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TheMenza magazine
tUNE mE iN
J ULY 2015 Volume 10 Number 2
in this issue... 2015 Kiwileles Songbook Launch, Youth Arts Space, Stickytarday in Christchurch and Invercargill and much more . . .
3 Editor’s Comments - Sally Bodkin-Allen
3 Chair’s Comments - Celia Stewart
4 Unsung Hero - Meet Neil Bruce
5 Meet Tiare Tamaiva - Peter de Blois
6 Daytime Comes to New Zealand - Keith Huxtable
9 Creating a Message Song - Aaron Taouma
10 Keeping it Simple - The Primary Version - Kelly Kennedy
12 The New Zealand Ukulele Trust (NZUT) - Celia Williamson
13 2015 Kiwileles Songbook Launch - Mary Cornish
14 Stickytarday - and New Zealand Music Month in Christchurch - Judith Bell
15 Stickytarday - and New Zealand Music Month in Invercargill - Sally Bodkin-Allen
16 Stickytarday Sheet Music
20 Making Music Matter - MENZA TRCC Conference Update at Dilworth School
22 From the Invercargill March to William Tell - Sally Bodkin-Allen
24 Choosing Songs of War and Peace - Susan West
July 2015
tUNE mE iN 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 Education brighter through Music.
MENZA maintains a website: www.menza.co.nzThe postal address is: MENZA PO Box 19362 Avondale Auckland 1746
For advertising inquiries, contact the Administrator, Bronwyn Bent at [email protected]: Sally Bodkin-AllenTypeset and Printing: Uniprint, 161 Albany Street, Dunedin
The Editorial team encourages reader feedback. If you have any comments or experiences that relate to articles published in Tune Me In, please mail or email them to Bronwyn Bent, the MENZA Administrator at [email protected] may be printed in the next edition of the magazine or published on the MENZA website.
The views expressed do not necessarily reflect the views of the MENZA Board and the Tune Me In Editorial team.
The Editorial team request that sources are rightfully acknowledged in all MENZA publications. Where it is felt a breach of this protocol may have occurred this can be notified to the editor or directly to the writer. MENZA has an expectation of ethical practices in the matter of disclosures.
MENZA Board Members
Celia Stewart (Chairperson) - Canterbury [email protected]
Sally Bodkin-Allen - Southland [email protected]
Mary Horner - Wellington [email protected]
Tim Carson - Auckland [email protected]
Tim Randle - Auckland [email protected]
Celia Williamson - Waikato [email protected]
Phil Pegler - Wellington/Lower Hutt [email protected]
Jane Ngui - Hawkes Bay [email protected]
Robert Legg - Wellington [email protected]
Judith Bell - Canterbury [email protected]
ISSN 2381-9987 (Print)
ISSN 2381-9995 (Online)
in this issue . . .
TheMenza magazine
tUNE mE iN
Tune Me In July 2015 Page 3
EDITOR’S COMMENTS
Welcome to the mid-year issue of Tune Me In, I hope you are all keeping warm. We really enjoyed singing about the heat of a “Stickytarday” in the middle of winter down south in Invercargill this year, and you can read about and see pictures of how New Zealand Music Month and the singing of the Hook, Line and Singalong Song for 2015 was celebrated in both Invercargill and Christchurch in the magazine.
This issue of Tune Me In contains articles about DAYTiME 2015 in Auckland, a one day conference that focused on the effective integration of technology in music education; the Rheumatic Fever Creative Hub, a creative workshop that brought together 25 young people from across South Auckland to dance, sing, create and learn; and a survey of young Australians about their preferred songs about war and peace which will also have relevance for teachers in New Zealand.
We celebrate The Ukulele Trust and the marvellous work done by Mary Cornish and Maria Winder every year as they develop the skills of thousands of young ukulele players. We also meet Tiare Tamaiva, a vibrant young student from Porirua College who is learning cello and whose favourite composer is Mozart.
There are ideas for teaching here too: check out the ideas for incorporating instrumental/Classical music into music sessions for early childhood; and Kelly Kennedy has some great songs for musical play in primary schools too. Thank you to Mary Horner for sharing her score arrangement of “Stickytarday” for recorder, ukulele and marimba.
A new “Unsung Hero” is introduced in this issue, Neil Bruce, who shares some of his wisdom and stories with us.
Thank you to everyone who contributed articles for this edition of Tune Me In. Many of the contributors are presenting workshops at Making Music Matter, the MENZA TRCC conference and we hope to see many of you there!
The next issue is due out in November 2015. If you would like to contribute email me at [email protected]
Sally Bodkin-Allen
Sally Bodkin-Allen, Editor
CHAIR’S COMMENTSHi everyone
I do hope you had a restful mid-year break and that Term 3 is off to a good start.
Since our last magazine, we have had another wonderful NZ Music Month with a wealth of activities and events promoting NZ music-it was great to see so many schools involved in this annual opportunity to celebrate all that is great about music in Aotearoa.
From a MENZA point of view we were delighted to see and hear our Hook Line and Singalong song “Stickytarday” being sung right across the country in a wide range of settings. We want to say a special thank you to the NZ Music Commission who collaborated with us on this project, which goes from strength to strength each year. Thank you to everyone who sent in videos of their performances of the song (and these can be viewed on the MENZA website). We are pleased to announce the winner of the “Stickytarday” video performance this year is Wentworth Primary School. We loved your singing and thought your signing was awesome! Thank you to Musicworks for donating the $250 voucher for this and the other prizes for the songwriters.
Our MENZA PD Days happened across many of our regions throughout May and June and it was great to get feedback from teachers who enjoyed the opportunity to hear about new ideas and learn some new skills. Many thanks to MENZA Board members and their teams who organised this professional development. Providing quality PD is an important part of our role in MENZA so do let us know if you have any specific requests or suggestions about people or topics that we could consider.
Well done to organisers and teachers who continue to provide wonderful performing opportunities through events like The Big Sing, Rock Quest, Chamber Music Contest, Jazz Quest and Orchestra Festivals. We know an enormous amount of work goes into preparing students for these events and you all need to be congratulated.
If you haven’t registered for our TRCC conference in October, it’s not too late. It’s going to be a great conference with a wide range of workshops for every sector and a wonderful opportunity to network with other music teachers from across the country. We look forward to seeing you all there.
Have a great Term 3.
Warm regards
Celia
Celia Stewart
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What led to you becoming a music teacher?
Music has always been a part of my upbringing. As the eldest of five children, I was fortunate to be born to parents who were musical. My mother Marion (nee Allan) was an enthusiastic and talented classical pianist while my father, Finlay, was more jazz/rock oriented. Both of my parents were teachers and each of the children was given the opportunity to learn the piano initially, then able to diversify latterly. My personal journey included, piano around 8, violin (which I bought from a classmate) at 10, (attending the KETC Saturday morning classes in Dunedin), church choir, singing role of Amahl in the Christmas Operetta Amahl and the Night Visitors with the Dunedin Opera Company at 12.
By secondary school age, a friend who had never learned an instrument wanted to join the school brass band so, with free tuition available, I joined him and took up the cornet as well. Meanwhile back in the family music wise – as the Bruce Family - we ended up playing on television as one of the finalists in the 1969 Studio One TV talent programme. Leaving school for Otago University I took up music – not as a performer - but graduated with a BA in music not knowing what I might do. It was not for a further four years after graduating, I eventually chose to become a music teacher in 1975, attending Auckland Teachers’ College with Trevor Thwaites and Trevor Benns (who still teaches music at Hauraki Plains College).
Where have you taught?
My first teaching position, after stints at Lynfield College, Avondale College and Dargaville High School, was to become the inaugural music teacher at Waitakere College. This was such a contrast to the hundred-year-old school with all of its traditions, which I attended as a student. Sited on a former orchard in Henderson, the whole school existed as a series of prefabs
UNSUNG HEROES - Meet Neil Bruce
until the main blocks were built. The music programme in par ticular, was confined to prefabs and there was no large performing facility, which was rather trying.
After four years, when the school grew from about 125 students to a school of over 900, I needed to explore other options and so opted to return to Dargaville, a school of 850, for a year which was delightful. There were three music teachers operating to their respective strengths! Trevor Benns (HOD, later Music Adviser Northland) took the Jazz band and senior academic programme, Ray Palmer, one of the school bus drivers, not only took the itinerant programme but the primary school out of hours programme in local schools and the Trad (traditional jazz / dance) band, while I took the choral programme, core and junior music and created a 4th form option Dance programme. The community also had a superb Dalmatian Kolo Band (similar to the Russian balalaika orchestras) retaining and passing on their cultural roots.
My wife’s uncle then lured me to the South Island, (Lawrence Area School) as a senior teacher for five years, which gave me the chance of teaching music to the whole school from primary age students to senior school. I engaged itinerants in brass, string and woodwind for the first time to travel from Dunedin and began teaching night classes in music.
After five years, I returned to my old alma mater to teach at Otago Boys’ High School for two years. During this time I was the inaugural treasurer of OSME, which was formed in 1987(?). After teaching music for 11 years, I became a Music Adviser for the Waikato and Bay of Plenty in 1988 with Max Stewart in Hamilton.
What do you love about teaching music?
Music is such an intimately sensory medium that inspires, comforts, and engages the spirit. It is an art form you can’t see (other than its written representation) but you can select and can experience it in such a range of genres, styles and performance media that can link with emotion and bind us together as humans. It has a cultural dynamic and diversity that is so broad, there is something for everyone. Like a language, it is capable of being created, performed and enjoyed and for the enthusiast, you can practically become involved (creating and recreating) or as an audience (appreciating). When I was a school student, school music mostly involved appreciation. Hopefully these journeys will continue to inspire students and my grandchildren to discover through musical involvement the potential for success that they never knew they had. The discipline and team work associated with rehearsal and performance can achieve levels that may at first seem impossible. Witnessing the associated buzz of “I did it” moments with tenacious perseverance (even for adult learners) is such great motivation for all. This can ignite a person’s spirit that can last for a lifetime.
What have been your three career highlights?
Three career highlights associated with Music include the following. Apart from being born into a musical family, the first highlight could be described as relishing the opportunities I found in childhood to learn instruments and sing in a range of music groups that progressed into leadership and creative opportunities in music in my teens. Today there is so much more opportunity for practical musical experiences at school in talent shows, band and choral competitions and stage challenges.
Perhaps the second highlight was to be appointed as the Musical Director of the Hamilton School of Instrumental Music in 1991, aka the Hamilton Saturday Morning Music School. In this role, I was able to expand the clientele attending each Saturday from primary students (through a user-pays system) to include secondary school students, adults, pre-school instrumental and choir programmes – even an Irish Music Class. This warranted changing the name to the Hamilton Community Centre of Music which it retained to this day. An early and critical professional part of this appointment was the opportunity to complete a Master’s Degree from Waikato, with my thesis being “The Role of a Musical Director in a Music Centre: An Action Research Study of Tutor Development”. I embraced the chance to
So for me, as in the acquisition our first spoken language, I love taking students on voyages of discovery and excitement, giving them possibly the first chance (after and including singing) to play basic instruments by copying and encouragement (using the “good model” espoused by Suzuki).
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Peter de Blois is HOD Music at Porirua College in Cannons Creek. He has an illustrious background in choral singing and has been a member of the New Zealand Youth Choir, Voices New Zealand, and Baroque Voices. Peter has also been a regional and a national adjudicator for The Big Sing.
research music teaching, including my own personal role through reflection as a part of an Action Research methodology.
A third career highlight is that I have been able to encourage the love of music through being a parent (and now grandparent) having brought up three musically enthusiastic daughters. They are now all parents who create musical experiences with their own children. While none are professional musicians, they each continue not only to live the music that moves them but also to inspire their children (our
grandchildren) to “do it, play it, dance it, sing it, LOVE IT!” At my age now I could not have wished to have achieved anything more.
Unfinished business
In my retirement, I continue to support the music programmes of those regions / schools wanting assistance in instrumental repair work and marimba making and playing. I never managed to complete a possible link to my Ph.D. in Driver Education for Adolescents (following on from a fatal head on collision with
a teenager) which could have explored “music as a mediator to learning.” I will continue to work quietly on such ideas and the promotion of World Peace, a goal which I believe music has such an important role to play. Even in New Zealand some have not understood the power music has to create and maintain a better world. So there is still work to be done!
Arohanui and thank you for the invitation to contribute to your publication.
MEET TIARE TAMAIVA - Peter de Blois
Meet Tiare Tamaiva, 14 years old, of Cook Island and Tuhoe descent. She’s in Year 10 at Porirua College (PC). She plays guitar and sings, and loves nothing better than jamming with her friends. Sounds like your typical Year 10 girl at PC. Yet Tiare is not your typical Year 10 girl at PC because she’s one of two students at PC who learns the cello.
Every Friday for the past 8 months she arrives at school at 8:15am for her cello lesson and has gone from strength to strength. She recently gained two First Prizes in the Bowed String section of the Kapi-Mana Music Festival. Her siblings play violin and now mum has started learning violin so she can support the tamariki during practice time. Asked why she decided to learn the cello, Tiare is quick to answer “because I didn’t want to be like my sisters and brother who learned the violin”.
What inspired Tiare and her whānau to learn a string instrument? The answer is simple: the Virtuoso Strings Schools Programme. This programme is run by Elizabeth Sneyd and husband Craig Utting and together they have taught many young students in the Porirua Basin. So how does it work? Craig and Elizabeth, through their Virtuoso Strings Charitable Trust, purchase instruments for students at local decile 1 schools and give them free lessons. The only proviso is that they must be in their Virtuoso Strings Orchestra which meets every Tuesday night at a local primary school. The scheme is so successful that Elizabeth predicts there will be 50 young violinists within the Porirua Basin entering Year 9 next year. In recognition of their work, both Elizabeth and Craig have been awarded a QSM in this year’s Queen’s Birthday Honours for their services to music education. The interesting thing is that many predicted the scheme would fail. There were many who told them not to bother trying to teach violin or cello in Porirua/Cannons Creek as the students were only interested in hip hop music and playing guitar. It’s great to see programmes like this prove deficit thinking wrong.
It’s great to see Tiare playing her favourite instrument at her lessons. She seems so at home with it – it’s a part of her now. When asked who her favourite composer is, she declares “Mozart…because…just because”. When asked who her favourite artists are when singing or on guitar, she says “oh, you mean normal artists – that’s Eminem and Tupac”.
So, what’s next for Tiare? She’s currently busy practising for her Grade 4 (Trinity) exam later
this year and she continues to get embarrassed when asked to play her cello in class. She still loves jamming and is always happy to play guitar for her friends’ assessments. In many ways she is a typical Year 10 girl at PC. The only difference is that she just happens to have been hooked by the sound of the cello and grabbed the opportunities offered to her.
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Friday 12 June and the Ellerslie Event Centre was abuzz with over 80 attendees from all over New Zealand taking part in a Day of Technology in Music Education - DAYTiME 2015 in Auckland. DAYTiME is a series of one-day conferences focusing on the effective integration of technology in music education and is an initiative by Music EDnet (Music Education Network), an Australian company established in Adelaide in 1991 - and soon to be operating in New Zealand.
DAYTiME in Auckland star ted with an inspiring and thought provoking keynote by Dr James Humberstone, lecturer in music education at the University of Sydney (Sydney Conservatorium). James has had a long history working in the area of composition, experimental music and technology. Soon after graduating from Exeter University in England, James migrated to Australia in 1997 and became widely known while working with Sibelius as an education specialist. This was followed by 11 years as Composer in Residence at Sydney’s Methodist Ladies College - a school recognized for its music program under then Director of Music, Karen Carey - where James thrived, writing a children’s opera (Kiravanu), teaching music and embedding technology into the curriculum. At the same time James was commissioned to write the 480 page text for Sibelius’ first certified course (Sibelius 7 Music Notation Essentials) while studying for his PhD at the University of NSW.
DAYTIME COMES TO NEW ZEALAND - Keith Huxtable
James became a lecturer at the Sydney Conservatorium of Music in 2013 and currently works in the fields of composition, music education and technology research, as well as experimental music. These are areas where James is greatly influencing the training of pre-service music educators. It is his work in developing the coursework for undergraduate music teachers, with a strong emphasis on integrating a range of technologies, which featured in his keynote. When it comes to technology in music education, James promotes the idea of being an “enthusiastic cynic” and challenges educators to explore the many opportunities and new ideas with a healthy balance of cynicism.
Sessions, sessions and more sessions
Following the keynote and a delightful morning tea the day was filled with 18 different sessions covering a wide range of topics across primary and secondary year levels. The day offered virtually everything from planning and budgeting through to exploring resources and practical classroom strategies, from innovative and new pedagogical approaches and the evolving curriculum through to polishing your skills in specific software applications. In fact the real challenge was choosing which 4 sessions you could attend over the day. But there was also adequate time to catch up with colleagues over morning tea and a superb lunch overlooking the Ellerslie race course.
When it comes to technology … music educators are encouraged to be enthusiastic cynics.
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Presenters over the day represented a wide cross section of knowledge and experience in the classroom and education sector and the professional music, media and entertainment industry from both Australia and New Zealand. I must add that it is truly a privilege to be working closely with such a team of like-minded professionals sharing a genuine passion for music education and, in particular, the effective integration of technology. It is this teamwork that underpins the success of DAYTiME as a valuable professional development event for music educators, now the largest conference for music technology in education in our region with well over 500 attendees in the 2015 series.
Music EDnet, DAYTiME and New Zealand
A little background for our Kiwi cousins: Music EDnet was established specifically to support music education along with the effective integration of technology. As someone with a long history in the professional music industry globally who is also an engineer, musician and parent, I discovered many years ago that there are significant benefits of a quality music education for children and that these could be further enhanced by the effective use of technology. While I don’t have the space to expand here, suffice to say that some earlier research along with establishing an innovative music learning centre in Sydney in the late 1980s confirmed in my mind that there was much more that could be achieved with the right approach. This resulted in moving my then young family to Adelaide in early 1991
to establish what is now known as Music EDnet. Why Adelaide? It was simply a matter of economics at that time. The Sydney centre was established while I was a senior manager with Roland and supported by the educational guidance of the Sydney Conservatorium. Starting from scratch privately in Sydney was not really an option, but in Adelaide we were also able to establish a separate company that would source and distribute key music software products from around the world and which would later become Sibelius Australia.
Music EDnet is a comprehensive service provider for music educators and schools in regard to music technology, including related technologies and facility design. Uniquely we focus on assisting schools/teachers to achieve their curriculum outcomes through planning and supplying the most appropriate technology and providing the technical support and training required. This includes keeping abreast of best practices and pedagogies. Over the years this has also given us opportunities to influence and support curriculum planning and pre-service teacher training and gradually expand our activities into all states of Australia.
A special feature of the Music EDnet website is the secure music technology portal that is provided for all schools we work with. This allows schools to keep track of all software licenses along with downloads (where appropriate), installation notes for IT, other notes for teachers and also planning documents. General information is available at www.musiced.co.nz/schools for NZ schools and www.musicednet.com/schools for OZ schools. Access to your school portal requires a login, but registration is free at www.musicednet.co.nz/register. All music educators are
automatically given free EDnet Membership on registration, however you also have the option to subscribe to the EDnet Hub (see www.musicednet.co.nz/EDnetHub).
DAYTiME began as an idea to meet the growing need for professional development focusing on the ever evolving nature of technology along with evolving pedagogies and curricula. This grew from a single event in 2013 to a national series in 2014 and now the 2015 series that included Auckland. Six days across six cities makes this a unique conference and has brought together an outstanding team and many new ideas.
Music EDnet will be coming to New Zealand over coming months and we are looking forward to working with schools around the country. We are also looking forward to learning more about the NZ curriculum and the important cultural aspects that influence music education in NZ. It is curriculum that drives everything we do … not to say that curriculum is sacrosanct as it too requires constant review and evolution … but it nevertheless is the most practical point of reference.
Over the next few months we hope to see many MENZA members, some of you may be coming to Adelaide in late September for the ASME national conference (Sept 30 to Oct 2, see www.asme2015.com.au) and no doubt many will be attending the MENZA conference in Auckland in early October. Music EDnet is planning to be there also, so please make a point of saying hello. It is great to see EDnet Team member and DAYTiME presenter Katie Wardrobe (Midnight Music) is delivering keynotes at both ASME and MENZA this year as well as a number of sessions.
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WANTED!New Zealand’s best music (technology) educators.
Planning for DAYTiME 2016 is already underway and attendees from this year would be aware that we have a number of exciting developments on the agenda. One we are particularly excited about is the EDnet Mentor program which will be aimed at finding outstanding music educators across Australia and New Zealand who are engaging students and delivering excellence through innovative approaches and strategies that utilize technology. Later this year we will be seeking nominations and the brief will be quite broad. We want to find the best and recognize them at future DAYTiME events with some great awards, supported by the EDnet Team and our sponsor organisations. The winners will be invited to become EDnet Mentors and will have the opportunity to present sessions at DAYTiME around Australia and New Zealand.
A number of DAYTiME 2015 sessions were presented by teachers currently working in a school and walking their talk with innovative ideas
DAYTIME COMES TO NEW ZEALAND (cont)
and strategies. In Auckland they included Brad Fuller from Northern Beaches Christian School in Sydney and Cheryl Burgermeister from Waikerie Lutheran Primary School in the South Australian Riverland. Brad was also one of the facilitators for the round table session “Music Technology in New Zealand Schools”, a very popular session that raised some excellent discussion points and ideas for the future. Many other presenters also had teaching experience and qualifications including our New Zealand colleague Helen Beech from Computer Music Ltd. Helen is highly regarded amongst educators in New Zealand and very supportive of DAYTiME, having been a presenter at DAYTiME in Brisbane a couple of weeks earlier.
Finally, many thanks to all who attended DAYTiME 2015 in Auckland and for the feedback and ideas we have received since. We invite all music educators, and especially MENZA members, to connect with us as we prepare to work with New Zealand schools and educational institutions. You can register on our website at www.musicednet.co.nz/register (free) or contact us by email ([email protected]) or phone (NZ 0800 141 474).
We hope to see many of you at the upcoming ASME or MENZA conferences … and at DAYTiME 2016 in Auckland.
Keith Huxtable is the Managing Director and founder of Music EDnet with over 40 years in the music industry and a strong advocate of music and media technology in education. Having studied Electrical Engineering at Monash University while performing part time as a professional musician, Keith has enjoyed a long career that combines his interests in music and technology. Over the years Keith has held senior technical and marketing positions with Yamaha and Roland, is a past Vice President of the Australian Music Association and a council member of ASME in SA.
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When the super-group USA for Africa recorded “We Are the World” in 1985, it topped sales records and became the fastest-selling American pop single in history. Besides bringing together the world’s most famous music artists in the industry at that time, “We Are the World” was a song with a message – to raise awareness and money for charity. This was the premise given to students in a holiday programme in which they had come together to find out about rheumatic fever and create an arts response to it.
The Youth Arts Space: Rheumatic Fever Creative Hub was run in April by the Youth Performance Trust at the Manukau Institute of Technology Faculty of Creative Arts and brought together 25 youth participants (13yrs – 24yrs) from across South Auckland in an intensive 3 day workshop ending in a public performance on the 4th day.
The students were to create a song, a dance, t-shirt designs, spoken word and installation performance art. They didn’t know each other and only had a very short time to do it. This is where “We Are the World” came into the picture. It was an example used to say “yes, they could do it and this is what it looks like when the best in the world do it”, in terms of writing anyway.
The music component of the programme was overseen by well-known musician Lance Su’a with song writing tutored by Feleti Strickson-Pua of Nesian Mystik fame and further input by pianist Ernest Semu (also a highly experienced musician) in the recording phase. However, the actual creation of the lyrics, melody and rhythm of the song was all to be on the students and the success of the project came down to the particular mix of mentoring, exposure to a variety of inspiring inputs as well as the participants natural creative talents. This was to be a holistic approach.
Here, the programme did not focus only on the creation of a song or a dance or a t-shirt design but rather focused on who the students were, what made them tick and how they could relate to the topic at hand; the Manukau Counties area in 2014 had the second highest rates of rheumatic fever in the country.
Having musicians take part in dance sessions, spoken word or design sessions, or dancers take part in a song writing master class, means you can engage in a cross-pollination process in which a larger group may influence smaller focused creative groups and vice versa. Leaving such larger groups to return to the creative groups that actually produce the product, i.e. the song or dance, means that they are influenced in a greater way than if they were to sit and only do music for an entire day.
Aaron Taouma is a former teacher with a background in journalism, the arts, theatre and production who is the coordinator of Youth Arts Space and a trustee of the Youth Performance Trust.
In this case the song production group got down to three singers, a spoken word artist, and a drummer, with filler instrumentation taken on by Su’a and Semu in producer-come-studio-muso roles. The real magic was that the participants had such a varied process and several different creative inputs. Visits from an international poet and local actors, and the mentor musicians having a background in jazz and rhythm and blues/vintage music, all contributed to a creative process multifaceted in approach and led to the creation of an original mix.
This in turn led to the creation of a song, campaign phrase and t-shirt design called “Change Your Fate” – a concept tackling stereotypes, as much as pointing to prevention messages. This was a process which the Youth Performance Trust have said they wish to develop further and which they are set to deliver a similar programme at Te Oro, Glen Innes’ newly established music and arts centre. This time it will run over a two-week period during the July school holidays.
If they can achieve the creation of a song like “Change Your Fate” in three-days, imagine what may be achieved in two-weeks. Watch this space!
You can watch a round-up video of the workshop including the song at these web addresses:
https://youtu.be/aRTMsP7s5Vs or https://vimeo.com/128235892
CREATING A MESSAGE SONG - a holistic process - Aaron Taouma
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Who would have thought that hand clapping games could address so many different developmental skills at once!? Bilateral coordination, memory and cognitive skills, and cooperative play are all packed into this fun childhood tradition! Below are a few hand clapping based games that are simple enough for a wide age range.
Rhythmically Speaking: This is a great icebreaker and encourages the developmental skills listed above. (Tailor to suit using name, favourite colour, sport, food etc.) Sit in a circle and clap your knees on beats 1 and 2, and just move your hands to the left and right on beats 3 and 4. An example of this game can be found here: https://www.youtube.com/watch?v=g7Wjl9x4N3U
Lets All Play Our Drum (because it’s so much fun): This game is all about listening and focus, and being able to trust your own instincts rather than relying on others. You will need something to substitute as a drum (cups, bowls, buckets, etc – or the floor will work too!) Cognitive skills are addressed here also, replacing clapping with drumming.
Have all students sit in a circle and provide them with a drum. First say the lines below, and have the students repeat them back to you, tapping their drum to the same rhythm as the words.
Lets all play our drum (repeat)Lets all play our drum (slower / faster)All play our drumAll play our drumPlay our drumPlay our drum
Then imitate the above with drum beats only (no words)
Add the line below following the same pattern above:Lets all play our drum because it’s so much fun
Now take away one ‘word’ on each repeat
An example of this game in action can be found at: https://www.youtube.com/watch?v=F8Ru09OH3zM
Statues: This is a fun filler game for if you need to get students physically moving or get some fresh air. You will need a drum or something to bang on.
• Have all students spread out so that they are not touching anyone or anything. They
KEEPING IT SIMPLE - The Primary Version -Kelly Kennedy
Kelly Kennedy runs her own successful music business, the Kennedy School of Music in Invercargill which employs seven staff and has over 75 students. She has been teaching piano and voice for several years and has recently become more interested in early childhood music since having her own children, 3 year old Lochlan and 1 year old Eden. Kelly will be giving a workshop at the MENZA conference in October.
then make a pose as if they were a statue, and cannot move until they hear the drum sound. Failure to comply with these ‘rules’ means they are out.
• They must listen to the beat of the drum and can only move once for every beat.
• Variation: speed up and slow down the beat of the drum each time and have them match the speed of their movements to the tempo of the drum.
Guess That Song:This is a good time filler for the end of class if you have some time left over. Simply play the first little bit of a song, movie theme, or cartoon theme for the students. Be sure to have them face away from the computer so they cannot see. If they think they know the name of the song, they must raise their hand quietly in their seat. Choose the first hand you see to give an answer and take about three more guesses before moving to another song.
Learning Rhythm & Beat (younger students): If you don’t play an instrument or haven’t had music lessons before, it can be a little confusing to understand the difference between the rhythm and the beat in music. The beat is the steady pulse that you feel in the tune, like a clock’s tick. It’s what you would clap along to, or what you feel you want to tap your foot to. The rhythm is the actual sound of the notes, which in a song would be the same as the words. These sing-a-long games are a great foundation for younger children to begin building upon. You can find colourful sheets on the link below to compliment this game: http://www.letsplaykidsmusic.com/wp-content/uploads/2013/01/How-to-Teach-the-Difference-Between-the-Rhythm-the-Beat.pdf
Hickory Dickory Dock is a good one to begin with because the beat is the steady tick tock of the clock, which you feel throughout. The rhythm is the same as the words with a sound for each syllable. If you want to practice finding both the rhythm and the beat of a song or rhyme one person should sing or say the words while clapping along to match the sound, and another should beat or tap a tambourine to make the sound of the steady beat at the same time. Once you have mastered this, you can swap and make sure to take turns practicing both.
Follow this same pattern for both Incy Wincy Spider and Pitter Patter Pitter Patter. In Incy Wincy, the “Tip-Toe” of the spider represents the beat, while the stars represent the rhythm.
In a similar way, in Pitter Patter, the rain drops represent the beat and the stars the rhythm. You can apply this technique to almost any nursery rhyme or children’s song, encouraging the students to either clap the beat/rhythm or tap it with an instrument.
Let Her Go Go: This one gets the students moving and interacting with each other. Other skills encouraged are coordination, connection, discipline and of course a lot of laughter usually results! See an example here: https://www.youtube.com/watch/?v=Nwm_Xl2aNug
I let her go go. Ee ay, I let her go go. Ee ay, I let her go. I let her go, go, go.
The Cup Song (for older students):This game you may recognize from the movie Pitch Perfect. It is all about coordination, focus and ‘stickability’. Once the method is complete, new challenges can be set by adding the vocal line (easily found on YouTube), or sitting in a circle and passing the cup to the person beside you at the end of each round. An example of the cup song in action can be found here: https://www.youtube.com/watch?v=weqDCGg0GYs and a link to teach yourself how to play: https://www.youtube.com/watch?v=aS5vfx4sWSg
Tune Me In July 2015 Page 11
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12
THE NEW ZEALAND UKULELE TRUST (NZUT) - Celia Williamson
(L-R) Maria, Mary
Thousands of children have had a start in music through the New Zealand Ukulele Trusts programmes. Music specialists and New Zealand Ukulele Trust’s trustees Maria and Mary, and their team, find it very rewarding to know that hundreds of teachers have become encouraged and skilled to take music in their classrooms as a result of the Trust’s efforts.
There is no targeted government funding for the delivery of the music curriculum that Mary and Maria offer; it is purely a labour of love. Each year, the pair select the repertoire in January, spend February to April arranging the music and the Easter break to record the CD with the help of guest musicians and Jam Bus’s mobile recording studio.
On May 22nd, 2015, over 100 teachers from Northland, Waikato and Auckland packed into the Dilworth School hall for the first Kiwileles Teachers Workshop as part of the MENZA Auckland PD day at Dilworth School during Music Month. Teachers were eager to sing and play through their freshly printed copies of the 9th Kiwileles Songbook – a comprehensive singing and playing resource, complete with rehearsal CD and Soundcloud links.
Maria and Mary believe teacher enablement and quality resources are the key to keeping music free and accessible to all children in our Primary and Intermediate schools and are very passionate about this cause. “We enable schools to teach children how to play, sing and perform with confidence.” Last year they also published the New Zealand Ukulele Trust Handbook - A Guide for New Zealand Teachers, with the goal to assist specialist and generalist teachers develop a ukulele programme.
Gifting instruments to schools, training a Youth Development Squad Orchestra and holding national competitions aimed at developing songwriting and performance skills are also part of the Trust’s programmes.
Next year they will be celebrating the 10th publication of the Kiwileles Songbook and the New Zealand Ukulele Festival. The team at NZUT have some very special events scheduled to celebrate their 10th year of operation. I look forward to seeing what they have planned for next year!
Music Teachers are known to give of their time, energy and resources over and above what is expected. For many years, two such teachers have stood out for me – Mary Cornish and Maria Winder.
Celia Williamson is the Music Teacher at Forest Lake Primary School in Hamilton. She specialises in teaching the ‘Orff ’ way. She is very passionate about many instruments but par ticularly loves the joy of seeing kids playing in the Marimba Festival and the NZ Ukulele Festival.
Dilworth students recording Tongan song ‘Si’I Lolo’ for the Kiwileles Songbook 2015
Tune Me In July 2015 Page 13
Kia Ora Kiwileles Teachers and Leaders!
When the great Spanish cellist Pablo Casals said “music will save the world” he might have been just a bit optimistic. However, I think it would be safe for me to assume that everyone here believes in music’s transformative powers.
Science has proven it to be a veritable boot camp for our brains: it would seem that human brains are hard-wired to process music’s complexities. This is according to acclaimed physicist and science writer Philip Ball, recently in Auckland for the Readers and Writers Festival. In his book The Music Instinct: How and Why Music Works and Why We Can’t Do Without It, Ball writes “music is the most remarkable blend of art, science, logic and emotion, physics and psychology that is known to us”.
Yet sadly, many of our children are denied the opportunity to express and explore their innate musicality. They will become the adults (like some I spoke to recently) who claim they are “unmusical” or “tone deaf”. This was a group of doctors, who should have known better, for the clinical condition of tone deafness (amusia) is rare. There are many cultures where to declare “I am not musical” would be the same as saying “I am not alive” - Philip Ball again.
You all care deeply about music education; many of you have committed to the Kiwileles programme in 2015. Beyond the impact a teacher will make on each child, there is a much broader one. We live in a city that by world standards easily qualifies for “diverse” status. Your schools reflect that, you experience this daily in your classrooms. This presents challenges and opportunities. With a culturally responsive music programme we can bring our increasingly diverse communities together in a way that is meaningful and inclusive.
UNESCO has recognised that the arts are integral to life, promote sustainable development and should be part of a rounded education. Culturally inclusive arts education engages and respects all students. It fosters social cohesion, diversity, tolerance, acceptance and understanding – the very things that are imperative for a highly functioning society.
As the world adjusts to globalization, we need to find ways for our children to frame and retain their personal identity while forging a collective one. Music enables us to do this.
One of the most rewarding moments of the festival is seeing the Kiwileles massed in the stands, a melting pot of cultures and socio-economic groups, cohesively and joyously making music together. Their families sit side by side on the grass, suspended for a day in happiness, celebration and pride. At the New Zealand Ukulele Festival, we witness the transformative power of music every year.
The attrition and eventual cessation of investment in music in primary schools and its demotion in the curriculum has been a slow moving
2015 KIWILELES SONGBOOK LAUCH - Mary Cornish
Mary Cornish has taught music at all levels and is a passionate advocate for equitable access to music education in our schools. She currently spreads her time between teaching, directing festivals, writing resources, studying for the Australian Kodaly Certificate and her role as chairperson of the New Zealand Ukulele Trust. Mary, along
with Maria Winder will be providing a workshop at the MENZA conference in October.
tragedy for our children and our society. Our collective challenge is to convince those who control budgets, curriculum design and delivery that music nurtures the essence of what it is to be human. It is a right, not a privilege.
Teachers involved with the New Zealand Ukulele Trust help us to promote music within and beyond the school gates. Happily, many teachers come from schools who have embraced our vision for this programme. Some of them have invested in this journey as “lone rangers”, with little support from their school. We know all of them go above and beyond to give their students a start in music. If you would like to know more about our programme or would like our help to get started please get in touch with us, we love to help. Teachers, you are our most important asset! Pablo Casals also said: “we must all work to make the world worthy of its children”.
On behalf of the New Zealand Ukulele Trust and the 2015 Kiwileles: thank you for making their world a better place, with music.
Auckland MENZA PD DAY
NZ MUSIC MONTH May 22nd, 2015
www.nzukulelefestival.org.nz
Tune Me In July 2015 Page
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STICKYTARDAY - and New Zealand Music Month - Judith Bell
Chisnallwood Intermediate School used the 2015 Hook Line and Singalong song “Stickytarday” to celebrate New Zealand Music Month on three occasions.
Ravil Atlas taught “Stickytarday” at the Canterbury MENZA PD Day at the start of May and the Chisnallwood choir was fortunate to join the delegates as part of this practical and demonstration session. The choir and the ukulele group then took the song to Aranui Library as part of NZMM where they shared the song with the community and a local pre-school who came along especially to be part of it.
NZMM wrapped up at Chisnallwood with a big house competition sing-off combined with the local school, Avondale Primary. One thousand students from year 1-8 sung the song together, then each house and Avondale sung it separately to compete for house points. Individual stand out participants were awarded spot prize such
Judith Bell has run the Chisnallwood Intermediate School music programme since 1999, which provides lessons for 300 students a year and takes 11 music groups, theory club, computer music and sound tech training. Judith has also taught early childhood music classes and been an itinerant and private music teacher. She has directed Christchurch Ukulele Festivals and co-chaired the Christchurch Big Band Festival for the last few years.
as NZMM badges. MENZA Chair Celia Stewart was the guest judge.
Other NZMM activities included a school NZMM quiz where the first few classes to complete the NZMM quiz won posters for their classroom. We ran a raffle thoughout May of a ukulele, donated prizes and NZ food to raise money for the music department.
Two school jazz bands, five rock bands, ukuleles, choir and Irish band took trips
to perform at the local Aranui and Shirley libraries during May as part of NZMM (during their normal rehearsal times or on teacher only day so as not to disrupt class time).
We look forward to performing “Stickytarday” this term at the Strum, Strike and Blow festival on August 26th where 1000 students from 33 schools (including 500 ukuleles) will sing with a live backing band in the Horncastle Arena.
The photos show the “Stickytarday” Chisnallwood Intermediate and Avondale Primary combined New Zealand Music Month house sing-off as well as the photos of the Chisnallwood choir singing “Stickytarday” at Aranui Library as part of New Zealand Music Month.
Tune Me In July 2015 Page 15
STICKYTARDAY - and New Zealand Music Month in Invercargill - Sally Bodkin-Allen
Seven Invercargill primary schools engaged in Hook, Line and Singalong in 2015. Children from Newfield, Windsor North, Otatara, St Joseph’s, St Patrick’s, Gorge Road and Waihopai schools all attending the Southern Institute of Technology (SIT) Bachelor of Contemporary Music Kids Concerts at Centrestage and joining in with the SIT Music students as they performed the song. There was fantastic engagement with the 2015 song “Stickytarday” and all the schools had clearly learned the song as well as the sign language actions.
First year BCM student Tim Balme says that performing the song soon became one of his favourite parts of the show, due to the reaction of the audience when he announced the name of the song. “I just loved seeing all the kids singing and joining in with me,” says Tim. “They were so into it!”
On Friday May 29th (the ‘official’ Hook, Line and Singalong Day) the year one BCM students performed at the Invercargill Public Library. “Stickytarday” was the feature song. The band was joined by pupils from Otatara School on a variety of instruments (drums, ukuleles, and even a cello), and the Lyrical Librarians (a choir made up of librarians from the Invercargill Library) also joined in the singing. It was a wonderful way to celebrate New Zealand Music Month and drew a good crowd into the library foyer as well. This is the first year that Hook, Line and Singalong Day has been held at the public library in Invercargill, but we will continue to come together as a community and sing there in future years.
The photos show the year one Bachelor of Contemporary Music students performing at the Kids Concerts as well as the performance of “Stickytarday” on the official Hook, Line and Singalong Day at the Invercargill Public Library with pupils from Otatara Primary School.
Tune Me In July 2015 Page
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Tune Me In July 2015 Page 17
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Tune Me In July 2015 Page 19
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Tune Me In July 2015 Page
20
MAKING MUSIC MATTER - MENZA TRCC Conference Update. 5-7 October, 2015, in Auckland at Dilworth SchoolThe planning for this is now well underway, please see the attached draft timetable. As you can see there is a variety of workshops for all sectors: ECE, Primary, Secondary and general. This is a fantastic PD opportunity that you don’t want to miss! Registrations can be done online at http://www.trcc.org.nz/
The early bird fee closes on August 21st and is $350 for MENZA members and $390 for non-MENZA members. This is a chance to network, learn, and develop your musical skills and confidence. Our keynote speakers James Cuskelly, Katie Wardrobe and Susan West are internationally renowned in the field of music education.
HERE ARE TASTERS OF SOME OF THE WORKSHOPS:
Mäori Culture in the classroom Selena Bercic, (General) A practical guide to integrating more Te Reo Mäori into the classroom through the use of song, movement, ukulele and Kapa Haka. A few resources will be made and given during this session for you to take with you e.g. Poi, Taonga Püoro.
Making and playing instruments in ECE Helen Willberg (Early Childhood) We will explore the making and using of musical instruments with young children. We will be using natural resources and some key bought or found resources as well as junk materials. The experience will incorporate listening, technology and creating music, and will link with existing music resources. There will be some songs, games and chants in Te Reo Mäori and Samoan as well as other languages.
Listen with your eyes - from visual stimulus to whole class composition Jeremy Hantler & Robyn McQueen (Primary) This workshop will model a creative process using visual stimuli as a starting point for composition. Suitable for Primary teachers: structuring effective group work, introducing musical vocabulary, modelling constructive feedback, including diverse students, performing a collaborative piece. Children welcome.
Working with diverse instruments Judith Bell (Primary) Have you ever been in a situation where you have an unlikely combination of instruments at school? And they’ve all signed up to be in the school orchestra? Perhaps a beginner violinist, an advanced recorder player, a bassoonist and a bagpiper? What do you do? We will share some tried and true tips and examples to help your group get a more satisfying end product, while providing a more motivating learning and performance environment for your students.
Panel - preparing students for external exams TBC (Secondary) How do we ensure students are as well prepared as possible for their external exams? What are your top tips? What advice do you give your students when they are studying? A panel of secondary teachers will share their thoughts and facilitate a discussion around these issues.
Instant Coffee: Songwriting on the go Jason Sagmyr, SIT (Secondary) This is a hands on practical workshop where Secondary teachers will gain a variety of skills for teaching songwriting in their classrooms. This will involve the application of compositional devices, lyric creation tools, and the ability to synthesize these into group performance.
Culturally responsive pedagogy - Pasifika Siliva Gaugatao (General) During this session participants will have the opportunity to: learn about culturally responsive practice and how this can be applied in their own setting; share a range of tools that teachers / the workshop leader have found useful and consider how their own practice could contribute to supporting overall Pasifika achievement.
Simple iPad Projects for the ECE and Primary Music Classroom Katie Wardrobe, Midnight Music, Australia (Early Childhood and Primary) Get the most out of your school iPads with this series of simple step-by-step music projects you can use in class tomorrow.
We’ll look at a basic creative “app kit” which will allow your students to compose,
arrange, remix and notate. We’ll look at engaging project ideas including: a simple name-based composition activity, recording stories with sound effects and mood music, “Harry Potter” pictures that come to life and how to make simple backing tracks (which take less than 5 minutes!). The projects suit those with varying experience levels (both students and teachers!) and all are adaptable for a range of age groups.
Giving Access - Developing Artistry 1: Focus on rhythm through movement, body percussion and untuned percussion Christoph Maubach & Millie Locke (Primary) During this session par ticipants will: develop an increased knowledge of the Orff approach through active participation; develop increased understanding of how to sequence learning which is tailored to the range of abilities and interests in a typical classroom music programme and receive an ‘exemplar’ document which details the material and the sequences of learning presented during the workshop.
Moderation Matters Delysse Glynn, NZQA (Secondary) Delysse will discuss with participants the evidence around external moderation including digital evidence.
Teaching the NZ Ukulele Way Maria Winder & Mary Cornish (General) Mary and Maria will share tips and tricks from the highly successful NZ Ukulele Trust Handbook for Teachers: Getting your uke group started; Developing musicianship and developing ukulele skills.
Time, Space, Energy: Games and ideas for the music room inspired by Dalcroze Eurythmics approach to music education Marie Willis (Early Childhood) Outcomes of Session: - Learning song and game resources for
Early Years children that use whole body movement as the means to experiencing, and developing a comprehensive understanding of the fundamental elements of music; developing readiness to support learning more advanced musical skills
Tune Me In July 2015 Page 21
- Developing confidence in honouring, and musically supporting children’s own movement ideas as starting points to foster engagement and enjoyment in music learning
- Developing confidence in using ‘live and embodied’ kinaesthetic and
Mak
ing
Mus
ic M
atte
r, M
ENZA
Con
fere
nce,
5 -
7th
Oct
ober
, 201
5 DR
AFT
PRO
GRA
MM
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Dilw
orth
Sch
ool J
unio
r Cam
pus,
Auc
klan
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Mon
day
5th
Oct
ober
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esda
y 6
th O
ctob
er
Wed
nesd
ay 7
th O
ctob
er
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stra
tion
from
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9.
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gist
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ues.
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am K
eyno
te: T
echn
olog
y in
the
clas
sroo
m K
atie
War
drob
e
9.00
am W
orks
hops
1.
G E
xcel
lent
way
s to
use
Inte
ract
ive
whi
tebo
ard
in th
e M
usic
cla
ssro
om
Katie
War
drob
e 2.
G M
āori
cultu
re in
the
clas
sroo
m S
elen
a Be
rcic
3.
EC T
his i
s the
way
we
sing
and
play
: Mus
ical
pla
y w
ith B
abie
s Jul
ie W
ylie
4.
EC A
BC M
usic
and
Me
Lisa
Brai
d 5.
P In
tegr
atin
g M
usic
and
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emen
t Ker
ri Fi
tzge
rald
6.
S Au
ral:
Impr
ovin
g ac
hiev
emen
t for
aur
ally
-abl
e no
n-re
ader
s Mar
y Ho
rner
7.
S Te
achi
ng th
e N
CEA
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arch
Sta
ndar
ds M
ichel
le W
illia
ms
8. S
Mak
ing
and
play
ing
ngā
taon
ga p
ūoro
Virg
inia
& W
arre
n W
arbr
ick (r
epea
t)
10.0
0am
Mor
ning
Tea
10
.00a
m M
orni
ng T
ea
10.3
0am
Key
note
: 'N
orm
al ru
les d
on't
appl
y': f
ollo
win
g a
philo
soph
y of
in
divi
dual
cho
ice
in m
usic
mak
ing
Susa
n W
est
10.3
0am
Wor
ksho
ps
1. G
Mus
icia
nshi
p - L
evel
5 (K
odal
y, A
ustr
alia
) Jam
es C
uske
lly
2. G
Mus
icia
nshi
p - L
evel
4 (K
odal
y, A
ustr
alia
) Mar
ee H
enne
ssy
3. EC
/P U
ke n
Do
It - U
ke fo
r Beg
inne
rs Ju
di C
rans
ton
4. EC
ABC
Mus
ic a
nd M
e Lis
a Br
aid
5. P
Lite
racy
in O
rff E
ugen
ie M
iddl
eton
& M
ehen
az P
ardi
wal
la
6. P/
S G
arag
eban
d in
Yea
rs 7
- 10
Kat
ie W
ardr
obe
7. S
Effe
ctiv
e w
ays t
o m
ake
your
Mus
ic D
epar
tmen
t thr
ive
Nick
Gre
w &
Tim
Ra
ndle
8.
S So
ng-w
ritin
g in
a S
econ
dary
cla
ssro
om Je
ni Li
ttle
11.3
0am
Wor
ksho
ps
1. G
Pra
ctic
ally
spea
king
: a si
mpl
e ph
iloso
phy
and
prac
tice
for o
verc
omin
g m
usic
al a
trop
hy S
usan
Wes
t 2.
G M
āori
cultu
re in
the
clas
sroo
m S
elen
a Be
rcic
3.
EC/P
Mag
ical
Mus
ical
Pla
y: T
he A
rt o
f mus
ical
pla
y in
EC
and
Juni
or P
rimar
y cl
assr
oom
Julie
Wyl
ie
4. EC
Mak
ing
and
play
ing
inst
rum
ents
in E
CE H
elen
Will
berg
5.
P Li
sten
with
you
r eye
s - fr
om v
isual
stim
ulus
to w
hole
cla
ss c
ompo
sitio
n
Jere
my
Hant
ler &
Rob
yn M
cQue
en
6. P
Wor
king
with
div
erse
inst
rum
ents
Judi
th B
ell
7. S
Pane
l - p
repa
ring
stud
ents
for e
xter
nal e
xam
s TBC
8.
S In
stan
t Cof
fee:
Son
gwrit
ing
on th
e go
Jaso
n Sa
gmyr
10.3
0am
Mor
ning
Tea
11
.00a
m W
orks
hops
1.
G M
usic
ians
hip
- Lev
el 5
(Kod
aly,
Aus
tral
ia) J
ames
Cus
kelly
2.
G M
usic
ians
hip
- Lev
el 4
(Kod
aly,
Aus
tral
ia) M
aree
Hen
ness
y 3.
G S
ing
with
you
r han
ds w
ith H
ook
Line
and
Sin
galo
ng so
ngs S
ally
Bod
kin-
Alle
n &
Tim
Car
son
4. E
C Ke
epin
g it
simpl
e: M
usic
al g
ames
for t
ots K
elly
Ken
nedy
5.
EC
Mus
ic S
torie
s in
ECE
Jani
na S
tenb
o 6.
P B
eing
pre
sent
; Tou
chin
g th
e Pa
st C
athe
rine
Shor
t & G
raha
m P
rice
7. S
Roc
k Q
uest
Ban
ds N
ick R
ober
ts
8. S
Clo
ud b
ased
mus
ic e
duca
tion
tool
s in
seco
ndar
y sc
hool
s Hel
en B
eech
1.00
pm L
unch
12
.00p
m L
unch
12
.30p
m L
unch
2.
00pm
Wor
ksho
ps
1. G
Cho
ral (
Koda
ly A
ustr
alia
) Jam
es C
uske
lly
2. G
Cul
tura
lly re
spon
sive
peda
gogy
- Pa
sifik
a Si
liva
Gaug
atao
3.
EC T
ap T
ap C
lick
Clic
k Sh
ake
Shak
e Sh
ake
Judi
Cra
nsto
n 4.
EC/P
Sim
ple
iPad
Pro
ject
s for
the
ECE
and
Prim
ary
Mus
ic K
atie
War
drob
e 5.
P Gi
ving
Acc
ess -
Dev
elop
ing
Artis
try
1: F
ocus
on
rhyt
hm th
roug
h m
ovem
ent,
body
per
cuss
ion
and
untu
ned
perc
ussio
n Ch
risto
ph M
auba
ch &
M
illie
Lock
e 6.
S/IT
Ms I
ssue
s for
ITM
s and
thei
r HO
Ds: W
hat i
s the
cur
rent
stat
e of
pla
y?
Judi
e Al
ison,
PPT
A 7.
S W
hat i
s Jaz
z? R
odge
r Fox
8.
S M
oder
atio
n M
atte
rs D
elys
se G
lynn
, NZQ
A
1.00
pm W
orks
hops
1.
G C
hora
l (Ko
daly
Aus
tral
ia) J
ames
Cus
kelly
Gen
eric
2.
G A
cul
tura
lly re
spon
sive
appr
oach
to le
arni
ng th
roug
h Pa
sifik
a so
ng a
nd
danc
e Ro
byn
Trin
ick &
Lua
ma
Saun
i 3.
EC
Rhyt
hm a
nd R
hym
e - O
rff i
n EC
E Ce
lia S
tew
art
4. E
C M
akin
g an
d pl
ayin
g in
stru
men
ts in
ECE
Hel
en W
illbe
rg (r
epea
t) 5.
P R
unni
ng a
prim
ary
/ int
erm
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aural approaches to music education, supported by visual and physical aids
- Gaining insight as to how this movement-focused approach fosters musical sensitivity, a capacity to ‘listen’ with the ‘whole body’, and engenders an instinctive vitality and a love of music-making
Literacy in Orff Eugenie Middleton & Mehenaz Pardiwalla (Primary) Experience integrating literacy into the music classroom using the Orff approach. This session will focus on all the six years at primary level. We will also look at introducing our favourite music games to spice up the programme.
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FROM THE INVERCARGILL MARCH TO WILLIAM TELL - Ideas for using instrumental music in Early Childhood - Sally Bodkin-Allen
At our MENZA organised PD day in Invercargill held in May I took a workshop for early childhood teachers on ways to use classical music in the early childhood centre. While I now teach on a contemporary music programme at SIT (Southern Institute of Technology), my background was originally in classical music. My own observations and research in this area got me thinking that teachers might be interested to learn ways to incorporate more classical music into their programmes, but weren’t too sure how to go about doing it. To prepare for the workshop I just started thinking creatively about some of my favourite pieces of classical or instrumental music, what could be done with them in an ECE context, and then tried out my ideas on my three year old. It is easy to access recordings of these pieces from Youtube (and I have included links here). A short amount of background information is included on each piece of music, as it is important to set the work in context and to know its origins, and then ways to use it with young children are outlined.
Invercargill March – Alex Lithgow 2:29https://www.youtube.com/watch?v=0uCY13PHiwM
Coming from Invercargill, this is a piece that is especially important for young Invercargillites! The composer, Alex Lithgow, lived in Invercargill from the age of 6 and is a very famous brass band composer. This march is known all around the world, it was played at President Obama’s first inauguration. Invercargill has two brass bands and they often play this piece.
Try:• Marching around the room to the music• Marching with percussion instruments, • Playing along with the percussion instruments on the
recording, • Following the dynamics of the music (soft and loud), especially
in the B section when the ends of each phrase has a loud dynamic change on the rhythm
Will Tell Overture – Rossini 3:32https://www.youtube.com/watch?v=oAE3Q98yIug
This comes from the opera William Tell, the opera about the man who shot an apple of the head of his son with a single arrow. This piece of music was also used as the theme for the Lone Ranger television series. I take my son to a music and movement class on Saturday mornings and this is one of his favourite musical activities. Trinity Waddell takes these sessions and says that the music and movement group at her church has been doing this for the past 13 years. She isn’t sure exactly where it originated from, but thinks it may have been a Mainly Music thing.
Try: • using plastic plates for a movement activity: two plates each• hitting them together (in an up and down motion) following
the structure of the music• start in front of you, movements get bigger as the music gets
louder• moving from left to right and vice versa• up above your head• behind your back• standing on one leg
This is a really great warm up activity, and it doesn’t matter if it is a little different each time you do it. The main thing is just to match your movements to the dynamics of the music. The plates get quite a hammering!
Carnival of the Animals – by Saint-Saens
This is a suite of 14 short pieces and they all depict a different animal. They can be used for movement and/or listening.
Try:Kangaroos – 1:10https://www.youtube.com/watch?v=8gjNhJ7l7Mk• use this for movement• alternate between hopping around and sitting and listening,
just like a kangaroo
The Elephant – 1:25https://www.youtube.com/watch?v=f1nVDoCnsNk• another good one for movement• the tune is played on the double basses, (which is pretty
unusual, the double bass isn’t an instrument that gets to play many melodies) and this sounds like elephants moving slowly, flapping their big ears and swishing their tails
The Aviary – 1:27https://www.youtube.com/watch?v=ZFJf3rHd69c• one for listening to first, play it to the children and see if
they can hear the birds flying around. • then use for movement, the flutterings of the flute encourage
similar movements.• The melody is played on the flute which mimicks bird sounds.
Rondo Alla Turca (orchestral version) - by MozartThis piece is known as the Turkish March. It was originally written for piano. It imitates the sound of the Turkish military bands which were very in vogue at the time it was written.https://www.youtube.com/watch?v=se_Swf7-68M
Try: • Using a giant exercise ball to roll from one person to another
in time with the beat of the music• Try to push the ball on a strong beat.
Tune Me In July 2015 Page 23
Sal ly Bodkin-Allen is the Academic Leader for the Bachelor of Contemporary Music and Bachelor of Audio Production at the Southern Institute of Technology in Invercargill. She is the mother of five musical children which makes for a very noisy household.
I vow to thee my country – by Holst (Jupiter from The Planets) This piece originates in Holst’s orchestral suite The Planets, but was turned into a hymn in 1923. It is now a very well-known hymn. Use the New York Philharmonic version as it has the lovely build-up of orchestral texture.https://www.youtube.com/watch?v=oWO7FlzVIdk
Try:• this piece is in 3/4 time (count 1, 2, 3)• try stepping on the first beat (step, 2, 3, step, 2, 3)• then adding claps or percussion instruments in on the 2, 3,
beats
• Try to thicken the texture along with the thickening of the orchestral texture
• Start with no instruments in the first verse, add instruments that are shaken in verse 2, and then add instruments which are struck in verse 3
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CHOOSING SONGS OF WAR AND PEACE -Susan West
The Music Engagement Program (MEP) is a socially oriented music participation program funded by the Australian Capital Territory and housed at the Australian National University. It offers workshops and training for teachers and members of the public, and supports schools in the development of sustainable music making at school and in the community. Its principal focus is the encouragement of active par ticipation for all ages and throughout life, rather than the development of any specific musical skills. Individual and group skills are mediated through the choices of participants.
The MEP has an almost 20 year history of consulting its users about all aspects of its content and activities. One large part of this consultation process is the surveying of singers, young and old, regarding song choices. For example, an entire set of reper toire has been developed for primary schools based on the choices of children over a ten-year period. These songs, 10 for each year of primary school, are known as the ‘Seventy Over Seven’ series, and provide teachers, whether specialists or generalists, with a starting point for regular music making that can be fitted easily into the day.
Surveying of song repertoire is on-going. More recently, the MEP has focussed on song choices for high school students and the development of specific sets of songs – for example a set of international songs. This year, given the focus on the centenary of ANZAC, the MEP has conducted research with children and their teachers into songs that are relevant for that event. Given the relationship with New Zealand that is embedded in the ANZAC tradition, this summary may prove useful to New Zealand teachers as well.
There is no shortage of songs about war and peace across the years. However, part of the focus in the MEP has been on the sharing of music with the community to develop and expand the notion of the social as being the impor tant factor in lifelong music making. Schools and community groups often engage
in ‘outreach’ with other groups in the community, including the aged and infirm. The song sets that have developed, therefore, often include songs that would be known by senior citizens. Rather than being a bar to individual choice, it has been noted, often by the students themselves that the inclusion of such reper toire represents an expansion of oppor tunities for them to know repertoire beyond that which they hear in their usual social settings.
The set of war and peace songs chosen for initial surveying reflect this broad orientation. While the set was limited to 23 songs for the early childhood set, the upper primary set was extensive, numbering 43 songs. The full set of songs is listed below (Appendix 1).
There are two ways the MEP tests song repertoire on its users. One is to familiarise the singers with the songs so that they can sing at least part of each one; the other is to simply play the songs; in some cases, both options are used: the users make judgements about likes and dislikes on the basis of hearing alone and then, after familiarisation, are asked again. The users themselves, even quite young children, have noted that there is a difference between how songs sound and how songs feel when they are sung. In one early experiment in the MEP with a Year 3 class, the students very specifically noted a difference in some songs that were overwhelmingly rejected on hearing but were embraced after singing because it ‘felt good’ to sing them.
Another general finding in the MEP is that the experience of the users with singing can influence song choices. Those who have sung more, or are more comfortable with singing, seem to be more catholic in their choices and possibly are able to imagine singing the song and how it might feel. Or they may be quicker to learn the song and relate to it more fully on the first hearing, thus influencing their attitude.
In this case, due to time limitations and amount of reper toire, students were asked to simply listen to part of each song and then make a choice. In some
cases of course, students may know a given song because they have previously learned it or it has appeared in a film or TV commercial; an excellent and helpful way in which songs are recycled making them ‘new again’ but also allowing for discussion about judging repertoire on its age, rather than on its content. Some MEP surveys have looked at this possibility as well, by asking students to indicate whether they have prior knowledge of a song and looking at correlations between song knowledge and likes and dislikes.
In the case of the primary children – those in Years 3 to 6 – excerpts from the for ty-three songs were played or sung one after the other over a period of 50-60 minutes. Excerpts were chosen to ensure that the best ‘strap line’ was included so that students would be hearing the ‘catchiest’ part of each song.
The students were asked to answer three questions for each song: * Do you like it? * Would you like to sing it? * Would you like it to be in the concert?
The first two questions, in par ticular, were of interest due to the differences expressed by students noted above between listening and singing. However, prior to the experience of singing, the three different questions seemed to have little impact as noted by the quantitative analyst:
Students largely gave the same answer for all three questions, for each song (suggesting there is no meaningful advantage of asking more than 1 question in future versions). The exception to this rule appears to be students who do not wish to participate in singing at all and therefore responded “no” to question 2 on all songs, independently of whether they liked it or not.
The analysis of the data, therefore, focussed on question one.
The primary survey was conducted at two schools on large groups of mixed age students in years 3-6 totalling 200 students. The early childhood survey was also conducted at two (different) schools
Tune Me In July 2015 Page 25
Given the simplicity of the survey, it is not possible to state categorically why students made the choices they did, although we can speculate in some cases. For example, “If I Had Words” is generally known by children from the film Babe, even though that film is now some years old. This choice is educationally helpful as a way of introducing children to classical themes which can then allow entry into larger form works such as the original Saint-Saens Organ Symphony. The song “From Little Things Big Things Grow” also
with a total of 58 surveys collected from children in Years 1 and 2. A notable feature of the survey was the degree to which the students, en masse, completed the entire survey despite its length. There were very few that did not complete, despite little in the way of ‘policing’ by teachers with the primary groups. Surveying was conducted
on markedly smaller groups at the early childhood level in order to assist children to complete, although few children seemed to have real difficulty understanding what was asked of them. Overall, the children appeared to enjoy the experience, often joining in with songs they knew, and even with those that they didn’t know!
The songs were tabulated according to five ‘most liked’ for boys, girls, and year levels and overall. Given some differences in likes and dislikes amongst the different groupings, this summary provided a set of app. ten songs as a starting point for more in-depth learning. The tables for Early Childhood and Primary are given below.
Table One: Early Childhood
No Overall Boys Girls Year 1 Year 2
1 From Little Things If I had Words What a Wonderful World If I had Words Keep Movin’ On
2 Keep Movin’ On Last night I had the If I had Words Shalom Chaverim If I had Words Strangest Dream
3 If I had Words From Little Things If I had a Hammer Wish Me Luck Sing as we Go
4 If I had a Hammer Keep Movin’ On Gallipoli What a From Little Things Wonderful World
5 Last night I had the If I had a Hammer Be Like the Kettle If I Had a Hammer Last night I had the Strangest Dream /Sing as we Go Strangest Dream
Table Two: Primary
No Overall Boys Girls Years 3/4 Years 5/6
1 Johnny I Hardly If I had Words From Little Things Johnny I Hardly From Little Things Knew Ye Knew Ye
2 From Little Things Last night I had the Johnny I Hardly From Little Things Johnny I Hardly Strangest Dream Knew Ye Knew Ye
3 Let There Be Peace From Little Things One Tin Soldier Let There Be What a On Earth Peace On Earth Wonderful World
4 What a Keep Movin’ On Let There Be Peace Wish Me Luck Let There Be Peace Wonderful World on Earth on Earth
5 Blowin’ in the Wind If I had a Hammer If I had Words If I had Words Blowin’ in the Wind
seems to be familiar to most children, or at least the strap line.
The songs were categorised into 3 categories, unbeknownst to the students, in terms of tempo. An assumption that children are more likely to pick up-tempo numbers is not borne out by the choices made. “What a Wonderful World” has proven popular with students over a period of years but its appearance here may reflect familiarisation prior to the survey. The Israeli canon, “Shalom
Chaverim”, which appears in the Year 1 list, seems unusual, especially given the version that was used, which is relatively slow and solemn.
Another interesting feature of the song choices were some discrepancies between choices by boys and gir ls. Generally speaking, Early Childhood girls were more likely to say they liked a song than boys. Significantly more girls (more than a 20% difference) than boys repor ted “liking” 6 songs (“Wish Me
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Luck”, “Sing As We Go”, “Where Have All The Flowers Gone”, “Be Like The Kettle And Sing”, “What A Wonderful World” and “Gallipoli”). Boys were only significantly more keen on two songs (“If You Were the Only Girl in the World”: +16% and “Shalom Chaverim”: +17%). Sometimes these choices were, overall, still quite low as percentages.
At the primary level, in general the opposite applied. When results were divided by gender, boys were more likely to say they liked a song than girls, overall. In fact, a higher proportions of boys than girls “liked” a song with a margin of +10% or higher on 14 songs. Of these, there were 4 songs on which boys were 20%+ more likely to say they liked it (“Blowin’ in the Wind”, “We Shall Overcome”, “Johnny I Hardly Knew Ye” and “We’ll Meet Again”). There were four songs on which more girls than boys indicated they liked the song, with a margin greater than 10% (“One Tin Soldier”, “Small Part of the World”, “Sing to me Johnny” and “Edelweiss”). As with the early childhood set, the overall ‘liking’ may be quite low: for example, “We’ll Meet Again” was only
liked by 43% of boys and 22% of girls but the higher percentage of boys for a song of this type is somewhat surprising.
Deciding how to choose songs to teach on the basis of the survey requires some consideration. For example, seven songs in the early childhood survey were ‘liked’ by more than 80% of students. They were: “What A Wonderful World”, “From Little Things”, “Johnny I Hardly Knew Ye”, “If I Had Words”, “If I Had A Hammer”, “Last Night I Had The Strangest Dream” and “Keep Moving On”. However, when broken down for other groups, like age groups, other choices emerge like “Shalom Chaverim” for Year 1. “Johnny I Hardly Knew Ye” doesn’t appear in the top 5 for early childhood, yet its overall percentage was still quite high (81%). At the primary level the highest rated song (only just, by 1 percentage point) was “Johnny I Hardly Knew Ye”, whereas for Early Childhood there were three identical ratings at 85% for “From Little Things Big Things Grow”, “If I Had Words” and “Keep Movin’ On”. There is also the question of whether it is always appropriate to pick repertoire on the basis of majority ‘likes’
since more individualistic choices are not accommodated. Surveying student song choices in this way helps make decisions about student likes and dislikes but is not the only method of ensuring student choice is fully considered.
For interested teachers, the full survey can be obtained by emailing [email protected].
Susan West is Convenor of the innovative Music Education Program at the Australia National University in Canberra. She will be a keynote speaker at the MENZA TRCC conference Making Music Matter in Auckland in October 2015.
Tune Me In July 2015 Page 27
No No Song By Performance (P) (EC)
1 1 Wish Me Luck Harry Parr-Davies Sung Live
2 2 Sing As We Go Harry Parr-Davies S: Gracie Fields
3 Where Have All the Flowers Gone Pete Seeger Sung Live
3 One Tin Soldier Dennis Lambert & Brian Potter S: The Sugar Chasers
4 4 Lily Marlene Hans Leip & Norbert Schultze S: Very Lynn
5 French Chanson/Song of Peace Medieval Madrigal/ Susan West Sung Live
6 5 White Cliffs of Dover Walter Kent & Nat Burton S: Vera Lynn
7 6 Blowin’ in the Wind Bob Dylan S:Bob Dylan
8 Imagine John Lennon S: John Lennon
9 7 Be Like the Kettle and Sing Tommy Connor, Walter Ridley & S: Vera Lynn Desmond O’Connor
10 8 If You Were the Only Girl in the World Nat D Ayer & Clifford Grey Sung Live
11 9 I Am a Small Part of the World Jay Althouse & Sally Albrecht Sung Live
12 One Song Sung Live
13 10 What Wonderful World Bob Thiele & George David Weiss S: Louis Armstrong
14 Let There be Peace On Earth Jill Jackson Miller & SY Miller S: The Coats
15 We Shall Overcome Gospel-inspired S: Preservation Hall Jazz Band
16 11 Sing to Me Johnny English Folk Song Sung Live
17 12 Edelweiss Richard Rogers and S: Julie Andrews, Bill Lee Oscar Hammerstein
18 13 From Little Things Big Things Grow Kev Carmody & Paul Kelly S: Paul Kelly
19 The Times They are A’Changin’ Bob Dylan S: Bob Dylan
20 14 Gallipoli Susan West R: Georgia Pike
21 Day Is Done Peter Yarrow R: Secondary students
22 Danny Boy Traditional Sung Live
23 Hand-in-Hand Susan West Sung Live
24 15 Johnny I Hardly Knew Ye Traditional S: The Sandsacks
25 You’ll Never Walk Alone Richard Rodgers & S: Gerry and the Oscar Hammerstein Pacemakers
26 Universal Soldier Buffy Sainte-Marie S: Buff Sainte-Marie
27 One Day Sue Stevens Sung Live
APPENDIX ONE
Complete listing of songs surveyed. Most of the songs are available on-line. If teachers are interested in songs that they cannot readily source, please email [email protected] . The entire report on the song survey is also available on request.
KEY:
Column 1 = Number of song on Primary Survey
Column 2 = Number of song on Early Childhood survey
Column 3 = Writers
Column 4 = Method of song delivery (S = played via Spotify; Sung Live = sung by Susan West with or without piano accompaniment; R = other recording)
Tune Me In July 2015 Page
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28 16 Ode to Joy Beethoven Sung Live
29 A Change is Gonna Come Sam Cooke S: Sam Cooke
30 17 Shalom Chaverim Israeli round S: Weavers
31 18 If I Had Words Camille Saint-Saens & S: Keali’I Reichel Jonathan Hodge
32 Song of Love Lewis Carroll & John Diamond Sung Live
33 19 We’ll Meet Again Ross Parker & Hughie Charles S: Frank Sinatra
34 Finlandia Jean Sibelius S: The Candomino Choir
35 Panis Angelicus Cesar Franck S: Andrea Bocelli
36 20 Vacant Chair Steve Winwood S: Kathy Mattea
37 When the Ship Comes In Bob Dylan S: Bob Dylan
38 21 If I Had a Hammer Pete Seeger & Lee Hays S: Peter, Paul and Mary
39 22 Last Night I Had the Strangest Dream Ed McCurdy S: Simon and Garfunkel
40 And the Band Played Waltzing Matilda Eric Bogle S: Eric Bogle
41 Veni Emmanuel Gregorian Chant Sung Live
42 Sounds of Silence Paul Simon S: Simon and Garfunkel
43 23 Keep Movin’ On Sam Cooke S: Sam Cooke
APPENDIX TWO: Sample of survey form
Apr/May 15 Big Gig Song Test Primary
Please circle YES or NO for each question
1 Wish Me Luck Do you like it? YES J NO L Would you like to sing it? YES 6 NO O
Should it be in the concert? YES C NO D
2 Sing As We Go Do you like it? YES J NO L Would you like to sing it? YES 6 NO O
Should it be in the concert? YES C NO D
3 One Tin Soldier Do you like it? YES J NO L Would you like to sing it? YES 6 NO O
Should it be in the concert? YES C NO D
4 Lily Marlene Do you like it? YES J NO L Would you like to sing it? YES 6 NO O
Should it be in the concert? YES C NO D
Tune Me In July 2015 Page 29
Tune Me In July 2015 Page
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