First Sunday, Eudlo Hall 1 – 4pm
Glasshouse Musos Newsletter 4
The last Musos session was at the Eudlo Hall on Sunday, October 4 with one new artist joining us for the day – Andrew Davis, a fine baritone from Coffs Harbour, who sang harmonies with Warren Freeman. Brisbane-based Jodi Murtha also joined us with some wonderful crowd pleasing numbers for her first appearance in Eudlo and we swooned over the performance of Claude Debussy’s Beau Soir from violinist Karin Griffin and pianist Brian King. We hadn’t seen Peter Gawith for a long time so great to welcome him back with a song especially written for the occasion. Regulars Evan Mathieson, Ian B Macleod, Warren Freeman, Lawrie White, Doug Pullen, John High, Barbara Ramadge-Ross and Doug Pullen also performed for us in this super session at Eudlo. Thank you to the Eudlo Hall Committee for providing such a great afternoon for us with lovely food and a great ambience.
Sadly it looks like our regular Musos sessions at the Coffee and Tea Merchants at Glasshouse has come to an end. There is some safety issues there with the stage no longer useable so it is looking likely we won’t be back there again. Losing this one does make things a bit dry for us at the moment, but no fear, other opportunity will turn up.
We are back at Eudlo the first Sunday in November, but if you are looking for a fun afternoon and evening in the meantime we are providing PA and lights for the Celebrate Beerwah event this Friday October 16 in Simpson Street, Beerwah, from 4 – 9pm. It is not a Musos (open mic) event but there will still be lots of food, fun and music with 2 stages going throughout the event.
And finally, for your interest, here is a small article of mine about learning musical instruments in a group or class setting:
In Australia traditionally, musical instruments were taught ‘one on one’ – that is one teacher taught one student alone in a dedicated room. However, over the last 25 or so years we have seen dramatic changes in this practice. The economic climate has induced a tightening of funds available for cultural activities, and there has been a general acceptance of other methods of learning and sharing one’s love of music.
As a music student at the Conservatorium in Sydney in the late 70s and early 80s I received one to one lessons on my second study instrument as well as my first. Yet as an academic in tertiary music departments in the 90s I was confronted by a very different situation. Universities were forced by Governments to tighten their belts, and in response turned to their music departments (in those days amongst the most expensive departments), and required staff to reduce or to cut one to one teaching altogether. The last option seemed to be the most common.
At that time the only accepted method of teaching instruments at the tertiary level was one to one, and the concept of group or classroom instrumental teaching, although practiced in schools, was anathema to instrumental teachers outside the school system. Tertiary instrumental teachers either refused to acknowledge any other teaching method and retired; or went into private practice; or adapted their methods to accommodate group teaching.
One of the gains in this acceptance of group teaching methods has been the increase in the number of very fine ensembles based around a teacher as leader. Most of us have seen a top a cappella choirs led by a singing teacher, or a percussion, string, guitar, wind or brass ensemble led by their teacher. Not that such groups didn’t exist before, but they are now more the norm. For some teachers it has presented them with an opportunity for a performing career, or has extended their career from performance as a soloist to a career as a conductor or ensemble leader, and often with a crack ensemble under them.
Next newsletter I’ll continue this theme and look at how group classes can actually advantage the music student.
Do have a creative musical fortnight!