The VMTA is in the process of revising its Rules of Association for governing the organisation. The proposed new rules reflect contemporary best practice in governance, and allow for more agility and flexibility in our operations.Read more
Celebrating Forty Years of Membership. Every year, the VMTA acknowledges members who have reached their membership milestone of forty years. Here are some reflections from two of our members, Maxine Shell and Patricia West.Read more
By Gregory Daubney MSc MBPsS & Dr Alison Daubney
Reprinted from Performance Anxiety: A Practical Guide for Music Teachers
Incorporated Society of Musicians Trust (ISM Trust), February 2017
Your performance is tomorrow! Your heart races faster than ever as you realise that this time tomorrow you will be performing. Have you practised enough? Can you remember the whole piece? What happens if you fail? Why are you doing this? Your breathing is short and shallow. Your heart is hammering against your chest wall and getting louder while your mouth is dry. How can I do this? Why did I do this? I don’t want to do this! Don’t make me do this! and…STOP!
by Noa Kageyama PhD
Reposted from https://bulletproofmusician.com/is-slow-practice-really-necessary/
Like everyone else in the world who has ever taken music lessons, I’ve been urged to practice slowly on many an occasion. But did I heed my teachers’ advice? Nope. After all, what’s the point of slow practice? Everything is easier slower – of course you can play things more accurately at a slow tempo. What’s the big deal? But…why do so many people swear by slow practice?
Sun 17 & 24 Feb 2019. An in-depth look at every book in the new AMEB Piano Series 18. With Caroline Almonte, Glenn Riddle, Julie Haskell and Kristian Chong.Read more
by Jeremy Woolhouse
Instrumental technique may be considered as the interface between concept and sound. Our technical prowess determines how effectively our ideas flow from imagination, through the instrument, to the listener. The definitions we create of technique, guide our practice and teaching. They may be a liberating or limiting factor. We inevitably acquire a set of judgements around what is appropriate technique, and what is not.
by Helen Kasztelan Chapman
MMus (Uni Melb), Graduate Diploma in Music Performance (VCA), BA Mus (VCA), LMusA, AMusA, MVMTA
As an AMEB piano examiner with over twenty-five years’ experience in teaching, examining and adjudicating in eisteddfods, I have observed that Bartók’s piano music is often overlooked by instrumental studio teachers. I wanted to find out why this is the case as well as look at the technical aspects of teaching this music.
By Drew Schweppe
Founder and Managing Director of Informusic, the first all-in-one music history resource for smart phones and tablets.
An informed performance lies in the historical context of a musical composition. A few weeks back I was catching up with a colleague of mine who is currently the Director of Bands at a public high school in the U.S. During our conversation he said something that struck us both as rather troubling – “My students don’t know much about the composers whose music they play.”
The VMTA Performance Day was the first event to be held in the beautiful St Peter’s Anglican Church in Box Hill where our Schimmel grand piano is now housed. This annual event gives students of VMTA members who are working at any level and on any instrument, an opportunity to perform in front of a supportive audience and receive valuable feedback from an experienced presenter. Students receive a written critique and general advice that can be applied in their music lessons and performance.Read more
Enhance your online presence, promote your teaching services, and help prospective students find you with a Premium Profile on our ‘Find a Music Teacher’ Website Directory.Read more