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Australian Journal of Music Education
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ISSN (Print) 0004-9484
Published by RMIT Publishing

[400 journals]

Volume 50 Issue 1 - Instrumental Music Teacher with the Department of
Education and Training, Victoria
- Abstract: Blom, Diana
  This study investigates the compositional and contextual thinking of composer, Stuart Greenbaum, and the preparatory thinking, and teaching experience of pianist, Yvonne Lau, in the preparation of the solo piano work, First Light. Adopting a practice-informed interview approach with questions drawn from the researcher's own preparation of the work, the study discusses information the composer would like the performer to know and issues the pianist encountered while preparing the work. It also places the findings in relation to seven stages of learning a new piano work identified in the literature (Chaffin and Imreh, 2002; Viney and Blom, 2014). The paper ends with reflections on how both composer and performer intuitively discuss music elements as a whole, emphasizing their connections; how teaching (and being interviewed) offer opportunities for reflection; what can be revealed by different methodologies; the role of score instructions and program notes; and what engaging with new repertoire brings to learning about preparation of a piano work.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Volume 50 Issue 1 - If the shoe doesn't fit: A case and a place for
collaborative learning for music practice in higher education
- Abstract: Forbes, Melissa
  This article reviews relevant literature to provide a rationale for the use of collaborative learning for first year music practice courses at an Australian regional university. Higher music education is still grappling with the challenges posed by the Dawkins Review and ongoing reforms in the sector. These challenges include increased public accountability, budget cuts, larger and more diverse student cohorts, and a need to prepare the majority of students for portfolio careers. The rise of participatory culture poses additional challenges to the nature and purpose of today's higher music education. Recently, increased interest in the use of collaborative learning has emerged as a way to respond to these challenges. In this article, the decision to implement collaborative learning at an Australian regional university is supported by an examination of the ways in which these systemic, institutional and cultural forces manifested as pedagogical challenges in this context. Theoretically, the introduction of collaborative learning is framed by Wenger's social theory of learning and the literature on collaborative learning. Recent research also demonstrates the benefits of collaborative learning for higher music education. More than a budget-saving measure, this article posits that collaborative learning can be an effective alternative or supplement to existing pedagogical models in certain higher music education contexts.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Volume 50 Issue 1 - Early days of recorder teaching in South Australian
schools: A personal history
- Abstract: Southcott, Jane
  As a primary school student in the 1960s I learnt the recorder. This paper explores how the recorder became a staple of Australian primary school music programs. At that time recorders were comparatively recently revived Renaissance musical instruments that were adopted by music educators as a way for children and their teachers to engage in instrumental music making in classes. The inclusion of recorders in school music lessons was not always as successful as hoped but a lucky few had recorder teachers who were expert musicians like my teacher. This personal history explores the arrival and presence of the recorder in school music in South Australia. Data were gathered from primary and secondary documentary sources, personal recall and an interview with my recorder teacher, Cecily Wood. This research considers a commonplace occurrence in the lives of many Australian children and by focusing on a taken-for-granted practice in school music, adds to the historical record and to our understanding of what we do and why we do it.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Volume 50 Issue 1 - Revisiting professional teacher standards
- Abstract: Watson, Amanda
  The Australian Society for Music Education's (ASME) involvement in the development of professional standards for music educators was a significant and active research time in the history of the Society. As ASME celebrates its golden jubilee, it is appropriate to revisit that history and consider the future prospects of subject-specific standards. ASME became a strong player in the professional teacher standards movement in Australia, as it was one of in excess of 20 professional teaching associations that developed subject-specific teaching standards. The focus of this paper is to highlight and explore the process adopted to write the ASME National Framework for Music Teaching Standards (2005), the intense activity that took place around Australian between 2005 and 2009 and the impact of the written subject-specific standards with a change in the brief of a new statutory body.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Volume 50 Issue 1 - Wellbeing in the classroom: How an evolutionary
perspective on human musicality can inform music education
- Abstract: Maury, Susan; Rickard, Nikki
  Group singing is a common feature of classroom-based music education, and has often been proposed to have benefits that extend beyond acquisition of music skills, primarily in academic achievement. However, potential social and emotional well-being benefits have been under-represented in these discussions. This article proposes that an evolutionary lens provides a helpful framework for understanding how music education can contribute to student well-being. Specifically, group singing may a) create a shared emotional experience which is generally positive; and b) increase group cohesion and pro-social behaviours. It is proposed that, while these changes are generally immediate and short-term, regular participation in group singing may lead to stable, persistent changes in affective style and sociability. The implications for music education are discussed, particularly for improving the social and emotional wellbeing of students.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Volume 50 Issue 2 - Putting lullabies to bed: The effects of screened
presentations on lullaby practices
- Abstract: Brooks, Wendy
  Lullabies have existed since ancient times, and are sung across all most all cultures to soothe babies and lull them to sleep. As screen media use pervades contemporary familial lives, it is perhaps inevitable that lullabies have been adopted and adapted as repertoire. This recording of lullabies in audiovisual modes has transformed the ways in which these songs are learned, transmitted, experienced and used within young children's lives. As part of a larger study investigating music and screen media in the lives of young children, this paper reports on evolving lullaby practices in the lives of Australian children. Using an ethnographic methodology, content and production of, and responses to, lullabies presented via YouTube, Apps and television have been analysed. Findings indicated that lullabies presented via YouTube clips and Apps tend to be economically produced, and demonstrate a lack of understanding of young children's social and/or developmental needs. Televised lullabies tend to function as signals for settling, rather than for lulling babies and young children to sleep, and their use plays an increasingly significant role in families' everyday routines.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Volume 50 Issue 2 - Promoting cultural diversity: African music in
Australian teacher education
- Abstract: Joseph, Dawn
  Australia is forged by ongoing migration, welcoming a range of cultures, languages and ethnicities, celebrating a diverse range of the Arts. In this multicultural society, music and dance may serve as a positive medium to transmit and promote social cohesion. I argue that the inclusion of innovative and immersive practice of African music in teaching units may foster understandings of culture in education settings. In this paper I discuss tertiary students' experience in relation to the teaching and learning of African music within higher education courses. Drawing on interview data with six sessionals, questionnaire data, observation notes, anecdotal feedback and narrative reflection, I employ Interpretative Phenomenological Analysis to analyse and code the data into two broad themes. By offering a discussion on teaching and learning African music, I invite international dialogue regarding best practice for preparing, assessing and evaluating our students to raise/enhance the quality of Musical Arts Education.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Volume 50 Issue 2 - Improving students' intrinsic e motivation in piano
learning: Expert teacher voices
- Abstract: Cheng, Zijia; Southcott, Jane
  Many students learn to play the piano but some lack the motivation to continue learning. Many students learn for extrinsic reasons. This research will explore understandings about student motivation held by expert piano teachers who have developed strategies to improve their students' intrinsic motivation to begin and continue learning. This small scale phenomenological case study examined three expert and experienced piano teachers' understandings of student engagement and motivation. The analysis generated a number of themes in relation to students' motivation in piano learning. The findings of this current study could offer a range of ideas and reflections to assist instrumental teachers build their students' intrinsic motivation in learning and foster lifelong music making.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Volume 50 Issue 2 - A reflective journey in teaching: Pre-service music
teachers' action research
- Abstract: Mok, Annie O
  The qualitative study referred to here investigated what a class of undergraduate pre-service music teachers could learn from conducting a piece of action research for primary 5 pupils in Hong Kong. Data were collected from lesson observations, post-lesson conferences with the pre-service teachers, their presentations and individual reflection reports. This action research helped the pre-service teachers to design their research lessons according to the good practices of "teaching students to understand music" and "engaging pupils to learn music through musical activities". Informed by the research data, a teaching gap was found and the pre-service teachers started to reevaluate how the pupils learn, and to conduct deeper reflections on their own teaching effectiveness. The study concluded with a rethinking of the practice of teaching the musical concepts that are prevalent in music classrooms.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Volume 50 Issue 2 - A preliminary study: Is the metronome harmful or
helpful'
- Abstract: Arthur, Patricia; Khuu, Sieu; Blom, Diana
  The metronome is a frequently used time-keeping tool in music instrument practice. However, if its speed is set beyond a comfortable level for the performer, their eye movement (EM) patterns can betray pressure that might have been placed on the visual processing system. The patterns of the eyes moving forward or back, (saccades); when the eye stops between saccades to take in visual information, (fixations) and/or the time taken to programme a saccade (saccadic latency), are indicative of processing ability and differ with expertise. What is not known is how various levels of speed demand might affect the EM patterns of musicians with differing sight-reading abilities. This study measured the EM patterns of expert and non-expert music sight-readers. Musical excerpts were played on a keyboard - initially at the individual's fastest speed ensuring accuracy and then at a metronome setting of 120MM.
  
  The study showed that imposing excessive relative speed demands on less skilled sight-readers resulted in an inability to sustain performance. While this result might be expected, examination of the EM patterns of the experts indicated that smaller speed increments relative to their fastest accurate speed, resulted in less processing stress.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Volume 50 Issue 2 - Catching a glimpse of the future: One year on in a
youth string project
- Abstract: Power, Anne M; Powell, Sarah
  The provision of musical experiences for youth, especially in low socio-economic areas (SES), requires funded support and imaginative resourcing. This paper presents data from the Penrith (NSW Australia) Youth String Program offered in partnership by the Australian Chamber Orchestra (ACO), Penrith Symphony Orchestra (PSO) and The Joan Sutherland Performing Arts Centre (The Joan) over a period commencing in 2015-2016. The current context for young musicians in the locality is one of inequitable distribution of educational resources and access to knowledge. Consequently, this research is framed by Opportunity to Learn theory. The program has been designed to encourage young string players in the Penrith area through a program of guided rehearsals and tutorials.
  
  The evaluation plan incorporates the following data: student practice logs; and student, parent and tutor focus groups as well as site visit observations to capture information about the quality of program implementation. This paper reports on the research question:
  
  What did the participants gain from their involvement in the program'
  
  Findings demonstrate that the participants developed both skills in performance and expressive ensemble playing. Implications are that the program has encouraged the students to be aware of their own progress and to develop personal goals, whether they are to play a challenging piece of music well or to imagine a future in professional music making. The impact of the carefully spaced rehearsals in the program, the combination of local and visiting tutors and the development of personal goals suggest avenues for future research.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Volume 50 Issue 2 - Information on demand in the recording studio:
Building the case for teaching music technology with an interactive agenda
- Abstract: Voss, Brett
  Education in a contemporary context increasingly requires students to engage with learning technologies. This can present a challenge to both students and teachers who at times struggle to engage with the technical processes involved in navigating these technologies. Outside of formal education settings, on-demand information facilitated through improved access to mobile technologies is widespread. This paper presents a pilot study, which investigates the use of on-demand technologies in the context of popular music education based around the recording studio. The pilot study demonstrates how the complexities of operating a wide range of equipment and software presented a significant challenge to these users. Supporting the delivery of education involving technology through the provision of on-demand information could assist these users with learning specific technical skills. This paper develops an argument for incorporating on-demand information into curriculum involving technology, while developing some initial design principles for sharing these resources.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Volume 50 Issue 2 - Immersion, relevance and transferability: The
motivational preferences of lower secondary students towards a newly
created praxis-based class music program
- Abstract: Lowe, Geoffrey; Coy, Neil
  The purpose of this study was to gather information on measures of motivation among year 7, 8 and 9 students enrolled in class music in a major Australian secondary school. The rationale for the study was to gain insights into why retention in the class music program had dramatically increased since the introduction of a new teaching program. A survey instrument was utilized to gather rating responses to questions on motivational preference, using Expectancy-value Theory as a theoretical framework. Results indicated high means for items associated with personal importance (identity) and the transferability of skills to other musical activities. Exploratory Factor Analysis confirmed correlations between the importance of tasks to students and the perceived usefulness of tasks. Implications for music teachers and the development of class music programs are discussed.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Volume 50 Issue 2 - Implications of a culturally rich and linguistically
diverse musical life for music teaching and learning
- Abstract: Fung, Annabella
  I am a Chinese-Australian musician-educator of over three decades. In this autoethnography, I act as an agent of change by presenting my life as a social project. This assists understanding of a larger relational, communal and political world that moves us to critical engagement, social action and change. Evolutionary psychology asserts that language has evolved from the use of music. Empirical research maintains that children who start learning music early become better learners of languages. Music psychologists argue that music education is crucial in identity construction. Being a multi-lingual, multi-instrumental, and multi-occupational individual, I consider myself primarily a musician. My various identities in music as pianist-accompanist, singer, choral conductor, composer, and dance instructor informed and shaped my other identities as psychotherapist, interpreter-translator, author, teacher and academic researcher. The findings of this study suggest that formal/informal musical engagement fosters executive brain functions that determine my learning outcomes. My research contributes to the national debate about the benefits of music in education. It addresses a research gap identified about the effect of musical engagement on identity formation, and learning in other curriculum areas. The findings can assist music advocacy and provide insight to the preparation of future educators for multicultural Australia.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 1 - Guitar pedagogy and preparation for tertiary training in NSW: An
exploratory mixed methods study
- Abstract: Russell, David; Evans, Paul
  The transition to tertiary education presents a major challenge for those concerned with contemporary guitar pedagogy. One question arising from this challenge is whether students entering contemporary guitar study at tertiary level are appropriately prepared by the studio teaching industry. The aim of this exploratory study was to critically examine current thinking and practice of pre-tertiary guitar education in NSW, Australia. It adopted a mixed method approach comprising interviews with key informants, a survey of guitar teachers, and documentary analysis. Findings suggest that popular incarnations of the instrument in rock and pop music, as well as the increasing popularity of tablature and other modes of 'fast-track' learning, are producing many guitarists, but according to those teaching at a tertiary level, the students demonstrate a lack of technical preparation. The majority of studio teachers appear to encourage this trend and there is a direct relationship between the way in which teachers are structuring lessons early in a student's development and the resulting level of skills amongst those who enter tertiary training. The study also identified a number of concerns among tertiary educators about the NSW Board of Studies Music 1 syllabus.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 1 - Classrooms and chat rooms: Augmenting music education in initial
teacher education
- Abstract: Klopper, Christopher; Weir, Katie
  This paper reports on a design-based research project that investigated the possibilities of creating a novel learning environment in a music teacher education course that would enhance student engagement and learning outcomes. It substantiates the pedagogical possibilities and practicalities of implementing instructional delivery technologies to augment music education as a valuable and productive way forward in addressing ongoing issues of quality and sustainability in initial teacher education. A range of pedagogical possibilities used to augment face-to-face interaction is presented. These illustrate how creating opportunities for students to engage in a range of social interaction and collaborative activities encourages a diversity of perspectives and dynamic exchange - a technological revolution through instructional evolution.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 1 - Live from the Sydney Opera House: Remote musical interactions
for teacher professional development
- Abstract: Dezuanni, Michael; Arthurs, Andy; Graham, Philip
  A significant challenge for the implementation of the Australian Curriculum: The Arts is the professional development of primary school teachers in all parts of the country. During 2012, the Sydney Symphony Orchestra (SSO) conducted a remote music professional development workshop as part of the Sydney Opera House's Digital Education Program for teachers in New South Wales using the Department of Education's Connected Classroom system which allows live synchronous interaction between facilitators and participants in multiple sites. In this article, we analyse observational and videotape data collected during this live professional development event to consider the opportunities and challenges presented by this type of professional learning experience in the arts. In particular, consideration is given to the impact of a remote musical interaction on embodied learning and aesthetic experience. We draw on actor-network theory to consider the ways in which a remote professional development experience differs to one in which all participants are present in the same space. Finally, we conclude that although there are significant differences in the type of learning that occurs in a remote music interaction, the online space provides a legitimate and potentially transforming experience for primary school teachers.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 1 - "It was the right beat": Children's need for immediately
accessible music
- Abstract: Buchan, Susan; Rankin, Beth
  This paper describes and analyses the experiences of a class of nine-year-old students from a culturally diverse Melbourne suburban primary school who participated in a four day marimba music-making program with composer, musician, teacher, instrument designer and Artist-in-Residence, Jon Madin. The repertoire was immediately accessible because it consisted of simple interlocking, rhythmic, melodic and harmonic grooves. The children expressed the meaning of their participation through semi-structured interviews and a variety of textual and artistic media, including journals, poetry, painting and drawing. This case study indicates the value of children's participation in immediately accessible, practical and engaging music-making.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 1 - Instrumental music teachers: Music exposure and hearing loss
- Abstract: Beach, Elizabeth; Gilliver, Megan
  Most music teachers experience lengthy periods of noise exposure on a daily basis, which, if of sufficient duration and intensity, can lead to hearing damage, tinnitus, and eventual hearing loss. In this study, 30 music teachers were surveyed regarding their attitudes to music exposure, hearing protection, and symptoms of hearing damage. Pure tone audiograms were obtained for 28 participants. Results showed that teachers were aware of the risks associated with noise exposure, however, they believed that most of their teaching peers and students were less aware. The audiograms revealed reduced hearing acuity in 13 participants: Ten participants had average hearing levels >20-dB HL, and while this was age-appropriate for five participants, the other five had hearing worse than expected for their age. A further three participants had audiograms within the normal range (4FAHL < 20 dB HL), but thresholds were worse than expected for their age. Thus, in at least eight cases, there were possible indications of hearing loss that may be noise-related. This study suggests that music teachers are at greater risk of hearing damage than the general population. We need to inform music teachers of the risk and encourage them to minimise their exposure levels in order to maintain their long-term hearing health.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 1 - Challenges and perspectives of peace education in schools: The
role of music
- Abstract: Cabedo-Mas, Alberto
  This article addresses some of the major issues of Peace Education in schools and relates music and music education to this field of knowledge. Music can be a tool to contribute to building peace. Throughout history, music and musical practices have been used to enhance relationships; learning and sharing music has been used to transform realities in diverse ways. In this regard, the article aims to review major concerns of Peace Education in relation to music in schools, to encourage teachers to promote musical practices aimed at transforming societies and to offer examples of different projects that have made use of music education to contribute to peacebuilding.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 1 - The relationship between children's learning through music and
the use of technology
- Abstract: Acker, Aleksandra; Nyland, Berenice; Niland, Amanda
  This paper explores the themes of early childhood music and the use of technology. In this research the researchers observed that technology had played an important role in many of the events recorded. Observations, in the form of two Learning Stories, are presented to illustrate the use and role of technology in these recorded events. Socio/cultural theory was used to frame the research design and data consisted of direct observations, field notes, photographs, video and interviews. Analysis focused on children's musical play and an awareness of the role of technology in the musical activities observed. Within the theoretical paradigm adopted technology was viewed as a cultural, historical and social tool. Technology, as a mediating tool, was found to be connected to children's learning with the capacity to enhance and enrich their understanding of events and relationships.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 3 - Choir in the age of 'The voice'
- Abstract: Hartwig, Kay; Riek, Rowena
  "Miss, can we learn 'Rolling in the Deep' in choir'" This was a question posed by a middle school student at the first choir rehearsal of the year. This Adele song features the husky, bluesy tones of a mature female voice with lyrics that might possibly be considered suggestive and inappropriate for a middle school choir. As the year progressed student numbers ebbed and flowed from the choir whilst the director was attempting to prepare for the Anzac Day Service. At the same time, another teacher within the school formed a 'lunchtime music club', where students were welcome to turn up and 'sing-a-long' to their favourite songs with a CD player. To the students, there was a choice between listening and singing to 'their' music or learning to sing 'old people's music' (Green, 2006). Is this symptomatic of choirs generally, or only in schools where there was no established choral tradition' How do successful choral directors maintain their choirs in the age of 'The Voice'' Are school and community choral programs adapting to the popular culture'
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 3 - Arts immersion for music teachers: How to widen the path without
losing the plot
- Abstract: Chapman, Susan
  Music educators, in private studio and school contexts, are often trained exclusively in that arts discipline. Two decades ago, concerns were expressed that integrated arts programs represented generic learning and a failure to acknowledge discipline-specific understandings and skills for each arts discipline. Some of these concerns linger today, despite the introduction of a national curriculum for the Arts which formalizes the knowledge, skills and processes inherent in each arts discipline, and the development of high quality integrated arts approaches. However, music, as one of the arts disciplines, is in danger of being marginalized in the curriculum due to the predominance of high-stakes testing programs which define legitimate knowledge in the curriculum, related funding cuts to arts education in school and tertiary sectors which reduce pre-service arts education for teachers, and consequent diminished teacher capacity in delivering high quality integrated arts programs. This paper presents the benefits to music education through collaborations with other arts disciplines, and other disciplines across the curriculum. The concept of Arts Immersion is discussed in terms of a strategy in which the Arts become the home language of the class room, through a team teaching approach involving a generalist teacher and a specialist arts teacher.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 3 - Developing confidence and competence as a pre-service music
teacher: Personal epistemology in a middle years course
- Abstract: Barton, Georgina
  For many pre-service music teachers the prospect of teaching in the 'real world' can be daunting, as they often lack classroom competence. Hence, they need to be prepared in ways that develops these kinds of capacities. This paper reports on findings from a research study into music teachers' professional preparation. It argues that levels of confidence are essential for pre-service music teachers as they help develop their capacities to frame and enact a personal philosophy or epistemology to the teaching and learning of music that secure their intended education purposes. In a middle years music education course, both under- and post-graduate students learn about teaching music to young adolescents in school settings. They are introduced to relevant theories and pedagogical practices to the teaching and learning of music in contemporary schooling contexts. An integral element of this course was for students to develop their own personal philosophy and approach to music education. To evaluate the efficacy of these experiences, these students were asked to participate in pre-course and post-course surveys and write personal philosophies that elicited data about their capacities and confidence to teach middle years music.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 3 - Do you really mean that': Towards precise, considered and
constructive language in performance teaching
- Abstract: Cole, Amanda
  Precise, considered and constructive language is particularly important to instrumental and voice teaching. And yet we-as musicians and teachers-are not typically trained in cultivating such language, or even taught to observe the way we speak when teaching. Frequently we speak in clich s that we do not question, or we imbibe ideas that are less than ideal for getting the best out of ourselves or our students in performance. Even the word "conservatorium" suggests that we should conserve and preserve, rather than question and challenge. We strive for authentic performance, aim to be faithful to the composer and seek to further centuries-old traditions. To a great extent, these goals are what make classical music what it is. But what makes it come alive is a creative and individual performer who can get inside the music and find something of his/her own unique self to express and communicate. How can we teach performers (and ourselves) to find and express the personal and original in classical music while still staying true to the traditions of classical music' One way, I suggest, is by paying attention to the language we use in teaching and self-talk in performing, and by questioning, deconstructing and reconstructing this language. Three main areas of unreconstructed language will be addressed: common lay anatomical terms such as hip, neck, shoulders; composers' adjectives and adverbs such as affettuoso, innig, lustig, piano, forte; and clich s such as "I'm nervous," "Relax" or "Let go." To conclude I will outline how we can both meet students in their own language world and challenge their ideas.
  
  This paper draws on my PhD research, which focuses on the teaching of Marjorie Barstow, a first-generation Alexander Technique (AT) teacher who was renowned for her teaching of performers. In the thesis I compare Barstow's teaching with the philosophy of John Dewey, one of America's foremost philosophers in the philosophical pragmatic tradition. In this article I use examples from data collected on the teaching of one of Barstow's students, Cathy Madden.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 3 - The world alliance for arts education (WAAE)
- Abstract: Hartwig, Kay
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 3 - The expert Australian choral conductor - education or
experience': A longitudinal case study research project investigating
choral conducting expertise in Australia
- Abstract: Wyvill, Janet
  What makes an expert choral conductor in Australia' This research took a number of expert Australian choral conductors and through case studies looked at discovering what common elements they consistently showed. The research also discovered the parallels that these are all music educators as well as choral conductors. The findings in this paper discuss the pathway taken for formal or informal training and influences on their musical journey. Combine this with all the attributes for expertise, ongoing professional development and we have a clear understanding of the difference between expert and very good choral conductors.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 3 - Head, heart, hand: Embodying Maori language through song
- Abstract: Trinick, Robyn; Dale, Hemi
  One of the consequences of the increased focus on student achievement in numeracy and literacy in New Zealand schools is the reduction in attention being paid to such subjects as music, and the focus of this paper - singing. Research argues that singing has a meaningful role in the holistic education of children, not just for the sake of singing, but also the contribution that singing makes to the socio-cultural environment of the classroom, providing a valuable context for language learning (Paquette and Reid, 2008). This paper focuses specifically on the value of waiata (Maori song) as a context for fostering te reo Maori, the Maori language. We discuss the current limitations in the teaching and learning of waiata in New Zealand schools and draw on Merleau-Ponty's (2002) theory of embodiment to explore the potential for deeper learning within the context of both traditional and contemporary waiata. The title of this paper 'Head, Heart and Hand', is a metaphor used to frame the discussion in regard to cognitive, affective and kinaesthetic domains of learning that may be enhanced through singing of waiata for both Maori and non-Maori educators and learners.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 3 - Mentoring teachers as artists in communities of practice:
Immersive models of professional learning in the arts
- Abstract: Sinclair, Christine; Watkins, Marnee; Jeanneret, Neryl
  The issue of confidence, and teachers' capacity to deliver arts education has been the subject of much debate over recent decades, particularly in the case of the primary generalist. This paper reports on research that examined the impact of a two-day professional learning workshop involving the immersion of the participants in arts practice with a follow up mentoring program. A team of arts educators (practitioner/researchers) examined complementary models of professional development across drama, the visual arts and music. The visual arts/drama model was based at the University of Melbourne and serviced by arts education academics and artists, and the music model involved an external provider. The project embodied many of the attributes of professional learning supported by the Australian Institute for Teaching and School Leadership, extending the model through the provision of embodied learning workshops and post workshop mentoring via a number of methods. These models of professional learning took place over a period of 15 months, with teachers working with practising artists and arts educators in studios and their own classrooms. The dialogic relationships established between teachers, artists and arts educators promoted increased confidence and teacher efficacy in the take up of the arts, amongst other more specific artform related outcomes.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 3 - Context and culture in music education: Lessons from last
century
- Abstract: Cole, Malcolm
  Cultural identity in the 21st century remains crucial despite or because of, increasingly sophisticated and pervasive global communications technologies. Histories of music education can provide lessons into contemporary developments and trends in music education by documenting practices within and across contexts, cultures, and with technology.
  
  A historical study of the music education practices of three cultural communities in North Queensland, Australia in the 20th century revealed that a culturally diverse population maintained and developed music teaching and learning processes both within and across cultures. The music education histories of the Aboriginal, Anglo/Celtic and Torres Strait Islander communities in the city of Cairns and the Aboriginal township of Yarrabah between 1930 and 1970 were researched to determine how music was learned and taught between generations within cultures and across different teaching and learning contexts, and if any intercultural music transmission took place.
  
  Lessons for contemporary musicians show how each culture's own music was practiced, maintained and developed to differing degrees in Cairns and Yarrabah. While much education occurred in the formal contexts of schools and private music teachers, a significant amount of music education was transmitted both intergenerationally and interculturally through non-formal and informal processes and through adherence and adaptation to context, culture and technology.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 3 - Western classical orchestral music: A peculiar 'indigenous'
music': Implications for learning composers
- Abstract: Love, Karlin G
  The Western classical orchestral tradition is a very particular, peculiar and, in many ways, an 'indigenous' musical practice. Its core work is re-creation of European repertoire from the 18th through early 20th centuries. The professional orchestral industry in Australia and many other countries is characterized by short preparation periods for frequent formal concerts at a high level of technical perfection thus orchestral musicians must come to the task equipped with knowledge of the repertoire, musical language of the period, orchestral etiquette and working procedures, and excellent reading ability. Composers typically work away from the orchestra, their works subject to the same rehearsal constraints as well-known masterworks, yet without the affordance of performer fluency in their compositional language. Thinking globally, this is an unusual musical practice. Over recent decades, music educators have broadened the curriculum to include multiple diverse cultures. As the hegemony of Western classical music subsides, its place in the curriculum must be redefined. Drawing on a study of an orchestral composers' workshop, Cook's functions of notation, and Schippers' Twelve Continuum Transmission Framework, this paper offers a few steps toward redefining Western classical orchestral music as a more equal member in a culturally diverse curriculum.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - '3:36pm, that's when all the fun starts': Forming musical
identity through secondary school music
- Abstract: Sutherland, Andrew
  Many secondary music students graduate from school and stop being actively involved in making music in the community. This is frustrating for music educators who have watched their journey of musical development and then discover it came to a sudden end once they leave the school. One of the goals of a music teacher is to develop a love of music that will enable lifelong learning. Five students who have been taught by the researcher discuss issues and events that have led to their passion for music making lasting beyond the secondary school experience. Their musical experiences provided such a positive impact on them that not only did they pursue musical activities beyond school, but also discussed that they would not consider ceasing musical engagement until the end of their lives. Their relationship with music and their friends who share a similar passion has provided them all with a sense of musical identity. They are musicians and they hope they always will be. The formation of personal, musical identity and social musical identity is critical in the process of students seeing themselves as lifelong, active participants in music. Identity and the impact that this had on their decision to remain actively engaged with music will be explored. Implications for the research will include providing secondary music students with a variety of musical activities that includes collaboration with outside ensembles to support the development of personal and social, musical identity.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Six Greek musicians discuss jazz
- Abstract: Georgoulas, Renee; Southcott, Jane
  Musicians and musical genres circulate around the world within the exponentially increasing influence of globalization. This research explores the understandings of six Greek musicians and their engagement with jazz. These musicians have complex cultural and musical identities formed by migration and nationalism that are enacted in different musical genres. The participants either play or appreciate jazz. They also play Greek traditional musical styles and a range of Western musical styles, ranging from 'classical' to rock, blues and pop. The participants are also music educators who work with students in a range of styles. Musical identity is acquired through interaction with others in their cultural group. For these musicians jazz appears to be problematic in their cultural and musical situation. It seems to be less acceptable than other music. Their insights into the tensions that surround their music making can inform others with curricular and cultural impositions on musical engagement.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - The social well-being and social cohesion of the Dorian Male
voice choir
- Abstract: Fredericks, Schalk
  The focus of this study will be to explore the social well-being of the Dorian Male Voice Choir (DMVC) and on how social and cultural theories assist in identifying the social and cultural capital of the choir viewed from the perspectives of musicologists and the theories of Boyce-Tillman, Blacking, Bourdieu, Elliot, Nketia and Putnam. A point of interest is coming to an understanding of the continued social cohesion of the DMVC despite a lengthy twenty-nine year break in the choir's functioning and the resuscitation of the choir in 2007 against a background of historical, political, social, educational, economic and other changes occurring over the lifetime of the choir members. Analysis of the choir's membership and activities represents a unique manifestation of social cohesion dating from 1968 to the present. A mixed methods research design was considered to be the best medium for the study. Biographic and educational information was established as a broad basis for emergent trends.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Understanding mothers' perspectives on early childhood music
programmes
- Abstract: Savage, Sally
  There is a plethora of information regarding music and how it makes you smarter. Parenting literature espouses the benefits of early childhood music for development in cognition, physical, social and emotional areas but I argue that parents are not really interested in these benefits particularly when choosing to send their children to early childhood music classes. Using a sociologically inspired framework and narrative case study methodology, this study explores the experiences of 13 middle-class Australian mothers who have attended early childhood music classes with their child for over 12 months to highlight their perspectives on why they have chosen music for their child and what they see the long term benefits to be.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Unraveling the Gordian knot: Multiple notions of
contextualisation in music
- Abstract: Nethsinghe, Rohan
  This study investigates three often overlapping and sometimes contradictory terms that define the re-performance/ re-production of a musical work. Re-contextualisation and Trans-contextualisation are two theories that conceptualise repetition of music and De-contextualisation has been identified as a related procedure. Even though the terms have individual implications, frequently all have been used interchangeably. The overlapping terms provide confusing definitions which are then extended to additional designations in different modes of enquiry by various authors and researchers which can cause further perplexity. As a solution, this study attempts to untangle these confusions and focuses on introducing two new terms, Inter-contextualisation and Intra-contextualisation that will distinguish unique features of re-performance of music in different environments.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Learning through talking: Web forum conversations as
facilitation for instrumental teacher professional development
- Abstract: McPhee, Eleanor
  Web-based social networking technologies have been shown to effectively facilitate interactions between learners who are separated by distance however instrumental music teachers have been slow to adopt these tools. The purpose of this study, therefore, was to investigate the use of an asynchronous online forum among 39 studio music teachers over a seven-month period. In doing so, it sought information on how an asynchronous web-based discussion platform could assist shared reflection and problem-solving for teachers discussing their teaching. The study also sought to determine whether such a medium might be a viable means by which studio teachers could develop their practice through informal and collaborative means. A case study approach was used with data collected through online discussion transcripts and email correspondence between the participants and researcher. Findings suggested that participants offered real-world strategies born from concrete experience as initial responses to pedagogical questions. The subsequent reflection and discussion on these initial responses allowed participants to build these strategies into a broader framework of community and culture creating personal meaning for both teacher and student.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Theory and practice in idea generation and creativity in Jazz
improvisation
- Abstract: de Bruin, Leon
  The generation of ideas is an essential component of musical improvisation, and improvising is an integral part of most musical cultures of the world. This article examines the seminal improvisational theories of Jeff Pressing, John Kratus, Alfred Pike and David Sudnow. A comparative analysis identifies common traits of influence and distinct, characteristic differences. A wider view of musical cognitive processing and recent neural studies of jazz improvisers support strategies of novel idea generation and complexity inherent in creativity, improvisation, skills acquisition, cognitive processes of musical idea generation and creative thinking. Wider literature on musical cognition and recent neural studies of jazz improvisers reveal a more intimate view of the brain's processing of uncomplicated creative music-making that supports suggested strategies for novel idea generation. The engagement of cognitive improvisatory processes reveal both an interesting aspect of cognition that confirms to some degree the assertions of cognitive theorists, as well as providing arguments for advocacy of more liberated, untethered and freer creative improvisation in educational practice. An overview of recent music curriculum development reveals the potential for creative, inclusionary and nurturing classroom practice.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Drawing 'Music and me': Children's images of musical engagement
- Abstract: Southcott, Jane; Cosaitis, Wei
  Children's understanding of school music classes is demonstrated by their participation in music activities, such as singing, dancing, instrument playing, composing and improvising within groups or individually. Children can be asked to speak or write about their music making, but for younger children it may be easier to reveal their thoughts through drawings. Increasingly music education researchers are analyzing drawings of music engagement by children. Three classes of Year 4 students (aged 9-10 years) at a suburban state primary school in Melbourne, Australia were asked to write a sentence that began with "Music is..." and to produce a drawing entitled "Music and Me" in an empty frame. Year 4 students were selected because they had already experienced classroom music for four years and were involved in the music activities associated with the school's music program, including the violin group, recorder group, and the Years 3-4 choir. The drawings were analyzed in different ways and offer a revealing insight into students' experience in their music learning environment and their perceptions of music that can inform educators.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Exploring the role of technology in instrumental skill
development of Australian higher education music students
- Abstract: Zhukov, Katie
  This paper presents the findings of a survey of Australian higher education music students on the use of technology in their instrumental skill development. Despite widespread use of technology in music classrooms and growth in innovative applications, little is known about the uptake of technology in instrumental learning. The survey focused on demographics, approaches to instrumental learning and evaluation, and ownership of technology. The data from 189 questionnaires were analysed using Chi-square tests. The findings show that higher education music students have embraced technology in their instrumental learning, in particular using YouTube as a basic tool and self-recording.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Once more around the parade ground: Re-envisioning
standards-based music education in England, the USA and Australia
- Abstract: Burke, Harry
  Recent demands by conservative politicians in England and the USA for improved standards in literacy and numeracy have seen sweeping changes introduced to music education. Australia is in the process of introducing similar changes. Today, education has become a highly competitive industry, clearly evident in the PISA tests (The Guardian, 2014).1 Finland, a high achiever in PISA, does not concentrate on only teaching language and mathematics education (Sahlberg, 2014a).
  
  The history of classroom music in England (Spencer, 2014) the USA (Kratus, 2007) and Australia (Department of Education Science and Training, 2005) since the 1960s has been one of short-term curriculum developments that have gradually eroded the viability of school music education in many disadvantaged schools. Similar to the 1950s, students in England, will now learn music theory and the history of Western music. During the 1960s, John Paynter (1970) highlighted the difficulties of teaching na ve lower secondary music students' notation. In the USA, the limited time for integrated music will again impede what students will be able to learn (Purdum, 2014a). Frequent curriculum changes are making music teachers sceptical about the future of school music (Kratus, 2007; Savage, 2014b; Spencer, 2014). Harry Broudy (1905-1998) an American Arts educator suggested if you stand still long enough in education you will lead the parade next time it came around (Broudy, 1978). This paper discusses the effect these changes are having on music education in England, the USA and most likely Australia. This is then contrasted with the Finish education system and its approach to music education.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Why enjoyment': An exploration of experiential outcome in a
community-based fiddle group
- Abstract: Godwin, Louise
  This article focuses on the value of experiential outcomes in learning music as a means to support ongoing participation. It arises from a qualitative research study, and examines a sub-set of results concerned with an understanding of the experiential outcome of enjoyment. The intrinsic problems and complexities associated with researching such an elusive and subjective concept are explored, together with the approach adopted to resolve these challenges. The results of the data analysis phase employing enjoyment as research tool are presented within the context of the broader study findings. The study findings present a case for the value and benefit of researching the experiential outcome of enjoyment to support the gathering of insights and knowledge with potential application to the design of music participation environments and programs, both formal and informal.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - The pedagogy of conducting
- Abstract: Postema, Darren
  The transformation from amateur to professional orchestral conductor is trans-disciplinary and complex. Simulated performance and mentoring are advocated by professional commentaries as highly beneficial teaching methods. This article summarises the case study findings of previous research about the Symphony Australia conducting workshops of 2003. This explored the questions of what conducting pedagogy looked like and how teaching and learning occurred within a master-class workshop environment' This particular study drew upon narrative inquiry to develop narrative accounts. The tools of observation and interviewing were used to capture experience. The workshops were performance orientated, created opportunities for leadership and supported the process of feedback and evaluation. In addition, this paper proposes a framework and rationale for developing a conducting curriculum that incorporates essential skills and aptitudes required by the vocation. It is noted that although there is a general convergence of opinion about the multifaceted role of the conductor, the research into innovative methods of pedagogy is still relatively scarce. New proposals of shifting the emphasis towards 'educational conducting' instead of 'professional artistic direction', has major implications to how future practitioners will develop their art so as to optimise collaborative and cooperative 'musicking'.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Investigating the importance of team teaching and blended
learning in tertiary music education
- Abstract: Crawford, Renee; Jenkins, Louise
  The nature of teaching within the tertiary education system is changing gradually due to the provision of more advanced technology, the targeted use of on-line learning, student flexible learning expectations and the pressures of faculty budgets. This situation requires more innovative approaches to teaching and learning. In response to these changes, a project has been developed to investigate the implementation of a more blended learning process within tertiary pre-service music education classes. As part of this blended learning approach the researchers will eventually adopt team teaching strategies where both the teaching preparation and classroom teaching are shared. The first stage in investigating the possible importance of team teaching and blended leaning in tertiary music education is to review the current and recent past literature surrounding this study. It is from this that an appropriate methodology can then be designed. This paper will report on the first stage of this study which includes relevant literature and the research methodology.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Provocations about researching music education
- Abstract: Power, Anne
  The questions that give rise to this reflective article are: What does music education research make possible' How might we work more productively with teachers and young people' Lather and St Pierre (2013) remind us of the ethical charge of our work as inquirers ...to question our attachments that keep us from thinking and living differently (p. 631). Recently writing about reflexivity, I came across the work of Sriprakash and Mukhopadhyay (2015) who write about the second-order effects of the researcher's role as knowledge broker and translator. They suggest that "a second-order engagement with reflexivity encourages us to trace the ways in which knowledge about educational development is assembled: how particular 'truths' about educational development are produced through empirical studies, how these 'truths' circulate, and how they gain an apparent stability and durability" (p. 232) We have seen these 'truths' persist about music education with its instrumental justification for the benefits of music, driving up test scores in language and mathematics - benefits that have removed educational thinking about the unique role that music plays in the culture of all peoples, in contributing to the development of creativity and prosocial attitudes such as intercultural understandings, and in remembering that the educated person is not a thing but a human being with an altered outlook.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Teaching intonation in violin playing: A study of expert string
teaching
- Abstract: Ha, Joy
  The purpose of this research was to identify different approaches to teaching intonation to conservatorium-level violin students. Intonation is an important and extremely difficult aspect of playing the violin. This multiple case study investigated the teaching approaches of three master violin teachers to identify different strategies for teaching intonation. The findings of this study revealed that the three major objectives of the master teachers' approaches to teaching intonation were the establishment of a good left hand position, the enhancement of left hand techniques and the improvement of aural skills. The findings of the current study could potentially provide new insights into teaching intonation to students.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - The role of ePortfolios in preparing students for music careers
- Abstract: Rowley, Jennifer; Dunbar-Hall, Peter
  This paper presents results from the final phase of a six-year project in an Australian university where student created electronic portfolios (ePortfolio) in the preparation of professional musicians were investigated. In 2014 researchers examined how prospective employers of musicians use and perceive ePortfolios when considering employment of music graduates through assessing job applications. This final phase of the project confirmed that the ePortfolio has become an accepted part of the preparation of professional musicians although the possible future uses by potential employers are many and varied. As a result of the six-year exploration of the student ePortfolio process and products it is clear that they can influence how music is taught and learnt at university level, and therefore contribute to the preparation of students to become professional musicians and music educators.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Writing about the concepts of music for success in the HSC aural
skills examination in NSW
- Abstract: Weekes, Trish
  The Music Aural Skills examination in the final year of secondary schooling in New South Wales requires students to listen to music and write about what they hear in terms of the concepts of music. The concepts or elements of music - duration, pitch, dynamics and expressive techniques, tone colour, texture and structure - are at the heart of the Music 1 syllabus, and are also central to the new Australian Curriculum: The Arts. Even though writing about music is one of the most important aspects of disciplinary literacy in secondary school Music, official syllabus documents provide limited support for writing. This article reports on a research project that identifies the most important features of Music Aural Skills answers that achieve marks in the highest range - a 'Band 6'. Drawing on the resources of Systemic Functional Linguistics, several features of successful writing are identified, including the purpose and structure of an Aural Skills answer, as well as how to 'make a point': naming performing media, specifying musical time, describing concepts of music and referring to principles of composition. The findings from this research provide explicit and practical support for teachers and students in writing about the concepts of music.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Musical experience and confidence of pre-service primary
teachers
- Abstract: Thorn, Benjamin; Brasche, Inga
  Music is a mandated part of the primary curriculum but how well prepared are trainee primary teachers' This study investigates a cohort of trainee primary teachers at the University of New England looking at their musical skills and confidence. Findings include significant issues in terms of musical skills and experience. While roughly a third of students sing mostly in tune, another third have significant pitch issues. Only a third of students play some musical instrument. We also present some qualitative data about confidence including what areas they are likely to teach, in which some integral parts of the curriculum such as composition, rate very low. The positive finding is that a very high percentage of students are quite positive about music and do intend to use music extensively in their classroom practice.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Proposed stages of improvisational learning: Influences of a
formal and informal improvisational approach to teaching and learning
- Abstract: Augustyniak, Sylvana
  This article based on an empirical study was conducted in a qualitative and holistic approach. It examined how students had used formal and informal strategies, styles and situations while improvising and composing for the research task. Eighteen research groups made up of a total of 40 males and nine females had participated in improvising in their choice of popular styles of music. An average of four participants to each group ranged in ages from 12-13 years, 13-14 years, 14-15 years and 15-16 years participated in the task.
  
  Participants were chosen from three different Australian school settings: a public Sports High School, a private Anglican School and a Catholic Systemic School so as to avoid bias in the data. The task was an unstructured one. The participants chose to use any of the following: audio-technology such as iPods, instruments, singing, or "Garage- Band" the compositional software.
  
  The data were collected from the pre-questionnaires, midi-files, as well as semi-structured interviewing which was then sorted, coded and collated through triangulation processes. The interpretation of the results indicated the importance of participants' learning improvisation in a paralleled, systemic formal and informal approach so free improvisation is reached in a logical and intelligent manner.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - A historical overview of Iranian music pedagogy (1905-2014)
- Abstract: Bastaninezhad, Arya
  This article examines the recent developments and changes concerning Iranian music education from the constitutional revolution of 1905 to 2014. This concentrates on the five major chronological events referred to as Nationalism, Modernism, Conservatism, Neo-Traditionalism (Shirin-navazi) and Revivalism of the Traditions. This provides a source of basic information necessary for better understanding of the current challenges confronting research into Iranian music education.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Special edition: Historical research in music education
- Abstract: Southcott, Jane
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Noela Hogg, music educator: Reminiscences of a past student
- Abstract: Burke, Harry
  Continual changes to Victorian secondary education since the 1990s have severely effected the teaching of classroom music in many schools. Similar to the 1970s-1980s, there is a need for music educators and teachers to develop innovative concepts and insights into teaching school music. From 1975 to 1984, a group of determined women music-educators at Burwood Teachers College Melbourne, guided by Noela Hogg (1941-2013) developed and taught an innovative and creative classroom music course to pre-service secondary music students. As little development had occurred in Victorian secondary music education since the 1930s, there was an urgent need to revitalize school music and make it relevant for the general music student. It was Hogg's intention to develop and introduce a model of classroom music that was centered on the philosophy of R. S. Peters, John Paynter and R. Murray Schafer. Severe cutbacks to classroom music education in Victoria in the 1990s have meant that the vision Hogg had for school music has not eventuated. Today, there is an urgent need for the development of an innovative and effective music program for teaching general lower secondary classroom music comparable to what Noela Hogg proposed during the 1990s. This paper outlines the work of Noela Hogg at Burwood Teachers College/Deakin University during the 1980s-1990s.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Influential pioneers of creative music education in Victoria,
Australia
- Abstract: Burke, Harry
  Throughout history, societies have been fascinated with creativity and the creative personality. Researching creativity and its place in music education however has been fraught with difficulties. After sixty years of intensive study mainly in the USA, there is still no accepted methodology for researching creativity or an agreed definition. In England during the 1960s, innovative and idiosyncratic music-educators acting as their own research practitioners developed a practical based form of creative music education that was applicable to all students. Although still controversial, this model has helped to revolutionize the teaching of general classroom music in England and to an extent Victoria. Australia however was slow to establish innovative concepts in classroom music after the Second World War. Discussions by Peter Maxwell-Davies of his experiences of teaching creative music in England at the 1965 Sydney UNESCO Conference on school music demonstrated to many Victorian music teachers the need to consider establishing creative music in their schools. In Victoria, Frank Higgins, Keith Humble and Geoffrey D'Ombrain, together with a small number of classroom music teachers pioneered creative music education based on the English creative music movement during the 1960s and 1970s. Unfortunately, there was little understanding in Victoria of the difficulties creative music teachers were encountering in England. This paper discusses the development of creative music education in England and Australia and the pioneering work in creative music education undertaken by Frank Higgins, Keith Humble and Geoffrey D'Ombrain in Victoria during the 1960s-1970s.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Patriotic songs in primary school textbooks in Taiwan from
1949-1987
- Abstract: Lee, Angela
  This study focused on the inclusion of patriotic songs in schooling that were popular in Taiwan between 1949 and 1987. Many patriotic songs were composed after 1949, and these frequently found their way into primary textbooks. School curriculum policies such as 'education for patriotism' cultivate Chinese consciousness among Taiwanese students (Yang, 2001). An analysis of these patriotic songs elucidates their qualities and character and explores how patriotism permeated school song texts. These factors can be considered through an examination of school textbooks produced after the Chinese restoration: Music 1952, Music 1968, and Music 1975 for primary schools. The findings of this study show that during 1949 to 1987, the inclusion of patriotic songs in the school curriculum, had everything to do with the cultivation of national sentiment and loyal service toward the mainland, and sacrifice for one's country. The findings confirm Hebert and Kertz-Welzel's (2012) assertion that music clearly contributes to the conditions in which individuals are more susceptible to the emotional appeal of mass movements, which is why all across the world music has for so long played such an enduring and prominent role in the political spheres.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - The Dalmatian: First Australian opera by a woman
- Abstract: Jenkins, Louise
  Australia is currently responding to an international trend that encourages social inclusion and the provision of equal opportunity for all. In a climate that is encouraging and supporting social inclusion, it can be enriching to look back at Australia's history and consider the benefits that have been gained in a previous era when people were given new opportunities in a more socially inclusive environment. This paper will discuss how the composition of Australia's first opera by a woman, Mona McBurney's The Dalmatian, exemplifies what can be achieved when social change gives rise to new opportunity. The particular musical significance of The Dalmatian is that it is the first opera to be written by an Australian woman, however, this is not its only point of significance. The Dalmatian is a product of a unique period in Australia's history when, as a result of various major social changes, women were offered increased musical opportunities. The opera stands as proof of the benefits that can be reaped when society provides equal encouragement, support and opportunity for men and women in their musical endeavours. It is a musical work that speaks to contemporary societies in the pursuit of more socially inclusive environments with equal access to opportunity for all.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Isawa Shuji, nineteenth-century administrator and music educator
in Japan and Taiwan
- Abstract: Howe, Sondra Wieland; Lai, Mei-Ling; Liou, Lin-Yu
  Isawa Shuji studied in the United States and made major contributions to the development of the music education in Japan and Taiwan. This paper provides a perspective of Isawa's activities based on sources in Japanese, Chinese, and English. Isawa was familiar with Western education and music before he went to the United States. In Massachusetts, he attended Bridgewater Normal School and studied music with Luther Whiting Mason. In Japan, Isawa worked with the Music Research Institute to publish Japanese music textbooks Shogaku shokashu (1881- 84), which combined Japanese traditional music and Western music. In the 1890s, Isawa published Shogaku shoka (1892-93), which continued his combination of Japanese and Western ideas (wayo secchu). As Chief of the Education Bureau in Taiwan, Isawa believed that the essential goal of education was to teach Taiwanese people the Japanese language. The Shizangan school was the first national language school. Isawa brought Japanese music teachers to Taiwan and introduced Japanese songbooks. He was influential in developing normal schools and primary schools. Isawa influenced the history of music education internationally as he brought Western songs to Japan, combined Japanese traditional music and Western music in his publications, and brought Japanese songbooks to Taiwan.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - The evolution of technology: Landmarking Australian secondary
school music
- Abstract: Crawford, Renee
  This paper will provide an overview of the history of the inclusion of technology in Australian education with a focus on music education. There will be a discussion of some of the arguments for its inclusion and how these may have changed over time. Technology has always been actively present in music and its practice. However, it was through more contemporary genres of music that composers and musicians began to experiment with sound and technology. Such diverse thinking about the way technology can be used in music produced notable examples of electronic music such as, Charles Dodges Changes (1970) and Paul Lansky's Six Fantasies on a Poem by Thomas Campion (1979). The professional music industry now considers technology a valuable commodity that continues to improve the practice of music. Similarly, society has defined what is valuable in education in different ways. Standards are set by the Australian federal and state government and various educational authorities, such as the Victorian Essential Learning Standards (VELS), to reflect what is considered valued knowledge in education. It is clear from such standards that Information and Computer Technology (ICT) is of importance. Technology has significantly changed business corporations, the industrial workforce, economic growth and the music and entertainment industries all over the world, yet only until recently; has its true impact on education been realised.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - The slow process of modernising teacher training in music in New
South Wales, 1920-1956
- Abstract: Chaseling, Marilyn; Boyd, William E
  The need for appropriately trained teachers to teach in its schools has been a priority for the Department of Education (hereafter referred to as the Department) since the beginning of public education in New South Wales in the 1850s. This paper presents an overview of the provisions made by the Department for the musical development of its primary teachers at both the pre-service and professional development stages of their teaching careers during the middle decades of the twentieth century. Teacher training in the second half of the nineteenth century culminated in education reforms in 1904, which set the scene for twentieth century teacher training in New South Wales. Gradual changes in teacher training and teacher professional development in music between 1920 and 1956 provided the basis of the contemporary teacher-training regime in New South Wales. Three main themes were important in this historical development: the mandatory music experiences provided to trainee teachers at Sydney Teachers' College; music in the teacher classification examination system; and Departmental professional development opportunities in music.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - The decline and revival of music education in New South Wales
schools, 1920-1956
- Abstract: Chaseling, Marilyn; Boyd, William E
  This paper overviews the decline and revival of music education in New South Wales schools from 1920 to 1956. Commencing with a focus on vocal music during the period up to 1932, a time of decline in music teaching, the paper examines initiatives introduced in 1933 to address shortcomings in music education, and the subsequent changes in curriculum and teaching during the 1930s. Evidence of a variable revival lies in the school choral music movement of 1939 to 1956, and in how music education diversified beyond its vocal heritage from the late 1930s and early 1940s, with new emphasis on music appreciation, percussion, flutes, and recorders. By the mid 1950s, involvement in, and quality of, school instrumental music was continuously improving.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Dictionary of music education [Book Review]
- Abstract: Howe, Sondra Wieland
  Review(s) of: Dictionary of music education, by Irma H. Collins, Lanham, Maryland, The Scarecrow Press, Inc., 2013, 338 pp. ISBN 978-0-8108-8651-3 (cloth), 978-0-8108-8652-0 (eBook).
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Delivering authentic arts education 2nd edition [Book Review]
- Abstract: King, Fiona
  Review(s) of: Delivering authentic arts education 2nd edition, by Judith Dinham, South Melbourne: Cengage Learning, 2014, Pb 416pp ISBN 9780170236157
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - All things strings - an illustrated dictionary [Book Review]
- Abstract: Larsen, TM
  Review(s) of: All things strings - an illustrated dictionary, by Jo Nardolillo, Lanham, Rowman and Littlefield, 2014, HB 143pp. ISBN 978-0-8108-8443-4, ISBN 978-0-8108-8444-1 (ebook).
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - A dictionary for the modern singer [Book Review]
- Abstract: Dumont, Faye
  Review(s) of: A dictionary for the modern singer, by Matthew Hoch, Lanham: Rowman and Littleford, 2014, 307 pp, ISBN 978-0-8108-8655-1.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Music education research in Australia 2012-14
- Abstract: Power, Anne
  This report captures the variety of music education research between 2012-2014.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - One hundred years of 'Anglo- Saxondom' in the south: The
Children's Demonstration Pageant of Empire, South Australia 1936
- Abstract: Southcott, Jane
  There is a universality to the sight of groups of children celebrating public events. These groups might be large or small but teachers and students put much time and effort into preparing performances for appreciative audiences. These events occur across cultures and countries, are commonplace and expected but also highly memorable to participants and spectators. Sometimes such events gain greater historical significance due to time, place and context. One such example occurred in the years preceding World War 2 in the small but staunchly patriotic State of South Australia. In 1936 13,000 school children gathered in Adelaide to perform a Pageant of Empire as part of the State centenary celebrations. Despite there being rumblings across the globe about the viability of the British Empire or its successor, the Commonwealth, Adelaide was overwhelmed by the spectacle. Miss Inspector Adelaide Meithke brought the production to fruition. The pageant presented choreographed musical displays representing England, Scotland, Ireland, and Wales. The Empire was represented by Indian rajahs, dancing girls, guards, and an elephant, followed by Canadian scenes, then Australian iconic images. The event concluded with the 'Family of Nations'. This article includes participant recollections and is framed by contemporary discussions of the place and role of the Empire. This South Australian celebration can be understood as a looking back to what had been, using visual icons, music, dance and a cast of thousands.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Cecilia John: An Australian heads the London School of Dalcroze
Eurhythmics, 1932-1955
- Abstract: Pope, Joan
  The London School of Dalcroze Eurhythmics (LSDE) was established in 1913, and a significant figure in its history was the remarkable Cecilia John, one of seven Australians to complete the three-year course between 1917 and 1927. Apart from two short visits to Australia, John lived and taught in England for the remainder of her life. Following the death of the Founding Honorary Director of the LSDE in 1930, John became the Warden and then Principal of the School. She held this position until her death twenty-five years later. John was a dynamic figure in the Australian suffrage movement prior to 1920 yet few Dalcroze educators are aware of this part of her life. Conversely, there is lively evidence of her Eurhythmics studies in London from 1920-1923, and involvement in international Dalcroze Eurhythmics matters, which is unknown to many Australians. Few women could match her record as a mature age student who became Principal of the British school from which she had graduated some seven years earlier.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Heather Gell and music education in the community
- Abstract: Nash, Sandra
  Kindergartener and Dalcroze teacher, Heather Gell (1896-1988), brought music to thousands of Australian children and adults. The community touched by Gell was vast: it included her classes in studios and teacher training colleges, 'listeners in' to her radio programs, viewers of her television programs, Dalcroze trainees, and people in her theatrical productions. This paper focuses on Gell's work outside institutions and colleges, namely her studio classes in the community for children and adults, and her productions. Gell was a talented and imaginative teacher. Entrepreneurial and opportunistic, she used networks of support, and her connections with people of influence to achieve her educational goals. She also took advantage of the electronic technologies of the day. Evidence for this has come through interviews with former students, memoirs, letters, newspaper cuttings, scrapbooks, photographs, archival material, Gell's writings, syllabi from Departments of Education, and personal contact with Gell herself. Hers is not a conventional story as she was not employed full-time by any state department of education or institution, but worked all her life as a freelance specialist in Dalcroze Eurhythmics.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 1 - Breaking sound barriers: New perspectives on effective big band
development and rehearsal
- Abstract: Greig, Jeremy; Lowe, Geoffrey
  Jazz big band is a common extra-curricular musical activity in Western Australian secondary schools. Jazz big band offers important fundamentals that can help expand a student's musical understanding. However, the teaching of conventions associated with big band jazz has often been haphazard and can be daunting and frightening, especially for classically trained music teachers. In order to maximise results within extra-curricular rehearsal time constraints, this article synthesizes current literature into big band development from Australia and overseas, designed to ensure positive outcomes, especially for teachers with little or no jazz background. In order to 'break sound barriers', it is important to consider the pre-rehearsal preparation, as well as the face to face rehearsal and performance situation. The article contextualises jazz education and attendant issues in secondary schools in Western Australia before outlining current literature into strategies designed to maximise rehearsal efficiency prior to, during rehearsals and after performances. It then presents a model, based around the fundamentals of set-up, instrument roles, sound and repertoire, designed to build a motivated and musically competent jazz big band. By summarising the literature, the article ultimately aims to equip directors with the knowledge to maximise the potential of jazz big bands in secondary schools throughout Australia.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 1 - The role of professional learning in reducing isolation
experienced by classroom music teachers
- Abstract: Davidson, Jayne; Dwyer, Rachael
  There is substantial evidence in the literature to suggest that professional isolation is a significant problem for music teachers. This paper reports on the results of a survey regarding the professional learning of classroom music teachers (n=53) from Foundation (also known as Preparatory, Reception or Kindergarten) to Year Nine. Teachers who participated in the survey responded to questions regarding their participation in professional development, their current and desired means of participating in professional dialogue with other music teachers, and their use of teaching and planning resources. The study found that further consideration of strategies to relieve professional isolation of music teachers is needed. The findings of the study align ideas presented in the literature, identifying the most affective strategies of alleviating professional isolation as the need to address the lack of discipline-specific pedagogical knowledge, the need for effective professional development strategies, and the importance of professional networks.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 1 - Recommendations for the investigation and delivery of music
programs aimed at achieving psychosocial wellbeing benefits in mainstream
schools
- Abstract: Crooke, Alexander Hew Dale; McFerran, Katrina Skewes
  The potential for music programs to promote psychosocial wellbeing in mainstream schools is recognised in both policy and research literature. Despite this recognition, there is a dearth of consistent research evidence supporting this link.
  Authors attribute this lack of consistent evidence to limitations in the areas of research design and method, as well as the attributes of school music programs investigated. In order to further explore and identify challenges in these areas, two critical reflection analyses were undertaken on the research methods and musical programs used in two Australian studies. One analyses identified several important challenges of reporting psychosocial wellbeing related to methodology, while the other identified challenges related to music program attributes. This article uses these identified challenges to present recommendations to inform the design of future research which aims to explore or demonstrate a link between musical participation in mainstream schools and psychosocial wellbeing. It also suggests a number of elements that should be considered for the design and delivery of music programs aimed at achieving such benefits students in mainstream schools.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 1 - The collaborative learning behaviours of middle primary school
students in a classroom music creation activity
- Abstract: Baker, William J; Harvey, Georgina
  Located in a northern Tasmanian government primary school, this study presents the findings of an investigation into the learning behaviours of middle primary (Grade 3/4) students in a collaborative music soundscape task. Recent literature regarding music education and social development are presented and the design of the research described. Analysis of data regarding seven learning behaviours that are characteristic of collaboration are explored and findings presented with particular attention to gender and group make-up. This paper confirms earlier research in the area and highlights the role for music creation tasks in the development of a range of social skills. Whilst limited by the scope of this study, of particular note are those data regarding the functionality or otherwise of gender groupings on task outcomes and the collaborative behaviours demonstrated by participants.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 1 - Performance reviews for the orchestral musician
- Abstract: Watson, Amanda; Forrest, David
  Musicians are appointed to positions in professional symphony orchestras - both rank and file and section principals - following a blind audition process. They perform set repertoire works and orchestral excerpts behind a screen. In many higher education programs, musicians focus on learning the orchestral excerpts and instrumental repertoire that they can expect in a blind audition. They practice performing. They seek as much experience as possible for this scenario by performing in competitions and applying for orchestral vacancies - using each audition as a learning opportunity. Once appointed, musicians are expected to maintain the level of musicianship to retain the overall level of orchestral playing. However, musicians in professional orchestras in Australia are generally not involved in regular structured performance reviews. This study explores the introduction of leadership training for section principals in Australian orchestras and the qualitative evaluation of musicians' skills. These two aspects are linked with performance reviews for section principals and rank and file orchestral members in the same way that workers in other industries are required to present for an annual performance review (including the managerial positions in Australian orchestras). An orchestra is an example of an institution with its own culture and levels of leadership, pursuing its operations in the industry marketplace. Musicians employed in orchestras are continually learning and developing their craft. Involvement in performance reviews within the orchestral setting challenges a musician to consider their identity within the orchestra and as an individual musician, together with career aspirations and apprehensions. Each musician needs to articulate their creative knowledge and skills (in both words and music) and refocus their experiential learning and knowledge transfer, appropriate to their current role or a potential career change in or outside music.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 1 - Gestures and body-movements in the teaching of singing: A survey
into current practice in Australia and Germany
- Abstract: Nafisi, Julia SA
  In order to investigate the use of gestures and body-movement as teaching and learning tools in one-on-one voice teaching a survey was conducted amongst members of two professional voice teaching organisations in Germany and Australia. The survey questionnaire implemented a terminology devised by the author that distinguished the movements encountered according to their pedagogical intent. It could be shown that a significant number of voice teachers in both surveyed countries regularly use various gestures to enhance and/or illustrate explanation and/or demonstration; and an almost equal number of voice teachers in both countries regularly encourage their students to use various gestures and/or body-movements to facilitate understanding and learning of physiological functions, thought concepts or musical ideas. Differences between the two respondent-groups were outweighed by commonalities and whilst the survey confirmed the prevalence of this teaching and learning tool it also highlighted the wide scope of possibilities and idiosyncrasies inherent in this issue.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 1 - 'The show must go on': Older entertainers making music in the
community in Melbourne, Australia
- Abstract: Joseph, Dawn; Southcott, Jane
  Globally countries are faced with an aging population and Australia is no different. This creates challenges for the maintenance of well-being which can be enhanced by active engagement in society. There is extensive research that confirms that engagement in music by older people is positively related to individual and community well-being. Music engagement encompasses a range of social participation and has the potential to recognise the contribution of older people to their local communities. Music participation can contribute to a better quality of life, particularly in relation to health and happiness. There are many possible forms of music engagement. This study is part of an on-going Deakin University and Monash University research project, Well-being and ageing: community, diversity and the arts in Victoria. This article focuses on three members of a mixed voluntary singing group formed by older residents of an outer suburban community in Melbourne, Australia. This group, The Skylarkers, were established in 1999 as a four-part choir. Over the years the nature of the choir has changed under subsequent music directors. Since 2009 the group has focused on music theatre repertoire and performance style. Membership of the group is fluid reflecting changing life circumstances of the members but the ensemble is resilient. This small amateur music theatre group is based in suburban Melbourne, rehearses weekly and performs regularly at retirement villages, nursing homes and facilities for senior citizens. This article presents a phenomenological qualitative single case study of members of the Skylarkers. In this study, interview data were gathered in 2011-2012 and analysed using interpretative phenomenological analysis. Two significant themes emerged that concern musical self-identity and gaining a sense of purpose and fulfilment. The Skylarkers are more than a choir; they are an amateur entertainment troupe that engages with each other and the wider community. This resilient group holds true to the motto 'the show must go on'.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Life in the real world: How to make music graduates employable
[Book Review]
- Abstract: Watson, Andrew
  Review(s) of: Life in the real world: How to make music graduates employable, edited by Dawn Bennett, 2012, Common Ground, paperback 284 pp., ISBN 978-1-61229-079-9.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Are the Arts important in schooling': Clear messages from
the voices of pre-service generalist teachers in Australia
- Abstract: Garvis, Susanne; Lemon, Narelle
  The Arts are an important part of curriculum in Australia. While it is an important area of the curriculum, teachers may not share the same views of importance. Views and perceptions about the Arts are formed during the beginning phase of teaching which includes pre-service teacher education. This important period of belief development can provide insight into what future Arts practice will look like in schools. In 2013, a survey was administered at two universities in Australia to explore the beliefs and perceptions of pre-service teacher generalist teachers about the importance of Arts and the role of Arts in schools. Pre-service teachers were also asked to share information on their current levels of Arts engagement. A total of 206 participants returned the survey. Findings highlight the lack of understanding about the Arts and poor engagement with Arts activities outside of university as an adult. These findings highlight a concern about the place of Arts education and are troubling for the future of Arts education in the Australian context.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Initiate, create, activate: Practical solutions for making
culturally diverse music education a reality
- Abstract: Cain, Melissa; Lindblom, Shari; Walden, Jennifer
  Cross-cultural music education can motivate children to look at music in fresh ways and awaken their imagination to new possibilities and ways of thinking. This paper presents the voices of three practitioners experienced in, and passionate about the field of culturally diverse music education. Over the past 25 years the presenters have ignited an interest in world musics in their students from pre-school to higher education in North America, Asia, Australia and the Middle East. They have been committed to creating innovative programs which practically reflect the changing nature of contemporary classrooms within a global society. The paper provides a review of the current state of culturally diverse music education in North America and Australia - exploring underlying philosophical constructs, prevailing attitudes and current teacher training experiences - as a theoretical framework for a practical 'how to' guide for school teachers; tried and tested with a wide variety of ages, and in an abundance of contexts. Themes discussed include the role of diverse musical experiences in creative expression, and the critical role individual music educators play in assisting students to develop qualities of curiosity, open-mindedness and a 'tolerance of uncertainty'. Factors conducive to successful multicultural music programs and a contextual themes framework will provide readers with knowledge and skills to spark interest in world musics in their students.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - 'Extra-musical effects' and benefits of programs founded on the
Kodaly philosophy
- Abstract: Goopy, Jason
  Music education is often advocated as having 'extra-musical effects' contributing to the development of the whole child. The pedagogy teachers employ to deliver music programs could affect the significance of such benefits. This paper will review literature documenting how children benefit from receiving music education delivered using Kodaly methodology. These benefits include literacy and numeracy skills, spatial-temporal reasoning, intelligence and social emotional development. Identifying gaps in research may pave the way for future studies and investigations.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Developing the music pre-service teacher through international
service learning
- Abstract: Power, Anne
  Service learning in tertiary education is about partnerships between higher education institutions and communities, as co-generators of knowledge. Arts programs in service learning engage what Rendon (2009) calls sentipensante (sensing/thinking) pedagogy, in which critical examinations of ways of thinking and doing sit alongside relational contemplative practices. This paper draws inspiration from this sentipensante pedagogical framework as well as principles of teaching in international contexts (Ballard and Clanchy, 1997), and uses both frames to examine the development of music pre-service teachers in the story of one young teacher and his supervising teacher. The young male teacher participated in international service learning in Penang, Malaysia. The paper sets out to highlight the benefit that such a case study can provide by critically examining the experiences of the pre-service teacher in the classroom and the community.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Mission impossible or possible mission': Changing confidence
and attitudes of primary preservice music education students using Kolb's
experiential learning theory
- Abstract: Russell-Bowie, Deirdre
  Many Australian state primary schools have a policy to use generalist teachers to teach music as well as many other subjects, however research indicates that primary generalist teachers lack confidence and competence to teach music in their classrooms. Added to this, preservice teachers enter their initial teacher education course with little or no background in music education and low confidence to teach music. Skills, knowledge and attitudes that are learned in the preservice teacher education course are crucial to developing the students' confidence and competence to teach music. This paper presents one approach to addressing this situation, based on Kolb's Experiential Learning Model. A description of a primary creative arts teacher education unit is given, then results from a quantitative and qualitative student survey are triangulated with the students' online journals and are used to evaluate the unit in terms of the students' developing confidence and competence in music education, based on their learned skills and knowledge. Results indicated that the majority of the students (97%) developed their confidence and competence to teach music using this approach. Specific learning experiences that helped affect their sense of competence in teaching music included experiential, face-to-face and online training approaches to learning relevant skills and knowledge, which confirmed the importance of using Kolb's Experiential Leaning Theory as the basis for the unit.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Participatory learning walks: Reflective practice for the
conductor-music educator
- Abstract: Baker, William J; King, Heidi
  Learning walks can be defined as ongoing, structured classroom visits by senior teachers and other colleagues intended to gather data about teaching and learning through observation and interaction with students. Used in areas such as classroom teaching, learning walks are designed to support professional learning for educators and encourage collegial conversations. A participatory learning walk has the potential to facilitate powerful teacher reflection, inform educational practice and support improved student learning outcomes. This paper presents a modified learning walk that encourages teacher reflection and enhances student learning in ensemble music education. In this article qualitative action research methodology, existing research into reflective practice, the nature of learning walks, and the specific context of music ensemble are each explored. Finally this paper presents the case study of 'Ben' the conductor-music educator and his experience of participating in a learning walk program Above all, this paper seeks to generate professional discussion amongst music educators with regard to their reflective practices.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Learning to listen: 15th annual Peggy Glanville-Hicks address
2013
- Abstract: Lacey, Genevieve
  The New Music Network established the Peggy Glanville-Hicks Address in 1999 in honour of one of Australia's great international composers. It is an annual forum for ideas relating to the creation and performance of Australian music. In the spirit of the great Australian composer Peggy Glanville-Hicks, an outstanding advocate of Australian music delivers the address each year, challenging the status quo and raising issues of importance in new music. In 2013, Genevieve Lacey was guest speaker presenting her Address entitled Learning to Listen at the Sydney Conservatorium and Deakin Edge Federation Square in Melbourne. The transcripts are reproduced with permission by Genevieve Lacey and the New Music Network.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Transforming the landscape through music creation and
performance
- Abstract: Tedeschi, Simon
  Let me first say that I'd like to pay respect to the traditional custodians of this land upon which we stand. In about 2008, I was interviewed by my local rag, the Sydney Morning Herald. It was the usual gamut of questions - about my childhood, my studies, my prizes, my approach to performing and even my family. The journalist started off innocently enough but I smelt a rat when she started asking really pointed questions. She wanted a sound byte from me and I had learned from bitter experience as a young man not to give it to anybody, especially journos. However, journos do have a way of preying on the intrinsic human need to be understood - a byproduct of narcissism, which most pianists possess in spades. No names mentioned.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Centenary chronicle chapter 1
- Abstract: Archer, Robyn
  I begin by acknowledging the traditional custodians of the land we meet on today, the Ngunnawal and Ngambri people and pay my respects to their elders past and present, and also acknowledge, especially in this year of Canberra's 100th anniversary, the tens of thousands of years of culture these people continue to maintain and extend. I extend the acknowledgement to any other First Peoples here today.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 1 - The Afghanistan national institute of music
- Abstract: Forrest, David
  Over the last few years there has been a good deal of international coverage of your work and the development of the Afghanistan National Institute of Music. Could I start with asking what was the spark that guided you in this work'
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 1 - The generalist and the specialist: Serendipity in preservice
education
- Abstract: Jeanneret, Neryl; Stevens-Ballenger, Jennifer
  The Inquiry into the Extent, Benefits and Potential of Music Education in Victorian Schools (Parliament of Victoria Education Committee, 2013) has once again highlighted that further support from the university sector is needed in order to improve the quality of music education in primary schools. The report calls for "a greater focus on teacher education and training-to address the capacity of primary schools to deliver a quality music education in primary schools" (p. xviii) and "more options for pre-service teachers to study music education while at university, as well as in their early years of teaching and providing increased access to professional learning and support for all primary classroom teachers" (p. xix). There are two important assumptions in these recommendations; that quality teacher education in music leads to improved quality in the primary music classroom, and that in order for teacher education to be effective, it needs to begin at the preservice stage, continue through the graduate level, and be made available throughout the career of the teacher. We are involved in a graduate preservice teacher education in a university setting and in this paper we describe a strategy for providing additional preservice primary teacher education in music that has been developed and implemented over the last two years. Given the constraints of the "crowded curriculum" in teacher education, this approach may be a start to addressing some of the recommendations put forward by the Parliament of Victoria's Education Committee, and encourage our graduates to continue the collaborative approach to music and arts outlined below once they are in schools.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 1 - Musical and personal success: Perceptions of Australian males in
choir
- Abstract: Powell, Sarah J
  This paper investigates musical and personal success from the perspective of Australian boys and men who participate in choir. Findings have been taken from a larger study, which seeks to understand the way in which male notions of success, masculinity and identity influence their choral participation. Participants from four choirs indicated that for them to be in a choir, it must reflect several criteria for success, and these were also strongly linked to the ideology of the Australian male. The research provides valuable insight for music educators and choral directors into how perceptions of success influence male participation, particularly in the context of the Australian male culture.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 1 - Aural dictation affects high achievement in sight singing,
performance and composition skills
- Abstract: Rogers, Melissa
  The nature of skill acquisition has long been of interest to music educators. This study considers the research context for relationships between aural dictation, sight singing, performance and composition skills. Then, relationships between these skill areas are quantitatively investigated using data from the Australian New South Wales Music 2 2010 and 2011 HSC examination tasks, which take place in the final year of secondary schooling. The results from the HSC data were analysed in three ways: raw results for each isolated skill, correlation analysis for each skill combination and comparative analysis of only top-achieving students. The study found that the highest correlations were between aural dictation and sight singing. Further analysis of top achieving students found that high achievement in multi-part aural dictation was the best predictor of high achievement in the other skill areas.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 1 - Developing children's self initiated music making through the
creation of a shared ethos in an early years music project
- Abstract: Naughton, Christopher; Lines, David
  The three-month Changing Places project involved early childhood student teachers working with music students in developing children's music in centres in Auckland, New Zealand. The project set out to challenge the calculative aspect in music learning (Heidegger, 1993). The term calculative in this instance describes learning seen as music as preordained tasks. The music students involved in the project understood music in the form of a predefined score to be perfectly realised, while the early childhood teachers were familiar with a repertoire of early childhood songs and music played on a CD with pre-ordained actions to be performed at mat times. Data for the study was obtained through video recordings of student pairs working with children in centres, audio recordings of shared dialogues between students and online moodle discussions. This paper describes the different ways in which the two sets of students through their dialogue developed a shared ethos that countered their previous approaches and understandings of music education. The suggestion is made that the task itself, of developing self initiated music making with children, facilitated this open exploration and change of musical education ideas.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 1 - Questioning assumptions. Vivienne: A case study of e-learning in
music education
- Abstract: Baker, William J
  This article explores the capacity of e-learning to deliver positive outcomes in Music education to pre-service teachers, through the experience of Vivienne, a geographically distant, pre-service teacher studying a four year Bachelor of Education degree. The widely reported characteristics of pre-service teachers studying Music education within Education degrees, including a lack of entry-level experience, and a self-reported lack of confidence and competence in this area, may suggest that programs that enable students to challenge these assumptions will deliver the best outcomes for them. However can such assumptions be challenged in a constructive way in a fully online mode of study, enabling such students to value the role of Music in education' What is necessary for this to occur in this mode' Vivienne's experience of e-learning in Music education is characterised by a depth of learning and engagement that enabled her to overcome her fixed ideas of her own musical abilities and to challenge her preconceptions about the value of Music in education. Her case suggests that if this is so for her, then it may be so for others. This article concludes by asking in what ways the affordances of this mode can be harnessed to ensure that what is so in Vivienne's case can also be so for others'
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 1 - First inversion: A rationale for implementing the 'flipped
approach' in tertiary music courses
- Abstract: Grant, Catherine
  For several reasons, current models of tertiary education seem unviable. A shifting educational landscape with rising student numbers, an increasingly diverse student cohort, and high levels of student disengagement have led to concerns about the continued relevance of 'traditional' teaching and learning methods. At the same time, the possibilities opened up by digital technologies are both driving and necessitating radical shifts in pedagogical models. This situation underscores the need to investigate models that may address some of these shifts in higher education. In the Australian tertiary music sector, where some institutions are struggling to retain quality tuition, this task is urgent. Taking as its point of departure a collaborative constructivist theoretical framework (Garrison and Akyol, 2009), this paper examines one pedagogical approach, the "flipped classroom", for its potential to improve teaching and learning outcomes in tertiary music courses. Benefits, challenges and disadvantages of this model are discussed, as well as suggestions for implementation and further research. The author hopes to encourage consideration of flipped learning as a credible, evidence-based, and educationally sound new direction for tertiary music education.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Get your break! Recording artists [Book Review]
- Abstract: Nikolsky, Tim
  Review(s) of: Get your break! Recording artists, by Samuel J Folder (2011), Spit Junction, NSW: Red Hill Press Pty Ltd Pb, 304pp. ISBN: 978-0-9808291-0-5.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Music education in England, 1950-2010 [Book Review]
- Abstract: Southcott, Jane
  Review(s) of: Music education in England, 1950-2010, by John Finney (2011), Farnham: Ashgate. Hb, 188pp., ISBN 978-1-4094-1076-8.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Scholarly research for musicians [Book Review]
- Abstract: Forrest, David
  Review(s) of: Scholarly research for musicians (second edition), by Sang-Hie Lee (2013), Boston: McGraw, Hill Learning Solutions. Pb. 246pp. ISBN 13: 978-0-07-811978-1.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Critical essays in music education [Book Review]
- Abstract: Watson, Amanda
  Review(s) of: Critical essays in music education, by Marvelene C. Moore (Ed.). (2011), London: Ashgate Publishing Limited. Hb, 552pp, ISBN 978-0- 754-62942-9.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Pictures of music education [Book Review]
- Abstract: Watson, Amanda
  Review(s) of: Pictures of music education, by Estelle R. Jorgensen (2011), Bloomington: Indiana University Press. Pb. 372pp. ISBN 978-0-253-22298-5.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - Book reviews [Book Review]
- Abstract: Forrest, David
  Review(s) of: Teaching the arts: Early childhood and primary education, by David Roy, William Baker and Amy Hamilton (2012), Port Melbourne, Victoria: Cambridge University Press, Pb 253pp. ISBN 978-1-107-63620-0; Transforming curriculum through the arts, by Robyn Gibson and Robyn Ewing (2011), South Yarra, Victoria: Palgrave Macmillan. Pb 244pp, ISBN 978-1-4202-5643-7; Education in the arts: Teaching and learning in the contemporary curriculum, by Christine Sinclair, Neryl Jeanneret and John O'Toole (Eds) (2011), Second edition, South Melbourne: Oxford University Press, Pb254pp. ISBN 978-0-1955-7460-9.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - The art of pianism meets science, sustainable performance: Use
of arm weight
- Abstract: James, Barbara
  Playing the piano can result in intense muscular activity with the potential to cause injury to the hand and fingers. It was reasoned some time ago that technique had to be made sustainable. This resulted in the exploration of ways to make muscular use more economic in playing because even small energy savings are worthwhile in making technique physiologically efficient. The substantial changes in the musical environment including keyboards led musical theorists of more than a century ago to respond with technical concepts applying mechanical and physiological principles to technique based on efficient muscle use. One solution was to use arm weight with the assistance of gravity, an ever-present force affecting our body movements, particularly downward vertical movements. Recent neuroscience research examined the effect on muscle activity by a process of lifting the hand and dropping it onto the keys and comparing with a downstroke generated at key level. Results showed that gravity could be used successfully, with enhanced efficiency of muscular use and a reduction in the finger-key force generated. Playing expressively with increased tempo or sound level intensified finger force, but increasing both simultaneously had a very more detrimental effect on force levels, particularly through increasing the sound level. It was also deleterious to movement organisation in these circumstances and could result in reduced performance time without fatigue. The outcomes of the studies are explained in terms of mechanical and functional principles. The implications of the findings include the need to apply the findings to teaching strategies for application to performance itself. Piano practice also needs careful consideration and the need for education in injury prevention so individuals know how to protect themselves. Pedagogy aimed at teaching children is another urgent area of attention.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT
Issue 2 - City beats: A creative community partnership initiative at
ArtPlay
- Abstract: Jeanneret, Neryl; Brown, Robert
  The City of Melbourne's ArtPlay is open to children and young people aged 3-13 years, and provides a wide range of artist-led programs that serve a broad community within and outside the municipality. Its sister facility, Signal, caters for young people 13-22 years. An Australia Council of the Arts funded Creative Community Partnership Initiative, the ACCESS Program, implemented at ArtPlay and Signal, involved diverse groups of children, families and young people in four artist-led projects. The projects were assessed using a researcher developed creative and community development evaluation framework. This article reports on one of these projects, City Beats, which involved a partnership between the Melbourne Symphony Orchestra and ArtPlay.
  
  PubDate: Thu, 2 Nov 2017 11:47:18 GMT