Angela graduated from the Nanyang Academy of Fine Arts (NAFA) with a Bachelor's degree (Honours) in Music from the University of Wales, and also holds a Diploma in Music Performance with Distinction.
Whilst studying with former NAFA head of keyboard studies, Mrs Rena Phua, and pipe organ master, Dr. Evelyn Lim, Angela participated in masterclasses with world renowned organists Dong-IIl Shin (South Korea), Mark Quarmby (Australia), and Felix Hell (Germany).
She has also performed solo and in ensemble with wind bands and youth orchestras at Singapore's Victoria Concert Hall, the Esplanade concert hall, and Kuala Lumpur's Petronas Filharmonik Hall.
Angela now regularly accompanies choirs and solo instrumentalists during recitals and examinations for the ABRSM and Trinity diplomas. On weekends, she serves as sub-organist with the Cathedral Choir of the Risen Christ, playing over sixty major services a year, and is also conductor and organist of the evening choirs of the Cathedral of the Good Shepherd, where she also trains a group of thirty adults in music theory.
With more than ten years' experience in music pedagogy, Angela dedicates most of her time to teaching her piano students at the Coronation Music School and at home. Her students range from three-year-olds to adults to whom she teaches a variety of techniques from solfege-singing to improvisation.
Angela strongly believes that learning should not be merely exam-oriented, but a holistic journey of repertoire-building and music exploration. She encourages her students to pursue a well-rounded education with skills such as ensemble, duet, and percussion playing with the piano.
Angela's lessons are catered to the particular needs of each student, and she advocates a three-way learning environment involving teacher, student, and parental commitment.
Despite not having his first piano lesson until 15 and completing a Diploma in Engineering, Tung Khng’s late start in music did not deter him from completing his Bachelor’s Degree in Music at LASALLE College of the Arts, under Arkadiusz Bialak. He has then proceeded to complete his Masters of Music with Distinction from Birmingham Conservatoire, studying with Philip Martin, Robert Markham and Mark Bebbington, focusing on repertoire by English Composers.
He has participated in masterclasses by Richard Omrod, John Lenehan and Martin Jones, and regular workshops with John Sharpley and Kim Jinho. At LASALLE he was actively involved in performances of works by contemporary classical composers, and has also collaborated with the dance faculty. Tung Khng was also actively involved in accompaniment, chamber music, music festival performances and lunchtime concerts while in Birmingham.
Tung Khng believes in a holistic approach to learning, combining various aspects of music like harmony, history, aural skills when approaching any piece of music. Students are also encouraged to be inquisitive, forming their own opinions and thus understanding the subject better. He regards music to have the potential to develop a person’s character and philosophy.
A versatile and widely-experienced musician, Ten Yeen has served as a piano/organ accompanist and ensemble musician with community and student choirs, large and small instrumental ensembles, as well as individual singers and instrumentalists (violin, viola cello, flute, clarinet, basson, trumpet, trombone, euphonium, tuba) in Singapore, Southeast Asia, and the U.S.A. Besides works from the standard classical vocal and instrumental repertory, she has performed broadway musical numbers, opera/operetta productions with piano reductions or harpsichord continuo, music for liturgy, as well as music for dance and community drama performances. She has studied and performed at summer programs at the Vancouver Early Music Festival and the Baroque Performance Institute (Oberlin), and collaborated with auditioned singers at the Vann Vocal Institute and competition finalists and prize-winners of the NATS Alabama Auditions. Her teaching experience includes one-on-one instruction in the piano and violin, musical coaching of small to medium-sized instrumental and vocal ensembles, and classroom teaching for courses in ear-training/ aural skills, sight-singing, music theory (rudiments, harmony, part-writing), and music appreciation/ history.
Ten Yeen holds a Master of Music degree from the University of Alabama, USA and a Bachelor of Social Science (Hons) degree from the National University of Singapore.
“Through music, we gain a way of expressing ourselves, developing skills, and discovering our interests and talents. Singing and playing instruments train mental agility because musicians have to multi-task with body and mind: physical coordination and kinesthetics; integrating the senses of hearing, sight, and touch; emotional engagement; musical literacy and intellectual understanding.”
“Learning music is also about personal growth: developing good and disciplined habits, skills in observation and problem-solving, mental resilience and focus, and being self-aware, thoughtful, and flexible. What we gain from music study is proportionate to the love and commitment we put into it- whether our goal be music as a healthy part of childhood and growing up, music as a serious course of study, or music as a hobby.”
As a teacher, Ten Yeen works with students to reach their goals through a systematic but customised music-learning programme.
Adeline’s route to music pedagogy is an unconventional one: she began piano studies with Dr Eugene Darianathan and then Ms Lena Ching, before taking a detour to the legal profession. After serving with the Attorney-General’s Chambers as a Deputy Public Prosecutor, she dived back into music full-time, completing a Diploma in Piano Performance at the Nanyang Academy of Fine Arts, supported by the Ngee Ann Kongsi Scholarship Award. She also won a Gold award for her performance in the SMTA’s 4th Singapore Performers’ Festival and received a Licentiate (LTCL) from Trinity College London.
In the summer of 2011, she met Edna Golandsky, founder of the Golandsky Institute and specialist in the Taubman Approach, which is a systematic framework enabling musicians to achieve full artistic expression without tension, injury or technical limitations. After years of training, she received certification from the Institute in 2024 to teach the Taubman Approach, and is to date the only certified teacher in Asia.
Adeline believes that virtuosic playing has nothing to do with talent or time, but with mastering the tools needed to move in the right way with the right degree of precision; developing full control of sound and tone colour depend on those same tools. She loves working with open-minded students from 1 to 92, and her professional goal is that every one who walks into a piano lesson with her leaves more confident and secure about their playing.
Having hated and failed music theory as a child, Adeline decided to re-learn theory as a young adult, and won the Hedi King Robinson Award from ABRSM as a High Scorer in the Grade 8 theory exam. She is now passionate about making music theory fun and engaging for young learners; lessons at the keyboard are taught in tandem with plenty of fun facts (and some lame jokes)!
A firm advocate of chamber music, Adeline enjoys collaborating with instrumentalists, vocalists, dancers and choirs. She also enjoys writing, serving in church, soaking in nature, making up tall tales with her children and watching Star Trek reruns.
Grace was first ushered into the world of music at the age of 3 where she was introduced to music appreciation, solfege singing, and the concept of musical narratives. Her aural skills and pitch awareness were developed during these formative years, alongside a love for reading “scores” of music. After attaining her DipABRSM in piano performance, Grace embarked on a fulltime pursuit of music at the Nanyang Academy of Fine Arts under the tutelage of Ms Lena Ching, graduating with a Bachelor of Music (Honours) jointly awarded and administered by the Royal College of Music in London and the Nanyang Academy of Fine Arts, as well as a Diploma in Music performance (Distinction). Five years of intensive preparation to be a music professional taught her that having the mindset of lifelong curiosity is key to becoming a true musician at heart, and is what she passionately seeks to impart to those under her wings.
Having taught students of all ages and personalities, Grace strongly believes that there is no “one size fits all” mentality/method, and rather than desiring every student to fit into her teaching mould, views each teacher-student relationship as an opportunity to build a meaningful partnership of learning and making music together. As every child learns differently, lesson plans are personalized and tailored according to each individual’s strengths, weaknesses, and interests. Lessons with her emphasize the importance of sight-reading, transposition, and improvisation, and incorporate singing as well as music and movement to build a strong rhythmic foundation. Grace also infuses music theory and an appreciation for harmony with practical musicianship, spinning fun anecdotes/analogies along the way to enhance the liveliness of each lesson! It is her personal goal to cultivate in every individual an experiential and informed love for the world of music no matter their starting point of journeying with her.
Grace also advocates for music-learning not to be solely directed at taking exams or accumulating certificates, but rather, to invest in learning the art of communication. As a lover of children and a firm believer of using music to develop the creativity of young minds and hearts, she believes that 3 elements: a fun, nurturing, and creative environment, are essential to awaken the love of music in each child and to develop their budding potential.
Being a lover of music and words, it sparks in Grace immense joy and pleasure to wield the power of music through words, non-words, and worlds in between. It is her aspiration to break barriers and boundaries across multi-audiences and generations – using music to inspire, to connect, and to explore.
Lynette Yeo is a graduate of the Royal College of Music (London), where she studied with acclaimed pianist Gordon Fergus-Thompson. Active as a collaborative pianist in a variety of different capacities, she has played with ensembles such as the SYC Ensemble Singers and the Singapore Symphony Children’s Choir, and at events such as the Leeds Lieder Festival, Singapore Piano Extravaganza and the Singapore Festival of the Arts.
An advocate of the music of today, she was the winner of the RCM’s Contemporary Music Prize in 2016. She performs frequently with composer-pianist Bertram Wee as the b-l duo: described as “two truly virtuoso players performing death-defying pianistic feats in tandem and with such apparent ease” (The Straits Times, Singapore), they are an ensemble on a mission to play the creepiest, craziest keyboard music they can get their hands on. Projects have included performances at new-music forums of international repute: Maerzmusik (Berlin), Sounds like THIS (Leeds) and the Huddersfield Contemporary Music Festival, as well as presentations with the Esplanade, National Gallery of Singapore and Yong Siew Toh Conservatory of Music. In 2017, they were awarded the Royal Over-Seas League (London) Ensemble Prize.
Lynette is a founding member of the Singapore-based new music collective weird aftertaste. With her esteemed colleagues she curates and performs groundbreaking, experimental new music: notably, the team has presented the wildly diverse work of almost 50 different composers as part of weird aftertaste’s WA# series, with the bulk of these being Singapore premieres. In 2023 they held their first WAparty, a unique 3-day long mini-festival of stylistically varied contemporary art music.
A former Ministry of Education teacher and scholar with a postgraduate teaching diploma from the National Institute of Education, Lynette is an experienced, versatile music educator with several years of experience teaching not just in a private capacity but also in local schools and colleges. She has worked with students of a wide variety of profiles and backgrounds across an array of ages and levels, harnessing her multifaceted experience as a performing musician in her teaching practice.
Lynette believes that music-making is a meaningful platform for self-expression and creative exploration. She also believes that playing an instrument is an enjoyable and fun way to develop qualities such as discipline, determination, and self-reflection. She aims to create a space for music students of various backgrounds and aspirations to explore music with enthusiasm and an open heart.