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The
The MENZA
M ENZA magazine
magazine
in this issue... Volume 6
2010
Classical Music in Early Childhood, the CeleBRation Choir, Invercargill Schools’ Number 2
Sing Out, Strike Up the Band Part 2 plus much much more December
December 2010
The
Menza magazine
in this issue . . .
3 Editorial: MENZA in the next decade – Errol Moore Sound Arts is published by:
MENZA: Music Education New Zealand Aotearoa.
Impressions of the 29th ISME Conference
5 Stuart Wise and Stephanie Lees It is the professional magazine for all New Zealand music
educators.
7 Bang Ting Scrape – Celia Stewart
MENZA has as its vision:
9 Classical Music in Early Childhood – Trish Moor Making Education brighter through Music.
A Conversation with Itinerant Music
10 Teacher, Anna Bowen – Tracy Rohan
Classroom Conversations About Many Musics MENZA maintains a website: www.menza.org.nz
11 Tracy Rohan The postal address is: MENZA
13 Invercargill Schools’ Sing Out – Michael Buick PO Box 27499
Strike Up the Band Part 2 So You want Marion Square
15 to Start a Band? – Andrew Stopps WELLINGTON 614
The Great ‘Waiata-Off’ at Hillmorton High
18 Eleanor Sim
A Continuing Journey in Literacy in the
19 Music Classroom – Kathy Thompson MENZA Board Members
Celebrating the Challenges of Collaborative Errol Moore Otago errol.moore@otago.ac.nz
20 Performance – Glenda Keam with reflections (President)
from Chris O’Connor Sally Bodkin-Allen Southland sally.bodkin-allen@sit.ac.nz
22 Enrich – Kelly Kennedy Stephanie Lees Auckland stephanie@nzmusic.org.nz
23 Chisnallwood Music Wiki – Judith Bell Millie Locke Auckland milliel@vodafone.co.nz
The CeleBRation Choir: Community Music Therapy Jennifer Moss Manawatu wordplay@jennifersmusic.co.nz
26 for People Living with Neurological Conditions Ivan Patterson Masterton ivanpatterson@gmail.com
Alison Talmage and Laura Fogg Celia Stewart Canterbury celia@tuneintomusic.co.nz
Playing in Tune-Working Collaboratively in Music Vicki Thorpe Wellington vicki.thorpe@vuw.ac.nz
27 Therapy – Morva Croxon and Heather Fletcher Angela Warmke Hawkes Bay angela.warmke@iona.school.nz
MENZA around the Country
Maria Winder Auckland maria@thesoundofmusic.co.nz
28 High Tech, Low Tech; Anything Goes in the
Supercity (Auckland)
29 Jazz for Juniors (Canterbury)
Editorial Coordinators
30 Marimba Festival (Canterbury)
Overall content Celia Stewart celia@tuneintomusic.co.nz
31 MENZA AGM
ECE Helen Willberg geoff.willberg@clear.net.nz
32 Dunedin Jazz Day (Otago) Primary Tracy Rohan tracy.rohan@ihug.co.nz
33 Live Music in EC Centres (Southland) Secondary Stephanie Lees stephanie@nzmusic.org.nz
NZ Ukulele Festival – 27 November 2010 Glenda Keam gkeam@unitec.ac.nz
34 Tertiary
(Auckland)
35 It’s Christmas Time
The Editorial team encourage reader feedback. If you
have any comments or experiences that relate to articles
published in Sound Arts, please mail or email them to Bronwyn
Pou, the MENZA Administrator at admin@menza.org.nz
These may be printed in the next edition of the
magazine or published on the MENZA website. For advertising inquiries, contact the Administrator,
The views expressed do not necessarily reflect the views of Bronwyn Pou at admin@menza.org.nz
the MENZA Board and the Sound Arts Editorial team. The magazine is typeset and printed by Printlink,
The Editorial team request that sources are rightfully 33–43 Jackson Street, Petone, Wellington
acknowledged in all MENZA publications. Where it is
felt a breach of this protocol may have occurred this can be
notified to the editor or directly to the writer. MENZA has an
expectation of ethical practices in the matter of disclosures.
Cover photo: Charlotte, 5 months, enjoys music making with instruments
Editorial
MENZA in the next decade
Errol Moore
M
ENZA Board members have been talking to representatives of the association in areas of the country where we seem to be more robust and
active. From these conversations and comments made at the AGM in October, some ideas have emerged about how MENZA could enhance its
national presence.
Building our membership is an obvious solution 2. While past national professional development
initiatives have not impressed in some cases,
We believe that MENZA is now the body that most music educators who wish to
MENZA’s role in letting people know about
be involved in a professional association are part of. We know our cornerstones
available expertise from different parts of the
are member schools, individuals and the associated groups we know as LCP (Local
country is applauded.
Community Partners) spread around the country. The community partner groups
work in different ways, for example Music Education Otago has a small membership 3. The Sound Arts Magazine and support of national
fee with some also holding membership of MENZA. In Christchurch, attendance at conferences are regarded as two essential and
workshops constitutes as membership of the local group and there is no local fee. ongoing functions of MENZA.
In Auckland members join MENZA and current local activity is organised by willing
4. Networking amongst the local community partners
individuals rather than a committee.
and related professional organisations at national
From information gathered, we learned the local groups like the autonomy of their and regional levels is regarded as a priority. For
own constitution. This brings advantages of self direction and access to funding from example, the annual meeting was informed of
local trusts. However, using the Auckland model, a local group just needs a bank interest in more deliberate interaction from the
account because charitable trust status and incorporated society status (needed registered music teachers and the music therapy
to apply for grants) are taken care of through MENZA. In the end the constitution association for example. There are many others!
allows the board to be inclusive of a range of solutions. Our interest is that the goals We wish to respond to this in a national sense as
of local groups have synergy with MENZA, and that there is legal/financial protection such underground networking work may remain
for people in positions of responsibility at local and national levels. the best way to reach politicians and the Ministry
of Education.
Because of the feedback we have received, in the next few months we will explore
how mutual benefits between local and national membership can be improved
and reconsideration of our constitution. I encourage local providers (LCPs) to do the MENZA’s response
same. For example, as a member of Music Education Otago, I am constantly grateful
for the national negotiation and advocacy work that has gone in from MENZA by As a result of what we have learnt, these are suggestions
people such as Stephanie Lees, Celia Stewart and Chris Archer, usually stealthily the Board wants to act on:
wearing several hats. My small fee to MEO would never achieve this! t Sustain a board that allows both sector and loosely
regional representation. Investigate possible cost
Who do we represent? sharing for regional representation.
As a Board, we think MENZA needs to be more geographically representative as well t Run full day board meetings that are in different
as the music interest/sector frame. This would give the board greater confidence in its parts of New Zealand so that participation of local
national mantle during a period (hopefully brief) of almost no school support hours community and mainstream teachers can occur.
for music, inherent threats from curriculum change and reductions in mandatory This may mean higher meeting costs for all or
teacher training hours across the universities. In short, we would like to see MENZA part of the board so local groups may be invited
able to be a support agency for more teachers engaging learners in music. to support board members.
We would like to approach this in collaboration with the local partners (LCPs) t Develop our Facebook presence to share news,
that are effectively providing workshops and other initiatives. In doing this, we the results of workshops and presenters, great
are mindful of the contribution of other groups which were not around when ideas. For example did you know that Celia Stewart
MENZA, then NZSME, came into being in the 1980s. Some of these national and has already presented on Kiwi Kids Songs 17 in
community bodies like the New Zealand Choral Federation are catering for niche several parts of the country? Did you know that
musical development and have support from passionate educators and musicians Grace Davey ran secondary teacher administration
in schools and community. workshops in Auckland and Wellington this
year?
What do groups want from us?
t Support the initiation of informal or formal groups
From the recent AGM and the survey amongst regional groups and randomly (LCPs) in other regions. For example, new board
chosen members we learned: member Sally Bodkin-Allen has been the driver for
1. MENZA is seen as the source of advocacy for music education, particularly in the establishment of a group in Southland.
connection with mainstream education.
Sound Arts July 2010 Page 3
t Beef up networking effectiveness by: It does not take much thinking to realise that such
t Increasing membership through involving music educators in ECE, Schools, strategies cost money. The reality is MENZA has never
Tertiary including pre-service teacher educators. had reserves to undertake much of this work and
without doubt, goodwill will always be an essential
t Fostering links to research (MERC) and supporting their work as critical
ingredient in it. Our annual income is round $18000.
for informing MENZA priorities and advocacy. Establishing at least annual
Our costs are roughly Sound Arts ($12000.00 a year),
discussion amongst the three current New Zealand music education arms,
modest reimbursement for Bronwyn Pou’s significant
MENZA, METANZ and MERC.
administrative role ($5-6000) and airfares only for
t Fostering ways to assist music educators access training and professional three face to face board meetings a year ($2500). It
development in conjunction with groups (Related Professional is no surprise that the board finds itself financially
Organisations) like Choral Federation, Chamber Music New Zealand and dependent on piggybacking on the personal resources
the Orff Association. of board members, other music/education providers,
t Providing networking opportunities for people involved in community, or the employers of board members.
contemporary, commercial and cultural and genre music making, as well
as the diversity of composers and song writers. What to do?
t Mounting advocacy initiatives which incorporate people with expertise in We think it would be advantageous to reconsider a
the matter at hand. framework in which music educators belong to MENZA
t Fostering more proactive communication as related to possible roles on in the first instance, or that regional groups forward a
behalf of the international body ISME. portion of their local fee. As the number of members
expands, the fee for an individual could be reduced
somewhat. For example, 45 new
members paying an individual
membership fee of $35 would
produce the same income as we
currently receive. Perhaps that
is radical, but I am convinced
MENZA can achieve more
than 102 individual and 181
institutional members across
New Zealand Aotearoa.
You are hopefully reading this
as an interested member. If you
have ideas that could give us
clearer direction and how to
be of more use to your work
then speak up! Your passion
Music Equipment
and critique are essential at a
time when the existence and
quality of music education is
Support Scheme
ever more reliant on school,
early childhood and tertiary
institutions’ decision making.
What might MENZA contribute
to your musical professional
The University of Otago College of Education offers quality classroom development in 2020? How can
musical equipment for your classroom music programmes to support we support you? How could
children’s creative music and ensemble projects. you contribute? Please let us
know your thoughts.
Over 150 instruments are available for hire to schools within the Otago
region.
FOR BOOKINGS PLEASE CONTACT:
Michael Coull
Sound Arts July 2010 Page
Email michael.coull@otago.ac.nz
University of Otago | College of Education
YOUR PLACE IN THE WORLD
4
Impressions of the 29TH ISME Conference
August 2010 (Beijing):
“Harmony and the World Future”
T
he ISME Conference was held in the Convention Centre at Olympic Park in Beijing. The size of the venue was impressive, the sheer scale of the
event became evident at the opening ceremony where the hosts provided a musical journey describing travelling along the silk route stopping
at various countries on the way. Some of the playing and the accompanying dancing was truly breathtaking, a highlight for me being the “many-
handed Buddha” performed by deaf performers. Their skill and the skill of their assistants was incredible.
For me specific highlights included a presentation by Susan Hallam from the Institute
of Education in London. Susan has done considerable work examining the power
of music on the intellectual, physical and emotional development of children.
Susan is a psychologist with a specific interest in how music can influence children’s
development in these areas and specifically how music can help in developing
reading and maths skills. Her findings should be read by all facing the challenge of
implementing national standards in literacy and numeracy.
In my own area of research to do with digital technology, the standout workshop
for me was presented by Gisle Johnsen who represented Grieg Music Education
from Norway (www.griegmusic.com). Gisle demonstrated the web-based system he
and his colleagues had developed and, although the great firewall of China made
easy connection to their website difficult, he was able to demonstrate how students
can manipulate interactive web-based performances to create their own work in a
number of styles and genres. It is difficult to describe how incredible this was to see
in this short article but I would suggest going to the website to get an idea of what
students in Norway and in schools across Europe and the UK can access.
Another impressive workshop was presented by Keith Tan from Singapore who
showed how he and other colleagues have created a fully integrated creative arts
programme using much of iLife on Mac for Singapore schools. He works with a
Chinese composer to teach primary school students the basics of songwriting using
GarageBand and then develops this into an integrated project using animation
software so students are able to present a story they have created with their own
animated characters and their own music.
It was a great experience, the hosts’ level of organisation was impressive, the number
of presentations and workshops covered a wide range of interests and areas of
research and the experience of being in Beijing and in China one that I thoroughly
enjoyed. And, finally, it was hot!
Stuart is currently Senior Lecturer in Music Education and Programme Coordinator
for the GradDipTchLn (Sec) at the University of Canterbury College of Education.
His PhD research looks at teacher and student perception of digital technologies
in secondary music education.
Stuart Wise (Canterbury University)
Sound Arts July 2010 Page 5
T
he amazing opening concert, the Sunday night that Stuart has referred for a quick (couple of hours) practice and I nipped off
to previously, was also a highlight for me. I too loved the ‘Thousand-arm to see the Chinese Acrobat show!).
Alovarakitesvara”, the Korean Ancient Court Music, the Monglian Choir, dances The music encountered at the conference seemed to
from the Tang dynasty ... the sumptuous costumes, but I confess I hope the Tibetan be rather remote from the music I saw on local/regional
horns won’t catch on in a big way here! I rushed from my hotel across the Olympic TVs at the stations and what I suspect was pumping
concourse past the “Birdsnest”, the kite flyers and so on to start the first action-packed through the ipods attached to the thousands of ears
of the subway commuters around me. Noticeably
day. I joined some veteran conference-going Norwegians in the cafe who offered me
the Chinese delegates – many young teachers, were
sage advice about dealing with the overwhelming number of options. (At registration very interested in the practical workshops and these
one was presented with a weighty tomb full of the hundreds of papers and workshops were packed – presenters like Susie Splitters-Davies
being presented, concerts and symposia. I was at a loss to know how I would find time to from Australia were the rock stars of this conference!
read all the abstracts let alone work out which would be of the most interest and use to (Guards were sorting the throngs trying to get into her
workshops!) I also realised the quality of the MENZA
me). We picked out the few names of people we all knew to be of interest and then they
workshops and presenters that have been offered by
basically suggested a dive in with a “lucky dip” approach! The place was huge and it took our locals in the last few years are world class. There
quite some time to get from one floor to another and to find rooms and so on – so it was are export opportunities here indeed!
often wise to stay for 2 half hours in one place as many papers were back to back and
A great experience – I am so very glad I went. The 30TH
then maybe just change rooms on that corridor. (One needed to queue ahead to get into ISME conference is in July 2012 at Thessaloniki – start
most of the popular lunchtime concerts – I took a day or two to learn this). saving now!
The ‘lucky dip’ approach found me taking in some varied topics over the next few Stephanie Lees (New Zealand Music Commission –
days including: A Team of Pianos, Tone deaf singers in Alberta, Australian 21ST century Education Manager)
repertoire for clarinet ... (or titles approximating these) Assessing Musicianship,
Musical aptitude testing (the presenter had a fascinating evangelical fervour for
this akin to a TV preacher) , assessing Composition and Creativity – a symposium
including Pam Burnard (MUSIC 09 keynote speaker from Cambridge), Peter Dunbar
– Hall and others was excellent and so relevant. I checked up on Peter Moser’s
(Uk’s Moremusic) work in Asia – I saw him in action training animateurs in east end
London some years ago so this was interesting to see how this translated to a new
setting. I learnt that the Netherlands, although it has compulsory music education
through to the first years of secondary school, has no facility for final public exams
in music (NCEA and the like). Whereas Norway, with a population of 5 million, has
7000 members of its MENZA equivalent (acts as the musician union for all) and, as
I mentioned in the e-news, Portugal was the only western good news story re pre
service music education.
One of the best things was the universality of music as a common language. I
enjoyed an Auld Lang Syne jam with some Korean instrument sellers in the trade
Sound Arts July 2010 Page
area – who started it when they saw me approaching. (Do I look Scottish?!) A little
later, I was enjoying a Chinese pianist and a traditionally dressed African tenor
getting into Caro Mio Ben together (who seemed unable to converse otherwise). I
think, in many ways, I learnt more from the multitudes of people I spoke with while
hanging around the “coffee shop” a friendly meeting place – it was great getting to
know Judit from Hungary – she was the only Hungarian delegate so we invited her
to the kiwi dinner. (I quickly realised that, although we both had taught piano quite
a bit, that she was in a different category to me – she nipped off to the conservatory
6
BANG, TING, SCRAPE
Untuned percussion instruments in Early Childhood
Celia Stewart
C
hildren love nothing better than the opportunity to play percussion instruments. The best thing
about that is that it’s so good for them! First of all there are the obvious music learning outcomes:
understanding and experiencing the musical elements of beat (the pulse), rhythm (the pattern – long
and short sounds) dynamics (loud and soft sounds), tempo (fast and slow sounds) and tone colour (the
quality of the sound – is it a triangle or a drum?), the ability to recognise the different sounds that can be
made through different playing techniques and the creative opportunities for improvisation and composition
these instruments provide.
Then there are the important physical aspects of fine, motor and hand-eye co-ordination required to
master these instruments, the social aspects of playing together in a group and turn waiting, and the
emotional aspects of developing self-confidence, self-expression and a sense of belonging.
Managing an instrumental session can be an issue – it is important to have clear guidelines around how
instruments are used in your centre/ classroom. It is vital that children know that these instruments
are taonga, treasures that need to be treated with great respect and that they are regularly shown safe
ways to hold and play the instruments. Instruments must be of a high quality and in good condition.
Don’t compromise on the quality of the instruments you purchase and don’t leave broken and unsafe
instruments in the instrument box.
Sometimes it’s difficult to think about new and creative ways to use these instruments so here’s a few
possibilities that always work well with young children:
t Spend some time with the children familiarising them with the names and sounds of the
instruments. Some may like to draw pictures of the instruments.
t Go behind a screen and play some of the instruments and let the children guess what you are
playing.
t March to music playing on the beat. Use music with a strong marching beat such as Radetsky
March (Johann Strauss). Include some contemporary Maori and Pacific Island music.
t Play along to songs with appropriate words (see following page)
t Divide the instruments into four categories, wood, shaker, skin, metal – sit the children in groups,
put on some music with a strong beat and point to each group in turn to play along.
t Crocodile Mouth – explain to the children that when your hands are together the crocodile is
asleep and they have to play very softly, as your hands slowly separate the crocodile is waking
up and his mouth is opening and you need to play louder to scare the crocodile away. Open and
shut your hands and the children change their dynamics accordingly.
t In order to explore different playing techniques use rhymes such as Five Fat Sausages (i.e. Five fat
sausages frying in a pan, sizzle sizzle sizzle sizzle, one went BANG! etc.) where the sizzle is a soft
continuous sound and the bang a single loud sound.
t Sound Around – if you have a reasonably large group get them to sit in a circle and go round
the circle getting them to play one sound each (just one sound – some will try and do more!).
Gradually speed up as they get the idea. An extension of this is that they don’t make their sound
until the sound before them has stopped – that way they get to see the difference between the
instruments that resonate and those that don’t.
t Find or write some poems that have characters or objects that could be represented by different
instruments (or categories of instruments) e.g. There once was a mouse. In this poem the mouse
could be represented by a triangle, the house by a woodblock and the sea by a rainmaker.
Sound Arts July 2010 Page 7
t Echo rhythms –tap out a 4-beat patterns for the children to echo.
There once was a mouse
A tiny little mouse t Question and answer – tap out an 8-beat pattern and children improvise an
Who lived in a house 8-beat pattern back. This will take lots of practice for the children to feel the
length of the 8 beats.
A tiny little house
A tiny little house near the sea t Make up a story or read a story-book and use the instruments to add sound
effects.
The sea crashed ...
t Most importantly use the instruments regularly, have them available for the
children to experiment with and have lots of fun
The sea roared ...
Here’s a couple of websites you might find useful as well:
Round the tiny little house http://www.earlychildhoodnews.com/earlychildhood/article_view.
aspx?ArticleID=496
The tiny little house by the sea
http://www.suite101.com/content/preschool-music-and-movement-a29893
But the tiny little mouse
Who lived in the house Celia Stewart is a private music education consultant providing professional
Was as happy as a mouse could be development to primary schools and early childhood centres through her business,
Tune Into Music.
Songs to Play Along With
Everybody play with me This is the way
(Tune: Mary had a little lamb) (Tune: Here we go round the mulberry bush)
Everybody play with me This is the way we play in the band
Play with me, play with me Play in the band
Everybody play with me Play in the band
Everybody play with me
This is the way we play in the band
*Loudly, loudly play with me... On a sunny Wednesday
*Softly, softly play with me...
*This is the way we loudly play...
*Quickly, quickly play with me...
*This is the way we softly play...
*Slowly slowly play with me...
*All the drums now play with me... *This is the way we quickly play...
*All the bells now play with me... *This is the way we slowly play...
*All the hands now clap with me... *This is the way the tambourines play...
*This is the way the drums play...
Listen to the Music
(Tune: Skip to my Lou) If We Can!!
Listen to the music 1 2 3 (Tune: Comin’ Round the Mountain)
Listen to the music 1 2 3 We’ll be playing in our band if we can
Listen to the music 1 2 3 We’ll be playing in our band if we can
Listen to the music We’ll be playing, we’ll be playing
Play it very loudly 1 2 3 We’ll be playing, we’ll be playing
Play it very loudly 1 2 3 We’ll be playing in our band if we can
Play it very loudly 1 2 3
*We’ll be playing very loudly if we can
Sound Arts July 2010 Page
Listen to the music
*We’ll be playing very softly if we can
*Play it very softly... *We’ll be playing very quickly if we can
*Play it very quickly... *We’ll be playing very slowly if we can.
*Play it very slowly...
*We’ll be playing on the guiro if we can
*Listen to the tambourine...
*We’ll be playing on the shakers if we can
*Listen to the drum play...
8
Classical Music in Early Childhood
Trish Moor
W
hy classical music? Why is it so important Music in the early childhood centre needs to occur as a regular part of the programme.
for young children to be exposed to classical This is where recorded music has its place. Some ideas that have really worked for
me are; playing excerpts from Saint-Saens The Carnival of the Animals (2002). This
music? There are many reasons why this is so.
can follow on with children’s interests in animals. The Aquarium is a good one
to use. I would introduce this by reading Commotion in the Ocean (Andreae &
Today, we are in a culture that largely disregards the
Wglowycz, 2000), take the children in groups to see fish swimming in a fish tank
simplicity and yet profundity of classical music. Music
and then play the music, giving each child
has a great many aesthetic qualities and it doesn’t take
a scarf to ‘swim’ like the fish in the fish tank.
a trained musician to see what effect it has on people.
When I did similar things with The Elephant,
Consider the national pride when the New Zealand
there was elephant hysteria in the Centre
National Anthem is sung at a rugby match, for example.
for several weeks. The children lived and
Music evokes a wide range of emotions.
breathed elephants. The Tortoise and The
Early childhood centres exemplify the power of music. Swan had similar ripple effects.
Young children react either positively or negatively to
the music being played. I know when I have worked Peter & the Wolf (Prokofiev, 1990) is another
in a Centre where the noise levels from the children really good recording to use. Here, the
have been high, a CD playing Brahms’ music caused the children are invited to paint with dye as
noise level to decrease markedly. Here, there is a real the story unfolds. Some really interesting
case for the playing of classical music that is appealing. and depictive paintings emerged. Several
Don Campbell, who wrote The Mozart Effect, stated that weeks later, one child asked for Peter & the
there were many real life situations in which mental Duck again.
and physical health improved with planned exposure Overture to The Magic Toy Shop (Respighi, 1990) can also be used. Here I encourage
to classical music (Stafford, 2010). Dr Gordon Shaw them to think of their toys and imagine them coming to life while they are asleep
also stated that classical music can play a part in the (I have asked the children to lie down with their eyes closed while I play the
development of the brain (Stafford, 2010). recording). After the Overture has finished, I then ask the children what toys they
Sam Qam & Jack May (2010) stated that while there have pictured.
was no concrete evidence to support this, there are An excellent resource for the early childhood teacher is My First Classical Music
a great number of theories as to how classical music Book (Helsby & Chapman, 2009). It is a book and CD put out by Naxos and it is
may help brain development. One theory suggests short stories, introducing each piece of classical music. It is presented in a manner
that this is because the appropriate classical music has appealing to children.
more complex rhythms and yet it is simply presented,
making it easier for young children to absorb. (Qam Yes, indeed, there is a strong case for classical music to be played in our early
& May, 2010). childhood centres. We are the ones who need to ensure that such practices
are not only in a past era. Classical music is timeless and thought-provoking, it
Swanepoel (1998) stated that when baroque music is
belongs to our culture, and its practice and appreciation has inestimable benefits
played while children are concentrating, memory could
for humankind.
increase by as much as 26%. It is because baroque
music stimulates the right and left hemispheres of the BIBLIOGRAPHY
brain, thus helping concentration (Van der Linde, 1999).
Andreae, G. & Wgtowycz, D (2000) Commotion in the Ocean London: Orchard Books.
Swanepoel (1998) also stated that there is a crucial time
between the ages 2 and 6 years when the front lobes De Vries, P. (2010) Music. Play for life. Music Council of Australia. Monash University.
are growing the fastest (Van der Linde, 1999). Helsey, G., & Chapman, J. (2009). My First Classical Music Book. China: Naxos Books.
Studies have also shown that if music is played Prokoviev, S. (1990) Peter & the Wolf. Bratislava: Naxos.
continuously as a background noise, no matter what Qam, S. & May, J. (2010). http://Ezine Articles.com/?expert=Sam Qam.
the quality, it has a detrimental effect, as young Respighi, O. (1990). The Magic Toy Shop. Philadelphia: CBS Records.
children will block the sound from their minds (de
Vries, 2010). Stafford, K. (2010). The Benefits of Early Childhood Music. The Music Education Madness
Site. Google.
Live music is preferable as the children actually see the
Swanson, B. (1969). Music in the Education of Children. (3rd ed.). Belmont, California:
instruments being played (Swanson, 1969; Willberg,
Wadsworth Publishing Co. Inc.
2010). The sound is reinforced by the visual effect, and
concentration is enhanced. This is not always possible, Van der Linde, C.H. (1999). The Relationship between Play & Music in Early Childhood;
but one way to achieve it in the early childhood centre, Educational Insights. Education. Summer 1999.
is to invite children who are homeschooled and who Willberg, H. (2010). Young Children Choosing an Instrument to Learn. In Sound Arts,
play instruments, to the Centre and invite them to play Vol. 6, No.1 July 2010.
to the children. Once when I did this, my children were
particularly eager to hear the 5 year old boy play the Trish Moor is a trained early childhood teacher who has a special passion that young
recorder. It was something they could really relate to children are exposed to the world of music – by reproducing music in singing, playing
as he wasn’t much older than his listeners. musical instruments and by learning to appreciate music by listening to it.
Sound Arts July 2010 Page 9
A Conversation with Itinerant Music Teacher,
Anna Bowen
A
nna Bowen is an itinerant music teacher working in Dunedin schools.
She is also a well-known musician, playing in the contemporary folk duo,
Catgut & Steel, along with Dunedin musician Mike Moroney. She has a
sultry contralto voice and sings the folk music from her country of birth, Holland,
with particular feeling and beauty.
Anna was born in Holland and grew up learning and playing violin,
encouraged by her father who is a church organist in her village. She
came to New Zealand 12 years ago with her Australian husband and a
young family. She completed a degree in primary teaching at the Dunedin
College of Education and has added mandolin, guitar and ukulele to her
“bag of tricks”.
In this interview Anna talks to Tracy Rohan and highlights some of the advantages How do you go about planning?
and challenges of itinerant music teaching as well as sharing her approach to
planning and her current favourite activities. In my junior classes, up to year 3, I try and have a
little bit of “everything” every lesson (covering all
Anna, tell us about your work as an itinerant music teacher. achievement objectives) and plenty of repeats so
I teach 45 minutes to one hour per class, depending on the contract I have with the students find they are improving, settling into the beat
school. I teach full classes and provide unit plans for the schools every term. more easily for example, or clapping rhythms all at the
same time. Our welcome song is always the same and
Does the classroom teacher sit in on your lessons? Are they able to get any in a circle, then we have some chants and echo songs
professional development by observing you teach? where the children each sing in turn and make up some
The classroom teacher does not usually attend because my schools have music time words and actions (often girls one week, boys the next
for their teacher release and I find I am often unable to attend school assemblies otherwise it takes too long). The alligator farm, Doctor
and teacher meetings because I teach at a different school every day. Knickerbocker, Charlie over the Ocean and the Three
Bears Rap are my favourites. These are very familiar at
Are you able to make any thematic links to the rest of the programme? How
the end of the year and the circle is able to settle into
much liaison is there between you and the teachers?
a beat and sing together easily. After that we dance a
My classes are often quite separate from classroom units and school-wide little dance with actions (The Pat-a-Cake Polka from
programmes, though I do try to find out what the classroom units are and teach “Pukeko Stomp” for example), and when we sit back
songs about butterflies or Anzac as appropriate and I get involved in school in the circle we play the classroom instruments to a
productions and performances such as at the end of year assembly. variety of songs which I sing with the mandolin. These
are songs about loud and soft, stopping, fast and slow.
I find I have a lot of freedom in what I teach the classes on one hand and on the other
The children improvise and learn about the different
hand I regret not being able to liaise with the classroom teachers more – not only
instruments. We pass the instruments on regularly
to integrate my music within the current themes in the classroom, but also to talk
so students all get to try different ones. Sometimes I
about the students, their strengths and the teacher’s observations of talents and
hand out buckets and we play rhythms. For reading
maybe difficulties a student has which I might miss in my 45 minutes a week.
rhythms I draw pictures on the board in a grid of fours
Do you bring your own resources and instruments to each school? and the children clap it. “After four...” I can draw ducks
and elephants very fast: “duck, duck, elephant, duck”.
The schools I teach at provide me with a classroom for the day, to which I take my
We practise whole, halves, quarter notes, rests and
own resources which include speakers and an i-pod, a mandolin to accompany
sixteenths this way. Older classes practise with proper
songs, songs sheets to hang up, buckets to play rhythms on, whiteboard markers
notation and beverages: “tea, coffee, cappuccino”. We
and often ukuleles, the school percussion instruments, instruments to show in class
play games with rhythms, all of which I get from the
or glockenspiels. I have a lot of help from students who come running up in the
Paul Wheeler resources, and we sing “Billy Batter” before
morning to carry things. “Need help Mrs. Bowen?” is my favourite phrase.
singing other songs.
After I set up I have two classes before morning tea, one or two after and one or
I use the “Sing” books a lot for songs, I like the
two after lunch.
instrumental accompaniments, and I find I come back
Sound Arts July 2010 Page
How do you assess where the children are at with musical development? I imagine to Hirini Melbourne’s resources a lot too. We sing quite
some of them will be learning music privately? a few canons and part songs in class from year three
upwards.
Because the classes are hands-on, noisy and packed with class activities I find at the
end of the first term I still don’t remember all of the students’ names and I hardly Apart from these very regular activities I plan three
know their individual strengths, backgrounds and loves/hates. I usually plan for or four lessons a term where the children practise a
short student performances in term two where students can bring in their own song that uses glockenspiels (Jon Madin resources)
instruments and perform them in front of the class which gives me much more of or ukuleles. Or they might learn a new dance (usually
an idea of their individual pursuits in music. a folk dance I learned from playing in a bush band),
10something to practise and perform, even if For example, I’d like to visit other music teachers and
it is for the next class. And I try and have a see what they do in class. I seem to have few reference
unit of improvisation and “making up” music, points for my own work with children.
also to practise and perform. Then there are
I’d love to have a more permanent working space, a
the listening units, from quizzes – music
music environment with posters of music events and
around the world, guess this instrument – to
pictures of instruments.
listening to Peter and the Wolf or Saint-Saens
or anything else. I’d like to have more contact with the school teachers
and parents.
There are many many units to choose from
and I find I come up with new plans after I am still working hard on how to assess all my students
every professional development workshops in a straightforward and honest way.
(Sing, Menza) or seeing other school I love going to professional development courses and
performances or even chatting with other I’d like to go to more, for example the Orff workshops
music teachers. in Christchurch.
The classes for my senior students have longer activities for shorter units, for There are some things I find that my schools and I do
example playing with boom whackers, creating a “stomp” performance, learning well together.
more complicated songs on the ukuleles, playing with rakau and ti-rakau etc.
Employing a specialist music teacher sends a very
I also teach dance and drama for a term in two of my schools and I have two schools clear message that music is important to the school
where I only teach marimbas and ukuleles. and children’s education and, although I teach music
What are your favourite activities to teach? on a regular basis, teachers still teach music in class.
Singing, dance and listening units are being taught
I find playing marimbas is a fantastic activity. Sometimes I borrow the marimbas
regularly without me which makes engaging the
from my marimba school to lug to other schools, and Jon Madin’s songs are a great
interest of children much easier. All in all I find plenty
way to start playing them right away and sound good.
of inspiration within the music curriculum, it is still the
How do you encourage creativity? most enjoyable thing I do, and to see some of my past
students, now at intermediate or secondary schools
I find performing produces a lot of creativity! Small performances in class, dance
performing everything from kapa haka to classical to
moves (the beat detective), being the leader in an echo song, making up short musical
rock music is a most special reward all of its own.
works with instruments in a small group, these activities make the children excited
and involved. Sometimes I film the performances to help with assessment. Thanks for your honesty Anna. Your schools will
consider themselves very lucky to have you, and I know
What will be the highlights of this term?
that a lot of teachers will relate to the highs and lows
At the moment I am learning bush dances with all my classes for a fundraising night that you describe. All the best with the bush dancing
in one school, another school had a school production just yesterday and we learned and end of year fun.
songs, listened to instruments and danced dances from a different country in each
Tracy Rohan is the author of Into Music 1 and 2, and
class and I have arranged in a third school to have an end of term assembly with
the co-author of Into Music 3. Until the end of 2009 she
music performances from each class. Term four usually plans itself with Christmas
was a senior lecturer at the University of Otago College
songs and productions.
of Education. She is currently living in Wellington and
What are the ups and downs of your work as an itinerant music specialist? completing a PhD in the area of cultural diversity in
There are some things I’d like to be able to change, and some things I am planning music education.
to change, in my job.
Classroom Conversations about Many Musics
Tracy Rohan
R
ecently I had the pleasure of interviewing musical experiences. The relationship between music and culture is an important
students and teachers in high schools in New theme in their conversations.
Zealand, Australia, and the United States. The Here is Faraeen, sharing his feelings about talking about his ‘home’ music at school.
findings from this research suggest that students in Faraeen is twelve years old and lives in Sydney, Australia. He is a recent immigrant
the settings that I visited are ‘ripe’ for participation from Iran.
in diverse musical experiences – listening, playing, TR: How would you feel if your music teacher asked you to share with your
creating, and critical discussion. The students were class some of the popular or traditional musics that your mum and dad have
curious, open and thoughtful in their responses. They taught you – how would you feel about that?
expressed a desire to know about the many musics Faraeen: I’d feel really happy because a lot of those songs are really nice. It
of the world and to know about the multiple musical would be good to tell our classmates, like people from other countries, how
identities of the students who share their classroom. your country plays their music. How they love their music.
In their conversations with friends of different Natsumi is a Japanese student. She is seventeen years old and lives in
nationalities, they discuss music, and share their diverse Seattle, America.
Sound Arts July 2010 Page 11TR: I was just talking to a young Chinese student here and then before that Can people buy this music? Is it recorded?
a Korean student – would you be interested in finding out about traditional Is this music written down? How? Why?
Korean music, traditional Chinese music, if they wanted to share those things
Will this music be the same next time it is
and have some knowledge?
played?
Natsumi: Definitely. My boyfriend’s Korean, so his parents like to tell me about Does this music tell a story? How does it do
all these old traditional Korean songs. They’ll ask me about Japanese songs. this?
And then the two girls you just previously talked to, we’re pretty good friends,
What does this music mean to the people who
so we talk about it and I don’t know, I think it’s really interesting. Like I see some
make it? What gives the music its meaning?
similarities and a lot of differences and it’s just really cool ...
What emotions does it express within its home
And here is Sina. She is Samoan and living in Auckland, New Zealand. culture? What function does it serve?
TR: What kinds of musics should be included in your music programme? Is there a word for music within this culture?
Who are musicians? Everybody? Only some
Sina: Maori music, because we live in New Zealand and Maori culture is a big people? Who makes up music? Who teaches
part of our society. And Pacific music, because they are our neighbours, and music? How do they get to be teachers?
maybe Aboriginal music as well.
What can you hear in the music?
TR: So the music that is here and around us in New Zealand? What sounds?
Sina: Yeah, I think that’s important. And also, music from other parts of the What instruments?
world, like New Zealand is really multicultural, like at our school we have a really How are they being played?
large Indian community, but I don’t know anything about their music.
The composer(s) or musician(s) intended for
It is my perception that there are hidden worlds of musical knowledge and experience this music to be exciting/ romantic/ peaceful/
in our classrooms. Students exist in these various musical worlds, and appear to dancey/ to send a baby to sleep/ to show
move comfortably between them, however, many express a desire to have these anger or protest. What will you expect
other ways of knowing about music acknowledged and celebrated within classroom it to be like? How was it different to your
programmes. They would like to blur the distinction between school music and the expectations? That’s how it sounds for some
‘lived’ music of family and community, and they are well ready for critical discussion people who share this culture. Is that how it
of issues related to musical identity, cultural diversity, and music education. Music sounds to you? Why? Why not?
education within culturally diverse schools provides fertile ground for musical
identities to develop, fuse, connect, and multiply as well as opportunities for students CONCLUSION
to explore multiple music histories and narratives. Talking about music in culturally informed, inclusive
and responsive ways is important. The ultimate goal
The inclusion of student experiences and the valuing of diverse musical expressions,
is to foster student dispositions towards engagement
particularly when culture bearers may be present in the classroom or wider school
with and participation in the arts that are open,
community, are vital components of culturally responsive music education. As
inclusive, curious and critical.
evidenced in my recent discussions with young people, teachers don’t need to
impose this, they just need to listen, join in the conversation, and find ‘teachable Greene (1995) has spoken of the power of the arts
moments’ for some focussed critical discussion. to develop social imagination. According to Greene
through artistic experience people may develop a
The following is a selection of possible conversation starters about musics from
sense of what it means to be the ‘other’, developing
around the world that teachers may share with students in a classroom context. The
empathy and understanding.
questions are inspired by the work of Patricia Campbell. In Teaching Music Globally.
Experiencing Music, Expressing Culture (2004). Campbell emphasises the importance ... imagination is what makes empathy possible.
of helping students to develop curiosity about music beyond its sonic qualities. This It is what enables us to cross the empty spaces
includes ‘knowledge of its instruments (and voices), elements, and contexts’ (p. 214). between ourselves and those we teachers have
She believes that students will be interested to learn about the cultural context of called “other” over the years. If those others are
the music they are listening to and playing and this kind of contextualised learning willing to give us clues, we can look in some
will deepen their appreciation of the music itself. manner through strangers’ eyes and hear
through their ears (Greene, 1995, p. 3).
Who made up this music?
Why did they make it up? REFERENCES
Who is playing it? Are the composers and the players the same people? Can Campbell, P. (2004) Teaching music globally: Experiencing
anybody play this music? How is this music taught and learned? music, expressing culture, Oxford: Oxford University
What are they playing? Press.
Is somebody singing? How are they singing? How is this voice described Greene, M. (1995) Releasing the Imagination. Essays on
Sound Arts July 2010 Page
within the home culture? Education, the Arts, and Social Change, San Francisco:
Jossey-Bass Inc.
Where are they playing it?
When are they playing it? Tracy Rohan is the author of Into Music 1 and 2, and
the co-author of Into Music 3. Until the end of 2009 she
What is the music for?
was a senior lecturer at the University of Otago College
What might be happening when this music is playing? Are people listening? of Education. She is currently living in Wellington and
Are they dancing? Can other people join in the music making if they want completing a PhD in the area of cultural diversity in
to? music education.
12Invercargill Schools’ Sing Out
Michael Buick
S
ince 1948, the annual Music Festival has been a inevitable that the price of tickets would have
huge part of life for Invercargill students. However, to rise to meet the increasing expenses.
as the festival neared its 60TH Anniversary, things
Organisers weren’t satisfied with passing the
were getting a bit tired. extra expenses on to families, as they were
conscious that some families were struggling
Instead of settling into a routine of having endless with current prices, and approached the
school choirs traipse across the stage of Invercargill’s Invercargill Licensing Trust for financial support.
Civic Theatre, the organising committee took steps The ILT saw the benefit of having 800 students
to revitalise the festival. Themes were introduced to celebrating their talents each year, and came
link material, and give a sense of unity to the evening’s to the party.
music. Various recent themes have included Stage and
Screen, Best of British, You Should Be Dancing, A Blast The opportunity was seized to rebrand the festival as the Invercargill Schools’ Sing
From The Past: 70’s, and Divas. Out, and the committee developed a corporate logo and a logo for each year’s theme
to promote more of a professional nature for the event. Without having to worry
As 2004 saw a review of Invercargill’s school network about financial pressures, the committee have been able to focus on developing a
and a major upgrade to the theatre, the committee quality show, without needing to cut corners.
devised a new format involving a guest artist. So
successful was this change, that schools demanded In 2008, the Invercargill Schools’ Sing Out celebrated its 60th Anniversary, and did
the format become a regular feature. so in true style by bringing Jackie Clarke to Invercargill to lead the festivities.
Despite these changes, the festival’s days were This year’s Invercargill Schools’ Sing Out again returned to the guest artist format,
becoming numbered. As the cost of everything from and featured music from some of the world’s biggest Divas, including Aretha
theatre hire, sound gear and advertising rose, it seemed Franklin, Celine Dion, Pink, Tina Turner,
Madonna, as well as an epic 10 minute
medley of Kiwi Divas’ tunes.
As the year draws to a close, the
committee are in the planning stages
for next year, wracking their brains to
find that ideal theme...
With the support of some amazing
talents, and community funding, the
Invercargill Schools’ Sing Out looks
set to ring up many more milestones
in the future.
Michael Buick is HOD Music at
Southland Girls’ High School in
Invercargill, where he runs a variety of
Music courses aimed at those with
both traditional backgrounds, and
those seeking less conventional ways
into Music. He became Convenor of
the Invercargill Schools’ Sing Out
committee in 2007, and fills his ‘free’
time as part of Invercargill’s A
Cappella Singers and taking charge of
musical aspects of many local
theatrical productions.
Sound Arts July 2010 Page 13‘Cultural Chords’
Striking the right notes with:
♪ diversity
♪ assessment
♪ technology
♪ curriculum
♪ management
National Music Conference in Auckland 2011
A conference for Primary and Secondary teachers
teaching through and with music in their classrooms
Opportunities will be available to explore;
celebrating cultural diversity
teaching and assessing with confidence NCEA
formal and informal music learning
engaging students in the 21st century
through technology
through instrumental learning
effective teaching
best practice
department management
developing young voices
creating new music
Presenters will include: Sally Bodkin-Allen, Robyn Trinnick, Stephen Rowe
Belinda Carey, Horomona Horo, Grace Davey, Shane Morrow, Tonga Vaea,
Celia Stewart, Millie Locke, Jane Egan, Rae Si’ilata, Maria Winder & Tama Waipara
Above all the conference will be fun, inspirational and collegial.
We look forward to seeing you all there.
Dates: Monday 18 – Wednesday 20th April, 2011
Venue: Quality Hotel Barrycourt, Gladstone Rd, Parnell, Auckland
Organisers: MENZA Auckland Committee, Convenor: Stephanie Lees
Cost: (if paid by Earlybird date 4/03/11, if paid after an additional $100 applies)
Sound Arts July 2010 Page
Live out: $310 MENZA Member $335 Non-MENZA Member
Twin Share: $470 MENZA Member $495 Non-MENZA Member
Single: $570 MENZA Member $595 Non-MENZA Member
th
Registrations close 18 March, 2011
Course fee covers all meals including dinner on Mon, Tues
Please see draft programme on reverse side
14Strike Up The Band Part Two:
So You Want to Start a Band?
Andrew Stopps
I
n part one (July Sound Arts) we asked three important and they wonder if their son/daughter will even continue after three weeks or give
questions about starting up a band programme in your it up – just like they did with dance lessons, judo lessons and underwater origami
classes? So, here’s how you deal with this:
school. 1. Why do you want a band? 2. Do you have the
energy, time and commitment to run a band? 3. Lastly, LEARN A BAND INSTRUMENT FOR FREE
is you school supportive of a band programme? Having What? I hear you ask. The cost of something unknown will give most parents cause
answered these questions you have gone through the six to pause. You need to bring down that cost as much as possible at the beginning
starter suggestions for creating your band programme, you until your band has proven itself to the parents. Try this when setting up your
have sent out expressions of interest to see if you already programme.
have students who learn an instrument, you have spoken 1. Contact a local musical instrument supplier and tell them you are about to
about concert bands in class and played concert band start a band programme. Let them know how many instruments your goal is
music to your students, you have done demonstrations of to include and say that you will direct all the new students to them if they do
you a deal. I have found music stores very open to this and in most cases they
the various instruments and let your students have a play
will reduce the hire cost because of the number of instruments they are leasing
to see which suit them best. What’s next? and even do a special package deal on purchasing new instrument. I usually
ask for them to have a complete package deal, instrument, music stand and
GOAL SETTING
book.
Set yourself a goal for the number of instruments you
want. I usually aim for 30 new musicians, that way if 2. See if there are any band instruments hidden away in a storeroom at your school
you lose some along the way, you still have a decent or if anyone in your school community has one lying under a bed somewhere
sized band. Plan ahead to when the first practice that they would like to offer the school. This way you can also loan instruments
of your band programme will be and also the first out to students who have trouble paying for hire of a new one.
performance. Yes, believe it or not, you are already 3. You can also offset the cost by reminding parents that students will be learning
planning your first performance! That way from day the instrument in a band situation (we will talk more about this later) all together
one, every member of your band and their parents and this will cost them nothing. You can invite your woodwind and brass teacher
know what they are aiming for. to come along to practices as well. This will benefit both them and the students.
They can see which students are doing particularly well and also start to pick
GETTING STUDENTS TO SIGN UP
up private students. Eventually it is hoped that all students in the band will be
I always say that being a music teacher is 75% teaching
learning privately, but at the start this is the most effective way of getting them
and 25% sales. Your new band programme will succeed
going. Once parents see their child is enjoying the instrument and progressing,
or fail on how it is delivered to your students and this is
most will opt for private lessons to supplement the band. This way you can
probably the hardest task of all in your quest to have a
advertise that students can learn an instrument for free. This way the only cost
band. There are two major hurdles you will encounter
to parents is that of the instrument. People love free things.
when starting up your band programme. The first is
convincing students that they can actually play a band IF I DON’T PLAY A BAND INSTRUMENT, HOW CAN I TEACH A BAND?
instrument. This can be quickly remedied by giving This is the most challenging aspect of setting up a concert band in your school. You
students the opportunity to blow a flute, clarinet, sax, play amazing piano or guitar but never have touched a wind instrument in your
trumpet and trombone. They will be able to make a life. Here’s how you do it.
sound on at least one of them and once they realise
it’s not as difficult as they imagined, you have won Step one: Don’t panic!
them over. The second is the cost. This tends to be Step two: Get ‘band books’. The band texts I use have very clear conductor scores
the larger of the two hurdles, but can be overcome. that show every aspect of how to play each instrument. I recommend Essential
The cost of learning a band instrument can be a turn Elements 2000 or Standard of Excellence as your texts. These books also come with
off for a lot of parents. When they factor in buying/ play along CDs and an instructional DVD. Playing the CD along with your band
renting an instrument and the cost of private lessons really helps to hear how each song goes and develops a sense of time and tone.
There is also an excellent teacher text book, The Teaching of Instrumental Music
(3rd Edition) by Richard J. Colwell and Thomas W. Goolsby. This has everything you
need to know about wind instruments in it.
You could also challenge yourself by learning an instrument with your band. This
is a great way of bonding with them and at the same time learning firsthand what
it’s like to play a wind instrument.
Step three: Make sure you also use your greatest resource – your instrumental
music teachers. Talk to them, ask them questions and get advice. In the long run
the band programme is going to benefit them, so anything they can do to help
you will ultimately help them too.
Sound Arts July 2010 Page 15You can also read
