TEACHING / CELIA CRAIG

Celia’s oboe teaching approach comes from a lifetime of experience at all levels – tertiary, school children, adults, professional development of teachers, beginners, workshops and within the industry at the manufacture and design level.

In addition, Celia’s playing experience is second to none, stemming from her own education at some of the world’s top training opportunities, encompassing orchestral, commercial, solo, chamber, lecturing, curating, performance practice and experience upon a number of instruments. Celia’s own teachers and mentors have been superb players and educators to whom she pays tribute as having nurtured her unique outlook which differs from the traditional model of oboe teaching.

Formerly National President of Australasian Double Reed Society, Chairman of BBC Symphony Orchestra, former active member of BBCSO Education program, Music Curator for The National Trust of South Australia, coach for Australian Youth Orchestra and Adelaide Youth Orchestra, State Music Camp of SA, leader of masterclasses and workshops at Elder Conservatoire, Royal College, Royal Northern College, Royal Academy, Guildhall School, Trinity Laban Conservatoire, YST (Singapore) Conservatory, Purcell School and others, Celia is a contributor to the new Arts Plan for SA and committed to improving its outcomes for oboists

Education approach is based upon INNOVATION:

•    Group classes (encourages cooperation, musical skills, element of comparison, camaraderie and chamber music)

•    The use of a jazz accompaniment for scales (fun, encourages fluency and attention to rhythm/ intonation but including a constant tonic and rhythmic accompaniment)

•    An online video course (see below)

•    Involvement with Online Virtuoso (Australia) and Musical Orbit (UK)

•    Individual personal ‘coaching

Celia’s teaching approach focuses on these ASPECTS:

•    Context- harmonic, musical, and the use of role play and imagination at all levels

•    Experience- being able to create a real life example in which the student could place themselves (onstage at Berlin Philharmonie, in a studio session at Abbey Road, in a soap commercial recording, busking, playing for a wedding, and more..)

•    Reference to the ABRSM syllabus, repertoire and resources, as used in 93 countries

•    Community- opportunities for further participation (eg youth orchestra, music camp, double reed events, eisteddffods)- which build musical skills further than lessons

LEADERSHIP:

•    Public Advocacy

•    ARTARIA’s video productions

•    ARTARIA’s free resources for schools (posters)

•    ARTARIA demonstrations and film shows in schools

•    Concerts (National Trust, Artaria, solo)

•    Engagement with other stakeholders in SA eg AdYO, Open Academy, Elder Con, ASO Professional Pathways, Music Teachers Association SA, other local oboe teachers

•    Upskilling of existing music teachers to include oboe via the ARTARIA’s ONLINE MASTERCLASS SERIES.

Celia Craig Personal Teaching Structure:

With a busy freelance career, I propose a new structure to my own teaching to help achieve the most from all, building on the lessons learnt in UK through the various Endangered Species initiatives of which I was involved originally. (Have a look at this inspiring interview with bassoon (and oboe) guru Cath Phillips Millar)

I timetable all my teaching on Mondays and Tuesdays onlyThis concentrates my time onto the days when I am less likely to be busy/away and allow me some focussed time to prepare for or do other work.  I endorse the ABRSM syllabus, as used in 93 countries worldwide. Teachers listed above will all be happy to work on AMEB exam syllabus.

For my own teaching, which can be interrupted by engagements, I have invented a system inspired by the fitness industry –group classes with optional individual personal training and an online training course. Based on my research and my own unique interaction with students, this structure is cost and time effective for all while achieving high standards. 

In addition, access ARTARIA’s ONLINE MASTERCLASS SERIES.


Celia is not only a passionate and inspiring person, but is a world class asset for Australia in performance, and in the development of a generation of aspiring young musicians.

Norman Gillespie, Executive Director, The Orana Foundation, Chair of the Board of Directors, Pinchgut Opera

We have benefited from Celia’s professional expertise. She has played in several assemblies, actually showing the children a video of herself at the Last Night of the Proms. Her presentations to the children were at the right level and well received. Celia will be very much missed for her enthusiasm and energy and, above all, her ‘can do’ attitude.

Jane Moore, former Headteacher, Thamesside Primary School

Celia is fully equipped to communicate, perform and engage with people and musicians at every different level. Celia worked tirelessly as performer, workshop leader and advocate of the project and was central to its success.

Lincoln Abbotts, FRSA, Executive Director of Strategic Development, ABRSM

The best thing about Celia’s lessons is that despite the fact she’s a professional oboe and cor anglais player of the highest standing, she’s always on a level with you. Whatever your technical or musical difficulties are, she’ll always have an anecdote about when the same thing happened to her. She’s great at putting you at ease, creating a great atmosphere for learning.

Andrew Taylor, Aldworth Philharmonic Orchestra