The The ENZA magazine MMENZA magazine 2012 in this issue... Volume 7 Bret McKenzie: The Story behind the Songwriter, Orff in action – An Example of a Musical Journey, Number 3 Believing in possibilities, Secondary Arts support for your region plus much much more June June 2012 The Menza magazine in this issue . . .

3 Introduction – Errol Moore Sound Arts is published by: MENZA: Music Education New Zealand Aotearoa. 3 Tēna Koutou – Stephanie Lees It is the professional magazine for all New Zealand music educators. Bret McKenzie: The Story behind the MENZA has as its vision: 5 Songwriter – Rosie Condon Making Education brighter through Music. Orff in Action – An Example of a 6 Musical Journey – Fay Young MENZA maintains a website: www.tunemein.co.nz 7 Believing in possibilities !e postal address is: MENZA PO Box 27499 9 Secondary Arts support for your region Marion Square WELLINGTON 6141 11 Reading the Booktrack

13 Kiwi boys can sing! – Timothy Maurice Carson MENZA Board Members

15 Sistema Aotearoa Errol Moore Otago [email protected] (President) Te Ara Puoro: bicultural understandings through 16 music – Trevor Thwaites Sally Bodkin-Allen Southland [email protected] Mary Horner Wellington Mary.Horner@stmaryswellington. 17 NZSM Pasifika Performance papers bring a new school nz perspective – Stephen Gibbs Stephanie Lees Auckland [email protected] Millie Locke Auckland [email protected] Hook into Sound 11 May aka JUMBO MENZA DAY @ Catherine Short Waikato [email protected] 19 Gisborne – Milie Locke Celia Stewart Canterbury [email protected] Andrew Stopps Wellington [email protected] 21 A Life of Music At Papatoetoe Intermediate School Maria Winder Auckland [email protected] 21 Hook Line and Sing-along 2012 Editorial Co-ordinators 23 Arts and Social, Economic and Cultural Prosperity Celia Stewart [email protected] Get the Groove: TRCC course of early childhood Helen Willberg [email protected] 24 teachers 0–8 Mary Horner mary.horner@stmaryscollege. school.nz Stephanie Lees [email protected] Sally Bodkin-Allen [email protected]

The Editorial team encourage reader feedback. If you have any comments or experiences that relate to articles published in Sound Arts, please mail or email them to Bronwyn Pou, the MENZA Administrator at [email protected] For advertising inquiries, contact the Administrator, These may be printed in the next edition of the Bronwyn Pou at [email protected] magazine or published on the MENZA website. !e magazine is typeset and printed by Printlink, The views expressed do not necessarily reflect the views of 33–43 Jackson Street, Petone, Wellington 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 notified to the editor or directly to the writer. MENZA has an expectation of ethical practices in the matter of disclosures. INTRODUCTION From MENZA Chairperson – Errol Moore : “The Month of May”

hank you to all MENZA members, supporting regions, and particularly the board for generating the first ever national day of Professional Development in music education on TMay 11th . You may have been a leader or participant. Either way, from the heady early 2000’s when the MOE last made a significant commitment to music education professional development, it has been a rapid transition to an expectation of on-line learning. I don’t know how teachers in New Zealand rate its effectiveness, but from British research Errol Moore, Chairperson, MENZA I recently read, teachers are adamant that they enjoy and respond best to small bytes of professional development which comes in a personalised face to face manner. To return to Remember the AGM is OCTOBER 5th , 5 pm something like this on May 11th, led by mostly regional presenters was clearly necessary. If @ The Comfort Hotel, Cuba St – Wellington. the budget signals of teacher training changes to one year programmes are implemented by (In the school holidays). the current government, the need for MENZA to be proactive in professional development Finally, while observing students on practicum will only increase. With that in mind we are looking at funding options for 2013 and close over the last month, a question came to mind; collaboration with regional partners and organisations like NZQA. Why in the visual arts, do we see posters, We are delighted that for the third time the relationship with the New Zealand Music displays and techniques of New Zealand Commission has meant the production of a new song 21 Degrees by Bruce Taiapa from artists, as well as the great internationals of Gisborne Boys High School. Like Made in New Zealand and Hurarahi Tiki we hope you have history being celebrated? In the primary and enjoyed taking time to get to know the song. secondary music classrooms, do we integrate the same blend of historical unplugged greats This is a red paragraph to grab your attention! MENZA is considering a name change to with contemporary and popular music of Aotearoa Music Education (AME), with possibly a new logo. We think this name might Aotearoa? I would love to know about ways carry more impact, bring a clearer focus to our diverse music education roles, and help you approach the celebration of all musics. us all rebuild connections with regional societies throughout Aotearoa. We are also considering the constitution for the society with the same rationale. Enjoy your music making!

Letter from the (acting) editor … Stephanie Lees Tēna Koutou

’m filling in for our usual editor, Celia Stewart this edition. I hope you enjoy the variety of articles from our different sectors and the ones of interest to us all. ‘The story behind the Isongwriter (Bret MacKenzie)’ and ‘Reading the Booktrack’ we reprint from APRAP with the kind permission of Rosie Condon. The great thing about an e-journal is being able to click on the links – if you haven’t had a Stephanie Lees (acting editor) laugh today – enjoy this version of ‘O Fortuna’: www.youtube.com/watch?v=nIwrgAnx6Q8 great links on this site. Also in this edition It’s been an emotional and stressful time for all teachers since the early budget announcement the Arts Education Summary produced regarding staffing decreases in schools. Well done those who responded quickly & particularly by the NZ Council for Education research the MENZA board members. I have asked Jonathan Tan, one of our new young members, if for the Ministry of Culture and Heritage we might reprint his letter to musicnet. It touched a chord with many of us about why we last year – I think many of you won’t are music educators. have seen this very useful document for advocacy and validaton of what we do Perhaps now while we nervously wait to hear what ‘plan B’ for savings in vote Education will be, it as music educators – its got all the ‘right’ is a time to put forward comment re. teacher training and to remind the public and ministers of words and will hopefully be useful to you. how much we miss our Primary Music advisory services (along with other subjects like Science), all cut in 2011. What a great bonus to teacher effectiveness reinstating these services would Thank you to all our contributors – remember be. Luckily for the senior secondary curriculum, (at least while the standards alignment process if you have an article yourself or an idea of who continues), we still have Musicnet for support and the new conglomerate PDL group, Te Tapuae should contribute one – contact our editors for o Rehua Ltd. and Team Solutions. Stephen Rowe writing about this new PDL group raises the the next edition later this year. We would be very important topic of participation in Music External Standards. So more letters for us all to interested in letters to the editor , comments on write – NZQA this time ! Please also respond to Stephen with your thoughts. our facebook blog and some feedback about articles or the e-journal presentation. Since this is an e-journal I invite you all to click on this link : www.childrensmusicworkshop.com/advocacy/toptenquotes.html – some excellent Hope you and your students are enjoying quotes advocating for music education from a variety of wellknown americans and other the many fine music events of June. Sound Arts June 2012 Page 3

– Auckland, New Zealand – Auckland,

It’s about teaching important life skills like work ethic, discipline, expression, expression, discipline, ethic, work like skills life important teaching about It’s and cooperation... patience, communication, perseverance, and belonging achievement, identity, of sense a students giving about It’s else... get anywhere purpose they can’t that neighbours, unity, friendships, enjoy and value to students teaching about It’s and the little things in life. This experience has really opened my eyes to the fact that no matter how t
smallest the even that and learning... stop never we are, we think we experienced us. lessons to the greatest of people can give Many of music teachers I work for and with have had to adjust their lives to the children, their and partner their - time a at families their 4 or 3 love and school, support of outside and inside with participate they bands/orchestras/choirs week. each see they students of multitudes the and teachers, itinerant of team I am very to grateful the I music teachers work for and for alongside making each with hours a few spend only I may that fact the despite home at feel me for times tough be to up shaping are these that understand I week. a them of Zealand. New in educators many like-minded other inspire would it that hope the in story this share to wanted I continue to going I’m and teachers to me stay positive to no matter what ourget current government has in store for anything let to going not I’m Personally, us. to do the best I can for my students because what that’s matters to me. ahead! the year All the best for Yours sincerely, Tan Jonathan had serious trouble sitting still, focusing, remembering to show up to lessons, lessons, to up show to remembering focusing, still, sitting trouble serious had the on year whole the spent We music. and instrument his remembering and of years a couple than in no more finish students most of a book 3 pages first this that concerned become to started I teacher, itinerant younger a being and student was making me look and inexperienced incompetent. I have didn’t reports music itinerant my of either in student this about say to good anything again... this student and I very teach to last year nearly refused students the of most than progress faster made has student same the year, This student the becomes teacher a glowing standards, my by the is, what written just I and have when taught ever I have humbling very is It student. this for report teaching about just not is music teaching that me taught has student this but instrument... an play to how a student t
t

y name’s Jonathan Tan and I am a humble itinerant brass tutor and jazz band director at a number of

i everybody, M first experience of something bearlike with me. this. Please Last year, a student with apparent difficultieslearning was‘palmed an off’ take to to me by anotheremployed was I when teacher itinerant student The school. his at students of overflow schools around Auckland. I have a true story that I would like to share with you all as fellow educators.music I have no doubt that many of you havewill had a similar experience with a student but I am still a young itinerant teacher and this is my H Sound Arts June 2012 Page 4 Bret McKenzie: The Story behind the Songwriter By Rosie Condon rom Conchords to the Oscar’s, Bret have to relate to character, ideally advance plot, film that perfectly walked the tight rope of McKenzie has achieved a great deal. Yet be funny and emotional, hopefully work as a comedy and emotion and set the songs up song on their own, and the Disney executives perfectly. I always like working with people only when he got to record Kermit the F prefer it when they’re catchy. who are really good at what they do. Frog singing ‘Over the Rainbow’ did he think, “Maybe I’ve made it...” Have you found the way you The songs you write with Jemaine approach songwriting has changed Clement have an obvious Kiwi- Bret McKenzie’s biography is littered with much over the years as you have influence in them. Do you believe the diverse ventures. He is a founding member moved onto different and varying place you live or came from influences of Wellington International Ukulele Orchestra projects? your music, and have you found and former member of funk-dub pioneers differences in what you produce when The Black Seeds. He’s released an album I think I’ve gotten better at it over the years, you are writing in New Zealand from under his own moniker the Video Kid and I guess from experience. I’ve learnt a lot what you write in the US? facetiously found fame as the character Figwit from my mistakes so now I can recognise on Lord of the Rings. Add to that the success problems approaching and make changes Early on Jemaine and I developed a habit of the acclaimed Flight of The Conchords before a song gets derailed. One good test is of removing anything that is region specific with Jermaine Clement and a lead role in the to make a song work without any production from our songs because we were touring soon to be released New Zealand feature film to carry it. I often get distracted by drum so many different countries that we didn’t Two Little Boys. It’s a career on the ascent, and machines, or multi tracking but if the song want ideas that didn’t translate. But being a to top it off the congratulations are still rolling doesn’t work in the first place it’ll always be New Zealander definitely affects what I do, in from his Oscar win at the 2012 Academy an uphill battle. Unless you’re working with it can’t be avoided. When I’m in the States I Awards for his song ‘Man Or Muppet’, which Brian Eno. constantly notice how inherently different I am to Americans. I’ll always be an outsider won Best Original Song. The songs for the Muppets are more story there. Even if I moved there permanently and character driven than FOTC songs. For APRAP talked to APRA member Bret McKenzie I’d never completely fit in, and that must some reason I wrote the Muppets songs on about his song writing experiences, and affect what I create. I don’t think I change the piano and Conchords songs I tend to working with the likes of Mickey Rooney and how I write depending on what country I’m write on guitar. The piano seemed to sound Miss Piggy. in though. When I’m writing I tend to zone more ‘Muppety’, yeah ‘Muppety’. I know it’s out and forget where I am. How did it all begin working on The not a word. Muppets? I don’t think there’s anything particularly Kiwi Is there anyone that particularly James (Bobin -Director of The Muppets) about the songs in the (Muppets) film. Some stands out as a songwriting mentor, and I had worked together making the of the early demos of me doing Kermit’s or changed the way you thought Conchords TV show for several years so it voice in a Kiwi/American accent were pretty about song writing? was a relatively simple step to work together funny. Maybe Kermit should have a Kiwi on this film. When I came on board they’d I worked very briefly with Mickey Rooney cousin in the next film. already commissioned dozens of demos for this year. It was an honour to meet him each song but James wasn’t happy them. and I couldn’t believe I was directing him There was one song, a rap for the bad guy through the session. Not only is he a Tex Richman that we must have recorded legendary Hollywood star, but he’s also twenty different versions of before James in his nineties so he’s very set in his ways. was finally happy. My job involved writing or After a couple of takes I gave him a little helping other song writers write the songs, direction and his response was, “I do then producing the recordings with all the it how I feel”. He refused to do it any actors and Muppets singing on them. It took other way, so the session was over. I almost two years to do. think there’s something in that for any artist. ‘Do it how you feel’. How did you go about making the songs fit with the characters in The What were your highlights on Muppets? working on The Muppets? Luckily I grew up with the Muppets so I was One of the highlights was getting to already familiar with most of the characters. hear my own songs develop from Also the Muppets have very particular vocal ideas on a piano to fully produced ranges. If Miss Piggy sings too deep she tracks with a ninety piece orchestra. sounds like a dude. Sometimes I’d have to That was a great experience and rewrite melodies in the studio to fit the vocal one I’d love to do again. Another range of the character. highlight was working with composer Christophe Beck. It Writing songs for musicals isn’t easy because was great to watch him work. He the songs have to tick so many boxes. They created a beautiful score for the

Sound Arts June 2012 Page 5

By Louis McNabb SONG SONG BRAIN

It helps me to walk to me helps It talk to me helps It It tells me to sleep at night clap to me helps It jump to me helps It beat to heart my tells It song brain song, Brain howThat’s the brain song goes song brain song, Brain howThat’s the brain song goes. Brain song, brain song brain the how That’s song goes song brain song, Brain howThat’s the brain song goes

By Fay Young Fay By mokopuna o ā ng

ō

riki: Empowerment, Holistic tauranga tauranga m ¯ ā riki m ā composed his first lullaby alongside his mother mother his alongside lullaby first his composed ff – go to gallery, press red arrow and music. arrow red press gallery, – go to riki: He Wh ā ord), Louis is never far away. is never Louis ord), ff would be amazed to know that a new generation of children children of generation new a that know to amazed be would (1895-1982) a 20th Century ff ord.co.nz ff ff The four principles of WhaTe are Relationships and who Community, and Family Development, journey……..and musical Louis’s of record this in reflected ! lead may journey that where knows a Musical Journey

-Schulwerk, a method of teaching elemental in Action – An Example of of Example in Action – An ff nz.org e already know that Louis (aged 4) is musical; he has a paperwork trail recording his artistry artistry his recording trail a he has paperwork 4) is musical; (aged Louis that know e already around ukulele and Space instrument and dancing – in fact when strains of music are heard in the playing, singing ff ff

or trained teacher would immediately see this as an opportunity to notate and score this this score and notate to opportunity an as this see immediately would teacher trained ff Or Ministry of Education. (1996). Te Wh Te (1996). of Ministry Education. Aotearoa: Early childhood curriculum.Wellington, New Zealand: Learning Media. www. at website our accessing by song this performing Louis view can You www.earlychildhoodonsta References artwork Print. Auckland: Brebner creative (4th ed.) children’s Young MagicPlaces: (2004). P. Brownlee, If you would like to know more about Orff- Schulwerk visit the official web site at Louis performed this performed Louis at mat time and it is now part of at the and ECOS repertoire can be as a song chart learn. viewed all to for help thinking Or Carl that I can’t his work. by empowered are ukulele singing and making up songs when Louis said “I know a song, it’s called the brain called “I know a it’s song, said and up making Louis when songs singing ukulele Any music! to function brain about knowledge found new his put to proceeded and song” “The so and Or glockenspiel colour-coded a using Louis with together this did We composition. Or Carl born. was Interestingly Song” Brain at age five; thank you Louis for this gift to us. purchase a pig’s brain which became an became which to object brain and dissect a pig’s purchase learn about the functions of the brain. Pennie Brownlee (2004) refers to these ‘rich’ experiences where you use all of “…… your senses; it’s the (p.9). real She thing” which in turn triggers the brain creativity. up’ ‘wire necessary are suggests these experiences to was What an art as music into turned activity I and science at was sitting the with table a We We know that in all comes learning a and Sasha context, been had He this……….. mum) like (Louis’s was able goes to It enlighten us as to brain. the origins the of in interest Louis’s “your as Louis to these explained Sasha and learning, own nightmares his having extend to loves Louis stories.” you telling brain artist resident our Rod, brain. a drawing centre at seen was and a trip to to a by butcher organising to interest this responded But this is the story of Louis the composer. It is fitting that this this that fitting is It composer. the Louis of story the is this But long a week by inspired work to back come just I had as so, is course in Or music developed by Carl Or One Keelman. Gunild associate his and composer German for music ‘Arranging was of the workshop the within units possible. is what of example amazing an is this and children’ W (Early Childhood on Sta ECOS at airwaves Sound Arts June 2012 Page 6 enough that we were able to sing our first Believing in possibilities piece in two parts. Throw in a regular routine of musicianship (notes names, rhythms, move-able Do and key signatures) and we were off. The choir has now sung up to four part harmony in class and can easily sing in head voice to high A (I even had to extend that to high C one day at the children’s request...and they did it!). This all on one hour a week! So now I believe in possibilities and work towards the unimaginable with great gusto. Here’s hoping you all find nice surprises in your teaching.

Not long ago I was contacted about taking on an intermediate school choir here in Christchurch. I had been in the country for only about a year but thought that a project like that would be interesting. My background had been as professional performer and voice researcher and this was an area with which I had little experience. So off to Chisnallwood Intermediate I went. During auditions I was faced with what most intermediate and primary (and high school!) choir directors face: breathy voices that are barely audible, have a limited range and often Ravil Atlas owns AtlasVoice along cannot match pitch. A daunting task to say the least. The choir had never sung in parts and with his wife Amanda. He runs a very have very little in the way of music literacy. But the staff was very supportive and I felt like busy private studio but also keeps taking a shot at it. busy with choral conducting, voice and choir seminars, and research. I began to apply standard vocal pedagogical techniques. Most important was the His first book, on vocal technique, implementation of what is not affectionately referred to as Gertrude. She is a very large will be coming out in late 2012. He is Bavarian barmaid I met in Munich in the 80s. She was a very large woman and also VERY loud available for on-site choral and vocal (in an ebullient way)! Think Mrs. Doubtfire or Julia Childs on a binge night! Well between taking seminars throughout New Zealand. big “cream puff” breaths and singing like Gertrude the students very quickly started to sing in a nice strong head voice. Volume, range, stamina, and note accuracy all increased rapidly www.atlasvoice.info

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 June 2012 Page 7 Music Music courses are offered at at offered are courses orchestral performances. performances. orchestral Jazz and Wellington (Mt Cook) Cook) (Mt Wellington and both the Auckland (Albany) (Albany) Auckland the both campuses. Core areas of study study of areas Core campuses. include classes in improvisation, improvisation, in classes include jazz theory, history and composition/ jazz theory, courses offer expert tuition in repertoire, repertoire, in tuition expert offer courses arranging. As well as individual lessons in in lessons individual as well As arranging. such as jazz combos, big band and jazz choir. courses are open to students with no prior musical training. courses are Classical Performance their instrument students will take part in ensemble performances performances ensemble in part take will students instrument their technique, style and interpretation for all orchestral instruments, voice, voice, instruments, orchestral all for interpretation and style technique, piano, guitar, organ, harpsichord and selected baroque instruments. Students are are Students instruments. baroque selected and harpsichord organ, guitar, piano, and Sonic Arts in which music is created through the medium of music technology. through Arts in which music is created and Sonic : There are two distinct courses of study or students may decide to combine the two: two: the combine to decide may students or study of courses distinct two are There : involved in a wide variety of solo and ensemble activities including chamber music, opera and and opera music, chamber including activities ensemble and solo of variety wide a in involved Composition Instrumental/Vocal involving the creation of original music through the medium of a notated score, score, notated a of medium the through music original of creation the involving Instrumental/Vocal embraces a range of musics and encourages students to think and write about them from a variety of perspectives. Courses cover such such cover Courses perspectives. of variety a from them about write and think to students encourages and musics of range a embraces

Music Studies Sound Arts June 2012 Page 8 Postgraduate programmes

to the next level next the to Taking music study study music Taking the two-year Master of Music Therapy (MMusTher), the only New Zealand programme that trains graduates to become professional music therapists. therapists. music professional become to graduates trains that programme Zealand New only the (MMusTher), Therapy Music of Master two-year the Secondary Arts support for Focused Arts support Taking music study (cluster +) There is an opportunity for working with your your region school as a follow up to something that arises to the next level in a cluster or workshop. This must be based ou will be aware there are changes to PLD for this year. Secondary schools should have on a needs analysis and have an outcome of the PLD that can be evaluated. already received material about these changes from both the Ministry of Education and the University of Auckland. So what are the changes in PLD for 2012 and 2013? Y In-depth school support A New focus for PLD In-depth school support will be provided to schools referred by the local Ministry of Secondary Student Achievement Contract Education office. This is a change this year in Professional learning and development (PLD) services to all secondary schools to support a that schools must approach their local office system-wide shift for secondary school middle leaders (and teachers) that specifically focuses on: of the Ministry of Education and request in-depth support, rather than just arrange 1. Ensuring the success of every student with a specific focus on the potential and success of it directly with the PLD provider. the target student groups: Māori learners, Pasifika learners, and learners with special needs. 2. The implementation of The New Zealand Curriculum (NZC) and Te Marautanga o Aotearoa One-off workshops (TMoA), and the realigned National Certificate of Achievement (NCEA) achievement standards. There will be one-off workshops offered on 3. The development of teachers’ literacy and language knowledge and skills to attend to particular aspects of The Arts as needs arise. the language demand in each learning area. Costs The New PLD providers There will be no charge for this PLD as the Team Solutions (Auckland University) and Te Tapuae o Rehua Ltd (a consortium made up of Ministry of Education centrally funds it. Christchurch Polytechnic Institute of Technology, Lincoln University, Otago Polytechnic, Te Rūnanga o Ngāi Tahu, the University of Canterbury and the University of Otago) are the providers. Feedback and suggestions We realise the development of clusters and Arts support for your region workshops is a work in progress and will look different for each region. We therefore encourage and value your feedback and Coordinated PLD suggestions! Jazz courses are offered at both the Auckland (Albany) RAPs (Regional Arts Partnerships) Initial full day workshop and cluster formations and Wellington (Mt Cook) Workshops campuses. Core areas of study Polly Thin-Rabb (Arts- Dance/Drama) Te Tapuae O Rehua Consortium All workshops ran from 9am-3pm and have include classes in improvisation, jazz theory, history and composition/ Jane Norridge (Arts-Drama/Dance) Team Solutions been held in the following centres so far: arranging. As well as individual lessons in Di Smallfield (Arts- Visual Arts) Team Solutions their instrument students will take part in ensemble performances Northland 27 March @ Whangarei Boys such as jazz combos, big band and jazz choir. Stephen Rowe (Arts-Music) Team Solutions High School

New Plymouth 30 April @ New Classical Performance courses offer expert tuition in repertoire, RAPs (Regional Arts Partnerships) technique, style and interpretation for all orchestral instruments, voice, Plymouth Girls High School piano, guitar, organ, harpsichord and selected baroque instruments. Students are The aim of the workshops is to offer PLD support for middle leaders and teachers-in-charge Palmerston North 1 May @ The Regent involved in a wide variety of solo and ensemble activities including chamber music, opera and of all Arts learning areas. The course will cover the following; orchestral performances. on Broadway, t
Designing effective teaching and learning programmes, (inquiry teaching and learning, 2 May @ Composition: There are two distinct courses of study or students may decide to combine the two: Culturally Responsive Pedagogy) Wellington Faculty of Education, Karori. Instrumental/Vocal involving the creation of original music through the medium of a notated score, t
Curriculum specific language/literacy needs and Sonic Arts in which music is created through the medium of music technology. Music t
Use of assessment practices that are consistent with The New Zealand Curriculum. Nelson 21 May @ College for Girls. Music Studies embraces a range of musics and encourages students to think and write about them from a variety of perspectives. Courses cover such t
Embedding the new NCEA achievement standards within these programmes. Christchurch 23 May @ Riccarton High courses are open to students with no prior musical training. School Arts clusters Postgraduate programmes Dunedin 24 May @ Otago Boys’ High School the two-year Master of Music Therapy (MMusTher), the only New Zealand programme that trains graduates to become professional music therapists. Separate Dance, Drama, Music and Visual Arts Clusters will continue as a key part of the overall PLD. This will look different for each region and each discipline. The focus will be on Hamilton 5 June @ Hamilton’s Fraser key messages around the NZC and standards alignment. These clusters will most probably High School meet once per term. Rotorua 6 June @ Rotorua Boy’s High School Sound Arts June 2012 Page 9

for for ff UIF IPX

classes
BOE BOE resources



The VA VA The NVTJD
BOE

FYBN
  
TFOJPS KVOJPS
TUBOEBSET

:FBS GPS more expensive than expensive more

GPS TUBOEBSET

XSJUUFO [email protected]

B FH
MFBSOJOH

BT
TUBOEBSET QBUIXBZT

CBTFE TUSVDUVSFT 5FDIOPMPHZ

DMBTTFT programmes

LOPXMFEHF
Performing ArtsTechnology standards to maintain a full music programme with with programme music a full maintain to one music teacher music we need to agree on a solution. agree need to we model is 10 times with digital other subject. However any is hope there and speed, advancements the same result achieve could we that music teachers As home. sitting at from I look forward to working with your region region your with to working I forward look issues these of some solve to you with and and achievement the progress to help and schools. in your all students for engagement mihi, Nga Rowe Stephen Readers should note that Visual Art Level 1 Art Level Visual that note should Readers & 2 Externals o send 7 benchmark folios verification (25 teachers go to Wellington are marks adjusted the and verify) mark/ to in and locked then by it NZQA is up to the school to adjust the other students marks benchmarks. adjusted those around sit that days) Bursary/SC old the like (Just is the issue. expense The t
.VTJD t
4DIPMBSTIJQ t
&YUFSOBM t
.VTJD Some of the common issues arising were: t
1SPKFDU t
.JYFE t
$PVSTF t
.VMUJQMF ects our students, their ff erentiated learning for students. learning for erentiated ff

15th June @Hauraki College Plains went on ……because they are serious and it a 30th July @Campion College 30th July @Campion 26 July @Faculty of Education, Epsom Campus Epsom of Education, 26 July @Faculty 7 June @Napier Girls’ High School School High Girls’ @Napier June 7 discussions Should solo performance standard? be an external be an internal? Should the aural The etc. endorsements grades The numbers of entries for the Music Externals is also of concern. They always have been about half of the performance standard entries. entries. standard of half the about performance been have always They is of also concern. Externals the Music for of entries numbers The standards). the internal than those for ArtVisual external greater numbers are (Notice and Arts Visual = Blue standards. 1 level their of two of comparison a below (See years. several for results stunning had have Arts Visual The moderating. and assessing of ways many developed have subjects and areas Learning Music) = Pink External Standards discussions. standards in external internal arose vs that of conversations and threads is some data Here There has been low student numbers and some abysmal results over the years in the External and Music standards.grades performance solo the below well still were they however achieved), not 52% 2010 (In results aural improved some see did 2011 furthereven some other arts below subject results. The workshops so far have been excellent days to make connections with other other with connections make to days excellent been have far so workshops The Arts. The on discussions robust some in join to and region your in teachers Arts on emphasis particular with classroom the in practice good our shared have We activity literacy themed “tattoo” A pedagogies. responsive cultural and literacy has and teachers the from thinking very quirky creative some out brought has and di some integrated for potential real East Coast East Coast Contacts: [email protected] Rowe Stephen Di Smallfield d.smallfi[email protected] PollyThin-Rabb [email protected] Napier Waikato North Auckland Sound Arts June 2012 Page 10 READING THE BOOKTRACK

s the age-old practise of flicking through a book in silence becoming defunct? Sounds dramatic, but the evolution of how we read books may have come about, and along with it future Iopportunities for composers and songwriters. The Hyperfactory – sitting as Chairman. The NZ names don’t just feature on the business side of things either. APRA Ambassador John Psathas and APRA Professional Development Award 2011-winner Stephen Gallagher are composing contributors, working with the NZ Symphony Orchestra and Wellington’s Park Road Post to bring the causative projects to life. Having only launched in August 2011 the software is still in its inception, yet already has some strong literary names (Booker Prize winner Salman Rushdie has just released a story) and downloading numbers (over 100,000 downloads for one title has been announced) behind it. But one of the most exciting elements of this venture is the prospective possibilities for composers. APRAP talked with Stephen Gallagher and John Psathas on their different approaches to adapting words to music and the future of ‘book composing’, all within the realm of an evolving technology.

What is the process you go through when writing a score for an eBook. JP: I read the short story (Salman Rushdie’s In The South) about 50 times and got to know it inside out. I developed a concept for the score, which grew out of specific Indian ragas that matched things in the story like the time of day of the scene, or an attribute of an Indian God. I ran this by Salman and he agreed it was a good way to proceed. I then created music scores that combined tablas, sitars, and a full symphony orchestra, along with a few synth textures. We recorded all of this, edited and mixed it, then gave it to Salman to approve, which he did. From then on it Booktrack is a Kiwi-led innovation that allows eBook users to read and listen to music was a process of embedding the music into simultaneously. What is unique in this idea is the ability to synchronise music and sound effects the Booktrack software and combining it to the story, whilst keeping the audio at the speed in which you a reading. Having trouble fully with the sound design and atmospheres imagining that “whistling wind” you are reading about? Cue the sound of whistling in ear. Val being created at Park Road Post. Hunting, VP Audio & Operations of Booktrack, helps describe the technology used. “Years of SG: The Story Director plays a vital role in this research and development have enabled us to develop a combination of methods to ensure process. The composer cannot always read that the soundtrack (which consists of hundreds of individual sound files) will synchronise through the book to get an overview so the with the reading speed of the user. The unique challenge is that each reader not only reads way the Story Director describes the book at a different speed, but also changes their reading speed as they read and they may change is crucial to how the pieces come out. They the font and layout of their eReaders. We have complex algorithms that constantly monitor go through and read the book, breaking it the speed of the reader and cue each audio file accordingly.” down into descriptions on the changing of Behind the company is an impressive line-up of entrepreneurial names. Kiwi co-founders scenes and what the music needs to sound Paul and Mark Cameron lead the pack, with Derek Handley - CEO of media company like at each cue.

Sound Arts June 2012 Page 11 each other’s creativity. That’ll be be That’ll creativity. other’s each ff It has huge potential. This is the biggest biggest the is This potential. huge has It Do you see this as an area area see this as an Do you open up more could that and musicians for work composers? JP: opportunity Booktrack of forlot A scores. film composers of emergence since the musicians, live without made be can scores which means they can be created with computers. This opens up the career to anyone with a good computer, the right also It’s sounds. quality good and software, a very new concept – composers haven’t in authors with engage to able been really the to forward looking I’m before. way this composers and authors which in step next book the making works; hybrid new create and collaboration, in together music the and feeding o something extraordinary. erence is that there is no visual is no visual there is that erence ff erent from the film score. In a film the music is is music the film a In score. film the from erent ff For a For of long book the time music can this total consists though run for hours, It’s a challenge. The first and most obvious di obvious most and first The challenge. a It’s The book score is very di

to fit with this speed but also fit for faster readers. absolutes is daunting. It is also a nice challenge. challenge. nice a also is It daunting. is absolutes the compositions? long are How SG: brief the given is composer The book. the throughout looped and re-used being cues need compositions The minute. per words 130 of time reading average an on based era, etc. In a book score it is not the aim to exactly match (in timing) a sequence of of sequence a timing) (in match exactly to aim the not is it score book a In etc. era, experience overall the deepen to more but - possible often is this -although events of the story. past and future and the immediate is in, the reader of the moment SG: at all. Every linear medium that reference I in have worked prior fixed score with to dramatic a least, at Or, kind. some of reference visual fixed a on based is Booktrack timeframe in which action or dialogue takes place. To suddenly not have these soundtrack for a book to composing for film? for composing a book to for soundtrack JP: really are characters what example for information, hidden revealing often So the writer. the by as it is described is unnecessary of this In all a book feeling. that a is feeling music is and passage the evoking to that there overall enhance the historical the plot, the setting, - all of the characters, combined is everything How do you find the process of composing a of composing find the process do you How Sound Arts June 2012 Page 12 Kiwi boys can sing! The participation of boys in an TIMOTHY MAURICE annual choral festival.

CARSON The results generally supported ideas and auditioned, how choir auditions and outlined by existing literature. They rehearsals were timetabled and how boys’ his investigation is a case study of an showed the importance of choir trainers singing was modelled, encouraged and annual choir festival held in Auckland, being aware of how peer pressure, pubertal celebrated within their school. change of voice and concepts of masculinity TNew Zealand for primary aged school Evidence suggested that the choir trainers can affect boys’ participation in this choral and directors support the participation of pupils with proportionally low numbers of festival. The choir trainers were found to boys in the local choral festival by: boys involved. Choir trainers were asked have a crucial role by using boy friendly to identify what they felt encouraged or teaching practices and repertoire during t
OPU
BTLJOH
UIFN
UP
NPVUI
UIF
XPSET
PS
discouraged boys from participating in this choir sessions. Positive role modelling sing softly of other boys and young men singing in festival. Primary data collection techniques t
QSPWJEJOH
UIF
CPZT
XJUI
LOPXMFEHF
BOE
conjunction with examples that boys may understanding about how their voices included interviews with choir trainers, experience via the use of smart boards, are developing so they can have the informal field notes, concert programs and the data projectors, iPads and other emerging courage to keep singing author’s personal insights and observations technologies were cited as having a t
DBSFGVMMZ
DIPPTJOH
WPDBM
FYFSDJTFT
as a former choir trainer and participant significant impact on the participation of boys as support for learning the repertoire. and repertoire that provide healthy observer. Comparisons were made between opportunities for boys to use their Of particular importance was how the the responses of the choral directors to gauge head voice as well as their developing festival choir was perceived, encouraged the effectiveness of current practices and to chest voice and supported by the choir trainers’ primary recommend other possible strategies. school teaching colleagues and principal. t
IBWJOH
BVEJUJPOT
BOE
SFIFBSTBMT
This in turn affects how boys were recruited during class time Sound Arts June 2012 Page 13

UP
UIF
PG

UIF
UFBDIFST

BU

BOE
UFBDIFST IFME KPJO DIPJS



DMBTTSPPN UP

OPU DMBTTSPPN

JT
UIBU
CPZT GFTUJWBM

UIFJS
DIPJS UIF DMBTTSPPN


FTQFDJBMMZ er FREE to schools in er FREE to
ff to their male students. auditions and rehearsals to to rehearsals and auditions happen during class time preferred boy other as time same or performing arts activities who those acknowledging in the choir. already are choir benefits of being in the festival see choir is seen an extension activity rather than as an interruption choir the promote teachers The festival committee could further further could committee festival The the in boys of participation the support implementing by festival choral local training development professional this hoped is It trainers. choir the for above the of awareness raise would strategies. and associated evidence gleaned evidence the of summary a is This participation The sing! can boys ‘Kiwi from . festival’ in an annual choral of boys Carson. Tim by at Tim contact detail, more For [email protected] t
BMMPXJOH t
FOTVSJOH t
FODPVSBHJOH The evidence suggests that teachers have a classroom pivotal role in supporting the participation of boys in the festivalchoir. Therefore, principals support the participation of boys in the festival choir when they: t
SFNJOE t
FODPVSBHF t
BTL
(yr 7–13)

TPOHT
UIFJS



BT
XJUI or fax (09) 376 0116
JODMVEFT
NPWJOH JODFOUJWJTFE

Schools Programme Schools Programme HBNFT For more info and application forms contact: info and application more For
UIBU
[email protected] [email protected] Musicians Mentoring in Musicians Mentoring BDUJWJUJFT FODPVSBHF BOE

PUIFS

TFTTJPO
PS
BOE SFMBUJPOTIJQT

DIPJS SFQFSUPJSF The New Zealand Music Commission, contracted contracted Music Commission, New Zealand The o to continues the MOE, by musicians all parts professional of New Zealand, with students workshop to genre of the pop/rock 5 sessions. up to yr 7–13 for from

QJ[[B
UIF TUSPOH

LJOBFTUIFUJD IVNPVS DPNQFUJUJPO


benefits that reflect notions of of notions reflect that benefits community and family culture, of sense immediate an provide that friendly boy reflects gratification, and tried been have and/or themes choirs testedin the by boys’ past. boys based on mutual respect boys part of the choir rehearsal of fool a make to able being of the choir oneself in front during rehearsals technologies such as smart smart as such technologies projectors and data boards t
DPOTJEFS principals that suggests evidence The boys of participation the support by: festival in the local choral t
IBWF t
LFFQ t
VTF t
VTF t
VTF t
QSPWJEF




PG QSPDFTT


CPZT


UIF
NPEFMT NPEFMT IPX

DIPJS

BVEJUJPO
XJUI PG

JOnVFODFT SPMF SPMF
DVMM


JNQPSUBODF
UP
QFFS UIF

OPU
BXBSFOFTT CPZT

SFMBUJPOTIJQT BQQSPQSJBUF BQQSPQSJBUF


BO OPOUISFBUFOJOH

UIF DBSFGVM

B
of other boys singing via emerging emerging via singing boys other of in a positive way in a positive singing men enjoying of young where students are not necessarily necessarily not are students where required to sing alone or in a small group as behaviour on based numbers impactthis is likely to on boys. friendship and camaraderie to boys boys to camaraderie and friendship join a choir when choosing to participating in the choir is supported in the home to encourage them to audition t
QSPWJEF trainers support the participation of boys in in boys of participation the support trainers able to: when they are festival the local choral t
VUJMJ[F t
QSPWJEF t
CFJOH choir school that suggested Evidence t
IBWJOH t
VTJOH t
GPSNJOH t
VOEFSTUBOEJOH Sound Arts June 2012 Page 14 Sistema Aotearoa WHAT’S NEW online? istema Aotearoa is based on Venezuela’s El Sistema, one of the world’s most successful 1. www.theaudience.co.nz Music fans can DISCOVER music and social development programmes. Led S new, New Zealand artists, by Dr Joseph Harrop and based at Otara Music Arts Centre (OMAC), it is a partnership between the Ministry for Culture and in turn support them by and Heritage and the Auckland Philharmonic Orchestra. The Ministry is funding the programme for two years as a trial voting to push the artist into while working to secure longer term support, including support from private sources. With strong community interest the Top 10 Charts. Music Fans can create, name and share and sufficient funding, the project could be extended to other parts of New Zealand. Sistema Aotearoa involves their favourite playlists with professionally trained musicians working with students in a community setting after school and in holidays. friends through their social Kerry Harvey, Principal Adviser at the Ministry for Culture and Heritage says, “The Otara programme is media pages. The more votes just eighteen months old. There will be a progress evaluation at the end of this year. The evaluation is a track gets the higher up the being done by AUT, within a research framework that will enable us to measure long term outcomes chart it is placed. Ten times a from Sistema Aotearoa. An evaluation of the Scottish Sistema project was completed after its first three year the number one track years of operation and has been helpful in guiding some of our thinking here”. goes forward for a $10,000 NZ On Air Making Tracks Sistema Scotland established Big Noise Children’s Orchestra in the Raploch Estate in Stirling in 2008. grant.The site is built around It is an early intervention programme that uses music and participation in an orchestra to foster a chart compiled from public confidence, teamwork, pride and aspiration in the children. It aims to: votes. The more votes a track t
transform children’s lives through music; gets the higher up the chart it is placed. t
empower communities; 2. SPOTIFY t
grow future inclusive orchestras; and focus this work on communities in most need, in areas www.spotify.com/nz of deprivation. Think of Spotify as your new The Scottish evaluation can be read here: music collection. Your library. www.scotland.gov.uk/Publications/2011/03/16082812/0 Only this time your collection is vast: millions of tracks and counting. Spotify comes in all MUSIC THERAPY supplementary music, with additional beats shapes and sizes, available by P-Money and drums by Riki Gooch. for your PC, Mac, home audio Music therapy is used in prisons throughout Songs From the Inside is a digi pack album system and mobile phone. the world, but SONGS FROM THE INSIDE is with the CD containing 13 tracks, each one Wherever you go, your music the first production to bring in established preceded by a sound-bite from one of the follows you. You can listen to musicians and record the workshops, students or artists, and a DVD containing massive chart hits as well as challenges and outcomes on film. seven songs - each song on the DVD is little-known indie bands, and accompanied by a montage of footage enjoy all musical genres and Songs from the Inside, the successful from the series that traces the singer’s styles, from Bach to Björk. It’s Maori Television series journey through the programme. The legal and free ! www.maoritelevision.com/default. album also comes with a 20-page booklet aspx? that follows four top Kiwi musicians containing containing lyrics plus information as they teach songwriting to prison about the project and those involved. inmates, now has its own album. The album produced by Anika Moa, Warren Maxwell, The Music Therapy New Zealand (MThNZ) Maisey Rika and Ruia Aperhama features Conference is on 22-23 September 2012 at songs by inmates at two New Zealand the Quality Hotel Barrycourt, Auckland. The prisons. The 13-track album is the deeply theme is “Music and the Brain - Developing personal conclusion of the musical journeys Pathways” of the seven prisoners who completed the The conference programme is course. Their songs are raw and heartfelt, now available on the MThNZ and come to life in a broad compilation that website. See www.musictherapy. includes soul, R&B, hip hop and reggae. org.nz/conference-2012 The four artists - Moa, Maxwell, Rika and Aperahama - provide backing vocals and NOTE: 13/7 is the new Early Bird Rego Deadline.

In a rare interview, El Sistema founder Jose Antonio Abreu talks about his passion for Venezuela’s extrordinary musical programme that gives children a route out of poverty. To see this story and its related links on the guardian.co.nz site, go to www.guardian.co.uk/music/2012/jun/14/abreu-el-sistema-venezuela- Sound Arts June 2012 Page 15 interview-clemency-burton-hill?INTCMP=SRCH ori underachievement ā ori) and their performance performance their and ori) ā ori concepts to generate compositions and and compositions generate to concepts ori ā ori students, and is concerned with teacher teacher with concerned is and students, ori ā

ori Music. ā Taupapa o Te Ara Puoro wild or –Foundationuncultivated of god the to relates Theory Music – Haumiatiktike o Korutangi Music Course, to prepare the ground Hautangi o Tanamahuta – Musical Instruments and Music Practice deals in particular particular in deals Practice Music and Instruments Musical – Tanamahuta o Hautangi the and technique vocal good upon focussing Production Vocal – Tangiata Komako Te Reo o Io – Music Composition uses M Taretake o Rongomatane present and –rehearse Musicalprepare, to how learning ArrangementPerformance of Art – Tangata Te o inHitiri which students learn how to enable students learn to notate music correctly notate learn enable students to performance and others music for their own arrange and musical performance cultural to practices. musical performances according food, Te Korutangi o Haumiatiketike, and the theoretical process as a form of foraging foraging of form a as process theoretical the and Haumiatiketike, o Korutangi Te food, for knowledge as one forages for the wild foods (musical Puoro of instruments/treasures M Taonga with practices harmonise to ability The University of Auckland University The

the potential to be a bridge to connect the Kotahitanga vision with Te of the cultural (2007). Curriculum New Zealand The competency of The suite of learning resources are structured as follows: 1. 2. Te Ara Puoro reflects the principles of Te Kotahitanga (Bishop et al., 2007), as it supports supports it as 2007), al., et (Bishop Kotahitanga Te of principles the reflects Puoro Ara Te Kotahitanga Te learning. for contexts responsive culturally of provision their in teachers was developed in 2001, in response to concerns regarding M in mainstream schools,cultural of and notion the any common rejects vision upon pedagogy which This it is basedrelations. of is calledpedagogy the responsive culturally of M explain underachievement deficit to Ara Puoro provides Te a learning. potentially ideal responsibility context for students’ for music teachers to apply the principles of this pedagogy in the music classroom, while preserving the integrity of the music curriculum. In Ara Puoro this has Te sense Curriculum and of Auckland. University The – Pedagogy Maori Maori Choir Trust; Chair of the Arawa Te Music Academy. Rim has also been an a master, choir level, at national director artisticmusical and conductor, composer of movie themes, record of and arranger excerpt Composer and lecturer. (an producer opera Maori first the Awatea, Ka for music was performed on Maori Television of Anzac Day - a Aotearoa Showband and 2012) musical. Rim is chairperson of the developing panel NZQA currently in New M standards [email protected] Trevor Thwaites is the Principal Lecturer at the School of 5. 6. 7. Rim D. Paul, the writer of the resource, is Te Arawa- Ngati Wahiao/Tuhourangi/Ngati Member Awa/Patuwai. Mkino Pukeko/Ngati and Whakahemo/Ngati Mataatua—Ngati the throughout performing Tikis Quin and Hi-Quins – Showbands Maori the of Sir for director and arranger Musical – 1980s; 1960s world Howard Morrison; former Musical Director of of Chair Maori Choir; the the National National 3. 4. bicultural understandings understandings bicultural through music through ori ori ā ori cultural, ā

ori. Initially developed for senior Te Ara Puoro: Ara Te ā

ori ori ā e Ara Puoro, the music pathway,suite ofis seven a music learning resources developed by Rim D. Paul, which Trevor Thwaites: Thwaites: Trevor Relating common forms of cultural Relating Relating learning in music to tikanga Atua, nga o iho tuku taonga nga Relating learning of music. wairua and whakapapa to the learning learning the to whakapapa and wairua music of features and elements the of and haka kapahaka, as such expression, waiata to the spiritual elements of M musical expression and to the formal M

3. education, including formal knowledge. The The knowledge. formal including education, better to students all enable to seeks project understand and learn music through: 1. 2. Huia Publishers will publish sometime in 2012. Huia Publishers The aim of the resource is to consolidate and build knowledge of M deals that in view ways and world spiritual music and music of aspects world real with provides students with an education and an appreciation of music from the perspective of Ao Te M music, the resource has now from Year been3 to 13. The Ministertrialled of Education is interested in this resource and it is likely that T Sound Arts June 2012 Page 16 NZSM Pasifika Performance papers bring a new perspective Stephen Gibbs

The girls sing AND dance, exploring and discovering music across a variety of Pacific cultures and contexts.

erforming and studying Pasifika music backgrounds, not just those involved with they have the requisites for furthering their is one of the exciting new opportunities other NZSM study,” Opeloge comments. study at university.” “I’ve often thought that it is odd that in New offered to students with this year’s Opeloge’s move to NZSM this year will also P Zealand Aotearoa, a ‘Pacific’ country, it can allow him to complete his PhD which has appointment of Opeloge Ah Sam to the be quite hard to find courses at a tertiary a particular focus on “music composition teaching staff of Te Kōkī, New Zealand School level that allow you to learn about and and the role music plays in discovering and explore Pacific culture. These new papers of Music. defining ones’ identity both as an individual will be a way for Pacific Island students to Opeloge is teaching NZSM courses in Pacific and within a social and cultural context.” explore these musical elements so intrinsic Islands Performance, exploring traditional to their culture; for Maori and New Zealand Aside from his teaching and own study, and modern approaches to understanding students to extend their knowledge of music Opeloge is still a very active composer and and performing Pacific music. Topics of within a Pacific context; for voice students to performer. He regularly provides choral study will include the influence on Pacific extend their repertoire and experience; and works with a regional theme for his church, Island musicians, cultures, and practices of for International students from Europe, Asia, has recently released several singles on musical styles such as Hip-Hop, Jazz, Art Americas.... to explore and experience the iTunes with his Masque Jazz Quintet, and Music, and Gospel . music which ‘belongs’ to this part of the world.” is currently completing a Jazz Concerto “These courses involve singing as well as for three vocalists, jazz combo and small “My role at NZSM has several elements. learning about the traditional forms of orchestra. “The fact that NZSM has Classical Primarily, I am teaching these Pacific Island Samoan and various other Pacific Island and Jazz performance and composition Music Performance papers through the Music music and the ethics and issues surrounding streams is a great advantage. I found that one Studies Programme at NZSM. In addition, in its performance today,” Opeloge Ah Sam of the best ways to engage Pasifika students collaboration with the Pasifika team at VUW, explains. “There will be dancing too! Singing with music was through jazz – they really I will be able to support Pasifika students and dancing go ‘hand in hand’ in most Pacific related to those musical elements and then studying at university and will also be looking Island cultural traditions. through performance (which they picked at ways to use NZSM resources to support up really easily) I could then extend their “I believe that these courses will be of Year 12 and 13 high school students with musicianship and other skills.” interest to students across a wide range of an interest in Pacific Island music, ensuring Sound Arts June 2012 Page 17 erent contexts gave gave contexts erent ff only orchestral xylophone in Samoa. “My grandfather brought the instrument into Samoa Samoa into the instrument brought “My grandfather in Samoa. xylophone orchestral only stand me on an upturned fizzy to He used reach! I could England. so that from drink box school secondary and Grammar intermediate Albert our get Mt should at I and was sister It my that 1987. decided in parents “My Auckland to moved we so and Zealand New in education getting started I and confirmed really was composition and music in interest my that School and bar a at playing gig steady a had I 15 At pianist. a as and quartet jazz my with both gigs Rimmer John when but restaurant inMusic Newmarket of which was a great School way to both perform and practice.” University’s Auckland at composition studied Opeloge Melbourne visited I’d “I to 10 applied Because for he to a there look from of around decided change perspective. retired them. of 9 into accepted was and world the around universities study my continue to decided I city, the enjoyed really and before years some holiday a on in Composition in majoring Music in Masters a with graduated He University.” Melbourne at Auckland in 2005. to back 2002 and moved followed by three years as HOD Music at Mangere College.The vastly di NZSM. at role his new to relevant experience Opeloge valueable the on old five-year or four a as lessons music first his recalls and Samoa in born was Opeloge ce. ffi Opeloge brings agenres. and styles perspective across reaching the MVE Community Choir where we sang sang we where Choir Community MVE the a wide range of cultural music: African, Samoan, Tongan, Maori… and I worked in quite a number of high schools taking workshops in composition.” Opeloge worked as Orchestra and ChoirAuckland, College, Kentigerns St at director over the last six years he has been working working been has he years six last the over as a secondary school teacher itinerant of workshops run has voice, and trumpet piano, assistant was schools, high at composition in Auckland’s for years several for director music Christmas in the Park, and worked with Lakeside “I Rotorua also programmes. ran tertiary level courses devoted to deepening deepening to devoted courses level tertiary understanding and experience of Pasifika this I and anticipate music, through culture NZSM and team my between collaboration will have wonderful results not just wider community but in the also.” campus, on where, Auckland from us to comes Opeloge calibre and experience,” Assoc Prof Laban says. says. Laban Prof Assoc experience,” and calibre Pacific our in talent much so just is “There students, our want we and community study Island university that see to families, their and is of a Music School this the New Zealand with developing and focusing of way valuable have - to Wellington for ‘first a is This talent. between NZSM and Victoria Universityof Wellington led Professor Elizabeth Hudson by and Assistant NZSM Director Vice Pasifika Chancellor (Pasifika) VUW’s Assoc Prof of Hon Laban Winnie Luamanuvao team, Academic O Opeloge’s of someone have to marvelous is “It The appointment is a result of a collaboration collaboration a of result a is appointment The Sound Arts June 2012 Page 18 Hook into Sound 11 May aka JUMBO MENZA DAY@ Gisborne Millie Locke

n Thursday 10th May, Lynnette Leggett, music teacher at Strathallan School, Papakura, My session focused upon working with Terry Locke, Professor of Education at Waikato University and myself, part-time music barred instruments, using a pod of beautiful bass, alto and soprano Suzuki xylos (on teacher at Henderson Valley School and part time PhD student, set off with a van full of O loan from the University of Auckland) and tuned and untuned percussion on a journey to Gisborne. Michelle Hall, currently dance and drama supplemented by metallophones from specialist at Gisborne Intermediate is currently completing a taught Masters in Education (MEd) Gisborne Intermediate. After exploring the studying towards a Postgraduate Diploma in the Arts from the University of Waikato, is a keen range and timbre of these instruments, musician, and in her own words, has a ‘passion for the role of the Arts in Education’. Michelle is very we too used simple structures such as repetition with variation, short melodic keen to support Arts teachers in the East Coast, so with the endorsement of Gisborne Intermediate phrases, simple accompaniments and Principal, Don Niven, and music teacher, Raewyn Hunt, she organised the MENZA Jumbo day canon to enable the creation of seemingly workshop using the wonderful facilities of Gisborne Intermediate. sophisticated and original music pieces. A very simple canon (Carl Orff) was used The PD day was attended by teachers working in a range of schools or educational settings. to explore contrasts in tonality and metre. After a warm welcome from Raewyn, Lynnette began the day with a highly interactive and challenging (but not too challenging) body percussion session. Warm-up activities, games, This was followed by a well-known game, a body percussion rondo (see below) and a canon enabled successful participation for all ‘Son Macaron’, in which being ‘OUT’ participants. Lynnette effectively demonstrated the use of simple structures in developing allowed you to accompany the song on sophisticated rhythmic pieces. Using a ‘My turn your turn’ approach, Lynnette taught the ‘A’ the instruments. Finally, accompanied by section of the body percussion rondo, after which participants, in groups, were invited to the ukulele, we sang the beautiful little create a ‘B’ section of the same length (4 bars), This was then collaboratively arranged (i.e. Hirini Melbourne waiata ‘Titiwae’. The who does what, when) and performed with enthusiasm and panache. simple but evocative, descending melody of this waiata lends itself to an easy-to-play Discussion followed in which Lynnette emphasised the value of challenging students to give accompaniment on the barred instruments. themselves to what might, initially, seem a daunting and difficult body percussion routine The spoken translation, ‘Hanging drops of (the A section). This internalisation of a body percussion sequence builds rhythmic fluency light, in the caves gloom, poised aloft like and at the same time develops rhythmic vocabulary, which can be used for the purposes of stars in the sky’, became the basis for a composition and improvisation. And, as well, the end product looks good, sounds good, is soundscape which was then integrated into fun to do and is great for an audience watch! a performance of the piece using ternary structure (A: song, B: soundscape, A: song) Shirley Long, a local Gisborne resident who has a passion for drum circles, led the afternoon session. Setting a magnificent scene with a most amazing array of drums (gathering, djembe, dumbek, bodhran, hand drums) and percussion, Shirley led an afternoon of drumming in which participants experimented both with different drumming patterns and different drums. She spoke abut the value of the drum circle for both educational and therapeutic purposes As out-of-town presenters, we were humbled by the warm welcome, the wonderful catering (thanks to Year 8 students Hamish and Jakob) and the generous use of facilities. Participants in the workshops gave themselves one hundred precent to our offerings and it was clear by the level of participation that there is a depth of musicianship and artistry in these East Coast teachers, and that they are keen to use their talents for educational purposes. Thank you to Michelle, Raewyn, Don and the teachers who attended.

Sound Arts June 2012 Page 19

.

.

with variations with variations (Carl Orff)

(Carl Orff)

ette’s Body percussion Body ette’s ette’s Body percussion ette’s Body n n

Variation 2 Variation 1

Canon No 1 Lyn Canon No 1

Lyn Variation 2 Variation 1

Sound Arts June 2012 Page 20 A Life Of Music At Papatoetoe Intermediate School

The Music Department of Papatoetoe Intermediate School plays a very large part in the lives of many young students. We have specialist tutors in drums, piano, brass and woodwind. Also we have our music teacher in charge (Bashnee Naidu) who oversees our music department. I have been a student here for two years and since my first day in the music department I have enjoyed the loving, exciting environment. I am part of the school orchestra and I have taken part in many school performances and competitions. Our orchestra consists of ready-to-learn future musicians. I have played the clarinet for two years and have seen amateur players bloom into talented musicians. Papatoetoe Intermediate School’s music department has enabled students to become really confident and be proud. Our students participate in community projects. We have an annual showcase at the end of every year showing off all the talents for the year. Our school talent quest will be coming up in July. We are all looking forward towards it. We are also associated with the Tironui Trust and have a strong string orchestra. These lessons are free of charge. We also have rock bands which enter the Battle of the Bands. This year we will also be participating in Lewis Eady Music Contest, Kings Band Festival and the Musicworks Festival. I absolutely love my music department and will be sad to leave it at the end of this year.

“If music be the food of love, play on”

Hook Line and Sing-along By: Aishia Shah Papatoetoe Intermediate School 2012 Treasury should have talked to this student first! here were 10 staff involved. We all had a blast. The kids were so into it. They love that song... Papatoetoe Intermediate a decile I’m just new to leading music for the school so was unaware of the older songs. The kids loved 3 Intermediate School reflects the Tit so much we sung for 3 quarters of an hour!” Fleur Le Bas. Eltham School wonderful cultural diversity of Auckland City with 17% of its 834 On the 31st, the Hook Line and Sing-along event happened all over the country in a variety students, Maori, 31% Indian, 28% of schools and venues including Parliament. Several thousand students in Invercargill Pasifika, 6% S-E Asian, 3% Fiji-Indian, had led the way in week 3 with daily concerts led by the SIT Rock School students. Many 5 % Chinese and 5% Pakeha European teachers learnt the song at the MENZA music education Professional development day on and many other ethnicities. Thanks May 11th, in 8 centres around the country. A film of Maria Winder leading a large group of to their teacher for sending us this teachers and students at Dilworth on the 11th is on our group facebook page. See Music snapshot of their busy musical world. Education NZ Aotearoa www.facebook.com/groups/136126223066322 (Join up if you haven’t already – remember you can be as public or private as you like with facebook - it’s a useful and free blog for our association). On the 31st it was wonderful to know schools in smaller places like Eltham above were creating a wonderful event for their students at the same time as bigger schools in the main centres were pulling out ‘all the stops’. Some schools sang together, with orchestras and bands playing along too. One large cluster at East Tamaki Primary featured 6 schools and the Sistema Aotearoa orchestra. And it seems this year Hook Line and Singalong went trans Tasman as well! “I would love a zip of the score and parts to 21 degrees. I am having a small focus on kiwi music at present… Thanks!”

– David Gallaher (I am teaching in a boys’ Catholic School in Australia at present) Bruce Taiapa, our young songwriter, (who takes music classes with the amazing Jane Egan, at Gisborne Girls’ High), led the way with a sing-along in Parliament along with his brother Trei, Tonga Vaea (musician mentor) and Catherine Walker from the NZMC office. Bruce was delighted to hear the Sound Arts June 2012 Page 21 s with schools schools with s ff erent instrumental parts. (These, created created (These, parts. instrumental erent ff erent keys and di keys erent ff using di many on took song The are still website) sponsorship, with our In Lion Foundation by Youens Ryan Me Tune our on free for available Commission Music Zealand New The month. the during ‘remixes’ the pride promoting in part their on promote members to MENZA thanks formally continuing and schools the to out it getting song, and performing songs. in creating New Zealand our own and success Reported by national Stephaniethe from Lees down Educationstep will Manager She at the Commission. New Music Zealand year. this service) years 6 (after board MENZA How wonderful that for the 3rd year running our MENZA song was was song MENZA our running year 3rd the for that wonderful How in many singing increased encouraged and a by student written instrumental spino In places. were addition, there ce ce ffi 21 Degrees and to see the tamariki from the the tamariki from the see to and Youth too. in joining crèche VUW BennettPaula minister, enjoyed singing along too as one could see on the TV1 and TV 3 news that night… St Mary’s College (directed by Mary Horner) performversion of his song, their here had have simply said, “Our children are enjoying singing the singing enjoying are children “Our Fleur said, simply have had like here teachers or Dunedin) Int., (Tahuna Song!” Month Music NZ The going. singing school get to reason a event the finding above, Onehunga from file jpg a receiving was personally me for highlight my seeing and participating) were know even didn’t I (who Primary and singing be to kids lucky the of one been had nephew old year 6 noon on the 31st. school at fun at having http://www.3news.co.nz/Gisborne-teen-takes-out-Music-Month- comp/tabid/312/articleID/256300/Default.aspx http://tvnz.co.nz/national-news/end-nz-music-month-marked- sing-along-video-4905500 hopefully and fun is publicity and television of dash and flash The useful to MENZA but some of the best emails we’ve to the o If you missed it try these links: these try it missed you If Sound Arts June 2012 Page 22 ARTS AND SOCIAL, ECONOMIC AND CULTURAL PROSPERITY

How might learning in the arts support young New Zealanders to contribute to New Zealand’s future social, economic and cultural prosperity?

INTRODUCTION KEY FINDINGS

This was the question Manatu¯ s!RTSLEARNINGCANCONTRIBUTE SPECIlCKINDSOFARTSLEARNINGAND Taonga/the Ministry for Culture and to high-level goals: preparing participation (e.g., music learning Heritage asked the New Zealand New Zealanders to help create and spatial thinking), while a Council for Educational Research APROSPEROUSANDSUSTAINABLE few large studies suggest that (NZCER) to explore. NZCER knowledge economy; fostering students in “arts-rich” learning did a literature review of national creativity and innovation; and ENVIRONMENTSDOBETTEROVERALL and international research in arts PREPARING.EW:EALANDERSTOBE than students whose schooling education, and synthesised key environments are “arts-poor”. NATIONALANDGLOBALCITIZENS ideas from the literature review sEach arts discipline has its own with relevant high-level policy s-OSTRESEARCHFOCUSESONTHE history, culture and practices. statements. SHORT TERM INDIVIDUALBENElTSOF For school students, arts learning The review and synthesis looked arts learning and participation. occurs in several ways: in the at New Zealand’s goals for the Increasingly, researchers are curriculum as a stand-alone educational, social, economic and INTERESTEDINHOWTHESEBENElTS SUBJECTORINTEGRATEDACROSS cultural futures of our young people accumulate and spill over into the curriculum areas; as a co- and our nation. PUBLICSPHERE curricular or leisure activity; and sStudies indicate positive http://www.mch.govt.nz/research- ASANINDIVIDUALORCOLLABORATIVE publications/policy-perspectives-papers effects from arts learning and pursuit. /contributions-learning-arts-educational-social participation. Some studies suggest particular outcomes for Continue to read this report at: www.mch.govt.nz/research-publications/policy-perspectives-papers/contributions-learning-arts-educational-social

course. course. ff Society, on on Society, ff approach so this this so approach provided another, ff 0-8 session met the er and her participants participants her and er instrument work was ff tt’s from the Or from ff ffi erent regions. I heard of at least one one least at of heard I regions. erent ers ers opportunity for people to make er at a distance and often in person in in person in often and distance a at er ff ff ff know about the Or the about know was valuable particularly because it o progress afterwards by coursestaking in Or the o di pursue the Or to person vowing Celia demonstrated the adaptation of songs to the NZ environment, and and students to support the workshop to the workshop support and students valuable a which mainly Samoan songs taught in as well as celebration infectious learning in another culture. experience Suzanne Manning very practical approach music children’s using props and sign- to young and language, her own in experiences working with both parents Playcentre, groups. music community taking and Raewyn Mo needs of a particular group within the conference; those involved in family daycare, and/or taking groups with a wide age-range. She has a wealth of in experience her to o engage and approach to in continued times other at conversations important music. about always not – conference the Celia Stewart’s very popular – many people did not t
t
t
Get the Groove: Get the Groove: as TRCC course of early of early course TRCC ered practical practical ered ff Anne Prichard childhood teachers 0-8 teachers childhood and and brought a brought most attractive prepared a huge number of focussed on listening and presented presented and listening on focussed contributed to the ‘flavour’ of our big bare bare big our of ‘flavour’ the to contributed colleagues her brought also She room. children, and these participants registered registered participants these and children, of wealth the with satisfaction extreme resources offered and the thought- demonstration. provoking ran she Anne which programmes minute 20 two two the illustrating completely, through Fascinating. approaches. Wendy model. resources and took participants throughteaching inclusive wonderfully her Viv Browne display of Pasifika materials that with very young babies. It was interesting interesting was It the to babies. young very straight with going participants her see to lovely the of some buy to Store Aid Trade demonstrated. she that sounds Wendy Walker o teachers kindergarten sessions and a wealth of resources for music making – popular in so case Anne’s with were a These listening. on focus baby four each original our for dropped we that session second a ran and the sessions that indication an was This presenter. were participants course the of majority kindergarten-age with music in interested songs, rhymes and sounds that she uses uses she that sounds and rhymes songs,

t
t
t
t
KPZ

UIF
DPMMFBHVFT
XJUI
MPDBM

UIFN
ZPVS
addressed the XJUI

DPOmEFODF
Voice and Body: She She Body: and Voice spoke movingly of the UIFN
reinforced our ideas of the reinforced QBSUJDJQBOUT
UIFJS

set up her workshop to replicate replicate to workshop her up set ur Course Objective was ‘Energiseto your Music Programme’ of live music of live Pix: Sally Bodkin-Allan, (Will), Millie Locke, Maria Winder, Celia Stewart from the MENZA Board. a quiet oasis within which she shared the the shared she which within oasis quiet a our voices through group activities. Her Her activities. group through voices our the set morning every thing first sessions day. the for tone music Cathy Sheppard, (SPACE with created and infants) infants, with sessions space her Susie Susie Hardie was an inspiration to us all with her energy and vibrancy, and her fund of playground songs subtly developing Here is a summary of the keynotes and and keynotes the of summary a is Here workshops. We aimed to: to: aimed We t
JOTQJSF t
DPOOFDU t
CVJME t
"DRVBJOUSFBDRVBJOU O ectiveness ectiveness of using music with children ff t
our journey waiata. in learning and teaching workshops The t
and following instructions. Many people expressed ways. a strong these interestin in used furthering music of knowledge their Chrissie Locke linking children, of lives the in waiata of place below), (see session puoro taonga the with continue to all us to reason eloquent giving confidence of teachers and ways to improve improve to ways and teachers of confidence this, the importance of mentoringthe valueand of engaging in personal music experiences. Daphne Rickson e having difficulty participating in groups, The keynotes: keynotes: The Sally Bodkin-Allen Sound Arts June 2012 Page 24 One of my committee reported that she did not get much back from some people, when she used her phrases, but others have reported that even just hearing us the planning committee using the phrases every day helped them to make a mind-shift. 17 of our 39 songs use te reo, and we wove these throughout, not printing or recording them in a block – so they are not so easy to avoid, and show a real commitment! They range from simple to difficult, child-centred to universal. We printed interpretations, and offered some further references. Several sang one of her presenters included whakatauki in their songs at the conference dinner, and showed how to notes, and ALL used songs with te reo in their there was interest in the many waiata develop music ideas well beyond sessions. We are proud of this aspect of our in the course handbook. Her relaxed the simple singing of songs and chants. planning. One of our keynotes was ‘waiata’ and warm teaching style was hugely Our session after the keynote on waiata t
5IF
5BPOHB
1VPSP
TFTTJPO
XJUI
important in drawing people into this was designed to put people into regional Kahu Taumata was intended by the music. groups to discuss regional support for the committee to thrill and amaze the t
'JOBMMZ
Julian Raphael was a dynamo keeping up of progress with te reo Māori. participants and inspire them to seek out of enthusiasm and leadership, and Linking these groups with representatives such experiences in their own regions gave us many wonderful experiences of the teacher subject association MENZA for their children and colleagues. It within his session – some building was a move also to keep links and encourage achieved this partly through the magic up to extremely loud, and others, contact afterwards. Our kaumatua, Sep of the instruments themselves, and their beautifully soft and gentle. He has a and Mate Taitua were with us throughout history, partly through the skills of the profound understanding of working and were a wonderfully stable element: young woman presenter. This made a with all-comers and helping everyone attending sessions, offering graces and wonderful impact on everyone at the to feel part of music-making. This was a engaging with many of the participants. end of the first day, and received many compelling taste of another culture, and We felt our committee had our allegiance accolades in following sessions. sent people away feeling very fulfilled, visible to all. t
The skills-based sessions at the end of and in one case, profoundly affected! t
'PMMPXVQ
the very full day were valiantly attended. (She told me she was scared of the big Jenny Whimp put a huge amount of drums, but when she had to hand hers We were very conscious of wanting to make work into supplying materials and tools over she could not stop dancing, and felt a difference throughout NZ to teachers of for instrument making which enabled as if something inside her had changed!) Early Childhood 0-8. We wanted to make people to make several interesting the experiences of the participants count Presenters exemplified the best of effective sound-makers to share with children, back in their centres, and we wished to music teaching: well planned, energetic, have all teachers eager and able to share t
Maureen Woodhams Helen Willberg enthusiastic, totally in command of their their new confidence and resources with and Maria Winder, took ukulele. material, communicating with their their colleagues and beyond. For this participants, totally appropriate for the t
Louana Fruean on guitar was another reason we planned the session in which 0-8 age-range. Feedback indicates that we example of inspirational teaching teachers from the same region met with certainly built their confidence, and we could each other and planned for future contact t
Janine Melville’s voice exploration see their joy in making music. One of our and follow-up activities, electing someone sessions, from a warmly inclusive aims was to increase the use of te reo Māori, to be the contact and take emails. In the model, added to the singing experiences and this we also noted was happening within Wellington area we formed two groups, each we were having with Susie. They the course. Teachers have since told me pledging to share information and promote represented another way into that they have felt more confident in taking continuing learning opportunities. This developing personal voice skills – as music in front of colleagues and parents, and has already happened, with a workshop in well as ideas for working with children. have used the materials from the course Lower Hutt attended by course participants One came out saying triumphantly I CAN (particularly rakau), enjoying the exploration while the conference is still fresh. We are sing up high. of their children, and introduced songs in contemplating a noho marae weekend (at te reo Māori. t
Chrissie Locke’s many sessions were Wainuiomata, the marae of our Kaumatua), all fully subscribed: waiata-a-ringa, and Some thoughts on how the course to make and learn to play taonga pu¯roro. making musical instruments – poi and content considered Maori and Iwi (This we will advertise to all the course porotiti were popular and effective. perspectives and Treaty issues. participants, and through Musicnet). Chrissie chose some more complex, Some of our participants are going to deep and beautiful waiata than many of We followed protocol with Whakatau and attend the Music Month workshop days us know in our early childhood settings. Poroporoaki, waiata and inclusion of every in each region run by MENZA the subject She made us love them, and made us person. We built in te reo Māori from the association for music on May 11th. This we all aspire to applying ourselves more beginning, with phrases each day, printed advertised at the course, so that people diligently to the necessary learning in the programme, which we encouraged were aware of on-going opportunities. A process to be able to sing them too. We each participant to practise with each other. Sound Arts June 2012 Page 25

8

C

bars - www.trcc.org.nz tone

ph. (09) 6272942 ph.

Sopranino

through Bass, through 57 Dr, Commodore More courses for this important area area important this for courses More

1 to to

ooden direct experience and practical involvement involvement practical and experience direct able were we This people. inspirational with course. this in do to NEXT: ‘investing’ see that the committee We of life. in music support for teacherschildhood is going to in improve outcomes early for children who get a good start to their lives in having the resource of music and ‘musical’. feeling Director). (Course Willberg Helen Reportby A Number of post course resources are available online at spirits. and spirits. Reading rationale the provide can research and paper planning, but the human skills modelling, NEED required music, to of lead, inspire, encouragemaking and the facilitate W

. . Soprano

& R J Squire, & R J Squire,

Auckland 1042. Auckland 1042.

Contrabass G Contrabass D J

and

from to the Ministry for their support support their for Ministry the to Lynfield, Lynfield, Alto Alto FULL RANGE from erent kinds erent of data

ff cult than it should should it than cult

ffi for the TRCC in providing this kind of intensive intensive of Thankkind you this providing in TRCC the for hands-on development. professional The in important very teaching and leading activity, of music for young practical a social, is of kinds children all and culture of kinaesthetic and conveying the cognitive raising and aesthetic, groups emotional, forming in crucial outcomes, have been. have It would probably have been use a betterstudio, and in particular a machine to that replicated cds quickly and easily and without error. We tried to do all this with really inadequate equipment and using a to product the of value the think I student. have should we that such is participants the to time) less taken (and money more spent want really not do we course Of done. it get use such a that participants good product it with their children – this has copyright and implications, is not our but intention, somewhere. here balance a is there participants. participants. Two things thathave been could better: days These both technological! there is such a plethora of di , and we needed a very up-to-dateperson keynote tothe all manage presentations. second was recording The and making the cds which was di more expertise of the presenters, and the enthusiasm of the I turned 4 I turned yesterday

Diatonic Alto Diatonic All details on websiteon details All

their own confidence, and will be more used used more be will and confidence, own their future. the in roles leadership course in the how dream to me, to amazing was It From pass. to come it have to and be, would had I than better even was it perspective my and commitment the of because envisioned enjoyed getting to know each other and discussing enthusiastically each others’ teachers ec for wishes approaches, particular and learning of process the enjoyed We etc. we conference the At songs. the recording all and sessions sampled wished we could have sampled them all, and finally, I think increased has everyone that say to true is it appropriate groups so that our participants participants our so that groups appropriate organisation. wider a with link can The course: the of outcome unexpected An Wendy (and Chrissie, committee, planning and Jenny), report that they got a great deal out of the whole experience. We all The Canterbury group created an email group group email an created group Canterbury The a to electing keep in and pledged contact, person responsibility for getting the distributionabout talked group Rotorua The list. their for marae noho a organise to together It puoro. taonga using and making region, taking members MENZA have to helpful was community choir, and is booked in for a drumming session with Julian as This well. courses. ukulele for I requests had hoped have we because result pleasing a already is to convey the message that seeking out valuable a is yourself for experiences music programme. teaching your enrich to way very local childcare centre arranged to take take to arranged centre childcare local very her children with Mary One Horner’s St Mary’s May. of 31st the for Parliament to group person is going to join Julian and Susie’s Sound Arts June 2012 Page 26 to Create, Perform and Capture in NZ Music Education

A conference for Intermediate and Secondary Music specialist teachers, 3 5th October, 2012, including:

Creative Composition in popular genres Music Technology the standards and the know-how Performance Technology Tertiary options, Career and Lifetime opportunities

Opportunities will be available to explore and practise:

Collaborative composition Recognition of unique musical talents Setting Up a PA and managing US26687 Development and use of a Recording Studio Capturing Composition Evidence Directing Concert/Jazz Bands Tertiary and Career Opportunities Production of Music Videos Originality in Sequences and Loops Please see draft programme on reverse side Level 2 and 3 SonTech standards

Presenters will include a range of educators, musicians, composers and industry professionals: John Psathas, Warren Maxwell, Jane Egan, Murray Cameron, Andrea Rabin, Michael Buick, Lee Prebble (The Surgery), Troy Kelly (STL Audio), Rodger Fox, Dugal McKinnon, Duncan Fergusson, Stephen Rowe, Sarah Hunter (Transmit creator of music videos and

Dates: Wednesday 3 Friday 5 October, 2012 Venue: Tawa College Music Department Accommodation: Comfort Quality (CQ) Hotel, Wellington Organisers: Mary Horner, Murray Cameron, Jhan Lindsay, Belinda Carey, Stephanie Lees (MENZA) Cost: Earlybird rates if paid by 17th August, if paid after this date an additional $100 applies MENZA members Non - MENZA members Live out: $290 Live out: $315 Live in Comfort (3 star) Single: $537 Twin Share: $441 Live in Comfort (3 star) Single: $562 Twin Share: $466 Live in Quality (4 star) Single: $643 Twin Share: $494 Live in Quality (4 star) Single: $668 Twin Share: $519

Registrations close 31st August, 12

Sound Arts June 2012 Page 27 The Menza 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 MEMBERSHIP music educators on curriculum and professional development decision-making organisations. Name The benefits of being a member include: t Professional support through workshops and conferences, Title/Position national tours of noted music educators. Organisation/School t 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 t Communication and networking via regular email newsletters Accounts Dept Email t 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 staff to attend events; t Contacts with other national and regional music and arts groups in New Zealand Membership type (please tick one circle): t 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 t 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 t 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 fill 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