tUNE mE iN TheMenza magazine
O CTOBER 2017 Volume 12 Number 3
in this issue... a tribute to Phil Garland, strategies for Year 10 & 11 students, Orff Inspiration in Many thanks to Salzburg, Jazz Festival stories and more . . . our major sponsor MusicEdnet October 2017
tUNE mE iN is published by: tUNE mE iN MENZA: Music Education New Zealand Aotearoa. It is the professional magazine for all New Zealand in this issue . . . music educators. MENZA has as its vision: 3 Editor’s Comments - Amy Ryan Making Education brighter through Music.
3 Chair’s Comments - Tim Randle MENZA maintains a website: www.menza.co.nz 4 Choosing Repertoire for School Choirs - David Squire The postal address is: MENZA PO Box 36314 8 ORFF Inspiration in Salzburg Northcote Auckland 0748 10 Survey Findings and Strategies - Dr Rachel Swindells 16 Mutes Work Better When They’re Dented - Dr David Lisik MENZA Board Members Tim Randle (Chair) - Auckland 18 Turning Musical Passion into a Career [email protected] - Southern Institute of Technology Martin Emo (Deputy Chair) - Nelson/Marlborough 21 The Times, They Are A-Changing - Cathy Martin [email protected] Tim Carson (Past Chair) 22 International Society for Music Education [email protected] (ISME) Update - Linda Webb Phil Pegler - Wellington/Lower Hutt 24 Regional Reports [email protected]; [email protected] Judith Bell - Canterbury 28 Tribute to Phil Garland - Judith Bell [email protected] 29 The Colours of New Zealand Selena Bercic - Northland - Deborah Peter and Grace Smith [email protected] Chris Moore - Auckland 33 Professional Profile: Rohan Hill [email protected] Amy Ryan - Hawke’s Bay [email protected] Andrew Stopps - Wellington [email protected] Jeni Little - Auckland [email protected]
MENZA Advocacy Subcommittee: Celia Stewart Tim Carson Judith Bell The Editorial team encourages reader feedback. If you have any comments or experiences that relate to articles Linda Webb published in Tune Me In, please mail or email them to Abby (MENZA ISME National Affiliate Representative) Sisam, the MENZA Administrator at [email protected] [email protected] These may be printed in the next edition of the magazine or published on the MENZA website. The views expressed do not necessarily reflect the views of the MENZA Board and the Tune Me In Editorial team. The Editorial team request that sources are rightfully acknowledged in all MENZA publications. Where it is For advertising enquiries, contact the Administrator, felt a breach of this protocol may have occurred this can be Abby Sisam at [email protected] notified to the editor or directly to the writer. MENZA has an Editor: Amy Ryan expectation of ethical practices in the matter of disclosures. Typeset and Printing: ISSN 2381-9987 (Print) Uniprint, 161 Albany Street, ISSN 2381-9995 (Online) Dunedin EDITOR’S COMMENTS
Thank you to the contributors who have provided the articles and photographs to be enjoyed in this, our last, edition for 2017. Featured on the cover are the expressive singers of Euphony, one of the choirs directed by David Squire, who has written a helpful article in this edition about choosing repertoire for school choirs. Also pictured on the cover is Christoph Maubach, leading participants at the Forest and Whenua workshop held in Auckland in August. Also featured on the cover are Year One Southern Institute of Technology Bachelor of Contemporary Music students playing at their 2017 Kids Concert. A special tribute to Phil Garland, written by Judith Bell, has also been included to celebrate the life of this beloved music educator. Other articles to enjoy in the spring sunshine are about strategies for Year 10 and 11 students, jazz festival stories and regional reports from around the nation. Amy Ryan We welcome your articles and photographs of interest all year, but if you would like to feature in our first edition for 2018, please submit your contribution before the 24th of March 2018. If you are submitting photographs, please send these as separate attachments (tiff format is preferred). Members of the MENZA board put in a tremendous effort in collaboration with TRCC to organise the Make Some Noise conference in Wellington. A sincere thank you to everyone involved who helped organise an amazing line up of speakers and workshops. We look forward to publishing photos and articles from this invigorating event in the next edition of Tune Me In. All submissions are welcome, so feel free to send in your photos and comments. Nga mihi, Amy Ryan
CHAIR’S COMMENTS
Term 3 has finished and what a term it has been! So many wonderful events with student success celebrated at festivals and competitions around the country. I am always thankful for the immense work put in by teachers, parents and external providers in creating extra opportunities to showcase the skill set of our students. It was also great to meet so many of you at the ‘Make Some Noise’ MENZA conference. A hearty thank you to the committee for organising such a fantastic event. Special thanks to the presenters who travelled from around the country and overseas to host specialist workshops and share their expertise, innovations and methods of teaching. I, like everyone I have spoken to, left invigorated and excited, ready to share ideas and refine my practice. For me, it has also been a chance to step into my new role as Chair of the MENZA board. I am excited and humbled to hold this position and look forward to the journey ahead. I (and MENZA) owe a huge debt of gratitude to Tim Carson, who Tim Randle steered MENZA strongly with his leadership and professionalism. It is also worth mentioning the strong contributors on the board and the wonderful administration support from Abby Sisam. Nga mihi, Tim Randle
Win with MusicWorks and MENZA! Congratulations to Makaira Waugh, the arts kaiako at Te Ara Whänui Kura Kaupapa Mäori o ngä Köhanga Reo o Te Awa Kairangi in Lower Hutt. Winner of the July 2017 $300 MusicWorks voucher prize draw!
As a special offer for MENZA members, MusicWorks are giving away a $300 voucher* in each issue of Tune Me In! It is super easy to enter, all you have to do is create an education login to the MusicWorks website. Plus, there are loads more prizes to be won, including a Yamaha C40 guitar worth $229 for your school, one to be won every week until the end of the school year. So get your MusicWorks Education login today to access the full MusicWorks online catalogue, with a helpful support service - and go in the draw to win prizes every week! *The October Issue Tune Me In $300 MusicWorks Voucher Prize Draw is only available to current MENZA members. To enter the competition, the MENZA member must have an education login for the MusicWorks website. The winner will be drawn on 30 October 2017 and notified by email. An announcement of the winner will be published in the next issue ofTune Me In.
Tune Me In October 2017 Page 3 music is - David Squire a cappella repertoire is great for developing listening
A cappella are required to diversify when it comes to their repertoire, VS ACCOMPANIED VS accompanied repertoire, look for some simple rounds, chorales, hymns chorales, accompanied repertoire, look some for simple rounds, or antiphonal songs to get them started, then branch out as the choir gains confidence. skills and a deeper understanding of harmonic context. learning a piece without the intention of performing as it, the learning musical experience. a beneficial itself can be Choirs preparing Choral such as the New Zealand festivals for Federation’s The Big Sing An an array choose sure that you so make of pieces from several genres. entirely gospel programme can get rather monochromatic – as can an Spice it up with entire programme century of nineteenth German lieder. nationalities, languages, tempi, moods, a variety of works genres, – different etc. subject matter, dynamics, RANGE VOCAL Horses for courses. Picking repertoire where the sopranos sit around can voices get damaged, Young A for long periodsa top of time is risky. and it’s unlikely they will have the maturity to sustain melodic lines in singers female majority the that Remember your of anyway. register this are probably not and real most altos, of your male singers are not real tenors ready to belt out a top Having B. said younger singersthat, will sometimes need encouragement to use the upper half of their range in and this is an important strength of tone in this region, order to develop development. area of vocal A CAPPELLA Despite what some people seem to think, not all too difficultfor novice choirs, and not all accompaniedmusic is easier to sing If than your unaccompanied. choir is accustomed to doing only Green Room warm-up
The quality and skill of the director;The quality and skill of and technique; The quality of vocal of the repertoire.The quality and suitability VARIETY our singers one of our goals is to give of a breadth educators, As music repertoire across lots of different Sometimes genres. there is value in recommended to me. This serves recommended as to a me. handy reminder when it comes the next one. and I am planning for to the end of the year time aside for I this. spend a fair bit of time on sites YouTube, such as listening to various choral performances in order SoundCloud and Spotify, to find things that might be suitablefor my I choirs. also write possible works for future years in my diary as I hear them, or when they are RESEARCH Finding good repertoire takes preparation, so set some periods of that that it doesn’t get any less so with as experience! you However, are a clearer idea of what works develop and you exposed to more music, If what you found have doesn’t. this a dreaded or chore, even a fearful help to guide you. that may ideas here are a few one, a mediocre About time. this point in my the school year, choirs begin to disband for exams and I start looking around for repertoire for the rest assured think this is a time-consuming exercise, If you year. following I am predicting there are choral directors who will look at number three on this list Choosing and appropriatesmile wryly. repertoire is a real challenge and will either set the choir up for a rewarding time or 1. 1. 2. 3. Over the past few years, as I have travelled the country travelled as I have taking workshops years, the past few Over these threeto the realisation that come I have types of choirs, with many crucial to develop: aspects determine can continue a choir how CHOOSING REPERTOIRE FOR FOR REPERTOIRE CHOOSING CHOIRS SCHOOL
October 2017 Page Tune Me In 4 CHOOSING REPERTOIRE FOR SCHOOL CHOIRS (CONTINUED)
Euphony singing jazz at TBS Auckland 2015
On the other hand, if you have a well-established choir that sings only a Online stores (such as Sheetmusicplus, JW Pepper, and Musicnotes) often cappella repertoire, then your choir is missing out on a wealth of amazing have recordings and score samples to help you. More and more now have music. Of course, a competent accompanist who has experience as a score downloads, which means no extra shipping costs and instant access. collaborative pianist is a must if you really want to tackle accompanied Several music publishers (such as Alfred and Santa Barbara) have excellent works successfully. Backing tracks can be useful in some circumstances, but websites with lots of options that are easy to search by category, such remember that you are stuck with that tempo – and technical gremlins as voicing, difficulty, sacred vs secular, length, etc. These often have score can strike during performance. Finally, remember that an a cappella piece samples included so you can get a good idea of the work in context. doesn’t go out of tune nearly as obviously as an accompanied piece where the piano constantly seems to be going sharp… The Choral Public Domain Library (CPDL) is another good place to look online, as the music found there is out of copyright and therefore free – LEVEL OF DIFFICULTY but beware of poor editing. Do some research in order to check whether This is one of the most challenging things to gauge. Seek publisher the scores are accurate or not. You can also check the International Music recommendations, look at the repertoire lists of successful choirs, and aim Score Library Project (IMSLP), which specialises more in instrumental for music that will provide some sort of challenge without being impossible and orchestral scores, but there is plenty of choral music there as well. to master. Also, be careful that you don’t end up presenting a ‘caricature’ of a challenging work that is neither satisfying to sing nor to listen to. Many public libraries have stocks of choral music to hire, as do many community choir libraries. The National Library has an extensive collection INTEGRITY of choral music available for hire, and this can be shipped anywhere in Be sure to present each work as it should be performed. Singing an the country. accompanied piece without the accompaniment is a no-no. The American Choral Directors Association has several annotated If you start to tinker with a work you run the risk of taking it away from repertoire lists, which are useful to browse, though these can be somewhat what the composer intended. However, this does not mean that you focused on American music. should stifle creativity! Putting your own stamp on a piece of music can really enhance it, provided it maintains stylistic integrity. As an example, I SOUNZ has a website full of works by NZ composers. You could have often added a couple more notes into the jazz chords found in choral also consider approaching a composer personally to ask if they could jazz arrangements, as that usually makes them sound so much better! recommend some of their works for your choir. PLACES TO LOOK COMMISSIONING You might find that your local music store stocks a selection of choral Speaking of composers, you may even be able to commission a new work music. In this scenario, it is useful having the music available instantly so especially for your choir! Many composers are very keen to have new that you can peruse the whole score with ease, buy it then and there, works performed. Asking a local business to sponsor a new commission and begin working on it the next day with your choir. is a good idea, or maybe other sources of crowdfunding might be an
Tune Me In October 2017 Page 5 www.sit.ac.nz 0800 4 0 FEES @sit.ac.nz SONG WRITING AND PRODUCTION SONG WRITING AND PRODUCTION MUSIC EDUCATION ADVANCED PERFORMANCE Learn to record and produce original songs guitar, Individual instrumental tuition (drums, bass, keys, voice, saxophone) Small classes Access to industry standard recording facilities Collaboration with Audio Production, Film and Animation students 2 intakes per year - 12 February and 9 July
With strands in: Call today or email info º º º º º º GRADUATE DIPLOMA IN DIPLOMA GRADUATE MUSIC CONTEMPORARY @ SIT (MMus [Hons], PGDipMus, PGDipMus, (MMus [Hons], has taught in secondary from Westlake Boys High Westlake School) from and His Orchestra. Symphony Westlake the groups have won national local, and David Squire David Dip Tchg) schools for 26 years, for the past 12 He years as a freelance itinerant teacher. is music director of the New Zealand (SSAA choir from Euphony Choir, Youth (TTBB choir Voicemale Kristin School),
international awards, international and awards, he is in demand as a workshop clinician, conductor and mentor, adjudicator around New Zealand and more information, like would Feel free to contact him if you overseas. [email protected] or to book a workshop: Zealand Secondary Students Choir were guest and ensembles, top American conducting Thomas teacher André worked with beginning rightconductors, through to the very It experienced. was a real joy to is also ACD The conductors their craft!see so many wanting to improve in the process or creating an annotated repertoire which list, will be a to members. of advice available treasure trove ASK! TO AFRAID DON’T BE and I often approach other about repertoire asked I am frequently ideas, very are usually conductors to share their happy about this too! People can also You network with knowledge other and choir ideas. directors from around the world on forums such as the Facebook ‘I’m group a which has more than 15,000 members. choir director’, available available The to ACD recently members. held ‘Choral its convention, Connect’, in Auckland. Both the Choir New Youth and Zealand New (CONTINUED) Euphony unplugged from KristinEuphony School
Voicemale beatboxers from Westlake Boys’ High School Boys’ Westlake from beatboxers Voicemale
Consider Association joining of the ChoralNZCF Directors so (ACD) that you can access the many resources and professional connections avoid avoid using illegal as photocopies, this robs composers and publishers of their livelihood. JUST FOR CHORAL CONDUCTORS! THE ORGANISATION JOIN that community choirs are not covered by this licence – they must have have – they must this licence choirs by that community are not covered unless a separate that work licence for has one original per singer, copy been negotiated with the Whatever publisher you or do, composer. Provided your school has an up-to-date APRA/AMCOS licence, you are you licence, APRA/AMCOS up-to-date an has school your Provided able to make a certain number of copies per original to give to your which saves on purchase For choir, costs. choral this music, means you are legally allowed to make five copies per one original Noteowned. to encourage the singers of the music! the sake to do their best for COPYRIGHT option too. There’s nothing quite like having the composer in the room having nothing quite like There’s option too. CHOOSING REPERTOIRE FOR FOR REPERTOIRE CHOOSING CHOIRS SCHOOL
October 2017 Page Tune Me In 6 GRADUATE DIPLOMA IN CONTEMPORARY MUSIC @ SIT
With strands in: SONG WRITING AND PRODUCTION MUSIC EDUCATION ADVANCED PERFORMANCE
º Learn to record and produce original songs º Individual instrumental tuition (drums, bass, keys, guitar, voice, saxophone) º Small classes º Access to industry standard recording facilities º Collaboration with Audio Production, Film and Animation students º 2 intakes per year - 12 February and 9 July
Call today or email [email protected] 0800 4 0 FEES
Tunewww.sit.ac.nz Me In October 2017 Page 7 Robyn Robyn McQueen and Christoph Maubach with Secretary Sandra Salcedo, the Orff association of Colombia. Acolorff, of these presenters who had honed their approach as educators to This course a also perspective offered of thestate of the a fine art. I in we should think New pat that, Zealand, Orff approach globally. ourselves on the backs for what others are recognising as a very strong organisation with a unique and levels powerful programme, high quality workshop presenters and some stellar extra activities I outputs). events, personallyinstruments, (funding, advocacy, have returned with a head laden with new ideas and concepts to try and would out, recommend the experience to keen anyone to go the rabbit hole to the currentdown epicentre of the Orff approach: Austria. Salzburg, Robyn McQueen Robyn - Jeremy Hantler - Jeremy Several Several ONZA committee members have The been home in of Salzburg Mozart, recently. the and connections. of inspiration in the way much Orff Institute offered The Sound of Music and . As expected, one of the highlights the of one expected, As . course severalshared all we week a of inspiring learning experiences suitable for adaptation into our contexts by Nearly teachers 100 the from all over world with excitement at bustling were International the the initial meeting for Orff Summer Course in Salzburg. Presenters included Widmer, Michel Saskia Ari Gompf, Wolfgang Glage, Stange, Shirley Von Johanna Salmon, Bibra, and several others. Over the The KuiaThe Spider the and
ORFF SUMMER COURSE IN SALZBURG ORFF SUMMER COURSE be available to ONZA members in due course.be available someone to this event enables us to make and maintain important make increasingly and, relationships within the vibrant Orff community, The proceedings of the Forum meetings will a worthwhile contribution. dance pedagogy settings. I found inspiration I found as and intellectual stimulation dance pedagogy settings. and challenges of being as lots of great conversation about the joys well artsan to sendingcommitment ONZA’s the current in educator climate. of the Quality of Relationship), an assessment tool currently in use in developmental psychology and music They therapy are settings. interested in the applicability of such a tool to mainstream and music the San Francisco School) reported on their recent projects on Erik Esterbauer and Shirley In another lecture, assessment and evaluation. Salmon outlined a research project looking (Assessment at AQR the Early Childhood Centres and Kindergartens in reports. also featured Last year the focus of the forum was assessment and some of this flowed into Associated this schoolsyear’s proceedings. (for example, about their recent work. Some of the European nations have faced particular to hear the creative economic difficulties and I was inspired Orff-based them. to overcome found and inspirational they have ways led by Christoph Maubach, was led based by Christophon the Maubach, art of Robyn Kahukiwa storythe in me was meeting membersfor of Orff organisations places. from many formal gave reportsTurkey and Taiwan Representatives from Greece, emergence of For modernism. the first along time, with lectures and which demonstrated workshops offered practical were group discussions, One of these, visual art to engage students with ways ways. in musical performances by participants who were at the end of the year-long Orff Special Course and dance education: music (Advanced studies in Schulwerk), the real work began with an in-depth lecture about the ONZA supported my travel, so I could attend this year’s Forum from so I could attend this year’s ONZA supported travel, my The main business of this forum ‘Encounters was to consider 5-8 July. watching After an evening Arts’. Orff-Schulwerkbetween and Modern INTERNATIONAL ORFF SCHULWERK FORUM SALZBURG - FORUM ORFF SCHULWERK INTERNATIONAL Everyleaders year, from Orff organisations and affiliated schools around the world to meet in Salzburg are invited at the Orff Institute.
REPORTS FROM JEREMY HANTLER AND ROBYN MCQUEEN (ONZA) (ONZA) MCQUEEN AND ROBYN JEREMY HANTLER FROM REPORTS SONG ROSEMARY FROM REPORT WORKSHOP A LOCAL AND ORFF INSPIRATION IN SALZBURG IN INSPIRATION ORFF
October 2017 Page Tune Me In 8 PROFESSIONAL PROFILES (continued)
AUCKLAND PRIMARY WORKSHOP: FOREST AND WHENUA - Rosemary Song On the beautiful, sunny day of Saturday 5th August at Wairau overflowing with ideas, everyone had a beautiful afternoon tea Intermediate School (Thanks to Philippa Drake for the venue!), we prepared by Hayley Hunter who organised this amazing workshop. had a fun and productive workshop with Christoph Maubach - singing, The second session started with a body percussion exercise where moving and playing instruments in the theme of Forest & Whenua: each group created a composition of different body percussion Music of Aotearoa. It was a primary workshop that could be easily patterns. The last activity for the day was called ‘Koromiko’, combining incorporated into the older classrooms. After the registration of 18 solo voice, call and response, improvisation and everyone playing participants and a cup of tea in the morning, the first session started ostinato patterns. At the end of the day, everyone shared ideas; what with a warm up activity called ‘Pass the ball’, where everyone follows they thought worked well in their own class, activities for different the leader who is holding the ball using the South Slavic Folk dance, age groups as well as some concerns to share with everyone there Kolo and ‘Mataki’ throw and catch activity leading to instrumentation. and get some feedback. The next musical activity had a good theme: “With your food basket and my food basket the people will thrive” in the Maori language. With The workshop created space in our minds and filled us with some speech rhythm and ostinato, all the participants created individual fresh inspiration for the second half of the year. Thank you everyone ostinati in small groups and presented their patterns using un-tuned for bringing excitement on Saturday morning and to Hayley Hunter percussion instruments. The first session ended with another song for organising this wonderful chance to take part in the workshop in Maori, ‘Tomairangi (Drizzling Rain)’ which explored singing, playing led by Christoph Maubach. and improvising above given ostinato patterns. After the first session,
Christoph Maubach explains a concept Rosemary Song pictured with partner participating in the Forest and Whenua workshop
Christoph Maubach leads the Forest and Whenua workshop ONZA has been undergoing some freshening up and we now have a new website which you can find at http://onza.nz. Look out for our new logo and colours. A big thanks to the design students at Waikato University for assisting us in this.
Tune Me In October 2017 Page 9
140 180 139.6 240/38 Years 9-10 Years Total Hours Total 95 120 92.2 160/27 Year 10 Year Approx. Hours: Hours: Approx. Finally, Primary Finally, teachers now only receive nominal training in pressure pressure to have their students perform and well, consequently, The knock-on effect to more classroom time is devoted to them. less time is spent on all other subjects – is that – and indeed, music rather nice-to-have, a becomes Primary the in music it classroom; of the curriculum.than an essential component Unsurprisingly, hours – about 6 three yearsmusic (Armstrong). over Primaryfew teachers reportmusic (see confident teaching feeling Though it is important to 2016). Webb, and also 2012, Donaldson, acknowledge that many primary schools and individual teachers happens in what primarymusic run programmes, excellent music (This observationschools varies enormously from school to school. which will be discussed shortly.) is bornethe survey out from results,
it seems that in Year 9, it is now common to run ‘taster’ courses. One courses. it ‘taster’ is common now to run 9, Year it seems that in 9 music another at did all; Year not school respondent’s did not offer run music as a class but rather as a band and orchestra programme. that particular correspondent agreed their students strongly Interestingly, 9 and 10 music. Years 1 after NCEA Level ready for were Level 1 and beyond when music is afforded so little classroom time in is afforded when music 1 and beyond Level research method seems to note that if my like I would 9 and 10. Years un-rigorous, it is because the work was initially intended to be used only for a presentation as part of a Graduaterather Diploma, than a from the survey article. the response I received published Nevertheless, and the subsequent interest in made it me have realise that this is an me that and making convinced area of great people, interest to many the results more widely known is worthwhile. I raised awareness a about forumthe survey which many via an email through Musicnet, The survey secondary teachers school music belong to. in New Zealand 51 responses. received Years years the two comprising with students over time teachers have summarised below: a wide variation, as expected, There was, 9 and 10. 3. 3. In my studies as a student teacher at Massey one University, of my 9 and in the junior (Years recent assignments was to examine an issue time between tension the on focus to decided I classroom. music 10) I wanted to find more specifically, but and content in the junior school, teachersout how handled the working actually in New Zealand today I was looking for practicalput this solutions another way, To problem. to the scenario we face – how to prepare music students for NCEA
50 60 48.8 120/0 Year 9 Year Approx. Hours: Approx.
with the tension between time and content in the Junior Music Classroom in the Junior time and content tension between with the
‘We are lucky if they come in with Curriculum Level Two’: Strategies teachers Strategies use Two’: in with Curriculum if they come lucky are Level ‘We
In 2009, the National-led Government contentiously brought in The curriculum The to mid-1990s the from place took which changes rather than this money being spent on National Standards, and; (c) and; rather than this money being spent on National Standards, because results of the tests are teacherspublished, come under literacy and numeracy testing at Primary School generally level, disagree of us would Though few referred to as National Standards. there literacy that students, for numeracy and fundamental are skills (a) testing alone predominantly argumentsare many against testing, does not lift (b) achievement; we already know which students need more support, and need more money to support them, Judith Donaldson notes that the consequence was less time for being there Despite 2012). Donaldson, (see 10 and 9 Years in music positive elements with some of these curriculum changes – such as the emphasis on diversity and the opening of the music in music curriculum to embrace Māori music forms – time is the ultimate less of it. and there was consequently resource, early 2000s relegated music into the Arts along with early into the 2000s relegated music learning area, drama, art, and dance (Ministry Though of the 2000). Education, recognition of Arts as a learning area can be viewed as positive, Median: Mode: Highest vs Lowest: Mean:
referred to in this article, see Swindells, 2017). referred to in this article, see Swindells, Some differs deal. a great 9, Year particularly delivered, are classes in How whilst schools music as for have othersan option, it is a core subject; Most Year 9 classes ran for either a term or two terms, and most Year Year and most 9 classes ran either a term terms, for or two Year Most 10 classes ran for either two terms or a year (for full survey results The firstfour survey questionswere time-specific, askinghow many many how and for in music, 9 and 10 students have Years hours a week courses I used this information much music to calculate how weeks run. HOW MUCH TIME DO MUSIC TEACHERS ACTUALLY HAVE WITH STUDENTS, AND WHAT ARE THE TIMETABLING ISSUES? TIMETABLING THE ARE WHAT AND WITH STUDENTS, HAVE ACTUALLY TEACHERS TIME DO MUSIC MUCH HOW 2. 2. 1. 1. Battle is but a it loaded may well be term, the most appropriate one. that been three major changes since the 1990s there have view, In my year levels: music time at all influence on classroom had a negative have need for Artsneed for teachers around New Zealand to battle for classroom teachers do music how this? handle The question is: time and resources. WE END UP HERE? DID HOW subjects (or perhaps even all non-STEM subjects) in a New Zealand context. I have no doubt that with the coming addition of digital there will be a continued learningtechnologies into the technology area, It would be easy to paint a picture of doom and gloom when consideringwhen gloom and doom of picture a paint to easy be would It how much time music is given in most secondary school timetables, be extrapolated this can anecdotally out to include all artsand indeed, SURVEY FINDINGS & STRATEGIES ... STRATEGIES & FINDINGS SURVEY
October 2017 Page Tune Me In 10 FOR TEACHING YEAR 10 & 11 STUDENTS IN THE MUSIC CLASSROOM - Dr Rachel Swindells
Of more concern, though, is continuity. Although a large number of As New Zealand music teachers are well aware, NCEA Level 1 respondents ran music courses for a half-year, or even a full year in some Achievement Standards in Performance stipulate that students need cases, many ran only for a term, or even less. Leaving aside the school to be at a level that ‘should reflect the equivalent technical and musical with no music at all, six respondents’ courses ran for fewer than ten demands of at least a third year of study through itinerant lessons’ weeks. Although those with fewer weeks were usually given more hours (“NCEA on TKI: Level 1 Music Assessment Resources,” Achievement per week, this brings up the important question of how to establish Standard 1.1). If a keen student only begins itinerant music lessons in continuity in learning. Those taking music toward the start of Year 9 term four of their Year 9 schooling, and is then assessed on Achievement may well have forgotten a great deal by the start of Year 10, yet those Standard 1.1 in term two of their Year 11 year – which would not be at the end of Year 9 may also be at a disadvantage, as the requirement unusual – then that student would only have received seven terms (at to be in itinerant music lessons if they wish to take Year 11 Music may best) of tuition. well have passed them by (that is, if they are not in private lessons). Survey respondents were also invited to answer what the specific The survey did not ask questions about itinerant music specifically, difficulties in timetabling were: though many teachers mentioned itinerant music in their comments. What are the main difficulties with timetabling sufficient class time for music in Years 9 and 10? Please indicate all answers that you agree with. Reason for timetabling difficulty Number of Percentage of respondents respondents Timetabling pressure from other option subjects 29 59.18% Timetabling pressure from non-option subjects 26 53.06% Timetabling pressure from needing to provide Religious 6 12.24% Education classes Music is not taken seriously as a subject 13 26.53% Other time pressures in the school 10 20.41% There are no difficulties in timetabling sufficient class time 8 16.33% for Years 9 and 10
Respondents were invited to comment on this question. Tying to the However, what I believe is most significant here is that only 16.33% responses above, one person noted: “Our school offers all options at of respondents indicated that there were no difficulties in timetabling year 9 - taster courses. [This] may be good for other subjects but not sufficient class time for Years 9 and 10. This indicates that over 80% of Music as L[evel] 1 is ‘3 years’ of music classes.” Most teachers expressed teachers who responded thought that there were timetabling difficulties resignation about the amount of time they were given: ‘We get the – a worryingly large majority. same as all other option subjects at this point in time so while it is never enough, we won’t be getting more.’
PRIOR KNOWLEDGE AND PREPAREDNESS FOR NCEA LEVEL 1 The survey then asked about the level Year 9 students were at when to expect them to be able to read and write, and for a Maths teacher they arrived in the music classroom. After all, students will have been to expect them to add, subtract, and multiply. Yet, in music, little or no at school for eight years; it would be reasonable for an English teacher prior knowledge at Year 9 is often the norm, as indicated in the results summarised below: How many students studying music in Year 9 have significant prior knowledge that assists them in the music classroom? Response Number of Percentage of respondents respondents All or nearly all students 1 1.96% More than half of students 2 3.92% About half the students 8 15.69 Less than half the students 24 47.06% None or almost none of the students 16 31.37%
Tune Me In October 2017 Page 11
One respondent 7.84% 17.65% 41.18% 17.76% 21.57% respondents Percentage of Percentage . This is generally a good teaching strategy . 9 6 4 21 11 Number of respondents issue identified by many respondents. One summed up the views of respondents. by many issue identified ‘It is hard work getting the theory diet right without turning many: them for Nevertheless, off It and is keeping a it finefun. balance.’ 11 – students particularlyto Year be successful at in the external standards – having well-rounded theory knowledge is essential. Several respondents also mentioned that they start using music software and early, if resources are this available, could be an theory and apps that reinforce of websites The wealth excellent idea. can be that music along with the fun and interactive ways concepts, Take a holistic approach Take for all subjects, but when teachers are constrained by time it “I try a to offer One respondent said: more crucial. becomes even music [students] are playing i.e. holistic approach to learning music. and reading it and composing and performing and researching. Or I units have that touch on two or more aspects listed above.” Another noted that their classroom activities “Listening include: Co-operative Itinerant lessons, of a huge varietyanalysis of genres, and learning, Tech Performance gear opportunities, maintenance, Theory 101.” Focus on theory and music software skills. ‘everydescribed how: lesson we do 10-15 minutes of theory before getting in groups and and indeed, theoryplaying,’ was an time is insufficient to achieve and this indeed, goalfor many students, itinerant successful ‘a very is scheme important agrees: respondent this to be skilful on an instrument to pass Students have NCEA success. for the solo and group performance Generally standards. this cannot be parents that successful have Often the most taught in classroom music. private paid for lessons.’ have do the teachers– how though The most important question remains, who are successful manage their class time? 2. 3. production.” Another said: “We are lucky if they come in with curriculum are lucky if “We said: Another production.” Many respondents also noted that whilst level 2.” some students had their theoretical lagged knowledge practicalbehind – skills, and music students“Some those taking lessons: included this even in some cases, privatehave instrument lessons but their teacher isn’t teaching them names of the chords.” or even reading skills any I asked: from this question, on Following that contend I 11. Year by 1 level performanceof standard for suitable a the scenario currently being faced by many teachers is that the class they they , like this respondent: “I treat Year Year treat “I respondent: this like ,
Many Many teachers – about 35% of respondents – noted that back planning the marking so that it is in alignment.” This means that back planning the marking so that it is in alignment.” assessment 10 begin to appreciate the conditions for Year students in a Indeed, 11. number Year of my at private who students, attend large schools with successful music programmes, experience this which they find useful. 10, Year sort of assessment at treat Year 10 like a mini-Year 11 mini-Year a like 10 Year treat 10 Music like a mini-NCEA course and scaffold them through all thinking, my To 1.” the skills they will need to be successful at Level this is a practical and although effective given idea, the scarcity of be verytime it would important (linking do this in a holistic way to another respondent In to noted a my second similar point). vein, 1] and assessment [to level for “similar conditions that they provide: Strongly agree Strongly Somewhat agree Neutral Somewhat disagree disagree Strongly Response
for all elements of NCEA Level 1 Music”? Level all elements of NCEA for Do you agree with the statement: “Students who complete Years 9 and 10 Music successfully at our school are well prepared our school 9 and 10 Music successfully at well prepared are Years who complete “Students the statement: with Do you agree 1. 1. detail as you wish. wish. detail as you As this was the focus I of summarised have my research, the findings points: into the following What strategies do you 9 use Years and in 10 music to help get as much 1? Please give NCEA Level for level students to the required STRATEGIES USED TO PREPARE STUDENTS FOR NCEA LEVEL 1 PREPARE TO USED STRATEGIES The final questions in the survey examined strategiesby teachers used extra and how and co-curricular 1, NCEA Level to prepare students for into this: activities feed music that – begin instrumental or vocal tuition in Year 9 and be able to reach 9 and be able Year that – begin instrumental tuition in or vocal standards. Our Level 1 students are those who have worked hard 1 on students are Our those Level who have standards. This is despite the fact that time to reach the required level.’ their own the curriculum is (supposedly) designed so that students can do just this respondent summed up the views of many music teachers: ‘NCEA teachers: music this respondent summed up the views of many 1 requirements Level mean that most students who option take only most for level Achieved at years strugglemusic 9 and 10 would to reach More than half of survey respondents either strongly or somewhat there but which on the surface is promising, agreed with the statement, were unpreparedis still a significant minorityfelt that their students who that confident feel I 10. and 9 Years completing after Music 11 Year for with a good “Often music students’ programme. One teacher noted: experience of Music in primary school is just singing in the end-of-year from primary or intermediate, and although those at schools which respondent one only advantage, an at usually were 8 – 7 Years included mentioned that they had a relationship with an intermediate school Survey respondents were invited to comment on this question, which Survey this question, to comment on invited were respondents surveyedof those deal great A prior that noted knowledge did. many was more likely to be from private lessons outside of school than
SURVEY FINDINGS & STRATEGIES STRATEGIES & FINDINGS SURVEY (CONTINUED)
October 2017 Page Tune Me In 12 SURVEY FINDINGS & STRATEGIES (CONTINUED)
made on programmes such as GarageBand should be embraced by at opportunities such as House Music cup, chamber music, rock quest teachers (and this links into digital technologies as well). For those etc [which leaves] the second half of the year freer to cover [everything with devices but no means to purchase music writing software such else].’ As mentioned above, getting Year 10 students ready for the rigours as Sibelius or Noteflight, MuseScore is free and absolutely capable of NCEA standards can be a good idea, and having this take place early of doing anything all but the most advanced students at Years 9 and in the year – when possible – leaves more time for other classroom 10 could want. However, whilst working with students using these study. However, it must be noted that this requires students to be at programmes, it is important to integrate this learning holistically. a level where they are able to do the performance early in the year, and may also be time-intensive for teachers in organisational terms. 4. Encourage students to learn an instrument, either privately or through an itinerant programme. This is a significant issue, also A second suggestion is utilising or creating outreach programmes. identified by many respondents. One noted: ‘Instrumental learning is One respondent describes how this works at their school: ‘We have the big problem as students are not learning instruments at primary an outreach band programme running. This is based out of CSM school and there is less take up at secondary school.’ Another said [Christchurch School of Music]. It is highly effective with reading, that: ‘Instrumental learning is the biggest problem. There needs to performing, and understanding theory. If students opt into this be a rethink around how and where instrumental learning happens programme (which starts at Year 5) they are well and truly prepared at primary school level. The Sistema programme[1] needs to be for NCEA Level 1 Music. One boy who had been going a year sat expanded nationwide.’ Few music teachers would disagree that Grade 3 trumpet. It just gets the students reading and playing straight instrumental lesson uptake is more beneficial when it takes place away.’ Schemes or outreach programmes like this could also be used for early, at Primary or Intermediate school. Yet, presently, there are specific elements of the curriculum; for example, another respondent potential difficulties in keeping itinerant schemes running even at a noted that they ‘also had a mentor from the NZMC [New Zealand high school level (see Dastgheib, 2016), without venturing beyond Music Commission] for 10 hours this year who focused on Composition/ this into the Intermediate and Primary sectors. I suspect that many Songwriting.’ This would be particularly useful if a classroom teacher secondary music teachers may want to get involved in schools in felt less confident in that area. their community, but are lacking in time and energy. Yet, investment Finally, one respondent described having a ‘senior volunteer mentorship in this area may see the biggest payoff later on, if programmes and programme’ which offered extra instrumental tuition to junior students. connections can be implemented. It worked like a buddy system, with senior students tutoring junior ones 5. Keep in good contact with parents. We know this is good advice on their instrument of choice. For schools who have more students in education generally, but it is good to bear in mind. One teacher wanting itinerant lessons than they can offer – or for students wanting notes: ‘we [...] keep in contact with parents to let them know how a little extra – this could be an excellent way of both providing lessons their child is going and the potential they are showing. [This] helps and giving seniors the opportunity to get some teaching experience. As to get them practicing.’ well as this, it helps foster the types of relationships we want seniors and juniors to have; a positive partnership embodying the principle of 6. ‘Advanced’ music offered as an additional subject, or individual tuakana–teina. programmes at Year 11: Naturally this is resource-dependent, but potentially beneficial to teachers if the option is available. At one CONCLUDING THOUGHTS school, a teacher describes how: ‘”advanced” music is offered at I have summarised the survey findings as follows: both years 9 and 10. Students can take both beginners and then 1. Teachers working with students in Years 9 and 10 should be advanced music.’ prepared that the majority of students will have little to no prior Finally, the survey asked about extra-curricular and co-curricular music knowledge, depending on the school makeup and its feeder schools; activities specifically, as these can be such a fundamental part of music- 2. Students can be assisted to reach NCEA Level 1 through a carefully making at school for many, and for the most part, take place outside planned programme, including: the classroom. I asked: 1. Having Year 10 mirror Year 11 by back planning; Does your school have any extra-curricular music activities which 2. A holistic approach; assist students with classroom music at all Year levels? If yes, please briefly detail. 3. A focus on integrated and applied theory and music software use; Unsurprisingly, there was a big variety in responses, from ‘none’ or ‘hardly 4. Plentiful and varied co-curricular activities, which feed into any’ to hugely varied offerings. Although several teachers noted that assessment opportunities when possible; ‘all’ extra and co-curricular music assisted students in the classroom, one teacher wrote that: ‘Co-curricular groups only help students with 5. A supportive and effective itinerant programme prior knowledge’. I suspect that whilst students with prior knowledge 3. To assist future outcomes, secondary school teachers could create will probably fit into co-curricular groups more easily, those with less links with Primary and Intermediate feeder schools to potentially set prior knowledge also stand to benefit. up instrumental music schemes, and/or access outside mentoring However, several interesting suggestions came out of this question. and assistance programmes available to them. The first of these was to take advantage of school performance It would be extraordinarily remiss of me to come to this point without opportunities early in the year to assess student performances. ‘The acknowledging the enormous difficulties that teachers encounter Year 10 semester begins in the second half of the year so the students in implementing best practice in their classrooms. The demands on are encouraged to sit solo and group performance during the first half teachers’ time are unlikely to cease in the near future, and in my limited
Tune Me In October 2017 Page 13 , Wellington, Wellington, November th in concert! (PhD), Massey University, Palmerston North. Palmerston North. Massey University, (PhD), ivvy.com.au/event/irmt18 International Journal of Education and the Arts 2017 for early bird2017 rates. The Arts Zealand Curriculum in the New The Online registration open now. Register before 30 See the NZ Chamber Soloists live Tensions of Practice encountered by secondary encountered by of Practice school music Tensions Donaldson, J. D. (2012). (2012). D. J. Donaldson, Zealand. Aotearoa New teachers in (2000). Ministry of Education. Learning Media. New Zealand: from 2017, Retrieved 21 July, Assessment Resources. 1 Music Level TKI: NCEA on https://ncea.tki.org.nz/Resources-for-Internally-Assessed-Achievement-Standards/ The-arts/Music/Level-1-Music https://www.surveymonkey. from Music Survey. 9 and 10 Years (2017). R. Swindells, com/analyze/hapLhoWi7ZilA15a7g5Mess4FZi2YnnNPEV8ZNR5uT8_3D between Mismatch A Classrooms: Teacher Beginning in Music (2016). L. Webb, and Practice.Philosophy, Policy, 1 - 14. 17(12), to In adult. 2017 she enrolled for a Graduate Diploma Teaching in and – despite this being her (Secondary) through Massey University, tenth calendar year at University – she is not being facetious when the rigour she is enjoying of studying again. she says organ diverse background includes extensive playing musical Rachel’s Pipe both in percussion accompanying, piano experiences, choir and an interest in Barbershop. and more recently, and Brass Bands, up take to hopes and son, and fiancé her with Wellington in lives Rachel a teaching position in Music or English at a Secondary2018. School in The Dominion Post. Dominion The University of Waikato of University IRMT Waikato Presents on the side. After a stint in University on the side. realised Rachel lecturingtutoring, and not but teaching, loved that she really she works privately Now, academia. and at a small music school, and each week teaches more than fifty students, ranging in age from one Dr Rachel Swindells completed a MusB (Hons) and PhD in Musicology at Otago all University, the while teaching organ, piano, and theory TO REMEMBER TO Pathways to Performance
JOIN US IN HAMILTON FOR AN EVENT AN EVENT FOR JOIN US IN HAMILTON due to Education Council requirements. Retrieved from http://www.stuff.co.nz/ requirements. due to Education Council national/education/81854579/Itinerant-music-programme-losing-teachers-due- to-Education-Council-requirements REFERENCES School. at Music the Stop Don’t 2016). 7, (March D. Armstrong, 12 Itinerant (2016, July 2016). S. music programmeDastgheib, losing teachers respondents’ ideas, how teachers how use their time most effectively might ideas, respondents’ might it reading anyone that is hope My outcomes. best the achieve to at their school. to implement be able that they may find an idea or two classroom experience, I have already seen the importance already seen I have classroom experience, of balancing and organisation personal with needs and self-care. teaching, planning, attempted What to I do have in this article through survey is outline, SURVEY FINDINGS & STRATEGIES STRATEGIES & FINDINGS SURVEY (CONTINUED) 18-21 January 2018
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Winnipeg to Minnesota, but still quite a long trip. still quite a long trip. but Winnipeg to Minnesota, Throughout high I school, performed at regional school jazz festivals Winnipeg in and Brandon, Manitoba, Musicfest Canada Toronto, in as the Rocky Mountain Music Festival as well Winnipeg, and Vancouver in Banff National Park. It was attending the University of Mary Jazz Festival during my last year of and high hearingschool, the university which musicians, solidifiedmy choice to attend that schoolfor my undergraduate degree. stories from their years of experience touring and Many performing. of today’s veteran jazz musicians also worked with older musicians who our students They will can the never have opportunity to meet. provide students with a direct link to the wisdom, personalities and philosophies of previous generations. startyou After a while, hearing the same information again and again up it’s eventually, important is reinforcement This but, artists. guest from the bands on a higherto the bands to challenge the judges to address level (a situation the judges definitely appreciate during long days of I often talked teacher, As a former high school music listening to bands). to my students about the comments we festival “Trumpet and adjudicators: trombone players need to keep be heard,” their instrument won’t or you stands bells out of the music “Listening to great players and recordings is the essential element in usually preferable if “It’s the band has a concept learning to play jazz,” guys look like “You having you’re of and playing the in popular, tune,” wasn’t but comment which on wasn’t its a face, negative a lot of fun!” usually the first bit offeedback given to a band doing a lot of things be wasting we’d tell band my that if got we these comments, I’d right. more rewarding concepts. time that could be spent on deeper, Duringour jazz band last my a in won year gold junior medal high, at the right to compete at Musicfest with it, and, the regional jazz festival The that year. Toronto which was held in fest, the national music Canada, bus is ride more Toronto Winnipeg from than to twenty-four hours, including a couple of meal stops—more exotic than traveling from Although his performance at the evening concert was outstanding mind-boggling (actually trumpeta for young in his second player year the most memorable experience me was during for on the instrument), The format one of of the his festival had on-stage each adjudications. with the judges coming on stage immediately band performing their set, asked Bobby On stage, after the performance work to with the band. one of the young girls in the trumpetwho had section, been using a trumpet during mute. the mute him hand could she if charts, the of one actually, but condition, is new and in perfect “This mute He said, She did. and he proceeded to dented,” workthese mutes better when they’re The girl started crying his thumbs. with metal push dents into the thin Christmas“That was a gift!” and sobbed, unfortunate It’s that bit but student is made to cry any when in public, was one of the firstabout the mute I accumulated pieces of knowledge at the countless workshops I attended at educational jazz festivals. And the context certainly made it more memorable! (I wonder how that young girl, now in her remembers40s, it.) Conversations about learningfamous practice players to and equipment, swing, recordings, the roles techniques, of different instruments and sections in the jazz band—these are all critical to the foundation of any successful jazz musician. Jazz the stories. were from an inspirational important, Equally standpoint, musicians are inquisitive and generally amazing many have humorous, AND OTHER JAZZ FESTIVAL STORIES) FESTIVAL JAZZ OTHER AND (
opportunities it presents. We give outstanding performance give awards We opportunities it presents. in one phrase. on his “Shewhorn,” on a “Shewhorn,” his custom trumpet built by This Dave Monette. One of the bells separatetrumpet two bells. but had one set of valves had a mute and Bobby could quickly switch between the bells using producing distinctly two trumpetdifferent an additional valve, sounds veteran of the Woody Herman and Buddy Rich big bands, was one of was one Herman and Buddy Rich big bands, Woody veteran of the of the great lead trumpeters is still one the guest artists. Bobby and jazz he was performing At that time, a rare combination at his level. soloists, twelve twelve and thirteen-year-old any students, school especially trip, one is an exotic experience. to another country, jazz trumpeter and Shew, Bobby firstAt my Bemidji State Jazz Festival, little less than five hours to Bemidji from my hometown of Winnipeg, Winnipeg, hourslittle less than five of my hometown to Bemidji from every My school had a tradition to this festival of traveling year, Canada. sharing the cost of the For bus most with jazz another band. school’s Bemidji State University in Bemidji, Minnesota. Bemidji is a small town in Bemidji is a small town Minnesota. Bemidji State University in Bemidji, the northernAmerican state and home to a giant statue of legendary Paul Bunyan lumberjack, and his famous In Babe. blue a ox, it’s a bus, priorities for our festival pretty obvious, but is also a constant reminder but priorities pretty obvious, our festival for get it right. people if we on young can have of the impact that we The firstby educational Jazz Festival I attended as a student was hosted as both student and many band festivals director, in North America, the The fact that so many then working at and then producing others. decision makes making about memories are of still these vivid, events overall overall musical perspective of New Zealand’s aspiring jazz musicians. The game runningplan I had for a new university high for jazz festival than 20 years more of attending, over school students was developed pedagogy at Victoria University of Wellington in 2010. When I Victoriawrote in pedagogy UniversityWellington 2010. at of of Music Jazz Festivalthe proposal to create the New Zealand School toward the end of my first the goalyear, was to contribute to the bands, but the festival is non-competitive. We work hard the to make We is non-competitive. the festival but bands, experience worth trophy. far more than any I came to New Zealand to teach jazz composition, theory and jazz essential part because of all the musicians developing of the equation for other to students on different instruments and recognition to outstanding level of knowledge and enthusiasm. and enthusiasm. of knowledge level more than just the opportunity is much A quality high school jazz festival for a school jazz band to play their repertoire another time. It’s an Band One. Everyhundreds of year, New Zealand’s aspiring young musicians attend to perform on stage, be adjudicated by great guest artistsreturn to hopefully, and, their school band rooms with a new Joe LaBarbera and many others. Our evening and lunchtime concerts Our evening Joe LaBarbera others. and many have featured faculty members from the the NZSM, Rodger Fox Big Jazz Orchestra, Youth the New Zealand Jazz Orchestra, Band/Wellington Jazz Youth Orchestra students and, Wellington always, of NZSM Big performances by some of the world’s best jazz musicians alongside our Bob NZSM Weckl, jazz Alex Dick students: Dave Sipiagin, Oatts, KarynAllison, Luis Bonilla, Houghton, Steve Eric Marienthal, Sheppard, on two university most campuses, recently at our permanent home Victoria University. at In the seven years that we’ve run the jazz festival, we’ve seen festival at three different concert venues in Wellington (Town Hall, St. St. Hall, (Town Wellington at festival three concertdifferent in venues in partnershipWellington three years, for with the Theatre and, James the Opera House) and run performances and workshopsJazz Festival, The New Zealand School of Music Jazz Festival/Jazz Project has turned Jazz Festival/Jazz Project School of Music The New Zealand hosted thousands we’ve yearsseven old! Since our firstfestival in 2011, components of the presented musicians, student jazz of New Zealand’s MUTES WORK BETTER WHEN THEY’RE THEY’RE WHEN BETTER WORK MUTES DENTED
October 2017 Page Tune Me In 16 MUTES WORK BETTER WHEN THEY’RE DENTED (CONTINUED)
University of Mary also hosted an annual jazz festival for high school Having great artists headlining the NZSM Jazz Festival is a big part of students. The students in the university’s top jazz ensemble served as our strategy and sets our festival apart. While professional recordings stage crews, ushers and adjudicator assistants. Having the opportunity are essential to developing jazz musicians, there’s still no substitute to see the inner workings of a jazz festival like this was a valuable for experiencing great players in person. At the same time, the gala experience. During my time there, our band played with guest artists like performance is only one important part of an educational jazz festival. Bob Mintzer, Kevin Mahogany, and Bobby Shew (some people will keep Just like the University of Mary, Elmhurst College and many other popping up in your life as a musician), and Ed Soph. Those wonderful jazz festivals that employ top artists as judges, the NZSM Jazz Festival memories are still very vivid. But my best jazz festival experience at places great emphasis on its adjudicators’ ability to teach, not just their my undergraduate school happened very recently. In 2013, seventeen skill as players. years after I graduated, I was a guest artist and adjudicator at this same If jazz musicians are ultimately going to be successful, they are going to festival, which gave me the opportunity to adjudicate my junior high accumulate knowledge, ability, experience, perspective and inspiration school jazz director’s band during his final year of teaching. from many sources over the course of their development—a process This director, when I was only twelve and in my first jazz band, Mark that takes decades. Hopefully, most of the students who have attended Waldera, asked all of his students to bring blank cassettes to school the NZSM Jazz Festival during its first seven years have taken with them so he could give us music to listen to at home. He did didn’t label the some meaningful memories. And for the ones who end up choosing jazz recordings, but I found out later that they were Count Basie albums. I music as a career, I sincerely hope that we’re creating an environment know most students didn’t spend much time listening, but I did. I spent that will make them look back and think that what we are doing was hundreds of hours listening to Basie Big Band (1975) and Warm Breeze a small part of their success. (1980), wearing out the tapes while I delivered supermarket flyers door to door in the brutal Winnipeg winter. This was probably the most important part of my musical development during my first few years playing. I didn’t have a listening strategy or a list of things to focus on Canadian composer and trumpeter, Dr. in the recordings; I just listened repeatedly. But because of this, by high David Lisik teaches jazz composition, school, I had at least a rudimentary sense of swing and a decent sense arranging, theory and pedagogy at the of time. So, right before his retirement, I got to stand on stage with Mr. New Zealand School of Music, Victoria Waldera and, as part of my adjudication, tell him what his involvement University of Wellington. Dave’s most in my education meant to me. Of all the jazz festival memories I have, recent compositions can be found on this one was the most special. Alex Sipiagin’s CD, “Relativity – Music of Dave Lisik” featuring Chris Potter and As an undergrad student, the Elmhurst College Jazz Festival was also a Eric Harland and “Hitch/Slap” featuring big deal for me. Located in a Chicago suburb, Elmhurst College’s festival Donny McCaslin, Luis Bonilla and Jeff was exclusive to university jazz bands and also featured evening concerts “Tain” Watts. Dave is also co-author by top musicians. This was where I received my most significant positive of the book 50 Years at the Village Vanguard - Thad Jones, Mel Lewis feedback as an adult jazz musician, particularly from great jazz musicians and the Vanguard Jazz Orchestra (2017, SkyDeck Publishing) and his like Randy Brecker, Ronnie Cuber and Frank Mantooth. It was also the book of 24 Marvin Stamm trumpet solos is published by Charles first place I heard the top jazz band from the University of Northern Colin in New York. Iowa, where I would eventually go to graduate school.
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an understanding of the processes and techniques of the performing DJ. A historical overview as well as health and safety information is included and students planning on performing and mixing music are to apply. eligible Claire thoroughly enjoyed the learning experience comfort enjoyed and found Claire thoroughly use could she that knowledge hands-on gaining was she that fact the in project own her built since has she that so much so world, real the in having and post-production, of production all stages “I complete studio. often formally composed and scored work synchronised to be myself with video.” Grateful important giving her the fundamentally to SIT for techniques working Claire is now as a part-time develop, and skills from which to Her knowledge. passing on her passion and valuable tutor here at SIT, Claire has obtained great satisfaction paid dividends and projects have her work. for received the recognition she has for spent 4 years have when you the most thrilling thing, probably “That’s studying two degrees you hope that it will pay off and when it does, fantastic.” that’s COURSE OFFERINGS The Bachelor of ContemporaryAudio Production Music and Bachelor of With programme courses schedule. two within SIT’s are only offered qualifications from shortranging through to Graduate Diplomas, courses, various options to consider. students have introduced this was Turntablism A short class in DJ Mixing and evening With a 4 month duration, popular. to be immensely and has proved year providing it aims to explore DJ practice and practically, both theoretically Year One Bachelor of Contemporary Music students playing at 2017’s Kids Concert One Bachelor of Contemporary Music students playing at 2017’s Year
textbooks I had panicked prior textbooks I had panicked I was ever to starting, wondering how going to learn all the technical audio but terminology, nothing I was frightened became a problem.” initially about ever wanted to know more about how to compose for film professionally. to filmmore compose professionally. wanted about for to how know “In I all learnt honesty, what I wanted to know in the first so lesson, every class after that was beyond what I had hoped. Looking at the promoting yourself and business. promoting yourselfClaire suggests and that business. the course is a solid starting way. own need to go your and it is all you block Having some experience writing music for amateur Clairefilms, also Not solely looking at the technical aspects of music, SIT also gives the SIT also gives looking at the technical aspects of music, Not solely physical ability to understand audio production processes and gives glimpses into areas such as acoustically testing your digitally studio, part regarding the her passion ability in the unfamiliar world of audio, the tutors had for the subject meant they delivered it in a way that understood.was easily degree in Audio Production and Contemporary solution a perfect degree in Music, This combination of two to learning workflow. both sides of the music degrees can be done in 4 years and despite initial nerves on Claire’s went went out of their way to tell me about the course, as well as the versatility more versatilitythe SIT courses in the field that on offer, had the double Claire studied programme other than any in New Zealand.” passion to their students. to study at SIT was ultimately her decision For graduate Claire Benedict, “I decided chose by this SIT passion. based on the fact that the staff Southern Institute of Technology (SIT)’s musical focus is Contemporary focus musical (SIT)’s Technology Southern of Institute The staff in these departments an have Audio Production. Music and unrivalledand the rare what they do for passion ability to impart that TURNING MUSICAL PASSION INTO A CAREER A INTO PASSION MUSICAL TURNING TECHNOLOGY OF INSTITUTE - SOUTHERN
October 2017 Page Tune Me In 18 TURNING MUSICAL PASSION INTO A CAREER (CONTINUED)
At the other end of the spectrum, the Graduate Diploma in Contemporary Music offers the chance to equip graduates who may have majored in a different discipline, with the skills and knowledge that fulfil the expectations of the contemporary music industry, its practitioners and clients. Two intakes are offered per year in February and July and small class sizes mean focused attention and one on one tuition. Individual instrumental tuition in drums, bass, guitar, voice and saxophone is offered along with access to industry standard recording facilities and an added bonus to studying at SIT is the access to collaboration with Audio Production, Film and Animation students. A 120 credit qualification, SIT offers strands in song writing and production, music education and advanced performance, or all three! Develop your song writing skills, learn to record and produce your original songs in our industry standard studios; follow your musical passion and gain one on one performance tuition with industry experts; or gain knowledge and experience with teaching music through our specialist music education papers. Papers in the following areas are available to tailor the course to your interests. • Song writing and production • Music education • Advanced performance • Music business • Contemporary style analysis • Music theory • Music in contemporary culture Many of our graduates from this programme have completed teaching qualifications and are now employed in primary and secondary schools around New Zealand. They also play in original and cover bands both Teina Strongman, double degree student in locally and nationally, while others are carving out careers writing and Contemporary Music and Audio Production producing their own songs.
SIT’s Audio Production Studio
Tune Me In October 2017 Page 19 TURNING MUSICAL PASSION INTO A CAREER (CONTINUED)
Contemporary Music students get a range of opportunities to perform, “I still had a lot more to one of the favourites being at the Kids Concert which is held each year achieve in Wellington, but at SIT’s Centrestage Theatre. First year Bachelor of Contemporary Music have no regrets returning students perform to the most enraptured and interactive audience of home and teaching at the over 2000 preschool and primary aged children. An absolute highlight place it all started.” for both the music students and their audience, the Kids Concert has An added bonus is the been running for fifteen years and often features favourites from the fact that he can now call latest contemporary pop songs from films like ‘Trolls’ and ‘Sing’. the tutors who taught him Other students showcase their original songwriting at events such all those years ago and as ‘Epic Jams’ and often collaboration between the music and audio instilled a passion for audio departments leads to exciting projects. into a young metal head, ‘work mates’. Charlie Rodgers, a graduate of SIT’s Bachelor of Audio Production programme, transitioned from a self-confessed insecure, depressed “Studying at SIT changed Charlie Rodgers, Audio production tutor and 20 year old, that listened to nothing but Black Metal all day, into one me from being an arrogant SIT Bachelor of Audio Production graduate of the ‘go-to’ sound technicians in the Wellington music scene. Now metal head, to discovering also tutoring students, Charlie has been on a journey through sound, the world of music and with every success created off his own back and his love for sound diversity. It helped me to understand that music and sound isn’t transcending any of the difficulties he faced. necessarily achieved from playing a million miles per hour. I loved recording, learning about the equipment and how to use it effectively, the Having played in multiple bands growing up, Charlie originally applied science of sound and how it applies to everyday life. I love everything for the Bachelor of Audio Production as he wanted to record his heavy about sound.” metal band. However, the course created an obsession with audio which then led to a job in the industry. His rap sheet now includes an Currently also a front of house engineer for L.A.B which consists of impressive list of audio experience too long to detail, but experience former members of both Kora and Katchafire, he will be touring with writing and lecturing the live sound and lighting technologies paper for them, Kora and Shapeshifter over summer. Massey University helped lead him back to where it all began and he If Charlie could offer any advice it would be to work hard and never is now tutoring students at SIT. give up, set goals and stick to them, listen to criticism and never talk While his glamorous touring life included working front of house duties back to someone trying to offer advice, especially if they have the for artists such as Che Fu, Electric Wire Hustle, The Black Seeds, Head experience to back it up. like a hole, Tomorrow People and Devilskin, as well as working with “I’m proud of everything that I’ve achieved. Nikola Tesla once said: “If band members from international bands such as Mars Volta, Carcass, you want to find the secrets of the universe, think in terms of energy, Napalm Death, Mastodon, Bob Marley’s Wailers, Sticky fingers and frequency and vibration.” Words I live by.” recording artists from Shapeshifter, Mars Volta and many more, Charlie has come to settle back in his hometown of Invercargill to raise his Music, Audio, or both - SIT’s creative hub aims to mould students’ daughter and be closer to family. musical passions into something tangible and versatile and we can’t wait to see where it takes them. Tune Me In October 2017
Page Claire Benedict, Music and Audio Production tutor and SIT double degree graduate
20 THE TIMES, THEY ARE real songs. A-CHANGING - Cathy Martin
When I was at school, classical music was the only genre we learnt about. I loved classical music but I real skills. was keen on other types of music too: Dad played trumpet in big bands and dance groups and I picked up the songs of his generation and mine by ear. Perhaps popular styles weren’t taught because it real progress. was hard to believe they were worth investing in. After all, rock and pop music were still relatively new, post-war genres (yes, I’m a Baby Boomer). Oh, how the times have changed! Smokefree Cathy Martin Rockquest is nearly 30 years old, rock and pop music is in the school curriculum, and songwriting is now a Level 3 NCEA subject. Even Trinity College London, the world’s oldest performing arts examinations board, offers Rock & Pop Exams. What is the world coming to?! Exploring trends in rock and pop music education and the wider implications for all music educators, Trinity is presenting two forums, featuring some of NZ’s most respected music educators, musicians and emerging artists: • Mike Chunn CNZM, CEO Play It Strange Charitable Trust • Graham McPhail, Senior Lecturer in Music Education, Education Faculty, University of Auckland • Tom Rainey, Head of Department, Creative Industries, Ara Institute of Canterbury • Hadley Ronayne, HOD Music, Long Bay College • Jono Tressler, drummer and teacher for Forte The exam that puts Itinerant Music Teaching Service • Zac Johns, composer and arranger, recent performance first. graduate of University of Auckland Mike Chunn will be a guest • Isaac Williams, guitarist, year 13 student at speaker at both the Auckland and Christchurch forums Real songs: Play the music you love with Waimate High School our huge range of songs spanning all WITH FORUM CHAIRPERSON: contemporary styles. • Diana Burns, communications consultant Real skills: Develop the improvisation and WHEN AND WHERE: playback session skills that professional • Saturday 28 October 2017 3pm – 5pm, St Columba Centre, musicians need. 40 Vermont St, Ponsonby, Auckland (Mike, Graham, Hadley and Zac) • Saturday 11 November 2017 3pm – 5pm, Trinity’s Room, The Piano, Real progress: Achieve your goals with 156 Armagh St, Christchurch an externally regulated and internationally (Mike, Tom, Jono and Isaac) recognised qualification. These forums coincide with the launch of Trinity’s latest Rock & Pop syllabus, and New for 2018: to celebrate we’re giving away spot prizes. Zac and Isaac will demo a couple of songs from the new syllabus and we will finish the afternoon with light bites and New song lists with hundreds of well-known drinks - the perfect opportunity to network. We look forward to seeing you there! songs from artists including Adele, David Bowie, The Beatles, and many more REGISTRATION Visit trinitycollege.com/newzealand to download the registration form or contact New songbooks each featuring eight songs, [email protected] for further information performance tips, background information, • Early bird teachers $25; after 16 October $30 and downloadable backing and demo tracks • Students free A range of digital resources available online to help you get the most out of your Rock & Pop experience Individual syllabus booklets for You better start swimming, or you’ll sink like a stone, each instrument because the times they are a-changing. – Bob Dylan
TRINITYROCK.COMTune Me In October 2017 Page 21 Prague, Prague, Almaty, Almaty, Munich, Munich, Shefa’Amr, Shefa’Amr, Linda Webb Linda Call for presenters Call for - Linda Webb - Linda
Tbilisi, Georgia. Tbilisi, 10-14 July Dubai, UAE: 8-13 July 8-13 July UAE: Dubai, Call for presenters Call for Salzburg, Austria. Austria. Salzburg, Call for presenters Call for Call for presenters Call for Call for submissions Call for www.isme.org. Call for presenters Call for 12-14 July 12-14 July Teaching. Vocal on Instrumental and Forum shortly. More information available ISME Research Commission ISME Research ISME Community Music Commission presenters Call for ISME Early Childhood Music Education Commission: 8-13 July Israel. Musician Commission: ISME Education of the Professional 11-13 July Kazakhstan. Media: and Education Culture, on Policy: ISME Commission 10-13 July Germany. Education Commission: Teacher ISME Music in Schools and Republic.8-12 July Czech ISME Music in Special Ed and Music Therapy Commission: • check For more ISME news and updates, out their website: unaddressed membership community. Opening this magnificent city to ISME scholarsbuild musicians will and a cultural traditions bridge ancient musical and contemporary between to be part you invite of our We learningmusic and teaching practices. experience an incredible with us. journey to have and DATES DIARY ISME PRE-CONFERENCE SEMINARS 2018: Preceeding each world conference are a number of pre-conference seminars. • • • • • • • We invite you to attend the 33rd World Conference of the International of the Conference World the 33rd to attend you invite We Azerbaijan. the capital of in Baku, 2018, in July Music Education Society for Baku is an architectural kaleidoscope of western and eastern fabric, ‘City Nicknamed the at seamlessly the beautiful blending Caspian Sea. Baku is Winds’ the At world’s of its lowest lying core, national capital. The UNESCO-listed Old City of îçeri Seher boasts the of Palace the home toThe city is also Tower. Shirvanshahs iconic Maiden and the city’s a promenade stone mansions, illuminated Towers’, ‘Flame the magnificent at the shore of the Caspian and Sea, pedestrian-friendly street malls lined with boutique shops. sister country, Turkey’s Baku is the capital of million people, Home to four hosted Baku has recently an international Enjoying reputation, Azerbaijan. and the European Games (2015), Song Contest (2012), the Eurovision Baku the ISME conference Following the European Grand Prix (2016). championships (2020). football will be co-hosting the UEFA ISME and our partners The Music Educator’s Society Türkiye of (MUZED) are very honoured to be working together We in Baku. the International are TURKSOY, pleased also to be working alongside participants many Culture which will enable from Turkic Organization of we Conference, World organizing In this countriesattend. to Turkic the TURKSOY, have developed a collaborative relationship with MUZED, exciting and pioneering which will provide Azerbaijan, and our hosts in opportunities for ISME as an now organization; reaching a previously – November – November now open now Canada, Canada, USA, South Africa, The The INA Council had our first "outside-the-world-conference" meeting this with week, online Norway, attendance from Finland, Ireland, Netherlands, Greece, UK, 1 October 2017 31 March 2018 31 March Life’s Journey Through Music Through Journey Life’s – July 19 to 21 in Melaka, Malaysia. Malaysia. 19 to 21 in Melaka, – July 15 November 2017 15 November www.isme2018.org. now open now – June 29 to July 2 in Swaziland. – June 29 to July – 8-11 August, Natal, Brazil. Brazil. Natal, August, – 8-11 now open now (APSMER) (ISME South Asia Regional Conference) Asia Regional (ISME South
The European conference was held at EAS in Salzburg in April EAS in Salzburg was held at in The European conference Asia Pacific Latin America America Latin Africa (PASMAE) 27 to 29 in Bangalore, India. India. 27 to 29 in Bangalore, South Asia South Alnara Kerimova Choir Ankara Radio Polyphonic TRT For more conference information, please refer to the dedicated website: conference Kathryn Deane St York John University Visiting Professor, Consultant Director, Alliance ArtWorks Ahmad Sarmast Dr Afghanistan of Music, Afghanistan National Institute The Early bird registration closes: Early bird registration closes: SPEAKERS: KEYNOTE Dusen Kaseinov Secretary General of the International Organisation Turkic of Cultures (TURKSOY) Call for papers Call for performersCall for papersCalls for seminars pre-conference etc for registrationConference opens: papersCall for closes: CONFERENCE THEME: CONFERENCE
• • • • Regional conferences already held: Regional conferences The ISME hosted and co-hosted regional conferences for 2017 are as follows: • regional and national conferences for both teachers and researchers is using one the strategy, website and other publication channels for spreading information and written work is another. conferences (which is every two years). Particularly is every (which conferences years). two will allow this focus ISME to balance the problem that the biggest group of members in while most the national organisations teachers, (the INA´s) are music Supportingof the attendees on the world are researchers. conference The president and board are currentlyThe president and board discussing a broad spectrum of serve to engage and ways members in the period the world between Argentina, Brazil, New Zealand and Australia. Lee Higgins, president of president Higgins, Lee Australia. and Zealand New Brazil, Argentina, board member and chair of with Richard Hallam, also attended, ISME, are The not minutes ready yet, leading the meeting. the INA Council, I can mention some mattersbut that might be of interest: INTERNATIONAL SOCIETY FOR MUSIC FOR SOCIETY INTERNATIONAL UPDATE (ISME) EDUCATION
October 2017 Page Tune Me In 22 Encore Music Distributors in conjunction with Neil A. Kjos Music Company Presents THE BRUCE PEARSON NATIONAL TOUR
Bruce will be running workshops in New Zealand
Bruce Pearson is a world-renowned music educator, author, composer and clinician. He is the author of the Standard of Excellence Comprehensive Band Method which has been regarded as the most important contribution to the band music field.
Technique and Musicianship enhances musicianship skills and improve technically ability. This book goes above and beyond technique books of the past. Whether used in private lessons or in a group it is sure to improve technical ability and enhance artistic sensitivity for years to come.
9th–11th October: MENZA Conference, Wellington 12th October: ABODA Directors Development Day, Wellington 13th October: ABODA Directors Development Day, Christchurch 16th October: ABODA Directors Development Day, Auckland
Register for workshops at: aboda.org.nz
Purchase Bruce Pearson's method books from Encore Music Distributors [email protected] Tune Me In October 2017 Page 23 - - Tim Randle Tim -
chairperson. chairperson. MENZA has reaffirmed its commitment to supporting MEW in any way they can in order to keep including the organisation in operation, PD event registration and promotion support, and additional administrative assistance. Waikato reportWaikato Millie Locke has taken over as Auckland MENZA report MENZA Auckland perhaps the but plenty of positives Auckland, for A fairly year busy Wellington’s Tim Carson, significance was farewelling of most event Tim was a central driving gain has certainly loss. Auckland’s been force behind so many initiatives and his calm and organised character in the region. was the backbone of stability ..and on to the positives.. had We a successful meet and greet BBQ event at the start of The focus 2017 and this looks good to become an annual event. an opportunity also provide it can but of this is to meet and greet tradefor and share. was veryAuckland Menza PD day successful with delegates Our treated to a smorgasbord board of We professional learning... unpacked songwriting and the new achievement standard and were extremely lucky to Suzi have Cato run a primary session ( and pose for numerous selfies!) other sessions included cultural pedagogies and recording techniques etc. Attendance was around 40 which is a little down on what we hoped nationally. comments like – “It is so valuable for us single teachers for “It is so valuable out of town – comments like to come together and share ideas and hear what other teachers are doing in their schools with I their learntstudents. a lot and am also been great There have so pleased I made the effort to come”. and several exciting termlysocial events get-together’s. is our opportunityWOF all of those students who learn to gather an orchestral instrument them to realise and experience together for the Christchurch, wonders Richard Oswin, of in playing a full orchestra. and is there arranges a pleasing repertoire us every for of music year, Again, to guide us through preparations and performances the day. on music (6 pieces) is shared with teachers and students well before There are options and the various event. levels provided for some School groups might Violin 4!!). Violin 3 and Violin 2, Violin 1, parts (eg. that students will workpractise it is also envisioned on together but their parts with instrumental tutors in their lessons.
- Selena Bercic - Selena Bercic
- Martin Emo - Phil Pegler
after a major multi-million dollar renovation and repair. The new School of Music board has and repair. dollar renovation after a major multi-million embraced of visiting and has already increased the number the education part of its charter, artists, workshops and collaborations with the The wider international Music community. Adam Chamber Music Festival of held workshopsa number and connections with Primary through to Secondary schools. Nelson/Tasman Report Nelson/Tasman Tasman/ Music Educators of changes and anticipation for has been a year in the The last year With Nelson some region. staff changes at some schools a focus has been on connecting education in the area music Additionally and of consolidation Learning. in the Communities looks to step up a level from February 2018 with the Nelson School of Music re-opening had to be closed off. We identified creative ways to record student ways identified creative We had to be closed off. performance descriptors and examined key in the criteria several for with A fantastic day standards to help identify the grade boundaries. items. Supporteditems. by Shane The McAlister Ukulele of Institute and experienced local this music teachers, event runs like a dream and is a pleasure every year. The Secondary Workshop with Moderation Delysse Glynn was a Three NZQA debate around the new Level huge success with robust The room at the Kura songwriting was standard. full and numbers WURM is a friendly music festival for ukulele, recorder and marimba and recorder ukulele, for festival friendly a is WURM music players at senior primary and intermediate Music levels. is shared students and teachersprior for to the event to practise and prepare. There are 4-5 pieces to learn though there is no expectation of workshop we together and On the day, anyone. 100% readiness by in to sections, present a final concert of instrumental and massed to be launched. ReportWellington Christoph Maubach and Opeloge Ahsam have fortunately Ahsam have moved Christoph and Opeloge Maubach to the north them to come and presentI will be approaching so at the Northland MENZA I Days. will be asking Christoph to present more regularly ECE and Primaryfor specifically Educators. Plans are in the pipeline of running a Ukulele festival in Kaitaia to help promote the Homegrown NZ Ukulele Resource soon Every I try School that I go to resources with them music to share as well songwritingand offer workshops Ukulele workshops, and as NZMC resources. I am trying to get a Marimba group together to support ONZA in the Marimbayear. Festival later in the Northern Report Region Working at Far North REAP has been complementary beneficial to my and role as a MENZA My member. role includes Education support Primary to 38 and Secondary Schools in the Far North. My colleague supports 55 ECE establishments in the Far North.
REGIONAL REPORTS REPORTS REGIONAL ASSOCAITEDSOCIETIES AND REPRESENTATIVES - MENZA
October 2017 Page Tune Me In 24 REGIONAL REPORTS (CONTINUED)
Hawke’s Bay Regional Report – Suzanne Purdy, HBSME (Hawke’s Bay Society for Music Education) This year has been yet another year in which the motivated and November was Ukulele Festival time and once again Ngaire Shand hardworking worked hard to provide this performance opportunity of all the local ‘uke’ players. Even though slightly fewer students participated members of HBSME committee have provided musical opportunities this year those present still enjoyed the occasion. and educational experiences within our community for both teachers and students. Over the last few years HBSME has developed several As well as these three annual events, we had two professional successful musical events which have developed into annual events. development sessions for local musicians and teachers. In August 2016 These annual events have created the framework for HBSME’s annual we held a MENZA- supported workshop day at St John’s College. calendar. These are the Primary/Intermediate Play in Day, Ukulele This day comprised several workshops with Celia Stewart presenting Festival and Scholarship, along with the Secondary School Orchestra an early childhood workshop, Helen Beech presenting a computer Day happening some years. Along with these, many of our committee music workshop and Rinie Coppelmans ran an African drumming are heavily involved in the organisation and running of other major workshop. All of these workshops were inspiring and informative. school events such as the Big Sing, Kids Sing and Chamber Music. Dr Susan West presented a workshop in September on “Music Outreach”. This workshop attracted a wide range of people from These seven major events cover all of the interschool musical activities both the general community and education institutes. Susan’s Music and competitions in the calendars of both primary and secondary Outreach approach looks at community-based music programmes schools. While some of these are not directly HBSME events it is and engaging with the community. This was an inspiring and very important to acknowledge that the same people are lead organisers worthwhile workshop which was well received by all who attended. for these. This shows the important role the individual members of HBSME play in the musical education in Hawke’s Bay. It also involves In February of this year we held a social gathering for secondary a very large number of voluntary hours of work that the people school music teachers. There are a large number of new secondary of this committee are generously giving to our community. I don’t teachers in Hawke’s Bay this year and this was a good opportunity think the schools and general community really has any idea of the for some of them to meet up. Those who attended enjoyed catching importance that HBSME is to music in Hawke’s Bay. So thank you up and meeting each other. This is something which we will do more to all these educators for all your amazing contributions this year. often. The annual events this year all went well. The Primary/Intermediate On the 11th of May we had the Secondary School Orchestra Day. Play-in Day was very successful again with a large number of students This was held at Karamu High School and was attended by 74 enjoying the experience of being part of a very large orchestra. students. Amanda Cooper and Jane Ngui organised this event and Charlotte Van Ash once again arranged music and conducted the Joe Christensen was the conductor. It is always exciting to hear the orchestra. The standard and enthusiasm of the students involved in full sound that the mass of instruments produces and the concert this event once again impressed everyone involved. at the end of the day demonstrated how far the students’ playing had progressed during the day. These seven events throughout the The HBSME Scholarship was held in October at Woodford House last year have all contributed to a very successful year of HBSME- College Chapel. Since this scholarship was divided into three sections supported music education, both at the teacher level and across it has encouraged a large number of students with 20 participants in the full range of student levels. Once again thank you to everyone 2016. This year Patrick Power was the adjudicator and the standard for your contribution to making 2016 another successful year for of performance was outstanding. The audience was treated to a HBSME and for music education in Hawke’s Bay. wonderful day of performances.
Southland report - Ruth Buchanan Southland had a busy year with lots of PD opportunities happening. spent time working with teachers and children from 6 schools in Celia Stewart ran a workshop for Early childhood teachers in July with Invercargill (and also 2 schools in Dunedin and 4 in the Balclutha a great turn out from local teachers, SIT music education students, area). During the February visit there 15 Outreaches in Invercargill and SIT nanny students as well. with over 500 children and adults taking part in an Outreach visit to a rest home. Since then there have been several more Outreach In September two visiting Australians were hosted: Katie Wardrobe Singing visits to rest homes in Invercargill, and Outreach Singing is and Susan West (School of Music, Australian National University). Katie regularly happening in many schools in the city, including with children ran two workshops for primary and secondary teachers in Southland, and adults with disabilities. and Susan ran a weekend of workshops related to Outreach Singing. The first outreaches were held in September with over 60 adults Invercargill MENZA members Sally Bodkin-Allen and Sarah Lovell and children singing at two rest home visits. are now in the process of setting up a Trust to continue Outreach in Invercargill and Southland. In February Invercargill again played host to Susan West along with her colleague Georgia Pike, also from ANU. Susan and Georgia
Tune Me In October 2017 Page 25 Playful Music Making with Making Music Playful
members. The list was extracted from the MENZA database. members. Celia Stewart. on 21, 22 / 09/16 on 21, We have been doing a MailChimp termly mailout to MEC branch have We ran workshop a year- this Nelson in We We regained our charitable status and IRD We Playful music making 20/08/2016 music Playful Wardrobe -6 technology Katie workshops over a day and a half Music Education Canterbury are proud to acknowledge long-standingMusic Education Canterbury to acknowledge proud are
members Heather Gladstone and Linda Webb. Heather Gladstone QSM Webb. members Heather Gladstone and Linda was recently admitted as a Bard of the Gorsedh in Cornwall. Linda Webb Webb Linda of the Gorsedh admitted as a Bard in Cornwall. recently was was awarded an MNZM Member of the NZ order of Merit Member of the NZ order in the 2017 an MNZM awarded was Queen’s Birthday Honours. The photo was taken at the 2017 MEC AGM. at the 2017 MEC taken The photo was Birthday Honours. Queen’s 2016 3rd Junior Jazz Jam. 8 school bands enrolled. 6 ended up performing. One new school. 2015 Goals achieved: • • • Summary Music Education Canterbury ongoing musical to providing looks forward opportunities development and professional the coming year. over · · Festival and Blow Strum Strike In 2016, this festival was once again run in collaboration with the and lighting Christchurch the venue, paid for Civic Music Council who work to MEC work on commissioned leaving certificates, and sound, workshops direction including and musical registrations, the programme, the backing band and videoing costs. had 800 students from 27 schools with We 4 workshops leading up to the day. Are We There ukulelefive were pieces (including the NZ HLS song, Aotearoa), three marimba pieces, four recorder pieces and three Backwards” “Bend Over massed pieces including a commissioned piece Video of some repertoire and photos can be seen on Michael Bell. by the Strumstrikeblow webpage. Jazz Jam Junior (CONTINUED) 31 March 2017. advertising workshops we promote their workshops and advertise some of they are doing a great job looking after secondary school
MEC scholarship
Legg. 06/08/2016 Legg. music teachers in the Canterbury, Westland and Nelson area. Westland teachersmusic the Canterbury, in collaboration with them. university representative on MEC and we send information to the university for newsletters Bowie Amy with them our events working jazz in particular in with youth Trust Junior Jazz Foundation Jam and Big Band Festival advertising our events. IRMT events advertised IRMT events advertising to our mailing list. our events. Singing in the Classroom with Christoph Maubach and Robert Four teacher workshops Strum for Strike and Blow WSMTA WSMTA CSM - Musical Parenting Christchurch Civic Music Council - Strum Strike and Blow was a IRMT (Christchurch)IRMT write we - a report magazines their of in each University of Canterbury - Head of Music, Glenda Keam is the The Muse ArtsAra Music (formerly CPIT Jazz School) and Christchurch Jazz
Workshops · · ISME This year we had 5 Christchurch music educators at the ISME presenters two committee (Judith from MEC in Glasgow, conference and Julie) and from two University of Canterbury (Linda and Stuart) and one attendee from IRMT (Christy). Communication MENZA website by advertising all workshops and events on the Canterbury on the calendar. page and listing events also use the MEC and MENZA Facebook groups and events We Eventbrite CanterburyMailchimp for region MENZA members Most of these groups have a representative on the committee and all a representative Most of these groups have groups share reportsAGMs. at the MEC AGM June 28 at the new University of CanterburyAGM School of Music.The Grace Langford Scholarship winner, · · · · · · Throughout this MEC period, continued to work in with other local organizations education various that so music support can groups each educators music the best for and students. other and offer · · Scholarship a MEC offered scholarship This have is we the at third CSM year for 2017 scholarshipThe a non CSM person2017 for to be in an ensemble. Cello. winner was Grace Langford, Collaboration Music Education Canterbury Report, AGM June 10 AGM Education CanterburyMusic Report, June 2017 Canterbury, Music Education Celia Stewart, Judith Bell, - Kate Husband, This reportApril 2016 - covers the time from 1 Meetings MEC committee meets once a term and communicates regularly email. by REGIONAL REPORTS REPORTS REGIONAL
October 2017 Page Tune Me In 26 REGIONAL REPORTS (CONTINUED)
Report for Music Education Otago 1 April 16 – 31 March 17 We continue to have a committed and energetic committee, meeting approximately once a month to organise and support a variety of music opportunities for the teachers and students throughout Otago Events held during 2016 - 2017 The ‘Let’s Play Ukulele’ workshop, hosted by Alison and Ruth, was well supported by teachers and introduced basic ukulele techniques and chords. MEO hosted a workshop in July led by Celia Stewart – ‘Music matters in Early Childhood’. Thanks to Annette for organising this – it was a very popular workshop packed with plenty of inspiration and ideas from Celia. We held our 7th Dunedin Ukulele Kids’ Jam on 17 & 18 August. Approx 1000 children from Otago schools gathered over 2 days at Tahuna Intermediate to celebrate ukulele playing with guests from the Otago Volts and the superb band from Activate Music Studio. During March 2017, a ‘Beginner Ukulele’ workshop was held for teachers wishing to teach ukulele in their classroom music programme, hosted by Alison and Ruth. Instrument Hire - Ruth Buchanan MEO Chairperson MEO continues to organise the hiring and upkeep of 35 ukuleles, a class set of marimbas and xylophones, and a collection of 10 ashiko drums and 20 djembe, which are loaned to Otago schools to enhance their music programmes. Thanks to the MEO committee for their enthusiasm and dedication to all things music! Your support throughout the year is valued and appreciated. Finally, I would like to thank our secretary Alison Caldwell and Make Music treasurer Annette Preston who have kept our correspondence and finances in top order for another year. at UC Surround yourself with leading professional teachers, high achieving students, and an excellent professional grounding to set you up for an exciting career.
• Music Performance - Individual lessons, master classes, large and small ensembles • Composition, Song Writing, and Digital Music - Notated composition, music technologies, sonic art, and collaborations • Musical Culture - Music history, internships, music industry, music education
www.canterbury.ac.nz
MUSICTune Me In October 2017 Page 27 - Judith Bell - Judith songs we call our own songs we call our interest that you’ve shown interest that May your race be never run be never May your race
“I tip my cap to everyone“I tip my the for I thank you all for listening to the listening to all for I thank you May each moment never pass you by, pass you by, never May each moment Phil Garland (photo taken at Chisnallwood Intermediate) at Chisnallwood Phil Garland (photo taken Now it’s time to say so long, Let no song stay unsung” so long, time to say it’s Now From the song “So Long Mate” by Phil Garlandby 1997 from “So the Long album Mate” From the song A Sense of Place.
Fancy'. This year, 1000 Canterbury and Westland students performed these Westland 1000 Canterbury and year, This Fancy'. with August, songs at the Strumlocally-centred in Festival Strike and Blow 600 ukuleles and 120 recorders. Phil which turned up after he overheard 'Drowsy Maggie' being rehearsed. Maggie' being rehearsed. 'Drowsy Phil which turned up after he overheard This group has enjoyed performing his song 'Shores of Lyttelton' which tells the story of the first 4 ships arriving at Lyttelton and his gig 'Shiners perform his songs and so continue to remember NZ history and the art of telling story through song. The Chisnallwood school Irish band has a special donated bodhran from privileged to learn about NZ history to be able much workingby with Phil researched background of each song. on his songs and reading Phil's carefully been learn to a students easily basis being for able These andbooks have four of his previous albums into the music book “The Singing Kiwi, Vol 2 (kiwi 2 Vol Kiwi, Singing “The book music the into albums previous his of four A Sense were These albums 2007 while he was at Chisnallwood. in music)” I felt Home and Southern No Place Like Odyssey. Swag o’Dreams, of Place, drive from Culverden for him. for drive from Culverden While at Chisnallwood he used the school studio to record one of his to transcribe and I was able in 2012, Duff and Doughboys Damper, albums, was private throughout his career, but schools he taught at included Amuri schools he taught at included but was private his career, throughout 2013 he taughtThen from 1997 until RuruArea School and Rangi School. hundreds of students at Chisnallwood despite it involving a weekly long in the world of music education is perhaps less documented. in the worldeducation is perhaps less documented. music of students the artPhil taught hundreds of for music and folk guitar of playing teaching his of Much Christchurch in teaching 70’s. the since years, 30 over Phil Garland left us on March He 15 is this veryyear. well known for his immense contribution to NZ Folk music and for capturing the history of But his contribution and composed. which he both discovered NZ in ballads TRIBUTE TO PHIL GARLAND PHIL TO TRIBUTE
October 2017 Page Tune Me In 28 THE COLOURS OF NEW ZEALAND - Deborah Peter and Grace Smith
Carmel College Year 10 students Deborah Peter and Grace we had to write a song, we said, let’s write about something we Smith had never written a song before they entered Hook, Line want to write about. Not just do it because we have to,” Grace & Sing-a-long. told us. And the song’s theme? “I just sort of thought of it, and we brainstormed about each colour and put the verses together.” The Taylor Swift and Brooke Fraser fans, who became fast friends in Year 8, are the Overall Runners-up in the 2017 contest for their The pair described writing a song together as “fun, and we got song “The Colours of New Zealand” and winners of a $250 prize to learn a lot from each other… We had a lot of laughs doing from MusicWorks. it as well!” With the help of their music teacher Glen Child – who set writing It won’t be the last time Deborah and Grace write together. “You an entry as a task for their class – the songwriters chose a winning can go anywhere with it. You can do anything, any chords, any formula to craft their song: words you want to express, it’s a big place you can look around and just have fun.” “We listened to all of the previous Hook, Line & Sing-a-long winners, how many chords were involved, if it was catchy or not. Hook, Line & Sing-a-long is a collaboration amongst the NZ Music If you could play it on an ukulele and if a primary school could Commission, MENZA and MusicWorks to support and celebrate sing it. And we tried to base it off of those.” singing, signing and ukulele playing in schools. However, the duo didn’t feel restricted by the song guidelines. For free teaching resources for “The Colours of New Zealand” and “We didn’t notice all the rules – we just kept it simple. Because all of our past winners, please visit www.hooklineandsingalong.com.
Deborah Peter and Grace Smith
Tune Me In October 2017 Page 29 Œ œ œ ∑ ∑ ∑ ∑ ˙ ˙ ˙ œ ki, œ ki, œ fly breeze œ night œ - - œ œ D D ˙ i œ land œ - œ i i - the j r r œ œ mmer - œ tu j ˙ - - œ is C ˙ œ su y n j n ide ˙ ˙ D D œ œ œ C ka ka ‰ G œ tr land land and n œ pr - ‰ C - - œ - - our œ œ œ œ œ C C and ka ka the coun œ ‰ on G ˙ ˙ C C œ Zea Zea œ the œ nour ˙ - where œ œ œ œ our œ C ho œ New New n œ day œ œ of j œ œ of of ˙ ˙ œ us through œ œ œ ty sky œ our œ the - j j œ whai, œ whai, s s œ œ œ œ œ œ ™ ming with j j blue - œ œ beau œ œ lour œ lour E‹ E‹ - - out round - œ r ™ ™ œ œ ther œ - E‹ E‹ - - - j and œ œ clear ko ko E‹ E‹ ™ ™ blosso œ j œ Su ge ic œ j œ œ œ - co co E‹ E‹ g œ o - œ The T Through land - ew Zea s of N œ E‹ ™ ma ™ œ ™ œ œ ˙ Œ j E‹ œ The The œ œ ˙ ˙ j The œ œ ro ro œ land trees œ ight blue œ ™ br œ - - œ œ ka, ka, a œ œ œ - œ w Colour The - - œ ˙ - ™ y œ - œ cean œ po po r so œ œ œ ra ra œ - - - - Zea side œ D/F© œ ka - - œ te œ œ o œ A ro ro D/F© - œ œ - - by œ œ œ D D D/F© ka ka ys shine - œ A New œ œ D D œ m po po œ the œ œ of j side D/F© œ œ the for œ tu s s œ ˙ œ - i ro œ i, i, œ g lour ˙ ˙ lour ˙ ˙ g g j - - - - ˙ - - œ , , œ œ co co œ hu j j œ œ œ œ œ ran ro ro stand œ ran ran - po œ - - - - o œ e œ œ œ œ œ P - - ko œ The ko ko The œ ro W - - - - ™ ™ o Œ Œ œ œ œ œ œ œ Œ Œ D D D D D D G G G G ki ki Ki P Whe Whe # # # # # # # # # # CHORUS VERSE 3 CHORUS BRIDGE # # # # # # # # # # & & & & & & & & & & 71 75 79 83 44 48 53 57 62 66 2 œ ˙ ∑ ∑ j ∑ œ s-up 2017 ˙ ˙ ˙ ˙ œ ki, ge mel Colle ™ j œ G œ land œ one œ night œ Car - œ D Œ where y - - œ œ y er i the œ is v ˙ œ œ r ˙ race Smith eter and G er œ - j v j trees uit - e œ œ ‰ fr œ G - œ G ˙ D œ ka ™ and e œ œ G land œ ‰ G wi œ E‹ - - tumn j - - œ œ ki our P Deborah œ G œ au C ka ‰ G œ ˙ C ˙ on œ on Zea œ j ing-a-long Runner Line & S ˙ the œ œ ˙ the Œ œ ™ œ œ day œ and œ New A œ wn Hook, j œ round, and œ œ es of us ˙ œ do œ œ the œ a œ j leav ˙ tains œ whai, œ s œ - ™ œ j ning œ œ œ œ the E‹ j - out E‹ œ œ lour - all E‹ - ™ round œ of - œ œ D moun œ shi E‹ ™ j s - œ j œ ko Sur E‹ ™ œ œ œ œ œ lour co E‹ It's - brant ˙ Through - ‰ ™ œ co j E‹ œ Vi œ œ E‹ œ ˙ nd ew Zeala s of N œ ™ The œ œ œ land G œ ™ the ˙ sun œ œ share u ight œ œ ro - r a œ br j œ œ - e - œ œ ka, œ œ œ ful w ˙ œ fire - - - œ œ œ ko j so œ œ po e œ œ y ra v the œ - œ A œ A the ™ jo œ Ze A lo - œ œ œ ro of œ A E‹ œ - shine and œ D ka œ œ œ the the œ D mth po œ A ns New Colour The ˙ œ A ar œ Œ œ j for œ fer of w for œ j j œ s s ™ œ œ the the œ A whai œ œ œ i, ˙ œ ˙ lour g ki lour ™ - œ - - - j , œ - œ ro œ œ j œ co co œ j - ˙ œ ro ran i œ Ko ka œ - j œ r œ - - œ œ œ œ the - ko The œ Whe œ ra O ka ™ - - - ™ œ D ™ Œ œ œ œ œ œ Œ Œ D D D D D D G G ki Ka Ka All 4 4 Whe INTR q = 130 # # # # # # # # # VERSE 2 CHORUS VERSE 1 # # # # # # # # #
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October 2017 Page Tune Me In 30 2 - The Colours of New Zealand -
CHORUS 44 G D E‹ C D ## ™ j ™ j & œ œ ˙ œ œ œ ˙ œ œ ˙ œ œ œ œ œ œ Whe - ro, ka - ra - ka, ko - whai, ka - ka - ri - ki,
48 G D E‹ C D ## ™ j & œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ∑ ki - ko-ran- gi, po - ro - po - ro The co - lours of New Zea - land
VERSE 3 53 D A E‹ G # # ™ j ‰ j & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Ki - ko-ran - gi for the o - cean blue The clear blue sky where the tu - i fly
57 D A E‹ G # # j j ™ j ‰ j ∑ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Po - ro- po - ro the mys - te - ry The ma-gic and beau - ty of our coun- try
CHORUS 62 G D E‹ C D ## ™ j ™ j & œ œ ˙ œ œ œ ˙ œ œ ˙ œ œ œ œ œ œ Whe - ro, ka - ra - ka, ko - whai, ka - ka - ri - ki,
66 G D E‹ C D ## ™ j & œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ∑ ki - ko-ran- gi, po - ro - po - ro The co - lours of New Zea - land BRIDGE 71 D D/F© E‹ C # & # Œ ™ j ™ j ™ j Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ ˙ The co-lours of New Zea - land Su-rround us on our is - land
75 D D/F© E‹ C # & # Œ ™ j œ œ ˙ œ œ œ œ œ œ œ œ ˙ nœ œ œ ˙ The co-lours shine so bright Through-out the day and the night
79 D D/F© E‹ C # & # Œ ‰ j œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ nœ œ œ ˙ Po - hu - tu - ka - wa trees blosso-ming through the su-mmer breeze
83 D D/F© E‹ C # # Œ Œ ∑ & œ œ ˙ œ œ œ ˙ œ œ œ œ œ nœ œ œ œ ˙ We stand side by side To-ge-ther with our ho-nour andTunepr iMede In October 2017 Page 31 3 œ œ ∑ ˙ D œ ki, œ ki, land - - œ œ D D - G Buenos Aires - Casa Rosada Aires Buenos Band - Concert College Glendowie i i œ œ r r ˙ C - - Zea œ œ ˙ D ka ka land œ - - New - œ œ C C œ ka ka of ˙ C Zea œ s œ New j œ lour œ ˙ ˙ of j j - œ whai, œ whai, s œ ™ œ j co E‹ œ lour - - ™ ™ - œ œ ko ko E‹ E‹ ™ œ œ The co E‹ œ land - ew Zea s of N ro œ - œ The ˙ ˙ œ ro œ po - œ œ ka, ka, œ - Colour The - - œ - ro œ po œ œ ra ra - - - - œ ro œ D po - œ œ D D ka ka œ D po 0800 86 87 84 | [email protected] | tourtime.com i, ˙ g i, - ˙ ˙ ˙ g - œ , , j j ran œ œ ro œ ro - ran - œ ko œ - - ko - - O ™ ™ œ œ œ œ G G G G ki ki Whe Whe # # # # OUTR CHORUS # # # # Time are thrilled to deliver you music tours filled with experiences that will transform your life. with experiences to deliver you music tours filled thrilled transform that will are Time
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CHORUS 88 G D E‹ C D Music and tech have more exciting possibilities than ever! Michelle Ladwig Williams talked with the inventor of the Deluge, a portable ## ™ j ™ j all-in-one synthesizer, sampler and sequencer. He told us how his love of music and tech has helped him to start his own boutique music & œ œ ˙ œ œ œ ˙ œ œ ˙ œ œ œ œ œ œ electronics company! Whe - ro, ka - ra - ka, ko - whai, ka - ka - ri - ki,
92 G D E‹ C D Name: What was your first music and hardware project like? # In my old band, I was the drummer, my bandmate would make loops on & # œ œ œ ˙ œ œ ™ j Rohan Hill his loop pedal, and I’d need to stay in time with them. The loop pedal had œ œ œ œ œ œ œ œ œ ˙ ˙ an LED that would blink out the tempo, but keeping in time by looking ki ko ran gi, po ro po ro The co lours of New Zea land Hometown: Wellington ------at that was very tricky. I’d recently learned how to use an Arduino, and Job: Self-employed music electronics designer at Synthstrom Audible I realised that I could blu-tac a light-dependent resistor onto that LED, OUTRO and have the Arduino register when the LED was blinking, and play a 96 G D E‹ C D Studied: Victoria University of Wellington, Philosophy and Computer Science (scholarships helped!) metronome-style click through my headphones. We used this for a couple # ™ of years. It worked great except when the blu-tac came unstuck in the # j ™ j What kind of music did you like listening to when you were & œ œ ˙ middle of a gig, or when we tried to play outdoors in direct sunlight. œ œ œ ˙ œ œ ˙ œ œ œ œ œ œ in school? What kind of band were you in? Whe - ro, ka - ra - ka, ko - whai, ka - ka - ri - ki, You must have had a lot of trial and error when building the I was an early 2000s / late 90s rock kid, playing guitar and drums in covers Deluge. What drives you to persist and keep trying when bands of questionable quality with my friends. I wish I had something building a project? 100 a bit more inspirational to report! Contrasting with my current career G D E‹ C D G I’m just kind of an obsessive person, and stopping never seemed like an running an electronic music hardware company, I wasn’t exposed to option. I just always have to be working on something creative and self- # any electronic music that I really liked, and certainly didn’t know a thing # ™ j ∑ directed. Also, in between quitting my last job and the Deluge beginning & œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ about synthesizers. ki - ko-ran- gi, po - ro - po - ro The co - lours of New Zea - land to succeed as a business project, there was a period where I didn’t know In school you were interested in both music and computers. how much longer I’d be able to sustain my mad-inventor lifestyle, so there When did you first think about putting them together? was quite a sense of urgency to get it finished. In school I did recording on computers, and made MIDI music for You are now part of a team that is building and marketing your computer games that I made, but computers and music were a separate product. What kind of personal, thing for me. Aside from recording, it technical and professional skills was only a few years ago that I became do you think are important to be interested in using my computer as a successful in this role? live instrument and guitar fx processor You have to be ready to deal with - something that’s quite difficult to unexpected circumstances on a day-to- do, and I really needed to get quite day basis when you’re dealing with so creative to make it work the way I many people, manufacturers, suppliers wanted. For a while I was playing, and and customers. It can get extremely occasionally performing, with my guitar busy, and it’s certainly not for everyone. being processed through a vast array If you like having set work-hours and of effects (some partially created by finishing at the expected time, starting me), with an elaborate MIDI controller your own company might not be the footpedal that I built controlling them. best option! I can only do it because Technologically it was quite spectacular, I’m so obsessed with our product that but around that time, I got so busy working til midnight seems normal. That developing the Deluge that I stopped said, I am able to more-or-less choose having much time to play! when I work, and schedule time off How did studying arts and STEM for other creative projects whenever help you get to where you are I need to, so I am extremely lucky to today? be able to be my own boss. My BA was something I was passionate about at the time and got satisfaction from, so that was worth doing. My computer science study, primarily focused on software development, was essential in being able to create the Deluge’s firmware, which is a very complex piece of software.
Tune Me In October 2017 Page 33
October 2017 Page Tune Me In 34 Tune Me In October 2017 Page 35 tUNE mE iN TheMenza magazine
MENZA (Music Education New Zealand Aotearoa - Mätauranga a Puoro o Aotearoa) is the national professional body that represents the interests of all education sectors in this country. www.menza.co.nz
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We’re pretty big. With over 400 members, MENZA is one From practical tips on organising a recital or enjoying your of the largest, strongest and most organised subject associations school production, to researched articles on music psychology in New Zealand. We represent a broad spectrum of music and pedagogy, or thought provoking personal insights on educators, from ECE to primary and secondary schools, itinerant creativity, inclusiveness and excellence, Tune Me In provides a teachers, private tutors and more. platform to share teaching resources, knowledge and expertise relevant to music education in Aotearoa. We’re delivering on professional development. In the last 12 months, over 150 members attended professional Our members are our greatest asset. MENZA represents development workshops, talks or events across six different a committed network of music specialists and educators, many regions. That is over a third of our members benefitting from of whom give up their time and energy to support the music MENZA PD opportunities around the country. Later this education community through presenting workshops, organising year, we are looking to provide opportunities for teachers in and assisting with music festivals and events, or simply by sharing Northland and Nelson, as well as the main centres – watch their knowledge, ideas and experiences with other members. As this space! a MENZA member, you are part of a supportive community of engaged, enthusiastic educators to learn from, collaborate We provide a platform to get your events noticed. We with and celebrate music in all its forms. can help you promote events, activities and performances in your area by providing FREE event listings on our website. We celebrate achievement - and work hard to make We also encourage members to join and share events on sure the unsung heroes of the music education community are our facebook group – because music should be heard, shared, recognised and always delight when one of our nominations celebrated and enjoyed! makes it through to be recognised in the New Year’s and List your event today. Visit menza.co.nz/events Queen’s Birthday Honours.
We’re making some noise on behalf of music HOW YOU CAN HELP education. Last year, our advocacy work for primary education saw MENZA interviewed on Radio New Zealand and featured Spread the word. The more members we have, the wider in the Dominion Post and New Zealand Herald. We are proud your network of support and the greater the opportunities of our advocacy work for instrumental music teachers, working for collaboration and shared expertise. By representing a large with the IRMT to develop a teacher education refresher course and diverse community of music educators, we can stand up, tailored for ITMs that is now more affordable, relevant and be counted and influence change. If you know somebody who manageable for all concerned. might benefit from membership, or may have something to offer other members, spread the word. Membership starts We’re a powerful voice at the table. As the official from as little as $30 per year. subject association for music education, MENZA nominates and is represented by members on MOE, NZQA, PPTA and Get your event out there! List your event on the MENZA other advisory or regulatory education review groups. We website and share it with over 400 engaged, enthusiastic music listen to our members and advocate on your behalf to ensure education professionals at menza.co.nz/events. that music education in New Zealand can thrive at all levels, Get involved. If you would like to help bring professional all over the country. development opportunities to your area, have expertise you We recognise the unique landscape of music wish to share, or want to discuss how you can contribute to education in Aotearoa. That’s why we provide local New Zealand’s music education community, we would love to content, resources, research and teaching tools, written by hear from you. You can contact us at [email protected] and New Zealanders with kiwi kids in mind. Our involvement in we will be in touch. Hook Line and Singalong ensures kiwi songs are transcribed Do you know someone who would appreciate becoming a MENZA and shared to be used as a resource to sing, sign in NZSL and member? Gift subscriptions are also available for just $30. Email strum along to on your ukulele. [email protected] for more information.