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A History of Music Education in New Zealand State Primary and Intermediate Schools 1878-1989

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A History of Music Education in New Zealand State Primary and Intermediate Schools 1878-1989 CHRISTCHURCH COLLEGE OF EDUCATfCJN 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.Hons (Canterbury) VOLUME I University of Canterbury 2002 Contents Contents Page Contents 1 List of illustrations Xl List of figures XIV List of tables xv Abstract xvii Preface XIX 1.1 Primary sources xx 1.2 Secondary sources XXI 1.3 The researcher . xxiii 1.4 Research method xxiii Abbreviations xxv Foreword XXVI 1.1 The value of music in the curriculum XXVI 1.2 The role of music education in the curriculum XXV111 1.3 The role of the teacher in music education XXIX (a) The most effective kind of music education teacher XXIX (b) Teacher training XXIX 1.4 Outline of chapters 1-6 xxx Acknowledgements xxxiii Contents 11 CHAPTER ONE 1877-1899 1 EARLY BEGINNINGS 1.1 Introduction 1 1.2 Vocal music in English education 4 (a) Sarah Anne Glover (1786-1867) 6 (b) John Curwen (1816-1880) 7 (c) John Hullah (1812-1884) 11 1.3 Vocal music in New Zealand education 19 1.4 The purpose of singing in the curriculum 20 (a) Singing as a moral force 20 (b) Singing as pleasure 21 (c) Singing as voice training 22 (d) Singing as aural training 23 1.5 The school music syllabus and its implementation 25 (a) The music syllabus 27 (b) School music materials 30 (c) Numbers of pupils learning singing 31 1.6 The role of the teacher 33 1.7 Teacher training 40 1.8 Additional training in three education districts 49 (a) South Canterbury 49 (b) Wellington 51 (c) Auckland 55 1.9 The effects of additional teacher training 57 1.10 Conclusion 59 Contents 111 CHAPTER TWO 1900-1918 A NEW VARIATION: GEORGE HOGBEN 61 2.1 Introduction 61 2.2 The new Inspector-General of schools 62 2.3 The inspectors' perceptions of vocal music 64 (a) The implementation of the new examination system and its effect on singing 64 (b) Inspectors' conference, 1901 68 2.4 The role of vocal music in the curriculum 69 2.5 Singing prescriptions 72 (a) Suitable songs 79 2.6 The role of the teacher 94 (a) Teacher training 98 [i] Music as a compulsory subjectfor student teacher examinations 10 1 2.7 Conclusion 113 CHAPTER THREE 1919-1934 THE WINDS OF CHANGE: SCHOOL MUSIC INITIATIVES 116 3.1 Introduction 116 3.2 New initiatives in schooling 116 3.3 The development of school music (1919-1925) 119 (a) The role of singing in the curriculum 119 [i] School singing 120 [ii] Concerts for School Children 126 (b) Resource assistance 128 (c) Music appreciation 131 [i] Music appreciation in English and American education 131 [ii] Music appreciation in New Zealand schools 135 Contents IV (d) Suitable songs 137 (e) The role of the teacher 141 3.4 E. Douglas Tayler 144 (a) Monthly music articles 149 (b) Resource assistance 155 [i] Encouragement ofmus ical invention 156 [ii] Notation 159 (e) Music publications 162 (t) Broadcasting 171 (g) Teacher training 175 [i] Music examination 175 [ii] Third year music course 176 [iii] Summer courses for teachers 179 (h) Music making in the community 179 3.5 Effects of Tayler's initiatives 182 3.6 Conclusion 189 CHAPTER FOUR 1935-1949 A DIFFERENT TEMPO: MUSIC EDUCATION IN THE LABOUR ERA 192 4.1 Introduction 192 4.2 Early educational changes 193 4.3 The role of music in the schools 194 (a) The work of Vernon Griffiths 217 (b) The Thomas Report 219 ( c) The purpose of music in the curriculum 222 4.4 Teacher training 225 (a) Specialist music teachers 233 Contents v 4.5 The public perception of school music education 239 (a) School music festivals 242 (b) Musical developments in the community 244 (c) The effects of broadcasting 246 4.6 The music syllabus 258 4.7 Conclusion 263 CHAPTER FIVE 1950-1968 THE GROWTH OF SCHOOL MUSIC 266 5.1 Introduction 266 5.2 The perception of school music 267 5.3 Department of Education Initiatives 271 (a) Music lessons out of school hours 271 (b) Grants 272 (c) Ramsay Howie's work in schools 273 (d) Teacher training 279 (e) Adviser on School Music 285 (f) In-service courses 287 (g) Music advisers 290 (h) Establishment of a curriculum unit 296 5.4 The role of music education in the curriculum 298 (a) Singing 305 (b) Instrumental Music 312 [i] Orchestral music 314 [ii] Percussion instruments 317 [iii] The recorder 319 [iv] The guitar 322 (c) Music festivals 323 Contents VI 5.5 The public interest in music 325 (a) Broadcasts to schools 326 5.6 Conclusion 332 CHAPTER SIX 1969-1989 SHARPENING THE TRADITION: NEW VISIONS FOR MUSIC EDUCATION 335 6.1 Introduction 335 (a) The Tait Report 336 6.2 Department of Education Initiatives 339 (a) Equipment 339 (b) Class sizes 343 ( c) The role of the teacher 344 (d) Teacher training 347 (e) The Music Adviser 351 (t) Out-of-hours scheme 356 (g) Implementation of two pedagogical approaches 356 [i] Orff 357 [ii] KodfJly 358 (h) Composers in schools 359 (i) The Musician-teacher scheme 363 6.3 Other music education initiatives 366 (a) Wanganui music scheme 366 (b) Societies of music education 367 ( c) Other musical events 369 6.4 The role of music in the curriculum 369 (a) Time-tabling 369 (b) Content of music education 377 [i] The music syllabus of 1969 379 Contents Vll [ii] Music units 382 [iii] The music syllabus of1989 386 6.5 The value of music in the curriculum 389 (a) Primary school Music Syllabus Infant Classes to Form Two 389 (b) A review of the Core Curriculum in Schools 391 [i] Fostering appreciation ofvarious styles ofmusic 392 [ii] The need to develop musical potential 396 [iii] The ubiquity ofmusic 397 (c) Syllabus for schools: Music Education Early Childhood to Form Seven 397 [i] Grow aesthetically through musical experiences 399 [ii] Consider the music profession as a viable proposition 399 [iii] Gain a greater understanding ofcultural similarities and differences through music 400 [iv] Develop sensitivity to the quality ofsound in the environment 402 [v] Improve personal identity and positive relationships with others through individual and group participation in music 404 [vi] Gain pleasure and, in many cases, develop a lifelong interest 405 6.6 Conclusion 405 CHAPTER SEVEN CONCLUSION 409 7.1 An overview of school music in New Zealand 409 (a) The impact of examinations 411 (b) The consequence of limited personnel resources 411 (c) Music education under the Labour Government (1935-1949) 413 Contents V111 (d) Music education after 1950 415 7.2 Effects of Department of Education Initiatives 416 (a) Resources 416 (b) The role of the teacher 420 [i] Teacher training 420 [ii] A review a/the music syllabus contents 423 [iii] The qualities a/the most effective teacher 424 [iv] The generalist and the specialist 426 7.3 The need for music in the curriculum 428 (a) Practitioner's assessments of music education 430 7.4 Concluding analysis 432 7.5 Afterword 434 Appendices 436 Appendix 1 Map of New Zealand showing education districts since 1916 436 Appendix 2 Key events in music education that impacted school music 1877-1989 437 Appendix 3 The Cobbler (song) 441 Appendix 4 Music Examination 1899 442 Appendix 5 1913 music prescriptions 444 Appendix 6 List of suitable songs from The School Music Teacher 1903 452 Appendix 7 Songs published in the School Journal 1907 - 1933 454 Appendix 8 The story of God save the King 457 Contents IX Appendix 9 Some Music Theory Infonnation from Zealandia Song Book Part 1 459 Appendix 10 'Scheme to improve vocal music and other fonns of oral expression throughout the schools of New Zealand,' by E.V. Hudson 460 Appendix 11 E. Varley Hudson's list of text books for school music 463 Appendix 12 School Music Syllabus of Instruction for Public Schools 1928 465 Appendix 13 Hawera School Orchestra and Wanganui Combined schools' "Boomerang" mouth organ band 475 Appendix 14 Broadway Melody (song) 476 Appendix 15 The Lincolnshire Poacher (song) 477 Appendix 16 The Monochord 478 Appendix 17 Vernon Griffiths and Ernest Jenner 480 Appendix 18 Report from music specialist, Tenn 1, 481 1946 Appendix 19 New Zealand Birds - their songs and habits 484 Appendix 20 Themes for Music Appreciation from Broadcasts to Schools 1946 487 Appendix 21 How to make a bamboo pipe 490 Appendix 22 1953 Music Syllabus 492 Appendix 23 Broadcasts to Schools covers 1960, 1963 and 1968 504 Contents x Appendix 24 Broadcast to Schools Series: Songs featuring instrumental accompaniment between 1957 and 1968 506 Appendix 25 The composer in schools scheme by Dorothy Buchanan 511 Appendix 26 1969 Music Syllabus: Primary School Music Syllabus Infant Classes to Form 2 514 Appendix 27 Music Units example Stage II Unit 3 524 Appendix 28 A school jazz ensemble 527 Appendix 29 1989 Music Syllabus: Syllabus/or Schools: Music Education, Early Childhood to Form Seven 528 . Appendix 30 'Music in Tomorrow's Schools: The Challenge of Change' Anne 0' Rourke 532 Appendix 31 Songs recorded on CD 534 Bibliography 538 List ofIllustrations Xl List of Illustrations Page 1 Sarah Glover with her Sol-Fa Ladder 6 2 John Curwen 7 3 Song: Let it Pass 9 4 Song: Life is Short 10 5 A modulator 13 6 Specimen Voluntaries 14 7 Mental Effects of Scale Tones 15 8 Hand Signs 16 9 The Elementary Certificate of the Tonic Sol-fa College 17 10 Singing Prescriptions for 1878 and 1885 27 11 Music Examination for Teachers 1883 36 12 Robert Parker 52 13 George Hogben 62 14 Song: The Minstrel Boy 83 15 Song: The Red, White and Blue 85 16 Song: My Native Land 88 17 Song: New Zealand, the Land 'neath the Southern Cross 90 18 Song: Kowhai Bells 92 19 Singing Prescriptions 1919 120 20 Song: He Waiata Aroha 129 21 E.
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