I have been privileged to attend four National conven-tions. From each one, I brought back new knowl-edge and new friendships. I would love to see New Brunswick have 100% atten-dance from among the NBRMTA membership at this Convention. We could truly rock the country!! I trust that you are thinking about it and planning for it. ……..

Kilby Hume

President

There is a select group of NBRMTA members that I would like to take the opportunity to thank in this issue of the Quar-ter Note. These are the mem-bers who work on behalf of every New Brunswick Regis-tered Music Teacher as mem-bers of the Provincial Coun-cil. Did you know that 3 times a year, this dedicated group of individuals travels to Sussex for a meeting that lasts any-where from 3 hours or more? These meetings take place on a Saturday morning, so anyone who happens to teach on a Saturday must make arrangements to adjust for their students. Some of them are Mom’s who may have to arrange to have their own chil-dren looked after or driven to their various activities in order to be available to come. Some hold down more than one job during the week….

They teach plus carry other responsibilities as well. Still, they are willing to put on hold some of their own free time to serve NBRMTA in this way. Not only do they attend these meetings, but they are the or-ganizing force behind our pro-vincial/Atlantic competitions, the scholarships that are given at festivals, the website, the Canada Music Week promo-tion, the earning and disburse-ments of funds, new member-ships, liaising with the National body, the Young Artist compe-tition, the National piano com-petition, the provincial and national music festival, an on-going battle for a High School

Music credit, the Quarter Note, secretarial and office duties, and, lately, the plan-ning of CFMTA’s National Convention 2009. Each per-son brings to the table differ-ent gifts, different ideas, a different perspective ….. but a unity of purpose that de-sires the very BEST for NBRMTA and its mem-bers. For myself and all of you, I would like to express my thanks for their vision and their diligence on our behalf.

On January 25th, we were sad-dened to hear of the death of Patricia Lee. You will read her obituary in this newslet-ter. I have worked alongside Pat for many years and was always so impressed by her innate ability to see through the problem to a probable solution. She was one such Council member I spoke of in the former paragraph. We will miss her wit, her friend-ship and her wisdom.

On a brighter note, a small committee led by Barbara Long is busy doing the plan-ning for the convention to be held at Mount Allison in July, 2009. Much has been accom-plished already, but there is also much more to do. When a committee member calls on you to help out in some small way, I trust that you will be ready and willing to do your part in making this endeavor a success.

President’s Note

The Quarter Note Page 1

Volume 38 Issue 1—Winter 2008

President’s Note 1

CMW

Competition

Entry Form

2

5

MMTA Report 6

Articles 6

6

NBRMTA Member-ship

7

Podium 2008 12

Inside this issue:

Page 2 The Quarter Note

CMW Competition

2008 COMPETITION DEADLINE - The deadline for submisions in the Province of New Brunswick is April 15th, 2008. - The National deadline for the Music Writing Competition will be June 1, 2008.

- To be sent to: Anne Marie Murphy, 178 Cambridge Crescent , Fredericton, NB E3B 4N9 AIMS OF CANADA MUSIC WEEKTM Canada Music WeekTM celebrations take place in the third week of November, which includes November 22, the day honoring St. Cecilia, patron Saint of Music. The 5 principle aims of this event are:

- 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 his music; - to encourage music teachers to widen their knowledge and experience of Canadian works; - to support composers and performers of Canadian music;

NATIONAL WRITING COMPETITION Contestants may submit entries under the following categories: CATEGORY "A" (11 years and under) - Class 1 ($50 award) fees: $5.00 To write an original composition for solo instrument or any combination of instruments.

- Class 2 ($50 award) fees: $5.00 To write an original composition for voice with or without accompaniment. CATEGORY "B" (15 years and under) - Class 1 ($75 award) fees: $10.00 To write an original composition for solo instrument or any combination of instruments.

- Class 2 ($75 award) fees: $10.00 To write an original composition for voice with or without accompaniment. CATEGORY "C" (19 years and under) - Class 1 ($100 award) fees: $15.00 To write an original composition for any instrument of any combination of instruments, or voice(s) or combination of voice(s) and instruments with accompaniment when accompaniment is necessary for the performance. CATEGORY "D" (Open) - Class 1 ($200 award) fees: $15.00 To write an original composition for any instrument of any combination of instruments, or voice(s) or combination of voice(s) and instruments with accompaniment when accompaniment is necessary for the performance.

WRITING COMPETITION REGULATIONS I) A student may enter more than one composition and more than one class but only one prize will be awarded to any individual.

II) The contestant must be eligible in his chosen age group as of June 1, 2008.

III) Each entry is assumed to be the original work of the individual whose name appears on the entry form attached to the manuscript. Any infraction of this regulation could result in the nullification of the offending entry.

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

V) 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.

VI) Only first place Provincial winning manuscripts at the Provincial level may be forwarded by the Provincial Canada Music Week Co-ordinator to the CFMTA office before June 1, 2008 in order to be included in the Canada-wide judging.

VII) The contestant must be a student of a current member of the Registered Music Teachers' Association.

VIII) 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 com-puters are permitted. It is advisable to retain your original copy of your submitted work.

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

X) The judge's decision is final and no correspondence will be entered into after final judging.

XI) Any entrant who moves after June 1, 2008 must advise the CFMTA Secretary-Treasurer of their change of ad-dress, including postal code.

XII) The winner's cheque must be cashed within thirty days of receipt of same.

XIII) An entry fee must accompany each composition submitted for Canada-wide judging. CATEGORY A - $15.00 CATEGORY B - $25.00 CATEGORY C, D & E - $35.00

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

HISTORY OF CANADA MUSIC WEEKTM

In 1957 Violet Isfeld, who was then president of the Canadian Federation of Music Teacher's Association, proposed that a National Week for Music be initiated in 1960 to commemorate the 25th Anniversary of the founding of the Federation. The response was enthusiastic and the celebration so successful that the next year (1961) it was de-cided by CFMTA council to make "Canada Music Week" an annual event. In 1963 Reginald Bedford, president, suggested the setting-up of a committee with the convener for Canada Music Week, Sister M. Rodriguez Steel of Nova Scotia and Eleanor Patch of British Columbia were appointed as co-conveners. (Arthur Putland succeeded Miss Patch in 1969). It was also decided that Canada Music Week be ob-served the last full week of November to coincide with Saint Cecilia's Day thereby giving church musicians the opportunity to contribute to the special week. In 1969 Flora Goulden, president, wrote to each Provincial Premier to ask for their initial interest and co-operation through their Minister of Education and thence to their schools. To achieve greater National unity in the oberser-vance of the 10th Anniversary of Music Week, a Poster Competition was under taken and continued on an annual basis with popular support. For nine years the directors of Canada Music week were chosen by CFMTA council. Now each Province is autono-mous in its programming. From 1970 to 1992, Helen Dahlastom chaired the project and was Editor of the Canada Music Week Magazine. From 1993 to 1998, the National Co-ordinator was Penny Joynt from Meacham Saskatche-wan. From 1999 to 2001 Lore Ruschiensky from Regina Saskatchewan was the co-ordinator and from the 2001 to the present the National Co-ordinator is Ron Spadafore from Timmins Ontario. Publicity material is available in the form of seals, poster and pencils. Canada Music Week is dedicated to music in its fullest sense but since 1967 particular stress has been focussed on the Canadian cultural content. The Music Writing Contest was introduced in 1971 in an effort to simulate young people in the art of musical composition. It is open to all students of members of CFMTA. A highlight was the performance of four winning original composi-tions heard in concert at the CFMTA Convention in Halifax, July 1973. This special event was the result of a general invitation for all composers to compete whether they be professional or amateur. Manuscripts were submitted from Canada, Czechoslovakia, Belgium, France, Norway, England, Scotland, and Ireland. Judges have included Dr. Violet Archer, the late Robert Fleming, Godfrey Ridout, Jean Papineau-Couture, Talivaldis Kenins and Keith Bissell. In 1998 the process to have the Canada Music Week name registered as a trademark was undertaken by CFMTA. As of September 2002 this process has now been completed and the Canada Music Week name is a trademark. Canada Music Week activity has now become a positive experience for thousand of Canadians. Radio and TV cov-erage, press, magazines, libraries, schools universities, composers, symphony orchestras, concert societies, church choirs, organists, all uniting in the ever-expanding promotion of Canada Music Week. This is the direct result of the tremendous effort put forth by members of the CFMTA who have responded to the challenge with en-thusiasm and created an air of music awareness and festivity throughout the country. This history was written by Thelma Wilson, Past President CFMTA, and updated by Ron Spadafore, National Co-ordinator.

The Moncton Music Teacher’s Association started off the New Year with their annual luncheon. This year, it was held at Café-Bistro Maelstrom and even though it was a snowy day, it was well attended.

On February 9, 2008, four of our members – Lynn Johnson, Jeanie MacCallum, Maxime Willden and Margaret Wood were pleased to have students participate in the first NBRMTA Student Provincial Competition, held at the Chocolate River Conservatory in Moncton. These ladies also participated as adjudicators for the competition.

Our association continues to hold monthly recitals for students of our members. Donations collected at these recitals go towards scholarships for students entering university to study music and towards prizes for the Greater Moncton Music Festival. Also, as a further donation to the Music Festival, we put together welcoming baskets for the Adjudi-cators.

Respectfully submitted Doris Sabean

President

Moncton Music Teachers Association

NBRMTA Piano Competition a Success!

On Saturday, February 9 The Chocolate River Conservatory of Music came alive with the sounds of 14 piano stu-

dents from around the province in the first ever NBRMTA piano competition. The students participated in what was

agreed to be a highly successful event. Students ranged in level from grade 3 to A.R.C.T. piano and proved to be

well prepared at this early stage in the festival preparation process. Teachers doubled as adjudicators and had the

difficult decision of choosing winners from the group of talented students. 100% of the registration money was

given to students as cash awards. Special thanks to Melodie Dobson for arranging the facilities at Chocolate River

Conservatory of Music and La Caserne Concert Hall for the day's activities.

Teachers involved included: Maxime Willden, Margaret Wood, Jeanie MacCullum, Lynn Johnson and Carol-Irma

Mulherin. Congratulations to all our participants and our winners, listed below.

Winners:

Division 1: (Grades 3, 4, & 5)

1st place: Clara Weiland 2nd place: Samuelle St.-Onge 3rd place Marie-Eve Dufour

Division 2: (Grades 6, 7 & 8)

1st place: Alex Trites 2nd place: Meeta Ashrit 3rd place: Katelyn MacDonald

Division 3: (Grades 9 & 10)

1st place: Justin Levasseur

Division 4: (ARCT)

1st place: Megan Matthews 2nd place tie: Caitlin Bowers and Leah Boulos

Moncton Music Teachers Association Report

Leah Boulos

5 December 2007

Mount Allison University

Concert Review: Kafka Fragments, op. 24

Gyorgy Kurtag’s Kafka Fragments is one of the most unique and challenging works I have ever encountered. I was first introduced to it when we studied it in Dr. Crutchley’s elementary composition class, in order to prepare us for the upcoming concert. While this was a very broad and brief introduction to the composition, I was immediately intrigued by the instrumental and vocal characteristics of the fragments we listened to. Dr. Crutchley’s colloquium presentation interested me still further in the subject, and by the time the concert finally took place I was already filled with excitement and high expectation. Fortunately, I was not to be disappointed in the least.

The fragments were performed by soprano Helen Pridmore, a current professor of voice at Mount Allison University, and violinist Nadia Francavilla, an outstanding and highly accomplished performer. After working on the fragments for over a year, both women were highly confident and prepared for their performance.

I believe that the greatest quality of the Kafka Fragments is its incredible marriage of music and text. The texts themselves, fragments of Kafka’s diaries, letters, and marginalia, are extremely profound and thought-provoking. The words alone would be enough to capture my attention, but the addition of Kurtag’s music enhances them to a far superior level than the words alone can reach. Kurtag has a fascinating way of knowing exactly how to set the text so that it is precisely illustrated through the music, both explicitly and implicitly.

The work is not intended to be a soprano piece with violin accompaniment, but rather a collaborative effort by both musicians. This was made extremely clear in Dr. Pridmore’s and Ms. Francavilla’s performance. Both parts demand extreme virtuosity from their performers, for each includes a great number of interesting technical commands and genuine artistic interpretation. Aside from the content of each individual fragment, the entire work as a whole presents the performer with a huge challenge due to its sheer length and complexity. It is physically and mentally exhausting to perform all of these fragments within the space of an hour without any breaks to speak of. However, Dr. Pridmore and Ms. Francavilla exposed their astounding abilities as musicians by taking command of their performance and turning it into an effortless expression of art.

My favourite fragments included Part I, no. 17 (“Pride”: I will not let myself be made tired. I will dive into my story even if that should lacerate my face.), and Part IV, nos. 2 (“A long story”: I look a girl in the eye and it was a very long love story with thunder and kisses and lightning. I live fast.) and 5 (“Leopards”: Leopards break into the temple and drink the sacrificial jugs dry; this is repeated, again and again, until it is possible to calculate in advance when they will come, and it becomes part of the ceremony.). It is the text of each of these that initially captured my attention, but I found these to be some of the best musical settings as well.

As a combination of text and music, Kurtag’s Kafka Fragments do well to simultaneously demonstrate the geniuses of a literary figurehead and a highly skilled composer. As the message of Kafka’s words continue to be passed from author to composer to performer to listener, I can only hope that more people will come to realize and appreciate the incredible features of this fantastic piece of music.

Concert Review

December 6, 2007

Caitlin Bowers

Mount Allison University

Dion Mazerolle, baritone, and Julien LeBlanc, piano

Saturday, October 13, 2007

The recital during the Anna Malenfant Festival in Memramcook was a very rewarding way to end the events of the weekend. New Brunswick baritone Dion Mazerolle captivated the audience for the entire concert with his rich, beautiful voice and pianist Julien LeBlanc once again exhibited his outstanding talent as a collaborative pianist. The two performed a variety of French songs by Debussy, Fauré and Poulenc, as well as quite a few art songs by Mahler, ending with Cabaret Songs by American composer William Bolcom. Throughout the first half of the concert, Mazerolle unfortunately needed to use his music, which was distract-ing on stage. The stand on which he placed his books took away from the performance, and although he attempted to remain in character as he turned the pages of his music, this effort was not very successful. I believe that as a pro-fessional musician, it is important to have all music memorized when in a performance setting. This is especially important as a vocalist because he or she is very exposed and under constant scrutiny of the audience. The recital opened with the mysterious Wo die schonen trompeten Blasen from Des Knaben Wunderhorn; the collection of German folk poems set to music by Gustav Mahler. Mazerolle and LeBlanc also performed two more selections from this collection of pieces at the end of the first half, Lob der hohen Verstandes and Urlicht. The piano part in Urlicht is just as beautifully poignant as the vocal line, and LeBlanc demonstrated his musicality and graceful playing with his approach to this piece. The fives pieces contained in Mahler’s Ruckert Lieder set were a very moving choice to include in the first half of the recital as well. The tone and amazing breath control of the vocalist turned these pieces into something magical, especially in the second selection, Liebst du um Schönheit and the third piece, Ich bin der Welt abhanden gekommen, where Mazerolle’s voice soared above the accompaniment to evoke the feeling of longing that is pre-sent in the beautiful text. Interestingly enough, the performers chose a different order than usual in which to per-form these pieces. There was a large amount of German Lieder included in this recital, perhaps a bit of an overload in an already very full programme. Poulenc’s Quatres poemes de Guillaume Apollinaire are very short, pompous works that require a confident, animated performance, which Mazerolle delivered to his audience. The next set of pieces was Fêtes Galantes II by Debussy, and the rich and innovative harmonies in the accompaniment provided a unique contrast to the previous works of Poulenc. Both performers were very much in their element with these French songs, which became obvi-ous as they comfortably introduced the compositions before hand in French. The three selections from William Bolcom’s Cabaret Songs were a very refreshing and playful way to end the evening. Mazerolle’s comedic acting and enthusiastic performance skills were put on display in the third piece, entitled George. He played with a red handkerchief and made use of the entire stage, fawning over LeBlanc as the pianist played a dynamic solo section of the song. The accompaniment was very difficult, but performed with ease by the talented LeBlanc. In general, the balance was perfect between vocalist and collaborative pianist, which is evidence of the many hours spent practicing together and proof of their exceptional teamwork. I was very fortunate to be sitting right behind internationally-known pianist-coach Dalton Baldwin and Julliard pro-fessor Lorraine Nubar, who had both conducted the master classes of the Festival. I watched their reactions as Maz-erolle and LeBlanc were performing, and they appeared to have enjoyed the recital. Once I caught Mr. Baldwin correcting LeBlanc under his breath after the performer had incorrectly pronounced a word while introducing one of the Poulenc pieces. Mr. Baldwin actually had the opportunity to work with Poulenc, so he would be quite knowl-edgeable about such details. This recital gave the music students of Mount Allison University and L’Université de Moncton an opportunity to see a pair of wonderful performers and collaborators in their element, both of whom deserved the standing ovation they received at the end of the recital.

BAROQUE KEYBOARD AND DANCE WORKSHOP

Imagine a seventeenth century court salon. Tapered candles flicker light across the gilded trim work on the painted walls. Lush, velvet draperies frame the reflected image of a sea of dancers as they swirl past the tall windows. The scent of candle smoke and heavy perfume fills the air. In one corner a trio of musicans performs a lively minuet, the delicate strains of the strings and harpsichord mingling with the rustle of silk dresses and the delicate foot falls of calf-skin slippers on the polished, parquet floors…But wait. The mists of time disperse to reveal a slightly different scene. The dancers in this cameo are wearing Converse sneakers and their footsteps have a shuffling uncertainty to them. While carrying fans and donning feathered hats these dancers lack the grace and manners of regal courte-sans. They are, in fact, Baroque dance novices, participants in an introductory dance and keyboard workshop fea-turing social practices of the seventeenth century.

In January of this year, students of the Saint John branch of the RMTA were invited to take part in a bit of time travel. For one afternoon they had the chance to dance and perform music as it would have been experienced three hun-dred years ago. A combined effort between the SJRMTA and The Saint John Early Music Studio, the Baroque Dance and Keyboard workshop provided students with the opportunity to play their baroque and early classical repertoire on a real harpsichord. Local early music specialist Tim Blackmore served as both clinician and performer. His small, single manual harpsichord was handmade by a local New Brunswick artisan. Mr. Blackmore demonstrated the muted dynamics of the instrument and showed how performers of the period added the illusion of volume by arpeggiating chords or adding ornaments. A simple coupling stop also allowed for a doubling at the octave.

Students gathered around the instrument to peer at the inner mechanics. They were able to see the plectrum at work and marvel at an instrument which, unlike the modern day piano, needs daily tuning.

Student volunteers performed their List A conservatory piano repertoire on the harpsichord. The offset middle C and limited four and a half octave range proved problematic for students accustomed to the modern piano topogra-phy. The slightly smaller key size and reduced key depth were also difficult to adjust to, but everyone who played came away with a hands-on appreciation for the capabilities of the harpsichord. Period instruments dictate a sense of the natural grace and delicacy. For years we have been coaching our students to adopt a portato touch and a graceful lilt appropriate to this era. The students at this workshop heard and felt immediately how these sounds and tempi were the natural result of the smaller, gentler instruments for which they were composed.

Following the keyboard workshop students adjourned to the larger “salon” for a dance lesson. While the minuet proved too difficult for a beginner workshop, students did achieve a comfortable competence with the simpler Con-tre Danse. While the Baroque minuet was exclusively a couples’ dance, the “country dance” involved multiple part-ners. As the head couple danced their way down the line the waiting couples socialized with one another. Waiting to dance was part of the fun, and the emphasis on group participation was a nod to the changing democratic social conventions of the mid 1700’s.

Students in our modern day dance group were enthusiastic learners. As we had more female than male participants we divided the group in half using simple period props: the “men” donned feathered tri-corn hats; the “women” held paper fans fastened from their wrists with strands of ribbon. The props helped the students step into the char-acter of their seventeenth century counterparts without the expense or trappings of full costumes.

The contra danse involves four “figures” or dance units. While the dance steps may be quickened to adapt to a 4/4 meter the dance is most easily felt in ¾, and we performed our rendition to a lively Quadrille. The quick, footsteps are repeated in various directions across a quadrant of four dancers. Couples dance to and away from one another before finally exchanging places to begin a fresh set with the next couple in line. As the dance is quite repetitive our young musicians learned by watching those who danced ahead of them. All kept time so as not to lose their place in the music. As their confidence in the dance patterns grew you could sense their manner relaxing as well. The larger spectacle of the dance routine was impressive with some thirty participants tapping and bowing and swirling to the beat.

Dance instruction included male and female bowing routines, an integral part of court social protocol. Once the stu-dents were confident in their movements Mr. Blackmore joined in with live harpsichord accompaniment.

The final aspect of the Baroque workshop involved costuming. Cost issues precluded us from providing every par-ticipant with a full court costume but we did want to make students aware of how period courtesans would have dressed. Powdered wigs, fancy hats, ruffled shirt sleeves and bow-bedecked, high heeled shoes were de rigeur of fashion for men of this period. It is written that Louis IXth was extremely proud of his shapely leg muscles and his prowess on the dance floor. Male courtiers in his entourage followed suit paying close attention to their manner of dress and physical bearing.

Women were tightly corseted so as to show off their slender waistlines to full effect. Originally it was my intention to teach the entire dance program in period dress, however, the tightness of the corset made breathing so difficult I feared I might faint simply standing in one place. Bending or sitting down was impossible when laced tightly and the weight of the various petticoats, dress skirting and basket panniers added another ten to fifteen pounds of weight to each step. In the end I decided to teach the dancing in my street clothes and I allowed a student to model the dress and two foot Marie Antoniette wig. By watching her careful movements students could appreciate the graceful, straight-postured bearing which would have been necessary for women of this era. In a fascinating circle of influence, the elegant yet constricting clothing of this century, dictated by the social conventions of the day, de-termined the way in which those who wore them moved and behaved.

The Baroque workshop provided a unique opportunity for students to hear, play and move to music of the period. It was our hope that, having danced to a period piece, students would be better able to understand the note phrasing, portato articulation and elegant ornamentation which are characteristic of keyboard music from this style period.

While absorbing the elegant mannerisms of this era would take more than an afternoon the workshop was a lively and multi-sensory introduction to a fascinating period in music history.

Heather Thomson

HOSTING A TECHNICAL OLYMPICS Nurturing Technical Prowess to an Artistic End

As a fledgling teacher some two decades ago, I remember being keen to introduce my young students to the study of piano technique. Still a student myself, I recognized the benefit in mastering the note and finger patterns and the physical dexterity which comprise technique outside of a piece of music. I knew from personal experience that se-curing flawless technical skills takes considerable time and effort but that the end result produces benefits which extend beyond the immediate demands of a student’s exam requirements; secure technical skills are, in fact, foun-dational to artistic performance.

It was somewhat of a shock when I discovered, time and again, that most students did not share my can-do attitude. While they embraced their technical requirements with a weak enthusiasm in September, their interest invariably dwindled as the year progressed. No matter how much I coached, cajoled, threatened or even ignored a student’s technical regime it seemed they left the bulk of the work till the final weeks prior to their exam.

It is true that scales and triads can be a tad boring. I had a friend in high school who confessed to practicing her technique while she read the comics!

It has long been my belief that mastering the technical requirements for any given grade should not take longer than a week or two. Of course, this requires that a student set learning goals and stay focused on the routine re-quired to reach them. Most instrumentalists do not have the independent drive needed to reach their technical goals quickly. They need an exterior motivation and what better nudge than the threat of a looming public perform-ance? From this reality was born the Technical Olympics.

My first Technical Olympics was an informal affair. A colleague of mine in Halifax, Nova Scotia was planning a group lesson involving our combined piano studios. It was early spring of 1992 and the world was eagerly prepar-ing for the pending summer Olympic games. Struck by a sudden pedagogical whim, I proposed a sort of athletic challenge for our students. Using the technical requirements specific to their grade level each child would compete to see who could perform their technique to the highest level of competency.

It was a low key affair. Students had only a week or two to refine their technical skills. There was no audience be-yond their competing peers, no stage or medals or host judges, but the students enjoyed themselves and practicing efforts did increase prior to the big event. Perhaps the most beneficial spin-off was that students glimpsed the level of technical perfection that could be achieved at their instrument. For many it was the first time they had looked se-riously at the elements which comprise a “perfect” scale performance and the muscle coordination required to re-produce that result consistently.

Fast forward sixteen years. It is February 2008 and twelve students are nervously awaiting the start of the Fourth Annual City-Wide Technical Olympics in Saint John, New Brunswick. At the marking tables our host judges and their tabulating secretaries rustle papers in readiness for the first event. One coordinator busily arranges colourful helium balloons and medals at the awards table while another adjusts the position of the chairs and performance instrument in each room of the church facility which we are using as our athletic “stadium.” The Technical Olympics has become a fun, annual event in Saint John, a chance for students to strive for technical perfection far ahead of their June exam date and to reap the rewards of early preparation.

A successful Technical Olympics on this scale requires careful planning far ahead of the actual event. A venue must be secured, judges enlisted and award medals ordered. The olympics in our region is open only to students of reg-istered teachers and it is advertised as one of the events in our yearly calendar. It is up to individual teachers to se-lect the students from within their studios who they wish to participate each year. Setting the registration a full two

weeks ahead of the actual event will allow the planning committee ample time to divide the participants into grade levels and events based on the enrolment statistics. Participation numbers vary from year to year. Some years we are inundated with competitors at the Grade One and Two conservatory levels; other years we might see a glut of participants in the higher grades. Students should be grouped loosely by grade so that you have two or three levels competing simultaneously. Each student competes with requirements from their specific grade level so it is possi-ble to place multiple grades within one performance division. Our grade divisions this year placed six participants into one of two groups, Grades One to Three or Grades Four to Eight.

THE STRUCTURAL DETAILS

With an event of this size it is important to conscript a large number of helpers. It is impossible to have too many staff members available on performance day. While it is most expedient to have a small planning committee of just two or three teachers, you will need many more at the actual event. We find it helpful to have two workers handling registration, two setting up the tables, chairs and instruments, plus a judge and secretary for each technical event. Additionally, it is helpful to have emcees in each competition room to keep the atmosphere light and to direct the flow of the competition. An overall organizer who can direct traffic, answer technical questions and liason between each of the competition rooms is also essential.

A first-time Olympic event should be run on a small scale. We were kept very busy this year with just twelve com-petitors. We divided the competition into two rooms within the church facility. The first was a large sanctuary which came complete with a grand piano and bench seating. The second was a smaller room off the main one where we set up stacking chairs, a keyboard and a table and seats for the judge and secretary.

Parents and family members are encouraged to stay and cheer on the participants. Students usually arrive at this event feeling nervous and unsure about the proceedings. Without the encouragement of the audience the event can easily remain stiflingly serious. We provide our audience with fun noisemakers (castanets, jingle bells and other fun rhythm instruments) with which to make raucous noise in between each performance. This keeps the event fun and gives young siblings in the audience a reason to wiggle when appropriate!

We have limited our Olympics to just two technical events: scales and chords. For students at the higher conserva-tory levels the chord event will comprise of major and minor four note chords as well as dominant V’s and dimin-ished 7ths as required for their specific grade levels. With a smaller group of competitors you may wish to include an arpeggio event or even competitive clapbacks and rhythmic sightreading, however, remember that two rounds of an average event with six to eight competitors will take approximately thirty minutes to run. Be careful not to ex-haust your performers by trying to fit too many events into a single afternoon.

For ease of administration we instruct the teachers of all participants to make up a plastic baggie for each event in which a student is participating. Inside the baggie are paper slips on which the teacher prints the keys required for that student’s grade level. Each event is comprised of two “rounds” of play. At the start of each round students re-move the baggie from under their chair and blindly pick two slips from the bag to determine which technical re-quirements they will perform. A lucky Grade One RCM student might pick C and G major in the scales event while an unlucky co-competitor picks A and E harmonic minor. Only one of each key is contained in the baggie, so stu-dents who pick easy keys on their first round are bound to end up with the more difficult keys in round two. Partici-pants perform their scales HS or HT and two or four octaves as required by grade. For the triad/chord event stu-dents not yet playing their technic HT select which hand will play which of the two keys. In this way their exists a little strategy along with luck. They may play A major with the RH and leave the F major (irregular in the RH) for the left. Because they are only asked to play technic which is specific to their exam requirements we can have students from a multitude of conservatories and grade levels fairly competing with one another in the same event.

JUDGING

While it is ideal to have host judges from another city centre our limited budget usually dictates that teachers, re-tired or practicing, from within our own locale serve as judges for this event. Where possible we try to trade off this responsibility so that we are seldom judging our own students. Marking is, in fact, very objective. Each aspect of technique is marked out of a total of five points with a half point being deducted for each incorrect note, finger slip, tempo change or severely under tempo performance. A false start earns a one point deduction. It is extremely dif-ficult to play a scale “perfectly” without a warm-up. ( If you don’t believe me, test yourself now by going to your instrument and trying!) Most students will average 3.5 to 4.5 for each technical aspect they perform. Those who consistently score 4.5 and 5’s are truly well prepared.

In the four years which we have been running our Olympic event and keeping track of the winning scores we have noted that, not unlike music festivals, the winner of an event usually wins by only a half point. The results are always very close and we are quick to point out that, while “today” this student took first place, tomorrow or next week the results might be completely different. Like all such competitive events, it is in preparing for the event that a student receives the most benefit.

Each student receives a score sheet which travels with them from one event to the next. On this sheet are two tables with room for four technical “aspects” (four scales, four triads, etc.). There is room for the judge to write the key played, the score received and a brief comment. Students and their teachers may review these score sheets at their first lesson following the Olympics and will benefit from knowing whether a poor score was the result of an overly ambitious tempo choice, a nervous note stumble or incorrect fingering.

Because the marks received are usually so close and the winners so marginally better than their competitors we have found it encouraging to have students compete both individually and by team. Each participant is placed on one of two teams when they register and they receive a red or blue pinny with their competitor number which they wear during the event. When the marks are tabulated we award medals for the best score in each event (Best Jun-ior Scales, Best Senior Chords, etc) as well as candy-filled mugs for each member on the team with the highest total points. Arriving at the final team scores will take a little fast juggling of numbers and a ready calculator.

We also award each student a medal just for participating. In this way the time and effort which they put forward in preparing for this event is recognized.

EVENT EXTRAS

Few students need to be coached about taking this event seriously. On the contrary, we have found that students need to be reminded frequently that this is NOT an exam. Yes, they are performing publicly and, yes, they will likely make some mistakes, but they are not alone. To keep the spirit of the event light we always add a few fun touches. Colourful helium balloons and a large Olympic banner decorate the front of the main competition room. We bring a CD player and play the John Williams olympic theme music while competitors march into the main hall for the awards ceremony. Lively emcees at each event direct the competition, entertain the audience, lead the cheering and help deflect attention from the awkwardness of the occasional weak performance.

THE BENEFITS

While the tone of the Technical Olympics is fun, a student’s preparation for this event will need to be strategic in order to yield consistent results. As a young teacher I remember being frustrated that many students failed to un-derstand the “technique behind the technique,” that scales and chords played with fluidity and control were beauti-ful enough to be considered “artistic.” It is toward this level of technical mastery that we need to propel our stu-dents, to play their technique, not just till they have played it right once, but till they cannot play it wrong. A Techni-cal Olympics celebrates the achievement of the very skills a musician requires to play his or her music well.

PATRICIA LEE

It is with sadness that we report the death on January 25, 2008, of Patricia Lee, a valued member of the New Brunswick Registered Music Teachers’ Association.

Patricia came to New Brunswick from the United States, when she had accepted a position on the staff of Mount Allison University in Sackville. After a few years, the position of voice instructor became vacant, and Patricia was appointed to that position in the music department in 1982. After her retirement she was named Associate Professor Emerita.

Patricia Lee received her Bachelor of Arts and Bachelor of Education from Eastern Washington University, and her Master of Music from the New England Conservatory. After moving to New York City in 1960, she became a regular soloist with the Amato Opera Theatre. Later, she was accepted into the Metropolitan Opera Young Com-pany which toured the United States and Mexico. In 1966 she joined the Metropolitan Opera Chorus at the time it opened its new venue at Lincoln Center.

As a teacher of singing, her energy knew no bounds. Her students were like family to her. She took a personal interest in them and supported them in their endeavours, long after they had graduated from Mount Allison. She had a wide knowledge of vocal repertoire for all voices, and was always willing to share her knowledge when asked by voice teachers in private studios. On C.B.C. radio, she was a frequent guest on the Opera Quiz panel on Saturday Afternoon at the Opera, where her profound knowledge of the field was outstanding. As a popular adjudicator, Patricia earned the respect of many music festival committees, particularly in New Brunswick and Nova Scotia.

After she became a member of the NBRMTA council, her worth became very apparent very quickly. As treas-urer, she set up the financial records in a most efficient manner, and gave sound financial advice to the mem-bership. Her advice resulted in there being moneys invested to the advantage of the organization. Basically, her method of ‘keeping the books’ has remained the basis for those who have followed her in the position of treas-urer.

Perhaps, though, the many council members who sat on council with Patricia will remember her best for her quiet, insightful ways. Very often, when members would be struggling at council meetings with what seemed to be very difficult resolutions to situations, Patricia would sit quietly and listen. After everyone who wanted to had spoken, perhaps more then once, there would follow a quiet moment. Then, our Patricia would lift her head, usually begin with, "Perhaps we might........", and lo and behold the answer to the problem had been heard, and immediately and gratefully adopted.

Her counsel on council will be missed, along with her rare bright smile.

NBRMTA Membership DECEMBER 1 2007 Elizabeth Armour (Amus) Voice 104 Fairway Blvd. Riverview, NB E1B 1T3 (506) 386 - 4787 eaarmour@rogers.com Jeanann Artiss 43 Highland Ave. Rothesay, NB E2E 5N2 (506) 847-2703 artissw@nbnet.nb.ca Beth Baxter (BA,AMus, ARCT) 12 Charles Crescent, Rothesay, N.B. E2E 5E7 (506) 849-9034 beth-baxter@sympatico.ca Richard Boulanger 262 Rue Weldon, Moncton, N.B. E1C 5X1 (506) 383-8938 boulanr@umoncton.ca Jane Bowden (ARCT, BA, Dip.CS) Treasurer 63 Shore St., Fredericton, NB E3B 1R3 (506) 454 – 1188 bowden@nb.sympatico.ca Joyce Broad ( GRSM, LRAM, ARCM) 74 Kelly’s Drive, Fredericton, NB E3B 7R6 (506) 455 – 7728 jbroad@nb.sympatico.ca Gail Carleton (ARCT)Vice President PO Box 5272 Dalhousie, NB E8C 3B9 (506) 684 – 2532 Fax (506) 684 – 4751 Mona Chamberlain (M.Ed) 13 Cross St. Moncton NB E1A 3C3 (506)383-1523 bercham@nb.sympatico.ca Tanya Clark 23 Todd St., Fredericton NB E3C 2M9 (506) 454 – 4581 t_clark73@hotmail.com Janet L. Clarke ( B.A. A.R.C.T. (Teacher’s) 126 Duncan Lane, Fredericton, N.B. E3B 7S3 (506) 443 – 0093 pianoclarkie@hotmail.com Susan Corbett 35 Aberdeen Drive, Riverview, NB E1G 3G2 (506) 386 – 4823 stcorbet@nb.sympatico.ca Sylvia Cormier (Dip NDA BSc.Ng) 205 Massey St. Fredericton, NB E3B 2Z5 (506) 455 – 2861 Margaret Ann Craig (BMus, BEd) 93 York St. Sackville, NB E4L 4R6 (506) 536 – 0295 mcraig@mta.ca Mabel Doak Registrar 672 Scully St. Fredericton NB E3B 1V2 (506) 454-2056 adoak@nbnet.nb.ca Melody Dobson Council, Young Artist Chocolate River Conservatory of Music 205 Gauvin Road Dieppe, NB E1A 1M2 (506) 859-4450 mail@crcm.ca Sharon Dyer 9115 Main St., Bristol, NB E7L 2A5 (506) 392-5333 dyermus@nb.sympatico.ca Patricia Grant Lewis Elliott 184 Route 935, Westcock, NB E4L 2H4 (506) 536-2313 Fax (506) 536-3853

Danise J. Ferguson (M Mus) Music Dept. Mt. Allison Univ 134 Main St., Sackville, NB E4L 1A6 (506) 536-0392 Wk. (506) 364-2384 Fax (506)364-2376 dferguson@mta.ca Norma Ferguson RMT 74 Shore St. Fredericton, NB E3B 1R2 (506) 459-5872 gferg@nbnet.nb.ca Wesley Ferreira (B.Mus.,M.Mus.) 51A King St., Sackville, NB E4L 3G4 (506)364-2382 (work) (519)289-5495 (cell) mrwesleyferreira@hotmail.com Nathalie Fontaine (B. Mus.,M. Mus.) 119 Morton Ave., Moncton, NB, E1A 3H7 (506)383-1474 NatFonz@hotmail.com Ghislaine Foulem ( B. Mus.) 527 Avenue Guy, Apt.1, Dieppe NB E1A 4Y6 (506) 854-0112 gfoulem@hotmail.com Christine Freeman 1630 Woodstock Road, Fredericton,NB E3C1S3 (506) 457-0028 christinefreeman@rogers.com Chantal Gagne (B. Mus.) 4 Pleasant St., Moncton, NB E1A 2T6 (506)382-8106 GagneC2003@yahoo.ca Alexander Good 3606 Route 102 Islandview NB E3E 1E1 (506)476-4276 alex@alexandergood.com Monette Gould ( A.R.C.T., Licentiate, RCM, Dip.Operatic Perf. U of T) 25 Larose Court, Dieppe, N.B.E1A 5B7 (506) 388-6304 monettegould@hotmail.com Peter Groom Council 245 Main St., Sackville, N.B.E4L 3A7 (506) 939-2185 groom@eastlink.ca Janet Hammock (A.D.,M.M.A.,D.M.A.) Archivist 14 Devon Ave. Sackville, NB E4L 3W2 (506) 536-4245 jhammock@mta.ca Pauline Harborne (L. Mus) 15 Hillcrest Ave. Sackville, NB E4L3X9 (506) 536-1580 Linda Hazen (ARCT) 265 Renshaw Road, Rothesay, NB E2H 1R8 (506) 847-4427 lindawesthazen@hotmail.com Sara Hubbard-Newell Apt. 309, 80 Dunn’s Crossing Rd. Fredericton, NB E3B 2A4 (506) 454-4692 hubbardsara@hotmail.com Catherine Hughes-Seto (BA) Secretary 1200 Woodstock Rd. Fredericton, N.B.E3B 7S1 (506) 454-9990 billseto@nb.sympatico.ca Kilby Hume (L.Mus) President 4 Wendy Court, Rothesay, NB E2E 3J3 (506) 847-3277 gmkhume@nbnet.nb.ca Tasha Vanderlinde Irving 501 Kennebecasis Drive, Saint John NB E2K 5K9 (506) 634-7722 Fax (506)634-7722 kentasha@nbnet.nb.ca

Lynn Johnson BMus, M Mus Past President,CFMTA 1st Delegate President The Music Bookstore,194 Killam Drive, Moncton NB E1C 3S4 (506) 756-2140 Wk.(506)859-4220 Fax(506)855-7472 lynn@themusicbookstore.ca Theresa T. Kwok (LRAM, BEd., M.Mus.) 17 Craig Crescent, Saint John, NB E2K 4J3 (506) 648-0328 ttkwok@nb.sympatico.ca Patricia Lee ((BA, BEd, MMus) Council 32 Tantramar Place, Sackville, NB E4L 4M2 (506) 536-2819 pllee@nbnet.nb.ca Sara Liptay ( B. Mus.,M.Mus.) 381 Golf Club Rd. Hillsborough NB E4H 2T8 (506)734-3108 sara.a.mills@mail.com Jean F. Lipton (BA, BEd, MEd) 380 Salisbury Rd., Moncton, NB E1E 1A7 (506) 388-4350 dene@rogers.com Barbara Ann Long ( A.R.C.T. Teachers) Council 14640 Route 2, Somerville, NB E7P 2S4 (506) 375-6752 waybar@xplornet.com Jeanie M. MacCallum 70 Centennial Drive, Moncton, NB E1E 3W8 (506) 389-3435 gord@nbnet.nb.ca Laurence Marie (B. Mus.) 186 Gallagher St. Shediac NB E4P 1T1 (506)532-5616 lym@nbnet.nb.ca website: www.harpsylon.ca Penelope Mark (ARCM, Mus Bac) 34 Union St., Sackville, NB E4L 4M4 (506)536-1903 Fax (506) 364-2376 pmark@mta.ca Barbara Marks (BSc) 717 Canterbury Drive, Fredericton NB E3B 6J5 (506)457-2450 bmarks@rogers.com Greg Marks ( BA,Mus) Council 40 Coburg St., Suite 103 Saint John, N.B. E2L 3J5 (506)693-9279 lessons@cultureofone.com Cecile Marshall (BMus. BEd) 20 Nicholson Lane, Douglas, NB E3A 7M1 (506) 363-3528 Jane McKnight (BEd.) Council 114 Armour St. Moncton, N.B. E1E 2Z5 (506) 386-7214 jane_buddy@hotmail.com Rita Raymond Millett 1 Earle’s Court Quispamsis NB E2E 1C3 (506)849-3917 jrmilray@nb.sympatico.ca Jennifer Mok ( BA,Mus.,MA,Mus.) 108 Dora Drive, Fredericton, N.B.E3B 9L3 (506) 455-7327 jenmok@aol.com Jennifer Muir (ARCT piano) 1-2381 Rte 103 Victoria Corner NB E7P 3K1 (506) 375-2336 cjlydia@aernet.ca Carol Irma Mulherin Council Broadway Productions 46 Rue St. Onge Grand Sault, N. B. E3Z 1G2 (506)473-6119 broadwayproductions@rogers.com

Anne Marie Murphy CFMTA 2nd Dele-gate 178 Cambridge Crescent, Fredericton, NB E3B 4N9 (506)443-9067 murphymusicstudio@rogers.com Karen M. Nauffts ( B Mus.,BBA, M.Acc) 75 Limerick Road, Fredericton, N.B. E3B 5K5 (506) 458-8651 (home) (506) 444-4768 (work) kmh866@hotmail.com H. Ruth Nieboer (ARCT:piano,organ,voice,FTCL) 184 Forest Hill Rd. Fredericton, NB E3B 4K3 (506) 455-0265 Fax (506)454-6954 hrnieboer@rogers.com Carolyn Nielsen (BMus,BEd) 198 Rocky Rd. Keswick Ridge, NB E6L 1V2 (506) 363-2814 alto@warpnet.ca Carol O’Neil 176 Sydney St. Saint John NB E2L 2M4 (506)693-5357 Georgina Poulin 159 George St. Fredericton, NB E3B 1J2 (506)458-5857 gpoulin@rogers.ca Mary Rioux (LMus) 825 McLeod Ave. Apt.309 Fredericton,N.B.E3B 9V4 (506)454-5723 maryriou@nbnet.nb.ca Xavier Robichaud(BA Perf, MM Perf)Council NBRMTA Newsletter Editor 204 Bessborough Ave.Moncton NB E1E 1R2 (506) 854-4750 xavier@mmsm.ca Rene Rossignol (B. Mus.) 26 Avon Court Moncton NB E1E 1K3506)857-4267 RenzRossi@gmail.com Stephen Runge ( B. Mus,DMA) 71A Salem St. Sackville, NB E4L 4J8 (506)364-2173 (work) srunge@mta.ca Renee Ruest (B. Mus.) 116 Cyril St. Dieppe NB E1A 8R6 (506)860-6437,(506)381-5307(cell) ReneePianoNovice@hotmail.com Doris Sabean (BA, BEd, MYCC) Council 34 Llangollen Rd. Moncton NB E1E 3W5 (506) 852-4980 dsabean@nb.aibn.com Ross Simonds (BMus) 65 Regiment Creek Avenue Fredericton NB E3A 9W1 (506) 474-2905 rossas@nb.sympatico.ca Judith Snowdon(ARCT,B. B.Mus.)) 1055 St. Joseph Rd. St. Joseph de Kent NB E4S 4C7 (506)743-8020 (home),(506) 863-9185(work) JSnowdon@aernet.ca

Linda Sprague (BMus) 29 Fleet Ct. Fredericton.NB E3B9K5 (506)452-0982 spraguela@yahoo.com Julie Stewart ( B. Mus.) 123 Queen Mary Rd. Moncton NB E1A 3P4 (506)383-9081(home), (506) 871-0834 (cell) 60watts@rogers.com Heather Thomson 33Highland Ave.,Rothesay NB E2E 5N1 (506) 849-1926 thenoisycricket@nb.aibn.com Nancy Tucker (BMus,BEd) 2 Bowes Ave., Sackville NB E4L 3N1 (506) 364-0027 ntucker@mta.ca Maxime Willden (B Mus) 21 Copperfield Lane Moncton, NB E1C 9Y7 (506) 857-8142 willdenj@nb.sympatico.ca Sally Wright (B Mus, M Mus,LGSM) 249 Wendell St. Riverview NB E1B 1J9 (506) 855-5220 Salflute@rogers.com Doreen A. Wood 23 Kimberley St., Riverview NB E1B 3T5 (506) 386-7582 dnwood@nbnet.nb.ca Margaret Wood 39 Redwood Drive Moncton, NB E1G 1V5 mwood@chambermusic.ca