, he is our travel agent for delegate travel and special events. Application guidelines: Send a detailed written proposal of the Canada Music Week® project or event that your branch is planning for 2011. Describe your goals, objectives, plan of action and proposed timeline. Include a budget and plans for promoting the event. A sample budget is available for reference on the cfmta.org website. The focus should be on Canadian music and composers. The grant does not cover scholarships, hospitality, or operating expenses for Contemporary Showcase Festivals. Proceeds from the event may not be donated to another charitable organization On a separate page, write down the name of the branch and the contact information (address, phone and email) for the chairman of the project. Past grant recipients are eligible to apply again for a different project. All proposals must be postmarked by September 30, 2011 (extended to October 15, 2011). The branches who receive the awards will be asked to submit a report that will be featured in the Canada Music Week® edition of The Canadian Music Teacher magazine.
Mail proposals to: Po Yeh • CMW Chairperson 18 Strathlea Cres SW Calgary, AB T3H 5A8
CFMTA/FCAPM MEMORIAL DONATIONS Donations to any CFMTA/FCAPM Project can give family, friends, students and colleagues an opportunity to express appreciation and to honour CFMTA/FCAPM members. Donor individuals and organizations will be listed in subsequent editions of The Canadian Music Teacher. Projects include Canada Music Week®, Young Artist, the National Piano Competition and the Memorial Pedagogy Award. Simply send your donation to CFMTA/FCAPM 302 - 550 Berkshire Dr. London ON N6J 3S2. Be sure to include the name of the Honoree, any special instructions and the name of the project you wish your donation to be directed to. Income Tax Receipts will be issued for any donation of $ 25.00 or more. Cheques should be made payable to the CFMTA.
20 The Canadian Music Teacher - Fall 2011 ca.yamaha.com
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Presenting an innovative approach Get your copy of Getting Started to early piano study. with Preparatory A and B. Email [email protected]. Recent neuroscience and behavioral research shows that the earlier children receive music instruction, the rcmusic.ca more they benefit in overall educational development. That is why top pedagogues in the US and Canada, in collaboration with The Royal Conservatory, created Preparatory A and B for piano.
Comprehensive and holistic in its approach to music, the program allows students to celebrate musical achievements earlier and receive meaningful national assessment. It also helps them develop skills that will serve them throughout their lives — in all aspects of their lives. CFMTA/FCAPM STUDENT COMPOSER COMPETITION - 2011
Provincial Information Provincial Winners
Judges 2011 PREPARATORY Category B & 8 YEARS & UNDER 15 Years & under Closing dates 2012 Class P1 (Solo Instrument) Class 1 (Solo Instrument) Cheryl Lin BC Godwin Friesen AB Alberta April 1 Bryn Joy NS Matthew Black BC Jessie Plessis Leonid Mealiak ON Caroline Wisneski MB Mathieu Castonguay QC Kathleen McLevey NFLD British Columbia April 1 Teagan Soubolsky SK Owen Maitzen NS Christine Donkin Class P2 (Vocal Composition) Anthony Kubelka ON Kaelin George-Wegner NS Amy Cormier PEI Manitoba April 9 Seth Dockendorff PEI Francis Battah QC Heidi Peters Arthur Hamilton SK Class 2 (Vocal Composition) New Brunswick April 15 CATEGORY A Kathleen McLevey NFLD - - - - 11 YEARS & UNDER Madison Foley NS Class 1 (Solo Instrument) Mira Persauel ON Newfoundland May 1 Alison Cres AB Arthur Hamilton SK - - - - Carmyn Slater BC The finest instrument Anya Steur MB Nova Scotia April 30 Miranda King NS Category C Chris Palmer Joseph Kumar Naszady ON 19 years & under Chloe Dockendorff PEI (Instrument or Voice) is the mind. Ontario March 15 Philip Pruessner QC Brandon Porter AB Susan Griesdale Brock Thomson SK Grace Ma BC Class 2 (Vocal Composition) Shalisha Pikel NS Prince Edward Island November 27 Hannah Veinot NS Adam Kaszuba ON Preparatory A and B tunes it earlier. Monica Clorey Annette Blais ON Simon Wright PEI
Mary Sidloski SK Nicolas Dupuis QC Québec MArch 1 Claire Melellan SK Presenting an innovative approach Get your copy of Getting Started Stewart Grant to early piano study. with Preparatory A and B. Email [email protected]. Saskatchewan April 1 Category D Recent neuroscience and behavioral research shows Martha Hill Duncan open (Instrument or Voice) that the earlier children receive music instruction, the rcmusic.ca Graham Roebuck BC more they benefit in overall educational development. The national judge for 2011 Carolann DeYoung NS That is why top pedagogues in the US and Canada, in Heather Schmidt Amy Silver ON collaboration with The Royal Conservatory, created Preparatory A and B for piano. Category E Navin Kumar MB Comprehensive and holistic in its approach to music, the program allows students to celebrate musical achievements earlier and receive meaningful national assessment. It also helps them develop skills that will serve them throughout their lives — in all aspects of their lives. Automne 2011 - le Professeure de Musique Canadian 23 CFMTA/FCAPM STUDENT COMPOSER COMPETITION NATIONAL WINNERS 2011
PreParatOrY - cLaSS 1 PREPARATORY - Class 1 1st place - Cheryl Lin (BC) 2nd place - Leonid Nediak (ON) 1st place - Cheryl Lin - Briti sh Columbia HM - Teagan Soubolsky (SK) Cheryl Lin is seven years old and lives in PreParatOrY - cLaSS 2 Vancouver, BC. She began her music studies 1st place - Seth Dockendorff (PEI) at the age of four in Yamaha classes at Tom 2nd place - Kaelin George-Wegner (NS) Lee Music Learning Centre in Richmond, BC. She continues to study composition and piano cateGOrY a - cLaSS 1 performance in the Yamaha curriculum under the 1st place - Chloe Dockendorff (PEI) guidance of her teacher Rebecca Cheng. 2nd place - Carmyn Slater (BC) Cheryl was inspired to compose Th e Incredible HM - Joseph Kumar Naszady (ON) Washing Machine after her mom showed her how to do the laundry. Cheryl’s imagination cateGOrY a - cLaSS 2 quickly took over and she imagined the clothes 1st place - Mary Sidloski (SK) all marching to the machine and hopping in. Th e middle section includes a soapy 2nd place - Annette Blais (ON) dream sequence with the clothes drifting lazily in the soapy water. Th ese led to the HM - Hannah Veinot (NS) main themes of the piece. Last month, Cheryl was invited to perform her Incredible Washing Machine at a cateGOrY B - cLaSS 1 special Yamaha concert in Los Angeles. 1st place - Francis Battah (QC) 2nd place - Matthew Black (BC) HM - Arthur Hamilton (SK) PREPARATORY - Class 2 cateGOrY B - cLaSS 2 1st place - Arthur Hamilton (SK) 1st place - Seth Dockendorff - Prince Edward Island 2nd place - Kathleen McLevey (NFLD) HM - Madison Foley (NS) Seth is a seven-year-old homeschooled cateGOrY c student from Prince Edward Island. 1st place - Grace Ma (BC) He studies piano with his mother, 2nd place - Adam Kaszuba (ON) Faith, and takes singing lessons from HM - Nicholas Dupuis (QC) Suzanne Campbell. Seth’s favourite activity is karate - the inspiration for his composition, Th e Wind is a Ninja. cateGOrY d 1st place - Carolann DeYoung (NS) Seth performed for the fi rst time this 2nd place - Ann Silver (ON) May in his local music festival where HM - Graham Roebuck (BC) he won top awards for pre-junior piano, pre-junior voice, and musical theatre duet.
HeLeN daHLStrOm aWard Seth was surprised and excited to receive this award and would like to thank the Grace Ma (BC) CFMTA for their encouragement.
24 The Canadian Music Teacher - Fall 2011 CATEGORY A - Class 1 1st place - Chloe Dockendorff - Prince Edward Island
Chloe Grace Dockendorff is a nine-year-old homeschooled student from Morell, Prince Edward Island who loves anything to do with the arts. She studies piano, violin and singing, attends classes for ballet, jazz, and karate, and loves to write stories and illustrate them. Chloe is thrilled to have spent this summer in the Charlottetown Festival’s musical, Anne of Green Gables. Chloe has been singing and making up songs almost since she could talk and has won numerous awards for her compositions. She is honoured and encouraged to be recognized by the CFMTA again this year.
CATEGORY A - Class 2 1st place Mary Sidloski - Saskatchewan
Bachelor of Music since 1963
Master of Music since 1980 Jazz Studies since 2002
Mary Alice Sidloski started piano lessons at age fi ve with Cherith Alexander in Weyburn, Saskatchewan. In ■ World-class faculty ■ World-class facilities ■ World-class students 2010, she moved with her family to Saskatoon, where she has recently completed her grade 5 piano with Janet Gieck. Mary’s favorite composer is Handel. She enjoys listening to classical music and learning about classical composers.
She also enjoys sewing, hiking, reading, and swimming. 270 - 18th Street | Brandon, Manitoba | R7A 6A9 | (204) 727-7388 [email protected] | www.brandonu.ca
Automne 2011 - le Professeure de Musique Canadian 25 CFMTA/FCAPM STUDENT COMPOSER COMPETITION NATIONAL WINNERS 2011 - cont.
CATEGORY B - Class 1 1st place - Francis Batt ah - Quebec
Je suis né le 25 juin 1995 à Montréal. I was born in Montreal on the 25th of J’ai commencé à pratiquer le piano June in 1995. I started learning the classique quand j’avais 10 ans. J’ai piano when I was 10 years old. Th e fait mes études primaires à F.A.C.E., elementary school I attended, F.A.C.E. une école artistique et j’entame ma was a very artistic school and currently, cinquième année de secondaire au I am going into my fi nal year at Jean- Collège Jean-Eudes où je suis une Eudes College secondary school where formation en piano jazz. J’ai composé I am studying jazz piano. I composed le Prélude durant le printemps 2011 en this Prelude in the spring of 2011 by m’inspirant de mon répertoire classique combining inspiration from my classical et en utilisant mes connaissances en jazz. repertoire with my knowledge of jazz music.
CATEGORY B - Class 2 1st place - Arthur Hamilton - Saskatchewan
Arthur Hamilton was born and raised wrote the song Footprints in the Sand, in Regina, Saskatchewan. He took based on the poem of the same name by piano lessons as a young boy, and Mary Stevenson, for his choir to sing. began studying piano at the Regina He has played percussion in the Queen Conservatory in 2005 under Monique City Brass Band and French horn in the Gaudry. He started playing French horn South Saskatchewan Youth Orchestra. and composing music the next year, and He is going into Grade 11 at Luther began to take musical theory in 2008. College High School and preparing for Last year, he was accepted into his his Grade 10 piano exam in January. school’s Advanced Vocal Ensemble and
CATEGORY D 1st place - Carolann De Young - Nova Scoti a
Carolann DeYoung is from Halifax Her music uses extended techniques, Nova Scotia. She graduated from Acadia aleatory and serial procedures. She University in the spring of 2011 where has conducted several premiere she studied piano with John Hansen performances of her works in Acadia’s and composition with Dr. Derek Shattering the Silence New Music Charke. In the fall she will be attending Festival. Her other interests include the University of Western Ontario for cooking, jogging, and spending time a Master of Music in Composition. with her dog Riley.
26 The Canadian Music Teacher - Fall 2011 CATEGORY C 1st place Recipient of the Helen Dahlstrom Award Grace Ma - Briti sh Columbia
Grace has loved playing the piano with Maestra Tania Miller and the and making up her own pieces ever Victoria Symphony in front of 40,000 since early childhood. In 2004, she spectators. A Challenge and AP student began theory studies at the Victoria at Mount Douglas Secondary, Grace Conservatory of Music, and piano graduated this year with an average of lessons with Ingrid Henderson in 2006. 98%. She has been admitted into the At age 15, she completed her ARCT UBC School of Music with one of the Piano Performers and the theory co- highest entrance exam marks, and plans requisites, including advanced harmony, to investigate the relationship between history and analysis. On 2010’s BC music, science and the society as a Day, she performed the Warsaw university student. Concerto at Victoria’s Inner Harbour
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27 1012367-CMW2011PopSongsAD.inddAutomne 2011 - 1 le Professeure de Musique Canadian 8/15/11 5:26 PM CALL FOR COMPOSITIONS - Winners 2011 Cheryl Buddecke - Diane Chouinard - Georgina Craig - Susan Griesdale
To read the complete interview of the Cheryl Buddecke time. I mainly think in colors rather than Call of composition winners, please Would you begin by telling us about yourself-- theory formulas, but I do see a diff erence visit the website - www.cfmta.org -where were you born & raised? Do you work as I’ve matured in my writing to be well- outside of composing? crafted. I now recognize more quickly I was born in Regina, Sk. & raised in when my writing is going astray and I do Moose Jaw, Sk. I had taught piano privately way more re-writes before the fi nal product for over 30 years as well as performed is produced. Also, the more one is exposed accompanying other musicians or as a to other composers or genres of music-the soloist for special functions. Now I’m more this is integrated into my skill set. constantly busy with composing projects & will still perform some solo gigs for Who or what inspires you? functions & special occasions. A variety of musical styles inspire me from pop to classics. But interesting art Did you always feel the need to compose whether in nature’s landscapes or dance something-even as a young person or did performances expressing feelings or a story your composition skills develop later in your spur me on to create. Sometimes touching university years? fabrics or animals-the texture motivates I always felt a need to compose-it’s like me. Some patterns or shapes on clothing therapy for me. Th e skills followed over
28 The Canadian Music Teacher - Fall 2011 or interior decor give me ideas. Colors studying music in my late thirties, once Née à Montréal, mon rêve d'études en of all shades or brightness will provoke my children were born. I then lived musique fut réalisé dans la trentaine, ideas. Mostly a desire to express my in Toronto and took piano lessons après la naissance de mes enfants. deepest emotions will encourage me to at the Royal Conservatory of Music. J'habitais Toronto, où j'y ai poursuivi persevere through each composition. Harmony being part of my music des études en piano au RCM. Mes training, eventually led to composition. cours d'harmonie m'ont inspirée à What works the best for you to get your A few years later I moved back to explorer la composition. Lorsque je creative juices fl owing? Montreal with my family, and pursued suis retournée à Montréal avec ma Listening to a great live performance- my music studies at the University famille, je me suis inscrite à l'Université especially if it was ‘New Music’. of Montreal, where I obtained my de Montréal pour éventuellement Sometimes deadlines help for me too! :) Master’s degree in composition, the compléter une Maitrise en composition, same year that my daughter got her la même année que ma fi lle obtenait un What is it like hearing your compositions BA from McGill. Since then, I have BA de McGill. Depuis, j'ai obtenu des played in festivals, competitions and been fortunate enough that my music commandes et ma musique a été jouée concerts? has been commissioned and performed dans diff érents pays. Each time I hear a composition being internationally. La nature, les légendes des Premières performed it feels like I am giving birth Nature, First Nations legends Nations ainsi que la musique to a creation. You no longer have any and French Canadian folk music folklorique Québécoise ont été des control & have to let it present itself & have inspired a large part of my sources d'inspiration pour plusieurs realize that the audience will only hear writing, which has been described as de mes compositions, qui ont été it at that moment and may not ever impressionistic with a certifi ably true décrites comme impressionnistes avec hear it again. I also enjoy hearing how Canadian imagery. I have always been une réelle identité Canadienne. Les another person interprets what I have fascinated by the amazing phenomenon aurores boréaux sont des phénomènes written---whether they are a professional of northern lights. Aurora Borealis is Canadiens extraordinaires qui m'ont or amateur. Th is helps to improve my an attempt to translate into music the toujours fascinés. Dans 'Aurora writing by what they do or do not do graceful and unpredictable arabesques Borealis' j'ai essayé de peindre en when they respond to any instructions formed by gliding and swirling musique les arabesques gracieux et I have given by use of Italian terms, diaphanous veils seen in Canadian imprévisibles formés par ces rideaux phrasing, articulations, etc. One of the northern skies. diaphanes qui tourbillonnent et vus most exciting experiences was hearing dans les cieux nordiques Canadiens. an ensemble play my composition Lately, children’s magical worlds because I had been used to hearing it have also inspired me to write stories Plus récemment, le monde magique des on the computer. Th e conductor & and music. Several of my piano enfants m'ont aussi inspirée à écrire des the group play each note in a special compositions have been published by histoires et de la musique. Plusieurs way which cannot be reproduced by a the Canadian National Conservatory of de mes compositions pour piano ont machine! Music, in their Northern Light series. été publiées par le Conservatoire de On July 17th of this year, the premiere Musique National Canadien dans leur of Smooth Sailing took place in Mount série 'Northern Light'. Le 17 juillet Forest during their Summer Sizzle. dernier fut jouée en première, 'Smooth My taste in the music I listen to is Sailing' à Mount Pleasant, Ontario, lors eclectic, which is refl ected in my own de leur 'Summer Sizzle'. writing. Depending on the commission Mes goûts en musique sont éclectiques I don't limit myself to one specifi c ce qui transparaît dans ma propre style. On August 27th, Piano Pinnacle écriture. Selon les commandes, je ne performed, in Vancouver, my latest me limite pas à un seul style. Le 27août composition, Duo Scherzino for two prochain, 'Piano Pinnacle' jouera en pianos, based purely on rhythms. première, à Vancouver, ma composition la plus récente 'Duo Scherzino' pour Diane Chouinard - born deux pianos, basée sur un jeu de in Montreal, I realized my dream of rythmes.
Automne 2011 - le Professeure de Musique Canadian 29 CALL FOR COMPOSTITIONS - Winners 2011 - cont.
Georgina Craig fi nd myself starting at the beginning Th e words for the poem Combination and ending at the end but that was how are written by Calgarian poet Keith it happened and the next evening the Worthington. I happened upon Keith’s piece was “complete”. I always leave the poetry by chance in the local library fi rst draft a few weeks before looking and was delighted when I was able to at it again to see if I still like it. More track him down and gain permission often than not the changes are huge and to use several poems. Th e rhythm of I am horrifi ed at what I thought worked his poetry and descriptive language the fi rst time round. Less often – and seem so musical to me and I love the Combination worked this way – I am opportunities he creates for word happy and few changes are made. painting. I hope that working with this song gives Combination was unusual. I found it you as much pleasure as it did me in composing it. If you have any questions one evening and was surprised that I within a few hours I had composed half or comments you want to make, please had missed it before. Straight away I of it and knew what I wanted to do with feel free to email me at georgina.craig@ knew what I wanted to do with it and the rest. It was an unusual situation to blueshapes.com.
Susan Griesdale What Music are you listening to at the development possibilities, etc. But it Tell us a little about your background? moment?’ varies. My Let’s Pretend collection I Bagpipes were a big part of my My listening is one of two extremes - wrote the words fi rst then the sound to childhood as a highland dancer. It’s the not listening at all or listening non-stop complement the stories. Sometimes I reason I love dissonance and microtonal preferably to music I’ve never heard work at the piano but I much prefer to sounds. I came to music later in life, before. It’s the times when I am not work from my head - at the computer after university so I continue to study listening that my own ideas tend to mostly. Both my violin and fl ute privately. I have come to realize, to my surface. collections were approached this way. delight, that music study never ends! What is capturing your attention in the Describe your Call for Compositions New Music Scene? winning piece - Arctic Voices? I am with Red Leaf Pianoworks – a I wanted to evoke the feeling of vast collective of Composers who also write spaces. Play ‘with your ears’ as a for the piano. Included are Beverly soundscape portraying both stillness Porter, Janet Gieck, Joanne Bender, and majesty. Th e big dynamic contrasts Teresa Richert, Christine Donkin, show off the sonorities of the piano. Rebekah Maxner and Martha Hill Duncan. We share a website at Do you incorporate non-musical ideas into www.redleafpianoworks.com to your music? showcase our repertoire. My latest composition uses a toy cymbal monkey called Charley Chimp. Please share a ‘nuts and bolts’ aspect of Th e piece is called engarde which I your compositional process and technique? wrote for the junctQin Keyboard It’s a top down approach. First I choose Collective who specialize in toy pianos. the sound - my ‘aesthetic’. Th en the It will be premiered this fall. overall structure, the motives, their
30 The Canadian Music Teacher - Fall 2011 Is a CFMTA Convention July 6-9, 2011 Regina, SK
Music Laughter Memories Friendships renewed New friends made Thank you Regina Music Is a Life Force
Automne 2011 - le Professeure de Musique Canadian 31 "MUSIC IS A LIFE FORCE"- An evaluation from the inside Lore Ruschiensky and the 2011 CFMTA/FCAPM Convention Committee
t is July 12, the 2011 CFMTA music featuring all the major clinicians performance instruments as well as the National Convention wound up of the convention and the CFMTA technicians. three days ago, and I am again at Alumni Concert by two former winners Th e attendance was quite good and myI computer early in the morning. It from Saskatchewan fi lled out the most people had preregistered so that has become a habit that will be hard to concert schedule. they could take advantage of the meals break. Th e emails I am getting are now As former CMW coordinator, I thought included in the convention price. Th is thank you’s and congratulations rather it would be great to have everyone hear helped to keep everyone together which than convention planning details. What the winning compositions from the added to the spirit and camaraderie of a joy they are to read. Student Music Writing Competition the convention. Th e opening Welcome As anyone who has planned a so we set aside a day as Canadian Barbecue sponsored by RCM and the convention knows, there is an enormous Composer Day. Six students attended; fi nal Fowl Supper were especially well amount of work involved. After having two national winners and four received. had the wonderful opportunity to provincial ones. Th e clinicians were Volunteers were essential to keep things attend many CFMTA conventions as thrilled to have the opportunity to work running smoothly. University students the Canada Music Week co-ordinator with them and the students responded as well as adult students and friends of and Canadian Music Teacher editor, enthusiastically to all the events planned the convention committee helped out this time it was my turn to head up for them; a very successful and exciting in many ways. Local musicians provided the organizing. Most of the convention day for all. informal musical entertainment. For committee had never been to a national We decided to do a fi rst ever “Call their contribution all of these people convention and followed trustingly as I for Proposals” for sessions for the were given tickets to the evening shared my visualization and spirit of the convention. Th ere were 15 proposals concerts which they loved. event. submitted which fi t perfectly into our A convention chair could not have Th e evening concerts were to me an convention plan and all were accepted. asked for a more dedicated convention essential part of an exciting musical Th at along with the sessions provided by committee to work with. Th ey included: event. Th e Gryphon Trio as our major the artists and adjudicators and the ones from the trade show displayers fi lled out our three day schedule with interesting and relevant sessions.
L to R: Marlene Wickenhauser, Corinne Groff , Lore Ruschiensky, Penny Joynt, artists led to the idea of the addition of Sandra Kerr and Joyce Sison. Together the Piano Trio to the piano competition we spent many hours in meetings with with the trio that our own David L. Th e response to the trade show call much hard work and laughter. McIntyre had written in 2005. Th e was great with all available spots in As we tend to our aching feet and sit work was wonderfully performed all the two large rooms and the hallway happily exhausted in our lawn chairs we three times in the fi nals AND the fi lled. One room was dedicated to wish the Nova Scotia 2013 Convention youngest competitor – Carter Johnson piano manufacturers. Th e rooms were Committee all the best and hope you of BC won the Piano Trio award! a beehive of activity at each of the have as much fun in your planning and We of course were thrilled to have our coff ee breaks. A great boost to the execution as we did in ours. own Saskatchewan competitor, Meagan convention was Yamaha Canada and the Music IS a life force! Milatz win fi rst prize in the Piano Yamaha Piano Centre providing all the Competition. Th e evening of Canadian 32 The Canadian Music Teacher - Fall 2011 Congratulati ons to you and your committ ee on an excellent conventi on. Is a You have set the standard at dizzying new heights! Very glad I att ended - CFMTA Wendy Maggiora, BC Congratulati ons Convention to you on a July 6-9, 2011 wonderful conventi on! CongratulationsEveryone seemed so Regina, SK energized, and everyone I spoke I just wanted to pass on my thanks for to was thrilled with the sessions and allowing us to be a part of the CFMTA the clinicians. I know from experience conventi on. I was especially impressed what a tremendous undertaking it is with the Masterclass and Improvisati on to put on a conference, and you did a It was an excepti onal conference. workshop. The concerts were fantasti c, fabulous job - brava! Pauline Minevich, Congratulati ons to you and your team - and I was simply left stunned by the Department Head, Faculty of Music, U Cherith Alexander, SK talents of those young people who of R, SK competed on Saturday night - Jennifer Petriew - SK- this was a mother of a I enjoyed the Conventi on immensely! I’ve parti cipati ng student, not a music teacher come home so moti vated I wish I could The conventi on was such a wonderful teach for another twenty-fi ve years. Okay, experience and I enjoyed it very much. once again Lori- words cannot really express Thank you so much for inviti ng me to It was nice meeti ng all of you and I hope how much I enjoyed the Conventi on. It will present a session and to be part of the July that we will all see each other again at certainly go down as the highlight of my 7th concert during the CFMTA conventi on. similar future conventi ons - Svjetlana summer- even though we are off to Hawaii Finally, thanks to you and your colleagues Djordan for two weeks. This trip comes every sum- for all your great work in organizing this mer- but the Conventi on in Regina will be a successful conventi on! - Sophie Bouff ard, once in a lifeti me treat! - Leona Porth, BC SK
And a huge THANKS to you, Lore, for going that extra distance and Fantasti c conference, congratulati ons. The Many thanks to you and the committ ee doing such a great job organizing this Canadian Composer Day and CC Concert for your work hosti ng the conference conference. I had a great ti me with were an inspirati on. And getti ng all those this year. I parti cularly enjoyed all all of the colleagues I met there and kids to play was awesome. They are the fu- the opportuniti es to hear good music. I enjoyed myself enormously. Kent ture and I’m sure they will never forget that The lunch and evening concerts were McWilliams “gig.” Thanks for all you and your committ ee amazing! The Gryphon Trio and the work did; please pass on my congratulati ons - its members did with master classes and John Burge, Ontario students were greatly appreciated. David McIntyre was great fun to have. And composers’ day, being able to meet with so many composers was wonderful - Beth THANKYOU for all your hard work Thank YOU and your committ ee for all your Olver, AB putti ng on this last week’s conventi on in many hours of hard work. Last week was a Regina! It was so thoroughly enjoyable, great success due to your organizati on and a wonderful learning experience and preparati on. Congratulati ons, and I’m glad I a really good ti me connecti ng with old was able to be a part of it - Stephen Runge, I would like to thank you and your com- friends and making new ones - Gail NB mitt ee for the many hours of work you put Murray, SK into the conventi on. It was my fi rst one, and I was very impressed with the quality I want to make sure I send you a note thank- of the concerts and workshops - Sandra ing you and your team for doing such an Stobbe, SK excellent job on the conventi on. Halifax will Just want to congratulate you and your have a hard ti me following Regina. All the committ ee for all the work you did on a best - Lorna Wanzel, NS Thank you so much for all the work you wonderful Conventi on. It was inspiring and your committ ee put into planning the to say the least, and MRMTA would like conventi on. I really enjoyed the sessions to take the opportunity to thank you Just want to let you know that we really and the great concerts - Robyn Rutherford for every valuable minute you spent enjoyed the conventi on. You & your team Congratulati ons on a fi ne conventi on, preparing for the success of the acti vi- did a fantasti c job and you deserve all the it was very organized, and represented ti es - Dorothy Lother, MN praise in the world! We are so happy to have Saskatchewan well - Wes Froese, SK parti cipated - Gayle & Jim Dunsmoor, BC
Automne 2011 - le Professeure de Musique Canadian 33 "MUSIC IS A LIFE FORCE" - Canadian composers' day by Cindy Taylor - BC
usic as a Life Force dedicated celebrated our 50th Anniversary. Helen “From Child to Composer” an entire day to Canadian Dahlstrom, the founder of CMW and David McIntyre was introduced as a Music. our National Chairperson from 1969 – wonderfully prolifi c composer, whose M 1992 was attending this year’s “Music Th e morning began with Po Yeh, piano and vocal works have been CFMTA/FCAPM National Canada as a Life Force” conference and was enjoyed and admired for years. He is given special acknowledgement for her Music Week® Convenor who an Associate composer at the Canadian introduced the days’ events and contribution to CMW. Th rough her Music Centre; Composer in Residence highlighted the aims of CMW which vision, hard work and dedication she with the Regina Symphony; and his has expanded to include the “Th e Call laid the groundwork for what Canada music can be heard on CBC Radio. Music Week is now today. for Compositions” and “Th e Student ® If I had to choose descriptive words Composer Competition”. Th is past Th is year we have Canadian Composers’ to describe the impression when fi rst year our Canadian Music Week® Day which is a fi rst for our convention meeting Mr. McIntyre they would celebrations involved approximately to feature Canadian Music. Composers be – inspiring, passionate, magnetism, 3500 members across Canada in 80 were invited to share their talents and to enthusiasm. He has left a lasting branches where they held workshops, share their compositions with us. Also, impression with his thought provoking concerts and Community activities students were invited to meet and work opening address and his vision of and they brought together people to with composers. Th is included some of fi nding beauty and inspiration in all enjoy Canadian Music. Last year was a our Call for Composition composers. things. landmark Anniversary for CMW as we After the opening session the students had workshops David began with heartfelt thanks to with composer the organizers of the convention for SRMTA’s John Burge; dedicating an entire day to Canadian From Prairie to Pine “the Composers’ music. Piano Solos by Saskatchewan Composers Perspective” with His following points explain why, today, Volume 2 Martha Hill he is a composer. Duncan, Teresa • From Child to Composer: this Richert, and statement could be turned around A great resource of Joanne Bender; From Composer to Child pedagogically sound a Q&A session material! with composer • the wonderful sense of David McIntyre; abandonment a child feels when To order your a recital given by they have an entire afternoon just to make things up. Building copy, hear John Burge; and an Improvisation a fort from dried poppy stems; composer session with conducting a Teddy Bear performances or Forrest Kinney. It Choir; Dying dramatically in a to see excerpts, was really exciting neighbourhood play of Cops and to engage our Robbers; $15.00 visit our website: plus shipping students as part of Writing music is as much fun as these www.srmta.com our convention. childhood games. But then there is the process of growing up. Becoming an The Saskatchewan adult; Taking responsibility; Learning Registered Music Teachers’ Association the ropes; Paying your dues; “A living composer usually does this through the
34 The Canadian Music Teacher - Fall 2011 rigours of formal training. Learning the emotion David shared how he returned was disappointed when they guessed craft can be quite intimidating and at this experience by playing for her in her McIntyre (he said with a smile). times inhibiting. Th ere’s a mountain later life. I was reminded of the book He recalls how diffi cult it was to notate to climb and you have to climb the by author Robert Munsch “I Love You his fi rst piece of music. It was much mountain. It’s fi nding the path back Forever”. Th is will be one of my fond more diffi cult than improvising. He to childhood where the joy of creating memories of David’s opening address. explained that it was diff erent when little worlds is restored.” In 1981 as a loving tribute to his imagining the notation from something One of David’s favourite pastimes mother he composed a hymn using the in your head. as a child was drawing imaginary harmonic contrapuntal characteristics of his mothers piano playing. “What is the role of the piano teacher maps, creating little and not so little today in regards to composing? - giving communities, with each building David’s uncle was his fi rst piano teacher permission and not getting in the way.” creating their own world of imagination and in many ways his most important for him. When writing music he uses musical infl uence, encouraging the “Composers compose because he or she the same sense of creating new worlds development of the ear. He was a cannot but compose.” fi lled with an emotional life which is church musician and organist who “A Wild Innocence (a recent piece of very evident in his music. David recalled improvised and taught by example. music David has composed) describes his fi rst memory of music as sitting David recalled with some humour his my approach to creative work -Taking under a piano listening to his uncle mother threatening to cancel his lessons risks and not over calculating. In the practicing for his ARCT exam. Th is unless he stopped making up music. creative process I try to capture the experience inspired him and left a vivid “Now they call it composing!” spirit of a carefree playful child which impression on him. He recalled listening As a child, David’s favourite game frees me to discover the world of ideas to his mother play the piano every was Guess Who Composed Th is Tune in the thin air of imagination.” evening of his childhood putting him – then he’d make up his own piece. Th roughout the convention we to sleep at night. With deep love and “Mozart, Beethoven, or McIntyre?” he experienced his imaginative and creative world through performances of his works at an evening concert entitled “An Evening of Canadian Music” and the noon concert of his own compositions; and with the performance of his Trio at the CFMTA National Piano Competition. “Child yearns to be a composer. Composer strives to recapture the child." David McIntyre is a wonderful example of “Music is a Life Force”.
Top row: David McIntyre, Sarah Cunningham, Elizabeth Roberts, Bott om row: Carmyn Slater, Brandon Mooney, Jackson Moore and Helen Dahlstrom
Automne 2011 - le Professeure de Musique Canadian 35 MUSIC IS A LIFE FORCE - Highlights from a few workshops
Physics and Piano Playing ® Life’s Compositi on – A Balancing Act Moon Landings, Fast Cars and Bouncing by Thomas Yu Balls: Using Physical Forces to Shape Musical Interpretati on What is Th omas Yu life’s composition? by Stephen Runge His wildest dream - to be performing and speaking was realized at this CFMTA convention and had its start ten years ago when By some strange inexplicable scientifi c force, I found he won the National Piano competition. (I was there). myself in a session on physics and piano playing. A friend advised him on how to start the session “If you don’t How appropriate to be discussing physical forces at know what to say, ask if there are any dental questions”. a conference entitled, “Music is a Life Force”. “Life’s composition is knowing that your passions are”. Gravity and weightlessness: Depending on the Th e National Piano competition was a kick start. Th omas music being played, chords will have the grounded practised a half hour daily till he was seventeen years old. Th en sound of gravity or the weightlessness of a moon the passion entrapped him into a fantastic, pressured, unrealistic landing. Listen to the diff erence of the landing of a hard life – a world of study, practice, traveling out of a suitcase, chord in Debussy and Beethoven. he felt he lived in a cardboard box. Bartok said “competition is Going against Gravity: It takes more energy to for horses not audience”. throw something up than to let it fall down. His parents had another fork in life for him – an academic one, Likewise, scales need more energy to go up than one that supplies dinner and not only breakfast. Naturally there down. And don’t forget the “hang time” before the was a clash. Reality set in, 26 NOVEMBRE 20 AU he sought for a balanced life. Yes, descent back down. But do remember that there there is an exciting life outside there. will be more hang time before the descent in some periods of music than others. Th e longer the hang While competing in Warsaw, he met a girl from France who told time on a roller coaster, the more “exciting” the him of the International Amateur Piano Competition in Paris. experience. Amateur??? “Stooping down to that level?” Inertia: Listen to the increase of the rate the ball At the Paris competition in which he won, he also won bounces when you drop it. Th e ratio for this friendship with lawyers, Starbuck employee, videogame change is similar to the rate of an accelerando, or composers, doctors….. Life got interesting. Th e connection conversely, the rate of a ritardando. And yes, I have with others outside the practice room shapes you as a musician. been bouncing balls with my students this week. Love changes you. Th ere are tons and tons of people who are musically trained and have other jobs and have passion not only Centrifugal Force: As fast cars go around corners, in music but in other spheres as well. Th omas listed and named we feel a pull, just as we should as we change all his piano teach ers, appreciated their devotion in sharing their directions in a musical passage. Don’t phrase to the lives not only musically but for life. “Even on how I walk”. top note, but go around the corner to the fi rst pulse after the turn. Now he loves playing concerts in living rooms, looking forward to the International Amateur competition in Berlin 2012. Stephen used numerous examples of pieces to demonstrate the examples of the “physical forces” He loves and cares for his patients, would even phone at an in music. Hopefully Stephen, who is in the ungodly hour from Germany to check how his patient was Department of Music at Mount Allison University doing. CANADA MUSIC WEEK LA SEMAINE DE LA MUSIQUE CANADIENNE in Sackville, will present again at the CFMTA AMA-teur? One who LOVES what one does. Follow your semaine de la musique canadienne Week/La Music Canada 2011 du 20 au 26 novembre cana - et de la créativité de la culture le meilleur de la musique, Célébrez en direct et des événements partout Des prestations dans le pays. dienne. pour plus de détails. www.cfmta.org Visitez Conference in Halifax in 2013. See you there. passion..sss Yes! Passions
Barbara Robertson - ARMTA Solange Liang - MRMTA
36 The Canadian Music Teacher - Fall 2011 CANADA MUSIC WEEK® LA SEMAINE DE LA MUSIQUE CANADIENNE
20 AU 26 NOVEMBRE
Canada Music Week/La semaine de la musique canadienne du 20 au 26 novembre 2011
Célébrez le meilleur de la musique, de la culture et de la créativité cana- dienne. Des prestations et des événements en direct partout dans le pays.
Visitez www.cfmta.org pour plus de détails. CANADA MUSIC WEEK® LA SEMAINE DE LA MUSIQUE CANADIENNE
NOVEMBER 20 – 26
Canada Music Week/La Semaine De La Musique November 20-26, 2011
Celebrating the best of Canadian music, culture and creativity. Live performances and events across the country.
Visit www.cfmta.org for details. CANADA MUSIC WEEK® LA SEMAINE DE LA MUSIQUE CANADIENNE
NOVEMBER 20 – 26
Canada Music Week/La Semaine De La Musique November 20-26, 2011
Celebrating the best of Canadian music, culture and creativity. Live performances and events across the country.
Visit www.cfmta.org for details. CANADA MUSIC WEEK® LA SEMAINE DE LA MUSIQUE CANADIENNE
20 AU 26 NOVEMBRE
Canada Music Week/La semaine de la musique canadienne du 20 au 26 novembre 2011
Célébrez le meilleur de la musique, de la culture et de la créativité cana- dienne. Des prestations et des événements en direct partout dans le pays.
Visitez www.cfmta.org pour plus de détails. MUSIC IS A LIFE FORCE - Highlights from a few workshops - cont.
Look, Listen , Understand New Compositi ons Discovering the Baroque Dance by Francis Mae Bolodis by Kent McWilliams
On Th ursday, July 7th, we were fortunate to have the editor of We have all wondered how we can help our students Music for Young Children present a workshop called, Look, Listen, understand the baroque dances and at what tempo Understanding New Compositions. Francis Mae Bolodis’ criteria they should be played. Th is was the workshop to for composing makes so much sense. Not only does her step by attend. step means of composing help to make a creative aurally, visually Kent McWilliams had researched the dances and and analytically interesting new piece of music but these concepts found some videos to demonstrate the dances. We can be found in the works of J.S. Bach, Domenico Scarlatti, Bela tried the diff erent steps and soon realized why the Bartok and Claude Debussy. Th is criteria of concepts can also be court gentlemen and ladies spent hours rehearsing found in the compositions of numerous other composers. Th e these dance steps. Th e dances discussed were: following is the list that Francis Bolidis gave us: • Th eMinuet , a popular 1600 – 1800 court Motive Rhythmic Augmentation dance. – a musical theme or idea – note values become larger Gavotte Repetition Fragmentation • Th e French , at fi rst a peasant dance, was – of a motive note for note – only part of the motive is used energetic with much leaping. When it reached Sequence Rhythmic Shifts the courts it became stiff and formal. Retrograde motion – melody and notes are the same • Th eBourree , a strong vigorous dance was more Inversion but occur on diff erent beats popular with the peasants than the nobility. Rhythmic Diminution Octave Displacement Written in 4/4 or 2/2 meter it was one of the – note values become smaller – motive is in diff erent registers liveliest of French court dances. • Th eCourante , a favourite of the French court, Question and Answer was a dance of running and leaping. It originated Criptics – Random chance composing ie: assign numbers to note in Italy known as the Cou rente. A second type of names and then “spell your telephone number” French Courante, the “branle de Poitoce” was a 1234567890 style of gliding and making gallant gestures. CDEFGABCDE • One of the most beautiful court dances of the Th ese steps, on concepts, also allow the performer to imagine 17th century was the Sarabande. Slow and images of nature, astronomy and technology. For example, “rain on sensual movements caused it to be banned in a hot tin roof in the s ummertime.” many places. It was an enjoyable and informative Francis mentioned that Violet Archer told her that when one workshop. composes one makes up one’s own scales. Agatha Warkentin - MRNTA Francis also used her own compositions as examples to demonstrate these concepts. Th e pieces can be found in the Northern Lights books which are now used as part of the Canadian National Conservatory of Music curriculum. Th e Northern Lights Music, Stories, History books contain pieces written by Canadian composers only. $ 9.95 CDN I found the workshop to be abundantly valuable for teachers and (plus shipping) students of composition. Also, one need not look further for a criteria to analyze and play better the music already written. [email protected]
Peter van Ginkel - MRMTA www3.sympatico.ca/mistymo
Automne 2011 - le Professeure de Musique Canadian 41 2011 NATIONAL PIANO COMPETITION by Heather Blakley - Competition and Awards Chairperson
1st Place Winner Megan Milatz from SK $5000 donated by Th e Personal Insurance presented by Julie Nolan (on the left)
he Education auditorium at the Dorothy Buckley prize of $500 for University of Regina rang with the Best Performance of a Canadian beautiful music for two days Work went to Quinn Gomez of Alberta asT our young musicians of the future for his performance of David McIntyre’s competed for prizes totalling $14,000. Butterfl ies and Bobcats. Th ere were 8 competitors this year: Marek Jablonski Endowment prize Photo L to R: of $1000 for the Best Performance NF – Lindsey Wareham of a work by Chopin was awarded NS – Ria Kim to Megan Milatz of Saskatchewan for NB – Emily Logan her rendition of Andante and Grande QC – Lysandre Menard Polonaise brillante Op 22. MB – Kimberly Dyck SK – Megan Milatz Willard Schultz prize of $1000 for AB – Quinn Gomez the best performance of a Baroque 2nd Place Winner Carter Johnson BC – Carter Johnson work was awarded to Carter Johnson (Left) from BC - $3000 donated by Th e calibre of the competition is of BC for his performance of J.S. Bach’s CFMTA very high and we were treated to Prelude and Fugue in B fl at minor from fi ne performances of a wide variety book 1. of repertoire. Th e special prizes are Willard Schultz prize of $1000 for the 3rd Place Winner Quinn Gomez awarded from the semi fi nal round so Most Promising Artist was awarded to (Right) from AB - $2000 donated by that all competitors are eligible for these Megan Milatz of SK. CFMTA awards.
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42 The Canadian Music Teacher - Fall 2011 For the fi nal round of competition the Regina Contemporary Showcase students were required to prepare David prize of $500 for best performance of McIntyre’s Piano Trio and perform it the Piano Trio was awarded to Carter with the Gryphon Trio string members. Johnson. It was a fabulous opportunity for these It was a wonderful two days of intense young musicians to collaborate with music making and I’m thrilled to be such accomplished and professional able to be a part of such a worthwhile musicians. We were delighted that endeavour! Mr. McIntyre was in attendance at the fi nals and joined the jury members Our judges (Jamie Parker, Christine Vanderkooy, Kathleen Lorenz Gable) to choose the best performance of the Trio Mr. McIntyre spoke to all the competitors and expressed his appreciation for their study of his work. David was thrilled to hear his piece three times in one evening and it was a gratifying experience for all of us there also. He thanked all the competitors for preparing his piece and encouraged them to go back home and A concert enjoyed by all ! fi nd string members to play it with them.
L to R: Heather Blakley, David McIntyre, Kathleen Lorenz Gable, Christi ne Vanderkooy, Jamie Parker, NF – Lindsey Wareham, NS – Ria Kim, NB – Emily Logan, QC – Lysandre Menard, MB – Kimberly Dyck, SK – Megan Milatz, AB – Quinn Gomez, BC – Carter Johnson
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Automne 2011 - le Professeure de Musique Canadian 43
YUKON - a breed apart by Henry Klassen, Yukon 2nd delegate
ukoners are supposedly a breed for this July, the very first for the Yukon Both Annie and myself attended, apart. One must have a deep- Registered Music Teachers’ Association. besides the delegates’ meeting and down love for the North to So we came to the delegates’ meeting AGM, many sessions. The highlights for liveY here. No, we don’t live in Igloos or not knowing what to expect or how me, were the evening concerts. What a snow huts, but rather in regular houses it would go for us and our tiny rich blend of talent and compositions. or duplexes or apartments or condos. association. Each evening was special, from the We shop in Malls and are able to buy What we received was remarkable! Gryphon Trio, to Canadian Music all the groceries and other goods we Everyone treated us with a wonderful Recital, to Stephen Runge and Thomas need, for perhaps a slightly higher cost acceptance. We were made to feel Yu, to the finals of the CFMTA/ than ‘down south’. However it is darker at home and that we belonged. We FCAPM Piano Competitions. Each in winter! Only 4.5 hours of daylight made so many great new friends, evening was special, but the final on December 21 with some twilight on which we trust will continue to be our (Saturday) evening showed three players each end of the day. Need we describe friends for a long time to come. The with so much really great talent, it was the summer when we have full daylight ‘gatherings’ after the evening concerts almost overwhelming! for 19.5 hours and only 4.5 hours of in someone’s dorm rooms were special We came, we saw, and we were twilight for the rest of the ‘night’? Most and consolidated these friendships. It captivated by the whole event. We thank of our music teachers are people who was a very special inauguration into the executive directors, the staff and all love the North. It is an exciting place to membership of the CFMTA/FCAPM. the other delegates for their acceptance live. We will move forward from this and of us, the newcomers from the Yukon! Imagine Anna Avery’s and my actively engage our local association in excitement to be named delegates to the the workings of the Canadian music CFMTA/FCAPM meetings in Regina scene wherever we can.
CREATIVE COMPOSER'S COMPETITION Conservatory Canada
reative Composer’s putting what they have learned into Winners will be announced at Competition attracts talent practice.” Conservatory Canada’s 2011 from across Canada Submissions are now being evaluated by Convocation, held November 18 in C London, Ontario. Cash prizes will also This spring, Conservatory Canada Jamie Hillman, Bob Bruer, Jason White invited piano students to put their and Peter Jancewicz. They have the be awarded from Long & McQuade. compositional skills to the test for unenviable task of selecting 12 finalists Watch for details about the second the first annual Creative Composer’s whose work will be included in a new annual Creative Composer’s Competition. To our delight, 81 Mayfair Music publication. Competition, coming in spring 2012. talented youngsters answered our call! The top 12 compositions will also For more information contact: “Composition is a natural part of be posted online, giving the public Victoria Warwick our Contemporary Idioms program,” an opportunity to weigh in on their [email protected] says Conservatory Canada national favourites. “We think people will be or visit www.conservatorycanada.ca executive director, Victoria Warwick. amazed by what they hear,” Warwick “It’s wonderful to see so many students says.
44 The Canadian Music Teacher - Fall 2011 NLRMTA IS ANNOUNCING THE LAUNCH OF NEW AWARD
he Newfoundland and Labrador Additionally, Lindsey has been chosen Registered Music Teachers’ to compete in the National Music Association (NLRMTA) is Festival – a further and fi nal step in this announcingT the launch of a new award network of Th e Federation of Canadian of $500, to be presented annually to Music Festivals. It will be held this year a competitor in the Provincial Music at Antigonish in August. Festival who demonstrates a profi ciency Further to this, Ms. Wareham has and excellence in performance. Th e been chosen also to represent the panel of three adjudicators at this year’s NLRMTA in Regina at the National festival has determined the inaugural Piano Competition. Th is will held recipient of this award. in conjunction with the CFMTA It is our great pleasure to announce bi-annual National Convention. that the winner of this award is Lindsey Altogether, this young pianist will Wareham, aged 20. Lindsey comes from have a summer of performances. Th e St. John’s and has studied under several NLRMTA is proud to be of assistance teachers: Music for Young Children to this young artist. teacher Susan O’Brien, then Judy Th e NLRMTA is a member of the Snedden, Margie Murray-Reed (voice) Canadian Federation of Registered and now Dr. Maureen Volk of the Music Teachers” Associations, and is MUN School of music. Lindsey has just committed to furthering the aims of completed her third year at the Music the national body in providing quality School. Lindsey Wareham teaching and music education. Th e Th e Provincial Music Festival was held Association has chosen to introduce this this year on May 14 at Carbonear where new scholarship in order to recognize this award was presented. Performers exceptional talent, and to encourage and in this festival have been recommended assist it. to participate by adjudicators at their local festivals throughout the province.
Automne 2011 - le Professeure de Musique Canadian 45
PERFORMING IN PUBLIC: A GUIDE FOR MUSIC STUDENTS by Margaret Macpherson (revised, March 22, 2011)
ome students think that the age of 13. And she tells us, “enjoy A Starter Kit for Thorough nervousness playing in front of the process, because preparation is Preparation people is something you either everything.” These famous athletes are Even young students, and those with haveS or do not have, like red hair. But talking about practicing. We musicians little experience performing can start everyone can learn to play confidently can learn a lot from them. Once I with these practical tips for preparing in public. You may be surprised, but the sent out a questionnaire to my piano for a performance or a music exam. real secret to performing securely is this: students asking them how to practice. • Know the beginning of your music practice regularly each week and do not My student Sean, 15 years old and a very well. If you are a pianist, rely on last minute preparation. Most hockey player, offered this advice: “You know how to place your hands students do not believe that the state of can cram for knowledge, but not for for the first notes- are they above the piece of music they are practicing skill.” That was a great answer. My own or below middle C? Name the in September has anything to do with teacher offered this piece of advice: “If beginning note in both hands. the performance of a different piece in you prepare only at the last minute, the Practice counting one or two bars front of an audience in March, but we people listening will judge you not on at the speed of your piece before are talking about general musical fitness. what you can do, but on what you can you begin – do this every time you Like a marathon runner, we musicians do at the last minute.” play. The reason you do this even have to keep at it on a regular basis, if at home is that in a strange room we want to perform under pressure. on a different instrument, you may Here are some pieces of advice from Remedies for Nerves: Preparation, and Attitude suddenly ask yourself where to play, experts who have clearly done things or how fast- things that in familiar under pressure. Canadian figure skater There are two real areas where nervousness naturally occurs. One is surroundings you may not have a and Olympic medallist Elvis Stojko problem with. describes how in his training he was when we have not prepared thoroughly. sometimes discouraged, and if he had If our homework is not done, we should • Divide your piece of music into listened to other people he would not feel surprised if we feel worried, or logical sections, marking the have given up before aiming for the nervous. On the other hand, sometimes beginning of each section with a Olympics. He and his coach worked nervousness just seems to happen to us flag, and a number. It helps to hard, and this is what Elvis had to regardless of preparation- the sweaty think of the sections descriptively say: “it is not practice makes perfect, it’s hands, worry, panic, memory blanks, also, referring to them as let’s perfect practice makes perfect.” Nadia unforeseen errors that we have never say, “the stormy part, the sleepy Comaneci, Olympic gold medallist in done before. These problems can be part, the minor section, or the gymnastics, achieved perfect scores at dealt with by improving our attitude.
46 The Canadian Music Teacher - Fall 2011 last section which contains the and using your emergency exit. Just had mistakes, or no dynamics, or same music as the first section.” having this backup plan will make was too fast or was not in correct At least three weeks before your it more likely that you will not need rhythm.” Notice places where performance, you can do the it in a real situation. there is always a mistake on the following exercise: try to start at • Test your recital piece out on first try. Put a warning sign on any flag, go to the next and stop. a friendly audience before the your music and take care of these By playing the sections out of order, real event. Find yourself a non- spots by going through them slowly you really get to know what is in threatening but mildly stressful and correctly. Take the attitude those sections. This kind of work situation. Try your friends, parents, that these spots will be the most is valuable whether or not you are neighbours, of a line of stuffed beautiful of all. required to play by memory. animals sitting on your couch. • Avoid “negative mental chatter” in • In addition to your regular practice, Practice taking an elegant bow, and your mind. This may start to appear where you play slowly, fix mistakes, smiling to your audience – do this a week before you play, maybe repeat tricky places etc, it is time particularly if you were unhappy earlier. This chatter could include about two weeks before your event with your playing. You must always thoughts like, “I may mess up,” or to practice performing. Using the make the people in your audience “people will look at me,” or “the section divisions in your music, feel comfortable, so that they will other performer will play better now practice goofing up, and your not be worried for you. Chances than me,” or “I feel like hiding,” correct reaction to it. You will make are that what you thought was or “let’s get this over with.” It is a deliberate mistake, and repair it a big mistake or problem, was really important to shut this kind and go on as if nothing happened. barely noticed by your audience, of thinking down, though it is all Also practice jumping to the nearest particularly if you do not make a very common with performers. flag if you get really tangled. The fuss. Imagine a little monkey running in reason you are doing this is that it your brain whispering that kind of is never a good idea to go back to A Starter Kit for Improving your stuff. Say to yourself immediately: the beginning once a performance Attitude to Performing. “Forget it, Trouble Monkey, I’m not has started – the only exception is The previous section dealt with listening to you! I’ve got plans- I’ve if you snag badly in the first three preventing things going wrong. The got music to make!” bars or so and cannot recover. The solutions listed there are your backup • Some student performers make goal to keep in mind is to play the plans for damage control – You are not the following mistake: when they music through from the beginning planning to use them. You are planning arrive at the performance, they to the end, with no detours back or to play well. Keep this in mind as we say to themselves, “Boy oh boy, forward. examine attitudes that will help us I’d better play well now”. And so • You also need a plan for major perform to our own personal best. they play faster, or louder, or out of damage control- in the unlikely • Be determined to have a goal of time, substituting a random agenda event that you get stuck in personal excellence. This is your for what they have practiced. the middle of your piece, and own best playing, which belongs to Remember that “playing well now” cannot repair and go on, or go you and you only. does not mean playing differently. to the beginning of a section and • Several weeks before your Playing well means doing precisely continue. If this happens, you must performance, think through both what the teacher has been asking for jump to the end. For this scenario, the ARTISTIC and TECHNICAL during the last weeks, and in detail! you need to know the ending of goals you and your teacher have • On stage, try to enjoy the your piece, including the name discussed. Keep as many of them in experience. You may in fact of the last note or notes. Choose mind as you can. play better than you ever have a place right before the end to be • A few weeks before your in rehearsal. This is because the your emergency exit or bailout presence of an audience adds spot. In all good performances, performance or exam, start to listen critically to yourself as you practice. excitement and a special motivation the show must go on. A couple of to communicate the music. weeks before your performance try Say to yourself, for example, “that this: practice goofing up on purpose part was beautiful, but this part
Automne 2011 - le Professeure de Musique Canadian 47 PERFORMING IN PUBLIC: A GUIDE FOR MUSIC STUDENTS - cont.
• Take the right attitude. Look Tips and Advice for the Performance We control the nerves, not the reverse! forward to your performance. Day Th e work to be done is on two fronts, Commit yourself to making it • Arrive 10-20 minutes early. Do solid preparation of the music to be work. Perhaps you have watched a not schedule a busy day before you performed, (done, remember, not at the nervous performer – it was written play. Do not talk to people much last minute,) and a real commitment all over their face, and visible in beforehand. Breathe slowly to slow to shaping our attitude to the whole their body language. You as an the heart rate. Stay calmly looking experience of performing. Th is last audience member may have felt at your music, telling yourself requires an understanding that we uncomfortable, or sorry for the there is no room in your head for ourselves are in control of our thoughts performer. Be determined not to negative mental chatter. You have both before and during our playing of project this image. Th at is far more too many exciting plans and details music in public. If we are prepared both important actually, than playing to remember in the music. physically and mentally, our creativity perfectly. Sharing the music is what • If you do have a problem while you can fl ow. it’s all about. are playing, do not show a reaction on your face. Breathe out, put the shoulders down, relax and continue as if nothing happened. Th ere Margaret Macpherson, Study should not be any panic about this, (nee Turner), is a piano because you will remember having and music theory teacher, and an accompanist, practiced this reaction, so you know Music History currently teaching and how to do it under pressure. playing in Ottawa • Th ough you aim to perform Ontario. She holds and Harmony degrees in Music: ARCT, correctly, without obvious faults, (performer and teacher) Online remember that it is also important LMM, and a M.A. in to create something special, even English literature. Professional development to do something spontaneous. has included piano studies with Dorothy Th at makes it clear that you are Johnson, Alma Brock-Smith, and John McKay, Courses Offered for and violin with Vic Pomer and John Gomez. connecting not only with the music, She has taught as a member of both the 2011 - 2012 but with your audience. A high Manitoba and the Ontario Registered Music ideal, and I am quoting from my Teachers Associations. For the last fi ve years she own piano teacher, is to “lay every was on the faculty of the Bermuda School of Basic Harmony Music, in Hamilton, Bermuda, teaching piano History 1 note on the heart of your listeners.” and music theory. She has performed with chamber groups in Canada and Bermuda, and History 2 Conclusion has played as an accompanist for the School of the Royal Winnipeg Ballet, Ottawa’s Th e Performing is a function of time. Th e For more information visit: School of Dance and the Bermuda School of amount of correct repetitions you have Russian Ballet. She plays second violin with the www.gregorychase.com done, in the time available for practice Strings of Saint John’s, Ottawa is a secure prediction of what will be heard on stage. (Th e French word Members - there is a 'sequel' to this article for practicing actually is “repeter”). coming in the next issue. Performing should have very little to do with emotional reactions to your situation in front of an audience. We can turn the tables on nervousness.
48 The Canadian Music Teacher - Fall 2011 1012385-WillisDozDayCMWAD.indd 1 8/16/11 10:48 AM CHILDREN'S ARTS TAX CREDIT
he Next Phase Of Canada’s for the Children’s Fitness Tax Credit. future years for a child who is under Economic Action Plan Th e Children’s Arts Tax Credit builds age 16 at the beginning of the tax year. Children’s Arts Tax Credit on the Government’s actions to help Th e age limit will be 18 for children T parents and their children, such as eligible for the Disability Tax Credit, Introduction Millions of Canadians enrol their the Children’s Fitness Tax Credit, and an additional $500 amount will be children in artistic, cultural, recreational which provides tax relief for fees provided in those instances. and developmental activities each and paid for children’s activities such as To qualify for the Children’s Arts Tax every year. Th ese activities contribute to hockey, soccer, basketball, gymnastics Credit, a program must be: a child’s development and help create and baseball. Close to 1.4 million • ongoing (either a minimum of Canada’s next great artists. To help with individuals benefi t from the Children’s once a week for at least eight weeks’ the costs associated with children’s arts Fitness Tax Credit each year. duration, or fi ve consecutive days); activities, the Next Phase of Canada’s How Th e Children’s Arts Tax Credit Will • supervised; and suitable for Economic Action Plan proposes to Work children. introduce a Children’s Arts Tax Credit. Parents will be able to claim the 15-per- For more information please visit: Th e credit will be available for a wide cent non-refundable Children’s Arts range of activities that contribute to a Tax Credit on up to $500 of qualifying http://www.cra-arc.gc.ca/gncy/ child’s development and are not eligible expenses per child incurred in 2011 and bdgt/2011/qa01-eng.html
49 1012385-WillisDozDayCMWAD.inddAutomne 2011 - 1 le Professeure de Musique Canadian 8/16/11 10:48 AM Music Inspires CFMTA 2013 Convention - Halifax, NS
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e-exam core creative b&w.indd 1 2/23/2011 10:24:17 AM CANADIAN MUSICIANS - Coast to Coast
Daniel Janke - Yukon Nicholas Fairbank Do you have any suggestions for young composers? Briti sh Columbia I believe all young musicians should be encouraged to compose. It is crucial to fi rst learn the basic techniques and the language of music, though – rudiments, formal harmony and counterpoint – before venturing off on one’s own. • listen to as much music as you can, music of many genres, not just “classical,” since we learn to write Daniel Janke is a composer and by imitation, and eventually we fi nd fi lmmaker who has resided in the our own voice, our own language Yukon for over 20 years. He divides When did you fi rst begin to compose? I wrote my fi rst pieces in my mid-teens, which is a composite of all the time between his country home music we have heard, amended by with recording studio, and Montreal inspired by the chamber music I played with my parents and their friends: the and tempered with our own musical and Toronto. Works include String intuition and intelligence. Quartet No. 1 for the Penderecki piano trios of Mozart, Beethoven and Schubert, and later the piano quintets • write a little every day. Writing String Quartet, Miniatures for Nouvel music is a craft that needs to be Ensemble Moderne du Québec, and of Dvorak, Brahms, Schumann, Dohnanyi and Franck. done often in order to improve. Vernacular No. 1 for the Vancouver • Play your pieces to friends and Symphony. He has composed music What inspires you? family and to your teacher and be for other ensembles including Array Sometimes ideas will come into my ready for honest feedback. Music, Continuum, Batterie Park, and head when they are least expected as I • enter your compositions in local the Evergreen Club Contemporary am doing mundane tasks like washing competitions and festivals. As an Gamelan. Daniel’s 2009 fi lm How the dishes or driving the car. When adjudicator I am often disappointed People Got Fire received numerous I am actively looking for ideas and not in the quality of entries but awards. He was a writer on the CBC they don’t come I can be inspired by in the small number of entrants series Northern Town, and recently other music – I listen in particular for in composition competitions and completed the short fi lm Finding the orchestration, the textures, and festival classes. Milton for Bravo. String Quartet No.2, the rhythmic complexity. Amongst • submit more complex pieces to River, commissioned for the Bozzini my favorite composers I would list reading sessions that are organized String Quartet was just premiered in Stravinsky, Lutoslawski and Poulenc. by certain professional ensembles 2011. He is currently working on a new How many compositions have you written? from time to time. Th ese are feature fi lm. His works are available at My catalogue now contains about valuable ways of hearing your music the Canadian Music Centre. 20 pieces for piano solo, a couple for played by good musicians who will Although Daniel does not write a harpsichord, half a dozen for pipe also give you feedback on the piece. lot of piano music, he does have a organ, a number of songs and song • and fi nally, remember that when selection called Five Finger Rapids in collections, about 30 choral works, creating your fi nal score, you the Canadian National Conservatory and several larger works including two want to put as much information of Music’s Northern Lights series, Level cantatas, chamber music, and several on the page as possible so that the Th ree. More information about Daniel’s orchestral pieces - in all about 80 or 90 performer(s) can play the music as works can be found at danieljanke.com compositions. closely as possible to the way you intend.
Automne 2011 - le Professeure de Musique Canadian 53 CANADIAN MUSICIANS - Coast to Coast - cont.
Deanna Oye - Alberta University, followed by a Master of Cheryl Buddecke Music degree in piano performance Saskatchewan at Brandon University. Th is led to studies with Dr. Jean Barr at the famed Eastman School of Music in Rochester, NY, where Deanna earned the Doctor of Musical Arts degree in Piano Accompanying and Chamber Music. Eastman’s philosophy of preparing the “complete musician” – a performer of fi rst rank who is thoroughly trained in music history, theory and humanities – resonated strongly with her, and Pianist Deanna Oye is a Lethbridge continues to be an integral part of her branch member. Her approachable own teaching philosophy. Saskatchewan is pleased to highlight manner, generosity, and expertise as an Cheryl Buddecke as our featured A natural extension of that philosophy adjudicator, clinician and performer composer. Cheryl was awarded 1st place is an involvement in community. have been invaluable. in the CFMTA Call for Compositions Performing is one way in which Deanna As Associate Professor of Music at the (ensemble) for the Canadian Train Ride endeavours to connect with the wider University of Lethbridge she teaches and is a featured composer in From community – and teaching, whether in studio piano, music history, and Prairie to Pine Vol. 2. Cheryl was also the Department of Music or in the U directs the unique series of courses commissioned to write a piece for of L Music Conservatory or elsewhere, in collaborative piano/guitar she Saskatoon Youth Orchestra for their 50th is another. In addition, research established in 2004. She is the current anniversary in 2010. dissemination brings her to another Chair of the U of L Department of audience. One recent project was the Born in Regina and raised in Moose Music and also Past-President of the interpretation of György Kurtág’s Jaw, SK, Cheryl taught piano privately Canadian University Music Society, notation in his piano collection, Játékok for over 30 years and is now busy with the main scholarly organization serving (Games), on which topic she spoke composing projects as well as doing individuals and institutions involved (with colleague Dr. Edward Jurkowski) some solo gigs for special functions. with post-secondary music studies in in Calgary, Vancouver, and the How did it begin? Canada. International Musicological Society I began by creating counter-melodies Deanna received training in music from Conference in Amsterdam (2009). She on a toy piano when I was four years the age of six through her teen years recently recorded a disc of solo piano old as my dad played hymns and gospel at the Avila Music School in Th under music by Estonian composer Eduard solos on the piano. Around age eleven Bay, Ontario. Here she was given her Tubin, Edward Jurkowski, Jean Sibelius, I created three piano duets. My piano fi rst opportunity to teach piano, under Leoš Janáček, and Kaija Saariaho, teacher in Moose Jaw was Helen Tait. the guidance of and alongside many which will soon be released. Deanna In my later teen years, I attended Dr. wonderful mentors – a supportive is a frequent adjudicator, workshop Lyell Gustin’s Piano Summer School in community of high standards that she clinician, pre-concert lecturer and Saskatoon, SK. He spotted the passion credits as having a tremendous infl uence program annotator (an art in which she for composing and encouraged me to on her pedagogy today. Deanna initially also trains her students). Finally, she study music seriously saying I was a chose to pursue studies in journalism connects to the community and her person who ‘needed’ to do this. So I in Ottawa, but ultimately realized Japanese Canadian heritage through her attended the University of Regina but that music was the path she needed to work with the Nikkei Cultural Society only studied composition through the pursue. She completed undergraduate of Lethbridge and Area, as chair of the harmony assignments with Dr. Th omas studies in her home town at Lakehead Education Committee. Schudel.
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2011 CMT Pattern Play 5.indd 1 8/17/11 9:52:37 AM
CANADIAN MUSICIANS - Coast to Coast - cont.
After marriage to Lyle and a move to Vincent Chee-Yung Ho to attend Th e National Arts Centre’s Montreal, we returned to Regina and I Young Composers Program, supervised decided to fi nish my music degree under Manitoba by Alexina Louie, Joseph Schwantner, David L. McIntyre at the Canadian and Gary Kulesha. Vincent Bible College. I couldn’t get rid of my Chee-Yung His works have been performed by desire to learn more how to properly Ho (b. 1975, the Vancouver Symphony Orchestra, compose. I fi nally requested permission Ottawa, the Winnipeg Symphony Orchestra, to audit his composition class and Ontario). Arraymusic, Th e Arditti Quartet, Th e promised to participate by doing each Canadian Composer’s Quartet, Th e Earplay New assignment he gave. composer, Music Ensemble, Counter-Induction, How do you feel your compositions have currently and the Land’s End Chamber Ensemble changed over the years? Do you ever residing in and have been featured at various rework old compositions? both Canada and the USA, of mostly festivals, including Th e Winnipeg New Over the years I have gained the courage orchestral, chamber and piano works Music Festival, New York’s MATA New and knowledge to extend sections of that have been successfully performed in Music Festival, Parry Sound’s Festival my compositions. I had tried reworking both North America and abroad. of the Sound, Th e Markham Music my piece Trilogy for Trumpet and Piano Mr. Ho began composing at the age Festival, Toronto’s Massey Hall New after its premiere in 1999, because of fourteen. After receiving his ARCT Music Festival, Ottawa’s Strings of we originally thought my harmonic in Piano Performance from the Royal the Future Festival, and Bakersfi eld’s language had been too thick. I wasn’t Conservatory of Music in 1993, he New Directions Series. In addition to pleased with any of my revisions nor studied composition with Allan Gordon North America, his works have been was David. We decided to shelve it Bell, David Eagle and William Jordan at performed in China, France and Italy. until a later time. Later we pulled it the University of Calgary from 1994- His many awards have included the out, unchanged for a Saskatoon concert 98, earning BMus. He then completed Canada Council for the Arts’ “Robert debut in 2009 and both of us really his MMus at the University of Toronto Fleming Prize” (for most outstanding appreciated its original form. So I kept in 1998, where he studied with Walter young Canadian composer, 2005), the that harmony for its publishing. Th at Buczynski and Christos Hatzis. He Canadian Music Centre’s “Emerging lesson taught me the value of waiting recently earned his DMA from the Composer Prize” (2005), the “Morton for either myself or the composition to University of Southern California Gould Young Composer Award” prove itself. David also exhorted me to while under the supervision of Stephen (ASCAP, 2004), four SOCAN Young have the courage to stick to my guns if Hartke. Composers awards (Second Prize, 1999; I believed in my own ideas and stand In 1997, he was awarded a scholarship Th ird Prize, 2001; two Second Prizes, fi rm on them. Overall his continuous to attend the Schola Cantorum 2004), EARPLAY’s “Donald Aird instruction for me to never throw Summer Composition Program in Paris, Memorial Composition Award” (2004), anything one writes away (even in where he received further training in the “Audience Prize” from the Toronto their scratch form) has been extremely analysis, compostion, counterpoint, New Music Festival (1999), and USC’s helpful and valuable! Also, saving and harmony, supervised by David “Sadye J. Moss Composition Prize”. He various pieces that I have scrapped have Diamond and Philip Lasser from the has also received prizes from the Strings been extremely helpful when I’ve had Juliard School of Music and Narcis of the Future and the PEEL Music commission deadlines, etc. I have been Bonet from the Paris Conservatoire. In festivals (both 1999), and was a fi nalist able to borrow some of those created 2000-2001, he took part in the Long- for the 2005 Hultgren Solo Cello Works ideas which worked very nicely with Term Residency Program at the Banff Biennial. what I had been writing. Centre for the Arts. In 2005, he was His piano works are currently published one of fi ve emerging composers selected by Alberta Keys Publishing Limited.
Automne 2011 - le Professeure de Musique Canadian 57 TEA1153A Teach_Prof_Dev_Ad Music Matters_Layout 1 11-08-29 11:45 AM Page 1 Teacher CANADIAN MUSICIANS - Coast to Coast - cont. Professional
Dr. Elaine Keillor - Ontario on examination panels and doing Clermont Pépin - Quebec Development workshops. In addition to being a respected workshop clinician, festival and competition adjudicator, and Seminars Conservatory Canada examiner, Dr. Keillor also teaches advanced piano as well as harmony and history. Books authored by Dr. Keillor include John Weinzweig and His Music: the Achieving Success Radical Romantic of Canada; Music BRITISH COLUMBIA | ALBERTA | SASKATCHEWAN | MANITOBA | ONTARIO | QUEBEC | ATLANTIC CANADA | YUKON in Canada: Capturing Landscape and Diversity; and an upcoming book in Né à Saint-Georges de Bauce, Clermont 2012 Th e Encyclopedia of First Peoples’ Pépin commence très tôt sa formation Music in North America. Current musicale de sorte qu’à l’âge de douze Scheduled for the 2011 – 2012 academic year in locations We often look to the global musical research interests are: First Peoples’ ans il est déjà l’invité de Wilfrid across Canada, The Royal Conservatory Teacher Professional community for examples of talent, Presenters Music in North America; Piano Music Pelletier à une matinée des Concerts Development Seminars will focus on the integral and accomplishment and teaching and Pedagogical Approaches; and symphoniques à Montréal. On y creative aspects of music teaching in the 21st century. Marc Durand generosity. Yet, here in Ontario, we have Gender Issues in Musicology. entend un menuet de Pépin que W. Dianne Werner all of this, and more, right in our own Pelletier a orchestré. C’est le début These accredited seminars will include master classes, back yard. Dr. Keillor has performed solo d’une riche carrière musicale ponctuée James Anagnoson recitals and concertos with orchestras teaching demonstrations, interactive sessions, online One of these gifts in our CFMTA par de nombreux honneurs. Jennifer Snow throughout North America and Europe. learning activities, roundtable discussions, and a range membership is Dr. Elaine Keillor, PhD, Thomas Green She has also made and continues to Clermont Pépin étudie avec les of specific pedagogical and professional topics. Distinguished Professor Emerita at Janet Lopinski make many recordings both as a solo maîtres les plus connus dont Claude Carleton University in Ottawa. pianist and as a collaborative musician. Champagne (Conservatoire de Andrew Hisey Awarded an ARCT in Performance Of special signifi cance to Dr. Keillor musique de Montréal), Rosario Scalero Linda Kundert-Stoll from the Royal Conservatory of Music are: By a Canadian Lady: Piano Music (composition au Curtis Institute de I enjoyed the chance to observe excellent teaching, Kent McWilliams Philadelphie), Jean Dansereau (piano au when she was eleven years old, she 1841-1997, Carleton Sound CD-1006 and to have open dialogue about how to teach better. Christine Vanderkooy remains the youngest student ever to Conservatoire de musique de Montréal (2000); Mary Gardiner Works for Piano – Teacher Christopher Hahn receive this diploma. She went on to and Voice, Conservatory Canada CD )et Nicholas Goldschmidt (direction achieve a BA (Honours) in Music, an (2002) and To Music: Canadian Song d’orchestre au RCMT), pour n’en I enjoyed meeting other teachers, making connections Dale Wheeler nommer que quelques uns. L’année MA and PhD, both in Musicology, all Cycles. With Wanda Procyshyn, soprano. and new fr and more… 1949 marque une étape importante iends. I also learned a great deal from the from the University of Toronto. She Carleton Sound, 2010. master class. has studied with Reginald Bedford, a http://www.carleton.ca/carletonsound/ de sa carrière. Il remporte le prix – Student past-president of the CFMTA, as well as cscd1013. d’Europe comme pianiste puis fait un Claudio Arrau and Harold Craxton. long séjour à Paris (1949-1955) où il Registration: In 2009, Dr. Keillor received an rencontre et travaille avec entre autres I was very appreciative of the positive energy established As a Music Professor, Dr. Keillor Regular $99 | Student $50 Honorary Life membership from the Arthur Honegger, André Jolivet et in the process of encouraging productive pedagogical has generously shared her expertise Canadian University Music Society, Includes lunch and light Olivier Messiaen. Dans cette dernière dialogue. with students at the University of and was one of fi fty Ambassadors classe il côtoie Boulez et Stockhausen. refreshments. Toronto, Queens University, McMaster – Teacher of Canadian Music named by the Même s’il n’est pas un fervent disciple University, and for many years, Carleton Canadian Music Centre (CMC). de la musique sérielle, il l’étudie pour University. As Adjunct Professor at Let us remember to look to our démystifi er cette nouvelle technique the University of Ottawa, she is very CFMTA membership for our musical d’écriture. C’est à ce moment que active with the Research Laboratory heroes, lest we miss the talents of gifted Clermont Pépin commence à l’utiliser for Piano Pedagogy there, producing For more information, contact teachers and musicians like Dr. Elaine dans ses œuvres jusque là tonales. recordings and videos as well as sitting Keillor. [email protected] 58 The Canadian Music Teacher - Fall 2011 or visit rcmusic.ca/tpd TEA1153A Teach_Prof_Dev_Ad Music Matters_Layout 1 11-08-29 11:45 AM Page 1 Teacher Professional Development Seminars Achieving Success BRITISH COLUMBIA | ALBERTA | SASKATCHEWAN | MANITOBA | ONTARIO | QUEBEC | ATLANTIC CANADA | YUKON
Scheduled for the 2011 – 2012 academic year in locations across Canada, The Royal Conservatory Teacher Professional Presenters Development Seminars will focus on the integral and creative aspects of music teaching in the 21st century. Marc Durand Dianne Werner These accredited seminars will include master classes, James Anagnoson teaching demonstrations, interactive sessions, online Jennifer Snow learning activities, roundtable discussions, and a range Thomas Green of specific pedagogical and professional topics. Janet Lopinski Andrew Hisey Linda Kundert-Stoll I enjoyed the chance to observe excellent teaching, Kent McWilliams and to have open dialogue about how to teach better. Christine Vanderkooy – Teacher Christopher Hahn I enjoyed meeting other teachers, making connections Dale Wheeler and new friends. I also learned a great deal from the and more… master class. – Student Registration: I was very appreciative of the positive energy established Regular $99 | Student $50 in the process of encouraging productive pedagogical dialogue. Includes lunch and light refreshments. – Teacher
For more information, contact [email protected] or visit rcmusic.ca/tpd CFMTA/FCAPM"Music members is a life Force"that att ended New Brunswick, Nova Scotia, Newfoundland and Prince Edward Island
Quebec
Ontario
Saskatchewan
Manitoba
British Columbia
Yukon Alberta 60 The Canadian Music Teacher - Fall 2011 CANADIAN MUSICIANS - Coast to Coast - cont.
De retour à Montréal, il enseignera pour « La légende dorée » font partie du St-Jean-Baptiste de Montréal soulignant la composition au Conservatoire de répertoire le plus courant interprété par les mérites d’un compatriote ayant musique de Montréal de 1955 à 1964. de jeunes musiciens. rendu services exceptionnels à la patrie Ensuite, il sera directeur des études puis Mais là ne s’arrête pas son écriture. 1990 - Offi cier de l’Ordre national du directeur du Conservatoire jusqu’en Son œuvre abonde et son héritage Québec. 1973. Il retournera à l’enseignement de comporte plus de 80 opus pour Born in Saint-Georges de Beauce, la composition du même établissement diverses formations musicales (théâtre, Clermont Pépin started his musical jusqu’en 1987. Parmi ses étudiants, on orchestre, musique de chambre, piano career very early so that by the age remarque Micheline Coulombe-Saint- et voix). Ses œuvres ont été jouées au of twelve he was already invited by Marcoux, François Dompierre, André Canada, aux États-Unis, en Europe, en Wilfrid Pelletier to a matinee by the Gagnon, Jacques Hétu et André Prévost. Amérique du Sud et au Japon. Ainsi les Symphony Orchestra in Montreal. One Clermont Pépin a toujours eu une âme honneurs et la reconnaissance lui sera heard a menuet of Mr. Pépin that Mr. de pédagogue puisqu’il sera directeur des manifesté plusieurs fois tout au long de Pelletier transcribed for orchestra. It is Jeunesses Musicales du Canada de 1967 sa carrière : the beginning of a rich musical career à 1972. Outre cet engagement, son 1955 - Prix international de highlited by multiple awards. implication auprès de jeunes musiciens composition de Radio-Luxembourg se traduit par un nombre important 1970 - Prix « Calixa-Lavallée » Clermont Pépin studied with well- de compositions pour ceux-ci. Pièces 1981 - Offi cier de l’Ordre du Canada renowned masters including Claude faciles pour piano, Suites, Petites études, 1990 - Bene merenti de patria (médaille Champagne (Montreal Conservatory of Les portes de l’enfer et les trois pièces d’argent remise par la Société Music), Rosario Scalero (composition
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Automne 2011 - le Professeure de Musique Canadian 61 CANADIAN MUSICIANS - Coast to Coast - cont.
at the Curtis Institute of Philadelphia), in his career. He won the Prix d’Europe 1955 - International prize for Jean Dansereau (piano at the as pianist plus spends a long time in composition from Radio-Luxembourg Conservatory of Music in Montreal) Paris (1949-1955) where he met and 1970 - Calixa-Lavallée Prize and Nicholas Goldschmidt (orchestra worked with others: Arthur Honegger, 1981 - Offi cer of the Order of Canada leader at RCMT) to name just a few. André Jolivet and Olivier Messiaen. In 1990 - Bene merenti de patria (silver Th e year 1949 marks an important stage this last class he befriends Boulez and medal given by the St-Jean Baptiste Stockhausen. Even though he is not a Society of Montreal underlineng disciple of serial music, he studies it to the merit of a compatriote who had demystify this new writing technique. rendered exceptional service to his It is at this time that Clermont Pépin country. started to use it in his works which up 1990 - Offi cer of the National Order to then had been tonal. of Quebec. 604-319-1630 Returning to Montreal, he taught English translation by Claude Walker [email protected] composition at the Montreal www.longbow.ca Conservatory of Music from 1955 to 1964. Later he was director of studies Emily Hall Music history texts (2nd plus Director of the Conservatory New Brunswick edition) which each until 1973. He returned to teaching include a CD-ROM with composition at the same place scores and online playlist until 1987. Among his students are access! Micheline Coulombe-Saint Marcoux, François Dompierre, André Gagnon, Jacques Hétu and André Prévost. Updated Review & Clermont Pépin has always had the Resource™ CD-ROMs with many new features and soul of a pedagogue since he was 2nd edition History Helper™ Director of the Jeunesses Musicales du Photo by John Ireland flashcards. Canada from 1967 to 1972. Other than this position, his devotion to young Canadian composer Emily Hall (b. musicians is refl ected in the numerous New Brunswick) was fi rst introduced BC Conservatory of compositions for them: Easy pieces to music through the piano at age six. Music repertoire and on the piano, Suites, Small etudes, Th e Moving later in childhood to southern studies books – add variety to your studio! Gates of Hell and the three pieces for: Ontario, she studied privately through Th e Golden Legend form part of the the Royal Conservatory of Music, current repertoire interpreted by young followed by undergraduate studies in Take the Lead (Vol. 1 & 2) musicians. piano performance and composition at to help students read lead But his writing does not end then. He Mount Allison University (Sackville, sheets and be creative. N.B.), where, in 1999, she directed 24 writes abundantly and his heritage comprises more than 80 opuses musicians performing her chamber and Forrest Kinney for diff erent musical uses (theatre, vocal music. Subsequently, she obtained publications, including orchestra, chamber music, piano and a Master’s degree in composition from Creativity Beyond Compare. voice). His works have been played McGill University, and she continues to in Canada, in the United States, in live in Montreal. Europe, in South America and in “Organic and introspective,” Japan. Th us honours and appreciation “translucent,” “an intelligent timbral were manifested several times during his long career. 62 The Canadian Music Teacher - Fall 2011 CANADIAN MUSICIANS - Coast to Coast - cont. exploration,” “a pristine outer layer of Administrative Director of the Dr. Charke is Co-director of the annual sound that covers an underlying depth Canadian New Music Network, and Acadia New Music Festival ‘Shattering of thought,” “a rich aural imagination, she freelances for various new music the Silence’, an associate composer shimmering and subtle orchestration, ensembles in Montréal as well as CBC of the Canadian Music Centre, and delicacy of gesture, a compelling Radio. a member of the Canadian League of dramatic shape,” “passionate in an For more information visit www. Composers. He lives in Kentville, Nova understated way” and “music that off ers emilyhall.ca Scotia. the listener rewards in each step and in the whole journey” are but a few of the remarks from musicians across Canada, Jim O'Leary Derek Charke the United States and Europe. Prince Edward Island Considered by Sequenza21 as a Nova Scoti a “guarantee for excellence,” her compositions have been performed and broadcast in Canada, the United States and Europe in over 40 concerts by ensembles and musicians such as the Vancouver Symphony Orchestra, Bradyworks (Pemi Paull and Brigitte Poulin), Quatuor Bozzini, ARRAYMUSIC, VivaVoce, Redshift, In Extensio, the Contemporary Keyboard In April of this year, the PEI Symphony Society, l’ensemble Synapse, Julieanne Derek Charke is a Composer, Flutist Orchestra announced that Jim O’Leary Klein, Nadia Francavilla and Patrick and an Associate Professor at Acadia would become their fi rst Composer- Wedd. University. in-Residence. Th e announcement Her vocal music has received national Derek’s music has been described as accompanied the world premiere of acclaim, garnering two Godfrey Ridout ‘inventive’, ‘rich textured’, ‘full of Jim’s composition, Softly at Night the Awards from the SOCAN Foundation. colour’, and imbued ‘with drama and Stars are Shi ning for orchestra and Th e fi rst, Inside is the Sky for chamber rhythmic vitality’. Tending towards soprano. Th is was not the fi rst time Jim orchestra and mezzo-soprano with a post-Minimalist techniques, he creates has worked with the orchestra: they also text by renowned Canadian poet Lorna works with a ‘depth and intensity’ performed his Concerto for Trombone Crozier, was followed the next year by that often juxtapose ‘moments of and Orchestra (2005) and 3 Studies Curious Rêve for a cappella choir with a extraordinary tranquility’. Ecological for Orchestra (2009). In Jim’s words, multilingual text written by her. “Hall sound, fi eld recordings, and electronic “Working with one ensemble over shows a rich and perceptive strength for sound play an important role, as does several years is a fantastic way, through depicting the meaning of the text in her a long-standing fascination with the collaboration, to develop musical ideas vocal writing” (Julieanne Klein, New Arctic. on a large scale. Conductor Jamie Mark York). is very supportive and provides me with Commissioned by world renowned Emily Hall is vice president of the artistic freedom, something I value... artists such as the Kronos Quartet, Canadian League of Composers, an Th is is very liberating creatively...” the Toronto Symphony Orchestra, associate composer of the Canadian the Winnipeg Symphony Orchestra, In addition to developing new works, Music Centre (CMC) and has been Symphony Nova Scotia, the St. Jim will be advising the programming supported by the Canada Council for Lawrence String Quartet, the Katona committee on contemporary works the Arts, the Fonds Québécois de la Twins, and the National Flute suitable for performance by the Recherche sur la Société et la Culture, Association, his music has been orchestra with an emphasis on Atlantic the Conseil des arts de Montréal, the performed across North America Canadian composers and participating Brush Creek Ranch Arts Foundation and Europe, and has been heard in in pre-concert talks. (Wyoming) and the Albert Koechlin prestigious venues such as Carnegie Originally from Windsor, Stiftung (Switzerland). Hall, the Guggenheim Museum, and Newfoundland, Jim began playing Apart from composing, she is the the Walt Disney Concert Hall.
Automne 2011 - le Professeure de Musique Canadian 63 CANADIAN MUSICIANS - Coast to Coast - cont.
drums in his teens and later studied but in its way, very engaging. I’m still Lady Cove Women’s Choir is a two- percussion at the University of Prince thinking about it.” time winner of the CBC Radio National Edward Island where he graduated with It sounds like the PEISO, and the Island Competition for Amateur Choirs, and his Bachelor of Music Degree in 1994. music community in general, is in for a in summer 2008 won fi rst place in the In June 2000, Jim completed his treat with Composer-in-Residence Jim prestigious Béla Bartók Contemporary Masters in Composition under the O’Leary. Choir Competition, in Debrecen, direction of composer Jan Sandström at Hungary. Most recently, Lady Cove the School of Music in Piteå, Sweden. was invited to represent Canada at the Jim spent several years in Stockholm World Symposium on Choral Music where he divided his time between Kellie Walsh in Argentina in August 2011. Newman teaching, playing drums in a blues Newfoundland Sound has won the CBC Galaxy band, and composing. During this Rising Star Award, and has also been a fi nalist in the CBC Radio’s National period he received two awards for his Choral music Competition for Amateur Choirs. Th e work: second place in the Winnipeg is fl ourishing in choir has just released their debut CD, Symphony Orchestra’s composer Newfoundland Th e Green and Salty Days. competition in 2001; and Stockholm and Labrador, County’s Culture Prize 2002. and while the Kellie also enjoys a busy schedule as a Jim completed an MPhil Degree (in province has many workshop clinician and adjudicator, Musical Composition) at the University choral conductors regularly traveling the province and of Cambridge, England in 2006 and is of note, Kellie country to work with choirs of all currently a research student at Queens Walsh of St. John’s genres. She has worked with the University in Belfast, Northern Ireland. excels in this area. young people of Labrador on many She brings to her occasions, conducting the fi rst ever Obviously, a written article can never pan-Labrador youth choir in 2008. adequately represent the work of a choirs a passion for music, people, and her province. Kellie holds Bachelor degrees in composer. Luckily, Jim has a website both Music and Music Education where one can view the breadth of his Kellie’s musical gifts are obvious in the beauty, vigor, and rhythmical from Memorial University, in addition work and listen to excerpts of many to a Masters degree in conducting. of his compositions. I recommend excitement her choirs produce in their extensive repertoire. Kellie serves as an adjunct professor of you visit his site for a listen at www. choral music at Memorial University A native of Newfoundland and jimoleary.net. of Newfoundland’s School of Music. Labrador, Kellie Walsh is the Artistic Here is further example of the calibre Most recently, Kellie was named the Director of Shallaway: Newfoundland of music you will hear, in the words Newfoundland and Labrador Arts and Labrador Youth in Chorus, Founder of PEI writer, Ivy Wigmore: “I hate Council’s Emerging Artist, for her and Artistic Director of Lady Cove to give Bach, Korsakov and Schubert contribution to arts and culture in our Women’s Choir, and Co-Founder and short shrift but really, the O’Leary province, particularly the choral sector. composition was the major event. After Artistic Director of Newman Sound Men’s Choir. Kellie’s success can certainly be hearing the symphony perform...I attributed to her musical insights; Shallaway: Newfoundland and Labrador went home wanting to listen to the however, her generous encouragement, Youth in Chorus, is an internationally music again, in the fi rst case mostly for and excellent communication with award winning and celebrated youth pleasure and in the second as an aid to members of all her choirs, produce a choir. Most recently, the more than processing the experience, to help me respect that surely creates a winning 200-member group has been invited to think about it and talk about it. Was team. On performance night the perform with the National Arts Centre “Softly at Night” engaging? Yes. And audience shares in this magic! shocking, dramatic, disturbing, even Orchestra of Ottawa in November harrowing. Easy listening it was not 2011. 64 The Canadian Music Teacher - Fall 2011 GOING WITHOUT GOALS:Uti lizing Non-Structured Practi ce Time by Chris Foley
2. Encourage students to play rather 4. Encourage students to improvise. In or the last few months of the than work at the instrument. It’s no spite of the rich compositional legacy school year, I’ve been pushing accident that the English word for of the European, jazz, and popular my students towards getting “operating a musical instrument” traditions, very few teachers ever Fever better results in festivals, auditons, just happens to be “play”. Th e notion encourage or teach their students how recitals, and exams. I was proud of of practice as play is all too often to improvise at their instrument. Of how well many of my students had forgotten, and rediscovering it will help course, any six-year-old can make up done when the results started rolling to animate one’s creative self. songs without any encouragement, and in. Th en last week I read Ed Pearlman’s 3. Enable students to learn new free time spent at their instrument will Whose Side Are We On? and realized that repertoire and new styles. Several of increase the chances of creating their students need time for the pendulum my students have an interest in playing own musical works. to swing the other way, for periods of both ragtime, jazz, and gospel music, Once students are comfortable in exploration and discovery in addition to and since they have the time over the their own skin in the practice studio, the quest for ever greater achievement. summer to pursue these styles, I’m discovering new styles and improvising, Central to the idea of exploration at an more than willing to oblige. Of course, there’s a big chance that they might end instrument is the notion of practicing there’s a lot of self-interest on my part up creating their own compositions. as pure play, as opposed to practice in encouraging this exploration, as my Next month I’ll look at ways that you as rehearsing, working, or merely students’ discovery becomes a prime can encourage and assist students eager repeating. All students (and professonals opportunity for me to uncover a lot of to make the jump into composing. too!) need some emotional distance new and interesting music that will be Reprinted with permission from from their goals once in a while in benefi cial to my entire studio over the the Music Teachers Helpers Blog order to fully take the time to pursue long run. www.musicteachershelper.com/blog/ where their imagination is taking them. Children already know this innately – are we doing our best to enable this Getting Seasonal wonderful human quality? Here are four things that teachers and parents can do to re-start student Alberta Keys Music creativity: 1. Wean students away from constant parental involvement. Th e creative Peter Jancewicz - Deck Those Funky Halls, a Piano duet impulse often requires silence and Violet Archer - for Piano: Christmas in Quebec, in the collection Wild Flowers; solitude. From time to time, leaving a Joyous Bells in Let’s Have Fun young student to their own devices at Jean Coulthard - Winter in the Forest, in Early Pieces for Piano their instrument is an excellent idea. Roberta Stephen—The Star So Bright, Seven Canadian Carols for Piano What they lose in the achievement of Craig Hutchenreuther—Vive Noël, Six Christmas Songs for two Violins daily practice tasks they may gain in understanding, exploration, and fun. David McIntyre—Bird of Dawning, Voice with Organ or Piano If they enjoy this time spent privately Violet Archer – for Voice: Songs of North, soprano or mezzo; First Snow at their instrument, it might just pay
big dividends down the road when And Brand New! Moon Shadows – A Piano duet by David Dahlgren they eventually play at an advanced Canadian Magic— Five pieces for solo Violin by Adaskin, Blair, Hutchen- level, enjoying the rich rewards of both reuther and Stephen trusting the responses of one’s own www.albertakeys-musicpublishing.com body and the practice process.
Automne 2011 - le Professeure de Musique Canadian 65 EMPOWERING THE WHOLE MUSICIAN MIND AND BODY New York City - June 27 - 29. 2012
Our stellar line up of clinicians is as follows:
Kathleen Riley, Ph.D. is known Vanessa Cornett Murtada is internationally as a lecturer and the Director of Keyboard Studies at clinician on musicians’ technique and the University of St. Thomas in St. f you like music, art, theatre, injury prevention. She brings over 30 Paul, MN, where she teaches piano dance, architecture or history (and years of piano teaching experience, and piano pedagogy. An international of course shopping) you may be training and research in bio feedback clinician, she has lectured throughout Iinterested in joining us for this three day techniques. She has worked with the United States, and in the U.K., educational travel trip! specialists in different retraining Ireland, Italy, Serbia, Croatia and The CFMTA together with the Music therapies and has since developed her Taiwan. She has published papers Teachers National Association (MTNA) own method. in the Journal of Undergraduate are once again proud to host a three day Dr. Riley is the Music Performance Neuroscience and Education and wellness symposium for our members! & Rehabilitation Specialist for Cultural Politics, as well as book EMPOWERING THE WHOLE the Yamaha Music and Wellness chapters in the fourth edition of MUSICIAN: MIND AND BODY Institute and Clinical Director of Creative Piano Teaching. A certified will take place at the Yamaha Artist ProformaVisiontm. She is widely hypnotherapist, she specializes in the Services Facility, located at 689 published in music journals. treatment of performance anxiety Fifth Avenue, in the historic Aeolian for musicians. Her current research For more information go to www. Building in midtown Manhattan. Three focuses on mindfulness and the nature kathleen-riley.com renowned clinicians will offer daily of the human consciousness in the workshops from 9:00 am to 12:30 pm. performing arts. The remainder of each day will be free Julie Jaffee Nagalis a graduate For more information go to www. for your own personal activities. This of The Julliard School (BM, MS, stthomas.edu/music/directory/ trip offers a unique opportunity for piano), The University of Michigan vcornettmurt.htm professional development (making it (MA, MSW, Ph. D) and the Michigan tax deductible) along with personal Psychoanalytic Institute. Her work on independence in other daily activity performance anxiety, music as a point planning! Please visit the MTNA of entry into emotion and unconscious website www.mtna.org to register and process, and music as an instrument view updated scheduling information. of social change and mental health Or register by telephone by calling the outreach has been published in MTNA office at 1-888-512-5278. numerous psychoanalytic and music The fee for this three day symposium journals. Her blog, “Music to my is $150.00 US per person. Ears” is a regular feature in Psychology REGISTRATION IS LIMITED TO ONLY Today. Dr. Nagel is on the faculties of 150 ATTENDEES, so register early! Michigan Psychoanalytic Institute, the University on Michigan Department *Accommodations must be personally of Psychiatry and is in private practice arranged although a list of suggested in Ann Arbor Michigan. hotels nearby will be provided on the website and in the Winter Edition of the For more information go to www. Canadian Music Teacher. julienagel.net
66 The Canadian Music Teacher - Fall 2011
REVIEW OF PUBLICATIONS
IMPRESSIONISM : A resource guide In these busy times, when teachers Musical Snapshots - Book 2 from Honens International Piano seek ready to use material, this Intermediate Piano Competition guide is a benefi cial tool for both by Martha Mier Th is new guide presents the school classrooms, and group or Alfred Pub. Co. Inc. impressionistic era of music, art, and private lessons. Th e musical terms Nine original solos portray musical visits poetry, and is designed to support and activities, and the well-recorded around the world providing the student arts curriculum from K-12, to build disc, would be especially benefi cial with a tour of Japan, Egypt, Hawaii, appreciation for music and arts, and to for students that are studying this France, Scotland, Spain, and the United show how individual arts compliment music. By putting combined arts in States. Th e key range is no more than each other. a historical perspective, educators 2 fl ats. Several pieces cover numerous can help their students develop Th e layout of this book is very practical, registers requiring crossing of hands. awareness, appreciation, listening Th e rhythms are very manageable for with beautiful reproductions of art skills, and new vocabulary, while using works throughout, guided discussions, the Intermediate student and most of imagery to enhance interpretation the pieces incorporate the damper pedal. questions, handouts, and listening and understanding. Th is guide on activities, along with a CD. Brief Ms. Mier consistently provides students Impressionism is a good resource for and teachers with interesting music that biographies of painters, composers, both public and private educators. and poets, along with some historical is fun to play, interesting to listen to, information including technological Th is guide and companion CD is and helps develop musicality. Although advances will help students to available upon request free of charge as each piece has attractive characteristics, understand how the arts changed with a digital download from Honens. To my personal favorite is Egyptian the times. Important terms are printed receive a copy of the guide - Pyramids! in colour , and a well-written glossary email Po Yeh at [email protected]. Jean Ritter provides information to cover terms of Annie Avery BC the three arts. Yukon
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68 The Canadian Music Teacher - Fall 2011 Northern Menagerie Melody Adventures Land of the Silver Birch by Teresa Richert by Gayle Dunsmoor by Beverly Porter Richert Music QuenMar Music Inc. Red Leaf Pianoworks This is a collection of Intermediate Melody Adventures is a series of six This book is a collection of Canadian piano solos inspired by wild creatures of volumes written by Gayle MacAuley- folk songs arranged for solo piano Canada. To quote the composer, “many Dunsmoor for use by beginning which includes many favorites. The make their home on the west coast students of the piano. This Canadian pieces vary in level from Elementary of British Columbia and I encounter publication boasts two Primers, two to Intermediate. The table of contents some of them when I hike in the nearby Basics, and one each of Level One and is very helpful as the composer gives forest or even in my back yard. Several Two. In each of the six books can be brief study notes for each selection. For of the pieces were written during my found the same charming characters example, Alouette – Lots of fun to play early composition studies when I was who take part in a believable story line. and make the rit. and fermata quite experimenting with a variety of styles Found in these books is an array of dramatic. A good study for LH fifths and forms.” original pieces, Canadian folk songs moving quickly around the keyboard. The book has twelve pieces beginning as well as songs and dances of other The damper pedal should be used at ms. with Squirrels and ending with The ethnicities and styles. Every book 10-15 for contrast. The book concludes Grand Eagle. In between are Bunnies, features a page devoted to the definition with two pages of the song lyrics Bear Cubs, The Fawn, Spirit Bear, of signs and symbols as well as terms presented alphabetically. Tundra Swan, The Owl And The and abbreviations found in the music. As well as the fun of the familiar and Sparrow, Garter Snakes, Chickadees, Bats A “Note Find” exercise of at least two catchy tunes there are many useful and Dancing Bugs. The table of contents pages in length can be found in all but teaching techniques in these pieces. provides the student with a good one volume. By the end of the sixth As mentioned, there is a study in left imaginative start by such descriptions as book, the scales and basic chords of C+, hand fifths in Alouette and also in “this fawn is learning to walk. He is very G+, F+, and D+ as well as their relative Iroquois Lullabye. The fifths become cautious and even a bit clumsy at first, minors have been learned and practiced. root position major and minor triads in but he is gradually able to move faster The strength of this method is that The Huron Carol. There is good use of and roam more freely.” Notes on the it stresses an awareness of the key a left hand chromatic scale in Land Of score specifically indicate “cautiously, structure of each piece by use of the The Silver Birchand a left hand D major gaining confidence, determined and Roman numeral chord notation system. scale in Gai Lon La, Gai Le Rosier as running free.” By the end of the sixth book, I, IV, well as left hand crossing. In Ah! Si Mon Key signatures range up to two sharps V, and V7 chords have been learned Moine Voulait Danser! this lively tune and three flats. Time signatures and manipulated. This ensures a solid comprised of eighths and sixteenths make good use of simple time plus harmonic understanding of the studied is accompanied by a repeating left 6/8, 6/4 and 5/4. There is a wealth music. It is also a good basis for future hand figure. The pieces move from the of opportunity to explore various improvisation in these keys. The entire fairly simple to the more complicated touches, articulations and rhythms, series of “Melody Adventures” provides arrangement of She’s Like The Swallow chromaticism, contrasting dynamics and a comprehensive introduction to Ms. which uses a theme and three variations. moods, tempo changes, hand crossings, MacAuley- Dunsmoor’s “Keyboard Here the composer notes “the harmony pedal technique and much more. A c c o m p a n i m e n t “ c o u r s e . evokes the tragic story or unrequited My personal favorite, Dancing Bugs Sonia Hauser love. Beautiful phrasing is a must as presents a playful study of form by BC is careful pedaling. Play with great alternating Butterflies, Ladybugs and expression and imagination.” Bees. This delightful piece captures the Most of these folk songs were known buzzing bees with a left hand semitone to me but the arrangements are new, and the graceful butterflies in a flowing interesting, carefully planned and would 6/8. make excellent teaching pieces. Nancy Hughes Nancy Hughes Ontario Ontario
Automne 2011 - le Professeure de Musique Canadian 69 REVIEW OF PUBLICATIONS - cont.
From Prairie to Pine, Volume 2 Canadiana with their piano, they are Ultimate Music Theory Piano solos by Saskatchewan certain to enjoy Thelma Gillis’s Prairie Prep 1 Rudiments and Answer Book Composers Swing and Penny Rosten’s The Hockey Prep 2 Rudiments and Answer Book If you’re looking for new and inspiring Game and Rider’s Game Day Rag. by Glory St. Germain Canadian piano works for Canada Congratulations to all who helped Gloryland Publishing Music Week, examinations, recitals or produce this impressive volume with A series of books which calls itself just for fun, I highly recommend the its mix of levels, keys and styles – a real 'ultimate' has much to live up to and Saskatoon Registered Music Teachers’ winner! this series succeeds! Each book comes Association’s latest piano collection, To order your copy, hear composer in attractive, color-coded coil bound From Prairie to Pine, Volume 2. It format with a glossy, heavy duty cover. features twenty five new elementary performances or see excerpts visit www.srmta.com The answer books are the workbooks in to intermediate piano works written half size making them easy to follow and by twelve emerging and established Martha Hill Duncan - Composer use. Each book is divided into twelve Saskatchewan composers. Ontario lessons with review tests. At the back At the early level Sarah Konescni has are heavier, perforated term flashcard several “kid-friendly” pieces with great pages. Not a space has been wasted – titles - Moris Mouse Goes Rollerblading, Take the Lead inside covers are used for information, Beneath the Spanish Moonlight and Level 1 – 2 guides and charts, while the 120 pages my personal favourite – Dinosaur by Peter Friesen are, quite literally, 'write on each page'. Don’t. For early lyrical fare, you can’t Pop Piano Pro Material is covered in very thorough go wrong with Janet Gieck’s Outdoor Finally there is a series of books available detail with diagrams, descriptions, Skating Rink and Payton Reddakopp’s to teach students to play off a lead sheet! examples of correct and incorrect Serena, dedicated to a young cancer As soon as a student can read notes, writing, helpful hints and many, many survivor. For later lyrical fare, don’t miss he/she is ready to start Level 1. The exercises. Cheryl Buddecke’s enchanting Lyrical student progresses through fourteen Prep 1 Rudiments covers the keyboard, Melancholy and Love Unconditional. pieces, building on skills previously musical alphabet, staffs, clefs, note and Many of the works succeed beautifully achieved. Theory concepts are presented rest values, simple time, semitones, in capturing that sense of “prairie as needed. After learning the first whole tones, accidentals, pentascales magic”: Lynette Sawatzky’s gorgeous piece in C major, it is transposed into and triads, harmonic and melodic Springtime, Glenn Sutherland’s intimate G and F. The keys of A, D, and E intervals, copying correctly, analysis and and expressive Day’s End and Paul minors are introduced. Various left musical terms. Suchan’s moving and powerful Dawn hand accompaniment styles are taught, Prep 2 Rudiments reviews material from Prelude. These “prairie” composers including blues patterns. There are full Prep 1 adding key signatures up to two also seem to “love” their rain proven by versions of the pieces in the appendix, as sharps/two flats, solid and broken major several superb and evocative selections: well as recordings on the accompanying triads, major scales, natural, harmonic Laurie Wiens’ Morning Showers with its CD. The book progresses logically, and and melodic minor scales, analysis and sparkling groove, Janet Gieck’s stunning is easy to follow. soundscape entitled 60% Chance of Rain musical terms. Students will have a lot of fun while and the expressive and building Sudden These books more than cover the acquiring skills they will appreciate and Prairie Storm by Andrea Neustaeter. If material for the RCM Preparatory enjoy using throughout their lives. I, you are drawn to rhythmic and jazzy Rudiments exam. They would work for one am enjoying using this book styles, you’ll love Wes Froese’s irresistible well with a piano lesson and with young with my students. You can check out LH Swings/RH Straight, Janet Gieck’s students in private or group setting the books and view sample pages on this Caribbean inspired Long Weekend because of the thorough explanation of website: www.poppianopro.com and Sarah Konescni’s sophisticated concepts and many exercises. Eileen Deros Whistlestop Jazz and Blues. For those Joyce Janzen BC students who love a little hockey or BC 70 The Canadian Music Teacher - Fall 2011 Early Music (2nd Edition) by Linda Sheppard Canada’s only Longbow Publishing comprehensive Second in a series of History books by Concerto #2. Handel and Scarlatti each online print music retailer Linda Sheppard, ‘Early Music’ covers have an instrumental work featured instrumental, sacred vocal and secular – Water Music, Suite #2 and Sonata With literally hundreds of thousands vocal music for four musical time in D+ K430. Each composer in this of print music titles in every category, periods from 600 A.D. to 1825. An era have a resume with important MusicTime.ca is Canada’s only com- prehensive online seller. Choose from introduction is given to the Middle information regarding their musical piano, guitar, vocal, choral, band, theory Ages, Renaissance, Baroque and style. and more. Every major music publisher Classical eras together with specific In the Classical era, sacred music is is represented in our vast catalogue: musical characteristics from each period. represented by Haydn’s Creation, Genres from each era as well as early secular vocal music by Mozart’s • Hal Leonard Publishing • Alfred Publishing instruments are described and defined. Marriage of Figaro and instrumental Each time period is examined in more • Frederick Harris Music music by Haydn’s Symphony #104, • Neal A. Kjos Music detail through a focus on specific genres Beethoven’s Pathetique Sonata in c- and and five or six individual works together • FJH Music Schubert’s Piano Quintet in A+ ‘Trout’. • Editions Henle with biographical information on the As in the Baroque era, C.P.E. Bach as • Mel Bay Publications composers of the representative works. well as Classical composers whose pieces • Ultimate Music Theory In the Middle Ages, chant is studied are studied have resumes posted. • The Full Voice through Haec dies. Organum is • Mayfair Music As in her first book of this series, Ms. • Waterloo Music represented by another version of Haec Sheppard has been thorough in the dies along with Leonin, Perotin and • Jamey Aebersold presentation of material. 176 pages of • Music Minus One the Notre Dame Cathedral School. detailed information in a coil binding • Dover Publications Information is given on Hildegard is preceded by a table of contents and • Sher Music of Bingen. Ce fut en mai by Moniot followed by an index. Once again, the • Beacon Music Company, Inc. d’Arras and Puis qu’en oublie by author has used symbols and icons to • Bernard Stein Music Company Guillaume Machaut are the examples highlight language, titles, genres, forms • Henri Elkan Music Publisher of secular vocal music. Royal Estampie and principal works. • Schott Music #4 serves as an example of medieval • Joel Rothman Publications instrumental music. As well, the book comes with a CD- • Koala/Learn To Play Music ROM with early music scores, review • MJS Music Publications The Renaissance time period is quiz, answer keys along with many • Ronny Lee Music examined through two sacred words hyperlinks to websites with information and genres – Ave Maria, Virgo Serena, a on early music. An incredibly valuable motet by Josquin and Gloria from Pope and useful resource is the on-line link And, since we’re a Canadian company, Marcellus Mass by Palestrina. and password to listen to recordings of your music is priced in Canadian dol- Secular vocal music focuses on two the works presented through the Naxos lars, and shipped quickly and afford- madrigals – Moro lasso by Gesualdo Music Library. ably to every province and territory. and Fair Phyllis by Farmer. Danserye by Once again, this is a wonderfully Susato represents instrumental music. comprehensive resource. It corresponds The review of the Baroque era begins well to the requirements of RCM with a study of keyboard instruments History 2 and would be a valuable asset and the development of opera. in preparing for that exam. Monteverdi and The Coronation of Joyce Janzen www.musictime.ca Poppea as well as Purcell and Dido and BC Aeneas are covered. Bach is highlighted 1-888-706-7463 by two works – the sacred Cantata #80 and the instrumental Brandenberg
Automne 2011 - le Professeure de Musique Canadian 71 PLEASE SUPPORT OUR ADVERTISERS
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72 The Canadian Music Teacher - Fall 2011 PROVINCIAL DELEGATES & OFFICERS
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