The The ENZA magazine MMENZA magazine 2010 in this issue... Volume 6 Classical Music in Early Childhood, the CeleBRation Choir, Invercargill Schools’ Number 2 Sing Out, Strike Up the Band Part 2 plus much much more December December 2010 The Menza magazine in this issue . . .
3 Editorial: MENZA in the next decade – Errol Moore Sound Arts is published by: Impressions of the 29th ISME Conference MENZA: Music Education New Zealand Aotearoa. 5 Stuart Wise and Stephanie Lees It is the professional magazine for all New Zealand music 7 Bang Ting Scrape – Celia Stewart educators. MENZA has as its vision: 9 Classical Music in Early Childhood – Trish Moor Making Education brighter through Music. A Conversation with Itinerant Music 10 Teacher, Anna Bowen – Tracy Rohan Classroom Conversations About Many Musics MENZA maintains a website: www.menza.org.nz 11 Tracy Rohan !e postal address is: MENZA 13 Invercargill Schools’ Sing Out – Michael Buick PO Box 27499 15 Strike Up the Band Part 2 So You want Marion Square to Start a Band? – Andrew Stopps WELLINGTON 614 The Great ‘Waiata-O!’ at Hillmorton High 18 Eleanor Sim A Continuing Journey in Literacy in the 19 Music Classroom – Kathy Thompson MENZA Board Members Celebrating the Challenges of Collaborative Errol Moore Otago [email protected] 20 Performance – Glenda Keam with re!ections (President) from Chris O’Connor Sally Bodkin-Allen Southland [email protected] 22 Enrich – Kelly Kennedy Stephanie Lees Auckland [email protected] 23 Chisnallwood Music Wiki – Judith Bell Millie Locke Auckland [email protected] The CeleBRation Choir: Community Music Therapy Jennifer Moss Manawatu [email protected] 26 for People Living with Neurological Conditions Ivan Patterson Masterton [email protected] Alison Talmage and Laura Fogg Celia Stewart Canterbury [email protected] Playing in Tune-Working Collaboratively in Music 27 Therapy – Morva Croxon and Heather Fletcher Vicki !orpe Wellington [email protected] MENZA around the Country Angela Warmke Hawkes Bay [email protected] 28 High Tech, Low Tech; Anything Goes in the Maria Winder Auckland [email protected] Supercity (Auckland) 29 Jazz for Juniors (Canterbury) Editorial Coordinators 30 Marimba Festival (Canterbury) 31 MENZA AGM Overall content Celia Stewart [email protected] [email protected] 32 Dunedin Jazz Day (Otago) ECE Helen Willberg Primary Tracy Rohan [email protected] 33 Live Music in EC Centres (Southland) Secondary Stephanie Lees [email protected] NZ Ukulele Festival – 27 November 2010 Glenda Keam [email protected] 34 (Auckland) Tertiary 35 It’s Christmas Time The Editorial team encourage reader feedback. If you have any comments or experiences that relate to articles published in Sound Arts, please mail or email them to Bronwyn Pou, the MENZA Administrator at [email protected] These may be printed in the next edition of the magazine or published on the MENZA website. For advertising inquiries, contact the Administrator, The views expressed do not necessarily re!ect the views of Bronwyn Pou at [email protected] the MENZA Board and the Sound Arts Editorial team. !e magazine is typeset and printed by Printlink, The Editorial team request that sources are rightfully 33–43 Jackson Street, Petone, Wellington acknowledged in all MENZA publications. Where it is felt a breach of this protocol may have occurred this can be noti"ed to the editor or directly to the writer. MENZA has an expectation of ethical practices in the matter of disclosures.
Cover photo: Charlotte, 5 months, enjoys music making with instruments Editorial MENZA in the next decade Errol Moore
ENZA Board members have been talking to representatives of the association in areas of the country where we seem to be more robust and active. From these conversations and comments made at the AGM in October, some ideas have emerged about how MENZA could enhance its Mnational presence.
Building our membership is an obvious solution 2. While past national professional development initiatives have not impressed in some cases, We believe that MENZA is now the body that most music educators who wish to MENZA’s role in letting people know about be involved in a professional association are part of. We know our cornerstones available expertise from different parts of the are member schools, individuals and the associated groups we know as LCP (Local country is applauded. Community Partners) spread around the country. The community partner groups work in di#erent ways, for example Music Education Otago has a small membership 3. The Sound Arts Magazine and support of national fee with some also holding membership of MENZA. In Christchurch, attendance at conferences are regarded as two essential and workshops constitutes as membership of the local group and there is no local fee. ongoing functions of MENZA. In Auckland members join MENZA and current local activity is organised by willing 4. Networking amongst the local community partners individuals rather than a committee. and related professional organisations at national From information gathered, we learned the local groups like the autonomy of their and regional levels is regarded as a priority. For own constitution. This brings advantages of self direction and access to funding from example, the annual meeting was informed of local trusts. However, using the Auckland model, a local group just needs a bank interest in more deliberate interaction from the account because charitable trust status and incorporated society status (needed registered music teachers and the music therapy to apply for grants) are taken care of through MENZA. In the end the constitution association for example. There are many others! allows the board to be inclusive of a range of solutions. Our interest is that the goals We wish to respond to this in a national sense as of local groups have synergy with MENZA, and that there is legal/"nancial protection such underground networking work may remain for people in positions of responsibility at local and national levels. the best way to reach politicians and the Ministry of Education. Because of the feedback we have received, in the next few months we will explore how mutual bene"ts between local and national membership can be improved and reconsideration of our constitution. I encourage local providers (LCPs) to do the MENZA’s response same. For example, as a member of Music Education Otago, I am constantly grateful for the national negotiation and advocacy work that has gone in from MENZA by As a result of what we have learnt, these are suggestions people such as Stephanie Lees, Celia Stewart and Chris Archer, usually stealthily the Board wants to act on: wearing several hats. My small fee to MEO would never achieve this! t Sustain a board that allows both sector and loosely regional representation. Investigate possible cost Who do we represent? sharing for regional representation. As a Board, we think MENZA needs to be more geographically representative as well t Run full day board meetings that are in di#erent as the music interest/sector frame. This would give the board greater con"dence in its parts of New Zealand so that participation of local national mantle during a period (hopefully brief) of almost no school support hours community and mainstream teachers can occur. for music, inherent threats from curriculum change and reductions in mandatory This may mean higher meeting costs for all or teacher training hours across the universities. In short, we would like to see MENZA part of the board so local groups may be invited able to be a support agency for more teachers engaging learners in music. to support board members. We would like to approach this in collaboration with the local partners (LCPs) t Develop our Facebook presence to share news, that are e#ectively providing workshops and other initiatives. In doing this, we the results of workshops and presenters, great are mindful of the contribution of other groups which were not around when ideas. For example did you know that Celia Stewart MENZA, then NZSME, came into being in the 1980s. Some of these national and has already presented on Kiwi Kids Songs 17 in community bodies like the New Zealand Choral Federation are catering for niche several parts of the country? Did you know that musical development and have support from passionate educators and musicians Grace Davey ran secondary teacher administration in schools and community. workshops in Auckland and Wellington this year? What do groups want from us? t Support the initiation of informal or formal groups From the recent AGM and the survey amongst regional groups and randomly (LCPs) in other regions. For example, new board chosen members we learned: member Sally Bodkin-Allen has been the driver for 1. MENZA is seen as the source of advocacy for music education, particularly in the establishment of a group in Southland. connection with mainstream education.
Sound Arts July 2010 Page 3 currently receive. Perhaps that that Perhaps receive. currently is radical, but I am convinced MENZA can achieve than 102 more individual and 181 institutional members across Aotearoa. New Zealand this reading hopefully are You you If member. interested an as have ideas that could give us clearer direction and how to be of more use to your work then speak up! Your passion and critique are essential at a time when the existence and quality of music education is ever more reliant on school, early childhood and tertiary institutions’ decision making. contribute MENZA might What to your musical professional can How 2020? in development we support you? How could you contribute? Please let us thoughts. your know somewhat. For example, 45 new new 45 example, For somewhat. individual an paying members would $35 of fee membership we as income same the produce It does not take much thinking to never realise that has such MENZA is reality The money. cost strategies had reserves to undertake much of this work and without doubt, goodwill will always be an essential $18000. round is income annual Our it. in ingredient year), a ($12000.00 Arts Sound roughly are costs Our cant " signi Pou’s Bronwyn for reimbursement modest administrative role ($5-6000) and airfares only for three face to face board meetings a year ($2500). It is resources no surprise that personal the board the "nds on itself "nancially piggybacking on dependent providers, music/education other members, board of members. board of employers the or do? to What MENZA to We think it would be to a advantageous reconsider belong educators music which in framework a forward groups regional that or instance, rst " the in members of number the As fee. local their of portion the fee be could for expands, an reduced individual rofessional P elated elated R Equipment YOUR PLACE PLACE IN THE WORLD YOUR rganisations) like Choral Federation, Chamber Music and New Chamber Zealand like Federation, Choral rganisations) as the diversity of composers and song writers. and song of composers as the diversity in expertise with people incorporate which initiatives advocacy Mounting hand. at the matter as to roles on related possible communication more proactive Fostering ISME. body behalf of the international MENZA, METANZ and MERC. MENZA, METANZ professional and training access educators music assist to ways Fostering development in conjunction with groups ( O Association. Or # the Providing networking opportunities for people involved in community, as well making, music genre and cultural and commercial contemporary, Increasing membership through involving music educators in ECE, Schools, Schools, ECE, in educators music involving through membership Increasing Tertiary including pre-service Fostering links to research (MERC) and supporting their work as critical teacher annual least at Establishing advocacy. and educators.priorities MENZA informing for arms, education music Zealand New current three the amongst discussion University of Otago | College of Education | College of Otago University Over 150 instruments are available for to schools withinhire the Otago for available are 150 Over instruments region. BOOKINGS FOR PLEASE CONTACT: Coull Michael [email protected] Email The University of Otago College of Education offers quality classroom classroom quality offers of College Education of Otago University The to support music programmes classroom your for equipment musical and ensemble music projects. creative children’s Music Scheme Support t t t t ectiveness by: by: ectiveness # e networking up Beef t t t Sound Arts July 2010 Page 4 Impressions of the 29TH ISME Conference August 2010 (Beijing): “Harmony and the World Future” he ISME Conference was held in the Convention Centre at Olympic Park in Beijing. The size of the venue was impressive, the sheer scale of the event became evident at the opening ceremony where the hosts provided a musical journey describing travelling along the silk route stopping Tat various countries on the way. Some of the playing and the accompanying dancing was truly breathtaking, a highlight for me being the “many- handed Buddha” performed by deaf performers. Their skill and the skill of their assistants was incredible.
For me speci"c highlights included a presentation by Susan Hallam from the Institute of Education in London. Susan has done considerable work examining the power of music on the intellectual, physical and emotional development of children. Susan is a psychologist with a speci"c interest in how music can in!uence children’s development in these areas and speci"cally how music can help in developing reading and maths skills. Her "ndings should be read by all facing the challenge of implementing national standards in literacy and numeracy. In my own area of research to do with digital technology, the standout workshop for me was presented by Gisle Johnsen who represented Grieg Music Education from Norway (www.griegmusic.com). Gisle demonstrated the web-based system he and his colleagues had developed and, although the great "rewall of China made easy connection to their website di$cult, he was able to demonstrate how students can manipulate interactive web-based performances to create their own work in a number of styles and genres. It is di$cult to describe how incredible this was to see in this short article but I would suggest going to the website to get an idea of what students in Norway and in schools across Europe and the UK can access. Another impressive workshop was presented by Keith Tan from Singapore who showed how he and other colleagues have created a fully integrated creative arts programme using much of iLife on Mac for Singapore schools. He works with a Chinese composer to teach primary school students the basics of songwriting using GarageBand and then develops this into an integrated project using animation software so students are able to present a story they have created with their own animated characters and their own music. It was a great experience, the hosts’ level of organisation was impressive, the number of presentations and workshops covered a wide range of interests and areas of research and the experience of being in Beijing and in China one that I thoroughly enjoyed. And, "nally, it was hot! Stuart is currently Senior Lecturer in Music Education and Programme Coordinator for the GradDipTchLn (Sec) at the University of Canterbury College of Education. His PhD research looks at teacher and student perception of digital technologies in secondary music education. Stuart Wise (Canterbury University)
Sound Arts July 2010 Page 5
TH the throngs trying to get into her her into get to trying throngs the (New Music – Zealand Commission sorting the Chinese delegates – many young teachers, were were teachers, young – many delegates Chinese the these and workshops practical the in interested very were packed – like Susie Splitters-Davies presenters conference! this of stars rock the were Australia from (Guards were of MENZA the quality the I realised also workshops!) by ered # o been have that presenters and workshops There class. world are in years the few our last locals exportare opportunities indeed! here 30 The veryso am I – I went. glad experience great A start – Thessaloniki at 2012 July in is conference ISME now! saving Stephanie Lees Education Manager) # o nipped I and practice hours) of (couple quick a for show!). Acrobat Chinese the see to to seemed conference the at encountered music local/regional The on saw I music the from remote rather be pumping was I suspect what and TVs stations at the ears of thousands the to attached ipods the through of the subway commuters around me. Noticeably century century ST jam with some Korean instrument sellers in the trade sellers instrument Korean jam some with together (who seemed unable to converse otherwise). I otherwise). converse to unable seemed (who together
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he amazing opening concert,to previously,the Sundaywas alsonight a highlightAlovarakitesvara”,that the StuartKoreanfor Ancient me.Courthas Music, I referredthetoo Monglianloved Choir, dancesthe ‘Thousand-arm to the kiwi dinner. (I quickly realised that, although we both had taught piano quite quite piano taught had both we although that, realised quickly (I conservatory dinner. the kiwi to # the o to nipped she – me to category erent # di a in was she that bit, a enjoyed enjoyed an little A Scottish?!) look I (Do approaching. me saw they when it started who – area I later, was enjoying a Chinese pianist and a traditionally dressed African tenor while getting into with spoke I people of multitudes the from more learnt I to ways, many getting in great think, was it – place meeting friendly a shop” ee # “co the around hanging her invited we so delegate Hungarian only the was she – Hungary from Judit know nal public exams exams public nal " for facility no has school, secondary of years rst " the to through has million, 5 of population a with Norway, Whereas like). the and (NCEA music in as and, all) for union musician the as (acts equivalent MENZA its of members 7000 pre re story news good western only the was Portugal e-news, the in mentioned I service music education. One of the best things was the universality of music as a common language. I Musical aptitude testing (the presenter had a fascinating evangelical fervour for fervour had evangelical (the a testing presenter aptitude Musical fascinating – a symposium Dunbar Creativity and Peter Composition , assessing TV a to preacher) akin this Cambridge), from speaker keynote 09 (MUSIC Burnard Pam including – end Hall and east others in was excellent and animateurs so relevant. I training checked up action in on him Peter Moser’s saw I – Asia in work Moremusic) (Uk’s new a to translated this how see to interesting was this so ago years some London education music compulsory has it although Netherlands, the that learnt I setting. often wise to stay for 2 half hours in one place as many papers werethen maybe backjust change to rooms onback that corridor. (Oneand needed to queue ahead to get into most of the popular lunchtime concerts – I took a day or two to learn this). few next the over topics varied some in taking me found approach dip’ ‘lucky The deaf singers in Alberta, 21 Australian Tone of Pianos, Team including: A days repertoire for clarinet ... (or titles these) approximating Assessing Musicianship, one was presented with a weighty tomb full of the hundreds of papers and workshops being presented, concerts and symposia. I was at a loss to know how I would find time to read all the abstracts let alone work out which would be of the most interest and use to me). We picked out the few names of people we all knew to be of interest and then they basically suggested a dive in with “luckya approach!dip” The place was huge and it took quite some time to get from one floor to another and to find rooms and so on – so it was T from the Tang dynasty ... the sumptuous costumes, buthorns I won’tconfess catchI hopeon thein Tibetana big way here! concourseI rushedpast the “Birdsnest”, the fromkite flyers myand sohotel on to acrossstart the thefirst action-packedOlympic day. I joined some veteran conference-going Norwegians in the sagecafe advicewho aboutoffered dealing me with the overwhelming number of options. (At registration Sound Arts July 2010 Page 6 BANG, TING, SCRAPE Untuned percussion instruments in Early Childhood Celia Stewart
hildren love nothing better than the opportunity to play percussion instruments. The best thing about that is that it’s so good for them! First of all there are the obvious music learning outcomes: Cunderstanding and experiencing the musical elements of beat (the pulse), rhythm (the pattern – long and short sounds) dynamics (loud and soft sounds), tempo (fast and slow sounds) and tone colour (the quality of the sound – is it a triangle or a drum?), the ability to recognise the different sounds that can be made through different playing techniques and the creative opportunities for improvisation and composition these instruments provide.
Then there are the important physical aspects of "ne, motor and hand-eye co-ordination required to master these instruments, the social aspects of playing together in a group and turn waiting, and the emotional aspects of developing self-con"dence, self-expression and a sense of belonging.
Managing an instrumental session can be an issue – it is important to have clear guidelines around how instruments are used in your centre/ classroom. It is vital that children know that these instruments are taonga, treasures that need to be treated with great respect and that they are regularly shown safe ways to hold and play the instruments. Instruments must be of a high quality and in good condition. Don’t compromise on the quality of the instruments you purchase and don’t leave broken and unsafe instruments in the instrument box.
Sometimes it’s di$cult to think about new and creative ways to use these instruments so here’s a few possibilities that always work well with young children: t Spend some time with the children familiarising them with the names and sounds of the instruments. Some may like to draw pictures of the instruments. t Go behind a screen and play some of the instruments and let the children guess what you are playing. t March to music playing on the beat. Use music with a strong marching beat such as Radetsky March (Johann Strauss). Include some contemporary Maori and Paci"c Island music. t Play along to songs with appropriate words (see following page) t Divide the instruments into four categories, wood, shaker, skin, metal – sit the children in groups, put on some music with a strong beat and point to each group in turn to play along. t Crocodile Mouth – explain to the children that when your hands are together the crocodile is asleep and they have to play very softly, as your hands slowly separate the crocodile is waking up and his mouth is opening and you need to play louder to scare the crocodile away. Open and shut your hands and the children change their dynamics accordingly. t In order to explore di#erent playing techniques use rhymes such as Five Fat Sausages (i.e. Five fat sausages frying in a pan, sizzle sizzle sizzle sizzle, one went BANG! etc.) where the sizzle is a soft continuous sound and the bang a single loud sound. t Sound Around – if you have a reasonably large group get them to sit in a circle and go round the circle getting them to play one sound each (just one sound – some will try and do more!). Gradually speed up as they get the idea. An extension of this is that they don’t make their sound until the sound before them has stopped – that way they get to see the di#erence between the instruments that resonate and those that don’t. t Find or write some poems that have characters or objects that could be represented by di#erent instruments (or categories of instruments) e.g. There once was a mouse. In this poem the mouse could be represented by a triangle, the house by a woodblock and the sea by a rainmaker.
Sound Arts July 2010 Page 7 *We’ll be playing very can be playing loudly if we *We’ll very be playing softly can if we *We’ll very be playing quickly can if we *We’ll can. very be playing if we slowly *We’ll can we if on the guiro be playing *We’ll can on the shakers if we be playing *We’ll (Tune: Here we go round the mulberry bush) way the is This mulberry the round go we Here (Tune: This is the way we play in the band Play in the band Play in the band This is the way we play in the band Wednesday On a sunny loudly play... we is the way *This softly we play... is the way *This quickly we play... is the way *This play... slowly we is the way *This the tambourines play... is the way *This the drums play... is the way *This Can!! We If Mountain) the Round Comin’ (Tune: We’ll be playing in our band if we can can we if band our in playing be We’ll We’ll be playing, we’ll be playing We’ll be playing, we’ll be playing We’ll be playing in our band if we can is a private music education consultant providing professional 8-beat pattern back. This will take lots of practice for the children to feel the to feel the children for of practice lots take will This back. pattern 8-beat beats. 8 the of length ects. e# lots of fun with and have experiment to children Make up a story or read a story-book and use the instruments to add sound sound add to instruments the use and a up a story-book Make or read story the for available them have regularly, use the instruments Most importantly Echo rhythms –tap out a 4-beat patterns for the children to echo. an improvise and children pattern – an tap out 8-beat and answer Question
development to primary schools and early childhood centres through her business, business, her Celia through Stewart centres childhood early and schools primary to development Music. Into Tune t t t t "nd useful as well: might you of websites a couple Here’s http://www.earlychildhoodnews.com/earlychildhood/article_view. aspx?ArticleID=496 http://www.suite101.com/content/preschool-music-and-movement-a29893 Songs to Play Along With Along Songs Play to *Listen to the tambourine... to *Listen the drum play... to *Listen Listen to the music 1 2 3 3 2 1 music the to Listen the music 1 2 3 to Listen the music 1 2 3 to Listen the music to Listen Play it very loudly 1 2 3 Play it very loudly 1 2 3 Play it very loudly 1 2 3 the music to Listen it very*Play softly... it very*Play quickly... it very*Play slowly... Everybody play with me Everybody play with me with me... loudly play *Loudly, softly with me... play *Softly, quickly with me... play *Quickly, with me... play slowly *Slowly with me... play the drums now *All with me... play the bells now *All clap with me... the hands now *All the Music to Listen Lou) my to Skip (Tune: Everybody play lamb) with me little a had Mary (Tune: Everybody play with me Play with me, play with me Round the tiny little house little tiny the Round The tiny little house by the sea little mouse But the tiny house the in lived Who Was as happy as a mouse could be The sea crashed ...... crashed sea The The sea roared ... There once was a mouse little mouse A tiny Who lived in a house little house A tiny little house near the sea A tiny
Sound Arts July 2010 Page 8 Classical Music in Early Childhood Trish Moor
hy classical music? Why is it so important Music in the early childhood centre needs to occur as a regular part of the programme. for young children to be exposed to classical This is where recorded music has its place. Some ideas that have really worked for me are; playing excerpts from Saint-Saens The Carnival of the Animals (2002). This music? There are many reasons why this is so. W can follow on with children’s interests in animals. The Aquarium is a good one to use. I would introduce this by reading Commotion in the Ocean (Andreae & Today, we are in a culture that largely disregards the Wglowycz, 2000), take the children in groups to see "sh swimming in a "sh tank simplicity and yet profundity of classical music. Music and then play the music, giving each child has a great many aesthetic qualities and it doesn’t take a scarf to ‘swim’ like the "sh in the "sh tank. a trained musician to see what e#ect it has on people. When I did similar things with The Elephant, Consider the national pride when the New Zealand there was elephant hysteria in the Centre National Anthem is sung at a rugby match, for example. for several weeks. The children lived and Music evokes a wide range of emotions. breathed elephants. The Tortoise and The Early childhood centres exemplify the power of music. Swan had similar ripple e#ects. Young children react either positively or negatively to the music being played. I know when I have worked Peter & the Wolf (Proko"ev, 1990) is another in a Centre where the noise levels from the children really good recording to use. Here, the have been high, a CD playing Brahms’ music caused the children are invited to paint with dye as noise level to decrease markedly. Here, there is a real the story unfolds. Some really interesting case for the playing of classical music that is appealing. and depictive paintings emerged. Several Don Campbell, who wrote The Mozart E!ect, stated that weeks later, one child asked for Peter & the there were many real life situations in which mental Duck again. and physical health improved with planned exposure Overture to The Magic Toy Shop (Respighi, 1990) can also be used. Here I encourage to classical music (Sta#ord, 2010). Dr Gordon Shaw them to think of their toys and imagine them coming to life while they are asleep also stated that classical music can play a part in the (I have asked the children to lie down with their eyes closed while I play the development of the brain (Sta#ord, 2010). recording). After the Overture has "nished, I then ask the children what toys they Sam Qam & Jack May (2010) stated that while there have pictured. was no concrete evidence to support this, there are An excellent resource for the early childhood teacher is My First Classical Music a great number of theories as to how classical music Book (Helsby & Chapman, 2009). It is a book and CD put out by Naxos and it is may help brain development. One theory suggests short stories, introducing each piece of classical music. It is presented in a manner that this is because the appropriate classical music has appealing to children. more complex rhythms and yet it is simply presented, making it easier for young children to absorb. (Qam Yes, indeed, there is a strong case for classical music to be played in our early & May, 2010). childhood centres. We are the ones who need to ensure that such practices are not only in a past era. Classical music is timeless and thought-provoking, it Swanepoel (1998) stated that when baroque music is belongs to our culture, and its practice and appreciation has inestimable bene"ts played while children are concentrating, memory could for humankind. increase by as much as 26%. It is because baroque music stimulates the right and left hemispheres of the BIBLIOGRAPHY brain, thus helping concentration (Van der Linde, 1999). Andreae, G. & Wgtowycz, D (2000) Commotion in the Ocean London: Orchard Books. Swanepoel (1998) also stated that there is a crucial time between the ages 2 and 6 years when the front lobes De Vries, P. (2010) Music. Play for life. Music Council of Australia. Monash University. are growing the fastest (Van der Linde, 1999). Helsey, G., & Chapman, J. (2009). My First Classical Music Book. China: Naxos Books. Studies have also shown that if music is played Prokoviev, S. (1990) Peter & the Wolf. Bratislava: Naxos. continuously as a background noise, no matter what Qam, S. & May, J. (2010). http://Ezine Articles.com/?expert=Sam Qam. the quality, it has a detrimental effect, as young Respighi, O. (1990). The Magic Toy Shop. Philadelphia: CBS Records. children will block the sound from their minds (de Vries, 2010). Sta#ord, K. (2010). The Bene"ts of Early Childhood Music. The Music Education Madness Site. Google. Live music is preferable as the children actually see the Swanson, B. (1969). Music in the Education of Children. (3rd ed.). Belmont, California: instruments being played (Swanson, 1969; Willberg, Wadsworth Publishing Co. Inc. 2010). The sound is reinforced by the visual e#ect, and concentration is enhanced. This is not always possible, Van der Linde, C.H. (1999). The Relationship between Play & Music in Early Childhood; but one way to achieve it in the early childhood centre, Educational Insights. Education. Summer 1999. is to invite children who are homeschooled and who Willberg, H. (2010). Young Children Choosing an Instrument to Learn. In Sound Arts, play instruments, to the Centre and invite them to play Vol. 6, No.1 July 2010. to the children. Once when I did this, my children were particularly eager to hear the 5 year old boy play the Trish Moor is a trained early childhood teacher who has a special passion that young recorder. It was something they could really relate to children are exposed to the world of music – by reproducing music in singing, playing as he wasn’t much older than his listeners. musical instruments and by learning to appreciate music by listening to it. Sound Arts July 2010 Page 9 We We ee, cappuccino”. cappuccino”. ee, ! co “tea, “duck, duck, elephant, duck”. duck”. duck, elephant, “duck, for and example), when we sit back more easily for example, or clapping rhythms all at the the at all rhythms clapping or example, for easily more and same the always is song welcome Our time. same songs echo and chants some some have we up then make circle, a in and turn in sing each children the where next the boys week, one girls (often actions and words Doctor farm, alligator The long). too takes it otherwise Three the and Ocean the over Charlie Knickerbocker, at familiar very are These favourites. my are Rap Bears into settle to able is circle the and year the of end the a dance we that After easily. together sing and beat a from Polka with dance little (The actions Pat-a-Cake “Pukeko Stomp” in to a the we instruments circle play the classroom These mandolin. the with sing I which songs of variety slow. and fast stopping, soft, and loud about songs are erent # di the about learn and improvise children The instruments. We pass the instruments on regularly I Sometimes ones. erent # try to get di all so students reading For and hand out we buckets rhythms. play fours of grid a in board the on pictures draw I rhythms ducks draw can I four...” “After it. clap children the and and elephants very fast: We practise whole, halves, quarter notes, rests and proper with practise classes Older way. this sixteenths notation and beverages: How do you go about planning? planning? about go you do How In my junior classes, up to year 3, I try and have a little bit of “everything” every lesson (covering all beat achievementthe objectives)into and settling plenty of repeatsimproving, are so they nd " students I use theback “Sing”come I nd " I booksand a accompaniments, lot instrumental quite for sing We songs, too. lot Ia likeresources the Melbourne’s Hirini to three year from class in songs part and canons few a upwards. Apart from these very regular activities I plan three or a four lessons term a where the practise children song that uses (Jon glockenspiels Madin resources) (usually dance new a learn might they Or ukuleles. or a I dance in folk from playing a learned bush band), Paul Wheeler resources, and we sing “Billy Batter” before before Batter” the I from get of which all rhythms, with “Billy games play sing we and resources, Wheeler Paul other songs. singing Anna Bowen Anna
She is also a well-known musician, playing in the contemporary folk duo, Catgut & Steel, along with Dunedin musician Mike Moroney. She has a nna Bowen is an itinerant music teacher working in Dunedin schools. A Conversation with Itinerant Music Teacher, Teacher, Music Itinerant with A Conversation an idea of their individual pursuits in music. music. in pursuits individual their of idea an How do you assess where the children are at with musical development? I imagine imagine I development? musical with at are children the where assess you do How some of them will be learning music privately? the at nd " I activities class with packed and noisy hands-on, are classes the Because I and hardly names students’ of the all remember don’t I still term rst " of the end I and usually plan know loves/hates. backgrounds for their strengths, individual short in student performances term two where can students bring in their own of more much me gives which class the of front in them perform and instruments songs, songs sheets to hang up, buckets to play rhythms on, whiteboard markers markers whiteboard on, rhythms play to buckets class up, in hang to sheets show songs to songs, instruments instruments, percussion school the ukuleles, often and I a have up who lot in running come of or the students help from glockenspiels. phrase. favourite is my “Need help Mrs. Bowen?” carrymorning to things. one or and tea, one two or after morning I before After set up I two classes have lunch. after two to integrate my music within the current themes in the classroom, but also to talk talk to also but classroom, the in themes current the within music my integrate to and of talents observations teacher’s the and strengths their students, the about week. a minutes 45 my in miss might I which has student a culties $ di maybe school? each to instruments and resources own your bring you Do my take I which to day, the for classroom a with me provide at teach I schools The own which resources include speakers and an i-pod, a mandolin to accompany My classes are often quite separate and teach are units I do though try nd the to classroom " out what fromprogrammes, classroom units and school-wide songs about butterflies or Anzac as appropriate andother I the geton involvedand productions and performances assembly. the end of year such as at in hand schoolone on classes the teach I what in freedom of lot a have I nd " I only not – more teachers classroom the with liaise to able being not regret I hand Does the classroom teacher sit in on your lessons? Are they able to get any observing by teach? you development professional time music have schools my because attend usually not does teacher classroom The assemblies school attend to I unable nd I and " am often release teacher their for school everyerent day. a di# at meetings because I teach and teacher Are you able to links make to any thematic the rest of the How programme? and the teachers? you between much liaison is there and challenges of itinerant music teaching as well as sharing her approach to activities. favourite planning and her current Anna, tell us about your work as an itinerant music teacher. the with have I contract the on depending class, per hour one to minutes 45 teach I the schools every unit plans for term. full classes and provide I teach school. Anna was born in Holland and grew up encouragedlearning by her and father playingwho is violin,a church organist in her village.came to She New Zealand 12 years agoDunedin the with at her teaching Australian primary husband in and degree a a completed She family. young and and of guitar to has ukulele College Education added her mandolin, tricks”. of “bag advantages the of some highlights and Rohan Tracy to talks Anna interview this In A sultry contralto voice and sings the folk music from her country of birth, Holland, with particular and beauty. feeling Sound Arts July 2010 Page 10 something to practise and perform, even if For example, I’d like to visit other music teachers and it is for the next class. And I try and have a see what they do in class. I seem to have few reference unit of improvisation and “making up” music, points for my own work with children. also to practise and perform. Then there are I’d love to have a more permanent working space, a the listening units, from quizzes – music music environment with posters of music events and around the world, guess this instrument – to pictures of instruments. listening to Peter and the Wolf or Saint-Saens or anything else. I’d like to have more contact with the school teachers and parents. There are many many units to choose from and I "nd I come up with new plans after I am still working hard on how to assess all my students every professional development workshops in a straightforward and honest way. (Sing, Menza) or seeing other school I love going to professional development courses and performances or even chatting with other I’d like to go to more, for example the Or# workshops music teachers. in Christchurch. The classes for my senior students have longer activities for shorter units, for There are some things I "nd that my schools and I do example playing with boom whackers, creating a “stomp” performance, learning well together. more complicated songs on the ukuleles, playing with rakau and ti-rakau etc. Employing a specialist music teacher sends a very I also teach dance and drama for a term in two of my schools and I have two schools clear message that music is important to the school where I only teach marimbas and ukuleles. and children’s education and, although I teach music What are your favourite activities to teach? on a regular basis, teachers still teach music in class. Singing, dance and listening units are being taught I "nd playing marimbas is a fantastic activity. Sometimes I borrow the marimbas regularly without me which makes engaging the from my marimba school to lug to other schools, and Jon Madin’s songs are a great interest of children much easier. All in all I "nd plenty way to start playing them right away and sound good. of inspiration within the music curriculum, it is still the How do you encourage creativity? most enjoyable thing I do, and to see some of my past students, now at intermediate or secondary schools I "nd performing produces a lot of creativity! Small performances in class, dance performing everything from kapa haka to classical to moves (the beat detective), being the leader in an echo song, making up short musical rock music is a most special reward all of its own. works with instruments in a small group, these activities make the children excited and involved. Sometimes I "lm the performances to help with assessment. Thanks for your honesty Anna. Your schools will consider themselves very lucky to have you, and I know What will be the highlights of this term? that a lot of teachers will relate to the highs and lows At the moment I am learning bush dances with all my classes for a fundraising night that you describe. All the best with the bush dancing in one school, another school had a school production just yesterday and we learned and end of year fun. songs, listened to instruments and danced dances from a di#erent country in each Tracy Rohan is the author of Into Music 1 and 2, and class and I have arranged in a third school to have an end of term assembly with the co-author of Into Music 3. Until the end of 2009 she music performances from each class. Term four usually plans itself with Christmas was a senior lecturer at the University of Otago College songs and productions. of Education. She is currently living in Wellington and What are the ups and downs of your work as an itinerant music specialist? completing a PhD in the area of cultural diversity in There are some things I’d like to be able to change, and some things I am planning music education. to change, in my job. Classroom Conversations about Many Musics Tracy Rohan
ecently I had the pleasure of interviewing musical experiences. The relationship between music and culture is an important students and teachers in high schools in New theme in their conversations. RZealand, Australia, and the United States. The Here is Faraeen, sharing his feelings about talking about his ‘home’ music at school. findings from this research suggest that students in Faraeen is twelve years old and lives in Sydney, Australia. He is a recent immigrant the settings that I visited are ‘ripe’ for participation from Iran. in diverse musical experiences – listening, playing, TR: How would you feel if your music teacher asked you to share with your creating, and critical discussion. The students were class some of the popular or traditional musics that your mum and dad have curious, open and thoughtful in their responses. They taught you – how would you feel about that? expressed a desire to know about the many musics Faraeen: I’d feel really happy because a lot of those songs are really nice. It of the world and to know about the multiple musical would be good to tell our classmates, like people from other countries, how identities of the students who share their classroom. your country plays their music. How they love their music. In their conversations with friends of different Natsumi is a Japanese student. She is seventeen years old and lives in nationalities, they discuss music, and share their diverse Seattle, America. Sound Arts July 2010 Page 11 San Francisco: Francisco: San Oxford: Oxford University Releasing the Imagination. Essays on on Essays Imagination. the Releasing Teaching music globally: Experiencing Experiencing globally: music Teaching is the author of Into Music 1 and 2, and and 2, and 1 Music Into of author the is it to be like? How was it different some for tosounds it how your That’s expectations? it how that Is culture. this share who people not? Why Why? you? to sounds Can people buy this music? Is it recorded? Why? How? down? written Is this music Will this music be the same next time it is played? it a does do How tell story? music this Does this? who people the to mean music this does What meaning? home its music the gives What its it? make within express it does emotions What functionWhat does it serve? culture? culture? this within music for word a there Is Only some Everybody? Who are musicians? teaches Who music? up makes Who people? be teachers? do they get to music? How What can you hear in the music? What sounds? What instruments? they being played? are How for intended musician(s) or composer(s) The peaceful/ romantic/ exciting/ be to music this dancey/ to send a baby to sleep/ to show anger or protest. What will you expect ... imagination is what makes empathy possible. possible. empathy makes what is imagination ... spaces empty the cross to us enables what is It have teachers we those and ourselves between are others those If years. the over “other” called willing to give us clues, we can look in some manner through strangers’ eyes and hear 3). 1995, p. their ears (Greene, through EFERENCES ONCLUSION C R Press. M. (1995) Greene, Change, Social and Arts, the Education, Inc. Jossey-Bass she 2009 Tracy of end Rohanthe Until 3. Music Into of co-author the College Otago of University the at lecturer senior a was and Wellington in living currently is She Education. of a PhD completing in in the area of diversity cultural education. music Talking about music in culturally informed, inclusive inclusive informed, in music culturally about Talking goal ultimate The is important. ways responsive and engagement towards dispositions student foster to is with and participation in the arts that curious and critical. inclusive, are open, Greene (1995) has spoken of the power of the arts to Greene According to social imagination. develop through artistic experience people may develop a developing sense of what it means to ‘other’, be the understanding. and empathy (2004) Campbell, P. music, expressing culture, Teaching Music Globally. Globally. Music Teaching (2004). Campbell emphasises the importance importance the emphasises Campbell (2004). nitely. My boyfriend’s Korean, so his parents like to tell me about about me tell to like parents his so Korean, boyfriend’s My nitely. " De
Yeah, I think that’s important. And also, music from other parts of the the of parts other from music also, And important. that’s think I Yeah, Maori music, because we live in New Zealand and Maori culture is a big big a is culture Maori and Zealand New in live we because music, Maori
I was just talking to a young Chinese student here and then before that that before then and here student Chinese young a to talking just was I So the music that is here and around us in New Zealand? New in us around and here is that music the So What programme? music kinds should be of musics your included in
Where are they playing it? When are they playing it? for? music listening? the is What people Are playing? is music this when happening be might What want they if making music the in join people other Can dancing? they Are to? Who is playing it? Are the composers and the players the same people? Can Can Why did they make itpeople? up? same the players the and composers the Are it? playing is Who and learned? is this music taught this music? How play anybody What are they playing? described voice this is How singing? they are How singing? somebody Is within the home culture? Who made up this music? c music, because they are our neighbours, and neighbours, our are they because c " music, And Paci part society. of our maybe as well. Aboriginal music TR: really a have we school our at like Sina: multicultural, really is Zealand New like world, music. their about anything know don’t I but community, Indian large And then the two girls you just previously talked to, we’re pretty good friends, friends, good pretty some we’re see to, I talked Like previously just you girls two the interesting. then And really it’s think I know, don’t I and it about talk we so ... cool just really and it’s !erences similarities and a lot of di And here is Sina. She is Samoan and living in Auckland, New Zealand. TR: Sina: TR: traditional out about in nding " be you – interested would student a Korean things those share to wanted they if music, Chinese traditional music, Korean some knowledge? and have Natsumi: songs. Japanese about me ask They’ll songs. Korean traditional old these all questions are inspired by the work of Patricia Campbell. In Campbell. of thePatricia work by inspired questions are This qualities. sonic Culture Expressing Experiencing Music, its beyond music about 214). curiosity (p. develop to contexts’ students and helping of elements, voices), (and instruments its of ‘knowledge includes of context cultural the about learn to interested be will students that believes She learning contextualised of kind this and playing and to listening are they music the itself. music the of appreciation their deepen will particularly when culture bearers may be present in the classroom or wider school school wider or classroom the in present be may bearers culture when particularly community, are vital components of culturally responsive music education. As evidenced in my recent discussions with young people, teachers need don’t to ‘teachable nd " and in conversation, the join to listen, need just they this, impose discussion. critical focussed some for moments’ The context. classroom is The a following a starters about musics from of in selection conversation possible students with share may teachers that world the around ‘lived’ music of family and community, and they are well ready for critical discussion discussion critical for ready well are they and community, and family of music ‘lived’ Music education. music and diversity, cultural identity, musical to related issues of students for opportunities as well as education multiply within culturally and diverse schools provides fertile connect, ground for musical fuse, develop, to identities to explore multiple music histories and narratives. expressions, musical diverse of valuing the and experiences student of inclusion The It is my perception that there are hidden worlds of musical knowledge and experience experience and knowledge musical of worlds hidden are there that perception my is It and to appear exist in worlds, musical Students these various in our classrooms. classroom these have to a desire express within many however, them, between celebrated comfortably move and acknowledged music about knowing of the ways and music other school between distinction the blur to like would They programmes. Sound Arts July 2010 Page 12 Invercargill Schools’ Sing Out Michael Buick
ince 1948, the annual Music Festival has been a inevitable that the price of tickets would have huge part of life for Invercargill students. However, to rise to meet the increasing expenses. as the festival neared its 60TH Anniversary, things S Organisers weren’t satis"ed with passing the were getting a bit tired. extra expenses on to families, as they were conscious that some families were struggling Instead of settling into a routine of having endless with current prices, and approached the school choirs traipse across the stage of Invercargill’s Invercargill Licensing Trust for "nancial support. Civic Theatre, the organising committee took steps The ILT saw the bene"t of having 800 students to revitalise the festival. Themes were introduced to celebrating their talents each year, and came link material, and give a sense of unity to the evening’s to the party. music. Various recent themes have included Stage and Screen, Best of British, You Should Be Dancing, A Blast The opportunity was seized to rebrand the festival as the Invercargill Schools’ Sing From The Past: 70’s, and Divas. Out, and the committee developed a corporate logo and a logo for each year’s theme to promote more of a professional nature for the event. Without having to worry As 2004 saw a review of Invercargill’s school network about "nancial pressures, the committee have been able to focus on developing a and a major upgrade to the theatre, the committee quality show, without needing to cut corners. devised a new format involving a guest artist. So successful was this change, that schools demanded In 2008, the Invercargill Schools’ Sing Out celebrated its 60th Anniversary, and did the format become a regular feature. so in true style by bringing Jackie Clarke to Invercargill to lead the festivities.
Despite these changes, the festival’s days were This year’s Invercargill Schools’ Sing Out again returned to the guest artist format, becoming numbered. As the cost of everything from and featured music from some of the world’s biggest Divas, including Aretha theatre hire, sound gear and advertising rose, it seemed Franklin, Celine Dion, Pink, Tina Turner, Madonna, as well as an epic 10 minute medley of Kiwi Divas’ tunes.
As the year draws to a close, the committee are in the planning stages for next year, wracking their brains to "nd that ideal theme...
With the support of some amazing talents, and community funding, the Invercargill Schools’ Sing Out looks set to ring up many more milestones in the future.
Michael Buick is HOD Music at Southland Girls’ High School in Invercargill, where he runs a variety of Music courses aimed at those with both traditional backgrounds, and those seeking less conventional ways into Music. He became Convenor of the Invercargill Schools’ Sing Out committee in 2007, and "lls his ‘free’ time as part of Invercargill’s A Cappella Singers and taking charge of musical aspects of many local theatrical productions.
Sound Arts July 2010 Page 13
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Sound Arts July 2010 Page 14 Strike Up The Band Part Two: So You Want to Start a Band? Andrew Stopps
n part one (July Sound Arts) we asked three important and they wonder if their son/daughter will even continue after three weeks or give questions about starting up a band programme in your it up – just like they did with dance lessons, judo lessons and underwater origami Ischool. 1. Why do you want a band? 2. Do you have the classes? So, here’s how you deal with this: energy, time and commitment to run a band? 3. Lastly, LEARN A BAND INSTRUMENT FOR FREE is you school supportive of a band programme? Having What? I hear you ask. The cost of something unknown will give most parents cause answered these questions you have gone through the six to pause. You need to bring down that cost as much as possible at the beginning starter suggestions for creating your band programme, you until your band has proven itself to the parents. Try this when setting up your have sent out expressions of interest to see if you already programme. have students who learn an instrument, you have spoken 1. Contact a local musical instrument supplier and tell them you are about to about concert bands in class and played concert band start a band programme. Let them know how many instruments your goal is music to your students, you have done demonstrations of to include and say that you will direct all the new students to them if they do you a deal. I have found music stores very open to this and in most cases they the various instruments and let your students have a play will reduce the hire cost because of the number of instruments they are leasing to see which suit them best. What’s next? and even do a special package deal on purchasing new instrument. I usually GOAL SETTING ask for them to have a complete package deal, instrument, music stand and book. Set yourself a goal for the number of instruments you want. I usually aim for 30 new musicians, that way if 2. See if there are any band instruments hidden away in a storeroom at your school you lose some along the way, you still have a decent or if anyone in your school community has one lying under a bed somewhere sized band. Plan ahead to when the first practice that they would like to o#er the school. This way you can also loan instruments of your band programme will be and also the "rst out to students who have trouble paying for hire of a new one. performance. Yes, believe it or not, you are already 3. You can also o#set the cost by reminding parents that students will be learning planning your "rst performance! That way from day the instrument in a band situation (we will talk more about this later) all together one, every member of your band and their parents and this will cost them nothing. You can invite your woodwind and brass teacher know what they are aiming for. to come along to practices as well. This will bene"t both them and the students. GETTING STUDENTS TO SIGN UP They can see which students are doing particularly well and also start to pick up private students. Eventually it is hoped that all students in the band will be I always say that being a music teacher is 75% teaching learning privately, but at the start this is the most e#ective way of getting them and 25% sales. Your new band programme will succeed going. Once parents see their child is enjoying the instrument and progressing, or fail on how it is delivered to your students and this is most will opt for private lessons to supplement the band. This way you can probably the hardest task of all in your quest to have a advertise that students can learn an instrument for free. This way the only cost band. There are two major hurdles you will encounter to parents is that of the instrument. People love free things. when starting up your band programme. The "rst is convincing students that they can actually play a band IF I DON’T PLAY A BAND INSTRUMENT, HOW CAN I TEACH A BAND? instrument. This can be quickly remedied by giving This is the most challenging aspect of setting up a concert band in your school. You students the opportunity to blow a !ute, clarinet, sax, play amazing piano or guitar but never have touched a wind instrument in your trumpet and trombone. They will be able to make a life. Here’s how you do it. sound on at least one of them and once they realise it’s not as di$cult as they imagined, you have won Step one: Don’t panic! them over. The second is the cost. This tends to be Step two: Get ‘band books’. The band texts I use have very clear conductor scores the larger of the two hurdles, but can be overcome. that show every aspect of how to play each instrument. I recommend Essential The cost of learning a band instrument can be a turn Elements 2000 or Standard of Excellence as your texts. These books also come with o# for a lot of parents. When they factor in buying/ play along CDs and an instructional DVD. Playing the CD along with your band renting an instrument and the cost of private lessons really helps to hear how each song goes and develops a sense of time and tone. There is also an excellent teacher text book, The Teaching of Instrumental Music (3rd Edition) by Richard J. Colwell and Thomas W. Goolsby. This has everything you need to know about wind instruments in it. You could also challenge yourself by learning an instrument with your band. This is a great way of bonding with them and at the same time learning "rsthand what it’s like to play a wind instrument. Step three: Make sure you also use your greatest resource – your instrumental music teachers. Talk to them, ask them questions and get advice. In the long run the band programme is going to bene"t them, so anything they can do to help you will ultimately help them too. Sound Arts July 2010 Page 15 . ! 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REPARING T A P 3. This is where everything you have planned hopefully hopefully planned have you everything where is This for rules ground the setting by Start together. comes Minethe band. are: 1. 2. play what they have learned by themselves. You will will You by themselves. learned have they what play can they anything playing be will students some nd " on of the to hands rest and the show get want their band the in students to Cards Excellence er # o I band. who demonstrate a great solo, being most helpful, over the best week, best improvement tone quality and best mentor. or control way they are learning about producing a sound and a sound producing about learning are they way in ngering " about worry to having not and breathing playing to introduction a great is This week. rst " the along play and song the of copy a get can students as below. tune this of hold getting about More home. at a using yourself the 5 Write band week programme to band the for chance a include and guide a as books t them more. I teach the same content at each each at content same the teach I more. them t " bene really to get they both, to come they if that so practice one, make only can they if and content new any learn out. missed haven’t they The "rst rehearsal is all about making a sound and I have written a great little tune that only requires the band to play for That two every beats, few bars. supplier and also the name of the book you are using. using. are you book the of name to the best also and it supplier found have I practice. rst " the of minutes date 45 the Give about for each week, per practices two extracurricular er # o with busy so are students Most practice school hour. 1 – before a er # o to best it found I activities, come to opt can Students practice. school after an and would both to coming obviously both, or one either to Purchase a set of band books, one of each instrument instrument each of one books, band of set a Purchase parents the to email a welcome Send score. the and contact the include and members band new your of details (and hopefully person) at your local music Sound Arts July 2010 Page 16 Sound Arts July 2010 Page 17 Eleanor Sim
Te Wiki o Te Reo Wiki Maori. o Te Te ’ at Hillmorton at ! High ‘Waiata-o ’ Great The
Hillmorton High School, Christchurch, whole school adly these days in many schools few opportunities occur for the whole school to sing together. At Whanau House assemblies. This was in response to a desire to Reo Te promote students by opportunity every at Maori Tikanga and been has development waiata’s the also but , # sta and central as we have sought to also pay credence to one of our school goals,“Celebrating Culture and as its focus, improving and supporting Maori student student Maori supporting and improving focus, its as achievement. The schools have undertaken their three themes – and Counts Culture Ako, Productive work under Partnerships. Under the strand of Culture Counts, a wrote school waiata Tawake, Sonny # sta member, and school whole at sung and taught then was which ” in ff ” “Waiata-o The Deputy Principal, Eleanor Sims reports:“Over a number of years now, Hillmorton High School in – schools neighbouring two with along Christchurch, Kauhua Te in involved been has – Lincoln and Hornby – a professional development programme that has S singing has been fostered in line with other important school objectives. Every full school celebration assembly at Hillmorton features the singing of their waiata theyand have taken this further with their inter-house Sound Arts July 2010 Page 18 Diversity”. It has also been instrumental to culture development as Matua Sonny is now working with our Kapahaka tutor and Kapahaka we introduced tukana-teina tutor groups and reintroduced Whanau group on now developing a haka which celebrates the four Whanau Houses in 2009. Houses – the elements – Earth, Air, Fire and Water or, as they are also known, Papatuanuku, Tawhirimatea, Mahuika and Tangaroa.” Subsequently, as we have sought to celebrate Te Wiki o te Reo Maori over the last two years, a feature of the Whanau House competition * Footnote: The author does have to state, for the record, that Earth/ has been a “Waiata-O#” – with each House performing for judges the Papatuanuku won this year! school waiata. This has been hotly contested, enjoyable and a very tangible way by which we are able to both develop and celebrate culture within the school.*
A Continuing Journey in Literacy in the Music Classroom Kathy Thompson ur school has had a focus on literacy strategies over the last couple of years. Here Drums presented to Dunedin from our Japanese are some ideas, which I have been able to incorporate into my music classes, with sister city – a local multi-instrumentalist – hearing damage ... Anything I can get my hands on that some positive outcomes. O is short, and gives an opportunity of widening my 1. Our school has a compulsory 10 minute silent reading in the period after lunch. students’ horizons. Most students bring their own books, but for those that don’t (or won’t) I have a whole pile of New Zealand Musician magazines for them to read. I also look 4. I have become increasingly aware that students out for other music books when I browse the second hand bookshops in the who don’t get a handle on important vocabulary holidays, and add them to the collection. Any books for example in the Eye at senior level find it difficult to keep up with Witness series are the kind I "nd useful. progress. This is even more so for International Students. They all now have a copy of Margaret 2. In a Yr 7 Beatles unit, students investigate one rock instrument of their choice, Williams Dictionary. But in addition I have been "nd at least 5 interesting facts (such as how it is played/constructed, invented creating Hot Potatoes and uploading them to the etc) then write one paragraph incorporating those facts. We talk "rst about school’s Moodle so students can access them from paragraph writing, revising what they have learnt in their Home Rooms, and home. This is a web based programme that allows then model it with a random subject. Because we haven’t easy computer access a teacher to make a quiz (or cross word puzzle for each student, I have a small booklet with a range of articles (some of them etc) and upload it to the intranet. And it is FREE altered for the level) to read. I found the students were much more involved (http://hotpot.uvic.ca/ ) This was useful for instance in the task, and took more pride in their completed work than when I have when studying Jazz and getting a handle on what not made the connections with their literacy skills. They also had to read the was for my students, a new set of vocabulary. text more carefully, and it gave more opportunities to discuss what they were reading. Kathy Thompson has been HOD for music at Kaikorai 3. I routinely begin my Year 10 classes with a “Do Now”, which for this year’s tricky Valley College in Dunedin for the last 12 years. A bunch is generally reading a short text and answering 4 or 5 written questions classically trained pianist and !utist, she has enjoyed in their books. I try to make the last questions more di$cult or open ended the ‘enforced forays’ into jazz and rock as the needs to allow for the huge range of abilities. At the moment we are taking a look of students and school community have dictated. at Bach and playing the B minor Rondeau (guitar TAB and all!). Their Do Now She also tutors Music for Otago University College of consists of reading a short section from a pretty basic book about Bach’s life, Education and loves exploring ways to engage her and students have surprised me with their acceptance of learning about “this students further. Outside school she is a member of really old man with the funny hair”. Over the year I have also included articles the Otago Symphonic Band, playing the !ute, and from the local newspaper – controversy over a ‘piper busking’ in Dunedin – Taiko sometimes percussion, or conducting. Sound Arts July 2010 Page 19
same time, not by personal preference, so immediately chance of who immediately may enrol so in the programme at the preference, personal by not time, same calls Chris what face they where situation a in are they that may or may not be sets” of range “a preference the cant " is a signi from is of preferences” “landscape This really close. environment Bunker the what in factor aspects emotional the with along perspective, student others allowing composing, music-making, in inherent into input ering # o and songs, your into input have to songs. sees Chris much of his as role people’s other balance between instruments, vocal delivery, the list list the delivery, vocal instruments, between balance goes on... of in deal time our a great spends in particular Chris students of groups with working out Bunker’ drawing ‘Performance negotiations, these through going are who inevitable the with dealing and erings # o potential the mismatches that sometimes need to be addressed. The Bunker is a large underground room, entirely clad in purple fuzz, with a range of microphones, a need occasionally that line back and drumkit a piano, TLC. of bit a environment the about Chris with chat a some had ered # o he recently I and Bunker, the in physical) and students. (social the on has space that impact the on thoughts the by and # sta by groups into organised are Students work. work. all in In of together cate the programme, " are the involved students Certi Diploma the in and a at time), students 20 to (up songs on working and devising semester a for together work who students 6 or 5 of groups are there week programme per hours two least at and tutor the with week per hours two for scheduled – most in and originals, are performed works the of open All then is rehearsals’. which ‘unmonitored in composition new one least at contributes member every groups to leads preferences, This group. the of rest harmonic the from contributions stylistic timbre, and negotiation to style, structure, about conversations interesting many ections from Chris O’Connor (performance!ections with re tutor) O’Connor Chris from Glenda Keam, Celebrating the Challenges the Challenges Celebrating of Collaborative Performance of Collaborative
n the music programmes at Unitec we facilitate five main areas of music learning, of which Collaborative Performance is one. We value individual skills and O’Connor and Tama Waipara, with Waipara, other O’Connor and Tama occasional guests ering o# a fresh perspective on the students’ they know well, and to switch roles from one song or or song one from roles switch to and well, know they Diploma our of some Thus next. the to composition group performances involve a each in different guitar bass the or sticks drum the up picking student song. subsequent Chris currently are tutors performance main two Our encouraged to collaborate in ways that challenge them, strengthen their communication skills as musicians, and feed into what might otherwise be a musicalfairly repertoire. restricted they instruments out try to encouraged are Students had a to as rarely try, as chance have well what play the importance of learning how to performon particularvery wellinstruments or voice, and students comeinto the programmes (Level 3 CertificateDiploma) withand a veryLevel interesting 5 range of extraordinary skills. However what we find most useful and rewarding is to focus on the many ways in which students can be I Sound Arts July 2010 Page 20 remarkable collaborations are unveiled. This has to be one of the most wonderful things – to see students taking risks by singing or playing instruments they have only recently discovered, expressing their emotions, nailing the tricky solo, working with their classmates and engaging with their audience. In the build-up to such miracles, the environment needs, ultimately, to be irresistible.
Glenda Keam is a senior lecturer in Community Development at Unitec. She holds an MMus(Hons) in Composition and a PhD in Music from the University of Auckland, where she spent 12 years lecturing in Music Theory and Musicianship, Contemporary Music, and New Zealand Music Studies. needing to o#er support in such ways that “students and tutor are able (sooner or later) to relax into a very productive musical fellowship: Time and again I have observed the most wonderful hybridising of preference sets in the bunker sessions.”
The mysteries of this subtle yet complex chemistry result in “!uctuations in the emotional tone in the bunker: suddenly a particular song is wonderful, or a certain combination of players is especially potent.” A nervous young woman’s song when combined with some extraordinarily eccentric drumming and an unexpected calypso keyboard part becomes a whole new style, or a heavy metal guitar solo with thick harmonies, complex rhythms and multiple distortion e#ects is transformed by light drumming and a story- telling duo that use the music as unusual backdrop. The remarkable young bagpipe player knows that not every song in his group’s set will bene"t from the sound of bagpipes, so he learns to play the ‘blues harp’. XyloPerc Tuned Percussion ... have an addition to their Soprano, Alto, Bass, Of course, “things don’t always go so well. Sometimes and Contrabass instruments with wooden tone-bars. a strange sense of general compromise seems to descend as more and more of the participants lose interest in the music. In certain songs a musician is sullen and taciturn, in another animated and playful. If too many in the group grow tired of a song it runs the risk of being dropped... sometimes I have had to "ght for songs.”
Sometimes a musician who feels they have ownership SOPRANINO XyloPerc of a song has a change of heart, and decides they no Two octaves C6-C8 that’s two notes higher than most pianos. longer want to play the piece. At this point, what Chris With 2 F#s & 2 B’s inside the box and knows is required is “unconditional support, with great dollops of unbridled enthusiasm.” Such support is also a pair of hard beaters attached from: called for when students are not su$ciently relaxed D. J. & R. J. Squire, 57 Commodore Drive, Lyn"eld, to participate at all. Then what may work is to o#er Auckland 1042. Telephone (09) 627 2942. “constant invitations and good natured cajoling to join in the play.” Resistance can sometimes be quite vehement, but perseverance even in some of the most severe cases of reluctance can result eventually in student participation where they can “"gure it out on their own terms.”
At the end of each semester the students present a See website for full details: series of lunchtime concerts where the results of these www.xylophones.co.nz Sound Arts July 2010 Page 21 Kelly Kennedy is a music tutor based in Invercargill. She holds a Mus.B (Hons) from Otago from (Hons) a She holds Mus.B in Invercargill. based is a tutor music Enrich Southern Institute of Technology. Kelly also runs a private music tuition business from home, home, from business tuition music private a runs also Kelly Technology. of Institute Southern a for preparation in choices topic researching currently is She & voice. piano in specialising Music. in Masters very rewarding to to see as the him and grow a very to been able to rewarding have musician contribute Lin on of Bi the the commented originality task of a music career”. development budding lyrics putting in child a assisting were who team a joining in time rst " his was it as said and and at rst, but " to he that experience he found music, was valuable gained apprehensive process! the enjoyed actually an with them provided it themselves; students the for curve able learning be wonderful a to was This and generation, younger the to models role as themselves present to opportunity career. musical to essly edgling ! to give ! sel assist a a enhanced child of in They his exibility, learned ! realising dream. development the to contributed and skills communication their alongside Charts Top in the name his see just may – you future in the Clayton for out Look Jason Derulo’s! Kelly Kennedy on teaches and both currently at the University degrees Music the and Production Audio Clayton had his recording. He was was He recording. his had Clayton the provided and grateful especially and card you thank a with students large bag incredibly of chocolate "sh as a gift of appreciation. to asked were students the When comment on their participation, Bas had Zondag a this “As to say: student of Contemporary Music, and someone who struggles to grasp the appeal of the music commonly portrayed by the mass media, I found the experience of helping Clayton put music to his song to be somewhat outside of my sphere of experience; however it was Claytons own song. After much deliberation it was decided to have the verse lyrics articulated articulated lyrics verse the have to decided was it deliberation much After song. own Claytons to Clayton allow would this a feel; with minor progression a chord over style in a narrative which slightly chorus melodic a into altered move then process, making progression, music the on stamp chord own his place similar a on based was and hook, memorable the contained the verse. to contrast a noticeable in a major key providing and situated just It camera. on Clayton with Colours song the record to was process this in step nal " The privilege the had students music SIT place, took recording this week the that happened so a producer now Mi-Sex, band rock 1980s (of Burns, Murray from learning time spending of undertaking were of the students the project informed When in and Australia). performer and Clayton both for was an This honour process. in the recording he to participate asked all and it evident was Burns, Mr. with music to make the opportunity to have the students the experience. enjoyed A couple of takes later and song was put into verse/chorus format, and repeats were added appropriately to increaselength of the the lyric. Composition of the accompaniment to – rst at " the a challenge proved lyrics previously mentioned had Clayton that one of his heroes was Jason Derulo (American hip hop/R&B/ Pop singer/songwriter), add andto the attempt to decided students musical characteristics similar to music those heard in to Derulo’s
), and Clayton was very specific
thanks to a group of Southern Institute nrich@ILT student Clayton Gerrard had one of his dreams come true this month much much of the original lyric as possible. The that was not their own, or necessarily to their their to necessarily or own, their not was that taste. or genre preferred own the lyrics by adjusting began The students slightly to ensure a smooth flow to each sure to line, carefully the retain of essence as maintaining also and message, Claytons each of them, as previously they had written written had they previously as them, of each their own lyrics and composed their own songwriting standard incorporating music, This techniques. task required them to be flexible and accommodating, commitment full give to them andencouraged also to producing a polished, nished " product commented on his eagerness: “Working with with “Working eagerness: his on commented refreshing was it rewarding; very was Clayton about enthusiasm and passion to such see music in someone so young”. The songwriting students then spent the next few weeks working together on this task. It proved to be a learning curve for may have during the songwriting process. may have during the process. songwriting (titled with to begin chosen was One song ‘Colours’ in the style of music he wanted and the particular sound he expected from finishedthe product. His zeal for the project was unmistakable and Edlyn Unverferth voluntarily decided to work with Clayton over over undertaking songwriting classes and they Clayton with work to decided voluntarily realise to him enable to weeks few next the Morrison, Ester Unverferth, Edlyn dream. his Winter Jasmine Kobashi, Ayumi Zondag, Bas and Lin Bi then met with Clayton to hear his lyrics and discuss any preferences he that dream. Clayton himself (at age 10) writes his own song lyrics and his dream was to have some of those lyrics put to music and recorded. Clayton contacted the Music Department at SIT and put forward his request. were who students the with This discussed was for gifted and talented children, and funded by the Invercargill Licensing Trust (ILT). During the month of October time was set aside for these children to discover whatpassionateabout, and‘passion then complete a they were project’ which would allow them to tap into E of Technology (SIT) Bachelor of Contemporary Music students in Invercargill. Clayton is part of an Invercargill programme which is in place Sound Arts July 2010 Page 22 Chisnallwood Music Wiki http://chisnallwoodmusic.wikispaces.com Judith Bell he use of a wiki to support a number of conferences in New Zealand and overseas, and so it has been very useful to communication and learning in the be able to refer to this site which outlines the programme and facilities. Tmusic department at Chisnallwood Intermediate has transformed our ability to keep in touch with students, parents, caregivers and the wider community (both locally and internationally), and has greatly simplified organising the many events that we are involved in. It turned out to be a huge asset in the week of the Christchurch earthquake.
In 2005 we completed building a new Performing Arts Block, and this process bene"ted from learning from other schools. It involved a lot of research, and I wanted other music block designers to be able to t Provide information for current students and their families and community, including get information about our facilities and their upcoming performances and rehearsals, permission forms, schedule changes, maps to design in a much more accessible fashion. "nd events, and photos and videos of events. This includes an online calendar (using This was an early motivator for putting Google Calendar) which is easily updated, and contains all upcoming music events. detailed information about our facilities on the web. At the time Chisnallwood had a website which was based on Flash, and this meant it couldn’t be indexed easily by search engines, and was di$cult to update and post news items.
This meant that initially I had to set up a separate static site to make information available about the performing arts centre. After a while, our school website hosts (Zodal) o#ered me a Wordpress site. I found this was a very useful way to keep in touch with parents and community, but then in 2010 the Zodal site temporarily closed for a few months – just at the same time as our sta# were all getting the opportunity to learn to use wikis and To provide current news, including student achievements, mentions of the school in the other technologies through the ICT contract. t press. I realised that I should take advantage of this and I had a fabulous lesson with Nick t To enable students and parents to subscribe to the news updates (by linking from the Leith from eTime on using Wikispaces. He wiki to a blog on blogger.com and subscribing through feedburner) so that notices and taught me how to set up a wiki, and I could information are pushed out to them through email. Even paper notices that are sent out see that because other teachers were using can be duplicated on the web in PDF format so that parents can "nd “lost” notices. this system, students (and therefore parents) would be familiar with it through class wikis and could therefore easily navigate my new Chisnallwood Music Wikispace.
The applications of the wiki are: t Present information on the Music Programme and facilities. This is useful for prospective families considering enrolling from anywhere in the world, and also useful for music educators and researchers any where in the world, as we have a lot of contact with educators and schools overseas. I have spoken at Sound Arts July 2010 Page 23 Ph 638 9044 90 Mt90 Eden Rd, Auckland [email protected] [email protected] INCORPORATING THE PRINT MUSIC SHOP MUSIC PRINT THE INCORPORATING www.pianotraders.co.nz – are simply thesimply are violins, violas, will suit all needs will Wertheim pianos pianos Wertheim Wizard piano benches digital pianos cellos and double basses! cellos and double basses! High quality anat unbelievable price range! And string players MUST try ourAnd try MUSTplayers string We have a fantastic range of new Wefantastic new ofa range have price! the of fraction a at quality European Our superbof selection budgets. and fixedOur and adjustable best find you’ll in range anywhere NZ! is the Specialist Music Teacher at COMMENTS ’ separate pages separate about special past projects such and Dare”. “Truth movie as the school Archived news Archived and are information on available ARENTS
P simple simple that even though I struggle with all the new # IT nd and the " site I stu out I what can need follow to know. It is certainly an excellent parent friendly resource. Judith Bell involved Chisnallwoodis Intermediate and School in Christchurch. composition, in (Hons.) Mus.B. a has She and arranging, performing, in conducting, teaching, recording music. activities. While away from home away I While was activities. able to view photos of all his even though performances, I could not be I there, got huge and enjoyment satisfaction photos. these view to able being by The varied and multiple links that are provided on but to be not only informative proofed the have site participate to me allowed has it parent a As invaluable. musical journey. son’s fully in my more happening is what knowing with struggled long have I with my for children all things music and when and performance. what for be to need they where seemed never I have letters and home notes Despite to need I details of load full the get quite to able be to make sure my kids are in the right at place the right time. (My daughter is not the best at handing over know!) to need parents what a wiki with started have department music the Since so been have I sorted. now am I messages line on and works. system this way the with pleased I have been able to log on and "nd out in advance I are scheduled. get up via events music what dates my home email and even better I can check each group and see what is happening. I have liked the get to see my I don’t as too sometimes access photo perform. daughter The whole set up is so much easier for me and is so t The !exibility and accessibilitygoing of a wiki communication has meantkeep to easier much so is it that between school and homes, even when I’m on the road or students can’t get to school. It means that home get not parents can may "nd or the latest may dates and that requirements notes on rely than means rather available media rich the and manner, timely a in they music the of samples to listen can students that and photos see can overseas relatives or preparing, are videos of performances Chisnallwood. at I am a full-time working parent and at times travel extensively with my job. I would the with like experience my to acknowledge to take opportunity this which Wikispaces, Music Chisnallwood has played a of my part and crucial to management the planning music activities. son’s I for all the It information “Go to has Point” been the in his music my involvement sons surrounding need fact, this was so successful that I will continue to use it to collect information rather rather information collect to it use to continue will I that successful so was this fact, schoolbag. a of bottom the in lost get can that forms paper on relying just than directly. ed " noti are students and parents system, online the With available in Christchurch. weren’t they but tour, on go to about were who students our from information Docs, Google using form a up set I Instead, time. some for school at be to system going cation " noti existing the information use to the able of was I most wiki. the in collect this to embedded able and was I result a as and it, about parents tell to were responses The home. forms send to having without on-line, automatically In them. process to easy very it making spreadsheet, a in collated automatically for Chisnallwood classroom teachers and our itinerant teachers, but it and teachers, will be our teachers itinerant classroom for Chisnallwood are that opportunities has it since schools local other in teachers to interest of for for students only rather than the general public. It contains things like mp3 to. practice and learn to pieces of les " PDF and recordings resources such as music games and ear tests. There is a page for teachers, which has links for PD opportunities; it is primarily primarily is it opportunities; PD for links has which teachers, for page a is There billeting get to needed urgently I earthquake Christchurch the after Immediately Useful weblinks for students to learn about music, and use on-line educational educational on-line use and music, about learn to students for weblinks Useful wiki: “Backstage” (http://chisnallwoodmusicbackstage.wikispaces.com/), Our Pages for each performance group as well as computer music and theory.
t t t t t Sound Arts July 2010 Page 24 We have a fantastic range of new Wertheim pianos – European quality at a fraction of the price!
Our superb selection of digital pianos will suit all needs and budgets.
Our fixed and adjustable piano benches are simply the best range you’ll find anywhere in NZ!
And string players MUST try our Wizard violins, violas, cellos and double basses! High quality at an unbelievable price range!
INCORPORATING THE PRINT MUSIC SHOP
90 Mt Eden Rd, Auckland Ph 638 9044 [email protected] www.pianotraders.co.nz Sound Arts July 2010 Page 25 Alison Talmage and Laura Fogg Laura and Talmage Alison 27(4), 287–295. Music therapy methods in neurorehabilitation: A clinician’s manual. manual. clinician’s A neurorehabilitation: in methods therapy Music Music Perception. Centre for Brain Research: http://www.cbr.auckland.ac.nz http://www.carolgrimes.com/pages/workshops/sing_for_joy.html London: Choir, Joy Sing for http://www.parkinsonsauckland.org.nz Auckland: Parkinson’s http://www.musictherapy.org.nz Zealand: New Therapy Music
Alison Talmage BA (Hons), (Hons)MEd, MMusTher Talmage Alison Therapist Music Registered [email protected] Email: engagement in a community choir may ameliorate therapeutic outcomes for people with people for outcomes therapeutic ameliorate may choir in a community engagement aphasia. or disease Parkinson’s 1 2 3 4 References (2006). J. Tamplin, & F., Baker, Publishers. King Jessica London: 13. Pp Wan C, Ruber Hohmann T, A and Schlaug G (2009). The therapeutic ects # e of singing in disorders. neurological ts to language skills and respiratory function. Service evaluations in December 2009 2009 December in evaluations Service function. respiratory and skills language to ts " bene felt When if asked participants results. promising similarly 2010 produced and September had choir the if asked When ts. " bene experiencing reported all mood, their to changes any is The to intention build on t ‘huge’. any " other impact, over half bene as the rated overall language and voice quantitative and assessments impact detailed more with results these research. The strengths essential of are theCommunity the CeleBRation from Choir and projectCBR, the have Connections been within the enthusiasm disciplines and members. erent # supportdi in choir researchers from university and from Zealand, New Therapy Music from Partners, in a both occur connections these formation; and group development choir successful for neural enhanced of terms in also and supporters, and members choir between sense social of as for singing hopes a the are great potential There therapy and plasticity. connectivity how clarify will for people with research brain disease, given its future nature as that a and self-administered self-controlled, anticipated is It option. rehabilitation fun and motivating The choir repertoire focuses on songs familiar to the majority of participants; the wide age range range format. age similar a follows wide usually but the interest, participants’ sustain to participants; varied, of is programme majority the to familiar songs on focuses people’s other of repertoire tolerant are choir The members but selection song for challenge a creates plus) learn to (34–70 dence " con the gaining and suggestions ering # o increasingly as well as cultural preferences, and songs folk part-singing, simple and rounds includes repertoire Song songs. new used, sometimes are popular music songs, spirituals, and show songs, and songs, call-and-response Christmas instruments rhythm and drums chimes, tone as such Instruments music. on the is accompanied Most singing co-ordination. physical and to encourage interest for therapist. music the or accompanist volunteer a by djembe or guitar keyboard, 2009), (December scientists CBR for concert carol a at successfully performed has choir The (June 2010) conference Scheme Stroke Volunteer Region Northern Foundation the Stroke 2010). (August concert family Centre’s Therapy Music Raukatauri the and reporting anecdotally many with positive, has been and families members from Feedback The choir uses vocal exercises and song singing to address the social, communication and communication social, the to address singing song and exercises vocal uses choir therapy The music evidence, anecdotal by supported is published this been While has little participants. of needs singing, physical group in internationally interest increasing and studies, case typical choir warm- are used exercises vocal The or research. protocols of treatment in the way meeting in challenges are There (2006). Tamplin and Baker by suggested exercises and ups and enjoyment posture, to on focus the but strengths, of needs also opportunities a group, mixed control, breath include disease Parkinson’s with people for Priorities support. group and participation encouraging is aphasia with people for focus The volume. and articulation dence " vocal through the con use of familiar songs The and vocal manageable exercises. ; 4 Community Music Therapy Music Community The CeleBRation Choir: Choir: CeleBRation The 2009). A 2009). (CBR) at 1 et al., enabled the group to to group the enabled 3 , associated with the for People Living with Neurological Conditions Neurological Living with People for 2
he CeleBRation Choir is an initiative of the Centre for Brain Research the University of Auckland. The choir and volunteers also participate. participate. also volunteers and regular participants attending on a weekly attending participants regular Parkinson’s either have members Many basis. disease (a motor disorder that also ects # a loss (a stroke a to due aphasia or voice), the of speech, but often the continued ability injury, brain traumatic have Others sing). to autism or mild dementia. Partners, carers ects such as improved posture, respiration, and quality of life, as well as respiration, physiological posture, improved as such ects # e (Wan and voice language recall group open and Therapy Music Community approaches with adopted, been has model clinical therapy music broader the to linked literature and the neurologicaltwenty around has now researchchoir The literature. The choir uses vocal exercises and therapeutic therapeutic and exercises vocal uses choir The communication social, the address to singing Reported participants. of needs physical and benefits of choral singing include effects on health and wellbeing, such as a sense of social connectedness, improved mood be important as it added a therapeutic model model therapeutic a added it as important be of needs the ensure to group, singing the to fully being were disease brain with people was project pilot three-month initial An met. funded by Music Therapy New Zealand this has been extended into a year-round strength from going is group the and choir strength. to Royal Hospital for Neuro-disability, London. London. Neuro-disability, for Hospital Royal A subsequent recommendationParkinson’s Auckland Alison from Therapist, Music Registered a contact a who had pilot music facilitated Talmage, to felt therapy was group for Parkinson’s patientsguidance in Therapy Music Auckland. disease disease and thus community involvement is critical; the choir is one outlet for this. through developed was concept choir The neuroscientists, CBR with discussions initial non-governmental community and clinicians organisations. Inspiration came from the Sing for Joy Choir has generated great support throughout New Zealand and appears to fulfil a need amongst participants to find their voice. The CBR is a unique partnership between The community. the and clinicians scientists, is vision to to work CBR’s identify together and develop new treatments for brain T Sound Arts July 2010 Page 26 Laura Fogg BSc (Hons), PGDipBJ Communications and Liaison Manager Centre for Brain Research, The University of Auckland Email: [email protected] CBR1 is from the choir’s "rst performance at the Christmas party for scientists of the Centre for Brain Research, December 2009 CBR2 was taken at a performance for the Stroke Foundation Northern Region Volunteer Stroke Scheme conference, June 2010. Playing in Tune – Working Collaboratively in Music Therapy Morva Croxson and Heather Fletcher
hat title of the Music therapy New Wellingtonian Andrew Tutty who worked in Kimi Ora School. Overviews of single client Zealand Conference held in Christchurch situations where family members were colleagues came from Claire Molyneux, Director of Tinspired a healthy contribution of 13 the Raukautauri Music Therapy Centre in Auckland, and from Carolyn Ayson who worked in papers, 4 posters and 3 workshops presented a “social partner” model with a 3 year old boy with Autism Spectrum Disorder. over two days. Music therapists who focused on a theoretical or a research approach to collaboration were Associate Professor Sarah Hoskyns, Director of the Master Of Music Therapy two-year course Who were the collaborators? They came from at the New Zealand School of Music, who spoke about “Collaborative Conversations in Focus a range of disciplines – speech and language Group Research”, and Dunedin music therapy practitioners Penny Warren and Natalie Nugent therapy, occupational therapy, sta# at special who posed the question of how to prioritise and manage caseloads when working with schools, health professionals and from group organisations. caregivers. Sometimes they spoke alongside Auckland-based Neil Jourdan discussed the use of the Ministry of Education’s project, their music therapy colleagues; often they Assessment for Learners with Special Education Needs, to provide prompt feedback on music had contributed to the programme content therapy sessions. Also based in Auckland, from the newly formed Centre of Brain Research, and research that was talked about. came an exciting report on the positive e#ect of singing in a group named the CeleBRation Choir. Music therapist Alison Talmage presented this report together with Laura Fogg from the Centre. The Opening Address from Professor Garry Hornby from the University of Canterbury College of education talked about “Collaboration in the Age of Inclusion – Implications for Music Therapy” This had an historical and practical perspective which music therapists found to be very helpful; it “grounded” the mixed-messages about the most e#ective environment for children with special needs around at the moment. Professor Hornby advocated what he termed “moderate inclusion” where the real-life needs of the client were determined individually and educational placement and support services were adjusted accordingly. He felt strongly that this was possible and in the client’s best interests. The work base for music therapy practitioners was varied. Daphne Rickson, from her Senior Any Conferences related to music need active music making to come alive, and a group Lecturer position at the New Zealand School improvisation session led by Marie Bagley and Russell Scoones from the Raukatauri Music of Music, delivered a Major Address overview Therapy centre provided a much appreciated group session on Sunday. Also three workshops of the music therapy consultation protocol "lled the music involvement need very well. Neil Jourdan had a group exploring Boomwhackers used in several special schools as a basis and their music therapy application and Ajay Castelino provided the same exploration in a for her near-completed Ph.D. Heather session titled “When My Guitar Gently Plays”. Dance and music therapies came together when music therapist Rebecca Travaglia and dance therapist Anaia Treefoot led a “The Dancing Fletcher’s paper examined the way music Connection” movement and music session. therapy is utilised in the West Coast District Health Board CAMHS (Child and Adolescent Finally three excellent posters gave conference registrants the opportunity to absorb facts Mental Health Service); she was one of 12 and examples relative to collaboration with music therapy. The Raukatauri Music Therapy people working in a collaborative setting. Centre team (Claire Molyneux, Marie Bagley, Rebecca Travaglia and Russell Scoones) covered Others who were in special education school healthy relationships between parents and children with special needs, while addressing environments included Karen Twyford (with developmental needs. Music Therapy group work with six adolescents with cerebral palsy Christian Wright) in the Kapiti Coast area, was presented by Alison Talmage and Georgina Willy. Karen Twyford’s poster focused on interactive workshops to provide ongoing support and idea exchange for school and early Ruth Armstrong (with Edwina Burke and childhood sta# using music with children with special educational needs. Elizabeth Skivington) in Tauranga, Liz Wallace (with Susan McDonald) at the Therapy For further information about Music Therapy New Zealand and music therapy see Professionals Group in Christchurch and www.musictherapy.org.nz Sound Arts July 2010 Page 27
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Kodaly A well-trained intelligence A well-trained hand A well-trained , , with thanks to RosemarySusan Williams,
Stephanie Lees (the world’s rst " (the all world’s girl quartet recorder post-modern – a lounge band of post-Future Rock and Roll armed with only four recorders, and a a casiotupperbox) or you could just join the Zoltan Kodaly facebook – www.facebook.com/pages/Zoltan- ear A well-trained heartA well-trained Zoltan Kodály – 1953 Compiled by evaluating for Gordon Jenny & Smith Naomi Backhouse-Smith, Barry Lees, and sharing about this course. their enthusiasm concept of child involvement that James stressed on the course. This has has This course. the on stressed James that involvement child of concept nature. songs of that more made me get on the lookout for childlike the but course James’ doing before songs game using been had I have I them teaching when use to people encouraged he which approach too spent have I past the In way. ective # e and natural more a be taught to found approach James’ students. my to things explaining over time much and less boring spontaneous as a teacher”. be more me to ective. # e metre, and very beat, rhythm, them teaching for steps simple found his using been have have “I and students to notation pitch students and helping to rhythmic means a as passages short simple teach to begun have I past the in entirety their in songs taught often have I ideas. these acquire the for I look Now within. elements learning the down breaking without there. from teach and plan and song new each within elements learning whole a me given have ideas James’ rst. " at song a of part use only may implement I to continue will I concepts. music of teaching to approach new programme”. my of part regular a as ideas his So, if you are looking for a somethingtake perhaps newwhile a quite and for inspiringaround been takeactually has a that look something at well as websites useful following the found and did I again. Kodaly at look on: resources shared generously as James’ http://www.soundthinkingaustralia.com/summerschool/ materials) programme (click the http://www.iks.hu/General/the-kodaly-concept.html http://www.kodaly.org.au/games-activities http://www.classicsforkids.com/teachers/training/Kodaly101.asp http://www.myspace.com/zoltankodalyschoolforgirls enjoy, also might You
no Mixcraft ) method. Using century New Zealand Kodaly ST but for PCs ). PD: High Tech – Low Tech; Tech; – Low Tech PD: High MENZA Around the Country MENZA Around Garageband everything goes in the Supercity! everything
contrasting week of PD in Auckland a few weeks back – on the Monday MENZA hosted James Cuskelly from Queensland who a presented music education ( “All Round the Brickyard’ is a beat tracking game. It game. is a great tracking is a beat Brickyard’ the Round “All come to have they as motivated kids the gets it because game the liked I beat. the accompany to own their of moves with up class loved the patter cake practice and the song “Long Legged Legged “Long song the and practice cake patter the loved class is This on his website. to access able I which easily was Sailor” makes voice of use His it. use to us encouraged James and free activities viable in any classroom space and without musical teaching to music obstacle a is great often which equipment, in the primaryand exploration classroom”. aware that behaviour and management are a challenge in the the in challenge a are management and behaviour that aware music and tips classroom gave and excellent ways to handle place”. in put immediately I what also too, that and school to back straight went also teachers other many And learnt. they’d applied what “The – his resources sharing with is very also James generous ectiveness. The opposite of our ‘high tech’ classrooms”. classrooms”. tech’ ‘high our of opposite The ectiveness. # e of primary Teachers students also found the methods in the workshop useful and commented: without myself, like enthusiast music a for wonderful was “This a lot of went back I to music theory. school and immediately very is James experienced. I had what using was a day within you teach phrase by phrase and then add movements. The kids kids The movements. add then and phrase by phrase teach you involved and activity group forgot a were They which movements the together. it loved put to how remembering and sequencing of and the loved about competitiveness being self conscious to have don’t erent You # di class. the the to about sequences nal " their performing inventive be to need you but singer great a its be by impressed am I everyone. involve to use can you methods HOD (Rosmini), Susan Williams, hugely enthusiastic about the the about enthusiastic hugely Williams, Susan (Rosmini), HOD opposites usefulness of both polar courses, – says that both teaching method Kodaly) and (Mixcraft attended she workshops programme. her teaching within a place have perhaps, but boys with work would method Kodaly the if sure not was “I which song folk repetitive simple a Using successful. very was it folksongs, folksongs, funny hand signals and ‘moveable a doh’ – but I was totally(the wrong! Whensession, the participantsunscheduled were second offereda for the continue to opportunity hour rush Auckland the through back – pitch school) to after day next able be to seems Cuskelly formal James of Dr came. variety all a they c $ with tra teachers of range a to methods Kodaly his and working levels in varied school types. music training a major contrast to the oeringsff on the shoreWednesday afternoon where many of the same teachers presentation by Chris were Mason-Battley of Musictech on the happily engaged in a like (rather programme I had personal doubts about the 21 and classroom the of success a Hungarian method involving A equipment at all and suitable for dealing with large groups, it was Sound Arts July 2010 Page 28 Jazz for Juniors magine if you will, an auditorium filled with 95 primary aged children, a huge range of Iinstruments from recorder to double bass, five of Christchurch’s most talented jazz musicians as the band and Rodger Fox, well known big band leader and jazz educator, leading the charge. What a wonderful afternoon this was for our young musicians as they were gently led through some jazz basics, given some rhythmic and melodic ideas for soloing and then encouraged to play along with Tom Rainey, Stu Buchanan, Claude Askew and Dave Pitt. The young vocalists had some expert tuition from jazz singer, Susan de Jong and joined in with some great scatting. Parents were all invited along at the end of the afternoon to hear their children perform and bravely attempt a solo, many surprising themselves with their talent! Finally the masters were asked to strut their stu# and we were entertained with some world-class jazz. What a treat! Thanks from all the kids, parents and teachers to Rodger Fox and Music Education Canterbury for a wonderful experience. Sent in by a grateful parent.
Sound Arts July 2010 Page 29 WRITE THE WRITE OF SONG MUSIC NZ MONTH 2011? VISIT: STUDENTS SCHOOL www.nzmusic.org.nz/education 2011. JANUARY, 11 CLOSE ENTRIES WANT TO WANT Marimba Festival – Christchurch Marimba Festival
usic Education Canterbury held its fourth marimba festival on 30 October, once again in number theof schoolsSt participatingAndrew’s Collegehad grown gymnasium.from 9 schools This in 2009year to the17 schools in 2010 so we needed to have two performances to cater for the increased numbers.
year in 2011. friends was very positive and enthusiastic. They also also They enthusiastic. and positive very was friends bright erent # di a in school each with great looked with adorned wrists their with and T-shirt coloured bracelets. marimba” “I my their we and grow to continuing is festival marimba The better and bigger an to even forward looking are performance performance by the guest artists, us Jess Hix, Scott entertained who Thompson Jamie and Chappell drum-kit marimba, for a work all with Don Skoog to enthralled were children The bass. and electric technique with watchfour Jess’s mallets! The and children performed superbly, and teachers feedback members, family of audience the from learnt learnt ten massed item and pieces some schools an to of present the opportunity advantage took individual item, which provided lots of variety job a did fantastic teachers The audience. the for teaching the children all the some pieces, under di$cult circumstances. quite A highlight of the afternoon was a wonderful M Christchurch for months few cult $ di a been has It schools and the the enjoy and spirits shaken uplift to opportunity festival was school Each together. music a make to opportunity wonderful Sound Arts July 2010 Page 30 MENZA AGM
ENZA held its AGM on Saturday 9 October in the New Zealand School of Music Music Therapy room. There was Ma good turnout of interested people and new Board members were elected. Errol Moore from the University of Otago was appointed president by the new Board and Stephanie Lees was farewelled from the president’s role and thanked for her hard work and commitment to MENZA over the last few years. Read on to find out a little more about your new Board members:
ANGELA WARMKE Angela is currently Head of the Music Department at Iona College, an all girls’ school with a roll of 250. In this capacity, Angela is in charge of teaching music to Year 7–13 students, and is actively involved in co-ordinating the school music tuition programme; directing the school concert band, musicals, choirs, chamber music groups; chapel music; school singing; organising school and community performances; and teaching private piano and ABRSM music theory classes. Angela is currently a member of HBSME (Hawke’s Bay Society of Music Education). She is passionate about music education, and strives to instil enthusiasm, an appreciation and a love for music by providing students with as many diverse opportunities as possible to engage in and express themselves in the area of the arts.
IVAN PATTERSON Ivan is Head of Music at Wairarapa College in Masterton. He has a number of musical interests including choral music, composition and music technology. Ivan is determined to raise the pro"le of music education so that support is provided across the board to teachers in schools and the community.
MILLIE LOCKE Millie is currently music specialist at Henderson Valley Primary School in West Auckland. Since the 1990s she has been teaching music to children in both school and out-of-school settings. In 1996 and 1997 she undertook levels courses in Or# Schulwerk at Eastman School of Music, Rochester, New York. Since that time she has been an active member of Or! New Zealand Aotearoa. With the support of others she has been instrumental in developing a range of professional development opportunities in music education for primary teachers. Recently she has pursued action research related to improvisation and composition in classroom settings.
VICKI THORPE Vicki taught music in secondary schools in New Zealand, Australia and the UK for twenty years. She is currently a lecturer in Music education at the Victoria University Faculty of Education. Her current PhD research focuses on NCEA assessment of an individual’s learning within creative groups and in informal learning contexts such as teenage rock bands. Previously she was a secondary school Music adviser in the Wellington region. In the past she has also acted as a NZQA moderator, and as a materials developer and facilitator for NCEA Music. Her musical interests include playing and singing in an alt. country band, song writing, singing jazz, accompanying, and directing choirs.
Sound Arts July 2010 Page 31 Music ... library ... New Zealand New Zealand resources ... resources The Centre for The Centre ... recordings ... recordings Marion Square performers ...... downloads cds & dvds ... PO Box 27347 information ...... biographies ... database ... Wellington 6141 Wellington score samples score f: +64 4 801 8604 w: sounz.org.nz w: sounz.org.nz e: [email protected] p: +64 4 801 8602 events ... news ... audio, video, online shopping Fully Fully classically trained musicians can find it harder to“leave the page” the longer they even have though played, they quickly understand the concepts of improvisation and jazz theory due to their theory strong and knowledge, developed well have they though even nd " it can also is They ability. technical
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espite having just returned to school after the Christchurch earthquake,a team of about 20 students from and three impressive massed items. impressive and three within a harmonic structure, how to keep simpleit but eff ective, how to use guide tones, blues scales and digital patterns, how to trade, and more. parents for concert a in culminated event The band, Chisnallwood the by items some with vehicle to musical understandings.students began to feelMany confident enough toput in improvisations and tradingconversations. All went away with musicalideas about how to begin when the opportunityagain comes including ideas about keeping track become musical friends in a couple of hours. This experience was music making informed by a powerful sense of music seeingliteracy; the relevance of theorykids and structures. They played C Jam Blues, WatermelonChameleon Man andbut these were only the D Chisnallwood IntermediateDunedin with travelled their teacher, Judith to run Bell,a full-day to workshop on jazz playing and improvisation. In the process, 75 students Sound Arts July 2010 Page 32 un-natural to play in an o#-beat swung feel. 2. High school and tertiary entry levels for jazz would benefit from students who have already made a start, just as in the classical "eld the entry standard to tertiary study is fed by solid instruction and experience from an early age. 3. The intermediate years are a good time to try new styles of music because the students are open to new ideas, and have the time to pursue it without other pressures often present at secondary school. They also have a greater physical and mental capacity to learn and to handle larger instruments (such as saxophones) than primary age teachers needed to have the opportunity to time for breaks, a group session, going back students. see what was possible "rst hand. It was also over content or pushing forward. The whole 4. It’s fun, and there are lots of performance great that two itinerant teachers of music got event grew from a chance conversation after opportunities. Like chamber groups, jazz along and helped for part of the day. a workshop at the national conference. Can you a#ord to miss the next conference?” bands are smaller than orchestras and It was an organic day because Judith worked suited to special functions as well as in such a !uid and very inclusive way. Yes, If you would like to see more of what is touring. we had a programme but once underway, happening in Chisnallwood music check out: 5. Jazz skills give students a much richer the day evolved as she identi"ed the best www.chisnallwoodmusic.wikispaces.com palette for writing and performing rock music. For example, students learn to use a wider range of chords and alterations, Live Music in EC Centres and they learn scales that are useful in outhland Music Education (SME) is working on trialling a programme where children solos. who play instruments go into early childhood centres and perform and talk about Some key words that were explored during learning their instruments. The idea began with eleven-year-old Finn Bodkin, who plays the day were: S saxophone, oboe, recorder and drums. Finn wanted to share his music with the children who rhythm section, trades, attend his four year old sister Meadow’s preschool. “I really like playing my instruments and articulation, accents, enjoyed playing them to children and talking about them.” The teachers at Surrey Park Early Learning Centre in Invercargill were very happy to have offbeat accents, swing, Finn and his ten-year-old sister Ruby, who plays cornet and guitar, come into the centre and play their instruments to the children. This took place in the school holidays, so as latin, jazz ballads, blues, not to disrupt Finn and Ruby’s classes. chord, harmonic structure, Finn and Ruby played two or three pieces on digital patterns, arpeggios, each instrument, and also played two duets. They spoke about how often they practiced, guide tones, like a and how they went to lessons on Saturday pair of shoes, rhythmic mornings at the Out of School Music Classes (OSMC). Then they played a game with the leader, roadmap, phrases, children, where they hid behind a couch and licks, quotes, dynamics, played a few notes and the children had to guess which instrument they were hearing. modes, major, pentatonic, minor, jazz voicings. Teacher Barbara Carson said that it was wonderful to have two children come into the centre and share their music with the Errol Moore takes over here and explains preschool children. “It is exciting to see the the motivation for the day and how it children, especially the boys, totally captivated by the instruments,” she said. Meadow was organised: “Music Education Otago was very proud of having her elder siblings come in and play and reported that after coordinated the day with great support from Finn and Ruby left the preschool children kept talking about their visit. Apparently all the staff of Dunedin North Intermediate. the boys wanted to play saxophone and the girls wanted to play the cornet! The trip eventuated because of the work of Judith and the Chisnallwood Jazz Band at SME have plans to work together with OSMC to foster more visits such as these to other Modulations 09, where their work was so early childhood centres around Southland. impressive that we felt Dunedin students and Sound Arts July 2010 Page 33 27 November 2010 27 November “After months of rehearsing, fundraising and anticipation, Russell Street School’s School’s Street Russell anticipation, and fundraising rehearsing, of months “After Judges of the APRA Uke Can Do It commented that the standard of songwriting songwriting of standard the that commented It Do Can Uke APRA the of Judges was extremely high especially in the primary/intermediate age group thrilled and Bartt Ukulele Artists Azo (California) Bell (Australia) International with their wonderful playing. the crowd Palmerston from way their incredible wove an helpers what merry of and band and Guitars PreShrunk Festival.. Ukulele NZ the of part a be to Auckland to North (especially Bart, Ukulele owers, the ! beautiful of in schools, the Parade marching loved uke We it was. experience our stalls, the tent, Beginner’s the day, sunny most course of and schools other hearing eld!) " the around him chasing loved many so with along Kiwileles...strumming wonderful the of part a being all of rock!” remember...Ukes will always we experience incredible....an was children t t And travelling all the way from Palmerston Northexperience: Jennifer Moss shares her NZ UkuleleFestival
featured the Great Kiwi Uke-Along, biggestthe world’sukulele orchestra of 2280 students with hisamazing Stadium, Trusts ineventWaitakere, the spirit continued through the music of Siuta Veaila, Veaila, Siuta of music the through continued spirit NZ of winner College Tangaroa at student 10 Year http://www.youtube. Ukequest. "rst ever Ukulele’s com/watch?v=uvZZZXQLG30&feature=youtub e_gdata_player The Kiwileles Grand Parade – just like the Olympics Olympics the like just – Parade Grand Kiwileles The kiwis,Santa and stilt-walker. but with ukuleles, A tribute to the late, great Sione Aleki. Sione’s
erent cultures erent diff and many festival: Highlights of this year’s t t T family members and community musicians all in.joining The wonderful sense of community building through music was very evident throughout the day with all ages Sound Arts July 2010 Page 34 It’s Christmas Time!
Christmas means many different things to many SOUNZ-Centre for NZ music different people but if you’re looking for a useful SOUNZ has some great NZ song and music resources for Christmas that you might resource that will provide some fun and learning for want to add to your repertoire. Just go to their website and use the search facility your children in these last few weeks here’s some to "nd a speci"c resource. ideas: Six Songs for Celebration – New Willow Macky album Websites: A beautiful presentation of six songs for celebration by Willow Macky, compiled by Christmas in New Zealand is less about snow and sleigh Shona Caughey. The collection includes Te Harinui, Pohutukawa Carol and Christmas bells and more about sun, sand and barbecues in the Time, along with illustrations, photos and poems. backyard. This website provides a range of stories that showcase some of the quirkier aspects of Kiwi Carol our Christmas – If your family or friends love to sing carols together at Christmases past and present. Christmas, this is a great book to add to your sheet music collection. It includes 52 popular Christmas carols by some of New Zealand’s best hymn and song-writers and http://www.nzhistory.net.nz/culture/kiwi-xmas composers, including Joy Cowley, Colin Gibson, Willow Macky and many others. Have fun "nding out all about Christmas and New Year celebrations around the world: Three Christmas Carols by Richard Madden, http://legacy.tki.org.nz/r/wick_ed/topics/celebrations. Performed by the Graduate Choir and Philip Smith (organ), conducted by Terence php Maskell at the Great Hall, Auckland Grammar School, Auckland, in September An interactive site with lots of di#erent activities that 2008 your students will have fun with. http://www.northpole.com/ Tower Voices New Zealand: A Voices Christmas Music meets Maths in ‘The Twelve Days of Christmas’ Directed by world-renowned Karen Grylls, New Zealand’s premiere choir presents listeners with this delightful Christmas album. Included on the album is “Dormi http://dimacs.rutgers.edu/~judyann/LP/lessons/12. Jesu”, a favourite by New Zealand composer David Gri$ths, along with a selection days.html of works international composers including Benjamin Britten, Francis Poulenc, and Richard Rodney Bennett.
Happy Holidays Merry Christmas Felice Navidad
The Board and Sounds Art Editorial Team wish you all a very merry holiday season, a restful time with your family and friends and lots of beautiful summer weather.
Sound Arts July 2010 Page 35 MENZA Administrator PO Box 27499
The Marion Square enza magazine M Wellington 6141 website: www.menza.org.nz email: [email protected]
MENZA (Music Education New Zealand Aotearoa – Mātauranga a Puoro o Aotearoa) is the national professional body that represents the MEMBERSHIP interests of all education sectors in this country. Name
Why belong to MENZA? Title/Position
Because MENZA works to bring live music-making opportunities Organisation/School to teachers, and to represent music educators on curriculum and professional development decision-making organisations. Address
The bene"ts of being a member include: Postcode Professional support through workshops and conferences, national tours of noted music educators. Member Email
Three publications annually of Sound Arts, The MENZA Accounts Dept Email magazine for teachers in kura, early childhood, primary and secondary schools, and teachers in itinerant and private studio , music therapy, tertiary and community settings. Phone
Communication and networking via regular email Mobile newsletters Reduced costs to seminars, workshops, forums, conferences performances and other related events that MENZA is involved with; and for School/institution members, special Membership type (please tick one circle): group rates for sta# to attend events; School/Institution membership $ 50 Contacts with other national and regional music and arts (300 or less students) groups in New Zealand Consultation: as the official MOE recognized subject School/Institution membership $100 association, MENZA nominates and is represented by (more than 300 students) members on MOE, NZQA, PPTA and other advisory or regulatory education review groups; Business $150 Advocacy through association with the activities of METANZ, Library (publications only) $ 75 the Music Education Trust of New Zealand Aotearoa, and MERC, the national music education research centre, Individual $ 50 Membership to, and the exchange of information with ISME, Full-time Student Free (copy of student ID required) the International Society for Music Education. Beginning Teacher (Yr 1) Free To join, please "ll in the subscription form opposite, or download it from the website: www.menza.org.nz Please tick one circle: and send it to : MENZA Administrator Internet Banking – Account No. 02 0874 0127723 00 PO Box 27499 Marion Square I would like to be sent an invoice Wellington 6141 or Cheque enclosed Or email: [email protected]