soundarts - menza

Volume 7Number 4

December

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in this issue... Stage Struck – The Amazing Brain – Notes from the: 30th ISME World Conference on Music Education

– Keeping Up With The Play – New Season-New Songs – Making Music Together Is The Aim – International Music Council (IMC) – Me Korero – Let’s Talk – Marimba Jam at the Cloud

– Pitama, Te Aritaua.

SoundArtsTheMENZA magazine

The Editorial team encourage reader feedback. If youhave any comments or experiences that relate to articlespublished in Sound Arts, please mail or email them toBronwyn Pou, the MENZA Administrator [email protected] may be printed in the next edition of the magazineor published on the MENZA website.

The views expressed do not necessarily reflect the viewsof the MENZA Board and the Sound Arts Editorialteam.

The Editorial team request that sources are rightfully acknowledged in all MENZA publications.Where it is felt a breach of this protocol may have occurred this can be notified to the editor or directly tothe writer. MENZA has an expectation of ethical practices in the matter of disclosures.

Editorial Co-ordinators: Stephanie Lees, Sally Bodkin-Allen, Helen Willberg,Mary Horner, Celia Stewart

Photographic images Stephanie Lees and Judith Bell

2012Sound Arts is published by: MENZA: Music Education New Zealand Aotearoa. It is the professional magazine for all New Zealand music educators. MENZA has as its vision: Making Educationbrighter through Music.

MENZA maintains a website: www.tunemein.co.nz The postal address is:MENZA PO Box 27499 Marion Square WELLINGTON 6141

MENZA Board Members Errol Moore (President) Otago [email protected] Sally Bodkin-Allen Southland [email protected] Mary Horner Wellington Mary.Horner@stmaryswellington.

school nz Catherine Short Waikato [email protected] Celia Stewart Canterbury [email protected] Tim Carson Auckland [email protected] Randle Auckland [email protected]

And Christmas is coming …Kingi Ihaka’s ‘A pukeko in a ponga tree’, a popular version of ‘The twelve days ofChristmas’ seems today very much a NewZealand classic along with WillowMacKay’s ‘Te Harinui’ and “One on a tractor, two in a car” (aka ‘We 3 Kings’).Examine the offerings on ‘Instant Encore’,‘Amplifier’ and SOUNZ websites and have

a great time getting into seasonal music – you will find at least 80recorded NZ Christmas offerings, as various as ‘CSO Christmas’, Illegal Music’s ‘For Christmas’, ‘Kindy Rock Christmas’ and(Fat) ‘Freddy’s Christmas Chur’. Better get used to buying yourmusic online… the rather sad news has broken that Marbeck’sQueen Street store will close next February. We hope you enjoy the wide range of reading offered by the contributors including reports on the many exciting conferencesthat MENZA members have attended recently. This January –Tui Tuituia at Waikato University is our own international conference. Check out the programme and think about going ...

With near zero targeted funding for music in Primary schools coming from the Ministry of Education, the New Zealand publicshould be so thankful for organisations such as ONZA, The NZUkulele Trust, and MENZA who have continued to offer quality professional development and learning opportunities to this sector, teachers and students alike. Here are some reports of thefine work being done by these wonderful organisations – I noticethey all seem to be MENZA members as well! We’ll take a look at vocal based programmes in the next edition.We cannot isolate ourselves from society as music teachers and Ibelieve making a difference to Mäori learners is an issue for usall.

Thank you to Robin Mills for her beautifully written personalstory and for reminding us to let children create their own voice.

Celia Stewart will be returning as your regular editor in 2013 –don’t forget to offer up interesting copy to share and email the administrator with any letters to the editor … Take a look athttp://www.tunemein.org.nz for the 2013 mus-ed calendar and details of the new Board.

My best wishes to you all for a joyous, musical Christmas and wonderful holidays. Meri kirihimete!

Stephanie Lees – Acting Editor for this edition.email: [email protected]

3 Stage Struck – Robin Mills

4 The Amazing Brain

6 RPOs Related Professional Organisations

9 Notes from the : ISME 2012 30th ISME World Conference on Music Education

11 Keeping Up With The Play

14 New Season – New Songs – Helen Willberg

15 Making Music Together Is The Aim – HeatherMcLaughlin

17 International Music Council (IMC) – Julie Sperring

20 Resources to check out...

21 Me Korero – Let’s Talk

23 Marimba Jam at the Cloud

25 Pitama, Te Aritaua

December

For advertising enquiries, contact the Administrator, Bronwyn Pou at [email protected]

This issue – December 2012 – typeset by Ms Daysie andprinted by PMP Maxum.

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Sound Arts December 2012

he applause faded and a wave of proud parents swooped towards their excited children. Actors, dancers, musicians all, the kids tossed their props into waiting baskets, seized bits of discarded costumes and burst into the chair strewn

auditorium. Exhilarated with the success of the thirty minute show I gathered together theabandoned instruments and left the children to enjoy their moment. This is what children’smusical theatre should be about: limitless innovation, experimentation and creativity unfettered by adult expectations. The children themselves were the keystone. There hadbeen no adult written script or formally composed music but simply a favourite legend retoldthrough the children’s own language, drama, music and dance from their own stories, designs, sound-scapes and motifs. The satisfaction of realising our dreams was enormous.The time-frame involved, little more than a week of creating, learning, practising and performing to the school and finally the parents. A week to realise a dream that had beennearly a lifetime growing.

I barely remember the piano. Hidden away in a dim back corner of Mr Oslaar’s second-handshop in deepest, darkest Dannevirke, it was probably unloved and out of tune. My nose remembers the smell of borer-chewed dust and cracked, sticky varnish. My fingers recall thepock-marked, gritty feel of old ivory keys. I wriggled onto the high stool, its brocade coveredseat greasy and threadbare. I started to investigate: touch and listen, touch and listen. Thesounds bore little resemblance to the brilliantly executed piano music I had heard on recordsat home. My mother bustled in followed by an agitated Mr Oslaar. “Robin, you must alwaysask before you touch anything,” she scolded. I scarcely heard her. “Mummy, how does itwork?” I wanted to know. My mother, apologising and fussing as mothers do when their offspring break the rules, was interrupted by Mr Oslaar as he reached over and opened thefront casing of the instrument. I don’t remember what he told me but I have never forgottenthe sight of the tightly stretched, brass-skinned and slender steel strings, and then the soundas I was encouraged to drag my fingers across them. A humming, jarring array of dissonantnoise calling images into my mind of the wind, of storms and the roaring rapids of a river.The images in my mother’s mind were somewhat different. She was visualising her daughteras a musical prodigy, a future concert pianist and was already planning my impending musical education.

The phases and fads that followed must have held endless frustrations for her quietly nurtured ambitions. My mother is a woman of very strong mind and she was determined thatI would have the opportunities to learn music that she had secretly wished for as a child andbeen denied. However her initial attempts to reincarnate Mozart met with gentle but firm rebuttals from a succession of teachers. I was too young to learn piano, my hands were toosmall, I had no sense of rhythm, I should learn dancing first, preferably tap. This last suggestion I approved enthusiastically but was instead enrolled in a beginners’ ballet class.Looking at my first recital photos showing a chunky child with elbows forming right anglesmatched by another perfect right angle created by an ankle that was never intended for extension to point a toe, I don’t wonder that the ballet lessons didn’t last long.

Next I begged to learn the bagpipes and spent hours dressed up in a tiny kilt that had beensent from Scotland, doing the Highland Fling and inventing noise pollution with a set of toybagpipes. Later, after we moved into town I fell in love with the entire pipe band and wouldtrail round after them at practice while my friends pestered their parents for ponies.

Formal piano lessons began at the age of eight with Miss Willison, an ex-primary-schoolteacher with a tight-lipped mouth and a steel-edged ruler. We had practically to mortgage thehouse in order to afford lessons, so I didn’t dare say that I hated them. Practice was instantdrudgery, exams were torture and recitals a fate worse than Easter without chocolate. I hated being on show and suffered from nerves of earthquake proportions. Unfortunately, I alsoplayed very well, so noone noticed my agony.The only part I reallyenjoyed was the theory. Learning how to buildchords and write simple compositions was fun.Miss Willison, however,had other ideas. I wastoo young (again) to master the intricacies ofmusic theory so I didn’t “qualify” to sit the exams.I believe to this day that itwas she who struggled.

The terrors of the weekly lesson with MissWillison didn’t last forever, because I foundthe perfect excuse to drop out. Schoolhomework demands left little time for practice, especially when I had to bike tosecondary school every day, and homeagain via the local teenage gathering place,Sherson’s Milkbar, for an obligatory Coke.What did interest me, however, was theschool orchestra, so I lined up for a flute oran oboe which would have meant morepractice but time out of class for lessons.Unfortunately, I was late for the muster andall the flutes and oboes had been claimed.Would I be interested in learning violin?

How proudly I biked home that first daywith my violin and my dreams of playingsolo with the National Orchestra. But, ohhorror, the sounds that came from that instrument. The dreadful wailing was farworse than bagpipes. Our Siamese catcompeted and the shrieks and squealsbrought ridicule and complaint from theneighbourhood. I did become proficientenough to play third violin in the school orchestra and that led to romance with the percussion. Graeme played the timpani andGraeme was gorgeous. Gorgeous enough tomake me practise in earnest to improve mybowing technique and to spend hours mastering drums and cymbals in his dad’sgarage.

The romance blossomed until school prizegiving. The orchestra’s second itemwas Greensleeves, a real dirge but a soloshowcase for Vonnie, a budding clarinettist.She was dreadful: off key, out of time,nervously breathless and squawking like aparrot. That instrument fairly yodelled. Mywatering eyes met Graeme across the spinney of cello scrolls and we started tolaugh. Soon everyone was in silent stitches,except Vonnie, who continued to blow herway into musical oblivion.

After that incident both Graeme and I wereretired from our orchestral yearnings andtook to the stage where we encounteredmixed success, me in musicals and Graemein Shakespearean productions. My poormother must have wondered whatever became of her piano prodigy. There I wasin the back row of the chorus having thetime of my life and there I remained foryears, never with the ambition or the voicefor more than minor roles, but absorbingmore than I realised of the workings of thetheatre.

Robin Mills

T

Stage Struckby Robin Mills

Meanwhile, after we moved to Hamilton, I had trained as a teacher and was loving the work, looking forward to every day and somehow managing to balance planning and rehearsals for shows with Musikmakers, an amateur theatrical company. The various schools I worked in were lucky to have enviably energetic and talented teachers, always keen to showcase children’sabilities in a production of some sort, but refusing help from anyone buttheir closest cronies. I watched. They worked themselves ragged, revelledin grumbling and moaning about the hours they put into it, and threw glorious tantrums in the principal’s office, an opportunity I would have relished.

The kids also loved the attention they got, the pageantry and the glamour. I could relate to that. The trouble was it all seemed a bit pointless. They rehearsed, performed and that was it. A fairly hollow

experience enjoyed by a select few and from which no one reallylearnt a great deal. I remembered the flat feeling after my ownschool productions when we had to settle back into routine andnothing was any different from before, despite the efforts we hadput into entertaining people and the fun we had had. The embryoof an idea was beginning to uncurl in my mind, although it was tobe some years before I would recognise it. Could the children andI write and stage a musical production based on the learning thathappened in our classroom?

The school I work in now is the ideal place for experimentationsuch as this. Teachers’ visions are like plants in a prolific garden.They are allowed to grow organically, never sprayed and onlypruned if they get out of control. Here children and their relationship to the arts are nurtured, not only by the staff but bysupport people from outside the school whose freely shared experience enriches everyone’s growth. Angela, whose drama devices and soft Scottish accent captured the attention of the mostdisrespectful teenagers, and Cath, who would arrive armed withparrot-coloured boom-whackers and other outlandish instrumentsthat made her my friend for life. It was Cath who gave me that vital

encouragement to look beyond the conventional, opening the doors and windows for children to interpret and create with their ownvoice. Choice, encouragement, empowerment and success are the hallmarks. Every child takes part in their chosen aspect of classproductions. Children write, design, choreograph and perform, learning as much about themselves as they do about theatre. Theirskills are learnt over weeks, their productions are developed over days but their memories and interest will last a lifetime.

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Robin Mills has been teaching at Puketaha, a full primary school a few kilometres from Hamilton, for many years and is a memberof the leadership team there. In her spare time musical theatre is a great interest, (particularly updated versions of Gilbert and Sullivan). As well she has a great love of the outdoors. (Photos supplied by Robin Mills)

- Brain injury recovery aided by Music Therapy

The Music Therapy NZ Biannual Conference took place in Auckland on Saturday 22 September. The Keynote speaker, Wendy L. Magee was welcomed by the CeleBRationChoir, from the Auckland Centre for Brain Research, joined by conference participantssinging Tutira Mai Nga Iwi.

Wendy Magee, a Music Therapy specialist from the tertiary sector addressed issues around evidence-based clinical practice. Itseems we as music educators are not alone in having to prove our worth to funders. She became passionate about evidence afterhaving her team of staffing cut (from 3 to 1.5) realising she had no evidence to prove her colleagues’ value and what a disservicehaving 1 and a half less personnel would mean to her clients.

Brain imagery is helping people to see what areas of the brain are being used or damaged. A recent high profile example thatshowed an inspirational recovery from aphasia (difficulty speaking) after a brain injury was congresswoman Gabriel Giffords. Giffords and others like her have challenged the notion that certain tasks take place in a fixed hemisphere of thebrain. It has long been thought that when a brain lesion caused by astroke or injury occurs in the left side of the brainspeech is affected. In Giffords’ case she could not saycertain words and had difficulty stringing together sentences, but when she sang a song, the words cameeasily.

So if the pathways are blocked off in one area of thebrain, new detours are made to pass the messagesthrough. Music is a useful tool for recovery because ituses both hemispheres of the brain. In a study of strokepatients, music was played to patients and improvementswere noticeably better for the music listening group,above the control group who had no exposure to structured music listening, and a group who listened toaudio tapes only.

The music listening group had enhanced cognitive recoveryand improved mood, increased verbal memory and focus;patients were less confused and depressed. By merely listening to music the brain structures changed, and thebrain was freed up to perform more complex tasks.

What is going on in our brains when we hear music? Music unlocks a primitive pathway through the auditory cortex which goes directly to our motor ability without needing to process the information.

If that’s how amazing our brains are without even participating in music, think what singing, or toe tapping can do for brain functionand recovery from injury. To sing a melody requires the right brain, and to tap in time to music requires left brain sensorimotorfunctioning. Singing activates a larger network across both hemispheres, with a connector between them called the arcuate fasciculous (a part of the brain helpful for language).

Singing after brain damage increases mood, motiviation and feelings of achievement. Going over words in the form of lyrics helps torehearse the face muscles for speaking.

The thought of language being only a left side of the brain function is being challenged with brain imagery showing the rightbrain compensating and working to make language skills happen in people recovering from brain injury.

If you would like to see Gifford’s amazing progress, watch her story on Youtube.This has helped wider understanding of the role of Music Therapy

in recovery from brain trauma.

Youtube Links:

http://www.youtube.com/watch?v=tiJ9X_wLSWM&feature=endscreen&NR=1

http://www.youtube.com/watch?v=DfUKOBlZXdw&feature=relmfu


THE AMAZINGBRAIN

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Sue Jane – Office Administrator and Chamber Music Contest Programme Coordinator

Email: [email protected]

Phone - (04) 384 6133 or 0800 CONCERT (0800 266 2378)

Together with the main concert season andthe national NZCT Chamber Music Contest for secondary school students,Chamber Music New Zealand aims to enrichand enliven music learning. Participate, attend and engage with chamber musicChamber Music New Zealand

www.chambermusic.co.nz

Music Therapy New Zealand (MThNZ) www.musictherapy.org.nzAdministrator: Lynn Gestro [email protected]

MThNZ can provide information workshops on music therapy to interested groups. Please contact the Administrator for more details.

NZSOEducation Manager: Samantha Cockerill [email protected] (04) 801 3831 or,Education and Community Programme Coordinator:Pascale Parenteau(04) 801 3862 [email protected]

In 2013 the NZSO look forward to collaboration with Capital E (National Theatre for Children), the continuation ofour successful Music for Schools concerts,fantastic mentoring schemes for young musicians and conductors, and anotheramazing season of the National Youth Orchestra. Wherever you are, keep in touchand connect with your national orchestra in2013 via http://www.nzso.co.nz

New Zealand Choral Federation

www.nzcf.org.nzGrant Hutchinson (Chief Executive)

The New Zealand Choral FederationMain events in 2013: The Big Sing, SingAotearoa (25-28 October), The Kids Sing,SingFestThe NZCF Association of Choral Directors (ACD)Main events in 2013: "Giving Direction"workshops for choral conductors (country-wide), Conducting Training for primaryschool choral conductors, more online athttp://www.nzcf.org.nz/conductors_welcome.php

Associated Board of the Royal Schoolsof Music

Website is www.abrsm.org

Heather Gummer Ph. 0800 687 392

Our internationally recognised Practical andTheory exams can be provided in your ownschool or at a public centre.

Friendly and efficient customer service fromour local representatives and the national office.

ABRSM’s Theory Incentive Scheme entitlesschools to free workbooks for their students.

APO : Education Manager: Lee Martelli email [email protected]

APO 2013: Day at the Movies schools concert, and the performance of the new works for the Auckland Town Hall Organ andorchestra! Along with our usual Connectingin Music free concerts with transport provided, we are staging a focussed “Connecting in Action” week in NZ musicmonth 20-24 May, where everyone can experience a wide range of our activitiesunder the UNESCO International Arts Education banner. For high-achieving instrumentalists, there are scholarships,Meet the Artist opportunities, and titles towin! For more info and to book in for any activity, visit - www.apo.co.nz


NEWZATS is the NZ Association ofTeachers of Singing (Inc)

NEWZATS Administrator: Charlotte Yateshttp://www.newzats.org.nz

www.facebook.com/NewZealandAssociationofTeachersofSinging

The President is Erica Sim. NEWZATS, provides support and professional development opportunities for more over150 members and non members throughannual conferences, workshops, supply ofteaching resources via its website, Facebook forum and newsletter. NEWZATS celebrates its 25th year anniversary in 2013.

ONZA is ORFF NEW ZEALAND

http://orffnz.org/

See website for training and events suchas the Marimba Festival.

Orff Schulwerk is a way to teach and learnmusic. It uses songs, dances, rhymes clapping games and other activities that children like to do. This is the basis for constructing their own music and learning toread and write music.ONZA partnered with MENZA and WAIKATOUniversity are running Tui tuituia International music and movement education conference January 7th – 10th2013.

The New Zealand Suzuki Institute(NZSI)http://www.suzuki.org.nz/Administrative Officer: Felicity WoodingPO Box 74092 Greenlane, Auckland. 1546(09) 536 5730Email: [email protected]

See web site for teacher training opportunitiesand the Introduction to Suzuki Education Philosophy. Thursday 13 December, 2012NZSI Teachers Conference 4th - 7th October2013 to be held at the Distinction Hotel Rotorua

Brass Band Association of New ZealandContact: General ManagerDavid DobsonPO Box 5314 Lambton Quay, Wellington 6145 or, email: [email protected]

Brass Band Association of New ZealandWebsite: www.brassnz.co.nzEducational purposes: Provision of education for brass and percussion players, training for conductorsand drum majors.

The Institute of Registered Music Teachers of New Zealandwww.irmt.org.nzContact person –Elene Anderson, Registrar or Olga Barrett, President

The Institute of Registered Music Teachers of New Zealand (IRMTNZ) is a professional organisation, which supportsmusic teachers by providing regular professional development opportunities andupholding standards of excellence in the teaching of the art of music. Please see ourwebsite for details of how music teacherscan apply for registration with the IRMTNZ;details of our Annual Conference in Januaryand other news and events.

Trinity College Londonwww.trinitycollege.co.uk

NZ National Representative - Catherine Martinemail: [email protected]

Trinity College LondonTrinity’s new online shop is now open forbusiness, selling music publications includingRock & Pop books. Visit http://rock.trinity-college.co.uk/

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Notes from the :ISME 201230th ISME World Conference onMusic Education

July in Thessaloniki is very hot, and delegates sought refugein the air conditioned buildings during the day, but were ableto enjoy outdoor events in the evening. The venue was located on the waterfront, and many evening performanceswere outside, which made for a beautiful setting.

Two evenings especially featured Greek music, the opening ceremony and the mid-week “Greek Night”. These performances ranged from symphonic to choral to folk. Theperformers were the very young to famous veterans. Wewere also treated to both traditional and creative dance. Theopening ceremony performance centered around a workcalled "Circle of Life", which was a very creative and movingjuxtaposition of many styles of Greek music performance,moving smoothly from one to the next, and taking the audience on a powerful musical journey.

The 60 concerts from 23 countries featured very talented performers, and a huge range of styles. To give just an ideaof the range, the concerts included a big band from Reykjanesbaer (Iceland), a sax quartet from Dayton, Ohio, atraditional Turkish music ensemble, Hungarian folk music, ajazz choir from Frankfurt, a boys' choir from Kenya, and asteel band from Delaware playing disco music!

One of the highlight keynote speakers was Nikos Kypourgoswho talked about and demonstrated paradoxes and stereotypes discovered in music and songs for children. I enjoyed attending workshops on improvisation, vocal technique and technology as well as meeting special musicianfriends from around the world and broadening my musical experience of performances from different countries. (Not tomention the lovely Greek food).

Julie Wylie and I were adopted by a group from Brazil whorun a programme called "HausMusik" (music in homes). They persuaded us to join them in a rehearsal, and consequently

(Thessaloniki, Greece)

by Judith Bell

http://www.isme.org/isme2012

The 30th World Conference on Music Education, run by the International Society for Music Education (ISME), was held inThessaloniki, Greece, from Sunday 15 to Friday 20 July 2012.The ISME conferences are always exciting events, with thousands of music educators from all around the world gathering to share their ideas through hundreds of talks. Between the talks, posters and workshops there are dozens

we ended up performing with them twice! If the warmth of thegroup is anything to go by, the next ISME conference in Brazil in2014 will be an event not to be missed.

Of course, there was an overwhelming choice of talks and eventsto attend. There were 500 sessions and workshops topics coveringa wide range of topics in music education. New Zealand was wellrepresented, with about half a dozen of the presentations beingfrom NZ educators.

There were about 12 delegates from NZ, from early childhood totertiary educators, and from Auckland to Dunedin. The events

included a regional meeting where theNew Zealanders were able to catch upwith each other.

At one session, a representativefrom each country spoke aboutMusic Education in their countryand it is evident that we all havesimilar goals and values. It is greatto know we have such a large umbrella organization internationally that cares about all

aspects of music educationglobally and in a very broadsense. As a regional member

of MEC I appreciate its alignment with MENZA and toISME.

We certainly came away withnew ideas, new colleaguesand contacts, and renewed enthusiasm. If you havethe opportunity to attendISME in the future Iwould strongly

recommend going.

At ISME 2012, Judith Bell (Chisnallwood Intermediate School)and Tim Bell (Canterbury University)presented their paper: ”NurturingStudents in a School Music Programthrough a Natural Disaster”.

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Many thanks to Murray Cameron and our hosts Tawa College, MaryHorner who led the conference committee so very ably and Laura fromthe TRCC (Teachers Refresher Course Committee). We were refreshed indeed!

“Music Conference, 2012 – well, the food (amazing!), the company (awesome!), the inspiration and the resources – I had such a great time!I have always classed myself as Music Technology illiterate and, like allother Music teachers, have been too busy to take the time to really studyand learn the skills needed to teach the technology standards. Thanks toattending workshops provided by both Duncan Ferguson and Jane Eganover the last three years, I am definitely gaining the knowledge and confidence to begin incorporating technology standards into our NCEA programme. Duncan’s SOND 2 workshop at the conference explained thestandard clearly and demonstrated the task required. His generous sharing of knowledge and resources is greatly appreciated!”

Sue Banham, Rosehill College – HOD Music.

“Jane Egan presented an engaging workshop looking at US 26687. Shewent through her resource and gave some teaching tips on how to makethis standard accessible for students. A great presentation with realisticexpectations of teachers and the different equipment that we have access to in mind. This workshop/presentation gave me the info Ineeded to feel more confident in teaching this standard. Tyna's workshop was great and I have got into teaching loops and editing already this term!”

Sophie Ralph, Cathedral College– Head of Performing Arts (Music)


Keeping Up With the Play mustech conference

Seventy keen participants met at Tawa College to explorecomposition using music technology in particular. Presenters included leading teachers presenting effectiveways of tackling NCEA Mustec and SOND standards aswell as industry folk. Such as Troy from The Surgery -SLT,Sarah Hunter from Transmit (who led a team of videomakers utilizing smart phones and practising on Tawa’sRockquest band), hip hop producer Tyna Keelan who had participants making beats and reinventing an Adele Standard. The inspirational keynote by John Psathas andWarren Maxwell (regarding their collaboration onPounamu), set the scene in a truly genuine and open manner – around collaboration, connection, compositionalprocess, and by far the most important ingredient in creating music collaboratively – relationships. This wasvery much a ‘hands on’ conference so all participants then created a task design and collaborative composition thatvery afternoon.

Keeping up with the Play to Create, Perform and Capture in NZ Music EducationDirectors: Jhan Lindsay, Stephanie Lees, Murray Cameron, Belinda Carey, Mary Horner.

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Cultural PanelMany of the sessions offered at the conference focused on methodsand techniques that might improve our delivery and assessment ofMusic as a subject. Most teachers will acknowledge however, thatsometimes the good work undertaken in those areas can only occurafter much groundwork has been laid to create a relationship oftrust, expectation and mutual respect.The panel consisted of Margaret Baigent (Aotea College), Jane Egan(Gisborne Girls High), Opeloge Ah Sam (now at NZSM but formerlyMangere College), Zach Beard (Te Kura Kaupapa Māori o Mokopuna– Seatoun, Wellington) and Andrea Rabin (Papakura High School).Each speaker in turn zeroed in on the issue of enabling students whodon’t have a ‘traditional music-lesson background’ to make progressin Music with a range of vignettes. These experienced and successfulteachers have all found ways to establish relationships of trust andrespect successfully. Often the students we fail are from Māori orPacifica backgrounds and the speakers in the panel had a great arrayof advice to form a tool-belt of sorts for those of us searching for assistance. One phrase in particular that has stayed with me was added byOpeloge at the close of the session – a reminder that sometimes thedisadvantaged students in our classes do show potential to absorband delve further into all aspects of Music education: when that happens, ensure that they are encouraged to aim high and apply toTertiary courses, ensure that they are exposed to Music Theory andexpected to read and write using music notation… it could be thatthey will surpass expectations wherever they head to and excel inMusic Academia.

Cath McGlinchey (Kerikeri High School)

“I have always been a teacher who absorbs professional development opportunities, a PD junkie perhaps. As music teacherswe benefit greatly from these sessions not only through discoveringnew resources but also through sharing ideas, technology and lessonplans. Networking with like-minded and talented teachers createsvaluable links we can call upon later and inspires us to explore andimprove our own teaching. Keeping Up With The Play provided a perfect opportunity to achieve the above. There was an interestingand valuable range of workshops mostly aimed at the high schoolmusic teacher. So why would intermediate and middle school teachers attend? We are an important link between primary and secondary learning, guiding students towards more independenceand teaching them to take responsibility for their own learning. It isalso beneficial for intermediate and middle school teachers to havean understanding of NCEA and the process secondary teachers gothrough to facilitate students taking that musical pathway.So with all that aside, here is my overview of the conference:Our Key Note Speakers were the composer John Psathas and professional musician and composer Warren Maxwell (Fat Freddy’sDrop, Trinity Roots and most recently Little Bushmen). They took usthrough the process of their recent collaboration, Pounamu. Welearned about the technology John prefers to use, Logic and ProTools, and were able to view the programme with the help of digitalprojection. John and Warren provided an interesting discussion ontheir creative process, outlined their ideas and then we sampledsome of the finished product. This is a beautiful and heartfelt workand I suggest you look up Little Bushmen on Youtube to get an ideaof what we experienced. In the afternoon it was time for us to create, as students and teachers. With 65 teachers present, and the guidance of StephenRowe, we broke off into ten groups of 6 or so, were given a plancomplete with tasks and assessment notes linked with the achievement standards, and came up with our own works and compositions. The works each group produced was distinct and individualised. We were then graded as if submitting for NCEA andheld a brief discussion. A very involved activity which would havetaken students six to eight weeks we achieved in one afternoon.Day two was mostly the exploration of computer software. AndreaRabin took my group through an exploration of Garageband andMichael Buick covered this as well, aimed at years 7-10. It was certainly an advantage to have fabulous facitilies including a computer suite with at least twenty Apple Computers. Music Specialist at Tawa College, Murray Cameron, has achieved an enviable facility which we were delighted to use for the conference.Other subjects included developing a recording studio from scratch,a look at level 1 Sond and my choice a Sibelius workshop with HelenBeech. These were practical, hands on workshops using and exploring the programmes with help at hand.

continued on page 26.....

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As we move into spring and summer it is naturalto feel a need for some fresh impetus and joy inmusic. So many teachers feel the need for confidence. Here are some thoughts. Let us remind ourselves that in early childhood settingsmusic can be woven through the day, withsinging, listening, playing instruments, exploring,and moving. BUT music still needs to be plannedfor, and everyone needs to know what is intendedand support it to happen.

I have been meeting with a group of early childhood teachers monthly since the TRCC conference in April, and we are learning fromeach other and finding ways to build confidence,sharing successful ideas. At one centre the staffput the words of songs up on the walls in largeprint that all the adults can read. And all theteachers practice new songs in planning meetings. Minka makes illustrated cards that hervery young children can point to, or bring to herto indicate their choices.

Kelsey is trying to establish music with a sessionalchildcare centre, where children are differenteveryday. She has realized that the music can bevery simple. Our children are not tired of TwinkleTwinkle and Baa Baa Black sheep, and also all herparents will join in when she sings these very wellknown songs and other brief action songs at endof session mat time which helps with teacher confidence. (Save the more complex ones thatyou are still learning for when you and the children are alone!)

Kelsey finds that taking the lead from the childrenin exploring instruments is very rewarding. Shehas joined a drumming group, and brings her bigdjembe to session, working outside with smallgroups of children. She took the bucket of rakau outside and joins in with the children exploringthe different sounds round about and then introduces songs and chants that keep the playgoing for longer.

We are all trying out chants and rhymes. Seeprevious issues of SoundArts for some great examples. Or try Celia’s chants from the Tune MeIn website.

Orlena introduced us to a lovely simple actionsong based on an old song that I knew as ‘yamyam’. She sang ‘up, up up we go…’

Anne has been using very dry driftwood insteadof rakau, drumming on large logs with smallersticks, finding the gentle sounds are very effective.

Helen’s school is planting out 700 sunflowerseeds and she has adapted a scale song to tellthe story of a flowering plant, and is planning tohave her groups use instruments, natural materials, and found sounds to devise a Soundstory of the life-cycle of the sunflower.

As we move into Hat time, there are a couple of‘put on your hat’ songs worth seeking out: Fromthe Kids Music Company CD ‘You’ve got to clap’‘You’ve got to put on your hat’ and a most attractive waiata taught at the TRCC conferenceby Chrissie Locke ‘A te whitinga o te ra’. Contactme if you are interested in this song.

It takes time to build up confidence, and energyand effort to learn new material. Keep going andsupport each other, and remember the importance of planning!

by Helen Willberg

New seasonNew season– new songs!– new songs!


Making Music TogetherMaking Music Togetheris the Aim is the Aim – a report from across the Tasman

When Jon Madin drives up to a school first thing in the morning, usuallyhaving driven at least a couple of hours, the modest little trailer behind hiscar is emptied quickly of a vast and colourful array of instruments – somerecognizable, others invented by Jon and not commonly known. A wholeorchestra of his Echocellos emerges, ranks of the marimbas (huge xylophones), black corrugated piping, green and orange exercise bikes,and various invented instruments soon cover the floor of half the schoolhall.

As the various classes of children exclaim in pleasure at all the colour andsound of a session with Jon, general classroom teachers smile and findthemselves drawn into singing and playing music – often to their own surprise. Within minutes children are making wonderful sounds and in eachshort session there is a range of singing, playing, dancing, and often instrument making or demonstration.

The music and instrument designs of Jon Madin have inspired teachers formany years, and spread from their origin in Geelong (near Melbourne)through Australia, and around the world. However, New Zealand is perhapsthe most successful country for his marimbas and music as the basic design for a 3 1/2 octave marimba with a box resonator has been built incities and towns from Dunedin to the very north. The children and teacherswho use them have built many of the instruments. A marimba-building dayusing Jon’s design is a powerful community-building exercise as well as aboost to music activity in a school.

Later in the day the school is likely to pack into the hall for instant performances by each group of songs and music learnt easily earlier in theday. Adults are likely to find themselves, with some surprise, pulling cordson ‘pole percussion’, marching around in a parade, or demonstrating themoves of the Macarena to a hall full of people. This is a concert whereeveryone is playing, singing, clapping patterns, and maybe dancing. Reallyit’s much more like one big festival than a concert – and the children areexcited and eager to show what they can do. Very different to a formalperformance, with nervous performers, curtains and separation betweenaudience and musicians!

Jon has developed a range of skills to get people involved, and has a passion for including everyone. He loves it when there is music played toaccompany a dance or even 500 people shouting out “We will, we willROCK YOU!” at the tops of their voices.

The interesting thing is that Jon Madin is hardly an extrovert, or a charismatic leader of the masses. However he believes deeply in peopleenjoying music, and feeling able to play and sing without embarrassment.Joyful, sociable, confident music-making for children and adults is his aim.

The means to this is using instruments that can be played without years oftechnical practice, and musical material that works easily and quickly tosound good. There is subtlety in the way he manages a hall full of sound,so that an opportunity is given to hear just one tinkling melody on a ‘fingerglock’ (coloured metal pipes on a small keyboard), or two 8 year olds whoare willing to sing a verse of a song.

The marimbas are a key to successful involvement of both children andadults. Compared with the usual xylophones used in classroom music programmes, the large marimbas can be played by three people each,standing up, and using sticks or mallets on big keys which are easy to seeand play.

Many of the musical pieces Jon has developed over the last twenty yearshave a quite simple bass line – often only a few notes – and use similarideas to those developed by Carl Orff after his interest in African and Indonesian traditional music:

- Repeated patterns or ostinati- Segments that are visually and aurally separate- Sometimes removal of some of the notes to make patterns easier- Familiar tunes (from the Pachelbel Canon to Heel and Toe)- Catchy rhythms- A small number of notes- Avoiding big jumps- Songs that tell players which letters to use

By combining a simple bass with a middle part which is not toodifficult, and perhaps a top part or melody which is fairly quick tolearn, groups of novice musicians can be led to group music- making that is immediately satisfying.

Jon’s building plans can be found in Make Your Own Marimbasand there are five books of music (from Marimba Music 1 toMarimba songs), Jon Madin’s Books are available fromhttp://marimbamusic.com.au

Heather McLaughlin is a music teacher and consultant living in Melbourne. She has worked with babies, preschool children, primaryand secondary students, university students, teachers and communitygroups, in Australia and many other countries. Her current work includes teaching classroom music in a Melbourne state primary school.

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WANT TO WRITETHE SONG OFNZ MUSICMONTH 2013?SCHOOL STUDENTS VISIT:www.nzmusic.org.nz/educationwww.hooklineandsingalong.com

ENTRIES CLOSE 23 MARCH, 2013

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All details on website www.xylophones.co.nz

SoundArtsMag.Dec2012:SoundArtsMag 7/12/12 7:00 PM SoundArtsMag.Dec2012:SoundArtsMag 7/12/12 7:00 PM Page 16SoundArtsMag.Dec2012:SoundArtsMag 7/12/12 7:00 PM Page 16

All details on website All details on website .xylophones.co.nzwww.xylophones.co.nz

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HOOK, LINE ANDSING-A-LONG

31 MAY 2013www.hooklineandsingalong.com

The IMC represents the largest network of music organisations in the world. Founded by Unesco in 1949,member organisations work to promote five music rights.

The right for all children and adults:

• To express themselves musically in all freedom

• To learn musical languages and skills

• To have access to musical involvement through

participation, listening, creation, and information

• The right for all musical artists to develop their

artistry and communicate through all media, with

proper facilities at their disposal

• To obtain just recognition and remuneration for

their work

And New Zealand’s National Music Council? The IMC has five regional councils, which represent Europe, the three Americas, Arab nations, African nationsand the Asia- Oceania region. The European Music Councilis the longest established of the five.

In the absence of a current national music council in NZ,SOUNZ was approached to see as to their interest in becoming a member of the International Music Council andthe MCAO MUSIC COUNCIL OF ASIA-OCEANIA. SOUNZwere happy to engage in this, as many IMC activities alignwith SOUNZ’s aims and goals for New Zealand music, particularly as SOUNZ seek to broaden their representation. Julie has become secretary of that Committee, which had its first regional meeting in ChinaOctober this year. The 5th World Forum on Music will beheld in Brisbane this November 2013.

Julie Sperring, Chief Executive reports back:

Last year I was privileged to receive a grant from the NewZealand National Commission for UNESCO to assist with travel to the annual conference of the InternationalAssociation of Music Information Centres (IAMIC) and the biennial meeting of the International Music Council(IMC), both held in Europe in September 2011.

International Association of Music Information Centres (IAMIC)

IAMIC is a network of 35 organisations that promote the contemporary music of their own countries – activities vary from country to country, and across musical genres. Most of the members are from Europeancountries, but NZ, Australia, America and Canada are also active members, so it was both useful and inspiring for me to go and learn how other centres operate, and share experiences with others in the sameline of work.


The InternationalThe InternationalMusic CouncilMusic Council (IMC)(IMC)

The official meeting took place in Warsaw at thesame time as the ‘Warsaw Autumn’ International Festival of Contemporary Music, so there were anumber of concerts on at the same time, as well as apublic day-long conference on ‘Music and Politics’.Ivo Josipovic was the key guest at this session as heis not only the President of Croatia, but also one ofthat country’s best known contemporary composers.One of the concerts was dedicated to his music, andheld in the wonderfully restored baroque ballroom ofWarsaw’s Royal Castle.

During the business sessions, many reported on thechallenges of keeping their organisations going in thiscurrent economic climate. The most extreme examplewas that of the Dutch Music Information Centre,which ceases to exist after the end of this year.Other centres are considering reducing services,and/or merging with other national music service organisations. Recently, I’ve been really pleased toreport back some good news in that SOUNZ has beenallocated an increase in government funding fromCreative New Zealand for the next two years.

Members of IAMIC all recognise the need for continuing development and innovation, particularlyoperating in the digital environment and in representing a broader range of musical genres.

The International Music Council (IMC) Forum washeld in Tallinn in Estonia and comprised a mixture ofkeynote sessions and presentations on projects suchas:

Puerto Rico’s ‘100x35’ programme. This is based on Venezuela’s El Sistema, the orchestral training programme for under-privilegedchildren. This programme is housed and taught in thePuerto Rican Conservatory of Music, acting on the belief that they have a social responsibility to provideaccess to music to the community at large, and touse music to improve, motivate, dignify and unite.

Estonia’s ‘Trumm-it’ orchestra. Inspired by a Brazilian Afro reggae programme, theTallinn 2011 project worked with local disadvantagedchildren in Tallinn with a teacher from Rio de Janeiro.

Julie SperringExecutive DirectorSOUNZ, Centre for New Zealand

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SOME COMMON THEMES

Diversity of musical expressionThis related to the breaking down of musicalgenre distinctions, and building bridges betweenacademic and popular music. Discussions aroundthe future of ‘classical’ music were particularlyrelevant at the IMC meeting, where the globalfocus on cultural sustainability highlighted the importance of protecting world music traditions.

Social inclusion and cultural rightsSome powerful examples of organisations and individuals working to secure cultural rights included:

Afghanistan - The Afghan Music Centre hadbeen shut down under the Taleban, and the instruments destroyed. It has now been re-established, with 50% of places set aside for orphans and street kids. The programme includesa project to record Afghan music – includingsome of the last remaining players of those instruments.

Egypt - a project to hold public music festivals,when there is a law against public gatherings.This project reflected the importance of the rightto express social issues through music. As a result of her persistence, the young festival organiser convinced the army to step in and offerprotection to the 8,000 attendees.

Evaluation and benchmarkingThe need to establish global benchmarks that adequately report the impact of musical activityin society was a common theme at both conferences. Although there is frustration at theidea of still having to prove the intrinsic value ofmusical activity, there was agreement that inorder to build support for music/arts programmes, the industry must develop a way togather and benchmark usable and valid statisticsand communicate them convincingly to funders.

One example cited was El Sistema, which hadproved that every dollar invested in the programme returned $1.7 in social spending benefits, and so has continued to receive substantial support from government.

NOTE: UNESCO’s International Arts EducationWeek in May 2013 will be the 3rd week of Term2, 2013. Some NZ organisations, such as APO,will showcase education activities in a concentrated week of events to increase awareness of the importance of arts educationand of promoting cultural diversity and intercultural dialogue – but we can all createsmall events to highlight the importance of artseducation and revisit the Seoul Agenda. (Thisgovernment has prioritized arts education since2003 – it’s all on the net!)

http://www.unesco.org/new/en/culture/themes/creativity/arts-education/


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RESOURCES tocheck out…China Stopover Beijing by Errol Moore, Lily Li, Henry Johnson and Rosemarie Patterson. Published in 2010 by Otago University Press and Malaysian Stopover byHenry Johnson, Errol Moore and Rosemarie Patterson. Published in 2006 by OtagoUniversity Press.

These two titles provide a cross curricular resource for teachers of students aged 9-14,in Music, Art, English and Social Studies. One of the strengths of the Stopover titles istheir presentation. They are visually appealing, with colour photos and maps throughout; as well as accessible and easy to use, a number of Task Boxes throughoutcontain teaching ideas that directly complement the adjacent material. They are alsoaccompanied by a CD (the China Stopover has both audio and audio visual examples)and contain some notated music arranged for instruments such as tuned percussionthat could be played in the classroom.

There are some excellent ideas for composition. One Task, for example, suggests creating a rhythmscape based on foot traffic in a Beijing subway station; another suggests creating a piece of music based on a pentatonic scale to represent the spontaneous busking that happens at places such as the Forbidden City.

What brings this resource alive are the real-life stories and vignettes of people;through their eyes the reader enters the sights and sounds and tastes of bothMalaysia and Beijing. We can read about what it is like to attend school, join in thesinging of school songs, and hear the sounds of the night market. The section on theBeijing Olympics preparations does date the China Stopover slightly, but overall, theseare two highly useful, carefully put together and authentic teaching resources thatwould be an asset in the classroom. – Sally Bodkin-Allen

WHITIORA– reviewed by Stephanie Lees

Maisey Rika's 3rd studio album "Whitiora", a full length Te Reo (Māori) album is a great demonstration of collaborative composition. A wide range of Māori songwriters participate.Maisey might not be played on Media Works stations but she is as popular as Adele withmost rangatahi. There’s no gangsta rap here or inappropriate images, so a great resourcefor schools. If you don't know her material, listen up! Her website ishttp://www.maiseyrika.comThis album, (available on i-tunes and at the RED Shed) includes Ruaimoko featuring AnikaMoa, a haunting reference to the 2011 Christchurch earthquake, mixed delicately with astring quartet. Michael Barker (John Butler Trio) provides a wide variety of creative percussion on the majority of the album, also Joel Haines returns with his high quality guitar work. The video featuring white island accompanying Tangaroa Whakamautai is oneof the most beautiful I’ve seen this year (you’ll find it on youtube/kiwihits) Those who attended the Cultural Chords conference in 2011 will enjoy hearing the duet with TamaWaipara on “Haumanu” – beautiful kaupapa also – see the original and translation here:

HaumanuTaku tūātea ka whati i te aheuPapaki tū ana ngā tai ki te onetapu o MotunamataI hea au i te uranga mai o te ahi papakuraHōmai te waiora, haumanu, hauora kia manawatītīHe manapou, he manatawa, he manawa whenuaHe oranga ā-nuku, he oranga ā-rangiMā te hau tāwaho e pupuhi mai nei, He hōmai aroha

Tūātea: Ko te huka o te ngaruAheu: He hau tonga ka rere ki wī, ki wā. He kupu whakaritemō te hunga kua riro ki te pō.Motunamata: Te ao kei mua

Translation and whakamaramaThe name of this song is Haumanu. A song composed by MA studentsfrom the University of Waikato for Maisey Rika, 3 May 2011. The themeis educating the people of the world about protecting the environmentfor future generations. Composers: Tuirina Wehi, Paora Teka, Wharekotua Hare, Rangihurihia McDonald, Betty Brown, Harawira SavageTranslator: Te Kahautu Maxwell

The crest of my wave broken by the southerly winds of no bounds.Crashing on the sacred sands of the FutureConsumed by the struggle to live I was blinded and did not see your(Mother Earth) warning signsTherefore provide sustenance to the world, revitalise to a full and enduring healthThe life essence that wells up from the heart of the landTo rejuvenate heaven and earthWith the sea breeze which blows hitherCarrying love


Me KōreroLet’s Talk!Ka Hikitia – Managing for Success 2008–2012, the Government’sMāori education strategy, is coming to an end. The ministry of education will be redeveloping the strategy for another five years. Itwill be called Ka Hikitia – Accelerating Success 2013–2017 and it willfocus on getting an even greater step-up in achievement for and withMāori learners. They are asking to you about what you thinkworks ‘on the ground’ to raise achievement for Māori learners andwhat kinds of support you need to make things work better andfaster.

Fill in an online answer form at: www.minedu.govt.nz/MeKoreroLet-sTalk

For every 100 young learners that start school in 2012 18% of Māoriwill NOT have achieved basic literacy and numeracy skills by 10 (cf.4% of non-Māori and non-Pacifica).16% of Young Māori will becomedisengaged from education, employment or training by 17 (cf. 5% ofnon-Māori and non-Pacifica). Music has so many possibilities for student engagement we all know. It is important for music educatorstoo to consider how they can make an even greater difference forMāori learners.

The strategy needs to be ‘refreshed’ for 2013 to 2017 andthey need your ideas to support its development and implementation.

TātaiakoTātaiako has been developed to help all educators think about what ittakes to successfully teach Māori learners. It provides a guide to the development of cultural competence for teachers themselves, fortheir employers, and for Initial Teacher Education providers andproviders of on-going teacher professional development.

Tātaiako: Cultural Competencies for Teachers of Māori Learners isabout teachers’ relationships and engagement with Māori learnersand with their whānau and iwi. (Wanaga, Whanaungatanga, Manaakitanga, Tangatawhenuatanga, Ako)

Tātaiako has been developed to help all educators think about whatit takes to successfully teach Māori learners.

How much do we as teachers know of our students’ history, tikanga,and worldview – and how is this reflected in our classroom curriculumand environment? What aspirations do whānau and iwi have for theiryoung people? How visible and involved are whānau and iwi in theteaching and learning culture of the school or early childhood education service?

These are the kind of questions that Tātaiako challenges teachersand schools to answer as well as providing a culturally located framework for teachers to work from.

continued on page 22...

Earl, Timperley and Stewart (2008)² state that “cultural responsiveness is much more than introducing myths or metaphors into class. It meansinteracting with their families to truly understand theirreality; it means understanding the socio-political history and how it impacts on classroom life; it meanschallenging personal beliefs and actions; and, itmeans practices engage all students in their learningand make the classroom a positive learning place forstudents”.

Both resources can be accessed at:

http://www.minedu.govt.nz/theMinistry/EducationIni-tiatives/Tataiako.aspx

http://www.minedu.govt.nz/theMinistry/PolicyAnd-Strategy/KaHikitia/MeKoreroLetsTalk.aspx

So, how do we make an even greater difference forMāori learners in Music Education in the next fiveyears and beyond?

• Use more collaborative learning

• Music technology standards

• Relevant topics

• Co-construct task and lesson content

• Practical standards

• Using students’ prior learning

• Making links between learning areas

• Give the students choices

• Using different assessment strategies

• Know your learner…

Stephen Rowe (Arts-Music, Team Solutions) is part ofthe Regional Arts Partnerships (RAPS) providing PDLfor Secondary Schools nationally. email: [email protected]

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The New Zealand Music Commission, contracted by theMinistry of Education o!er FREE to schools in all parts ofNew Zealand the opportunity to workshop with musicindustry professionals in pop/rock genres for up to "vesessions. Applications including ‘priority learners’will be considered "rst.

For more information see www.nzmusic.org.nz/education and contact [email protected] (09) 376 0115.

MUSICIANSMENTORING INSCHOOLS 2013FOR STUDENTS IN YEARS 7 TO 13.

Marimba Jam at the Cloud- Report from Millie Locke:

Students travelled with their dedicated teachers and parent helpers from as far afieldas Christchurch and New Plymouth for theeighth annual ONZA Marimba Festival at theAuckland Cloud, Saturday 27th October. Firstheld in 2005, this community music makingevent for children involves over thirty partici-pating schools. Hundreds of students im-pressed their teachers and parents with theirability to remember a repertoire of eight livelypieces for marimba ensemble. Playing repeti-tive riffs and catchy melodies the students ex-pressed their enjoyment through theiraccompanying gestures, movement and overallsense of engagement. A number of schoolsperformed solo items, which ranged from tra-ditional pieces such as ‘La Cucaracha’ to an arrangement of a pop song, Gotye’s ‘Somebody that I used to know’ .

“You could see the concentration on the children's faces as they were playing theirparts. Every now and then someone wouldlook over to me with a huge grin while theywere playing. They loved the fact that hundreds of other children had learnt thesame marimba music and that we could sharethe joy of playing together.”

Maria Winder (East Tamaki PrimarySchool)

And in the ‘Ukulele World’ …

The New Zealand Ukulele Trust programme is developing successful outcomes in music at Primary and Intermediate levels for all students and with a large proportion of Pasifika and Māori students involved, they address the needs of ‘priority learners’ mosteffectively.

Report from Mary Cornish…

If we invest in the musical development ofPasifika and Māori students in the early yearsof schooling, far-reaching benefits will occurfurther down the track. NZUT has developed away of doing this. The ‘buy in’ from schools,communities and the success these studentsare having, is proof that it is working. Twothirds of NZUT’s participants are from lowdecile schools.

The resource produced annually for schoolsthat register, contains a range of music genresaimed at broadening the children’s exposure tomusical styles but also reflects their culture byincluding songs from the Pacific and waiata.


It introduces primary and intermediate children totab, notation and basic scales. The songs havechords in different keys and voicings - major,minor, 6th, 7ths, dims... They learn to play themand what they sound like. Examples from thisyear’s book include a hoedown, Wiegenlied, Odeto Joy, Nga Iwi E, Keina Fiafia (Tokelau) Slice ofHeaven, a twelve bar blues to give you a few examples.

Older primary students are encouraged to applyfor the Three Day Course (funded by NZUT)where they learn the discipline of how to play inan ensemble, to play with dynamics, to play withbeautiful tone, to follow a conductor, read ascore. Music in four contrapuntal parts is writtenespecially for this group.

In November, this group of 40 talented youngmusicians aged 9 -13 were on the stage at theTown Hall in Auckland in the APPA Music Festival.Three of them had travelled four hours each wayfrom a tiny area school in Northland, Te Kura Taumata o Panguru to attend rehearsals, and oneof those has been made section leader becauseof his mana and skill. We have section leaders,just like a formal orchestra! These children havelearnt to play at school in a group situation andhave become self-motivated young musicians. Wegive them a uniform to wear and make sure theyare acknowledged back at school. It is very rewarding when teachers tell us that for some ofthese students, being in the Development Squadhas turned around their behaviour.

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The winner of the annual Uke Quest Competition2012 is Steven Nai, a Year 11 student (OnehungaHigh School) who is a virtuoso on the instrument.He is self-taught and last year set himself a goalto play at the Ukulele festival. He will – Saturday1 December, to 10,000 people at the Trusts Stadium in Henderson! He will inspire the 2,700plus Kiwileles (the name of the massed ukuleleorchestra) and show them what can be achievedwhen one sets a goal and perseveres.

Mary Cornish, Chair of the NZ Ukulele (Charitable) Trust.

Diary note: Dec 1 –Auckland Ukulele Festival atHenderson Trusts Stadium.

Dec 8th Christchurch Ukulele Festival at Chisnallwood Intermediate.

http://www.nzukulelefestival.org.nz

Ukulele Development Squad

Te Aritaua Pitama was born on 23 February 1906 at Tuahiwi, a Māori settlement north of Kaiapoi, the eldest of12 children of Wereta Tainui Pitama, also known as Te Ruapohatu or ‘Stone’ Pitama, and his wife, Te HaurarakaAnipi Manakore Maaka.

Te Aritaua Pitama was brought up to be fluent in Māori ata time when this was becoming unusual for young NgaiTahu. His mother, Manakore, trained him in whakapapaand he was also a pupil of Teone Taare Tikao. He mayhave attended primary school in Tuahiwi; His secondaryeducation was at Christ’s College, Christchurch, from 1918to 1924, which gave him the advantage of being fully bilingual.

After leaving school he was attracted to the Ratana movement. With his mother he taught at the Ratana paschool, before working for a period for a Palmerston Northnewspaper. He married Ethel Winifred Ball at PalmerstonNorth on 23 January 1931; they were to have no children,but fostered many.

By 1934 Te Aritaua had returned to Tuahiwi, where heworked as a labourer. Although not yet 30, he was regarded as one of the kaumatua there at the time of thevisit of Tahupotiki Wiremu Ratana, the spiritual leader andfounder of the Ratana church and political party.

Te Aritaua also arranged for the mayor of Christchurch, D.G. Sullivan, to visit Tuahiwi during Ratana’s visit, to discussthe movement and its aims. Te Aritaua passed on Ratana’soffer of a concert party to assist the mayor in fund-raisingfor the Mayor’s Relief of Distress Fund, and extended aninvitation to the Duke of Gloucester to visit Tuahiwi on hisforthcoming tour; Te Aritaua was put in charge of theMāori reception arrangements when the duke visitedChristchurch later that year.

Following the formal alliance of the Ratana movement andthe New Zealand Labour Party, Pitama worked to establishthe party among Māori in the South Island, and was anelection organiser for Eruera Tirikatene. In 1936 he was amember of the party’s Māori Organising Committee.

In 1937 Colin Scrimgeour of the National CommercialBroadcasting Service recruited Te Ari Pitama as one of ateam of Māori announcers for the ZB stations; Pitama announced for 3ZB for some years. From 1945, with thecooperation of the head teacher, he began training theolder children of the Tuahiwi primary school in Māori waiata, haka and poi dances, and also in Latin motets,hymns and carols.

With the permission of the North Canterbury EducationBoard he took his troupe on a short tour: four concerts

and visits to Pakeha schools. This was followed by other‘commercial’ concerts in the North and South Islands toraise funds to allow the group to visit Wellington to welcome home the 28th New Zealand (Māori) Battalion.

In January 1946 the group of about two dozen children,billed as Te Roopu Pipiwharauroa (or sometimes as TeRoopu Tamariki of Tuahiwi), performed a programmecalled ‘Māori Cavalcade’ in the Town Hall in Wellington,and later in Palmerston North. Te Aritaua compered theshow, which continued around the South Island in August1946. He explained that it was intended to portray the history of Māori in song and dance from the first arrival ofNgahue in Te Wai Pounamu to the departure of the MāoriBattalion in 1940. It was also intended to be educational:Pitama said that none of the children under his chargecould speak a connected sentence in Māori, and he hopedto introduce them to their own culture. The group visitedall the main centres of the South Island, travelling morethan 800 miles by bus.

Pitama visited Australia, probably in the late 1940s, toteach schoolchildren in New South Wales about Māori culture; this may have been his own initiative as the tripleft him in financial difficulties.

In December 1950 he resurrected Te Roopu Pipiwharauroa. He wanted to raise funds to renew themarae and meetinghouse at Tuahiwi, and to pay for acarved gateway planned as a memorial to the fallen SouthIsland members of the Māori Battalion. He revived an earlier idea for an urban marae in Christchurch.

Te Aritaua Pitama had been acting on his own mana, without the backing of Tuahiwi elders or the necessary official clearances, and no funds were forthcoming. NgaHau e Wha national marae was eventually opened after hisdeath, using kawa (protocol) established by Te Aritaua.

He was elected a member of the Ngaitahu Trust Board in1953, representing the Akaroa district. In June 1957 headvocated that the board move its offices from Kaiapoi toChristchurch: Pitama felt that such a move would be in theinterests of the majority of beneficiaries; eventually, afterhis death, the board carried out his suggestion.

Te Aritaua Pitama became a Roman Catholic in 1957. Hedied aged 52 on 14 March 1958, in Christchurch, and wasburied on 18 March at Rapaki. He was survived by his wife,and by four brothers and four sisters.

By Angela Ballara and Riki Te Mairaki Pitama from the Dictionary of New Zealand Biography. Te Ara – the Encyclopedia of New Zealand


Pitama, Te Aritaua1906–1958

This Ngai Tahu leader; teacher, broadcaster, concert party producer was the recipient of theTOHU-TE PUNA O TE KI O NEHE (iconic Maori MusicComposers Award) at the Waiata Maori MusicAwards 2012.

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A highlight was the chance to visit the Sonic Arts studio, The Surgery and STL Audio studio or take a master class with musicmastermind Rodger Fox at the New Zealand School of Music.Everyone was buzzing to end the day with these fantastic experiences. Rodger was well prepared providing us with a fewscores to follow with the band and great tips on instrumentationand instruction. To top it off we were given information and a CDeach to take home, very generous indeed.

Last Day my group was thrown in the deep end and given the opportunity to film a music video. Tawa College rock band ‘UntilAutumn’ played their song ‘Monster’ for us on the stage in theschool hall, four times so we could get multiple camera angles andshots. We used two iPhones and an iPad, everyday technologydownloaded onto iMovie, edited by a few in our group and thereyou have it, a music video. Well it wasn’t that easy but the common technology certainly made it achievable. Our skilled tutors are all freelance film artists in the Wellington region, SarahHunter was a vibrant and enthusiastic tutor with an eye for detailand the speed to match. Daria Malesic and Erolia Ifopo wereskilled at editing and setting up the shots respectively. Once againwe achieved in five hours a music video and the skeleton of a documentary about the band, something which should have takenweeks to complete. An intense, fun and invigorating workshop wewere definitely thrown in the deep end for the day. I look forwardto viewing this video on Youtube as well.

A huge thank you to TRCC and MENZA for the massive undertaking organising this conference, to Tawa College for providing a beautiful music suite with all the right gear, to thewonderful caterers for food, glorious food and to all my colleagueswho see the value in collaborating with like-minded peers lookingto improve their teaching and spend constructive and quality timetogether. Here’s looking forward to next years conference!

Tami Lee Ward – HOD Performing ArtsCambridge Middle School

Sound Art – at the New Zealand School of MusicWalking into the acoustically considerate space at NZSM, the firstthing I absorbed was the recording-studio feel of the place. Obviously the purpose of this room is to make and record sound –innovative ones too judging by the paraphernalia resting on thearray of surfaces. Without any ado, Dr Dugal McKinnon eased the gathered musiceducators through a whirlwind tutorial about the evolution of sonicart investigation and installations. The relationship between soundand naturally occurring events was one focus of these installations; among others another was the link between technology and the presentation of the investigated/producedsounds. Following Dugal’s taster, Dr Ajay Kapur provided a jam-packedsnippet of his academic investigations to this point. Ajay’s engineering and musical mastery experiences linked nicely to theexplanation that Dugal provided, enhancing our understandingabout paring sound down to its very essence and finding newways to produce it.I was a secondary school senior music student in the late 1980sand I was never provided the information that areas of studyalong these lines existed – yet it seems that they’re concurrentwith technology and have an established lineage. It is now apparent to me that it is essential to foster all aspects of creativityin our students: not just the traditional composition process butalso innovative interpretations of the creative process itself. In addition to this revelation, I also now acknowledge that the Sondand Technology standards should not be optional if we are intending to provide a well-rounded exposure to our students;their potential is unknown – the world is a constantly changingplace and they need to be prepared for anything… massivechanges in perception, technology and experience.As music educators these days, we must provide a grounded appreciation for what has led us to this point as well as equippingstudents with the tools to continue the process of influence, creativity and generation. Sound Art may be the idealistic pinnacleof this structure, but it also the essence.

Cath McGlinchey (Kerikeri High School)

continued from page 12.....


continued from page 26.....

Best kickass (1oo great themes)

World science fair BobbyMc Ferrin “expectations”

“Esperanza spalding”

Animusic .com“pipedreams”

MusictechnzGarage band mixcraft

and tutorial

itick metronome

Virtuoso-piano keyboard

Guitar Tab –tuner and charts

G strings –chromatic tuner

Web Sites You Tube Apps

Midnight musicWavalvobe

Fatdogmusic.co.nzGuitar ensemble music,

includes some free

Chisnallwoodmusic.org.nzuseful music links

Etv.org.nz

Conference delegates complied the following table: GREAT websites, apps etc …

www.teoria.com.theory+aural practice

Stockholm ipad demo Solo lite –chords guitar free Ear master.comSymphony pro Sibelius for ipads $16

www.musical contexts.co.nz Rhythm cat free

www.musictech.co.nz Mad pad $4.99 records and manipulates vid and records sound

FREE NOTATION SOFTWARE: Muse score, Noteflight, THEORY: My music theory, MIXER :Mixcraft

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