mmt june 2012

MichiganMusicTeacher

_____________________________________

_____________________________________

_____________________________________

_____________________________________

_____________________________________

PUBLICATION OF

THE MICHIGAN

MUSIC TEACHERS

ASSOCIATIONAffiliated with the Music Teachers

National Association

1

Vol. LVIII No. 4 June 2012

Dear MMTA Members,

It’s mid-May and the bulging rose buds in my garden are on the cusp of opening, a

sure sign of the advent of summer and the winding down of our seasonal schedules,

just as summer activities come to the fore. So whatever that means for you, whether

teaching at one of Michigan’s premier music camps, in collegiate or independent stu-

dios, I hope that everyone has ample time to savor the beauty of a Michigan summer!

And now for a recap of MMTA’s spring activities, beginning with May 11, a picture-

perfect spring evening that I spent with Eric Van De Vort on the campus of Western

Michigan University. I had the pleasure of introducing Eric, MMTA’s distinguished

service recipient, at the Michigan Youth Arts awards (MYA) banquet honoring 14

outstanding educators who were nominated by participating state arts organizations.

Eric was presented with an MYA touchstone award recognizing his outstanding

achievement in arts education, which was commemorated with a plaque and framed

resolution. Congratulations, Eric!

Since this year was the 50th anniversary of MYA, each organization was recognized

as well, and presented with a plaque “awarded in profound appreciation for leadership

in arts education and for continuing the tradition of the Michigan Youth Arts Festival.”

Following the banquet, Eric and I attended the MYA Honors Concert, featuring audi-

tioned high school choral and instrumental ensembles, as well as high school seniors

who performed solo concerti with the Western Michigan University Orchestra. It was

an unforgettable evening of heart-lifting music, and we reveled in the musical accom-

plishments of our Michigan youth.

Likewise, MMTA members can be proud of our SAT Piano and Voice Finalists and their exceptional teachers. The SAT Finalists

auditioned on Saturday, May 6 at the Michigan State University College of Music. Thanks to our MMTA Auditions “team,”

namely SAT Auditions Chair Margarete Thomsen, and SAT Semi-Final Chairs Wendy Wan-Hsing Chu, Loretta Lanning, and

Maria Lonchyna-Lisowsky, who organized the semi-finals and finals; and to Technology Chair Eric Van De Vort, for spearheading

the online semi-final registrations that were used statewide this year. I am looking forward to hearing our SAT Piano and Voice

winners in the MMTA Honors recitals at our fall conference in Ann Arbor.

MMTA Conference recitals will also include our MI MTNA Finalists, several of whom placed in the national competitions held

at the MTNA Conference in New York City in March (see the lists of winners from the SAT and national competitions on pp.3-

4 in this issue of the MMT). Among the national first place winners is Michigan’s own Daniel Cho (student of MMTA member

Pam Peng Chen), who won the MTNA Elementary Division competition for Composition. Congratulations, Daniel!

Attending the MTNA Conference in New York was exciting…from the pre-conference pedagogy Saturday sessions to the closing

Awards Brunch on Wednesday. The Awards Brunch included the presentation of the Benjamin Whitten Collegiate Chapter of

the Year Award to the University of Michigan Student Chapter. Jovanni-Rey V. de Pédro, chapter President, and John Ellis,

faculty advisor, attended the conference and accepted the award. Congratulations, U-M Student Chapter!

Two MTNA Conference sessions on the music of Bach were presented by Louis Nagel, the first session on the Inventions, and

the second on the French Suites. Louis has graciously submitted an article (upon request!) on the latter for this issue of the MMT.

We hope that his “musings” will become a regular feature of this publication.

While at the MTNA conference Gary Pedersen and I attended the annual meeting, the State President’s Advisory Council (SPAC),

the East Central Division meeting, and a break-out session with states sharing similar membership numbers. We both found the

last-mentioned session very valuable for the exchange of information and ideas. Michigan was well represented at these meetings,

as Maria Lonchyna-Lisowsky joined us, and Gerardo Ascheri, who is now the Director of the East Central Division. Congratu-

lations, Gerardo!

President’s Letter cont. on p.5

SPECIAL MMT ISSUE: 127th MMTA State Conference Extravaganza!See pp. 6-12 inside THIS ISSUE for all announcements, deadlines, registration forms, artists’ bios, swimsuit photos,

and session descriptions related to this October’s 2012 MMTA State Conference in Ann Arbor. Not to be missed!

MICHIGAN MUSIC TEACHEROFFICIAL PUBLICATION OF THE

MICHIGAN MUSIC TEACHERS ASSOCIATIONAFFILIATED WITH THE

MUSIC TEACHERS NATIONAL ASSOCIATIONDr. Stuart Foster, Editor, 1524 Columbine Drive, East Lansing, MI 48823

Submit materials to: [email protected]; 517-894-4753MMTA Web Site: www.michiganmusicteachers.org

PRESIDENTDr. Penny Draper513 Woodland DriveEast Lansing, MI 48823517-351-4632

VICE PRESIDENTGarik Pedersen8766 Sleepy Hollow DriveSaline, MI 48176734-429-3439

SECRETARYDorothy Vogel405 W. 11th StreetTraverse City, MI 49684-3145231-947-1700

TREASURERDiana Spitnale Miller3352 W. River Dr.Gladwin, MI 48624-9730989-426-2644

PAST PRESIDENTDr. Adrienne Wiley4007 WashingtonMidland, MI 48642989-837-0903

PARLIAMENTARIANChristie Otter14735 RichfieldLivonia, MI 48154734-464-3319

CERTIFICATION CHAIRDebra Culver2635 Perry Lake RoadOrtonville, MI 48462-8926248-793-3060

MEMBERSHIP CHAIRCheryl Cameron5514 State RoadFort Gratiot, MI 48059810-385-9888

LOCAL ASSOCIATIONS COORDINATORCynthia RobertsonP.O. Box 360Interlochen, MI 49643-0321231-883-5661

COLLEGIATE CHAPTERSCOORDINATORDr. Adam Clark2891 Riley Ridge RoadHolland, MI 49424513-349-7993

TEACHER EDUCATION CHAIRSara Carriere3911 Edmonton CourtAnn Arbor, MI 48103734-665-3322

AWARDS CHAIRJennifer Drake110 N. Lauderdale DriveKalamazoo, MI 49006-4346269-373-4971

TECHNOLOGY CHAIREric Van De Vort712 Sunset RoadAnn Arbor, MI 48103734-883-9490

SAT COORDINATORDiana Munch22720 Nancy AvenueSouthfield, MI 48033248-356-1274

SAT PIANO HANDBOOK CHAIRDr. Gerardo C. Ascheri2200 Groesbeck AvenueLansing, MI 48912-3449517-485-1363

SAT AUDITIONS CHAIRMargarete Thomsen8765 Eastham DriveCanton, MI 48187734-451-9678

SAT STRINGS CHAIRRuth Fry2102 8th StreetPort Huron, MI 48060810-989-9516

SAT VOICE CHAIRElaine Yanz2998 Parman RoadDansville, MI 48819517-623-6083

SAT WOODWINDS CHAIRAnn Decker-Beck12480 Glasgow DriveRomeo, MI 48065-4479586-752-0824

MTNA COMPETITIONSCOORDINATORLia Jensen-Abbott412 S. Clinton StreetAlbion, MI 49224517-629-2950

MTNA COLLEGIATE & CHAMBERMUSIC COMPETITIONS CHAIRArvi Sinka407 Randall DriveTroy, MI 48085248-689-3459

MTNA SENIOR COMPETITIONSCHAIRLia Jensen-Abbott412 S. Clinton StreetAlbion, MI 49224517-629-2950

MTNA JUNIOR COMPETITIONSCHAIRGail Lytle Lira131 Oakland DriveEast Lansing, MI 48823517-351-8402

MTNA COMPOSITION CHAIRMary Ann Anschutz5404 Sunset DriveMidland, MI 48640989-631-6833

CONCERTO COMPETITIONCHAIRPatricia Lobbestael55161 Washington DriveShelby Township, MI 48316248-652-8917

NON-COMPETITIVE ACTIVITIESKelly Yoakam120 W. Sycamore StreetMason, MI 48854517-244-9433

MTNA FOUNDATION CHAIRAlex Hanway889 Artdale DriveWhite Lake, MI 48383313-402-8916

INDEPENDENT MUSIC TEACHERSFORUM CHAIRThea Hoekman216 Southwoods AvenueFremont, MI 49412231-924-1504

COMMISSIONED COMPOSERCHAIRCharles Aschbrenner324 East 16th StreetHolland, MI 49423616-396-4282

MTNA COLLEGE FACULTY FORUMREPRESENTATIVEDavid Abbott412 S. Clinton StreetAlbion, MI 49224517-629-2950

COMMUNITY OUTREACH &EDUCATION CHAIRBarbara Collins4430 W. Water St.Port Huron, MI 48060810-982-4133

HISTORIANMary S. Vander Linde1100 Fountain View Circle #1Holland, MI 49423616-396-5379

CHANGE OF ADDRESS OR E-MAIL

Send toCheryl Cameron, Membership Chair: [email protected]

~ or mail to: ~Cheryl Cameron, 5514 State Road, Fort Gratiot, MI 48059

2 Michigan Music Teacher

DEADLINE

FOR THE MMT IS

AUGUST 15

FOR THE

SEPTEMBER ISSUE

All materials must be

received by the due date

ADVERTISING FEES

Full Page $140.00

2/3 Page $120.00

1/2 Page $95.00

1/4 Page $70.00

Less than1/4 Page $60.00

Submit ads to the MMTeditor with a check payableto MMTA. Fees are for oneissue only.

3Michigan Music Teacher

SAT Piano and Voice FinalsMay 5, 2012, MSU

Forty-four young pianists and four voice students took part in the MMTA State Piano and Voice Finals

at Michigan State University on May 5. Here are the results of the judging:

Piano: Intermediate DivisionJeanne Hanley & Derek Polischuk, Adjudicators

First Place: Joshua Zhe, student of Izabella Vilensky

Second Place: David Mutone, student of Catherine Rollin

Third Place: Carolyn Wu, student of Catherine Rollin

Honorable Mentions:

Rachel Mei Lanting, student of Annie Leong

Kathleen Gu, student of Catherine Rollin

Emily Foster, student of Helen Marlais

Piano: Junior DivisionJennifer Drake & Eric Van De Vort, Adjudicators

First Place: Heather Gu, student of Mary Siciliano

Second Place: Nolan Feeny, student of Derek Polischuk

Third Place: Andrew Busscher, student of Joan Conway

Honorable Mentions:

Ryan Neff, student of Izabella Vilensky

Shannon Lin, student of Izabella Vilensky

Piano: Senior DivisionAdrienne Wiley & Garik Pedersen, Adjudicators

First Place: Jason Gong, student of Catherine Rollin

Second Place: Sukruth Shashikumar, student of Mary Siciliano

Third Place: Yuanzhe Zhong, student of Mary Siciliano

Honorable Mentions:

Stephanie Pestana, student of Meghan Schaut

Kangling Gu, student of Catherine Rollin

Voice

Donna Green & Larissa Clark, Adjudicators

First Place: Elizabeth Clutts, student of Kathleen Merrill Leach

Second Place: Nicole Potchen, student of Julia Ellis

Third Place: Lindsey Hirt , student of Julia Ellis

Honorable Mention:

Evan Hertafeld, student of Julia Ellis

Repertoire lists are available for download at http://www.michiganmusicteachers.org/SATFinalsResults.php

ECD National Winners - 2011-2012 MTNA Competitions Junior Competitions State Category Prize Name Teacher

IL Piano 2nd place Ryan Jannack-Huang Brenda Huang

IN Strings 3rd Place Sung Moon Park Susan Moses

Senior Competitions OH Brass 1st Place Grant Jameson David Zerkel

MI Piano 2nd Place Jiyuan Grace Zhang Thomas Lymenstull

OH Piano Duet 3rd Place Iris Jang/Brook Zhang Nina Polonsky

IL String 2nd Place Emily Camras Tanya Carey

WI Voice 1st Place Emily Pogorelc Helen Ceci

MI Woodwind 2nd Place Jordan Lulloff Joseph Lulloff

Young Artist Competitions MI Piano 2nd Place Jannette Fang Logan Skelton

IN Voice 2nd Place Molly Bock Oliver Samuel Savage

Chamber Music Competitions IL String 1st Place Anasazi String Quartet

Veronica Pigeon, Violin

Amanda Ramey, Violin

Kelly Moore, Viola

Samuel Araya, Cello

Brandon Vamos

IL Wind 1st Place Cerulean Saxophone Quartet

Phil Pierick, Soprano

Ben Kenis, Alto

Drew Whiting, Tenor

Jesse Dochnahl, Baritone

Debra Richtmeyer

Composition Competitions MI Elementary 1st Place Daniel Cho Pam Peng Chen

IL Senior 1st Place Jonas Tarm Matt Hagle

IN Young Artist 2nd Place Kenji Kuriyama Don Freund


Michigan Music Teacher 5

President’s Letter, cont. from p.1

The experience of attending the MTNA conference in New York included visits to many of the city’s cultural sites. Chief among

these was the Metropolitan Museum of Art, which has an awesome collection of early keyboard instruments, representing every

major phase of development. A highlight of the collection for me was viewing the earliest extant piano by Cristofori, dating

from 1720. My husband Bill travelled with me and we also visited the Morgan Library and Museum, the New York City Library,

Dowling Music and Steinway Hall, Carnegie Hall, St. John the Divine, saw the musical “Newsies” with our daughter who came

in from Philly, strolled in Central Park, viewed Ellis Island from the Empire State Building, and enjoyed an evening with our

Manhattan-based relatives. It was a memorable trip, and I thank MMTA for the privilege of representing Michigan at the

conference.

On April 29 the MMTA Executive Board and Full Board meetings were held at the Michigan Historical Library in Lansing.

Pertinent information from those meetings can be found in this issue of the MMT. Please check the SAT updates and clarifications

in the report submitted by Diana Munch and Margarete Thomsen.

MMTA welcomes two new board members: Jackie Willertz is the Non-Competitive Activities Chair, and Lester Castellano

becomes Membership Chair after our October conference. Both Jackie and Lester are well suited for their positions and we look

forward to working with them on the board. That said, we’ll miss Kelly Yoakam and Cheryl Cameron, the outgoing chairs,

respectively, of those positions. Both Kelly and Cheryl had reached term limits. We especially appreciate their expertise and

time commitment so generously given to MMTA for many years.

MMTA “business” continues during the summer months, with meetings scheduled for the MMTA Board, the SAT Piano Test

Committee, the SAT Piano Handbook Committee, and the SAT Semi-Final Chairs. During the summer, Vice President Gary

Pedersen and the Ann Arbor Area Piano Teachers Guild will be finalizing the myriad details involved in planning the 127th

MMTA Conference. I am looking forward to listening, learning and reuniting with colleagues at our fall conference! In the

meantime, our summer activities should include travel, reconnecting with family, relaxation, reflection, and the renewal of spirit

that these activities inspire. Best wishes for such a summer!

Sincerely,

Penny Draper

MMTA President

I AM INTERESTED IN THE

MMTA CERTIFICATION

Name __________________________

Address ________________________

City ___________________________

Instrument ______________________

Make Check for $5.00 Payable to MMTA

Send to:

DEBRA CULVER

2635 PERRY LAKE ROAD

ORTONVILLE, MI 48462

(248) 793-3060

[email protected]

Summer Event!

PIANO RETREAT – A Two-Day Retreat for Music Educators

Wednesday, August 1 and Thursday, August 2, 2012

Sponsored by the MSU College of Music and the

Capital Area Music Teachers Association

Join Derek Kealii Polischuk, Assistant Professor of Piano and

Director of Piano Pedagogy, and Deborah Moriarty, Professor of

Piano and Chair of the Piano Department at Michigan State Univer-

sity, with special guest clinician Randall Faber for a Piano Retreat

on August 1st and August 2nd of 2012. Piano teachers are invited to

come to the Michigan State University College of Music for a two-

day workshop where they will have the opportunity to hone their

own craft in piano performance by taking lessons with these

acclaimed teachers, participate in master classes, and attend

workshops on current topics in piano pedagogy and performance.

Registration for the Piano Retreat is only $100 for two days, or $70

for one day. Contact Dr. Polischuk at [email protected], or Gail

Lytle Lira at [email protected] for further information.

Michigan Music Teacher6

127th MMTA State ConferenceOctober 21 - October 23, 2012, Ann Arbor, MI

Dear MMTA Members,

Preparations for the 127th MMTA Conference are in full gear. The conference opens on Sunday, October 21 at 1:00 p.m.

(on-site registration beginning at noon), and continues through noon on Tuesday, October 23 at Kensington Court Hotel,

610 Hilton Boulevard, Ann Arbor. The hotel is easy to find (you can see it from I-94) and has plenty of free parking. Local

host for this event is the Ann Arbor Area Piano Teachers Guild, whose members are busy with many behind-the-scenes

details of conference planning. Read more in this newsletter about the Debussy celebration with the gamelan ensemble.

Anyone looking for an occasion to wear their batik sarong? Here it is!!

This year’s Conference Artist is Robert Weirich, one of the most respected and sought-after artist-teachers in his generation

(read about him elsewhere in this issue). Bob's bio is beyond impressive; not only has he done it all, he is the rare individual

whose broad experience as a pianist, teacher, artistic director-administrator, columnist, and composer has energized his

career and kept him at the top of his game. If you've heard him before, you'll want to hear him again, and if you haven't,

don't miss this opportunity! Our Conference Clinicians are Pamela Ruiter-Feenstra and Ellen Rowe, both engaging

presenters and artist-educators who are recognized as being at the forefront of two different, but related fields. Our Teacher

Education session will be an intermediate level master class (you spoke – we listened!), with our own Thomas Lymenstull,

from Interlochen; and in the IMTF session three of our members will share their experiences bridging the gap between

Suzuki and "traditional" instruction.

Of course the conference will also feature MMTA/MTNA student winners in concert, the MMTA-commissioned

composition, and various break-out sessions.

Be sure to check the website for a more complete listing of the conference schedule. The web address is

http://www.michiganmusicteachers.org/conference.php

I expect to have posted the complete schedule by late June.

In addition to these motivating sessions and outstanding concerts, our MMTA Conference gives the opportunity to

connect and share ideas with many colleagues from across Michigan. And if you still think you'll have extra time

on your hands, you'll be across the street from Briarwood Shopping Mall, and just two miles from beautiful

downtown Ann Arbor.

I look forward to seeing you in Ann Arbor in October!

Sincerely,

Garik Pedersen, MMTA Vice President

Please note and observe the following deadlines relative to our 2012 Conference:

August 1: Deadline for conference schedule material for the booklet. This includes presenters, titles and descriptions, and

performers' bios, photos, and program information.

August 15: Deadline for advertisers and exhibitors.

August 15: Deadline for all other entries in the conference program book. This includes Welcome letters, Teachers of the

Year, Distinguished Service Award, and list of conference volunteers.

September 20: Deadline to register for a room at the conference hotel and receive the MMTA conference rate.

September 28: Conference preregistration deadline - both mail and online. This is also the last date to withdraw from the

conference and receive a full refund.

MICHIGAN MUSIC TEACHERS ASSOCIATION127th Annual State Conference

October 21, 22, and 23, 2012 ~ Ann Arbor, MichiganCONFERENCE AND MEAL REGISTRATION

(note online registration also available- http://www.michiganmusicteachers.org/conference.php)

Name: ____________________________________________________________

Address: __________________________ City: ______________ Zip: _________

Phone: _____________________________ Email: _______________________

Local Association: ___________________ Certification: State National

REGISTRATION FEES:

Advance Conference Registration: MMTA Member (registration after September 28 - $ 75.00) $ 60.00 _________

Advance Conference Registration: non-MMTA Member (registration after September 28 - $ 85.00) $ 70.00 _________

Registration: MMTA Member’s spouse (registration after September 28 - $45.00) $ 35.00 _________

Student Registration Waived _________

MEAL RESERVATIONS (Advance reservation only - not available after September 28):

Monday Evening Banquet: $ 28.00 __________

Please select one Banquet Entrée: Tax and gratuity are included in price

_____ Sautéed Chicken Breast Piccata with Capers, Mushrooms & Lemon Butter Sauce

_____ Whitefish Pomodori, Roma Tomatoes, Garlic, Basil and Red Onion over fresh Great Lakes Whitefish

_____ Roasted Vegetable Pasta, Lightly marinated & roasted Root Vegetables & Grilled Portabella Mushroom Cap, served with Penne Pasta tossed in Pesto

Entrées include Garden Green Salad, Warm Rolls & Butter, Fresh Green & Wax Beans with Julienne Carrots, Wild Rice Medley, White Chocolate Mousse in a Dark Chocolate Cup with Raspberry Coulis and Fresh Berry Garnish, Coffee or Tea.

TOTAL ENCLOSED: __________

CONFERENCE AND MEAL ADVANCE REGISTRATION DEADLINE: September 28, 2012

Please mail this registration form and check (payable to MMTA) to:Diana Spitnale Miller, MMTA Treasurer, 3352 W. River Dr., Gladwin, MI 48624-9730

For more information, contact: Garik Pedersen, MMTA Vice President and Conference ChairmanPhone (734) 487-1427 Email: [email protected]


Michigan Music Teachers Association127th State Conference

October 21-23, 2012

610 Hilton Boulevard48108

734-761-7800 or 800-344-7829http://www.kcourtaa.com/

The Kensington Court Ann Arbor is located at South State Street and Interstate 94 in the

Briarwood Shopping Mall circle, only 2.5 miles from downtown Ann Arbor and the

University of Michigan, and 25 miles from Detroit Metropolitan Airport.

Conference rate for Single or Double/Double Rooms: $99/night + taxes

• This rate is only available until SEPTEMBER 20. Rates cannot be changed at check-in or at checkout.

• To receive this rate, you must make reservations by telephone, at one of the numbers above, and state that you are with the MMTA 2012 State Conference.

• Please do NOT make your reservations online. You will NOT receive the special conference rate, and your room will not be credited as part of MMTA's required occupancy.

• Please note that there are no rooms available at Kensington Court for Saturday night, October 19. Members coming in the night before the conference will have to make other arrangements.

• Check-in time is 3:00. Early check-in may be available for those who call the morning they are checking in. Baggage storage is available.


9Michigan Music Teacher

1. Conference Artist Robert Weirich will present a lecture on Monday

and a Master Class on Tuesday morning.

Robert Weirich has performed in musical centers throughout the United States,

including Alice Tully Hall, the Kennedy Center, Chicago’s Orchestra Hall, and at

such summer festivals as Tanglewood, Ravinia and Marlboro. Recent perform-

ances include solo recitals in Florida, New York, Illinois, Ohio and the dedicatory

recital of the Choukas Performing Arts Center at Vermont Academy. Since 2004

he has been the convention artist for the Music Teachers National Association state

organizations in Massachusetts, North Carolina, California, Arkansas, and Indiana.

Chamber performances include a tour of Thailand and Hong Kong with UMKC

colleague Carter Enyeart, a presentation on four-hand piano with wife and col-

league Karen Kushner at the 2005 MTNA national convention in Seattle, and a

boundary-breaking lecture-recital with several UMKC colleagues on Bartok’s

Sonata for Two Pianos and Percussion, given at UMKC and at the 2006 national

Conference Highlights

meeting of the College Music Society in San Antonio. Again since 2004, he has presented master classes at several

important schools of music, including the Oberlin Conservatory, Indiana University, and the College-Conservatory of

Music at the University of Cincinnati. He gave three performances of Rachmaninoff’s Rhapsody on a Theme of Paganini

with the Syracuse Symphony in 2005, and performed Beethoven’s Emperor Concerto last June with the Kansas City

Chamber Orchestra. His first solo CD, Piano Music of Aaron Copland, was released in 2008; the New York Times called

his performances “brilliant, probing and austerely beautiful.” He has held the Jack Strandberg Missouri Endowed Chair

at the UMKC Conservatory since 1998, serving as head of the keyboard division from 2004-08, and as Associate Dean

for Performance Studies from 2005-07. He is justifiably proud of his students, who regularly win major competitions,

hold university positions throughout the country, and challenge him on a daily basis in the studio.

2. Conference Clinician Pamela Ruiter-Feenstra will present an inter-

active session on the use of improvisation in the playing and teaching

of Bach.

Pamela Ruiter-Feenstra’s passion for early music, historical instruments, and

improvisation coalesce in her performances as organist, harpsichordist, clavi-

chordist, and conductor; in her articles and books; compositions; recordings; and

in her teaching. As Professor of Music and University Organist at Eastern Michigan

University (Ypsilanti, MI; 1996–2008) and Bethany College (Lindsborg, KS; 1989–

96), Ruiter-Feenstra developed successful improvisation pedagogy, methodology

and symposia; and aural-oriented performance practice by directing the Collegium

Musicum and other early music ensembles. She is a founding member of Voci

dell’Anima, an early music ensemble featuring voice, cornetto, viola da gamba,

organ and harpsichord. Currently, Ruiter-Feenstra is developing a series of improv-

isation pedagogy books: Muse, a multi-disciplinary early childhood vocal music

curriculum; Improvisation Encounters, an improvisation tutor for high school and

early college keyboard students and any musician new to improvisation; and Bach and the Art of Improvisation (CHI

Press, 2011), improvisation pedagogy in a musicological and historical context, for intermediate to advanced improvisers.

She frequently plays, sings, conducts, and teaches at various churches and institutions; has a private studio of piano,

organ, harpsichord, and improvisation students; and is a Fleur de Son Classics artist.



3. Conference Clinician Ellen Rowe will present a session

entitled "Jazz Improvisation: Learning the Language."

Ms. Rowe performs at jazz clubs, festivals and concert series throughout

the U.S. and has toured in Germany, Holland, Switzerland, Ireland,

Poland and Australia. In addition to her work as leader of her own trio

and quartet, for which she garnered first place in the Hartford, CT

Advocate Readers’ Poll for Best Acoustic Jazz, she is in demand as a

sideman, performing with a variety of artists including Kenny Wheeler,

Frank Morgan, John Clayton, Tom Harrell and Jiggs Whigham. She has

had the honor of appearing twice on National Public Radio’s “Marian

McPartland’s Piano Jazz” and has three CDs out, under her own name, including “Sylvan Way”, “Denali Pass” and

“Wishing Well”, with guest Ingrid Jensen. In keeping with the eclectic nature of her earliest musical influences, she has

also continued to perform classically, recently performing the Stravinsky Piano Concerto with the University of Michigan

Wind Ensemble.

Her compositions and arrangements have been performed and recorded by jazz ensembles and orchestras around the

world, including the Village Vanguard Orchestra, BBC Jazz Orchestra, U.S. Navy Commodores, Berlin Radio Jazz Or-

chestra, Westchester Jazz Orchestra and DIVA. Her big band compositions are published by Sierra Music Publications.

Ms. Rowe is currently on the faculty of the University of Michigan School of Music, where she is Associate Professor

of Jazz Piano, Director of the University of Michigan Jazz Ensemble and Chair of the Department of Jazz and Contem-

porary Improvisation.

4. Teacher Education Session – Intermediate Master Class with Dr.

Thomas Lymenstull

Pianist Thomas Lymenstull has performed throughout the United States as well as in

Japan, Taiwan, and the People’s Republic of China. He has been heard nationally and

internationally on Voice of America and National Public Radio. Lymenstull has been

featured with orchestras in the United States and China, including the Los Angeles

Chamber Orchestra. He won first prize in the Joanna Hodges International Piano Com-

petition and was a prizewinner in the Washington International Piano Competition.

Thomas Lymenstull is Instructor of Piano at Interlochen Arts Academy, where his

students routinely win scholarships to top music schools and prizes in state and national competitions. Formerly Associate

Professor of Piano Pedagogy at the University of Southern California, Lymenstull was a Teaching Fellow of the USC

Center for Excellence in Teaching, and developed the keyboard skills program for piano majors to include improvisation

of Mozart cadenzas. Lymenstull has also researched contemporary piano music from China, and includes this repertoire

on recital programs.

Lymenstull has presented workshops in piano pedagogy, and his articles have appeared in American Music Teacher and

California Music Teacher magazines. He taught for several summers at the Tunghai University Music Festival (Taichung,

Taiwan) and currently divides his summers between Interlochen Arts Camp, Montecito Music Festival, and yearly master

classes in Asia.

Dr. Lymenstull studied at Eastman and the University of Southern California, and received a Fulbright Fellowship to

study piano and conducting in Vienna, Austria. His teachers include John Perry, Cecile Genhart, Frank Glazer, Alexander

Jenner, and John Simms.



5. Debussy, the Javanese Gamelan, and You!

The Ann Arbor Area Piano Teachers Guild will help us celebrate the sesquicentennial of

the birth of Claude Debussy (1862-1918) with a special focus on the characteristics of

Javanese gamelan music. This is a type of music that interested and influenced him: its

freedom from rules of functional harmony, its free forms, unrelated to those of European

music, the fascinating timbre of the percussive instruments, and the layered texture, free

from European rules of counterpoint. Since 1889, the year Claude Debussy first experi-

enced the music of a gamelan orchestra, many composers have been inspired to imitate,

evoke, and otherwise translate its hypnotic sounds into their own compositions. From

Ravel to Messiaen, Bartók to Lou Harrison, many works, procedures and styles were

6. IMTF Session - The Best of All Worlds: What Suzuki and “Traditional” Teachers Have to Learn from

Each Other

Rather than viewing each other with suspicion, we can cultivate a healthy curiosity about the “other” method of teaching

children. Three seasoned Suzuki piano teachers who stand with one foot firmly in each “camp” examine the Suzuki

ideas that can be adapted by all teachers and the wisdom of generations of piano teaching that can inform our Suzuki

pedagogy. We expect that our students have only to gain!

Panel members: Renee Robbins

Gerardo Ascheri

Susan Day

first suggested through an exploration of the Javanese gamelan. At the heart of these explorations was the grand piano.

Already a dominant player in Western art music, the piano's unique acoustics – mixing the sustained singing of strings

with a percussive attack – became a curious analogue to the gamelan: a workshop for reimagining these exotic and fresh

musical ideas.

Join us on Sunday, October 21, the first evening of the conference, when the Ann Arbor Area Piano Teachers Guild is

delighted to present pianist Robert Satterlee and the University of Michigan's Javanese Gamelan – once named a

“Venerable Lake of Honey,” and one of the only double gamelan orchestras in the United States – in a unique concert

featuring both music for the gamelan and some of the piano repertoire it has influenced. Dr. Satterlee will both perform

and discuss these important piano works, while the gamelan's director, ethnomusicologist Susan Walton, will further

inform us as to the nature of the Javanese orchestra. The program will close with traditional pieces for our pleasure, and

the concert will be followed by a reception with a Balinese theme which you will not want to miss! The cost of the

evening concert is included in your registration (please bring your nametag), but there will be tickets available at the

door for only $10, so please feel free to invite students and friends!

Earlier on Sunday, the conference’s opening session will offer a

more in-depth discussion, plus further piano repertoire as a preview

to the evening’s recital. This session will feature local pianists, with

a discussion led by Lester Castellana.

These events should prove to be a fascinating and memorable start

to our annual conference – we heartily invite every one of our

MMTA members to attend!

Lester Castellana and Eric Van De Vort

Co-Chairs, 2012 MMTA Conference (AAAPTG)

[Garik Pedersen, MMTA Vice President, contributed information

to this article]


Did You Know?

That MMTA must guarantee a mini-

mum occupancy in order to have a

venue for our conference? Please

consider staying in the conference hotel

(at the special conference rate!)

That all deadlines for this year's confer-

ence are earlier than last year, even

though the conference is later (please

see "conference deadlines" in this

newsletter)?

That MMTA must guarantee a mini-

mum food purchase in order to have a

venue for our conference? Please help

us by enjoying delicious food and won-

derful camaraderie at the conference

banquet – another great opportunity to

get to know and interact with teachers

from throughout Michigan!

That our conference preregistration fee

has remained the same for many years,

although we have raised the on-site

registration fee this year? Save money

and preregister!!

That all members who participate,

present, or attend any part of the con-

ference must register (this includes

college student members, although their

registration fee is waived)? Don't forget

to preregister!

That registration fees cover only a

fraction of all conference expenses? As

an MMTA member, your dues help to

fund your conference, so if you haven't

attended before, come this year – take

advantage of the investment you have

made by joining MMTA!

More Conference-Related Information

Your Vote Counts![Follow-up from the online survey of MMTA members after our last conference]

Thank you to all who participated in the post-conference evaluation survey after last year's conference. It was very helpful

to receive responses from members who did not attend the conference as well as from those who did. Using data from the

survey to narrow the options, we now are asking you to vote again on two important issues about conference scheduling:

1. Would you prefer that the conference be held in

A. AUGUST? or B. OCTOBER?

2. Would you prefer that the conference be scheduled from

A. Friday-Sunday? or B. Sunday-Tuesday?

Please email your vote to Garik Pedersen at [email protected] or mail to Garik Pedersen, MMTA Vice President, De-

partment of Music, Eastern Michigan University, Ypsilanti, MI 48197

As they say in politics:

IF YOU DON'T VOTE, YOU DON'T COUNT!!

Musical Musings

Thoughts on Playing the French Suites, by Louis Nagel

Words of Introduction by David Abbott

Dear MMTA Members and Colleagues:

It is with utmost pleasure that I write a short introduction to the wonderful article by Louis Nagel on Bach's French Suites

that is based on the lecture presentation he recently gave at the MTNA national convention in New York City.

I first met Louis when we sat together on the collegiate piano jury for the East Central District piano auditions about six

years ago. Louis' astute perception on each student as well as the music was a great pleasure to experience. It was a pleasant

surprise to discover how our thoughts on Beethoven as well as much of the playing heard that day were so closely aligned

in musical "synchrony". Louis is always searching for intelligent and honest, communicative playing, and each of our all

too infrequent encounters has been an inspiring experience for me. It is a pleasure to introduce my collegiate colleague's

wonderful comments on the French Suites. I am sure that his insights in music eminently suitable for many students in

your studios will be of great interest to us all.

Thoughts on Playing the French Suites

I have had the rare pleasure of learning and recording the six French Suites of J.S. Bach, and presenting this body of music

as a lecture/performance at the MTNA meetings in New York this past March. The title of my presentation was THE SIX

FRENCH SUITES, BACH’S BON-BONS. In the process of preparing this program, I came to realize what a joy it is to

work on music so full of beauty, logic, challenge and beauty. I mention beauty twice simply because it is the beginning and

ending of this project. The music is beautiful, and my deepening realization of its beauties became something of the theme

of my presentation.

Two of these suites I had learned as a young boy. At fourteen, I did not like the E Major Suite, and balked at learning it

beyond a rather superficial level. In a very belated apology to Grant Graves, the superb and long-suffering teacher who

tried to get me to play the piece with conviction, I can only say you succeeded, but with a bit of a time warp! Dwight

Anderson, the wonderful teacher with whom I studied the G Major Suite as a fifteen-year-old, had better success with me

and I played it with pleasure a few times in recitals before going off to Juilliard. From 1960 to the summer of 2011, I did

not touch the G Major Suite and taught it infrequently. The E-flat and B Minor Suites I learned comparatively recently, and

the first two I knew but casually. So much for the authoritative teacher who plays much Bach! If confession is good for the

soul, I am now in great shape spiritually!

Upon considering these suites as a group and studying them seriously, comparing different sources, experimenting with

different fingerings, thinking about phrasings and articulations and dynamics, I realized how valuable these works are as

teaching repertoire IF THE STUDENT IS READY FOR THEM. And herein lies a problem. When they might well be

assigned in the hierarchy of Bach repertoire, after the Inventions, Sinfonias, and perhaps a few of the simpler Preludes and

Fugues, the student may not enjoy their monotony. After all, without exception, each suite is comprised of several

movements, all in binary form, all within each suite in the same key, and most with relatively thin textures. No rich chords,

no octaves or thirds to show off technical prowess, and no rich swaths of sound to bathe the ears and massage the egos.

This is music whose beauties are subtle. It takes a certain level of maturity to appreciate the dialog among the three voices

that sing throughout the Allemande of the C Minor Suite. The adventure of playing the rich Sarabande of the D Minor Suite

is not an athletic adventure at all, but one rich in dynamic potentials. I think of it as starting quite loud and then diminishing

as it progresses through its forty-eight measures, counting repeats. Arriving at tempo and character of the courantes is

something of a challenge as there are courante, corrente and even gigue styles among the six movements. The Gigue of the

G Major is the virtuoso piece of the entire set, and maintaining throughout a steady tempo and even touch is a formidable

task. But just as interesting a challenge is to decide upon articulations --- all legato, all staccato (my personal choice), or

some stylistically appropriate combination of both. What about coloring this perpetual motion with touches of pedal? How

French Suites cont. on p.14



French Suites, cont. from p.13

shall we structure the crescendi and diminuendi? In other dances, like the menuets or the gavottes, do we ornament repetitions,

and if so, how? Can we be fairly certain that we are adding ornaments that the master himself would have accepted? We cannot

know for sure, but we can take reasonably informed chances if we know some of the repertoire in which ornamentation is

written out. More advanced than these suites, such works as the second movement of the Italian Concerto, or the varied repetitions

found in the Sarabande of the G Minor English Suite, or the Sarabande of the E Minor Partita --- these are pieces that can be

studied if not actually learned, to see how Bach instructed us, his twenty-first century pupils, just what he did when he ornamented

his own music. And most of all, what sort of technical approach gives us the transparency of line? I feel these are worthy and

fascinating problems for a student to confront. And the truth is, the solutions are not etched in stone. When I resurrected the

E-flat Suite from the dust bin of my brain, I found myself wanting to do different things than my impulses from first learning it

several years earlier directed me to do. My ear asked of me a different tempo or a different dynamic level. And the same growth

occurred with the two I had studied when I was in my teens. Bach left us the notes and the challenge to recreate his music as

we re-evaluate our responses to it. Rarely do we have markings telling us interpretively what to do. Titles, meters, and experience

with playing and listening to his music are our guides.

What is it like to perform the French Suites? In a way, little different from performing a Debussy prelude or a Brahms sonata.

That is to say one needs to focus on the music with intense concentration and know it so well that IF we get in trouble (after all

we all are human) we can extricate ourselves without sacrificing the flow and direction of the music. If one listens to Bach both

linearly and vertically, one learns the same skills that guide a performance of Beethoven, Brahms, or Debussy. If one understands

the structure of the music being performed, the road map of sound will be better illuminated. And if one practices not only for

technical mastery, but for AURAL mastery --- that is, to hear WHY each note is where it is and where it is going, the sounds

will come alive with security. That is always the goal of any performance but often we fall short. Listening with understanding

is a critical key to performing any piece of music whether a French Suite, the Emperor Concerto, the Brahms-Handel Variations,

or L’isle Joyeuse.

For me the Suites are exciting to perform and a joy to teach. They are not – as my lecture title humorously implied – “bon-

bons” at all. That they are not the virtuosic works that are the English Suites or the mature and profound compositions that are

the Partitas does not in any way diminish their value as teaching and concert pieces. They were written in all likelihood for

Anna Magdalena, his second wife and true musical partner, who was a good enough harpsichordist to play them. They were

crafted with the same meticulous attention to detail that characterizes his Preludes and Fugues and his other larger works. And

they remain a beautiful part of the repertoire unsurpassed for training the fingers, ears, minds, and souls of today’s pianists and

harpsichordists.

[Note from the Editor: We envision that “Musical Musings” could be a regular column. “But how could that ever be accom-

plished?!,” I hear you ask. I will tell you. We all have favorite parts of the repertoire, sometimes pieces that come with long per-

sonal histories and often anecdotes attached, or just pieces that we love to think and talk about and share with (and occasionally

foist upon) others. Well, write down some of those thoughts and recollections you’re already having about those pieces you al-

ready love and send them to me, and given 700 or so members, each of whom has a long and constantly evolving list of favorites,

voilà, we have a “Musical Musings” column that will go on for decades. Oh, and one last important note, I am hereby making

the executive decision that it’s okay if not every article achieves the almost unfairly high standard set by Louis’ French Suites

article!]

Teacher Education Corners

I’m sure all of you read the Jane Magrath article in the January-February 2011 Clavier Companion issue last year, but I just read it.

I love the concept of sticky ideas. Students love to learn something ‘human’ about a composer. Like the fact that Granados died when

his boat was torpedoed and he jumped out of a life raft to save his wife. A story is at the heart of an effective sticky idea. For an idea

to stick it must never be trite. It must be credible, concrete, clear. It should connect with an emotion and have an element of the

unexpected. At a workshop the clinician suggested making a student stare at you as you begin with “This is for the rest of your life”

and then proceed to give them a sticky idea. Sometimes the sticky idea can be a password to get into the studio next week. In our

own playing we have progressed so far beyond the first years of learning that it is difficult to pare down an idea to a concrete, clear

and profound sticky statement. Do you remember ideas from your teachers that have stuck with you? Have you found successful

ways to make ideas stick with your students? Please send me an email with sticky ideas that you want to share!

Sara Carriere

Teacher Education Chair

Message to Local Presidents (and All Members): Hard Copies of the MMT

This June issue of the MMT is available online as usual, but in addition, a hard copy of this issue is getting mailed to each and every

MMTA member. The remaining three issues of the year, however, are no longer getting mailed out to any members (and have not been

mailed out for a couple of years now). This, of course, has saved MMTA a lot of money, but a friendly reminder can’t hurt that the

system only works if at the same time, local association presidents (or the helpful colleagues to whom they delegate):

a) Determine which of your members either do not use email, or for whatever reason express a strong preference for receiving a hard

copy of each MMT issue, and

b) create an appropriate “infrastructure” whereby these members are able to receive said hard copies of each issue. Thank you!

MTNA Student Competitions Changes

Beginning in the upcoming 2012–2013 year, the following changes will take place:

• Application deadline is 3:00 p.m. Eastern time on September 12, 2012.

• Current membership dues for MTNA or a nonmember teacher fee must be paid prior to accessing the competition application.

• Compositions will be uploaded online as PDF files. Scores are NOT to be mailed.

For complete competition information, visit www.mtna.org.

SAT Semi Finals Online Registration

Thank you to all those who used or tried to use the new online registration for SAT semi-finals in 2012. A survey is still available for

those who used the online system, at this address:

http://www.michiganmusicteachers.org/members/semifinalsSurvey-teachers.php

The District chairs and the State Finals Chair appreciated having most of the entries done online. The reduction in paperwork sent

through the mail, as well as the reduction of incomplete or difficult-to-read hand entries made the job easier at both the Semi Finals and

the State Finals. I know some of us tried the online registration and had difficulties. To my knowledge, these difficulties were addressed

and resolved quickly. Some changes to the registration process are in the works for next year, most notably the feature of an intermediate

save, so some of the data can be entered, saved, and added to at a later time.

The District and State Semi Finals chairs are meeting this summer to discuss the registration process. If there are concerns that we

don’t yet know about, please email me, and that issue will be put on the agenda.

Sincerely,

Eric Van De Vort

MMTA Technology Chair

[email protected]

SAT Rules Changes and Clarifications for 2013

All students entering SAT must perform new repertoire each year.

Students must perform complete pieces for SAT.

For example, students must play all variations in a set of theme and variations.

All teachers entering students in the Semi-Finals next year will be required to work

or find a qualified substitute.

Diana Munch, SAT Coordinator

Margarete Thomsen, SAT Auditions Chair


In Memoriam

Evelyn Joan Evon, music teacher, choral director, pianist, accompanist, administrator, mentor, professional

colleague, spiritual guide and treasured friend.

Evelyn received her masters degree from Teacher’s College at Columbia University and did post-graduate work

at the University of Michigan, Indiana University, and at the Mozarteum in Salzburg, Austria. A woman with

many lives, Evelyn began her career as Sister Marie Madonna, a Dominican Sister, teaching music and religion

classes, directing choirs, and producing Broadway musicals at St. Alphonsus High School in Dearborn, Michigan.

Choir students from her years of teaching at Colegio Santo Domingo in the Dominican Republic have kept in

touch with her for many years and still sing the music she taught them. During her college teaching career,

Evelyn taught piano, piano pedagogy, music theory and ear training. Her collegiate music instruction included

Siena Heights University in Adrian, Michigan; Barry College in Miami, Florida; Marygrove College in Detroit,

Michigan; and Stetson University in Deland, Florida.

After she became Mrs. Evelyn Evon and moved with her husband to Novi, Michigan in the late 1970’s, her

impressive resume arrived on my desk at Marygrove College, where I (Sue) was in my early years of teaching

and chairing the music department. I soon had the pleasure of hiring this seasoned teacher and former music

department chair at Barry College. Bringing her rich experience in teaching, administration, diplomacy and

human relations, Evelyn nurtured, mentored, and graciously supported me and the other department faculty as

we began our careers. I was delighted to see her move into the position of music department chair. Her spirit,

energy, wisdom, and “deep love of life” brought our faculty and students together in a genuine, synergistic,

musical community. While at Marygrove, she performed as a duo pianist with Huw Lewis, and also accompanied

the Marygrove Chorale and the Ford Chorus under the direction of Dr. Lee Riggins. I learned so much about

life and joyful living from Evelyn. I will continue to feel her spirit and influence with me always.

As Evelyn retired from college teaching she directed her musical activity to the Livonia Piano Teachers Forum,

private piano teaching, and frequent duet and duo piano performances with me (Diana). I got to know Evelyn

Evon when she was LAPTF President, and I decided that I wanted to get more involved with SAT. Shortly after

that, we performed in a piano quartet for a LAPTF fundraising event, and she asked me if I’d like to be her two-

piano and piano duet partner. We did many performances from 1999 until 2010. Usually we played in Tuesday

Musicale and Friends of Four Hands programs, but we also performed three full-length concerts. Evelyn also

helped me by conducting my church choir, and we often played piano duets for church services. She was my

good friend and duet partner who never let us miss a week of practicing our duets and two-piano music unless

it was absolutely necessary! Even though Evelyn stopped performing in public after the spring of 2010, the two

of us got together to practice duets weekly. Our last rehearsal was two weeks before she passed away, which I

think is a testimony to her desire to keep as active as possible and to keep music in her life. I will really miss

her.

She was an inspiration to all whose lives she touched, and made a deep impression on her students, who continue

her legacy. One of her students from her teaching days at St. Alphonsus in Detroit came to visit her every year

when he returned from Poland to the Detroit area each summer. Some of the other words students have used to

describe her were “an excellent musician”, “kind”, “caring”, “joyful”, “elegant”, “classy”, “a fine teacher” with

a “love of music and a passion for vocal music”. While living in Farmington Hills, Michigan, she taught piano

lessons in her home until February of this year, less than two months before she died.

Written by Diana Munch and Sue Vanderbeck Lenz


mmt june 2012

Documents