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drama还是choir？求建议最后跟贴：Drama内容比choir丰富多了，但就唱部分，后者专业度更高。孩子如果喜欢drama，就继续上，已经上了两年了，没理由莫名其妙离开。最后发表：liyi29	silviaxl 2018-10-25 11:43	33628	liyi29 2018-10-25 21:17
请教一下墨尔本的中文学校最后跟贴： viviancn 发表于 2018-10-24 22:34 华人的还有新世纪，政府办的有Victorian School of Languages 谢谢我孩子就已经在读VSL了，她说太简单了，所以我才想着找一下中国人开的中文学校最后发表：yanyangtian	yanyangtian 2018-10-24 20:27	23030	yanyangtian 2018-10-25 12:56
陈氏钢琴怎么样？最后跟贴：虞宅与美丽发表于 2018-10-24 12:40 陈氏挺大的，经常还举办很多音乐演奏会给学琴的孩子们做熏陶，我觉得这点儿挺好。 ... 感谢版主认可和鼓励！以后会更加努力！最后发表：陈氏钢琴行	xiaohuamao3000 2018-9-12 09:30	55458	陈氏钢琴行 2018-10-24 11:50
分享一下小朋友学中文的经验最后跟贴：我家小朋友平时都说英语，没什么说中文的机会，在家里和她说中文她也总是用英文回答，自己教又不知道从哪里开始教起，就想给她找个中文老师，至少不忘本。尝试了一下community center，每次都要接送，小朋友也不是很积极。网上看到ShuoCN有免费的试听课，沟通下来顾问回复很及时，上了两节试听课感觉还不错。老师还都是名校的大学生，挺会带小朋友的，边玩边学，还挺开心的。准备先上个三个月试试看，只要小朋友喜欢就好了。最后发表：娇娇0707	娇娇0707 2018-10-22 20:04	02638	娇娇0707 2018-10-22 20:04
国内小孩各种兴趣班，澳洲孩子这阶段是不是也该去上呢最后跟贴： Chimpanzee 发表于 2018-10-21 18:39 请问这个中文课坐标哪里布里斯班的最后发表：海姐姐 ...2	tuboshu1986 2018-10-9 22:23	339061	海姐姐 2018-10-21 21:33
考级AURAL 最后跟贴： Chimpanzee 发表于 2018-10-21 18:35 知道一级只要把旋律唱出来就可以更高级是不是要把音名说出来对，八级的aural好像不太一样，需要听 Cadences, triads, 2 part harmony( listening to the lower or higher part of a passage) and memory where you look at the music for 1 minute and the examiner takes the book away and you play what you have memorised. (这些英文我闺女打的，我问她都考啥，因为我完全分不清这些专业术语）最后发表：always_pig	hongluf 2018-8-24 15:08	84124	always_pig 2018-10-21 19:57
Digital Music Score 最后跟贴：本帖最后由 jianxli 于 2018-10-21 11:01 编辑在电子阅读器里面，大家会选哪个？ GVIDO [yt]209Y6cspMAA[/yt] Sony DPT-RP1 [yt]qaB-EerCKYI[/yt] Boox Max2 [yt]sS1ezBrQTRo[/yt] PadMu [yt]mLYPkCEZTQs[/yt] 最后发表：jianxli	jianxli 2018-10-21 09:41	05661	jianxli 2018-10-21 09:41
初学钢琴的孩子只用一本教材吗？最后跟贴：我家学琴半年后加的哈农进步挺大不过学琴每个孩子个体差别很大还是听老师的好一些最后发表：Chimpanzee	huayiyi 2018-10-19 12:38	83525	Chimpanzee 2018-10-20 19:50
我来说说单簧管最后跟贴： yangchadui 发表于 2016-3-4 13:43 要憋气瘪嘴对牙齿发育和支气管不好有科学依据吗？据我观察没有这样的副作用，无需担心。最后发表：jessica_cao ...2	北京洋娃娃 2009-6-26 14:02	3015466	jessica_cao 2018-10-19 21:33
求推荐悉尼东区大提琴老师最后跟贴：老大学大提琴一年半多，想换个老师，我们住在东区Edgecliff，求推荐。最后发表：雨睿	雨睿 2018-10-19 20:06	03048	雨睿 2018-10-19 20:06
9岁男孩开始正式学羽毛球，持分求推荐买鞋的地方最后跟贴：Blackburn的羽毛球馆里有卖鞋的。 http://www.melbournebadminton.com/ 最后发表：zfsunny	SUSAN1992 2018-10-7 21:02	286018	zfsunny 2018-10-19 18:04
请教有经验的爸爸妈妈最后跟贴：我家男孩明年6岁了上学了，现在只有学游泳。明年想让他多上几个兴趣班，跆拳道，足球，篮球，画画，跳舞，音乐等等他除了运动不是特别喜欢的感觉，其他他都比较平均。但是运动澳洲又特别popular, 所以暂时也不能舍弃。想问问有经验的粑粑麻麻，是怎么选择孩子的兴趣班，除了孩子兴趣，对他们在学校有什么帮助吗还有就是都是怎么安排小孩子的时间的？最后发表：kokoegg	kokoegg 2018-10-19 10:50	02759	kokoegg 2018-10-19 10:50
求Pymble钢琴华人老师最后跟贴：基础阶段为何要华人老师？最后发表：woodywup	flyvzu 2018-9-10 00:10	53869	woodywup 2018-10-19 09:40
儿童绘画美术班招生-Killara 最后跟贴：欢迎咨询最后发表：freedomx80	freedomx80 2018-7-12 14:38	14307	freedomx80 2018-10-18 20:30
求推荐gordon－－Hornsby附近英文教课的小提琴老师最后跟贴：现在什么级别？最后发表：dyzinsyd	83447557 2018-8-20 18:07	33217	dyzinsyd 2018-10-18 18:25
求推荐游泳老师最后跟贴：请问足迹的父母有没有好的游泳老师，在山区一带可推荐？目前有两个小孩可以一起学。谢谢最后发表：花之语	花之语 2018-10-18 17:36	02545	花之语 2018-10-18 17:36
AMEB考试看谱吗最后跟贴：本帖最后由 jessica_cao 于 2018-10-15 22:40 编辑金牛座的发表于 2018-10-15 22:13 这个是说要鼓励尽早背谱演奏，从小培养。到LMusA会要求一首背谱。其实看什么演出、比赛，只要看拿着乐 ... 看谱的赢过背谱的，所以考评标准肯定不在这上面。正式高级别演出的确看谱的很少，到了一定级别水到渠成。 LMusA才要求一首背谱真没想到。这个等级全部背下才应该。最后发表：jessica_cao	hongluf 2018-10-15 17:27	93796	jessica_cao 2018-10-15 21:38
请教一下大家钢琴课只学考级书吗最后跟贴： Chimpanzee 发表于 2018-10-15 19:29 非常感谢大家我决定这周和我们的新老师谈谈这个问题不是由老师一方面决定的。假定遇见一个水平好的老师，发现了一个由潜力的孩子，不用家长去说，就会花功夫好好教。如果孩子的潜力一般，那老师也就教的一般。但是如果老师自己本身水平就是普通，只会按照书来教，那么只能呵呵了。最后发表：黑眼圈 ...2	Chimpanzee 2018-10-13 08:58	305777	黑眼圈 2018-10-15 19:45
求推荐Amusa钢琴老师，悉尼，分分送上最后跟贴：金牛座的发表于 2018-10-15 17:11 Chatswood 的Con Brio School of Music，这个学校钢琴考级应该是最强的了吧，Castle Hill也有studio。 ... 太感激了最后发表：fjfqlinzm	fjfqlinzm 2018-10-14 17:55	53521	fjfqlinzm 2018-10-15 17:38
求推荐好的画画班--游泳班--悉尼最后跟贴：画画班可以去Global art 是个连锁机构，中国也有这个牌子。Carlingford有个培训地，上网可以看看。挺不错的。最后发表：Sissi~LI ...2	kegumingxin 2018-5-24 15:00	4316243	Sissi~LI 2018-10-15 13:20
想和大家分享一下，关于视谱视奏的文章------你的孩子识谱吗？最后跟贴：请问视奏有什么教材谢谢最后发表：Chimpanzee	亲子育儿 2011-11-4 21:02	183951	Chimpanzee 2018-10-14 21:59
如果孩子小学毕业了还不太会游泳，有什么说法吗？最后跟贴：清咖一杯发表于 2018-10-13 10:15 游泳虽然好，但真得好烦，要换衣服要冲淋，刚下水那会还冻的要死，我到现在也没让我家三岁娃学 ... 夏天还好最后发表：swe	glin5200 2017-11-30 23:39	286772	swe 2018-10-14 20:41
求推薦墨爾本東區鋼琴老師最后跟贴：女兒快上6歲，求推薦好的鋼琴老師box hill or Doncaster 最后发表：somocha	somocha 2018-10-14 00:02	02720	somocha 2018-10-14 00:02
关于钢琴考试的视唱练耳部分，求教。最后跟贴：本帖最后由 Hsc 于 2018-10-13 21:09 编辑花之语发表于 2018-10-13 20:43 请问若以后想拿diploma or further, piano for leisure 和pianoforte 的文凭会有很大的分别吗？ ... 这个我不大清楚，不过好像是没有影响的。你可以一直考Piano for Leisure 直到Cert of Music，然后再考传统的AMus 和LMus。最后发表：Hsc ...2	canberra2011 2013-2-17 19:14	306841	Hsc 2018-10-13 20:06
【原创】深入浅出版本- 澳大利亚钢琴等级考试AMEB介绍最后跟贴：最后发表：15756388	RainbowC 2018-10-7 19:29	149836	15756388 2018-10-13 14:38
请问墨尔本box hill有适合5岁男孩学街舞的地方吗？最后跟贴：我感觉我儿子对这个有点兴趣，不知道boxhill附近哪里有学街舞hip-hop的舞蹈班。谢谢大家！最后发表：stojkovic	stojkovic 2018-10-12 12:33	03043	stojkovic 2018-10-12 12:33
小孩学游泳吸入很多水，正常吗？最后跟贴：如果是已经升级了几次，那去责怪现在这个班的老师也不是很合理吧，吹bubble应该是最最初级就教会的了。但如果老是这样喝水的话，奇怪是怎么升班的，每次升班不都该有assessor评估过吗？最后发表：smokyeyes	52wangluo 2018-7-6 23:44	185756	smokyeyes 2018-10-12 10:56
（持分请教）哪种提琴作为第二乐器好？最后跟贴：学乐器一件足矣，学到演奏家也学不完的。再学个体育项目吧就像学语言，许多家长说我小孩会4国语言，别的说可以讲五国，军备竞赛一样的，最后小孩自己母语还没有学好最后发表：rcspeed ...2 3	lvyao79 2018-10-2 21:21	609557	rcspeed 2018-10-9 20:25
帆船⛵️学习最后跟贴： suinite 发表于 2018-10-7 23:08 求培训机构信息谢谢一，2900 point nepean rd, blairgowrie Vic 3942 二，schnapper point dr, mornington Vic 3931 最后发表：高飞澳洲	高飞澳洲 2018-10-6 11:25	144496	高飞澳洲 2018-10-8 21:32
请教妈妈们5岁女孩学钢琴的问题最后跟贴：好的谢谢各位哈就是没有合适的老师最后发表：alicemel	alicemel 2018-10-6 21:32	103376	alicemel 2018-10-8 21:08
有人了解澳洲多媒体相关的行业吗？最后跟贴：家里老大明年11年级了，现在在考虑大学选什么专业，他自己有多多媒体感兴趣，但我们对这方面不了解，不知道澳洲多媒体相关行业前景如何。有人了解的话，求指教一下，谢谢 {:12_762:} 最后发表：ediad	ediad 2018-10-8 17:39	02584	ediad 2018-10-8 17:39
学游泳了？谢谢最后跟贴：LZ的孩子在哪个城市？最后发表：Ryansky	舟之 2018-4-19 14:39	84584	Ryansky 2018-10-8 15:39
有关华人钢琴老师的教学术语问题最后跟贴：老师上课时间这么短，还让他教中文的术语？楼主重视的话，平时陪练的时候可以自己普及一下啊，或者用VIP 陪练，里面老师肯定是中文教学的最后发表：ajian_lj	xiaottt 2018-10-6 13:35	123852	ajian_lj 2018-10-8 12:36
ryde 地区有没有上门钢琴陪练的，entry level 最后跟贴：为什么要陪练？督促小朋友联系？最后发表：jessica_cao	tracyhxy 2018-7-27 21:30	124591	jessica_cao 2018-10-6 23:15
关于suzuki（铃木音乐教育）的讨论，家有铃木琴童（小提琴钢琴）的请进来最后跟贴： DancingKeys 发表于 2010-10-8 08:33 这就是我不太接受铃木的其中一个原因。“copying“在音乐中是不被提倡的，但铃木的早期教育就是让学生从 ... 你好，请问你在哪个区？还收学生么？我女儿6岁想学钢琴最后发表：lipgloss ...2 3 4 5 6..9	第一名 2010-10-7 11:57	26257029	lipgloss 2018-10-6 18:19
钢琴考三级一般要准备多久？最后跟贴：我看了一个一百小时的文章您参考一下不过学琴这个事儿每个孩子真的差别挺大 ne of my ‘rules’ for a while now has been that students need to do at least 100 hours practice to get from one grade to the next. My assertion is that if you managed a B/merit in your last exam then another 100 hours practice will get you to a B in your next exam. If you want to guarantee a B+ you’ll need to do 120 hours, and if you want to guarantee an A/distinction you will need 140 hours. Of course, if you only manage 75-80 hours practice you should be only just able to manage a C!! But if you achieved an A/distinction result in your previous exam then 100 hours (or not much more) should deliver you an A result in your next exam too. I was chatting about this with Samantha Coates (Ms BlitzBooks!) and she was sharing anecdotal evidence she’s been gathering on this idea [that a certain number of hours will get you to the next grade]. Samantha noted that there is no way a Grade 7 student could manage that grade on only 100 hours practice. Bear in mind that 100 hours is equivalent to 20 weeks of 5 hours practice, and I think most piano teachers would agree that that’s not enough, particularly if the student is preparing for the AMEB examination where 4 substantial pieces are prepared with another 2 ‘extra’ pieces, and then many scales and arpeggios as well (besides the sight reading, ear tests and general knowledge requirements). But what if we were talking about a student who had a much better foundation in the first place? What if our Grade 7 students were able to play through their pieces in the first week? What if lessons didn’t need to be devoted to mastering a myriad of new skills, rehearsing tricky fingerings, writing in reminder accidentals, going over rhythmic stumbling blocks? If students had only a handful of new skills to acquire, and had the experience (and guidance) to grasp what the music was ‘about’ within the first few fortnights, maybe then 6 months of reasonable practice would genuinely be enough? The way I see it this comes down to two important elements: the kind of foundation the student has in the first place and the kind of teaching/instruction/guidance the student is receiving week by week. The Foundation Don’t laugh, but there are teachers who pride themselves on getting their beginner students ready for an exam within the first year of lessons. I think the idea is that being able to help a student rapidly progress to that first exam proves the value of the teacher and the efficacy of the teacher’s approach. This is usually achieved by means of selecting the easiest pieces in the examination syllabus and spending the best part of the year preparing them (usually via the Lamination Technique discussed in previous posts). So after that first exam students have gained some performance skills and some examination technique skills, but they are unlikely to have mastered terribly many pianistic skills per se. When the next exam rolls around (in the next calendar year) students are already ‘behind’ because they simply haven’t learned all the things expected of a Preliminary (AMEB) or Grade One (ABRSM) student; the new material they are working on poses seemingly endless challenges that are only just mastered in the final three weeks before the examination itself. And then the next year the whole relentless cycle commences again. If students delay taking this first examination until they genuinely know how to do all the things expected of students at Preliminary (or Grade One) standard then their experience over the next eight or nine years is transformed; instead of spending months puzzling their way through an impenetrable obstacle course of technical, conceptual and notational challenges, students experience music-making from the first to the last lesson of the year, and gain new suites of skills and understandings as the year unfolds. I’m still not quite sure about this rule, and it is impacted on considerably by the kind of support the student-child receives at home for their pianistic education, but a good rule of thumb for this foundational period of learning prior to taking a graded assessment is that students need about 200 hours of practice from the day of their first lesson through t sitting that first exam. With this amount of solid experience behind them it will be considerably easier to move happily from grade to grade. There’s a bit more to it than this, but this 200-hours-before-the-first-exam is still a good rule. The Instruction But not all hours are equal. Mindless practice, or worse – practice with errors of accuracy and technique or absence of vision, is time almost completely without benefit. Appropriate guidance can help students avoid wasting their time, and a really good teacher will save students many hours indeed. First up is the issue of guiding the student through the repertoire: instead of saying “let’s work on the first two lines this week” a good teacher will introduce the whole piece and isolate areas for that introductory week’s practice – and this introduction will be vastly different from one piece to the next. An example: A piece of mine, Chase, from Very Easy Little Peppers, is included in the AMEB Preliminary syllabus, and Tess Hill, a wonderful teacher from Western Australia, shared with me her fabulous method of teaching the whole work in two weeks: the first week students are asked to practice the odd-numbered bars, the second week the even-numbered bars, and at the third lesson, some 15 days after the piece was first introduced, the students reintegrate the bars into a complete performance. It works for Chase (brilliantly) because of the way the piece is structured – not every piece will work with this approach by any means! But having an understanding of the structure and demands of a piece allow a teacher to fast-track the learning process and move into the ‘performance’ aspect of the learning much more quickly. In a Fugue (at the other end of the difficulty spectrum!) you might ask a student to practice the subject wherever it came up in that first week: instead of painstakingly working through 5 or 6 bars of complicated interplay between the hands, with no sense of the structure of the work or which elements of those 5 or 6 bars were most important, the student who has practiced only the various incarnations of the subject will return with a feeling for the way the subject structures the whole fugue, how the hands share the subject, how the subject modulates and modifies while still being ‘the subject’. And how much more interesting to then learn the ‘decorative’ elements, to discover the counter-subjects, to recognise the episodes where no subject is present in any voice, than to muddle through 2-4 bars per week until the three page fugue is (more-or-less) under the fingers (even though it may not yet have penetrated the mind). Which leads us to the important second point – which is really an offshoot of the first: teachers need to know the repertoire they teach – know it in their heads and know it in their fingers. If you have played through the piece yourself you already know where you’ve been tripped up, where passages didn’t flow naturally, where a modulation took you by surprise, where your expectations were confounded, disappointed or completely blown out of the water. This makes you a much better guide than when you have barely played through the work yourself before assigning it. Students working with teachers who genuinely know the repertoire will find they save at least 5 hours practice, and maybe more like 15 hours, on that work because their teacher has shown them the short-cuts, short-cuts the teacher simply could not have known without knowing the specific repertoire being learned. So if you are a Grade 7 student needing to learn 6 works for your AMEB exam this could be the difference between 100 hours and 130 hours practice…. Again, there is more to it than simply this (how we run the 30/45/60 minute lesson itself, for instance), but what a difference it does make for our students when we act as experienced guides covering familiar terrain rather than as wide-eyed ingenues enjoying the challenges of the new repertoire as if we are peers of our students rather than their mentors. Categories: About My Music, Music Education 最后发表：Chimpanzee	loveinside 2017-8-9 20:12	2314192	Chimpanzee 2018-10-6 14:40
求推荐山区好的巴西柔术俱乐部最后跟贴：墨尔本的路过，去年打ibjjf Sydney open时候有一个对手是Gracie Jiu Jitsu Sydney的，技术不错，人也不错最后发表：funday	wykdy 2018-2-1 16:20	15086	funday 2018-10-5 16:17
请问悉尼有没有孩子学习唱歌的地方呀最后跟贴： ZIGOO 发表于 2018-10-3 17:13 boy's choir一般是从7岁开始，因为合唱团更看重的是孩子对音乐的理解和对节奏的掌握，而对音色和歌唱技巧反 ... 嗯，谢谢建议，我们也只想让他有点事情做做，他貌似挺喜欢唱歌的，没有想到合唱那么远最后发表：zjsuki	zjsuki 2018-9-25 17:20	114782	zjsuki 2018-10-4 22:35
求教，5岁女童初学钢琴，求推荐钢琴牌子和型号最后跟贴：买什么品牌和什么型号的钢琴只和你对孩子将来的预期与自己的预算有关系，和孩子几岁，是不是初学没有任何关系。最后发表：Kissin	simont 2018-8-14 11:45	94165	Kissin 2018-10-4 10:31
Yamaha U1 PEQ $8700, is the price ok? 最后跟贴： Kissin 发表于 2018-10-4 09:04 首先，在公共论坛别太自我为中心，我只是借你这个回复给大把一些正在准备买琴，或将来想要买琴的朋友一个 ... 看你气急败坏满嘴喷粪的样子真可笑，啊哈哈哈哈上来我就说了，我不懂琴，随便google了一下看到价格，贴上来。这叫哪门子误导？我说这个价格可靠了吗？我说店家可靠了吗？是真是假是不是奸商，买的人自然懂。你是圈里的人进来帮大家擦亮眼睛没问题啊。犯不上对我喷粪还上纲上线的好像我是来砸场子的吧？你不是卖琴的？不是卖的能对价格这么门清？哦，估计是教钢琴的然后跟琴商合伙赚钱吧？或者你的反应是出于对你们这个行业利益的保护？千万别说你自己是艺术家啊，艺术家不会对哪个琴卖多少钱那么门清的，艺术家有时间还不断提升自己的手指头然后拿奖哪。你这个行业壁垒高，理直气壮赚钱，你们真牛逼，行了吧？听说大和尚大法师还腰缠万贯强奸民女哪，听说过一个在国内干“牧师”的，那也是肥的流油的差事。那些个行业咱也不懂，估计水也很深。最后发表：zn7726	monikon 2017-11-8 19:36	106831	zn7726 2018-10-4 09:24