Student Portal to music subjects taught by 
Anthony Maydwell

Blog me! (For a discussion on anything musical and beyond)

Having trouble with your bibliographical style? MLA, APA and Chicago style formatting can be found at:

For tertiary students: Remember Naxos and the  Classical Music Library 
online listening libraries via your university library which will allow you access to
many good recordings of the works you are studying.

Glossaries of Musical Terms via Chicago Public Library

More Theory cribs!: Gary Ewer's Easy Music Theory (free lessons with quite a bit of hype!)

Robert T. Kelley's Figured Bass Symbology and

Robert T. Kelley's Qualities of Diatonic Triads and Seventh Chords
(What most of you want!)

Correctly writing adjacent notes in chords

Reference Materials for the Undergraduate Theory Student

Music Theory Resources

Thinking about where to study now or where to study next?...

Look no further: Music institutions world wide

Are you at a tertiary music institution and feeling that you are being short-changed? Read the insert...

For students who recognize this situation Anthony Maydwell as a lecturer in music with a national profile offers expert teaching in the following areas:

Aural Training: Anthony Maydwell established the nationally significant programme at the WA Academy of Performing Arts in the late 80's. He continues to provide tuition in this area. Harmony: Maydwell is consulted regularly on matters of harmony and analysis. Harp: Anthony Maydwell has a national reputation as a performer and teacher of the harp extending over 35 years. Maydwell can provide assistance with students and institutions using Sibelius and Score software for coaching or publishing for which he is an internationally recognised expert. Conducting: Over the years Maydwell has coached many young Australian conductors and continues to have an active conducting career. Chamber Music Coaching: Anthony Maydwell provides expert coaching for chamber music in his studio in North Perth (Fazioli and Yamaha grand pianos, Zukermann Harpsichord, Salvi and Thurau harps) Historical studies with special reference to choral repertoire from the Late Renaissance through the early Classical period and studies in music of the Spanish Colonial period  particularly that of Bolivia.

As tertiary institutions in Australia are hit hard by fiscal restraint so students are receiving less and less formal classes at Australia's universities and conservatoria and - without doubt - can no longer expect to be properly equipped for the profession of a Classical Musician. At the end of the day aspiring performers will be expected to prove their credentials through the audition process. To this end they need expert tuition in their chosen instrument or voice type and a significant immersion in aural training, music history, harmony & analysis, chamber music/lieder, languages and orchestra/opera. Often these essentials are being replaced by such units as arts administration and health & safety. These cannot be seen as core to the task of preparing a musician to perform even if it can be rationalized that such added skills may prove useful but it is very easy to deliver such courses in large mass lectures at little expense and fill up a student's hours thus claiming to educate. Institutions are choosing to 'dumb down' content and delivery in the guise of 'technological innovation' and 'client-based' education at the expense of essential curriculum - Beware! Examples of the problem... A total of 22 1-hour lessons for instrumental or vocal tuition for an entire year's course offering at the Bachelor of Music level - Used to be 36 weeks of 2-hour lessons. At the pre-tertiary level pay for a diploma in performance and pay for instrumental/voice lessons additionally! Solfège/Aural classes: Once a week for an hour in a massed lecture or sit in front of Auralia without supervision - Used to be five 1-hour sessions  for less than 10 students per class per week.

Aspiring orchestral musicians in some parts of the world will save a great deal of money and probably end up better prepared by considering a privately-based music education targeting good instrument teachers and privately provided traditional music academics: Music History, Harmony, Analysis, Ear Training, etc with a good music materials specialist. Most larger centres have good youth orchestra programmes which are often of a higher standard than tertiary orchestral programmes.