AUSTA News 2024
Julie Hewison
Julie Hewison AMEB Session One: Consolidating Fundamentals This session is sponsored by AMEB Julie Hewison, Level 1 syllabus consultant for AMEB’s new Violin syllabus, is presenting a workshop on how the material in the Level 1 books aims to help reinforce and further develop the fundamental skills needed for good violin playing. Drawing from the new syllabus, this workshop highlights the importance of establishing strong foundations from the beginning of students’ learning. Julie Hewison is well known in Victoria for her violin playing and teaching. Julie specialised in baroque violin playing whilst studying in London. She performed with such…
Caron Chan
Caron Chan AMEB Session Two: Developing Artistry in the Level 2 Repertoire This session is sponsored by AMEB In this masterclass Caron Chan, Level 2 syllabus consultant for AMEB’s new Violin syllabus, Chief Strings Examiner for AMEB (NSW), and violinist for Opera Australia, will lead students through repertoire from Grade 5 – 7 publications. This is a fabulous opportunity to learn from a teacher at the forefront of training Australia’s next generation of violinists. Be ready for a music-filled hour! Caron Chan is the Chief Strings Examiner for the Australian Music Examinations Board (NSW) and has taught in tertiary and…
Ingrid Martin
Ingrid Martin Session 1: Teach a Kid to Fish: Train students to practice effectively, solve their own problems and LOVE doing it Session 2: The Successful Mixed-Ability Ensemble Rehearsal Session 3: Purpose and Passion: Leading thriving community ensembles in a post-COVID world Session 1 (Teach a Kid to Fish): You’re standing with your student, pointing out the same dynamics, bowings and fingerings as last lesson, and the week before, and the week before that. They say they practiced, and you believe them. So why don’t they get better? So much of our music education trains us to be dependent upon…
Ibby Mikajlo
Ibby Mikajlo Lyndall Hendrickson: multi-sensory pedagogue Session: Australian concert violinist, Lyndall Hendrickson AM (1917 – 2017) was a developer of multi-sensory teaching methods. Her career included achievements as a concert violinist, war-time performer, commercial artist, violin instructor, lecturer, journalist, and teacher of language and music. Whilst overcoming polio and paralysis at the age of thirty-three, she studied theories of human performance and followed developments of cognitive neuroscience. She contributed knowledge through international and national workshops and lectures. Hendrickson analysed and sourced skill components that could resemble and transfer in their practice to high-level performance. Her most controversial approaches were writing…
Heather Lander
Heather Lander Session: As a teacher I encourage students to engage in improvisation and composition. This presentation will feature ways in which I include improvisation in my lessons and how I have used this as a basis for students to compose their own works. From using this process, students have submitted their compositions to perform as an extra list in AMEB Exams. This presentation will be a talking through of the processes and showing some of the works students have produced. Heather Lander is currently cello teaching lecturer at the open music academy, elder Conservatorium, in Adelaide. She is…
Fintan Murphy
Fintan Murphy Developing Rhythm in Solo Playing and String Ensembles AMEB Session 3: Approaching New Repertoire Session (Developing Rhythm in Solo Playing and String Ensembles): Good rhythm depends on fluent, coordinated string playing, good musicianship and aural skills. Preparing AYO excerpts will highlight issues with rhythm; however rhythm needs to be an integral aspect of study from the very earliest stages. This presentation will discuss: Movement Just like a resonant sound, strong rhythm comes from fluid movements throughout the whole body Practicing rhythm away from the instrument Singing and conducting The variables of bow control, friction, speed, amount of…
Evgeny Sorkin
Dr. Evgeny Sorkin Mary had a little lamb… and other ways to improve Intonation Session: Intonation is among the hardest elements of string performance and one that requires attention at every level of proficiency from student to professional. In this talk, Dr Evgeny Sorkin will explore the factors involved in playing in tune: postural and set up considerations, tuning systems, proven ways to develop aural skills, and putting these strategies together to help students play with better understanding and stability of intonation. Download Notes Dr. Evgeny Sorkin has been in demand as performer from a very early age receiving encouragement…
Eugenie Teychenné
Eugenie Teychenné String Group Teaching in Schools – and How to Survive it! Session: This presentation introduces Possums Over the Moon, a web-based teaching resource for beginner string programs in schools. It will take a broad look at the historical development of string pedagogies, examine current practices in school string programs, and demonstrate how online teaching resources can open up new possibilities in our own teaching. A practical tour of the website will demonstrate curriculum and structure for the first year of string group teaching, and the interactive audio-visual tools available for teaching repertoire and technique. There may be…
Erica Rasmussen
Erica Rasmussen Including Composition and Improvisation in the Crashendo program at Laverton College Session: Crashendo! is a community-based music program at Laverton College. Students participate in small group classes and ensemble rehearsals for four hours after school each week. Tuition is free and instruments are provided. Under the guidance of teaching artists, students develop technical proficiency on their instrument, and skills such as cooperation, commitment, focus, confidence, trust and self-discipline. Teachers use method books for beginners then select standard repertoire as the students advance in ability. Following a research trip to New York, I returned to address deficits in the…
Elizabeth Scott
Elizabeth Scott Singing in the Instrumental Rehearsal Session: Singing in the instrumental rehearsal – why and how. As Richard Gill told us many times – singing is the basis of all music making. Singing supports a wider musical understanding by requiring young musicians to internalise, listen and think before making a sound. Singing builds listening and aural skills, improves sight reading and develops an understanding of phrasing and musical intention. It makes us better musicians. But how do I incorporate singing into the instrumental rehearsal and how do I get my students to sing? This presentation answers these questions, demonstrates…
Daniel Carner
Daniel Carner Session 1: Shoulder Pain in String Instrument Players Session 2: Thumb and Wrist Pain in String Instrument Players Session 1 (Shoulder pain in String Instrument Players) : How to understand the joint better and help protect yourself and your students from harm. The presentation will involve a short explanation of the anatomy of the shoulder, common problems experienced by musicians, screening tools for students, preventative care strategies and management strategies for an already damaged shoulder. If time allows, a workshop can also be run after the presentation where attendees can practice the strategies given. Session 2 (Thumb and…
Chris Haigh
Chris Haigh Different Techniques, Different Repertoire Session: When I was around 15 years of age I asked my violin teacher how I could play jazz like Stephane Grappelli. He had absolutely no idea, but suggested that I listen and play along with the records. That’s what I did, but teaching myself purely by ear was a slow and painstaking process. Nevertheless it started me out on a quest to master a host of different “alternative” styles, to become a professional fiddle player, and eventually to write eleven fiddle books, mostly for Schott Music, covering styles such as jazz, rock, country,…
Bethany Nottage
Bethany Nottage Session 1.3: Using 3D Resources to Teach Beginner Strings Session: Teaching beginner strings to young students within a small group presents challenges in establishing relaxed left and right hands. I have two life-size skeleton joint models of the human hand to show the 27 bones. When I teach the position of the left hand on the violin or viola, I move the model to show what happens to the fingers if the wrist is bent or touching the neck of the instrument. The teaching point is that the fingertips can not reach the strings, the notes will not…
Ania Tait
Ania Tait & Stringlines Stringlines: Creating Music and Community in the Tropics Session Time: 3.00 Sunday July 3 Session: Stringlines meets on Larrakia land in the Top End of the Northern Territory. We are welcoming to all, and share wisdom and humour through community music making. Laughter, care, and intensive rehearsal are key. We often arrive from hectic days at work or with family, feeling battered by daily life. Almost always we leave the rehearsal feeling better than when we entered the room. Why is that? Experiencing connection and belonging are central to Stringlines; connecting the music to the body,…
Barbara Hornung
Barbara Hornung New Music from the Pandemic Session: A performance of captivating music composed in 2021. Featured are three excellent Australian composers, Dr Roger Alsop, Melvyn Cann and Dr Johanna Selleck. Performers: Barbara Hornung – Viola, Dr Johanna Selleck- Flute, Dr Roger Alsop – Electronic Spatialisation Program: EPISODIC REVERIE, MELANCHOLIC for Flute and Viola – Dr Johanna Selleck (Commissioned by Barbara Hornung) Johanna explains, ‘This piece may be thought of as a conversation between flute and viola. At times, it follows a ‘question and answer’ line of conversation; at other times, the voices come together in agreement of surprise and…