The Canadian Music Teacher Le Professeur De Musique Canadien a Trusted and Comprehensive Source of Information for the Music Teacher Across Canada

The Canadian Music Teacher Le Professeur De Musique Canadien A trusted and comprehensive source of information for the music teacher across Canada

Official Journal of The Canadian Federation of Music Teachers’ Associations • Vol. 60, No. 1 • Circulation 3500 • Founded 1935 Publication Information CFMTA.ORG Upcoming Editions of The Canadian Music Teacher Winter Edition 2010 Visit the CFMTA website •Publication: Jan. 2010 www.cfmta.org •Submission Deadline: Dec. 1, 2009 75th Commemorative Spring Edition 2010 •Publication: May 2010 Young Artist Series • Submission Deadline: April 1, 2010 Canada Music Week® Edition 2010 National Piano Competition •Publication: Sept. 2010 Canada Music Week •Submission Deadline: Aug. 15, 2010

Send All Materials For All Editions To: Membership information Alicia Romero Awards 130 Arbour Ridge Park NW, Calgary, AB T3G 4C5 Phone (403) 208-1739, [email protected] Links to Provincial Associations Advertising Send all advertising inquiries and orders to:

Alicia Romero Information at your fingertips 130 Arbour Ridge Park NW, Calgary, AB T3G 4C5 Phone (403) 208-1739, [email protected] www.cfmta.org

The official journal of the Canadian Music Teachers’ Association is published three times a year by the CFMTA. Its purpose is to inform music teachers about the Association’s activities, provide a forum for discussion and supply information of topical interest. Advertisers’ INDEX Inclusion of items in this journal does not imply endorsement or approval by the CFMTA. Alberta Keys 42 New Wave Travel 35

Alfred Publishing 27 Pianotekneek 26

Andrew’s Studio of the Arts 30 Piano Workbook 31

Augustana Campus, U of A 9 Prairie Sky Pub. 35

Brandon University 42 Red Leaf Pianoworks 45 SUBSCRIPTIONS Canadian Music Centre 46 RCM Examinations 28

Conservatory Canada 32 Royal Sequence 35

Non-members may receive a subscription Fairchild Radio 13 Ultimate Music Theory 35 by submitting an annual fee to: Frederick Harris outside back The Well-Balanced Pianist 42 Bernadette Bullock, Secretary/Treasurer 302 – 550 Berkshire Dr. London, ON N6J 3S2 Langley Community Whirligig Games 33 Music School 21 The fee for Canadian residents is $20.00 per year, and $30.00 for non-residents. Make cheque payable to CFMTA. Long & McQuade 30

2 The Canadian Music Teacher - Fall 2009 NOTICE OF ANNUAL GENERAL MEETING 2010 Take notice that the Annual General Meeting of the members of the Canadian Federation of Music Teachers’ Associations will be held at

Location: TBA on Sunday, July 4th from 9:00 am to 12:00 pm Business to be conducted includes to: Receive and consider the Financial Statements of the period ending. Receive and relate the Provincial Reports. Appoint Auditors. Transact such other business as may properly come before the meeting. The Annual Executive Committee Meeting will be held on Saturday, July 3th from 9:00 am to 5:00 pm By order of Darlene Brigidear, President • Bernadette Bullock, Secretary-Treasurer Dated at London, Ontario, this 25th day of August, 2009.

What's Inside . . .

4 Letter from the Editor. 36 Canadian composers from coast to coast.

5 Greetings from CFMTA. 43 In memory of Jean Broadfoot.

6 CFMTA - FCAPM Annual Executive Committee Meeting and 45 Studio policy: Do we really need it? 74th Annual General Meeting.

47 Canadian music and local traditions: An interview 10 Go Maritime in 2009! Convention highlights. with Emilyn Stam.

15 Canada Music Week. 49 Meet the Call for Compositions 2009 winners: Sarah Konecsni and Martha Hill Duncan

26 Bill Andrews CMW Awards. 51 Reviews 31 40th Anniversary celebrations continue traditions of support for Canadian music. 53 CFMTA - FCAPM Memorial Pedagogy Award

33 RMTs, Canada and the Cambodian experience. 54 Executive directory

34 NSRMTA Independent music teachers’ research group: An update on our activities.

Le Professeur de Musique Canadien - Automne 2009 3 From the editor Anything can go sideways, and our wisdom relies in the ability to turn it into an experinece with a positive outcome. What will the Such passion and desire to serve can be an music, how independent music teachers are working school year bring to inspiration to transmit your own enthusiasm together doing action research, and how freely and you? It is probably to new students and parents. openly Emilyn Stam, Sarah Konecsi and Martha what we all teachers Looking at our accomplishments as Hill Duncan share their views and experiences as wonder every August a collective can also provide you with composers. and September. strategies and ideas. Take the time to read I do believe in the words of Gandhi: “Be the Even though some the summaries of the Annual Executive change you want to see in the world.” And I also of us may carefully Committee Meeting and 74th Annual General believe that whenever I am in front of a “brick plan and have set expectations of how Meeting. wall” it is a reminder that it is not only my effort things are going to be, there is always the Setting new goals and looking forward to to see change but the efforts of others in the possibility that something could go totally achieve them can be a strong drive that will same direction as well what is needed to make the opposite way. allow you to navigate more comfortably through things happen. Read about other teachers’ lives What do you do then when that unpleasant situations. Set your mind to attend our to recapture the joy and strength needed when happens? I guess a first reaction may 2011 Convention in Regina. Feel free to cut out the challenges arise in your studio and daily life. The be one of disappointment, anger and Go Maritime in 2009! Convention highlights and inspiring and motivating article in memory of Jean frustration. After all, we spend a great deal post it where you can see it constantly to help you Broadfoot would be a great start. of time and effort to get organized and stay focused. On the other hand, sometimes difficulties can provide the best quality teaching we can. Have you been working hard to have a great be solved by small changes. In this issue of Talking After that first reaction we may have a CMW festival or are you ready to prepare your Business we explore the advantages of having a clear mind to choose what do we want to proposal for the Bill Andrews Award? Then, be sure Studio Policy and to develop our communication do next; and sometimes looking at your to read our Canada Music Week section as well as skills. I hope it will encourage you to revise or write support network may give you the answer. the Composers Coast to Coast. You may find them down or create your own Studion Policy. One part of my support network is to be a source that can assist you in fine-tuning Finally keep yourself current by providing comprised by all the publications of the your projects as there is always something we can the best opportunities you can to further your professional associations I belong. Over the learn and try from what others have done. career and your students’ education. Consider years I have found articles that have helped There is no doubt that when things go the CFMTA- FCAPM Memorial Pedagogy me to re-frame any given situation and turn sideways we all go through a phase of reflection and Award for this 2010 edition and broaden it around to be a positive experience. introspection as to why we do what we do and if your bibliography and repertoire references In this issue of the CMT you will meet we are doing it the best way we can. I am sure you by reading the Reviews section. Darlene Brigidear, our new President. Her will feel empowered and willing to try a different passion and desire to serve YOU permeate approach after reading about RMTs in Cambodia, Happy reading and successful teaching!! her message. the dedication for 40 years to support Canadian Alicia Romero

Our Fall cover Mail your photos along with From our readers String Teachers a self-addressed and stamped This issue’s beautiful cover was envelope to: Great article in the last Canadian Frederick Harris has launched provided by the Canada Music Music Teacher. a new collection of the best folk Week Chairperson, Po Yeh. CMT Editor fiddle tunes: Fiddleworks by Zav 130 Arbour Ridge Park As I struggle to organize the RT. A CD is included with each Commemorative Calgary, AB T3G 4C5 “paper work” in my studio, of the three books and rehearsal Edition I was reminded that my career is sections are indicated on each or email a JPG file 600 dpi also a business. I was happy to piece, along with bowing and The Canadian Music Teacher or pdf high resolution to be reminded by Alicia Romero’s fingering editions. Visit www. Magazine is having a Spring [email protected] article of resources that are avail- frederickharrismusic.com for 2010 Special Edition to com- able to members of the CFMTA! more details. memorate the 75th anniversary Available for of CFMTA. download Eileen Craig, ARCT, RMT bärenreiter, a German publisher, has now available Send your best musical shot. It The winning works by Sara Comments and suggestions to the in English the Sassmannshaus can be of you teaching, a beauti- Konecsni and Martha Hill Editor are welcome. Send them to cello method for children ful recital hall, festivals or from Duncan of the Call of Compo- [email protected] four years and older. The your provincial archives. sitions 2009 are available for subject line: CMT Reader method is comprised in four download until November 31, volumes. For video clips and 2009 at www.cfmta.org more information visit www. violinmasterclass.com

4 The Canadian Music Teacher - Fall 2009 Greetings from CFMTA

I begin my term as vibrant. We look for your continued support Personally, one of the highlights of our your president with to raise awareness of Canada Music Week in national conventions is meeting teachers great anticipation. your community. from across Canada and feeling a part of My goal is to an inspirational national association. In continue to move Our Young Artist Program is now truly New Brunswick, we had the opportunity forward on the national, as every region of Canada is now to communicate with colleagues and get a wonderful vision of involved in the Young Artist tours. In perspective on a variety of musical activities CFMTA-FCAPM addition, we have budgeted extra funds to throughout Canada. that those before have set out. I have VERY help provinces who wish to have an annual BIG BOOTS to fill indeed. I would like to tour. Communication is a “major key” to thank Pat Frehlich and Past-President Peggy continued growth and strength as a national L’Hoir for their immense contribution of The Canadian Music Teacher has a very organization. Through your delegates, time and passion to our organization. They professional look and Editor Alicia Romero the Canadian Music Teacher and our new are visionaries who brought many positive is including articles of interest to all teachers Website, we will provide our members changes to CFMTA-FCAPM. across Canada. She will be working on with up-to-date information on all of our a very special COMMEMORATIVE national programs, membership, policies This is a time of fiscal restraint in our EDITION of the Canadian Music Teacher and procedures and national objectives. country that in one way or another has in celebration of the 75th anniversary of affected all of us. As an organization we CFMTA-FCAPM. Look for your copy in As we celebrate 75 years of promoting also need to be fiscally sound and budget May 2010. excellence in musical education, may we within our means. To that end, we are continue to communicate our love of music continuing to maintain all our national I am very excited about our new website. to our students, knowing we will enrich programs, working to enhance them It is the public face of our organization and their lives and give them the lasting gift of through communication and efficiency. New has a very professional look. Thank you to the “joy of music” initiatives will be carefully considered as to our new webmaster, Bernadette Bullock, their financial feasibility. who has worked many hours to give us a “Don’t judge each day by the harvest you website we are truly proud of. reap, but by the seeds that you plant” Canada Music Week Chairperson Po Yeh - Robert Louis Stevenson has done an excellent job of promotion, I would like to thank the “Go Maritime updating information for the awards, in 2009” convention committee and the Darlene Brigidear seeking new sponsorship and making New Brunswick Registered Music Teachers’ CFMTA-FCAPM President Canada Music Week more visible and Association for hosting such an excellent event.

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 really mean? • Communication with fine colleagues and a pedagogical network across the nation. • Through provincial representation, local and provincial voices are acknowledged at the national level. • A unified body to support, promote and mentor music educators and music education at the provincial, national and international level. • Biannual conventions that create opportunities for learning, inspiration, competitions 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. • As an independent music teacher: access to a national organization provides an invaluable opportunity for you to impact, and be impacted by, the rest of the nation.

Le Professeur de Musique Canadien - Automne 2009 5 CANADIAN FEDERATION OF MUSIC TEACHERS’ ASSOCIATIONS ANNUAL EXECUTIVE COMMITTEE MEETING AND 74TH ANNUAL GENERAL MEETING Sackville, NB, July 7 & 8, 2009

Summary of Business conducted at these STANDING COMMITTEE REPORTS • CFMTA 75th Anniversary Celebration. meetings: were emailed prior to the meeting and hard A motion was passed that in celebra- copies were distributed at the meeting. tion of our 75th Anniversary we The meeting was called to order at 9:10 am. Discussion was invited from the floor. publish a Commemorative edition of President Peggy L’Hoir welcomed all the • Delegates were reminded to send rel- the CMT (Spring Edition) in lieu of delegates and chairpersons to the meeting. evant materials to the Archivist. the regular spring edition. • Each province will send to the CMT THE AGENDA was accepted as amended. Editor a biography of a Canadian Com- Research will be done regarding the poser from their province for the CMW feasibility and funding of a cross- THE MINUTES of the Executive Meeting edition on or before August 15. Canada composer tour involving held in Mississauga, Ontario 2008 were read. • Special Projects an ad hoc committee public performance, workshops and was struck to seek corporate sponsorship educational outreach. CORRESPONDENCE. for the CFMTA prize monies for the Examples of selected email correspondence National Piano Competition by Decem- • Ad-Hocs. Hugheen Ferguson and Bill were circulated. Discussion ensued regarding ber 1, 2009. Andrews Awards Ad Hoc Committees NSRMTA’s concerns of the use of the word were dissolved. “register” on classicalmusicteachers.com AD HOC COMMITTEE REPORTS were • Young Artist. Patricia Frehlich spoke website. It was the opinion of the delegates emailed prior to the meeting and hard copies on the success of this project. that the word “register” was used as a verb were distributed at the meeting. • Special Projects. This was presented and did not imply “registered.” • The ad hoc committee will continue earlier in the meeting as the Chairperson to investigate a National Health Plan was required at the competition. OFFICERS ANNUAL REPORTS were for 2009 - 2010. Chair: Nancy Hughes, • Bill Andrews Award. Darlene emailed prior to the meeting and hard copies Members of Committee: Sandra Kerr Brigidear spoke on the success of this were distributed at the meeting. Discussion and Kilby Hume. Ad Hoc committee and the initialization was invited from the floor. Bernadette of award. Bullock spoke about the need for the CFMTA PROVINCIAL REPORTS were emailed • Hugheen Ferguson. Peggy L’Hoir to archive their files in a safe environment. prior to the meeting and hard copies were spoke on the success of this Ad-Hoc distributed at the meeting. Discussion was committee and the initialization of FINANCIAL REPORT invited from the floor. award. The audited statement was presented by • Website. Bernadette Bullock unveiled Bernadette Bullock and accepted. A motion UNFINISHED BUSINESS the new website design. to appoint Christene Scrimgeour of London • Tax deductions for private music Ontario as Auditor for the 2009 – 2010 fis- lessons. Patricia Frehlich spoke on this NEW BUSINESS cal year was passed. Motion for Payment of subject and questions were asked and • Special Resolutions: Accounts was passed. answered. i) ORMTA recommends to CFMTA • NWT/Yukon Follow-up. Peggy that each province should receive FINANCE CHAIR REPORT L’Hoir spoke and will liaise on this any issues dealing with finance by Darlene Brigidear presented her report and project. April the first of the current year. invited questions from the floor. A motion • CFMTA membership drive. Both This will give ample time for each to support the ORMTA Young Artist Tour Peggy L’Hoir and Patricia Frehlich Province to discuss the issues before on a yearly basis was defeated. A motion spoke about the ongoing efforts on this delegates are asked to vote. The for applications from the provinces on project. difficulties of this resolution were alternate years was approved if funds are • CFMTA sponsored trips and further explained and the resolution was available. A motion to change the distribu- MTNA Collaboration. Patricia Frehlich, defeated. tion of the yearly fees was approved. Special will on behalf of the CFMTA, pursue an- ii) It is hereby resolved that CFMTA Projects will be allocated $2.00 from our another collaborative three-day symposium change the submission date for nual dues, a reallocation of $1 per member. with the MTNA in July 2010. resolutions to April 1, to allow time Young Artist will be allocated $1.00 from • National Registration. The web- for CFMTA provincial delegates to our annual fees, a reallocation of $1 per master will initiate an investigation of a present CFMTA resolutions to their member. Canada Music Week will remain $1 system where registrars of the provinces provincial Councils, to garner voting per member. The budget was approved by a will be able to change the mailing list instructions as per section 2d of the motion from the floor. online. This would be a secure site. Policies and Procedures manual of CFMTA 2008. This resolution was passed.

6 The Canadian Music Teacher - Fall 2009 • Provincial Newsletters. A directive Canada Music Week Chairperson to president of MTNA who brought greetings was created that the Officers, National travel to Executive and Annual General from MTNA. Chairpersons, Provincial Presidents and Meetings will be budgeted and paid Provincial Newsletter Editors receive cop- for by CFMTA. The Speecial Project The agenda was accepted. A summary of the ies of individual provincial newsletters. Chairperson shall apprise the President Minutes from the AGM in 2008 were read • Pamphlet Revisions. Peggy L’Hoir and Finance Chair of financial arrange- and accepted. spoke of the need for revisions to the ments between the Convention commit- pamphlet and these were made by the tee and the Special Projects Chairperson Bernadette Bullock announced that CFMTA delegates. A directive was created that regarding clinician and jurors travel costs, had received a letter of independence from we encourage the provinces to use the before contracts are signed. Christene Scrimgeour of London, Ontario CFMTA National logo in all provincial • CMW. Po Yeh presented a Power Point and that she has been renamed as our auditor promotional material. A directive was presentation on her work on CMW and for the 2009 – 2010 fiscal year. created that CFMTA investigate chang- possible changes to the program. A mo- ing the name of the Canada Music tion was passed that the Call for Com- Lori Ruschiensky, Chair of the 2011 Con- Week Music Writing Awards to a name positions becomes an annual event. A vention, spoke about the upcoming plans of less cumbersome. directive was created that CMW Call for the 2011 Convention and invited everyone • Publication of Membership Re- Compositions Categories are: to attend. quirements across Canada. Informa- Grade 3 – 4 tion supplied by the delegates will be Grade 5 – 6 Po Yeh, Canada Music Week Chairperson, forwarded to Bernadette Bullock for Grade 2 – 3 vocal In spoke of the plans to expand the Canada compilation. strumental – open to Music Week celebration. •Resolutions/Motions Journal. A any grade. request was made by Bernadette Bullock A directive was created that awards be Alicia Romero, CMT Editor, gave a power for a volunteer to retype the Resolu- changed to: point presentation on the CMT and pre- tions/Motions journal. Sandra Kerr of Prep - $50 sented everyone involved in its production a Saskatchewan agreed to do the work. Category A - $100 certificate of recognition. • Convention 2011 - Call for Propos- Category B - $200 als. Patricia Frehlich spoke of the inclu- Category C - $300 Bernadette Bullock, Webmaster for CFMTA, sion of a call for proposals for the 2011 Category D - $400 unveiled the new updated website to all in convention. After discussion the motion *pending confirmation with Fairchild attendance. was rescinded. Radio *all prizes awarded are at the • MTNA International Day of discretion of the adjudicator. A directive The first Hugheen Ferguson Distinguished Collaborative Music. A directive was was created that the Bill Andrews Award Teacher Awards were presented to the fol- created that CFMTA will support the In- deadline be June 1, 2010. A directive lowing nominees: Maureen Harris, ternational Day of Collaborative Music. was created that Po Yeh, CMW Chair- Windsor, ON; Lynn Stodola, Halifax, NS; Patricia Frehlich will send information person, seek an annual national spokes- John Hansen, New Minas, NS; Barbara for CMT. person. Long, Somerville, NB; Winifred Scott • Chopin Festival 2010. • CMT. Alicia Romero presented a Wood, Victoria, BC. Patricia Frehlich spoke on the festival Power Point Presentation on the aims and its goals. A directive was created that and goals of the CMT. A directive was Lorna Wanzel was introduced to the meet- CFMTA continue collaboration with the created that reviews of books and CDS ing as the newly elected Vice President and Chopin Festival 2010 and allow Patricia from other disciplines be included in Finance chair. She was presented with the Frehlich to explore ways that we might CMT. Finance binder by Darlene Brigidear. collaborate that will not be a financial liability to CFMTA. ELECTIONS Peggy L’Hoir passed the gavel to the incom- • Honens Competition. Po Yeh spoke The following persons were elected: ing President Darlene Brigidear. about the competition. Darlene Brigidear – President • Policies and Procedures Manual, Lorna Wanzel – Vice President Peggy L’Hoir presented Patricia Frehlich with Bylaws. The following revisions were a gold pin in appreciation of all her hard made: The cost for travel for the Spe- The meeting was adjourned at 5:00 pm by work and dedication to the CFMTA. cial Projects Chairperson to travel to Joan Woodrow. Executive and Annual General Business The meeting was adjourned by Joan meetings will be budgeted and paid for 74th ANNUAL GENERAL MEETING Woodrow at 2:10 pm. from the Special Projects budget. The The meeting was called to order by Peggy cost of travel will be budgeted and paid L’Hoir at 12:45 pm. for by CFMTA for the Public Relations AFTER AGM MEETING and Marketing Chairperson to attend Peggy welcomed all members and dignitar- The meeting was called to order by Peggy Executive and Annual General Busi- ies in attendance. Dr. Gary Ingle, CEO of L’Hoir at 2:30 pm. ness meeting. The cost of travel for the MTNA introduced Dr. Ann Gipson, the new

Le Professeur de Musique Canadien - Automne 2009 7 CMT follow up. Alicia Romero will create Call for Proposals Follow up. The re- ered about the various methods that have a calendar of events to be in CMT. scinded motion for a Call for Proposals was been used or could be used. reintroduced and defeated. Young Artist Series follow up. A directive Meeting was adjourned at 3:30 pm by Joan was created to continue to work with the BREAK OUT SESSION ABOUT MEM- Woodrow. provincial YA coordinators to improve and BERSHIP DRIVES: A breakout session unify this program. was conducted and many ideas were gath- 785 12,869 12,655 275,081 $ 287,736 2 0 8 Total $ 287,736 800 630 2,148 Statement 1 9,975 3,656 1,429 18,449 24,147 13,321 11,685 275,973 Total $ 300,120 $ 13,372 $ 8,999 $ 93,606 $ 88,043 $ 300,120 144 1,185 Fund $ 39,496 $ 39,496 $ 39,496 ) 3 9,975 9,975 9,907 ( Fund $ 9,975 $ $ 9,975 $ 13,010 ) 117 7,186 ( 2 0 9 Fund $ 18,092 $ 18,092 $ 18,092 MAY 31, 2009 ASSETS 47 LIABILITIES AND NET ASSETS CANADIAN FEDERATION OF Young Special Fund MUSIC TEACHERS' ASSOCIATIONS STATEMENT OF FINANCIAL POSITION $ 43,883 $ 43,883 $ 43,883 (with comparative balances as at May 31, 2008) 800 319 5,974 9,934 1,429 68,586 $ 33,902 $ 25,161 6,869 $ 38,167 172,685 172,206 14,172 13,321 18,449 174,502 (The accompanying notes are an integral part of these financial statements) $ 80,596 $ 188,674 $ 188,674 $ 13,372 Operating Fund Artists Projects Trust Endowment NET ASSETS Current Accounts payable Deferred scholarships Due from (to) other funds Current Cash Term deposits Accounts receivable TOTAL ASSETS Net assets (statement 2) TOTAL LIABILITIES AND Accrued interest receivable GST receivable Prepaid expenses Deferred revenue

8 The Canadian Music Teacher - Fall 2009 Founded in 1910, Augustana became the newest campus and faculty of the University of Alberta on July 1, 2004. Located in Camrose, Alberta, Canada, 90 kilometers southeast of Edmonton, the Augustana Faculty offers the opportunity of a memorable life-changing education through small class sizes, personal attention from professors, a challenging, innovative curriculum founded on the liberal arts and sciences, experimental learning in wilderness and international environments, and a range of campus-life programs. In this academic community, students are more than narrow specialists, spectators or strangers.

MUSIC PROGRAMS – Four-year Bachelor of Music INSTRUMENTAL OFFERINGS – clarinet, flute, and Bachelor of Arts degree programs are offered classical guitar, classical piano, pipe organ, by the Augustana Faculty and are designed to recorder, saxophone, trumpet and provide new perspectives on current musical other brass, violin, voice. issues alongside traditional music courses. GENEROUS SCHOLARSHIPS – Substantial INSTRUCTORS – In addition to fourteen part-time scholarships are available in all instruments, for instructors, the Augustana Faculty features the the Augustana Choir, and for academic excellence. following four full-time professors each recognized for excellence in teaching, scholarly breadth, and PART-TIME STUDENTS – The degree programs a performance/research field: have been designed to accommodate music teachers and other working professionals who may Dr. Alex Carpenter-musicology want to complete a degree on a part-time basis. Professor Kathleen Corcoran-vocal performance Dr. Ardelle Ries-choral conducting ADVANCED PLACEMENT – The degree programs provide advanced placement in music theory to Dr. Milton Schlosser-piano performance those with the requisite skills.

AUDITIONS – Auditions for Bachelor of Music applicants scheduled late April. Interviews for Bachelor of Arts (music major) applicants occur from January until May 1st.

FOR FURTHER INFORMATION www.augustana.ualberta.ca/programs/finearts/music/

EMAIL THE DIRECTOR OF MUSIC [email protected] or call 780.679.1138

CONTACT THE ADMISSIONS OFFICE [email protected] or call 780.679.1132 Toll-free 1.800.661.8714

Le Professeur de Musique Canadien - Automne 2009 9 Go Maritime in 2009! Convention highlights

Thank you to the NBRMTA and Go Maritime in 2009! Organizing Committee for an amazing convention filled with hospitality, camaraderie, learning, beautiful surroundings and fun!! Go Maritime in 2009! Convention Organizing Committee. front: Barbara Long, Chairperson; back row from left: Kilby Hume, Linda Sprague, Catherine Hughes-Seto, Margaret Ann Craig and Lynn Johnson

    Newfoundland and Labrador  Registered Music Teachers’ Association Congratulates the New Brunswick Registered Music Teachers’ Association and the Go Maritime in 2009! Committee Alberta Registered Music on a successfull Convention Teachers’ Association and Congratulations to all the participants in the to the National Piano Competition New Brunswick Registered Music Teachers’ Association and the Go Maritime in 2009! Committee on a fabulous Convention

and All the best and success to all the National Piano Competition participants

10 The Canadian Music Teacher - Fall 2009 CFMTA-FCAPM 74th AGM Celebrating our achievements and looking forward to the future Go Maritime in 2009! Convention highlights

1 2

Our 74th AGM was filled with optimism and pride on what we have accomnplished so far. 3

1. Patricia Frehlich, CFMTA Public Relations and Marketing Committee and Peggy L’Hoir, Past President • 2. Darlene Brigidear, President and Peggy L’Hoir, Past President • 3. Victoria Warwick, CFMTA Past President and Carol Schlosar, BC President

4 5

The AGM is also a time to acknowledge our members and unveil new initiatives for the year in progress. 6 7 8

4. Peggy Harrison, Barbara Long and Po Yeh • 5. Pat Frehlich and Dr. Gary Ingle, CEO of MTNA • 6. Corrie Hausauer, CFMTA Delegate from ARMTA; Joan Milton, ARMTA President; and Marilyn Sinclair, ARMTA •7. Lynné Gagné and Hélène Lord, CFMTA Delegates from APMQ •8. Jasper Wood and Pauline Harborne.

Le Professeur de Musique Canadien - Automne 2009 11 National Piano Competition Planting the seeds for success Go Maritime in 2009! Convention highlights

The Competitors 1 2 3

1. Sarah Small - Newfoundland

2. Cindy Thong - Nova Scotia

3. Pierre -André Doucet - New Brunswick 4 5

4. Isabel David - Quebec

5. Eric Tan - Ontario

6. Faye Klassen - Manitoba 6 7 8

7. Wesley Chu - Alberta

8. Raymond Zeng - British Columbia

Dorothy Buckley $500.00 Prize for the Best Performance of a Canadian Composition:

Pierre-Andre Doucet, NB

Marek Jablonski $1000.00 Prize for the Best Performance of a Work by Chopin:

Raymond Zeng, BC

Willard Schultz $1000.00 prize for the performer who best communicates the intentions of the composer of a Baroque Composition:

Eric Tan, ON

Willard Schultz $1000.00 prize for the contestant From left. Back row: Pierre -André Doucet, Wesley Chu, Boyanna Toyich -Adjucdicator; who shows the most promise as a performing artist: Dr. Edmund Dawe - Adjudicator; Eric Tan, Dr. Terrence Dawson - Adjudicator. Front Row: Cindy Thong, Isabel.. David, Sarah Small, and Faye Klassen. Isabelle David, QC CFMTA Prize Winners

Isbael David - Quebec Eric Tan - Ontario Wesley Chu - Alberta First Place Second Place Third Place 12 The Canadian Music Teacher - Fall 2009 Hugheen Ferguson Distinguished Teacher Awards A tribute to passion, talent and commitment Go Maritime in 2009! Convention highlights aureen Harris is a researcher, lecturer, clinician and educa- arb Long resides in a small community in rural New Bruns- tor in music, Ms. Harris has dedicated her life to fostering wick. From this location, Barb has established herself as an ex- Mcreativity through music. Btremely influential and motivating person in our musical scene Her passion for music and love of teaching is an inspiration to – not only in her community, but also provincially and nationally. children, parents, educators and administrators at her school. Her dedication to the art of teaching is manifested through attaining She was commissioned by MENC to write “Music and the Young an ARCT in Piano Pedagogy from the Royal Conservatory of Music as Mind”, a comprehensive ECE Music pedagogy for teachers – avail- well as her own private piano study over the years. able summer of 2009. Barb has been a registered music teacher in New Brunswick since Based on a research study, conducted at her school, she created 1997. She also serves as an adjudicator in various provinces across “Montessori Mozarts” a music curriculum now used worldwide. Her Canada. Until 2008 she was executive director of the Carleton County dedication to the musical development of the child is relentless. Music Festival. In 2008, under her leadership, the New Brunswick Federation of Music was awarded the TD Canada Trust Award for Arts Organization of the Year. rofessor Lynn Stodola has been a very successful piano teacher She has also served on the executive of the National Festival of Mu- at Dalhousie University Dept. of Music for many years. sic for many years and in 2007, the National Music Festival was hosted P Her students consistently win the Kiwanis Music Festival in New Brunswick with Barb acting as chairperson for this event. Rose Bowl, NSRMTA Scholarship Competitions and RCM Exami- Now, in 2009, Barb has again shown her commitment to the teach- nations Silver Medals. ers and music students as the Chair of the CFMTA National Conven- Her son Mark Djokic won the Atlantic Young Artist Competi- tion in Sackville, New Brunswick. tion a few years ago. She has performed with her husband, Philippe Everyone who has had the privilege of working with Barbara Djokic in major cities throughout Canada, USA, England, Belgium, recognizes her organizational skills, her incredible people skills and her Holland and Yugoslavia. dedication to the music community in our country. They have recorded frequently for CBC radio and television. She is currently Director of the “Chamber Music at Dalhousie” Concert Series.

From left: Maureen Harris, Barbara Long, Lynn Stodola, John Hansen, unable to attend Winnifred Scott

ohn Hansen has been a very successful piano teacher at the Aca- inifred Scott Wood and Robin Wood started the “Victoria dia University School of Music for many yeas. School of Music” as husband and wife in 1964 and had J He taught Lucas Porter, the winner of the 2007 National Wno students. Today, it is called the Victoria Conservatory CFMTA Piano Competition and many other competition winners of Music and has over 2,000 students. including the Halifax Kiwanis Music Festival Rose Bowl. Mrs. Wood has won numerous awards for her playing, receiving He has received numerous Canada Council Arts Grants to pur- the Gold Medal for the Highest Mark in Canada. She taught at the sue studies in piano performance in Paris, France with Raymond Royal Academy in London, England and was recorded on the radio. Trouard, in Italy with Guido Agosti, and in New York City and Winifred has many award winning students. This year her student Aspen Colorado with Jeaneane Dowis and Samuel Lipman. won awards in the festival. Mrs. Wood has taught and continues to He is very active as a piano soloist and chamber musician, having teach teacher training. She is an amazing teacher and musician. performed in Canada, the US, Great Britain, France, Italy and Ger- many. He is a regularly featured performer on both the English and French CBC Radio Networks, appearing on the Arts National and En Concert network series.

Le Professeur de Musique Canadien - Automne 2009 13 RMTs know how to have fun Meeting new and old friends and renewing our support network Go Maritime in 2009! Convention highlights

Get ready for our next convention

14 The Canadian Music Teacher - Fall 2009 Canada Music Week® November 22-28, 2009

The Aims of Canada Music Week®

• 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.

Canada Music Week® is commemorated during a week in November which includes November 22, the day honoring St. Cecilia, patron Saint of Music.

NATIONAL MANITOBA PRINCE EDWARD ISLAND COORDINATOR Jane Duerksen Jane Naylor 204.326.4687 902.675.3325 Po Yeh [email protected] [email protected] 18 Strathlea Cres SW Calgary T3H 5A8 403.246.3269 [email protected] NEW BRUNSWICK QUEBEC Heather Dunham Lucie Renaud 506.455.6069 [email protected] PROVINCIAL COORDINATORS

ALBERTA NEWFOUNDLAND SASKATCHEWAN Joan Milton Barbara Clarke 403.329.9188 [email protected] Music Writing Competition [email protected] Coordinator Noreen King or Karen MacDonald 306.652.3490 [email protected] NOVA SCOTIA [email protected] Skippy Mardon 902.477.4266 Canada Music Week Coordinator [email protected] Gregory Chase BRITISH COLUMBIA 306.761.0277 [email protected] Music Writing Competition Coordinator ONTARIO Sharlie McCreadie Frank Horvat 250.447.9130 416.354.2633 [email protected] [email protected]

Canada Music Week Coordinator Cynthia Taylor [email protected]

Le Professeur de Musique Canadien - Automne 2009 15 16 The Canadian Music Teacher - Fall 2009 Canada Music Week® November 22-28, 2009

MUSIC WRITING COMPETITION Provincial Information

Judges 2009 Closing dates 2010

Alberta Ed Jurkowski April 1 British Columbia Robert Benedict April 1 Manitoba Kenneth Nichols April 9 New Brunswick Andrew Miller April 15 Newfoundland N/A May 1 Nova Scotia Jerome Blais April 15 Ontario Maria Case March 15 Prince Edward Island Rick Covey November 14 Québec N/A April 15 Saskatchewan Nancy Telfer April 1

The national deadline date for the Music Writing Competition is June 1, 2010 The national judge for 2009 was Kristin Flores

Provincial Winners 2009

Preparatory Category Category A - Class 2 Category C - Class 1 - Class P1 Sheryl Samuel NS Trevor Yung BC Thurian Sheppard BC Mikaela S. Murtonen ON Patricia Sparrow MB Anna Diehl-Jones MB Adele and Heidi Crummell NF Shawne Comeau NB Brandon O’Leary NS Clara Moir NS Category B - Class 2 Amy Silver ON Joseph K. Naszady ON Chelsea Rothman ON Katja Meszaros SK Janae Hunter SK Category D - Class 1 Category B - Class 1 Graham Roebuck BC Preparatory Category Quinn Gomez AB Noam Bergman ON - Class P2 Irena Ingrid Jenei BC Rachel Fowlie-Neufeld SK Raphael Roth BC Queveen Arcedo MB Thomas Nicolson NB Tabitha Payzant NS Category A - Class 1 Laura Howells NF Carman Slater BC Isaac Maynes ON Elizabeth Roberts MB Graeme Studer SK Luke Michael Noftall NB Emma Edwards NS Anita Pari ON Nicholas Scott PE Owen Muri SK

Le Professeur de Musique Canadien - Automne 2009 17 Canada Music Week® November 22-28, 2009

MUSIC WRITING COMPETITION REGULATIONS

1. A student may enter more than one composition and more than one class but only one prize will be awarded to any individual.

2. The contestant must be eligible in his chosen age group as of June 1, 2010.

3. Each entry is assumed to be the original work of the individual whose name appears on the entry form attach to the manuscript. Any infraction of this regulation could result in the nullification of the offend- ing entry.

4. First place winning compositions will not be returned to the contestant after judging.

5. All rights to his/her original work will be retained by the contestant, but winning compositions may be displayed or employed by the CFMTA for publicity purposes after consultation with and agreement of the contestant.

6. Only first place Provincial winning manuscripts at the Provincial level may be forwarded by the Provincial Canada Music Week® Coordinator to the CFMTA office before June 1, 2010 in order to be included in the Canada-wide judging.

7. The contestant must be a student of a current member of the Registered Music Teachers’ Association.

8. All manuscripts should be neat and legibly written in black ink, in regulation manuscript size: including all necessary details of dynamics, editing and tempo, with every 10th bar numbered. Manuscripts printed by computers are permitted. It is advisable to retain your original copy of your submitted work.

9. Only entries with name and address clearly printed in block letters will be accepted.

10. The judge’s decision is final and no correspondence will be entered into after final judging.

11. Any entrant who moves after June 1, 2010 must advise the CFMTA Secretary-Treasurer of their change of address, including postal code.

12. The winner’s cheque must be cashed within thirty days of receipt of same.

13. An entry fee must accompany each composition submitted for Canada-wide judging. PREPARATORY – $15 CATEGORY A – $15 CATEGORY B – $25 CATEGORY C, D & E – $35

14. Prizes will not be awarded if the adjudicator feels the standard has not been achieved.

Please check your provincial entry deadlines.

18 The Canadian Music Teacher - Fall 2009 Canada Music Week® November 22-28, 2009

MUSIC WRITING COMPETITION Fairchild Radio Awards

COMPOSERS MAY SUBMIT ENTRIES UNDER THE FOLLOWING CATEGORIES

8 YEARS AND UNDER – PREPARATORY

Class 1 To write an original composition for solo instrument or any combination of instruments Class 2 To write an original composition for voice, with or without accompaniment

11 YEARS AND UNDER – CATEGORY A

Class 1 To write an original composition for solo instrument or any combination of instruments Class 2 To write an original composition for voice, with or without accompaniment

15 YEARS AND UNDER – CATEGORY B

Class 1 To write an original composition for solo instrument or any combination of instruments Class 2 To write an original composition for voice, with or without accompaniment

19 YEARS AND UNDER – CATEGORY C

Class 1 To write an original composition for any instrument or any combination of instru ments, or voice(s) or combination of voice(s) and instruments with accompaniment when accompaniment is necessary for the performance.

OPEN – CATEGORY D Class 1 Same as 19 YEARS AND UNDER

ELECTROACOUSTIC MUSIC – CATEGORY E National Only

Class 1 This category includes any kind of electronic instrument which produces sound such as a computer, synthesizer, or sampler. The composition could be a combination of electronic sounds with acoustic instruments and/or voice. The composition may be generated using a sequencer or music notation program, or it may be created using sound editing/mixing software. In any case, the submission must be an original composition. The work should be submitted on a cassette tape or compact disc, but not as a MIDI file. The submission should also include a written description and explanation of how the piece was created. Competitors are encouraged to submit a score if at all possible.

HELEN DAHLSTROM AWARD – An award in the amount of $250 is given annually to the best national composition as selected by the jury. Helen Dahlstrom was the founder of Canada Music Week.

Contact the Canada Music Coordinator or Music Writing Competition Coordinator in your province for more information on the Music Writing Competition and entry deadline dates.

For Electroacoustic Category E, entry forms will be available on the cfmta.org website.

Le Professeur de Musique Canadien - Automne 2009 19 Canada Music Week® November 22-28, 2009

MUSIC WRITING COMPETITION National Winners 2009

Congratulations to all the young composers! The first place winners of each cateogory are featured below.

Preparatory: Class 1 Category B: Class 2 First Place: Thurian Sheppard (BC) First Place: Chelsea Rothman (ON) Second Place: Clara Moir (NS) Category C Preparatory: Class 2 First Place: Amy Silver (ON) Honourable Mention: Raphael Roth (BC) Second Place: Brandon O’Leary (NS)

Category A: Class 1 Category D First Place: Anita Pari (ON) First Place: Graham Roebuck (BC) Second Place: Carmyn Slater (BC) Second Place: Rachel Fowlie-Neufeld (SK)

Category A: Class 2 Category E First Place: Mikaela S. Murtonen (ON) Honourable mention: Noy Goldenberg (ON) Second Place: Sheryl Samuel (NS) Winner of the Helen Dahlstom award: Search for Category B: Class 1 the Rukh by Graham Roebuck First Place: Thomas Nicolson (NB) Second Place: Laura R. Howells (NF)

PREPARATORY CLASS 1

First Place Winner: Thurian Sheppard - British Columbia

Thurian Sheppard, an eight-year old resident of Victoria, British Columbia, began piano lessons less than one year ago, with a remarkable teacher, Pamela Smirl of PJ Music Studios. He showed early promise and interest in composing and was thrilled when Pamela asked if he would like to submit a composition for the GVPAF. He composed “Astronomy”, a piece he was quite pleased with, which won his age category in the festival and earned him the distinction of playing in the GVPAF Honours Concert. Thurian’s composition went on to win the Preparatory 1 category of the BCRMTA Provincial Composition Competition and the 2009 Canada Music Week National Composition Competition sponsored by the CFMTA. Thurian is an extremely bright, focused and happy child who, in addition to composing, is an award winning horseback rider, has won trophies for the highest points accumulated in the Accelerated Reader Program, and excels at math and science. Thurian also loves nature, and spends countless hours climbing trees, visiting frogs, and exploring the woods. When asked why he enjoys composing, Thurian says “it’s like two things; you get to play it, but it’s your own, so you get to have both.” After his success with “Astronomy”, it will interesting to see where his composing will take him and what music he will next bring into the world from the far reaches.

20 The Canadian Music Teacher - Fall 2009 Canada Music Week® November 22-28, 2009

CLASS A1

First Place Winner: Anita Pari - Ontario

Imagine Anita at her laptop computer, transferring the melodies she hears in her head to a Finale document, and you will have a picture of the young composer at work. The process of creating new music comes most naturally to her; the motivation, often from a class assignment or a call for compositions. Anita began writing “Sonatina in C Major” to explore sonata form in the Keyboard Harmony and Com- position class of Colin Mack. Among Anita’s other notable compositions are “My First Waltz” (second place, Canada Music Week Music Writing Competition, 2008) and “Worlds Apart”, a SATB choral work premiered last year by the Harmonia choir of Ottawa, and written in honour of Canadian soldiers in Af- ghanistan. Anita began studying piano at the age of three in the Music for Young Children program with Heather Giggey. She continued her piano studies with Heather Norian before becoming a student of Andrew Tunis of the University of Ottawa two years ago. She is currently preparing her ARCT diploma. At the age of seven, she began learning cello with Don Whitton. She is now a student of Anne Contant of the Conservatoire de musique de Gatineau. Anita is the recipient of several significant performance awards, including two silver medals of the Royal Conservatory of Music; first and second places in piano and cello, respectively, in the 10-year-old age group of the 2009 Canadian Music Competition; and first place in the provincial instrumental category of the 2009 ORMTA provincial Competition.

CLASS A2

First Place Winner: Mikaela Murtonen - Ontario

Mikaela was born June 8, 1997, the youngest in a musical family. When she learned to talk she also started to sing constantly... even in her sleep! As soon as she discovered that she could make music on the piano and with some lessons to guide her, she began to compose. She composed her first piece when she was seven. Her piano teacher Susanne Anderson encouraged her to enter the song writing contest. “My Shoes” was the first song she ever entered into a composition contest so you can imagine how she felt to win first place. She got the news on the week of her birthday - what a great birthday present! Mikaela feels truly blessed to have her song recognized this way. Mikaela has found an emotional outlet in creating music and it helps her express the way she feels. She has been busily writing more songs since “My Shoes” and may enter another competition in the future.

Le Professeur de Musique Canadien - Automne 2009 21 Canada Music Week® November 22-28, 2009

CLASS B1

First Place Winner: Thomas Nicolson - New Brunswick

Thomas Nicholson will enter grade 9 at Oromocto High School in Sept 2009. Unlike many of his fellow musicians, Thomas has only studied piano since March 2007, when the middle school music teacher recognized that he could pick out melodies on the piano by ear. After a couple of lessons, it was obvious that Thomas loved composing. Through the support of family and friends, he has been able to spend a lot of time practicing and writing music. Thomas is very grateful to have been able to take lessons from Acadian pianist, Julien Le Blanc, and several other teachers in Fredericton to work on piano performance (Louise Milner, Gérald Goguen and Anne MarieMurphy). Thomas will begin lessons with Dr. Stephen Runge, Mount Allison University, in the fall of 2009. Looking into the future, Thomas hopes to write his ARCT before he finishes high school and possibly attend the University of Toronto or McGill Uni- versity where he would like to study composition and performance. Thomas would also enjoy becoming a music teacher to share the wonder that music has brought to him and people around the world.

CLASS B2

First Place Winner: Chelsea Rothman - Ontario

Chelsea enjoys writing songs of many genres, ranging from instrumental works to jazz-inspired pieces and pop tunes. She currently studies composition under Katya Pine. Chelsea finds inspiration for her writing from various rock and video game songs, namely from composer Koji Kondo and songwriter and vocalist of the band L’Arc~en~Ciel, Hyde. She primarily uses Logic Express and Logic Pro to compose music, occasionally using ProTools as a mixing tool in her teacher’s studio. She began seriously composing at the age of 10 and has since moved from her simple Piano solo pieces to fully-arranged songs that are all conceived in Logic. Chelsea is currently learning the Bass Guitar. She plays the trumpet in the Westmount Wind Ensemble and sings in the school choir. She also studies voice with instructor Judith Lebane-Kane. She aspires to create a rock band in order to perform her original compositions live. “Chelsea’s Boogie,” won the 2006 ORMTA competition in the B1 class. “Escape” marks her second win for ORMTA, and her first win for CFMTA Nationals.

22 The Canadian Music Teacher - Fall 2009 Canada Music Week® November 22-28, 2009

CLASS C

First Place Winner: Amy Silver - Ontario

Amy Silver is a multi-talented 15 year-old fan of Monty Python, particularly the Knights who say “Ni.” She is currently completing her Grade 9 RCM with piano teacher Robin Leszner. She studies composition with Katya Pine and plays drums and tenor sax in a couple of bands. She also plays accordion... upside down. In addition, Amy is a gifted writer, visual artist and comedic actor. She has played numerous character roles, including the Genie in Aladdin and the barber in Man of La Mancha. Amy hopes to use her range of talents, writing, set designing, composing and directing for films and musicals. She visualizes her compositions as part of future film scores and this composition is for a movie she plans to create in 2031.

CLASS D

First Place Winner and recipient of the Helen Dahlstrom Award: Graham Roebuck - British Columbia

Graham has been playing piano and composing since he was 5 years old. At the same age, he began singing and acting with Four Seasons Musical Theatre. Since then he has been an avid performer on piano, trombone, mandolin, native american flute, and as as vocalist in solo and choral settings. He has also appeared in over 30 theatrical productions, the majority of which were musicals, in both lead and supporting roles. His latest passion is playwriting, and his one-act play appeared in the University of Victoria’s Festival for New and Innovative Drama last March. He studies theatre and writing at Uvic, and piano and music theory with Pamela Smirl. One of his long-standing goals is to write his own full-length musical. Graham owes many thanks to Pamela Smirl of PJ music studios, who has instructed him for as long as he can remember, and to Arne Sahlen for his humorous and informative workshops. Graham would also like to thank the Victoria Symphony Orchestra, and specifically Karen Manders and Rodney Sharman. Search for the Rukh would not have existed without the VSO’s vsNEW workshop and the support of those involved. He is grateful for festivals and opportunities that have kept him composing and in which he has won a number of awards: the Greater Victoria Performing Arts Festival, The Jean Coulthard Composing competition, BCRMTA, and Canada Music Week.

Le Professeur de Musique Canadien - Automne 2009 23 Canada Music Week® November 22-28, 2009

Celebrate Canada Music Week® Order your Canada Music Week® supplies now!

Posters, seals and pencils are available to members to celebrate and publicize Canada Music Week®. The self-adhesive seals are great for use in Canadian music, lesson notes, business letters, envelopes and Canada Music Week® programs.

Order form

Please send me the following: Quantity Posters $1 each or 6 for $5 $______Seals 30 for $5 $______Pencils 10 for $5 $______

Postage (see rates below) Subtotal $______

GST (5% of subtotal) Total $______

ORDER MUST BE ACCOMPANIED BY FULL PAYMENT WHICH INCLUDES POSTAGE AS SHOWN BELOW AS WELL AS GST PAID ON POSTAGE.

Mailing Costs in Canada

1 to 50 posters $5.50 51 to 100 posters $7.50 For pencils and/or seals in the same order add $6.00 Pencils and seals $8.50 Pencils only $7.50 Seals $2.50

Name ______Telephone ______

Address______Postal Code______

Please send order form to: Bernadette Bullock 302 - 550 Berkshire Drive London, ON N6J 3S2 (519) 471-6051 [email protected]

Please make cheques payable to CFMTA. To ensure prompt delivery, please order before November 1, 2009

24 The Canadian Music Teacher - Fall 2009 CALL FOR COMPOSITIONS For performance across Canada November 21 – 27, 2010

In celebration of CANADA MUSIC WEEK® 2010

One Piano Solo: Grades 3 – 4 Once Piano Solo: Grades 5 - 6 One Vocal Solo: Grades 2 – 3 One instrumental solo, with or without piano accompaniment, or work for chamber ensemble

Deadline Date: March 31, 2010 Entry fee: None

The competition is open to any Canadian resident.

Submissions must be new, unpublished pieces. The composer’s name should not appear on the score.

A Canadian topic or theme is suggested.

The composition will be chosen by a selection committee from across Canada.

An honorarium will be awarded to each successful composer. The copyright for the composition will be retained by the composer.

The chosen composition will be published and available to be downloaded for public use, from the CFMTA web-site until November 30, 2010.

Submissions should be submitted as a PDF file, camera ready. Please include a short composer biography, mailing address and telephone number.

Composers of the chosen compositions will be interviewed in the CFMTA newsletter, the Canadian Music Teacher, as well as receive recognition in all Provincial Registered Music Teachers newsletters. Please direct submissions and questions to: 18 Strathlea Cres SW Calgary, AB T3H 5A8 • 403 246 3269 • [email protected]

Le Professeur de Musique Canadien - Automne 2009 25 Bill Andrews Canada Music Week Awards

DOES YOUR BRANCH HAVE AN INNOVATIVE CANADA MUSIC WEEK EVENT?

CFMTA 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, 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 2009. 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, administrative salaries 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, 2009.

The branches who receive the awards will be asked to submit a report that will be featured in the Canadian Music Teacher magazine. Mail proposals to:

18 Strathlea Cres SW Calgary AB T3H 5A8

26 The Canadian Music Teacher - Fall 2009 new Christmas Piano music from Dan Coates and melody bober

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Le Professeur de Musique Canadien - Automne 2009 27

All The Latest From RCM Examinations * Syllabus News New syllabi will New Theory Memory marks Important dates * Theory Syllabus, 2009 Edition replace previous Syllabus, 2009 Reminder: If you’re a piano teacher, don’t WINTER SESSION * New Licentiate Diploma forget that memory marks for Grades 8 editions as of Edition to 10 are now included in the overall Sept. 22 Registration begins * Online Videos repertoire mark, and are no longer a Nov. 3 Registration deadline September 1, 2009: The new Theory Syllabus, 2009 Edition Dec. 11 & 12 Theory examinations is now available at music retailers across separate category on the marking form. * Important Dates & More • Piano Syllabus, 2008 Edition Jan. 18-30 Practical examinations Canada. A one-year crossover with the • Accordion Syllabus, 2008 Edition previous edition begins September 1, • Harpsichord Syllabus, 2008 Edition reparatory A & B 2009 and ends August 31, 2010. To help P • Recorder Syllabus, 2008 Edition introduce teachers to the new Syllabus, To help introduce the new Preparatory A • Popular Selection Lists, 2009 Edition RCM Examinations will be holding & B examinations, which replace the old Introductory examination, every first-time The Piano Syllabus 2008 Edition incor- workshops in each province. Check for a candidate in 2009 will receive a special porates new features and information, workshop in your area on our website 5865 McLaughlin Road, Unit 4 welcome gift from RCM Examinations including: under Teacher Information and in Mississauga, ON L5R 1B8 consisting of a new dictation book, an • easy-to-read summary charts upcoming issues of Music Matters. Tel: 905-501-9553 • Fax: 905-501-0909 RCM Examinations pencil, and a sheet of • new technical requirements www.rcmexaminations.org music stickers. • new marking scheme New Licentiate • full Study/Étude listings • examinations for new Preparatory A and B Diploma (replacing Introductory) A new Licentiate program is now available • Piano Pedagogy Certificate Program for advanced students who have an ARCT information Diploma in Performance, Piano Pedagogy, The Piano Syllabus 2008 Editionis available or a Bachelor of Music Degree. Copies of for purchase at music retailers across the Licentiate Syllabus are available free Canada. To find a retailer near you, visit online. Examinations for the Licentiate The Frederick Harris Music Co., Limited Program will be offered beginning in the website at www.frederickharrismusic.org. Dec. 2009 / Jan. 2010 Winter Session.

The other new syllabi—including the Harp Syllabus, 2009 Edition—are available New online videos free of charge on our website at: Visit the RCM Examinations website to www.rcmexaminations.org. (Just click on watch our new video series for teachers. Syllabi on the home page under New! On the home page, click the link in the and download.) NEW! section. The series features: • An Introduction by Jon Kimura Parker • Piano Syllabus, 2008 Edition • Technical Tests • Preparatory A & B • Teacher Services • My First Exam (a video for students and their parents)

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28 The Canadian Music Teacher - Fall 2009

At the conclusion of each video, we ask for your opinion in a brief questionnaire. Please help us to continually improve by taking a few moments to completing our survey.

Le Professeur de Musique Canadien - Automne 2009 29 Our logo The CFMTA logo is available in the next three formats

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30 The Canadian Music Teacher - Fall 2009 40th Anniversary Celebrations Continue Tradition of Support for Canadian Music

In 2009, the Langley Community Music In addition to the commissioning of Each composer works one-on-one with School will celebrate 40 years of providing new works, LCMS’s support of Canadian members of the jury, who perform and cri- music education. LCMS has earned recogni- music extends to its educational programs. tique the music. tion nationally and internationally for its The school’s Pulse Summer Innovative and This year, Brandon Chow (winner of pre- comprehensive and innovative program- Creative Music Program and Festival is a key college category for “Starfield”) and Jesse ming, as well as for its support of Canadian educational initiative. Plessis (winner of college category for “At music and composition. The school has a The Pulse program focuses on improvisa- Summer’s End”) had the special opportunity long tradition of commissioning new Cana- tion, composition, and chamber ensemble to hear their original works performed by dian compositions that was first started by playing, and in 2009 attracted students from Pulse faculty in concert. Honourable men- Ian Hampton when he joined the school as all over BC, Canada, and beyond. This year, tion went to Stephanie Blain and Connor Music Director in 1978. students worked alongside faculty members Shelefontiuk. For its 40th anniversary, LCMS The 2009 Pulse festival also in- is excited to premiere commissioned cluded a performance of Simeon Ten works by Francois Houle and Dr. Holt’s Canto Ostinato on four pianos, Larry Nickel. These works will be performed by members of The Piano En- presented during Canadian Music semble: Elizabeth and Marcel Bergmann, Week as part of a LCMS’ annual Jeroen van Veen, and special guest Jesse festival developed in celebration Plessis. With improvisation fundamental of Canadian composers. Nickel’s to the composition’s structure, the 90 series of five piano pieces, and minute performance offered a unique ex- Houle’s work for clarinet, cello perience that expanded the boundaries of and piano, will be premiered by the traditional audience by allowing for LCMS students. “We are thrilled interaction and movement throughout to be working with these talented the performance space. The audience was local composers to celebrate this invited by the Ensemble to listen to the important milestone,” says Susan Magnus- Elizabeth Bergmann, Marcel Bergmann, music from different angles, becoming a part son, Principal. “We are also proud of our Francois Houle, John Lowry, and Joel of the performance themselves. ongoing commitment to supporting new Stobbe. Participants were encouraged to For more information about the Pulse Canadian works.” And action stands behind improvise and compose music as part of the Young Composers Competition and LCMS her words. In 2007 the school established workshop, and by the week’s end student visit their website at www.langleymusic.com. the Ian Hampton Fund for the commission- works were premiered for faculty and a sup- ing of new Canadian music, in honour of portive audience. Ian Hampton upon his retirement from his The annual Pulse Young Composers position as Artistic Director. “Through this Competition provides aspiring composers in fund, we will ensure the school remains in a high school and university the opportunity position to continue this important tradi- to submit their original works to a jury of tion,” Magnusson explains. professional musicians.

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Le Professeur de Musique Canadien - Automne 2009 31 conservatory canada... music starts here.

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2009 Bill of Rights -- gray_full1 1 3/23/2009 2:18:20 PM

32 The Canadian Music Teacher - Fall 2009 RMTs, Canada and the Cambodian experience

Healey Willan lives in Cambodia! A for the six-day choir visit. The two coun- hop it has helped to reconnect young people mixed Khmer (Cambodian) and Canadian tries have paired up many times over the with their historic culture, and is an unoffi- choir presented his Rise Up My Love, the years, but in these concerts and a later solo cial “second anthem” for the country. first-ever Canadian vocal work sung there, to recital by Chanthavouth, Cambodia-Canada Canadians are well loved in Cambodia great effect at two concerts. Friendship Concerts took on a new brand and elsewhere, and the future looks bright Willan rose up yet again, his ethe- identity. for more projects. Canada’s volunteer Cam- real work was sung at the top of Phnom Chanthavouth has been steadily awash bodia Support Group (CSG) has made doz- Bakhaeng temple-mountain in Cambodia’s in RMT welcomes. The day after he arrived ens of Cambodia-Canada links over nearly splendid, ancient Angkor site —the world’s in September 2007, he was a guest at the twenty years. Endorsed by the Embassy and largest temple-city compound. BCRMTA Fall Convention. The East Koote- UN officials and with its own strong RMT Forty-three Canadians toured Cambodia nay branch in his BC home base, and many links, CSG has given funds for building last May with the University of Victoria’s individual Registered teachers, count among repair, student research tours, traditional Prima-Chamber Singers choir. On its concert his regular supporters. Some commit a instrument production and more – and also program were songs in Khmer and French lesson-a-month assessed donation to his sup- delivered music and western instruments. by Cambodia’s retired King Sihanouk. To port. He sang to acclaim —and one of many CSG also aids disabled service, child protec- sing in Khmer and music by the King, were standing ovations— at a Jazz and Ragtime tion and women’s support. foreign-choir “firsts.” Khmer voice stu- Celebration held by BCRMTA Trail-Castle- “We couldn’t have done it without you!” dents paired up with the Canadians onstage gar Branch last November. It is the strong sentiment of a recent CSG —also a first. Each choir sang its country’s At his Cambodia recital Chanthavouth letter to CFMTA. Through RMTs and in anthem, then they mingled for other songs performed with pianist Piseth Soun, also other ways, Canadian musicians reach truly including the thrilling spiritual Lord, I’ve RMT-aided in his 1997-98 studies in around the world, helping a shattered society Been Changed, arranged by conductor Bruce Canada. Piseth studied piano and composi- to “Rise Up” in pride and share in dreams of More. Canada’s choir also presented music tion here in Canada, won numerous awards, global partnership. spanning five centuries and much of the and performed with two orchestras. For details about the past and future of globe. His Ballade for piano was hailed as the CSG work please visit www.cambodi- Khmer tenor Chanthavouth (Chan-ta- masterful. He is now one of Cambodia’s top acsg.org or contact [email protected], voot) Hy, on a multi-year study course in composer-arrangers and studio musician. 250.427.2159; 135 Thompson Street, Kim- Canada, returned our country’s support by His song Proud to be Cambodian interweaves berley BC V1A 1T9. serving tirelessly as Goodwill Ambassador diverse styles from Khmer traditional to hip- by Arne Sahlen

New from Alfred Especially in Romantic Style New from Frederick Harris by Dennis Alexander Sunday Morning Holiday Companion Lyrical Solos for Pianists Get Fiddlin’!: Studies and Traditional Tunes 33 Timeless Selections for Worship Books 1 to 3. Early to late intermediate by Christine Donkin Throughout the Year Elementary to early intermediate violin solos Arranged solo by Victor Labenske The Christmas Suite Collection with piano accompaniment. Intermediate to late intermediate piano Arrangements of Holiday Favorites for Solo Piano. Costume Party: Elementary-Intermediate Celebrated Jazzy Solos Level: Intermediate to late intermediate Violin Solos with Piano Accompaniment by Robert D. Vandall for Piano by Christine Donkin Books 1-5. Late elem. to late intermediate

Le Professeur de Musique Canadien - Automne 2009 33 A matter of Pedagogy NSRMTA Independent Music Teachers’ Research Group An update on our activities This is a report of our find- which describes three different Time is an important factor REFERENCES ings from our first research proj- types of goals: Mastery goals – in motivation in that so many ect “Motivation and Retention related to reaching competence; demands are made on each MANSELL, A., GREENE, of students in the private music performance goals – related to student’s time in our society and B. & DEBACKER, T. (2004) studio”, which we recently com- demonstrating competence to this makes it hard to sustain mu- Searching for meaning: Epis- pleted. The Independent Music others; performance avoidance sic studies especially at the more temological beliefs and their Teachers’ Research Group (IM- goals – related to avoiding ap- advanced levels. Finances may be relationships with motivation TRG) consisted of five members pearing inadequate. a factor as well though parents to learn. International Confer- of the Halifax and Dartmouth There are other theories but are prepared to make sacrifices in ence on Motivation ‘Cognition, Chapters of the NSRMTA and they tend to be similar to these families that place great value on Motivation and Effect’. Lisbon, one mentor. listed. All these theories, while music lessons. Portugal. We came together as a group offering helpful explanations What emerged from this in the first place to consider how about motivation, do not pro- study that is of greatest impor- SKAALVIK, E. (2004) Achieve- we could provide useful knowl- vide practical methods for teach- tance in motivation and reten- ment goal theory: Classroom ap- edge for independent music ers to use in assisting students tion for students is support of plications. International Confer- teachers (IMTs). Over several improve their motivation. family, teachers and peers along ence on Motivation ‘Cognition, years the group formulated and “Positive Psychology” – the with a sense that this is “learning Motivation and Effect’. Lisbon, implemented a plan to achieve strengths approach, stands in for life.” Portugal. this goal. contrast to classical psychology’s Implications of this research The method chosen was for study of people’s weaknesses and are that good conversations and SNYDER, C. & LOPEZ, S. each member of the IMTRG unhappiness (Snyder and Lopez, communication are needed with (2002) Handbook of positive to interview two students, two 2002.) Our research suggests teachers and parents and that psychology, Oxford, U.K., Ox- teachers and two parents of mu- that students do better when the best motivator for students ford University Press. sic students, asking the following they focus on their strengths is their love of music and joy in questions: rather than weaknesses. Points performing it. As a group the VANSTEENKISTE, M. (2004) that emerged from the inter- IMTRG feels that as teachers of Self-determination theory; fur- a) Why did you begin private views showed that encourage- piano, strings and voice, they ther insights in autonomy-sup- music lessons? ment by parents, teachers and always feel they are teaching portive and controlling teaching b) Why did you continue, or peers is crucial. Parents may music not just keyboard or other styles. International Conference if you stopped what was the demonstrate this by showing a skills. There is much we as music on Motivation ‘Cognition, reason? lot of interest in the student’s teachers can learn from psychol- Motivation and Effect’. Lisbon, c) If lessons were resumed at a practising and progress, by ogists because one often feels Portugal. later date, why did that occur? attending concerts with the that to be an effective teacher student and by sharing other one needs to be a psychologist Answers to these questions listening opportunities. Indi- as well. showed that “motivation” was vidual attention derived from If you would like to find out central to the answer. private music lessons and group how to start an IMTRG in your There are various theories interaction from school music province, please contact Lorna which explain motivation. Cur- programmes (ie. Choir, orches- Wanzel at [email protected] rent theories on learning motiva- tra, band, musicals) are both tion include: “Self-determination important. Theory” (Vansteenkiste, 2004), Extrinsic motivators such as by Lorna Wanzel, Jane Gordon, which implies that students’ festivals, examinations and recit- Shahien Hamza, Grace Luke, motivation depends on having als can give a sense of achieve- Skippy Mardon, Helen Murray. some freedom about their study ment while intrinsic motivators, Members of the IMTRG, NSRMTA behaviour; “Epistemological such as personal satisfaction, Identity Theory” (Mansell et al., playing for the sheer joy of 2004), means students are able making music and having a life- to say “I believe this course is long appreciation of music were perfect for me”; “Achievement greater motivators and provided Goal Theory” (Skaalvik, 2004), valuable results.

34 The Canadian Music Teacher - Fall 2009 Young Artist Series News

The Young Artist Series (YAS), which is sponsored by the Canadian Federation of Music Teachers’ Associations, had its beginnings in 1941 when Lyell Gustin (1895 -1988), a prominent Saskatoon music teacher, implemented his idea of a concert tour to provide experience for budding young musicians in the West.

In recent years the YAS tours have been funded only on non-conference years. There has been discussion acknowledging the fact that there is interest in some areas to hold this event annually.

At the Annual General Meeting in Sackville, July 2009, it was moved and approved that:

“the CFMTA support the application of the Provincial Young Artist Tour on alternate years provided funds are available.”

As a result, applications are now accepted for proportional funding for the year 2009/10.

Funding available will be divided equally among the provinces ap- plying, conforming to the responsibilities outlined in the CFMTA Policies and Procedures Manual 2009 - 2010.

Please apply before October 15th to Young Artist Convenor Peggy L’Hoir at [email protected]

New Wave Travel New Wave Travel Proudly ANNOUNCES Cultural TOURS FOR 2009 -2010 New York City - Metropolitan Opera weekend - May13 - 16 , 2010 Chicago - Lyric Opera, Chicago Symphony and Art Institute weekend - Nov. 13, 2009; March 4, 2010 & June 18, 2010 Chopin’s Poland 2009 departure has been delayed to 2010 Spain’s Musical, Cultural & Culinary Delights - April 13-27, 2010 (Barcelona, Valencia, Madrid & Bilbao - 4 Operas, 1 Symphony, 1 Recital) Register your interest in these educational and cultural tours by contacting: William Andrews, New Wave Travel, 1075 Bay Street, Toronto, ON M5S 2B1 Phone 416-928-3113 Ext. 224 or Toll Free 1-800-463-1512 Ext. 224 or Fax 416-928-0821 email: [email protected] Ont. Reg. #01337762.

Le Professeur de Musique Canadien - Automne 2009 35 British Columbia I was just recently accepted call for scores, for a competition, creative people, and good teach- Elizabeth Knudson as an Associate Composer of the a commission, or an upcoming ers who can mentor you. Write Canadian Music Centre. performance—obviously it is what you would want to listen gratifying to have a premiere to, and whatever speaks to you. Which of your compositions performance scheduled already It takes a long time to dis- means the most to you or are you when you are starting a work. cover who you are as a person, most pleased with? and being a composer is part of What are you presently that process—your personal style Elizabeth: My first work working on? may change and evolve a lot for full orchestra, “The Gnarled over the course of your life. Root”, was a landmark. It was Elizabeth: I am working on Most importantly, if com- read by the Vancouver Sym- a piece for solo horn and orches- posing is something you are Why do you write music? phony Orchestra in 2004, as tra. The piece will be premiered passionate about, don’t give up! part of their reading session for next June, with the West Coast There will be plenty of obstacles Elizabeth: That’s easy— be- young composers. Each of the Symphony (based here in Van- ahead, but you will get through cause I have to. It has always composers was invited onstage couver), and Oliver de Clercq as long as you really believe in been a part of me, and it is just a while their piece was being read, (principal horn of the Vancouver yourself and your work. natural form of expression. I do and I can’t describe how much Symphony), as soloist. submitted by Dina Pollock find it challenging and frustrat- electricity was going through ing at times, but it is something me as I sat there… I knew in What are your musical goals? Alberta I really love and enjoy doing. that moment that I wanted to Rolf Boon I guess it is my way of making be composer-in-residence of a Elizabeth: My career goals sense of the world, and of my professional orchestra. include becoming composer- place in it. in-residence for a professional It allows me to explore so What inspires you? symphony orchestra, and doing many things, since music can some sessional lecturing at Canadian Composers from Coast to relate to, and encompass so Elizabeth: Many other com- university or college. Another much. Perhaps it is also my way posers inspire me (both living big goal would be to make a liv- of giving back something to the and dead-- probably Shosta- ing from my music! For that to world; I write to satisfy my own kovich and Ravel would be at happen, though, I feel that our creative urge, but it is wonderful the top of the list), and I listen society would need to raise the when other people can somehow to some pretty eclectic types of level of awareness and respect relate to it as well. music as well. for the fine arts, and to increase In terms of non-musical grants, funding, and benefits for Rolf Boon is an Associate When did you first begin to things, I’ve always loved the professional artists and related Composer of the Canadian Mu- compose? outdoors and nature, as well as organizations. It is a complex sic Centre and Member of the visual arts, architecture, film, issue. Right now, I am simply at Canadian League of Composers. Elizabeth: I was around 2 and literature. I sometimes get a point of trying to make ends His compositions have re- years old. My mom used to have wonderful ideas from discus- meet (juggling several music-received national and international me on her lap when she was sions with other people. I think lated jobs), while trying to main- exposure including performances playing piano, and I would pick it’s actually a really important tain enough energy and time to in Barcelona, Spain; Berlin, out notes and tell her to “write part of my composing process compose. I don’t know when or Germany; Los Angeles, United this down!” This went on until to be able to share and verbalize if things will become easier, but States, and Szczecin and Lodz, I was 5, and was enrolled in what I’m thinking about doing I am just at the beginning of my Poland. His work has been piano lessons, so that I could musically. professional career, so I am hop- broadcast on Access Radio and learn how to write these ideas ing that things will improve. CBC radio/television. Rolf has down for myself. I entered my How do you compose? received many commissions first composing competition at Do you have any suggestions for from individuals, multimedia age 11, and won the BCRMTA Elizabeth: Usually, I start young composers? groups, and organizations and competition at age 13. out with some basic parameters, was the principal composer for It was a natural progression such as duration and instrumen- Elizabeth: Be yourself, the 1995 Canada Winter Games. to study composition at univer- tation. I often begin working at and try to keep an open mind. Rolf is the Director of the sity: I did my undergraduate the piano, or cello, or sometimes Go to concerts; listen, observe, University of Lethbridge, Audio degree at Simon Fraser Univer- with my voice, and then shift talk to other musicians, and ask Research Lab (ARL) that he sity, and then went on to get my over to the computer and my them questions. Get involved co-developed with Dr. Arlan Master’s degree at the University notation program, once I have in various groups: choir, band, Schultz. He teaches Audio Pro- of British Columbia. some solid ideas sketched out. orchestra, musical theatre— duction Techniques, Introduc- Works are created with different whatever it is that will bring you tory Music Technology, Music objectives also: in response to a into contact with other young Theory and Composition.

36 The Canadian Music Teacher - Fall 2009 Canadian Composers from Coast to Originally from Kingston The Edmonton Composers’ Saskatchewan tral works, all premiered by the Ontario, Rolf studied piano and Concert Society sponsored these David L. McIntyre RSO. His Symphony No. 1 and graduated with an ARCT (1978, concerts. Concerto for Piano and Orchestra RCM) and a B.Mus. (1980) 2006-Metro for Jazz En- were broadcast on the CBC’s from Queen’s in piano perfor- semble was premiered by the Symphony Hall. His recent mance and composition. At University of Lethbridge Jazz Concerto for Violin & Orchestra Queen’s he studied piano with Ensemble, November 25, under for Eduard Minevich can be Dr. Ireneus Zuk and composi- the direction of Dr. Edward heard on CBC’s online Concerts tion with Dr. Bruce Pennycook Wasiak. on Demand. and Dr. Clifford Crawley. 2006-Inside: A Sonic Art Perhaps his favourite genre Rolf graduated with a M. Installation premiered Nov. 1, 2, is chamber music with piano. Mus. (1983) from UBC. At & 3 in the Devonian Walkway He has written striking concert UBC he studied composition at the University of Lethbridge. Playful and witty, passionate sonatas for most orchestral with Dr. Steven Chatman and This computer-assisted composi- and tuneful, rhythmic, tender instruments with piano, from a orchestration with Dr. Eliot tion utilized 18 speakers with and moving - all describe the Tuba Sonata for John Griffiths to Wiesgarber. He also holds a 9 stereophonic structures of music of David Leroy McIntyre. the Second Violin Sonata for Erika B.Ed. (1988) degree in sec- indeterminate durations and was Since the 1970s he has created Raum. As a member of the trio ondary music education from presented to an audience of over an impressive body of concert, Contrasts, with violinist Eduard UBC and a Ph.D. (2002) in 7,000. The work was sponsored pedagogical, and church music Minevich and clarinetist Pauline Educational Administration and by the Canadian Music Centre that continues to be received en- Minevich, David has written Leadership from the University (Music in New Places Program) thusiastically by performers and Hybrids and Chocolates and Win- of Alberta. and the University of Lethbridge audiences alike. Whether music ter Gardens, three very different Research Fund. for solo piano or organ, voice works that appear regularly on Research and Professional High- 2006-The Edmonton Com- or chorus, chamber ensemble or their programs. lights: posers’ Concert Society released full orchestra, it is a music that His love of literature is 2008-Wind Shadows for the CD entitled Cult Figures: stirs deep emotion, hope and evident in his vibrant vocal and flute and audio spatialization Anthology of Canadian Electro- zest for life. choral settings. He has created was premiered by Alex Schlo- acoustic Music which includes Performers appreciate works based on Shakespearean endorf on March 28 at the Waves (2006), a live electro- McIntyre’s music for its sen- and Biblical texts, and the poems University of Lethbridge with a acoustic recording, and System sitivity to the nature of their of fine Canadian writers such as repeat performance for the Con- 2.3/7 (1985), a remastered and instruments. He is a professional John Hicks, Tom Moore, Lois cert of Contemporary Music and digitally remixed work originally pianist; his keyboard works are Simmie, and Anne Szumigalski. Images, May 3 at the Sterndale produced using a CMI Fairlight. meticulously crafted, sophisti- His 1998 opera Sea Change Bennett Theatre, Lethbridge. 2006-Waves premiered on cated, and nuanced. His Second was written in collaboration 2007-Co-composed the score May 4 at the Concert of Con- Piano Sonata was commissioned with librettist Joanne Gerber. for the short dramatic film temporary Canadian Music as by MusiCanada 2000 for Angela His recent work has been the Resolve with James Oldenburg. part of the Centennial Hewitt. His Piano Concerto, creation of large scale choral/or- The film was produced and Celebration series in Lethbridge, premiered in 2003, was writ- chestral works based on Charles directed by Blake Everndeen. Alberta. Waves was composed ten for Catherine Vickers of Dickens’s A Christmas Carol for 2006/07-Six Miniatures for for the inaugural performance Germany. Butterflies & Bobcats Calgary’s Festival Chorus and Alto Saxophone and Piano was of the University of Lethbridge for solo piano, commissioned by Walt Whitman’s Proud Music of performed by Charles Stolte and Contemporary Music Ensemble. the 2004 Eckhardt-Grammaté the Storm for Regina’s Phil- Joachim Segger at the Universi- The work employs electronic and National Music Competition harmonic Chorus. Other texts tat der Kunste (Berlin) and two multi-percussion instrumentation. and Slam Dunk Dancing for have included place names from Academies of Music in Poland 2005-Six Miniatures American pianist Jo Boatright the map of Saskatchewan (a (Szczecin and Lodz) between for Clarinet and Piano was have delighted audiences across commission of the SK Choral April 3 and 7, 2006. Repeat per- performed by the Edmonton North America. And his con- Federation to mark the provin- formances of the European tour Composers’ Concert Society stantly growing collection of cial centennial in 2005) and a were held at King’s University at St. Chrispen’s Church on piano music is enthusiastically restaurant menu from Regina for College, Edmonton on Novem- January 25. received by students of all ages soprano and piano (Creek Bistro ber 26, 2006, and Grosvenor 2004-One of 60 composers and appears on examination and Specials). Park United Church in Saska- selected to represent the Pacific festival lists across Canada. toon, February 9, 2007. The Basin Regional Concert for the For three years McIntyre Edmonton Journal’s review of 60X60 Project of contemporary served as Composer-in-Resi- this piano/saxophone program music. The performance was dence with the Regina Sym- described it as “a real winning November 20, in Los Angeles, phony Orchestra. This position hour of music from Albert.” California. (funded by the Saskatchewan continued on page 38 submitted by Corrie Hausauer Arts Board) enabled him to create several exciting new orches-

Le Professeur de Musique Canadien - Automne 2009 37 He has collaborated as pia- teachers who have students that Ontario material for the Leila Fletcher nist and composer with dozens compose music. Debra Wanless piano course (Mayfair/Mont- of singers and instrumental- Ms. Rumancik has written gomery Music), the James Law- ists, recording CDs with Lynn music for piano teaching, along less Theory Course (Waterloo Channing, William Clark, John with choral, vocal and chamber Music) and arranges pop music Griffiths, Sophie Bouffard, the music. Her music has received for the ProMusic Company in Contrasts Trio and the Prairie performances across Canada and California. Her most recent Pride Chorus. internationally. Are You Going to books/materials include two submitted by Sandra Kerr Bethlehem’s Light? (SATB a cap- Rhythm Workbooks, Elemen- pella) received several perfor- tary Harmony and Melody Writ- Manitoba mances in Italy December 2007 ing, Musical Signs and Terms Maryanne Rumancik as part of the Fondazione Adkins Flashcards, Let’s Begin, 101 Chiti: Donne in Musica, Natale Children’s Pieces, A Jazzy Day, in musica concert series. Qualis Midnight Jazz which includes a ergo est infans iste? (SATB a cap- CD, Keyboard Harmony Books pella) was performed in the same Debra Wanless is an active 1-3, Classy Piano Pieces, Boogie series December 2005. piano adjudicator, studio teacher, and Jazz Piano Styles, Groovin’ Let All the Peoples Praise the editor, examiner, music pub- and What a Wonderful World Lord (flute choir) was premiered lisher, and composer. She has in Big Note and Intermediate in Winnipeg, MB and at the travelled across Canada and the piano solos, and intermediate National Flute Association Con- United States as a pedagogy cli- Sacred Jazz Solos. ference (San Diego, California) nician. Debra holds a Junior Fel- Debra’s pedagogy materials summer 2005 by Sweet Silver, lowship and Licentiate in piano and compositions are also used Maryanne Rumancik (1960- ) under the direction of Monica pedagogy with Northern Lights and performed in Australia, began studying piano at the age Bailey. Several of her junior Canadian National Conservatory Brazil, China, England, Guam,

Canadian Composers from Coast to of six in rural Manitoba and piano pieces (Fun for Two, But- of Music; an Associate of Music Hong Kong, Israel, Japan, New continued her advanced piano, terfly, Wish Upon a Star, Prairie in piano pedagogy with Western Zealand, Singapore, Switzerland theory and music history studies Steeples and Will Someone Please Ontario Conservatory of Music and throughout North America. as an adult in Winnipeg, MB. Play) have been recently pub- [Conservatory Canada]; and She is the recipient of the OR- A special interest in music lished by the Canadian National post graduate studies in piano MTA Special Teacher Award, theory and composition led her Conservatory’s Northern Lights performance, theory and piano and the Commemorative Medal to pursue a four-year degree in series through Mayfair/Mont- ensemble. for the 125th Anniversary of the music composition. gomery Music. A variety of her Debra is a pedagogy special- Confederation of Canada. She is a member of the works are available from Prairie ist whose students have earned sumbmitted by Nancy Hughes Manitoba Registered Music Sky Music Publishing. the Cora B. Arhens Award for Teachers’ Association (ARCT, Since August 2004, she has pedagogy excellence. She is Quebec Piano Pedagogy) and holds a been the Editor of Take Note, principal and founding member Mélina Claude Bachelor of Arts in Music Com- the journal for the Manitoba of Northern Lights Canadian position from the University of Registered Music Teachers’ National Conservatory of Music Winnipeg. Upon completing Association. She served as the and the three-day Piano Peda- her degree, she studied composi- Nominations/Elections Chair gogy workshop, Summer Sizzle. tion and orchestration with Dr. for the International Alliance of Debra has served at the local and David Scott of Winnipeg for Women in Music from 2004- provincial levels of the ORMTA, two years. 2009 and in fall 2008 became a is the founder of the North Wel- Ms. Rumancik lives in member of the Winnipeg Branch lington Camerata Canada Music Lorette, MB where she has had Executive of the Manitoba Week Festival and worked for an active piano teaching studio Registered Music Teachers’ As- many years as music secretary to since 1989; teaching all ages and sociation. the Midwestern Ontario Rotary styles of music. In addition she Ms. Rumancik is a member Music Festival. has been active as a composer, of the International Association Her piano solos and en- accompanist, music publisher, of Women Composers, Associa- sembles have been selected for Jeune, belle et dynamique. music reviewer, adjudicator, tion of Canadian Women Com- performance at festivals across Mélina Claude ne cesse de nous clinician and part - time choir di- posers, the Canadian Federation Canada; for inclusion in the surprendre par ses compositions rector. This diverse background of Music Teachers (MRMTA) New Millennium, Contemporary riches en créativité. has led her to a variety of and SOCAN/ASCAP. Idioms, Northern Lights and Ce n’est que depuis 2006 interesting projects as a freelance submitted by Kerrine Wilson Making Tracks Series; the Piano que Mélina a décidé d’écrire sa musician. Most recently she has Now Syllabus; and reviewed in musique en partition même si been involved with giving work- Clavier Magazine. Debra has elle s’adonne à la composition et shops to student composers and edited, revised and written new à l’improvisation au piano et à la

38 The Canadian Music Teacher - Fall 2009 Canadian Composers from Coast to guitare depuis l’âge de 7 ou 8 ans. personnalisée pour une personne lequel je communique avec les gens. They are, like nature, her C’est grâce à une œuvre particu- ou une autre en se demandant C’est une aventure, une explora- source of inspiration. Everything lière que son désir d’écriture réelle quels sujets touchent ou émeuvent tion des dimensions intérieures et that touches emotion becomes naît. Mélina a composé une pièce l’interprète. Lorsqu’il s’agit d’une extérieures. Je m’y perds et je m’y an excuse for composition. She pour sa mère alors qu’elle luttait commande précise, elle écrit volon- retrouve. Mon processus de créa- particularly loves to write for contre la maladie et c’est suite à tiers en fonction de la technique de tion est spirituel ». one person or another, asking cette bataille gagnée qu’elle écrit l’interprète, de son imaginaire et de herself which subjects touches or sa première partition qui lui a été son caractère. Mais là ne s’arrête Young, good looking and moves deeply the performer. dédiée. Rapidement, elle se voit pas ses préoccupations envers son dynamic. Mélina Claude always If she gets a precise order, she offrir des commandes qui lui confir- public. Elle favorise l’exploration surprises us by her rich creative writes according to the interpret- ment cette passion de l’écriture totale du clavier du plus grave compositions. er’s technique, his imagination qu’elle avait cultivée depuis un bon au plus aigu. Les sonorités, It is only in 2006 that Mélina and his character. Moreover, she moment déjà. À l’heure actuelle, l’exploration des sonorités au piano decided to write her music in favours the total exploration of elle a plublié la « petite suite pour entre autres sont importantes pour partitions even though she the keyboard, from low to high Thérèse » mais elle se promet de Mélina. Elle s’applique continuel- composed and improvised on pitch. The tone, the sonority ex- publier une douzaine d’œuvres d’ici lement à réaliser de grandes choses the piano and the guitar since ploration on the piano are very 2010. par des moyens accessibles aux plus she was 7-8 years old. It is due important to Mélina. She spends Malgré son jeune âge, Mélina jeunes soient en leur donnant des to one particular work that her much time to realise great things a déjà une quanrantaine d’œuvres repères visuels sur le clavier ou wish to write really takes place. by accessible means for the à son actif pour piano solo et des modèles visuels intéressants. Mélina’s mother is fighting young ones, like visual markers piano à quatre mains de différents Ainsi, un tout jeune musicien peut illness, and when she overcomes on the keyboard or interesting niveaux de difficulté. Il faut dire avoir du plaisir à apprendre et à the battle, Mélina writes her visual models. qu’elle improvise depuis presque interpréter une œuvre de Mélina first partition dedicated to her Therefore a young musician toujours (« depuis toute petite Claude. L’œuvre sonne corpulente, mother. Soon, she gets offers to will like to learn and interpret »). À ce moment elle se plaisait à avec du contenu tout en étant compose; this really confirms Mélina Claude’s work. This improviser dans tous les styles en accessible à un jeune pianiste her passion for writing that she work may seem difficult but is touchant un peu au style jazz et puisqu’elle maîtrise les différents had developed for some time accessible to a young pianist blues. C’est ce qui l’amènera à éléments techniques qui pourront now. So far, she has published since she masters different tech- se perfectionner auprès de compos- rendre justice à l’interprète. Elle Petite suite pour Thérèse but she nical elements, giving justice to iteurs tels que Allan Crossman. réussit avec brio à marier sa passion promises to publish about a the performer. She succeeds to Mais Mélina se considère avant avec le goût d’enseigner des pièces dozen works before 2010. marry her passion and the wish tout comme une autodidacte. Elle qui touchent particulièrement ses In spite of her young age, to teach partitions, touching aime suivre son instinct qui la élèves. Mélina already has over forty particularly her students. guide de façon très sûre. D’un Impressionnisme, romantisme, works for piano solo, and piano Mélina moulds all musical simple élan, un thème, une mé- classicisme, baroque sont tous des for four hands at different levels styles, impressionism, romanti- lodie, cette jeune compositrice se styles musicaux qui l’inspirent et of difficulty. I have to mention cism, classicism, baroque, to her laisse emporter dans une dimen- qu’elle se plaît à modeler à sa per- that she improvises since she was own personality. She is attracted sion d’images et de narration d’où sonnalité. La diversité des mondes small. At that time, she did it by the variety in the artistic nait simultanément une recherche artistiques l’attirent énormément, in all styles, from jazz to blues. world, therefore many projects harmonique qui sort des sentiers d’ailleurs plusieurs projets sont This will bring her to improve are taking place —recording, battus, des conventions tradition- en cours dont l’enregistrement, le her style with composers like circus, visual arts juxtaposed to nelles. La liberté musicale est son cirque, les arts visuels juxtaposés à Allan Crossman. But Mélina music. Mélina is always working. pôle d’attraction et elle ne fait la musique. Elle a toujours un considers herself as a self-taught She just finished the suite Eloges aucun compromis pour satisfaire petit quelque chose sur le lutrin et person. She likes to follow her for the pianist and pedagogue cette attirance, que ce soit par le sur la table de travail. Elle vient instinct, guiding her in a sure Michel Fournier and presently métissage de genres ou le défi des de terminer une suite « Éloges way. With a theme, a melody, she is working at Le Phenix in règles (« déconstruire certaines » pour le pianiste et pédagogue this young composer gets carried three cycles. For her, composi- règles» écrit-elle). Mélina n’a Michel Fournier et présentement away, creating simultaneously an tion is essential and vital. qu’un seul objectif la recherche de elle travaille à « Le phénix » en harmonic research which is really “The composition represents textures musicales. trois cycles. Pour elle, la com- personal. Her center of attrac- many things to me. A way of Vous l’avez peut-être deviné, position est un besoin essentiel et tion is her musical liberty and being free, life, everyday routine, son art s’épanouï auprès de la même vital. « La composition she makes no compromises, even the usual and the extraordinary musique pour jeunes musiciens. représente beaucoup de choses pour defying the laws, “déconstruire expressed in a medium which Ils sont d’ailleurs une grande moi. Une façon d’être libre, la vie, certaines règles” she writes. thrills me more than at any other source d’inspiration tout comme la l’émotion, le quotidien, l’ordinaire Mélina’s main object is: the time in my life; this way I com- nature. Bref, tout ce qui touche et l’extraordinaire exprimés en musical texture research. municate with people. l’émotion devient un prétexte à la un médium qui me fait vibrer As you may have guessed, composition. Elle aime particu- plus que n’importe quel autre à her art lights up with the music lièrement écrire d’une façon plus ce moment-ci de ma vie et avec for young musicians. continued on page 40

Le Professeur de Musique Canadien - Automne 2009 39 This is an adventure, an ex- solemniis, for female chorus and Tango 2K, winner of the turer has taken him to Mexico, ploration of interior and exterior chamber ensemble, conducted Robert Starer Composition Taiwan, The People’s Republic dimensions. I get lost in it and I by Willis Noble in Fredericton; Award in 2001, was premiered of China, Spain, Estonia, and also find myself in it. This pro- Twelve Etudes in the Key of Tango, by the Trio Solisti at the Inns- England. More information can cess of creation is spiritual.” for solo flute, premiered by Saúl brook Institute Music School be obtained in www.contrapunc- submited by Lynne Gagné Martin and also published by and Festival, Saint Louis in tus.com. Billaudot. Watercolors for Ten Fin- 2003, and in March 2003 Five Reviews of Echoes, Pictures, New Brunswick gers, and Echoes, Pictures, Riddles Argentinean Folk Pieces were Riddles and Tales for Piano Solo, Dr. Martín Kutnowski and Tales, both solo piano col- commissioned and premiered by ed. Helen Marlais (FJH) lections edited by Helen Marlais the Minnesota Sinfonia in Janu- Notes by the composer: As a and published by FJH, received ary 2002 in Minneapolis/Saint young teacher, I would compose Dr. Martín Kutnowski is an rave reviews and are used by pia- Paul. Il sonno di Magdalena, for a specific piece to engage the award-winning contemporary no students worldwide, together mezzosoprano and symphonic particular personality or techni- composer with firm roots in the with individual contributions to orchestra, was premiered in Italy cal difficulties of one of his stu- tonal idiom. His pieces, which The Festival Collection and Con- in 2005 and his Preghiera per un dents. Surprised and amused, the often fuse folk, world, and classi- temporary Collage (Volumes 1 addio, was premiered in Rome, student would make critiques, cal music, have been performed, through 3) all by FJH. Italy, in May 2001 (both were and the teacher would make recorded, and broadcasted in In February 2003 Kut- commissioned by commissioned improvements. This collection of Europe, Asia, and the Americas, nowski’s Lullaby for an Ancient by Associazione Romana Musi- miniature piano pieces is a living including major venues such Grandfather—winner of the cale Religiosa). testament to the spontaneity and as Carnegie Hall in New York, New Jewish Music Award—was Kutnowski’s music has been enthusiasm shared by both stu- Wigmore Hall in London, Izumi performed by Ana Maria Trenchi featured in CBC (Canada), NPR dents and teacher during those Hall in Osaka, and Teatro Colón Bottazzi at the Carnegie Hall (USA), and RAI (Italy), and many studio lessons. Copyright in Buenos Aires. His 2009-2010 and is often performed by reviewed in Newsday, The New © 2005 by FJH. All rights premieres include En la mar hay pianists such as Bertrand Giraud York Concert Review, Aspen reserved.

Canadian Composers from Coast to una torre, for clarinet quintet, throughout Europe, while Brit- Times, Canadian Music Teacher, “This [is a] creative col- and The Spots of the Toad, both ish pianist Danny Driver gave American Music Teacher, The lection of pieces by Martin commissioned by the Newbury- the European premiere of The Clarion, and La Nación (Buenos Kutnowski...[which] were origi- port Chamber Music Festival in Well Transfigured Clavier at Wig- Aires), among others. Kutnows- nally composed for Kutnowski’s Massachusetts; Between the Salt more Hall, London. In 2003 ki’s music is published by FJH students during his early years as Water and the Sea Sand, a cycle Momentum, for solo clarinet, was (USA), Billaudot (France), Ri- a teacher. He exposes students of art songs based on Maritime selected as the mandatory con- cordi (Italy-Germany), and Con- to contemporary compositional melodies written for soprano temporary composition for the trapunctus (Canada). He has techniques that encourage tech- Wendy Nielsen to celebrate the XV International Music Course received awards by the Canada nical control, expression, and centenary of St. Thomas Univer- and V International Competi- Council for the Arts, Arts New creativity... Kutnowski presents sity; Tango Rhapsody, a concerto tion of Benidorm, Spain, and for Brunswick, Fulbright, ASCAP, descriptive titles with detailed for piano and orchestra com- the Jean Françaix Competition and the National Endowment and clear musical indications to missioned by American pianist in Paris, France. Other com- for the Arts of Argentina, among assist the students with recreat- Ana Lourdes Rodríguez and positions include Intermezzo, others. Martin Kutnowski is Di- ing each individual piece... The premiered in Querétaro, Mexico premiered in December 2007 rector of Fine Arts at St Thomas colors, articulation, phrasing, by the OFEQ under conduc- by the Syrinx Flute Ensemble in University in Fredericton, an and pedaling indications given in tor Cuauhtémoc Juárez, and a Izumi Hall, Osaka; Pie Jesu, for Associate Composer at the these elementary-level pieces will clarinet concerto for Spanish mezzosoprano, mixed chorus Canadian Music Centre, and a provide a fun playing experi- clarinetist Venancio Rius Martí, and chamber ensemble, pre- member of the New Brunswick ence for the student and a great to be premiered in London, UK miered in New York in Decem- Music Teachers Association, teaching opportunity for the in March 2010 (the latter two ber 2003 and Cinco Estudios ASCAP, and the College Music teacher...Kutnowski’s creative projects supported by generous en Forma de Tango (Five Tango Society. His articles about music and pedagogically sound writing grants by artsnb). Etudes), for solo piano premiered and the scholarship of teach- will work well in the private Compositions from recent in Buenos Aires by Marcela ing and learning can be read in studio, as well as in the group years include Buenos Aires Y2K, Fiorillo at the National Museum Popular Music and Society, A piano classes...” recently premiered in its version of Fine Arts in October 2003 composition as a problem, ex Reviewed by Debra Perez for for flute, violoncello, and piano and first-place winner of the tempore, About Campus, Latin American Music Teacher Maga- at the IIIème Convention Fran- award by Tribuna Argentina de American Music Review, Clas- zine, February/March 2006 çaise de la Flûte in Paris, pub- Compositores. This set of etudes sical Guitar Magazine, Across “This kaleidoscopically lished by Billaudot, and recorded will be premiered in Canada by Cultures, Teaching Perspectives, colored and textured selection in the label Anima Records pianist Janet Hammock in an and Community College Jour- of very fine short pieces helps (France); Prelude and Fugue for multimedia event sponsored by nal. In addition to his regular fill that awkward stage between solo guitar, dedicated to and the Canadian Music Centre in work in Canada, the USA and neophyte and sophisticated premiered by Tali Roth, Sacris Sackville, November 2009. Argentina, his outreach as a lec- student on the road to trickier

40 The Canadian Music Teacher - Fall 2009 Canadian Composers from Coast to fare... each piece from first to Newfoundland was performed during the Trin- as the highly successful Maritime last is a mine full of composi- Dean Burry ity Summer Festival in Trinity, Pops Series with Symphony tions which not only have Newfoundland during the sum- Nova Scotia (SNS). He was the great effect when played simply Dean Burry is a composer, mer of 2009. inaugural Host Conductor and according to the notes and mark- librettist and educator. He was Another major work of Arranger for this series from the ings, but lend themselves to as born in St. John’s, Newfound- Dean’s is an operatic adaptation mid 1980s to 2004, building much scope and refinement of land in 1972 and grew up in of Tolkien’s The Hobbit which bridges and creating relationships sensibility and control of which Gander where his love of music was performed by the Canadian between the classical world and there is such wide variation and passion for composing Children’s Opera Chorus and the diverse Nova Scotian musical among new acolytes to the keys. began. He studied piano and also made its American premiere and cultural communities. I would be comfortable present- saxophone while in school and with the help of the Sarasota Mr. Macmillan’s creative ing these works to students of also played in a rock band. While Youth Opera. Other works in- passion has led to many exciting appropriate ability be they of Dean was still in high school in clude Home and Away, Anne’s Tea opportunities to compose new any age. Each piece is a com- Gander, he wrote and produced Party, Rainbow Valley, Under the works. He received creative plete statement that ingeniously his first work Good Gods which Night and Two Noble Kinsmen. support from Canada Council centers on certain elements of won the local drama festival. Dean’s compositions also include to compose “Currents of Sable piano mechanics (hand-cross- Dean obtained his Bachelor works for solo piano, electro- Island” and his first symphony ings, clusters, left-hand patterns, of Music from Mount Allison acoustic, orchestra, chamber “Summus”. The NS Dept of legato, staccato, and so forth) University in Sackville, New and choral/sacred. Dean has also Culture & Heritage support the without ever losing sight of Brunswick with a major in served as education consultant creation of a series of scores for other accompanying touches. I Saxophone Studies. While at for Soundstreams Canada, a his own 12-piece group “Scott note that Kutnowski does not Mount Allison he also composed Workshop leader for the Ontario ‘n’ the Rocks” as well as “Within prescribe this set to students of and conducted three works: Arts Education Institute and Sight of Shore”, depicting the any particular age; this is a fortu- The Resurrection, Joe and Mary Ontario Arts Council, and is a last Canadian warship sunk in nate and positive omission…As Had a Baby and Unto the Earth: contributing writer for Opera WWII, HMSC Esquimalt, of small works of pedagogic intent, Vignettes of a War. He then went Canada magazine. which his father was the Com- Kutnowski’s sense of pianistic/ on to study composition at the Watch for Dean’s premiere manding Officer. Macmillan’s musical concepts and ability is University of Toronto where he of The Bremen Town Musicians, much-loved Canadian choral notable for what he leaves out of obtained his Master of Music in commissioned by Ottawa’s classic “Celtic Mass for the Sea” any given piece no less than for 1996. This is where his compo- Opera Lyra, in the fall of 2009 has been performed over 60 what he includes. More over, in sition career started to soar. and The Secret World of OG in times since its premiere with his masterful handling of priori- After Dean completed his 2010. The latter is an opera SNS in 1991, including in Carn- ties, his production is seamless; studies at the University of based on Pierre Berton’s children egie Hall, the U.K., Germany this is why each piece feels so Toronto he began working in story of the same name and will and Switzerland. Annual Mr. right, so complete, so satisfying the box office of the Canadian be performed by the Canadian Macmillan directs “Le Grand as a little poem or an elegant Opera Company. Shortly after- Children’s Opera Chorus. Cercle”, a cornerstone of a major short story. He covers a wide wards, he was asked to create the For more information about community/cultural/tourism ini- territory of pianistic/musical Esso Kids After-School Opera Dean Burry check out his web- tiative in Cheticamp, NS, which techniques in a deceptively short Program and in 1998 was com- site at www.deanburry.com. he co-created with writer and anthology…” missioned to write The Broth- Submitted by Lisa Giles artistic director Paul Gallant. Darrell Rosenbluth, Staff ers Grimm —one of the most Mr. Macmillan is an original Critic, New York Concert Review; performed Canadian operas in Nova Scotia member of The Guitar Summit Member of the Board of Direc- history. Much of Dean’s opera Scott Macmillan and a multiple East Coast Music tors, Leschetizky Association and musical theatre works are Award winner for his recordings submitted by Kilby Hume geared toward young people. Halifax’s Scott Macmillan with the innovative group Puirt Dean has been commissioned enjoys a stellar reputation in a Baroque, “Bach meets Cape to write and produce works Nova Scotia and abroad for his Breton”, and for his own collab- from various sources. Memorial unusual versatility working in orative recordings “The Minnie University of Newfoundland’s the fields of classical, pop, jazz, Sessions Volumes 1, 2, and 3” Opera Roadshow commissioned blues and celtic music. A master and the “MacKinnon’s Brook him to compose The Vinland guitarist, he has worked profes- Suite” which he composed for Traveler which toured through- sionally for more than 30 years Ian MacKinnon and SNS and out Newfoundland and Labra- widening the audience for the later broadcast for CBC televi- dor and was broadcast by CBC’s music of Atlantic Canada, both sion. Musicraft in 2006. Rising Tide nationally and internationally. Theatre, also in Newfoundland, Mr. Macmillan played a key role commissioned the fairy tale in the rise of the Rankin Family continued on page 42 opera A Creature of Habit, or Band, Rita MacNeil, and the Richard and the Mermaid which Nova Scotia Mass Choir, as well

Le Professeur de Musique Canadien - Automne 2009 41 In 1977 Mr. Macmillan received a Doc- ada, Peter Paul Koprowski Poland/Canada, classical ensembles with instrumentation tor of Letters from Cape Breton University David Lumsdaine UK/ Australia) enabled ranging from solo flute to full symphony and in June 2008 was bestowed an Honor- him to earn a M. Mus. from the University orchestra, including the Forbidden City (Bei- ary Diploma from the NSCC School of Ap- of Western Ontario and a Ph.D. from King’s jing) recording by the New Brunswick Youth plied Arts and New Media for his significant College, London UK. He has composed for Orchestra, which has been nominated for role in the design and development of their all vocal and instrumental media and these an ECMA award (2008). He maintains an new Music Arts and Business Program. compositions, which are regularly featured ongoing interest in music education, work- on CBC, Radio-Canada and various concert ing with various public school teachers and Prince Edward Island programmes, have won prestigious awards curriculum committees to develop/compose including the 1983 SOCAN prize for Young material suitable for classroom instruction, Richard Gibson Canadian Composers and the New Bruns- most particularly in the area of performance wick award for Excellence in Arts (1992). of contemporary instrumental music. The Richard Gibson (b. Charlottetown 1953) He currently teaches musical composi- most important recent performances of his is a composer of contemporary classical tion and theory at the University of Monc- music would include presentations by Sym- music. ton while composing for diverse regional phony Nova Scotia, Motion Ensemble, Barb His studies with various prominent inter- and international performers. In recent years Pritchard and the Quatuor Arthur-LeBlanc. national composers (Steve Tittle USA/Can- he has been asked to produce recordings of submitted by Jane Naylor

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42 The Canadian Music Teacher - Fall 2009

In memory of Jean Broadfoot

Winnipeg lost outstand- That puppy, Spudgie, would It was wonderful performing could. The choir and orchestra ing teacher Jean Broadfoot in be my playmate for the next 15 experience. I was chosen to be experiences have been an invalu- 2009, Jean Broadfoot was my years, until he died at a very ripe in a Carl Orff workshop when I able part of my life as a musician, teacher for 17 years. This is a old age. was in grade 2, and I loved the and I think help me to hear and personal memory and will not I rode my bicycle to my chance to play all those rhythm to produce many colours on the do justice to all of the things that Saturday morning lessons, which instruments. Miss Broadfoot also piano. Jean was a fair and tough she accomplished in her long life was an adventure in itself. I used sent me to Dr. Peggy Sampson’s teacher, but she never raised her as a musician and teacher, but I to imagine I was on a wild horse creative music class for a few voice and was never insulting. hope that it will inspire all of us on the prairie. I had my lessons years. It was there that I first She was also never extravagant to think about our teachers and upstairs in the sunroom. Miss heard Jane Vasey improvise and with her praise. My sister and I to share our memories of these Broadfoot’s mother was severely compose. Jane was also a student used to laugh, because if we were wonderful people with the music crippled with arthritis, and she of Jean’s, a wonderful pianist playing really well, she might community. had a bed in the diningroom so who went on to be the pianist in say,”Isn’t that a nice piece?” She My first memories of Miss that she could see and talk to the the Downchild Blues Band until sang along with us and worked Broadfoot are of attending her children as we came in. I was her early death from leukemia. us up so that we could carry the year-end recital at St. George’s frightened of her twisted hands, I had the honour of playing 2- line of the music. I still teach Anglican Church on Grosvenor but she was a nice old lady, and piano works with Jane when we that way, and my older students Avenue. I was 5 years old, and I I always talked to her before my were I university. My first duet often tell me that they imagine was going to be starting lessons lesson. Miss Broadfoot cared partner was Joanne Martin and me singing them through it when with her in the fall. Up until for her at home for many years we were unbeatable in elementary they are performing. then, my older sister, Barbara, before she died. The lessons school. Joanne and I went to the By junior high, I was at River and I had been taking lessons were great fun. I learned all my same high school later and then Heights, and I used to go for with a very nice lady who came scales by figuring them out from even both went into English at my lesson at lunch. My mother to the house. She was so proud the last one; I would count up the University of Winnipeg. By would pack a lunch, bur Miss of us that she had taken us to 5 notes from C to find G and university, we were playing piano Broadfoot always had baking play for Eva Clare, who was a figure out which note had to be and violin duets together and for me to sample. She was a well-known Winnipeg teacher. changed. Jean made me think switching instruments. great cook and baker. My lessons Eva Clare played a lot of games everything through and I never always went over time and I with us, which I now know to be forgot them that way. I had many had to run back to school late. I ear and sight reading games. She different books to learn from and She did not have a recital every usually did not get into trouble. took my mother aside and rec- of course, I used to read through She saw me through adolescence ommended that we begin lessons every piece in every book I was year, but they were big deals and young adulthood and heard with Jean Broadfoot, who lived a given. It was always an adventure many of my troubles. I don’t few blocks from our house. Miss to go downtown to Tredwell’s to when she did. There was one think that she ever breathed a Broadfoot did not usually take buy new books. My sister and I word to anyone. She was a great beginners, but she took us on loved it. at the School of Music and we football and hockey fan, and Miss Clare’s recommendation. So My elementary years were she had a way of talking to the it was that I was at the June re- spent learning a lot of repertoire. all wore long dresses boys that kept them interested. cital, because my mother thought Miss Broadfoot gave us many I know that my brother, Blair, that my sister and I should hear wonderful opportunities to said that he always practiced Miss Broadfoot’s students before perform, both in the festival, at because she would not tolerate it we started with her in Septem- Junior Musical Club recitals, at We never questioned what if you didn’t. She did not have a ber. I was impressed with all the the Good Deed Club and at the was asked of us. If Miss Broad- recital every year, but they were very big kids who played, and Wednesday Morning Music Club. foot thought that we should play big deals when she did. There so began my long idolization I also competed for scholarships somewhere or do something, we was one when I was 18 that was of many senior students such as at these music clubs as well as at did it. I learned everything that at the School of Music and we Ailsa Lawson, Pat Martin, Cheryl the Jewish Women’s Music Club. she gave me. If it wasn’t really my all wore long dresses. She had a and Brendan McDougall, Bill Winnipeggers will know that the sort of piece, she would notice huge collection of duet and two- Pope and Morna June Morrow to Good Deed Club was a live radio that it wasn’t coming together as piano music, both for four hands name just a few. What made the broadcast and the Junior Musical quickly as usual, and she would and eight hands. She would often biggest impression on me, how- Club also did live 15-minute change the piece. She encouraged pair a shyer student with a more ever, was that Miss Broadfoot’s radio broadcasts on CBC. I also me to play the violin, which I still experienced player to give them students presented her with a competed on live talent shows on play to this day, and also encour- the confidence they needed, and puppy at the end of the recital. TV, with Ken Winters as a judge. aged me to sing in every choir I that always impressed me.

Le Professeur de Musique Canadien - Automne 2009 43 The experienced player was down the stairs. He was never have been on medication ever hard on that project, but told me always on the second piano so the same again, and needed con- since. Despite many sore body that the Ottawa branch was abso- that the shyer student would get stant care. I know that this was parts, I can still play a good deal, lutely wonderful for all the time the prime spot on stage. a very difficult time for her. She because I can use that rotation and work they put in on the front By the time I was in high had already lost her mother, and and relaxation to help me. How lines. She stressed the importance school, I had graduated to having I sometimes heard my mother many times when I was working of a good relationship with col- lessons downstairs on her large 9 talking to her on the phone about on a difficult passage did she say, leagues and told me that the little foot Steinway. Usually, younger it if she had to change a lesson ”Shoulders, Andrea”. personal touches, such as sending students only played this just because of a crisis. Jean had lost Looking back on her career, committee members thank you before performances, so we were her only brother in the war, and I am amazed by the depth of the notes or Christmas cards was of always excited when we started she was the sole caregiver for her repertoire. I used to compete paramount importance. regular lessons downstairs. By parents. She was a wonderful against 4 other girls from her In later years, Miss Broadfoot high school, I was studying at the daughter. She used to make spe- studio, and we never played the somehow became involved with associate level and Miss Broad- cial meals for her Dad and take same pieces. Similarly, my sister the School of Celtic Studies out foot encouraged me to begin them over to him at the nursing had a group at her level who at the University of Manitoba. teaching. I taught all through home. It was very hard on her never played the same pieces. My father was a piper, and not high school and university, which but she never missed a lesson. Miss Broadfoot had an uncanny just an ordinary one either. He gave me great experience and I did not choose to study ability to choose repertoire that had been Pipe Major of the some pocket money as well. In music at university. I was always was suited to us and yet also Queen’s Own Cameron High- high school, I was singing in the a child who needed a lot of sleep developed us as musicians. She landers for 25 years, official piper school productions, as well as and I felt that I might not be talked often about progamme to the Queen on her Royal visits, playing in the Greater Winnipeg able to handle the rigours of choice. Now as a teacher with and the last Canadian to pipe Schools Symphony Orchestra a musician’s career. I chose to several provincial wins to my troops into battle at Dieppe. To and singing in Winnipeg Girls’ study English, because I could credit, I realize how much those my father’s delight, Jean asked Choir. A neighbor of ours asked continue my piano and violin discussions have helped me in Dad to teach bagpipes at the me to teach Sunday school to lessons while I was at university. my own teaching. I never played Celtic School. My father loved the 5-year-olds, and I started to Miss Broadfoot always asked us the same pieces as my sister, but Scottish history and had never do this as well, of course playing about school and what we liked because I grew up in the same had the opportunity to attend the hymns for the children and to study, but she never directed house and heard the practising, I university because of the war. teaching them to sing. I guess us into music unless that is what know those pieces as intimately He sat in on all the lectures at I was a little too busy or Miss we wanted. She was enormously as I know my own repertoire. I the Celtic school. I thank her Broadfoot noticed that I wasn’t proud of the accomplishments thank her for all her choices. She from the bottom of my heart for getting enough practicing done. of all her students, whatever the also stressed the importance of making my father such a part of She asked me at one lesson to list field we chose to pursue. When beginning well. When a piece that endeavour. It brought him all the things I was involved in. the School of Music opened at was learned and ready for perfor- much happiness in his retirement She listened quietly and said,”I the University of Manitoba a few mance, she rehearsed the opening years. She also asked Dad to pipe think that you can drop teaching years before I went into univer- bars over and over to get them in the head table at the CFMTA Sunday school, Andrea. Many sity, she had some students that just right. After that, it was easy convention in Winnipeg. It was a people have that talent but not as entered the music programme to carry the rest of the piece. thrill for him to attend something many have your musical talent.” I there. She was also asked to teach After the death of her father, like that with his daughter. was amazed, because Miss Broad- there, but she stipulated that her Jean began to travel more, to After I had my children and foot herself was involved in her former students must study with ISME conferences in the summer, began to teach piano and violin church and was deeply religious. someone else. I always admired with various music friends from as my profession, Jean asked me I was also relieved because I her for that. across the country. She really how I enjoyed it. After I told her had felt pressured into teaching One of her big concerns over enjoyed herself. She had always that I really loved it, she said to Sunday school by the neighbor the years was that people were been involved with MRMTA and me, ”I cannot think of a more and now I could stop because playing repertoire that they did in the ‘80’s she became president rewarding profession.” someone I respected deeply had not yet have the technique to of CFMTA. She was one of the I married and have 3 chil- advised it. That lesson has always handle. I do not mean finger judges at the Ontario Provin- dren. When they were small, we stayed with me. Miss Broadfoot dexterity. She was talking more cial Convention in Kingston would all go over to Jean’s house herself had to wrestle with her about relaxation and rotation. one year. II had been living in for a visit every time I was home conscience. She told me once that She often had referred to her Ontario after I left Winnipeg to to see my parents. My children her father did not approve of her student who had tendonitis or do a Master’s in 1972, so it was played for her and she rewarded teaching on Sundays, but she felt other problems, and she worked a great opportunity to see her them with baking and chocolate she must use that time to make with them until they could use again. It was under Jean Broad- ice cream. When my first child up lessons. their hand and arm properly. I am foot’s leadership that our national was born, she opened a long flat While I was in high school, especially grateful for this teach- organization successfully lobbied box for me. In it, was a beautiful Miss Broadfoot’s elderly father, ing, because I was diagnosed so that we do not pay GST on ivory silk shawl. It was her chris- who lived with her, had a bad fall with arthritis 22 years ago and music books. She worked very tening shawl. She gave it to me

44 The Canadian Music Teacher - Fall 2009 and she told me to wear it, which I have. When my second child was born, she gave me her christening cup sent all the way from Ireland. I know from these gifts that I was very special to her as she was to me. I also know that many others of you have special memories of Jean Broadfoot or other wonderful teachers across the country. Do not forget them. Jean Broadfoot died this June on the day of my annual recital. I could not get to her funeral in time. This summer, when I learned of her death, I brought my children together and I showed them my gifts from Miss Broadfoot. We sat silently for a moment, remembering.

Andrea Graham Battista, ARCT, piano and violin, A.Mus, LMus, BA(Honours), MA, has been an ORMTA member since 1982 and is a piano and violin teacher in Burlington, Ontario, who is trying to carry on the wonderful legacy of Jean Broadfoot.

Talking business Studio Policy: Do we really need it?

Probably you have heard continue taking lessons, and knowledgeable in their field from other teachers and even what is your fee and when it but effective communicators. it may had happened to you is due. Developing your commu- that a student’s parent asks By having parents sign- nication skills “outside the for make-up lessons very ing the Studio Policy you classroom” will allow you to often. That sometimes a par- are making sure that there is handle unpleasant situations ent does not pay the tuition clarity in regards to the ex- with parents and adult stu- on time or that a student pectations and responsibili- dents at ease and will show just stops attending without ties from both sides and that your professionalism and letting you know. there is a process to follow commitment. You have probably also when circumstances change. Keep in mind that the heard that even though a One way you can stay Studio Policy is a dynamic teacher has provided to true to the Studio Policy, document. That is, it chang- his/her students’ families the without feeling uncom- es as you gain more experi- Studio Policy, he/she stills fortable with the idea of ence. Take the time to review has to deal with some of the enforcing it, is having the it every year. You may decide issues mentioned earlier. most important sections/ to change the order of your You could ask then: Is clauses visible to parents and clauses, the wording, add there any point in having a students when they come to new ones or delete others. Studio Policy? The answer is your Studio for lessons. A Studio Policy will not YES. A written Studio Policy Have a bulletin board fully eliminate administrative is always useful. You can look where you could post, for challenges as one could call at it as a written statement of example, reminders about them. However it will con- what you as a teacher expect due dates for fees, make-up siderably reduce the prob- from the student and family, lessons, concert dates, and ability to encounter them. what are you committing to long weekends. do when lessons are missed, As an independent pro- by Alicia Romero what does the student need fessional music studio teach- to do when he/she can not ers do not only need to be

Le Professeur de Musique Canadien - Automne 2009 45 Mark your calendar New Music Internationl Honens Piano Competition for Young Musicians October 22 to November 6, 2009 Calgary, Alberta COMMISSIONED thrO ugh thE N O r M a N BurgESS M EMOr I al FuND www.honens.com

An expanding series of high-quality new string music created to develop Canada Music Week November 22-28, 2009 the talents of young players. www.cfmta.org

Solo EnSEmblE Very Near the edge the labyriNth of the flat earth Abigail Richardson International Day of Collaborative Music Rose Bolton (vla & pno) bossa aNtiqua January 22, 2010 WaNderiNg the Kye Marshall www.mtna.org/programs threshold of delirium or google “collaborative music day” Christien Ledroit Full details, samples (vln w/ optional tape part) and sales available eNcouNters through the Canadian Aris Carastathis The Canadian Chopin Festival 2010 musiC Centre (vla & gtr or pno) February 26 to March 7, 2010 John Paul II Cultural Centre Night spirit suite [email protected] Mississauga, Ontario Andrew Staniland (gtr) 416-961-6601 www.chopinfestival2010.com www.musiccentre.ca

Memorial Foundation Donations Invited Donations to this Foundation give family, friends, students and colleagues opportunity to express appreciation and to honour deceased CFMTA/FCAPM members. Donor individuals and organizations will be listed in subsequent editions of The Canadian Music Teacher. CFMTA Memorial Scholarship Foundation

______Donor Name ______Address City Prov. & Postal Code ______Area Code & Phone In Memory of

Please make donations payable to CFMTA. A receipt for Income Tax purposes will be issued for a donation of $50.00 or more from the office of the Secretary-Treasurer, Bernadette Bullock, 302-550 Berkshire Dr. London ON N6J 3S2.

46 The Canadian Music Teacher - Fall 2009 Canadian music and local traditions: An interview with pianist Emilyn Stam at the Goderich College Celtic Kids Day Camp

Each year in my private piano studio, my studied closely with world-renowned violin- all those triads and arpeggios that I played students and I reflect on Canada Music Week ist and producer Oliver Schroer. Together on the piano were the chords that she was and the implications in each of our lives. We they have worked on various projects includ- teaching me. Then I started playing with her, talk about Canadian music, composers, and ing the Twisted String and the Smithers reading the chords and playing by ear. Later, performers and think about what it means album” (Big Dog Music, 2007). They have I heard this fiddle group in town and ended to be a Canadian. Canada’s cultural diversity also collaborated on a number of fiddle and up joining the group as the piano player. I creates a unique opportunity for a rich musi- piano duets. Most recently, Emilyn provided wanted to play the fiddle because everyone cal environment. Our country has always piano accompaniment for Oliver’s “Last was playing it, so I bought one and learned placed emphasis on equality and inclusive- Concert on his Tour of this Planet” (Toron- it on my own. I listened to all the tunes ness for all people which is evident in the to, June 2008). that everyone was playing and watched my preservation of a variety of cultures at the A prolific composer as well as a per- friends as they played. I figured out how national and local level. This led me to think former, Emilyn’s tunes are quickly spreading to hold the bow just by watching. I started further into our local traditions and more across Canada. Fiddlers from coast to coast improvising on the piano and played with specifically for pianists. Other than students are playing her tune “Oranges in Mongo- Oliver Schroer. He did a lot of one-on-one who study the piano, who is playing and lia.” Gordon Stobbe’s latest album, Almost work with me. He played the violin and I performing? What background do they bring Home, features “First Snow”, a tune he was mostly playing piano at that point. He to the instrument? Where do they play, and co-wrote and recorded with Emilyn. She would teach me (his unique) tunes on his what do they play? How did they learn? has collaborated with many other musicians, violin and I would figure out an accompani- An opportunity to investigate some of including Pierre Schryer, Daniel Lapp, David ment part for it. I learned a lot from doing these questions came during an in-depth Woodhead, Anne Lindsay, Anne Lederman, that, and we would often improvise freely ethnographic study of the Goderich College Bill Brennan, Casey Sokol, October Browne, together. This really expanded my musical Celtic Kids Day camp and subsequent inter- Adrian Dolan, Andy Hillhouse, Cedric ear. I was part of different fiddle groups in view with Celtic pianist Emilyn Stam who Smith, Terry Jones, and Jaron Freeman-Fox. town and leading one of the groups at one was also an instructor at the college. Currently, Emilyn is teaching and perform- point. I was also involved in community Lead researcher Dr. Kari Veblen describes ing in the Toronto area, and released her first musical groups as well. the camp: solo piano project in 2008.” (www.myspace. “The Celtic Kid’s Day Camp, now in its com/emilynstam) The chords you use in your accompaniment are sixth year, includes three streams divided by unique in the sense that they incorporate jazz age: 4 to 6, 7 to 9 and 10 to 12. Students Leslie Linton: Tell us about your early experi- harmonies. When you learned from Oliver experience song, tin whistle, mandolin, gui- ences with the piano. Schroer and you were playing a lot of his com- tar, fiddle, harp, percussion, dance, drama, Emilyn Stam: My first piano experi- positions, were you creating your own harmony craft art and recreation. Along with the ence was when I was 5 years old and I was from his melody or did he give you direction as to regular staff, some teachers from the adult- house-sitting. There was a piano and I what he wanted harmonically? Is your infusion oriented Celtic College share their expertise just sat down and played. We had recently of jazz styling your own or did it come from at the younger camp. watched the ‘Sound of Music’, and I had Oliver? Children attend for a full day over the tune ‘Do-a-deer’ in my head. I sat at I have never studied jazz formally, but I the course of the week, which allows their the piano for a while and picked out the have plans to. I listen to a lot of jazz, and parents to participate in the Celtic College. melody. That is my first memory of music. I have a great interest in it. I incorporate Lunch hours are shared between the two We didn’t have piano so I didn’t play after chords with some jazz extensions and co- programs. During the two days docu- that. When I was 8, we moved to Hol- lours into my music which most Celtic pia- mented here —Tuesday August 5th and land for a year, and we somehow got a free nists do not. I am one of the few who use Wednesday August 6th —the weather was piano. I took piano lessons from a teenager. these types of harmonies. This could be from fair and warm so that groups of children, I remember being really scared of reading my background as a classical pianist, but I families and friends enjoyed a picnic lunch music so I would get my teacher to play the think I was also influenced by the harmonies on the front lawn of St. Mary’s Elementary song that was in the book and I would just I played as a church accompanist, and by School. On Wednesday, everyone enjoyed learn it by ear. I wouldn’t actually read the reading transcriptions of pop songs. I would a special noon concert, featuring André music and I would practice by ear. I returned read the guitar chord symbols and see how Brunet and Martine Billette, sponsored by to Canada and continued taking lessons in they related to the transcribed piano arrange- the Canadian Parents for French.” the classical route. I started lessons in grade ment, and then just create my own version. four at school, and by grade 10, I was at This may have been partially because I was “Emilyn Stam is a composer and teacher Conservatory Grade 10 level. During that lazy and didn’t want to read the piano part, on piano and fiddle. Having recently moved time I started exploring chording with help but also because it challenged me to create to Toronto, she is quickly being recognized from my mother. My mom played guitar my own part. as a versatile accompanist, innovative impro- and sang. She taught me how to read chords viser, and creative collaborator. Emilyn has on the piano, and I clued into the fact that

Le Professeur de Musique Canadien - Automne 2009 47 Thinking about when you changed beat. I have also been showing small form of improvisation. What are your future plans musi- from Classical piano to Celtic them different voicings for the Celtic music is very ‘tune’ based. cally? piano, how did you choose your chords that they use, to make In jam sessions, you’ll string My immediate plans are to accompaniment patterns and har- them more open sounding and together many many tunes, play- stay in Toronto and study as monies? What influenced you to not just triad based. I use more ing them each multiple times, many styles as I can. I’d love to create the style you have today? 4ths and 5ths and then change and yelling out the name of a learn more about jazz piano, and When I first started out, the bass note, but still keep the new tune to jump into, creating incorporate it even more into there was a parent already play- same notes in the right hand. a set. Within each tune there traditional accompaniment. I’m ing the piano in the group. He For example, with an A major is an A section and a B section also very interested in studying played the basic, boom-chuck chord, I will have them play a which are each repeated. These more of Canada’s traditions, boom-chuck pattern(Left-right- B,E,A in the right hand. Then I sections are each eight bars long, such as Quebecois music. I’m left-right, root-triad pattern) and change the bass note to D, but generally. Occasionally, you’ll also excited to continue to share that is what I started off with. keep the RH notes the same. find tunes that have three sec- the world of playing piano by My playing was pretty tradition- The chord becomes a D-based tions, or even four. ear with many more students in al sounding in the beginning. As chord but then the B func- the future. I learned more of Oliver’s tunes tions as a 6th [13th] and the E Tell us your impressions of Celtic I changed my playing to fit the functions as a [9th]. Without music in the past, present and As we celebrate Canada Music style of his tunes. I would open teaching all the theory behind it, where you see it going in the future Week, let’s reflect on our place up more [open chord positions they learn to use extensions as locally and in Canada. in Canada’s musical culture. Our rather than closed chord posi- the colour notes within a chord. Growing up in BC, and Canadian identity is indeed a tions] and it grew from there. I encourage them to experiment recently moving to Ontario, I celebration of so many traditions with their chords and see what have noticed a bit of a difference not only in historical analysis If someone was interested in playing sounds good because that is between the British Columbia and replication, but in an ever- Celtic piano, how would you teach basically how I learned to play... and Ontario fiddle tradition. In changing landscape of music and them or suggest they start? Do you experimentations first, and then Ontario, there is a tradition of its current development. Cana- think that they need to get to the learning the theory afterwards. contests [competitions] where dian music will be shaped and same level on piano that you had specific repertoire is played. defined by what we do today when you started? Celtic music is taught entirely by In British Columbia, there is a and we can be a part of our own I wouldn’t say that Grade 10 ear, without notation. Tell us about newer tradition. Since we didn’t history through local traditions. is necessary, but there is definite- your thoughts on memorization as really have the contest tradition By encouraging our students to ly some good stuff in the classi- it relates to the oral tradition versus that Ontario did, we ended up take part in local festivals such cal program. Having some back- a classical literacy based program. being influenced by a mixture as the Goderich College Celtic ground is good.I think that what If you learn tunes by ear, the of styles; Celtic, Quebecois, old- Kids Camp, we are becoming is lacking is learning how to ap- music will stick with you forever. time, etc. Because I grew up in involved in music making at the ply all that technique. You spend When I memorized classical BC, I may be a bit more open to grass roots level and nurturing so much time doing all the triads music, I would memorize the where traditional music can go, awareness of one segment of the and you learn all these inver- sound of the piece not the actual but also don’t feel particularly tapestry that we call Canadian sions, but for what? It is just like notes. With memorization in educated strongly in any specific music. an exercise. When I teach, I do classical music there is more of a tradition. People out west are classical and chording. They do sense of detachment from your also actually writing a lot of their by Leslie Linton their classical technique and then instrument. In Celtic music, own tunes; including 7-year President – ORMTA London we apply it to chording while us- there is a relationship with your olds, and everyone is play- Branch ing ear training skills. Then the instrument where the tune in ing them. When I first started technique makes sense because your head is produced directly learning fiddle I started writing This interview and group ethnography was part they had all these inversions and on your instrument. In the same right away. One of my instruc- of a graduate course, “Cultural and Social Per- they know why they had to have way that you’ll always remember tors came up to where I lived spectives in Music Education” offered during them under their fingers. the lullaby your mother sang in Smithers and heard my tune. the new summer Masters of Music (Education) In the piano class here, I you as a kid; you never saw it He was so excited that he taught program at the University of Western Ontario. am teaching them a syncopated written down but it is eternally it to all of his students in BC. The ethnographic study was lead by Dr. Kari rhythm to play over a straight internalized. Now, it is more common for Veblen and consisted of a team of 12 researchers 4/4 reel. We are grouping the kids to write tunes. In Ontario, who studied a variety of aspects of the children’s beats 3-3-2. First, I am trying What is the typical form of a con- I can see it going that way but camp and the adult classes. to get them to play it solidly cert set? Is there much improvisa- in some parts there is still a very Linton, L., Jo, E., Tse, M., from Veblen, with both hands. Then they tion in the Celtic tradition? specific sound that people are K. et al., (2009). Celtic Scatterings and Its play it over a reel which I do on There isn’t much improvisa- looking for, and a specific tradi- Legacy: An Ethnography of the Goderich the fiddle. It is a difficult task tion in Celtic music, though the tion. Its neat to see how that Celtic Kids Summer Camp in Its Sixth for them when you always hear traditional players really learn tradition is being passed from Year. Invited Paper. The University of and play (4+4) and now have how to vary trills and ornamen- generation to generation here in Western Ontario, London, Ontario. to switch the accents over the tations in any given tune as a Ontario.

48 The Canadian Music Teacher - Fall 2009 Meet the Call for Compositions 2009 winners: Sarah Konecsni and Martha Hill Duncan

A Canadian Portrait by Sarah Some students are more persis- coupled with expressivity and all disciplines at the Provincial Konecsni and Maple Dust by tent than others, and ask me to emotion in the same piece. Too Finals in 1993. One of my goals Martha Hill Duncan are the win- write pieces for them every year. often most pieces only contain was to perform with the RSO, ning compositions of the 2009 Often I’ll use the composition one type, so I strive to write and so I began to study with installment of the CMW Call for idea as a reward for a particularly music for students that include Janice Elliot-Denike and went Compositions. outstanding result on an exam! opposing styles to make their on to win the SRMTA Concerto We asked the winners the The composing itself is usually performances stylistically varied. Competition and played with same seven questions to get a very easy and comes quickly to the RSO as guest artist in 1999. more personal and closer look to me. What is difficult is commit- Do you enjoy composing in a I also continued to study with their careers as composers. This ting it to paper, and I’m not too particular genre or instrument? Prof. Glen Montgomery of Leth- is what they share. savvy with my computer pro- Sarah: I usually compose bridge, AB for many years, who gram when it comes to the more exclusively for piano. I have tried has been an amazing mentor and advanced works, and often, it writing for other instruments friend to me, and now also, to takes me three or four times the and piano, but my interest lies in my son. I studied composition amount of time to get it on the the solo piano repertoire, which briefly with Elizabeth Raum of computer as it did to write it! is what is needed for my own Regina, but for the most part, I studio. It’s very gratifying to am self-taught as a composer. Tell me more about the work hear your own music performed A Canadian Portrait. readily, and when I adjudicate, How do you see the role of the Sarah: A Canadian Portrait I really enjoy hearing it played composer in society in about five to is just that...it was meant to con- throughout the province, and ten years? Sara Konecsni vey the vast differences due to hearing other interpretations Sarah: I think we will begin geography, culture and diversity that I had originally envisioned. to see many new composers and What was your motivation to of each province. The opening is I think it’s so neat to meet other their works. More and more submit your music to the competi- more of a introduction, painting students and hear how much teachers are seeing the benefits tion and how did you find out a scene of grandeur and majesty they enjoy my pieces! of composing for their own about it? of the Rocky Mountains, not students. I find that it totally Sarah: I’d wanted to write really introducing the theme Tell me about your background. brings the personality of the a piece about Canada for quite itself, but setting the stage for Sarah: I began lessons with student to the fore, and enables some time, and when I heard the variations to follow. The my Mother, who started me out them to really understand the about the competition, I decided theme presents itself in more of on piano and voice at age four. whole process when a piece is that it in itself was the motiva- a rollicking tune, suggesting the I was an ill child, and often sick, written specifically for them, tion I needed to write the piece. stampedes and cowboy songs so that ended my singing career and tailored to fit their musical I thought the best way was to of Alberta. A bit of an interlude plans, much to my chagrin! attributes. I notice that it helps try to describe Canada in its with Saskatchewan, depicting My sister took over my Mom’s all of their other compositions diversity from region to region, the waving fields of grain, with position as piano teacher, and to ‘make sense’ to them more and that worked best in a theme more of a contrasting mellow she taught me up to my ARCT readily, once someone has really and variations format. Then, I character. Then it travels through in piano performance. It wasn’t discovered ‘who they are’, and it wrote the composition with a Ontario and Quebec, picking up always easy having a sibling to frees them to have the confi- particular student in mind, and more complexities as far as the teach you, but we persevered, dence to ‘get into the mindset of fashioned it around his pro- original tune had, to highlight and from then on, I was deter- the composer’ much more easily, clivities. I found out about it more of the rolling countryside. mined to keep on performing be it Bach, Beethoven or Pro- through our CFMTA magazine. Finally, it becomes a jaunty jig and improving myself. I then kofieff. I hope that it will start tune to reflect the Acadian mood studied with Prof. William a trend, and we will see more What moves you to compose? of the Maritimes. It requires a Moore at the U of R, and won and more teachers providing this Sarah: Mostly my students lot of flair and panache, which many competitions under his wonderful creative learning tool are the driving force behind is something I try to infuse in wonderful guidance. I toured for their students. my efforts. I am so busy with all of my compositions. I think Western Canada as the Young my teaching, adjudicating and that character is something that Artist in 1994, and began play- What are your plans for the future? examining schedules that I have students need to develop and be ing some of my compositions Sarah: I will continue to to create the time to compose! I able to present with confidence at that time. I’d also won all of compose for my students, and will usually try to write a piece and style. I always look to create the provincial classes, and the hopefully, my music will become for each and every student I’ve versatility in my own students, newly founded Sister Geraldine more readily known across taught, and sometimes, that and have always sought to Boyle Memorial Award for Canada and the US. takes a few years to accomplish! include both technical virtuosity most outstanding performer of Conitnued on page 50

Le Professeur de Musique Canadien - Automne 2009 49 One of mygoals is to have my beautiful text, a specific rhythm Tell me about your background. this year are being performed by music in the RCM syllabus and or melodic interval, a title, a Martha: My earliest memo- students already across Canada. repertoire books! I am also plan- piece of art…I’m happiest when ries of music are from my With the internet, self publish- ning to make a professional CD I’m writing or planning to write, mother who was always singing ing and a renewed interest of my compositions, as it has been so the beginning of a piece or and childhood conversations in contemporary educational requested by many of the people project is often exhilarating with my father listening to works, there is a shorter lead who have attended and partici- and full of hope. The real work music together on the radio. I time for me to get my music pated in my lectures and master comes later in the development grew up in Houston, Texas and out to teachers, students and classes on my compositions. and challenges within assorted started piano at the age of 8. I performers. I am more interested Sarah Konecsni resides outside parameters of difficulty, length, was not a model student and and more successful in collab- of Regina and can be reach at form and completion. was essentially “fired’ by my first orative efforts, working with [email protected] teacher. Fortunately, my parents singers, artists, writers and other Tell me more about Maple Dust. found another who inspired, en- composers, rather than working Martha: The poem Maple couraged and even exposed me alone in my studio. I want to be Dust was written by my niece, to early notation of my simple in charge and responsible for my Airlie Clarke, when she was thir- musical creations. I attended creative future - I am not waiting teen years old and was inspired the High School for Performing to be discovered or anointed as a by fall in Ancaster Ontario. Her Arts in Houston, Texas, where “great” or “successful” composer. poetry resurfaced many years I earned my diploma in voice I’m just working away, enjoying later amongst her late grand- and had exposure to wonder- making musical connections and mother’s treasured possessions. ful teachers, contemporary sharing ideas. She sent it to me thinking I music and visiting professional Martha Hill Duncan might be interested in using it in musicians and composers. I then What are your plans for the future? a song. The outer stanzas were went on to graduate from The Martha: Immediate compos- What was your motivation to very hopeful and full of vivid University of Texas at Austin ing plans call for a song cycle for submit your music to the Call for fall colour, but I was even more in composition with studies in my good friend and soprano, Compositions and how did you find intrigued by the middle stanza voice and piano. I studied com- Elizabeth McDonald, comple- out about it? where the leaves “are all alone”. position with Donald Grantham tion of my Limestone Etchings Martha: I originally became and piano with Gregory Allen, Series for Piano and more vocal inspired to write for young “The wind is cruel, it takes the leaves Danielle Martin and Errrol writing for young singers. I also singers when my daughter To far-off places in their dreams, Haun. With my Canadian hope to showcase my newest Claire began voice lessons. As a But where they go, it’s far from home, husband, Martin Duncan, we piano collections, Cottage Days Canadian immigrant, I was also And now the leaves are all alone.” gradually made our way north, and Precipitations to more teach- eager to connect with my new first moving to Ithaca, New ers and students. I’m also eager landscape, stories and history. I saw creative potential York where I worked with the to continue collaborating with Those songs, written for my for major/minor harmonies, talented and generous pianist other composers through www. daughter, eventually became the contrasting melodic content, and Trudy Borden who immersed me RedLeafPianoworks.com a two- two-volume collection Singing dramatic vocal writing. My fa- in the art of piano teaching. We year old composers’ collective in the Northland: A Celebration vourite part is at “far-off places” then moved to Toronto, where I that consists of Ontario com- of Canadian Poetry in Song. After – where parallel 4ths evoke an was privileged to study composi- posers Susan Griesdale, Beverly that long-term project, choral exotic colouring. I’d like to say tion with Sam Dolin. Porter, Nova Scotia composer and solo piano writing seemed that it was careful planning on Rebekah Maxner and myself. to grab my attention, but I my part, but to be honest, it was How do you see the role of the We’re hoping to add like-minded was always eager to write for completely subconscious and composer in society in about five to composers from across Canada the voice again, especially the deliciously discovered long after ten years? in the future. I also conduct the younger singer. I was making completion. Martha: I can’t really predict Kingston women’s choir She plans with a couple of “muses” the future, but I can talk about Sings! and we’ve just launched who were dangling poetry and Do you enjoy composing in a the direction my composing in our first CD filled with choral prose in front of me when the particular genre or instrument? relation to society has taken in works by Canadian composers CFMTA Competition came Martha: I’d say I feel the the last few years. I feel much David Archibald, Lavinia Kell around. I learned of the com- most physically connected to the more of a connection with the Parker and myself. So, I suppose petition through the Canadian voice and piano since my earliest performers of my music – I get my future plans are to grow Music Centre and the Kingston attempts at composing came immediate feedback from teach- musically, inspire my students, branch of the ORMTA. from singing and improvising at ers, students and performers continue writing and make new the piano. I still improvise, but and that ultimately makes me a musical friends along the way. What moves you to compose? now with more focus on unique better composer. Piano works I Martha Hill Duncan resides Martha: Motivation to write physical gestures, soundscapes wrote in 1992 are just starting in Kingston, Ontario and can be comes from eager performers, and basic starting points for to get wider exposure, whereas reach at [email protected] a deadline, an interesting or more serious development. new piano works that I wrote

50 The Canadian Music Teacher - Fall 2009 REVIEWS From classical to ragtime, from elementary to advanced... our reviews have it all.

Piano Mimec Let’s Pretend:14 Enchant- Her website (www. ers will have many interpretive by Susan Griesdale ing Piano Solos susangriesdale.com) also possibilities to bring this piece Read Leaf Pianoworks by Susan Griesdale includes sound clips for some of to life. $8.95 CDN Read Leaf Pianoworks the pieces. Reviewer: Katrina Thompson Fost $9.95 CDN Reviewer: Katrina Thompson Fost Precipitations Piano Mime is a collection Kingston Mills Locks by Martha Hill Duncan of eight piano solos written at a Let’s Pretend is a collection by Martha Hill Duncan Read Leaf Pianoworks grade 4 - 6 level. The pieces have of 14 short piano pieces for Read Leaf Pianoworks $14.00 CDN descriptive titles that suggest the elementary level students. Limestone Etchings Series Reviewer: Katrina Thompson Fost character of the piece. Griesdale states that her $6.00 CDN The composer has also in- purpose is to open students’ ears Reviewer: Katrina Thompson Fost Precipitations is a collection cluded very helpful performance to contemporary sounds, while of seven pieces for Intermediate notes for each piece. Griesdale’s helping them to master technical The Limestone Etchings to Early Advanced players (most melodic writing is highly chro- skills at the piano. Series is a collaboration between pieces are approximately grade matic throughout, including sev- The titles and lyrics in the composer Martha Hill Duncan 6-7). The pieces work wonder- eral pieces with chromatic scale collection are most suitable for and visual artist Spencer Hope. fully and logically together as a motives (The Trolls are Coming, a young beginner. The lyrics for Their works are based on the set, or each piece can stand alone Waltzing with Daddy). each piece are extremely useful history and culture of Kingston, as a solo. It is the rhythms and overall for rhythmic accuracy and estab- Ontario. The publication in- Duncan’s writing here is pulse that are most effective in lishing the character of the piece. cludes the artwork by Hope and based on familiar tonal harmo- capturing the character of each Griesdale is very peda- a brief historical description of nies which are interspersed with piece. For example, Lullaby with gogically minded in her writ- Kingston Mills Locks. This is an a more contemporary harmonic a Ground Bass is in 3/8 and has ing; each piece is a little study early advanced level piano solo language. Each piece successfully a gentle, rocking motion to set on a particular technique. For (approximately grade 8). illustrates the sound picture sug- up a peaceful and restful feeling. example, I Am the King! is based Duncan writes in an Impres- gested by the title. Piano Mime divides a 16th note on harmonic 5ths, played hands sionistic style and the entire The Impressionistic style motive between the hands to set together, which change position work has a dreamy quality. She of this collection includes rich, up a jolting motion and imitates frequently. The student must uses fairly traditional harmo- lush pieces and percussive, high the stop and start movements of drop from the elbow, firmly yet nies throughout but achieves a energy pieces. Duncan’s writing a mime. relaxed, onto each 5th to create contemporary sound by using allows the performer flexibil- Most pieces in the collection the grand, confident sound a free rhythmic pulse, left hand ity to make musical decisions use a left hand ostinato to a vari- required for the piece. syncopated accompaniment, regarding dynamics, pedalling, ety of effects. In the eerie Sleep- Fireman is especially fun with and occasional cross-rhythms (3 tempo fluctuations, and impro- walking, the bass line simulates its siren sound effects and fast, against 4). vised sections. deep breathing. In Did You Have rising sequences that create ten- The piece begins and ends Drizzle – a short, dreamy to Go? the bass line adds to the sion in the music. Some of the with an ascending flourish that piece to set the mood for the feeling of longing in the music. playing techniques required of sits naturally within the hand. collection. There are some Dancing Clowns has an ostinato the student seem overly sophisti- The main body of the piece is syncopations, but generally the that is bouncy and light, yet cated and challenging consider- very much like a barcarole, with rhythm is straight forward. This requires a larger motion, perhaps ing the target age group. a repetitive accompaniment is an accessible piece with lovely to suggest the more exaggerated In The Great Wizard, the pattern and long, expressive expressive possibilities. movements of a clown. melodic phrases have an octave melodic lines that create a feeling Sunshower – a joyful piece At first, students may not be range containing leaps for small of peacefulness and calm waters. with lush harmonies and catchy accustomed to the contemporary hands which must be played The middle section evokes the rhythms. It feels very idiomatic sounds found here, but Griesdale legato; careful fingering and past by holding an open voice, to play and sounds tougher than leads them into this soundscape pedalling are needed to make 7-note chord in the pedal for 11 it is. The piece builds to an excit- by using imaginative titles, fun this work. measures as soft treble notes are ing climax and would make a scenarios, and musical storytelling. Griesdale includes an expla- “rising out of the mist.” great recital performance. nation for each piece describing The music is very suggestive, Dryspell – This piece espe- the character and specific techni- allowing performers and listen- cially reminds me of playing a cal challenges, which teachers ers to create their own picture to Debussy Prelude. A spell is cast and students should find helpful. accompany the music. Perform- with a feeling of waiting, hover-

Le Professeur de Musique Canadien - Automne 2009 51 ing, or time standing still. The Sonatinas and Little Sonatas faithful textual reproductions of for jazz, pop, latin and folk entire piece is suspended without performed by Allen Reiser the composers’ intentions.” The selections to complement their any real sense of harmonic relief. Signal Hill Music Works biographical data on the com- students’ classical reperotire, and The student is able to improvise Reviewer: Janice Dahlberg posers are well researched and a for teachers with adult students the ending. pleasure to read. interested in an eclectic selection Racing the Storm – a per- Allen Reiser, well-known The beautiful cover art is of contemporary music. petual motion piece played at a Calgary pianist and piano a drawing of a piano in the The series is comprised by frenzied tempo. The left hand teacher is the sole performer on Beethoven Haus, Bonn, Ger- three volumes: level one, level plays on the black keys above a newly released CD entitled many, by Kenneth Thomas and two, and level three. Each level the right hand throughout. The Sonatinas and Little Sonatas. colorized by Jason Sims. James contains more than 30 selections challenge here is to play evenly Produced by Signal Hill Music Picken interpreted Reiser’s Eng- (31 in level one, 32 in level two, and without letting the wrist get Works, its contents will enrich lish editorial notes into French. and 34 in level three) which are tense or tire out. the listening library of anyone Allen Reiser delivers this elegible for examinations by Hail – is a great follow up who appreciates the pure beauty “moodful” and imaginative mu- Conservatory Canada. to Racing the Storm. Rhythmic of classical piano music. sic with fresh insight, elegance, Level one includes pieces vitality is essential for an effec- Listening to this disc, one and style – each work and every suitable for entrance level to tive performance, as well as close will hear several musical gems movement is an aural delight. It preparatory grade two. attention to the dynamics and performed with grace, sensitivity is a classic listening resource for A wide number of pieces in articulation. There is a sense of and impeccable classical style. the discerning pianist. Sonatinas this volume could be taught in a foreboding and uncertainty in The opening piece, Viennese and Little Sonatas is available very short period of time, even this piece. Sonatina No. 1 in C major, from Rideau Music in Calgary, in one lesson, due to their lenght First Snow – has a gentle and K. 439b, by W. A. Mozart, is www.rideaumusic.com, or it that does not exceed 16 bars magical quality. I thought it performed with panache and may be ordered from this web and AB or A A’ form. This will resembled a music box at times. polish. Reiser’s reading of the site: www.allenreiser.com. allow students to concentrate on Duncan skilfully uses some Sonata in D major, Hob. XVI: achieving a performance within octatonic passages to give First 4, crisply displays the clean lines Mrs. Dahlberg earned a the required style as well as to Snow its surreal sound. Another and good humor associated with diploma in piano performance develop or reinforce technical piece that seems harder to play Franz Joseph Haydn. from the Royal Conservatory of skills. than it is. Johann Christian Bach’s Music, University of Toronto, and Students will enjoy per- Sundog – a peaceful and Sonata in G major, Op. 5, a Bachelor of Music degree from forming a jazzed-up version contented ending to the collec- No. 3 is played with aplomb. The University of Calgary. An of Twinkle, twinkle, little star, tion, a definite calm after the Two pieces by Friedrich Kuhlau experienced chamber musician, she arrangements of the folk songs storm. This is a slow piece which are presented with flair: Sonatina teaches piano and piano pedagogy. Citadel Hill and Brave Wolfe as provides several rhythmic chal- in A minor, Op. 88, No. 1 and Her activities include serving as a well as original compositions by lenges; there are cross-rhythms Sonatina in A major, Op 59, master class clinician, an adjudica- composers Debra Wanless, An- to work out and the student No. 1. Muzio Clementi is heard tor, and a book and music reviewer. drew Harbridge, Joyce Pinckney, must be careful not to loose the herein with the Sonatina in D She is vice-president and assis- Janet Gieck, Rémi Bouchard, pulse at this slow tempo. The major, Op. 36, No. 6 and the tant artistic director of the Calgary John Sandy, Fishel Pustlink, final chord is a delightful and less familiar Sonata in B flat Arts Summer School Association Leila Fletcher, Robert Benedict, satisfying close to the whole major, Op. 4, No. 5 – all move- and has been President of the Tyler Seidenberg, Frank Mills. collection. ments full of restraint, character ARMTA as well as the Calgary Level two includes pieces and drama. Branch of ARMTA, and repre- suitable for students up to grade Ms. Thompson Fost operates a The CD ends with a master- sented Alberta as first delegate to three. Rhythmic variety and core private piano studio in Calgary, ful interpretation of the Sonata the CFMTA. compistional elements of each AB. She has completed a Bachelor in G minor, Op. 49, No. 1 by contemporary style are present of Music from Memorial University Ludwig van Beethoven. throught the volume. and a Master of Music Education An academic plus which Canadian Contemporary Early intermediate students from the University of Oklahoma. makes this CD a “must have” is Repertoire Series: Fun selec- will enjoy playing the selections She is currently a member of Reiser’s witty editorial com- tion of jazz, pop, latin, folk. in level three. The well known the Alberta Piano Teachers Associa- ments, historical and otherwise, Levels one, two and three piece Peter Piper is included as tion (APTA), an executive member found inside the case. Mayfair Music well as a jazzed-up version of the with the Alberta Registered Music One quote: “As for the ‘little $14.95 CDN each Three Blind Mice titled A Trio of Teachers’ Association (ARMTA sonatas’…Regardless of their Visually Impared Rodents make of Calgary), and an administrator diminutive size, being labeled as This series is a useful and this volume a delight. with the Calgary Arts Summer a larger version of the form, they versatile resource of Canadian School Association (CASSA). have been deemed worthy of at- repertoire for the teacher using Ms. Alicia Romero writes tention and have been editorially the Contemporary Idioms piano about pedagogy topics for the scrutinized, sanitized, and ex- syllabus from Conservatory Newslatter of the ARMTA Cal- punged, to produce completely Canada, for teachers looking gary Branch (armta-calgary.com)

52 The Canadian Music Teacher - Fall 2009 CFMTA/FCAPM Memorial Pedagogy Award Mission Who can apply How to apply

This award has been established to honour CFMTA is pleased to offer a Memorial Along with an official transcript of the teachers who have been recognized for their Pedagogy Award to the candidate who Pedagogy Examination mark, the appli- contributions to the profession. receives the highest mark in the Teacher’s cant will be required to submit a summary Written Examination of either the Royal of musical training and interim teaching, As a tribute to these teachers, the Pedagogy Conservatory of Music Advanced or which will be considered in the case of a tie. Award is being offered to a deserving candi- Conservatory Canada. date who has recently qualified in this field. The Memorial Pedagogy Award will be The applicant must have studied with a presented biannually in the non-convention It was initiated upon the passing of Robert current CFMTA/FCAPM teacher and the year and will be governed by the Special Pounder, CFMTA’s first Honorary President examination must be from a nationally Projects Convenor. from 1975 to 1996. based teaching institution, which examines in every province (Royal Conservatory of The closing date for applications to be The Memorial Pedagogy Award will be Music / Conservatory Canada). received by the Convenor will be February presented biannually in the non-convention 15th of the non-convention year, and anyone year and will be governed by the Special completing the requirements in the two Projects Convenor. years prior will be eligible.

Anyone completing the requirements from January 2008 to January 2010 will be eligible to apply.

CFMTA/ FCAPM MEMORIAL PEDAGOGY AWARD 2010 - Application Form

1. Applicant’s information Teacher’s Signature ______

Name:______RMT branch ______

Address ______Address ______

City ______City ______

Province ______Postal Code ______Province ______Postal Code ______

Telephone ______Fax ______Telephone ______Fax ______

E-mail ______E-mail ______

2. Eligibility Please include:

Date of Teacher’s Written Exam ______1) An official transcript of the Teacher’s Written Exam mark.

Institution (RCM or CC) ______2) A typewritten summary of your musical training and interim teaching. Name of Teacher ______

NOTE- The applicant must have completed the requirements between January 2008 and January 2010. Applications must be received by the Please send the application to: Special Projects Convenor (Heather Blakley) on or before February 15, Heather Blakley, 611 Addie Cres. 2010. Saskatoon, SK S7K 3K6

Le Professeur de Musique Canadien - Automne 2009 53 EXECUTIVE DIRECTORY

CFMT A EXECUTIVE OFFICERS P resident - Darlene Brigidear, 13407 - 14A Avenue, Surrey, BC V4A 7P9, Phone (604) 531-8840, Fax (604) 531-8747, [email protected] Past President - Peggy L’Hoir, Box 727, Biggar, SK S0K 0M0, Ph. (306) 948-5231, Fax (306) 948-3987, [email protected] Vice President - Lorna Wanzel - 6158 Lawrence St., Halifax, NS B3L 1J6, Phone (902) 423-8908, [email protected] Secretary-Treasurer - Bernadette Bullock, 302 – 550 Berkshire Dr. London, ON N6J 3S2, Phone (519) 471-6051, Fax (519) 471-9126, [email protected]

DELEGATES British Columbia - (1) Carol Schlosar - 309 Elliot Crescent, Sicamous, BC V0E 2V1, Phone (250) 836-4934, Fax(250) 836-3992, [email protected] (2) Cynthia Taylor - 18 Anton Road, Campbell River, BC V9H 1A1, Phone (250) 923-3731, [email protected] Alberta - (1) Dorothea Johanson - 8231-10th Street, SW, Calgary, AB T2V 1M7, Phone (403) 255-7906, [email protected] (2) Susan Wilson - 517 Estate Drive, Sherwood Park, AB T8B 1M2, Phone (780) 449-4508, [email protected] Saskatchewan - (1) Sandra Kerr - 45 Martin Street, Regina, SK S4S 3W4 Phone (306) 584-9547, [email protected] (2) Allison Sarauer - Box 165, Annaheim, SK S0K 0G0 Phone (306) 598-2018, [email protected] Manitoba - (1) Kerrine Wilson - 568 Scurfield Blvd, Winnipeg, MB R3Y 1R9, Phone (204) 489-5324, [email protected] (2) Dorothy Lother - 951 Centennial St. Winnipeg, MB R3N 1R6, Phone (204) 489-8862, [email protected] Ontario - (1) Nancy Hughes - 260 First Ave. East, North Bay, ON P1B 1J8, Phone (705) 476-0439, [email protected] (2) Charline Farrell - 4 Home Place, Chatham, ON N7L 5P4, Phone (519) 354-4380, [email protected] Quebec - (1) Lynne Gagne - 16 rue du Fort, Coteau-du-Lac, QC J0P 1B0, Phone (450) 763-0262, [email protected] (2) Hélène Lord - 63 Bachand Sud, Boucherville, QC J4B 2N8, Phone (450) 449-7580, Fax (450) 641-9839, [email protected] New Brunswick - (1) Lynn Johnson - 800 Mountain Rd, Box 25164, Moncton, NB E1C 9M9, Phone (506) 756-2140, [email protected] (2) Kilby Hume - 4 Wendy Court, Rothesay, NB E2E 3J3, Phone (506) 847-3277, [email protected] Nova Scotia - (1) Lorna Wanzel - 6158 Lawrence St., Halifax, NS B3L 1J6, Phone (902) 423-8908, [email protected] (2) Marilyn Harrison - P.O. Box 118, Margaree Centre, NS B0E 1Z0, Ph. (902) 248-2226, [email protected] Alternate - Peggy Harrison, 38 Wanda Lane, Dartmouth, NS B2W 3G7, Ph. (902) 462-5179, [email protected] Newfoundland - (1) Joan Woodrow - 1 Marigold Place, St. John’s, NF A1A 3T1, Phone (709) 722-9376, [email protected] Prince Edward Island - (1) Suzanne Campbell - 100 Hillsboro St., Charlottetown, PE C1A 4W4, Phone (902) 367-6740, [email protected] (2) Jane Naylor - RR 2, Hampshire, PE, C0A 1Y0, [email protected]

CONVENORS Archives - Priscilla King, 25 Edgevalley Way NW, Calgary, AB T3A 4X6, Phone (403) 239-8383, [email protected] By-Laws & Standing Rules - Lorna Wanzel, 6158 Lawrence St., Halifax, NS B3L 1J6, Phone (902) 423-8908, [email protected] Canada Music Week® Convenor - Po Yeh, 18 Strathlea Cres SW, Calgary, AB T3H 5A8, Phone (403) 246-3269, [email protected] The Canadian Music Teacher Editor & Advertising Manager - Alicia Romero, 130 Arbour Ridge Park NW, Calgary, AB T3G 4C5, Phone (403) 208-1739, [email protected] Finance Chair - Lorna Wanzel - 6158 Lawrence St., Halifax, NS B3L 1J6, Phone (902) 423-8908, [email protected] Nominations & Elections - Peggy L’Hoir, Box 727, Biggar, SK S0K 0M0, Ph. (306) 948-5231, Fax (306) 948-3987, [email protected] Special Projects Co-ordinator – Heather Blakley, 611 Addie Cres., Saskatoon, SK S7K 3K6, [email protected] Young Artist National Co-ordinator - Peggy L’Hoir, Box 727, Biggar, SK S0K 0M0, Ph. (306) 948-5231, Fax (306) 948-3987, [email protected] Young Artist Atlantic Co-ordinator - Young Artist Ontario Co-ordinator - Ann Babin, 1153 St. Dunstans Place, Orleans, ON K1C 1Z3, Phone (613) 830-8826, [email protected] Young Artist Western Co-ordinator - Cathy Donahue, Box 7, Perdue, SK S0K 3C0, Phone (306) 237-4790, [email protected] Young Artist BC Co-ordinator - Susan Schleppe, 5938 Cody Pl, Nanaimo, BC V9V 1J7, Phone (250) 756-0664, [email protected] Young Artist Alberta Co-ordinator - Rita Kennedy, 23 Altena Close, Red Deer, AB T4R 3A8, (403) 352-2257, [email protected] Webmaster - Bernadette Bullock, 302 – 550 Berkshire Dr. London, ON N6J 3S2, Phone (519) 471-6051, Fax (519) 471-9126, [email protected] Public Relations and Marketing - Pat Frehlich, 72 Manor Drive, Sherwood Park, AB T8A 0S4 Ph. (780) 467-0779, Fax (780) 417-3149, [email protected] Research and Professional Development - Lorna Wanzel - 6158 Lawrence St., Halifax, NS B3L 1J6, Phone (902) 423-8908, [email protected] Policy and Procedures - Lorna Wanzel - 6158 Lawrence St., Halifax, NS B3L 1J6, Phone (902) 423-8908, [email protected]

PROVINCIAL EXECUTIVE OFFICERS PRESIDENTS British Columbia - Carol Schlosar - 309 Elliot Crescent, Sicamous, BC V0E 2V1, Phone (250) 836-4934, Fax(250) 836-3992, [email protected] Alberta - Joan Milton, 2310 - 22nd Street South, Lethbridge, AB T1K 2K2, Phone (403)327-0012, [email protected] Saskatchewan - Sandra Kerr - 45 Martin Street, Regina, SK S4S 3W4 Phone (306) 584-9547, [email protected] Manitoba - Kerrine Wilson - 568 Scurfield Blvd., Winnipeg R3Y 1R9, Phone (204) 489-5324, [email protected] Ontario - Nancy Hughes, 260 First Ave. East, North Bay, ON P1B 1J8 Phone (705) 476-0439, [email protected]

54 The Canadian Music Teacher - Fall 2009 EXECUTIVE DIRECTORY (cont'd.)

Québec - Lynne Gagne, 16 rue du Fort, Coteau-du-Lac, QC J0P 1B0, (450) 763-0262, [email protected] New Brunswick - Kilby Hume, 4 Wendy Court, Rothesay, NB, E2E 3J3, (506) 847-3277, [email protected] Nova Scotia - Lorna Wanzel, 6158 Lawrence St., Halifax, NS B3L 1J6, Phone (902) 423-8908, [email protected] Newfoundland - Andrea Lane Gardner, 6 Burin Street, St. John’s, NF A1E 3S3, Phone (709) 745 7145, [email protected] Prince Edward Island - Jane Naylor, RR 2, North Wiltshire, PE C0A 1Y0, [email protected]

SECRETARIES British Columbia - Kevin Thompson, 15042 Royal Avenue, White Rock, BC V4B 1L9, Phone (604) 538-2919, Fax (604) 538-2968, [email protected] Alberta - Bev Moore, P.O Box 247 Main, Edmonton, AB T5J 2J1 Phone (780) 554-7682, [email protected] Saskatchewan - Leanne Bowes, 229 Begg Crescent, Saskatoon, SK S7H 4P1, Phone (306) 373-5352, Fax (306) 373-1390, [email protected] Manitoba - Carla Plosz, 818 Oakdale Drive, Winnipeg, MB R3R 3N7, Phone (204) 889-8739, [email protected] Ontario - Ron Spadafore, Box 635, Timmins, ON P4N 7G2, Phone (705) 267-1224, Fax (705) 264-0978, [email protected] Québec - Marie Lassonde, 505-800 Muir, Saint-Laurent, QC H4L 5N5, Phone (514) 495-3648, [email protected] New Brunswick - Doris Sabean, 34 Llangollen Rd, Moncton, NB E1E 3W5, [email protected] Nova Scotia - Michal King, 279 Portland Street, Dartmouth, NS B2Y 1K2,s Phone (902) 466-0325, [email protected] Newfoundland - Catherine Cornick, 34 Circular Rd., St. John’s, NF A1C 2Z1, Phone (709) 726-0826, [email protected] Prince Edward Island - Katherine Murley, 15 Westview Drive, Charlottetown, PEI C1A 3A4, Phone (902) 892-3638, [email protected]

TREASURERS British Columbia - Lois Kerr, #7 - 6179, No. 1 Road, Richmond, BC V7C 1T4, Phone (604) 274-1980, [email protected] Alberta - Bev Moore, P.O Box 247 Main, Edmonton, AB T5J 2J1 Phone (780) 554-7682, [email protected] Saskatchewan -Leanne Bowes, 229 Begg Crescent, Saskatoon, SK S7H 4P1, Phone (306) 373-5352, Fax (306) 373-1390, [email protected] Manitoba - Lisa Hunchack, 178 Thurlby Rd., Winnipeg, MB R2G 2V4, Phone (204) 654-1044, [email protected] Ontario - Nancy Dale, P.O. Box 1639, 58 Shakespeare Ave., Niagara-On-The-Lake, ON L0S 1J0, Phone (905) 468-5639, [email protected] Québec - Thérèse Marcy, 708 Marco Polo, Boucherville, QC J4B 6K7, Phone (450) 655-8552, [email protected] New Brunswick - Jane Bowden, 63 Shore St., Fredericton, NB E3B 1R3, Phone (506) 454-1188, Fax (506) 450-9615, [email protected] Nova Scotia - Nancy Morgan, 31 Grenadier Dr., Dartmouth, NS B2V 2L1, (902) 406-5150, [email protected] Newfoundland - Catherine Cornick, 34 Circular Rd., St. John’s, NF A1C 2Z1, Phone (709) 726-0826, [email protected] Prince Edward Island - D. Melanie Walsh-Fraser, 263 Keppoch Rd., Stratford, PE C1B 2J5, Phone (902) 569-1604, [email protected]

REGISTRARS British Columbia - Susan Olsen, 13088 Huntley Ave., Surrey, BC V3V 6B8, Phone (604) 584-0916, [email protected] Alberta - Bev Moore, P.O Box 247 Main, Edmonton, AB T5J 2J1 Phone (780) 554-7682, [email protected] Saskatchewan - Leanne Bowes, 229 Begg Crescent, Saskatoon, SK S7H 4P1, Phone (306) 373-5352, Fax (306) 373-1390, [email protected] Manitoba - Cathy Dueck, 18 DeJong Cr., Winnipeg, MB R2K 3M1, Phone/Fax (204) 339-6768, [email protected] Ontario - Ron Spadafore, Box 635, Timmins, ON P4N 7G2, Phone (705) 267-1224, Fax (705) 264-0978, [email protected] Québec - Danielle Langevin, #2-336 St. Francis, Chateauguay, QC J6J 1Z3, Phone (450) 691-7800, [email protected] New Brunswick - Mabel Doak, 672 Scully St., Fredericton, NB E3B 1V2, Phone (506) 454-2056, [email protected] Nova Scotia - Kathryn Andrew, 14 Tamerlane Court, Dartmouth, NS B2W 4V3, Phone (902) 435-5751, kathyandrew@ns,sympatico.ca Newfoundland - Catherine Cornick, 34 Circular Rd., St John’s, NF A1C 2Z1, Phone (709) 726-0826, [email protected] Prince Edward Island - Dr. Frances Gray, c/o UPEI Music Department, University of PEI, 530 University Ave., Charlottetown, PE C1A 4P3, Phone (902) 566-0680, [email protected]

PROVINCIAL NEWSLETTER EDITORS British Columbia - Progressions - Dina Pollock, 32908 Bevan Avenue, Abbotsford, BC V2S 1T3, Phone (604) 859-6333, [email protected] Alberta - Tempo - Alicia Romero, 130 Arbour Ridge Park N.W., Calgary, AB T3G 4C5 Phone (403) 208-1739, [email protected] Saskatchewan - OPUS - Gregory Chase, 2200 Halifax Street, Regina, SK S4P 1V2, (306) 761-0277, [email protected] Manitoba - Take Note - Maryanne Rumancik, Box 334, Lorette, MB R0A 0Y0, Phone (204) 878-3901, Fax (204) 878-2332, [email protected] Ontario - Notes - Audrey Jean Wells, 661 Eyre Blvd., Timmins, ON P4N 4Z3, Phone (705) 264-0066, [email protected] Quebec - Musifax - Danielle Langevin, #2-336 St. Francis, Chateauguay, QC J6J 1Z3, Phone (450) 691-7800, [email protected] New Brunswick - The Quarter Note - Xavier Robichaud, 204 Bessborough, Moncton, NB E1E 1R2, Phone (506) 386-3750, [email protected] Nova Scotia and Prince Edward Island - Arabesque - Remi Lefebvre, 1 - 3170 Joseph Howe Dr, Halifax, B3L 4G1, (902) 233 – 6422, [email protected]

Le Professeur de Musique Canadien - Automne 2009 55 Return Address: Cover taken from the Canda Music Week Bernadette Bullock Poster 2009 302 – 550 Berkshire Dr. London, ON N6J 3S2

All opinions are those of the authors and may differ from those of CFMTA. Articles may be reproduced without permission if The Canadian Music Teacher is credited.

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