tUNE mE iN TheMenza magazine
J ULY 2014 Volume 9 Number 2
in this issue... Giving collaborative feedback, buckets and rhythm for babies, improvisation in the classical piano lesson and much more . . . July 2014
tUNE mE iN is published by: tUNE mE iN MENZA: Music Education New Zealand Aotearoa. The enza magazine M It is the professional magazine for all New Zealand music educators. in this issue . . . MENZA has as its vision: Making Education brighter through Music. 3 Editor’s Comments - Sally Bodkin-Allen 4 Hawkes Bay Secondary Schools Orchestra Day MENZA maintains a website: www.menza.co.nz - Joe Christensen The postal address is: MENZA PO Box 27499 5 Sharing Music Together With Your Cluster School - Helen Mackenzie Marion Square Wellington 6141 6 Many Voices, One Heart: Southland Festival of the Arts - Angela Newell 8 Review: Lively Children’s Choir by Christiane Wieblitz - Sally Bodkin-Allen MENZA Board Members 9 Reflections on Kodàly - Nikki Berry Celia Stewart (Chairperson) - Canterbury 10 Collaborative Feedback - Phil Pegler [email protected] 13 Over the Rainbow: Live Music for Tots Errol Moore (Immediate Past Chairperson) - Otago - Sally Bodkin-Allen [email protected] 14 You Can Do It Baby - Hollie Longman Fleck Sally Bodkin-Allen - Southland [email protected] 16 Learning Taonga Püoro - Jennifer Cattermole Mary Horner - Wellington 18 Reflections on Orff - CeliaWilliamson [email protected] 20 To Be Or Not To Be: Balancing Process and Product in Tim Carson - Auckland the Classical Piano Lesson Through Improvisations - Teresa de Vries [email protected] 24 Celebrating New Zealand Music Month Tim Randle - Auckland [email protected] Celia Williamson - Waikato SPECIAL CALENDAR PULL-OUT ENCLOSED [email protected] Phil Pegler - Wellington/Lower Hutt [email protected] The Editorial team encourages reader feedback. If you have any comments or experiences that relate to articles Helen McKenzie - Waikato published in Tune Me In, please mail or email them to Bronwyn [email protected] Pou, the MENZA Administrator at [email protected] These may be printed in the next edition of the Jane Ngui - Hawkes Bay magazine or published on the MENZA website. [email protected] The views expressed do not necessarily reflect the views of the MENZA Board and the Tune Me In Editorial team. The Editorial team request that sources are rightfully 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 For advertising inquiries, contact the Administrator, expectation of ethical practices in the matter of disclosures. Bronwyn Pou at [email protected] Editor: Sally Bodkin-Allen ISSN 2381-9987 (Print) Typeset and Printing: Uniprint, ISSN 2381-9995 (Online) 161 Albany Street, Dunedin EDITOR’S COMMENTS
This issue of Tune Me In introduces some new ideas to the format of the magazine. You will find our first “Centrefold”: something you can pull out and use as a poster on the wall in your classroom. It has upcoming events from the MENZA calendar (http://menza.co.nz/calendar/). This issue contains a feature length article from Teresa de Vries who recently graduated with a Masters in Piano Pedagogy from the University of Auckland. Teresa’s research explored using improvisation techniques with classically trained pianists. She shares some of her findings with us and suggests that improvisation was a useful mechanism for developing transformative learning in her students. I hope you all enjoyed celebrating New Zealand Music Month. This issue features some of the many events and activities that went on around the country, from the Bay of Islands, to Invercargill. Congratulations to Hurupaki Primary School in Whangarei for their wonderful performance of “Islands” during NZ Music Month - a $100 Music Gift Voucher is coming your way. Make sure you check out the performances of “Islands”, the 2014 Hook, Line and Singalong song that can be found on the MENZA Pinterest page. There are some screen shots from Sally Bodkin-Allen, Editor it included here. You can keep adding your own performances throughout the year. This issue contains a review of a useful teaching resource, Lively Children’s Choir, some creative concepts with buckets and rhythm for Early Childhood teachers, ideas for giving performance feedback. Collaboration seems to be the theme this issue with several wonderful collaborative musical performances featuring: the Hawkes Bay Orchestra Day, a Hamilton Choral Cluster, and the amazing Many Voices, One Heart concert that was held in Stadium Southland earlier this year as part of the Southland Festival of the Arts that brought together pipe bands, rock bands, ukulele groups and 170 singers from seven different community choirs. 2014 has seen some wonderful PD opportunities for teachers in both the Orff and Kodàly methods of music education. This issue sees the sharing of some personal reflections following attendance at Kodàly and Orff courses. It is clear to see that PD in these areas can be an inspiration. Thank you to everyone who contributed to making this such a diverse edition of Tune Me In. The next issue is due out in November, and we are always looking out for articles, reviews and news. Don’t forget to nominate your community “Unsung Hero” of music education at http://menza. co.nz/ - we will be featuring more unsung heroes in the November issue, along with a feature article on The Big Sing Finale and much more. If you would like to contribute email me at [email protected] So get yourself a cuppa, put your feet up and enjoy!
Tune Me In July 2014 Page 3 - Joe Christensen
The opportunity to conduct the combined orchestral students Bay of in Hawke’s term 2 was a chance The to The Can-Can see pieces by the chosen wealth were of talent there is in the Bay. Symphony in Offenbach, G Minor by Mozart, and GrandVerdi the March ForrestAida from by the students experience chosen to give Silvestri.Thewide range in a were pieces Gump Suite by and I was veryof styles and challenges impressed with the concentration ability of them all. and As is was often Theme” a the challenge case “Movie due the to the many time tripletchanges, patterns and other strange rhythmic devices as well as (I believe) own the perception students’ The in Symphony G Minor has its special own set of issues with an enormous load of the music. on the strings of entering and the difficulty woodwind for the bar on the second crotchet of the and brass when the beat is a minim. woodwind and percussion are so this is that the brass, in a set up like One of the major difficulties on the beat they hear rather the students tend to play there is a time lag on sound and far away than the beat they Duringsee. the performance this became very evident in the Mozart as the My congratulations to the lead brass of their own. work managed to into a time zone themselves particularly but adjusting point that at day, the throughout job superb a did who cellist and violinists the next entry orchestra the unit again and finish together. with me to allow to become a cohesive to acknowledge like in this situation there will be a wide range ability and I would of playing Obviously the teachers not get lost or disheartened sure the students did up to make who stepped during The day was the well rehearsalorganised and period. coordinated by Suzanne Purdy and Carol stand as well and a music Leung who did a huge job of ensuring a chair, every student had music, sectionals. rooms for as reorganising had breakout the school around us so that we there was no adult tutor. sectional as her group’s It was fascinating to watch the student who took She excellent displayed skills working through the music and ensuring everyone was working at his/her best. networkto chance the is this teachers the like amongst day a of advantage other The and present enjoy the In cateringlovely your busy provided. teaching lives it is too easy to spend enormous it. just doing amounts of time head down - Secondary Orchestra Schools Day HAWKES BAY HAWKES Tune Me In July 2014 Page 4 SHARING MUSIC TOGETHER With your Cluster Schools - Helen Mackenzie
The schools in our cluster (Fairfield Cluster – Hamilton) have been holding a Choral Festival as a biannual event for the past 12 years. This involves Primary, Intermediate, Colleges and private schools in our community, and brings together a diverse range of cultures and socio economic groups. Getting together to celebrate the joy of music is an exciting event and students love singing with such a large group of vocalists. The process begins with a small team of teachers getting together to select the songs. We make sure there is a variety of genres, waiata, some songs with parts (harmonies) and some sung in unison. We record instrumental tracks and vocal tracks for each of the songs, which takes us a day in the holidays or in a weekend. This becomes a helpful and necessary resource, especially for those schools who do not have specialist music teachers. Schools can then use the recordings to practice with. Schools are divided into two parts (Side A and Side B). Each side learns their part which would be either harmony or tune, practice them and then listen to the magic as both sides come together. We have around 280 students on stage together (from 12 schools) on tiered seating so most schools will have 20 – 30 in their choir. Choir members range from Year 5 – 11. Helen Mackenzie is the Music Specialist at Fairfield Intermediate School in We have found that having this resource can also add to your school singing programme, as Hamilton. Helen has recently joined classes can learn the different parts and then come together for school performances. We have the MENZA board and is passionate a rock band from Fairfield Intermediate to accompany songs, and also use piano accompaniment about extending the opportunities for or backing tracks. her students to experience music in The Principals support this event and ensure that it happens by booking facilities, supplying buses her community. for transport and the evening performance’s tiered seating, ticket sales etc. This year we have seven massed songs including “Islands” (the MENZA 2014 Hook Line and Sing- a-long winning song), “Happy” by Pharrell Williams and an Andrew Lloyd Webber medley which has lots of great songs in it, which appeal to all ages. It is a very special evening and individual schools have the option to present their own item as well as the massed choir songs. These often include kapahaka groups, instrumentalists and dance groups. This year, for example, we have an a cappella group called Hummingbirds performing from Diocesan School as a special item. Students host the evening and it’s great to see everyone sharing music together in our community. Please feel free to contact me if you have any questions or need so help in getting this happening in your cluster. [email protected]
Tune Me In July 2014 Page 5 Angela Newell - Angela
Arts Angela Newell programmes manages Newell and Angela Artsthe Southland Festival of the as part Projects Managerof her role as Creative The Venture Southland. Southland at Festival of the Arts 2014 was the sixth but has been held, event time this annual Voices, the first time a concertMany like One Heart has been presented. but this, but too this, was a carefully devised strategic “creative These element. breaks” allowed room for the singers and musicians to get to their marks, without any dead space in the hours just five With of rehearsal time concert. in the stadium before the the show, entire determinedthat worked hard, really company the We audience would not be disappointed. rightly a koha/donation estimated that with only there performers, hundred requested and two would be high levels of attendance. Around arrived1800 people duly and within 85 minutes, it was all over! Somehow it The worked! post excitement, showcasing Uniting in song, was palpable. show, the having and ensembles and individuals both chance to work together on a common creative project, under the baton of an immensely in our brand new ILT director, talented musical Stadium Southland were powerful outcomes. “Can we is: question left unanswered The only do it again???” Southland Festival Festival Southland of the of the Neale, techie Neale, Matthew took each group’s favourite pieces and arranged them so that each could be Whether the whole ensemble. performed by you were a classically trained a piper singer, or an emerging you rock could star, find a place in the concert that With suited you. so many parties on board, Matthew’s wife, Noma Sio-Salapu came on board to keep everyone in The the number of loop. emails Auckland to partsflying out of was of Southland of them written many in at 2 or later staggering, the morning! every Noma ensured detail was noted and the project could not have run as her meticulous eye. as it did without smoothly Matthew used Drop Box as the main communication tool of the project. All arrangements--the scores, harmonies and charts could be downloaded at home by every ensuring performer, they kept pace with the project, outside of scheduled A rehearsals. crucial part of the process was the communication with the leaders of the groups. Once the repertoire was set, it was their job to get their performers up to speed, rehearsals three final the the for ready before the Matthew arrivedconcert. before days five His job at show. that stage was to polish the performances and work or one-on-one, with up to the concert. leading the days over groups, My job turned of a producer and more into less of a people mover. Rehearsals had occurredonly in a church hall, so moving the performers on and off stage, with large groups of people moving from the tiered seating behind the stage, through only two narrow entrance and exit points was a arranging clever Matthew’s logistical challenge. of the material meant that one song merged there needed However, seamlessly. into another, soloists and choirs onto be room for to move and The off band as soon needed. caught on with stretching introductions until the singers ready! were Darren provided and Lyndal Ludlow The MCs, commentary about the performers and songs,
, , a community-based
MANY VOICES, ONE HEART HEART ONE VOICES, MANY Matthew Salapu (Anonymouz) Matthew 170 singers, 25 pipers and drummers, two bands—performing together in one concert, for That one was night the only. premise of One Voices, Many Heart music project that featured as part of Venture Venture as part project that featured music of Arts. 2014 Southland Festival of the Southland’s Showcasing many different music groups and But individuals in one concert is nothing new. this was a departure from the usual variety show where everyone performs their five minute party The piece. aim of this concert was to experiment with everyone and singing playing everyone else’s genre, ENSEMBLE! barbershopClassically-trained a cappella singers, devotees, community choirs, school-aged ukulele professional players, hard rock musos emerging and worked all soloists same the on repertoire. group or soloist had a chance Each everyone but else was there to back to shine, them, providing harmonies, and augmenting their sound. Liv McBride a.k.a. Into and GraemeWoller, The East, were astounded after performing “Perfect their Storm” with song, 170 backing can “We create multiple harmonies vocalists. in the recording studio but hearing them live The choir was absolutely moving. was incredibly This fusing McBride said after the show. electric!” of genres has become the hallmark of musician, mentor arranger, and conductor, composer, in the industry Known Matthew Salapu. teacher, Matthew has carved a niche for Anonymouz, as himself in arranging music that blends every different style He seamlessly. says if it’s easy, you consider that the note of C is the same thing, whether it’s played as heavy metal, hip country or opera. hop, Tune Me In July 2014 Page 6 Tune Me In July 2014 Page 7 BOSSA NOVA
PUNK
DISCO - Sally Bodkin-Allen LOUNGE “Islands” for the remainder of the year. the remainder for “Islands” Can you perform the song in a different genre? perform the song in a different Can you
to be in to win a $100 Music Gift voucher for your school. your for to be in to win a $100 Music Gift voucher Upload your recording at http://hooklineandsingalong.com/ recording Upload your by Christiane Wieblitz Wieblitz Christiane by Choir Children’s Lively
MENZA is running the most original a competition for performance of
SOUL FOLK THE FUN CONTINUES! THE FUN
The title of this book indicates what sort of text it is: cheerful and full of positive ideas for what sort this book indicates The title of full of positive cheerful and of text it is: is the type of singing she at the outset that states Wieblitz in children. singing developing rather than singing on Hera platform or a stage. “everyday singing,” on focusing here is and on singing as a process. is on bringingfocus of all out children, the innate musicality or taking part the guest appearance” in musical play, the staged “final concert, While the a festival are all important, they should not be thought of as an but rather end in itself, of all the work.” ‘harvest’ and “crown as the Wieblitz trained at the Orff Institute in Salzburg in the 1960s and taught at the Orff Institute branch of the Mozarteum University The from Orff 1970 pedagogy to 1999. dancing, which integrates singing, approach throughout the book, comes through in her and Orff encouraged learning of percussion instruments. and the use through play, acting, has activitiesmany for example, Games”, “Movement The chapter on Wieblitz. so does skills through play. of musical development that enable practical It has many ideas choirs. trainingThis is far more than just a book for children’s I particularly the chapters liked devoted teacher. classroom any be useful for that would exercises which contain enjoyable numerous Games” “Vocal and Games” “Rhythmic to to use. My favourite was the “Zikeli which vocal Bukeli” canon my own children and I had a great deal of fun with. The a minor criticism. this is but Choir has been translated odd phrases from GermanLively Children’s a few for at times, and this makes What comes through as photographs as well throughout. and illustrations with notation provided, format, book is laid out in an accessible in passion every for Wieblitz’s music This and is her chapter an belief is easily that comprehendible music should be fun for children. that Primary and one and useful text, teachers in particularmusic.of for extending their teaching find helpful would $45 US. for Amazon from Available Wiesbaden. Verlag Reichert in 2011 by Published Wieblitz. Author: Christiane Choir - Lively Children’s COUNTRY
Tune Me InROCK July 2014 Page
8 R&B FUNK REVIEW REVIEW REFLECTIONS ON KODÁLY - Nikki Berry
Nikki Berry shares with us her experiences of children’s lives. All we need is a well-trained attending a five day course on the Kodàly method Kodàly teacher and a tuning fork to deliver of teaching music with Dr James Cuskelly. Her a programme that seamlessly and logically reflections reveal that it was a life changing event gives children the gift of true musical fluency for her. at no cost. They won’t have to make a choice between reading or improvising. They’ll be As I said to James in the Poroporoaki, “my very comfortable with any form of musical mind has been literally blown”. The little girl expression. They will learn to cooperate, play who heard symphonies and dreamed in music as an ensemble and as individuals. They will has made herself known from the depths of develop resilience and learn that musical my soul. I see her in my mind’s eye. She’s been achievement is possible for every human curled in a little ball, waiting to be called back being. Their music will belong to them. They when it’s safe to return. I see her look up, prick will be having so much fun while this is going up her ears and think “hello there, perhaps on that they will probably tell you: “We just there really is a space here for me”. play games”. The Kodàly approach guides us Nikki Berry calls herself a community As a musician I see a clear pathway to how I to present any new concept within a three musician, and is passionate about can fill the gaps in my own musicianship and minute ‘focus’ and will always start and end community building and holistic knowledge. The pathway is brilliantly illuminated. with a song, chosen to teach this concept. This education. She is the programme All I need to do is take a step on it each day format is also perfect within an ongoing choral manager for The Muse Community and I can see how easily it will be to develop community and for helping older people to Music Trust and through this she has the following skills. become literate musicians. initiated many innovative projects • My musical ear. I will become completely James Cuskelly is an incredible teacher, musician including the Rockers of Ages choir secure in relative pitch, and I will be able to and entertainer. He meets each person with and the Random Acts of Music. help my choirs stay completely in tune. complete respect and has relaxed high expectations of EVERY student. Learning • My coordination skills. I will be able to play are still having a big impact on my work. All my from him is an absolute joy. He has a strategic two or three parts at once, play one part choirs are now familiar with solfa and they’ve overview of music education at all levels, has with one hand, another with another hand, made significant improvements in their tuning. thought very deeply about a wide range while singing another part. Perhaps one day I’ve started teaching all 120 people in my of issues and isn’t afraid to fight for what’s I’ll be able to do a different part with my feet! Rockers Choir for elders and aspiring elders important. He has built this work over several to read music, using the Kodàly approach and • My conducting skills. I am going to become decades. We are extremely fortunate to they are unanimous in their enthusiasm for the a much better conductor. have him willing to come and work with us. learning. Those who already read are enjoying I recommend Dr Cuskelly’s Kodàly courses • My reading and writing skills will become a fresh way of looking at music, and those with to any musician who wants to improve and as fluent in music as they are in language. no previous musical experience are feeling any teacher who wants to teach music at any empowered and hopeful about their ability to • Repertoire. I will gain a better understanding level, from kindergarten to Masters. No matter learn. I experience a renewed enthusiasm for of the musical traditions of my ancestors. where you are at, he will have something up his my work and for music, and feel very grateful • I will become a better singer. sleeve to push you that little bit further. for having discovered this incredible body of knowledge. • I will become a much better teacher and Postscript: It is now three months since I choir director. wrote that piece and we are about to start If you would like to know more go to http:// the second week of training. Although I haven’t menza.co.nz/kodaly/ for information on upcoming • I will engage in a daily musicianship practise been as consistent as I would have liked with courses. session that will be incredibly fun and my personal practice, the benefits of the training engaging. In five days of intense training, despite not sleeping, (James remembered on the last day to tell us not to do musicianship practise at night, or we’ll be wired for hours) having a bad cold and being a little bit terrified, I can already feel things realigning in my brain as I discover what I can do. Already my ear is significantly more attuned and my coordination and sense of relative pitch has improved. But wait, there’s more! As an educator, I can see a clear pathway to how we can bring these resources into Tune Me In July 2014 Page 9 high trust, high low trust, risk. - Phil Pegler - Phil The “Feedback Burger” “Feedback is Burger” The a great way to process. organize feedback the Introduce the Feedback Burger idea (see picture) Highlight the importance of positive, supportive comments that build up the individual or group being discussed. Students and teacher may wish to ask clarifying questions so that everyone understands the idea and is prepared to buy into it – i.e. Avoid clarifying questions that are thinly disguised criticism.
(see video Socrative or
“Feedback “Feedback Burger” “Preparation for Performance unit”) provides a mechanism for successful collaborative learning. Student performances are videoed in an authentic an concertevening for example, context, with sound reinforcement and lighting. to the class, shown are later Performances and student feedback elicited verbally or projected on screen (see Google Google docs for some great ideas on how to do this). Encourage the class to of thetalk about strengths and weaknesses Feedback way. performances in a positive then be printed may outand feed-forward for the student or they may make notes themselves. for This This COLLABORATIVE FEEDBACK FEEDBACK COLLABORATIVE WHO ME?! students Asking to your share their work – a performance or a composition – in front of their friends can be a BIG ask. take To the next step and ask the same friends to review their work may seem like a bridge too far for many students. using peer However, collaboration can be immensely worthwhile! Creating an environment or framework for positive performance can lead to deeper feedback learning, new shared understanding, and this For of advanced skills. development to it occur requires a effectively, relationships fosters that framework in an environment of trust. article to suggests create one such way a framework using a ladder of feedback or burger”. “feedback CONTEXT IS EVERYTHING Create a context to explore student work it’s that students for modeling by together okay to make mistakes and that learning is an process active - rather than sage on transform the teacher must into the stage, guide on the side. Tune Me In July 2014 Page 10 STEP 1: Ask – what did you like but allow time for students to unpack their that a student may not have seen before. about the performance? own responses. Preserve dignity at all costs! Rather than accepting a response like “It STEP 2: Ask – is there anything that STEP 3: Ask – what is your next was good”, challenge students to say what can be improved? step? was good? Explore musical reasons for There are “tasty treats” in this burger. Its Everyone could be encouraged to make things happening, for example: “There OK to express your puzzles and concerns suggestions about how to improve things was a crescendo near the end that created but try and avoid absolutes: “What’s wrong but at step 3 the ground work has been heaps of tension!”; the performance is . . .”, rather try and qualify the responses laid and the students who performed will moved me because “you put your own “It seems to me . . .”. Avoid criticizing often have a good idea of where they want feeling and emotion into it”; or, “you ability or personal character and focus on to go next. This step could be blended with looked everybody in the eye and told a particular aspects or outcomes: “maybe step 2, where students voice concerns story”. It is important not to rush this part, next time you might work on…?” and then offer solutions. There is no set time limit for this process, it might take Don’t dwell on step 2. A good quality a few minutes or can run over a much video/audio can provide real insight into longer period particularly if the class is big performance, allowing a viewing window or there are things to work in an activity. Skills are not really learnt until they are applied in practice. This structured approach to feedback allows greater student buy-in, and a more accurate analysis of what has really happened than the standard written feedback from an assessor. It also ties in closely with the NZQA requirement for video evidence in senior music. The really Tune Me In July 2014 Page 11 Phil Pegler is HOD ArtsPerforming at Naenae College in Lower Hutt, He Wellington. teaches Music, Media, Film and Sound Production and has a particulartechnology music in interest and composition. e.com (a student response gle docs (mindmaps online) bl.us (students display adlet /Wallwisher erformance_Tips_- P Bub P their videos online) Socrativ Goo NZMC_mentors (NZ Music Commission) watch?v=XogNatkGHIg system that empowers teachers to engage their classrooms through a series of educational exercises and games via smartphones, laptops, and tablets)
• • • • https://www.youtube.com/ Other internet based software, sites and resources which fitreally well with the approach are: above • • collaborative collaborative tp://menza.co.nz/menza-video- links ht
cool thing is when the feedback process begins at primary think it is students and intermediate level, normal in secondary school. The diagram is part below of the author’s Prezi “Preparationunit for Performance” which has been made into a five minute Check out: video. • COLLABORATIVE FEEDBACK (CONTINUED) FEEDBACK COLLABORATIVE Tune Me In July 2014 Page 12 OVER THE RAINBOW: Live Music for Tots - Sally Bodkin-Allen
The Southland Festival of the Arts has as “Singing in the Rain” and “Twinkle, enjoyed it, that I would love to make it an been running for six years now, and in Twinkle, Little Star”. The children also annual event,” Trinity says. 2014 a special musical concert for pre- got to participate in some songs, playing schoolers was added to the line-up. shakers and waving rainbow ribbons. The The concept itself is quite simple, and “Over The Rainbow”, a show devised by percussion instruments created a lovely the teenage performers together with Trinity Waddell, brought together songs, background to the singing and dancing and percussion instruments and the magical dance and story-telling in a 35 minute live created a unique show for young children. setting produced a fantastic opportunity performance. “When coming up with the Trinity hopes to do the show again next for young children to experience live music. idea I just thought about what my two year, with a different theme. “It was such a year old daughter Shiloh would like to success, and both the performers and the see,” says Trinity. children and parents who came to watch The show was held at the Invercargill Public Library, where a large room was turned into a magical fairy grotto for three performances a day. The performers were all high school students of Trinity’s who study percussion with her through the itinerant music scheme. They dressed in fairy and elf costumes and played a variety of percussion instruments, danced, blew bubbles and used props such as umbrellas during the performance. The music was all arranged especially for the show by Matthew Joll, a Year 12 student at James Hargest College and featured songs such
Tune Me In July 2014 Page 13 pillar Cater
-
- Hollie Longman Fleck- Hollie Longman
Dinosaur
-
ey Monk Where is Dinosaur? Where is Caterpillar? Where is Dinosaur? Dinosaur, Caterpillar! Dinosaur, Caterpillar! Caterpillar! Dinosaur, Dinosaur,
- Now I will tap Dinosaur, and you will tap Caterpillar! and you I will tap Dinosaur, Now Can you tap the Dinosaur? Can you tap the Caterpillar? the Dinosaur? Can you tap Can you me. Ready? Go! Cat! (Cat), Monkey! (Monkey)…and so on. so on. (Monkey)…and Monkey! Ready? Go! Cat! (Cat), me. Let’s say the word and tap together! Cat, Monkey! Cat, Monkey! Cat, Monkey! and tap together! Cat, the word say Let’s Lets tap together! Cat, Monkey, Dinosaur, Caterpillar! Would you like like you Would Caterpillar! Dinosaur, Monkey, Lets tap together! Cat, to have a turn on your own? I will tap a word, and you copy it back to copy and you I will tap a word, a turn own? on your to have Now I will tap Cat, and you will tap Monkey. Cat, Monkey. Cat, Monkey. Cat, Monkey. Cat, will tap Monkey. and you I will tap Cat, Now ets (MITRE 10 has them for around $2) around for ets (MITRE 10 has them Let’s say the word and tap together! Dinosaur, Caterpillar! Dinosaur, Caterpillar! Caterpillar! Dinosaur, and tap together! Dinosaur, the word say Let’s
Where is Cat? Where is Monkey? Can you tap the Cat? Can you tap the Monkey? Cat? Can you tap the you Can Where is Monkey? Where is Cat? ercussive Sticks (Mallets if you have them, otherwise you can make great ones by pushing great ones by can make you otherwise them, have Sticks (Mallets if you ercussive Cat P Buck a wine cork onto a gluey chopstick!
MOVING ON: MOVING Rhythms New One: Stage some co-ordination; can take (This ‘Caterpillar’. and ‘Dinosaur’ will introduce you now but As before, or beyond). at least18-24 months, find this happens between may you to startRemember – Go Slowly with! EARLY STAGES: STAGES: EARLY Identification One: Stage is baby When sound like? does Monkey What like? Cat sound what does baby ask stage, At this the templates to the buckets. attach comfortable with this, Imitation Two: Stage child repeats Cat. -Adult taps Cat, child repeats Monkey. -Adult taps Monkey, YOU CAN DO IT BABY! IT DO CAN YOU toddlers. and to babies rhythm teaching progressive Ideas for REQUIRE YOU’LL ACTIVITY THIS FOR - (If baby is not that’s verbalizing ok. yet, He/she is still listening and picking up the syllables and rhythms. Remember to keep eye and contact go with slowly baby, so baby can distinguish the tap Monkey – then You rhythms.) Once baby has you. the hang ‘copy’ invite of him/her this, to imitates. baby Sharing Rhythm Three: Stage – If ‘Cat’. baby responds ‘Monkey’ with tap You At this baby ‘rhythm-share’. stage, may ready to to another challenge. wants to move until baby Keep playing okay! that’s not, Stage Four: Advanced Sharing Four: Stage tell them Initially, toddler is interested in tapping out the syllables. see if your words, Using all four which words to This tap. will help them to feel secure and to stay engaged. Lots of positive tapping away! toddler your keep and smiles may feedback Stage Two: Imitation Two: Stage child repeats Dinosaur. -Adult taps Dinosaur, Sharing Rhythm Three: Stage - -
3 Cat Monkey Dinosaur Caterpillar 2014 14
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Tune Me In July 2014 Page
14 YOU CAN DO IT BABY!
July 2014 YOU CAN DO IT BABY! Now your little people are ready to interact with rhythm games!
Baby/toddler can have a Cat and Monkey bucket, adult can have a Dinosaur and Caterpillar bucket, they may be ready to rhythm-share with you. Fun Ideas: - If you have the resources, children can dress as the animal character. - Mixed age groups work well with this game. Older children can take the complicated rhythm; babies have so much fun as the Cat, striking the rhythm once. - Seating arrangements will affect the rhythms. Have 8 or so buckets assigned. Ideas for order: Monkey, Monkey, Dinosaur, Cat. Dinosaur, Caterpillar, Monkey Cat. Monkey, Cat. Monkey, Cat. Caterpillar, Dinosaur, Caterpillar, Cat. Cat, Cat, Cat, Cat. Monkey, Caterpillar, Dinosaur, Cat. - You can make up your own rhythm order, or have children (age 4.5 is great) try out their own rhythms. - Another idea is to use the children’s names: Have preschoolers write their names, decorate their special bucket, and sit in a drum circle tapping names as they go around the circle. This is a great exercise both musically and behaviorally. Children must wait their turn, and then make their valuable contribution to the rhythm of the group. - You could use characters from favorite T.V programmes or Books (Dora, Dora, Diego, Boots) (Elmo, Big Bird, Ernie-and-Bert). (Sesame, Sesame, Sesame Street.) (Angelina Ballerina, Alice, Spike.) - You can access pictures of characters to tape to buckets
Hollie Longman Fleck is currently teaching music at the Southern Institute of Technology in Invercargill. YOU CAN DO IT BABY! YOU She is passionate about songwriting and is working on seeing more performances of original music happening in the Invercargill community. Hollie is mother to 14 year old Cameron, 5 year old Harriet, and 2 year old Miles. She has watched her own children’s musicality develop through actively encouraging rhythm and pattern play. Early childhood teachers who attended the MENZA PD day in Invercargill had lots of fun with this activity, as the photos show.
PageTune Me In July15 2014 Page 15 tikanga (protocols) - Jennifer Cattermole - Jennifer
iwi before they could be used? taonga püoro whanau (family) – taonga püoro for use in teaching . I taonga. wanted to learn as much the bush – were actually extraordinarily in termssophisticated they of the sounds these could sounds produce. Moreover, were the sounds of Aotearoa: of my homeland! impact onThis experience had a powerful started not long after I’d and in 2012, me, teaching music at Otago I University, department the music asked to purchase some My department outreach. and community supported and the first members this idea, of our made by Brian Flintoff – arrived in early 2013. Several new members arrived in early 2014, and I anticipate our whanau to grow. will continue Initially I was quite cautious about using these as I could about the surrounding their use before learning more about how they are I’m played. a Päkehä woman, and didn’t want to do anything that Mäori would see as culturally inappropriate. I had known about how certain parts of the body, for example, were regarded by Mäori as sacred and others as profane, and that the sacred shouldn’t be contaminated by the As profane. the instruments are regarded as things sacred, like not eating around the instruments or not sitting on the instruments were pretty much wasI though, this, Beyond commonsense. plagued by questions: could men and women only play certain instruments? Could certain instruments be played only in certain contexts for certain reasons? Did the instruments need to receive some form from a member of of blessing the local I was feeling a little paralysed by my lack of with knowledge, so, my department’s helped to arrangesupport, taonga two for püoro specialists to give workshops at These workshops, by Otago University. Alistair Fraser and Richard Nunns, took The message key I got place in mid-2013. from these specialists “Just was get into What are you it. waiting I Enthused, for?” put together a poster advertising a taonga püoro group. taonga püoro taonga püoro journey began in Both Richard and HiriniBoth Richard interested became hearing because of in taonga püoro about Aucklandor seeing instruments held at the Museum. Richard describes seeing an in the News Weekly article in the Auckland which described several objects late 1950s, museum staff thought could be Mäori The article described instruments. musical noted but beauty, these as objects of great them as the to play that no-one knew how performance tradition had been broken. Hirini remembered seeing some of these instruments He on pressed display. his nose against the glass, and wondered The about the sounds create. they would members resurrected of Haumanu taonga püoro performance experimenting by with instruments – collections held in museum or with replicas and reconstructions based information with consultation in them, on from existing literature and oral histories. My own 1999, when I attended a workshop given at Otago University by I was struck physical the by Nunns. Richard beauty of these instruments, as well as I loved sounds. otherwordly their haunting, hearinginteractions about taonga between and about püoro players and local wildlife, how the contours of natural landscapes and flora could inspire tunes. I was instruments how impressed by that were at first glance quite simply constructed – or even simply found on the beach or in players and taonga silenced – but taonga taonga püoro / “It was in the / night that the “Kei a te Pö te timatatanga o te waiatatanga te Pö te timatatanga a “Kei ko Ao märama, ko te Ao, te Ko Atua. mai a te Au türoa” te (lit. singing treasures; traditional Mäori instruments) musical treasures; singing (lit. From gods sang the world into existence. world the into music”. of world the light, of These words, spoken by Matiaha Tiramorehu in 1849 whilst recounting a Mäori creation story, highlight the spiritual significance ofmusic for Mäori. Our world is one of music created by viewed accordingly, püoro are, Taonga music. as descendants of the various gods or their children – their ancestry by revealed the materials used in their making and in the sounds They they not produce. only embody various elements of creation and spiritually), but sonically, (physically, to influence creation. power also have It was on account of these spiritual uses and associations that British colonists seeking to assimilate and Christianise Mäori suppressed these instruments in the late 19th and early 20th centuries. The performance tradition was lost and the voices of these LEARNING TAONGA PÜORO TAONGA LEARNING a Nelson-based In the 1980s, not forever. collective of makers called Haumanu revived these thanks to members It is instruments. of this among them the foremost late Dr group, Hirini Richard Nunns and Brian Melbourne, that these treasures sing today. Flintoff, Tune Me In July 2014 Page 16 The group’s now been going for two tone). The sheer variety of sounds that semesters, and we meet once a week some of the instruments can produce is (Thursdays, 12-1pm) during semester sometimes astounding. The group is a bit time. There’s a small core group who like a brains trust; I don’t think I’d have come regularly, and also several members become alert to the sheer breadth of who make appearances every now and sounds able to be produced by learning then. The members are mainly university these instruments on my own. Meeting students, although occasionally their friends together regularly means that we’re able to and whanau come along too (which is share each other’s discoveries. We’re also awesome!). Most are Mäori, and the few starting to get a better understanding of non-Mäori who take part tend to be how the instruments sound when played overseas exchange students. together, and have begun improvising in pairs or groups using instruments that Prior to setting up the group, I’d gained we think sound pleasing together. This is Dr Jennifer Cattermole currently some rudimentary knowledge of another benefit of learning in a group lectures in ethnomusicology at the playing techniques from reading Brian setting. University of Otago, Dunedin, New Flintoff’s book on taonga püoro and then Zealand. Her research mainly focuses experimenting with the instruments the From the outset, I’ve tried to impart what on the indigenous musics of Oceania, department had purchased. The percussion I know of the instruments’ uses, functions and in particular on music’s role in instruments were quite straightforward, and meanings, alongside knowledge of shaping people’s social relationships, and I’d also come to grips with the playing technique. What’s been really cultural identities, and relationships with technique used to play the cross-blown rewarding and fascinating has been that particular places. flutes. There were still some instruments I this has sparked group discussions on these was unable to play at that point. topics, where members draw on their own knowledge and experiences; for members At our first meetings, I’d try to impart what who haven’t been able to contribute to I knew about various playing techniques to these discussions, this has sparked a thirst the rest of the group by verbally describing for knowledge – a keenness to discover and demonstrating them. Taking turns with the taonga püoro traditions of their own the instruments, group members would hapu or iwi. I’ve met some wonderful then experiment, with some guidance from people as part of the group, and had some me, until they could produce sounds. The really interesting conversations. trumpet-like instruments are definitely not my strong suit, so my colleague Peter So where to from here? Instrument-making Adams, who is a brass specialist, has given is something we’ve started dabbling in the group some really helpful tuition as a group and individually, and there’s on embouchure. Another instrument, enormous scope to take that further. At the pümotomoto, has a mouthpiece like present, we have a beach fieldtrip planned that of a Japanese shakuhachi. In the for next semester to collect materials. absence of suitably skilled colleagues, I’ve We’re talking about doing a road trip to found YouTube clips on how to play the Nelson to visit some of the members of shakuhachi really useful – at least as far Haumanu who are still active. We’re still as getting the correct embouchure is in the process of finding a name for our concerned. group, and have talked about setting up a Facebook page. I’m starting to do more Increasingly, our sessions have become taonga püoro workshops around Dunedin, based more around peer learning. I’m often and would love to foster more community now the person asking, “How did you engagement with these instruments (we’ve make that sound?” We all experiment with talked about shifting our practice time to different playing techniques, and sometimes an evening, for example, to encourage players come up with techniques that broader community membership). It become widely adopted by the group has been a richly rewarding teaching (because they make it easier to produce experience thus far, and I hope the group sound, or because they produce a stronger will continue to evolve and grow. Tune Me In July 2014 Page 17 By Celia Williamson By Celia Y CHRISTIE is a Piano WEND right (far Christchurch from Teacher in the back row) from earliest music memories loved I have and began piano lessons at about age eight. Progress was quick, I was trained to perform and this was the life I knew until about 18. By this stage I had won a and top became competition, a private teacher. student of a top-level A long time went by where I began to reflect on where this music was best After choosing to a have directed. break from I performing, eventually settled into This led to training my to teach children. setting up a music teaching programme which I In “Children named Tune”. in this way I could allow music to bring transformation in a powerful way into a life. child’s Zoe Sung
was the peer teaching, which is one of the was the peer teaching, to I had 10 minutes 1 course. tasks in Level teach a group of English speaking teachers to sing a can’t Cantonese You rhyme! imagine amazing how it was when all the teachers with sang that Cantonese rhyme me, and we sang it with ostinati as well!! so much Thank you incredible! They were to our awesome teachers, Millie Locke, Renee Morin and Christoph Maubach, they are such encouraging and respectful They really us showed how teachers!the Orff teacher is supposed to be. We are all from different parts of the world, we speak different languages, but we We have a common language, music. a passion to teach and have music all love our children music in an interesting and Orff brings We us exciting together! way. all looking forward to seeing each other next year! 2 again in Level
During the April Holidays, we held Orff Schulwerk Levels 1 and 2 in Hamilton at the Waikato University. These are a week we AprilDuringheld Orff Holidays, the SchulwerkUniversity. Levels 1 Waikato and 2 in Hamilton at the paperscoursestand-alone (40% worth).built into the post graduate or can be Orff Schulwerk is a way to teach and learn music using songs, dances, clappingrhymes, games and movement activities. This becomes the childrenbasis for and constructing music learning their to Music own and read happens writein a music. non-competitive and environment account takes of all musical children’s skill whether advanced or often basic, in the same piece of music! personal, place in their take a total transformation and each I watch year teachers I billet some of these Each year home, in my together. music play and create sing, It is magical watching them laugh, as the week progresses. journey emotional and musical to each“Orff” new onewas Concept whole the where 1 this year, completed Level the testimonies of 3 people who are Here of them….
e had a lot of singing, playing and dancing playing e had a lot of singing, REFLECTIONS ON ORFF ON REFLECTIONS during the course. I really enjoyed every single part!The most challenging for me W ZOE SUNG (middle of back row) Hello everyone, I am Zoe Sung, a Kindergarten teacher from Hong I Kong. on a working one year been here for have and wanted holiday, to do Orff training so I participated inwhile in New Zealand, training I wentthe recent Orff level before home to Hong Kong. Orff-Schulwerkvery a is approach creative from the different which is totally approach, Instead traditional teaching method. music the piano or using CD, of a teacher playing other many and recorder ukulele, use we The Orff Orff instruments. approach is getting popular in Hong but Kong, there Orff teaching trainingare not many courses in Hong Kong. Tune Me In July 2014 Page 18 Recently I began Saturday morning work at GEORGE KLARKINS (opp page - third together. We played the recorder, the Christchurch School of Music teaching from the right in the back row) marimbas, djembe drums, sang such the piano. The director, Celia Stewart, moving beautiful pentatonic melodies I am the music teacher at Whangarei asked me if I would like to attend an with sweet blending harmonies, moved Primary School, a large decile 4 primary Orff Schulwerk Level One course up at in powerful creative ways, and composed school with 530 pupils. I enjoy teaching Waikato University. It was time for a break and notated melodies to our own music, taking all classes for music lessons and a change of scene, so I made plans to compositions. We learned about the once a week, as well as taking the school go. I knew very little about Orff-Schulwerk pedagogy of music making and the choir, ukulele and recorder groups. apart from what I had learnt at Teachers’ understanding behind it. We shared and College. This year I was feeling like I needed communicated ideas with each other, opportunities to get with other music began awesome new friendships and I expected the week to be a pleasant educators and to get some professional participated in peer-teaching lessons. experience, just another course. Little development to take me on to the next did I realize that I was at a crossroad in I attended the face-to-face Orff Course level. I wanted to give my pupils a richer my life and change was about to happen. in Hamilton not knowing what I was in set of experiences in music and dance as for. It was all so wonderfully refreshing, The thing that stood out to me about well as improve my own understanding inspirational, invigorating and mind-blowing. this experience was the absence of ‘one- of the process and elements of teaching The whole experience was like I was upmanship’ among all the participants. I music. “home” and at peace with myself. The really felt I was part of a team of people In March of this year I attended the “Taste empowering feeling that I experienced who all shared one goal in mind, and of Orff with Percussion, Song and Dance,” while playing the bass marimba and the this was to try to provide an amazing with Suzie Davies-Splitter and Phil Splitter djembe drums was unforgettable and I experience of music for children. Several from Melbourne (held in Auckland). couldn’t wait to share it with my students. times during the week I found myself Throughout the day I knew there was fighting tears because many issues for me Since attending the Hamilton workshops something more to teaching music and in music were being resolved for the first I have been slowly making changes in the I wanted to know and experience more. time. way I teach music - combining speech, The Orff-Schulwerk way of teaching music singing, movement and playing activities in The week came to a close when we was for me. my classes is a process that I am working attended an Anzac Day service in the From there, I attended the Level 1 Orff on. I can see that better connections in grounds of the University. We stood under course in Hamilton. I am so glad that the minds and experiences of my pupils a huge tree beside a still lake in the early I did. The experience for me was like a have taken place and the children have morning. The day was clear and the dew surfer searching for that perfect wave and been more focused. on the tree seemed to ‘rain’ down on us. finding it. My life changed and transformed It was very moving when Professor Terry I would highly recommend that any teacher dramatically as I was taken from one level Locke read out a war poem. The words who has an interest and wishes to teach of understanding to the next. were about hardship, then new life. music attend an Orff-Schulwerk course. There were many awesome connections It seemed appropriate somehow in my George Karklins that took place, in my mind and own experience with music – it was time emotionally, as along with the other to walk forward. I enrolled in the Master participants we made beautiful music of Education programme a few days later and haven’t looked back since. Before I felt like a koala in a rose bush – now I feel I am in the right place. Music does not need to be a complex experience to be powerful. But it can be beautiful. Wendy Christie
Tune Me In July 2014 Page 19 - Teresa de Vries de Teresa - HISTORICAL ASPECT HISTORICAL When asked to think of improvisation in music one education, might connect this activity with the genre of jazz or jammin’ Would example. pop or reggae for to rock, to classical jammin’ music come to mind? improvisation historically, played Yet a centralrole in the performance of western including classical Gregorianmusic: chant, centuryseventeenth figured organ music, ‘preluding’, improvised bass realisation, baroque ornamentation, and improvised Pianist cadenza. and improviser Robert Levin “inconfirms: the 18th century all composers performers were and virtually all performers composed” (Levin, 2009, Levin p.143). provides further examples: Mozart’s scores contained incomplete sketches designed for alteration during performance according to his whim and performances were “designed often to display his talents as (p.143). improviser” preferred to extemporise even Beethoven in performance rather than play his completed compositions (Kinderman, 2009). The disciplines of creation and performance were interrelated, encouraging performer the as an all-round So what happened? musician. SHIFTING FOCUS musical From the mid-nineteenth century, performance shifted dramatically away from integrated Music’s improvisation. transformation into “reproductive a art” “accomplishments and skills of the affected interpretationall-round musicians…as and (Chappell, took priority” technical prowess p.253). 1999, Balancing Process and Product Product and Process Balancing made in their study. First, they discovered they discovered First, made in their study. teachers prioritised the learning of western classical music through text-based work or note reading, along with technical skills. Second, many students preferred major“potentially a revealing popular music what an intermediatedisconnect between listeningstudent is exposed to in their daily habits and experiences outside the lesson and the material that teachers are presenting them within formalised lessons” This disconnect (p.253). can affect the consequently and identity musical learner’s how they view “can themselves actually determinesubsequent and motivation their performance in music” (Hargreaves, In relation p.153). Marshall & North, 2001, issue of technical to the abovementioned skills, Sally Chappell (1999) argues the overemphasis of technical issues and literacy during lessons can actually limit the potential growth of musicianship and may be responsible for the development of unnecessary physical tensions. She as as well suggests exposure to creative re-creative activities will deepen musical understanding, increase physical comfort, and influence motivation. Improvisation, an unpremeditated composition occurring in the present bridged early my disengagement. moment, Could incorporating this process in the students’ classical studio lesson impact my Therefore learning? the aim of my study was to bring increased understanding to strategies in which improvisation the ways impact learningmay in the classical studio piano lesson context.
The newly established postgraduate program in Studio Pedagogy at the University of Auckland enables studio instrumentalAuckland enables teachers postgraduateUniversity at the established The newly program of in Studio Pedagogy were lessons undertakenWeekly with staff in the piano department to in myself delve to like the practical elements of the field. The academic side of the brought in to share knowledge. of specialists were group sessions in which a number along with weekly up to date with currentcourse contributingmusic education while me to keep knowledge to new of research in the field allowed in which articleThe following undertaken research project outlines my a Masters for in Piano Pedagogy, research. own through my to enhance student learning. pedagogy as a means I explored improvisation
in the Classical Piano Lesson Through Improvisation Through Lesson Classical Piano in the TO BE OR NOT TO BE: BE: TO NOT OR BE TO “Write said down” my mother to me, wish you “write all the reasons why down year As a twelve Teresa”. to quit the piano old I had an expertAustrian classical piano teacher imparting valuable technical and yet I musical felt skills, disconnected from the music. It was this detachment that led to my decision to quit One piano. discovery my offactor changed this course: I began to connect all of the improvisation. formal concepts from my lessonsmusical into meaningful creations and this was the referred byaspect to “dimensional” missing Schlicht in the above quote. My love for teacher returned and my and musicmusic firstthen became a central life, in my focus as a teenaged composer and subsequently a university classical performance piano of music love pass on my I now graduate. I ironically, as a Yet, studio piano teacher. findmyself in the same predicament as me. teacher before my On the one hand I have a curriculum or pianistic and passing on valuable ‘product’, helping them students, my skills to musical interpret the music of the great classical composers, as my teacher did before while accuracyYet, and me. authentic interpretation of style are skills I value, if “correctness” at I the over-emphasise student’s my expense of personal creativity, music or even connection to classical music in general be affected. may Indeed, there is a significantly high drop out rate of intermediate students from instrumental lessons (Sloboda, 2001). Motivated by prior research Daniel & Bowden (2013) investigated the reasons were significant discoveries this and two for I realized that as much as I had given, and as much as people had given to me to learn, that this dimensional thing had that this dimensional me to learn, to had given as people as much and given, as I had as much that I realized did that anybody Not that so important. that was of something deprived I had been so deeply like been left out… I felt Child prodigy composers those great could improvise! that, like always - it wasn’t culture music in the classical It’s to me. p.2). 2007, (Schlicht, speaks of her first Connie Crothers attempt at improvising concert pianist, Tune Me In July 2014 Page 20 Factors influencing this shift (Spruce, 2002) Western Classical culture. Could to name a few) used in the 17th and 18th may have included political contexts where reintroducing it have an impact and could centuries: Partimento; a lost tradition only the emerging European “bourgeoisie” it help bridge potential learning barriers? recently re-discovered (Gjerdingen, 2007; exerted control over the working class Sanguinetti, 2012). through confinement of what we term THE RESEARCH PROJECT Partimento was akin to thorough bass, yet art music to concert halls, affordable After a considerable ethics approval was not an accompaniment tool. Rather only to those with “refined sensibilities” process, students from my studio it was “the bass to a virtual ensemble (p.7). Printing quality increased during volunteered to participate in the research that played in the minds of the student” this time and every aspect of a musical during their weekly lesson time over six (Gjerdingen, 2007, p.25) enabling the work could be notated with extraordinary weeks. The lessons were video recorded, realisation of a complete improvisation detail. There was now one definitive transcribed, then analysed and coded with or composition. The training was rigourous, version of a piece of music and musical a colleague. explains Sanguinetti (2014), in order “to meaning now lay within the symbols A variety of activities were explored make music a native language” (p.5). Stock on the page. Consequently, an over- with my students, grouped mainly into schemata or puzzle pieces containing emphasis on musical literacy gradually two broad categories. Firstly, “free” small harmonic journeys, were ingrained emerges in instrumental teaching where improvisation; mostly atonal with no over time through practical work at the “visually oriented re-creative tasks, and harmonic constraints related to a specific keyboard. Great piano pedagogue Nadia an almost total reliance on note reading” genre, such as classical or jazz. Secondly, Boulanger rigorously incorporated them (McPherson, 1993, p.12) is privileged over “stylistic” improvisation, in which melodic, in her lessons and many great pianists improvised creative expression. This change rhythmic, and harmonic principles of 17th and musicians have flourished under her potentially contributes to a disengagement and 18th century classical music were care including Daniel Barenboim, Aaron experienced by many young pianists in explored. What better way to discover Copland, Philip Glass, Joseph Horovitz, learning classical piano. how to improvise in the western classical and Dinu Lipatti to name a few. Most Improvisation in the past has been style than through the mode the great recently, English child piano prodigy Alma considered a valued art form within improvisers (Mozart, Haydn, Beethoven Deutscher, has been trained in the same
Tune Me In July 2014 Page 21 and authority. and asMore authority. the significantly, composer is humanised, their works potentially become less intimidating liberating both learner and pedagogue. you look at a lot “If One student confirms: it is just like what of did: we those pieces, that because is I a didn’t revelation, really think about the process that went in to That’s really making cool it. just knowing that I could do that!” In student’s addition, musical identities, or how they perceive themselves in the field of music, influence levels of motivation and subsequent achievement and these evolved as a consequence of research. this in approach pedagogical the One student, having made the decision to quit lessons prior to the research, now demonstrates increased motivation to continue “I learning: would like to develop all the skills. I’d like to become
partimento partimento puzzle building building blocks he “were used utilised by generations of composers, before and after…, who operated in exactly the same 4). In (Sanguinetti, 2014, p. ways” music shifting education, the focus from the composer’s artifacts to an active engagement with the materials and processes they used releases the great masters from the pedestal of power internalised. internalised. Indeed one will not just hear music, but begin ‘think’ to music. When listening to a recording of himself “It looks one student observed: improvising, inbut now for the I’m flailing like right note, sound better what would head I know my and be easier to He do”. is beginning to audiate ‘think’ the or pieces. while Significantly, the works of Bach, for example, are “manifestation a of the creative mind of Bach”, the . Partimenti Music in the Galant Style who FREE & STYLISTIC ACTIVITIES FREE & STYLISTIC activities, Regarding the free improvisation the children appeared more musically within expressive this freer form perhaps as a result of no harmonic constraints. Because of this, technical skills from repertoire could be explored in a fluid and natural way increasing coordination The interaction was more of a and ability. partnership the lesson in this and beginning manner appeared to increase the quality of learning during the remainder of the lesson in which stylistic the activities teacher-led required more mental concentration. The process used in the stylistic activities can be likened to language acquisition, with this classical language becoming DISCUSSION ON RESEARCH FINDINGS Improvisation proved to be a powerful mechanism for transformative learning, enhancing motivation, musical identity, through incentivising and ability, knowledge, improvisation itself learning. However, did not solely achieve the outcomes for The pedagogue’s students. experience and carefully considered balancing of student centered and teacher centered learning approaches proved pivotal to meaningful learning in this research. For a full explanation of the teaching and learning strategies incorporated and the subsequent results please view my results the following dissertation, however significant. were method. method. My research even took me to meet with RobertChicago to Gjerdingen, author of generously spent a day at the piano with me exploring the depths of Imitative improvising is rather similar to Sudoku and quite a brilliant way to work the brain! If students actively engage with the materials composers used in writing the repertoire they are learning and the process that contributed toimprovisation their connection will it affect these works, to this music and will this stylistic musical The results sense? language begin to make be the case.of this study suggest this may Tune Me In July 2014 Page 22 better at improvising and eventually just other composers, and he is demonstrating deadlines), incorporating improvisation trying to put some of my thoughts down a tentative willingness to build bridges in a realistic and relevant way is key. on paper. But just developing everything again to western classical music, healing Professional development opportunities, and becoming a better musician is a great the “fatal split” between process and personal planning and preparation time thing”. He indicates not only a burgeoning product experienced in lessons prior to are required on the part of the teacher willingness to learn a range of skills, but also the research. to successfully implement improvisation an enhanced identity in music: that of the into instrumental teaching. More research Music educator, Graham McPhail identifies all round musician. is required in order to develop a workable the struggle studio teachers face. He systematic tool-kit for studio teachers. PARTICIPANT’S VOICES explains, “integrating the development of competence with enjoyment and The students’ parents share their thoughts CONCLUSION challenge, in genuine musical encounters on the research project: New Zealand music educator Christopher is a formidable challenge” (2010, p.38). Small (1977) spoke of the need for Improvisation could be a pathway through “It was phenomenal to see the sheer joy that western classical musicians to return to which to do this: combining process and he felt; it has enhanced his love of music. He the improvisatory roots of music; that product, balancing skill acquisition with the was slightly discouraged by his lack of fast this move will revitalise our culture. He disposition to be free. progress in the traditional method so it has claimed: “composed music is like a travel reignited it totally”. TEACHER TRAINING AND book, which we can open and read at will, EXPERTISE but it remains essentially an account of a journey” (p.176) taken by the composer. “She used to say, I don’t have to practice Significantly, in order to develop my own today because I’ve been to piano; that’s what In improvisation however, we are invited improvisation expertise I began lessons it used to be like – negotiating. But now she to explore the journey and be involved with a skilled classical improviser, Stephen goes straight down to play without me asking in the process of creation, becoming an De Pledge, at the University six months her to. There’s a kind of ownership now”. all-round musician. prior to the project. These lessons proved essential in understanding the creative In this study, improvisation proved to be In addition to previous quotations, the process through the lens of a learner. I a powerful mechanism for transformative students share a few extra thoughts: experienced the freedom gained from learning. Musical materials used by historical broader parameters, the refinement of and post-nineteenth century composers skills through increasing task structure, were made relevant and authentic to the “I feel like I’m kind of better now, because I know more things about it” suggesting the challenges of stylistic improvisation individual learner, enhancing their musical increased knowledge”. as experienced by my students, and my identity, motivation, knowledge, and ability. growing ability to ‘speak’ harmonically in This rich dimensional engagement, referred the western classical style. Additionally, my to by Connie Crothers in the opening “This is obviously the coolest thing I have ever done on the piano!” expertise developed as my comprehension quotation of this article, incentivised of the materials of music and the ways in learning for my students as it did for me which composers crafted them increased. at an early age. Through improvisation I continue to incorporate improvisation in When listening to a classical symphony, pedagogy combined with pedagogic these student’s lessons. One student who or a baroque prelude, I am now drawn expertise, children can be encouraged previously only preferred pop music is now to the inherent harmonic language; to authentically experience the journey open to learning classical music. Whereas partimenti schema. The value of teacher themselves. Not just perpetually becoming previously she struggled with reading and student improvising together, and the but, to be and to become. notation, the final lesson of the year saw effectiveness of my own experience and her successfully sight read through three developed expertise is implied by one REFERENCES classical pieces and she is now working student in the final interview: “I’ve always Allen, R. (2013). Free improvisation towards a classical grade exam. Another just liked music but I’ve never really been and performance anxiety among piano student who was set on giving up the able to make music at a level as we have students. Psychology of Music, 41(1), 75-88. piano prior to the project has surprised done”, suggesting student outcomes were himself by being able to improvise a simple influenced by joint improvisation. Allsup, R. E. (2010). Choosing music minuet in the Galant style. I continue to literature. In H. F. Abeles, & L. A. Custodero, connect his improvisation experience of FUTURE AVENUES (Eds.), Critical issues in music education: partimento schema (Gjerdingen, 2007) Given the internal and external pressures Contemporary theory and practice, (pp. 215- with existing models found in the works in the studio context (such as time, 235). New York: Oxford University Press. of Bach, Mozart, Haydn, Beethoven and curriculum, exam and competition Tune Me In July 2014 Page 23 Teresa de Vries completed has recently de Teresa at a Master of Music in Piano Pedagogy the pastAuckland for the University of two years, she communtd between Napier and Auckland University In to 2012 study. she completed an Honoursgraduating year, with First Class Honours and three First in Course She awards. is the recipient of a Kate Trust Masters Edgar Award which contributedScholarship, to her Masters study. The The competition was simple. Each morning in the school notices there would be a New Zealand Music Month Question. As a form class you had to decide on the The answer. answer was written down on a piece of paper with the form class name, the time the answer was decided on and then the answer was put in their roll book (the process totally relied on the classes to be honest and most of them The were). answers would be
– Marie Higgins Music
Music Education Music-Society-Education. Music-Society-Education. Bulletin of the Council for Oxford: Oxford University Oxford Press. Oxford: Eighteenth- Editorial, (2014). G. Sanguinetti, Century 3-9. Music, 11(1), Schlicht, U. “I (2007). Feel My True Colors Began Designing to and Show.” Critical teaching a course on improvisation. Studies in Improvisation/Études critiques en 1-17. 3(2), improvisation, Sloboda, J. (2001). Emotion, functionality and the everyday experience of music: Where does music education fit? 243-253. 3(2), Education Research, Small, C. (1977). McPhail, McPhail, G. (2010). Crossing boundaries: Sharing concepts of music teaching from classroom to studio. 33-45. Research, 12(1), McPherson, G. (1993-1994). Evaluating improvisational ability of high school instrumentalists. 11-20. 119, Research in Music Education, The artof partimento. (2012). G. Sanguinetti, Schirmer. York: New Spruce, G. Ways (2002). of thinking about music: Political dimensions and Music Teaching educational consequences. in Secondary Schools: London: A Reader. 3-24. RoutledgeFalmer, Month Competition would be held again. After the requests I had to do the competition. NZ Music Month 2014 was bigger and All better. but three form classes participated regularly. Students would be talking about it at lunchtimes and intervals. A few teachers structured their lessons behind the questions and the atmosphere in the school was buzzing.
(pp. 143-149). (pp. British Journal of Music in the Galant Musical Improvisation: Musical Improvisation: British Journal of Music British Journal of Music
enty-first century: A psychological . Auckland: Auckland: . Symposium Teaching Studio
NZ MUSIC MONTH AT BAY OF ISLANDS COLLEGE BAY AT NZ MUSIC MONTH CELEBRATING NEW ZEALAND MUSIC MONTH NEW ZEALAND CELEBRATING perspective. perspective. tw 147-163. 20(2), Education, “Improvisation in Kinderman, K. (2009). In Solis, G. creative Beethoven’s process.” & B. Nettl, (Eds.), Arts Centre for Discovery. NICAI, Art, Art, Education, and Society UniversityUrbana and of Chicago: Illinois Press. In G. Mozart”. “Improvising (2009). R. Levin, Musical Improvisation: (Eds.), Nettl, & B. Solis, Art, Education, and Society 143-149). (pp. UniversityUrbana and of Chicago: Illinois Press. “Studio Music Education” (2012). D. Lines. in Chappell, Chappell, S. (1999). Developing the complete pianist: A study of the importance of a whole-brain approach to piano teaching. 253-262. Education, 16(3), Daniel, R. & Bowden, J. The (2013). Exploring teacherintermediate piano stage: perspectives and insights. University Oxford Press. Oxford: Style. & North, A., N. Marshall, J., D. Hargreaves, Music education in the (2003). C. A. 30(2), 245-260. Music Education, 30(2), (2007). R. Gjerdingen, I began teaching at Bay of Islands College in 2013 and as the Music HOD I felt I needed to get the school involved somehow in New Zealand Music Month. I ran a form class competition last year and it was a big success but the competition was time consuming so I thought that I would give it a miss the this However, year. teachers and students had other ideas! Leading up to May 2014, they would approach me and ask if the Music Tune Me In July 2014 Page 24 collected, tallied and scored (there teachers aware of the amazing talent were participation points and placing that we have in this small but awesome points for 1st, 2nd, 3rd and 4th). Each country. form class belongs to a house, so this automatically turned into an inter-house competition. The winning house got a prize and the form class with the most points received the grand prize of T-Shirts, CDs and chocolates from CRS Music Management who kindly donated to the cause. This year I presented the prizes during a school assembly, certificates were awarded, prizes were awarded for participation and the students and teachers loved it. New Zealand Music Month has started an epidemic of inter-house form class quizzes. The highlight was hearing the students talk about New Zealand musicians and also making students and
NEW ZEALAND MUSIC MONTH AT CARLSON SCHOOL, AUCKLAND – Cathy Herries
Carlson School for students with This gave the students an opportunity Cerebral Palsy celebrated New to broaden their musical repertoire Zealand Music Month by enjoying and definitely spiced up their visiting musicians of varied genres and recreation time! It was very powerful styles. Max ‘Sing for Joy’ and staff played for the students to experience live popular sing-along tunes; Narvick performances. As the photos show, this Chandra played the harmonium and was an engaging and exciting month at sang traditional Indian devotional songs; the school. The Grace sisters played the ukulele and sang Maori and popular songs and Sophie Watts played guitar and sang her own compositions.
Tune Me In July 2014 Page 25
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• • • • • • • • • Ask us about: Your Music Education Resource Specialists Resource Education Music Your Tune Me In July 2014 Page 26 "I'm very grateful for having been able to learn clarinet through the ITM scheme in Opotiki and Whakatane. This access created a passion for music that led me all the way to New York and to a career in the music industry" - Tama Waipara
Making a Difference ... in New Zealand Music Education
The 2014 MENZA-TRCC conference for Itinerant Vocal and Instrumental teachers across Aotearoa, the ‘unsung heroes’ of school music education.
Professional development and learning workshops aimed at studio ‘ITM’ teachers in schools years 7-13. Workshop leaders include Delysse Glynn (NZQA Moderator), Leni Sulusi (from Strike), Stephen Rowe (Team Solutions). Workshops include:
NZQA moderation of instrumental and vocal performance Teaching in groups Resource sharing in sectional groups Tips for taking ensembles Contractual rights for ITMs Special needs students and practical music Technology to make your life easier Culturally responsive pedagogy – why? What this means and how it works well … Hot issues for ITMs Unpacking the Standards
These are two day regional workshops with some travel subsidy available to assist teachers from each region. Details of each venue are available on the website www.trcc.org.nz.
Auckland 1-2 October (for ITMs from Auckland and above, plus Gisborne) Hamilton 2-3 October (for ITMs from Waikato, Bay of Plenty, Taranaki and Taupo) Wellington 6-7 October (for ITMs from lower North Island from Hawkes Bay and below) Christchurch 7-8 October (for ITMs from the South Island)
Organisers: John Wright, Tim Randle, Colin Henderson, Grace Davey, Stephanie Lees
Cost: (if paid by earlybird date 15/08/14, if paid after this date an additional $100 applies)
MENZA Members $180 Registrations open 5 May, Non MENZA Members $210 14 This fee includes course and catering for the two days, participants will need to find their own accommodation (some suggestions on website). Some travel subsidy available - please see TRCC website for details when registrations open. Registrations close on 29 August, 2014
www.menza.co.nz
TRCC will subsidise some travel as per our travel policy for this course. Please see
Pasadena Youth Symphony Orchestra memberswebsite perform for details when registrations open 5 May, 2014.
Tune Me In July 2014 Page 27 tUNE mE iN TheMenza magazine
MENZA (Music Education New Zealand Aotearoa - Mätauranga a Puoro o Aotearoa) is the national professional body that represents the interests of all education sectors in this country. www.menza.co.nz
Why belong to MENZA? Because MENZA works to bring live music-making opportunities to teachers, and to represent MEMBERSHIP music educators on curriculum and professional development decision-making organisations. Name
The benefits of being a member include: Title/Position • Professional support through workshops and conferences, national tours of noted music educators; Organisation/School
• At least two publications annually of Tune Me In, the MENZA Address magazine for teachers in kura, early childhood, primary and secondary schools, and teachers in itinerant and private Postcode studio, music therapy, tertiary and community settings, and newsletters; Member Email
• Communication and networking via regular email newsletters Accounts Dept Email • Reduced costs to seminars, workshops, forums, conferences performances and other related events that MENZA is Phone involved with; and for school/institution members, special group rates for staff to attend events; Mobile • Contacts with other national and regional music and arts groups in New Zealand; Membership type (please tick one circle): • Consultation: as the official MOE recognised subject association, MENZA nominates and is represented by Individual $30 members on MOE, NZQA, PPTA and other advisory or regulatory education review groups; Primary School/Early Childhood Centre $30 • Advocacy and information about recent NZ music research Secondary School $60 through association with the activities of MERC, the national (less than 800 students) music education research centre. ANZARME the Australasian music education research body; Secondary School $90 • Membership to, and the exchange of information with ISME, (more than 800 students) the International Society for Music Education. Tertiary Institutions $100 Library (publications only) $60 To join, please fill in the subscription form opposite, or register online: website: www.menza.co.nz and send it to : Business $150 MENZA Administrator Student Teacher / Year 1 Teacher Free PO Box 27499 Please tick one circle: Marion Square Wellington 6141 Internet Banking – Account No. 38 9011 0410882 00 Email: [email protected] I would like to be sent an invoice Website: www.menza.co.nz or Cell: 027 218 5809 Cheque enclosed