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Take Note . . .
Manitoba Registered Music Teachers' Association Journal
Volume 11 - Issue 2WINTER - DECEMBER 2014
Take Note Winter 2014 3
PUBLICATION INFORMATIONNext Issue: SPRING 2015Copy Deadline: MAY 1, 2014
Advertising rates: Back Cover $ 60.00 Inside Cover $ 60.00 Full Page $ 50.00 Two Thirds Page $ 40.00 Half Page $ 23.00 Third Page $ 20.00 Quarter Page $ 15.00 Business Card $ 10.00
Circulation: 240The Editor reserves the right to edit submissions. Send all advertising inquiries and material to the editor: [email protected]
Published by the Provincial Council of MRMTA. Any material included with the magazine does not necessarily have the endorsement of the Provincial Council. It is included as a courtesy to our members. Not one word of this magazine may be reproduced without the written consent of the Editor. We are perfectly happy to co-operate, but we don't want quotations to appear out of context.
Contents4 President’s Message
5 MRMTAExecutive2014-2016
6 HellofromtheEditor
7 InMemoriam
8 CalendarofEvents2014-2015
10 YoungArtistConcert
12 CelebratingCanadaMusicWeek® in Winnipeg
13 GetReadytoPerformMRMTATeachers
13 CelebrationofCanadianMusic-Composers&Kids
14 Award Winners
16 FromBritneytoBerio:MyJourneyofSingingandSonicDiscovery
19 Musicthon2015
20 MusicScholarshipSeriesInformation
21 MusicScholarshipEntryForm
22 BringingYogaintotheStudio
22 Pre-DeplomaworkshopwithDr.KarenJensen
23 CFMTA/FCAPMVancouver2015NationalConference
27 BetterLate...andSyncopated
29 PleaseSupportourAdvertisers
v vv vv v
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4 Winter2014 Take Note Take Note Winter 2014 5
thePresident’s
Message
PRESIDENT-TiffanyWilsonh:204488-3325c:[email protected]
PASTPRESIDENT-EleanorLwiwski204-255-3403 [email protected]
VICE-PRESIDENT-ElizabethRotoff204-487-2190 [email protected]
REGISTRAR/TREASURY-AlannaCourtneyh:204-475-7036c:[email protected]
SECRETARY-MaryHawn204-269-6710 [email protected]
COMMUNICATIONSCOORDINATOR-BettiCanning204-253-7744 [email protected]
STUDENTPROGRAMMINGCOORDINATOR-SusanKirton204-599-3243 [email protected]
MEMBERSPROGRAMMINGCOORDINATOR-EleanoreMcLeod204-222-7283 [email protected]
EVENTS/SOCIALCOORDINATOR-GinaWedel204-284-8806 [email protected]
MEMBERATLARGE-LaurelHoward204-779-6226 [email protected]
MRMTA EXECUTIVE 2014 - 2016
BRANDON&WESTMANBRANCH-AnnGermani204-728-7993 [email protected]
SOUTHERNMBBRANCH-WesleyHamm204-822-3095 [email protected] CANADAMUSICWEEK®COORDINATORLeanneHiebert204-284-8581 [email protected]
YOUNGARTISTSCOMPETITIONVirginiaHeinrichs&MichelleLeclerc204-222-5844 [email protected]
PRE-DIPLOMAGROUP–[email protected]
CFMTACOMPOSITIONCOMPETITIONJaneDuerksen204-371-2128janeduerksen@gmail.com
ARCHIVESMurielSmith 204-642-8549 [email protected]
SCHOLARSHIPCOMMITTEE-SusanKirton
PAPERSCHOLARSHIPCOMMITTEEHEAD-EleanorLwiwski
TAKENOTEEDITOR-DinaPollock604-614-3298 [email protected]
W ehavehadaveryeventfulstarttotheyear,beginningwiththeelectiona
wonderfulnewexecutiveattheAnnualGeneralMeeting.I’msoexcitedtohavesuchenthusiasticmembersonboardforthenexttwoyears.Wehavebeenbrainstormingalotofwonderfulnewideasandcan’twaittogetthemstarted.
Septemberstartedthenewseasonwithabigbang…lunchattheSt.CharlesCountryClub,theYoungArtistConcertandourAnnualGeneralMeeting.Specialguest,CharlineFarrell,PresidentoftheCanadianFederationofMusicTeachers,joinedusfortheweekend.ShespokeattheAGMandhadencouragingwordsfortheMRMTAconcerningtheupcomingOneHundredYearcelebrationofourorganizationin2019.ThatwillalsobeaConventionYeartobeheldhereinManitoba.CharlinehadencouragingwordsandhasgenerouslyofferedthattheCFMTAhelpusinanywaypossibleoverthenext5yearsinplanningtheCanadianFederationConvention!ItshouldbementionedthatthesandwichingoftheYoungArtist’sConcertbetweentheluncheonat
theSt.CharlesCountryClubandtheAGMwasasurefirewaytoincreaseattendanceatalloftheevents.Theaudiencewaspleasantlysurprisedandreallyenjoyedtheconcertandtheperformersdidanoutstandingjob.Aspecialthankyougoesouttomemberswhosignedupfortheirvolunteerhoursatthisbigevent.
Novemberwehadtwomoreevents,Workshop#1byMaryHawnIntroducing Yoga in the Music Studio wasverywellattended.Everyonefeltthebenefitofthismorningofmovementandcamaraderie.
CanadaMusicWeek®concertwasafuntimeforallinvolved.Onceagain,Imustmentionthatthevolunteersreallywent
theextramiletomaketheoccasionaspecialone.Theyhadposters,prizes,cakeandevenhonouredcomposersattheconcert.Ittrulywasanexcellentstudentconcert.
ThePre-Diplomagroupisworkingveryhardandpresentingsomegreatworkshopsthisyear.Allmembersareinvitedtoattend,andremember,ifyouhaveastudentstudyinginGr.Xoratdiplomalevel,thisisawonderfulgrouptojoin!MichelleLeclerciscurrentlypresidentofthisgroup.PleasereadherarticlefurtheronintheTakeNoteMagazineabouttheirrecentworkshop.
BIGANNOUNCEMENT!Weareproudtoannounceafundraisingadventureforourmembersinanticipationofthe2019CFMTA/FCAPMConvention.Asyouknow,itwillcostalotforsuchasmallorganizationtohostupto1,000teacherscomingtoWinnipegfromacrossthecountryandwewanttoreallydoagreatjob.So,brushoffyourinstrumentsandtuneupyourvocalchords!May3rd,2015weinviteteacherstodonatetheirtalenttoamegaconcert.Thiswillbeagrand“SERATA”ofItalianmusicandfood!PickyourfavouriteItaliancomposerbeitRossini,Scarlatti,Verdi,Tosti,Morriconeandgetcreative.Chooseyourfavouritecolleaguesandstartplanningduets,trios…..ensembles?Anythinggoes.I’mimaginingalittleSoave il vento triofromCosifantutte!OrVivaldi’sLe quattro stagioni.Dowehave4violinsoloistsreadyfortheperformingofallfourseasons?Anythinggoes!WhynotsomeCinemaParadisomusic,orAndreaBoccelli’spopularItalianclassics!Theliststopsonlywithone’simagination.Starttellingyourstudentsabouttheeventandgetthemhypedup!Thisisafundraiser,solet’sfillthehall.
RespectfullySubmitted,
TiffanyA.Wilson,President
Happy Holidays and Best Wishes from the Executive!
6 Winter2014 Take Note Take Note Winter 2014 7
Hello from the Editor
HAVE YOU MOVED ? CHANGED YOUR EMAIL ?To ensure your Take Note Magazine and the Canadian Music Teacher Magazine is delivered, please update your address with our Provincial Registrar.
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In Memoriam
Lillian Kushniaryk
Member of MRMTA since 1958
1933 - 2014Obituary
3
Faith Reimer
Member of MRMTA since 1977
1944 - 2014Obituary
3
Our thoughts and prayersare with the family and
friends at this difficult time
FAITHCAROLYN(REMPEL)REIMERJuly8,1944-November20,2014FaithReimerpassedawaypeacefully,surroundedbyherfamily.SheissurvivedbyArt,herlovinghusbandof48years,hersonsKelly(NancyJanelle)andKent(Melanie,neePerkins)andgrandson,Weston,allofWinnipeg.
FaithwasborninSaskatoon,thesecondofthreedaughters.In1953thefamilymovedtoSteinbach.Faithalwayshadaloveofmusicandstudiedpianoandmusictheoryfromearlychildhood.SheobtainedherARCTPerformancein1970.Faithdevotedherselftoherstudents,manyofwhomachievedsignificantsuccess.FormanyyearsFaithaccompaniedchoirs,musicalgroups,soloistsandinstrumentalistsincompetitions,examinations,performancesandrecordings.Faithwasveryactiveinchurchmusic,beginninginherearlyyearsandcontinuinguntilherhealthnolongerallowedhertodoso.FaithwasinvolvedinprofessionalorganizationsincludingtheCanadianFederationofMusicTeachers'Associations,theManitobaRegistered
MusicTeachers'AssociationandtheWinnipegBranchofMRMTA,servingaspresidentofboththeMRMTAanditsWinnipegBranch.
Faith'stravellifebeganin1963-1964,whenshestudiedpianoinDetmold,Germany.SheandArttravelledextensivelyinNorthAmericaandvisitedmorethan50countriesonsixcontinents.NothingwasmoreimportanttoFaiththanherfamily.Hersons,KellyandKent,werethefocusofherlifeandshewassopleasedwhentheybroughtNancyandMelintothefamily.TheadditionofgrandsonWestonprovidedimmeasurablejoy.Theloveandcaringwhichtheyprovidedduringtheselastmonthswerevitaltoherremainingcourageous.Faithhadanindomitablespiritthatcarriedherthroughmanyhealthchallenges.Faithfacedherfinaljourneywithcourage,peaceandlovestrengthenedbythemanyprayersoffriendsandfamily.Thefamilywerethebeneficiariesofherspirit.
LILLIANJEANETTEKUSHNIARYK(neeKARPYNKA)1933-2014ItiswithheavyheartsthatweannouncethepeacefulpassingofLillianJeanetteKushniarykatSevenOaksHospitalonSeptember4,2014.LillianwasbornonMarch8,1933inWinnipegtoJulia(Zuk)andTheophilKarpynkaandmarriedErnestKushniarykonAugust13,1966.ShewaspredeceasedbyErnestonAugust26,2009after43happyyearstogether.LefttolovinglyrememberLillianareherdaughterLisa,son-in-lawKenandgrandsonAriHansen.Lillian'smemoryalsowillbecherishedbyhersisterJeanette(Keith)Dryburgh,nephewScott(Wendy)DryburghandtheirsonRory,nephewPatrick(Leslie)DryburghandtheirchildrenLeah,HaileyandAlec,andotherrelativesandfriendsinCanada,U.S.A.andUkraine.
Lillianwasadistinguishedmusician,pianist,accompanistforsingersandviolinistsfromWinnipegandothercenters,ateacherofpiano,voiceand
musictheory,examiner,adjudicatorandworkshopclinician.AfterreceivingARCTdegreesinbothpianoandvoicefromtheRoyalConservatoryofToronto,sheattainedthedegreeofLRSMinpianofromtheRoyalSchoolsofLondon,EnglandandaCertificateinGroupPianoTeachingfromtheCanadianBureauoftheAdvancementofMusicinToronto.Duringthecourseofhermusicaleducation,LillianstudiedpianowithBorisRoubakine(Toronto)andSoniaEckhardt-Gramatté(Winnipeg)andvoicewithNinaDempsey(Winnipeg)andGladysWhitehead(Winnipeg).Shetaughtpianoandvoiceprivatelyinherhomeformanyyearsandinfluencedmanystudents;someofwhichstillkeptintouchtothepresentdayandalsomadetheircareersinmusic.Lillianwasveryactiveinthemusiccommunityandwaspast-presidentoftheWinnipegbranchesforeachoftheManitobaRegisteredMusicTeachers'AssociationandtheTorontoConservatoryAlumni.
Hellotoeveryone,
IcannotbelieveitisalmostChristmas,whereisthetimegoing.ItmustmeanIenjoywhatIdo-andIdo.
Wemusthaveonethebestjobs,spendingtimewithamazingstudents(youngandold).Eachweekwegetthegiftofseeingintosomeone'slifeandknowthatwemakeadifference.Iwouldliketosharesomethingwithyou-Ihadlunchwithanoldstudentofmineafewweeksago.Whenshestartedwithmeshewasingrade11school,grade9piano-ateenager-andapowerfulpersonality-andabitstubborn(andIusethewordstubborngenerously).Wehadadifficulttime,atalentedstudentbutwantedtoplaythepianoherway(whichwasnotalwaysthecorrectway)andIcomplained,andnaggedandtriedtogethertoseethingsinadifferentwayandmaybeeventry
somethingnew.Longstoryshort-itwasahardtwoyears.
Soatlunchwearetalkingaboutnothinginparticularandthenshestartstotalkaboutherlessonsandthethreeteachersshehad.Iwasthethird.ShesaidthatIwastheonlyteachersheremembersthatmadeherdothe'hard'stuff-fingering,countingandaddingthelittledetailsandshefeltImusthaveseensomethinginhertobesopicky.Shewantedtothankmeforpushinghertotryharderandtrynewthings.ShenowrealizesthatIcaredaboutherandwantedonlythebest.Iwassotouchedandalmostintears-thisiswhyweteach.Whywespendsolonglearningandrefiningourcraft.WhyIstayteaching.
SinceIamfromBCandpartoftheconfernececommittee,Iwouldinviteyoutocheckoutthewebsite.
www.cfmtavancouver2015.com
Wehavetheaddedthefirstroundofselectedworkshops(moretocome).Moreinformationwillbepostedasitbecomesconfirmed.Onlineregistrationisavailable.
Ifyouhaveanyquestions,pleaseletmeknow.
PleaseenjoythisissueofTakeNoteisfullofinformationandevents.
Haveasafeandhappyholiday.Allthebesttoyouandyourfamiliesin2015
DinaPollock
8 Winter2014 Take Note Take Note Winter 2014 9
JANUARY 18, 2015 Workshop #2Topic:Encouragingperformerstotellstoriesthroughsongbyexploringcharacter,motivation,andopinion!
Clinician:MelanieWhyteDate:January18,2015Time2:30-4:30Place:TBACost:Members-$5,Non-Members-$10Contact:[email protected] 204-488-3325
“Howcanwehelpourstudentstomorefreelyexpressthemselvesthroughsonginterpretation?Howcanweencouragethemtobringtheirownindividualitytotheirperformances?JoinusonSaturday,January18th,between2:30and4:30pm,foraworkshopaboutactinginsongforteachersofsingers.MelanieWhytewillshareideasabouthowtoencourageperformerstotellstoriesthroughsongbyexploringcharacter,motivation,andopinion.MelanieWhyteisasingingteacherandactorwholovestoworkwithstudentsofallagesandstagesandinmanysingingstyles.”Amaximumof8studentsareinvitedtoparticipateinthisworkshop.Thereisnofeetothestudent.PleaseregisternolaterthanJanuary10thifyouwishtoinvolveoneofyourstudents.Thisisonafirstcomefirstservebasis.StudentsofallagesarewelcometoapplyforthiswonderfulopportunitytoworkwithMelanie.
JANUARY 25, 2015 Pre-Diploma Workshop #2Feldenkrais Method OnJanuary25th,thePre-DiplomaGroupwillhaveaworkshopwithColinMehmel,GuildCertifiedpractitioneroftheFeldenkraisMethod.MrMehmelcurrentlyteachesclarinetandFeldenkraisattheManitobaConservatoryofMusicandArtandatthePrepStudiesDivisionoftheFacultyofMusicattheUniversityofManitoba. FeldenkraisMethodisatechniquetodeveloptheawarenessofthebodymovement.Whenyouapplyittoplayingamusicinstrumentorsinging,youcanimproveyourperformance.Youcouldalsolearntodealwithinjuries,andavoidtheminthefuture.AllmembersofMRMTAarewelcome! January25th2015at2:00pm Host:EleanorLwiwski 86ShoreviewBay Winnipeg Contact:MicheleLeclercat204-253-1310 [email protected] or EleanorLwiwskiat204-255-3403 [email protected]
FEBRUARY 6 - 8, 2015 MUSICTHON at the Forks AtriumContact:GinaWedel [email protected] 204-284-8806
MARCH 1, 2015 Membership Fees dueAlannaCourtney [email protected] 204-479-9597
MARCH 1, 2015 Paper Scholarship Applications dueEleonorLwiwski [email protected] 204-255-3403
APRIL 1, 2015 Take Note MagazineDeadlinefortheSpringissueContact:DinaPollock [email protected]
APRIL 8 – 10, 2015 Scholarship Competition auditions SterlingMennoniteFellowship1008DakotaSt.Winnipeg,MB APRIL 12, 2015 Scholarship Gala ConcertSterlingMennoniteFellowship1008DakotaSt.Winnipeg,MB
MAY 1, 2015 Holtby Scholarship applications dueSendto:MRMTAPresident:TiffanyA.Wilson 621SouthDrive, Winnipeg,MBR3T0C1 [email protected] 204-488-3325
Calendar of Events 2014 - 2015
MAY 3, 2015An Evening of Italian DelightsFundraiserfortheCFMTANationalConference2019.Contact:ElizabethRotoff 204-487-2190 [email protected]
JUNE 21, 20152nd Annual “WINE-UP”ForallMRMTAmembersandsignificantothersHostedbyyourMRMTAExecutiveandPresident,TiffanyWilsonLocation:621SouthDrive,WinnipegTime:3pm-5pmContact:TiffanyA.Wilson [email protected] 204-488-3325
JULY 8 – 11, 2015 CFMTA/FCAPM Conference Thebi-annualconferenceisinVancouver,B.C.thisyear.Website:cfmtavancouver2015.com •Moreinformationonpage23
TheOrville J. Derraugh Memorial Scholarship Recital
Wednesday, May 13, 20157:30 pm
Westminster United ChurchWestminster and Maryland
Free AdmissionPost Recital Reception
Donations acceptedcall - 204.668.3704
. . . a couple of photos from the AGM
10 Winter 2014 Take Note
T heYoungArtistSeriesWesternTour2014wasinWinnipegonSeptember28thwithtwo
youngsingers,AllisonWalmsley,Soprano,andLindsayGable,Mezzo-Soprano.Yes,wehadtwowinnersthisyear!Sincetheadjudicatorcouldnotchoosebetweenthesetwoyoungtalents,hedecidedtonamethembothYoungArtistwinners.Andassoonaswehaveheardthem,weknewwhyhemadethatdecision...VirginiaHeinrichsintroducedthemasa"DoubleDelight",andsoitwas! Theprogrampresentedavarietyofpieces,fromBachtoRobertFleming,fromMozarttoChaussonorfromShumanntoZemlinsky...contrastandemotions,sometimesinsolos,sometimesinduets.Thetwovoicesweremadeforeachotherandblendedperfectlyintheduets.Butthetwosingersalsoshowedtheirindividualtalentintheirsolos,inabeautifulperformance.KathleenLohrenzGableaccompaniedthematthepiano,withamazingandsensitiveplaying.TheSt-CharlesClubofferedaniceenvironmentforthisdelightfulconcert.ThankyoutoCathyDonahue,WesternYoungArtistConvener,andtoIrmaKonrad,WinnipegYoungArtistConvener,aswellastoallmembersoftheMRMTAexecutivewhomadethiseventasuccess.Wecouldcountthirty-fourMRMTAmembersandtheirguestsintheaudience. MicheleLeclerc WinnipegYoungArtistAssistant-Convener
YOUNG ARTIST CONCERT
SCHOOL OF MUSIC
» Bachelor of Music
» Bachelor of Arts (Music)
» Bachelor of Music Therapy
DifferenceHear the
Canadian Mennonite University School of Music degree programs:
Lindsay Gable
Allison Walmsley
12 Winter 2014 Take Note Take Note Winter 2014 13
A grandcelebrationof30variousCanadianworkstookplaceontheafternoonofSundayNovember
16thtokickoffCanadaMusicWeek®.ThevenuewasFortGarryMennoniteFellowshipChurchinFortRichmondwherealovelyrecitalwasfollowedbyareception,rewardingtheyoungplayersandsingerswithcake!
TwoManitobancomposers,RemiBouchard,andJulianneWarkentinDickwereinattendance,withMr.Bouchard’snephewEdwinToddpaintingabeautifulandhauntingpictureofhispianopieceentitledThe Gray Wolf.RemiBouchard’sVariations on an Icelandic Air wasartfullyplayedbyAngelaNgandtwopiecesofJulianneWarkentinDickwereperformed(Black Panther and Snow Stomp).OthercomposersfromManitobawhoseworkswererepresentedincludedMaryanneRumancik(Fireworks),Dr.KennethNichols(Helen’sWaltz),andTiffanyProchera(Doodly Doo).
Fourbuddingyoungcomposersalsosharedtheirowncompositionswhichwereallveryuniqueandofferedsomewonderfulpopandjazzinfluences.ThankyoutotheeleventeachersfromtheMRMTAwhopreparedtheirstudentssowellandtotheteamofvolunteersthatmadethisrecitalasuccess!IthinkweallwenthomeinspiredtoexploremoreCanadianworks,inparticularthosefromManitoba!!
Thankssomuchfortheteameffort,MRMTAmembers,inparticular:LaureenReeds,JulianneWarkentinDick,EleanorLwiwski,TiffanyWilson,VivianKlosse,AudreyBelyea,PetraandChristina(singerandvolunteer!)Thanisch-Smith,andallthosewhoattendedandsupportedtheevent.
LeanneHiebert
Celebrating Canada Music Week® in Winnipeg
T he9thAnnualComposers&KidseventonSaturday,October18,2014inBoissevain,Manitoba
wasahugesuccess!OurvisitingcomposerthisyearwasKarenRowell–atalentedandgiftedcomposerfromLondon,Ontario.Kareninspiredandencouragedapproximately40students.Herenthusiasmwasevidencedbysmilesallaround.Itwasanexcitingopportunityforlocalstudentstoperformoneofthecomposer’spiecesforher.TherewasevenanEnsemblesessioninwhichstudentswereabletoperformsomeofKaren’snumerousduetsandtriocompositions.Shegraciouslyposedforpictures,signedautographsandansweredquestions.
Celebration of Canadian Music Composers & Kids
Kiersten Harper & Karen Rowell
Vivan Klosse and Laureen Reeds
ManyofKaren’spianocompositionsforstudentsarepublishedintheNorthern LightsCanadianPianoseries.
Forstudents,parents,grandparentsandteachersitwasadayofsharingideasandtheirloveofmusicwithKaren-wonderfulmusicalmemoriesthatwilllastalifetime!
Composers&KidsisaCNCM[CanadianNationalConservatoryofMusic]eventwhichpromotesconnectingCanadiancomposerswithCanadianstudentsacrossthecountry.
ParticipatingteachersfortheBoissevainevent:DiannaNeufeld[RMT]DaleWhetterJo-AnneNeufeldLaraMason[RMT]TenleyDyck[RMT]
I n2019WinnipegistohosttheCFMTA/FCAPMNationalConference.Asafundraiser
forthishugeendeavour,theMRMTAwillbehostingaTeachers’Showcaseconcertannuallyupuntiltheconference.
Thefirstconcertintheserieswillbe“SERATA–AnEveningofItalianDelights,featuringteachersoftheMRMTA”.
GET READY TO PERFORM MRMTA TEACHERS!
ThiswilltakeplaceontheeveningofSunday,May3rdat7:00pm.
Weareaskingallteacherstocomeforwardtoperformatthisevent–solos,duetsorensemblesareallwelcome.BrushoffyourRossini,Scarlatti,Paganini,etc.andjoinus.Thisistobeagalaeventtowhichyoucaninviteallyourstudentsandtheirparentstoseeyouperform.Helpusmakeithappen!
ContactElizabethRotoff 204-487-2190 [email protected] byFebruary1,2015withyourintenttoparticipate(repertoiretobeperformedwillberequestedatalaterdate).
14 Winter 2014 Take Note Take Note Winter 2014 15
Award winnersRCMGOLDMEDALISTS EricaFriesen-PreparatoryB NicoleShen-Grade9 SerenaWalker-ElementaryPianoPedagogy
CNCMSILVERMEDALISTS ElenaNeufeld-IntroductoryPiano
CFMTA/FCAPMESSAYCOMPETITION AugustaRedekop-HighSchool
CongratulationtoErica Friesen uponbeingaGoldMedalWinner!EricaearnedthisinthePreparatoryBPianolevel.IthasbeenagreathonortoteachEricaandtocelebratewithherandherfamilyattheGoldMedalGalaCeremony.Ericaisadedicatedstudentwhoisquicktoaskquestionstofullyunderstandhowtoperformeachpiece.EvenatheryoungageIwoulddescribeherasself-motivated,focused,andtalented.CongratulationsEricainachievingthishighstandard.
SubmittedbyyourteacherLisaPenner
JacquelineRyzandpianostudentNicole Shen in WinnipegonSundayNov23attheWinnipegArtGallery,whichhoststheRCMGoldMedalCeremony.Nicolereceivedamedalforgrade9piano,andalsoperformedattheceremony.
Nicoleis13yearsold,isingr10pianoandgr4flute,andalsoenjoysbeingonthespeedswimmingteamfortheUofMBisonsswimteam.
IwascompletelysurprisedandpleasedtoreceivethegoldmedalforElementaryPianoPedagogy.IamsothankfulformyamazingteacherBarbaraCornishwhohasbeeninstrumentalinmyjourney.MyGrandmaandmyAuntarealsopianoteacherswhohaveinspiredme.IamexcitedtocontinueonwithIntermediatePianoPedagogy!TeachingbringsmealotofjoyandIamexcitedtobringthejoyofmusictoothers!
Serena Walker
CNCMANNOUNCES2013-14SILVERMEDALISTS
NorthernLightsCanadianNationalConservatoryofMusicispleasedtoannouncethatElena Neufeld,fromMargaret,MB(teacher-TenleyDyck),istherecipientoftheSilverMedalforIntroductorylevelPianoforthehighestmarkacrossCanada.ElenawillalsoreceiveascholarshiptoattendCNCM’sSummerSizzleKeyboardKamp2015inMountForest,ONnextJuly,whereSilverMedalsforallgradelevelswillbeawarded.
CongratulationsElena!
MANITOBANSTUDENT’SJOURNEYINVOCALDISCOVERYWINSNATIONALAWARDS
CongratulationstoWinnipegvoicestudentAugusta RedekopforwinningtheCFTMANationalEssayWritingCompetition!AugustawonfirstprizeintheHighSchoolCategoryforheressay“FromBritneytoBerio:MyJourneyofSingingandSonicDiscovery.”Thismulti-talentedstudentwasawarded$500withheressayprintedinTheCanadianMusicTeacherMagazine’sFall2014issue(andisincludedinthisissue).
AugustaalsorecentlyfoundoutshewillbereceivingboththeMedalofExcellenceforhigheststandinginManitobaforherLevel6ContemporaryIdiomsVoiceexam(Teacher-KellyRobinson),aswellastheMedalofExcellenceforhigheststandinginTheory2(Teacher-AlannaCourtney)duringtheupcomingConservatoryCanadaawardsrecitalbeingheldinWinnipegthisFebruary.
AugustaRedekopisnowinherseventhyearofvoicestudieswithMRMTAmember,KellyRobinson.
BravaAugusta!
www.cncm.ca
16 Winter 2014 Take Note Take Note Winter 2014 17
F oraslongasIcanremember,musichasbeenahugepartofmylife.Ihaveearlymemories
oflisteningtomydad’soldalbumsanddancinginourlivingroom.MyfatherplaysbanjoandIrememberhearinghimpluckingoutbluegrasstunesonadailybasis.BothmyparentsencouragedmybrotherandItotakeguitarandpianolessons,respectively,which,althoughdreaded,kickstartedourlivesasmusicians.IsoondiscoveredmyloveforsingingandhavememoriesofjammingouttoBritneySpears’“HitMeBabyOneMoreTime”.AsIgotolderandwenttoschool,Iencounteredtheold“Whatdoyouwanttobewhenyougrowup”question.IrememberbeingcompletelyshockedhearingofotherkidswantingtobevetsorscientistsbecauseIalwaysthoughteveryonewantedtobeafamoussingerjustlikeIdid.I’velearned,sincethen,thatthere’salotmoretobeingamusicianthenjustbeingabletosingorbeingrichandfamous.Musicisasubjectwithsomuchdepthandsomanylayers,andstrivingforsuccessinthefieldisalonganddifficultprocess.Overtheyears,I’velearnedhowtohonemyvoiceasmyinstrument,aboutthehistoryofmusicfromthemedievaleraallthewaytomodernmusic,andaboutthetheoryofmusic.Thoughmycareergoalshavechangedmultipletimesovertheyears,myloveformusicandperforminghasonlygrown.IstillsingasmuchasIdidwhenIwasalittlekid,butnowIknowwhatI’msingingandhowtodosoinahealthyandexpressiveway.
Duringelementaryschool,Isangallthetime.IwouldsinginclasswhiledoingworkandwhileIwasoutonpatrol.I’dbebeltingouttunesbetweenhelpinglittlechildrencrossthestreet.Everythingchangedingrade7onceIstartedtakingvoicelessonswithateachermyunclesuggestedtous.Iwentfromviewingsingingassomethingthatjusthappened(usuallyquiteloudly)tosomethingtoworkonandimprove,somethingIwouldgetbetterandbetteratcontrollingtocreatethesoundthatIwanted.Mybodyhasbecomemorethanjustavesselforseeminglyrandomsoundtocomeoutof.Myvoicehasbecomeaslegitimateaninstrumentasaclarinetorviolin.Inlessons,whileplayingtheirinstruments,musicianslearnhowtoholdtheirinstrument,howbesttopositiontheirfingersormouthstogetanicetone,andtobeabletoproducethenotestheywant.Thesameistrueforsingers,exceptourinstrumentsarenotextensionsofourbodies,butareinsideofourbodiesinstead.Inmyvoicelessons,Ilearnedhowtobreathelow,andhowtokeepmythroatopen.Ilearnedwaystomoreeasilyallowmybreathtoescapefrommybodytoproducefullersounds.Whenthinkingofsoundpassingthroughmythroat,keepingspaceinthebackofmymouthmadesenserightaway.ButIalsolearnedthatthingslikenotlockingmykneesandthepositionofmytongueaffectthesoundIamabletoproduce.Ihavehyperextendedknees,andIneverknewbeforemylessonsthat
theywereinhibitingmyabilitytoproduceahealthyvocalsound.WhenIunlockedmyknees,Iwasabletobreathelower,torelaxdeeperintomybody,andsingmorecomfortably.Duringoneofmyfirstlessons,myteacheraskedmetosingwithmytongueout,andIthoughtshewasalittlebitnuts!Butshesoonshowedmethatwhenyousingwithyourtonguefurtherbackinthethroat,thevocalboxbecomesconstrictedfromthepressureplaceduponit.Bystickingyourtongueout,thepressureisremovedfromthevocalallowingahealthiersound.Takingvocallessons,IrealizedthereweresomanydifferentpartsofmybodythatIdidn’tknowcouldaffecteachotherthewaytheydo.Ilearnednotonlyabouthowtosingproperly,butalsoaboutthefunctionsofmybodyandtheinterconnectednessofmymovements.Aftertakingvoicelessonsforacoupleofyearsandlearninghowtohonemysound,IstartedtakingacoursecalledI.B.musictolearnmoreaboutthehistoryofmusic.
InI.B.music,Ilearnedthehistoryofmusicandsomeofthetheorythatwentalongwithit.IlearnedaboutGregorianchantsandhowtowriteacantusfirmus,whichhelpedmewithothercompositionsasIlearnedhowtocreateamelodylinewithenoughjumpsandstepstobeinteresting,butnottoodisjointed.Ilearnedaboutthehistoryofharmonyandthedifferencebetweensecularandsacredmusic.IlearnedthatBaroquemusichasthe
From Britney to Berio:My Journey of Singing and Sonic Discovery
distinctuseofharpsichord,trillsandterraceddynamics.Ialsolearnedhowtoanalyzeclassicalmusicandaboutthepullbetweenthedominantandtonicchords.I.B.Musicopeneduptheworldofmusictomeimmensely.IheardmusicImightneverhadheardotherwise,suchasmadrigalsandBulgarian’swomenchoirs.IalsolearnedhowthemusicIlovedtodaycametobe.ItwasinterestingtolearnthattheIIVandVchordswereusedinclassicalmusicaswellasinpopmusictodayandaboutthefirstpragmaticsymphony.MysecondyearofI.B.music,westartedlearningabout20thcenturymusic,whichIhadaparticularinterestin.IlovedhearingtheblurredoutlinesofDebussy’simpressionisticmusicandwhenIheardaboutthemathematicalcompositionofserialmusicforthefirsttime,Igotsoexcited.Iremembergoingaroundschoolandtellingmyfriendsaboutthewaythenotesbecamenumberedpattern,whichcouldbemovedupanddown,writtenbackwardsandeveninverted.Ialsolovedminimalandavant-gardemusic.LucianoBerio’ssequenzaforfemalevoicecompletelymesmerizedmeandIlovedhearingtheamazingwaythatmyinstrumentcouldbeused.Itwasalsointerestingtohearaboutcomposers’livesandthewaytheylived.LearningthatcomposersusedtohavetowritespecificallyforKingsandtheonlywaytomakemoneywastocatertothewhimsofroyaltyreallyputmusictodayinperspective.Thelackoffreedomthesecomposershadmademefeelincreasinglygratefulfor
thefreedomweallhaveasmusicianspresently.Althoughitmaynotbethemostlucrativebusiness,musichasbecomeawaytomakealivingjustasanythingelse.AndwiththeinventionoftheInternetmusicsharinghasbecomeeasierandmoregenresarebecomingmoreandmorewidelyaccepted.Whilelearningthehistoryofmusicwasgreat,IrealizedthatIreallydon’tknowallthatmuchaboutmusictheory.
Idecidedthisyeartotakeavoiceexamandalongwiththepracticalsectionoftheexam,Iamrequiredtowriteatheorysectionoftheexam.SoIhavebeenlearningmoreabouttheory:thedifferentintervals,thewaynotesfallonthestaves,howtoidentifymusicaltraitsfromlookingatscores,thatsortofthing.AndbystudyingtheoryIhavebecomeamazedbythefactthatcirclesonapagecanbetransformedintobeautifulsymphoniesandprettysongs.ThefactthatIamworkingtowardsbeingabletoseeanoteonapageandproduceitfrommyvoiceisveryexcitinganditkeepsmegoingwhendoingtheoryexercisescanbeabitdull.Althoughtheexercisesmaynotalwaysbethemostenticingactivityonasunnyafternoon,theknowledgeI’mgainingfromthemfillswhilesinginginagroupandlookatthepageinfrontofmeandrealizethat’sexactlywhatit’ssupposedtosoundlikeisnotonlyinvigoratingbutalsoveryhelpful.Myjourneythroughlearningtheoryisnotvery
faralong,butI’mlookingforwardtobecomingmoreeducatedaboutthewaymusicisstructuredandhowmelodiesthatonlyexistasthoughtscanbeexpressedonpaper.ThewayIseeit,learningmusictheoryisabitlikelearningtowrite.It’slikethekindergartenofthemusicworld,essentialinordertobeabletoreadandwritemoreadvancedpieces.Withouthavingknowledgeoftheory,makingmusicislikebeingabletoformwordswithoutknowinghowthey’respelled.
Sure,communicationispossiblewithoutbeingabletoread,butbeingliterate,inalanguagesuchasEnglishorSpanish,orinmusic,alanguageinitsveryownright,canopenupahugeworldofopportunity.Withmusicalliteracy,theworldsandideasofsomanycomposersbecomeavailabletoexplore,andsharingonesownideasbecomesmucheasier.Theoryisanecessaryaspectofmusicandinordertobeabletopushboundariesinmusic,onemustfirstcompletelyunderstandandknowthebasicswhichI’mfindingmyselfgoingbackto.
AlthoughI’vebeenlearningaboutmusicformanyyearsIknowthatIhavealongwaytogo.Myjourneythroughmusicisreallyjuststarting.I’mbeginningtoscratchthesurfaceoftheworldofmusicandI’mlookingforwardtodiscoveringmoreofthiswonderfuluniverse.Myability
18 Winter 2014 Take Note Take Note Winter 2014 19
tocommunicateandunderstandmusicwillexpandwithmoretheorylessons,myknowledgeofmusichistorybroadentolearningofthesoundsofotherpartsoftheworld,andmyawarenessofmybodyasamusicalinstrumentwillincreasewithmorevocallessons.Musicisamagicallanguageasuniversalasbodylanguage;weareabletopickuponemotionsexpressedinmusicaseasilyasthoseexpressedonourfaces.Wecanhearjoyinswellingmelodylinesjustaswecanpickuponhappinessfoundinopensmiles.AsIbecomeawareoftherichwellofmusicI’veyettodiscover,Ihopetochangeandgrowwiththenewdevelopmentsofmusicastheyoccur.
Augusta has been singing all of her life and has been taking vocal lessons with the extraordinary Kelly Robinson for the past six years. Augusta has been in six different musicals since 2011, including the controversial Winnipeg Fringe Theatre Festival show Lies of a Promiscuous Woman, and has played many roles at Manitoba Theatre for Young people including Little Red Riding Hood in Into the Woods and Katisha in The Hot Mikado. As an active member of the Winnipeg music scene, Augusta has won two scholarships in the Winnipeg Music Festival for her duo and trio work, and is in a folk duo, an all-girl punk band, and an eight-piece art rock band. This fall, Augusta will be taking university theatre courses in order to round out her musical theatre performance ability as well as private vocal lessons to continue honing her singing skills.
From Britney to Berio:My Journey of Singing and Sonic Discovery - cont.
Congratulations to all the winners,
their supportive families
and their hard working teachers
to a job well done !
The Musicthon is just three months away and it is our 25th year! We will again be having this event at the Forks Market, a wonderful location to advertise our studios and show off our talented students! We want continual music throughout the weekend so book your times now! Use the time for your studio recital, prep for exams and festival, or just as another place for performance experience….the time can be used at your discretion! Let’s see if we can get a record attendance of performers and raise a record amount of money at this year’s event!
Pledge forms can be found on the MRMTA website (www.mrmta.org) under Calendar of Events - Upcoming - Variety. You may print as many pledge forms as you need from there!
Please contact Gina Wedel to book your time(s)[email protected] or 204-284-8806
20 Winter 2014 Take Note Take Note Winter 2014 21
CLOSING DATE: 15 DECEMBER 2014
COMPETITOR’S NAME _____________________________________ TELEPHONE: _______________
ADDRESS: ____________________________________________ EMAIL________________________
INSTRUMENT: _________________BIRTH DATE __________________________________________
LEVEL (Circle One): JUNIOR INTERMEDIATE SENIOR ADVANCED
TEACHER’S NAME: __________________________________TELEPHONE: _____________________
ADDRESS: ____________________________________________POSTAL CODE: ________________
TEACHER’S SIGNATURE: ____________________________________ EMAIL___________________________
MUSICAL SELECTIONS: Please refer to the 2015 Music Scholarship Series Syllabus for repertoire requirements. When completing the repertoire list, please print your selections in the order they will be performed in your program. Circle the selection that you would like to perform in the Gala Concert if given the opportunity as a scholarship winner.
EACH SCHOLARSHIP WINNER MUST PERFORM IN THE GALA CONCERT OR FORFEIT THE SCHOLARSHIP
SELECTION CHANGES CANNOT BE MADE AFTER SUBMISSION OF THIS APPLICATION.
TITLE COMPOSER TIMING SYLLABUS PAGE #
1.
2.
3.
4.
5.
6.
7.
. Mail or drop off completed entry form to Somar Kenny, 322 Greenwood Ave. Wpg, MB. R2M 4J6
Please email any questions to the convener [email protected]
Manitoba Registered Music Teachers’ Association
Music Scholarship Series 2015
APPLICATION FORM FOR ALL LEVELS
Manitoba Registered Music Teachers’
Association
MUSIC SCHOLARSHIP SERIES
Overview The Music Scholarship Series was inaugurated in 1948 through the Winnipeg Branch of the Manitoba Registered Music Teachers’ Association. For over sixty years the competition has provided performance opportunities for developing musicians, constructive adjudication from esteemed music professionals and financial awards. In 2011 administration of the competition became the responsibility of the Provincial Executive. The change in dynamics within the Manitoba music teachers’ community compelled the MRMTA to review the value of the scholarship series. The priorities included raising the profile of the competition, making it inclusive, accessible and fiscally viable. The restructured scholarship series allows for the addition of new competitions in the future. Changes in repertoire requirements for the most advanced piano and voice competitors now mirror those set by CMFTA for the National Competitions. All advanced students competing in this scholarship series should be aiming to compete at the National Competition. It is an opportunity to travel to a new destination, to grow a professional network, to perform for an international audience, to be adjudicated by some of Canada’s most influential musicians, and to compete for additional financial awards. For information on the CFMTA National Competitions go to their website www.cfmta.org and click on the link to Programs and Competitions. For all information regarding the MRMTA Scholarship Series, visit the MRMTA website at www.mrmta.org and click on the link to the Scholarship Series.
22 Winter 2014 Take Note
Workshop#1ManitobaRegisteredMusicTeachersAssoc.Tuesday,Nov.4,2014Clinician:MaryHawnReviewer:EleanoreMcLeod
OnNovember23rd,wehadaveryinterestingworkshoporganizedbythePre-DiplomaGroupofMRMTA.Ourguestclinician,DrKarenJensen,fromtheUniversityofManitoba,presentedaworkshopaboutthebreakthroughsandthelearningprocess.Inherpresentation,sheexplainedhowourbrainusestwodifferentlevelsofattention,consciousandsubconscious,andhowwecanmaximizethemanagementofthesetwokindsofattentioninourlearningprocess.
Actually,whenyoumanageyourattentionefficiently,youcouldimproveyourlearningandyourperformanceinpublic.And,ofcourse,asteachers,wecouldhelpourstudentsintheirlearningbyguidingthemwiththeappropriatesupport.Whenistherighttimetosaytoyourstudent“nowplayitagainbutthistime,justletgo”?Werealisedthatmostofusdoittoolateinthelearningprocess,whenthepieceisalmostalllearnedandsometimesevenmemorized.The“letgo”,or
thesubconsciouslevel,couldbeusedthefirstdayyoulearnanewpiece,alteringbetweenthefocus(conscious)andthe“letgo”.Itcouldbeusedalsoatanypointwhenyoufeelablockinthelearningprocess,toopenthemind. ThankyoutoDrJensenforthisgreatworkshop!Someofherworkwillbepublishedinthe“JournalofSinging”ofDecember2015andJanuary2016,ifyouwishtoknowmoreaboutit. ItwasarealpleasuretoinviteheratourPre-Diplomameeting!
Pathways to . . . Collaboration - Performance - WellnessCFMTA/FCAPM Vancouver 2015 National Conference
Sara Davis Buechner Janet Scott HoytJames Parker
July 8 - 11, 2015 Vancouver B.C. Canada
Welcoming all members to Vancouver
Early Bird Deadline is January 31, 2015www.cfmtavancouver2015.com
CANADIAN FEDERATION OF MUSIC TEACHERS’ ASSOCIATIONSFÉDÉRATION CANADIENNE DES ASSOCIATIONS DES PROFESSEURS DE MUSIQUE
Bringing Yoga into the Studio
Inyoga,thereisanawarenessofourbreath,postureandintentions.Weworktowardbalance,alignment,focusandconcentration.Inmusicwedothesamething.
Theworkshoptaughtusmanywaysofstretching,movingandbreathing.Asapianist,itisalltooeasytoslouchat
thepiano,orevenforgettobreatheconsistentlywhileconcentratingintentlyontherepertoire.Welearnedspecificexercisesfortheback,upperandlower,whichwillhelptoeasetensionintheseareas.Theheadpivotsalsohelptoreleasetensionintheneck.Gentlestretcheshelped
tokeeptheshouldersopenandsupportedbytheribcage.Singerswillsurelyfindthesesuggestionswillenhancethepostureandbreathingtheyarealreadylearning.
Theworkshopwaswellattendedandeveryoneseemedtoenjoythephysicalnatureoftheexercises!
PRE-DIPLOMA WORKSHOP WITH DR KAREN JENSEN
MicheleLeclerc PresidentofPre-DiplomaGroupofMRMTA
24 Winter 2014 Take Note Take Note Winter 2014 25
July 8 - 11, 2015Sheraton Vancouver Airport Hotel
7551 Westminster Hwy - Richmond, BC604 - 273 - 7878
• Piano Competition • Workshops • Trade Show • Meals & Gala Banquet
Rooms starting at $ 149 Mention CFMTA/FCAPM Conference 2015 to get reduced rate
Take the pathway through the park to our other venue. . .
Gateway Theatre6500 Gilbert Road - Richmond, BC - Venue for our Opening Night Gala
CONFERENCE PRICES Registration rates will be the same for members of CFMTA/FCAPM and MTNA
All full Conference packages include3 breakfasts (Thursday, Friday, Saturday) - 1 lunch (Friday) and coffee breaks
Please note - Banquet ticket and CFMTA/FCAPM Lunch are not included with Conference package.
CFMTA/FCAPM MTNA Non Members Members Students
Register before Jan 31 $ 349 $ 399 $ 299Register Feb 1 - Mar 31 $ 379 $ 429 $ 329Register Apr 1 - May 31 $ 409 $ 459 $ 359Register after June 1 $ 439 $ 489 $ 389
DAY PASSES A ticket to the Opening Night Gala is included with each Day Pass
Thursday only $ 159 All events including BreakfastFriday only $ 199 All events including Breakfast and LunchSaturday (half day only) $ 89 All events including Breakfast
SINGLE TICKETS ADULTS STUDENTS/SENIORS
Opening Night Gala (Wed) $ 20 $ 15Piano Competition Semi-Finals (Thur) $ 20 $ 15 CFMTA/FCAPM Lunch - Information Session (Thur) $ 25 $ 25Piano Competition Finals (Fri) $ 25 $ 20Gala Banquet & Entertainment (Sat) $ 69 $ 69
www.cfmtavancouver2015.com
First Name
Last Name
Address
City
Province/State
Postal Code/Zip Code
Country
Telephone
Would you like to be sent Conference updates by email - Yes / No
Registration Type: (please circle below) (Postmarked by when mailing in registrations)
CFMTA/FCAPM - MTNA Non COMPLETE PACKAGES Members Members Students
Register before Jan 31 $ 349 $ 399 $ 299Register Feb 1 - Mar 31 $ 379 $ 429 $ 329Register Apr 1 - May 31 $ 409 $ 459 $ 359Register after May 31 $ 439 $ 489 $ 389
DAY PASSES A ticket to the Opening Night Gala is included with each Day Pass
Thursday only $ 159 Breakfast, Piano Competition (Semi-Finals), Workshops, Trade ShowFriday only $ 199 Breakfast, Lunch, Piano Competition (Finals), Workshops, Trade ShowSaturday (half day only) $ 89 Breakfast, Master Classes, Workshops, Trade Show
SINGLE TICKETS ADULTS STUDENTS/SENIORS
Opening Night Gala (Wednesday) $ 20 _____x $ 20 $ 15 _____x $ 15Piano Competition Semi-Finals (Thursday) $ 20 _____x $ 20 $ 15 _____x $ 15CFMTA/FCAPM Lunch - Information Session (Thur) $ 25 _____x $ 25 $ 25 _____x $ 25Piano Competition Finals (Friday) $ 25 _____x $ 20 $ 20 _____x $ 20Gala Banquet & Entertainment (Saturday) $ 69 _____x $ 69 $ 69 _____x $ 69
Allergies - Yes / NoIf yes - please detail
All full Conference packages include - Opening Night Gala, Piano Competition, Workshops, Master Classes, Trade ShowAll complete packages include the following meals: THURSDAY - Breakfast • FRIDAY - Breakfast & Lunch • SATURDAY - Breakfast
Please note - Banquet ticket and CFMTA/FCAPM Lunch are not included in complete package
Please note that in the event of your cancellation, there will be a non-refundable fee of $75. No refunds will be issued after May 31st, 2015.
Photographs and Video consent, waiver, indemnity and release for the Canadian Federation of Music Teachers’ Associations (CFMTA). CFMTA/FCAPM is granted the right to publish and use any photographs and to exhibit audio or video in which I or my works appear for the purposes of CFMTA/FCAPM archives, marketing, publicity and public relations projects. I guarantee that any material recorded during this event will not be used in any commercial endeavor whatsoever without the written permission of CFMTA/FCAPM and all persons involved in the performance/recording.
TERMS OF SALE - Please initial each box ( if not initialed - registration cannot be processed. )
CONFERENCE REGISTRATION FORM
MAIL TO:Kevin ThompsonRegistrar - Conference 201515042 Royal AvenueWhite Rock, BC V4B [email protected]
PLEASE MAKE CHEQUES PAYABLE TO CFMTA/FCAPM Conference 2015
Use this form to register by mail.To register online please go to
www.cfmtavancouver2015.com
26 Winter 2014 Take Note Take Note Winter 2014 27
Sara Davis Buechner enjoys a vibrant international performance and recording career as a musician of “intelligence, integrity and all-encompassing technical prowess” (New York Times), “fascinating and astounding virtuosity” (Philippine Star), and “thoughtful artistry in the full service of music” (Washington Post). She established her early career as winner of a bouquet of prizes at the world’s great piano competitions, including the Gold Medal of the 1984 Gina Bachauer International Piano Competition, and a Bronze Medal in the 1986 Tschaikowsky International Piano Competition in Moscow.
With an active repertoire of over 100 piano concertos ranging from Bach to Wuorinen, she has appeared as soloist with many of the world’s prominent orchestras: New York, Philadelphia, Cleveland, San Francisco, Vancouver, the CBC Radio Orchestra, Japan Philharmonic, Birmingham (U.K.), BBC Philharmonic, Kuopio (Finland), Slovak Philharmonic and the Orquesta Sinfónica de Castilla y León (Spain). � e New York Times greeted her CD of piano music by Rudolf Friml as a “revelation,” and devoted the front page of its Sunday Arts & Leisure section to her 1997 world première recording of the Bach-Busoni “Goldberg” Variations. Ms. Buechner’s versatility extends to many premières of new music, and collaborations with � lm and dance projects.
A former faculty member of New York University and principal consultant to Dover Publications International, she has presented lectures and masterclasses worldwide. Now a Canadian resident, Sara Davis Buechner is Associate Professor of Music at the University of British Columbia School in Vancouver. She plays the Yamaha Piano exclusively.Photography - Yukiko Onley, Vancouver
James Parker - Accomplished, versatile, brilliant, are descriptors frequently linked to Canadian pianist, James Parker. To put it simply, he is among the most sought after artists. Mr. Parker’s achievements are both lengthy and impressive. his musical roots can be traced to the Vancouver Academy of Music and the University of British Columbia where he studied with Kum Sing Lee. He then went on and received his Master of Music and Doctor of Musical Arts at � e Juilliard School with Adele Marcus. Dr. Parker continues the teaching tradition as the Rupert E. Edwards Chair in Piano Performance on the music faculty at the University of Toronto.
Awards came early and often. Beginning in 1984 with a � rst prize at the Eckhardt-Gramatté Competition, James served notice that he was a rising star. � e CBC competition concurred, selecting him winner of the 25th National Competition for Young Performers. � e Virginia Parker Award as the most promising young classical artist soon followed, further solidifying Parker’s place as one of Canada’s best.
Concerts given by Dr. Parker consistently garner artistic acclaim. His style has earned him praise as “one of the most searching musical intellects and 10 of the nimblest � ngers in the business” according to � e Globe and Mail. James has enthralled audiences in North America and Europe, counting diplomats and dignitaries among his receptive audiences. He has made frequent appearances on CBC, and has performed on Bravo!, the CanWest Global Network, MuchMusic and a myriad of stations across the globe.
A consummate professional, James is recognized as a soloist, a chamber musician and as the pianist for Canada’s foremost ensemble, the Gryphon Trio. Add to this his critically acclaimed performances with major Canadian symphonies like Toronto, Vancouver, Victoria, Quebec City, Edmonton, National Arts Centre, Symphony Nova Scotia and many in between, one is reminded of the scope of his contributions to the national classical music scene. With three JUNO recording awards and many other nominations from his vast discography, James Parker continues to graciously strive to do it all. (Uno� cially, he’s still Jamie to us.)James Parker is a Steinway Artist.
Photography - Shin Sugino, Toronto
Janet Scott Hoyt is a performer and pedagogue with a wealth of experience on the concert stage and in the teaching studio. Active as a chamber musician, soloist and recording artist, performances have taken her across Canada, United States and to Europe.
Born and raised in Alberta, she graduated from the University of Alberta, furthering her studies in Europe and at � e Ban� Centre. She maintained a long association with � e Ban� Centre, participating as a collaborative pianist during the summer programs from 1973 till 2007. During her career, she has performed with many internationally renowned artists, including Sidney Harth, Zara Nelsova, Barry Tuckwell, Jeanne Baxtresser, Shauna Rolston and Raphael Wall� sch. Among her many performances are premières of works by composers Violet Archer, Srul Irving Glick, Malcolm Forsyth and Oskar Morawetz.
An active recording artist, her recordings include a CD with her husband David Hoyt and violinist Erika Raum featuring horn trios by Johannes Brahms and Canadian composer Elizabeth Raum. Other recordings have included “� e Passionate Englishman” with cellist Tanya Prochazka, “Inspiration” with Lidia Khaner, principal oboist of the Edmonton Symphony Orchestra and “From the Library of Joseph Szigeti” with violinist Guillaume Tardif. Her most recent project is a recording of the Brahms Sonatas for Piano and Violin with Martin Riseley.
In 1998, Janet Scott Hoyt joined the faculty of the University of Alberta, where she supervises a graduate program in piano pedagogy. Her interest and expertise in educating young musicians results in frequent invitations from across the country for workshops, masterclasses and competition juries.
CANADIAN FEDERATION OF MUSIC TEACHERS’ASSOCIATIONS
FÉDÉRATION CANADIENNEDES ASSOCIATIONS DEPROFESSEURS DE MUSIQUE
A t45Ihadnomusicatall.None!
Mymotherconsentedtolistentothewirelessnews.
However,whenthatsternstuffwasfinished,withsomewhatmorevigourthancalledfor,shewouldturntheradiooffandsoavoidtheclassicalofferingsthattheBBC’sLordReiththoughtgoodforus.Forroughlythesamereasonsthatwedidn’thaveaSanskritdictionaryinthehome,orahowdah;weownedno‘unnecessary’gramophone.Suchamachinemight,afterall,inflictonusthemiseriesof‘music’.
At45though,mywholebeingbegantoresentthisacousticdeprivation.Iachedformusicalskillworsethanbureaucratspineforapension.Evidently,musiclurkedinmygenes(presumablyDad’s)andithadtobeexpressed.Muchinthewaythataninfantmustlearntospeak,Ihadtotakeonthemonumentaltaskoflearningpiano.
Onmy45thbirthday,mywifeunveiledtwopresentsforme:apianoandayear’slessons.Thusbeganamusicaleducationthatcontrastsmarkedlywiththatofthetalentedsevenyearold.Thegiftedchild,givenboththewilltoexploitamassive,eight-genetalentandaProtestant-squaredworkethic,mightpossiblybecome‘somebody’intheworldofmusic.Contrarily,myabilitieswouldbesmall,Icouldnothopetogetfar.Indeed,tosetanyexternalgoalatallseemedridiculous.
Betweentherelativelyrareadultlearnerandtheubiquitousyoungonethereis,however,asignificant
differenceinskillacquisition.Ihopethefollowinganecdotesaboutmysubsequenteffortsmightbenefitanyadultwhowishestolearnmusic,especiallythepiano,fromscratch.Ofequalimportance,thesewordsmayalsooffertoeverypianoteacherahintofinsightintoteachingtheadult.Thoughpredominantlychildlearnersthemselves,theymusthelptheoverwhelmedadultlearnerdevelopamusicalmindalreadyfirmlysetinadifferentmouldfromhisteacher’s.
Neurosciencetellsusthatourtasteinmusicgelledatwhatweheardwhen23.Thecorollaryofthistruthisthattheaccreditedteacherwasprobablystillinclassics-dominatedtrainingatthatcriticalage.Theadultlearnerismuchlesslikelytohavebeeninthatmilieuwhenhepassedthatsettingpoint.HeislikelytoprefersomeotherkindofmusicthanthatcomposedbytheRomanticcomposerswhowereofferingfantasticcounter-argumenttothehardeningrigoursofscienceandindustry;thereligiouscomposerswhoofferedbeautythroughspiritualupliftorthose‘modern’composerswhohadtomakedowiththeratherdifficultchordstheotherchappieshadsofarneglected.
Withoutquestion,professionalpianoteachersbasetheirtrainingonsolidgroundworkandreallydogivethebesttrainingintechnique.Classicalmusicalsohassociety’sblessingofstatus.Thus,inthesamewaythatnewlearnersofEnglishwillalwaysoptforanOxfordaccentoverthatofNewYorkandthevowelsofParisoverthejuicieronesofQuebec,theneophytewillgravitatetoaclassicist.
Herethenisthepotentialforconflict:astheadultlearnerprogressespastthefirststepsandintoself-actualization,thosetunestheteacherthinksofasblissfulmaynotquiteresonateforhim.I,forinstance,oncepaidauniversityprofessorenoughmoneyforthedownpaymentonabreweryforonelesson.Mypiecewas“TheEntertainer”.Underhismarvellousandmuchadmiredhands,thepiecesoundedtomeratherliketheplayingofoneoftheBachBrotherswhohadtosneezebutdaren’treachforhishanky.Indeed,recordingsbyScottJoplinhimselfshowthatevenhedidn’tquitegetit.JoplinaspiredtowriteoperaforaEuropeanaudienceandquitedeliberatelytooktheMississippiDeltaaccentsoutofhisrags.IttookseventyyearsandthegeniusofMarvinHamlisch(remember‘TheSting’)tomakethatpiecesing.Yousee,Iamalreadyintothewobblyworldofopinion.Ihavenowperfected(myword)‘TheEntertainer’andofferedtoplayitforanearlypianoteacher.Sheapplauded,anddoyouknowwhat?Ireallydobelieveshemeantit!
Inmorepracticalterms,Ihadaspecialdifficultincounting.Icouldtype70wordsaminute--withbothhands,ofcourse,I’mnotagenius--andbabieswoulddancetoit.Similarly,providedmypartnertoldmewhichbeatwasthe‘one’Icoulddancewellenoughtogettakenhome.Icouldnot,however,playaregular1-2-3-4withmylefthand,evenwithmyrighthandclenchedbetweenmyteeth.Itfeltasthoughthetrackthatwouldbeneededtodoithad
Better Late . . . and Syncopatedby Andrew Patton
28 Winter 2014 Take Note Take Note Winter 2014 29
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Royal Conservatory of Music ............................................................................... 2 www.rcmusic.ca
neverbeenlaiddowninmybrain.Indeed,IcanrecallsayingthatIcouldactuallyfeelthebrainneuronsshufflingabouttryingtogetaneededplexustogethertodosuchanimpossibletask.Today,withfour-to-thebarmastered(mywordagain),Icanscarcelybelievemyownstatementtobeaccurate.Nevertheless,itwastheawfultaskofmyteachertounderstand(andforgive,Ihope)suchineptitudeandgetmethroughit.
Wedevisedtwostratagems.First:playstridepiano.Thetimethehandtooktomoveallthatdistanceandbackagain,probablyatasetspeed,waslikebouncingaball:even.Second:counteverything,allthetime,infour.Pedalabike:up-down,up-down.Listentothegrandfatherclock:tick-tock,tick-tock.Openandboltthebarndoors:tink-tonk,squeak-squeal.Tightenupaboltwithawrench.Hammersteelonananvil(Iworkedpart-timeasablacksmith).Alwaysinfour.Fillingthekettletookthreebars.Fourmonthspassedbeforethatrhythmseemednatural.Achildcouldhavedonethesamethingbeforelunch,andlearnedtotieshoe-lacesandswimatthesametime.
Itwouldbelogicaltothinkthat4/4rhythmwouldsetupthemindfor12/8.Callitanaturaladvance,alinearprogression,notdifficult.Forme,though,ithasn’tbeenso.MySeventy-SixTrombonesrecentlymarkeditsfirstbirthday.Istillsoundslikeametaltrashcanbouncingdownafireescape.Nonetheless,Ihavefaith.IfIcountenoughoflife’slittlechorestoHumpty-Dumpty,Humpty-Dumptysurely,oneday,IcanplayatmyfavouriteSeniorCentrewithouttheoutspokenendoftheresidentspectrumthrowing,withjusticeontheirside,cushionsatme.
AsIwasinthebeginning,amnowandevershallbe,ragtimewithoutend.
When Andrew began piano at 45, in 1990, he owned a farm, a 1942 Ford tractor that needed daily disassembly, logging horses and a blacksmith shop. In short, his hands, even when not bandaged were unsuited to the trilly bits of piano. His titanium-alloy enthu-siasm for the instrument, however, carried him through. Ten years ago he returned to journalism and the writing of light amusements. His dexterity returned to the point where he now regularly plays Scott Joplin, Mississippi Delta Blues and some of the simpler classics to applause that is best described as ‘polite’. You can hear his CD Red Light Blues and read his book Solid Pudding: From Bumff with Love on his website www.bumff.com
Better Late . . . and Syncopated - Cont.
