11th Australasian Piano Pedagogy Conference

Transcription

1 11th Australasian Piano Pedagogy Conference Opening doors: the complete musician in a digital age 2 6 July University of Southern Queensland, Toowoomba, Qld e: appc@usq.edu.au t:

2 See for yourself the Future of the Piano at 2013 APPC At APPC, we invite you to experience the new Kawai GX-2 grand piano on display. With longer keysticks for a more balanced touch and distinctive hardwoods for exceptional tone, the new GX range provides a better playing experience for everyone from student to performer. The new GX Series is yet another reason we say Kawai is the future of the piano. KAI 1171A Tibet MAJOR SPONSOR 2013 APPC

3 Contents Acknowledgement of Sponsors...2 Welcome APPC Timetable... 9 Keynote and Invited Speakers and Guest Recitalists Recital Programs Conference Presenters Abstracts Bursaries National Executive Committee APPC Organising Committee APPC Support Personnel Important Contact Information USQ Campus Map Notes... 79

4 Acknowledgements We would like to acknowledge and thank all our sponsors including the major sponsors for the conference, Kawai and the University of Southern Queensland. Without the support of our sponsors, this conference would not have been possible. Major Sponsors Sponsors Trade displays ABRSM Alfred Music Publishing AMEB Hal Leonard Kawai musicroom Supersonics Piano Wirripang 2 Please note, the list of sponsors and trade displays is current as at the time of printing. WA MUSIC TEACHERS' ASSOCIATION Inc. Est. 1910

5 Welcome From the Conference Chair I am delighted to welcome you to the 11th Australasian Piano Pedagogy Conference (APPC). The conference, which is being hosted by the University of Southern Queensland in Toowoomba, runs from Tuesday 2 July to Saturday 6 July The APPC is one of the most significant conferences in the Southern Hemisphere and the 2013 conference marking the 20 year anniversary of the inaugural conference represents a milestone for our organisation, which was launched in 1993 in Adelaide. This year s conference will feature internationally renowned keynote speakers and recitalists including patron of the APPC, Piers Lane AO, Mario Ajero, Nancy Bachus, Randall Faber, Wendy Lorenz, Jovanni-Rey de Pedro, the Goldner String Quartet and the Viney-Grinberg Piano Duo. The conference will also showcase distinguished invited presenters including Terrence Hays (the pedagogical benefits of teaching and playing on instruments with a contemporary action), Jody Heald (AMEB repertoire/masterclass presenter), Carol Leone (lecture recital 15/16 grand piano), Paula Melville-Clark (Dalcroze Eurhythmics) and Angela Turner (music technology) together with presenters currently based in Australia, Singapore, the United States and Canada. Delegates will also have the opportunity to attend a performance of Anna Goldsworthy s play Piano Lessons. The theme for the conference is: Opening doors: the complete musician in a digital age In selecting the theme, the Organising Committee has sought to present delegates with opportunities that open doors to leading pedagogical and performance practices and foster effective teaching and pianism. The conference will be a celebration of the past and an exploration of piano pedagogy and performance in the future. Cognisant that we live in a digital age, there will also be opportunities to explore how digital technology can enhance the piano learning process. We are excited to announce that the opening recital, to be performed by Filipino-American pianist, Jovanni-Rey de Pedro, will feature two world premiere performances of new works by Elissa Milne (Australian composer) and Christopher Norton (New Zealand composer). 3

6 Heading We would like to acknowledge the generous sponsorship and support of the major sponsors of the 11th APPC, Kawai through its General Manager, John Blanch and the University of Southern Queensland, together with Hal Leonard Australia, Alfred Music Publishing, Supersonics Piano, Wirripang, ABRSM, musicroom, Downs MicroSystems, AMEB and the Music Teachers Associations of NSW, QLD, SA, TAS, VIC and WA as well as the sponsors of the various bursaries listed on p. 70 and all APPC support personnel both from across the University of Southern Queensland and those listed on p. 71. We look forward to sharing with you what promises to be a stimulating week of music making, thought provoking presentations and networking opportunities. Kathy Pingel Chair of the 11th APPC on behalf of the Organising Committee 2013 and the Association Committee 4

7 Heading Welcome to the 11th Australasian Piano Pedagogy Conference, 2-6 July 2013 Kawai is very proud to be the major sponsor of the 11th Australasian Piano Pedagogy Conference, held this year at The University of Southern Queensland, Toowoomba. This important bi-annual event brings together pianists, teachers and scholars to advance the teaching of music in Australia and New Zealand. It s a week of learning and music in beautiful surroundings and it s an opportunity for music teachers to network with their peers in piano pedagogy. This year, Kawai presents the new GX Series of grand pianos. Larger than their predecessors, GX pianos inherit a number of the unique technologies that have made our Shigeru Kawai line of concert instruments so powerful, enduring and eloquent. With both GX and RX models on display at the conference, we invite you to feel, and hear, the future of the piano for yourself. Around the venue, we have installed some of the best digital, upright and grand pianos available to music educators today, and our own Warrick Baker is available to discuss our products, our services, and our commitment to music education in Australasia. On behalf of Kawai Australia & New Zealand, thank you for being here. Music education really does rely on the large commitment of a small number of individuals and organisations. Together we have much to offer to students who are as committed to learning as we are to teaching. We hope that you enjoy everything that the conference has to offer. Yours sincerely, 5 John Blanch General Manager Kawai Australia & New Zealand KAI 1178 TIBET

8 6 Welcome to the beautiful Toowoomba region! I am delighted Toowoomba has been chosen to host the 11th Biennial Australasian Piano Pedagogy Conference. Toowoomba is rapidly moving beyond its Garden City image to becoming the hub of one of Australia s most attractive regions. The temperate climate, beautiful gardens and serene countryside remain, but rapidly expanding opportunities are attracting an influx of new businesses and residents keen to be part of the success of the region. Our vision for this region respects our rich heritage as much as it embraces remarkable potential. Established around an agricultural sector that takes advantage of highly fertile farming land, the region s economy has grown and diversified to the point that Toowoomba is now the second largest inland city in Australia. Away from the conference, I trust you ll enjoy all Toowoomba and the region has to offer beautiful parks and gardens, stylish cafes, heritage museums, as well a range of antique stores and spectacular lookouts are just some of the highlights. I was especially pleased to offer a bursary for two students to attend the conference. The bursaries are gifted in honour of my mother s family, the Mütze family who were prominent musicians in this region. Congratulations to the committee for organising a fantastic line up of speakers and performers. Enjoy the conference and all things Toowoomba! Paul Antonio Mayor Toowoomba Regional Council

9 Welcome to the 11th Australasian Piano Pedagogy Conference From the Vice-Chancellor and President, University of Southern Queensland I am delighted to welcome all presenters, sponsors and delegates to this event, the most prestigious conference of piano instructors in the Southern Hemisphere, at our picturesque Toowoomba campus. Commencing in 1993 in Adelaide, this biennial conference has brought together many of the most prominent piano performers and teachers from throughout the world with a view to raising the skilling of the large community of piano teachers throughout this region. The University is proud to be associated with this event again we hosted the Second Conference in Furthermore, our academic staff, graduates and music students have had a significant role in the Australasian Piano Pedagogy Conference Association since its beginning and throughout its history. In particular I record my thanks to the local organising committee, especially USQ staff members Ms Kathy Pingel and Dr Phillip Gearing who have coordinated this event. The University of Southern Queensland is a vibrant regional university with a world-wide impact. Over 28,000 students are enrolled in our programs throughout Australia and the world. Our commitment to the performing arts, and music in particular, dates back some 40 years, not long after the birth of this university. Indeed, during the ten years from 1996 to 2006 USQ played a pioneering role in developing distanceeducation courses and programs for undergraduate students and community music teachers. We are seeking to renew this tradition with online music pedagogy as a pathway within our Bachelor of Creative Arts program. It is thus fitting that this conference meets here once again for an amazing array of lectures, workshops and concerts from world-renowned pianists. On behalf of the University of Southern Queensland I wish every participant a fulfilling and empowering experience at this conference. Professor Jan Thomas Vice-Chancellor and President University of Southern Queensland 7

10 Performing, creating and understanding music together At USQ we enable our students to become functional and resilient musicians, ready for a 21st Century career in music. For more information contact: CRICOS QLD 00244B NSW 02225M TEQSA PRV12081 USQ Graphics USQ Photography

11 2013 APPC Heading Timetable Monday 1 July 1.00pm 6.00pm 6.00pm 8.30pm Afternoon Registration (A221) Pay as you go Pre-Conference Dinner (Fire + Ice Bistro, Southern Hotel, 839 Ruthven Street) 9 Keynote Lecture Masterclass Open Forum Meeting Invited Speaker Function Recital Break * N.B Trade Displays will be operating throughout the conference in A208 & A209 but have also been included as timetabled sessions at various times throughout the conference program

12 am 12.00pm 12.00pm 1.00pm 1.00pm 2.30pm 2.30pm 3.00pm 3.00pm 3.30pm 3.30pm 4.00pm 4.00pm 5.00pm 5.00pm 5.45pm 5.45pm 6.00pm 6.00pm 7.15pm 7.15pm 7.30pm 7.30pm 9.30pm Morning Registration (A221) Trade Displays (A208 & A209)* Lunch (Refectory) Tuesday 2 July Keynote Address Mario Ajero: Digital technology that is changing the way we practise, perform, and teach piano (H102) Topham: 3 v 40: Making the most of exams (H102) Afternoon Tea (Refectory) Wake: Diary of a Piano Mama (H102) Angela Turner: Our past, their future? The net generation and approaches to technology in the piano studio (H102) Dinner (Concannon College Dining Hall) Opening Cocktail Reception (Refectory) Opening Recital: Jovanni-Rey de Pedro (Arts Theatre) Lee: What s up Doc? Music and medicine: A new paradigm in teaching music performance (R113) Coutts: Why can t I just play already? Addressing adult students frustrations at the piano through mindsets and experiential learning strategies (R113) Logan Ting: Historical recordings and Chopin interpretation: Case study Berceuse Op 57 (R113)

13 8.00am 8.45am 8.45am 10.15am 10.15am 10.45am 10.45am 11.45am 11.45am 12.45pm 12.45pm 1.15pm 1.15pm 2.15pm 2.15pm 3.15pm 3.15pm 3.45pm 3.45pm 5.15pm 5.15pm 6.00pm 6.00pm 7.15pm 7.15pm 7.30pm 7.30pm 9.30pm Wednesday 3 July Morning Registration (A221) Trade Displays (A208 & A209)* Keynote Address Wendy Lorenz: Legendary lessons: Studies with Maria Curcio (H102) Morning Tea (Refectory) Emmerson: Re-Imaging the Goldbergs (Arts Theatre) Selmon: Piano and song: How songs assist in interpreting piano music (R113) Lunch (Refectory) Paula Melville-Clark: Dalcroze Eurhythmics #1: The character and function of rhythm (Concert Hall) Jody Heald: A short piano discovery journey (Arts Theatre) Lunchtime Concert: Stephen Emmerson and Sonya Lifschitz (Arts Theatre) Koo: Redefining the Chineseness in modern piano music by Chinese composers: A study of Chen Yi s Baban and Wang Lishan s Impressions of Paintings by Higashiyama Kaii (H102) Afternoon Tea (Refectory) Roennfeldt: Percy Brier: Case study of a complete musician in the predigital age (R113) Foster: Practice strategies for learning and memorising tonal piano repertoire: A new solution to an enduring problem (Arts Theatre) Keynote Address Nancy Bachus: Pedalling with style : from Baroque to Fox-Trots (H102) Meet the man behind the music: Drinks and a chat with Randall Faber sponsored by Hal Leonard Australia (Refectory) Dinner (Concannon College Dining Hall) Evening Recital: Viney-Grinberg Piano Duo (Arts Theatre) 11

14 am 8.45am 8.45am 10.15am 10.15am 10.45am 10.45am 11.45am 11.45am 12.45pm 12.45pm 1.30pm 1.30pm 2.15pm 2.15pm 3.15pm 3.15pm 3.45pm 3.45pm 4.45pm 4.45pm 5.45pm 5.45pm 6.00pm 6.00pm 7.15pm 7.15pm 7.30pm 7.30pm 9.30pm Thursday 4 July Morning Registration (A221) Trade Displays (A208 & A209)* Keynote Address Randall Faber: Tapping the creative core (H102) Morning Tea (Refectory) Carey: Characteristics and value of one-toone tuition in the conservatoire: Experiences and expectations (H102) Forbes: Are learning communities one way forward for music higher education? (H102) Jody Heald: Masterclass (Arts Theatre) Topham: Fast and furious: Techniques and repertoire for boys (R113) Picnic Lunch: Japanese Gardens Trade Displays (A208 & A209)* Paula Melville- Clark: Dalcroze Eurhythmics #2: Exploring unequal beats (Concert Hall) Liam Viney and Anna Grinberg: Masterclass (Arts Theatre) Terrence Hays (Plenary Session): The pedagogical benefits of teaching and playing on instruments with a contemporary action (H102) Afternoon Tea (Refectory) Carol Leone: Lecture-Recital: Powerful, pain-free performance with narrower keys (Arts Theatre) Bachus: The technique behind intermediate repertoire: Laying the groundwork (H102) Sedergreen: Start playing jazz piano now! A quick start guide to the cyclic approach (R113) Dinner (Concannon College Dining Hall) APPCA Committee Meeting: Committee Members Only (Q303) Evening Recital: Piers Lane and the Goldner String Quartet (Arts Theatre)

15 8.00am 8.45am 8.45am 10.15am 10.15am 10.45am 10.45am 11.45am 11.45am 12.45pm 12.45pm 1.15pm 1.15pm 2.15pm 2.15pm 3.15pm 3.15pm 3.45pm 3.45pm 4.45pm 4.45pm 5.45pm 5.45pm 6.00pm 6.00pm 7.15pm 7.15pm 8.00pm 8.00pm 10.30pm Morning Registration (A221) Trade Displays (A208 & A209)* Keynote Address Piers Lane: Conversations with Piers and friends (Arts Theatre) Morning Tea (Refectory) Lester: The ipad: Exploring apps, bridging gaps (H102) iq and ia Forum on trends in teaching: The e-pedagogy future (H102) Lunch (Refectory) Friday 5 July Lunchtime Concert: Sean Foran (Arts Theatre) Whiteley: Colonial piano music: Its story of Australian identity and nationhood (H102) Afternoon Tea (Refectory) Dumlavwalla: Scenes from a jade terrace: Fusing East and West through strings, hammers and dampers (R113) APPCA General Meeting (H102) Faber: Introducing My First Piano Adventure (H102) Dinner (Concannon College Dining Hall) USQ to Empire Church Theatre Evening Performance: Anna Goldsworthy s Piano Lessons (Empire Church Theatre) Paula Melville- Clark: Dalcroze Eurhythmics #3: Understanding dance forms (Concert Hall) Boyle: The benefits of reducedsize piano keyboards for smaller handed pianists: An exploration of biomechanical and physiological factors (Arts Theatre) Wendy Lorenz: Masterclass (Arts Theatre) Holdaway: See better, move better, play better: Movement coordination and piano teaching (Arts Theatre) 13

16 am 8.30am 8.30am 9.30am 9.30am 10.30am 10.30am 11.00am 11.00am 12.00pm 12.00pm 1.00pm 1.00pm 1.30pm 1.30pm 2.15pm 2.15pm 3.15pm 3.15pm 3.45pm 3.45pm 5.15pm 5.15pm 5.45pm Morning Registration (A221) Trade Displays (A208 & A209)* Zhukov: Opening doors to new Australian repertoire for intermediate piano students (Wirripang Australian Piano Anthology, Book 2) (H102) Coote: Pedalling issues in the piano sonatas of Beethoven (H102) Morning Tea (Refectory) Andreacchio: Imaginative visions, deep knowledge, pianistic vocabulary, emotional responses: Human consciousness in musical communication in a digital age (H102) Bachus: Looking beyond the Romantic spirit: The turn of the 20th century (H102) Lunch (Refectory) Thomas: The forgotten Romantic: Discovering Max Reger s intermediate and early advanced piano compositions (R113) Faber: Stages of talent development (R113) Kotchie: Crafting music for children (R113) Noble: Messiaen s piano music of the 1940s (Arts Theatre) Selmon: YouTube: music, humour, inspiration (H102) Carrigan: A little variation... (H102) Saturday 6 July Afternoon Tea (Refectory) Jovanni-Rey de Pedro: Masterclass (Arts Theatre) Keynote Address Mario Ajero: Rehearsing and performing duets and concerti with interactive virtual musicians (H102) Close of Conference: Delegates Depart (H102)

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18 The 2013 Lev Vlassenko Piano Competition & Festival Australia s most significant national piano event August OPENING CONCERT John Lill, Chair of the Jury and the Conservatorium Symphony Orchestra Sun 11 August, 3pm, Conservatorium Theatre RECITAL Kalle Randalu, jury member Wed 21 August, 6pm, Ian Hanger Recital Hall COMPETITION FINAL 4 Finalists with the Queensland Symphony Orchestra Conducted by Nicholas Braithwaite Sat 24 August, 6:30 pm, Conservatorium Theatre Performance Round 1A - Tues 13 August Performance Round 1B - Wed 14 & Thur 15 August Performance Round 2 - Sat 17 & Sun 18 August All rounds in the Ian Hanger Recital Hall JURY MEMBERS MASTERCLASSES Mon 19 to Fri 23 August, Ian Hanger Recital Hall ENQUIRIES contact@lev-vlassenko.com BOOKINGS - QTIX or INSPIRATION PROFESSIONALISM MASTERY Recording Partner:

19 Dr Mario Ajero Keynote Speaker Keynote and Invited Speakers and Guest Recitalists 1.00pm 2.30pm Tuesday 2 July Digital technology that is changing the way we practise, perform, and teach piano 3.45pm 5.15pm Saturday 6 July Rehearsing and performing duets and concerti with interactive virtual musicians Mario Ajero is Associate Professor of Piano at Stephen F Austin State University in Nacogdoches, Texas. He earned his PhD in Music Education with a concentration in piano pedagogy from the University of Oklahoma and holds Bachelor s and Master s Degrees in Music from Temple University in Philadelphia, Pennsylvania. Dr Ajero is recognised as a national authority in incorporating technology in piano pedagogy with articles published in American Music Teacher and Clavier Companion. He is frequently in demand as a presenter at national conferences in the United States such as the MTNA national conference, the National Conference on Keyboard Pedagogy, the National Group Piano and Piano Pedagogy (GP3) Forum, and the CMS/ATMI National Conference. Dr Ajero is a Nationally Certified Teacher of Music through MTNA and also hosts The Piano Podcast, an online video series devoted to the piano and piano pedagogy with close to 10,000 subscribers worldwide. 17

20 Nancy Bachus Keynote Speaker 3.45pm 5.15pm Wednesday 3 July Pedalling with style : from Baroque to Fox-Trots 4.45pm 5.45pm Thursday 4 July The technique behind intermediate repertoire: Laying the groundwork 12.00pm 1.00pm Saturday 6 July Looking beyond the Romantic spirit The turn of the 20th century A teacher, recitalist, and music historian, Nancy Bachus has been a featured clinician at numerous piano teacher organisations and music conventions. A graduate of the Eastman School of Music, Nancy studied with pianist Eugene List and accompanist Brooks Smith, and more recently she coached with Fernando Laires. Nancy was one of the performers in the original Monster Concerts in New York City (Lincoln Center, Radio City and Carnegie Hall), the White House and on the two Monster Concert recordings. 18 Nancy is Associate Editor for Repertoire and Performance for Clavier Companion magazine. Her articles have been published in Clavier and Keyboard Companion (now Clavier Companion), and her series of 18 articles appeared in the Athletes at the Keyboard column for Junior Keynotes, the magazine of the National Federation of Music Clubs. In 1990 she co-authored The Technic Companion, a book for beginning pianists. She is also the author of the highly acclaimed The Baroque Spirit, The Classical Spirit, The Romantic Spirit, and Beyond the Romantic Spirit piano anthologies that include historical information and art images from each stylistic period. Nancy s most recent series, Exploring Piano Classics, pairs motivating performance repertoire with thoughtful technical studies. Certified as a Master Teacher by MTNA, Nancy has taught at the National Music Camp at Interlochen, Michigan and has 27 years of teaching experience at college and university levels. She served on the Board of Directors of the American Liszt Society and was editor of its newsletter for many years. Nancy currently maintains a private piano studio in Hudson, Ohio. She is married and has two daughters. Nancy Bachus presentations at the conference are proudly supported by Alfred Music Publishing

21 Dr Randall Faber Keynote Speaker pm Wednesday 3 July Meet the man behind the music: Drinks and a chat with Randall Faber sponsored by Hal Leonard Australia 8.45am 10.15am Thursday 4 July Tapping the creative core 4.45pm 5.45pm Friday 5 July Introducing My First Piano Adventure 9.30am 10.30am Saturday 6 July Stages of talent development Randall Faber performs extensively as a classical pianist and lectures on musical artistry and talent development around the world. His performances have aired on television and public radio. He was a master teacher in the USA for the World Piano Pedagogy Conference, the Music Teachers National Association Conference, and the National Conference on Keyboard Pedagogy, and has presented as a guest artist at universities throughout North America and Asia. Randall holds three degrees from the University of Michigan and a PhD in education and human development from Vanderbilt University. Randall and his wife Nancy are well known as authors of the bestselling Piano Adventures teaching method and their many publications for the piano. They founded the Faber Piano Institute, which hosts their international teacher support efforts and their website PianoAdventures.com. The Fabers advocate piano study not only for personal expression and performance success, but also as a vehicle for the student s creative, cognitive, and personal development. Randall Faber s presentations at the conference are proudly supported by Hal Leonard 19

22 Piers Lane AO Patron of the APPC Keynote Speaker and Recitalist (with the Goldner String Quartet) 7.30pm 9.30pm Thursday 4 July Piano Quintet featuring Piers Lane and the Goldner String Quartet 8.45am 10.15am Friday 5 July Conversations with Piers and friends London-based Australian pianist Piers Lane has a flourishing international career, which has taken him to more than forty countries. In the summer of 2012, as part of his extensive tour of Australia, Piers Lane joined Hugh Wolff and the Sydney Symphony Orchestra for the world premiere of Carl Vine s new piano concerto. He also performed Grieg s piano concerto with the Melbourne Symphony under Sir Andrew Davis, played concerts with the Goldner String Quartet and gave solo recitals in Perth and Sydney. 20 Highlights of the 2012/13 and previous seasons include the European premiere of Carl Vine s piano concerto with the London Philharmonic Orchestra under Vassily Sinaisky, a solo recital at Wigmore Hall, and a performance of the monumental Piano Concerto by Busoni at Carnegie Hall. His extensive discography includes much admired recordings of rare Romantic piano concertos, the complete Preludes and Etudes by Scriabin, transcriptions of Bach and Strauss, along with transcriptions by Grainger. Recent releases include the Piano Quintets by Bloch, Bridge, Dvorák, Harty and Elgar, all with the Goldner String Quartet, and duo discs with clarinettist Michael Collins and violinist Tasmin Little. Piers Lane is in great demand as a collaborative artist. He continues his longstanding partnerships with violinist Tasmin Little, clarinetist Michael Collins, the Goldner String Quartet and actress Patricia Routledge. Tours in recent years have included performances with singers Cheryl Barker and Peter Coleman-Wright, violist/composer Brett Dean, the Australian, Doric, Medici, and New Zealand String Quartets. Piers Lane has been the Artistic Director of the Australian Festival of Chamber Music since He is also Artistic Director of the annual Myra Hess Day at the National Gallery in London. In the Queen s Diamond Jubilee Birthday Honours, he was made an Officer in the Order of Australia (AO) for distinguished services to the arts as pianist, mentor and organiser.

23 Wendy Lorenz Keynote Speaker, Masterclass Presenter and Panel Member 8.45am 10.15am Wednesday 3 July Legendary Lessons: Studies with Maria Curcio 2.15pm 3.15pm Thursday 4 July The pedagogical benefits of teaching and playing on instruments with a contemporary action presented by Terrence Hays with a panel comprising Stephen Emmerson, Wendy Lorenz, Jody Heald and Terrence Hays 2.15pm 3.15pm Friday 5 July Masterclass Active as both pianist and teacher, Wendy Lorenz has performed extensively throughout Australia and overseas and appeared for many of the major radio and television networks in Europe and Asia. A Student of the Year graduate of the Sydney Conservatorium and Beethoven Bicentenary Medallion winner (awarded internationally by the west German Government), she has also belonged to a number of successful chamber ensembles including the highly acclaimed New England Ensemble, the Australian Piano Trio, the Young Sydney Piano Trio, the Phoenix Ensemble and currently Trio Empyrean, together with violinist Andrew Lorenz and cellist David Pereira. 21 In the solo realm she has appeared as concerto soloist with many of Australia s leading orchestras and has featured as soloist on commercial releases with the Adelaide Symphony Orchestra, the Queensland Symphony Orchestra and the Slovak Radio Symphony Orchestra. Also active as a music educator, she has taught at the NSW Conservatorium, the South Australian College of Advanced Education, the Australian National University, and the Universities of New England and Southern Queensland, where she was also Head of Music from 2000 to 2004 inclusive. An experienced presenter of workshops, masterclasses and piano teaching seminars throughout Australia and overseas (including guest residencies in China, Singapore, Malaysia and the USA), she has served as National Chair of the Australasian Piano Pedagogy Conference Committee and is an accredited Federal Examiner for the Australian Music Examinations Board. She is also currently Education Manager for the Canberra Symphony Orchestra.

24 Dr Terrence Hays Featured Presenter 2.15pm 3.15pm Thursday 4 July The pedagogical benefits of teaching and playing on instruments with a contemporary action presented by Terrence Hays with a panel comprising Stephen Emmerson, Wendy Lorenz, Jody Heald and Terrence Hays Dr Terrence Hays is an Associate Professor in the Faculty of The Professions at the University of New England where he is coordinator for Higher Degree Research. He is also Deputy Head in the School of Education. His research and publications cross the areas of performance, music education, musicology, research methods and gerontology. In 2006 he was awarded a Churchill Fellowship and in 2013 is undertaking a series of six organ recitals at St Peterskirche in Vienna performing works of JS Bach, Liszt, Franck and Schmidt. Terrence Hays presentation at the conference is proudly supported by Kawai as part of their overall major sponsorship package 22

25 Jody Heald Invited Speaker, Masterclass Presenter and Panel Member 11.45am 12.45pm Wednesday 3 July A short piano discovery journey 10.45am 11.45am Thursday 4 July Masterclass 2.15pm 3.15pm Thursday 4 July The pedagogical benefits of teaching and playing on instruments with a contemporary action presented by Terrence Hays with a panel comprising Stephen Emmerson, Wendy Lorenz, Jody Heald and Terrence Hays Educated in Sydney at the NSW Conservatorium High School, Jody Heald is a successful Hobart-based pianist, teacher, accompanist, lecturer and examiner. She is a specialist consultant to the Australian Music Examinations Board Federal Office on piano and pedagogy syllabus matters and is a former member of the Tasmanian Arts Advisory Board. Jody has been the President of the Tasmanian Music Teachers Association Inc for more than 20 years, and Chairman of the Australasian Piano Pedagogy Conference Association since Jody has recently completed a term as Chairman of the AMEB Tasmanian State Committee and as a Director on the AMEB Ltd Federal Board. In 2006 Jody was awarded Life Membership of the Tasmanian Music Teachers Association Inc. In 2011 she was elected to the Music Council of Australia as representative of studio music teaching. Over a number of years she has developed a keen interest in the particular relationship between teacher and student, the traditional master apprentice model. Her studies of this model, has led her to observing the finest teaching in institutions in a number of different countries. She is currently enrolled in a Master of Educational Philosophy at Curtin University. Her research is exploring the nature of this relationship in terms of current philosophical thinking. Jody has a keen interest in all matters pedagogical. She regularly gives masterclasses and lecture demonstrations in Tasmania and elsewhere in Australia. Her lecture demonstrations focus on building a successful developmental program for students whilst her masterclasses aim to be fun and effective! 23

26 Dr Carol Leone Invited Speaker 3.45pm 4.45pm Thursday 4 July Powerful, pain-free performance with narrower keys Carol Leone is an internationally recognised performing artist, teacher, lecturer, and author. Dr Leone has performed and lectured on four continents and is considered one of the world s leading researchers and proponents of ergonomic piano keyboards to promote a pianist s wellness. 24 Carol Leone is Chair of the Keyboard Department and Associate Professor of Piano and at SMU Meadows School of the Arts in Dallas, Texas. She has performed and taught throughout the US, Europe and Asia. Winner of the 1989 National Beethoven Sonata Competition, she was also a prizewinner in the Missouri Southern International Piano Competition and the International Masters Competition. Her professional training included study at The Curtis Institute of Music in Philadelphia where she received a diploma and was a student of the legendary Polish pianist Mieczysław Horszowski. She was also a student of Guido Agosti in Rome at the Accademia Chigiana in Siena, where she received the Honours Diploma. An active soloist and chamber musician, Dr Leone can be heard in recordings produced by the Augusta Read Thomas label, Gasparo Records, and Crystal Records. She performs regularly with the Grammy-nominated contemporary music ensemble, Voices of Change. Dr Leone has taught in international festivals in Italy, Russia, Austria, the Czech Republic, China and South Korea. She is a frequent invitee to give masterclasses and presentations at national and international conferences and is considered one of the world s leading researchers and proponents of ergonomic piano keyboards to promote a pianist s wellness. Among Dr Leone s many awards, she was named the Texas Music Teachers Association s Collegiate Teacher of the Year.

27 Paula Melville-Clark Invited Speaker 10.45am 11.45am Wednesday 3 July Dalcroze Eurhythmics #1: The character and function of rhythm 10.45am 11.45am Thursday 4 July Dalcroze Eurhythmics #2: Exploring unequal beats 10.45am 11.45am Friday 5 July Dalcroze Eurhythmics #3: Understanding dance forms Paula Melville-Clark has held teaching positions in England, France, Hong Kong and Australia, working in many areas related to music and movement. Following music and dance training in London, she received a Graduate Diploma of Music and a Masters degree in piano pedagogy from the University of Southern Queensland. As a Dalcroze specialist, Paula is a regular presenter at workshops and conferences in Australia and overseas including the National AUSTA Conference, the UQ Summer Music Program, the Australasian Piano Pedagogy Conference, KMEIA Queensland, the Queensland Youth Orchestra Camps and the National Institute of Education in Singapore. She was Lecturer in Music at the University of Southern Queensland from 2003 to 2007 and currently runs a Dalcroze based piano studio in Toowoomba. She has a special interest in the area of piano pedagogy and kinesthesia and her research into Music and the Body received a highly commended award from the Musicological Society of Australia. Her innovative approach to music in the early years is documented in her book, Music, Moving and Learning in Early Childhood. 25

28 Angela Turner Invited Speaker 4.00pm 5.00pm Tuesday 2 July Our past, their future? The net generation and approaches to technology in the piano studio Angela Turner lectures across a wide range of practical and academic areas at the Queensland Conservatorium. Her research interests include analysis of performance and trends in interpretation, keyboard pedagogy, technology in education, and music publishing and journalism. Angela is regularly invited as adjudicator and presenter around Australia, and is a Keyboard Examiner for the AMEB. As piano soloist and chamber musician, Angela has performed throughout Australia, England and Taiwan and been broadcast on ABC Classic-FM and 4MBS. 26 A graduate and Conservatorium medallist of the Queensland Conservatorium, studying piano with Natasha Vlassenko, Angela completed a Master of Music on exchange under the tutelage of Yonty Solomon at the Royal College of Music, London. She has been the recipient of numerous prestigious national academic and performance awards, including the Australian Postgraduate Award, Westpac Award, Florence Davey Pianoforte Scholarship, a three time winner of the Queensland Piano Competition, 4MBS Chamber Music Prize, and Royal Music Schools Association Prize for Accompaniment, amongst many others. Since 1998, Angela has taught piano at QCGU Young Conservatorium, where she established and coordinates the Intermediate program. A well respected teacher, 2013 marks her eighth year of tertiary teaching at the QCGU Conservatorium, and fifteenth as a specialist piano lecturer at the Young Conservatorium. Angela maintains an active performance schedule, with recent performance highlights including multiple appearances in the 4MBS Festival of Classics, Kawai Keyboard Series, Commercial Road Chamber Music Series and for Musica Viva (NSW).

29 Dr Jovanni-Rey de Pedro Guest Recitalist and Masterclass Presenter 7.30pm 9.30pm Tuesday 2 July Opening Recital 2.15pm 3.15pm Saturday 6 July Masterclass Filipino-American pianist Jovanni-Rey V de Pedro enjoys an artistic career that has brought him to concert venues and musical institutions in Asia, South America, North America, Australia, and Europe. Grand Prizewinner of the Fidelio Competition sponsored by the City of Vienna s Cultural Affairs Department, Jovanni also acquired top prizes in several competitions including the United States Open Music Competition, Pacific Piano Competition in Canada, Ibiza Competition in Spain, and the Beethoven Society of Europe s piano competition in England. Upon graduation from Trinity College of Music, he was awarded the Isabelle Bond Gold Medal for Performance Excellence. Recently, Jovanni was given a first place award at the American Protégé International Piano and Strings Competition, which led to a performance in Carnegie Hall. His artistic and educational activities have been further supported by the Solti Foundation in Belgium, the Irish Arts Council, Bösendorfer, and the American Women s Association in Vienna. 27 Jovanni s academic research and pedagogical interests have led to presentations at conferences for the Music Teachers National Association (MTNA), College Music Society, World Piano Teachers Association, and the Australasian Piano Pedagogy Association. A passionate and dedicated educator, Jovanni has presented numerous masterclasses and in 2012, established the MTNA Collegiate Chapters Piano Pedagogy Symposium the first-ever conference exclusively for college and university students and aims to promote communication, fellowship, and collaboration among future music professionals. A California native, Jovanni holds a Konzert Diplom (with Auszeichnung) from the Vienna Conservatory in Austria where he spent six years as a scholar of the ASCAP/Leiber and Stoller Foundation, a Master of Music from Trinity College of Music in London, and a doctoral degree in Piano Pedagogy and Performance from the University of Michigan. Jovanni is on the faculty at Interlochen Summer Arts Camp and is Visiting Assistant Professor of Music at Millsaps College in Mississippi. Please visit

30 The Goldner String Quartet featuring Dene Olding, Dimity Hall, violins / Irina Morozova, viola / Julian Smiles, cello Guest Recitalists (with Piers Lane) 7.30pm 9.30pm Thursday 4 July Piano Quintet featuring Piers Lane and the Goldner String Quartet The Goldner String Quartet has long-standing recognition for excellence as Australia s pre-eminent string quartet and an ensemble of international significance. Launched for the 1995 season, and retaining all four founding members, the players are all well known through solo performances, recordings and their concurrent membership of the Australia All members have occupied principal positions in organisations such as the Sydney Symphony and Australian Chamber Orchestras. In 1997 the Quartet made its debut at the Wigmore Hall in London, and critical acclaim has ensured regular return invitations to London and major UK, European and Asian festivals. In 2001 the Quartet made its American debut in New York and Washington DC. They have also performed in Korea, Singapore and Brunei and undertaken several extensive tours of New Zealand. 28 The Quartet regularly appears at major Australian music festivals and in national tours for Musica Viva. In 2011 they celebrated the 20th Anniversary of the Music in the Hunter festival, where they appear annually. The Quartet has been a mainstay of the Australian Festival of Chamber Music in Townsville since In 2000, the Quartet performed a major retrospective of 20th century string quartets at the Adelaide Festival and in 2004 performed its first complete Beethoven Cycle in Sydney. The Quartet has a commitment to teaching the next generation of string quartets, and an ongoing association with the Australian Youth Orchestra s Chamber Music program. New works are regularly commissioned from Australia s leading composers.

31 In 2009 the Quartet featured in the inaugural season of the new Melbourne Recital Centre. Their live recordings of the Beethoven String Quartets for ABC Classics won the 2009 Limelight Award for Best Classical Recording. The Quartet has several recent recordings for Hyperion with pianist Piers Lane which have received universal rave reviews including Editor s Choice in Gramophone magazine and BBC Music Magazine. There are also the complete quartets of Szymanowski and Stravinsky (Naxos), string quartets of Peter Sculthorpe (Tall Poppies), and the recently released quartets of Carl Vine (ABC Classics). The national and international reputation of the Goldner String Quartet continues to grow from strength to strength, with invitations for 2013 including a national tour for Chamber Music New Zealand, Oxford May Music Festival (UK), Musica Viva Festival 2013, Huntington Estate Music Festival, Australian Festival of Chamber Music, and Music in the Hunter. One of the finest string quartets around today. The Guardian, UK May

32 Viney-Grinberg Piano Duo Guest Recitalists and Masterclass Presenters 7.30pm 9.30pm Wednesday 3 July Duo Piano Recital 11.45am 12.45pm Thursday 4 July 2013 Masterclass Liam Viney and Anna Grinberg have performed in festivals, major series, live radio broadcasts, and with orchestras in Australia, the United States, and in Israel. Described as barnstorming (The Australian) and unforgettable sure to be Best of 2011 the most compelling case for the beauty and variety of two piano repertory this reviewer has ever heard (Los Angeles Times), the duo is committed to exploring classics of the two-piano repertoire, but also contributes to the ongoing expansion of that literature through commissioning composers thirteen new works have been written for them to date, and they have performed world and Australian premieres of music by composers such as Matthew Hindson, John Adams and Arvo Pärt. 30 Both Anna and Liam have Doctorates in piano performance, from Stony Brook University and Yale University respectively. Anna has served on the music faculties of Yale and Chapman Universities, and both Liam and Anna taught at the California Institute of the Arts. They returned to their Alma Mater in 2008 to perform at the Horowitz Series, Yale University, where Critic Ivan Katz wrote I cannot imagine a finer performance, as this one had everything, illuminating every bar of the music The audience went wild After a decade in the United States, the duo is now based in Australia where they lecture and perform as ensemblein-residence at the University of Queensland highlights include performances at the Jacaranda Series (Santa Monica, U.S.), the Canberra International Music Festival, and the Queensland Music Festival.

33 Heading Piano Syllabus

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35 Recital Heading Programs 2013 APPC Recital Series Recital 1: APPC Opening Recital: Jovanni-Rey de Pedro Featuring two world premiere performances of new works by composers including Elissa Milne and Christopher Norton. Also featuring works by Beethoven, Johann Strauss II/Ernst von Dohnányi and Gulda. 7.30pm 9.30pm Tuesday 2 July, USQ Arts Theatre Recital 2: Stephen Emmerson and Sonya Lifschitz A two-piano recital showcasing Dr Stephen Emmerson s arrangement of Bach s Goldberg Variations for two pianos. 1.15pm 2.15pm Wednesday 3 July, USQ Arts Theatre Recital 3: Viney-Grinberg Piano Duo A duo piano recital featuring works by McPhee, Stravinsky, Grainger and Davidson. 7.30pm 9.30pm Wednesday 3 July, USQ Arts Theatre Recital 4: Piers Lane and The Goldner String Quartet Patron of the APPC, Piers Lane AO, teams up with the Goldner String Quartet to present a Piano Quintet recital featuring works by Verdi, Arensky and Brahms. 7.30pm 9.30pm Thursday 4 July, USQ Arts Theatre Recital 5: Sean Foran Solo piano in a digital age Brisbane based contemporary pianist Sean Foran presents a set of composed and improvised music utilising modern performance techniques. Samples, loops, effects and prepared piano manipulations are explored through improvisation in traditional and digital scenarios. These composed and improvised ideas will co-exist within original works and songs from the modern music lexicon. 1.15pm 2.15pm Friday 5 July, USQ Arts Theatre 33 Recital 6: The Empire Theatres present Piano Lessons by Anna Goldsworthy Piano Lessons takes the audience inside a musician s journey through a unique real-life performance. Concert pianist Anna Goldsworthy s deeply-felt memoir, Piano Lessons, comes to glorious musical life again after its world premiere performance at the 2011 Queensland Music Festival. Part theatrical production and part concert, Piano Lessons provides insight into the lives and inspirations of the great masters to expose the process of learning, interpreting and creating music. Friday 5 July, 8.00pm 10.30pm, Empire Church Theatre The 5 July 2013 exclusive performance of Piano Lessons for delegates of the 11th Australasian Piano Pedagogy Conference is proudly supported by USQ.

36 7.30pm 9.30pm Tuesday 2 July, USQ Arts Theatre Recital 1 APPC Opening Recital Jovanni-Rey de Pedro Sonata in A-flat, Op 110 I Moderato cantabile, molto espressivo II Allegro molto III Adagio ma non troppo: Arioso dolente IV Fuga: Allegro ma non troppo Ludwig van Beethoven Schatzwalzer from Der Zigeunerbaron Johann Strauss II / Ernst von Dohnányi Variations on Light My Fire Friedrich Gulda INTERVAL 34 From Play Piano Play V Moderato, poco mosso II Alla marcia, risoluto VI Presto possibile I Moderato VII Lento, molto tranquillo e piano (transcribed by J de Pedro) Three Scenes from Vaudeville (world premiere) Friedrich Gulda Elissa Milne Sonata (world premiere) I Brightly II Mysteriously III with Energy Christopher Norton

37 Heading 1.15pm 2.15pm Wednesday 3 July, USQ Arts Theatre Recital 2 Stephen Emmerson and Sonya Lifschitz Goldberg Variations, BWV988 Johann Sebastian Bach (arranged for two pianos by Stephen Emmerson) The arrangement was prepared for a performance by Dr Stephen Emmerson gave with Sonya Lifschitz at the Four Winds Festival in Bermagui at Easter They subsequently performed the arrangement in Brisbane at the Australian Piano Duo Festival in August and recorded it with ABC Classic-FM radio in Melbourne in November

38 7.30pm 9.30pm Wednesday 3 July, USQ Arts Theatre Recital 3 Viney-Grinberg Piano Duo featuring Liam Viney and Anna Grinberg Balinese Ceremonial Music (1938) Gambangan Pemoenkah Taboeh Teloe Three Movements from Petrushka (1911) Russian Dance Petrushka s Room Shrovetide Fair Harkstow Grange from Lincolnshire Posy (1937) Percy Grainger (2012) The Lost Lady Found from Lincolnshire Posy Colin McPhee Igor Stravinsky Percy Grainger Robert Davidson Percy Grainger 36 INTERVAL The Rite of Spring (1913) (for two pianos, arr. Stravinsky) Part I: Adoration of the Earth Part II: The Sacrifice Igor Stravinsky

39 7.30pm 9.30pm Thursday 4 July, USQ Arts Theatre Recital 4 Piers Lane and The Goldner String Quartet String Quartet in E minor (1873) Allegro Andantino Prestissimo Scherzo Fuga. Allegro assai mosso Piano Quintet in D major Op 51 (1900) Allegro moderato Variations. Andante Scherzo. Allegro vivace Finale (in modo antico). Allegro moderato Giuseppe Verdi Anton Arensky INTERVAL Piano Quintet in F minor, Op 34 (1864) Allegro non troppo Andante, un poco adagio Scherzo: Allegro Finale: Poco sostenuto. Allegro non troppo. Presto, non troppo Johannes Brahms 37

40 1.15pm 2.15pm Friday 5 July, USQ Arts Theatre Recital 5 Solo Piano in the Digital Age featuring Sean Foran Brisbane based contemporary pianist Sean Foran presents a set of composed and improvised music utilising modern performance techniques. Samples, loops, effects and prepared piano manipulations are explored through improvisation in traditional and digital scenarios. Various works What the World Needs Now (1965) What a Wonderful World (1967) Don t Give Up (1985) Sean Foran Burt Bacharach Bob Thiele/David Weiss Peter Gabriel 38

41 8.00pm 10.30pm, Friday 5 July, Empire Church Theatre Recital 6 The Empire Theatres present Piano Lessons by Anna Goldsworthy Piano Lessons takes the audience inside a musician s journey through a unique reallife performance. Concert pianist Anna Goldsworthy s deeply-felt memoir, Piano Lessons, comes to glorious musical life again after its world premiere performance at the 2011 Queensland Music Festival. Goldsworthy herself stars in this stage adaptation, which, like the book, elegantly illustrates the intriguing relationship between the young pianist and her Russian teacher. This charismatic enigma inspires and challenges her young charge in equal measure as they work through a program of sublime piano pieces including selections from Mozart, Liszt and Chopin. Part theatrical production and part concert, Piano Lessons provides insight into the lives and inspirations of the great masters to expose the process of learning, interpreting and creating music. Duration 2 hours, 17 minutes (20 minute interval) The 5 July 2013 exclusive performance of Piano Lessons for delegates of the 11th Australasian Piano Pedagogy Conference is proudly supported by USQ 39

42 Study Education Heading Andrew Master of Education The staff have been brilliant relevant and engaging We understand that learning is for life. Learning and development continues throughout your career especially when you change career direction, return to work after time away, or upgrade your skills. Our postgraduate education courses are designed to fit in with your existing career and life. Complete the degree in just one year or take it a little slower by studying part-time, fully online. Strong support and personal relationships mean you can excel in your chosen area. Choose from a wide range of individual courses and research pathways, or focus on a specialised area such as Education Leadership, Special Education, Early Childhood and many more. Talk to us about enhancing your career opportunities now. USQ Postgraduate Education degrees: Master of Education Master of Learning and Development Early Childhood Special Education TESOL Education Technology Education Leadership Curriculum and Pedagogy Apply Now. ONLINE FRASER COAST SPRINGFIELD TOOWOOMBA usq.edu.au study@usq.edu.au

43 Heading VOLUME ONE GRADES 1 TO 4 AND TEACHER S PACK Grade One Grade Two Grade Three Grade Four INTERESTING AND EXCITING REPERTOIRE TO ENGAGE AND MOTIVATE YOUR PIANO STUDENTS! Each book contains 10 pieces covering 5 styles: 1. Well-loved CLASSICAL works 2. TRADITIONAL 3. Music from TV, MOVIES and SHOWS 4. JAZZ and BLUES styles 5. POP classics Graded to be the right standard for the level of the piano student. All pieces are chosen for their musicality. Expertly arranged for pianists. Fun to play! These books are an important extension of the Hal Leonard Student Piano Library in Australia and New Zealand. The Teacher s Pack contains one copy of each grade.

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45 Conference Presenters Debra Andreacchio Debra Andreacchio is a Masters by Research Candidate at The University of Adelaide with extensive teaching experience in Music Schools and her private studio. Her students have won numerous scholarships and prizes. Using visual media, Debra has presented lecture recitals at Piano Pedagogy Conferences throughout Australia and at the 2012 World Piano Teachers Conference in Europe. She performed in the 2010 premiere of Larry Sitsky s piano suite, The Golden Dawn that contains a movement dedicated to her. Debra is an examiner, adjudicator and Immediate Past President of the Music Teachers Association of South Australia. For many years, Debra has extended her studies with internationally acclaimed piano pedagogue, Eleonora Sivan. Rhonda Boyle As a child, Rhonda Boyle studied piano with Lilian Harvie in Geelong. After gaining tertiary qualifications in science, environmental science and urban planning from Melbourne and Monash Universities she pursued a career as a public servant. Rhonda returned to the piano in 1999 as a student of Robert Chamberlain. In 2009 she purchased a 7/8 reduced-size keyboard for her piano and presented a paper on reduced-size pianos at the 2009 APPCA Conference before teaming up with Sydney teacher Erica Booker to present another paper at the 2011 Conference. She has published articles in the MTNA e-journal (USA) and EPTA (UK) journal Piano Professional and maintains a website (www. smallpianokeyboards.org) devoted to sharing information relating to reduced-size piano keyboards. Dr Gemma Carey Gemma Carey is Acting Deputy Director, Senior Lecturer in Piano and Head of Pedagogy at the Queensland Conservatorium Griffith University. She has presented and published papers in the field of performance pedagogy, curriculum and teaching and learning both nationally and internationally and works with students from pre-tertiary to doctoral level. Recent publications include Developing a collaborative model of inquiry (Carey, Lebler and Gall, 2012), Reforming the Bachelor of Music program (Carey and Lebler, 2011), Prior learning of conservatoire students: A western classical perspective (Carey, Lebler and Burt, 2009) and a book titled New understanding of Relevant keyboard pedagogy in tertiary institutions (Carey, 2008). 43

46 Heading Dr Jeanell Carrigan Jeanell is Senior Lecturer in the Ensemble Studies Unit at the Sydney Conservatorium of Music. She has performed as a soloist, chamber musician and accompanist in Germany, Italy, Austria, Switzerland and throughout Australia, and recorded for Bavarian Radio, the ABC, and regional stations in Australia. She performs regularly as a chamber musician for Musica Viva and other organisations. She completed a Doctor of Creative Arts, from the University of Wollongong, in the area of Australian post-1970 solo piano repertoire and recently released her fifteenth solo CD of Australian piano music. In 2002 she received the national award of most outstanding contribution to the advancement of Australian music by an individual. Darryl Coote Darryl Coote studied with Max Cooke at the University of Melbourne and later with Kurt Bauer in Hanover (Germany). Winner of the Hephzibah Menuhin Memorial Scholarship and Victorian State winner of the ABC Instrumental and Vocal Competition, Darryl has performed in all Australian states, as duet and duo pianist and chamber musician. He has recorded and broadcast extensively and features on all CDs of the Team of Pianists. An experienced teacher, examiner and adjudicator, he has served on the piano faculty at Monash University, and given masterclasses in Malaysia, Germany, China, Australia, the USA, and Japan. In 2012 he taught in the Summer Piano School at Chethams School in Manchester (UK). Recently he was elected President of the Board of the Australian National Piano Award 44 Leah Coutts Leah Coutts has been teaching piano for 11 years and has found a special interest in teaching adults. Her passion for understanding how people learn, and how this translates into teaching methods has shaped her research pursuits. Leah obtained a Bachelor of Music Studies with First Class Honours in 2009 from the Queensland Conservatorium of Music. Her studies focused on how piano teachers may cater to different learning styles and personalities, as well as brain based learning. Leah has since returned to the Conservatorium to complete her PhD, specifically exploring the area of adult learners at the piano. Dr Diana Dumlavwalla Diana Dumlavwalla is an Assistant Professor at Western University, Canada, where she teaches the doctoral and undergraduate piano pedagogy courses as well as studio piano. Previously, Diana was on faculty at the University of Windsor. She also serves as an examiner for the Royal Conservatory, has performed in North America and Europe and is the pianist of the San Agustin Duo. Diana completed a DMA at the University of Toronto, MMus at the Royal College of Music in London, BMus in Piano Performance and Voice at Wilfrid Laurier University and received an Associate Diploma from the Royal Conservatory.

47 Heading Dr Stephen Emmerson Stephen Emmerson has been on staff at the Queensland Conservatorium since 1987 where he teaches music literature and performance-related courses. He studied at University of Queensland before a Commonwealth Scholarship enabled him to study at New College Oxford where he graduated with Master of Philosophy and Doctor of Philosophy degrees. As a pianist, he maintains an active performance career, appearing widely in concerts and festivals around Australia, New Zealand, Asia and the Pacific, within chamber groups such as the Griffith Trio and Dean-Emmerson-Dean. Several of his recordings with other performers are available commercially and he is broadcast regularly on local and national radio. Sean Foran Sean Foran is a Brisbane based pianist, composer and educator. He has released five original music albums with the contemporary trio Trichotomy (formerly Misinterprotato). A graduate of the Queensland Conservatorium he holds a graduate certificate in Arts Administration (QUT) and a Masters of Arts with Distinction from the Leeds College of Music, UK. He received the prestigious Brisbane City Council s Lord Mayor s Emerging Artist Fellowship and APRA Professional Development Award Jazz, and has studied in Australia, Canada, Norway, Sweden and the UK with leading musicians including John Taylor, Tord Gustavsen, Matthew Bourne and Lars Jansson. He is currently Head of Music at JMC Academy Brisbane, Lecturer at JMI Brisbane and co-director of the specialist publishing company Prepared Sounds. Melissa Forbes Melissa is a singer, songwriter, educator and researcher. Trained in jazz singing at the Queensland Conservatorium where she graduated with the University Medal, Melissa has performed nationally and internationally, and sung with Michael Bublé, Naturally 7 and David Hobson. She was appointed as a lecturer at the University of Southern Queensland in 2011 and, during 2012, studied with eminent voice scientist Professor Johan Sundberg in Sweden. Melissa is currently researching learning communities centred around music practice in higher education towards her PhD. Other research interests include the contemporary singing voice, and teaching and learning creativity. She is a Churchill Fellow and in a former life, an uninspired corporate lawyer of little renown. 45 Elizabeth Foster Elizabeth Foster received her Bachelor of Music in Piano Performance concurrently with a Bachelor of Arts in Music from the University of Washington in Seattle in She taught piano in private studios in Seattle and Bainbridge Island, Washington, for 31 years before moving to Adelaide in 2010 to undertake a PhD focusing on the current research project. She has a passion for nurturing creativity in her students and developing their unique musical identity.

48 Heading Greg Holdaway Greg Holdaway has been observing, experimenting, and exploring movement for over 30 years. He has a Masters (Hons) degree in movement science, has taught at Music schools around Australia and is on staff at Mitchell Conservatorium. He is Director of Training at Sydney Alexander Technique, offering professional training, public lessons and workshops and is Associate Director of Training at Body Chance in Japan. Greg is accredited internationally as an assessor of Alexander Technique teachers. Greg assists professional singers, musicians, and sports people with performance as well as helping people coping with pain and injury rehabilitation. Dr Siaw-Sing Koo Dr Siaw-Sing Koo has performed at major cities in the United States, China and Asia. Since his performance of the Yellow River piano concerto, he has been presenting several lecture performances on Chinese piano music which have been widely recognised at major piano conferences and universities in the United States, Australia and Asia. Dr Koo is Assistant Professor at the Yong Siew Toh Conservatory of Music, National University of Singapore. Prior to that, he taught at the University of Oregon, Augustana College, and was a visiting artist at several music colleges. 46 Jocelyn Kotchie Jocelyn (Jo) Kotchie is a Western Australian composer and music educator, specialising in pedagogical music for children. She has been teaching in private practice for almost 40 years and during this time has specialised in many areas, from pre-instrument and early childhood music through secondary school curriculum development and general across the board music education. Jo is a prolific composer across many genres, with many of her works having been written specifically for the benefit of her students and several on examination syllabi. She has written over 200 works for children of all ages. Dr Sang-Hie Lee A pianist-pedagogue, researcher, and administrator, Lee has degrees from Ewha Womans University, American Conservatory of Music, University of Georgia, and University of Michigan. Lee s debut performance was applauded as intelligent and deeply felt in the Rome International Daily News. She performs solo and chamber recitals widely in North America, Asia and Europe. Equally active as an internationally published researcher, Lee serves as the Editor of the CMS Cultural Expressions in Music Monograph Series, and is on the Editorial Board of the College Music Symposium and Editorial Committee of the International Journal of Music Education Research, and the Board of Directors of the Performing Arts Medicine Association.

49 Heading Tamara Lester Tamara Lester is a lecturer and consultant in music technology at the University of Southern Queensland, an experienced high school music teacher and a teacher of piano at her local home studio. She earned her Masters in Music Technology with a focus on Music Composition Software from the University of Newcastle. She also holds a Bachelor of Creative Arts (Music) and Graduate Diploma of Education (Secondary) from the University of Southern Queensland and her Associate in Music, Australia through the Australian Music Examinations Board. Her interests include the integration of technology into music as a seamless entity to reflect life in the current age, as well as working with children in the learning and performance of music. Sonya Lifschitz Sonya specialized in Music Performance with Natasha Vlassenko at the Queensland Conservatorium, where she was awarded First Class Honours. Presently she is a PhD candidate in Music Performance at the University of Melbourne under a prestigious APA scholarship. She has performed widely in Australia, United States, Italy, Switzerland, England and Israel, having won various awards, scholarships and competitions. In 2007, generously supported by the Fulbright Commission, Sonya completed intensive postgraduate performance studies at the Peabody Conservatory (Baltimore, USA) under legendary pianist and conductor Leon Fleisher. Since returning to Australia she is increasingly recognized as an innovative, exciting musical voice in both traditional and contemporary repertoire, and is in demand as a soloist, ensemble musician and pedagogue. Dr Christine Logan Dr Christine Logan is a Senior Lecturer in Music in the School of the Arts and Media at the University of New South Wales in Sydney. She has performed and broadcast as soloist, duo pianist, chamber musician, fortepianist and recorded the complete duo piano music of Frank Martin for ABC Classics with Julie Adam and contributed to Revised New Grove, Oxford Music Online, and articles and chapters on Australian music, Frank Martin, Beethoven, Fauré and Messiaen. During the period of her doctoral degree at the University of Cincinnati, USA, she studied with Béla Siki. 47 Colin Noble Colin Noble is a soloist, recording artist, educator, chamber musician, and PhD candidate at Griffith University. He has released recordings of JS Bach s Goldberg Variations and several Debussy works. Colin and his brother Alistair perform regularly as a piano duo, including broadcasts for ABC Classic-FM. Colin holds a Masters degree in performance, and studied piano with Isobel Grigor, Pamela Page and Larry Sitsky. On the staff at St Margaret s Anglican Grammar School in Brisbane, he is involved in a concert series and an internationally awarded choral program. Colin has given nine performances of the Vingt Regards sur l Enfant Jesus and recently played Messiaen s Visions de l Amen with Peter Hill at the Queensland Conservatorium. He will perform the Quatuor pour le fin du temps in September at St Stephen s Cathedral Brisbane.

50 Heading Professor Peter Roennfeldt Professor Peter Roennfeldt is a well known performer, lecturer, researcher and adjudicator. Since completing a seven-year term as Director of Queensland Conservatorium Griffith University in 2009, he has published several journal articles on local history topics, and the monograph Northern lyrebird: The contribution to Queensland s music by its Conservatorium, His performing interests currently focus on standard and lesser known repertoire with 19th century period instruments, including a duo sonata composed by Queenslander Percy Brier, which he has recorded and edited for publication. Since 1995 Roennfeldt has presented six papers for APPC, on various topics dealing with repertoire and performance practice. Stephen Sedergreen Steve Sedergreen is one of Australia s finest jazz musicians. He began playing piano at five, inspired and influenced by his jazz legend father, Bob Sedergreen. As a professional musician, he has performed with both Australian and internationally renowned artists as well as leading his own bands. Steve holds a Diploma of Music from the Victoria College of the Arts, a Diploma of Education from Melbourne University and a Master of Arts from RMIT University. Throughout his 20-year career as an educator, Steve has worked to develop a performance-based method of teaching jazz piano that captures the true essence of jazz and improvisation, culminating in his book Start Playing Jazz Piano Now! 48 Dr Diane Selmon Dr Diane Selmon studied in the USA and Germany with Claudio Arrau. She has performed overseas and in all Australian states as soloist, as duo pianist with her late husband Charles Glenn, as concerto soloist with Australian orchestras, and as a touring Musica Viva artist. On the teaching staff of Queensland Conservatorium Griffith University, she has previously taught at Sydney Conservatorium and Westchester Conservatory New York. She has premiered various works including contemporary ensemble music with Perihelion while Musician-in-Residence at the University of Queensland. Her doctoral thesis was a stylistic analysis of the compositions of Clara Wieck-Schumann. Dr Martha Thomas Dr Martha Thomas maintains an active career as performer and clinician. She presents regularly at conferences around the world, and has eight CD recordings to her credit. Her newest CD, Max Reger: The Forgotten Romantic, features music from five of Reger s solo piano collections. A native Texan, Martha Thomas holds degrees from the Universities of Texas and Wisconsin. She is Professor of Piano and Associate Director for Academic Programs at the University of Georgia Hugh Hodgson School of Music. Martha has served as President of the Georgia Music Teachers Association and State Piano Chair for the Georgia Music Educators Association. She is the current MTNA Southern Division Director and received the Georgia Music Teachers Association Teacher of the Year Award in 2012.

51 Heading Li-San Ting Li-San is a PhD student in Music at UNSW and has her own private teaching studio in Sydney. She has completed a Graduate Diploma in Music at the Australian Institute of Music (Classical Performance) and a Bachelor of Arts in Communications (Media Arts and Production) at UTS. Tim Topham Tim is most well-known for his blog at where he has been sharing resources, tips, links, repertoire ideas and skills with teachers since His particular interests are technology and teaching boys. Tim has taught a variety of subjects around Australia and the UK and holds a BMus, a DipEd and an MBA in Educational Leadership. He has worked in education as a classroom teacher, private studio teacher, head of department and head of campus. He has even worked as a music producer under the alias Fourth Nation. Tim teaches piano at Whitefriars College and at home in Brunswick, VIC. Gina Wake Immediately after gaining a 3 rd place prize in a baby class dance troupe, seven- year-old Gina decided to cut her hair and begin piano lessons. Gina completed a Bachelor of Music (Tuba) at the VCA then, like many musicians wondered what on earth she was going to do. Jobs performing, teaching music, cooking, massage and music retail eventually led to full time employment at Hal Leonard Australia. Gina published the Getting to series, developed and edits the Piano Teacher Magazine, moderates the Australian Piano Teachers Music Hub and in 2013 is championing the 40 Piece Challenge. Dr Christina Whiteley Christina Whiteley has postgraduate qualifications in education, librarianship and music. She has 45 years teaching experience, 32 of which are as an accredited private piano teacher running a successful piano studio. She has full membership of the Music Teachers Association of NSW. British piano music is a special interest along with Australian colonial piano music. Her book On Keys and Covers, published by Wirripang, shows how piano pieces written in 19th century Australia are important for our Australian heritage. In their narrative about life in colonial times, they show the beginnings of a unique Australian identity and sense of nationhood. 49 Dr Katie Zhukov Katie Zhukov is a Master s graduate from the Juilliard School of Music, New York, and has a PhD from UNSW, Australia. She has been investigating teaching of sight reading to pianists at the University of Queensland and previously taught at the Sydney, Queensland and WA Conservatoriums. Dr Zhukov has published on instrumental music teaching in Psychology of Music, International Journal of Music Education (Research and Practice), Music Education Research, Research Studies in Music Education, British Journal of Music Education, Australian Journal of Music Education, and presented papers at ISME, ICMPC, Reflective Conservatoire, Performer s Voice, ASME, and APPC Conferences.

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54 Abstracts Digital technology that is changing the way we practise, perform, and teach piano presented by Mario Ajero 1.00pm 2.30pm Tuesday 2 July This session will explore technology that can enhance the music making experience for both students and teachers. Dr Ajero will demonstrate ways to reach out to students regardless of geographic location through real time video conferencing, connecting digital pianos over the internet, and how to create media rich instructional videos to deliver to students. Another topic of discussion will include the rise of the tablet computer, namely the ipad. Not only can it serve as a digital sheet music reader, but attendees will learn applications utilising MIDI and other media to make engaging lessons and performance experiences. 3 v 40: Making the most of exams presented by Tim Topham 2.30pm 3.00pm Tuesday 2 July There has been a lot of talk in recent years about the value of students learning significantly more than the required three to six exam pieces each year. In addition, more and more teachers are becoming aware of the many exam boards available to students in Australia, including the AMEB, ABRSM, Trinity, St Cecelia, Guild and ANZCA. 52 After trialing both a 40 pieces challenge and three of the above exam boards in 2012, Tim wrote a series of blog articles about his experience, including Trinity College Exams first impressions, which created quite a stir when published in the VMTA Journal, and the controversial Why working to exams is anti-piano, which was supported by teachers from around the world. This session will discuss the pros and cons of sending kids to annual exams, the pedagogical effects of an exam focused studio and consider whether exams are in the best interests of students. Given the reticence of many teachers to try different exam boards, the discussion will also consider the differences and similarities between the boards in order that teachers may make the most informed decision for their students. The conversation will feature research that Tim has done in comparing the exam syllabi and his first hand experience in three of the exam boards. Participants will have the opportunity to share their views about exams: which ones they use and their experiences with them, whether they like students to do annual exams and how to cope with parents demanding exams.

55 What s up Doc? Music and medicine: A new paradigm in teaching music performance presented by Sang-Hie Lee 2.30pm 3.00pm Tuesday 2 July Performing Arts Medicine has emerged as a new interdisciplinary paradigm, while music curricula repeat the same models from past generations. In thirty years, a vibrant research community among performing arts educators, health professionals, physicians and therapists has established a new trajectory in research and education across Europe, Americas, Pacific and Asia. My presentation includes the current discussions on musician s health habits and injury prevention, graduate students research interests (at my school), interdisciplinary collaboration, and curricular impacts. I will also discuss outcomes of two multidisciplinary studies being conducted at USF under my leadership. In addition to a health intervention study of undergraduate instrumental musicians that led to creating a course modelled after the study, I will discuss outcomes of a piano study using 40 skilled pianist subjects and compared hand biomechanics and performance data. The presentation will follow up with examples of how this study has direct implications on pianists skills development. Diary of a Piano Mama presented by Gina Wake 3.30pm 4.00pm Tuesday 2 July This year my five-year-old began piano lessons. Piano lessons and, more specifically, my piano teacher had an enormous impact on me and really helped shape my life in such a positive way that it was with great joy (and a fair bit of trepidation) that I embarked on this journey with my daughter. Boy, how piano lessons have changed since I took my first lesson 30 years ago! 53 Find out what happened next on our 21 st century piano lesson journey as we explore some of the changes that have happened to children, parents, piano methods and music in the last 30 years.

56 Why can t I just play already? Addressing adult students frustrations at the piano through mindsets and experiential learning strategies presented by Leah Coutts 3.30pm 4.00pm Tuesday 2 July Many adult students start piano lessons with unrealistic expectations and aspirations to be able to play without much effort. This can impede their learning and result in frustration at uncooperative fingers and feelings of helplessness. This paper conveys that the answer to uncooperative fingers may not lie in motor issues, but in those of the mind. It addresses how the power of language, experiential learning techniques, and technology may be utilised to guide students focus towards a process oriented mindset. This may allow students to reach their end goals faster while also allowing them to enjoy the journey. Our past, their future? The net generation and approaches to technology in the piano studio presented by Angela Turner 4.00pm 5.00pm Tuesday 2 July Much has been written about the ways in which the current student generation the Net Generation are different. Having grown up as digital natives, immersed in technology and new ways of interaction, are there implications for how we teach these students piano? How might we strike a balance between the honoured traditions of the past? 54 This presentation will explore the characteristics that are attributed to Net Generation learners, and provide some practical suggestions regarding how the use of the tools of their generation within the piano studio (sound and video recording, readily available handheld devices such as smart phones and tablets, and the internet) can help develop a student s musical self-awareness and independence, and more deeply (self-) motivate and engage in learning.

57 Historical recordings and Chopin interpretation: Case study Berceuse Op 57 presented by Christine Logan and Li-San Ting 4.00pm 5.00pm Tuesday 2 July This paper makes a case for the premise that historical recordings provide a significant, readily available resource in the teaching studio and for those preparing for performance. Such recordings enable a close examination of details of tempo, rubato and melodic expressivity including lengthening or shortening of notes or rests, tempo fluctuation through accelerando and ritardando, hand displacement and arpeggiation gives an indication of the range of choices made by these pianists and also an insight into individual aspects of piano playing. The significance of early recordings has been acknowledged by many scholars of performance practice including Eigeldinger, Rink and Peres da Costa. Chopin s Berceuse Op 57 is an appropriate work for this case study as it was recorded by a relatively large number of pianists who have been identified as Chopin specialists including Pugno (1903), Rosenthal (1912), Paderewski (1912), Cortot (1920), Friedman (1928), Michalowski (1929), and Koczalski (1948). As a further point of comparison, Demidenko s recording (2008) on a Pleyel piano will also be discussed. Legendary lessons: Studies with Maria Curcio presented by Wendy Lorenz 8.45am 10.15am Wednesday 3 July A personal view of the life and teaching of renowned 20th century master teacher, Maria Curcio. Herself a student of Artur Schnabel, Curcio became a legend in her own time, a remarkable pedagogue who was the ultimate artistic door opener for a generation of internationally acclaimed pianists. A former student of Curcio, Wendy Lorenz discusses her approach to technique and interpretation, and explores the remarkable legacy she left to the world of pianism. 55 Re-imaging the Goldbergs presented by Stephen Emmerson 10.45am 11.45am Wednesday 3 July This presentation will discuss a recent arrangement of Bach s Goldberg Variations for two pianos. By spreading the intimidating technical demands of the original between two pianists, the arrangement makes this acknowledged masterpiece accessible to pianists of more modest technical accomplishment and thus has valuable pedagogical potential for students across a range of levels. The underlying rationale that guided the arrangement will be outlined together with illustrations and demonstrations from it.

58 Dalcroze Eurhythmics #1: The character and function of rhythm presented by Paula Melville-Clark 10.45am 11.45am Wednesday 3 July This session will explore how various rhythmic note patterns can be experienced through body movement and how each rhythmic duration or pattern has its own character and function within specific repertoire. NB: Participants should wear loose fitting clothing and bare feet or soft shoes. Piano and song: How songs assist in interpreting piano music presented by Diane Selmon 11.45am 12.45pm Wednesday 3 July Various ways of developing strong interpretative concepts are explored in this paper, first through vividly descriptive words and then through texts of songs similar to piano works by the same composer. It concentrates on Romantic piano composers, all of whom wrote at least one volume of songs. Also discussed are some texts Beethoven authorised for his piano works, hidden texts in Brahms and in Liszt works including Romance in E minor and Sposalizio, and how texts affect our performance appearance and gestures. A short piano discovery journey presented by Jody Heald 11.45am 12.45pm Wednesday 3 July 56 In this brief session, Jody Heald will demonstrate a number of teaching works which can be used in a pedagogically sound fashion from the beginner stages to more advanced levels. Materials listed on the AMEB Syllabus will be used. The emphasis is on readily accessible repertoire, which can be used to develop good basic technical and musical habits, and which adults and younger learners can both enjoy. Positive responses to her sessions from attendees at other conferences are common. Just to say thank you for your fabulous classes at our VMTA Summer Conference. I ve spoken to a few of the teachers since then, and they all felt your classes were really valuable and FUN! (Heather McKenzie, January 2013)

59 Redefining the Chineseness in modern piano music by Chinese composers: A study of Chen Yi s Baban and Wang Lishan s Impressions of Paintings by Higashiyama Kaii presented by Siaw-Sing Koo 2.15pm 3.15pm Wednesday 3 July Can we recognise Chinese music without pentatonic scales? How can Chinese composers embrace modern techniques and soundings, yet preserve the unique Chinese tradition or quality in their music? Discover how Chen skillfully fused Chinese philosophy and aesthetics with Western avant-garde techniques. In Baban, she expressed the beauty of traditional Chinese instrumental music and mountain song singing despite modern sounding. Wang responded to the Japanese arts with unusual crashing and daring harmonies over traditional Japanese tunes. He added another dimension of creative art with his Chinese poems, demonstrating uncommon talent in linguistic skill. Percy Brier: Case study of a complete musician in the pre-digital age presented by Peter Roennfeldt 2.15pm 3.15pm Wednesday 3 July Percy Brier ( ) was certainly a complete musician in the pre-digital age. As one of Queensland s most successful and productive musicians, he excelled in the diverse roles of solo pianist, chamber music collaborator, composer, teacher, conductor, adjudicator, examiner and organisational leader. This paper will highlight various aspects of his long career spanning more than 60 years, and critique his contributions with the assistance of recordings and excerpts from his writings. His legacy as a pioneering role model, which is now benefitting in part from the recent advances in digital technologies, will also be discussed. Practice strategies for learning and memorising tonal piano repertoire: A new solution to an enduring problem presented by Elizabeth Foster 2.15pm 3.15pm Wednesday 3 July 57 This paper presents results of research undertaken to examine the effects of practice strategies developed by the author for learning and memorising tonal piano repertoire. The strategies consist of simplification, transposition, improvisation and rebuilding that together form a four-stage process (abbreviated as STIR). It is designed to bring about improved structural understanding, develop aural and creative ability, build a knowledge base specific to the repertoire, and incorporate generation into the process of learning and memorising the details of the composition. The paper concludes that the practice strategies offer benefits in memory security, long term memory, performance confidence, musical interpretation, expression and enjoyment.

60 Pedalling with style from Baroque to Fox-Trots presented by Nancy Bachus 3.45pm 5.15pm Wednesday 3 July A survey of techniques for all three pedals, and what is appropriate use in Baroque, Classical, Romantic and Pop styles. Tapping the creative core presented by Randall Faber 8.45am 10.15am Thursday 4 July Nurturing the student s creativity through composition and improvisation. A lecture demonstration. Characteristics and value of one-to-one tuition in the conservatoire: Experiences and expectations presented by Gemma Carey 10.45am 11.30am Thursday 4 July 58 To date, relatively few studies have explored teachers and students experiences and perceptions of one-to-one instrumental and vocal tuition. This presentation explores the perspectives of teachers, undergraduate and postgraduate students in one Australian conservatoire. Through a series of interviews, teachers were invited to reflect on the nature of one-to-one teaching, its efficacy, challenges, and the value they attribute to this method. Focus groups also explored the nature of the student-teacher relationship and student perceptions of the role of the teacher. Through key themes emerging from the discussions, this study contributes to a better understanding of the strengths and challenges of one-to-one pedagogy. Masterclass presented by Jody Heald 10.45am 11.45am Thursday 4 July

61 Dalcroze Eurhythmics #2: Exploring unequal beats presented by Paula Melville-Clark 10.45am 11.45am Thursday 4 July This session will consider the challenge of unequal beats in musical repertoire and how movement activities may assist students to resolve the musical problems often associated with them. NB: Participants should wear loose fitting clothing and bare feet or soft shoes. Are learning communities one way forward for music higher education? presented by Melissa Forbes 11.45am 12.45pm Thursday 4 July Since 2012, first year music practice students at the University of Southern Queensland (USQ) have been team-taught as a cohort across instruments and styles, and technical skills taught in instrument-specific groups. Emphasis is placed not only on integrated musical learning, but also professional learning students assess themselves and their peers on skills such as punctuality, communication, leadership, problem solving and collaboration. Students reflect on their own learning using an online multi-media journal, eportfolio, which allows students to archive artefacts such as videos, recordings, scores, photos etc. During 2012 at USQ, a learning community emerged around these first year music practice courses. Put simply, learning communities consist of groups of people engaged in intellectual interaction for the purposes of learning (Cross 1998). Research shows that learning communities enhance academic performance (Zhao and Kuh 2004) and student engagement (Krause 2005), help integrate student learning across courses and improve student retention (Tinto 1993, Tinto 2003, Zhao and Kuh 2004). A strong sense of group identity emerged within the cohort of 2012, and many students engaged in peersupported learning and teaching (Gearing and Forbes 2012). Anecdotally, participation in the learning community also improved staff morale and students technical skills developed despite limited or no access to one-to-one tuition. 59 This discussion topic is designed to examine the potential for music-centred learning communities to address the pedagogical and institutional challenges of learning and teaching music in higher education.

62 Discussion Topic: Fast and furious: Techniques and repertoire for boys presented by Tim Topham 11.45am 12.45pm Thursday 4 July Teaching today s digital natives is hard enough, but add to that a massive overdose of testosterone, a risk-taking agenda, a fixation with computers, phones and video games and all the emotionally-charged baggage of adolescence, and you have the fun of teaching teenage males! We all know that boys can be a difficult bunch to teach and keep engaged, especially around the teenage years. I personally love their enthusiastic, action-oriented and nononsense approach to things they are learning and the way they always keep me on my toes. They won t put up with things they don t like for very long and they ll be happy to question everything that you ask them to do. In fact, I think teaching boys has made me a better teacher. When you consider all the other activities and electronic devices that fill the lives of boys these days, keeping them enthused at the piano can be a challenge. How many times have you seen boys waver in their approach and eventually quit piano in their teens? How many of you teach students who can t seem to find any time to practice in their often sport-filled lives? 60 This discussion will consider a whole range of repertoire that is guaranteed to keep boys practising and give teachers tools to find better repertoire themselves. It will also discuss ways of teaching improvising and composition that boys seem to love. And no discussion about boys education these days can overlook technology, so we ll be discussing new technology that boys are finding engaging, keeping the conference theme front and centre. Masterclass presented by Liam Viney and Anna Grinberg 11.45am 12.45pm Thursday 4 July 2013

63 The pedagogical benefits of teaching and playing on instruments with a contemporary action presented by Terrence Hays with a panel comprising Stephen Emmerson, Wendy Lorenz, Jody Heald and Terrence Hays 2.15pm 3.15pm Thursday 4 July This plenary session focuses on discussion of the pedagogical benefits of teaching and playing on instruments with a contemporary action. The panel consists of Dr Stephen Emmerson, Wendy Lorenz, Jody Heald and Dr Terrence Hays. The panel will raise significant issues on the topic and aims to initiate discussion from members of the audience. Charles Rosen (2004 p 64) stated in his book Piano Notes: Pianos deteriorate with age. The alterations that result from time and use are more marked and much more disastrous than those suffered by most other instruments. Busoni also made the comment: There are no bad pianos, just bad pianists. So why as performers and teachers do we accept poor instruments with uneven actions and lacklustre tonal qualities? If we are concerned with conveying subtle nuances in the music we perform and teach, should we have a professional set of standards when it comes to the instruments we use? Powerful, pain-free performance with narrower keys presented by Carol Leone 3.45pm 4.45pm Thursday 4 July Piano keyboards with narrower keys are opening up new frontiers for pianists who desire powerful, pain-free performance. A growing number of studies are showing that these keyboards have significant musical, technical, pedagogical, and physiological implications. The keys have been engineered to ensure no loss of power, feel or response. Dr Carol Leone will present this lecture recital on the new GM12 Kawai Grand small keyboard model, performing works by Schubert, Liszt, Chopin, and Bartók and more. Dr Leone is Chair of Piano at SMU Meadows School of the Arts in Dallas, Texas, where she has been studying and performing on pianos with reduced-sized keyboards for over a dozen years. 61 The technique behind intermediate repertoire: laying the groundwork presented by Nancy Bachus 4.45pm 5.45pm Thursday 4 July Specific exercises and etudes for guiding intermediate students to higher technical levels will be demonstrated, along with the six basic technical patterns found in the piano literature. These skills and techniques will then be directly applied to intermediate masterworks.

64 Start Playing Jazz Piano Now! A quick start guide to the cyclic approach presented by Stephen Sedergreen 4.45pm 5.45pm Thursday 4 July Start Playing Jazz Piano Now! is the culmination of Steve s 20-plus years of teaching experience and captures what is most important in his approach to learning to play jazz: learning through listening and being grounded in the performance context. This presentation, designed especially for the needs and interests of music students and teachers, will provide participants with an invaluable insight into the principles that guide Steve s approach to teaching jazz piano as well as a detailed learning pathway through the book s rich content. Conversations with Piers and friends presented by Piers Lane 8.45am 10.15am Friday 5 July Delegates will have the opportunity to sit back, relax and enjoy conversations with patron of the APPC, the delightful Piers Lane AO, as he interviews various artists about their lives, thoughts and careers in Conversations with Piers and friends. ipad: Exploring apps, bridging gaps presented by Tamara Lester 10.45am 11.45am Friday 5 July 62 Generation Z are the most technologically saturated generation our world has ever seen (The McCrindle Blog, 2012). These students are the ones sitting in piano studios across this country every afternoon. Bridging this technological space, be it great or slight, can be daunting. Just as technology is integrated effortlessly into life itself, the ipad, iphone and ipod have brought with them a seamless web of music technology software in the form of Apps. With no peripherals required, these imachines have enormous potential for integration into the world of piano pedagogy. This paper aims to explore a variety of Apps and evaluate their effectiveness when incorporated into the piano studio. This will be done through an overview and practical demonstration of how the application works, followed by an assessment of the role they may play in your studios. While it is recognised that needs vary from person to person, relevant musical material presented in an intuitive and interactive media has the ability to make connections where previously it may not have been possible. The ipad and its swag of Apps have the potential to provide the piano teacher of today with an accompaniment to enhance many aspects of their piano studio.

65 Scenes from a jade terrace: Fusing East and West through strings, hammers and dampers presented by Diana Dumlavwalla 10.45am 11.45am Friday 5 July As one of Canada s highly regarded living composers, Alexina Louie has developed a strong reputation that has taken her music to various regions of the world. She presents a unique language, a fusion of Eastern and Western influences appealing to a wide range of audiences. It is this idiom that permeates her most significant work written for solo piano, entitled Scenes from a Jade Terrace (1987). This lecture recital will explore the origins, inspiration and compositional techniques of this distinctive three movement suite. A full performance of the work will take place at the end of the presentation. Dalcroze Eurhythmics #3: Understanding dance forms presented by Paula Melville-Clark 10.45am 11.45am Friday 5 July This session will look at some of the major dance forms and explore how an understanding of the origin, development and movement performance of them may assist the musician in making mindful choices concerning musical interpretation. NB: Participants should wear loose fitting clothing and bare feet or soft shoes. iq & ia Forum on trends in teaching: The e-pedagogy future Panel discussion convened by Tamara Lester 11.45am 12.45pm Friday 5 July 2013 This session is an open discussion of relevant technological changes and the expectations they are engendering in the music teaching profession. A panel of experts will be present to exchange stimulating ideas and answer questions on digital and media teaching tools that open up creative new ways for learning and enjoying music. 63

66 The benefits of reduced-size piano keyboards for smaller handed pianists: An exploration of biomechanical and physiological factors presented by Rhonda Boyle 11.45am 12.45pm Friday 5 July Previous research by the author has documented the perceived benefits of reduced size piano keyboards for smaller handed pianists. This paper reviews the biomechanical and physiological factors that might explain these perceptions. Referring in particular to the work of Otto Ortmann early last century, the factors described include direct mechanical disadvantages from a mismatch between hand span and keyboard size, the resulting muscular tension and fatigue, and the compounding impacts on the central nervous system. The availability of smaller piano keyboards combined with new technology provides many exciting research opportunities. This could help to create the momentum for a break from the one size fits all paradigm that has prevailed for over a century. Colonial Piano Music: Its story of Australian identity and nationhood presented by Christina Whiteley 2.15pm 3.15pm Friday 5 July 64 The aim of this paper is to bring to light some Australian piano pieces that were composed during colonial times and are now virtually forgotten. A selection of pieces will be presented from the colonies of New South Wales, Victoria, South Australia, Western Australia, Van Dieman s Land and Queensland. This neglected repertoire representing Australia s earliest composition provides a commentary on life in colonial days and reveals an Australia through the course of the 19th century gaining an identity of its own and a sense of nationhood. Select sections from colonial pieces will be performed. Masterclass presented by Wendy Lorenz 2.15pm 3.15pm Friday 5 July Introducing My First Piano Adventure presented by Randall Faber 4.45pm 5.45pm Friday 5 July How do we teach young ages effectively? In the context of Age Appropriate Teaching, Randall presents the Fabers new My First Piano Adventure course for ages five and six, with special video and author insights.

67 See better, move better, play better: Movement coordination and piano teaching presented by Greg Holdaway 4.45pm 5.45pm Friday 5 July The foundation of every pianist s wonderful skill is the control of his or her overall movement coordination. Well supported, balanced and flexible posture is an essential basis for stress-free and physically safe technical development for a sustained practise and lifelong music making. In addition, an easy, free, comfortable body opens the door to high levels of skill, power, subtlety and enjoyment. Greg Holdaway will introduce a threefold model of coordination, body mapping and action analysis as applied to teaching and playing piano. Participants will gain insight into the process of establishing good wholebody coordination patterns in themselves and their students and will be coached in how to see coordination patterns in students in order to head off technical and comfort issues before they become embedded in habits of playing. A primary challenge in the learning of musical skill is the strong focus of attention on getting it right, and the consequent narrowing of spatial-body-awareness in the attempt to control the specifics of the action. How can the student get it right without trying so hard? The Alexander technique trains whole-body-action awareness, associated with the spatial sense, in freeing naturally coordinated reflex responses. Under the right conditions, the right thing does itself (FM Alexander). Current research is demonstrating that the direction of attention with respect to body awareness is a critical element in motor control and the musician s skill, wellbeing and creative practise are all linked through body awareness. This lecture demonstration will involve audience participation and discussion. Opening doors to new Australian repertoire for intermediate piano students (Wirripang Australian Piano Anthology, Book 2) presented by Katie Zhukov 8.30am 9.30am Saturday 6 July 65 This lecture recital introduces 14 pieces for Grades Five, Six, and Seven of recently composed Australian repertoire (Wirripang Australian Piano Anthology, Book 2, 2011). The compositional styles vary from Classical/Romantic to modern, jazz, and contemporary. The grading of works assists teachers in sourcing extra repertoire that specifically targets skill development in intermediate students. The pieces will be performed and various learning challenges discussed: jazz rhythm and changing meter, chromatic harmonies, rapid finger work and hidden melodic lines, shaping of phrases, developing tempo rubato and refining pedalling technique. The performances will be uploaded to YouTube/Wirripang shortly after the conference.

68 The Forgotten Romantic: Discovering Max Reger s intermediate and early advanced piano compositions presented by Martha Thomas 8.30am 9.30am Saturday 6 July Max Reger is considered one of the major German keyboard composers of the late Romantic era. His overall output includes 146 opus numbers and more than 20 opus numbers for piano solo a vast repertoire waiting to be explored. Most of his large scale solo piano works present extraordinary challenges to the pianist, but his less advanced pieces are highly accessible, pianistically idiomatic, and eminently playable. This lecture recital will present Max Reger s seldom heard intermediate and early advanced repertoire that can instantly be incorporated into the teaching studio. Expand your students repertoire with this exciting Romantic era music. Pedalling issues in the piano sonatas of Beethoven presented by Darryl Coote 9.30am 10.30am Saturday 6 July 66 Comparatively few pedal markings exist in the manuscripts and first editions of Beethoven s piano sonatas. Prior to the Waldstein Sonata (composed around the time when Beethoven procured his first piano with foot pedals), Beethoven used the term con sordino in those places where he wished to expressly indicate that sustaining pedal should be used. Sometimes there has been confusion and disagreement in regard to the terminology con sordino versus con sordini and sourdine. This paper aims to place into context Beethoven s markings of senza sordino and con sordino (later written by Beethoven as p and o) and how and where he wanted pedal to be used. The writings of Beethoven s pupil Czerny will be considered in relation to how literally one might interpret Beethoven s instructions, though there has been concern that Czerny s writings may not always be fully reliable. Some writers have remarked that the properties of the instruments of Beethoven s time could account for pedal markings which, these days, seem apparently strange to us. The vexed and contentious case of Beethoven s instructions at the beginning of the Moonlight Sonata will be considered, along with the recitative in the Tempest Sonata and Beethoven s indication for use of the sustaining pedal through rests in the Waldstein Sonata. Indications for use of the una corda appear only in the later sonatas and whilst Beethoven seems to have been aware of the splitdamper mechanism (eg Op 28 in D major), he did not expressly indicate its use. This paper aims to clarify a number of issues in regard to Beethoven s pedal markings and to present some suggested interpretations of those markings.

69 Stages of talent development presented by Randall Faber 9.30am 10.30am Saturday 6 July This research-oriented lecture/discussion features Dr Faber s research on motivation as presented at the 9 th International Conference on Motivation in Lisbon, Portugal. Imaginative visions, deep knowledge, pianistic vocabulary, emotional responses: Human consciousness in musical communication in a digital age (based on Shostakovich s Preludes Op 34 ) presented by Debra Andreacchio 11.00am 12.00pm Saturday 6 July The digital revolution opened doors to limitless information and ease of communication. However, practice led research highlights that while digital technology is an effective tool, the great strength in studying music face-to-face is the personal connection, the feedback loops between teacher and student, performer and audience. Using the Shostakovich Preludes Op 34, noted for their range of expression, this lecture recital with visualization discusses benefits and limitations of digital technology. It is argued that individuality and musical communication are heightened through human consciousness: that awareness of imaginative visions, deep knowledge, pianistic vocabulary and emotional response increase the effectiveness of musical engagement. Crafting music for children presented by Jocelyn Kotchie 11.00am 12.00pm Saturday 6 July 67 In writing for children, the challenge is to create music which engages and nourishes while guiding the child towards technical facility and challenge according to their capability. The answer lies in crafting music which stimulates rhythmically, melodically and dynamically, but most of all, imaginatively, by creating a picture that the child can bring to life. A range of pieces from beginner to fifth grade will be presented, discussing the various elements which make those pieces popular, accessible and encourage an enthusiastic approach to practice. Discussion will include potential learning difficulties and adaptation of the material to allow for differing capabilities, developmental stages and learning disabilities. Looking beyond the Romantic spirit The turn of the 20th century presented by Nancy Bachus 12.00pm 1.00pm Saturday 6 July Explore the wide diversity of music and styles created by leading, and some lesser known composers of the late 19th and early 20th centuries. See how significant historical events, social factors and movements in the art world impacted them.

70 Messiaen s Piano Music of the 1940s presented by Colin Noble 12.00pm 1.00pm Saturday 6 July Olivier Messiaen is known for stating his dislike of any affectation, or departure from the directions on the score, in performances of his piano music. In comparing his own piano playing to these scores, and that of his wife and exponent Yvonne Loriod, we can find interesting results. Loriod left recordings of the Vingt regards sur l Enfant Jesus (1944) that span four decades, and these give us more practical clues to managing performances of Messiaen s piano music. YouTube: Music, humour, inspiration presented by Diane Selmon 1.30pm 2.15pm Saturday 6 July Relax, laugh and learn with YouTube videos including the new piano you micro-tune yourself with sliding adjusters; the Blue Danube as a virtuosic duet romantic encounter; Schiff playing and discussing a newly discovered intermediate-level Brahms piano work; what inspired Lang Lang s career; THE Rachmaninov Prelude and how to manage it without a smaller sized keyboard but with a straight faced assistant; unforgettable inspiration as Cortot describes and plays a simple Schumann piece (subtitled); and more. A little variation... presented by Jeanell Carrigan 2.15pm 3.15pm Saturday 6 July 68 This lecture recital will deal with how Australian composers treat Variation form with particular reference to works by John Polglase, Robert Davidson, Mark Isaacs, Peter Webb, Michael Hannan and Justin McKay. Works by these composers will be performed and their works will be analysed in order to determine the compositional methods used. All of the composers have composed sets of variations in the last 20 years spanning from 1982 until 2010 and their treatment of this standard form emphasises their different compositional idiosyncrasies. A CD recording of seven sets of variations composed by these six composers, recorded in 2012, will be available after the recital. Masterclass presented by Jovanni-Rey de Pedro 2.15pm 3.15pm Saturday 6 July

71 Rehearsing and performing duets and concerti with interactive virtual musicians presented by Mario Ajero 3.45pm 5.15pm Saturday 6 July For various reasons, pianists encounter difficulties in finding time to rehearse and perform with other musicians. Young students may develop deficiencies in listening and collaborative music making skills due to a lack of opportunities to play with other musicians. However, technology can help simulate collaborative experiences to prepare them to play with other pianists or even full symphony orchestras. This session will demonstrate how pianists can use technology-equipped pianos and set up a virtual orchestra sound library powered by smart accompaniment software to create unreal concerto experiences for themselves or for their students. It is a privilege for Wirripang to be associated with the 11th APPC and we congratulate the Committee for organising this excellent event. Wirripang promotes Australian composers and musicians and during the conference you can purchase their music from the Wirripang trade table: sheet music and albums for the beginner to the professional books and CDs, and among its valued composers and authors presenting at the conference are: Jocelyn Kotchie Crafting Music for Children Katie Zhukov Wirripang Australian Piano Anthology Book 2 (Grades 5 7) Christina Whiteley On Keys and Covers Many more of Wirripang composers will be attending the conference so please take the opportunity to meet with them. Enjoy the conference and come along and meet us at Wirripang or contact us at keats@wirripang.com.au or visit our comprehensive website

72 Bursaries The 11th Australasian Piano Pedagogy Conference would like to acknowledge the sponsors and recipients of bursaries for attendance at the conference, with these including: Paul Antonio Mayoral Bursaries in memory of his maternal family the Mützes Morgan Chalmers Bonnie Green USQ Learning, Teaching and Quality Bursaries Michelle Marie Gillian Matthew USQ Dr Marilyn Meier-Kapavale Memorial Bursary Rebecca Simon

73 National Executive Committee Jody Heald (TAS) Chair Kathy Pingel (NSW) Dr Christine Logan (NSW) Julie Haskell (VIC) Glenn Riddle (VIC) John Colwill (QLD) Katie Zhukov (QLD) Rodney Smith (SA) Debra Andreacchio (SA) Karina Sysko (WA) Graham Gilling (WA) Dr Geoffrey Lancaster (TAS) Wendy Lorenz (ACT) Colleen Rae-Gerard (NT) Dr Terrence Dennis (NZ) Rae de Lisle (NZ) APPC Organising Committee Kathy Pingel, Chair Paula Melville-Clark, Deputy Chair Courtney Feldman, Secretary Dr Diana Beal, Treasurer Wendy Brown Dr Phillip Gearing Sarah Gustafson Dr Diane Selmon APPC Support Personnel Dianne Bowe Bob Horstman Cheryl Kanowski Maree Kilpatrick Leo Lahey Sherryl Lendrum USQ Student Helpers including: Bonnie Green Phebe Slager Jenna Wong 71 The APPC would also like to express its thanks to: All of its sponsors and supporters of bursaries as detailed on p. 2 and 70 Paul Antonio, Mayor Toowoomba Regional Council All presenters and performers All our advertisers Toowoomba Corporate Catering Empire Theatres

74 Important Contact Information 72 11th APPC Mobile (in operation from 24 June 12 July, 2013 only) USQ Toowoomba campus All emergencies Business hours: After hours: or USQ Security Business hours: After hours: Taxi Services Garden City Cabs: Yellow Cabs Toowoomba: Toowoomba Taxi Service: The Airport Flyer or Toowoomba Medical and Dental Centre 261 James Street (Cnr of West Street and James Street) Open Mon Fri 7.00am 10.00pm; Weekends 8.00am 10.00pm Bulk Billing available for Medicare Card Holders and Concession Card and HealthCare Cards from Centrelink No appointments needed There is a ChemMart Pharmacy located within this Centre which isopen at the above listed times Free After Hours Doctor Non emergency after hours care Bulk Billing Available 365 days a year Monday to Friday 6.00pm to 8.00am Saturday from 12 noon Medical Emergencies After Hours Toowoomba Base Hospital, Pechey Street

75 The Music Teachers Association of NSW It s time to join! How can Membership of our Association benefit you? As a Member, you have access to: Building your studio by our successful referral service Accreditation for studio teachers The Studio magazine published quarterly keeping you informed about your profession Recommended teaching fees Professional development workshops & conferences Junior Music Festivals 2013 Highlights Include: Scholarships for students to the value of $10,000 An elegant fundraiser High Tea in May The Miriam Hyde Centenary Festival For further details please contact the MTA on Toll free: info@musicnsw.com.au Website: New!! Piano Exam Scales Tired of ploughing through different chapters and books for what technical work to teach who? Smartphone App There s now an easy option!... Just swipe your finger on your smartphone and it s all there at your fingertips! Levels: Preliminary Eighth Grade Boards: AMEB / Trinity / ABRSM / ANZCA

76 Join the Music Teachers Association of Qld Inc An Association for private Studio Music Teachers Patrons: Lisa Gasteen, Dr Piers Lane and Dr Max Olding AM Branches and Groups in Brisbane, Biloela, Cairns, Gold Coast, Mackay, Rockhampton, Sunshine Coast, Toowoomba and Townsville. Benefits of Membership: Professional Development (Masterclassess and Workshops), Professional Development for regions broadcast via the internet from Brisbane, Student performance opportunities and recitals, Student competitions, Networking with others in the profession, An informative journal with relevant articles and Professional Development information, Access to heavily discounted Public Liability Insurance. To inquire about joining: / Supporting Music Teachers in Queensland ACHERS' ASSOC Established 1910 The WA Music Teachers Association and the University of Western Australia will be holding their 7th WA Piano Pedagogy Convention in If you would like more information about attending or presenting a paper at the Convention, please contact the WAMTA office on: Phone: (08) info@musicteacherswa.org.au Website: Copies of the WA Music Teachers Association History Book are still available to purchase. For all things music, follow us on Facebook at

77 AMEB (Qld) SHOP ONLINE NOW QUICK AND CONVENIENT Teachers and their students now have the added convenience of enrolling for exams online. They are also able to shop for any of AMEB s publications from the comfort of their own homes/studios through the AMEB (Qld) store. These new facilities build on AMEB (Qld) s strong commitment to service quality in support of teachers and their students. Take a moment to view our tutorial videos on our home page or simply browse the AMEB (Qld) Shopping Site.

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79 Understand your world Study ARTS at USQ Anthropology Applied Media Archaeology Australian Studies Communication and Media Studies Creative Media English Literature General Studies Graphic Design History Indigenous Studies International Relations Journalism Language and Culture Music Public Relations Social Science Theatre Visual Arts Achieve #success ONLINE USQ SPRINGFIELD USQ TOOWOOMBA USQ FRASER COAST usq.edu.au/success success CRICOS: QLD00244B NSW02225M TEQSA: PRV12081

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84 The Astonishing New Kawai GX Series at 2013 APPC Kawai is proud to introduce APPC delegates to the new GX Series grand pianos. With features inherited from our Shigeru Kawai concert grand pianos, the GX range delivers the world s most advanced piano technology to every player. The new GX series is yet another reason we say Kawai is the future of the piano. KAI 1171B Tibet MAJOR SPONSOR 2013 APPC Kawai GX-2 Grand Piano