Jennifer Merry, NSMTA President

Transcription

1 C THE S ORE N O R T H S H O R E M U S I C T E A C H E R S President s Message Spring is just around the corner, and many of us are busy preparing our students for the AIM performance exams which will be held on April 15, 22 and 29. I was thrilled to learn that 673 students and 68 teachers participated in the theory exams in January: this makes AIM NSMTA s largest and most popular program. As a teacher who has entered students in AIM for decades, I have always believed in the value of its comprehensive musicianship approach. Not only are students required to perform repertoire, they also become fluent in technique, harmonization, sight-reading and transposing, aural skills and written skills. A student who completes a level of the exams is developing a well-rounded group of skills that!1 Jennifer Merry, NSMTA President make them a better, more knowledgable musician. But those skills by themselves don t necessarily translate into better musicianship. Ideally, a good teacher will help each student to synthesize these skills and apply them to the repertoire they are currently studying. A S S O C I A T I O N As an example, after studying various cadences for AIM, can we help our students to find examples of these in their pieces and discuss what they mean in terms of interpretation? Can we help students to understand the emotional differences between a half cadence and an authentic one? Can they make a deceptive cadence sound truly deceptive? Some students might not understand how these concepts apply to their music and might pass right over the details unless we point them out. There are countless other opportunities to help our students incorporate the theory and technic skills of the exams into their everyday practice and performance. I encourage you to think holistically and creatively about this opportunity. And if you don t already participate in the AIM program, please consider it for the future! I look forward to seeing everyone at the March meeting!

2 MARCH 26 PRESENTATION JING CHANG Tai Chi and Piano Technique For generations pianists have endeavored to overcome the limitations of their bodies and mindset. The principles of Tai Chi address the physical and psychological problems of playing piano, through its Taoist root, internal flow of energy, circular motion system, breathing and meditation. This presentation will demonstrate the ways Tai Chi can help pianists to interpret music, balance the sound, and incorporate breathing and body. etc Jing Chang is an accomplished concert pianist and an experienced piano teacher. She received her Doctor of Musical Arts degree (Piano Performance) from the University of Minnesota and was Assistant Professor at the China Conservatory after receiving her Bachelor and Master degrees there. Ms. Chang has performed widely as soloist and chamber musician both in the United States and in China. One of the notable performances was in 2003 at the Steinway & Sons 150th Anniversary Celebration & Concert in Forbidden City in Beijing. Ms. Chang won the 2013 University of Minnesota Concerto Competition, the 16 th Annual Masters Concerto and Aria Competition of the Kenwood Symphony Orchestra, the 2013 Bradshaw & Buono International Piano Competition, the 2007 Asian Piano Open Competition in Beijing, and several other major national young artist piano competitions in Asia. She also was a Quarter Finalist of the 2014 Dallas International Piano Competition. Ms. Chang taught for a couple of years at the China Conservatory of Music in Beijing before pursuing further studies in the U.S. While attending the University of Minnesota she served as Teaching Assistant providing both piano class and private piano lessons. She has been invited on numerous occasions to lead masterclasses and to perform solo recitals in China and the U.S. Ms. Chang is currently the Founder of Dr. Chang s Music Studios in Buffalo Grove and Harwood Heights Illinois.! 2

3 March 26 Pre-meeting: Michael Pecak Poetic Pianism: Playing Chopin s (Musical) Language Chopin, the poet of the piano is an expression that originates in the composer s lifetime as a romantic sobriquet and that persists to this day as a truism. Yet, what does it mean to refer to a composer of mostly solo piano music someone who expressed himself not through words but through instrumental sounds as a poet? Furthermore, how does the verbal art influence the musical art and how can a modern-day pianist synthesize the two into a musical-poetic utterance via a linguistically neutral instrument? My paper explores the dynamics between poetry and music, text and melody, vocal and instrumental works, through the mediating force of language, specifically Polish. Chopin s style of lyricism, I argue, is rooted in idiomatic linguistic concepts traceable to his studies in Warsaw with Józef Elsner. The core of my study consists of a close reading of two theoretical-pedagogical treatises by Elsner: On the Meter and Rhythm of the Polish Language (1818) and Treatise on Melody and Chant (1830). Elsner herein discusses the prosodic qualities of the Polish language, inflection and accentuation, and proper musical settings of Polish verse with the goal of [aiding] composers in creating melodies for texted and instrumental works that do not disfigure the mother-tongue. After examining Chopin s art songs, Op. 74, in light of Elsner s precepts, I extract analogies for the conceptualization and performance of his solo piano music. I argue that an understanding of Polish prosody and scansion can better define the lyrical qualities usually associated with Chopin s music and uniquely inform our decisions in phrasing, pacing, and inflecting his melodies in other words, how we might play more poetically. Chicago-born pianist and conductor Michael Pecak has performed to great acclaim throughout North America and Europe on both historical and modern instruments. Having earned degrees from Northwestern (BM with Alan Chow, Julian Dawson, and Victor Yampolsky) and Indiana Universities (MM with André Watts), Michael was a Fulbright Scholar in Warsaw, Poland, and a Graduate Fellow at Cornell University where he worked with Malcolm Bilson. He holds a DMA in historical fortepiano from McGill University. As a fortepianist, Michael has performed in the Vancouver Early Music Festival, the Westfield Center for Historical Keyboard Studies, and the Festival de Musique Montreal Baroque. His scholarly articles on the music of Beethoven and Chopin have been published by Keyboard Perspectives (of Cornell University) and the National Fryderyk Chopin Institute in Warsaw. An ardent lover of opera and art-song, Michael enjoys working with vocalists as accompanist, coach, and répétiteur. A regular collaborator with soprano Hannah De Priest, the duo s upcoming programs include works by Haydn, Mozart, and Beethoven. Michael teaches piano at the Northwestern University Music Academy, writes about opera for the blog Schmopera, and is an active freelance conductor, pianist, and collaborator.! 3

4 Annual Teacher s Recital And Luncheon JUNE 11 at 10:30 The Annual Teachers' Recital and Luncheon will again be held in the beautiful St. James Lutheran Church in Waukegan. The lunch will be catered at a cost of approximately $ Solos, duets, chamber music, vocal and instrumental pieces are welcome. We have had fabulous recitals in the past, well worth attending as an audience member. This event is not only for recital participants - please consider supporting and encouraging colleagues in performance. Both the piano and the organ in this facility are wonderful instruments. This is the program from June, It does not list the organ work played by Kirstin Synnestvedt. Allegro from Sonata by Handel Donna Kuhel,Piano Four movements from Circus Suite by Turina Karen Tobias, Piano Rondo from Op. 13 by Beethoven Beatrice Levy, Piano Two of Four Souvenirs by Schoenfield Kate Carter, Violin Louise Chan, Piano Feu d'artifice by Debussy George Radosa Theme from MASH by Mandel and Greasy Blues by Peterson Eric Sutz The exact price of the meal will be included in the April or May Score. Reservations for the luncheon and/or for notice of participation in the recital is Monday, June 4. You may call or Marlene Chatan, or chatainco@att.net. We are not an especially social group in terms of teacher functions, but this an endof- the- year good time with wonderful music, food, and conversation. Members and guests are welcome to join this celebration!! 4

5 - - - Announcements Dear Members: IMPORTANT: Piano Competition Date There has been an error with our set date for the Piano Competition. It was incorrectly listed as Saturday, March 6th, when it should be Saturday, May 5th. Please make sure you have the correct date on your calendar! We trust this will not cause any inconvenience. Grace Kim and Karen Tobias Co-chairs, Piano Competition Hello Fellow MTNA Chapters, Western Illinois Practice-a-Thon My name is Ashlyn Carnes and I am the current Chapter President for Music Teachers National Association at Western Illinois University. This year we will be hosting our third annual Practice- A-Thon. The Practice-A-Thon is a day long practicing effort by students and faculty in our School of Music to help raise funds for elementary students, K-6, who do not have their own band/ music boosters. We need your help in making this fundraiser a success! You can donate on our page at to support the personal and musical growth of young music students. If you have any questions or concerns you can contact me at wiumtna@gmail.com. Thank you for your support of our chapter and our effort to spread music throughout our community. Sincerely, Ashlyn Carnes WIU MTNA - President! 5

6 AIM NEWS AIM Performance Exams AIM Performance Exams Dates: Sunday, April 15, 2018 (for levels 1A, 1B, 1C and 2 only) Exam will take place only at MIC, Winnetka campus 300 Green Bay Road, Winnetka Sunday, April 22 and Sunday, April 29, 2018 (for levels 3-12) Exams will take place at Northwestern and Lake Forest locations Remember that upper level students require more judging time than lower level students, so please take that into account when enrolling your students. We very much appreciate teachers that give us the flexibility of choosing either exam date. To help in understanding judging needs, here is a breakdown of judging time needed at each level. Time Allotment by levels Levels 1A,B,C: 15 min Level 7: 25 min Level 2: 20 min Level 8: 30 min Level 3: 15 min Level 9: 30 min Level 4: 20 min Level 10: 40 min Level 5 20 min Level 11: 40 min Level 6: 20 min Level 12: 15 min (technique only) Thank you for your continued support of AIM. If you have any questions or comments, please don t hesitate to either Jia-Yee Tang at jiayeetang@gmail.com or Jennifer Cohen at Jicohen1@aol.com. Jia-Yee Tang, Northwestern AIM coordinator Jennifer Cohen, AIM chair and Lake Forest AIM coordinator! 6

7 NEW MEMBERS Added Since the Yearbook was Published Catherine Foreman Evanston (708) Piano Hue Jang Glenview (773) Piano, Piano-Pedagogy, Chamber Music Katherine Lee Northbrook (224) Piano, Chamber Music, Accompanying Max Mauer Chicago (847) Piano, Composition, Jazz Kaoru Nir La Grange (708) Piano, Theory, Voice Rachel Tollett Evanston (847) Music History, Piano Saori Tomura Palatine (847) Piano, Voice, Flute Irene Zuppardo Buffalo Grove (847) Mallory Miller Palatine (630) Piano! 7

8 POSITION AVAILABLE Editor in Chief/Chief Content Director, Clavier Companion magazine. Please direct any questions regarding the application process to: Position: Editor in Chief/Chief Content Director for Clavier Companion magazine Application Deadline: April 15, 2018 Starting Date: July 1, 2018 Status: Part-time. Salary commensurate with experience The Frances Clark Center is currently seeking an Editor-in-Chief/Chief Content Director (EIC) to lead and direct all aspects of its digital and print publication, Clavier Companion. The EIC develops, executes and leads the overall development of the publication, in cooperation and collaboration with divisional leadership of the Center. As a member of the senior management team, the EIC actively supports the mission and strategic advancement of the Frances Clark Center and reports directly to the Executive Director. The Center seeks an inspiring and creative individual who has excellent interpersonal skills, editorial experience, fluency with technology and demonstrates a high level of writing and communication. Experience in publishing is an asset. Experience with team management is preferred. Duties will include extensive editing, writing, editorial process management, content scheduling and planning, design process, and the overall advancement of the publication. Requirements: Extensive experience in and familiarity with piano teaching and learning, commitment to piano teacher education, and connection to the professional community. Strong organizational and communication skills the ability to interface with various publics and to successfully meet deadlines is essential. Strong language skills, with a particular focus on style, grammar, and the written word is required. Functionality in MS Word, Excel, web-based communications, and a professional music notation program (Finale or Sibelius preferred) is needed. Experience in Adobe InDesign preferred; a willingness to learn InDesign is required. Description of Duties: The Editor-in-Chief/Chief Content Director manages all aspects of the publication and advances strategic objectives. Duties include: 1. Plan and direct long and short-term content creation and curation. 2. Review and approve all new content for publication. 3. Manage the editorial review process. 4. Prepare each issue for publication. 5. Manage the Clavier Companion staff and related business operations. 6. Drive overall content, strategy, and direction. 7. Curate archival content to support overall programming. APPLICATION: Electronic applications only. Applicants should send a letter of application, resume, three current letters of recommendation, and any additional supporting credentials to: Dr. Jennifer Snow, Executive Director The Frances Clark Center EICsearch2018@francesclarkcenter.org Attn: Editor in Chief/Content Creation Director Search! 8