Australian and New Zealand Association for Research in Music Education Proceedings of the XXXth Annual Conference Innovation and Tradition: Music Education Research 3 – 5 October 2008 Melbourne, Victoria, Australia 1 All published papers have been subjected to a blind peer-review process before being accepted for inclusion in the Conference Proceedings Publisher Australian and New Zealand Association for Research in Music Education (ANZARME, Melbourne, Australia Editor Dr Jane Southcott Review Panel Prof. Pam Burnard Prof. Gordon Cox Dr Jean Callaghan Dr James Cuskelly Associate Prof. Peter Dunbar-Hall Dr Helen Farrell Dr Jill Ferris Professor Mark Fonder Dr Scott Harrison Dr Bernard Holkner Dr Neryl Jeanneret Dr Anne Lierse Dr Sharon Lierse Dr Janet McDowell Dr Bradley Merrick Dr Stephanie Pitts Dr Joan Pope Assoc. Prof. Robin Stevens Dr Peter de Vries Assoc. Prof. Robert Walker Printed by Monash University Format CD ROM ISBN: 978-0-9803116-5-5 2 CONTENTS Keynote Address: The First Musical Festival of the Empire 1911: 1 Tradition as innovative propaganda Thérèse Radic, University of Melbourne The artist as academic: Arts practice as research/as a site of 15 knowledge Diana Blom, University of Western Sydney Dawn Bennett, Curtin University David Wright, University of Western Sydney Aural traditions and their implications for music education 26 Roger Buckton, University of Canterbury, New Zealand A retrospection of the 1960s music education reforms in the USA 36 Harry Burke, Monash University Through the Eyes of Victor McMahon: The Flute Band 46 Movement in NSW Public Schools, 1938 to 1954 Marilyn J. Chaseling, Southern Cross University A mixed-method approach to research methodology: Fitting 61 strategy to subject to achieve authentic practice Renée Crawford, Monash University The integration of information technology in music education in 76 Taiwan Hung-Pai Chen, RMIT University An investigation of music instrument learning environments: 87 Advanced student experiences and perceptions Ryan Daniel, James Cook University Piano Pedagogy: A preliminary investigation into the benefits 101 and current adoption of holistic learning programs for beginner students Ryan Daniel, James Cook University Julia Bowden, James Cook University Examining personal experiences on pre-service teachers 111 engagement with arts education Susanne Garvis, University of Queensland What does quality music education look like? 125 Kay Hartwig, Griffith University 3 Considerations for school singing activities: An integrated 132 pedagogical model Diane Hughes, Macquarie University Aural Comprehension Instruction within Victorian Secondary 141 Music Education Robert Jacob, Monash University Exploring creative music making as a vehicle 148 for integrated teaching and learning Dawn Joseph and Catherine Harris-Hart, Deakin University Recognizing and Celebrating Xhosa Traditional Music in South 161 Africa Dawn Joseph, Deakin University Alvin Petersen, University of the North West, Potchefstroom, South Africa Language Through Music: Music Through Language 172 Heather Libeau-Dow, University of Canterbury, New Zealand Improvisation and Styles of Music Teaching 178 David Lines, University of Auckland This task is really boring: Examining the impact of class music 185 learning activities upon Year 8 music student values Geoffrey M. Lowe, Edith Cowan University Extending expectancies for class music: A new perspective within 195 achievement motivation Geoffrey M. Lowe, Edith Cowan University The Use of Gesture as a Pedagogic Tool in the Singing Studio 203 Julia Nafisi, Monash University My goal is to teach music and they ask me about global 214 education. Anne Power and Mike Horsley, University of Western Sydney Innovation and tradition in instrumental music in South 220 Australian government schools Jennifer C. Rosevear, University of Adelaide 4 “It’s a bit harsh, isn’t it!” Judgemental teaching practice 228 corrupts instinctive musicality Eve Ruddock, Murdoch University Updating Music Education in Australia: Recommendations to 241 bridge the divergence between classical and contemporary music as a response to issues raised in national and state reports in 2005 and 2007. David Salisbury, James Cook University Music Education in a digitized world: Embodied knowing and 251 understanding in the information society Trevor Thwaites, University of Auckland Preschool children, music and the role of the family 259 Aleksandra Vuckovic, RMIT University Values education and curriculum materials: Why did music miss 269 out? Amanda Watson, Department of Education and Early Childhood Development, Victoria David Forrest, RMIT University Using ICT in the music room: Possible implications for secondary 277 music teacher training Stuart Wise, University of Canterbury, New Zealand Refereed Abstracts 288 Innovative strategies and traditional constructs: defining the role of sound and movement in Music Theatre Diane Hughes, Macquarie University Pauline Manly, Macquarie University Ruth Flockart and Dr. Wood: A crucial relationship in the development of the Melbourne Methodist Ladies' College music program Louise Jenkins, Monash University Innovative Auteur Meets Traditional Professor: Sternberg, sound and the seduction of Professor Rath in the classic 1930 film The Blue Angel Maree Macmillan, RMIT University Music, Well-being and Ageing Jane Southcott, Monash University 5 6 The First Musical Festival of the Empire 1911: tradition as innovative propaganda Thérèse Radic, University of Melbourne Keynote Address This article traces the outlines and implications of a highly successful propaganda exercise promoted as part of a larger scheme by Britain to renew ties with its empire as war loomed. It made use of the eager collaboration of musical loyalists and an unlikely medium – oratorio. Background In 1911 the coronation of the King-Emperor, George V, was used by the government of the day as a focus for a larger political and cultural scheme intended to promote empire unity. This scheme included a series of associated events designed to shore up Britain’s relationship with its colonies, territories, and dominions and to persuade its citizens that they were in fact a united people at home and abroad when this was plainly not the case. 1911 was also the year in which London saw the first Imperial Conference. Previously there had been Colonial Conferences – 1887, 1894, 1897, 1902 and 1907 – at which representatives of the British colonies and dominions discussed matters of imperial concern – primarily defence, but also trade, and communications. The new name implied a change of status. The Imperial conferences became the Conferences of Commonwealth Prime Ministers only after the Second World War, at which time the British Commonwealth of Nations accounted for 30% of the world’s population. Being a member nation of the British Empire was no small thing.i In 1911 Australia’s relationship with Britain was strained by the move to renew the Anglo-Japanese Alliance of 1902, effectively passing over control of some of Britain’s’ Far East interests.ii It was meant to warn the Russians against expansionism but it emboldened the Japanese to confront the Russians in 1904.iii From the time of the Crimean war, there had been intermittent panics in Australia that the Russians were coming – to take our gold stocks and use our ports as naval bases in a fight with Britain,iv – but it was the Japanese, not the Russians, that we really distrusted. Prime Minister Alfred Deakin invited the Great White Fleet – the American navy – to visit during its 1908 ‘gunboat diplomacy’ world tour, as a signal of disapproval to London and a warning to Tokyo.v In 1911 the Labor government inaugurated the Royal Australian Navy, replacing the British presence.vi As far as Australia was concerned, the mother country certainly had a problem. The move to become a Republic in the wake of federation was shelved because of renewed panic, this time sourced to the Japanese who had won the war against the Russians. According to the conductor of the festival under review,vii it was thought that Australia was obliged ‘to seek the shelter of the Motherland, without which the “Land of the Golden Fleece” 1 would soon have become annexed to Japan. This change of view was a great asset to the Tour.’viii In 1911, however, a much more urgent matter was looming – an increasing fear of an emerging militaristic Germany and its intentions.ix Counteractive propaganda was a first line of defense. The royals were paraded in Indiax, London was encouraged to mount a vast Empire Pageant and exhibition, and the colonies were invited to the inter-Empire Games.xi Origins of the tour In the same year, Britain, Canada, Australia, New Zealand and South Africa joined forces to produce an extraordinary peripatetic event known as ‘The First Musical Festival of the Empire’. Local choral and orchestral societies worked in conjunction with some 220 members of the Sheffield Choir,xii a touring group culled from the choral societies of northern England to produce a series of integrated choral concerts.xiii Its instigator and organiser was the entrepreneur Dr Charles Harriss (1862-1929), an energetic British-Canadian organist-composer who had the good fortune to marry the rich widow of an iron magnate, described as ‘a most charming lady, as gracious as she was wealthy,’xiv and who was prepared to indulge what The Musical Times dubbed her husband’s ‘imperial designs’.xv Harriss believed that music, more particularly choral music, possessed the power to unite and that