7th Singapore Performers' Festival & Chamber Music Competition 2018

18 Jun, 2018 12:00am - 24 Jun, 2018 12:00am

Organized by

THE SINGAPORE MUSIC TEACHERS’ ASSOCIATION

(FOUNDED 1966)

 Reach for the Star in You!

A performing platform to showcase your talent before a live audience & an international adjudicating panel

Open to all ages & levels (overseas participants are welcome)

Choose your own repertoire & perform

Online registration: 7th–30th April 2018

Click here to register.

 

Categories of Performers' festival
Chamber Music Competition
Our Sponsors
ABOUT THE PERFORMERS' FESTIVAL
FESTIVAL OBJECTIVES
HIGHLIGHTS OF THE FESTIVAL
1. CATEGORIES OF PERFORMERS' FESTIVAL
2. CHAMBER MUSIC COMPETITION
3. ADJUDICATION
4.  AWARDS & AWARDS DESCRIPTORS
5. STRING AWARDS: HAND-CRAFTED BOWS by Paul Goh & $1,000 Cash Voucher from Belcanto Violins
6.  SCHOLARSHIP AWARDS
7. ANNOUNCEMENT OF AWARDS RECIPIENTS
8.  GALA CONCERT & AWARDS CEREMONY (Day 7)
9.  PERFORMANCE REPERTOIRE & REQUIREMENTS
10. COMPOSITION ENTRANCE GUIDELINES  New!
11. MASTERCLASSES
12. WORKSHOPS / PANEL DISCUSSIONS (TBA)
13. VENUE INFORMATION, ACCOMMODATION SUGGESTIONS & GETTING AROUND SINGAPORE
14. EXTERNAL PRACTICE VENUES
15. DATES & REGISTRATION INFORMATION
16. REGISTRATION FEES
17. AUDIENCE & ADMISSION
18. TERMS & CONDITIONS OF PARTICIPATION
19. UPDATES & ANNOUNCEMENTS
20. ENQUIRIES
21. ​DESCRIPTIONS OF WORKSHOPS & PANEL DISCUSSIONS
22. TERMS & CONDITIONS OF COPYRIGHT LICENCE

Categories of Performers’ Festival

Piano

  Solo, Duet (1 Piano)
Strings   Violin, Viola, Cello, String Duo
Voice   Solo
Composition   Instrumental, Vocal (Solo or Ensemble) NEW!

Chamber Music

 

Three or more instruments (no age restriction, non-competitive)

 

Chamber Music Competition (age 18 & below)

Piano trio/quartet/quintet

String trio/quartet/quintet

 

OUR SPONSORS

Venue Sponsor & Supporter   Piano Sponsor & Supporter   Chamber Music Competition Prize Sponsor Bow Award Sponsor
   
Violin and String Composition Sponsor       Concerto Award Sponsor  
       

ABOUT THE PERFORMERS' FESTIVAL

MUSIC FIRST!

Initiated in 2006, the specially curated biennial Performers’ Festival (PF) aims to encourage and promote a life-long love for music while providing musicians of all ages and abilities a public platform to showcase their talents before a live audience.

One of the key aspects that makes the Performers' Festival unique is adjudication based on each individual participant's playing standards with regards to the music performed. It is not based on age or difficulty of the music, nor is it based on comparing, competing and eliminating performers like typical music competitions.

On the contrary, the Performers’ Festival advocates the belief that music is for everyone and that the learning of music is not restricted to any specific age group. Each individual's starting point in music learning and training, and each person's progress and learning curve is not uniform.

Learning music is not a race, nor is it about crossing a ‘finish’ line or 'completing' grades, a popular notion that has resulted from the grades 1 to 8 music exam system. When one begins a journey learning an instrument, let it be music first, which reaps creativity, intellect, physical coordination, discipline, bonding, spiritual fulfillment, release of emotion, expression, and personal enjoyment.

Thus, Performers’ Festival provides a platform for all music makers, young and old, to experience and celebrate the sheer joy of music making, and share their music publicly among family, friends, and the community.

Take on a 'competition' with yourself and NOT against someone else. The level of challenge is set by the piece(s) that you choose. So be it Twinkle, Twinkle Little Star or Balakirev's Islamey, it is about how best and convincingly you play the piece. The adjudication (together with constructive feedback) not only allows the performer to push oneself to one's personal best, but more importantly to reinstate the emphasis on MUSIC FIRST, rather than ‘exams first'. You are the winner in music and competition when you are capable of showcasing your personal best and passion in creating music. See you at the festival!

 

FESTIVAL OBJECTIVES

Benefits for the Student

The Festival helps build bridges from the weekly studio lesson to the concert stage. It allows participants to experience greater self-confidence and a sense of accomplishment. In turn, they can be motivated to achieve future goals at their own pace.

 Benefits for the Teacher

The Festival also offers teachers a stimulating new way to present their students in a real performance setting (without the pressure of a competition where participants are being compared and eliminated from others, or the sterile, closed-door nature of graded exams), fuelling their passion for music-making and experiencing the thrill of the concert stage.

 

     
         
   

Past Performers’ Festival Information

6th Singapore Performers’ Festival and Chamber Music Competition 2016

5th Singapore Performers’ Festival and Chamber Music Competition 2014

4th Singapore Performers’ Festival 2012

 

HIGHLIGHTS OF THE FESTIVAL

 Handcrafted bows by Paul Goh

The most deserving Violin, Viola and Cello performer, whose teachers are SMTA members OR are members themselves, will each be awarded a customised hand-crafted bow (total value of US$15,000) by Singapore’s first and only award-winning Archetier (bowmaker), Paul Goh.

 

 

Forte Musicademy Chamber Music Competition Prize

The TOP THREE winning groups shall receive cash prizes of $800, $500 & $300 respectively.

 The FIRST prize group will be invited to perform at the Gala Concert.

 

Scholarships will be awarded to selected outstanding Platinum performers whose teachers are SMTA members or who are SMTA members themselves.

 

Yong Siew Toh Conservatory of Music (Venue Partner)

The Performers’ Festival gives you the unique opportunity to perform at the prestigious Yong Siew Toh Conservatory of Music, National University of Singapore.

 

Belcanto Violins

Two outstanding violinists and one outstanding Singapore-inspired string composition or arrangement will be awarded a cash voucher of $1,000 each for purchasing of instruments or bows at Belcanto Violins.

The Belcanto Composition/Arrangement work will be featured at the Gala Concert.

(Only SMTA members OR students of SMTA members are eligible for the consideration)

 

Opportunity to Perform with Orchestra at Victoria Concert Hall

During the upcoming 7th Performers’ Festival, adjudicators shall be recommending the most outstanding performer(s) to collaborate with the Kids’ Philharmonic orchestra. They are the premier Orchestra for young children in Singapore led under the baton of Maestro Luo Wei (Music Director). Venue: VCH. Date: TBA.

Please note that to qualify for this opportunity, the choice of a concerto work (or any orchestra work with soloist) written in its originality must be undertaken and presented as repertoire during the festival.  Such works are to be performed with piano accompaniment in lieu of the orchestra.  All Pianists participants will be considered for this opportunity and have a free choice of music repertoire. (Concerto/orchestral works will not be advisable to be presented for the piano category due to having only a single piano available during the festival. However, if a pianist participant is chosen, he may present with the orchestra, a solo work with orchestra of his choice.)

 

 

   

Video Recording of your Performance

To commemorate your special moment, participants will have a complimentary professionally recorded video recording of their performance which may also serve as their music portfolio or for audition purposes.

 (Any type of unauthorized videography, recording or photography when the Festival is in session is STRICTLY not permitted so as not to interfere with the official videography.)

 For SMTA members: Complimentary SMTA Membership

Members will enjoy complimentary 2-year SMTA membership (2019 and 2020) when he/she registers 10 or more students for the PF.

To qualify, membership validity must be up-to-date prior to Festival registration.

New memberships approved after submitting PF registration will not qualify.

Member’s name cannot be added to the PF registration after submitting the PF registration.

If your membership has lapsed (i.e., not renewed by Jan 31st), you need to reapply as a new member (Entrance Fee applies).

Platinum and Gold recipients’ names and their teachers’ names will be listed on the SMTA website.

To sign up for new membership, please visit www.smtasingapore.com.

 

1. CATEGORIES OF PERFORMERS' FESTIVAL

The festival is open to the public (local & overseas, SMTA members & non-members) of all ages (children and adults) and all levels. The categories are:

Piano   Solo, Duet (1 Piano)
Strings   Violin, Viola, Cello, String Duo
Voice   Solo (BACK BY DEMAND!)
Composition   Instrumental, Vocal (Solo or Ensemble) NEW!
Chamber Music  

Any combination of three or more instruments
(No age restriction, non-competitive)
Get your friends or family members together and form a group!

 

2. CHAMBER MUSIC COMPETITION

Participants must be age 18 and below.

 

Piano Trio

One piano & any 2 bowed-string instruments

Piano Quartet

One piano & any 3 bowed-string instruments

Piano Quintet 

One piano & any 4 bowed-string instruments

String Trio

Any combination of 3 bowed-string instruments

String Quartet

Any combination of 4 bowed-string instruments

String Quintet

Any combination of 5 bowed-string instruments 

 

Forte Musicademy Chamber Music Competition Prize

http://www.fortemusicademy.com/

 The TOP THREE winning groups shall receive cash prizes of $800, $500 & $300 respectively.

 The FIRST prize group will be invited to perform at the Gala Concert.

 

3. ADJUDICATION

For the Festival, a panel of two adjudicators will adjudicate each category. You will receive constructive written feedback from internationally renowned musicians based on how well you perform your chosen music. The evaluation is not based on how you play in comparison with another performer, nor will it take into consideration the age of the performer or the difficulty of the music.

 

Adjudicators

Piano Adjudicators

Dr Nopanand Chanorathaikul

Dr Dean Kramer

Dennis Lee

Dr Roger Lord

Dr Scott McBride-Smith

Dr Marc Rochester

Chee-Hung Toh

Dr Claire Wachter

 

String Adjudicators

Dr Michael Hall

Li-Wei Qin

Dr Goetz Richter

Dr Elizabeth Sellars

Maestro Joshua Tan

Leslie Tan

 

Voice Adjudicators

Lilith Verhelst

Dr Misook Yun

 

Composition Adjudicators

Dr John Sharpley

Eric James Watson

 

Guest Speakers

Dr. Greg Petersen

Click here for adjudicators’ pictures and bios

PIANO

·         Dr Nopanand Chanorathaikul: Pianist, Lecturer, Adjudicator (Thailand)

·         Dr Dean Kramer: Professor of Piano, University of Oregon (USA)

·         Dennis Lee: Pianist, Lecturer, Adjudicator (UK)

·         Dr Roger Lord: Professor of Piano, University of Moncton (Canada)

·         Dr Scott McBride-Smith: Professor of Piano Pedagogy, University of Kansas (USA)

·         Dr Marc Rochester: Music Lecturer, Yong Siew Toh Conservatory of Music (Singapore)

·         Chee-Hung Toh: Pianist, Lecturer, Adjudicator (UK)

·         Dr Claire Wachter: Professor of Piano and Piano Pedagogy, University of Oregon (USA)

STRING

·         Dr Michael Hall: Violin & Viola Faculty, VanderCook College of Music (USA)

·         Li-Wei Qin: Associate Professor of Cello, Yong Siew Toh Conservatory of Music (Singapore)

·         Dr Goetz Richter: Associate Professor of Violin, Sydney Conservatorium of Music (Australia)

·         Dr Elizabeth Sellars: Violin Faculty, Monash University (Australia)

·         Maestro Joshua Tan: Associate Conductor, Singapore Symphony Orchestra (Singapore)

·         Leslie Tan: Artist Faculty Cello, Yong Siew Toh Conservatory of Music (Singapore)

VOICE

·         Lilith Verhelst: Adjunct Voice Teacher, School of the Arts Singapore (Singapore)

·         Dr Misook Yun: Professor of Voice, Youngstown State University (USA)

COMPOSITION

·         Dr John Sharpley: Composer, Performer, Lecturer (Singapore)

·         Eric James Watson: Lecturer, Nanyang Academy of Fine Arts (Singapore)

 GUEST SPEAKERS

·         Dr. Greg Petersen: Associate Professor of Humanities, Yong Siew Toh Conservatory of Music (Singapore)

 

4.    AWARDS & AWARDS DESCRIPTORS

 

4.1 Based on your performance, participants shall qualify for one of the five levels of awards:

Certificate of Participation

Bronze

Silver

Gold

Platinum

 

 4.2 AWARDS DESCRIPTORS FOR PERFORMANCES

PLATINUM

GOLD

SILVER

BRONZE

CERTIFICATE OF PARTICIPATION

 4.3 Platinum and Gold Recipients

 4.4 All participants will receive Adjudication Reports, Certificates and Video Recordings.

 

 5.    STRING AWARDS: HAND-CRAFTED BOWS by Paul Goh & $1,000 Cash Voucher from Belcanto Violins

 

 

1. Paul Goh Bow Awards

Adjudicators will propose the most deserving Violin, Viola and Cello performer who will each be awarded a personally customised hand-crafted bow (worth a total of more than US$15,000) by Singapore’s first and only award-wining Archetier (bow maker), Paul Goh.

 

Paul Goh Seach Joo

Singaporean Archetier

Trained in bow-making at Violin Making School of America
www.singaporeviolinbow.com

An accomplished violinist and violist, Paul was trained in the finest tradition of French bow making that traces back to the legendary archetier, Tourte. Paul has distinguished himself among his peers in an astonishingly short period of time.

~ ACCOLADES ~

"I see you surpassing me as a bowmaker." Paul S. Prier Headmaster (Bow-making School of America)

 "…the next bowmaker to look out for." Morgen Anderson (Master bow-maker, USA)

"Bravo!" Stephane Thomachot (Master bow-maker, France)

 

2. Belcanto Violinist Awards

Adjudicators will select and award two outstanding violinists a $1,000 cash voucher each to purchase instruments or bows from Belcanto Violins.  https://belcantoviolins.com/about/

 

 

 3. Belcanto String Composition Award

Adjudicators will select and award the best Singapore-inspired string composition/arrangement a $1,000 cash voucher to purchase instruments or bows from Belcanto Violins.

The Belcanto Composition/Arrangement work will be featured at the Gala Concert.

(Only students of SMTA members OR participants who are members themselves are eligible for all the above awards.)

 

6.    SCHOLARSHIP AWARDS

 At the discretion of the organisers, scholarships will also be awarded (not for Chamber Music Competition) to selected outstanding Platinum recipients* who show potential for further development. Recipients can receive a maximum of ONE scholarship, regardless of the number of entries in the SAME category (for e.g. Solo Piano) that they enter for.

*Only students of SMTA members OR participants who are members themselves are eligible to be considered for these scholarships. Music students who are already on scholarships are not eligible.

 Academic School Membership (ASM)

Academic schools* can apply as members under “Academic School Membership” (ASM). Students of the member school will be considered as students of ASM members. Please propose to your school to apply for ASM membership if it is not a member yet.

*“Academic schools” refer to Primary, Secondary and Tertiary institutions, schools that offer Music Elective Programme (MEP), and music institutions such as School of the Arts (SOTA), LaSalle College of the Arts, Nanyang Academy of Fine Arts (NAFA) and Yong Siew Toh Conservatory of Music, NUS.

 Join the SMTA!

Please visit http://www.smtasingapore.com/member-application for details and online application.

 

7. ANNOUNCEMENT OF AWARDS RECIPIENTS

7.1 Announcement of Awards Recipients

Only recipients’ names for the following awards will be announced on DAY 6 on the SMTA website.

 7.2 Important Notice

 7.3 Silver, Bronze and Certificate of Participation recipients will receive certificates.

 

8.    GALA CONCERT & AWARDS CEREMONY (Day 7)

Outstanding performers, best composition/arrangement, and the winning group of the Chamber Music Competition will be featured in the Gala Concert on Day 7.

 

9.    PERFORMANCE REPERTOIRE & REQUIREMENTS

 9.1 Repertoire

9.2 Repeats

 9.3 Scores

 9.4 Online E-Program Notes and Bios on Festival Website (NEW!)

 9.5 Accompanists

 9.6 Memorization

 9.7 Duration

 9.8 Entries

9.9 Performance Attire & Etiquette

 

10. COMPOSITION ENTRANCE GUIDELINES  New!

 Calling all novice and budding composers/performers of all ages

 10.1 Objectives

 10.2 Theme of Composition

The theme for this inaugural composition category is: 'SINGAPORE'.

10.3 Gala Concert

Any composition or arrangement deemed outstanding by the adjudicators will be featured in the Gala Concert & Awards Ceremony.

10.4 Composition

 10.5 Arrangement

S/N

Song

Composer

Lyricist

1

Stand Up For Singapore

Hugh Harrison

Hugh Harrison

2

Count On Me Singapore

Hugh Harrison

Hugh Harrison

3

We Are Singapore

Hugh Harrison

Hugh Harrison

4

One People, One Nation, One Singapore **

Jeremy Monterio

Jim Aitchison

5

It's The Little Things

Patrick Seet

Ivan Chua

6

My Singapore Story **

Jeremy Monteiro

Jim Aitchison

7

Moments of Magic

Ken Lim

Ken Lim

8

Together

Ken Lim

Ken Lim

9

We Are The Ones

Clement Chow

Clement Chow

10

Shine On Me

Jim Lim

Jim Lim

11

Where I Belong

Tanya Chua

Tanya Chua

12

A Place In My Heart

Kevin Quah

Kevin Quah

 10.6 Performance

10.7 Adjudication

10.8 Scores and Write-Up

 10.9 Awards Descriptors for Composition

 PLATINUM

GOLD

SILVER

BRONZE

CERTIFICATE OF PARTICIPATION

 10.10 Belcanto String Composition/Arrangement Award

Adjudicators will select and award the best Singapore-inspired string composition/arrangement a $1,000 cash voucher to purchase instruments or bows from Belcanto Violins.

The Belcanto Composition/Arrangement work will be featured at the Gala Concert.

 

11. MASTERCLASSES

Participants will have the opportunity to work and hone their skills with their respective adjudicators in open-masterclasses.

11.1 Open-Masterclasses with Adjudicators (Solo, Chamber, Composition)​

 11.2 Masterclass Fees

 

12. WORKSHOPS & PANEL DISCUSSIONS

12.1       Performance & Pedagogy Conference

The workshops and panel discussions are specifically tailored to address both performance interpretation and teaching matters. Thus, it is a “Performance & Pedagogy Conference”

 

12.2        Who may attend?

Open to all music students and teachers, regardless if they participate in the Performers’ Festival

 

12.3        Certificate of Attendance

Those who register for all sessions will be given a Certificate of Attendance.

 

12.4        Workshop Topics

 

12.4.1    Performance Workshops: Piano (Dr. Dean Kramer & Dr. Claire Wachter)

Monday – Wednesday  9:00 – 10:15

  1. The Four Chopin Ballades (Kramer)
  2. The Art of Interpretation in Beethoven Sonatas (Kramer)
  3. The Fantastic Sound-World of Claude Debussy (Kramer–Wachter)
  4.  

12.4.2    Pedagogy Workshops (Dr. Scott McBride Smith)

Monday – Wednesday  11:45 – 13:00

  1. Preparing Students to Handle Stage Fright
  2. Motivation: Get Your Students to Work Harder and Achieve More
  3. Memorization: Psychological Data and Some Practical Advice
  4.  

12.4.3    String Workshops

Thursday  9:00 – 10:30; 12:00 – 13:30

  1. The Violinist's Toolbox for Effective Practice - Strategies to Improve Tone, Intonation and Co-ordination Quickly (Dr. Goetz Richter, Violin)
  2. Avoiding Injury - Using Efficient Technique to have a Lifetime of Joy Playing your Instrument (Dr. Michael Hall, Violin)
  3.  

12.4.4    Music Workshops

Monday – Thursday  10:30 – 11:30

  1. Critical Thinking: Becoming and Creating Independent Learners and Performers (Dr. Greg Petersen)
  2. Music Exam: What’s Wrong with Them (Dr. Marc Rochester)
  3. Unleashing Your Creativity through Music (Dr. John Sharpley)
  4. Programme Notes – Why do we need them and how do we write them? (Dr. Marc Rochester)
  5.  

12.5       Panel Discussions (Saturday)

  1. Between the Practice Room and the Stage
  2. Student-Teacher-Parent: Finding Equilibrium in Triangulum
  3. The Portfolio Musician in the 21st Century
  4.  

12.6       Descriptions of Workshops & Panel Discussions

                Refer to #21

12.7        Schedule

 

 

Mon (RS)

Tue (RS)

Wed (RS)

Thu (Sem1)

Sat (Panel Discussion)

9:00 –10:15

Performance

Workshop

Kramer-Wachter

Kramer

Kramer-Wachter

9:00–10:30

Richter (string)

9:00–10:30

Between the Practice Room and the Stage

10:30 – 11:30

Music Workshop

Petersen

Rochester

Sharpley

10:45–11:45

Rochester

10:45–12:15

The Portfolio Musician in the 21th Century

11:45 –13:00

Pedagogy

Workshop

Smith

Smith

Smith

12:00–1:30

Hall (string)

12:30–2:00

Student-Teacher-Parent: Finding Equilibrium in Triangulum

12.8        Venue

 

12.9        Fees

Member’s Rate

Non-Member’s Rate

  • $50 for one single day
  • $120 for all sessions
  • $100 for one single day
  • $240 for all sessions

 

13. VENUE INFORMATION, ACCOMMODATION SUGGESTIONS & GETTING AROUND SINGAPORE

Venue: Yong Siew Toh Conservatory of Music (National University of Singapore)

3 Conservatory Drive, Singapore 117376

Location Map & Directions: www.music.nus.edu.sg

Please click here for more information about the venue, accommodation suggestions, and how to travel around Singapore.

Facade & entrance to YSTCM

Concert Hall, Level 1 - Gala Concert & Awards Ceremony (Day 7)

Orchestra Hall, Level 3

Steven Baxter Recital Studio, Level 1

 

14. EXTERNAL PRACTICE VENUES

Rehearsal and practice rooms are not provided at the Festival. The event runs continuously each day. Please contact external music studios to enquire if you need practice facility. YSTCM does not rent out practice rooms. Please do not contact them.

Yamaha Music School @ Clementi Avenue 3 (nearest to YSTCM)

Tel: +65 6740 9361

http://sg.yamaha.com/en/support/contacts/branches_contacts/

 

 

15. DATES & REGISTRATION INFORMATION

15.1 Registration

 Online registration: 7th – 30th April 2018

www.spf.smtasingapore.com

 Hard copy of registration form IS not accepted

15.2 Performance Day & Session

You can request for your choice of day and session (see below) on the form. This is subject to availability and on a first come, first served basis. This is not a guarantee but SMTA will endeavor to fulfill your request.

15.3 Schedule

 

Day 1–5   Solo Piano and 1 Piano, 4 Hands
Session 1: Morning
Session 2: Afternoon
Session 3: Evening/Night
Day 2   Composition
     
Day 4 & 5  

Violin

Session 1: Morning
Session 2: Afternoon
Session 3: Evening/Night

Day 5  

Viola

Cello

Solo Voice

Day 6  

Chamber Non-Competition

Chamber Competition

Day 7  

GALA CONCERT & AWARDS CEREMONY

2:00 - 5:00 pm

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

15.4 Public admission

Free public admission for the Festival performances & Gala Concert.

15.5 Students of SMTA Members

15.6 Reporting Letter    

15.7 Amendments         

 15.8 Accuracy of Details              

 

16. REGISTRATION FEES

 16.1 Registration Information:

 

16.2 For Performers’ Festival:

DURATION

SOLO CATEGORIES

1 Person

(Piano/Violin/Viola/Cello/Voice)

PIANO DUET
STRING DUO

2 persons

1st 10-minute block SGD $190

SGD $200

($190+10)

 

16.3 For Chamber Groups:

DURATION

TRIOS

3 persons

QUARTETS

4 persons

QUINTETS

5 persons

1st 10-minute block

SGD $210

($190+$20)

SGD $220

($190+$30)

SGD $230

($190+$40)

For piano duet, trios, quartets and quintets, each subsequent participant pays an additional $10 each.

16.4 For Composition:

DURATION

SOLO

 

DUO

2 persons*

3 or more persons*

1st 10-minute block

SGD $190

SGD $200

($190 + $10)

SGD $210

($190 + $20)

*According to the number of participants in performance

16.5 Each subsequent 5-minute block of extension: SGD$95

Example of extension of time for SOLO: 15-minute block $190 + $95 = $285
  20-minute block $190 + $95 + $95 = $380
Example of extension of time for TRIO: 15-minute block

$210 + $95 = $305

16.6 Only credit card payment via PayPal is accepted. (You do not need a PayPal account.)

 

 17. AUDIENCE & ADMISSION

 17.1 Promoting, publicizing and getting audience to your performance is just as essential as preparing for your own performance. Hence, participants are encouraged to invite family and friends to come and support their performance. It is also an opportunity for participants to benefit from watching fellow performers as well as to interact and forge new friendships.

17.2 Free public admission to watch the Festival performances and Gala Concert & Awards Ceremony. Seats are available on a first-come-first-serve basis.

17.3 Entry and exit are permitted only at appropriate times during the performance.

 17.4 Out of respect to other audience members, children under the age of 6 will not be allowed admission.

17.5 Any type of unauthorized videography, recording or photography when the Festival is in session is STRICTLY not permitted so as not to interfere with the official videography. 

 

18. TERMS & CONDITIONS OF PARTICIPATION

 By submitting the entry form, the participant agrees to all of the Festival regulations as well as the following terms and conditions:

a. The registration fee is neither refundable nor transferable.

b. The Singapore Music Teachers’ Association (the “Organiser”) reserves the right to cancel the event or any categories if due to insufficient participants or any unforeseen circumstances. As such, the registration fee will be refunded.

c. The Participant consents to allowing the Organiser to record all or part of the Festival and related activities for broadcast and promotional purpose without any payment to the Participant. The Participant grants to the Organiser the exclusive rights to the recorded materials and pictures.

d. Participants must report to the Festival steward at the REPORTING TIME. Participants who arrive later than their scheduled time may be disqualified. 

e. Participants and supporters of Participants shall not communicate with or seek influence over the Adjudicators.

f.  The decisions of the Adjudicating Panel, acting on the Organiser’s behalf, are final.  No discussion or correspondence will be entertained.

g. Any type of unauthorized videography, recording or photography when the Festival is in session is STRICTLY not allowed so as not to interfere with the official videography.

h. The Participants agree to indemnify the Organiser against any injuries or damages occurred at the Festival.

i. The Organiser reserves the right to amend the Information, Rules, Terms and Conditions of the Festival without prior notice.

 

 19. UPDATES & ANNOUNCEMENTS

All updates and announcements will be posted on the SMTA website www.spf.smtasingapore.com.

 NOTE: It is the participant’s responsibility to check the website regularly for updates and announcements.

 

20. ENQUIRIES

 All enquiries are to be directed to the organiser, SMTA

 Dr Koo Siaw Sing (President)

The Singapore Music Teachers’ Association

7thSPF@smtasingapore.com

 

Info is correct @ time of printing & subject to changes w/o prior notice

 We look forward to your participation!

21. DESCRIPTIONS OF WORKSHOPS & PANEL DISCUSSIONS

21.1        PIANO WORKSHOPS (Dr. Dean Kramer & Dr. Claire Wachter)

The Four Chopin Ballades (Kramer)

In this presentation, Dean will discuss the new narrative forms that Chopin created for the Ballades. He will explore ways of interpreting this music based on motivic and thematic structure and the specific details and terms that Chopin uses in the score. Dean will demonstrate extensively at the piano.

The Art of Interpretation in Beethoven Sonatas (Kramer)

In this presentation, Dean poses  three challenges that each pianist must consider in the art of interpretation: the necessary, the possible, and the personal. Dean will explore these elements in the context of selected Beethoven's sonatas, with special emphasis on the personal. He will discuss personal elements, such as the "adjectives of emotion," or sound, that we can bring to the music while playing; music written for a medium other than piano as an interior part of interpretation; and the intention or "will" of making music with depth and meaning.

The Fantastic Sound-World of Claude Debussy (Kramer–Wachter)

This presentation honors the centenary of Debussy’s final year (1918-2018) and will show how Debussy created his special “sound-world” for the piano in works such as Pour le Piano, Estampes, Images I and II, and others. The presenters will give special insights into the interpretation of Debussy’s sound-world through historical context, imagery, harmonic language, tone production, and the imaginative use of pedal.

 

21.2        PEDAGOGY WORKSHOPS (Dr. Scott McBride Smith)

Preparing Students to Handle Stage Fright

Stage fright doesn’t sound so scary any more in this interactive workshop in which participants learn practical, hands-on methods for coping with nerves. The session will include actual case studies and teaching techniques. Attendees will receive a handout filled with up-to-date information and a list of proven survival strategies.

Motivation: Get Your Students to Work Harder and Achieve More

“If people take anything from my music, it should be motivation to know that anything is possible as long as you keep working at it and don’t back down.” Eminem

Marshall Bruce Mathers III, a fatherless high school dropout who was bullied at school, had the motivation to become Eminem, the top-selling song artist of the 2000s. Are you and your students equally inspired? You can be! Join Scott for a research-based and anecdote-filled overview on the art of motivation, with many practical tips that will get your students achieving more—immediately!

Memorization: Psychological Data and Some Practical Advice

“Does it really matter if you got it right? Does it really matter what was wrong or right? (yeah)”

The Backstreet Boy “Memories” (2005)

Playing from memory. It’s easy for the Backstreet Boys to sing about it, but we piano teachers know that it’s not so easy to do. Join Scott for an enlightening look at the history of memorization, along with some practical tips to make memorization skills a strong point of each of your students.

 

21.3        STRING WORKSHOPS

The Violinist's Toolbox for Effective Practice - Strategies to Improve Tone, Intonation and Co-ordination Quickly (Dr. Goetz Richter, Violin)

Effective and enthusiastic practice is perhaps the most important activity a violinist (and any musician for that matter) needs to learn. This workshop will remind us about some fairly fundamental principles of performance, human learning, and development as they are applied to violin playing. With the help of workshop participants I will show ways of improving performance notably and quickly through clear attention and affirmation, somatic understanding, clear visualisation and imagination and rhythmic organisation. Areas discussed will include co-ordination, tone production, phrasing and expression, intonation accuracy and reliability and selected instrumental techniques. The workshop will cover all relevant aspects of learning and practice. It will ultimately show how we can transform practice into an exciting discovery and profound process of learning.

Avoiding Injury - Using Efficient Technique to have a Lifetime of Joy Playing your Instrument (Dr. Michael Hall, Violin)

Together we will explore how to make your playing more convincing - technically and emotionally. Learn concepts applied from the Alexander Technique and the Coordination Technique, by noted string pedagogue Karen Tuttle. If you have concerns with endurance, pain, physical frustration, or emotional detachment from the music then this workshop is for you. Open to all string players.

 

21.4        MUSIC WORKSHOPS

Critical Thinking: Becoming and Creating Independent Learners and Performers (Dr. Greg Petersen)

Who were and are some of the most important music makers? Who were their teachers, and how did they become more influential than their teachers? What if instead of focusing on music theory, technique, and sound production, we focus on what is happening in the brain? In this presentation we will discuss stages of development in thinking, regardless of age, and how these apply to music making and the music industry. We will also discuss the stages of critical thinking and how to use them for effective practice and performance, including how other people use them to overcome nervousness and stage fright. Throughout our time together, we will explore the importance of intellectual curiosity and asking questions so that you and your students can use your intellect to reach your full musical potential.

Unleashing Your Creativity through Music (Dr. John Sharpley)

“Tones sound, and roar and storm about me until I have set them down in notes.” Ludvig van Beethoven

These “tones” as mentioned by Beethoven inevitably come from one’s interior mindscape well before any note of an intrument or voice is composed or sounded. Creativity embraces a living bridge between the infinite and the finite. As musicians, how do we do this?  Can we do this? This sometimes interactive presentation will construct mutlitple models through lecture and demonstration that may be useful for the creative process. It is the dichotomy of Chaos (right brain) and Order (left brain) in which the heart of the creative process resides. Both the triggering and the hampering of creativity would be discussed and explored. Under the best of conditions, craft arises as a by-product of creativity, a way to “ride the storm”.

Graded exams – What’s wrong with them? (Dr. Marc Rochester)

With around 10% of all candidates for graded music examinations worldwide coming from Singapore, and with the Singapore Government itself regarding certification from London-based examination boards as pre-requisites for music teachers, this workshop looks into the real value of graded music exams as both an educational and musical tool.  Marc Rochester assesses the strengths and weaknesses of the system and asks whether its dominance in Singapore music education is beneficial or even desirable, and whether the time has come for a more relevant, locally-focused alternative.

Programme Notes – Why do we need them and how do we write them? (Dr. Marc Rochester)

Programme notes are a vital link between the music, the performer and the audience, providing an invaluable road map to understanding and appreciating the music played and heard.  Increasingly, performers are expected to write their own programme notes – and they are now an obligatory aspect of all diploma examinations.  In this workshop session, Marc Rochester explains the function of programme notes, what they should contain (and what they should not), and offers guidance and advice on using appropriate language and on the level of detail expected in a variety of situations where programme notes are required.

 

21.5        PANEL DISCUSSIONS

Between the Practice Room and the Stage

For most musicians, the location of practice is a comfortable and familiar place, and the lesson venue less so; but, the performance space is a place of mystery, imagination and, sometimes, horror. As one moves from one location into another, what needs to be in the head, so the musician can play with heart, and what shouldn't be in the head, so the nerves don't run away with the performance? In this panel we will focus on how to successfully transition yourself or your students, intellectually and emotionally, from the practice room to the stage.

Student-Teacher-Parent: Finding Equilibrium in Triangulum

"Why do I have to do it?" How often do you think children ask themselves this question about practicing, playing a particular piece, why a piece should be played a specific way, and several other questions? Then they get older. Why do most "child prodigies" fail to find success as adults? This panels focuses on kinds of relationships that are best between students and teachers, between teachers and parents, and between parents and their musical children, and how these different parties can synergise to find the most affirmative pathway for student learning.

The Portfolio Musician in the 21st Century

[Imagine Star Wars music and a floating script] Once upon a time, in a land far, far away, there existed a world where musicians only practiced and became so good on their instrument that the only thing they did was practice and perform, and they didn't do anything else. Now let's leave the movie theatre and enter Singapore, and most other countries in the 21st century and discuss how musicians actually make a living, not by doing one thing, but a collective of activities that a musicians chooses to include in their portfolio. What are these activities, and how does one use them to make a living and chart a career in the 21st century?

 

22. TERMS & CONDITIONS OF COPYRIGHT LICENCE

Ownership of Works

The Licensee acknowledges that any and all other intellectual property rights in the Content belong to the Government of the Republic of Singapore (“Government””). The Licensee shall do nothing inconsistent with such ownership. The Licensee further agrees that it will not claim ownership rights to the Content, or any derivative, compilation, sequel or series, or related work owned by or used by the Government. The Licensee agrees that nothing in this Licence shall give the Licensee any right, title, or interest in the Content other than the right to use the same in accordance with this Licence. 

The Licensee shall credit the Government by inserting copyright notices with the Content: Source: [state Content] © Government of the Republic of Singapore. Permission required for reproduction.”.

Term and Termination

This Licence shall commence as of <June 1, 2018> and shall continue in full force and effect until <June 30, 2018>, and may be renewed for such additional periods as the Government may approve.

This Licence is personal to the Licensee, and shall not be assigned or transferred by the Licensee, including, without limitation, by operation of law, except with the written consent of the Government. Any attempt on the part of the Licensee to assign, sub-licence, or transfer the Licensee’s rights under this Licence without the written consent of the Government shall be invalid and void. The Government shall have the right to assign its rights and obligations under this Licence and all its rights, title and interest in the Content without the consent of the Licensee.

The Government may terminate this Licence in the event that the Licensee breaches any terms or conditions hereof and fails to remedy it within seven (7) days of notification by the Government. Either party may terminate this Licence at any time by serving notice on the other party. Upon termination, the Licence shall cease with immediate effect. 

Upon termination or expiration of this Licence, all rights (including the right to use the Content), privileges and obligations arising from this Licence shall cease to exist. 

Upon termination of this Licence for any reason, the Government agrees to allow the Licensee six (6) months to cease all use of the Content, including a reasonable time to change labels, packaging and advertising, and twelve (12) months to deplete existing inventories of goods bearing the Content (if applicable). The Licensee agrees to discontinue use of the Content upon termination of this Licence as quickly as practicable, and in no event longer than the time specified herein. All rights in the Content and the goodwill appurtenant thereto shall remain the property of the Government. 

Use of Content

8. The Licensee shall only reproduce the Content for the Purpose set out in this License. The Licensee shall not archive the Content in any medium except to the extent necessary for the Purpose. The Licensee shall reproduce the Content in full and shall not delete, add to or otherwise amend the Content except and to the extent as approved by the Government.

The Government shall have control over the quality of use of the Content, which use shall remain free of payment by users. The Licensee shall comply with any reasonable standards set by the Government that relate to the use of the Content. 

Upon execution of the Licence, the Licensee shall provide the Government, upon request, with representative samples of how the Licensee will use the Content, including copies or examples of how the Content is used on any online platform whether belonging to the Licensee or otherwise.

If, at any time, any use of the Content fails to conform to the standards set by the Government, the Government may notify the Licensee of such failure. Notwithstanding clause 5, the Licensee shall remedy such failure within thirty (30) days from the date of the notice from the Government, or such longer period as may be reasonably necessary to remedy such failure so long as the Licensee is diligently pursuing the matter. In the event that such failure is not remedied within the period specified in this clause, the Government may then terminate this Licence immediately. 

Indemnification

The Licensee shall fully indemnify, defend, and hold harmless the Government from and against any and all claims, losses, damages, expenses and liability, other than those for infringement, including without limitation, suits arising from offering, promoting, advertising, sale, or use by the Licensee, whether or not such use conforms to standards set by the Government, provided that such claim, loss, damage, expense or liability does not arise from the negligence of the Government. 

In the event that the Licensee becomes aware of any claimed or alleged infringement of the Content by a third party, the Licensee shall promptly advise the Government in writing of the nature and extent of such infringement or dilution. The Government has no obligation to take any action whatsoever in the event that any infringement or dilution occurs with respect to the Content, but the Government shall have the sole right to determine whether any action shall be taken. In the event the Government sues or takes other action, legal, equitable, administrative or otherwise, to stop an infringement or dilution of the Content, the Licensee shall cooperate fully with The Government. The Licensee has no right to enforce the Content through litigation without prior written authorisation of the Government. In any legal action arising from use, or ownership rights of the Content, where both the Government and the Licensee are co-parties, the Government retains the right to control the litigation, including any and all settlement negotiations. 

The Licensee shall indemnify the Government against any damages, losses, expenses and costs suffered or incurred by the Government in relation to any claims arising from the use of or display of the Content by or on behalf of the Licensee in the event that such claims arose due to any changes made by the Licensee to the Content, or the manner or form in which the Content is presented by the Licensee or the Licensee’s failure to cease use or remove the Content despite notification from the Government. 

Neither party shall be liable for any loss or any failure to perform any obligations hereunder by reason of any delay in the performance, or non-performance, of any of its obligations hereunder to the extent that such delay or non-performance is due to any circumstances beyond the control of that party including but not restricted to acts of God, acts of the enemy, decrees or restraints by public or regulatory authorities, strikes, war, riots, insurrections, civil commotion, transmission and/or communications disruptions or failure and other causes of such nature. 

Notices

Wherever in this Licence provision is made for the giving or issuing of any notice, submission, endorsement, consent, approval, acknowledgement, certificate or determination by any person (a “Notice”), unless otherwise specified, such Notice shall be in writing and the words “notify”, “endorsed”, “consent”, “approval”, “acknowledged”, or “certify” shall be construed accordingly. 


Any Notice shall be duly given if signed by or on behalf of a duly authorised officer of the party giving the Notice and left at or sent by registered post or by facsimile to the following address and facsimile number:

Save where otherwise provided in this Licence, any Notice shall be deemed to have been given:

(i)  if sent by hand, when delivered; 

(ii)  if sent by registered post, 3 working days after posting; 

(iii)  if sent by facsimile, upon confirmation of receipt by the addressee; or 

(iv)  if sent by email, at the time of confirmation of receipt by the addressee. 

 

Mediation

19. In the event a dispute arises between the parties, the parties shall use their best endeavours to settle the dispute through amicable discussions. To this end, they shall negotiate with each other in good faith and with an understanding of their mutual interests, and shall attempt to reach an equitable solution satisfactory to both parties.

Miscellaneous

A person or entity who is not a party to this Licence has no right under the Contracts (Rights of Third Parties) Act, Cap 53B to enforce any provision of this Licence. 

These Terms & Conditions may be amended by the Government from time to time. The use of the Content after notification from the Government of the amendments shall constitute acceptance of the revised terms and conditions. 

This Licence shall be governed by and construed in accordance with the laws of Singapore and the parties submit to the jurisdiction of the Singapore courts. 

The Government and the Licensee are independent of each other and shall not be construed as parties to any joint venture, partners, employer/employee, or agents of the other, and neither shall have the power to bind or obligate the other, except as set out in this Licence. 

 

The Government c/o: The Officer-in-Charge (National Songs and Singapore Songs), Resilience Division, Ministry of Culture, Community and Youth, 140 Hill Street, #03- 
00, Old Hill Street Police Station, Singapore 179369 Fax: 6837 8991 

The Licensee c/o: The Singapore Music Teachers’ Association

Either party may change its address for Notice to another address within Singapore by prior notice to the other party.