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Sound Arts-Nov 2010

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Sound Arts-Nov 2010 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 t Beef up networking e#ectiveness by: It does not take much thinking to realise that such t Increasing membership through involving music educators in ECE, Schools, strategies cost money. The reality is MENZA has never Tertiary including pre-service teacher educators. had reserves to undertake much of this work and without doubt, goodwill will always be an essential t Fostering links to research (MERC) and supporting their work as critical ingredient in it. Our annual income is round $18000. for informing MENZA priorities and advocacy. Establishing at least annual Our costs are roughly Sound Arts ($12000.00 a year), discussion amongst the three current New Zealand music education arms, modest reimbursement for Bronwyn Pou’s signi"cant MENZA, METANZ and MERC. administrative role ($5-6000) and airfares only for t Fostering ways to assist music educators access training and professional three face to face board meetings a year ($2500).
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