Throughout my career as a music educator, the driving force has always been to enable access to active music learning for all children.

I believe that every child should be able to experience the thrill of playing a simple tune, creating a new tune, singing in a group, and playing music in an ensemble. As these experiences become deeper and more complex over time, so too can the inherent enjoyment that comes from the associated sense of achievement that is felt. Children are naturally curious and interested in music-making. Interest in music learning can be generated and enhanced when students perceive that they ‘can do it’ (i.e. are competent, challenges are optimal), they can relate to it, and when they have some sense of control (autonomy) in their involvement. Social interactions with others through peer learning and joint projects can also contribute greatly to enjoyment in the learning process.

Evidence has been growing about the impact of music learning on other areas, especially in early childhood. Canberra’s Dr Anita Collins has highlighted research in neuroscience and music education, which shows that nothing “lights up” the brain like music, and that, over a sustained time, learning to play a musical instrument and to read music, leads to enhanced development of neural networks. This can result in improved language development, executive functioning (such as paying attention, making decisions, empathy) and social skills. You may be interested to read further in the book The power of music by Susan Hallam MBE, and on Dr Collins’ Bigger, Better Brains website.

The South Australian government recognises the importance of music education, and government schools in South Australia are set to benefit from the new 10-year Music Education Strategy 2019 to 2029 which was launched on December 1, 2018, by the South Australian Minister for Education, John Gardner. This document sets out South Australia’s long-term vision that all children and young people throughout their education have access to high-quality music education that is valued and inspires learning.

Information about the Strategy and access to the document is available on the Music Education Strategy website: www.education.sa.gov.au/teaching/projects-and-programs/music/music-education-strategy-2019-2029

In developing the Strategy, the government undertook research which showed that “globally, many high performing education systems prioritise music education within their curricula” (p.10).

Since the launch of the Strategy, there have been some significant milestones including:

• the establishment of the Music Education Advisory Panel

• appointment of the Manager of the Music Education Strategy, Mr Nick Birch (formerly Assistant Principal and Head of Music at Playford International College)

• the launch of the Music Innovation Fund in June, 2019

• the appointment of 3 Music Education Network Field Officers to commence in Term 3, who will work as mentors/coaches to strengthen and support quality classroom music through modelling and promoting high quality music education practices with teachers.

Volume 20, Issue 2, October 2019

ameb.adelaide.edu.au

Music Education: The Time is Ripe

Australian

Music

Examinations

Board

Australian Music Examinations Board South Australia & Northern Territory

ON TOP NOTEOfficial Newsletter of the Australian Music Examinations Board SA & NT

With the advent of the Music Education Strategy, the time is ripe for music education to grow in South Australian schools and for music education to become more accessible for all children. There will also be a growing need for additional specific instrumental learning outside of schools, along with other opportunities for children to participate in music learning through the rich network of music organisations, like AMEB, in this state.

Dr Jenny Rosevear, AM

AMEB SA & NT Advisory Board Member

Visiting Research Fellow, Elder Conservatorium

Former Senior Lecturer in Music Education, Elder Conservatorium

Sunday 8th December2-4pmElder Hall The University of Adelaide

AMEB SubjectsPractical Music includes: Piano, Piano for Leisure, P Plate Piano, Accordion, Organ, Violin, Viola, Double Bass, Cello, Flute, Oboe, Clarinet, Recorder, Bassoon, Saxophone, Saxophone for Leisure, Trumpet, Tuba, Trombone, Band, Horn, Euphonium, Percussion, Harp, Classical Guitar, Singing, Singing for Leisure, Musical Theatre and Ensemble

Speech and Drama includes: Drama & Communication, Voice & Communication and Drama & Performance

Theory includes: Music Craft, Theory, Musicianship, Speech & Performance

Rockschool includes: Acoustic/Electric Guitar, Bass, Drums, Piano, Vocals, Ukulele, Keys, Band, Popular Music Theory, Music Production

If you haven't already subscribed to receive ON TOP NOTE by email, you can do so by emailing us at ameb@adelaide.edu.au or going to ameb.adelaide.edu.au/news/newsletters/subscribe/ and sending us your information.

Australian

Music

Examinations

Board

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Tuesday 21st JanuaryHartley Concert Room,The University of Adelaide

AMEB SA & NT INFORMATION DAY

2020

Entry is free, but registration is essential.

Register at bit.ly/2k6TgV6

Or scan the QR Code

Or contact the office at 8313 8088

or ameb@adelaide.edu.au

I was born in Cape Town, South Africa as the youngest of three children to my classical singer/teacher parents. I started with much loved violin lessons through the Suzuki school in Stellenbosch at the tender age of three, but moved to traditional tuition around the age of seven. Just before reaching high school age our family moved to a small city called Bloemfontein in the dry centre of the country where the cultural life was contrastingly flourishing and very much alive.

During my high school years I had wonderful opportunities to study with first class teachers who themselves studied in Europe and I feel very privileged that I could be influenced by these wonderful musicians. During those years the local Symphony Orchestra offered a cadetship program where promising young musicians were allowed, by audition, to join the ranks of the orchestra for pit work during Opera season. I distinctly remember sitting in the orchestra pit as a 15 year old with my mouth hanging open in awe during my first practical opera experience playing Verdi’s Aida complete with a camel and a horse on stage!

I also learnt piano and saxophone and liked singing and writing popular songs in my spare time. Up to that point my music aspirations were focused on becoming a singer in a band like, I guess, many teenagers. Being a part of these mammoth productions, as well as my involvement in annual youth orchestra camps all over the country with like-minded young people, made my choice of studying to become a professional musician an easy and inevitable one.

Growing up, I was regularly involved in Eisteddfods and music examinations, much like the AMEB. Initially, I was more concerned about the special banana split ice cream which was my regular remuneration straight after each exam, but as I grew older, I realised how invaluable these opportunities were in shaping my work ethic, learning how to deal with triumph as well as disappointment, learning to cope with many pieces all at once and improving my physical and mental stamina. Last,

but not least, these exams gave me an invaluable goal where other performance opportunities were not always in abundance and it provided an accurate (and sometimes sobering) measuring stick of my progress as a musician.

I have been blessed with two wonderful children of 13 and 16 years who play a mix of Viola, Trumpet, Cello and Oboe. They have both progressed through the ranks of the AMEB exam system for all the reasons I have already listed above. I can now also look at this system through the eyes of a parent and, although their lives become very busy and hectic at times, I just love seeing how they persevere in their focus and practice preparing for each exam and the sheer joy they experience when things go well - also the determination to do better next time when things did not quite go as planned. I took up classical singing about two years ago and have stepped out of my comfort zone to also do AMEB exams, as I believe that the benefits are relevant and valuable for all ages.

This year I have applied to become an examiner myself, which is something I have been considering for some time. Over the years I have prepared lots of students on various instruments for AMEB exams and I felt that I wanted to share and develop my skills further in this regard. In this day and age where everything is about instant money, instant food, instant gratification, etc., I am happy to see so many youngsters persevering with their instrumental tuition and I hope to hear many of them in my new role of examiner for the AMEB.

Erna Berberyan

AMEB Examiner

Meet an Examiner – Erna Berberyan

Tickets are free, but booking is essential.

Book tickets at bit.ly/2Nnmlb0

Or scan the QR Code

Or contact the office at 8313 8088 or ameb@adelaide.edu.au

2019AWARDS CEREMONY & SHOWCASE CONCERTSunday 8th December 2-4pmElder Hall The University of Adelaide

2 OFFICIAL NEWSLETTER OF THE AUSTRALIAN MUSIC EXAMINATIONS BOARD SA & NT

APPC 2019The 14th Australasian Piano Pedagogy Conference, APPC 2019, was hosted recently in Brisbane.

Since 1993, this five-day biennial event has brought together a community of studio teachers, researchers, composers, and many others committed to piano education. The title, ‘Variations on a Theme: The Portfolio Piano Teacher,’ underpinned presentations that reflected the diverse roles of Piano Teachers. APPC 2019 attracted Australians, New Zealanders and many other presenters and delegates from Europe, Asia and America, continuing the efforts of Adelaide’s APPC 2017 to attract piano teachers internationally as well as nationally.

The Presenters inspired us with their concerts, master classes, research and reflections. The Keynotes included Joanna MacGregor, Head of Piano at the Royal Academy of Music and Professor at the University of London, and the Artistic Director of an International Summer School and Festival at Dartington Hall, Devon, UK. Joanna expressed her aim to ‘make old music relevant, and new music accessible’ - a worthy challenge for all Music Teachers striving to motivate students! Joanna’s keynote explored:

ways of fostering a strong artistic identity within students, the challenges and joys of curating programs, the value of improvisation and transcription, learning from pianists in history, and artistic and teaching leadership. In keeping with the conference theme, she observed that many of our revered composers were teachers, performers, researchers, and founders of music schools and conservatoriums.

The viewpoint of learning from musicians throughout history surfaced continually. In this context, several presenters acknowledged the value of studying not only ‘Urtext’ scores, but also those edited by esteemed musicians and teachers. For example, the Beethoven Sonatas edited by Artur Schnabel, the many editions of Bach’s music, including those of Czerny, von Bulow and Mugellini, and the Paderewski editions of Chopin’s repertoire, can provide valuable insights to inform teaching and performance practice.

The AMEB, for many years an enthusiastic sponsor of these Conferences, was represented with explanations of the new Piano Syllabus. Emer. Prof. David Lockett was the Principal Consultant. The development team presented overviews of all the levels, including the rationale for the new technical exercises, and the repertoire selections. Previously, two exam options

were available: the ‘Comprehensive’ option as it is known now, and ‘Piano for Leisure.’ Both have served our piano community well. The new syllabus has introduced two more possibilities. First, a ‘Collaborative’ syllabus provides the opportunity for Grade 5 to 8 students to substitute duet or accompanying repertoire. Secondly, ‘Repertoire’ exams allow students to present repertoire alone. (Check the 2019 syllabus for detailed requirements). These options provide further diversity as we endeavour to develop students’ individuality.

Many teachers from South Australia attended APPC 2019, and we hope that many more will venture to Perth for APPC 2021. Co-chaired by Graeme Gilling, Head of Piano Studies, UWA, and Jo Kotchie, composer of works for children of all ages and WAMTA President, we are sure that APPCA will continue to support teachers endeavouring to inspire the love of music within their students.

Debra Andreacchio

AMEB Examiner

Deputy Chair, APPC Association

Deputy Chair, 2017 APPC, Adelaide

I’m sitting here in awe watching my son play basketball. He is in a new social team. Some players are at their first game, whilst others are veterans of the sport. I see my son confidently dribble the ball down the court. His eyes are up and focused. Evidence of his dedication to twice-weekly training, intensive camps and hundreds of games over the past four years.

It is not so different from my daughter’s school orchestra. Last week, this group of thirty young musicians presented a well-rehearsed and thoroughly entertaining program. I’m reminded of the internet meme highlighting the need to have children’s orchestras in order to have professional orchestras. A snapshot of what is behind the black tie and tails.

But this meme only shows the tip of the iceberg. Behind every school orchestra, behind every musician, there are years of study and focus. There is the passion and dedication of an instrumental teacher and parents. Decades before young professionals join an orchestra, the first seeds of skill, persistence and a love of music are sown.

These 12-year-old musicians have for years consistently attended their instrumental lessons, bringing their books and being responsible for their own instruments. They have learnt to read a new language. They have learnt to create and manipulate sound

with their instrument. They have learnt a large amount of repertoire. They have taken exams, with all the discipline and focus it takes to reach that goal. And above all, these musicians have learnt to perform, establishing the stagecraft skills required to present their efforts to an audience.

In an age of short attention spans, instant gratification and shallowness of knowledge, these children have done something remarkable. They have learned dedication. They have learnt to manage complex things by breaking them down into smaller parts, and if they don’t at first succeed, to be persistent. Along the way, their focus has improved. Their depth of study has been

rewarded with an inner confidence. These children have an avenue for self-expression and a foundational understanding and appreciation of artistry. And their consistent effort has opened the orchestral door.

Before they are ever in an orchestra, instrumental teachers work with musicians to develop all these skills. From the earliest years, we challenge our musicians. We scaffold learning plans to motivate, inspire and encourage them. We prepare them for recitals, exams and auditions. We are their coach. We develop their skills at training and encourage their best performance in games.

I’m still sitting here on the cold aluminium basketball bench. I see my son’s teammate pass him the ball. He fakes one way then drives to the basket, just as he has hundreds of times at training. He scores! And just like that the game goes on. They don’t win the game today, but that’s just another part of the learning journey.

Carly McDonald

AMEB Teacher

Writer, presenter & advocate for music education

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Overcoming obstacles and finding confidence through Speech and Drama Not everyone knows what Speech and Drama is all about, so we thought the best way to learn more would be hear directly from students. We asked 2 students from Speech and Drama Studios SA (Chelsea, taught by Lois Brimblecombe and Kelly Bickle, and Adrian, taught by Lois Brimblecombe and Laurie Rea) to share a bit about themselves and why they each study Speech and Drama and undertake AMEB Exams; how it is helping them overcome personal challenges and realise their potential.

How long have you been going to

6 years.

Chelsea (14 years old)

Why did you start doing Speech and Drama classes?

C I have a number of medical conditions

including ASD, so it was quite difficult for me to stay focused, remember everything I needed to do, organise myself, and control my anxiety. I started Speech and Drama classes to help me overcome these challenges. It’s taught me to keep calm, relax my nerves, plan ahead and work well with others.

A I have Asperger’s syndrome and

anxiety, and also have difficulties in processing information. I can be very sensitive to stimuli, particularly noise and movement, this contributes to my anxiety and therefore I have issues with speech and conversation.

My mother has been exploring ways to improve this and suggested I go to Speech and Drama classes after finding out about them.

What do you like about Speech and Drama classes and what would you say to someone who doesn’t really know what it’s all about?

C Speech and Drama classes have been

a huge part of my life and I am very grateful for all the opportunities it has given me.

Speaking to people in positions of power or public speaking to a large audience is the number one anxiety and fear-provoking activity for most people, and especially for children. Speaking, communicating and speech can be tricky for anyone but it can be especially difficult for children who are shy, who have a disability, who are from a non-English speaking background, or who have a speech impediment.

However, if I told you that you could turn your fears on their head, and you could surprise yourself by getting so much fun and enjoyment from going to Speech and Drama classes every week, you might not believe me. That’s exactly what happens for me every Wednesday night at my Speech and Drama class. Every week, you will find a group of students, including me, having a wonderful time learning how to speak clearly, recite poetry, present prose pieces, learning to act and making lasting memories and friendships.

A The lessons accommodate my

interests, particularly trains and railways.

I have been working with my teacher, looking at many types of texts, including poetry and prose and she’s been teaching me how to make these texts sound interesting when reading them aloud.

We also play word games in the sessions and I enjoy them. I have also enjoyed the one-to-one learning experience and found it quite helpful in improving my speech and communication.

What have been some highlights for you?

C One of my highlights is coming first

place in the prose reading at the Balaklava Eisteddfod. It was really fun and I felt super confident.

I recently presented my own short story to my English class using all of the performance techniques I had learned, and all of the students clapped and cheered, they loved it so much.

A I have been going to TAFE, studying

Information Technology for the past few years. I have completed Certificate II and am now undertaking Cert III. I have found some of the work quite challenging, but my lecturers have been giving me support with it.

Hopefully I’ll become more confident with speech and communication which may help with forming friendships in the groups I am involved with. I am very fortunate to be involved in these activities and value the help.

Do you do AMEB Speech & Drama exams?

C Each year I learn and practise so that I

can take an AMEB exam and this year I am doing Grade 5. Having the opportunity to take exams is fantastic as it allows me to see how well I can do and how far I can reach to achieve my best. I can put all of my weekly learning into a real result by getting a good mark for my exam. I always feel very proud when I achieve a high result and it challenges me to try again the next year. If you have a child who is struggling to communicate, who is shy or isn’t able to speak up for themselves, Speech and Drama classes and the AMEB exams are the perfect way to help them to turn their fears into fun, their anxieties into opportunities and their shyness into confidence.

Speech and Drama also helps me sing more clearly and get higher marks in my AMEB singing exams and when I participate in Eisteddfods.

A I recently undertook a Speech and

Drama exam and am proud to have done so.

Another one of my areas of interest is music. I’ve been learning the organ for several years and have done three exams. I also play cello with the Norwood Symphony Orchestra and I sing with the male choir of the Young Adelaide Voices. I enjoy going to rehearsals and performing in concerts.

I usually feel nervous before exams and concerts, but they help me overcome my anxiety.

2 years.

Adrian (22 years old)

C

A

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