TEMO AlbertaRegistered - Scratching the Surface of Natural Human Movement Musician Wellness On Beats and Budo
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TEM O Alberta Registered
Music Teachers’ Association
September 2019
Musician Wellness Scratching the Surface of
Natural Human Movement
On Beats and Budo Colourstrings and Colour Keys
Inside
4 President’s Message/Milestone
Awards 2019
5 Board of Directors
7
TEMPO
AGM / ARMTA Recognition Fund
8 Branch News
9 Community Service Award PUBLICATION INFORMATION
10 Musician Wellness: An Overview
Advertising and Submission:
12 ARMTA Student Composer Deadline: July 15
Competition 2019 Publication Date: September 1
15 CFMTA Report Tempo is the official publication of the Alberta
Registered Music Teachers’ Association, published
17 Scratching the Surface of Natural annually for members and other interested parties.
Human Movement Tempo is free of charge for ARMTA members and is
21 ARMTA Needs-Based Bursary available to the general public for $25. To subscribe,
please send fee (payable to ARMTA) and complete
23 On Beats and Budo mailing address to:
28 C olourstrings and Colour Keys Vicki Martin
ARMTA Administrator
Photos: 12462 135 St NW,
Front cover & P. 17–20: Courtesy of Esther Edmonton, AB
T5L 1X9
Bing with permission from Queenie Wang
and Leo Wang.
P. 23–26: Courtesy of Rhona-Mae Arca;
photo credit: Ka Muso Kai. Editor:
Lisa Ng
P. 28–29: Courtesy of Etelka Nyilasi. Email: armta.tempo.editor@gmail.com
Special thanks to all contributing
authors of this issue: Esther Bing, Advertising inquiries:
Rhona-Mae Arca, Etelka Nyilasi. Vicki Martin
Email: admin@armta.ca
ARMTA would like to thank all sponsors for
their support.
3 Tempo September 2019
President’s Message 2019 Milestone Awards
C
Greetings all! ongratulations to the following members on their
years of continuous membership in ARMTA or
T
his has been other Registered Music Teacher associations!
an exciting
year for
ARMTA! In March, Name Branch Years as
we gathered in Red member
Deer for the piano
and voice Provincial Marg Daly Edmonton 25
Competition.
Adeline Ridley Calgary 25
Thank you to all
the performers Mark J Fukushima Edmonton 25
and their teachers for the hours of preparation and
dedication; they gave us a day of beautiful music. We Mary Hamilton Edmonton 25
were very proud to send two performers to the National
Dina Perelman Edmonton 25
Competition at the CFMTA Conference in Winnipeg.
Jessica Yuma, piano, is a student of ARMTA member Bettijo Smith Edmonton 25
Wolfram Linnenbach, and Glynnis McCrostie, voice,
is a student of ARMTA member Elizabeth Raycroft. Dawn Hrywkiw Member at Large 25
Both performers represented us well, executing
Susan Kolbowicz Edmonton 25
demanding works at the highest levels of technique and
artistry. Jessica Yuma placed first in the CFMTA Piano Lorrie Wittke Lethbridge 25
Competition! Congratulations to both students and
teachers! Annette George Edmonton 25
Iris McNiven Edmonton 25
The CFMTA Conference was an outstanding success
and it was great to see many ARMTA members there Carolyn Steeves Calgary 25
along with RMTs from across the country. We now look
forward to the CFMTA Conference in 2021, to be held Carol Wilson Scott Edmonton 30
in Edmonton. We are currently in the planning stages,
Marlis Gunderson Edmonton 30
so please contribute both your ideas and support to help
make it a rousing success for Alberta! Marian Parrott Calgary 30
Music Conference Alberta will be held in Calgary, Christine Rogers Lethbridge 35
October 24–26, 2019. We look forward to this weekend
Janice A Dahlberg Calgary 35
and holding both our AGM and Milestones Awards
dinner during the conference. There are many exciting Annette Bradley Red Deer 35
professional development sessions; please be sure to
review them at www.musicconferenceab.ca. Allen Reiser Calgary 35
As a new president, I have found the role to be Sheila Jones Edmonton 40
incredibly invigorating and inspiring. I am learning and Betty Jo Radley Lethbridge 40
being guided by such experts as Beth Olver, Marlaine
Osgood, Vicki Martin, and Nathene Arthur. Thank you Linda Kundert Calgary 40
to them, and to all the ARMTA members for making
this such a worthwhile endeavour. Here’s another Madeline Neufeld Calgary 45
fantastic year of music making! Bernadette Covey Calgary 50
Kimerica S. Parr Eleanor Young Edmonton 55
ARMTA President
Tempo September 2019 4
ARMTA Board of Directors 2019
Executive:
President and Kimerica Parr 780.715.4552 kimericap@hotmail.com
CFMTA Second Delegate
Past President and Marlaine Osgood 780.489.4191 osgoodmg@gmail.com
CFMTA First Delegate
Vice President Nathene Arthur 403.851.9912 rnarthur@telus.net
and CFMTA Third Delegate
Provincial Administrator Vicki Martin 780.554.7682 admin@armta.ca
Branch Representatives:
Calgary Gloria Rita Thurn 403.202.0429 rita_thurn@telus.net
Barbara Robertson 403.241.1002 barbrob@telus.net
Edmonton Rosemarie Horne 587.520.4006 rosehorne@shaw.ca
Adela Wedler 780.437.1504 mwedler@shaw.ca
Grande Prairie Dustin Anderson 587.297.4687 dustinja@gmail.com
Lethbridge Tamara Bowie 403.327.2918 gtbowie@telus.net
Medicine Hat Sheryl Schnare 403.526.3556 sherylschnare@birdsongstudio.ca
Red Deer Annette Bradley 403.346.0065 annette.bradley@koinonia.ca
Convenors:
AGM Conference Convenor Viktoria Reiswich 780.665.1828 viktoria.reiswich@gmail.com
Archives Jennifer Nowacka 587.984.2813 westmountpiano@gmail.com
ARMTA Piano Competition Alison Kilgannon 403.505.5338 alison.kilgannon@gmail.com
ARMTA String Competition Chrysanthema Pashunkova 403.836.6403 violino@shaw.ca
ARMTA Vocal Competition Elizabeth Raycroft 780.270.4740 raycrofte@hotmail.com
Auditors 2019/2020 Carol Mellors 780.469.3326 clintmellors@gmail.com
Gloria Gillett 780.437.1988 ggillett@shaw.ca
ARMTA Recognition Fund Judith Ammann 780.467.9529 pjammann@shaw.ca
Bursary Karen Gerelus 587.284.1217 karen@gerelusmusic.com
Bylaws/Policies and Procedures Sherry Ann Lynn 780.458.9844 lynngsa@hotmail.com
Canada Music Week Margaret King 780.487.4261 mking07@telus.net
Community Service Award Marlaine Osgood 780.489.4191 osgoodmg@gmail.com
Continuing Education Deanna Oye 403.329.2143 deanna.oye@uleth.ca
Examining Board Judith Elliott (Chair) 403.239.3965 judy.elliott@shaw.ca
Festival Liaison Antonina Cox 403.333.5515 antmurash@gmail.com
Media Convenor Christina Kolos 780.686.8718 christina.music.studio@gmail.com
Members at Large Convenor Jill Kotchon 403.948.0644 nosnjoh@gmail.com
Ida Edwards 780.675.4524 idajkedwards@gmail.com
Post-Secondary Groups Marlaine Osgood 780.489.4191 osgoodmg@gmail.com
Publicity Convenor vacant
Beth Olver (interim) 403.254.6008 soundsofmusic@shaw.ca
Sponsorship Convenor vacant Lahring (interim)
Benjamin 780.517.8080 ben@benlahring.com
Student Composer Competition Christine Rogers 403.327.2073 c4rogers@telus.net
Tempo Magazine Editor Lisa Ng armta.tempo.editor@gmail.com
Webmaster Carolyn Garritano 780.459.6109 carolyn@pianostars.com
Wellness Michele Wheatley-Brown 403.652.2895 michele@mindbodymusic.ca
Young Artist Tour Louisa Lu 587.974.1112 louisa.lu1997@gmail.com
5 Tempo September 2019
Tempo September 2019 6
Annual General Meeting
Friday, October 25, 2019
in Calgary
Time and venue TBA
Further information to follow in the monthly update and online at www.armta.ca
ARMTA Recognition Fund Awards $18,850
April 2018–April 2019
12 Needs-Based Bursaries (Recipients—Confidential): $5,650
2018 ARMTA Branch Awards: $3,000
Calgary and Edmonton $750 each
Lethbridge, Medicine Hat, and Red Deer $500 each
2018 CASSA (Calgary Arts Summer School Association) Awards: $300
2018 ARMTA Student Composer Competition: $500
Online Performances of 150th Canada Commissioned pieces: $200
2018 Contemporary Showcases: $200
ARMTA Provincial Piano Competition: $3,750 plus $1,000 presented at CFMTA July 2019
ARMTA Provincial Voice Competition: $2,500 plus $1,000 presented at CFMTA July 2019
Designated for Vocal Young Artist Tour: $750
ARMTA acknowledges with gratitude the contributions of
Edmonton Community Foundation—The Frank and Ethel (Weisbeck) Rusconi Fund
Marek Jablonski Endowment Foundation—for the 2019 ARMTA Provincial Piano Competition
ARMTA Provincial—To honour Marlaine Osgood for service as ARMTA Provincial president 2016–2018
ARMTA Provincial—In honour of Patricia Frehlich, recipient of ARMTA Service Award 2018
ARMTA Edmonton Branch—To honour Judith Ammann for service as Edmonton Branch president
Gloria Gillett—in memory of ARMTA member Dorothy Buckley
Gloria Gillett—in memory of ARMTA member Paulette Pelland
Brenda Philp
Mary Schweitzer
To donate to the ARMTA Recognition Fund: www.armta.ca/armta-recognition-fund
7 Tempo September 2019
Branch News
Calgary Branch Lethbridge Branch
A E
ach year the Lethbridge Branch awards over
t the AGM of the Calgary Branch in March
$1500 to students who have achieved the highest
2019, Morning Musicale has made a $5000
first-class honours marks in practical and theory
donation to the Calgary Branch Endowment
examinations. In addition, they sponsor five annual
Society fund for the purpose of an annual piano
awards for the Lethbridge and District Music and Speech
scholarship. The amount of $150 will be awarded each
Arts Festival.
year to graduates who have completed a teacher’s
diploma exam from a recognized music institution.
This year, to raise money for our awards program, the
Morning Musicale was formed in 1972 by a group of
Lethbridge Branch held a Practise-a-thon from February
Calgary branch members who have met monthly to
4–9. Students set practice goals, solicited pledges, and
discuss piano teaching and musical points of interest
attempted to reach their practice goals and win prizes.
pertaining to teaching and professional development.
Prizes, including gift cards and concert tickets worth more
Morning Musicale comprises 10 active members, five
than $750 donated by community sponsors, were awarded
less regular or out-of-town members, and five that
at the Spring Recital for the most hours practised in four
have passed. At present, most members are retired.
age categories, as well as for the most money raised.
Audrey Poirier, spokesperson for the group, hopes that
Sixty-eight students participated, practising over 325
through their support to the ARMTA Calgary Branch
hours and raising nearly $3200. The Lethbridge Branch
and to the Calgary Performing Arts Festival, they
has held nine Practise-a-thons, the first in 2000, which
would encourage other groups to consider donating to
have raised more than $18,000 for its awards program.
ARMTA.
From left: Audrey Poirier, Dawn Lhenen, Arlene McCall, Some of the Practise-a-thon award winners: Back (Left to
and President Lisa Kiernan at the Calgary Branch AGM Right): Joanna Grisnich, Emma-Lynn Neels, Anna Jeong,
Rebecca Jeong, Peyton Groenenboom, Karen He, Madelyn
Thornton Front: (Left to Right): Selina Sun, Kathleen Wu,
Winter Robinson, Selena Nguyen.
Share your branch news with us!
Email your news to
armta.tempo.editor@gmail.com
8 Tempo September 2019
Community Service Award By Marlaine Osgood
T he Community Service Award has been available in Alberta since 2015, with the first certificates awarded in
March 2016. The program was adapted from a similar program run by the BC Registered Music Teachers’
Association, Victoria Branch. The purpose of the award is to encourage students to take their music into
their community. It is targeted at junior high, high school, and university students who require volunteer hours for
scholarships and admissions into certain faculties, as well as to give students a goal regardless of their musical
capabilities. Of course, the award isn’t only for those who require volunteer hours: all students benefit from taking their
musical skills out of the music studio or home and into the community.
Most music students will not play on the concert stage or have a musical career (how many of us have heard our
students tell us that they are going into the sciences?), but all students can use their musical training in practical ways
and for the betterment of society. Accompanying choirs, providing entertainment in hospitals and senior citizen centers,
or helping with extracurricular school and church programs allow students to use the skills they have spent years
developing. By volunteering at music festivals and concerts, or assisting a music therapist, music students bring learned
experiences to those positions.
The Community Service Award levels start at bronze for 10 hours of volunteer service. These hours can accumulate to
silver for 35 hours (25 more than bronze), and 60 hours (25 more than silver) of volunteer service.
The application form is available on the ARMTA website with two submission deadlines—January 31 and June 30.
Certificates are issued one month after the submission deadline.
However or wherever student volunteers use their musical education, they receive a greater awareness of how they can
apply their musical training throughout their lives and achieve a greater appreciation of their skills and knowledge.
The following is the list of students who have received the Community Service Award from 2015 to the present:
2015 2018
Amy Chau—Bronze Level Emma Salame—Bronze Level
Julia Chau—Bronze Level Annabelle Idoga-Wong—Bronze Level
Hannah Van der Woerd—Bronze Level Amy Chau—Silver Level
Dijun Zhang—Bronze Level Julia Chau—Gold Level
Louisa Lu—Gold Level Louisa Lu—Gold Level
2016 2019
Allan Li—Bronze Level Amy Chau—Gold Level
Ava Choi—Bronze Level Julia Chau—Gold Level
Jillian Nicole Mah—Bronze Level
Leileni Vorasane—Bronze Level
Melisa Urton—Bronze Level
Eric Essendrop—Gold Level
2017
Amy Chau—Silver Level
Julia Chau—Silver Level
Tempo September 2019 9
Musician Wellness: An Overview By Michèle Wheatley-Brown
to musicians’ injuries. Rather than seek help, we
musicians will suffer through the pain because we
think it is “normal.” Ironically, even though we can
trace playing-related pain and injury over hundreds
of years, it has only been in recent years that this
topic has been brought out into the open. For many
musicians there is a certain shame associated with
injury—an admission that perhaps their playing
technique is not up-to-snuff. Indeed, many scholars
and studies point to technique as a significant risk
factor for injury and pain.
What is Being Done to Address this Epidemic?
There have been many constructive responses to this
epidemic, including more open dialogue, inclusion
of wellness courses at post-secondary music schools,
A
specialized technical approaches, and ergonomic
few years ago, I was asked to serve as wellness instruments and chairs.
convenor for ARMTA. This is a new position for
our organization and represents an important step Online Resources
in acknowledging wellness as a vital topic for musicians. The world of social media has allowed for a wider
Wellness can include our physical, social, mental, and discussion and important collaboration on this important
emotional health. All these elements are intertwined and topic. There are numerous Facebook groups, blogs,
crucial in helping musicians and teachers achieve their journals, symposiums, and conferences dedicated to
potential. It is the physical aspect which will be the focus musician wellness (you can find some of these resources
of this article. We will look at the state of musicians’ on the ARMTA website: https://armta.ca/wellness-for-
health, some developments in the field of musician musicians/). Through the reach of the worldwide web,
wellness, and what you can do to help our profession on there is also greater access to professionals who specialize
the road to healthy music making. in preventing and overcoming musicians’ injuries. Of
note, the Worldwide University Networks has created
What is Our Current State of Health? a global interdisciplinary research consortium of health
The short answer to this question is—not good. Numerous professionals and musicians to address health literacy and
studies reveal playing-related pain and injury among health education. Team members come from six different
musicians as a serious epidemic. In a recent review of countries with two of those members from Alberta! This
the occurrence of musculoskeletal complaints among global network is establishing valuable, sustainable, and
professional instrumental musicians (over 5000 musicians concerted solutions to music health education.
were included in this review), between 62% and 93%
musicians reported musculoskeletal complaints over a Wellness Courses in Post-Secondary Music Schools
lifetime. In a study of pain among music students, 88.9% One of the common threads amongst the numerous studies
of students reported arm, neck, and shoulder pain—almost on musicians’ health is the recommendation that wellness
twice as high as a control group of non-musicians. These courses be included in post-secondary music schools.
staggering numbers confirm our profession is suffering While some schools have been slow in following up on
from a lot of pain. this advice, several prominent music schools have led
the way and successfully developed wellness programs
Why is Playing-Related Pain and Injury Such a to help prevent injuries and direct students to appropriate
Problem? health resources. Feedback from students and teachers
A number of reasons can be attributed to the high rate has been very positive with several programs expanding
of playing-related pain. These include poorly-fitting to incorporate a multi-disciplinary approach—from
instruments, bad ergonomics and faulty movement mindfulness to anatomy.
patterns in both playing and in everyday living. Perhaps
one of the least talked about factors is the stigma attached
10 Tempo September 2019Specialized Technical Approaches for Injury What You Can Do
Prevention The National Wellness Institute describes wellness as an
Many technical approaches have been specifically active process that includes awareness and intentional
designed to address injury prevention (check out the choices leading to positive transformation. As music
ARMTA wellness resources page). My own research into educators, we can be powerful agents of change to create
technical approaches led me to license as an Andover wellness in our profession. This begins with awareness.
Educator—an international body of music educators It means being informed about the current state of
who teach musicians how the body is designed to move musician wellness and knowing where to find appropriate
as we make music. This is not a technique but a basis resources. It means creating conditions to prevent injuries
for technique. Indeed, the Andover curriculum is an before they begin. It means being attuned to the needs of
integral part of many wellness programs at schools such our students and ensuring they are not creating pain or
as Berklee, Helsinki Institute, and the New England injury in their own playing. It means knowing where to
Conservatory. Canada is catching on and the Andover find appropriate resources (did I mention you can check
curriculum is now taught at Memorial University and out the wellness resource page on the ARMTA website?).
Wilfred Laurier University. As we begin a new season of teaching, we can choose to
transform our profession and create positive change for
Ergonomic Instruments and Chairs ourselves and for our students. I welcome any feedback
We are all built differently, and one size does not and would love to hear from you. Please feel free to send
necessarily fit all. The 7/8 keyboard has alleviated strain me a note with any questions or suggestions.
for many pianists with smaller hands. String players can
have their instruments specially fitted with custom chin Michèle Wheatley-Brown
and shoulder rests. The flute shape has even been adapted ARMTA Wellness Convenor
to suit individual needs. You might have noticed some michele@mindbodymusic.ca.
orchestral musicians sitting in more ergonomic chairs,
finally! They are playing better, staying healthier, and they
even look happier!
Your safety. Our priority.
Insurance that works for you.
At The Personal, we believe that protecting what matters
can start with preventing damage from happening in the
first place, especially on the road.
As a member of the Canadian Help prevent distracted
Federation of Music Teachers’ driving with tips
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exclusive group rates on your auto thepersonal.com/safety
insurance and tools that can help to learn more.
keep you and your family safe.
Connect with us today.
1-888-476-8737
thepersonal.com/cfmta
The Personal refers to The Personal Insurance Company. Certain conditions, limitations and exclusions may apply.
Auto insurance is not available in MB, SK and BC due to government‑run plans.
11 Tempo September 2019ARMTA Student Compser
Competition 2019 Blue Butterfly
The journey of a changing butterfly
Composed by
With growing excitement! q = 80
Ezra Eaton
By Christine Rogers 5 4
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teachers. Adjudicator Jesse
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seven first place prizes in
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Ezra Eaton is a budding musician 3 3 3
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passion. He diligently practises the . .
piano daily and loves to perform what
Ezra Eaton 52569 Range Road 224 Sherwood Park, Alberta T8A 4R4
he is working on for any audience.
Ezra especially enjoys composing
Category A1 under Susan Maxwell. She started
and performing his own songs. He
Mark Rico-Lam was born and piano when she was eight years old
also enjoys being outside, playing
raised in Edmonton, Mark started and began composing at age 10. She
basketball, playing chess, and
piano lessons at age 6 with teachers has won several awards, including a
spending time with his five siblings.
Heather Hindman and Rhonda gold medal, first place in the Student
Because he spends regular time
McEachen. He started composing Composer Competition, and several
each day exploring the outdoors,
shortly thereafter. One of his favorite scholarships from the Oilsands
Ezra has cultivated an interest in
composers is Anne Crosby Gaudet Rotary Music Festival. She has been
nature and loves to catch butterflies.
because her music is so creative and chosen as a provincial finalist three
He titled his first composition
paints vivid pictures in his mind. times, twice for her compositions.
“Brave Little Cygnets,” and his
Besides piano, Mark has participated She will continue to improve
most recent composition he named
in many different activities, her skill as a composer, and this
“Blue Butterfly.” He has performed
including diving, rock climbing, and opportunity will provide her with
both of these compositions and
fencing, to name a few! In his spare invaluable experience.
other piano pieces in several music
festivals, earning him composition time, he enjoys playing with his
younger brother. Category B2
scholarships, including first place
in the ARMTA provincial level Macey Marshall is a singer/
Student Composer Competition in Category B1 songwriter from Alberta who
2018 and 2019, and second place in Angela Li is a 15-year-old piano recorded her first album when she
the CFMTA national level Student student from Fort McMurray. She was 10. She is currently 15 and
Composer Competition in 2018. Ezra is in Grade 9 piano and Grade 10 working on her second album.
plans to continue to work hard and in school. She is currently learning Macey has completed her Grade 10
develop his musical gifts. piano, harmony, and music history harmony & counterpoint and is in
Tempo September 2019 12the process of writing her Grade 8 far. Special thanks to all those who Category D
voice and piano RCM exams. She have brought her to this moment and Chantalle Sabourin is from
has performed at various venues helped her grow; mom, dad, and her Medicine Hat, Alberta; she started
over the past few years as well as teachers for all the support. playing piano at nine years old. She
sang the anthems at various sporting composed her very first piece in 2005
events since she was five. She has Category C (tie) from a dream. After completing her
made it to provincials for her own Tammy Young is 16 years old, RCM Grade 8, she decided to take
composition and hopes to make attending Grade 10 at Holy Trinity a break to focus on college, work,
a career for herself in the music High School in Fort McMurray, and life. In 2017, she started piano
industry. Alberta. She has been playing lessons again under Jamie Deibert.
the piano for seven years, and the Inspiration for her music comes from
Category C (tie) clarinet in the school band for four her dreams but also from composers
Krithika Venkataramadas is years. Last year, she was nominated such as Oskar Schuster and Hans
16 years old and she is in Grade 11. to perform in the Northern Alberta Zimmer. Her dream is to become a
She has been passionate about the Junior Honor Band, an ensemble of film scorer. She is currently working
arts since she was two. She loves the most enthusiastic and talented on her next score titled: “Vanished”
music, dance, and art. She studies concert band performers in Northern as well as recording an album.
piano, composition, speech arts, and Alberta. Her teachers have further
singing. She loves to be creative. opened the doors to her love of
Krithika has been on the stage from music. It is a big part of her, and it
a young age, and is involved in the has grown just as she has. She truly
musical productions at her school. enjoys playing and creating music,
Krithika loves music and composing. and she hopes to keep it a part of her
She has composed six pieces so life forever.
Tempo September 2019 13Macey Marshall
12519 Range Road 45
Cypress County, AB Let You In
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mp
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14 Tempo September 2019CFMTA Report By Marlaine Osgood
The CFMTA executive meeting and AGM were held E-memos “Of Note” have been emailed monthly to keep
in Winnipeg in conjunction with the 2019 CFMTA CFMTA members informed of CFMTA events. The
Winnipeg conference July 2–6. This was election year, CFMTA president plays a major role in the content in
and as such we have a new president, Laureen Kells. an effort to keep each member engaged in our national
Laureen is from Saskatchwan and was chairperson of organization.
the strategic planning committee and a member of the
financial committee, providing her with background and Branching Out for 2019 is “Music on the Move.” By
experience. For vice president we elected Paula Rockwell presenting recitals in nontraditional locations, such as
from Nova Scotia, and Tiffany Wilson has stepped into a restaurant, park, or outside a business, students are
the past president’s position. bringing their music directly into the community.
Last year three exciting initiatives were introduced and Funding will now be available for two instruments in
the results are positive. The E-festival debuted with pieces the national CFMTA competition. Provinces hosting
by Canadian composers. Seven provinces and 19 teachers the conference will, along with the piano competition,
participated in the festival with a total of 53 entries, have a choice of offering a competition in another
allowing for a net profit of $265. Upon request, 2019–20 instrument. This will involve an increase of $2 in CFMTA
will see two E-festivals: another Canadian composition membership fees, but the benefit will be an inclusive
festival is planned for Canada Music Week and a second competition and financial support for provinces as they
open festival is in the works for early 2020. The Video host the competition.
Professional Development Program, with the mandate of
creating a video resource library for CFMTA members, Edmonton, Alberta is the host city for the 2021 CFMTA
has uploaded five videos from five different provinces. conference. With the theme “our rhythm runs through it,”
Alberta submitted a workshop hosted by Edmonton rhythm is a key element. Ethnic and indigenous drumming
Branch titled “Liszt and Chopin—the Formulation of a sessions are in the plans and, following Winnipeg’s
Modern Piano Technique by Mikolaj Warszynski.” A few lead, a voice and piano competition will be organized.
select CFMTA conference sessions were videotaped for The Chateau Lacombe, overlooking the river valley, is
inclusion in the video resource library. Continue to check secured as the venue. Edmonton prepared a preconference
the CFMTA website at CFMTA.org for these and more video which can be viewed on the conference website
videos. cfmta2021.ca. Look forward four years to Quebec hosting
in 2023.
15 Tempo September 201916 Tempo September 2019
Scratching the Surface of Natural Human Movement: As It Applies to Pianists
(Students, Teachers, and Performers) By Esther Bing
cuboid syndrome in both
feet. I was a broken
human, and I’m not
sure how much worse it
could have gotten. I was
in my 30s with over half
my life to live!
Even though you could
point to some of these
things starting from
a certain activity or
event, because of the
sedentary nature of
my profession and job,
they became severe
enough that I was on
1600 mg of gabapentin
every day, and getting
cortisone shots every
three months in my
back, as well as one in
Above: Wrist/forearm stretches on the floor. my ankle. Over eight
I
years, I had multiple
am writing this article with change on a cellular level if the doctor, specialist, physio, and chiro
the hope that it will help those demands placed on it change. appointments; had to quit my yoga
who have been searching for After spending about 15 years of and pilates classes due to pain;
answers. There is so much my life practising the piano five started and stopped various other
information out there about piano and hours per day (on average) and exercise programs on the advice
injuries. Most of it, in my experience, then teaching a full studio for eight of different health practitioners;
misses the point completely. years, my body was hurting, to say studied Alexander Technique for
the least. You wouldn’t believe all an additional year (already having
If you are suffering with a repetitive the things that were going wrong— done two years in my 20s); and read
strain injury (RSI) from piano even I have a hard time believing it many books and web pages to try
playing, or from teaching, there as I write this, but let’s go down the to find the answers to fix myself. I
could be a multitude of factors that list: I had thoracic outlet syndrome, even had an ergonomist come to my
cause it. For example, simply sitting with pain and numbness down studio to tell me how to modify my
for hours and hours a day in one both arms and pinkies; upper back work environment (with more chairs
position causes the body to create and neck pain; forearm tendinitis and tables of course). It was mostly
adhesions in the tissues (fascia). (golfer’s elbow and tennis elbow); a frustrating waste of time and
This will, in turn, effect an upper limb DeQuervain’s syndrome in my right money until I stumbled on to a new
RSI, along with any other injury a thumb; a pi-so triquitral fracture in way of thinking about movement.
person might have. In short, the body my right wrist that never quite healed;
is very good at only doing what you a “large” herniated disk in my L4/ I was fortunate enough in April
demand of it. There’s a principal L5 vertebrae that made it painful to 2017 to be introduced to the world
in the fitness community called sit: patella femoral pain syndrome in of Natural Human Movement, and
SAID, which stands for Specific my knees; hamstring and calf pain; it changed my life dramatically.
Adaptations to Imposed Demands. nerve pain in my left ankle due to After about three months, my body
This means that the body will only a collapsed arch; and debilitating started to feel different, and after the
Tempo September 2019 17first year of study with a trainer 2–3 What is wrong with the way
times a week, none of the old aches, we think about repetitive
pains, or syndromes bothered me strain when it comes to the
anymore. Even my broken wrist of piano? It is my belief, having
20 years healed and my herniated gone through so many injuries
disk got downgraded and I am pain/ for so many years and come out
medication-free! I realized I was the other end a stronger, more
unconsciously applying these capable human, that we are
movements throughout my day thinking all wrong about this
as I completed household chores. issue. Yes, you can change your
I decided it was time to figure out technique, free the caged bird
how to apply them at the piano. (a modality by Barbara Lister-
Once I spent a few months doing just Sink), know everything the
that, I began changing how I taught pianist needs to know about the
in the studio, and passing a few body (see Thomas Mark’s book),
things on to the students and parents. relax more, get more massages,
The last two years in my studio go to physio, take Feldenkrais
have been the most successful. or Alexander lessons and fix a
We have had a record number of lot of issues, but none of these is
high piano exam marks, and music really getting to the heart of the
festival prizes. Many students have matter. The heart of the matter
won scholarships, and we even had is that our modern world and
a ARMTA silver and gold medal, lifestyles are imprisoning us
plus an RCM gold medal! I do not in our own bodies, and that
think that moving more and moving inherently, sitting in a chair, or
naturally is unrelated to these on a bench for hours and hours
successes, as it forces one to think a day is NOT what our bodies
more deeply about how to do things, evolved over millennia to do.
which in turn effects your mind, and
thus your work.
Top: Hanging on a pull-up bar.
So what is Natural Human Left: Teacup Qigong (a great
Movement? Though hard to upper-body warm up).
define, it is any movement
that would have been used for So what can you do about it?
survival, play, or procreation Out of fear of going over my
before the dawn of agriculture. word count, I will give you
So think rolling and crawling; a small taste of some natural
squatting to eat, rest, or go to movements you can do as they
the bathroom; getting up and apply to the piano. If you try
down off the ground while these, remember the SAID
carrying something (not using principal—it takes time to start
your hands to help); walking to feel better, and at first you
and running on uneven ground might be sore.
without confining, stiff, or
padded shoes; lifting and Hanging: As pianists, we are
carrying; throwing and catching; used to putting weight on our
balancing, jumping and fingers as we push the keys.
climbing; wrestling, stalking/ Aside from being completely
chasing or being stalked/chased; unnatural, this has gotten worse
dancing, shaking..., etc. over the years with the advent
of computers and other devices
that we use daily. The single
18 Tempo September 2019best counteractive movement for this is hanging. Hanging
is the opposite of pushing, and is a precursor of climbing
(say up a tree). Hanging helps to stretch and strengthen
the muscles and ligaments in the arms and back. Invest in
a doorframe pull-up bar (sold on Amazon for $40–$150).
Start slowly, and do three sets of 15-second hangs, three
times/week. Start with only 15 seconds, and build up to
a minute. If you can’t hang right away, keep your feet on
the ground until your body adapts to it.
.
At the piano: Practise different seated and standing
positions. Humans have evolved to sit on the ground.
This means that your feet should be at the same level as
your butt! Google “Think Outside the Chair” poster by
Bowman for different seated positions people use all over
the world.
I know what you’re thinking—“How do I do this at
the piano—what about the pedal?” You can put two
duet benches together with a folded yoga mat on top; use
an ottoman or combination of chairs; or you can build/
buy a 2.5 x 3 x 1.5 ft. plyo-box (I ordered one on Amazon
through AM Staff Fitness). Having a larger surface area
to sit on will allow for much more variation in seating
poses, and allow you to get your feet up on the “bench,”
as is more natural. If you have a grand piano, you can use
a stool or piled up yoga blocks underneath to put your feet
up as well.
Top: Correcting
theory on the floor.
Middle: Standing
on rocks in balance,
while student sits on
Plyo-Box.
Bottom: Lunging
while sight clapping
Right: Lunging while
doing technique.
Tempo September 2019 19As for standing poses, it’s worth trying some
lunging positions on your feet or knees
(supported by a yoga block for comfort and
height). As for the pedal, you don’t always need
to use it when you are practising—the idea is to
vary from the traditional seated position.
This is just a snapshot of what has helped
me overcome the odds, and recover from
multiple repetitive strain injuries. Maybe you
are suffering with a RSI, or aches and pains
that you think are inevitable from getting older,
or from our profession. Know that there is a
solution—move more, and learn to move more
naturally.
Please reach out if this article resonates with
you. I can put you on my email list for news and
updates. I am happy to consult with anyone who
is interested in learning more, and hope to offer
another workshop for those who missed the one
in April. I will also be available for weekly movement
classes and private coaching by January 2020.
Esther Bing is a piano examiner for the RCM, and
holds a Master in Piano Performance from The Boston
Conservatory, where she attended on a full scholarship.
She lives in Calgary where she is an off-campus
instructor for Mount Royal University, and maintains
a studio of about 20 students. She has recently been
certified in MovNat Level 1, and is studying to become
an ACE personal trainer. After being in pain since
she was 16 years old, she is finally pain-free after
discovering the joy of movement. Esther can be reached
at estherpiano@hotmail.com.
Top: Correcting theory on the floor.
Left: Kneeling lunge while practising.
20 Tempo September 2019ARMTA Needs-Based Bursary By Karen Gerelus
The ARMTA Bursary is an ongoing fund to help students who are in financial stress to continue
their music studies. Since November 2018, eleven bursaries have been awarded in the amounts
ranging from $150 to $500. We encourage your students to apply; applications are adjudicated
as they are received. Here’s what some of the recipients said:
I I
am very grateful for this bursary for my musical would like to thank ARMTA for assisting me in my
studies. This bursary could help me cover the cost of pursuit for advanced opera training. In January 2019, I
programs and concerts like the Alberta Pianofest. This had the amazing opportunity to study with Romanian
money could really help me expand my piano learning, soprano Nelly Miricioiu. Ms. Miricioiu has worked
and possibly take it further than I have been able to with many professional opera singers including Monica
before. I wanted to mention that this was the first time Huisman, a faculty voice teacher at the University of
that I applied for a bursary. Having received Manitoba. Through studying with Ms. Miricioiu, I have
this is not only a financial support, but a gained a better understanding of my vocal technique
moral support as well. I felt like I was and confidence in my next steps of my operatic
recognized and appreciated for my career. Ms. Miricioiu has recommended that
efforts. I felt like I am not alone in I audition for the National Opera Studio in
loving to play the piano; I would like London, England to further my education and
to explore and experience more in this continue my vocal studies with her. With the
field. I feel I belong to a community that financial assistance from the ARMTA Bursary, I
supports each other. I am very grateful was able to take the next steps in my career as an
to ARMTA for the inclusion, support, opera singer. I sincerely thank you for the assistance
encouragement, and the opportunity to help me you have given me in pursuing my training through this
expand. exciting opportunity.
I
was given the lucky privilege of receiving an ARMTA
grant towards the costs of attending a 2-week piano
summer camp at Pidgeon Lake, called Pianofest. It’s
with the utmost appreciation with which I receive these
funds, as in the same way the awarding of the grant was
a privilege, so is the opportunity to attend this musical
training program that I’m sure will be an inspiration to
my musical career. I’m sure that the experience at camp
will be no less of a defining aspect of my musical journey.
Again, I express my utmost appreciation to all of you and
the foundation, and wish you all the best!
I
am extremely grateful for the generosity of ARMTA to
contribute towards this bursary. I was very pleased and
appreciative when I was notified for being a recipient
of the bursary. I feel very honoured because this bursary
is not only a form of recognition of the hard work that
I have done, but also encourages me to study and work
harder. I am very grateful to receive the support of this
bursary, as I will be able to use this fund to pay for a part
of my musical studies and my post-secondary tuition.
The financial support provided to me by ARMTA will
allow me to take my mind off worries regarding tuition
affordability and focus more on the pursuit of my musical
studies. Thank you again!
Tempo September 2019 21Study Music at the University of Alberta
Augustana Campus
The tradition of excellence continues in
performance, pedagogy and research
Voice | Art Song, Opera and Musical Theatre
Choral | Mixed Voice, Women’s, Men’s and Inclusion Choirs
Piano | Classical and Contemporary Art Music
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Career pathways to music education, music therapy, arts administration, musicology
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Study Music, go far.
ualberta.ca/augustana
22
1-800-661-8714 Tempo September 2019On Beats and Budo By Rhona-Mae Arca
Left: Rhona-Mae
Arca executing
Takiotoshi, an
Iaido technique
from the Chuden
(middle) set.
Calgary 2019 Expo
Demonstration.
A
couple of years ago, one We begin training with a bokuto spare you from). More importantly,
of my martial arts friends (wooden training sword). Gradually, martial arts has become a way for me
asked Kim Taylor, one we move onto an iaito (dull blade) to exercise and practise meditation
of the top Iaido and Jodo and eventually, a shinken (live blade). through movement. Somewhere along
instructors (sensei) in Canada, The opening set has a common theme the way, I got promoted to sempai
a question about describing our of: “sense imaginary threat, cleanly (senior), since my sempai are out of
techniques in musical terms on and elegantly dispose of said threat, town most of the year.
Facebook. He tackled the question ensure threat is eliminated before
as a sensei and non-musical parent stepping back.” As you progress to At my very first class, I recognized
of a professional musician. He made advanced sets, the pattern changes to immediately the many shared themes
some interesting points, which I will “sense threat, cleanly and elegantly between music and martial arts.
expound upon here, but then tossed dispose of threat, etc.” to “sense the Beats and budo. Perhaps some of my
the discussion thread over to me. mere thought of a threat, etc.” insights on Taylor sensei’s points may
Before I delve into some of Taylor resonate with you and inspire you to
sensei’s points, a little background on Since then, I have added three more draw upon dance or other types of
my budo journey. arts to my budo learning: Jodo—the exercise in your teaching, just as I
art of the Japanese short staff, Hyoho have been drawing upon budo to help
Collins Dictionary defines budo as Niten Ichi Ryu—the famous two- with music teaching and vice versa.
“the underlying ethos of Japanese sword style founded by the legendary
martial arts.” I began my budo samurai Miyamoto Musashi, and Music as a Metaphor for the
journey around 2005, beginning with Choken Battojutsu Kagéryu—one of Story
Iaido. It’s the way of harmonizing the last surviving long sword arts.
one’s self in action at all times and in What began as a fun and unusual Taylor sensei said that music can be
all conditions. We learn various kata, hobby has developed into me used to tell the riai, the story of a
or forms, which you could equate to travelling to BC, Ontario, and finally kata. That makes a lot of sense to me
études or a short programmatic piece. here for gradings, working my way as a musician and an iaidoka (Iaido
They are generally executed solo, up to my Nidan (second degree practitioner). Whereas books tell
with the idea that you are cutting black belt) in Iaido and Jodo through stories through words, music tells
through an imaginary enemy, your the Canadian Kendo Federation. stories through sound and silence. Of
ego, or a troubling situation. Hopefully, we will continue to get all the performing arts, kata is most
more gradings in the Prairies (that’s like dance, as both tell a story through
a whole big can of worms that I will movement.
Tempo September 2019 23I recently stumbled upon a draft of
some pieces I wrote back in 2007, in
which I began to translate the kata into
music. In Mokuso (“Silent Thinking”
or “Meditation”), I used a major
pentatonic scale and quartal harmonies
to give an Oriental sound. I gradually
slowed the rhythm down to show the
progression from having jumbled
thoughts to achieving mushin (“no
mind”), where I am calm and alert.
In Ippon Me—Mae (“First Form—
Forward”), I used a Locrian mode. I
find it the creepiest of all the old church
modes. I used two voices. The high
voice depicts the iaidoka, while the
piano is the teki, or enemy. Register
depicts movement up and down,
dissonance and dynamics indicate
the sword’s movement, while rhythm
represents jo ha kyu, the slow-medium-
fast timing that is used in every technique. You’ll
notice in the score that I even scribbled down what
was happening in the form.
Add a training hiatus in the middle of my journey,
age, increased knowledge and experience, and I
have a slightly different perspective on my budo.
These days, I’m really trying to refine my jo ha
kyu timing. If I were to translate the kata now, I
would take a different approach. Rhythm would
play a much bigger role. It would most likely be
non-metrical or polymeter. Plus, I’d use one of the
Japanese scales I have learned.
Copying Another’s Performance to
Achieve Mastery
In his post, Taylor sensei said, “A perfect copy of
James Ehnes is going to be an actor playing the
part.” Agreed. Does parroting a famous artist show
that you truly understand what’s going on? No.
Does it show that you understand the instrument?
Nope. Does it show who you are? Not at all.
Some conservatory pieces are more popular than
others, so sometimes, teachers, adjudicators, and
Top: Mokuso (“Silent Thinking” or “Meditation”)
Bottom: Ippon Me—Mae (“First Form—Forward”)
24 Tempo September 2019examiners hear the same expression, leaving
pieces countless times room for various
from multiple students. interpretations of the
The notes are the same, same story.
but each student’s I see the koyru or
interpretation is unique. “old school” iaido
Not only that, each time sets as being akin
they work with their own to character or
teacher or obtain feedback mood music from
from an adjudicator the Romantic era.
or coach, it undergoes These are generally
another metamorphosis. composed in ternary
form, although
One student may take a other structures, like
piece at the low end of through-composed,
the recommended tempo crop up from
range, whereas the next time to time. Like
may perform it at the certain pieces, e.g.,
opposite end. One may use polonaise or lieder,
a heavier touch. Another each koryu can
may use dramatic dynamic represent a different
contrasts. One may choose region.
to take extra time in Bar
8, while another may push My mind wanders to
the tempo in that same Tora Buri (Tiger’s Strike). Calgary 2019 Expo Demonstration. Modest Mussorgsky’s
spot. Pictures at an Exhibition.
Each piece depicts a different painting
is there, and how focused everyone
It doesn’t necessarily mean that one that two characters are viewing and
is. Regardless, it should still be
student has achieved a higher level sometimes, debating over.
relatively close to sensei’s timing.
of mastery than another. For that, one
must ask if technical fluency was in There are two styles of Iaido
That’s the beauty of it. We don’t want practised in Canada. Although the
evidence and whether the performer to be carbon copies of someone else.
convincingly told us the story in a first set of forms are identical, the
The subtle differences provide some way we tie our swords to our belt
way that is in style with the form and variety to the same story—and that’s
the idiom. and sheathe the sword differs. It all
what keeps things interesting. depends upon where your sensei’s
This was especially true at a recent sensei was trained in Japan as to
The Same Art but Different which style you practise. As well,
seminar. Three different sensei were
called up to demonstrate a Kagéryu Eras or Regions certain regions throughout the world
technique. The timing varied slightly, tend to favour one style or the other.
I have also pondered Iaido kata
as did cutting angle, but they were all
on a structural and stylistic level. Beats and Budo
correct. Not one was considered to
The seitei set reminds me of a
have a higher level of mastery.
Baroque suite of dances. Each dance Beats and budo—Miyamoto Musashi
represents a different country, e.g., called this “rhythm-timing” in his
To a practised listener, it is possible
a sarabande is Spanish, whereas a Book of Five Rings. Ever since
to recognize a musician by their
minuet is French. reading that, I’ve been playing
sound, or to recognize a musician’s
lineage by how they play. Budo has around with beats. I came up with
Baroque dances have a set structure, timing for the opening etiquette,
that too. Although we strive to get our
binary or rounded binary. They which I waxed poetic on in The Iaido
timing in line with dojo timing, each
also have a set order of steps. Some Journal.
of us has a slightly different internal
have telltale rhythms. The time
timing. Whenever we run through
signature changes depending upon I’ve been experimenting with the
our Seitei Iaido kata as a club, the
the dance, but the tonic key remains following rhythms for jo ha kyu:(See
group timing differs ever so slightly,
the same. Very little markings are 2007 Jo ha kyu)
depending upon who is leading, who
given in terms of dynamics and
Tempo September 2019 25You can also read
