BY STEPHANIE ESLAKE
Music education matters.
Whether you first picked up an instrument at school, you’re working full-time in an orchestra, or you’re just entering your industry training, it’s likely you share the sentiment.
The airing of music education program Don’t Stop the Music on ABC resonated so strongly with Australian audiences that they donated more than $60,000 and 4,000 instruments to the benefit of schoolchildren. The legacy of music education advocates and activists such as the late Richard Gill have inspired generations of musicians to teach, and share their knowledge of music with students young and old. Australia can no longer turn away from the knowledge that children who sustain music education throughout their school years will experience permanent benefits to their brain, advancing their language and problem-solving skills.
In this series Music education matters, we team up with a leading Australian educational institution to find out how music education can help shape lives.
Speaking with talent from the Australian National Academy of Music, we introduce you to practising industry figures – emerging and established, performing and teaching – so we can discover the true stories behind the power of music education.
Music education matters, says Alison Fane
Though in her first year at the Australian National Academy of Music, Alison Fane is one of the nation’s truly promising young percussionists. Last year saw her take on the role of principal percussionist with the Australian Youth Orchestra (in which she’s also been part of many a concert season and National Music Camp), as well as the Melbourne Conservatorium of Music Symphony Orchestra.
Alison took out the first prize and audience choice awards in the 2016 Australian Percussion Gathering Orchestral Accessories Competition, and received plenty of scholarships throughout her academic journey.
The percussionist performs casually with Orchestra Victoria and, last year, founded her own initiative called Fractal Percussion to share her love of music with high school students.
Tell us about your upbringing with music education.
My parents owned a music school, and I would often sit in on their group lessons, taking in everything I could — even if I wasn’t aware of it at the time. I was first taught to play the piano by my mother at the age of 7, but something just felt wrong: I didn’t like reading music or using the correct fingering, so I begged my parents to learn a new instrument.
When I was 8 years old, I used to sneak into the room of the music school that had a drum kit set up, to desperately try to reach the pedals. After a growth spurt over a few years, I was absolutely over the moon that I could finally learn to play my ‘dream’ instrument. From that moment on, there was no going back.
In early high school, I stumbled across auditions that were open for a music specialist school in Melbourne. […] After being accepted into the school, I studied with amazing teachers and mentors that showed me I could achieve anything I set my mind to. The idea of having no fear and doing what you love regardless of what others say has been something that has stuck with me forever and I will be forever grateful for it.
Percussion then became my principal instrument, studying with John Arcaro throughout my high school years. To this day, John is still one of my most valued mentors and also happens to be on faculty at the Australian National Academy of Music.
This year, I began my training at ANAM, and I think it has been the best decision yet for my musical education. I have learnt so much from not only the percussion faculty, but equally from other instrumental teachers and myself about how to use my body, my mental health, and my aspirations as a performer and person, which I personally feel are often neglected in earlier stages of musical education.
How do you feel a music educator is responsible for a young person’s passion for music?
I don’t think words can properly describe how important a music educator is in a young person’s life. Their impact is critical and absolutely life-changing. From being an inspiring role model, setting realistic targets, and venturing outside one’s comfort zone, a music educator’s job is to find a balance that works for each individual.
At what point did you realise you wanted to take what you’d learnt about music and form it into a career path?
I remember seeing a performance of the Melbourne Symphony Orchestra playing The Rite of Spring by Igor Stravinsky. At this point in my life, I was an 11-year-old drummer, who exclusively played rock covers. Back then, I do not think that I fully appreciated the wide and wonderful world of percussion and what it could offer me. Seeing a symphony orchestra was an electrifying experience to say the least.
My dream from that moment on was to be a full-time orchestral musician, and to hopefully have that same impact on another young person in the future.
Why did you decide to pursue higher music education?
Music is and always will be my passion. I want to spend my life making a difference to the wider community, and the idea of pursuing music just seemed like such an obvious way of doing that.
During my time at the music specialist school, I was incredibly fortunate to be around such passionate young people, and I believe that that experience really drove me to want to pursue music further. Seeing how much fulfilment music brought not only myself but my peers was incredible, and still a feeling I hold very close to me now.
The ‘piece of paper’ is interesting: whilst it gives you a ‘qualification’, I think that the relationships you make throughout your musical journey, regardless of whether you have a degree or not, are more important than anything. It is these connections that provide value and motivation in our lives, something I believe is priceless.
What have been some of your strongest needs as a musician?
I have had different needs throughout my progression as a musician and person. Recently, I have been focusing a lot on how I use my body, which I believe is the means of communicating via my instrument. From strengthening my body at the gym and attending yoga classes to crawling around the room, I never stop learning how to use my body in the most efficient and optimal way, preventing serious injuries and fatigue.
I have been grateful to have access to amazing pedagogues at ANAM such as Timothy Young and music physiotherapist Bronwen Ackermann, who have changed my life. They both always speak openly about injuries, something I hope musicians can talk more about in the future, free of any stigma.
How can teachers best support adult students?
Understanding all facets of life.
I think most beginner to intermediate adult students will already have developed a different career path, so finding that balance and understanding what works for them is paramount. I have found the best teachers in my young ‘adult’ life have helped me grow by understanding how I learn and embracing the complexities that I have personally faced.
Also, suggesting downtime or complementary activities to music such as yoga, team sports, or social groups is also a game changer in supporting adult students, in my opinion. These activities strengthen the connections you make and routines you develop in music.
There’s been a lot of dialogue about the importance of music education in Australia. How do you think music education can benefit the community as a whole?
Where do I start?
I don’t think words can fully express the benefit of music education to both the music community and the wider community. Music unites us; it gives us hope, inspiration, love, and purpose — all things that are accessible to everyone, and I firmly believe that music should also be that way in this country. Money, race, gender, and sexuality should not be dictating factors to whether or not someone can pursue a music education.
I think music education is often targeted at the younger generation, but I believe the most amazing thing about music education is that no matter how old or accomplished we are, it never stops.
What changes would you like to see in music education in Australia on an industry level?
I think Australia has a lot to be proud about in terms of developing music education in recent years. But, it often takes a long time for change to filter through to regional or rural areas.
Coming from a regional area myself, I experienced first-hand the lack of understanding towards musical education in more remote educational environments. The focus on music education in more removed areas of Australia should be more of a priority.
Giving people of all ages opportunities to travel and play music with like-minded individuals is also something that I feel very strongly about. For me, it always comes back to the relationships we make when creating music. The relationships are the driving force behind music making, giving us purpose to keep pursuing what we love.
What impact have you made, or would you like to make, on the industry?
I think that everybody has something really beautiful to bring to all situations in life, with music being no different.
It is incredible to see how open and generous people are within music education. Through my music making, I hope to bring awareness of issues that many people face within our society, which are often neglected by mainstream media.
I am particularly passionate about the equality and visibility of the queer community, and I am in full support of the amazing and (mostly) welcomed change that is happening in the arts and music community today.
What advice would you give to musicians to help them get the most out of their educational experiences?
Take every opportunity that you can, work your hardest, love the music that you’re creating, and never give up.
Alison Fane will perform her ANAM Recital at 3pm November 19 in ANAM, South Melbourne Town Hall.
We’re teaming up with ANAM throughout 2019 to share these interviews in our series Music education matters.
Stay tuned as we prepare to bring you more of the personal stories behind music education in Australia.
READ NEXT: Music education matters, says Sophie Spencer, trumpet
Images supplied. Credit: Pia Johnson.
