The The ENZA magazine MMENZA magazine 2011 in this issue... Volume 7 Keeping it Live – Marimba on the Underground, Into Music 1 Digitised – a review, Number 2 Strengthening Te Reo Maori in EC Centres, Inspiration for Songwriting and much much more November November 2011 The Menza magazine in this issue . . .

3 Introduction – Errol Moore Sound Arts is published by: MENZA: Music Education New Zealand Aotearoa. 5 New MENZA Board members It is the professional magazine for all New Zealand music educators. 6 Music Education Research Centre – David Sell MENZA has as its vision: Making Education brighter through Music. 7 Research Corner – Tracy Rohan

9 Keeping it Live! Marimba on the MENZA maintains a website: www.menza.org.nz Underground – Anne Prichard !e postal address is: MENZA PO Box 27499 12 LEARNZ Making Music – Graham Elsmore Marion Square WELLINGTON 6141 14 Cultural Chords Music Conference, April 2011

16 In Tone, In Tune, In Time – Kathleen Mulligran MENZA Board Members 20 Performing & Inquiring – Sarah Hoskyns Errol Moore Otago [email protected] (President) 21 Into Music 1 – Catherine Short Sally Bodkin-Allen Southland [email protected] Mary Horner Wellington Mary.Horner@ stmaryswellington.school nz Ukeleles Good, Recorders Bad? – Mary Cornish 23 Stephanie Lees Auckland [email protected] Millie Locke Auckland [email protected] Kai Moana – An approach to the strengthening of 24 te reo Ma¯ori in an early childhood centre by Catherine Short Waikato [email protected] Pakeha teachers. – Fay Young Celia Stewart Canterbury [email protected] Andrew Stopps Wellington [email protected] 26 Pop Music with Purpose – Jill Brider Maria Winder Auckland [email protected]

27 Music Department Musings – Grace Davey Editorial Coordinators 28 Song Writing – Jane Egan Overall content Celia Stewart [email protected] ECE Helen Willberg geoff[email protected] 30 Kids strung along and loving it – Jennifer Moss Primary Jennifer Moss [email protected] Secondary Stephanie Lees [email protected] Tertiary Sally Bodkin-Allen [email protected]

The Editorial team encourage reader feedback. If you have any comments or experiences that relate to articles For advertising inquiries, contact the Administrator, published in Sound Arts, please mail or email them to Bronwyn Bronwyn Pou at [email protected] Pou, the MENZA Administrator at [email protected] These may be printed in the next edition of the !e magazine is typeset and printed by Printlink, magazine or published on the MENZA website. 33–43 Jackson Street, Petone, Wellington The views expressed do not necessarily re!ect the views of the MENZA Board and the Sound Arts 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 noti"ed to the editor or directly to the writer. MENZA has an expectation of ethical practices in the matter of disclosures. INTRODUCTION Report of MENZA Board Chair Person to the Annual General Meeting 8 October 2011

t has been a privilege to act as chair of your society’s management committee over the period 2010 to 2011. I thank members of the board for many forms of support, action and guidance Iover the time. Subsequent to the discussions at the last AGM, I adopted several goals. Apart from support and professional development for members these were: 1. To build the networking capability and activity of MENZA with all who would like to talk with us, those we loosely describe as Related Professional Organisations. 2. To build membership with a view to spreading the worth of what we do, as well as enhance the balance sheet. 3. To accept the mantel of advocacy agent for music education in New Zealand, and form strategies by which this might happen. Errol Moore, President, MENZA 4. To reinvigorate the relationship between regions and MENZA. members. More importantly, the board is 1. Networking trying to reinvigorate the connection with We can be grateful for the work of Angela Warmke and Millie Locke in the compilation regions by way of nominations to the board. of a data base of organisations. Sally Bodkin has distributed the letter and we are already There may be other ways that we can be receiving responses. For the new board, a possible next step is inclusion of small features more mutually supportive, and certainly about organisations in a publication of Sound Arts which re! ect MENZA’s important linking Tune Me In is integral in that. role to music educators. You might say that the tone of the report 2. Membership is pessimistic. That is not the intention, but realities of membership and " nance impinge The membership of MENZA has fallen slightly again. This may be due to economic times. It heavily on the e# ectiveness of your board. may be due to primary teachers feeling the need to be part of a diversity of organisations. However, secondary teachers are very much our mainstay, hence, meeting their needs However, what the board has achieved, and remains a priority. The interest of early childhood teachers remains high in local workshops has been a catalyst for, since the last AGM is around New Zealand but as with primary, that does not translate into membership to the signi" cant, and I think, worthy of celebration same extent. The board has been told that the membership fee is no longer an issue, and the on this occasion. In the " rst place, MENZA’s work of the board has had total relevance to educators. This knowledge will hopefully mean most obvious presence continues to be felt improving attitudes about membership, particularly amongst teachers who are loosely or through the Sound Arts magazine. Two formally associated with local societies (regional partners). In any event, in relation to the informative and beautifully presented " nance part of the goal, the implications of a lower membership may be that the incoming editions came out this year. These have come board will meet twice rather than three times in 2012, and Sound Arts may go to an electronic about again because of the management format rather than three hard copy editions. skill, creativity, energy and dedication of Celia Stewart. To my amazement really, while 3. Advocacy it seems to be no issue to get teachers to The advocacy mantel came under MENZA’s wing in April of this year with the demise of talk, encouraging people to write about METANZ. I express appreciation to those people who served on behalf of Music Education on their practice appears to be a monumental the METANZ. From the point of formally accepting the remaining assets and the advocacy role, challenge. Yet through all of that, and limited we have contributed to an advocacy statement in the Hook Line and Singalong publication. support from the rest of us on the board, While a small start, the board discussion about what needed to be said was a very lively Celia has been undaunted. She has compiled, hour indeed. We have also brie! y discussed matters of senior secondary music curriculum edited, written herself, and negotiated her and the itinerant teachers of music. Vicki Thorpe identi" ed these issues partly through her way to great publications. attendance on behalf of MENZA at the PPTA subject association conference. It goes without Cultural Chords grew from the leadership of saying that the choice of issue(s) we take to politicians or to the community is signi" cant. Stephanie Lees, and fellow board dedicatees With very limited resources, we need to focus our energies on matters of wide signi" cance Millie Locke and Maria Winder. Achieving a to our membership. brilliantly workable relationship with TRCC was a " rst step. Coordinating a wide diversity 4. Relationships of excellent presenters under the cultural The possibility of a constitutional relationship with regional partners, (local societies) has cloak of music education from early childhood become a Danny Carter moment. “Get over it”. For example, Music Education Otago is a strong to senior secondary made a big chime. local society. There is no interest there at this time in reforming a more formal relationship Finding a fabulous venue with hospitable with MENZA, nor in any shared membership arrangement attached to the constitution. As sta# was another big tick. Achieving Dave a result, we remain reliant on regional partners charging a fee di# erential for activities, as Price, a long-time friend of music education a way of encouraging national membership. The board is also writing to regional partners in New Zealand, as an international keynote seeking support of speci" c aspects, such as part payment of travel expenses for board speaker through negotiation with the

Sound Arts November 2011 Page 3 nal development. nal development. cant discussion in the February board board February the in discussion cant cant launch at Cultural Chords in April. in Chords Cultural at launch cant ce bearer roles, Maria as minutes secretary, Sally as ow sometimes, or check we were still following the whaiawa, or or whaiawa, the following still were we check or sometimes, ow t to MERC and MENZA. Certainly I acknowledge the goodwill from MERC for the work work the for MERC from goodwill the acknowledge I Certainly MENZA. and MERC to t Zealand Music Commission and APRA. Based on signi" meeting, Stephanie Lees, Vicki Thorpe and Ivan Patterson took on the " shirtsAlong with the super tee " it was a signi with ONZA in Hamilton in January 2013. 2013. January in Hamilton in ONZA with river bed. You have been super, kind and broad minded. Many of you have incurred real costs costs real incurred have you of of chair Many only to stop the minded. ! broad and kind super, been have You bed. river membership. the of behalf on you thank I that For etc. travel airport and accommodation for ToFor thanks. thosegrateful our accept please whotreasurer, as Stephanie and havesecretary correspondence undertaken to you for jobs real be will there that you promise I oyear, this $ board the onto elected people of late, the board for venue a meeting has become which to SOUNZ you thank Finally, do. AGM. our and workshops hosting for Music of School Zealand New the to and I have written and this distributed report to make time for I discussion. have deliberately of The that nature means MENZA an for the board. directions much future about omitted relevant more be MENZA can How directions. about talk to opportunity people gives AGM be may there that constitution of matters are There members? prospective and existing for partnership a and two to forward 2012, look we in though, short In well. as meeting the of Wellington part general in the in for time TRCC the with partnerships development professional all MENZA member in expressing a sense of rightness, that people and government have have government and people that rightness, of sense a expressing in member MENZA all emulate. could countries other few that way a in community the behind got of the contribution health, acknowledge to I due gratefully people. we year to say This good bye several resigned Ivan Moss. Jennifer and Thorpe Vicki Warmke, has Angela Angela In. Me Patterson, Ivan Tune of role potential the about passionate was he because sad was which the with Celia assisted advocacy data base a had as Vicki concerning Jennifer input to I compile networking worked said, and year, this meeting subject PPTA the at us represented and to knowledge much and spirit good brought has you of move a Each in Arts. Sound Waikato of section from primary board the to Short Cathy co-opted also We you. thank We whare. the Waikato. member with board partnership MENZA the every build to of contribution and preparation the acknowledging by up meetings wrap board to the want I political, partially are aims society’s the While up. follow and meetings role to the and frank and open been has discussion The agendas. of free completely been have Our relationship with MERC has now come into sharper focus. Later in the magazine you can can you magazine the in Later focus. sharper into come now has MERC with mutual of be relationship could Our These directions. research future about thoughts and report, their simply read is issues advocacy support to evidence bene" gaining perspective our From doing. is MENZA is this think I location, MERC’s of Because for speak environment. I ministry think I current the in general. in mandatory people Christchurch to support MENZA’s note to place good a We We erent erent voice needs every encouragement. encouragement. every needs voice Finally, after two years sometimesof wrangling I discussions,think, Tune Me In April. in website a MENZA as launched was The funding came by MENZA’s combining paid framework the with money dedicated for with by money from METANZ the New selection, recording and publication THINGS of TO REMEMBER – HUARAHI TIKA. for hope can the the continue partnership of and singing betterment song in writing New Zealand. Having been overwhelmed full in fans Irish so or 10,000 of voice the by song in Dunedin, the New Zealand joy of teachers’ life easier in advocating for the 31 31 the for advocating in easier life teachers’ in role MENZA’s singalong. noon 12.00 May, publication with assistance was process the community and schools to distribution and through our administrator Bronwyn Pou. Zealand New the to goes thanks Enormous Music Commission for the competition, did not have the political potency of past years. From my observation in the south, rather than being a big event that board members tried to make people aware of, it was schools who took ownership. The song was readily adopted and having it by available early made music schools, and socially. Our congratulations also to the rest of the organisation team which supported our board members. It bodes in planned initiatives TRCC two the for well Wellington. in 2012 on a di# Hook Line and Singalong took meaning in 2011. Some might feel that it British Council was a memorableThe conference was totally successfulfeat. and true to its theme in any way you wish to wise community it; educationally, evaluate Sound Arts November 2011 Page 4 New MENZA Board members The MENZA Board welcomes new Board members, Mary Horner and Andrew Stopps from Wellington and Cathy Short from Hamilton. Read on to !nd out a bit more about them. Contact emails are on the inside front cover.

Mary Horner experience, I am keen to share whatever is adviser (.5) for 7 years with School Support useful, and expand my own practice with more Services, as well as maintaining her role in Having completed a BA in Music and Maths and more technology becoming user-friendly. initial teacher education. She is passionate at Canterbury University, it was expected I am mastering the pipe organ in my spare about the need for all generalist classroom I would go straight to Teacher’s College. time, and am keen to get piano accompanying teachers to have opportunities to build Instead, I tracked down a course in Piano again, more professionally, one day. I am their con!dence and skills in music-sound Accompanying in what was then, the Flinders currently focussed on remaining in the arts and in other arts’ disciplines, in order to Street School of Music, a TAFE in Adelaide. classroom, and working with the MENZA enhance children’s learning in integrative While achieving a Bachelor of Music in Board to achieve the promotion of Music in and imaginative ways. Piano Accompanying there, I also gained all of our students’ lives.’ my Graduate Diploma in Teaching – for Andrew Stopps the steady money!! Piano Accompanying Cathy Short Andrew Stopps holds a Bachelor of Music remains a passion, and I enjoy accompanying Cathy is full time teaching music education Education, Grad Dip of Musical Direction students and choirs whenever I can. (The undergraduate papers and one paper in and is undertaking his Doctorate in Music accompanying course has now been professional studies, in the Faculty of Education. He has 20 years teaching absorbed by the University of Adelaide for Education, University of Waikato, and experience which includes teaching from those who might be interested). continues her liaison role in many schools outback Australia to the UK and Canada I have taught Music in Australia and England in South Waikato. Until two years ago and everything in between. He is also but am most at home in a New Zealand when primary arts advisers’ positions were a professional arranger and composer when classroom. With nearly 15 years classroom disestablished, she was a regional music he !nds time and he cannot cook at all.

Tui tuituia: Towards a world of light through music

The University of Waikato and Orff New Zealand invites you to this international music education conference.

January 7-10, 2013, Hamilton, New Zealand

For further information: www.tuituia.ac.nz

Sound Arts November 2011 Page 5 . eld. , are also also are , e-journal Sound Ideas Sound MERC is always glad to receive from MENZA MENZA from receive to glad always is MERC individual and itself organisation the both – in research needed for proposals – members our important music education " Sell David of Centre National Director, in Music Education Research 2011 October, to have another New Zealand conference venue in 2013, while for 2012, they are half- the as Island Norfolk choosing by here way conference venue. We are also working in with ANZARMEthe area of publications. While ANZARME in will publish conference proceedings on a CD, MERC invites participants to submit full researchprojects articles,research or ongoing articlestheir of that are extensions for consideration for the Restructuring education tertiary in else much so of with process Along a in is MERC days, these institutions national truly more a it make to restructuring organisation. At present a research centre at Arts of College the of umbrella the under to planned is it Canterbury, of University the and colleges other with partnerships explore is MENZA with association Our institutions. in continuing are and we especially valued, with discussion Errol Moore to strengthen way. advisory as well as practical a in this Topics Research Past copies of through and available indexed, http://www.merc.canterbury. ac.nz/sound_ideas.shtml. with ANZARME Association Australia the with conference Music in combined The Research of Association Zealand New has 2009 in Akaroa at (ANZARME) Education Roger relationship. follow-on good a enjoyed the for committee ANZARME the on the at Buckton, Wise Stuart to way gave years, two past elected was I while Coast, Gold in AGM 2011 deputy-president. The committee is keen is e-journal , the as a the database . Sound Sound Ideas Complete ; and Continuing from nished work, especially on the CAN Music project. In 2011, In 2011, project. Music CAN the on especially work, nished Contents and Abstracts or MERC, as for most other activities in Christchurch, this has been an unusual featured year, byperiodical disruptions by earthquakes and It snow. has also brought unusual opportunities, rst — But ! granted. for taken was that much rethink the biggest of which is to rst of two planned issues is currently in preparation, again delayed by events in 2011. 2011. in events by delayed again preparation, in currently is issues planned two of rst while the potential for more extended work is almost limitless, and may well continue into into continue well may and limitless, almost is work extended more for potential the while the next years. few The e-journal of studies in music education. organisations organisations was no longer valid. It was 2011. decided, therefore, to in close o# MERC of Director as work and, using a of his this duplicate as a of to base, set up part archive”, a on-going “pre-quake current, as Sell David by on worked being is This database. January, and December over Scholar Student a Summer by extended further be also It will Digital Earthquake Canterbury CEISMIC to it while the will university-wide also contribute Canterbury, project. (www.ceismic.org.nz). at Archive students post-graduate by out carried being also are study the of aspects Other organisations organisations in Christchurch, – together in-depth with “digistories” studies three of some ones. similar intended of models as organisations, representative December, by again up it well picked was phase initial the and We Dunmill, Merryn and Sell David by out carried was work The earthquake. 2010 September the of time the by underway earthquake. 2011 February, the of time the by progress good making were and musical Christchurch of data the of much earthquake, June the then and this, of result a As used. Find it on http://www.merc.canterbury.ac.nz/mercdb/index.php. http://www.merc.canterbury.ac.nz/mercdb/index.php. on it Find used. search>

Musicians Mentoring in Schools Programme (yr 7–13) The New Zealand Music Commission, contracted by the MOE, continues to o! er FREE to schools in all parts of New Zealand, professional musicians of the pop/rock genre to workshop with students from yr 7–13 for up to 5 sessions. For more info and application forms contact: [email protected] or fax (09) 376 0116

Sound Arts November 2011 Page 7 Sound Arts November 2011 Page 8 Keeping it Live! Marimba on the Underground By Anne Prichard

usic for me in London started off with leading the school hymns for 400 African kids. A very funny start but the voices of the children were amazing and they simply loved Msinging. I had never come across such enthusiasm for singing and such wonderful tone from young children. Needless to say when I was o" ered a 6 month stint taking the school music project I jumped at it. A dynamic African drumming group called Iroko were involved with the school and I discovered in the dusty music cupboards brand new African drums, nearly enough for a class of 30! I sat in on Iroko’s sessions and tried to glean what they were doing hoping to base the next 6 months around drumming. The sessions were vibrant and energetic with a lot of call and response with voice and beats. It was all 100% live and it was my " rst introduction to this type of music session. I was completely inspired and spent the following 6 months trying to imitate and build on what I had seen. I worked with an age range from three years to twelve years and the children simply soaked up the sessions. The toughest twelve year old boys would often rush up to me at lunchtimes to check in with me and to talk about the next session. The sessions were 90% live music and hands on playing. I then went to work in Bethnal Green, in another inner city school and this saw my involvement in two exciting music projects. The Wigmore Hall project was a collaboration with the internationally renowned Concert Chamber Music Hall in the heart of London and the African Drumming project was part of the Borough’s Arts initiative. Our Nursery School catering for three and four year olds was situated on the ground ! oor of a high rise council housing block. What attracted me initially to the school was the overall commitment to quality and on my arrival I found that the Head Teacher was true to his word and passionately committed to the Arts; pursuing this with enthusiasm at both " nancial and practical levels. The importance of accessing professional artists was part of the ethos of the school, and the pursuit of creativity was an integral and real part of the programme. It was amazing to be part of it! The Wigmore Hall and African drumming projects o# ered our school regular access to top quality musicians under the guidance of outside project leaders. They were vibrant and exciting projects to be involved with. For the children it was about regular access to quality live music. For the sta# it was about getting our music programme o# the ground and The deep sound of the marimba was indeed embedding music beyond the ‘singing a few songs’ stage. quite magical. I recall the emotions I felt when the marimba was played and it took Getting ‘live’ with the Wigmore project me straight back to my time in Africa. It It ran over two thirds of the year with sessions every few weeks and it was based around live stirred emotions and I had a few tears. My music, singing and musicality (tone, volume, high/low sounds). The musicians were very South African colleague also looked teary enthusiastic about working with us and they had a wonderful rapport with the children. The eyed. This was the power of live music and children themselves were in awe of the live sounds they were hearing on a regular basis and this is what the project was all about. they enthusiastically bounded in to each session with big smiles on their faces. We deliberately For the children, who were absolutely kept the same thirty children for the duration of the project to deeply embed a strong music mesmerised and always fully attentive, it culture within the school. This group of children became the ‘teachers’ for others. By the end was about the feelings and emotions that it of the project our whole school music programme was de" nitely up and running and we had evoked for them. These regular experiences moved far beyond the ‘sing a few songs’ base that we started with. of live music will most de" nitely have instilled a love for music, one that is embedded in the Marimbas on the Underground soul. It was a completely di# erent experience from listening to recorded music. Firstly we would marvel at the arrival of the instruments! The musicians travelled on the London underground system with their instruments and their arrival always caused an excited The day the classically trained guitarist and stir! The sessions would begin with the musicians playing to us. The arrival of the large scale a violinist came was also memorable as they marimba, folded up, evoked great interest. Unfolded, it was impressively huge and we were orchestrated a spontaneous jam session with all drawn in by the sound. In all the sessions the children were champing at the bit to play the children. What a session it was! I have the instruments. On this occasion the four year old boys were particularly keen and they never seen anything like it. The children kept stayed well beyond the session to keep playing! We noticed that they loved the whole body direct eye contact with the violinist; children motor movements required to play the instruments. with their hand made shakers followed the Sound Arts November 2011 Page 9 ute. Call 0800 4 0 FEES! Saving thousands with our Zero Fee Scheme thousands with our Zero Fee Saving including our great facilities Making the most of theatres and performance studios sound-proofed Diploma, Degree, Options to gain a Certificate, or Graduate Diploma in Graduate Certificate Contemporary - or a double degree in both Music Production ContemporaryAudio and Music music theoryQualifications with strong and with a broad base of practical components, composition and industry studies. The smartThe choice education!for music SIT means: to students Sending your reading musicians aim to turn out competent, We us talk to industry success. So who can achieve - now about enrolling for 2011 www.sit.ac.nz [email protected] 0800 4 0 FEES 0 4 0800 nger puppets to explore high and low pitch through voice and the children story. He went and got the props he wanted and he also engaged his friend to join in and and in join to friend his engaged also he and wanted he props the got and went He story. notes. higher the play The children The loved making children their own and instruments Julian and the patiently musicians This a helped to their of large number own children create instruments. very enthusiastic marimba and ! double bass, cello, included a violin, clarinet, guitar, the in music of life everyday the for mean this did What school? For the children we focussedresponsiveness. on increasing musical in free the instruments the spontaneity,played increasingly children the of project the course the Over flexibility and had He play sessions. Children the played instruments along with cave’. their peers. One example of dark this ‘a about story a telling and piano the playing hour an spent who child a is his in immersed totally was he and piano the on notes lower the in music ‘dark’ wonderfully experiences. They created some amazing things and they were always so proud to go to and so proud always were they and things amazing some created They experiences. xylophones the up jam. setting by conversation’ ‘musical a in children the engage to how learnt We again returned children The played. child the what exactly mimicking and other each facing exchange. musical this understood and in tuned really they and activity this to again and We used " moment. the in wonderful engaged was totally puppets this the of and movements arm sessions play ‘rollercoaster’ the imitated initiated own their in this used later they that noticed We accompaniment tothe watch in action! with body whole the using notes low and high explored also children The music. live of backdrop the to movement large this loved they and musicians the of them in the free play and jam session. The The session. jam and play free in the them musicians would sit with the children and talk to them and play alongside them as the for inspiring It was really created. they children. The spontaneous way childrenshowed musicians the with engaged readily us that there was real depth to their gypsy swing to it. And very importantly it was was it importantly very And it. to swing gypsy very pleasant listen to. It was live music! deepening of The musicality The made musicians with instruments the alongside played children the and children They really ‘felt’ the music andtheir in they were unselfconscious and joyful incredibly jamming. The jam lasted around twenty minutes or more and the musicianship of wonderful was olds year four and three a these had and wonderful was music The watch. to guitarist around dancing. We had impromptu impromptu had We dancing. around guitarist singing and enthusiastic playing of their handmade guitars. The room was completely electric were children the and vibrant and in the moment of jamming. The element of live music evoked a response from the before. seen not had I that children Sound Arts November 2011 Page 10 Exploration of sound was also keenly taken up by the children, and they often requested to play the guitar or the water glasses. A key part of the free play music was the attention to the detail. How we presented the instruments was important. We bought large African prints to put the instruments on and took care to set them out each day. This we found invited a di# erent kind of exploration and created a respectfulness and care of the instruments. We ceased to have instruments broken and misused. Whole-school music became something of a celebration and we would gather once a week with all the sta# and children to sing and experience live music. We used this opportunity to continue to play the piano, invite local musicians in, sing and dance and generally continue to foster the feeling of joy that had been instilled by the vibrant music projects. Music brought us all together and the children’s increased music appreciation laid the groundwork for a truly wonderful celebratory weekly gathering. We even danced to Justin Beiber I have to confess (children’s choice!) We did play some recorded music but for the most part we were 90% live, following in the spirit of the Wigmore experience. We had learnt the simple message: children respond di# erently to live music.

Straight onto djembe drumming! We started the African drumming project on the completion of the Wigmore Hall project and once again our focus was on live music. We worked with a professional musician over the course of a year with weekly drumming sessions. The purchase of sixteen children’s size djembe drums and four full sied djembes got us started and the musician who led our sessions was very talented and wholly dedicated to sharing his love of music with the children. He arrived each week on his bicycle and he was greeted like royalty by the children. They were so excited to join in the sessions and the level of musicality we worked through took us to a whole new level again. When I re! ect on what made these projects so successful for the children I arrive at one clear focus. Engaging professional musicians to work with the children in a live capacity really gave both projects an authenticity and energy that the children picked up on. It was more than just the skill level of the musicians, it was about their passion and love of music. The head teacher writes: “The music sessions have unequivocally provided a wonderful sense of enthusiasm, awe and wonder as well as exceptional achievements by our children. This has been achieved in the following ways: " rstly, children’s exposure to sound, touch and sight of these amazing instruments has been wonderful, consider a three and four year old seeing and hearing the sound from a double bass! Secondly; it has signi" cantly enriched and developed children’s learning in a number of ways: ability to listen djembe drum, the xylophone. This says a more e# ectively, development of dispositions such as curiosity and investigation; lot about the learning. Children wanted to development of skills in knowing how to play and handle instruments appropriately; create music. development of children’s understanding and ability to mark and make, using symbols to represent sound; and exposure to the awe and wonder of music. Finally, Check out the homepage of the it has provided a sense of community and togetherness within the school. There is drumming company, Iroko Theatre: frequently the sound of a child or adult singing a tune or song. In short, this experience www.irokotheatre.org.uk has signi" cantly enriched the learning experiences of our children within Rachel Anne Prichard has for the good part of Keeling (school) as well as enthused and enabled our sta# team to have a go within thirteen years been living and teaching in this marvellous medium of music!” London and she shares with us some of her Head Teacher Ben Hasan experiences working with live music with children during this time. Anne worked And what about the learning? for seven years leading the Early Years Department in Catholic Primary school in We know that music in the curriculum enriches all areas of development for a child. The Upton Park and more recently as the Deputy common thread over all the projects was a music explosion that had an amazing impact on Head Teacher in a Nursery School in Bethnal children’s well being, sense of belonging, exploration, communication and creativity. The Green. Anne is currently teaching back in music programmes appeared to take on a life of their own and the children drove them Wellington within the Early Years " eld after as much as the sta# . Children wanted to come to the music sessions, play the piano, the twenty years of teaching.

Sound Arts November 2011 Page 11 er in in er and viewing the the viewing and eld trip. I will be waiting waiting be will I trip. eld eld trips please go to to go please trips eld “Peter “Peter and the Wolf” ev’s ev’s lives in Whangarei and is the Associate Principal of of Principal Associate the is and Whangarei in lives excellent animated version from the National Library the using using the Library National the from version animated excellent story a on retelling sequencing, like activities literacy of range a idiom. modern into story the Putting board. Investigating timbre, pitch, texture, duration, tempo, structure structure tempo, duration, texture, pitch, timbre, Investigating and dynamics. orchestra the in instruments of placement the on activities Doing puzzle. a jigsaw and completing The springboard was the LEARNZ virtual " eagerly for the announcement of what LEARNZ has to o# 2012. I no doubt will be in with a grin. Viewing video clips from the LEARNZ “Making Music” web site. site. web Music” “Making LEARNZ the from clips video Viewing Viewing the LEARNZ gallery of musical instruments. audio-conference. LEARNZ the for questions ‘fat’ Forming Writing summaries to the audio-conference. from resources DVD Viewing U. iTunes from clips video Viewing the local Library Library. and the National Exposure to live instruments with performers of drums, and classroom. the visiting guitars electric to. listened pieces various orchestral Keeping a journal of the ‘kazoo a in playing and kazoos straw making – sound of Science band’. Reading the background notes provided activities on line. the provided and doing downloading by LEARNZ and Listening to " Proko

• • • Cross Curricular learning: The children were exposed to: exposed were children The learning: Curricular Cross Sound Arts:The • • • • • • • Literacy: • • For more information about LEARNZ " http://www.learnz.org.nz/ Elsmore Graham Christian Renewal School. By Graham Elsmore nd the topic engaging. engaging. topic the nd

www.nzmusic.org.nz/education 2012. MARCH, 8 CLOSE ENTRIES MONTH 2012? VISIT: STUDENTS SCHOOL THE SONG OF SONG THE MUSIC NZ WANT TO WRITE TO WANT

“Making Music .“ 2011. “Making Music .“ aving been involved previously with Making Music “Carmen” and “Bolero” it was with interest that I registered for the LEARN LEARNZ Making Music

where the children would never have heard of the word, let alone the the alone let word, the of heard have never would children the where whether about reservations I had a timpani. or a bassoon of sound " would in the class the boys I was to be proven wrong. It was one of the most successful and stimulating units undertaken. of the reasons: some are Here H could this that realised soon I video introductory the viewed I When a chunk be large did it consume a I Little would one. realise major Northland in school decile low a in teach I 3. Term in learning the of Sound Arts November 2011 Page 12 Postgraduate study can lead to a rewarding career of research and discovery.

The University of Auckland’s School of Music offers nine postgraduate programmes in music and music-related disciplines. Develop your musical expertise and understanding to a higher level through advanced practice and research.

Find out more: www.creative.auckland.ac.nz/academia 0800 61 62 65 | [email protected]

Sound Arts November 2011 Page 13 Cultural Chords Music Conference, April 2011

Play long long Play (TIP : if you can uenced piece. At At piece. uenced ed. creates creates back pressure without the the actions. instrument complicating make to element an away take (TIP: an exercise.) Sing long phrases sing it you can play it.) phrases. try (maybe cups and straws some Get the into bubbles Make outside?). this going them keep and of cup water in a steady stream ‘singing’ while like. would you piece whatever Play long notes using lack how see quickly will Musicians a tuner. pitch the changes support breath of on air. low as they become

– – – IN TUNE IN expect the ‘right’ note to pop out when they they when out pop to note ‘right’ the expect push the right buttons. This is but simply not chord, one in tune in be will C a and true out of tune in as another of the function a tuning, its change will a chord within pitch sometimes only slightly, and sometimes of complication the to this Add lot. a quite characteristically poorly tuned notes in all tricky a is it and instruments brass and wind out. sort to work of bit Stairway to Heaven drives me crazy with those slightly out of tune recorders! tone, good a with playing is band the if BUT, issues will intonation lessen, so make sure tone. beautiful a on insisting always are you Then, tune that. in Point: Case Years ago, my band in Taumarunui was playing a Renaissance in! a modulatory cadential point, it became hideously out of tune. We practised and practised over and over: was the player noteseach right, were was rhythm the right, Finally, tone. good with playing individually words of wisdom spoken to me, probably from Bob Lutt or Monte “If Mumford, you I tune.” in it play can you tune, in it sing can play it, sing it, play it, sing musicians the had it… and all of a it was sudden in We tune! were all darn chu# about tuning: Learn Our twelve tone tuning system means we none But tune. in relatively keys all play can easily perfectlyvery intuning tune! adjust can A voicestrings or choir, unfretted and and do this constantly. But our musicians Achievement to Achievement with Excellence PlayingExcellence with in tuneAchievement to elevatesAchievement a band from with no other There adjustments. are few than out things more excruciating of tune playing, at any level and in any genre. By Kathleen Mulligan rsts. nd it easier to tune and their brighter sounds will be will sounds brighter their and tune to easier it nd ve, in for two, out for six… try other combinations of numbers. The hissing hissing The numbers. of combinations other try six… for out two, for in ve, In Tone, In Tune, In Time In Tune, In Tone, In Breathe in and tighten up the waist band of your skirt/pants. Keep this pressure on on pressure this Keep skirt/pants. your of band waist the up tighten and in Breathe support is how That happens. horn. your blow as you in Practise breathing for four beats and hissing out then for in four, for out three, for "

t their place in pyramid. It will create a rounder and warmer sound immediately. immediately. sound warmer and rounder a create will It pyramid. in place their t – – just their sound to worryjust their sound to about. make on...and working are you pieces the playing bands good to listen band your Have sound to want don’t they what realise quickly will They recordings! bad to listen them like. air of intake this: to parts two are There sound. supported well a with playing a on Work diaphragm. their with breath to musician the require Both air. of output and include: this for exercises Some Have the band work hard on developing an AH vowel as they play. This vowel placement placement vowel This play. they as vowel AH an developing on hard work band the Have the starting Practise harsh. less be will sound the and resonation for space more creates on up on and beat sighing AH on all conductor together of by breathing onset sound AH. musician have they tunes the short even music, of gives pieces easy very on and concepts tonal these Practise technique or reading of issue the removes this Again, memorised. practise it down). toning and trumpet third clarinet, Third section that functioning. of is bass pyramid the the sure are make They section, a Within band. the of tone the in role crucial a play trombone third decresendos lead they and lead louder than the " who are Basses and should be louder than the seconds pyramid. the of end lower the by led are Crescendos bass. the than faster cresc/decresc should musician other No too. up a building, the musicians will " balanced to by the says, larger sound music of the the bass. what of Encourage your bottom end regardless to always play dynamics, their balance to else everyone and forte, " sound pyramid a with playing not are they when band the to indicate to arms my use I and eventually they began to adjust immediately, and now they do it automatically in of (although the a excitement the forte so ending, sound splayed still becomes we When When the bass supports the sound of the band, like a or hold basement foundations and alto sounds stacked accordingly. Volume is similar to a food pyramid. a food is similar to Volume sounds stacked accordingly. and alto Tone balance of an ensemble is simply based on a pyramid. The base of the pyramid is is pyramid the of base The pyramid. a on based simply is ensemble an of balance Tone tenor with spectrum sound the of end soprano the is top the while band, the of bass the

IN TONE IN • • • • • • • • Tuba, Baritone Sax, Bass Clarinet Clarinet Bass Sax, Baritone Tuba, Bass • of most Hear Alto Sax, Horn 1,2, Trumpet 2.3 Trumpet Sax, Horn 1,2, Alto Trombones, Tenor Sax, Horn 3,4 Alto Tenor your band develop a full rich sound. • Picc, Flutes, Clarinets, Oboe,Trp 1 Soprano Hear least of band. band. if the and be forgiven notes wrong can play You band. sounding to a great is crucial Tone unattractive a highly is tone a poor with notes, right the all But, lovely. is sound band’s the and alike. for performer listener But are there experience, a to help few strategies simple These three elements are critical to develop a great sounding sounding great a develop to critical are elements three These Sound Arts November 2011 Page 16 changes in the vowel sound or tongue placement. Some musicians play their first two seconds really well, then it goes out of tune as they change their embouchure. • Listen to good bands which play in tune. Have your students listen to when they play out of tune to hear how much of an effect it has on the success of the music. • Play scales in thirds, fourths, seconds. Play two scales at once (Bb and C together!). • First Clarinet and Trumpet are, in some ways, much easier that 2nd and 3rd parts which often do not make musical sense without the melody. We tend to put less skilled musicians on these parts but in reality, they would be more successful on the melody. The stronger musicians we Some strategies to help your band play in tune: tend to put on the lead parts and often they have an easier time " tting their parts • Playing in unison is surprisingly di$ cult. I have the band learn a short tune of maybe in. It helps to rotate players through two bars (it could be a tune from the piece you are working on). Then they go o# in small the parts and to have a weaker player groups of four or " ve and play it together taking care with leaps in particular. Then they beside a stronger player, as opposed to come back and have a play o# to see which group plays in the tune in tune! Prizes are the three strongest on " rst, so the rest always a good incentive. Do the exercise again with a di# erent grouping: all clarinets, of the section ! ounders. odd combos of like a ! ute, alto sax, trumpet, trombone, bass clarinet, or two ! utes and two clarinets. • Have the musicians play with a tuner sitting on their stand. At the end of every • Sing a whole section especially when things are going pear shaped. You will see very phrase they hold the note and check it quickly if they understand and are hearing the harmony by how well they sing it. Time on the tuner. A surprisingly frightening after time, MCB goes into a modulatory or development section with unstable harmony experience. Do this with octaves too. and the tuning is horrid! I ask them to put their horns down and sing it: sure enough, they can’t. They have a moment to play it again to " nd their pitches and then sing it again. It Percussion… looking after them while you is still pretty poor, but one more play and a sing and blammo! The tuning has clarity, the are tuning and toning. band is hearing the chord shifts, and it sounds full and rich. And we have some laughs! It is important that your percussion are • Play simple music carefully focussing on playing in tune. Generally, your band will play kept busy and engaged and that they are music with a simple harmonic progression quite well. Use a piece like this to get them developing their skills too. They tend to get hearing how it sounds, and feels, to play in tune. up to trouble if you don’t! To help them: • Go back to playing in tone, as a good tone is easier to tune. • Give them rhythm patterns or sticking • Have pairs of musicians tune to each other. Have the starter play a given note but a bit techniques to practise while you do lower or higher than 440. The other has to play to that pitch. scales or play tunes from memory. • Make sure every musician knows how to ‘lip up’ and ‘lip down’ and what sharp and ! at • Encourage them to improvise new sounds like. You’d be surprised at how many are not sure if ! at means they pull out or patterns. push in. (Flat is too low, so your horn is too big, so make it smaller). • Have them play on a range of • I " nd it really di$ cult to tune two instruments playing in unison. I ask the " rst to play, instruments. then the other, then the " rst, then the other and it becomes evident which instrument • Get them to practise rolls on cymbals is sharp. while you work on crescendos/ • Tuners can be a big help, or a hindrance. Problems arise when a musician plays a note decrescendos. while looking at the tuner. They tend to automatically adjust to try to play in tune and • Have half the percussion section play on then go back to playing out of tune. A better plan is to play a really beautiful note at an mf beats, the other half o# beats. As they volume, hold it for a moment, then look at the tuner. Adjust the length of the instrument advance, have them swap this each and do it again. bar. • Know that clarinets and saxes go sharp when they play quietly, but brass and ! utes go ! at! IN TIME • Have players tune to the most in tune player in the section. Encourage them to ‘get inside’ A nice tight band is exciting. When an in that in tune (and hopefully in tone) sound. They do this by playing just a bit more quietly tune, in tone sound is executed cleanly and so they can hear the leader. These leaders all listen down to the bass. rhythmically, we have all the elements of good music making ready to be shaped into • Insist your musicians play long sustained notes with a tuner. They will quickly see expressive music. when they begin to go ! at or sharp. This may be caused by lack of breath support or Sound Arts November 2011 Page 17 nd people are are people nd nd good recordings recordings good nd playing more easy pieces. easy more playing ngers, tongues and brains concisely concisely brains and tongues ngers, nal piece of the day (request time). Have them them Have time). (request day the of piece nal ash in the pan tunes which you will never play again. again. play never will you which tunes pan the in ash # o better are You cult. is Director of Music at St Cuthbert’s College and Musical Director of the and Musical Director College of Music at St Cuthbert’s is Director utes on my right if there are a lot of them. Tubas in the middle is very assuring. assuring. very is middle the in Tubas them. of lot a are there if right my on utes Be fun. Enjoy rehearsing and show them you enjoy it. Tell them you had a good time. time. good a had you them Tell it. enjoy you them show and rehearsing Enjoy fun. Be Run rehearsals with variety. Spend some time working intensely on a piece, but focussing focussing but piece, a on intensely working time some Spend variety. with rehearsals Run all. and mistakes it, run just and piece another to go then tuning, or articulation on only do (get choirs like Do game, a a by ear. tune warmup Teach Do a reading. bit of sight round...make a them Teach instruments.) onto transpose can game a how with creative was a one on (the Crocs thematic are it. it play of sing then Some rehearsals them my someone someone choose the next or " classic). Let Give versa. vice or softly, very piece loud a Play section. bar eight an memorise to end the if see anyone until wait and notes wrong playing about hand a before chat " may do it again and you to Promise who does. anyone for prize notices... sectional. minute 15 a Do want. they where sit everyone Let more. listening are they strong, so are tenors three the MCB, In sit. sections the where with Experiment I and band the of middle the in winds lower the like I band. the of back the to relegated ! prefer Don’t count the band in. Give a preparatory beat and that is all. They will all learn to watch watch to learn all will They all. is that and beat preparatory a Give in. band the count Don’t you more. year, Each music. nutritious them Feed band. the break or make can choice Repertoire maybe… and go for a range transcription of styles: march, orchestral ballad, jazz one or blues, maybe, concert piece, light stress I concert and work, maybe, classics, tunes, folk styles many too contain as they medleys avoid to I tend tune. pop current one maybe of ! Beware and musical problems. timeless. are purchases your sure so make costly Music is too di$ music that is too Do not play Simplify and put the them is not parts up don’t as If to sax needed. a player your Rewrite solo, beautiful. music the make will who someone for it Rewrite it! through audience high. too is range the if or complex, rhythmically too are they if parts Slow notes require musicians to move fast. musicians " to move Move require notes Slow soggy. that it feels nor slow, does not and quickly the tempo ensure to

OTHER STUFF http://www.banddirector.com/resourcelibrary/category/43 This site has articles excellent http://www.banddirector.com/resourcelibrary/category/43 and repertoire. on concert instrumental techniques band, http://www.midwestclinic.org/ Tons of exceptionally every conference this to go to useful a conductor sponsors Music (KBB articles, repertoire. performances, advice, amazing shouldYou apply!) year. use site. and easy to Good publisher http://www.grandmesamusic.com/ welcome are musicians plays which band concert based Interested is Band a community Concert Manukau www.mcb.co.nz community. Auckland the for music band wind challenging website. the through us contact to Mullligan Kathleen Band. Concert Manukau • Websites " to place An excellent http://listeninglab.stantons.com/Concert-Band/ of a wide range of music. http://www.banddirector.com/article/rl-concert-band-articles/playing-in- tune?resourcelibrary=43 and excellent for catalogue Sessions Reading their Check http://www.northwestmusic.ca/ which is newly published. tried repertoire some for Choice Editor’s their Check http://www.jwpepper.com/sheet-music/welcome.jsp great repertoire http://www.sheetmusicplus.com/ • • • • • • • cantly cantly cult to up next rst cult for a section, section, a for cult $ di particularly is gure utes and brass). utes and brass). If a has musician ect the band’s concept of ect concept pulse and the band’s ties, and ta-i ti with the dot (or tie). tie). (or dot the with ti ta-i and ties, tricky to sort. sort. to tricky rhythm. teach to system name time a Use ta aa, aa aa ta ones… German the I like aa, ta, ti ti, tiritiri. The dotted crotchet quaver " tell will class L1 your as dictate (and read without ti ti ta are names time The you). $ di proves rhythm a If vocalise a through it learn everyone have (it is helpful if words can be set to the rhythm). Or have the band count out plays section the while loudly beats the it. Go back and revise this " be can issues rhythm these as rehearsal rhythm, and sound and style. rhythm, Put a metronome through a speaker. Musicians will generally make longer note values too long. Subdividing will help. piece. the from rhythms unison Practise faster tempi and at much slower ones. tempi faster and sense at much ones. slower better a develop help to seems This and style and pulse, the rhythms, the of structure. Take some conductingyou do as the conductorlessons. can signi" What a# you are about to come in after rests, and and rests, after in come to about are you Subdivide. notes. longer play you when Subdivide. Subdivide.Subdivide. Subdivide. Subdivide. Subdivide. Subdivide. Subdivide. Subdivide. Subdivide. Practise playing your works at much where mistakes are being made. It can It can made. being are mistakes where volume the as this like work to helpful be the over speak easily can you and less is sound. Subdivide. Subdivide. Subdivide. Subdivide especially when Subdivide. air. staccato a with game watching the Play for you watch musicians the Make note. occurs beat down the When downbeat. a Be together. they play the note..totally very picky. Hiss as rhythms this will help you hear ensure ensure sound is initiated and released accurately. To quickly way start the of out theget to has sound,tongue the the releasing or reed the touching after air (! cause, the be may this onset, untidy an or they may not be using fast enough Articulation has to be addressed to

• • • • • • • • • • Sound Arts November 2011 Page 18

Wertheim pianos Superb construction and tone using the best European parts. Priced for schools from just $5,600 for a classroom model. Or for the hall, an upright from just $6,600. Or a 5’1” grand from just $14,500.

Wizard string instruments There’s often more to a name than the first impression gives… “Wizard” as in… champion, virtuoso, genius! Maybe just the inspiration your students need! Every time they look at their violin, a reminder of their goal! Just $249 for a full size violin kit with hard case Or $995 for a full-size cello with padded carry bag.

pi a n o tra d ers ltd INCORPORATING THE PRINT MUSIC SHOP

90 Mt Eden Rd, Auckland Ph 0800 505 003 NEW SHIPMENT OF PIANO [email protected] BENCHES JUST ARRIVED! Fixed single size, from $159 Fixed duet size, from $199 www.pianotraders.co.nz Adjustables from $485

Sound Arts November 2011 Page 19 ’s November November th cally of interest to to interest of cally c knowledge; while while knowledge; c November will discuss the use will discuss November , StarJam, and Wellington Vector Vector Wellington and StarJam, , th Philadelphia, consortium a with USA),agreements andcollaborative has initiated and USA UK, Europe, (in Universities nine of Australia) who offer PhD programmes in music therapy. Her keynote address on 12 Saturday performance piece involving the bagpipes. bagpipes. the involving piece performance At the end of day one, Dr. Daphne Rickson and Karen Twyford will present music into findings research collaborative their from consultation. school therapy School Zealand New of panel a two, day On of Music sta# of a experience their discuss will Orchestra project in which children with disabilities congruent teaching methods, and highlight highlight and methods, teaching congruent in a engagement of learners’ issues ‘salient them’. to curriculum that matters Other presenters include, on day one, a team from the Raukatauri Music Therapy Centre, Auckland, who will be describing Action Research into their goal planning; Dr Mike McAuley who will identify describeand commonalities in the creative processes of song writing and illustration; Keryn sta# hospice who will present Squires perception of music therapy in palliative care; and Ajay Castelino who will and when developing solutions sharedilemma’s a music therapy research projectDr. people. withinolder for services health mental will O’Leary Clare and Gwynne-Robson Ian describe a collaborative project between musicians Emma and hospicecontext; patients,this in and the ‘heal’ to song of power a bringing in experience her share will Willis background her from sensibility humanities environment, medical a to maker, theatre a as and will discuss how by the challenged is practices arts of openness plurality and the authority of scienti" Euan Robertson will use autoethnography participation, reaction, audience explore to and meaning making in response to a of a variety of methodologies in Deborah practice- Professor Associate research. based Fraser draws on education experience in a range of inclusive Her U.K. the in and Zealand New in andsettings multicultural primary teaching background gives her a and learning children’s in interest particular and children gifted including development, study doctoral Her needs. special with those problem-solving on collaborative focussed and her other research interests include curriculum integration, creativityDeborah’s in education. secular spirituality and 13 on Sunday address keynote will issues address " speci arts teachers and practitioners working in schools. The presentation will describe a arts- considering project research year two ect on that By Sarah Hoskyns ! re to ways nding . However the interface with drama, conference in November represent represent November in conference 2011. Teachers, therapists, designers, doctors and th –13 November 2011 2011 November th held in Akaroa in 2009. MERC (Music Education Research Research Education (Music MERC 2009. in Akaroa in held th Performing & Inquiring –13 . The value of meeting new and old friends researching in music th on November 11 Il est Bel et Bon, 11 eld. There are innumerable precedents, achievements and consultations consultations and achievements precedents, innumerable are There eld.

ort in persuading the Australian Government and State of Victoria to value value to Victoria of State and Government Australian the persuading in ort Performing & Inquiring Performing

Blow Blow Festival nterdisciplinary discussion about research in practice-based environments such as classrooms, early years’ centres for learning and play, hospitals,music hospices,therapy spaces is concertthe focus ofrst settingsthemusic ! therapy researchand conference diversehosted by the New Zealand School of Music, Wellington School Music, of Zealand New publications, Denise is co-author of two Cochrane Reviews (with colleagues at Temple University, University, Temple at colleagues (with Reviews Cochrane two of co-author is Denise publications, extensive experience from extensive experience both sides of in about Tasman the research arts in health and education practice. Professor Denise Grocke from Melbourne University has a long and and and training in the career research, music practice, therapy pioneering distinguished music therapy discipline in New Zealand is deeply indebted to innovations Denise’s and longevity of e# the " and develop that New Zealand music therapy pioneers have been able to draw on. Amongst numerous education and encouraging young researchers was very clear to us. Educators who had shared shared many the years and in the used, classroom and methods community and were " resources common the by inspired were we and practice to keen all what were We to therapists. music and commitment practitioners and teacher by about experienced challenges excitement practitioners’ enhance can that research ‘real’ do like-mindedness genuine encouragement, and found they do in practice, and enthusiasm. The keynote speakers for the Canterbury)’s team of three, Associate Professors David Sell and Roger Buckton and Merryn Merryn and Buckton Roger and Sell David Professors Associate three, of team Canterbury)’s Conference Zealand New (Australia ANZARME with Christchurch shared the symposium research before this convened Dunmill immediately Education), Music in Research for Association Music 09 – Modulations New Zealand School of Music taking place at the Mount Cook Campus as part of Massey University’s Annual of inquiry in their presented projects. The strongest shared theme is the practice of music and how it assists learning, development, rehabilitation and well-being some presenters. art, by image and design is also considered ndings and methods other practitioners will in present research and natural environments discuss !

The initiative for this conference was for partly The this by initiative conference inspired NZSM music department therapy staff’s attendance at an interesting and successful cross-disciplinary research conference,music education I Introducing an interdisciplinary conference on practice- on interdisciplinary an conference Introducing the arts, in music, and education health based research Sound Arts November 2011 Page 20 perform with a city orchestra. (This particular general milieu in a rehabilitation centre; Dennis Kahui and Sarah Hoskyns explore a Māori presentation is an exciting example of approach to music therapy and Coco Kho shares her investigation into how music therapy ‘research in action’, as the StarJam concert might promote communication and socialisation for children who have cerebral palsy. will host an orchestral piece, Open Waters, Finally, Karen Twyford will present an evaluation of inclusive music therapy groups which composed by Stephan Prock and played by aim to promote relationships between typically developing children, and children who have Vector Wellington Orchestra and ‘Jammers’ identi" ed special education needs. A panel of invited speakers will draw together themes from StarJam on Friday night 11th November, about practice based research to end the conference. and the panel discussion on Sunday 13th MENZA members are warmly invited to join the NZSM music therapy department for this will be part of the process of the research conference. We would be delighted to welcome your attendance and input. For further project). Emma Goodall and Dr. Missy Morton information and registration, if possible please by November 5th, please consult the web link: will then present practice-based research into http://www.nzsm.ac.nz/events/MusicTherapy2011.aspx what teachers want from specialist support professionals; Xinxin Liu describes the use Sarah Hoskyns is Director of Master of Music Therapy Programme, Te Koki New Zealand of music therapy strategies to enhance the School of Music, Wellington.

INTO MUSIC 1 Classroom music in years 1–3 By Catherine Short

A cultural and musical digitised resource to enhance learning in our classrooms Now on Arts Online at: http://artsonline2.tki.org.nz/ecurriculum/music_units.php Much of the research about e# ective learning and achievement of children in our primary schools is about the quality of connectedness around the kinds of relationships and interactions our teachers and signi" cant others make with the children in their care. Making connections with children’s personal and cultural backgrounds and their wider family or whānau, is a cornerstone of many schools’ programmes focused on establishing a culturally-safe and inclusive learning environment, so that learning can ! ourish. Macfarlane, Glynn, Cavenagh, and Bateman (2007) highlight an important understanding about socio-cultural learning theory when they suggest ‘interpersonal learning and intellectual learning are interdependent from birth and continue to remain so throughout life’. Furthermore, they challenge those of us who are educators, particularly we who are members of the dominant culture in Aotearoa, to look again at the ways in which we interact with our students and the pedagogical practices we choose to use (p.66). of work. It continues to o# er useful questions to support formative assessment related Building a community ‘feel’ into our classrooms and schools through singing, playing and to the learning intended. And still, there is moving together, o# ers us all moments of joy, wonder, and celebration. Musical experiences su$ cient room for teachers and children to o# er us opportunities to connect emotionally, physically, intellectually and socially, and simply co-construct learning opportunities through breathe vitality and energy into our very being. the use of hyperlinks to further musical and The musical resources we choose to use need to re! ect not only a wide range of genres, but cross-curricular ideas. For example, hyperlinks also the known worlds of our children and our bi-cultural heritage as a nation. ‘Into Music take you to musical examples on YouTube, 1 – Classroom music in years 1–3’ o# ers us a wide range of contexts and Music – Sound Arts to sound " les and related resources, and learning opportunities to enable such connections to be made sensitively and respectfully, to sites offering correct pronunciation of and to support, value, and celebrate di# erence. languages.

What are the di! erences between the ‘Into Music 1 – Classroom music in More user-friendly in its layout, it is years 1–3’ book and CD and this digitised version? highly suitable for those with interactive whiteboards in their classrooms. Arts Online Newly revised and digitised, it has been updated in light of the 2007 New Zealand Curriculum. (2011), promotes it as a resource that ‘aims It encourages our learners to become both music makers and listeners, through a range of to inspire and reassure teachers by providing hands-on practical and purposeful activities clearly organised and divided into sections, all approaches to teaching music that re! ect downloadable (including sound tracks) for easy access. Each plan for learning is contextually the strands and achievement objectives of based around a key aspect of music learning and one speci" c piece of music. At the same Music – Sound Arts (levels 1–2) and the New time, you will " nd that these key aspects of learning (i.e. listening, singing, playing, creating Zealand Curriculum’. and representing) along with musical skills and knowledge are integrated within and across the units. How can teachers use it? Speci" c links are highlighted directly in relation to how children can demonstrate the values, key Firstly, you can click on one or two units competencies, and the achievement objectives inherent in the New Zealand Curriculum (2007). and explore the potential for meeting your In this digitised version of Into Music 1, information to support teachers’ preparation continues children’s learning needs in language and to be provided and conveniently embedded are games and starters appropriate to each unit music. Perhaps you see the need to highlight Sound Arts November 2011 Page 21 * * 65–76. The Australian now only $20 is full time teaching music music teaching time full is now only $15 each usually $30,

dence and skills in music – sound arts – sound in music skills and dence [email protected] usually $20, teachers to have opportunities to build their their build to opportunities have to teachers con" and in other arts’ disciplines, in order to enhance learning children’s in integrative ways. imaginative and References Macfarlane, A., Glynn, T., Cavanagh, T., & safe culturally Creating S. (2007). Bateman, schools for M āori students. 36, Journal of Indigenous Education, Catherine Short papers and education undergraduate one Faculty the in studies, professional in paper of Education, University of Waikato, and her continues liaison role in many schools in South Waikato. Until were positions two arts when primary advisers’ years ago disestablished, she was a regional music Support School with 7 years for (.5) adviser as Services, well her as role in maintaining She is passionate education. teacher initial classroom generalist all for need the about I’d like to commend the team who have been been have who team the commend to like I’d involved in putting this together, Merryn and hardly the project who co-ordinated Dunmill can I writing. the did who Stewart Celia resource digitised Music Into next the for wait to be released! e:

www.sounz.org.nz CLASSROOM visit our website or contact our friendly staff! For more information about these resources, information about these resources, For more (04) 801 8602 p: with these great resources written by The Rattling Bog, Bog, Rattling The two of New Zealand’s top composers, Encourage creativity in your classroom To Dream Out Loud Dream To Composing in the Classroom 1 & 2 Composing in the Classroom SOUNZ, the Centre for New Zealand Music SOUNZ, the Centre who have worked extensively in schools by Dorothy Buchanan by Dorothy ecting yet another yet ecting another by Cheryl Camm • • * These prices are for a limited time only - orders must be received by 31/08/11 * COMPOSING IN THE COMPOSING IN erent native plants and backing backing and plants native erent by Angeline Hamiora. Angeline by er unlimited possibilities to teach Te Reo, Reo, Te teach to possibilities unlimited er Koromiko tion. Such plans that can be spread over several several over spread be can that plans Such tion. le. There are also games and starters to support such aural learning and and learning aural such support to starters and games also are There le. introduces a ‘call introduces and ‘call style a response’ so that you can learn the song aurally moan song with with song moan ā S gentle a to us beautiful, introduces example, singing another using 3 chords, D, A7, and G. G. and A7, D, chords, 3 using There are a myriad of learning experiences suggested, along with key questions for musical performances. shared assessment of learning and ideas leading to pictures of di# clips, YouTube to hyperlinks are there And… tracks. from the sound " from accuracy. simple pitch enabling suggestions for song can and the children beat with rãkau a accompaniment, from accented It simple demonstrates trees of names the using ostinati rhythmic own their improvise and create patterns. repeated musical own their develop to names, tree known other or accompaniment simple a structure can children ukuleles, and/or percussion, tuned Using The inherent rhythmic patterns of the words o# listen for the of features expressive the song, and identify language features, explore ideas. and elements musical Koromiko

sessions also provide teachers with useful models for cross-curricular planning in other arts arts other in planning cross-curricular for models useful with teachers provide also sessions sciences. social and science, disciplines, explore and learning of units other the on click can you ignited, been has interest your Once opportunities. musical more •• O le Pepe, such as the sāsā dance. other aspects to of Sāmoan culture, hyperlinks many on ! the hand re other has of all a Irish ballad, the folk hallmarks catchy in our na represented cultural group and genre •• •• •• •• ori culture, build accurate pronunciation of Te Reo Reo Te of pronunciation accurate build culture, ori ā M in environment the of importance the expressively. and tunefully, rhythmically, sing and Let’s take a look at an example of a singing unit – •• Sound Arts November 2011 Page 22 would have further undermined the case for Ukuleles Good, Recorders Bad? the poor old recorder. Luckily, the segment didn’t go to air. A light hearted look at the debate… So here, dear readers, is my attempt to By Mary Cornish defend the teaching of recorder, away from the pressure of a journalist " shing for a sound ith the rise in popularity of teaching ukulele in primary schools, the recorder has been bite, a grandstand full of frenzied strummers much maligned in the media. In# ammatory comments like “lets build a bon! re for all and an unforgiving camera. Wthose recorders!” have incensed those of us who continue to value this humble and Despite my passion for all things uke (another ancient instrument as a cheap, poratable and accessible option for class instrumental tuition at whole story), I continue to teach recorder to primary and intermediate levels. every Year 4 child at our school, because in one year of classroom tuition at an age when That is not to say I am not a big fan of the ukulele. As chair of the New Zealand Ukulele students are developmentally ready, they can Trust I have to confess I have joined the cult of enthusiasts and played a not insigni" cant gain an understanding of pitch and melody, part in spreading the joy. Our school set of rainbow coloured ukes creates a musical mural notation, duration, tone and articulation, on the music room wall. They rarely spend too much time there being frequently deployed simple form, dynamics and phrasing. They by groups of students on camp, accompanying school singing, for songwriting, at various develop musical sensitivity, record and play festivals and performances and by our sta# uke group. But I hearby openly confess that one their own compositions. They will learn to of the highlights of my week as a classroom music specialist is when I greet my two eager control their breath and improve their " ne Year 4 beginner recorder classes. motor skills. They will encounter a number of Yes, ukuleles are the instrument de jour. They are cute, colourful, endearingly kitch and are di# erent styles of music. All this ( and more ) even cool enough for Gin Wigmore and creatives at ad agencies. They have revolutionised and no tuning needed! And like any aquistion music teaching, singing in schools and community music making but I will never give up my of a skill they will learn that mastery comes classroom recorder programme – viva la recorder! from small steps, frequent repetition, lots of My fellow trustees and committee dedicate many volunteer hours towards supporting the encouragement and perserverance. development of ukulele in schools and the community. Would we be compelled to do the We become a regiment – an army of recorder same for the recorder? Would we spend hours writing resources, recording music, late night players and I am the sergeant major. We funding applications, selling merchandise, organising workshops, negotiating with venues bow, we march, we stand at ease. We do and suppliers, attending meetings, to champion its cause? An unlikely scenario. The recorder “recorderography”. Together we aim to has little hope of ever appearing in an article in Time magazine and being referred to as a “ create one beautiful sound. Not at " rst but little machine of joy”, as the ukulele did recently. we get there. I tell them constantly that no Last November, a charming TV3 journalist interviewed me on camera at the schools rehearsal one will be left behind, they will all be able for New Zealand Ukulele’s fourth annual New Zealand Ukulele Festival. A rehearsal featuring to play the recorder at the end of the year primary school students would not normally attract such media attention but for the they will then be in great shape to learn any appearance of the second most famous uke orchestra in the world, the Ukulele Orchestra other instrument. of Great Britian. They had had popped in to jam with the Kiwileles (being the most famous), Here is what one of these Year 4 students whose ranks had swollen to an incredible 2,200 players from over 100 schools. It was one huge wrote at the end of her year of learning the ukulele party with the Kiwileles treating the visitors to a rock star welcome – gyrating in the recorder: stands with instruments aloft as the Brits rocked out with their high octane repertoire such as Le Freak. School had never been so much fun, and the Brits were genuinely overwhelmed “The recorder is one of the best instruments with what they were witnessing. They had never seen anything like what is going on in in the world. If you don’t learn it you will schools here with the ukulele. be bored for the rest of your life! It makes a peaceful sound, and when I play it I feel The interview was going swimmingly – we were both caught up in the euphoria of the like I am in a bubble. We had sooo much strumming frenzy going on around us when the journalist sprung the old “better than fun learning the recorder and practised those recorders eh! ” line on me. Oh please. Not again. She was cunningly trying to get me every day to get as good as we are. I love to to collude, on national television, that recorders were bad, ukuleles good. Ok, we are not the recorder so much. I think you should talking world politics here, but how could I graciously defend the recorder in a three second learn the recorder.” sound bite, with a huge ukulele party looking like a whole lot of fun going down behind me? I spluttered something about how recorders had their place but were more dependent on So there you have it. Thumbs up for the more specialised instruction, whereas anyone could stay one step ahead of the class with humble recorder. A few dollars worth of ukulele, and how you couldn’t have a sing along with them – which in hindsight probably insdestructable plastic still goes a long way in the classroom. Ukuleles good, recorders good. Just di# erent. Mary Cornish is a teacher, singer, choral conductor and producer. She is the chair of the New Zealand Ukulele Trust, the music specialist at Bayfield School in Auckland, and is a regular conductor for the APPA Music Festival. She has presented at the MENZA conference and for the New Zealand Choral Federation. She is passionate about equitable access to music education and its bene" ts. Sound Arts November 2011 Page 23 cial it into into it mpared mpared dramatic dramatic e concept concept e into what what into super" By Fay Young By Fay daunting, as I as daunting, experiences; a experiences;

n o d ed as it it as # stu they which sh nitely gave understanding to to understanding gave nitely ending anyone. anyone. ending I believe personally that shermen while others were various sea creatures who creatures sea various were others while shermen We consulted with our Kai Tohu who approved the content of our plan, and gave guidance in pronunciation. pronunciation. in guidance gave and plan, our of content the approved who Tohu Kai our with consulted We centre by pakeha teachers. pakeha by centre erences of the group – 36 children aged aged – 36 children of group the erences dence booster. booster. dence dence around pronunciation and protocol. and pronunciation around dence ori in an early childhood childhood an early Māori in reo of te " de These visuals. using introduced were Songs I needed to source songs with simple language using familiar tunes as these had source I needed to I decided to choose songs around the theme of kai moana (food from the sea). Recently, our children had been on trips to the the to trips on been had children our Recently, sea). the from (food moana kai of theme the around songs choose to decided I ippers. ippers. The timeframe of eight weeks. The size and age di# 2–5yrs. active participation.Encouraging " con of lack My Kai Moana – An approach to the strengthening the strengthening to approach An – Kai Moana

children making their own visuals and having ‘performances’ of their own. They were heard heard were They own. their of ‘performances’ having and visuals own their making children (a chant we had performed last year), and two songs from the Childspace Ukulele Songbook, Songbook, Ukulele Childspace the from songs two and year), last performed had of we tune chant the (a (to Moana te Tangoroa and Fire), the where’s Hurry Hurry of tune the (to kina Kina familiarity was just as important me and other sta# to Tune This Old MacDonald had a Farm). songs. the teach to cds by unaided voice my used I language. the on focus to us allowed pace. and clarify when needed and established a slower stop me to allowed Modelling: the children of what we were singing about and also acted as memory This aids. led to and decorated – these remain on display in a net hanging from the ceiling. To extend the theme theme the extend To were ceiling. caught. the Anotherfrom teacherhanging net had a in involved children display on in makingtherefore remain was these paper – music " of decorated choice and Our theme. ocean an around be will disco coming our more, even happening. and was in context with the learning already experiences, real based around Tuna? te Familiarity:hei Kei version), Rose Tessa (a Waka te Hoea became choices The quickly. learnt be to Seeking advice and guidance: guidance: and advice Seeking This was a great con" Relevance: also fashioned They chips seaweed and cooked Centre to bought it back seaweed, they gathered where aquarium, and also the ocean bags and ! children the involved also had and moana kai around game board a introducing was student A in dramatic play with some becoming " What Strategies Worked? Strategies What Smoyak Smoyak (2011) makes an interesting observation in her recent address to way thethe Newabout Zealandthink to College members of Mental challenged Healthshe when Nurses conference She co of their meaning. with understanding using the words of them were questioning whether many they used the Maori language, this with the teaching of Spanish in the United States where it was always translated. In my experience, children often have a • to strategies needed I but challenges, the identifying for much So these. address Research and philosophy of practice: children should understand what they are the saying; therefore waiata had to have and meaning Dr be Shirley age appropriate. was concerned about getting it right and not o# about getting was concerned me? the challenges for What were • • • ori by pakeha early pakeha Māori by the delivery reo practical this article ideas around of music in te I write the need for address to childhood teachers. task the found I frankly, Quite Polyfest. in performance annual centre’s our lead to was colleague), a by (supported mission My of ‘musical play’, an (2003) approach supportedthat encourages Young by children Susan to ‘musical play’, be in involved playing of with songs in of active participation the encouragement and secondly tapping by modeling, simply imitating a teacher situations as opposed to Paula Melville-Clark (2008) describes “dominantas sensory has very outcomes. exciting discovered music which I have teaching to holistic approach systems of learning”.This involves visual, auditory and kinesthetic understanding of te reo e.g. labels, commands, and I want to extend this. this. extend to want I and commands, labels, e.g. reo te of understanding th with the two also years complementarylast been three experimenting I over have the Firstly to of teaching music. approaches Sound Arts November 2011 Page 24 putp down to sleep! Sta# and parents began commenting on this, giving examples which wwere often very humourous. TeamT Approach: This preparation was a whole-centre project with directors and colleagues aall enthusiastically supporting me with their ideas and talents. Centre Whanau (family) were aalso ready and willing to advise on correct pronunciation. ConclusionsC WeW found that there is something special about performing waiata – it brings people together aas a collective with a common purpose, and develops connectedness, as individuals contribute tto produce an amazing sound. Belonging and Empowerment come to mind (Ministry of EEducation, 1996). Let’s hope it’s alright on the night – but if not, it has been a wonderful and rrich experience preparing. TThe combination of choosing a theme which was in context with current learning, alongside a holistic approach to teaching waiata by engaging the ‘dominant senses’ and the ‘song play’ aapproach, resulted in many spontaneous vocalisations from our children. My aim to encourage ‘a‘active participation’ had a surprising result and went far wider than just our children as parents sstarted singing the songs also. I would encourage you to experiment with these practical mmethods – I’m sure you’ll have success with them. As a post script; since writing this we have been to Polyfest. Our performance can be viewed to introduce each other by saying “Ladies online at www.earlychildhoodonsta# ord.co.nz by opening the gallery tab followed by the and Gentlemen, introducing…..!” Children events tab and clicking on Polyfest 2011. who do not normally participate started lining up for their turn. The visuals were Feedback from parents has identi" ed the need to provide access via our website or cd to taken home with reports from parents that the songs, as many parents had no idea of pronunciation and really wanted to support the they had been ‘taught’ our Polyfest songs. learning at home. I will work on this idea in the future as it would be a great means of bringing Parents started requesting the words to te reo Maori alive in our community! support their participation at home and so Reference List song sheets were made available with the English translation.’ Ministry of Education. (1996). Te Whāriki: He Whāriki mātauranga mō ngā mokopuna o Aotearoa: Early childhood curriculum. Wellington, New Zealand:Learning Media. I set up ‘song play areas’ which consisted Childspace Early Childhood Institute. (n.d.). Let’s play the ukulele music book. of plastic ika (fish), wheke (octopus) and mako (sharks) in a water trough with rocks Shirley, S. (2011, July 21). University nursing programme mooted. Otago Daily Times, p 5. and shells. As children gathered around the Young, S. (2003). Music with the under-fours. Great Britain: RoutledgeFalmer. trough we sang our ‘Tangoroa te Moana’ song and acted it out with the resources. Interview with Paula Melville-Clark, (2008). Early Childhood Australia. Retrieved from Clay was also presented on a table where we http://www.earlychildhoodaustralia.org.au/every_child_ made waka as we sang ‘Hoea te Waka.’ Again magazine/every_child_index/i...16/03/2008 this helped in the children’s understanding Fay Young is an Early Childhood teacher and has worked at Early Childhood on Sta# ord in of te reo as they used labels and positional Dunedin for the last 7 years. Previous to this she worked for Group Special Ed with special language e.g. kei roto (in), enei ika (these needs children for 10 years. During this time she quickly became aware that music was the fish) ena ika (those fish) during this play. means of communicating, connecting and instigating learning with these children and she At mat times I informally questioned and loved it. Music continues to be her passion, and she has just completed her Level 1 Or# discussed the song thereby reinforcing Schulwerkerk training. understanding. Visual Cues: We began making props together– ika (" sh), wheke (octopus) and mako (sharks). Waves were made from ! owing material and paddles from hardboard for our waka. This caused much excitement as children started expressing their desire to be a mako (shark) or the moana (ocean). These props were also a means of bringing in a kinesthetic element, as did actions that accompanied each item. Spontaneity: Both children and adults started to sing the songs at all times of the day – while changing nappies, in the block corner, outside in the sandpit. Even the youngest children could be heard singing the songs while they worked or as they were Sound Arts November 2011 PPagea 25

with purpose has been involved in music for erence between a radio edit and and edit radio a between erence erent rhythms and tempos in pop pop in tempos and rhythms erent using it for a musical experience. Be Be experience. musical a for it using . the use Avoid of music as popular o# can child youngest the even that aware be a music critic; children will tell you other or Bieber Justin of think they what popular artists by or vocalising by just space. mat the leaving Enjoy the well musicso yourself!works One music of the popular that reasons are teachers the all that is centre our in engaged in musical experiences. Our of ages the from ranges team teaching of all and something 60 to something 20 with us and the singing dancing enjoy children. Firstly and most importantly, know your your know importantly, most and Firstly songs/lyrics and content. Be aware of the di# an album edit, the radio edit is often adjusted for length, profanity, subject know to Get instrumentation. or matter playing. are the songs that you Think about the and dynamics tempo, rhythm before and while using it with the children and use these terms for along Drumming moments. teachable to di# a be can containers ice-cream on songs experience. educational and fun If with are there engaged no children them turn then played being songs the o# background music as it takes the shine

those divas amongst us; I often have one of of one have often I us; amongst divas those hand! my in those music popular using at looking are you if So in your centre you need to be aware of a things. few • • • • and and is about passionate teaching children and adults alike about the joy enjoying of singing currently is She music. making and teaching at Kelvin Grove Kindergarten in North Palmerston and is also the assistant of leader voice the Community Manawatu Choir. Jill is a vibrantfounding a also is memberand Manawatu of Education Music member of the performing ukulele band Ukephoria! Often the children tell me how they have ‘that ‘that have they how me tell children the Often links these car; their in or house their at song’ Early our of part important an are home with So Curriculum. Childhood I you challenge to try out some popular music – you might be discovering the next pop centre your in producer or critic music star, diva. inner own your or Jill Brider since piano the played has She years. many the age of 6 and has also sung in choirs since primary Jill in school. majored music a teacher, be to training while University at ect on how how on ect By Jill Brider Jill By Today Today I waltzed with a 4-year-old boy to Disney’s Beauty and the Beast song. So what is the significance of this? This boy normally doesn’t choose to listen, dance or to dance choose listen, doesn’t normally interact with music experiences that happen happen that experiences music with interact on the mat space but that song grabbed him. him. grabbed song that but space mat the on He came and found me, and said ‘Hey Jill, I know know this song, it’s on Together my movie’. we waltzed around the mat to this song while while song this to mat the around waltzed we he sang along to the chorus. A memorable moment for us both! both! us for moment This musical moment makes me re ! ash mob’ on the mat with the way it draws in in draws it way the with mat the on mob’ ash popular music is used in our Kindergarten and and Kindergarten our in used is music popular how it can be used in Early Childhood Education. Education. Childhood Early in used be can it how music. One of the popular songs at the moment In play pop modern we our regularly centre, moment the at songs popular the of One music. is Justin Bieber’s ‘Baby’, which can spark a mini a mini spark can which ‘Baby’, Bieber’s Justin is ‘! the children. Popular artists like Michael Jackson, Jackson, Michael like artists Popular children. the ABBA, Justin Bieber and the Chipmunk versions versions Chipmunk the and Bieber Justin ABBA, Pop Music with Purpose Pop of the latest pop songs are not just background music but are played with purpose. Through Through purpose. with played are but music background just By not are rhythm. songs and pop melody latest the of tempo, dynamics, of and principles shakers musical the drums, teach as can we inverted songs these containers ice-cream ribbons, scarves, as such props providing important really Another expression. and music of exploring of lots be can there pompoms, and express dance’ ‘break who is thing to want for space those to children space; provide themselves through dance. We also have a bag of toy microphones that are popular for Sound Arts November 2011 Page 26 Music Department Musings From the desk of Grace Davey

owzas, wasn’t Term 3 full on? With the change in term dates the pressure has been on to complete and mark all internal assessments before the end of Term 3. Without the WSeptember/October break to get marking done it has been a smidge problematic. I hope everyone has made it through in one piece. While Music Teachers don’t get to let up until the pack up has ! nished of the last prize-giving, there is most de! nitely a light at the end of the tunnel.

Where are you at with the NCEA Alignment? Hopefully everyone has got the second teacher only day programmed into their calendars for this term. On the the " rst teacher only day my department used the time to come to compulsory at Year 9, has fewer hours per grips with the new Level 2 standards, look at our course planning, have a read through of the week, but is the course is now half a year assessment resources available on the alignment page of TKI, and each of us made a start and has given us a wonderful opportunity on preparing one assessment. to change and experiment with what we My plan for the second day is to start with a review of Level 1 standards, and really get stuck o# er. There is now a greater range of choice in to our unit planning, assessment timeline and alterations of available assessments and for students. schedules. Changing courses, shaking it up. While we Some of the important things for all those in charge of teaching Level 2 Music to consider have kept some of our successful units of before getting too far down the track; work there is now more time for the three of us to inject our own ! avour into each course. • Have you created a Level 2 course that is manageable for you? I run a concert band class, while this is in it’s • Can you o# er choices of standards? infancy we have run out of hire instruments • Does it meet the needs of the majority of your students? and have had at one point or another a waiting list for EVERY instrument on o# er • Are students still able to get a Subject Endorsement, i.e. are there at least 3 internal credits at the school. There is also an entry level and 3 external credits on o# er? If they aren’t have you made this clear in the appropriate Music class that covers some theory, history, places i.e. subject selection books, deans etc. practical keyboard and guitar, composition • Are you setting them up for success at Level 3? and listening skills. The third class is a Music • Is there are pathway for those who want to pursue Music at a tertiary institution? Enrichment class, which is about expanding on prior knowledge and giving new musical With the chaos that comes with change I like to re! ect on what I am thankful for, these experiences. The Year 10 Music Enrichment include; moderated assessment resources available for us to use in every standard, two class were practising singing intervals, when teacher only days to help us come to grips with things, a more balanced workload per credit out of this was born a class choir entered into ratio for students. the regional Big Sing by their teacher, Gary Wilby. Anything is possible. Writing a robust NCEA assessment task and schedule It may seem like hard work rewriting a junior Here is one area that I feel I never have enough time to do justice. The mantra is to always course as the alignment hits Level 2 but the use the standard, and this is very true. It is important that the wording of the standard is joy of hitting the right balance with the used and those of the explanatory notes. This is not enough though, as then you will need juniors is a joy that can transfuse into the rest to ensure it is explained in a way that those outside of our subject could grasp, such as other of the job. While some ! exibility in thinking teachers or parents. and in o# erings may be required to change Fairness is another word used often when writing a resource. The resource needs to be things up, the junior level is more forgiving in balanced in its questions, e.g. not favouring analysis or context in any one work, but an even both assessments and attitude, so a perfect distribution of questions for the entire standard. Do all of your students have an opportunity trialling ground. to succeed at this task? Make sure that the wording is well explained. Good luck through this " nal term, and I hope Marking schedules should be fair across all tasks, and speci" c enough that anyone could you get a moment to enjoy those juniors! mark the work and get the same result. Remember that the di# erence in grades is not the Grace Davey is the HOD Music at Hutt quantity of work, but the quality of work. Oddly enough I often " nd it easier to start from Valley High School. As a former MENZA scratch and be close to " nished, or mentally hitting a brick wall, before I look at other task board member she wrote a paper on Key and schedules. Competencies in Music Sound Arts and ran Year 9 and 10 Junior Courses workshops called ‘Managing the Paperwar’. Grace is currently dedicating her time Schools largely have in place the requirements to run the 8 learning areas so what has learning how to manage parenthood on top that meant for you? For us here at Hutt Valley High School it has meant Music is no longer of work responsibilities.

Sound Arts November 2011 Page 27 rst nd By Jane Egan sh, Paua sh, Marae, Kapa Haka, Koru Haka, Kapa Marae, Waka Haka, Rugby, Jandals erent examples of songs so they can can they so songs of examples erent " Cray Other: Other: Maori Symbols: Maori Symbols: Sport: Sealife: nish the year with an original leavers-graduation song. Get Get song. leavers-graduation original an with year the nish or a beat. a or Song Writing Writing Song 2012. 2012. th Add as many things to each category as possible possible as category each to things many as Add nd students usually go and check out their classmates’ quotes/songs so it it so quotes/songs classmates’ their out check and go usually students nd Hangi, Pie, Tomato Sauce… Sauce… Tomato Pie, Hangi, fern Pohutakawa, Kowhai, Mt Ruapehu Beehive, Tuatara Kiwi, Weta, should know… can be very helpful) should know… Activity One: Food: Fauna: Flora: Places: Zealander New every words Maori (100 http://www.nzhistory.net.nz/culture/tereo-100words ready to help your students in 2012 – starting with lyric development in particular… MENZA’s MENZA’s particular… in songs and many schools development now " lyric with starting – 2012 in students your help to ready is " “Write Music Month” the Song of New Zealand Hook Line and Sing-along Competition 8 up – closing March Build a dictionary of words some are more user-friendly than others. more some are songwriting Zealand New with help Activities to competitions Compiled by Jane Egan and Stephanie Lees There are many national competitions available to encourage students to write original then make them into banners and create a lyric wall, which can be used to borrow or start or borrow to used be can which wall, a lyric create and banners into them make then ideas from. I " range. their listening increases dictionary/thesaurusRhyming good and bookshops most from available are dictionaries Rhyming songwriters. for must A as purchase you before a through look Have good rhymes. and half full you give will ones to stop as whole lessons can disappear if not well managed! Inspiration # di of lots to listen to students get to important really is It activities your attach and try so radio and TV commercial of realm the outside ideas develop explain and lyrics of line favourite their bring classes to My students get baby). I 40. like top oh the from baby, not song a to baby, baby, like lyrics get don’t you means (this it like they why to be kept tidy and I do not read in detail unless they ask me to as it contains their personal personal their contains it as to me ask they unless detail in read not do I and tidy kept be to ideas and thoughts. I encourage students to write in it whenever they can, as song writing ideas as occur everywhere well as the tasks completing I set in This it. them gives a book encourage I ideas. for stuck are they when revisit can they that ideas of stock-pile a has that the that so session writing each after writing their of sentence one least at share to students skill writing overall the this, doing by that, found have I ideas. on takes others’ hear can class them get to sometimes hard is it much so sharing love usually seniors and lifted class the of Where do you start? you do Where Some song. a starting of way wrong or right no is there song-writing of aspects most with As people come up with lyrics as a starting point, some start with a chord progression or a # a ri from work others melody, expected not is This in. ideas writing book Lyric song their all keep to use they which book, a buy to students get I Song Song writing can often be a daunting topic to approach with students and I usually " able be to seem magically just who students the are There divided. quite are dig students that just who students those have you or music to it put to able be may and lyrics produce to everybody tools right the with that believe I songs. write can’t don’t they So believe and knows? in who toes but their topper, chart next the be not may It song. a with up come to able is attitude. “I can’t” their into let students opt out or play Introduction Here are some starter are ideas. Here Sound Arts November 2011 Page 28 Activity Two: More words to spark ideas Examples of songs to use: Write A to Z down your page and write as many New Zealand things as possible next to 2010 & 2011 NZMM Hook Line & Sing-along each letter. songs:

Activity Three: Write an adjective and verb for each of these things. • TetraSalute: Made In New Zealand, • ‘Huarahi Tika – Things to Remember” WORD: ADJECTIVE VERB www.tunemein.org.nz/ (click ‘news’ then Tuatara mp3s on that page to hear these) or see www.nzmusic.org.nz/resources Aroha Look at successful & singable New Zealand Paua songs– Natures Best, Kiwi Kids Songs, and for the very latest: www.kiwihits.co.nz Pohutukawa Oldies… Fish and chips OMC: Land of Plenty, Dave Dobbyn: Welcome Home, Activity Four: Make it original Anika Moa: Lies In This Land, Find a new original way of saying the following: Split Enz: Six Months in A Leaky Boat • New Zealand is at the bottom of the world. Other highly recommended & useful • New Zealand has beautiful beaches. resources for teaching songwriting in • New Zealand has beautiful scenery. groups: • We have clear night skies. • The ‘Charlotte Yates method’ – 3 short • We have a can do attitude. videos to watch @ www.nzmusic.org. nz/resources/education • New Zealand doesn’t have much pollution. • Musical Futures (UK) free music leader • We are friendly. resources – writers unblocked particularly • We are proud to be kiwis. useful: http://www.musicalfutures.org. • For a small country we do really well . uk/resource/27359 • NZ is a mixture of races. • Pat Pattison is a Professor at Berklee College of Music, where he teaches lyric Activity Five: Snapshot writing and poetry. He has visited New • Draw a snapshot of your typical New Zealand scene. Zealand in recent years. • Around it, write 20 nouns. Take a look at his website for inspiration: • Write 2 adjectives for each noun. http://www.patpattison.com/lyrictips/ • Write verbs for each noun. Jane Egan is HOD Music at Gisborne Girls’ High School and Stephanie Lees is Education Activity Six: Manager at the New Zealand Music Industry Use proverbs/well known sayings as a starting point… (it worked for Tim Finn – “They said Commission. it couldn’t be done”) Jane will be presenting a workshop on http://www.korero.maori.nz/forlearners/proverbs.html songwriting in Auckland 20 November, 2011 http://www.phrases.org.uk/meanings/proverbs.html – see the Auckland REGION page on the Tune Draft out a story that might be told around the proverb. Me In website for more information. Again, pick 1 and write 20 nouns, and 2 adjectives for each noun…

Activity Seven: Finish the sentence • I live in a land of ... • The people in this place... • I see... • I hear... • I feel... • There are many... • The best thing about being a part of this country is... • ...glistens in the sun. • ...whispers in the wind. • ...is the taste l call home. SoundSound ArtsArts NovNovemberember 20201111 Page 29

nd out more about about more out nd , is a Palmerston North based based North Palmerston a is , Event co-ordinator and musical director Moss Jennifer currently is Jennifer educator. and musician and School, St Russell at specialist music the works as a music facilitator in schools for Music She Chamber New is Zealand. voice Choir of leader Community the Manawatu Group Ukulele Manawatu both facilitates and (MUG!) and Manawatu African Drumming member founding a also is Jennifer (MAD!). Ukephoria! band ukulele the performing the to of music bringing about passionate is She " To whole community. link: this follow Festival Ukulele Central the http://www.centralukulelefestival.org.nz/ By Jennifer Moss By Jennifer rst time that morning! that time rst this year. More than 350 primary and intermediate students, students, intermediate and primary 350 than More year. this rd c role model for the children to hear and see. see. and hear to children the for model role c

the simple joy of making music with others. others. with music making of joy simple the c sense of achievement. achievement. of sense c

from erent 21lled schools, di " the ! College Street Normal School Hall in Palmerston North. he Manawatu he Standard Manawatu used the heading above as it described the inaugural Central Ukulele Festival (CUF), held on June 23 amazing vision and talent… Sure beats a day in the classroom.” amazing vision and talent… Sure made which workshops, the in attached learning with but day, fun thoroughly we’d a if as just “Just not out, came we when knowledgeable more felt We interesting. more day the with next to take step what knew and better play could as if we also but ourselves, proved also felt part “ community of players. of a larger We our learning. “ It was an amazing day ... parents were blown away – they had no previous concept concept previous no had they – away blown were parents ... day amazing an playing was It “ children their see to proud so were and work, would festival’ ‘ukulele a how of away and creating such fantastic music, as part of such a large group! have You Kids strung along and loving it! loving and along strung Kids eager smiles. eager smiles. They bussed in from as far as away Levin Wanganuiand – all armed with their songbooks, ukes, and Following the success of this year’s festival, CUF looks certain to become an annual annual an become to certain looks CUF festival, year’s this of success the Following calendar. education arts Manawatu the on feature From happy teachers: The day for many went far beyond the chords and the strumming. The over-riding over-riding The strumming. the and chords the beyond far went many for day The its forget we quickly how (but chestnut old the about all was day the from feeling importance): rare a was this many for and schools, country were participated that schools Many to to sing… people, with so minded liked many to together, come opportunity fun! have and to play… school herself)" was a terri Then, of course, we began our ‘strum-along’ giantof all the wonderful songs the No had children prepared. matter what level the were at, children they eagerly participated, and were keen to show a offof having challenge to the rising – fun the many theirjoined adults levelAccompanying of new-found prowess. the " hands for their ukulele thrust into The morning of the Festival, all the students came together for an initial ‘taster’ of several of the the of several of ‘taster’ initial an for together came students the all Festival, the of morning The intermediate beginner, at children the for workshops into led This prepared. had they songs skills, new with armed workshops these from away came They levels. advanced and " terri a and – ‘star’ ukulele local – our Shadbolt Amelia wonderful the featured we lunch, After performing a bracket of songs for the children. Amelia (not long out of secondary T the spread to keen was I Auckland, in Festival Ukulele Zealand New wonderful the by Inspired North the lower to a heart-warming Island – and what had! ukulele joy we response Sound Arts November 2011 Page 30 Hook into Sound with MENZA A national professional learning day for all teachers. 11 May 2012 In 2012 MENZA plans a National professional development day on the second Friday of New Zealand Music Month. The purpose is to generate sharing of music education ideas and practical strategies from teachers in each region and to raise awareness of New Zealand Music Month “Hook Line and Sing-Along” within each sector, early childhood, primary and secondary. Mark this date in your diary now and, if you need to include it in your 2012 budget, allow $45.00 for MENZA members and $65.00 for non-members for a full day of workshops.*

* Costsosts may vary slightly depending on presenter availability and travel needs and there will be sisingle workshop options included.

Sound Arts November 2011 Page 31 The M enza magazine

MENZA (Music Education New Zealand Aotearoa – Mātauranga a Puoro o Aotearoa) is the national professional body that represents the interests of all education sectors in this country. website: www.tunemein.co.nz

Why belong to MENZA? Because MENZA works to bring live music-making opportunities to teachers, and to represent MMEMBERSHIPEMBERSHIP music educators on curriculum and professional development decision-making organisations. Name The bene" ts of being a member include: • Professional support through workshops and conferences, Title/Position national tours of noted music educators. Organisation/School • At least two publications annually of Sound Arts, The MENZA magazine for teachers in kura, early childhood, Address primary and secondary schools, and teachers in itinerant and private studio , music therapy, tertiary and community Postcode 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 Mobile group rates for sta# to attend events; • 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 School/Institution membership $50 members on MOE, NZQA, PPTA and other advisory or (300 or less students) regulatory education review groups; School/Institution membership $100 • Advocacy through association with the activities of (more than 300 students) METANZ, the Music Education Trust of New Zealand Business $150 Aotearoa, and MERC, the national music education research centre, Library (publications only) $ 75 • Membership to, and the exchange of information with Individual $50 ISME, the International Society for Music Education. Full-time Student Free (copy of student ID required) To join, please " ll in the subscription form opposite, or register Beginning Teacher (Yr 1) Free online: website: www.tunemein.co.nz and send it to :

MENZA Administrator Please tick one circle: PO Box 27499 Marion Square Internet Banking – Account No. 38 9011 0410882 00 Wellington 6141 I would like to be sent an invoice Email: [email protected] or Website: www.tunemein.co.nz Cheque enclosed Cell: 021 034 8808