Annual Report 2014 for the Year Ended 31 December 2014
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3122 the NEW ZEALAND GAZETTE No
3122 THE NEW ZEALAND GAZETTE No. 99 Flaxmere- Takaka, Council Chambers. Peterhead Public School. Takapau, Public School. Irongate Public School. Taradale, Town Hall. Foxton, Park Street School. Tawa, Baptist Hall, Main Road. Frasertown, Public School. Te Arakura, Public School. Greenmeadows, Public School. Te Hauke, Hall. Greytown, Public School. Tc Ore Ore. Hastings- Te Reinga, Public School. Camberley Public School. Te Waiohiki Pa, Mr E. Pene's Residence. Central Public School. Titahi Bay, Tireti Hall, Tireti Road. Mahora Public School. Trentham, Kindergarten, Tawai Street. Haumoana, Public School. Trentham Y.M.C.A. Havelock North, Public School. Tuahiwi, Public School. Invercargill, St. Johns Hall. Turiroa, Public School. Iwitea Pa, Meeting House. Twizel, High School. Kaiapoi, R.S.A. Upper Hutt, City Corporation, Administration Building, Kaikoura, Courthouse. Fergusson Drive. Kokako, Public School. Waihua, Public School. Kotemari, Public School. Waikawa Bay, Public School. Levin, Public School. Waimarama, School. Linton, Military Camp. Wainuiomata- Little River, County Office. Community Centre. Puketapu Grove Maori Meeting House. Glendale Public School. Lower Hutt, Town Hall. Wainuiomata Public School. Lyttleton- Waipatu, Tamatea Club Rooms. Main Public School. Waipawa, Hall. Rapaki House. Waipukurau, Courthouse. Mahia, Peninsula Public School. Wairau Pa, Public School. Manor Park, Public School. Wairoa- Maoribank, Public School. Kobul Street Public School. Maraenui- North Clyde Public School. Maraenui Public School. St. Therese Hall. Richmond Public School. Taihoa Marae. Marewa, Public School. Wairoa College. Martinborough, Public School. Waitangirua- Masterton- Corinna Public School. Courthouse, Dixon Street. Tairangi Public School. East Public School. Wellington Harley Street Public School. Johnsonville Mall. Town Hall, Chapel Street. Mulgrave Street, Family Court Building. Mataura, Borough Council Chambers. -
A History of Music Education in New Zealand State Primary and Intermediate Schools 1878-1989
CHRISTCHURCH COLLEGE OF EDUCATION LIBRARY A HISTORY OF MUSIC EDUCATION IN NEW ZEALAND STATE PRIMARY AND INTERMEDIATE SCHOOLS 1878-1989 A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in the University of Canterbury by Susan P. Braatvedt B.A. (Natal), Dip.Arts (Auckland), B.A.Rons (Canterbury) VOLUME II University of Canterbury 2002 Chapter Five 1950-1968 266 The growth ofschool music Chapter Five 1950 -1968 The growth of school music "music is fmnly established as an integral part of the school curriculum."l 5.1 Introduction This 18-year period was dominated by the National Party except for one term when Labour was voted back into office from 1958? When the National Party took office in December 1949, they inherited an educational system in which school music had not been particularly well served. Robert Chapman comments: The underlying changes in the golden 1960s were social rather than political, technological rather than legislative, individual rather than public ....The tertiary education boom, television, and the contraceptive pill were transforming family and personal relationships as well as the method by which politics were perceived. Government expenditure underwrote the surging development of health and education ... 3 In chapter one section 1.2 it was pointed out that the influence of English music education endured for many years. It is in this period that we begin to see a development of a more innovative approach which was more eclectic in its character. 1 AE. Campbell, Director-General of Education, AJHR. E-1, 1966, p.17. 2 R Chapman, 'From Labour to National,' The Oxford History ofNew Zealand, W.H. -
Economic Development DRAFT TEXT 28/08/2008
Annual Report 2007/08 Economic development DRAFT TEXT 28/08/2008 ECONOMIC DEVELOPMENT OUR APPROACH Wellington has enjoyed steady economic growth in recent years. Unemployment is low, incomes are relatively high, and the city has retained a healthy government and financial sector while also making progress towards developing new high-tech and creative industries. Under the Wellington Regional Strategy, economic development agency Grow Wellington has principal responsibility for promoting economic development throughout the region. We support economic development generally through provision of many of the facilities and services that make this a great place for workers and their families to live and for businesses to locate. We also provide specific support for tourism through the marketing of Positively Wellington Tourism and the attraction of iconic events. CASE STUDY: HOMEGROWN Wellington’s waterfront rocked for the Homegrown Music Festival. Held over Anzac Weekend 2008, the Vodafone Homegrown Music Festival attracted a sold- out crowd of thousands. The festival featured 33 bands and DJs across five stages. Headline acts included a who’s who of New Zealand music: Shihad, Pluto, Kora, the Mint Chicks, Opshop, Elemeno-P, Salmonella Dub, The Black Seeds, The Phoenix Foundation, and more. All stages were either indoors or in massive marquees to ensure the event could go ahead rain or shine. Art installations, street performers and stalls for arts and crafts, food and clothing all complemented the on-stage entertainment. Festival venues, all on Wellington’s waterfront, included the TSB Arena and Shed 6, Frank Kitts Park and the Lagoon. Festival organisers encouraged use of sustainable transport to and from venues, as well as recycling of food and drink containers. -
The Heritage Problem: Is Current Policy on Earthquake-Prone
Liv Henrich and John McClure The Heritage Problem is current policy on This series of earthquakes has acted as earthquake-prone heritage a wake-up call for many citizens of earthquake-prone regions and has highlighted the importance of preparing buildings too costly? for earthquakes (McClure et al., 2016). These events have also reinforced the Introduction political drive to strengthen legislative Earthquakes are a major hazard around the world policy for earthquake-prone buildings, particularly after the Canterbury earth- (Bjornerud, 2016). A recent example is New Zealand, where quakes. Earthquake resilience has become an issue in political discourse and public three major earthquake events occurred within a six-year policy in New Zealand. Although period. The 2010–11 earthquakes in Canterbury, centred earthquakes are unpredictable events, the damage they trigger can be greatly reduced close to the city of Christchurch, led to 185 fatalities, mainly through actions to ensure the resilience of due to two collapsed buildings and crumbling facades building structures (Spittal et al., 2008). The major cause of fatalities in earthquakes (Crampton and Meade, 2016). In addition, the rebuild of is the collapse of buildings (Spence, 2007), as demonstrated in the Canterbury Christchurch after the earthquakes cost $40 billion (English, earthquakes. Strengthening buildings is 2013), a large sum for a small country. Subsequent large thus a key measure to reduce harm from earthquakes, and may also provide earthquakes occurred in 2013 in Seddon (close to Wellington) economic benefits (Auckland Council, 2015). New Zealand, like many countries, and in 2016 in Kaiköura. has policies on earthquake legislation that Liv Henrich completed her MSc in Psychology at Victoria University of Wellington and is working affect these mitigation actions. -
Cimf20201520program20lr.Pdf
CONCERT CALENDAR See page 1 Beethoven I 1 pm Friday May 1 Fitters’ Workshop 6 2 Beethoven II 3.30 pm Friday May 1 Fitters’ Workshop 6 3 Bach’s Universe 8 pm Friday May 1 Fitters’ Workshop 16 4 Beethoven III 10 am Saturday May 2 Fitters’ Workshop 7 5 Beethoven IV 2 pm Saturday May 2 Fitters’ Workshop 7 6 Beethoven V 5.30 pm Saturday May 2 Fitters’ Workshop 8 7 Bach on Sunday 11 am Sunday May 3 Fitters’ Workshop 18 8 Beethoven VI 2 pm Sunday May 3 Fitters’ Workshop 9 9 Beethoven VII 5 pm Sunday May 3 Fitters’ Workshop 9 Sounds on Site I: 10 Midday Monday May 4 Turkish Embassy 20 Lamentations for a Soldier 11 Silver-Garburg Piano Duo 6 pm Monday May 4 Fitters’ Workshop 24 Sounds on Site II: 12 Midday Tuesday May 5 Mt Stromlo 26 Space Exploration 13 Russian Masters 6 pm Tuesday May 5 Fitters’ Workshop 28 Sounds on Site III: 14 Midday Wednesday May 6 Shine Dome 30 String Theory 15 Order of the Virtues 6 pm Wednesday May 6 Fitters’ Workshop 32 Sounds on Site IV: Australian National 16 Midday Thursday May 7 34 Forest Music Botanic Gardens 17 Brahms at Twilight 6 pm Thursday May 7 Fitters’ Workshop 36 Sounds on Site V: NLA – Reconciliation 18 Midday Friday May 8 38 From the Letter to the Law Place – High Court Barbara Blackman’s Festival National Gallery: 19 3.30 pm Friday May 8 40 Blessing: Being and Time Fairfax Theatre 20 Movers and Shakers 3 pm Saturday May 9 Fitters’ Workshop 44 21 Double Quartet 8 pm Saturday May 9 Fitters’ Workshop 46 Sebastian the Fox and Canberra Girls’ Grammar 22 11 am Sunday May 10 48 Other Animals Senior School Hall National Gallery: 23 A World of Glass 1 pm Sunday May 10 50 Gandel Hall 24 Festival Closure 7 pm Sunday May 10 Fitters’ Workshop 52 1 Chief Minister’s message Festival President’s Message Welcome to the 21st There is nothing quite like the Canberra International Music sense of anticipation, before Festival: 10 days, 24 concerts the first note is played, for the and some of the finest music delights and surprises that will Canberrans will hear this unfold over the 10 days of the Festival. -
DOWNLOAD NZSO ANNUAL REPORT 2013 Annual Report
Annual Report 2013 FOR THE YEAR ENDED 31 DECEMBER 2013 Presented to Hon. Christopher Finlayson Minister for Arts, Culture and Heritage 1 To our NZSO Supporters: Thank You. Maestro Circle ($10,000+) Fehl Charitable Trust Mark Barrow Museum Art Hotel Denis & Verna Adam Ian Fraser & Suzanne Snively Michael & Judith Bassett Lorriane Nicholls & Donald & Susan Best Dr John Grigor Philippa Bates Geoff Taylor Sir Roderick & Robin Henderson Patricia Bollard Philip & Viola Palmer Gillian, Lady Deane James & Karen Henry Hugh & Jill Brewerton Barbara Peddie Peter & Carolyn Diessl Les & the late Patricia Jenny Brown Alan & Luba Perry Emma & Jack Griffin Holborow Mary Brown Lady Glennis Pettigrew Charitable Trust Tomas & Jan Huppert Kate M Burtt Tony Reeve The FAME Trust Morgan Patricia Jones Adrienne Bushell John & Helen Rimmer JBWere Annette & Ralph Lendrum Malcolm & Margaret Carr Nigel & Heather Roberts Mary Fitzwilliam Award David Lord & Tracy Grant Lord Noel Carroll Miles Rogers Michael Mongahan Young Ian Macalister Angela Caughey Judith Ross Musicians Foundation Athol & Ngaire Mann Joan Caulfield & Graham Hill Marcus & Eve Rudkin Reeves Harris Orchestra Fund Christopher & Jilly Marshall Dion Church Warwick Slinn Take Note Trust Piera McArthur Lady Patricia Clark Robyn Smith Anonymous (1) Michael McCarthy Jeremy Commons Trevor Smith Campbell McLachlan & Rhona Prue Cotter Martin & Catherine Spencer Virtuoso Circle ($5,000+) Fraser Michael & Marie Crooke Peter & Kay Squires Julian & Selma Arnhold Patricia Morrison QSM Richard & Valerie Crooks Vanessa -
Summer on Ice Students Go to Polar Extremes Back to the Future New Chancellor Comes Full Circle Ruapehu Rocks Measuring the Puls
MAGAZINE FOR FRIENDS AND ALUMNI OF VICTORIA UNIVERSITY OF WELLINGTON Summer 2002 Summer on ice Students go to polar extremes Back to the future New Chancellor comes full circle Ruapehu rocks Measuring the pulse of the mountain E-text centre Victoria establishes electronic archive Classic pieces An exquisite second century AD golden former member of staff Denise Kalfas, whose earring which once adorned the lobe of a family were world-wide collectors of Greek and wealthy Roman noblewoman is the most Roman artefacts. Under the careful stewardship recent donation to the Classics Museum. The of a succession of Classics staff, most recently earring was donated to the Museum by Ilse Dr Judy Deuling, the collection has been Jacoby, daughter-in-law of renowned German selectively developed to become one of the classicist Felix Jacoby. Ilse and her husband most complete teaching collections held by a Peter emigrated from Germany to New New Zealand university. Zealand in 1938, and over the years formed a It is not just Classics students who benefit strong relationship with the University. from the excellent resource. Drama, Art History, Another recent addition to the collection has Religion and English students also make use of been the purchase of a rare and striking sixth the Museum to gain an insight into particular century BC Kalpis—a Greek vase for pouring aspects of their subjects. “There is much to learn water and wine. By fortune and good timing the from these physical objects to bring alive the vase was acquired from a London dealer and is ancient world, its history, art, literature decorated with a dramatically stylised Octopus. -
New Zealand Works for Contrabassoon
Hayley Elizabeth Roud 300220780 NZSM596 Supervisor- Professor Donald Maurice Master of Musical Arts Exegesis 10 December 2010 New Zealand Works for Contrabassoon Contents 1 Introduction 3 2.1 History of the contrabassoon in the international context 3 Development of the instrument 3 Contrabassoonists 9 2.2 History of the contrabassoon in the New Zealand context 10 3 Selected New Zealand repertoire 16 Composers: 3.1 Bryony Jagger 16 3.2 Michael Norris 20 3.3 Chris Adams 26 3.4 Tristan Carter 31 3.5 Natalie Matias 35 4 Summary 38 Appendix A 39 Appendix B 45 Appendix C 47 Appendix D 54 Glossary 55 Bibliography 68 Hayley Roud, 300220780, New Zealand Works for Contrabassoon, 2010 3 Introduction The contrabassoon is seldom thought of as a solo instrument. Throughout the long history of contra- register double-reed instruments the assumed role has been to provide a foundation for the wind chord, along the same line as the double bass does for the strings. Due to the scale of these instruments - close to six metres in acoustic length, to reach the subcontra B flat’’, an octave below the bassoon’s lowest note, B flat’ - they have always been difficult and expensive to build, difficult to play, and often unsatisfactory in evenness of scale and dynamic range, and thus instruments and performers are relatively rare. Given this bleak outlook it is unusual to find a number of works written for solo contrabassoon by New Zealand composers. This exegesis considers the development of contra-register double-reed instruments both internationally and within New Zealand, and studies five works by New Zealand composers for solo contrabassoon, illuminating what it was that led them to compose for an instrument that has been described as the 'step-child' or 'Cinderella' of both the wind chord and instrument makers. -
APO Annual Report 2017
AUCKLAND PHILHARMONIA ORCHESTRA 2017 ANNUAL REPORT AUCKLAND PHILHARMONIA ORCHESTRA Auckland Philharmonia Orchestra is New Zealand’s full-time professional Metropolitan CONTENTS orchestra, serving Auckland’s communities with a comprehensive programme of concerts and education and outreach activities. Chairman’s Report 1 In more than 70 self-presented performances annually, the Chief Executive’s Report 2 APO presents a full season of symphonic work showcasing Premieres in 2017 4 many of the world’s finest classical musicians. Renowned for its innovation, passion and versatility, the APO collaborates with New Zealand Artists Performing some of New Zealand’s most inventive contemporary artists. with the APO in 2017 4 Artistic and Performance Highlights 6 The APO is proud to support both New Zealand Opera and the Royal New Zealand Ballet in their Auckland performances. It Marketing and Sales 7 also works in partnership with Auckland Arts Festival, the New APO Connecting 8 Zealand International Film Festival, the Michael Hill International Violin Competition and Auckland War Memorial Museum, among Business Partnerships other organisations. and Development 10 Through its numerous APO Connecting (education, outreach APO Musicians, Management, and community) initiatives the APO offers opportunities to Board and Support Organisations 11 more than 27,000 young people and adults nationwide to Financial Overview 12 engage with and participate in music activities ranging from hip-hop and rock to contemporary and classical. APO Financial Statements 13 APO Funders, Donors More than 250,000 people worldwide experience the orchestra and Supporters 41 live each year with many thousands more reached through recordings, broadcasts and other media. APO Sponsors 45 COVER IMAGE: Steven Logan, Principal Timpanist and Eric Renick, Principal Percussionist (Photo: Adrian Malloch) CHAIRMAN’S REPORT It is my pleasure to report on 2017 on behalf of the Auckland Philharmonia Orchestra Board, a year of exciting new opportunities for the orchestra. -
Ur Composers
UR COMPOSERS Douglas Lilburn described as “the of Takaka. It then travelled via Seoul, academic Dr. Suzanne Court and are elder statesman of New Zealand Beijing and Tokyo to end up in published by Pro Arte Publications in a music” and the “grandfather of New Wellington. I was lucky enough to have collection of guitar works by New Zealand music”, died peacefully at his been the piece’s travelling companion Zealand composers called Guitar home in Wellington on 6th June 2001. for most of the way. This particular Aotearoa. Douglas Lilburn composed his journey has been integral to my Seventeen Pieces for Guitar between personal musical development as it “MATARIKI” SUITE FOR GUITAR 1962 and 1970 for local guitarist taught me all sorts of valuable lessons (2005) Ronald Burt. They are amongst the relating to music. If a musical problem World Premiere last of his works for acoustic was too difficult to solve I would leave Introduction instruments and can be heard as it for a while, sometimes over a period Tapuanuku providing a transition to his works in of months, before a solution was Tapuarangi the electronic medium. He also drew found. Sometimes this answer took Waiti Michael Hogan (b. 1971) inspiration from earlier works: No. 2 is hours of hard graft, but mostly it would Waita based on the penultimate song in his unravel of it’s own accord. In these Waipunarangi cycle Sings Harry to words by NZ poet months of not working on Homage I Ururangi Denis Glover: feel that I grew musically, obtaining MICHAEL HOGAN (b. -
Download PDF Catalogue
Important Paintings and Contemporary Art : 26 November 2013 IMPORTANT PAINTINGS AND CONTEMPORARY ART 26 NOVEMBER 2013 art+object Catalogue 72 Gil Hanly Becalmed off Rangitoto: Pat & friends paddle home (early 80s) AO668FA2 Cat 72 cover.indd 1 6/11/13 10:24 AM Important Paintings and Contemporary Art Tuesday 26 November at 6.30pm Richard Killeen Pea Beau acrylic on canvas signed and dated 5 – ’76 1525 x 1020mm 1 AO668FA Cat 72 text.indd 1 11/11/13 9:45 PM Welcome to A+O’s final major art catalogue of Edward Bullmore’s London years traversed the 2013. It is a rare occasion in an auction context to period 1960 to 69 and the exhibition history and be able to present a comprehensive selection of an context of his work in this period is detailed in an artist’s work which encompasses key chronological insightful essay by Penelope Jackson. Bullmore’s periods and stylistic developments. In this current voyage from pure easel painting to surrealist catalogue we are pleased to present body’s of works constructions is one of the most intriguing in by two artists for whom a period of residence in all New Zealand art history. The works in this London during the 1950s and 60s proved decisive catalogue (lots 11 to 14) date from Bullmore’s not only to their practice but also in terms of the Florence and London years and his subsequent international ideas they imbibed and contributed to. return to New Zealand. They reveal his journey Before WWII earlier generations of New Zealand from and to New Zealand as both highly individual artists such as Frances Hodgkins, Rhona Haszard and inspiring. -
An Operatic Tradition ADRIENNE SIMPSON in Conversation with J.M.THOMSON
4 The symmetries of his achievement are irresistible. Quintessential early works such as - the overtures Aotearoa, Festival and Drysdale and the cantata Prodigal Country were part of the centennial celebrations of 1940 when Douglas Lilburn was a youthful twenty-five year old. Today, in 1990, we celebrate the composer at seventy-five years and an anniversary of 150 years of nationhood. The works of the intervening fifty years are all about that 'something very strange', - 'the vivid night smell of the bush country' and the challenge to others to make the New Zealand journeys that are their own version of a 'hair-raising' experience in the Marlborough Sounds. Within this exhibition the maps and routes of this musical traveller are laid out for us all to experience and understand. This is an appropriate and timely tribute to the work of this great New Zealand artist for which we owe curator Jill Palmer a resonant accolade. Douglas Lilburn's journey is part of a larger flow. A flow expertly woven and interpreted by curator John Mansfield Thomson to whom I offer congratulations and thanks for the benefits of his wisdom and knowledge in finding and making these pathways. Music is the province and property of all human kind. Of people from all walks of life, backgrounds, origins and beliefs. It is simultaneously their servant, their reflection and their release. And each place and each time has its own music. And each music has the unique ability to translate across time, borders and barriers whatever they may be - social, physical or intellectual.