40034 nov04 cfmta news

THE CANADIAN MUSIC TEACHERLE PROFESSEUR DE MUSIQUE CANADIEN

CFMTA FCAPMW IN T E R ED I T I ON • 2005

THE CANADIAN MUSIC TEACHERLE PROFESSEUR DE MUSIQUE CANADIEN

Official Journal of The Canadian Federationof Music Teachers’ Associations

Vol. 55, No. 2Circulation 3400Founded 1935

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

National Convention 2005 ..................6

An Interview with Averill Baker ...........8

Canadian Music Centre......................11

Peter Jancewicz..................................13

Canada Music Week® Reports ............16

Manitoba Celebrates 85 Years ............25

Women’s Contributions to Music.......29

Canadian Music Competitions ...........31

Book Reviews ....................................34

Memorial Pedagogy Award ................40

Executive Directory ...........................41

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

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UPCOMING EDITIONS OF The Canadian Music TeacherSpring Edition 2005

Publication: May 2005 • Submission Deadline: April 10, 2005Canada Music Week® Edition 2005

Publication: September 2005 • Submission Deadline: August 10, 2005Winter Edition 2006

Publication: January 2006 • Submission Deadline: December 10, 2005

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

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

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

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

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The New Year brings new and exciting projects formusicians in Canada.

We come ever closer to the final reading of a privatemember’s bill allowing CFMTA members the privilege ofissuing tax receipts on music lessons for income taxpurposes. What a wonderful opportunity this will providefor our parents and students. Please continue to watch thismagazine for more details.

As mentioned in an earlier report, a committee is busydeveloping a proposal for a new system of CFMTAmembership criteria that will provide uniformity across the country.This is an exciting initiative for registered music teachers in Canadaand will strengthen our National presence.

Our partnership with the Music Teachers National Associationcontinues to grow. The steering committee for the 2007 conferencein Toronto will meet again in April in Seattle, Washington, during

the annual MTNA conference. Gary Ingle, MTNA ChiefExecutive Officer, has offered booth space to the CFMTAat their upcoming conference. Linda Kundert-Stoll,CFMTA Calgary Convention Convenor, has agreed towork this booth in Seattle where she will be able toincrease our profile with the MTNA members, and alsoto entice some folks to attend the Peak PerformanceConvention in July in Calgary.

And, speaking of Calgary…the early bird deadline islooming so I encourage you to reserve your spot – youwon’t want to miss this exciting event!

Change is in the air for 2005! Many exciting projects that arecoming to fruition will develop and strengthen the CFMTA and thestate of music education in the country.

Victoria Warwick, President - CFMTA

GREETINGS FROM CFMTA

NOTICE OF ANNUAL GENERAL MEETING 2005Take notice that the Annual General Meeting of the members of the Canadian Federation of Music

Teachers’ Associations will be held at the

University of Alberta, Calgary on Wednesday, July 6, 2005Business to be conducted includes to:

• Receive and consider the Financial Statements of the period ending• Receive and relate the Provincial Reports• Appoint Auditors• Transact such other business as may properly come before the meeting

The Executive & Delegates Meeting will be held on Saturday, July 2, 2005 at 8:30 a.m.By order of: Victoria Warwick, President • Beryl Wiebe, Secretary/Treasurer

Dated at Surrey, British Columbia, this 10th day of September, 2004.

With the New Year comes another edition of The CanadianMusic Teacher. Hopefully your Christmas break was relaxing andrevitalizing.

Reading about what is happening musically in the provinces aswell as the articles about the musical people in our country are aconstant source of inspiration for me and I hope you as well.

The process of putting together each issue of this journalinvolves the input of many people and many steps along the way.It is an exciting journey every time. Receiving material in atimely manner is always much appreciated and makes my jobflow along much smoother.

While every effort is made to have the information that isprinted accurate and up-to-date it does not always happen thatway and I apologize for any errors or omissions that you mightnotice. Please bring them to my attention or to those of the

person who has submitted the information.In the 2004 Canada Music Week edition the list of the Music

Writing Competition judges was actually the list from 2003. Myapologies to those judges who spent their time doing thisimportant job for our association, but were not mentioned. Wewill endeavour to update details in the rules and the reporting ofthis competition by next year’s issue.

Input from our members is what this journal is all about. Ifyou have an interesting perspective on pedagogy or aboutsomething or someone that is making a musical difference in ourcountry please feel free to submit it. If you find it interestingothers probably will too!

Wishing you all the best in the New Year.Lore RuschienskyEditor – The Canadian Music Teacher

FROM THE EDITOR

Bastien Piano MethodsIf Success is Measured in Smiles, Bastien is the Standardof Meof Measurement!

Neil A. Kjos Music Company4380 Jutland Drive, San Diego, CA 92117

(800) 797-5567 • Fax (858) 270-3507 • www.kjos.com • [email protected]

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Weʼre “rounding up” the talent!Don’t miss our three competitions. Alberta

challenges the rest of Canada to a friendly“shoot out.” Our provincial winners are chosenfor the Rozsa Foundation Voice Competition,the CFMTA-FCAPM National Piano Competitionand the “Amour” Competition. The deadline forprovincial entries is April 1, 2005.The master class C.D. or tape entry deadline

for piano, voice, violin and cello is March 1,2005. E-mail Bettijo Smith [email protected] or call 780-954-2464.

“Buck up,” donʼt “bridle,” take the “bit into yourteeth,” “hoof” it to Calgary and “stir-up” sometrouble.The early bird deadline is extended to

February 15, 2005 - only $350/student - as lowas $50 per day for all seminars, concerts,receptions, luncheons, the Trade Fair and thebanquet. Your “partner” may join you for$185/$155. Book through WestJet QS #2852for airfare discount.Rooms are available at the University of

Calgary, where most of the events will takeplace. To book a room [email protected] or call 403-220-3203.Contact Linda Kundert-Stoll, Chair, at

[email protected] or call 403-271-0418, fax 403-278-3236 or contact the Registrar, SharonCarne, at [email protected] or call 403-239-3784.

Start “horsing” around and get to Calgary soyou can “Yahoo” yourself “horse.” Itʼs the “mane”event!Sign up for tours; the deadline is May 20,

2005. Postdated cheques will be accepted. Seethe City of Calgary on July 3, golf 18 holes onJuly 5, go to Drumheller on July 7, take in theCalgary Stampede on July 8, and visit Banff andLake Louise on July 10, 2005.

The puns are compliments of Derek Stoll (seeJazz and the Classical Pianist seminar) & PeterJancewicz (see Musicians and RSI seminar).

Dale Jackson (see Baroque Ornamentation seminar) competingwith Samson in Edmonton, AB

Calgary Stampede Chuckwagon RacesTeresa Rogers on Doc, Abe Vollmer on Gambler and LindaKundert-Stoll on Chex in Kananaskis Country, west ofCalgary

Get on your horse (or tractor) and come to Calgary!See all the details on www.cfmta.org. • Early bird deadline extended to February 15, 2005


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Registration FormPlease use a separate registration form for each person ordering apackage. Photocopy as needed.Please print clearly:

Name_______________________________________________________________

Preferred name on badge __________________________________________

Address ____________________________________________________________

_____________________________________________________________________

City _____________________________________________ Prov. ____________

Postal Code _____________________ Tel. ( ) _______________________

E-mail _____________________________________________________________

Total A and B _____________

Total Tours _____________

Total shirts/vests _____________

Grand Total _____________Send your registration form and cheque, in Canadian funds, madepayable to CFMTA Convention 2005 to:

Registrar, CFMTA Convention 2005c/o 228 Parkside Way SECalgary, AB T2J 3Z4

Registrations will be confirmed by e-mail or post.

Dietary needs: Vegetarian __________________ Other ________________

Tours (details follow in brochure): No. TotalCity of Calgary Tour $65 each _________ ______________Full Stampede Day $160 each _________ ______________Stampede Parade $105 each _________ ______________& RodeoStampede Parade $115 each _________ ______________& Evening ShowBanff/Lake Louise Tour $160 each _________ ______________Golf Tour $155 each _________ ______________Drumheller Tour $105 each _________ ______________Total Tours: _________________________Banquet meal choice: Salmon ______ Beef ______Spouse/guest meal choice: Salmon ______ Beef ______

“Peak Performance” logo long sleeved denim shirt: $45.00 ea.Men’s: S M L XL Women’s: S M L XLNo. shirts __________ TOTAL _________________

“Peak Performance” denim vest:(with artwork from poster) $40.00 eachUnisex: S M L XL XXL XXXL

No. vests __________ TOTAL _________________

Convention PackagesFull Package (Sun. - Sat.)(Full packages include everything except the Calgary Stampede Day, Tours,shirts and vests. Senior prices = 60+)Early Bird Special _____ $350 individualDeadline: Feb. 15, 2005 _____ $300 senior/studentApril Special _____ $400 individualDeadline: April 1, 2005 _____ $350 senior/studentRegular Price _____ $425 individualAfter April 1, 2005 _____ $375 senior/studentSpouse Package _____ $185 individual

_____ $155 senior/studentDay Package(Day packages include all events on days selected, except Tours.)3 Day Package (Please check 3 days below.)

Regular price _____ $300 individual_____ $275 senior/student

M ____ Tu ____ W ____ Th ____ Sat ____1 Day Package (Please check the day below.)

Regular price _____ $125 individual per day_____ $100 senior/student per day

M ____ Tu ____ W ____ Th ____ Sat ____Morning only (Please check the day(s) below.)Mon. - Thurs. includes sessions and lunch

Regular price _____ $62.50 individual per am_____ $50 senior/student per am

M ____ Tu ____ W ____ Th ____ Sat ____Afternoon only (Please check the day(s) below.)Mon. - Thurs. includes lunch and sessions

Regular price _____ $62.50 individual per pm_____ $50 senior/student per pm

M ____ Tu ____ W ____ Th ____ Sat ____Subtotal A (Package price) ________________Individual Tickets(The following events are included in the full package.)July 3, Keynote Speaker, Opening No. TotalReception & Entertainment_____ $20 _____ $15 senior/student ______ _________July 3, Roberto Plano_____ $25 _____ $20 senior/student ______ _________July 4, Tracy Dahl_____ $25 _____ $20 senior/student ______ _________July 5, Prime Time Big Band_____ $25 _____ $20 senior/student ______ _________July 6, Luncheon & AGM_____ $25 ______ _________July 6, Piano Competition Finals_____ $20 _____ $15 senior/student ______ _________July 7, Voice Competition Finals_____ $20 _____ $15 senior/student ______ _________July 9, Banquet_____ $50 ______ _________For the banquet, please supply the names of the people you areordering tickets for.Name(s)_________________________________________________________________________________________________________________________________Subtotal B (Individual Tickets) ______________Total A and B ______________

National Convention“Peak Performance”Conference and Celebration

July 3 - 9, 2005

The musical talent of pianist AverillPiers Baker came to the attention of theRoyal Conservatory of Music of Toronto(RCMT) through their national examprogramme. She took their exams threeyears in a row, winning two silver medalsand, in the third year a scholarship tostudy in Toronto with Margaret MillerBrown. She then continued on scholarshipat the University of Toronto in thecoveted Artist Diploma programmegraduating in 1963. While at Universityshe was the youngest person ever to behired to teach by the Royal Conservatoryat that time. Up until 1972 she was afrequent performer in concert, and onradio and TV having also performedconcertos with the Toronto ConservatorySymphony Orchestra and the CBCSymphony Orchestra under Sir ErnestMacMillan and Boyd Neil. In 1972 shemoved to Gander, Newfoundland and bynow the demands of a growing family(four children) and the frequent absencesof her husband whenever the House ofCommons was in session (she is marriedto Newfoundland politician GeorgeBaker) required her to retire from aprofessional career as a concert pianist.Over the years she has taught part time,directed choirs and produced or takenpart in countless benefit concerts.Having recently recovered from twoserious bouts with cancer, Averill hasreturned with zeal to her piano.

It’s the 2004 Van CliburnInternational Piano Competition forOutstanding Amateurs (IPCOA) inFort Worth Texas, and Averill Bakerhad made it to the final round.Seventy-five outstanding pianists fromall over the world made the entryrequirements and now only sevenremained after days of gruellingcompetition of classical musicrepertoire. The final results would seeAverill Baker achieve what no otherCanadian has ever done in thiscompetition.

Two days before, in the preliminaryround, the gods were not with Averill.As she buzzed through her encorepiece “Flight of the Bumblebee”, aviolent lightning and hail storm hit thearea, and as if on cue in a movie, hailstones came smashing down on theconcert hall’s metal roof as she reacheda crescendo in her performance. TheBBC made note of Averill’s lightening-speed performance on the piano andthe smashing sound of the hail, and theCBC FM programme “Music andCompany” from Toronto, whofollowed Averill’s progress in thecompetition on a daily basis, replayedthe master of ceremonies’ reference tothat electrifying event. The storm wasso violent it shut down the proceedingsfor over an hour. Despite the hailstones however, Averill made it into thesemis and then the finals.

At 60 years old, Averill Piers Bakerplaced 2nd in this Van Cliburncompetition. In 2005 she will be aguest performer at RockefellerUniversity sponsored by the VanCliburn Foundation. She also has hereye on competitions in Europe. Herwinnings are all donated to charity. In2004 she also competed in theWashington International PianoCompetition and again made it into thefinals and won the Music Critics andaudience award as the mostoutstanding performer. However, it isthe prestigious Van Cliburncompetition that Averill wants to win

and she has her sights set on the nextIPCOA in 2006.

For now she practises daily at homein Gander, Newfoundland . . . andstands on her head! This latter“inverted” habit is necessitated by anafter-effect of cancer surgery andchemotherapy and radiation damagewhich has caused a problem withswelling in her right leg.

But this problem is no big deal forAverill. It was at her worst moment,after learning that the cancer had comeback with a vengeance and was fastgrowing, that she decided to do whatshe always wanted to do – compete ininternational classical musiccompetitions. While in radiationisolation for days, during intensive day-long chemotherapy treatments, whiletrying on wigs and buying smallerclothes to fit her shrinking frame, it wasduring those times that she constantlypracticed her repertoire in her head.

I first asked her when she decided toenter the Van Cliburn competition:

A: I was doing a bit of springcleaning two years ago, dusting off myold LPs and came across my VanCliburn recording of the Tchaikowskyconcerto and realised I hadn’t heardanything about him in years. An on-line search for news of him brought meto the cliburn.org website and ofcourse the information about IPCOA.

Q: Was the competition the impetusfor your returning seriously to yourmusic?

A: No - it was the vehicle - theimpetus came by way of illness. In1996 I had a bout of cancer and heavysurgery and then in 1997 a very seriousand aggressive recurrence whichseriously threatened my life. Thiscaused me to take a very closeinventory of what I wanted to do firstof all with the possibly short time thatwas left to me, and then, in the luckyevent of recovery, what I would dowith a longer amount of time: Musicwas the answer. First of all, when I was

AN INTERVIEW WITH AVERILL BAKERJOAN WOODROW, NRMTA

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at my weakest I was only able to listento music. The magical effect this hadon me was evident even to the medicalstaff - I remember the day the head ofthe hospital pharmacy came to myroom to ask why I wasn’t using mypain medication pump! Then as I gotstronger, I began to play. Theoncologist responsible for my recoverywas Dr. Prafull Ghatage. He thought itimportant that I not neglect my musicand even arranged for me to practiseon a piano in the hospital lectureauditorium late in the evenings whenno one was around. As I got stronger Ibegan organizing and/or performingin benefit concerts – just shortperformances, and it was five yearslater, when I found that dustyrecording that I realised I was nowstrong enough to get serious aboutperforming.

Q: What were the physical challengesyou faced, not only recovering fromcancer, but after such a long hiatus fromthe physical and mental rigours oflearning or re-learning long,challenging piano works?

A: The biggest challenge was not topractise too long at the beginning. Ihave always loved to practise – findingthe time to do it used to be thechallenge. Now, with my childrengrown and gone I had the time and Iknew I would have to be careful not tostrain hand and arm muscles. To mysurprise it was my leg that causedproblems. I ended up with my rightleg almost twice the size of my left – adreaded symptom I had suffered fromonly once before - just before mycancer recurrence. Fortunately, after abattery of tests, it was determined thatthis time the swelling was due to a lackof lymph nodes removed during thecancer surgery. I now visit theoncology/lymphedaema nurse at thecancer clinic, and when practising I puton a timer and every hour and a halfI’ll do some prescribed exercises orstand on my head for awhile - and itworks - I’ve got my leg back to areasonable size.

Q: What about other commonproblems such as cramps in your hands,backache and fatigue?

A: When I first came toNewfoundland my late and wonderful

mother-in-law taught me how to makebread – she said it would keep myhands and arms in shape for pianoplaying even when I didn’t have timeto practise and she was right.

She also taught me how to get downon my knees and scrub my own floorsand grow many of my own vegetables.

She said it was cheaper and moreeconomic time-wise than payinghousecleaners and going to fitnessclubs and would keep me fit like shealways was. And it has indeed kept mevery fit ! In addition to the power ofmusic, I think my general good fitnesshelped me survive the rigours of all thecancer treatments I received. And tothis day it keeps me free of aches andpains.

Q: Do you have a teacher or coach, ordo you “go it alone”?

A: The tape recorder is my teacherand coach and a very truthful critic itis! Also, my family are all very musicaland offer me many suggestions as torepertoire – their input is extremelyimportant when I’m putting togetherprogrammes.

Q: What methods did you use toreturn to a concert-calibre artist?

A: Technically or interpretively?Technically speaking I have so manytricks in my bag it would take a bookto answer that question and the older Iget the more solutions I seem to beable to find to technical problems. Butif I had to say what was my biggest allyin achieving a technically satisfactoryperformance it would have to be mymetronome. From the first time I trysomething out I try to play withouterror, so that usually means someVERY slow practising, increasing thetempo a notch or two at a time. If youpick boring repertoire it’s not going tobe a pleasure so I make sure to avoidthat pitfall.

Q: Do you ever do purely technicalexercises – scales and arpeggios forinstance?

A: I like to warm up with them inwhatever key the piece I’m going topractise is in.

Q: What about the interpretiveprocess?

A: This of course is the reallywonderful part of performing forothers. When I was preparing for TexasI played my Chopin Barcarolle in Fsharp major at a private recital inGander, and afterwards a lady said tome “My dear, the way you played thatpiece was enough to make a grownman cry”. Then when I performed itat the Van Cliburn a “grown man”came up to me and said “Yourinterpretation was so moving it mademe cry”. I told him about the lady inGander and then we both had a laugh!But seriously, the interpretations justcome to me instinctively – sometimesin the form of a story, other times as ageographical vision such as a sharp,crisp, day in autumn or an angry sea.Another piece could embody anemotion, and sometimes I feel themusic as a dance, perhaps a ballet, ormaybe a folk dance – it all depends.

Averill Baker with Mr. Cliburn. (I had beenpracticing in the basement of an adjacent building,having completed my semi-final round the nightbefore, and someone came round and banged on thedoor and said to come quickly because they weregoing to announce the semi-finalists and that Mr.Cliburn himself would be there. Most of the othersemi-finalists had performed that night and weredressed to the nines and there was I in my Texasjeans and jacket, but clearly very happy, grinning sowidely it’s a wonder my cheeks didn’t burst!)

But no matter which repertoire I choose, when I know forsure that I’m about to start a serious preparation of aparticular work I avoid like the plague listening to anyoneelse’s recording or performance of it.

Q: Do you have any particular method of memorizing?

A: Until my cancer treatments I never had to try tomemorize. All my life I’ve enjoyed the privilege of havingwhat they call “perfect pitch” and if I could hear the musicin my head, which I always have been able to do – sort oflike having a tape recorder in the brain – then I couldactually “feel” the piano keys to which those notes in myhead belonged. BUT, for some reason, when I came homefrom the cancer treatments, I realized with horror that I washearing everything exactly a semitone lower. If there was apiece on the radio that I didn’t know, I’d be hearing it in Gmajor and I’d be “feeling” all the keys in G major, and thenat the end of the piece the announcer would say, and thatwas so-and-so’s Sonata in A flat major. It was terribly off-putting. And it has definitely made me have to pay moreattention to memory work as I can no longer rely on hearingthe note and reliably being able to predict where it isphysically on the keyboard. Fortunately, as I practise moreand more, my once perfect pitch seems to be coming backbut I don’t yet trust it one hundred percent.

Q: What have you been doing since the Van Cliburn andwhat are your future plans?

A: It’s been quite a busy time. I’ve been increasing thenumber of public performances especially if they’re benefitconcerts. Guilt is one of the things I suffer from when Ispend so many hours on the piano bench polishing pieces -so many others are working hard at more useful occupationslike engineers, lawyers, fishermen, doctors and nurses - soI’m always glad when my music-making can help raise much-needed funds for worthy causes. I just got back from Ottawawhere I performed at our parliamentary benefit “Concert onthe Hill” – an annual event I helped to found back in the90’s. I’m so honoured that the Newfoundland RegisteredMusic Teachers’ Association has invited me to give a full-length concert in May and the CBC will be recording mynew repertoire. The recording they did of my 2004 IPCOArepertoire spawned so many other radio and TV interviewsthat I am getting invitations from all over North America.Perhaps one of the most exciting invitations came from theVan Cliburn Foundation to play in New York on Feb. 9,2005 at Rockefeller University and I have happily accepted.

Q: Do you get people asking you if you have recorded a CD?

A: Constantly. And I really want to record one too, butI’ll wait until I have a little more practise under my fingers. Iam planning to record in the summer of 2006 after the nextVan Cliburn IPCOA. In the meantime all the competitors’performances at IPCOA 2004 are available on CD and canbe purchased from the Van Cliburn organisation with

proceeds going to their Foundation. Probably the mostinteresting round of my playing was the semi-final round – Iplayed the Chopin Barcarolle in that round among otherpieces.

Q: What do you think is the most valuable thing to havecome out of your return to music?

A: I think the answer to that question came from arequest made to me by the editor of the women’s calendar“Herstory” to consent to be a part of their 2006 calendar:She felt that my story as a cancer “veteran” whoseexperience with that disease inspired the revival of a musiccareer at a relatively late stage in life (I turned 60 last April)– she thought this could be an inspiration to others not togive up on unfulfilled dreams. To be able to help anotherperson in this way would be about as worthwhile as it gets,don’t you think?


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Although many teachers areinterested in incorporating Canadianmusic into their teaching, they don’talways know how and where to accessthe tools and resources to do so. Thisobservation sounded out a possiblegap in the awareness of the teachingcommunity as to the existence of theCanadian Music Centre, what it does,and how it can support the role ofCanadian music in the “repertoire” ofmusic teachers and educators.The following article is part 2 of 3

written by Jason van Eyk, intended tobring awareness of the CMC and itsfacilities to Canadian teachers.Watch for part 3 in the next edition

of The Canadian Music Teacher.Part 1 appeared in a previous issue.

How the CMC Achieves its MissionOver the past 45 years, the CMC

has developed five key service areas tomeet the needs of its different usergroups. These are:1. Professional Development

Services for Associate Composers:• Print, bind, catalogue, anddistribute Associate Composers’music worldwide.

• Undertake the conversion ofCMC archives into the digitalmedium.

• Pay royalties to Associates twiceannually on sales & rentals oftheir musical works.

• Prepare, collect, and distributeinformation materials aboutAssociates and their work.

• Make available recordings ofperformances of Associates’compositions.

• Promote Canadian music to usergroups and the general publiclocally, regionally, nationally andinternationally.

• Maintain biographies, repertoirelists and discographies specific toeach Associate at the CMC'swebsite.

• Make available score and soundsamples of Associate’s work via

the CMC website, and throughpromotional samplers.

• Administer several music copyingassistance programs.

• Act as registrar and administerseveral composer competitions,including the CBC YoungComposers’ Competition,Toronto Emerging ComposerAward, the CMC Prairie RegionEmerging ComposerCompetition, and the Jules LégerPrize for New Chamber Music.

• Make career opportunityinformation available throughe-broadcasts, the CMC websiteand postings in our libraries.

• Provide composers with specialproject work opportunitiesthrough the CMC national andregional offices.

• Provide opportunities for therecording and distribution ofCanadian music on theCentrediscs label.

2. CMC Client and Patron Services:• Operate five regional centres(Sackville, Montreal, Toronto,Calgary, Vancouver), each withtheir own free-lending library andregionalized programming.

• Lend, rent, or sell Associates’works (scores and performingparts) to a large and variedclientele.

• Provide repertoire advice andreference services, including thepreparation of specializedrepertoire lists on demand.

• Prepare and distribute cataloguesof Canadian music, for bothscores and recordings.

• Maintain a current online librarydatabase, as well as informationabout Canadian composers andtheir music, and other importantresources, at the CMC’sdatabase-driven, e-commerceenabled website.

• Maintain a digital audio archive ofperformances of Canadian music.

• Provide performers with theopportunity to record Canadianmusic on the Centrediscsrecording label.

• Provide performers, ensembles,conductors and music educatorswith special project workopportunities through the CMCregional offices.

3. Public Awareness and CulturalParticipation Services:• Produce and distribute a varietyof communications materials:newsletters, brochures, the CMCwebsite, and others.

• Cooperate with other artsorganizations in efforts tocollectively foster a healthyclimate for Canadian musiccreation and public participationwith Canadian music.

• Offer worldwide distribution andsales of scores and recordings ofCanadian music.

• Attend and present at music tradefairs and conferences.

• Present lectures and workshops,as well as write articles onCanadian music.

• Coordinate school visits to ourlibraries, public composerworkshops, and residencies forcomposers in schools.

• Support the creation ofpedagogical guides for student-level repertoire.

• Make available recordings, books,other music-oriented materials forsale via our boutique and onlineat the CMC website.

• Promote CMC resources,recordings, education programs,etc. in a range of publications.

4. Support Services to the ArtsCommunity and Policy Makers• Cooperate with organizations tolobby governments for improvedconditions for Canadian creation.

• Participate in advocacy activitiesand policy discussions on behalfof the arts community.

CANADIAN MUSIC CENTRE


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• Attend meetings hosted bynumerous arts policy & fundingprograms.

• Periodically serve onjuries/panels of arts fundingbodies for all levels ofgovernment and provide feedbackon the existing funding programs.

• Support SOCAN in itsrepresentations to the CopyrightBoard on behalf of composer’srights.

• Participate as an active memberof the National New MusicCoalition and other regionalmusic coalitions, such as theCoalition of New MusicPresenters in Toronto.

• Provide free office space to theCanadian League of Composers(CLC) at Chalmers House inToronto, and support the Leaguein its various advocacy activitieson behalf of Canadian composers.

• Attend meetings of the CanadianAssociation of Music Libraries,Canadian University MusicSociety, and the InternationalAssociation of Music InformationCentres (IAMIC).

5. Information and ResourceExchange Enhancement Services:• Publish and distribute regionalnewsletters several times per year

• Maintain a client group database,and facilitate connectionsbetween clients and composers.

• Support music organizations inpromoting their concerts andevents to our membership.

• Contribute articles to a variety ofmusic and arts-orientedpublications.

• Stuff regular outgoing mailings toour membership with pertinentinformation supplied fromaffiliated music organizations,levels of government, funders,etc.

• Maintain an extensive list ofhyper-links to other musicorganizations, arts councils,publishers, service organizations,broadcasters, and the like on ourwebsite.

• Maintain an extensive eventscalendar and a roster of newsitems on our website.

• Promote CMC resources,recordings, education programs,

and the like in a range ofpublications.

• Produce catalogues, repertoirelists, audio samplers, commercialrecordings, newsletters, and thelike, that inform the constituencyabout individual AssociateComposer’s achievements.

• Assist media, concert presenters,funders, and others when seekinggeneral information aboutCanadian composers, availablerecordings, program notes forspecific pieces and the like.

• Attend and present atconferences, symposia, and set upmeetings with users of ourAssociates’ music.

• Represent composers on anumber of committees andboards within the music industry.

• Display information, artscommunity brochures, fliers,posters and announcements forthe public.

(Jason van Eyk is the OntarioRegional Director for the CanadianMusic Centre. He may be reached by e-mail at [email protected], or byphone at 416-961-6601 x. 207)


13

BY JANICE DAHLBERG

I first became acquainted with PeterJancewicz, pianist extraordinaire,during the Calgary Arts SummerSchool Piano Camp where he was amember of the teaching staff.Affectionately known among thecampers as “Dr. J”, he quickly becameone of the faculty favourites as hisartistic expertise at the piano wasaccompanied by a refreshing sense ofhumour along with an ability to playjazz and otherwise improvise whencalled upon. All of the above is not tobe eclipsed by his insightful teachingskills.I next came to know Peter, the

composer – the pianist-composer. Atthat time, he served on the Board ofDirectors for CASSA and would sharehis new publications with boardmembers – a very personal and uniqueChristmas card. Composition came tohim seriously in l998 while recoveringfrom a repetitive strain injury, causedby ignoring the warning symptoms.Peter and his wife, Susan Hlasny (whohas also suffered from RSI), willpresent a workshop in Calgary at the“Peak Performance” Conference andCelebration 2005 in July, “Musiciansand RSI.” He credits AlexanderTechnique with Trevor Allan Davies asa crucial factor in his recovery. Peterand Susan will also share theirexperiences with New York Cityspecialists Dr. Emil Pascarelli, repetitive

strain injury; and Vera Wills, bio-mechanics for musicians. CalgarianLou Petrash, from Panther SportsMedicine and Rehabilitation Centres,provided on-the-spot local expertise.Inspiration comes to Peter from

anywhere and everywhere. His firstattempt at writing music occurredwhen he was eight years old.Performance was a foregroundcommitment for many years. But inl998, composition came front andforward. He finds creative musicalideas in poetry, paintings, nature, thelandscape and soundscape, the seasons,the time of day, while gardening,during city walks around the parks andneighborhoods, or hikes in the majesticRockies. Listening to many performingpianists, past and present, and tocomposers, both traditional andcontemporary, add to the mix.His recent project, Sketches of

Canada, a recital suite series publishedby Alfred, arrived during the summer,with good preparation time for CanadaMusic Week. There are four pieces –Misty Canadian Mornings, Fisherman’sShanty, Prairie Hymn, and Carnavalde Quebec, which are attractive andvery playable for late intermediate toearly advanced piano students – grades6 to 8 – or teachers who wish topresent new music to their performinggroups. Misty Canadian Mornings wasinspired by family camping trips allover Canada where one greets eachnew day with a sense of peace andmystery, mist and sunrise. Bill Evanswas the muse for the melody flowingover the bass jazz chords – with somespace for the performer’s individualimprovisation. This is dedicated to hiswife, Susan, with whom he continuesto camp. Fisherman’s Shanty, a tributeto the Maritimes, quotes from thefamous Newfoundland folksong “I’sethe B’y that Builds the Boat.” “AFarewell to Nova Scotia” is also quoteddirectly. The brush strokes continue tothe Canadian west, where PrairieHymn, dedicated to Calgarian LindaKundert-Stoll, distills the distant soundof singing from a small country church

with the big blue sky and gentle prairiecolours in the foreground. Finally,Carnaval de Quebec, alludes to “Ah, simon moine voulait danser!” thatrollicking beloved song, and zingsalong through shifting metres and highspeed to end the suite of the series.

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Peter’s contribution to theChristmas scene is Notebook for SaintNicholas, a gem of a collection oftraditional Christmas melodiescomposed in the style of greatcomposers. Ranging in styles fromRenaissance to swing, rich in thehistory of dance, this is a “must have”collection for pianists seeking a littlesomething different for holiday fare.Sheet music selections include twoelementary pieces, Razzle Dazzle Rag,and Tranquility Bay, which are tunefuland imaginative. The Anabana Ragand Kaleidoscope Toccata will satisfy themore sophisticated chops ofintermediate players. He has heldmaster classes on his compositionsboth privately and for organizations. Itis a rare treat for students to performfor a “real live” composer whose musicreflects his ideas, memories, and

images of Canada.Peter has many exciting as-yet-

unpublished works. One such is hissetting for two pianos of the secondmovement from Ravel’s String Quartetwhich I heard him play with Susan at alocal performance group meeting. Aset of songs is dedicated to Susan, Thisis a Beautiful Way, based on the poetryof e. e. cummings. Oh come, oh comeEmmanuel, is a rondo modeled afterthe Chopin B minor Nocturne. A CDwhich will soon be released, Oh,Evergreens, is music set to the poetry ofEllie van Mourik, with Peter playingthe piano and Ellie reading her poems.Last spring found Peter the pianist

once again active in performance.Playing the magnificent Fazioli F308,he presented an exciting solo pianorecital in the Leacock Theatre atMount Royal College which included

the music of Scarlatti, Beethoven,Chopin, and Albeniz. He alsointroduced on the program one of hisown compositions, The Starry Night,Fantasy on a painting by Vincent VanGogh.Dr. Peter Jancewicz, pianist,

composer, teacher, and writer, holds aMaster’s Degree from McGillUniversity and a Doctor of MusicDegree from the University of Alberta.He lists among his very fine teachersKenneth Woodman, Charles Reiner,Charles Foreman, and Helmut Brauss.He is on faculty at the Mount RoyalCollege Conservatory of Music inCalgary, and is a member of theAlberta Registered Music Teachers’Association. The Alberta musiccommunity is proud to have thisversatile musician in its midst.


14

GUSTIN HOUSE, SASKATOON, SASKATCHEWANMay 31, 2005 marks the 110th anniversary of the birth of Lyell Gustin. On that day, his home and studio at 512-10th

Street East, Saskatoon, will be officially re-opened as a centre dedicated to the Gustin legacy. Boyd McDonald of WilfridLaurier University, distinguished graduate of the Gustin Studio, will present a concert to mark this occasion; theperformance will be held in the larger venue of Grace-Westminster Church, 505-10th Street East, at 8:00 p.m. GustinHouse will be open to the public both prior to and after the concert.The Gustin/Trounce Heritage Committee Inc., Saskatoon, is seeking contact with all former Gustin students and

pupils of those students, as further events are planned for ‘homecoming’ summer of 2005, Saskatchewan’s centennialyear. If you were associated with the Lyell Gustin Piano Studios or know anyone who was – or if you studied with aGustin student and are among the many ‘musical descendants’ – please forward the name(s) and contact information assoon as possible. We also welcome photos, memories, or any memorabilia you may want to share. All information can besent to Walter Thiessen: 314 Auld Place, Saskatoon, SK S7H 4X1; tel (306) 373-9103; [email protected]

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SUCCEEDINGWITH THE MASTERS™

SUCCEEDING WITH THE MASTERS™ i s agroundbreak ing reper to i re ser ies ded icated to theauthent ic keyboard works of the Baroque, Class ica l ,Romant ic, and Twent ie th-Century masters.

A GUIDE TO PRACTICING AND PERFORMING THE WORKS OFH AY D N , M O Z A R T, A N D B E E T H O V E NCompiled, edited and performed by Helen Marlais

• Guides the teacher andthe student in an easilycomprehensible mannerthrough the works ofthe masters.

• Provides a completeoverview of themusical characteristicsof the Classical era.

• Composer biographiesand related historicalpictures are included.

• Short “discoveries” leadthe student throughstylistic characteristicsof the Classical era inan enjoyable manner.

• “Practice strategies”guide students andpositively encouragesthem to learnhow to master thisclassical repertoire.

• The companion CDincludes completeperformances and aPractice StrategyWorkshop.

• All pieces have beenextensively researchedto ensure authenticity.

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SUCCEEDINGWITH THE MASTERS™

A GUIDE TO PRACTICING AND PERFORMING THE WORKS OF

HAYDN, MOZART, AND BEETHOVEN

C L A S S I C A L E R AVolume One

Early Intermediate/Intermediate Reper toire

Compiled and edited by Helen Marlais

Haydn BeethovenMozart

with CD

PracticeStrategy

GERMAN DANCE IN C MAJORThis German Dance, No. 1 of a set of 12, was written in 1795 when the composer was 25 years old. Since Beethoven taught

many students himself, this set was probably used as teaching repertoire.

Practicing two-note slurs:

The thirds in measures 10 and 12 must be played legato (connected). To do this, on beat twoof measure 10, lift the second finger while holding onto the upper note, as seen in the examplebelow. Then prepare for the quarter notes by moving fingers 1 and 2 over these notes.

& 43 1œ œ 3œ 1œ œ œ 42˙̇ œœ

& becomes˙̇ 4˙ 2œ2

œ Œ1

œ

What is a Minuet and Trio?

The minuet was a stately, dignified dance that first appeared at the court of Louis XIV ofFrance around 1650 and was danced by aristocrats through the 1700’s. Couples wouldexchange curtsies and bows during the dance.

Minuets are always in 3/4 time, and often have a middle section (B part) called a Trio.The Trio section often contrasts in mood from the Minuet.

Not only did Haydn and Mozart write minuet and trios for the keyboard, but they alsowrote them as part of their larger works—in symphonies for orchestra and in stringquartets (for two violins, viola, and cello).

The form of a minuet and trio is as follows:

Minuet Trio MinuetA B A

aabb ccdd ab

Characteristics of the

Classical Era

&?

..

..P5

Trio

œ œ

4

œ œ

17

legato

1œ 3œ 2

œ œ

14

œœ œœ51

œœ œ

2œ œ 5œ œ˙ œœ œ

51

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œ

1œ 3œ 3œ œœœ œœ œœ

2

œ œ f5œ œ œ œ

˙̇1

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&?

..

..

21

œ. œ.meno forte

œ œ œ œ

3̇

#2

œ3

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œ. œ œ œ œ˙

3

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Fœ 4œ 2œ# '2

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MINUET AND TRIO~ continued ~

CLASSICAL ERA

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BRITISHCOLUMBIA

CYNTHIA TAYLOR

November is a special time for B.C.Music Teachers and students whocelebrate Canada Music Week withenthusiasm. Recitals were held all overthe Province from the north in theCariboo and Prince George to the eastin Trail/Castlegar & the Kootenaydistrict, the west on Vancouver Islandand the Sunshine Coast, the Okanaganin Penticton, and all over the LowerMainland.CMW celebrations were so popular

in the Coquitlam/Maple Ridge areathat “three” recitals were presented toaccommodate the students involved.All compositions performed in therecitals were of Canadian composers’works. A composer who wascommissioned to write a specialcomposition for this event.A grand recital with 60 piano &

voice performers took place in theEast Kootenays. Four studentspresented their own compositions. Aspecial performance with rhythminstruments and piano ensemble wasgiven at the recital by 10 “Music ForYoung Children” studentsparticipating in a “Flag Routine” to OCanada.Ten scholarship presentations were

awarded at the recital and compositionawards were also presented. The EastKootenay “Composition Celebration”had 14 entries from students rangingin age from 7 - 87!!!!!!! Well done!A one day Canadian Music Piano

Festival encouraging specificallyCanadian content was held in Missionwith Teacher/Adjudicator TaraWohlberg from Vancouver.On Vancouver Island the North

Island branch presented a CanadianMusic Workshop with 30 studentsparticipating. This workshop wassponsored by Colin Miles and theCanadian Music Centre. Composer

Judy Specht began the workshop witha large map of Canada on which sheplaced the names of all the composersof each composition to be played inthe workshop. There were pieces ofthe Supernatural by Clifford Poole andBoris Berlin; Animals by LindaNiamath, Patricia Holt, LornaPatterson, David Duke; Dances byDavid Duke, Violet Archer, DaleReubart, and Remi Bouchard;Landscape pieces by David Duke,Boris Berlin, Jean Coulthard, and

Alexina Louie; and “Form” by JudySpecht.To complete the North Island’s

CMW celebrations a recital was heldthat included piano performances andguitar solos ending with an ensembleof 8 Classical guitarists called “DolceGuitars”.Of special note were the

presentations at the recital to “4”students from this small branch forhaving completed all of the RCMARCT diploma requirements.

CANADA MUSIC WEEK® PROVINCIAL REPORTS

LAURIERy fURIERFaculty of MusicURIER

Wilfrid Laurier University75 University Avenue WestWaterloo, Ontario N2LWaterloo, Ontario N2LW 3C5519-884-0710, ext. 2432 • Web site: www.wlu.ca(Concert Line: 884-0710, extension 3554)

PROGRAMSHonours Bachelor of Music

(four years)• Performance • Church Music

• Composition • Comprehensive• Music Education

• Music History • TheoryHonours Bachelor of Music Therapy

(four years)Master of Music Therapy

Diploma in Chamber Music (one year)Diploma in Performance (three years)

Opera Diploma Program (one year)

PERFORMANCEOPPORTUNITIES• WLU Symphony Orchestra

• WLU Wind Ensemble• WLU Choir • Jazz Choir

• Opera Productions• Chamber Music

• Chamber Orchestra• Improvisation Concerts Ensemble

• WLU Baroque andEarly Music Ensemble

• Chamber Choir • Chapel Choir• Jazz Ensemble

• Student Composers’ Concerts• Weekly Masterclasses and

Student Recitals• Graduation Recitals

FACULTY includes• Composition: Glenn Buhr

and Peter Hatch• Education: Lee Willingham

• History: Alma Santosuossoand Kirsten Yri

• Music Therapy: Heidi Ahonen-Eerikäinen, Carolyn Arnason

and Colin Lee• Organ: Jan Overduin

•Piano: Leslie De’Ath andHeather Dawn Taves

•Strings: Penderecki String Quartet• Theory: Charles Morrison,

Anna Ferenc and Kevin Swinden•Voice: Kimberly Barber and

Daniel Lichti•Winds: Amy Hamilton and

Michael Purves-SmithMembers of the K-W Symphony and

the Canadian Chamber Ensemble

CONCERTSFree Tuesday Noon Hour ConcertsTuesday Noon Hour ConcertsT• Guest Artists and WLU FacultyEvening and Weekend Concerts• WLU Baroque and Early Music

Ensemble • WLU Choir• Chapel Choir • Chamber Choir

• WLU Jazz Ensemble • Jazz Choir• Chamber Music

• WLU Symphony Orchestra• WLU Wind Ensemble

• Opera and Opera Excerpts• Graduation Recitals• Student Composers

• Improvisation Concerts EnsembleLAURIERFACULTY OFMUSIC

C a n a d a M u s i c W e e k ®

16


17

A very special concert was held onthe Sunshine Coast which included “5harps” 1 violin with piano, 7 pianistsand guest artists - the 16 memberCoast Fiddlers ensemble.In beautiful Victoria the “Murray

Adaskin Composition Competition”was held. Adjudicator NicholasFairbank was also the featuredcomposer for their recital where theMurray Adaskin awards for thecomposition competition werepresented. Winners of the competitionperformed their own works in therecital. The Victoria branchencourages students to explore worksby local composers by inviting a localcomposer to be their “FeaturedComposer” at their concert. Manylocal composers attend the event.The BCRMTA would like to thank

everyone who took part in the CanadaMusic Week Celebrations throughoutthe Province and especially, Thank -you to the Canadian Music Centre forpromoting our wonderful artisticresources and supporting Canadiancomposers.

SASKATCHEWANANNE MCGILP

Saskatchewan celebratedCanadian Music week in manyways. Yorkton, Regina and

Saskatoon branches hostedContemporary Showcases with largeparticipation. Several communities hadCanadian Music recitals. Theseincluded North Battleford, Kindersley,Rosetown, Biggar, Swift Current,Lloyminster, and Saskatoon. Manyteachers had private Canadian musicrecitals. Saskatchewan was fortunate tohave visits and workshops with thecomposers Stephen Chatman in Biggarand Nancy Telfer in Yorkton andSaskatoon.Some branches got very good

publicity for their Canada Music Weekactivities. Swift Current branch hadShaw cable record their recital and hadan interview on the local radio station.There was a two page writeup aboutCMW in the Northwest Herald(encompassing students in the Unityarea) with photos of each student thathad successfully completed aconservatory exam this past year.East Central branch hosted a

“Cross Country Classics” concert inWynyard on Nov. 18 with BernadineBlaha and Elizabeth Dolin. One of theworks they performed was by SamuelDolin, Elizabeth’s father, anotherCanadian composer.Our annual convention in

September showcased Saskatchewancomposers, and the SaskatchewanMusic Teachers’ Association is

sponsoring a new piano solos book bySaskatchewan composers for theprovince’s centennial (2005). PeggyL’hoir is spearheading this project.The book launch will be held inSaskatoon, Jan. 28 at Yamaha PianoCentre. As you can see, Saskatchewanis promoting Canadian music in manydifferent ways.

NEWFOUNDLANDSHEENA ROBERTS

For theNRMTA, thefocus of CanadaMusic Week hasbecome the

contact and subsequentinteraction with a Canadian composer.To this end we are very fortunate tohave the support of the CBC with thelocal weekly show, “Musicraft”produced and hosted by FrancescaSwann. Last year’s “Musicraft” showwith Walter Buczynski of Toronto wasa resounding success with excerptsaired nationally twice, once on June13th and again on the Labor Dayweekend in addition to the two fullregional broadcasts.This year proved to be equally

successful. The week began with arecital on Nov. 20 featuring not onlypublished Canadian composers but


18

also works by local young musicians.Two days later, Francesca welcomed agroup of young students into the CBCstudio to tape their pieces and theninvited them all to return on Nov. 24for the live hook-up between theVancouver and St. John’s CBCstudios. This was as exciting for thecomposer, Linda Niamath, as it wasfor the students, ages 7 to 11, whogathered to listen to their pre-recorded pieces and talk with thecomposer about their performances.Francesca skillfully directed theconversation and the show that airedon December 5 was once again adelightful mixture of performancesand dialogue between composer andstudents.This year, the composer’s

comments were not just restricted toher own compositions. Ms. Niamathalso listened with great interest topieces by composers and twins, Heidiand Adele Crummell. Heidi was oneof two Newfoundland studentsawarded a prize in the 2004 CFMTAMusic Writing Competition. Sheplaced second in Class A1 (11 yearsand under) with her pianocomposition “Chrysalis”. PhilipRoberts (21) won the Open CategoryClass D with his song “The Recital”.The positive feedback from all

involved with this year’s Canada MusicWeek was further heightened with thearrival of a package from the composercontaining sheet music autographedand addressed to each of the thirteenstudents, plus two copies of her latestpublication.Canada Music Week not only links

composers with students but alsobrings different musical communitiestogether in the process – a trulyrewarding musical endeavor.

ONTARIOSUSAN MANDER POWELL

Canada Music Week wascelebrated throughout the province byhundreds of young people performinga great deal of Canadian music in

recitals, playing works by not onlyestablished Canadian composers, but alarge number of student composers aswell! Many branches awardscholarships and prizes in celebrationof the young performers’accomplishments in their musicexaminations and several brancheshave come up with some unique ideasto spread the word and sound ofCanadian music throughout the land!The Barrie ORMTA held an

awards recital during Canada MusicWeek. To be eligible to perform, thestudents must have obtained a mark ofat least 85% in their practical musicexaminations, or 90% in the JuniorTheory or 95% in the Senior Theoryexaminations. The students areencouraged, though not required toperform works by Canadiancomposers.The Belleville ORMTA held a

Junior Recital and Tea, on SundayNovember 21st, and this yearPresident Sheryle Mayhew reportedthat it was the mostsuccessful ever! Sixteachers wereinvolved, with over60 performers,from beginners toGrade 4, and theperformers wereencouraged toperform Canadianmusic. The eventwas very wellreceived, with ahuge number ofparents andgrandparents inattendance.The Central

Toronto ORMTAheld a ScholarshipRecital on SaturdayNovember 27th,with over 40performers,including all agesand grades,representing 14ORMTA teachers.Welcomed byPresident MarjorieBeckett, there wereseveral scholarships

awarded, including a Junior andSenior Scholarship for the bestCanadian performance, awarded byadjudicator Terry Kroetsch. As amemento, the performers receivedcertificates with Canadian stickers onthem.The Chatham Kent ORMTA held

a Canadian music and awards recital,where all the performers performedmusic by Canadian composers.Trophies were presented to thestudents who received the highestmarks in the past year’s musicexaminations. In addition, PresidentRoberta Dickson reported that theyheld a music writing competition with4 entrants in the 11 – 15 year oldcategory and 2 entrants in the 15 andover division. Some of these studentsplayed their own compositions at therecital and medals were presented tothe winners.The Etobicoke-Mississauga

ORMTA had a number of studentsand teachers involved in the


Mississauga Contemporary MusicShowcase, held November 27 – 28th.In addition, President FrancesMacerollo reported that Canadiancomposer Mary Gardiner spoke oncontemporary music and her ownmusic at a workshop held on SundayNovember 21st. The workshopincluded a master class, and was wellattended by 25 teachers.The Guelph ORMTA held a

Canadian music piano recital at the

Guelph Youth Music Centre onSunday, November 21st, when all 25students performed Canadian music.All the performers received pencilswith Canadian flags, and the venuewas decorated with Canadian flags andred treble clefs. Biographies of all theCanadian composers who wererepresented on the program wereprinted and available to all whoattended.The Hamilton-Halton ORMTA

held a First Class Honours Recital onSunday, November 21st. Theperformers were encouraged toperform works by Canadiancomposers, and scholarships wereawarded to those students whoachieved the highest marks for eachgrade in piano, voice, theory andhistory examinations.The Hanover-Walkerton ORMTA

held a Canadian Music Week Festival,on Friday, November 19th. TheFestival, which grows every year,involved a huge number of pianistsfrom beginner to senior levels ofpiano, and was adjudicated by SharondeVree, Aury Murray and SusanMander Powell.The Kingston ORMTA held their

22nd annual Canada Music Weekrecital a week early this year in ordernot to conflict with a Symphonyconcert. President Hugheen Fergusonhoped that “St. Cecilia (wouldn’t)mind”! There were 20 performers andthis year the recital included the musicof three Kingston composers, AnitaDomachevsky, Kris Krowicki andBeverly Porter. Taking place in theKingston Library, the performersenjoyed playing on a beautiful pianodonated by Valery Lloyd Watts, andthe format included brief biographiesof all the composers as each wasintroduced.The Kitchener-Waterloo ORMTA

held a recital on Saturday, November27th, in which 36 young performerstook part, directly following theirGrand River Contemporary Showcaseclasses. President Susan Robinsonreported that seven students presentedtheir own compositions and the otherstudents presented a wide variety ofCanadian music for the audience to

enjoy. There were many pianists, aswell as an accomplished flautist and anoriginal work for violin and piano. Inaddition, a special guest choir openedthe program. The concert was also anopportunity to award the LouiseMaria Ritz scholarships to twooutstanding students as well as ArlineLarsen awards for nine dedicatedstudents.The London ORMTA began

Canada Music Week with a teacherconcert and ended the week with astudent concert! The branch also ran aposter contest that had 66 entries thisyear, with a local artist judging theworks.The Newmarket and Area

ORMTA held three days of concertsduring Canada Music Week, involvingover fifty students from beginner levelto Grade 9, in Upper Canada Mall!President Mary Jane MacPhersonreported that a local piano studiodonated the digital piano, and therewas a great deal of Canadian musicperformed during the event! Eachperformer played several pieces, one ofwhich had to be Canadian.The North Bay ORMTA’s

celebration of Canada Music Weekbegan with an official proclamationfrom the mayor, complete with aTown Crier, and a multitude of redand white balloons! 28 young peopleperformed a great deal of Canadianmusic during the Honours and FirstClass Honours recital held onSaturday, November 27th. TheCanadian composers biographies wereannounced by President Joan SandersOlmsted, and the local newspaper, theNorth Bay Nugget published a pictureand reported on the recital. Inaddition, the branch held theirContemporary Music Showcase whichwas adjudicated by Terry Kroetsch.The North York/York Region

ORMTA celebrated Canada MusicWeek by rewarding students whoperformed music by Canadiancomposers at the Fall auditions andrecital, and who received First ClassHonours marks in their examinations.President Araxie Altounian reportedthat they had a record number ofstudents performing Canadian works,

19

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21

and two singers and two pianistsreceived trophies for their excellentperformances.

The Oxford County-WoodstockORMTA held a recital in CanadaMusic Week.

The Peterborough ORMTA heldan awards recital that featured mostlyworks by Canadian composers. LocalCanadian composer, Sheila Carterpresented the awards, included theCFMTA award for the best Canadiancomposition in her grade, won byEmily Way-Nee. Three Canadiancomposers were present at the recital,among them President AndrewHarbridge, who had one of his owncompositions performed at the recital!

The Sarnia ORMTA held a recitaland reception at Lawrence House,which featured twelve performers whoall played Canadian works. Fiveteachers were represented by thestudents who were beginner level toGrade 10, and aged 7 to 16.

The Welland-Port ColborneORMTA held a First Class Honoursrecital on Sunday, November 21st,featuring all ages of performers,performing a great deal of Canadianmusic and representing five teachers.In addition, President Della Letkemanreported that this was the second yearfor the Poster contest, for students in3 categories. The poster had to be halfa bristol board in size, drawn in freehand, and related to Canada Music

Week. Two local artists judged theworks and prizes were awarded at therecital to the best art work.

Whew! What a great week ofcelebrating the fine works of ourCanadian composers!

NEW BRUNSWICKCAROLINE BRITTEN

‘Twas the night beforeChristmas andall through the

house, not acreature was stirring

. . .’ just those crazymusic teachers trying to put on thefinal touches of this and that beforethe Christmas Concert. Greetingsfrom chilly New Brunswick. As this isbeing written, many teachers arewinding down 2004 with theChristmas Concert season upon usand they would probably like to bejust settling down for a long winter’snap! Fall has been a busy time in ourNew Brunswick branches. Manychildren have been performing inrecitals throughout the province.

Moncton Branch held two recitalsin October and two more for CanadaMusic Week. They were very fortunateto have Hauke Hemple do acomposition workshop and alsoperform one of his compositions atboth of the Canada Music Weekrecitals. What a treat for the students

to hear a young living composer!In Sackville, home of Mount

Allison University, there was a CanadaMusic Week recital featuring about 40talented pianists, violinists and cellists.Their second concert, The AnnualFestive Music Children's Concertinvolved about 35 solos, duets, pianotrios and small chamber works. Agroup of students from Mount A.went to PEI in November toparticipate in the ContemporaryShowcase. Sackville is presentlyplanning a Student Play-a-Thon to beheld in the spring as a fund-raisingevent.

Fredericton is always a busy branchwith fundraisers, examinationworkshops, student-teacherworkshops, and of course the annualCanada Music Week Recital.

Saint John is doing well and hasrecruited some new members. (Someof them are male. Yahoo!) Due to ourrebuilding period we did not have aCanada Music Week recital buthopefully in the spring before Festivalwe will hold a student recital. We havesome mini workshops lined up for ourmeetings, one of which will be onaccompanying instrumentalists orvocalists. The men in our group areworking on this one.

Our Provincial Council met inOctober and had a very productivemeeting. We are working on afundraiser to send a competitor to


22

Calgary next summer. The fundraiserhas been coordinated by a veryenergetic new council member, TanyaClark. She has put together acollection of teacher’s recipes andmade a cook book called “Dinner in DMinor”.

We are still pursuing the insuranceissue as well as the long standing fightwith the government for High SchoolCredit. So far the government doesn’twant to budge on this but our feistyGail Carleton has not given up yet.

On behalf of all teachers in NewBrunswick I hope your Festive Seasonwas wonderful and you are rested andready to face the new year with vimand vigour.

CANADA MUSIC WEEK REPORTCanada Music Week was celebrated

throughout our province this year withrecitals, workshops and competitions.Saint John teachers held individualcoaching sessions on Canadian works,some of which were included onholiday recitals. Sackville celebratedwith a CMW recital for youngperformers which was very well-attended. Mount Allison Universityheld an afternoon recital of all-Canadian music. A separate chambermusic recital was also held during theweek. The chamber orchestraperformed under the direction ofDanise Ferguson, RMT. Monctonteachers invited Hauke Hempel,former CMW national competitionwinner, to give a workshop oncomposition. A CMW recital was heldon the first Sunday of CMW andfeatured local students as well asHauke performing some of his owncompositions. Fredericton teacherscelebrated by holding a compositioncompetition for students. Prizes wereawarded for first and second place fordifferent age groups. First and secondplace winners were invited t!o performtheir pieces on a CMW recital.Pictures and bios of the winners werefeatured in the local newspaper, TheDaily Gleaner. Norma Ferguson, RMTwas the judge for this yearscompetition.

P.E.I.JANE NAYLOR AND ANNE BERGSTROM

The Prince Edward IslandRegistered Music Teachers'Association celebrated Canada MusicWeek® on Saturday, November 20,2004 with two student recitals ofCanadian music, separated by anAwards Ceremony for the winners ofour annual Competition for MusicComposition, Artwork and/orCreative Writing. There were 67participants in the Recitals and 21Award winners, along with tworecommendations for the CFMTANational Music Writing Competition.Each participant received a ribbon andthe Award winners were given medals.Winning compositions wereperformed, and the artwork andcreative writing were displayed on thewalls of the Dr. Steel Recital Hall atthe University of Prince EdwardIsland, along with pictures ofCanadian composers. Ourcomposition judge this year was Dr.Andrew Zinck of the UPEIDepartment of Music.

The next event was Charlottetown’seighth annual ContemporaryShowcase, which featured 44 youngperformers in piano, voice, flute, violinand tuba in a non-competitive festivalof contemporary Canadian music.Each year a different Canadiancomposer is brought to PEI to offeradjudications to young musicians in aninformative, supportive atmosphere.This year’s adjudicator was AnthonyGenge, a professor of music at St.Francis Xavier University in NovaScotia. Some of the students receivedawards based on their performances.Charlottetown is still the only Centrein Atlantic Canada of ContemporaryShowcase, with sixteen others acrossthe country.

The celebration of Canada MusicWeek concluded with an all-Canadianconcert by eklektikos new musicproject, the Island’s contemporarymusic group. Three of AnthonyGenge’s works were on the program,

including a world premiereperformance of his Shadows and Glassfor trombone and piano, written forDale and Jacqueline Sorensen. Othercomposers on the program wereRichard Covey, Mary Gardiner, KeithBissell, Jacques Hétu, and LauraHoffman.

QUEBECCHRISTIANE CLAUDE

On November 21st, 2004, theQuebec Music Teachers’ Associationheld five recitals at College ReginaAssumpta. 18 teachers presented atotal of 107 participants.

The pianist pedagogue FrancineChabot chose the best performances;30 students were invited to return fora gala recital held once again atCollege Regina Assumpta on Saturday,November 27th at 7 p.m.

Each year, an amount collected forthe « Rose Goldblatt Scholarship »,created in her memory, is offered bythe Quebec Musical EducationFoundation to students invited toperform at the gala recital, whichcloses Canada Music Week. Mrs. NinaValer was invited to distribute cashprizes from this special fund. A specialthank you is extended to MireilleGagné of the Canada Music Center,who also generously provided awardsto our young talents (books and CD’s)

At the conclusion of this galaconcert, the Quebec ProvincialCouncil invited all its members and allthose present to join them at areception organized by KatharineNotkin and her team of volunteers.

The reception was muchappreciated and made it possible forthe young performers and audience tomingle and converse with each otherand with teachers and other musicians.

The gala concert was memorablefor the confidence displayed by theyoung performers during their repeatperformances. The musicians inattendance, as well as the public, werevery impressed by the quality of theconcert.


23

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QUEBECL’Association des Professeurs de

Musique du Québec a organisé 5récitals Dimanche le 21 novembre 2004au Collège Regina-Assumpta. 18professeurs ont présenté des élèves pourun total de 107 participants.

La pianiste et pédagogue FrancineChabot a choisi les meilleuresinterprétations pour un concert gala.Une trentaine d’élèves ont été retenus.Nous avons pu entendre du chant, de laclarinette, des duos et même un trio depiano. La majorité des participants sontdes pianistes. Le concert gala a eu lieuégalement au Collège Regina-Assumpta, Samedi le 27 novembre à 19heures.

Chaque année, un montant recueillipour la « Bourse Rose Goldblatt » crééeen mémoire de cette dernière, est offertpar la Fondation Québécoise pourl’Éducation Musicale et est octroyé enprix aux élèves choisis pour le récitalgala de la Semaine de MusiqueCanadienne. Madame Nina Valery, fillede la regrettée Rose Goldblatt, a remisaux participants les prix en argent etgrâce à Mireille Gagné, directrice duCentre de Musique Canadienne, desrécompenses ont été distribuées à cesjeunes talents (livres et disquescompacts).

À l’occasion de ce concert-gala, leconseil de l’APMQ a invité sesmembres et tous ceux qui assistaient àune réception organisée par KatharineNotkin et son équipe de bénévoles. Desinvités de marque se sont joints à eux.

Cette réception a été très appréciéeet a permis aux jeunes participants ainsiqu’au public de rencontrer etd’échanger avec professeurs, musicienset invités.

La préparation remarquable desétudiants ainsi que la possibilité derejouer une semaine plus tard, avec plusd’assurance et de confiance, ont fait dece concert-gala un grand succès.

Les musiciens présents, ainsi que lepublic ont été très impressionnés par laqualité du récital.

MANITOBAHEIDI PETERS

What better way is there tofind true Canadian spirit thanat a recital in a small rural town

in southwestern Manitoba. Youngaspiring musicians from surroundingcommunities gathered in Deloraine onthe afternoon of Sunday, November14th, 2004 to perform over thirtyCanadian compositions. An attentiveaudience of one hundred listened torepresentative works for solo piano andpiano duet by sixteen composersincluding Violet Archer, Boris Berlin,Remi Bouchard, Anne Crosby, DavidDuke, Pierre Gallant, HeatherLaliberte, William Lea, MargaretLivermore, Linda Niamath, OscarPeterson, Clifford Poole, MurraySchafer, Nancy Telfer, Brittany Wall,and Debra Wanless.

There are six registered musicteachers in this agricultural region andall of them actively participated inorganizing and promoting the recitaldedicated to celebrating Canada MusicWeek, as well as preparing theirstudents for the big event. But that wasnot all, Tenley Dyck (Boissevain),Tannis Hofer (Deloraine), GeraldineKroeker (Deloraine), Dianna Neufeld(Margaret), Maureen Baird (Melita)and Lara Mason (Souris) organizedother events in honor of Canadiancomposers. These events includedrecitals in Seniors’ residences andchurches throughout the region as wellas contests encouraging students towrite and perform their owncompositions.

Meanwhile in Winnipeg, anotherCanada Music Week Recital was held atthe Westworth United Church on theafternoon of November 14th, 2004.This concert was sponsored by theMRMTA Winnipeg Branch.

On November 28th, 2004 studentsfrom the School of Music andEckhardt-Gramatte Conservatory atBrandon University presented theirCanada Music Week recital. TheMRMTA Brandon Branch and the E-Gre Conservatory co-sponsored thisconcert.


24

Congratulations and many thanksto all the teachers who celebratedCanada Music Week in 2004 whetherby means of a formal recital, or byengaging in a little discussion with astudent about the composers of theircurrent repertoire, or by teaching astudent to improvise, or byencouraging students to attend localconcerts, or perhaps by unveiling themystery of composing by analyzing apiece and encouraging them tosubmit a composition into theupcoming CMW Music WritingCompetition in Spring of 2005.

On behalf of the ManitobaRegistered Music Teachers’Association, I would likeacknowledge composer RemiBouchard who performed the dutiesof our Provincial Adjudicator for theCMW Music Writing Competition2004 with expertise. It is regrettablethat he was not acknowledged on thenational level. Remi, we, themembers of the MRMTA and ourstudents, thank you.

MRMTAPROVINCIAL REPORT

NANCY NOWOSAD

Greetings from “WinterWonderland”! After some muchdeserved (and appreciated) beautifulfall weather, the white stuff hasreturned, just in time to help us allget into the spirit of the approachingholiday season.

Our big event this fall was our85th Anniversary Gala on October 3,held in conjunction with our first fallAnnual Meeting since the acceptance

of our new Provincial By-Laws lastspring. More about this in a separatereport in this newsletter.

The Young Artist Series Concertswere held in both Brandon andWinnipeg in mid October. VocalistLaurien Gibson from Saskatchewan,runner-up in the Westerncompetition, was able to step in as theYoung Artist in place of violinistTanya Gerl from Manitoba, afterTanya’s sister and accompanistMelanie was killed in a tragic caraccident this past summer.

Pianist Stephane Lemelin was inWinnipeg in October to give theinaugural recital on the new piano atWestworth United Church. Thechurch kindly donated their facilitiesto MRMTA to hold a masterclasswith Stephane, and although therewas a small turnout, all those whoattended said it was a wonderfulexperience both for the performersand audience.

Winnipeg Branch held its annualHoliday Breakfast in early December,with entertainment by jazzperformers Joel Kwiatkowsky ontrumpet and Dave Hildebrand onpiano. The January workshop will bedealing with the very gifted beginningstudent. Scholarship Series auditionswill be held in February, as will theannual Pianothon/Musicthon.

Brandon Branch held its AnnualMeeting in November. In Octoberthe Southern Manitoba Branch held aJazz workshop with saxophonist GregGatien from Brandon University.

Wishing you peace and joy thisholiday season, and all the best in thenew year.

Compositions by

Canadian Composers

Maryanne Rumancik

Christopher Robinson

Timothy Cooper

For sound slips and manuscriptsamples visit:

WWWWWW..PPRRAAIIRRIIEESSKKYYMMUUSSIICC..CCOOMM

Order from your music store or on-line at:

Box 334 Lorette, MB R0A 0Y0

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[email protected]

Piano – Vocal – Choral

Brass - Winds

Chamber Music

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


25

The Manitoba Registered MusicTeachers’ Association held its AnnualGeneral Meeting on Sunday October3 at the Vasa Lund in Winnipeg,followed by a gala event “FantasticFall Fling” in honour of its 85thAnniversary. Approximately 100people were in attendance, includingCFMTA President Victoria Warwickand MRMTA’s oldest member, IreneRowlin, who was honoured for hernumerous contributions to theorganization over the years. Irenecelebrated her 99th birthday later inOctober, and she has invited us all toattend her 100th birthday next fall!

The gala began with a receptionwith entertainment by fiddler SierraNoble, followed by a lovely banquetand more “truly Manitoba”

entertainment, the Walking WolfDancers and Singers and TrezhubUkrainian Dancers. The Master ofCeremonies for the evening was JustinDeeley, son of MRMTA member JoyDeeley and a member of the improvcomedy group Spleen Jockeys.Needless to say he kept us entertainedas well! An exciting array of doorprizes rounded out a most enjoyableevening.

MRMTA was founded in 1919 asthe Winnipeg Music Teachers’Association by a group of about 80teachers. One of their aims was tointroduce an optional credit for musicstudy in high school. In 1921 theassociation took the name ManitobaProvincial Music Teachers’Association, with representation in 16centres throughout the province.A founding member-body of the

Canadian Federation of MusicTeachers Associations (1935), itchanged its name again in 1939 to theManitoba Registered Music Teachers’Association, with branches inWinnipeg, Brandon and Portage laPrairie. Currently there are branches inWinnipeg, Brandon and SouthernManitoba, as well as Independentmembers throughout the province.

We are all very proud of ourorganization and its accomplishmentsover the years. Through the hardwork, determination, and dedicationof our members past and present,MRMTA has played a vital role indetermining the course of musiceducation in this province over thepast 85 years.Here’s to the next 85!

Manitoba Celebrates 85 Years

Our entertainment for the evening -Walking Trezhub Ukrainian Dancersand Wolf Dancer.

Victoria Warwickand Irene Rowlinwho turned 99 acouple of weekslater - our oldestmember and veryactive through theyears, washonoured at theGala

Outgoing President Faith Reimerhanding over MRMTA's 1994 PrixManitoba painting of "Grey Owl" toincoming President Eleanor Lwiwski to keepduring her time as MRMTA President.

Fiddler Sierra Noble entertainsduring the reception.


26

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Come to Seattle and join your colleagues for the MTNA National

Conference, April 2–6, 2005, at the Washington State

Convention and Trade Center and the Sheraton Seattle Hotel

and Towers. Meet and greet old friends and experience master

classes, evening concerts and the national competitions

finals, as well as explore the 170-booth exhibit hall.

Sessionsn John Bloomfield, C Major—The Easiest Key?

Helpful Hints for Teachers and Students

n Ingrid Jacobson Clarfield, Teaching Rubato:Bend It, But Don’t Break It!

n Jean Stackhouse, Music Making and theSpirituality Factor: The Unspoken Component

n Robert Weirich and Karen Kushner,

Partnering Your Way Back to Performance

...plus more than 90 other sessions on pedagogy,performance and technique.

Special Interest TracksGroup Teaching TrackFor pianists, MTNA and the National Piano Foundation are

teaming up to offer sessions that will explore effective

strategies for teaching group piano and creating an excit-

ing atmosphere for introducing musical concepts and skills.

NATS Spring WorkshopFor vocalists, MTNA and the National Association of Teachers of

Singing are working together to present the NATS Spring

Workshop, Musical Theater III.

Technology TrackFor all teachers, MTNA will partner with the International Association

of Electronic Keyboard Manufacturers to present technology

sessions, including Educational Software That Really Makes a Differenceand Artistic Use of Technology in Live Performance, among others.

BARRY BITTMAN, M.D.keynote speaker

Recreational Music MakingApril 2

ADRIANA ZABALAvoice

April 2

ANGELA CHENGpiano

April 5

AMERICAN PIANISTSASSOCIATION FELLOWS

April 3

2005 MTNA NATIONAL CONFERENCE2005 MTNA NATIONAL CONFERENCE

CFMTA members may attend the conference at the MTNA member price by registering online at www.mtna.org, using “CFMTA” as themember number and clicking on the active member button or bycalling (888) 512-5278.

MUSIC TEACHERS NATIONAL ASSOCIATION


29

WOMEN’S CONTRIBUTIONS TO MUSICPAST AND PRESENT

The study of women’s contributions to musicalendeavours is, in the scheme of historical musical research,fairly recent. It has only been in the last thirty years or so thatfeminist musicologists (male and female) have asked thequestion “Where were the women?” Early work on “womenin music” focused on female performers (women as “re-creators”), on wives of great composers, on women aspatrons of music, and as teachers. Even through the later20th century, debates ensued about women’s ability to createmusic: to compose. Interestingly there were no parallelconcerns about women’s literary abilities. But the language ofwords and the language of music are two distinct disciplines:in the last two hundred years women have been afforded a“literary” education; but unless a young woman was thedaughter of a musical family, her chance of a musicaleducation was slim. Thus, her musical vocabulary was limited,and whatever musical ideas she may have had were thwartedby her lack of musical “grammar”.

The first studies on women composers centred on thosewomen whose families nurtured their talents. And there aremany. Probably the most familiar to us from the 19th andearly 20th centuries are Fanny Mendelssohn Hensel, ClaraWieck Schumann, Josephine Lang, Teresa Carreño, CécileChaminade, Amy Beach, Rebecca Clarke, Ethyl Smyth, andGermaine Tailleferre. But there are hundreds more womenfrom the late middle ages through the eighteenth centurywhose works are gradually being discovered and published:women such as Hildegard von Bingen (the 12th century nuncomposer); the Renaissance composers Maddalena Casulanaand Francesca Caccini, who wrote madrigals and canzonas;the Baroque composers Barbara Strozzi, whose solo canzonasand cantatas are quite brilliant, Elizabeth-Claude Jacquet dela Guerre, whose harpsichord suites rival those of Couperin,and Isabella Leonarda, a nun composer who also wrote manysecular chamber sonatas. The later eighteenth century givesus scores of compositions mainly devoted to small forms forpiano and voice: keyboard sonatas, themes and variations, andlieder by Francesca Lebrun, Sophia Corri Dussek, Jane MaryGuest, Corona Schroeter, Emilie Zumsteeg, Julie Candeille,Maria von Paradis, and countless others.

I had not intended to write a “catalogue” of womencomposers, but rather to give an indication of the wealth ofrelatively unexplored music awaiting you and your students.And while music by women from the last fifty years or so ismore readily available, neither it – nor music by historicalwomen composers – will necessarily appear in the standard“grade” books. (Some of you may remember the old Etudemagazine with its welcome inclusion of new music by womencomposers in almost every issue!)

It’s true that we’ve seen considerably more prominence inrecent years of music by women – including music by someCanadian women. Jean Coulthard, Violet Archer, andBarbara Pentland are justly well known figures, but I’ve also

been delighted to see the works of Linda Niamath and JeanEtheridge in some publications.

Where do we go for information on women composersand their music?

Perhaps the most useful – beginning – source is theIAWM: the International Alliance for Women in Music.

This is an organization (with affiliate organizationsthroughout the world) whose purpose is to advocate forwomen in music. Their website <www.iawm.org> is awonderful resource for anyone interested in women’s roles inmusic, and provides a wealth of information for anyoneseeking information on any aspect of women’s music. Thissite is an excellent “homework” assignment for your students!

As well, the IAWM offers an internet discussion list. Tosubscribe, send a message to <[email protected]>. In the bodyof the message type: subscribe IAWMLIST FirstNameLastName. Members of this list are supportive, helpful, andencouraging. (For information on membership in the IAWM,please contact Maryanne Rumancik or me.)

I’d like to add a few other very accessible sources whichmay be of interest. Sylvia Glickman and Martha FurmanSchleifer are the editors of a 12-volume collection ofwomen’s music. Seven volumes are now available in mostmajor libraries. The series is “Women Composers: Musicthrough the Ages”. The School of Music, University ofManitoba Library has the seven volumes now in print in itsReference section. The volumes include edited music andessays through the 19th century. This is a landmarkpublication and we eagerly await the remaining volumes of20th century music.

Sylvia Glickman is also the editor and webmaster(webmistress?) of a company which specializes in publishingmusic by women: <www.hildegard.com> Please check her on-line catalogue for readily available and inexpensive music.

James R. Briscoe has two anthologies of music by women.They are both published by Indiana University Press and areavailable through their website or through Amazon orChapters. His New Historical Anthology of Music by Women isavailable this month – with companion CDs.

And the New Grove Dictionary people published a one-volume New Grove Dictionary of Women Composers 10 yearsago. It’s a much slimmer volume than many of us hadexpected. But it is a beginning. And it’s a good (inexpensive)reference work.

The sources above are simply a beginning. If anyone isinterested in more information, please feel free to contact me.I initiated the first women-in-music course at the Universityof Manitoba in 1986. I’m delighted to help in any way I canto promote the study and perfomance of women in music.

Ursula M. Rempel, School of Music, University ofManitoba • [email protected] • 474-9577


31

BY JUDY SNEDDEN

The Canadian Music Competitionsnetwork was founded in Quebec in 1958as the National Music Festival. In 1968 itwas re-named the Quebec MusicCompetition and, in 1970, havingextended across Canada, was again re-named the Canadian Music Competitions.It is a non-profit organization.To date, the CMC’s have twenty-one

chapters across Canada. The mandate ofthe CMC’s is to assist young musicians toa high level of excellence and, as such,create a stimulus to serious music study.Further to this end the InternationalStepping Stone competitions was added,in 1971, to the national competitionevents. This competition is held everyalternate year and is aimed specifically atyoung artists looking forward to aprofessional career and wanting tomeasure themselves against internationalstandards.The CMC organization consists of a

national President, General Director, andvolunteer local committees. Eachcommittee forms partnerships withteaching institutions and otherorganizations having similar goals withinthe community. Through fundraising andcommunity solicitations it also endeavoursto provide financial assistance (eg. travelexpenses) to participants at provincial ornational levels. Local committees sharethe traveling expenses and salaries of thetwo judges and the Director who travelthe country each year.The Competitions have a three-tiered

progression: local, provincial, andnational. The classes themselves are age-specific and include all instrumental andvocal categories. There are multiplejudges; a minimum of two at the locallevel and five at the national level.It is important to emphasize that the

participants compete not against eachother, but only against a standard; if all

participants in a class receive a qualifyingmark, then all advance; if none receives aqualifying mark, then none advances.Here the CMC’s have created a refreshingdifference from most other competitions -one that is free of a lot of the baggageattached to competing.At each level the contestant receives a

mark which is the average of all thejudges’ marks. The judges markindependently of each other, withoutconsultation. The minimum markenabling one to proceed from the locallevel is 80%; from provincial to national itis 85% ( In contrast, at most events, onlyone person gets to go out of theprovince.) At the national levelscholarships are awarded and, for SteppingStone winners, performanceopportunities. There is also a final Galaconcert.Another real advantage of the CMC’s,

and one that is sometimes forgotten byteachers, is that they provide students theopportunity to perform their musicfestival repertoire again. So often ourstudents get a one-shot deal, performingonly once pieces they’ve worked long andhard on. Professional musicians performrepertoire repeatedly, refining andchanging all the time. (I often tell mystudents that learning a piece and thenforgetting it is like saving up for, say abicycle and then throwing it away.)Repeated performance of complicatedrepertoire is a very valuable learningexperience.Finally, the true rewards, however, may

be in exposing our young performers tothe counsels of highly-trainedadjudicators, and, perhaps mostimportantly, to the performances andacquaintanceship of other highly-motivated young musicians.For further information contact

www.cmcnational.com

THE CANADIAN MUSIC COMPETITIONS

CONTRIBUTED BY THELMA GILLIS.

Margaret Jean Laube of Springside,beloved wife of Donn Laube, passedaway Wednesday September 1st, 2004.She was born in Balcarres,Saskatchewan on April 7th, 1940, thedaughter of Gilbert and RosalieCalver. Jean devoted her life to herhusband Donn of 45 years, her threechildren, 9 grandchildren and hermany music students. She was agracious, beautiful woman, loved byall who knew her.Jean taught school at

Churchbridge, Sask. for a year aftergraduating from teachers’ college inMoose Jaw and then engaged in herpassion, teaching music. She not onlytaught over two thousand students

but also adjudicated at many musicfestivals. She was a member of themusic selection committee of theprovincial festival syllabus. Jean was afounding member, first president andnews reporter for the Yorkton Branchof the Saskatchewan Registered MusicTeachers’ Association. She played atmany weddings and funerals and wasorganist, pianist, choir director and avalued member of the SpringsideUnited Church. Jean’s mother, RosalieCalver, taught music for many years inSpringside and Yorkton and Jean’sdaughter, Donna Walz, of Major, Sask.is a music teacher. Jean enriched thelives of others through her love ofmusic. She helped her students buildconfidence, discipline and self esteem.

Jean’s funeral service was held atSt. Andrew’s United Church, Yorkton,Sask. on Monday, September 6, 2004.The music was a wonderful tribute toJean’s memory. Shani Apland, pipeorganist and Laurel Teichroeb, pianistand former pupil of Jean’s, playedJean’s favourite selections includingthe “Hallelujah Chorus.” A quartetfrom Springside sang two beautifulselections “My life is in your Hands”and “Thanks.”Donations in Jean’s memory may

be made to the Yorkton RegisteredMusic Teachers’ Association for futuremusical scholarships. The address is 48Willow Cr., Yorkton, Sk. S3N 3S2.

IN MEMORIAMMARGARET JEAN LAUBE • 1940 - 2004


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33

ChangeIs Good,

Hal LeonardStudent Piano

Library Is Better!

“Hal Leonard Student Piano Library

Visit Hal Leonard Online at www.halleonard.com

Contact us today for yourcomplimentary Teacher Introductory Packet.E-Mail: [email protected] or 1-800-322-1127 ext. 367.

Please mention SPL04 when requesting your packet.

”

The Hal Leonard Student PianoLibrary has been a very

successful method series for mystudents. The CDs have been a

wonderful way to ‘speak’ tostudents of the 21st Century!My students gain motivation,

practice skills and ultimately asatisfying musical reward fromhearing these inspiring musical

arrangements. My pedagogystudents now understand thatwhen we survey piano methodbooks, great pedagogy cannot

be at the expense of greatmusic. After all, don’t we playpiano because of the music?

Party Cat, Star Quest andThe Macaroni Cha-Cha have

turned out to be all time‘classics’ in my studio!

Dr. Brad BeckmanLecturer at theUniversity of North Texasand private teacher atThe Hockaday School, Dallas, TX• Has taught piano pedagogy

and piano literature• 23 years teaching• 23 private piano students

and 30 pedagogy students• User of the Hal Leonard Student

Piano Library since 1996


34

Collection of Nine BooksCelebrate Mozart Vol. 1

HandelGriegHeller

Haydn Vol. 1SchumannBach Vol. 1

Debussey Vol. 1Chopin

Compiled by Reid Alexander, Samuel Holland andMarc Widner. Edited by Andrew Hisey. Published by

Frederic Harris.LAUREEN MAGNUSSON

This excellent collection is availableseparately and would be a worthwhileaddition to any teacher’s library.Each volume contains a

representative sampling of the

composer’s work, ranging from theearly levels to advanced repertoire.The date of composition, whenavailable, is also included.A thematic index allows the teacher

easy access to what they are lookingfor. As well, an approximate order ofdifficulty is suggested.This is followed by a composer

biography, notes on articulation andperformance practices and suggestionsfor further reading. Although notpresented as urtext, the editors havekept their markings to a minimum, inorder to preserve the appearance ofthe manuscript scores as much aspossible.Most helpful to the pedagogy

student are detailed notes onperformance and study for each piece.Overall, this is an excellent

collection for the student, teacher, or

pedagogy student to use as a referenceor teaching tool. Look for furthervolumes where indicated.

Michigan Images by Marilyn HamBY LYNDI BLAKLEY

An energetic collection of 3 lateintermediate to early advanced piecescapturing the reel of the MotownState, Marilyn Ham brings usMichigan images, another addition toAlfred’s Recital Suite Series.The Mackinac Bridge Overture

starts the collection. The MackinacBridge is the world’s longestsuspension bridge at 5 miles in length.Ham emphasizes the majesty of thebridge through the use of full solidchords, octaves, and preparatorynotes. This piece requires that thepianist be capable of playing cleanoctaves.

BOOK REVIEWS

Motown Mix presents the ‘MotownSound’ which influenced andenergized music particularly aroundthe 1950s and 1960s. This work usesa driving rhythm, a steady beat, andnumerous changes in tone to paintthis wonderful picture of one of thetwentieth century’s most influentialmusical contributions.Concluding this suite is the piece

Many Moods of the Great Lakes. Thework starts with rolling sixteenthnotes and much pedal, and thenmoves to rolling triplets. The coda ofthe piece calls for loud, solid chordsthat further emphasize themagnificence of the great lakes.This suite ends on a very virtuosic,

almost Beethovenesque note, whichseparates it from other suites in theseries.

Expressive Etudes: Traditional Studiesfor Artistic Deve1opment at the Piano,

Book 6 - Early AdvancedCompiled and edited by Suzanne W. GuyThe sixth book in a collection of

eight, this book provides students witha “progressive program for technicaldevelopment”. In this book, SuzanneGuy has combined 19 etudes for theearly advanced to advanced pianistwhich span the major musical periodsincluding works by J. S. Bach, HenriBertini, Johannes Brahms, FriedrichBurgmuller, Carl Czerny, EnriqueGranados, Edvard Grieg, StephenHeller, Henri Lemoine, MoritzMoskowski, Carl Nielson, and RobertSchumann. Etudes provide awonderful tool to increase fingerfacility, strength, control, andkeyboard geography.In this collection, Suzanne Guy has

included a list of general practicingstrategies to make the practicing ofetudes both more effective and moreinteresting. With each piece, Guy hasalso included a summation of thetechnical element being addressed andthe source from which the selectionwas taken. Also included are composerbiographies.

Succeeding with the Masters: A Guideto Practicing and Performing the Worksof Haydn, Mozart, and Beethoven

Classical Era, Volume 1Compiled and edited. by Helen MarlaisA wonderful pedagogical tool

perfect for teaching an earlyintermediate or intermediate student,this collection presents thefundamentals of the Classical period inan easy to understand format. Marlaishas extensively researched these worksand her effort is clearly shown in thisbook.Helen Marlais has selected 26

graded pieces from the three greats ofthe Classical period (Beethoven,Haydn, and Mozart) and made themeasily understandable for the youngstudent. This collection clearlyintroduces various theoretical elementsincluding form and texture in anapplicable situation. Also, each piece isaccompanied by information about theperiod and ideas for practicing.This book is divided into three

sections, one for each composer. Eachsection begins with a biography of thecomposer and is followed by theselected pieces of that composer andtheir pedagogical information andpracticing tips. This book isaccompanied by a CD which containscomplete performances of each work.Also included on the CD is aPracticing Strategy workshop for eachselection in the book.

Ragtime Classics: 41 Great RagtimePiano solos by 20 Famous ComposersSelected and Edited by

Maurice HinsonA stupendous

collection ofamazing rags, thisbook is anincredible collectionof works for boththe lover of rags andthe first-time player.Contained withinthe pages of thisbook are works by

the great ragtime legend Scott Joplinand those not remembered particularlyfor their ragtime music including ErikSatie and Claude Debussy. As ischaracteristic of most Alfreds editions,this collection contains notes onediting and performance tips.Some of the wonderful pieces in

this collection include: Joplin’s TheEntertainer, The Maple Leaf Rag, andother not-so-famous pieces includingSolace – A Mexican Serenade, Swipesy-CakewaIk, and Bethena – A ConcertWaltz; Irving Berlin’s AlexandersRagtime Band Thomas HenryLodge’s Red Pepper Rag; and JamesSylvester Scott’s Grace and Beauty – AClassy Rag.A Must-Have for any ragtime lover.

EXPLORE! PIANO SERIESThe following five albums are from

the Explore! Piano Series published byOceanna Music Publications. Each ofthese albums include a variety of keysand tonalities.

My Favourite Things by Stella terHartThis volume of elementary piano

duets was written with one of theparts slightly easier than the other –ideal for siblings or other pairings ofstudents in different levels of study.The titles in this collection arereminiscent of lazy, hazy summer days. . . the rhythmic Sunshine; SummerRain, a bitonal work; Ice Cream, withsuggestions of a circus; Friendship,which has a swing feel;Hummingbirds, and the delicateButterflies.


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BOOK REVIEWS (CONT’D.)

36


RCM Examinations Newsns RCM Examinations Level Receive Credit for...

Practice Theory AssessmentsNOW AVAILABLE FOR RUDIMENTS, HARMONY, HISTORY, ANALYSIS, COUNTERPOINTAND PIANO ARCT WRITTEN

Submit a practice paper from the RCM Examinations Official Examination Papers, 2004 edition forassessment in preparation for your actual examination.

Practice Theory Assessment requests may be submitted at anytime during the year. However, ifyour students have registered for an examination, and wish to receive timely feedback, then theirPractice Theory Assessment requests must be received by RCM Examinations no later than thedeadlines for submission as indicated below:

Examination Session Submission DeadlineSpring (May 2005) April 16, 2005Summer (August 2005) July 9, 2005

How to submit a Practice Theory Assessment request:1. Complete either the December 2003, May 2004, or August 2004 examination paper from the

RCM Examinations Official Examination Papers, 2004 edition.2. Download and fill out the Practice Theory Assessment Submission Form from

www.rcmexaminations.org.3. Mail the completed practice paper and Practice Theory Assessment Submission Form with the

requisite fee to: Practice Theory Assessments, RCM Examinations, 5865 McLaughlin Rd., Unit4, Mississauga, Ontario L5R 1B8.

Survivor 2004 Workshops - a Success!

RCM Examinations would like to thank all of the coordinators and the Registered Music Teachers’Associations from coast to coast for helping us to make the Survivor RCME Edition workshops agreat success. All workshops were well attended and feedback was positive from all of theteachers who took part.

These workshops featured simulated examinations at the Grade 2 and Grade 7 levels for teachersto critique, and a short lecture on the value of the examination system. Both new and experiencedteachers benefited from the insights and expertise of the featured clinicians.

RCM Examinations looks forward to co-hosting more workshops with RMTA groups in the Fall of2005. If your local RMTA group is interested in co-hosting a workshop, then please contact MimiSpencer at (905) 501-9553, ext. 539. Watch for upcoming issues of Music Matters for updates.

NEW SyllabiThe New Voice Syllabus, 2005 Edition and Voice Series, Third Edition examination materialsare coming!The new Voice Syllabus, 2005 Edition and Voice Series, Third Edition will be available at bettermusic retailers in the spring of 2005. Exciting to note is the addition of Grades 7 and 8 to the VoiceSeries, Third Edition. Also, starting at the Grade 9 level there is a musical theatre option in the ListC list for students to choose from.


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New Teachers can:

• Register for aTeacher Number

Teacher Services allows you to:

• Update your ownaddress information

• Confirm student registrations

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

• View students’ examination marks,examiner critiques, & studentexamination histories

TEACHER SERVICES!TEACHER SERVICES!Fast * Secure * Easy to use *Available 24 hours a day

RCM ExaminationsThe trusted standard in music education and evaluation since 1886

5865 McLaughlin Road, Unit 4, Mississauga, ON L5R 1B8 Tel: (905) 501-9553 Fax: (905) 501-0909

www.rcmexaminations.orgwww.rcmexaminations.org

NEW

NEW


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Best Friends by Stella terHartThis collection of seven junior

piano duets reads like a short story.Any number of the duets can beplayed as a set, with the composersuggesting effective groupings. FromA Party to Sharing Secrets, and evenThe Fight, the obvious conclusion toeach set is Best Friends.

Dust Bunnies by Stella terHartThis is a collection of ten

elementary piano solos ranging frombold Knight Rupert to pieces aboutTeddies, a Secret Closet, PrincessDress, Dust Bunnies, and Toad on theDresser. Several of the pieces in thisalbum are also published in theAtlantic Canadian composers book,Kick up your Heels.

Forgotten Dreams by Stella terHartThis volume of six Intermediate

piano solos explores polytonality inThe Loose Tooth, and bitonality inPerpetuo, as well as the berceuse styleForgotten Dreams. Candles in theDark, a lovely study in tonal balance,phrasing and pedalling, Cloud Pillows,and Spider on the Ceiling round outthe collection.

5 Imaginings by Beverly LewisThis is an early advanced piano solo

collection of a wide variety of styles,from Cross Step, a clever twelve-tonepiece with shifting rhythmic emphasis,to a Song Without Words, which hasan improvisational feel. A Little Waltz,in romantic style, Gallop, and Rumba,with its driving rhythm, round out thecollection.

NEW PUBLICATIONS FROM WATERLOO MUSICLORE RUSCHIENSKY

Waterloo Music has released twonew books by Remi Bouchard thatwill prove to be a delight to manyyoung pianists.

Ten Tiny Tots is a collection of piecesfor elementary piano students. It isabout young children and their varioustemperaments. With titles such asTimid Tim, Tall Tyler, Tense Tina thepieces offer an opportunity to masterthe many different technical challengesat this level.

The Piano Gets A Checkup is a collectionof pieces for the intermediate studentsand is a sequel to The Piano FightsBack and Chuckles. The titles such asThe Tuner at Work, The Missing FSharps, A Broken String is like aBroken Heart and What is thatVibration? should awaken an interestin the instrument the student isplaying.

Lorelei Suite by Stephen FiessWaterloo has

released a newpublication by StephenFiess entitled the“Lorelei Suite”. Thepieces in this suitemusically tell the storyof this old Germanlegend. At thenarrowest and deepestpart of the RhineRiver in Germany isfound a huge rockthat makes boat travelvery difficult. In thestory, a siren called“Lorelei” bewitchedthe hearts of thesailors when theylooked up to the bigrock and caused theirboats to crash andsink.

This suite at theintermediate toadvanced level consistsof 16 pieces that rangefrom impressionistic tofolk song style andromantic in aSchumanesque style.They present awonderful musicaldepiction of the story.Pieces use a lot ofarpeggiated patterns,big solid chords, aswell as cross rhythmsand irregulargroupings.

Piano Paradise - Volume 3 by FishelPustilnik

This third book in a series offersmore of the delightful newcompositions by Fishel Pustilnik. The28 “HOT Melodies” offer a variety ofpieces in many different styles of Jazzand contemporary music. There aremany with beautiful lyrical melodies


JJaazzzz && PPooppPiano Paradise

Volume 3

Original compositions featuring Blues, Jazz-Funk, Latin Jazz, Ragtime, Jazz Swing, Jazz

& Pop Ballad styles.“This is a wonderful new publication”

From review in the Canadian Music Teacher

"Great work! You have a gift for melody and yourarrangements are very playable. Congratulations on the

3rd Volume"Review from Mark Carlstein, Hal Leonard, Keyboard Publications Editor

“I thought the books were excellent. Most of all fortheir variety of styles, clearly written, strong melodiesand all-in-all perfect for someone progressing with the

piano and looking to diversify [their] repertoire.”Review from Paul Harris, famous English piano performer

The transcriptions are fun to learn and teach and charming to play.Volume 1 & 2 also available.

To order, send a cheque or money order for $9.95 plus$3.50 shipping to:

F&N Enterprise 162 Pinewood Drive


39

contrasted with those that have interestingrhythmic ideas. Easy to read, the pieces falleasily into the hand which makes them adelight to play for students from the earlyintermediate to advanced intermediatelevels. With titles like Johnny’s Blues,Froggy Dance and I Love Boogie Woogie,this is a wonderful addition to a student’slibrary for learning and enjoyment.Available from F & N Enterprises (see

ad in this issue) and Mayfair PublicationsInc.

A Jazzy Day by Debra WanlessThis new publication from Mayfair

Montgomery Publishing is an addition toThe New Leila Fletcher Library. Itincludes 20 pieces at the beginner toelementary level in blues, jazz and boogiewoogie styles. Composer’s notes areprovided for each of the pieces in the frontof the book as well as a brief explanationabout the meaning of the title or the stylerequired with the music. The interestingpieces expose the student to accidentals,(there are no key signatures) 6/4 time,pentatonic tunes, hands crossing over,grace notes, finger snapping, 8va and15ma signs as well as glissandi.Explanations of the musical terms used arefound throughout the book help to makethis a great educational tool.These charming little pieces which

include titles such as Hallowe’en Night,Back to School Blues, Rainy Day Rag,Friday Night Jam Session and DayDreaming provide an excellent resourcefor the young student for extra material toreinforce their musical knowledge andreading skills.

Lawless Theory Course, Preliminary,Grade 1, Grade 2 • 2nd Edition

TERRILYNN KLASSEN

The 2nd Edition Lawless theory booksprogress in a concise manner. Thesegraded books aptly cover theoreticalconcepts and requirements as laid out inthe Royal Conservatory of Toronto’scurrent theory syllabus.Each chapter presents concepts that are

explained directly and simply, followed byboth aural and written exercises thatproceed step by step, and end with reviewexercises that challenge the student, andallow the teacher to evaluate theircomprehension.

I particularly like the inclusion of auraland keyboard exercises in these texts,which enhance the musical perceptions ofour students because they ‘allow’ andencourage practical applications of thetheoretical material.These Lawless theory books are a great

accompaniment in the education andmusical pursuits of students in alldisciplines.

PERFORMING OUR MUSICAL HERITAGEPIANO I & II

(Canadian Musical Heritage Series)Edited by Elaine Keillor,

Published by Clifford Ford PublicationsPEGGY L’HOIR

What a special treat reviewing these twovolumes of PERFORMING OURMUSICAL HERITAGE proved to be.These compilations of pedagogically soundpiano music include a range of materialscomposed between the early 1800’s andlate 1960’s. Canada’s musical legacy iswell represented in this well-researchedseries. Congratulations to Clifford FordPublications for their acknowledgementof the importance of this often forgottenperiod of Canadian musical history!The grade levels are from pre-grade one

through grade three in PIANO I andgrade four throughout PIANO II.Stylistically diverse, these compositions areall accessible and attractive. Thecomposers were familiar, however many ofthe compositions were unknown. Titlesreflect everyday living (On the Train byD.D. Slater) laced with creativity (Floatingby Barbara Pentland) and much charm(The Gentle Doll by Robert Fleming).Much fun can be had by the student inpieces like Bunny Hops Along (by G. A.Grant Schaefer) and Witches’ Dance (byCedric W. Lemont).These collections would prove to be a

valuable tool in the studio as all gradelevels are comprehensively represented.The uniqueness of the repertoire isrefreshing and, at the same time, anintegral part of our Canadian musicalheritage. Take the time to go to theClifford Ford Publications web-site andlisten to soundclips of this exciting "new"repertoire.



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CFMTA/FCAPM MEMORIAL PEDAGOGY AWARD 2005 - APPLICATION FORM1. APPLICANT’S NAME ______________________________________________________________________________________

Address ______________________________________________________ City ________________________________________________

Province ______________________________________________________________ Postal Code _______________________________

Telephone _________________________________________________ Fax ___________________________________________________

E-mail ____________________________________________________________________________________________________________

2. ELIGIBILITY

Date of Teacher’s Written Exam __________________________________________________________________________________

Institution (RCM or CC) _________________________________________________________________________________________

Name of Teacher __________________________________________________________________________________________________

Teacher’s Signature _____________________________________________ RMT Branch ___________________________________

Address ______________________________________________________ City ________________________________________________

Province ______________________________________________________________ Postal Code _______________________________

Telephone _________________________________________________ Fax ___________________________________________________

E-mail ____________________________________________________________________________________________________________Please include: 1) An official transcript of the Teacher’s Written Exam mark.2) A typewritten summary of your musical training and interim teaching.

NOTE – The applicant must have completed the requirements between January 2005 and December 2006.Applications must be received by the Special Projects Convenor (Rosalyn Martin) on or before February 15th, 2006

Please send the application t : Rosalyn Martin, 144 Hawkwood Dr. N.W., Calgary, AB T3G 2V8Fax: (403) 242-5856 • E-mail: [email protected]

MEMORIAL PEDAGOGY AWARDCFMTA is pleased to offer a

Memorial Pedagogy Award to thecandidate who receives the highestmark in the Teacher’s WrittenExamination of either the RoyalConservatory of Music orConservatory Canada. This award hasbeen established to honor teacherswho have been recognized for theircontributions to the profession. As atribute to these teachers, thePedagogy Award is being offered to adeserving candidate who has recentlyqualified in this field. It was initiatedupon the passing of Robert Pounder,the CFMTA’s first Honorary Presidentfrom 1975 to 1996.

The applicant must have studiedwith a current CFMTA/FCAPMteacher and the examination must befrom a nationally based teachinginstitution, which examines in everyprovince ( Royal Conservatory ofMusic or Conservatory Canada ).Along with an official transcript of thePedagogy Examination mark, theapplicant will be required to submit asummary of musical training andinterim teaching, which will beconsidered in the case of a tie.The Memorial Pedagogy Award

will be presented biannually in thenon-convention year and will begoverned by the Special Projects

Convenor. The closing date forapplications to be received by theConvenor will be February 15th of thenon-convention year, and anyonecompleting the requirements in the twoyears prior will be eligible. Anyonecompleting the requirements fromJanuary 2005 to December 2006will be eligible to apply.This award is presently valued at

$500.00 and the amount of the awardin the future will be governed by theavailability of funds. It is hoped thatCFMTA members will wish to honorteachers and mentors with donationsto this Pedagogy Award.

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


41

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

(2) Darlene Brigidear, 13407 - 14A Avenue, Surrey, BC V4A 7P9, Phone (604) 531-8840, Fax (604) 531-8747Alberta - (1) Annette Bradley, 17 Hermary Street, Red Deer AB T4N 6S2, Phone (403) 346-0065 [email protected]

(2) Janice Dahlberg, 405 Cliffe Avenue, S.W., Calgary AB T2S 0Z3, Phone (403) 287-1856, Fax (403) 287-2490, jadahlberg@shaw caSaskatchewan - (1) Peggy L’hoir, Box 627, Biggar, SK, S0K 0M0 Phone (306) 948-5231, Fax (306) 948-3987

(2) Anne McGilp, 35 Porteous Cres., Saskatoon SK S7J 2S7, Phone (306) 784-2962. Fax (306)784-3313Manitoba - (1) Faith Reimer, 18 - 600 Dovercourt Dr., Winnipeg MB R3Y 1X4, Phone (204) 269-1150 [email protected]

(2) Eleanor Lwiwski, 86 Shoreview Bay, Winnipeg, MB M8N R2J 3E3, Phone (204) 255-3403 [email protected] Nancy Nowosad, 6 Sammons Cres., Winnipeg, MB, R3R 3P8, Phone (204) 896-4414 [email protected]

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

Quebec - (1) Hélène Lord, 63 Bachand Sud, Boucherville, QC J4B 2N8, Phone (450) 449-7580, Cell (514) 702-5000 [email protected](2) Katharine Notkin, 4814 Cedar Cres., Montreal, PQ H3W 2H9, Phone (374) 733-1270, Fax (514) 738-4271Alternate Helene Lemoine

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

Nova Scotia - (1) Janet Atwood, Box 2840, RR#5, Yarmouth NS B5A 4A9, Phone (902) 749-1792 [email protected](2) Peggy Harrison, 38 Wanda Lane, Dartmouth NS B2W 3A7, [email protected] Michal King, 279 Portland St., Dartmouth NS B2Y 1K2, [email protected]

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

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

CONVENORSArchives - Doranne Cooper, 8181 Lynhurst Drive, Niagara Falls, ON L2H 2A3, Phone (905) 354-1842, [email protected] & Standing Rules - Judy Home, 5 Christena Cres., Ajax ON L1S 6A4, Fax (905) 683-6353, [email protected] Music Week® Convenor - Ron Spadafore, Box 635, Timmins, ON, P4N 7G2 Phone (705)267-1224 Fax (705) 264-0978, [email protected] Canadian Music Teacher Editor & Advertising Manager - Lore Ruschiensky, 94 Green Meadow Rd., Regina SK S4V 0A8, Phone (306) 789-8414,Fax (306) 751-4883, [email protected] Chair - Patricia Frehlich, 72 Manor Drive, Sherwood Park, AB, T8A 0S4, Phone (780) 467-0779, Fax (780) 417-3149 [email protected] & Elections - Barbara Clarke, 86 Old Topsail Rd., St. John’s NF A1E 2A8, Phone (709) 579-1758, Fax (709) 579-0421,[email protected] Projects Co-ordinator - Rosalyn Martin, 144 Hawkwood Dr., Calgary AB T3G 2V8, Phone (403) 239-5847, Fax (403) 241-5856,[email protected] Artist National Co-ordinator - Barbara Clarke, 86 Old Topsail Rd., St. John’s NF A1E 2A8, Phone (709) 579-1758, Fax (709) 579-0421,

[email protected] Artist Atlantic Co-ordinator - Margaret Ann Craig, 93 York Street, Sackville, NB E4L 4R6, Phone (506) 536-0295 [email protected] Artist Ontario Co-ordinator - Helga Morrison, 407 - 168 Wissler Rd., Waterloo, ON N2K 2T4, Phone (519) 746-7051, [email protected] Artist Western Co-ordinator - Cathy Donahue, Box 7, Perdue SK S0K 3C0, [email protected] EXECUTIVE OFFICERSPRESIDENTSBritish Columbia - Lynne Carmichael, 215 Arrowstone Dr., Kamloops BC V2C 1P8, phone (250) 374-4741, Fax (250) 374-3525, [email protected] - Bettijo Smith, Box 57, Jarvie AB T0G 1H0, Phone (780) 954-2464, [email protected] - Bev Tillman, 24 Cecil Cres., Regina SK S4T 5Y5, Phone (306) 949-5757, [email protected] - Eleanor Lwiwski, 86 Shoreview Bay, Winnipeg, MB M8N R2J 3E3, Phone (204) 255-3403 [email protected] - Judy Home, 5 Christena Cres., Ajax ON L1S 6A4, Phone (905) 683-9493, Fax (905) 683-6353 [email protected]


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EXECUTIVE DIRECTORY (CONT’D.)Québec - Christiane Claude, 8260, Rue St-Denis, Montreal QC H2P 2G6, Phone (514) 389-9511New Brunswick - Lynn Johnson, 194 Killain Dr., Moncton NB E1C 3S4, Phone (506) 956-2140, Fax (506) 855-7472, [email protected] Scotia - Rafael Alcolado, 6366 Cork Street, Halifax, NS B3L 1Z2, [email protected] - Judy Snedden, 85 Barnes Road, St. John’s, NF A1C 3X5, Phone (709) 726-5880, [email protected] Edward Island - Suzanne Campbell, 100 Hillsboro St., Charlottetown PE C1A 4W4, Phone (902) 628-1133, [email protected] Columbia - Barbara Siemens, 5163 Chester St., Vancouver BC V5W 1B1, Phone (604) 734-1077, Fax (604) 734-1079, [email protected] - Dale Bawol, #209 14218 Stony Plain Rd., Edmonton, AB T5N 3R3, Phone 1-877-687-4239, [email protected] - Penny Joynt, 3954 Parkdale Road, Saskatoon SK S7H 5A7, Phone (306) 343-1835, Fax (306) 373-1390, [email protected] - Holly Harris, 140 Borebank Street, Winnipeg, MB R3N 1C9Ontario - Ron Spadafore, Box 635, Timmins ON P4N 7G2, Phone (705) 267-1224, Fax (705) 267-1224, [email protected]ébec - Danielle Laberge, 82 St.-Joseph, app 8, Chateauguay, J6K 4T3, Phone (450) 691-7800, Fax (450) 691-7800, [email protected] Brunswick - Joy Broad, 74 Kelly’s Drive, Fredericton NB E3B 7R6Nova Scotia - Pat Quinn, R.R. #2, South Ohio, Yarmouth Co. NS B0W 3E0, Phone (902) 761-2071Newfoundland - Megan Woodrow, 1 Marigold Pl., St. John’s NF A1A 3T1, Phone (709) 722-9376, [email protected] Edward Island - Claire Caseley-Smith, Box 797, Kensington PE C0B 1M0, Phone (902) 836-4902, [email protected] Columbia - Ernst Schneider, 197 Vancouver Ave, Penticton BC V2A 1A1, Phone (250) 492-8944, Fax (250) 493-9130, [email protected] - Dale Bawol, #209 14218 Stony Plain Road Edmonton, AB T5N 3R3, Phone (780) 488-7648, Toll Free: 1-877-687-4239, [email protected] - Penny Joynt, 3954 Parkdale Road, Saskatoon SK S7H 5A7, Phone (306) 343-1835, Fax (306) 373-1390, [email protected] - Marlene Dahl, 47 Carbutt Pl., Winnipeg MB R3R 3N7Ontario - Nancy Dale, P.O. Box 1639, 58 Shakespeare Ave., Niagara-On-The-Lake ON L0S 1J0, Phone (905) 468-5639, [email protected]ébec - Claude M. Walker, 525 St. Charles West, Apt. 503, Longueuil QC J4H 3Y5, Phone (450) 670-9702, [email protected] Brunswick - Jane Bowden, 63 Shore St., Fredericton NB E3B 1R3, Phone (506) 454-1188, Fax (506) 450-9615, [email protected] Scotia - Heather Selig, 6472 Young St, Halifax NS B3L 2A3, Phone (902) 454-6303, [email protected] - Catherine Cornick, 34 Circular Rd., St. John’s NF A1C 2Z1, Phone (709) 726-0826, [email protected] Edward Island - Melanie Walsh-Fraser, 263 Keepoch Rd., Stratford, PE C1B 2J5, Phone (902) 569-1604, [email protected] Columbia - Susan Olsen, 13088 Huntley Ave, Surrey BC V3V 6B8, Phone (604) 584-0916, Fax (604) 583-5837, [email protected] - Dale Bawol, #209 14218 Stony Plain Road Edmonton, AB T5N 3R3, Phone (780) 488-7648, Toll Free: 1-877-687-4239, [email protected] - Penny Joynt, 3954 Parkdale Road, Saskatoon SK S7H 5A7, Phone (306) 343-1835, Fax (306) 373-1390, [email protected] - Cathy Dueck, 18 DeJong Cr., Winnipeg MB R2K 3M1, Phone (204) 668-3704, [email protected] - Ron Spadafore, Box 635, Timmins ON P4N 7G2, Phone (705) 267-1224, Fax (705) 267-1224, [email protected]ébec - Danielle Laberge, 82 St.-Joseph, app 8, Chateauguay, J6K 4T3, Phone (450) 691-7800, Fax (450) 691-7800, [email protected] Brunswick - Mabel Doak, 672 Scully St, Fredericton NB E3B 1V2, Phone (506) 454-2056, [email protected] Scotia - Sandra Britten, 12 Cranberry Cresc., Dartmouth NS B2W 5A1, Phone (902) 434-0824, [email protected] - Catherine Cornick, 34 Circular Rd., St John’s NF A1C 2Z1, Phone (709) 726-0826Prince Edward Island - Dr. Frances Gray, c/o UPEI Music Department, University of PEI, 530 University Ave., Charlottetown, PE C1A 4P3, Phone (902)566-0680, [email protected] NEWSLETTER EDITORSBritish Columbia - Ernst Schneider, #109-705 Balsam Ave.,. Penticton BC V2A 9B7, Phone (250) 492-8944, Fax (250) 493-9130, [email protected] - Tempo - Charmain Hausauer, 436 – 10th Street N., Lethbridge AB T1H 2C7, Phone (403) 380-6068, [email protected] - OPUS - Lore Ruschiensky, 94 Green Meadow Rd., Regina SK S4V 0A8, Phone (306) 789-8414, Fax (306) 751-4883,[email protected] - Take Note - Maryanne Rumancik, Box 334, Lorette, MB R0A 0Y0, Phone (204) 878-3901, Fax (204) 878-2332, [email protected] - NOTES - Shirley Efford, 1435 Georgia Park Heights, Crofton, BC V0R 1R0, (250) 246-1453, [email protected] - Musifax - Danielle Laberge, 82 St.-Joseph, app 8, Chateauguay, J6K 4T3, Phone (450) 691-7800, Fax (450) 691-7800, [email protected] Brunswick - The Quarter Note - Anne Marie Murphy, 178 Cambridge Cr., Fredericton, NB, E3B 5V4, [email protected] Scotia and Prince Edward Island - Arabesque - Nancy Smart, 38 Auburn Dr., Dartmouth, NS B2W 3S6, Phone (902) 434-5930,[email protected]

RETURN ADDRESS:Lore Ruschiensky

94 Green Meadow RoadRegina, Sask.S4V 0A8

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