Invited Speakers

 

Anastasia Buettner- Moore Anastasia copy

Anastasia is a UWA piano performance graduate who has played an active role as a passionate performer, presenter, collaborative pianist and an experienced teacher in both the WA community and abroad.  She is currently running an independent music studio as well as serving on the WA Music Teachers Association council as Vice President and was drawn to the council in order to assist in improving the standard and quality of private music studio teaching in the state. Anastasia has strong experience in many forms of movement studies, including dance, yoga, pilates, Alexander Technique as well as experience in the Taubman Approach which specialises in musician’s wellness and assists pianists to play with more comfort, speed, accuracy and ease as well as helping piano teachers diagnose teaching problems faster. In order to stay at the forefront of the field, she often works with some of the world’s leading pedagogues in these disciplines as well as performance psychologists, business and life coaches, whereby she regularly shares her findings through mentoring a number of piano teachers and retrains injured pianists. 

 

The Peak Pedagogue: Tools for optimising wellness in the practice of piano teaching

Musician’s Wellness Consultant, Anastasia Buettner-Moore discusses some of the critical physical habits and mental practices required to teach at your personal best. This presentation is given from the perspective of a pianist with an extensive background in practices such as the Taubman Approach, Alexander Technique, performance psychology, personal training and life coaching as well as other forms of movement such as dance, yoga and pilates.

This presentation is useful for those wanting an insight of how best to design their life around their teaching practices in such a way as to avoid burnout and fatigue, conditions common to the industry. Some of the subjects included in this presentation will include how to establish the greatest sense of ease both physically and mentally for both the teacher and the student as well as preventing common sources of injury in piano playing, potential policies for handling sickness in the studio and tools for optimising self-care. It will also explore some of the habits, routines and strategies necessary to combat common issues which inevitably arise in a society fuelled by high levels of anxiety and stress from a piano teaching perspective.

 

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Joanne BurrowsJoanne Burrows

Joanne started learning piano at the age of 14, becoming serious about it at age 17. She studied a Bachelor of Arts in Music and Theatre at Queensland University, major studies including piano and composition with secondary studies in voice, recorder and later flute. Joanne completed a Diploma of Education in 1989. Between 1990-92 she completed an AmusA in piano and ATCL and LTCL in piano pedagogy through Trinity College.

Joanne has been teaching classroom music and piano and theory for over twenty years. She is currently Head of Piano and Music Craft at the Riverina Conservatorium of Music.  Since 2010, Joanne has been involved with the Australasian Piano Pedagogy Conference (APPC), is a Wirripang composer and chair of the RCM curriculum committee.

Joanne continues to have piano music and teaching resources published by Wirripang, provide piano pedagogy workshops for music teachers and perform when time permits.  She is currently studying a Masters of Education which focuses on teaching piano in Australia.  Joanne loves to teach and collaborate with other musicians.

 

Motivation, Repertoire and Teaching Strategies

I am too busy, I am too tired, it is too hard, I can’t do it, I was at grandmas she doesn’t have a piano, I have a new puppy and must feed it each day, I lost my books, I forgot, we had a party on the weekend, I didn’t have time to practice.

It is amazing, how often students will explain a lack of practice at the start of a lesson, but is a failure to practice due to a lack of time or a lack of motivation? A range of factors including teaching behaviours, choice of repertoire, the goals of the student, self-efficacy and the ability to self-regulate influence the motivation to learn and practice an instrument.

A student who is highly motivated will find the time to play, practice daily and enjoy making music. In order to inspire and maintain motivation it is essential to develop the student’s self-regulation skills and positive self-efficacy alongside the teaching of technique, repertoire, aural skills and theory. This session will provide teachers with new repertoire ideas, creative teaching strategies insights from recent research into motivation. 

 

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Ann Carr- Boyd AMAnn Carr Boyd AM52 copy

Sydney born composer Ann Carr-Boyd has had a lifetime of involvement in music and art.  Her mother was an artist and her father and uncle, Norbert and Charles Wentzel, were professional musicians -  well known as teachers and performers in Sydney and members of the viola section of the Sydney Symphony Orchestra.  Following her earlier years studying art and music she continued to become the first Bachelor of Music graduate from the University of Sydney.  This was followed by a Master of Arts degree in which she researched the first hundred years of European music in Australia.  After winning the Sydney Moss Scholarship she commenced composition studies in London with Peter Racine Fricker and later Alexander Goehr. Since that time (in the 1960s) composition has been her main musical occupation, although teaching; production of radio programs and contribution of articles about Australian musicians to many publications have also played a large part in her life.

She says ‘My music covers a wide range of ensembles and styles, with compositions written for anything from full orchestra to solo mandolin -  and almost everything in between.  In recent years, I have become involved in writing piano duets and feel that writing duets has widened my appreciation of the skills needed for the art of composition.  To enlarge a little:  the skill needed to share music on the one keyboard between two players makes you stop and think -  which notes are necessary and which notes are not necessary and clouding the main message of the music?  Needing to think like this has made me look in a new way as to how I write my music.  It does not take long, either, to see which duet works and which one does not ‘.Wirripang have now published four books of piano duets called Double Trouble and I am proud to appear in these books alongside Joanne Burrows and Jocelyn Kotchie

 

It’s more fun together

 

Duets by Ann Carr-Boyd, Jocelyn Kotchie and Joanne Burrows.

Reading music and listening skills are fundamental skills for the musician and when explored through ensemble playing, the shared musical experience enhances the enjoyment of learning music. However, piano students often have limited opportunities for ensemble work. Piano duets are achievable ensemble options that provide valuable learning experiences.

Playing music with another person improves the student’s aural skills, as she or he must learn to hear and adjust their playing to accommodate the other.  Rhythmic understanding is also developed as the student must count and keep time if the ensemble is to work. Additionally, playing piano duets often significantly advances music reading skills.  Piano duets provide a necessary social dimension for students of all ages, motivate the student to practice, and empowers their performance experience.

Join a hands-on workshop and share the fun of playing duets with the ‘Double Trouble’ girls:  Ann Carr-Boyd, Jocelyn Kotchie and Joanne Burrows.  Discover the innovative and creative collection of duets, for beginners to grade eight.  And sneak a preview of the some new duets that will be performed for the first time!  

 

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Margaret ChalmersMargaret Chalmers

Margaret is a dedicated educator and loves both music and teaching. These two loves combine in her thriving studio in Mackay. The studio promotes a banner of “Musical Excellence with Creativity and Kindness”. In 2017 Margaret Chalmers Music Studio was very proud to celebrate their 21st Anniversary. With a background in classroom teaching, Margaret brings experience and understanding of student individuality to her music studio. She makes learning meaningful and enjoyable. She is very familiar with the school Kodaly-based music program and uses this to assist students to connect their musical concepts.  Margaret has developed a team of Practice Pets that assist younger students to remember piano practice. The Practice Pets also provide creative inspiration for CDs, concerts and social media.

Margaret aims to provide a positive music experience for each student, whether they study towards examinations or play for pleasure. Private piano lessons are available for adults and children from beginners to advanced. The lessons are designed to develop effective technique, musicianship skills (reading, theory, musical styles, aural skills) and creativity. Parents welcome and are encouraged to attend their child's lesson. Margaret has been an active member for MTAQ in Mackay, and supports opportunities for professional development.  Margaret enjoys the online forums that have developed for piano teachers. It is now a far less solitary profession!

Possibilities of Practice Pets

Practice Pets are so much more than just a soft toy. They help build a vibrant studio community. They spark inspiration for concert ideas, contribute as mascots, assist with anxiety management and provide an audience for building tentative performance skills. They can focus Character Strengths and Growth Mindset. Additionally, they are terrific advertising. The Practice Pet is a physical reminder of practice. While visiting a student, practice sessions, reflections, drawings and photos are recorded in the Pet’s Travel Book. Younger students respond very well to them. Older students have done some terrific “photoshoots”. Parents comment on more spontaneous practice sessions.


In social media, the Practice Pets are proving their worth. Statistically, a post with a photo gains a significant increase in attention. My studio doesn’t post photos of students, so the Pets are useful commentators and create visual focus. In recent years we have a student vote on the studio colour focus for the next year. The Practice Pet amplifies this concept, and for the past 7 years, we have been adding a new pet. We would love to introduce the team, and share more of the ways that they build a creative and engaging place for connectivity and possibilities in piano lessons. 

 

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 Inna Fursa

Inna Fursa

Inna Fursa received her professional training at the Khar'kov State Conservatorium (former USSR). Her teachers included Irina Schumskaya (who herself was a student and assistant of Heinrich Neuhaus). Inna taught and performed in Russia for nine years, before moving to Adelaide in 1992. In 1993 Inna won the Associate Artist Award of the Accompanists’ Guild of South Australia and was invited to teach the Diploma Course students in the Flinders Street School of Music - TAFE.

For many years Inna has studied and continues to be mentored by Eleonora Sivan, the distinguished concert pianist and pedagogue. Sivan is internationally recognised for her school and philosophy of music which has been described as a marriage of intellect, emotion and technique. Based in Perth since 2004, Inna teaches at a number of prestigious private schools. Inna performs, adjudicates and presents masterclasses as well as engaging in mentoring in piano methodology and pedagogy. Inna is a regular presenter at national and international Piano Pedagogy Conferences, Summer Schools and workshops for WAMTA. Her Lecture-Recitals are aimed to preserve the heritage of the art of piano pedagogy with focus on the importance of a knowledgeable interpretation of the music score, the perception of artistic ideas and a complete understanding of the essence of music as a foundation for technical freedom. Inna’s passion for music and teaching has produced students who have been awarded scholarships to continue their studies at university level both nationally and internationally.

 

The Classical Foundation of Contemporary Music: Differences in Style, Manner, Character and Mood based on Examples of Stravinsky, Schnittke, Sitsky, Shchedrin, and Slonimsky

Contemporary music has a deep classical foundation which has absorbed in its roots the heritage of the art of piano playing. Along with innovations and a fresh, new way of thinking, the pedagogic repertoire of the selected composers demonstrates a profound knowledge of the piano, inherited from a culture where the piano is a leading concert instrument. This knowledge is evident in every detail - from the clarity of musical language to the precise pianistic choreography designed to reveal the evolution of musical ideas. The piano is an amazing instrument which has absorbed within itself all instruments, orchestral dimensions, human voices and a whole history of musical ideas.

Piano repertoire represents a huge diversity of experience of human kind over the lengths of time.The aim of this Lecture - Recital is to demonstrate how to teach the steady evolution of musical art through pedagogic practice at the piano - how to nurture in our students appreciation and knowledge of our beloved instrument. This presentation is based on the examples of the diverse styles and visions of five modern and contemporary composers - Stravinsky, Schnittke, Sitsky, Shchedrin & Slonimsky. 

 

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Gaby Gunders Gaby Gunders

Gaby was born in Jerusalem and started studying the piano at the age of six with Professor Sonia Valin of the Rubin Academy. She

graduated with a Bachelor of Music (Hon) degree in Piano Performance in South Africa, electing to explore many collaborative opportunities during her studies. Post graduation, Gaby specialised in collaborative piano playing, and enjoyed a thriving career as a collaborative pianist, chamber musician and corépétiteur in three continents over the next twenty years. She has performed extensively as a soloist, a collaborator, and in chamber groups. Gaby has a successful piano teaching studio in Perth,  is an AMEB examiner in Western Australia, accompanies extensively and adjudicates in local competitions. She has completed her MMus degree, and has recently started her doctoral work at UWA.

 

Studio Exchange Central

As piano teachers are often isolated in their own studios, they are often left wondering what their colleagues' teaching 'secrets' are, and how they run their studios.

Have you ever wondered how other teachers teach sight-reading, choose repertoire, improve students' technical abilities, or handle 'difficult parents’?

STUDIO EXCHANGE CENTRAL is an opportunity for us to ask each other questions about our teaching, as well as share our own knowledge.

These sessions are by registration, and are limited in number of participants, so everyone will have the opportunity to raise issues relevant to them, and share their knowledge in an intimate group of supportive colleagues. 

Registration for Studio Exchange Central will be at the desk, and numbers are restricted to 10 for each session.

 

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Jocelyn Kotchie

Jocelyn Kotchie Pic at Piano

Jocelyn ‘Jo’ Kotchie is a Western Australian composer and music educator specialising in pedagogical music for children.  Her teaching career spans more than 40 years, covering areas from early childhood through secondary school curriculum development (Steiner).

A prolific composer across many genres, Jo has written more than 300 works for children of all ages - many on various exam syllabi - from fun songs for young children and piano music at all levels to vocal/instrumental ensemble work for primary and high school students and both sacred and secular choral works for all sizes and styles of choir.

As well as maintaining a busy teaching practice and compositional commitments, Jo serves on a number of committees and 

organisations including the AMEB Advisory Committee, the Australasian Piano Pedagogy Conference, the West Australian Music Teachers’ Association (President),  the WAMTA Recital and Concerto Competition (Chair) and the WA Piano Pedagogy Conference (current Chair).

Jo’s music is published by Wirripang and may be purchased through their website at www.australiancomposers.com.au

 

Pieces or Songs? Exploring Creativity in Pedagogical Music

 

Do pieces of music need to have words to be defined as songs?  Or is the lyricism inherent in the music enough to characterise a piece as a 'song without words'?  And how does adding lyrics to music change our (or the student's) perception of that piece?

In this workshop, Jo will look at what happens when we take a musical idea and encourage our students to explore their interpretation of the music, whether that be through the creation of lyrics or by bringing to life their thoughts and feelings.  Are those interpretations determined by the student's age?  Sex?  Background and life experiences?  The results may surprise you!

Join Jo in a hands on exploration through the creative minds of children and teens as they are encouraged to express their ideas, thoughts and feelings through their relationship with music. Learn strategies to help your students unlock their creative potential and take home one of Jo's compositional 'ideas' that you can immediately put to use with your own students.

 

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Valerie Lang

Valerie

Valerie Lang is a passionate musician and music educator, having a wide range of musical interests ranging from piano pedagogy, class music education and aural skill development, to singing projects for elderly community members. Valerie has spent many years as a music educator at Perth College where she implemented a programme of implementing aural skills within instrumental lessons and was a member of a committee to promote staff professional development.

Valerie has recently presented papers on ‘Developing Aural skills in Instrumental lessons, and ‘Intergenerational Singing as a means of promoting well-being in the elderly’ at the 2017 ASME Conference in Melbourne. The Intergenerational Singing paper was also presented at the 2017 Positive Education Conference in Perth. Valerie’s interest in piano pedagogy arose from her undergraduate studies in piano and piano pedagogy with Brian Michell at The University of Western Australia. Valerie believes that developing technical skills in students’ early years enables them to access a wide variety of music with ease – ultimately leading to greater engagement with and enjoyment of music making. Currently, Valerie runs a private piano teaching studio with students ranging from beginners to diploma levels, and has recently commenced as the Academic Development Officer at the AMEB (WA). 

 

The Pianist’s Technical Tool Kit

Piano teachers have to be equipped with various ways to teach a particular musical passage due to the varying ages, physical attributes and hand size and hand shapes of their students. Technique is not a ‘one size fits all’ skill - learning and playing repertoire can be made easier if students can experiment with appropriate options for particular musical patterns. As early as 1928, the AMEB’s Syllabus promoted a ‘sound, technical foundation’ for examination candidates. The foreword for Level 1 in the current AMEB Pianoforte syllabus lists a set of objectives which promote a secure technical foundation. The title of this session – ‘The

Pianist’s Technical Tool Kit’ is taken from a famous adage of my late teacher Brian Michell – ‘develop your technical tool kit’ or, in more formal pedagogical terminology, develop a variety of technical skills to suit one’s physical attributes.

Developing technical skills in students’ early years enables them to access a wide variety of music with ease – ultimately leading to greater engagement with, and enjoyment of music making.

This presentation will focus on some technically difficult patterns/passages in a selection of pieces from the 2018 AMEB syllabus (Grades 4 to 6) and offer suggestions for different ‘ways’ or ‘techniques’ to experiment with – thus being able to choose the right tool for the job!

 

The AMEB Syllabus Options in 2018 – adapting and evolving with the times

100 years of the AMEB in Australia has brought with it a rich history of providing graded assessments of the achievements of music, speech and drama. The objectives of the AMEB have always been clearly outlined and transparent.  Early AMEB syllabus material from 1928 states that the “object of the Examinations is to assist and improve musical education by supplying an authoritative and reliable test of musical work from the most elementary to the highest grade”(p.7, AMEB Syllabus, 1928) providing examinations in Theory, Pianoforte, Violin, Viola, Violoncello, Singing and Elocution. Class singing and Musical Perception were also examinable options in 1928.

The AMEB has evolved with societal changes and needs. Currently, examinations in various theory syllabuses, a wide variety of instruments, voice, and teaching syllabuses are available. Musical Theatre, Singing and Piano for Leisure, and Contemporary Popular Music – are all alternatives to the more traditional ‘Classical’ syllabuses.

This presentation will explore more recent syllabus options including – P Plate Piano and Musical Theatre. The internationally recognised Rockschool syllabus will also be explored – the AMEB’s association with Rockschool being to administer its examinations and to offer advice and support to parents and students.  Finally – two little known assessment programs available in WA only – the ‘Performance Evaluation Programs’ and ‘Induction Tests’ will be discussed. The AMEB in 2018 – adapting and evolving with the times!

 

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 Christine Louie04d6c431 5bdd 4775 a6d2 0fd2fa7aace4

 

Christine was born in Brisbane and began her piano studies at the age of seven. She achieved her AMusA in 2009. Christine is currently based in Perth where she has her private studio. She is also the Secretary for the West Australian Music Teachers’ Association. Christine originally studied a Bachelor of Science, majoring in Psychology, but decided to pursue her love for music. In 2014, Christine graduated from the Queensland University of Technology studying a Bachelor of Music.

Her first piano student was a family friend diagnosed with ASD. Throughout the five years of their piano lessons, she gradually developed interest in learning various teaching approaches that best suit children with ASD. She furthered her studies in 2015 and recently graduated from the University of Melbourne studying a Master of Music Therapy. Christine also did further training in Neurologic Music Therapy with Dr Michael Thaut and Dr Corene Hurt- Thaut.

 

Approaches to Teaching Children with Autism Spectrum Disorder

Have you ever got a call from a parent asking you if you teach children with Autism Spectrum Disorder (ASD)? Or a call from another teacher asking for teaching tips?

Teaching a student with ASD is rewarding in many ways, and like teaching any student, it’s based on trial and error. However, there are a few ways we can approach them that may allow us to enter their world.

Just like any student, every single student diagnosed with ASD has differing strengths and interests—which means that no one approach suits all. Christine will reference two contrasting lesson examples of her students—Jason (21) and Lucy (5) (Pseudonyms have been used).

The following topics will be discussed:

  1. Features of ASD
  2. The piano lesson plan that Christine follows—modified from a typical Music Therapy Treatment Plan
  3. Different teaching approaches, and
  4. The social, communication and physical benefits that music has for these students

 

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Mark MatthewsMark Mathews

Mark was born in Wollongong and studied piano, organ and vocals from the age of nine. He resides there at present. He gained his Diploma in Music with the Yamaha Music Foundation in 1988 and has received an A.Mus.Ed and A.Comp (Hons) with the Australian Society of Musicology and Composition for his album, "Music for the Heart and Soul" Opus 1. Mark is a presenter on 97.3 ABC Illawarra, where he can be heard regularly on the Saturday breakfast program. Mark launched "Music for the Heart and Soul" Opus 1 in 2005 - a CD and piano score of original piano compositions.  This was followed with Opus 2 in 2006 and Opus 3 in 2009. Proceeds from the CD sales of his "Music for the Heart and Soul" series go to Redkite - supporting children through cancer. In January 2010, Mark composed an entire 12-piece piano score entitled "As the Months Go By".  This was accomplished in the period of just one week and is published through Wirripang. In July 2010, Mark was awarded the Paul Harris Fellow by Wollongong Rotary Club for his service to the community and in November he received the Wollongong Central's Top Gong Award for Community Service to Wollongong. Mark’s composition “Emily’s Etude” is featured in AMEB PFL Grade 4 Series 3 book. In 2017 he launched ‘Ascendance’, ‘Breathless’ and ‘Courage for Music for the Heart and Soul’. At WAMTA 2018 he launches ’Destiny for the Heart and Soul’, the fourth in this seven-album series covering the key centres from A – G.

The Piano Possibilities are Endless!

 

We are Spoilt for choice! So many pieces to choose from!! Where to start?

Well, it’s as easy as ABC!

Planning pieces for your prodigies should be a pleasant pastime.

The composer of  “Emilys Etude” from PFL Grade 4, Series 3 discusses key centres, modulations, styles and teaching techniques to aid in the process.

The newly released series from A through to C of ‘Ascendance’, ‘Breathless’ and ‘Courage for Music for the Heart and Soul’ capture numerous key centres and tone structures.

Come and enjoy the debut of ‘Destiny for the Heart and Soul’ encircling D major, minor and Dorian modes being launched at WAMTA 2018.

 

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Anneka Pearton Aneeka

Anneka Pearton lives and breathes the piano and has played, performed and taught for as long as she can remember. She is the founder and principal of the highly reputed PianoEasy Music School and has averaged teaching 100 piano students per week for the last 17 years, the majority of them being adults. She is the creator of the PianoEasy program that has recently been launched online for other teachers to replicate her success.

With PianoEasy the primary relationship fostered is the connection with the piano, with reading being taught as a consequence of being able to play rather than a prerequisite. PianoEasy theory is built on a thorough and applied chord knowledge and understanding of the relationship between notes, chords and scales. 

Players with previous piano learning and new PianoEasy teachers commonly report a new found freedom of expression in playing, arranging, improvising, composing and performing and a new found understanding and ease in music reading / writing. 

The PianoEasy program is particularly suited to teaching groups of adults / kids of up to 10 students.

 

How to Teach Groups of Adults/ Kids with the Wonderful PianoEasy Program

 

Advantages of teaching the piano in shared lessons include motivation, exposure to different tastes, talents and learning strategies, it’s financially advantageous and players experience the pleasure of making music in front of others, with others and learning from each other. It’s more fun, more effective and more rewarding.

The PianoEasy program presents a wonderful method to teach great songs of various styles, help students experiment with re-arranging, improvising and composing and unfold advanced theory and reading prowess in the shortest of time. The online support materials include a weekly video re-cap of the learning, so that people can easily catch up if ever they miss a class. Whether you are looking for a new way to teach adults / kids, or whether you are just curious about group teaching or 21st century music programs, this presentation is guaranteed to inspire and enrich your teaching practice.

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Wendy Brentnall-Wood unnamed copy

Always a child singing or picking up an instrument to make music, Wendy Brentnall-Wood began teaching Piano & Theory in 1978 to support herself as a university student. Upon completion of her B.Mus. Ed degree from Melbourne University Conservatorium, Wendy continued teaching privately whilst juggling a full-time classroom and instrumental coordinator position. Once married and having a family, Private teaching became an ever-expanding career. The demand for her services was such that Wendy began employing teachers first from home and then in her first retail studio in Heidelberg, Melbourne, and including multiple instruments and keyboard lab.

Over many years, Wendy’s passion has provided further experience teaching classroom music in primary and secondary schools, developing and teaching preschool group classes, instrumental lessons in schools on multiple instruments, studios, privately and online. Wendy’s business grew from home teaching to 30+ schools, 4 Retail Studios, 8 Franchises and 30+ teachers and includes her own teaching program utilising over 110 books, backing tracks, flashcards and other resources. As part of her commitment to quality Music Education, Wendy has also developed her own Teacher Training programs for her own Teachers and Coaching Courses for Independent Music Teachers around the world.

Growing your Music School- The Business of being a Music Teacher

Music Teachers who are not working for a school are ostensibly Business owners, but usually they have no training as business owners. This discussion is aimed at Music Teachers who work for themselves (or want to) and wish to improve their situation. It will be an interactive workshop. Learn the stages a Music School or Music Teaching Business grows through from working for someone else to owning multiple businesses, known as the Music School Success Ladder.

Where are YOU on the Ladder? and where do you want to get to? What are areas of Management required in running a Music School Business? and what tasks do these entail? How do you grow a business from being a sole teacher, to employing others, owning a retail studio, multiple studios and so forth? At the end of the session, participants will know where they are currently on the MSS ladder, what level they are aiming for, and what needs to be considered and actioned to achieve their desired goal.

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Katie ZhukovKatie

 

Katie Zhukov has a PhD from UNSW and a Master’s degree in performance from the Juilliard School of Music, New York. Prior to working as a researcher at the University of Queensland she taught piano at the Sydney, Queensland and Western Australian Conservatoriums and examined for AMEB for 20 years.

Zhukov has championed piano music by Australian composers, recording three solo CDs and producing Wirripang Australian Piano Anthology (2011) and Australian Women Composers' Piano Anthology (2015). Dr Zhukov has published three book chapters and 12 journal articles on instrumental teaching in Psychology of Music, Musicae Scientiae, International Journal of Music Education, Music Education Research, Research Studies in Music Education, British Journal of Music Education, and Australian Journal of Music Education. She has presented 29 papers at the ISME, ICMPC, Reflective Conservatoire, Performer's Voice, RIME, ASME, and APPC Conferences, is currently serving on the Editorial Board of the International Journal of Music Education: Research.

Conquering Performance Anxiety

Applying research findings to optimise music performance. Music students of all ages suffer from stage fright. Dr Zhukov will discuss approaches to physical and cognitive symptoms of performance anxiety to help teachers find solutions suitable to their students.

 

Piano Music by Female Australian Composers

Katie Zhukov has commissioned new pedagogical repertoire from 15 established and emerging Australian women composers and published an anthology in 2015.  Following on from her previous introduction to some of these composers, she will demonstrate a variety of pieces ranging from Grade 4 to Diploma level. The second volume of the anthology is coming out in 2019.

P 08 9470 5595

PO Box 4385
Victoria Park, WA 6979

Suite 20, The Business Building
328 Albany Hwy
Victoria Park, WA 6100


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