in this issue...enza magazine hook, line and singalong 2011, ideas for nz music month, small steps...

The MENZA magazine

Hook, Line and Singalong 2011, Ideas for NZ Music Month, Small Steps to Better Singing, NZ School of Music Jazz Festival plus much much more

The MENZA magazine

Volume 7Number 1

April

in this issue...

2011

April 2011The Menza magazine

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

MENZA maintains a website: www.menza.org.nz!e postal address is: MENZA PO Box 27499 Marion Square WELLINGTON 6141

For advertising inquiries, contact the Administrator, Bronwyn Pou at [email protected]!e magazine is typeset and printed by Printlink, 33–43 Jackson Street, Petone, Wellington

3 Introduction – Celia Stewart

4 Celebrate New Zealand Music Month in your classroom: – Stephanie Lees

8 Hook Line & Sing-Along 2011– Stephanie Lees

11 Those Good Old Sing-along Songs – Helen Willberg

12 Scale Songs in Early Childhood – Celia Stewart

14 Book Review – Helen Willberg

15 Small steps to better singing – Jenny Boyack

16 Call and Copy: a neglected song style? – Julian Raphael

17 Develop Vocal & Pitch Awareness – Maria Winder

18 Some handy Sibelius tips from Helen Beech of Computer Music

21 NZSM Initiative Supports Jazz in NZ Secondary Schools – Stephen Gibbs

22 International connections strengthen music education in NZ – Stephen Gibbs

24 Singing for Brain Health – Laura Fogg

25 ‘I only sing in the shower or at the Sevens!’ – Jennifer Moss

MENZA Board MembersErrol Moore (President)

Otago [email protected]

Sally Bodkin-Allen Southland [email protected] Lees Auckland [email protected] Locke Auckland [email protected] Moss Manawatu [email protected] Patterson Masterton [email protected] Stewart Canterbury [email protected] !orpe Wellington [email protected] Warmke Hawkes Bay [email protected] Winder Auckland [email protected]

Editorial CoordinatorsOverall content Celia Stewart [email protected] Helen Willberg [email protected] Jennifer Moss [email protected] Stephanie Lees [email protected] Sally Bodkin-Allen [email protected]

The Editorial team encourage reader feedback. If you have any comments or experiences that relate to articles published in Sound Arts, please mail or email them to Bronwyn Pou, the MENZA Administrator at [email protected] may be printed in the next edition of the magazine or published on the MENZA website.

The views expressed do not necessarily re!ect the views of the MENZA Board and the Sound Arts Editorial team.

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

in this issue . . .

Sound Arts April 2011

INTRODUCTIONHi everyoneNga mihi aroha kia koutou

I have been busy compiling all the great articles and resources for this edition of Sound Arts and realised I didn’t really

have anything appropriate for an editorial or introduction. I am up in Wellington and have enjoyed a couple of days respite from the shaky city I live in. It has been so heartening and humbling to walk down Cuba St and see, on almost every shop window, a message about a fundraising event for Christchurch so I decided to use this opportunity to say THANKS. From the bottom of our hearts, those of us who call Christchurch our home, are so grateful for the warmth, care and incredible generosity of our fellow New Zealanders.

I, personally, have been one of the lucky ones-my home has only su#ered minor damage and my family are all safe and well. Despite that, and I certainly hope I don’t sound maudlin, I cry every day for the loss of so many wonderful people and so many of the beautiful buildings that have gone in our precious city and the impact this has on the things that we hold dear. Every day we are faced with the consequences of this terrible event-from simple things like dodging huge potholes in the roads to more serious consequences like the impact on our income and economic survival.

To get anywhere in the city now takes twice as long as so many of our main arterial roads are closed or inaccessible, there are very few venues available for

marquees erected in car-parks. I feel very grateful that my children have all "nished their secondary schooling-it was hard enough getting teenagers to school by 9am , let alone 7.30am!

Our children have a new vocabulary-they all know how to “be like a turtle”-stop, drop and cover and with the ongoing aftershocks barely a day goes by when they aren’t required to remember it. They use liquefaction in their everyday vocab and sanitise their hands without a moment’s hesitation. Many are now living in other regions in NZ or attending a di#erent school or have moved with their school to a new setting. The disruption to their lives in enormous.

And these things are trivial compared to those who have lost loved family members and friends, those who have lost their homes and possessions, those who are still managing without water, sewage and irregular power, and those who witnessed horrors on 22 February that will never leave them.

It is a sad time in our city but every day we also feel warmed by the incredible heroism of people, by the generosity of every New Zealander, the wonderful messages of love and support we receive and the indomitable Cantabrian spirit that surrounds us.

To you, the music education community, thank-you for all that you have done and are doing to support the community here in Christchurch-we feel very blessed to be part of such an amazing network and have come to realise, more than ever, the healing power of music.

ArohanuiCelia

cultural events, many of the events, festivals and workshops we had planned have had to be cancelled and for those people who rely on contract work as musicians and teachers the impact is enormous. Every day we hear of businesses being closed forever and buildings that will not be repaired. Th e f u t u re o f o u r beloved Music Centre in Barbadoes St which houses so many of our music organisations is in doubt, our beautiful Arts Centre has su#ered extensive damage, our schools are sharing campuses and our university students are having lectures in

Sound Arts April 2011 Page

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Celebrate New Zealand Music Month in your classroom:

Students might discuss and/or present an analysis of the music of their favourite NZ artists. (Ask them to analyse the musical elements/characteristics – tone colours (what instrumentation is used) tempo, (speed) or feel, the production techniques, the structure of the song, the mood/meaning of the lyrics, genre...)

“Anika (Moa) to Zed” – compile an A to Z list of NZ recorded artists.

Sing lots of great NZ songs!

Stream Kiwi Fm’s “31Bands in a Box” – happening again in 2011 – daily interviews and performances with NZ artists like Anika Moa ... on the net – and archived. See : www.kiwifm.co.nz (dial-up and broadband options)

Study NZ POP history –Nature’s Best covers the decades very well over 3 CDs (and there’s a DVD and the sheet music available for most tracks). There’s information on lots of NZ artists at www.nzmusician.co.nz (on-line archives).

NCEA level 1 – “Rocket MAN” study see “arts on line” – a unit written for you bringing in NZ rock history.

Take a look at: http://www.nzhistory.net.nz/culture/music-month

and 31 reasons to love NZ Music Month... great NZ music history back again every day on this site in 2011 so do take a look !

www.kiwihits.co.nz/hitdisc/catalog This is great, for tracking down NZ classic pop

hits in the back catalogue or checking out what’s current.

“Untouchable Girls”, THE TOPP-twins doco– the music, the (recent) history, the humour ...explore musical comedy- are they forerunners to The Concords??... (The “Untouchable Girls” song score is in Sweet2) The DVD is widely available now as is ‘Honky Tonk Angel” with many of the old favourites

Flight of the Concords – the DVDs and CDs are everywhere – students will enjoy these very much ... and they do excellent genre parodies for music analysis... “Frodo” is in Sweet2 + lead sheet.

NZ Contemporary Classical – don’t forget all the MOE “Into Music 1-4” books and CDs have

You might start with the song written by students and chosen for Hook Line and Sing-along on the 31st May – as the song of NZ music month 2011; “Things to Remember- Huarahi Tika”. “Made in NZ” from 2010 is also available as mp3 download and lead sheets, backing tracks, ukulele parts ... all available on www.nzmusic.org.nz/education

All primary schools have the Kiwi Kids Songs series – #5 has ‘Nature’ in a good key, ‘Dance all around the world’ (#10) and so on... Older students may enjoy songs in “Sweet 2”. There is the MOE’s Hirini Melbourne resource and in recent years, Kiwi Kids Songs #15 for heaps of Waiata. The Patea hit, “Poi E” is on Natures Best – available everywhere and universally liked as well as making a big come back this year cos of the "lm “BOY” ... (and in Sweet 2 for year 7s up)

Kiwikids Songs 16 – are all Pasi"ca songs . Volume 17 (Values) has Tim Finn’s “Couldn’t be

done” and other goodies...

Get the “Ihimaera” album just out this year -lyrics by Witi Ihimaera and settings by some of NZ’s most talented artists, Including Kapisi, Ruia Aperahama, Victoria Girling Butcher (Lupin), Charlotte Yates and others : www.smokecds.com/cd/47401 And a great cross-curricula lesson possibility.


heaps of examples. Listen to some well-known (living) composers like Gareth Farr and Eve de Castro-Robinson.

“The little Black Kiwi Song Book” (Wise Publications, 2007) has more than 120 NZ songs – lyrics and chords – oldies and up to date artists like Scribe and Evermore.

Easy player (piano) series has put out Brooke Fraser hits …

Visit your local public Library – most libraries really ‘pull out the stops’ in NZMM – you and your students may be surprised by their displays and music resources.

Magazines:Look put for free CDs this month. free mags-the Groove Guide and the Apr/May NZ Musician

Auckland Schools – check out the APO Fusion – Amped 3 May, with Warren Maxwell and others (evening), Connecting with Music 1@ Telstra Clear, 1.30pm 31May. www.apo.co.nz

NZSO – Enchanted Islands- Made in NZ concert 20th MAY (AK)

GIRLS Rock! – at Zeal 24th MAY – nzmc mentors,workshop, performace opps on the night of the 25th (No boys allowed!)

Pumanawa Songwriting Workshops –for ages 13-19 with great NZMC mentors 7-8 MAY; NZMC in conjunction with Auckland Council at Western Springs College. (free)

www. [email protected]

Christchurch Schools: Girls Rock Day planned for MAY 9 – nzmc mentors, Julia Deans, Anna Coddington and others.

Chartfest May 14th (1-6pm) Music Expo

Rotorua Schools – 2 and 3rd MAY – workshops at Rotorua Lakes High (NZMC mentors – Jimmy Xmas and Fluer Jack) contact HOD, Chris Pascoe to attend.

Wellington –NZSO : Enchanted Islands- Made in NZ @ 6.30pm (13th May), Pao Pao Pao at the Pipitea Marae 20-21 MAY: performances from Maisey Rika, Horomona Hora, Tyna Keelan and others...

Invercargill: SIT NZ Music and kids concerts (Check the SIT website)

Secondary schools – don’t forget to use the “Making Music” (interviews and music of 40 NZ musicians), “Give it a Whirl” DVDs (not to mention Sweet! and Sweet 2) Some are on www.nzmusic.org.nz/education to stream.

Write some new songs/music – get students to write their own! For e-copies of “Song writing tips from NZ Musicians” and the Charlotte Yates edit – how to do it in with a whole class...

– check other educational resources at www.nzmusic.org.nz Song Comps – There are heaps for students to enter this year. In May the Matariki

comp closes 10 May, see www.playitstrange.org.nz and Auckland Uni’s Songwriter of the Year schools

comp, closes 18 May. www.creative.auckland.ac.nz/uoa/sonqwriter-schools-competition SmokefreePaci"ca Beats early June.

Check out SOUNZ www.sounz.org.nz . This is the Centre for NZ music site... Heaps of info about NZ contemporary classical and choral music. Great website.

Taonga Puoro- traditional Maori instruments – play CDs like “Te Ku Te Whe” (Richard Nunns and Hirini Melbourne) and other artists such Moana and the Tribe, Tiki Taane (‘Tangaroa’ is on You Tube) You’ll "nd the instruments are used in a contemporary way by many artists... (on the Ihimaera alum too)

Study at how the NZ music industry operates – Email NZMC ([email protected]) for free copies of THE MAY BOOK 2011 – up to date music industry info

Students might design their own “play more NZ Music” campaign poster incorporating the ‘bulls eye’ – brainstorm the positive economic and social outcomes of promoting NZ music and discuss WHY we have a “New Zealand Music Month”.

Technology! Music is full of opportunities to incorporate this aspect of the curriculum – designing and making instruments, recording, broadcasting, making music videos, setting up a MySpace site ... track the demise of the “78”, the cassette tape to the rise of i-pods and downloading (This might also lead on to discussions and debates re. copyright issues and IP – ‘intellectual property’. (Take a look at www.lovemusic.co.nz)

Smokefree ROCKQUEST starts 22 MAY,–take a look at the EXPOs and workshops new in 2011–see www.smokefreerockquest.co.nz

Get students to think about entering Smokefree Paci!ca Beats – its not too late to enter – www.smokefreepaci"cabeats.co.nz to "nd entry forms and info ...

Invite in a local musician, composer or songwriter to visit the students. Interview them about creating music. Find out what inspires them. Find out what music they enjoy...

Plan and make a music video (View and discuss some of the latest ones to receive ‘NZ on Air’ funding on C4 or on www.kiwihits.co.nz (also a good sources of NZ hits through the decades)


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Primary Schools – expose your students to live music – invite young musicians from the neighbouring high school/intermediate to perform for your students. Take them along to hear the secondary schools in the BiG SING in your town this term... Check where the BIG SING is happening at the 2011 MENZA Music events calendar http://nzmusic.org.nz/new/education/music-education-events/

Students might create a poster advertising either an imagined or actual concert (or Festival) of New Zealand Music. Choose particular artists or groups to feature as ‘headliners’ – past, present or future.

Teachers – make sure you have signed up to music primary-net or music-net on www.tki.org.nz so that you are getting all the latest info re. Music in schools, MOE resources and curriculum changes, PD opportunities etc. Strengthen the place of music in schools – get your school to join MENZA (Music Education NZ Aotearoa) the national music teacher association – if they haven’t already!

www.menza.org.nz

Explore the web – there are many good kiwi music websites – to name a few:

www.kiwihits.co.nz

www.indies.co.nz

www.undertheradar.co.nz

www.musicnz.co.nz

www.apra.co.nz

www.ampli"er.co.nz

www.myspace.com/kiwihub

www.youtube.com

www.artistcollective.co.nz

www.sounz.org.nz

Remember, Music is the most important subject in the curriculum – make no apology – you can teach and learn anything with and through Music!

(You can knock o# the key competencies, literacy, numeracy and all the learning areas in one lesson not to mention a month)

When you get some great work in – the best NZ rap or song or poster about a NZ musician... do let us know at the NZ Music Commission and we’ll be happy to send out something ‘cool’ involving our NZMM bulls eye logo for these students.

Upload your pix of NZ music events onto music months flicker page etc...www.nzmusicmonth.co.nz

Join in singing at noon, 31MAY see MENZA or NZ Music Commission websites for help, songs, backing tracks and to register your school

Let us know where you are!

Have a great month!

[email protected]


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Hook Line & Sing-Along 2011Schools Nationwide Tues 31 May 2011

Once again MENZA and the Music Commission are coming together for Hook Line & Sing-A-long.

At 12:00 noon on 31 May, the idea is that every school in the nation celebrates great homegrown music by singing a song made in New Zealand.

Register your school as one of the Hook, Line & Sing-Along schools by emailing: info@nzmusic/org.nz

More details to be released soon.

For further information regarding Hook Line and Singalong, contact: Stephanie Lees Education Manager

www.nzmusic.org.nz

The New Zealand Music Commission was thrilled to announce in March that the student writers of the song “Things to Remember – Huarahi Tika” from Newton Central School had won the “Write the song of NZ

Music Month 2011” competition.

The judges (Tama Waipara, well known music education specialist and MENZA board member, Maria Winder, Tonga Vaea (3 Houses Down/Spaci"x) and university music student, Stevii Hill (who co-wrote last year’s winning song) were particularly taken with the Chorus of the song. They believed the uplifting words and attractive melody made this waiata perfect to be sung all over New Zealand by thousands of school children at the conclusion of New Zealand Music Month – Hook Line and Sing-along at noon on the 31st MAY 2011.

The students:

Te Miringa. So"a, Selena, Rawiri, Whakairo, Waimarie, Aaron, Lea, Mia, Macen, and Tikirau are at 6 di#erent schools this year but wrote this while in Years 6-8 Te Rumaki O Te Uru Karaka at Newton Central Primary School. They came together again in 2011 to work with the judges who became their mentors in several workshops before they headed o# to Stebbing Recording Studio in Auckland on March 31st. Their recording will be available online at www.nzmusic.org.nz and www.menza.org.nz during 2011 along with a backing track, lead sheet and notated transcription. NZMC has relicensed “Made in NZ” the 2010 winner, as it has been so

popular with schools. It will be easy to make up a NZ bracket with these 2 and perhaps some of the kiwi kids songs and "nish with E Ihoa /God Defend.

Congratulations should be made to Ruth Lemon their 2010 classroom teacher – whose passion and initiative meant these students got to work with a Music Commission musician mentor in 2010, kick starting their songwriting. She also gave them opportunity to perform it several times last year, got a preliminary recording made using some tertiary students and a copy of the song into the commission for this year’s “Write the Song of NZ Music Month” competition.

AJ (Aaron) Rust (currently in - Rumaki Nga Puna O Waioarea - Western Springs College) recording NZMM month 2011 winning song (Things to Remember – Huarahi Tika) at Stebbing’s Rawiri with Tonga Vaea & Stevii Hill


Things to Remember – Huarahi Tika : © Te Rumaki O Te Uru Karaka

Intro : (8 bars)

C#m/// E/// B/// F#m /// ////

C#m/// E/// B/// F#m /// ////

Verse 1

C#m E B F#m Left foot, right foot, one after another walking this pathway

C#m E B F# m One step, two steps, don’t stop moving, no matter how long it takes

CHORUS:

E B A A ! He ara hou ka tu mai, kia whai hua tatou (whai hua tatou)

E B A Me u ki te tika, ki te, pono me te aroha e (me te aroha e)

X2Verse 2

C#m E B F#m Sometimes troubles, make you stum-ble walking this pathway

C#m E B F#m(E oho) gotta get up, (E tu) gotta get up, never lose faith

CHORUS x2 He ara hou…

Verse 1 repeat (in part):

C#m E B F#m Left foot, right foot, one after another – walking this pathway –

C#m A E(& sing slower…)One step, two steps, don’t stop moving

C#m

E

B

A

F#m

Ukelele

Guitar


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The Chorus: He ara hou ka t! mai kia whai hua t"toume u ki te tikaki te pono e te aroha e

English Translation:This is the new path we are walking To try and succeedTo hold to the things we know are rightTo truth and to love.

The NZ Music Commission – working closely with MENZA will be sending !yers out to all schools in the mid April Education Gazette.

Remember Hook Line and Sing-along on the 31st of May is an excellent opportunity. In 2010 teachers were successful in getting MPs, Mayors, BOT chairs, parents, musicians and other VIPs along to their schools for the sing-long at noon.

The messages MENZA would wish you to communicate are:

The uneven delivery of music in Primary Schools

Regarding current educational priorities (you know what we mean, L and N!); Music improves your child’s literacy and numeracy skills, teaches social con"dence and participation, demands children think for themselves, creates a sense of belonging to community and culture.

AJ and Lea

That your child’s teacher:

…may have had less than six hours of music training

... has minimal access to professional development in music – no music advisory for schools available at Primary level.

many children have limited exposure to music at school

Music means so much to our society – isn’t it great for schools to stop what they are doing to celebrate music and the joy of singing even one day of the year? Let’s make it happen!

Report from Stephanie Lees – Education Manager – NZ MUSIC COMMISSION


www.nzmusicmonth.co.nz

Those Good Old Sing-along SongsHelen Willberg

Please teach your children those good old sing-along songs!

(Plea from a guitar and ukulele teacher.)

I bet that all of us chord instrument teachers use much the same set of beginner songs: progressively one-chord songs, two-chord songs, three-chord songs. It is in singing songs that we are motivated to learn to change the chords.

Here are some of mine:

One-chord songs: Row Row Row Your Boat,

Kookaburra Sits,

Eating is fun.

Two-chord songs: By the rivers of Babylon (thanks Boney M)

Rock my soul

He’s got the whole world in his hands

One man went to mow

Skip to my Lou (Listen to the music)

Clementine, (useful because in 3)

Manu rere

Ma is white

Upoko Pakihiwi .

Three-chord songs: Old MacDonald

This Old Man

Home on the Range

Kumbayah

You are my Sunshine

Yellow Bird

Koromiko

Pokarekare ana

Michael Row the Boat Ashore

Jamaican Farewell

Sloop John B

Kei Raro i te Moana

Now once we have sung the one-chord songs, many of my young students say they don’t know any of the others. Sometimes this is not true – they simply fail to recognize them and once we sing through a couple of times they "nd they do know them. If I ask them for songs they shake their heads doubtfully and say they don’t know any. (I ask parents to help the child make a list of songs they know.) All of this completely begs the question of being able to sing in tune with the chords we are playing. This is rare at the beginning, though I have found I can make a di#erence in a few lessons.

Please can I urge all teachers to sing some of these songs with their children – the kind of sing-a-long songs that can (should) unite any group of mixed age ranges. There are some good songs in Kiwi Kidsongs, but we need lots more!

PS I have most of the above songs on my computer in large font with chords if anyone wants any of them. (In C for ukuleles and in D for guitar).

Email me on geo#[email protected]

Helen Willberg is a community musician and currently teaches early childhood groups, takes private pupils (in groups) in guitar piano and recorder, and three choirs in Lower Hutt. She holds monthly MENZA workshops for early childhood music 0-8.


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Scale Songs in Early ChildhoodCelia Stewart

Tune Into Music

www.tuneintomusic.co.nz

Scale songs are an excellent resource to promote in-tune singing in early childhood. Because the melodic line is a major scale (do-re-me-fa-so-la-ti-do) they are easy to learn and remember, and they provide a great experience of pitch using the whole body. For each of the examples below, begin at the asterix and encourage the children to move up and down with the rise and fall of the melody. Each line of the chant represents one

degree or note of the scale. If you are singing with babies gently move them up and down in your arms.

*Always start the scale at the asterisk

Teardrops*The little candlecries, the little teardropsfall, thelittle candlecries till there’snothing left at all

Whisky Friskytop *Whirlyto the tree twirlygoes round andup he roundhop down hehippity scampersfrisky to the *Whisky ground

Autumn Leaves*Trees are bendingwith the windleaves are fallingdowntwirling, twirlingswirling, swirlingsoon they’re on the ground

Five Little Monkeys*Five little *Mamma called themonkeys doctor, thejumping on a doctor bed, saidone fell “No moreo! and monkeysbumped his jumping on the head bed”

Jack in a Box*Jack-in-a-box WILL!!Still as a mousedeep down inside hislittle dark houseJack-in-a-boxresting so stillWon’t you come out?Yes, I

Up You Gohigh *Downry downve- downgo,oh so downyou soongo,up you’ll beyou on the*Up ground


The Snowmanpose? *That hungry little CRUNCH!!what do you sup- bunny nibblebunny and looking for his nibblelong came a lunch nibblenose a- ate that little nibblehad a carrot snowman’s nose nibblesnowman nibble nibble nibble*A chubby little crunch *Nibble

Pussy Willowwhat do you think of that? *Miaow SCAT!!she’s a pussy-willow, now Miaownever be a cat, for Miaowthough she is a pussy, she’ll Miaowvery far away, and Miaowlives down in a meadow, not Miaowcoat is silver grey, she Miaow*I know a little pussy, her Miaow


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Book ReviewHelen Willberg

The Very Important GodwitWords by Jenny Pattrick, Music by Laughton Pattrick

Illustrated by Jezreel Tuya

Published Random House 2010

This book comes with accompanying CD of songs composed by Laughton Pattrick.

Full written scores and a very comprehensive teacher resource kit available free for download.

This book tells the story of a young boy and his mother living near a Godwit colony in New Zealand. Each page explores the world of the seashore as seen through the eyes of the boy. He wonders why the birds are eating so much and getting so fat. The birds sing about their food, shells, crabs, and convey the importance of stocking up for the famine ahead. He tries to count the birds, another song. He notices there are no babies and wonders why? A bird is caught in rubbish on the shore – when she cuts her free, the boy’s mother installs a radio transmitter and this bird becomes the Very Important Godwit – cue another song. The birds leave on their journey north and the radio transmits signals that allow the humans at home to note the birds’ progress. Landfall in China is noted, with human intervention to transport the birds to food sources, the traditional landing place having dried up. Alaska is reached and serenaded, mating achieved, and the return journey successfully completed with bells ringing at the local church.

This would make a very successful production for a junior/middle school. The songs are lively and interesting, some quite simple, some containing attractive harmonies. The story has several scenes and dramatic interest. There is a CD of the music, which as always with this team of writers, is done simply and e#ectively. There is a website for the downloading of the music. In its scope the book incorporates technology, science, environmental issues, geography, all the arts, and of course the local interest of identifying godwits themselves in their many habitats in New Zealand. I have read and played the music to my early childhood classes, over several days, with great success. The children were singing along to the music after the "rst hearing, and my own schoolage grandchildren spontaneously dramatized the ‘show-o#’ songs and created their own mating dance to the infectious ‘choose me’ music.

Highly recommended. I am so delighted to see the wonderful partnership of Laughton and Jenny continuing to produce exciting and high quality resources for schools.

This book is available from SOUNZ: http://sounz.org.nz/"nder/show/works?query=T

he+Very+Important+Godwit&x=40&y=14

Helen Willberg is a community musician and currently teaches early childhood groups, takes private pupils (in groups) in guitar piano and recorder, and three choirs in Lower Hutt. She holds monthly MENZA workshops for early childhood music 0-8.


Small steps to better singingJenny Boyack

Recently we attended two di#erent birthday celebrations and on each occasion, the host took me aside and asked me to lead the singing of “Happy Birthday”. This involved taking control of the ‘starting note’, something I’m quite used to doing in my teacher education role, and a light-hearted comment about listening to their voices. The singing that resulted de"nitely made the ‘not too bad’ grade, the candles were duly blown out, and everybody was happy.

These experiences connected to some thinking I’ve been doing about singing in our communities, and more particularly, singing in our primary schools. We have a huge emphasis, and rightly so, on participation and on children feeling con"dent to sing in public. It’s certainly heartwarming to see a large group of children singing lustily because the enthusiasm and enjoyment and sense of togetherness all shine through. Sadly, it isn’t always so heartwarming to hear the singing and this leaves me with two questions. Are we happy that participation and enjoyment should be the pinnacle of singing in our primary schools? If we would like to add high quality singing to the mix, is there anything we can do to advance the cause?

First of all, I think the answer to the "rst question is likely to vary according to who you ask. There will be some who don’t mind that the singing ‘sounds o#’ because they’re aware of how easily enthusiastic singers can be silenced by criticism and negative comments. They will assert that keeping children singing is the main goal. Others, and this is probably true of many primary school teachers, might respond that they’d love to get the children singing better, but because they don’t feel they have the musical skills to make it happen they’ll settle for enthusiasm and participation. Finally there are many, probably most of you reading this article, who believe that good quality singing not only lives happily alongside participation and enjoyment, but also, adds to the enjoyment for singers and listeners.

So what can we do to improve the quality of the singing that we hear in our schools and how can we support less con"dent teachers to try some of the ideas that we know will help? The following suggestions are starters, and maybe primary music leaders can add to them in an ongoing Musicnet discussion?

1. We need to keep putting out the message that singing is something we learn as well as something we do. Changing our orientation from a doing to a learning one results in a subtle shift in the way we perceive singing times in school. We talk to (and ask!) children about what they are learning, what they are doing well, speci"c ways that their singing can improve. In doing so, we instil con"dence in them that they can learn and that they can improve as singers. We include some ‘instructional’ as well as ‘recreational’ activities into our group singing times. This can be as simple as taking a verse of a song and getting the children to sing it in di#erent ways – softly, slowly, bouncily, smoothly, unaccompanied – and getting them to listen to/describe how the singing changes as a result. It can be helpful to use everyday analogies like learning to play a sport or read or cook and apply them to what we are aiming to do with our singing. We can transfer the knowledge we already have about optimum conditions for learning to singing contexts – the importance of sharing our learning intentions with children, and of establishing (musical) success criteria, and of involving them in the assessment processes, and of celebrating their (and our!) success.

2. The content of our singing times needs to be carefully scrutinised. Is there enough variety in our repertoire, not just of musical styles but also of material that is suitable for young and developing voices? Have we included songs that provide opportunities for small groups to take a special part (such as echo songs). Simple things like getting di#erent classes to sing a verse or allowing small groups or individuals to sing a solo verse mean that children listen as well as sing. We can talk to other teachers about things like pitch range, melodic di$culty, appropriate registers – this way we’re drawing them into real musical

conversations, explaining and demonstrating what some of the ‘jargon’ means and giving them a message about our con"dence in them as singing teachers.

3. It’s helpful to re!ect on everyday singing practices in our schools. Consider the accompaniments we use and how they support or detract from more tuneful or expressive singing. Although CD accompaniments de"nitely have their place, particularly for teachers who don’t feel very con"dent leading singing, rehearsal times need to also include times when children hear only their voices, and focus on the sound they’re making. Use con"dent child singers to take the lead and provide a starting note ‘hum’. Paying attention to the dynamics is one thing that every teacher can do. Using words like ‘strong’ rather than ‘loud’ can be enough to prevent tuneless shouting, getting children to repeat something ‘softly’ and pointing out the improvement in tunefulness, slowing down the tempo and encouraging children to think about where the tune goes (at the same time showing the melodic shape with hands)... These suggestions can be picked up on one by one, and suddenly those less con"dent teachers have ideas about what to listen out for, and small steps they can take to improve singing.

4. Those of us who are con"dent need to model good practice, and to provide an ongoing commentary on what we do and why for the benefit of the children and of the other teachers. When we are con"dent, it’s easy to swing into action and forget that aspects of what we do might be mysterious to onlookers. If we think about making our practice explicit, we contribute to building a community of singers, teachers and children, rather than setting up a personal and exclusive empire. We can bring other teachers alongside us to lead a song, provide some instructions, take an upfront role. Principles of sca#olding that we employ in our work with children apply equally to our teacher colleagues. Less con"dent teachers can do things with our support that they aren’t able to do independently – yet!

Let’s put improving the quality of primary school singing on the agenda. Let’s pool our good ideas, share our aspirations within our schools, start working strategically, take small steps to build teacher capability, expect improvement, and listen for the di#erence!

Jenny Boyack is a Senior Lecturer in Music Education at Massey University and is the director of the Palmerston North Children’s Choir and All Saints’ Parish Choir. She is currently completing a doctoral study on primary school teachers who lead music in their schools.


16

either a few children at a time, or con"dent solo singers. The sound of a few voices, answered by many, provides a real sense of validation and the changing leaders will instill an intense group focus and feelings of anticipation.

I have o#ered arrangements of two songs from East Africa, in the Swahili language, to illustrate this song form. Children of all ages and adults "nd these songs pleasurable to sing; the melodic contours are interesting and the phrasing is satisfyingly balanced. Mabata Wadogo is straightforward and easily learnt by children as young as 4. Jibuli Jibulii , because of its compound time, idiomatic rhythms and tricky intervals, is best for ages 8 and above. The guitar harmonisations are optional in performance, but a sensitive, rhythmic accompaniment will support the phrases and help create forward movement.

When teaching either song, I would recommend teaching the vocal phonetics before introducing the melody. It is good to spread out the amount of information that children have to process aurally. Correct rhythmic chanting of the words will be vital to the success of the music. Swahili is not a di$cult language to sound; the vowels are the same as in Te Reo Maori, but it will take practice - give it a go.

A "nal word, and plea, for the employment of movement. Call them actions if you like, but they are so important to the expression of these songs and the ebb and

Call and Copy: a neglected song style?Julian Raphael

Julian puts the case for marrying e!ective vocal leadership with songs that reinforce the art and o!ers a pair of delightful African songs as evidence.

All song leaders know that the best way to teach a musical phrase is to sing it clearly to the children and invite them to repeat it. As we listen to their

e!orts to copy the phrase, we will know which elements of the lyric or melody need reinforcing or correcting. The key word in that last sentence is ‘listen’. The children are required to actively listen to the leader; so that their ears and voices can engage in the process of reproducing the sounds heard. The leader also has to listen critically to the children’s voices; being careful not to sing with them. This is a very social and generous form of music making; my turn, your turn. Together leader and chorus are united in an act of making and learning based on the fundamental values of humans and their relationship with music.

I think it is a good idea to mention at this point that Call and Copy is not the same as Call and Response. I have heard song leaders say that they teach using ‘call and response’ when really they mean the other. Call and Response is a structural device for song making where the calling phrase will contain variations of words and melody, but the response, for the chorus, will have little or no variation. Work songs are typically in call and response form, where the leader (sometimes referred to as the ‘singer man’) will call (or ‘holler’) a song, inviting a short, metrical response from the workers, keeping in time with their labours. The call would often be a sequence of di#erent ideas, (even secret messages) with changing text while the response maintains a uniformity, sometimes alternating between imperfect and perfect cadences.

In a call and copy song, the leader is able to manipulate the musical elements through the voice alone, so that variations of tempo, dynamic, pitch, timbre and even mood are proposed for the children to re!ect back. The children can be encouraged to consider how the music changes and move towards understanding how these elements shape music’s mode and expression.

Once a song is well established with a group, much enjoyment can be had through changing the leaders;

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!ow of well-rehearsed hand and arm gestures can imbue a performance with beauty. Don’t worry about having to invent movements yourself; ask the children to create them. Perhaps this will encourage you to seek out some other call and copy songs.

Julian Raphael is a musician and music educator who works alongside children and grown-ups and his philosophy is greatly influenced and informed by the music of the world’s cultures. As director of Community Music Junction he works in Wellington and around the country running workshops for schools and communities and he facilitates the Ensembles in Schools programme for Chamber Music NZ. He has produced a number of resources for music teachers including books of inter-cultural children’s songs, choral arrangements and guides on world percussion. Julian is the musical director of the Wellington Community Choir; now in its 6th year, it is New Zealand’s largest all-comers choir where each week over 200 people gather to enrich their lives with the joys of singing and dancing. Julian has recently returned from a three-week study and concert tour of South Africa where he learnt a wide range of well-known contemporary church and community songs.


18


Develop Vocal & Pitch AwarenessMaria Winder

Sound of Music Education www.soundofmusiceducation.co.nz

Children have unlimited potential as singers. Here are some activities for exploring young singing voices.

Voice ExplorationImitate sounds – high, low, soft, loud, short melodic phrases

Improvisation Circle – each singer makes a di#erent vocal sound

Sirens – swooping up and down

Paint the melody (in the air, on a whiteboard or paper) as someone sings.

Use Solfa hand-signs and levels to give a visual indication of changes in pitch

Sing with a partner, imitating short melodic phrases or other vocal sounds.

Playing with Sound

Encourage careful listening

Hum quietly exploring high and low pitch and come back to same note

Choose a well-known song e.g. “Twinkle Twinkle” – hum, sing, play on kazoos, sing in a circle with each person starting at a di#erent time.

Encourage head tone

Some singers may not realise they can sing high notes because they are used to singing along with low pop songs. Encourage them to explore their natural vocal range and access their full singing voice.

Yawn, sigh, hum, rrr – glissando up and down

“ooee-oo” sung by Gwen Stefani and Akon in the song “The Sweet Escape”

Distinguish between speaking and singing voice

Find and raise your soft palate – ng-ah, kkkk, gggg, and make the inside of your mouth tall, keeping your tongue soft, low and !at.

Sing scales and arpeggios and make them fun by using words e.g. Scales – 12345678, do-re-me-fa-so-la-ti-do, Arpeggios - ‘I love to sing’. ‘I can’t wait for tea’, ‘How high can we go?’ Play with di#erent singing styles e.g. sing like opera singers, church choristers, pop stars.

Imitate Melodic Patterns to Develop Awareness of Pitch

Sing the roll using a variety of language greetings.

Call and response e.g. Are you listening? I am Listening

Beanbag game. “Bean bag, bean bag, who’s got the bean bag?” “I’ve got the bean bag.” “Jo’s got the beanbag.” The person with the beanbag then throws to someone else in the circle and everyone sings again.

Echo songs with opportunities to improvise with the voice

Everybody Follow (Sing Together by Helen Willberg)

What a Way to Start the Day (Sounds Forty by Helen Willberg)

Blue Note Scat (Upbeat)

Che Che Kule (Songs for Children by Julian Raphael)


20

Some handy Sibelius tips from Helen Beech of Computer Music

http://www.computermusic.co.nz/

Power Up Sibelius Take 10 minutes to power up your Sibelius Skills If you are working with More Than One Score, try Tile Vertically or Tile Horizontally �� To try it out just open two or three different scores then Window>Tile Horizontally or Window >Tile Vertically Add an O rnament and make it play. If you want a Turn or a Mordent, you can add the symbol from Z menu �� Instead you can highlight the note then Plug-Ins>Playback>Ornament Playback

Notes no Stave. Have you ever wanted just the notes?

You can do this by selecting the no instruments stave stave . I >All Instruments>Others>No Instruments

The Bends Short cut J is the key to adding a bend.


A new August jazz festival, hosted by the New Zealand School of Music, aims to engage secondary school students in the performance and appreciation of jazz, and to support the

many jazz programmes ‘taking o! ’ in secondary schools all over the country.

Dr. Rodger Fox, leading New Zealand jazz musician and jazz educator, revealed in a recent interview that he is working with 33 secondary school-based jazz bands in Auckland, "ve big bands in schools in Palmerston North and six in Tauranga. He estimates that there are around 150 secondary school jazz bands throughout the country, including orchestras and combos.

“In many secondary schools jazz combos and larger jazz orchestras have really taken o#. The introduction of jazz into the secondary school curriculum has given music teachers something to work with,” Fox said.

“To support that, and to provide students, music teachers and band directors both inspiration and feedback at a top level, we have decided to launch a new jazz festival hosted in August by the New Zealand School of Music in Wellington.”

The inaugural NZSM Jazz Festival will be a two-day event at the Wellington Town Hall on Friday19th and Saturday 20th August, 2011. Along with Fox and NZSM’s outstanding jazz sta# and senior students, the festival will feature three leading jazz exponents from the USA.

Steve Houghton (drums), Bob Sheppard (saxophone) and Alex Sipiagin (trumpet) will perform, judge and share their passion for the artform. All three are vastly experienced musicians with an extensive performance and recording pedigree which, between them, includes collaborations with artists such as Randy and Michael Brecker, Eric Clapton, Elvis Costello, Steely Dan, Rod Stewart, Stevie Wonder, Gary Burton and Toots Thielemans.

Secondary School music departments have been invited to enter their big bands or jazz combos in a Jazz Performance Competition for which adjudication and feedback will be provided by the guest artists. The big bands and combos will perform on both Friday and Saturday during the day and these performances will be open to the public. Workshops and clinics in improvisation and instrumental techniques will also be scheduled.

“We realise that some schools will not have a jazz band or combo or not be able to come to Wellington for the festival,” Fox continues, “and so we have also included an NZSM Improvisation Competition open to individual students from anywhere in the country.

“For many schools it’s proving highly inspiring for students to explore and perform jazz pieces, both traditional and in their own compositions. Jazz in its very origins invites creativity and students are responding well to the potential. I am sure

the audiences at the festival are going to get a surprise at the standards already being achieved.”

The public Gala Concert on the Friday evening will also be a major feature of the festival. The three American guest artists will perform

NZSM Initiative Supports Jazz in NZ Secondary Schools

Stephen Gibbs

alongside New Zealand jazz legend Rodger Fox as he directs the Wellington Jazz Orchestra and NZSM Big Band. The Gala Concert promises to be a remarkable event for jazz lovers and, with the cancellation of the 2011 Wellington Jazz Festival, a welcome and timely addition to the performance calendar. Tickets for the Gala Concert are included in the full registration fee for School Bands and their directors.

“We intend that this August secondary schools jazz festival in Wellington will become an annual event hosted by the New Zealand School of Music. Our American guests have a great deal to o#er, they are fun guys to work with and I am sure they will inspire all who come into contact with them,” Fox said.

For further information go to the NZSM website at: http://www.nzsm.ac.nz/events/jazzfestival.aspx or contact: –

Stephen GibbsEvents & Marketing Co-ordinatoremail: [email protected] 027-5577854ph (04) 8015799 x 62119

David HyamsJazz Fest Co-ordinatoremail: [email protected] 027-2832128ph (04) 976-8202

Stephen Gibbs was a secondary school music teacher before accidentally becoming a journalist in Havelock North. He spent six inspiring years with SOUNZ, the Centre for New Zealand Music and was involved in the production of MENZA’s Sound Arts through until 2009. He is now the Events and Marketing Coordinator for the New Zealand School of Music in Wellington. Stephen is also a cellist and musical director, currently following the yellow brick road to Porirua Little Theatre.


22

International connections strengthen music education in NZ

Stephen Gibbs

Aotearoa New Zealand’s isolation from the rest of the world has often been mentioned as one of the difficulties facing our young musicians

as they aspire to world-class careers in their chosen art form. The need to go overseas for high-level tuition and performance experiences has always seemed an absolutely necessary step, and not always an easy one to adequately prepare for. In terms of music education, ‘six months in a leaky boat‘ can still seem a cogent reality!

Many tertiary institutions are also realising the value of broadening the focus of their quali"cation pathways and giving students relevant and viable alternatives. In addition to the traditional Masters and PhD degrees which tend to have a relatively academic focus, some universities are now also o#ering quali"cations such as MMA and DMA (Master of Musical Arts and Doctor of Musical Arts respectively) allowing postgraduate students to focus more strongly on the performance and practical aspects of study at this level.

This re-emphasis on performance as a basis for postgraduate qualification requires lecturers and tutors who are expert performers as well educators. For these teachers to have relevant and extensive international experience as professional performers is a quality which can only be of bene"t to our students, providing a more solid ‘stepping stone’ for them here in New Zealand, before they consider moving away.

In addition, teachers of this calibre and experience can inspire and hone the skills and techniques of our own private and class teachers through masterclasses and seminars.

It can therefore be seen as a very positive thing that in recent years a good number of performers, lecturers, and tutors have come to New Zealand from o#shore, bringing with them a wealth of international experience and expertise. Some are ex-pats seeking to return, others are new to this country, drawn here for lifestyle and teaching opportunities that are not so easy to come by overseas.

This is well illustrated at the Te K%k& New Zealand School of Music in Wellington. The appointment of Christchurch-born violinist Martin Riseley as Head of Strings in 2009 has had a tremendously positive impact on the Classical Performance Programme. His connections and experience from more than a decade as a professional violinist in the United States has given a broader perspective and authority to the teaching programme and this in!uence "lters through to many other aspects of the school. The performance students are of course involved in the orchestra and chamber music and also collaborate with the Music Studies and Composition Programmes as workshop and concert performers.

The three most recent additions to the NZSM Performance sta# will ensure that this international connection is strengthened and broadened even further. Inbal Megiddo, Jane Curry and Jian Liu have recently been announced as lecturers in cello, guitar and piano respectively bringing with them extensive international experience in both teaching and performance. Together with the current NZSM sta# this will mean enriched opportunities for both students and audiences.

Inbal Megiddo has most recently been teaching at Yale University, USA but has, over the last 15 years, also taught in Ireland, Spain, Israel and Singapore. Endorsements from Zubin Mehta and Daniel Barenboim describe her as a musician of the highest calibre and Yale Professor Aldo Parisot describes her as “a superb cellist – as soloist, chamber musician and recitalist, and as one of the most outstanding young artists of her generation.” The Israeli-born cellist has given recitals all over the world including concerts with the Berlin Symphony Orchestra, Irish National Symphony Orchestra, Jerusalem Symphony Orchestra and Prague Chamber Orchestra and in prestigious venues such as Carnegie Hall, the Lincoln Centre, the UN General Assembly, Geneva and the Philharmonie, Grosser Saal in Berlin.

Ms. Megiddo will take up her appointment from June and applications are invited for scholarships for masters and doctoral students able to begin study in July, 2011. She will hold auditions in the main centres in September and October for undergraduate and postgraduate students commencing in 2012.

Jane Curry is returning ‘home’. She began her studies in guitar performance at Waikato University before completing her "rst degree with Matthew Marshall and Gunter Herbig at the Massey Conservatorium of Music, now part of the New Zealand School of Music. She moved to study at the University of Southern California in 2003 where she was subsequently o#ered a scholarship to join the renowned guitar programme at the University of Arizona. There she studied with Prof. Tom Patterson and artist residents such as Grammy winning musicians David Russell and Sergio and Odair Assad.

In 2010 she finished her doctoral degree at the University of Arizona with a dissertation that focuses on the music of Balkan composers.

Ms. Curry has performed in England, Scotland, Spain, Mexico, Tahiti, Canada, throughout the United States and, of course, New Zealand. Audiences here are already enjoying her return in her performances with the New Zealand Guitar Quartet. The ensemble has recently taken part in the St Andrews Concert series in Wellington and embarks on a 20-concert national tour through April.New arrivals at NZSM Jane Curry (guitar) and Jian Liu (piano)


Chinese-American pianist Jian Liu begins teaching at NZSM this semester. He is a sought-after solo pianist, chamber musician, and educator and has appeared on concert stages in China, Japan, Portugal, Switzerland, Ukraine, and the United States including prestigious concert halls such as Carnegie Hall, Steinway Hall in New York, Rose Theater of Lincoln Center, Sprague Hall and Woolsey Hall of Yale University, and Paul Hall of Julliard School. As an educator, Jian has given master-classes and lectures at the Central Conservatory of Music and Qingdao University in China, as well as at Wellesley College, East

Carolina University, and Yale University where he completed his Master of Musical Arts. He also holds a Bachelor of Science in Business from Arizona State University.

These are just a few examples of the calibre of teachers at tertiary level now available for our Kiwi students. Their experiences and skills as international performers cannot help but bene"t our students as they follow their own pathway towards being ‘musicians’ – whatever that might entail. They may not pursue a career overseas, or seek further study in far-o# lands, but if that is where their destiny will take them, we can at least be assured that they are better prepared for what this might mean.

Incidentally, it doesn’t do Kiwi audiences any harm either with the number and quality of musical concerts, masterclasses and other events notably increasing in recent years!

Sending your students to SIT means:

Saving thousands with our Zero Fee Scheme

Making the most of our great facilities including sound-proofed studios and performance theatres

Options to gain a Certificate, Diploma, Degree, Graduate Certificate or Graduate Diploma in Contemporary Music - or a double degree in both Contemporary Music and Audio Production

Qualifications with strong music theory and practical components, with a broad base of composition and industry studies.

We aim to turn out competent, reading musicians who can achieve industry success. So talk to us now about enrolling for 2011 - Call 0800 4 0 FEES!

0800 4 0 [email protected]

The smart choicefor music education!

For more information or images, please contact:

Stephen GibbsEvents and Marketing CoordinatorNew Zealand School of Music p: 04 801 5799 ext 62119m: 027 5577 [email protected] Box 2332Wellington 6141

Stephen Gibbs was a secondary school music teacher before accidentally becoming a journalist in Havelock North. He spent six inspiring years with SOUNZ, the Centre for New Zealand Music and was involved in the production of MENZA’s Sound Arts through until 2009. He is now the Events and Marketing Coordinator for the New Zealand School of Music in Wellington. Stephen is also a cellist and musical director, currently following the yellow brick road to Porirua Little Theatre.

Newly appointed lecturer in cello at NZSM, Inbal Megiddo.Photo by Christian Steiner


24

Singing for Brain HealthLaura Fogg

Research is starting to prove what we’ve all known- that singing is good for us. Studies of choirs show that singing in a group boosts mood, improves wellbeing and encourages social cohesiveness.

It’s a fact that was amply demonstrated at The University of Auckland’s annual Brain Day on Saturday 19th March. Performing at the event was the CeleBRation Choir, a group of singers who have communication disorders through brain disease. Whilst many of the members can’t speak !uently because of stroke or Parkinson’s disease, they can still sing!

Indeed the choir raised the roof, singing over the noise of the 2000 people who visited the free event. Brain Day forms part of international Brain Awareness Week, which aims to raise awareness of brain disease and research.

The choir is led by Registered Music Therapist Alison Talmage, and organised by the Centre for Brain Research’s Communications and Liaison Manager Laura Fogg. Songs included ‘Pokarekare Ana’, with a solo from an aphasic patient who can’t speak, and other classic numbers such as ‘Clementine’ and ‘Dona Nobis Pacem’.

The choir has inspired much interest locally, and is forming part of the community programmes at a new Brain Recovery Clinic being launched in April, at the T"maki Innovation Campus in Auckland. Neurologists, physiotherapists and Speech Language Therapists are all forming part of the new clinic, to expand stroke rehabilitation research.

One of the scientists leading the clinic development is Professor Suzanne Purdy, the head of the Speech Science department. As part of Brain Day, Suzanne gave a lecture detailing research into music, singing and speech. She described how there is worldwide interest in the use of singing as a therapy for people with Parkinson’s disease and aphasia through stroke.

The idea is that singing could act as an exercise for people with voice problems, while people with stroke may be able to use singing as a way to recover lost words. The scienti#c concept is ‘plasticity’, where the brain rewires itself around damaged areas, so that new brain areas can take over lost functions. Ultimately it’s hoped that singing could prove to be a fun, cheap therapy option for people with voice and language problems. Further research is planned to test these ideas.

The CeleBRation Choir meets weekly on Monday daytimes at the T"maki Innovation Campus in Glen Innes. The choir is free and new members are always welcome. Please see the Centre for Brain Research website for more details www.cbr.auckland.ac.nz

Laura Fogg is a science journalist with a special interest in public science communication. She is the Communications and Liaison Manager for the Centre

for Brain Research, organizing research collaboration between scientists and clinicians, as well as public science events and lectures. She has a First Class Honours degree in Biomedical Sciences from the University of Manchester, and has sung in choirs all her life.

CHARTFEST 2011CPSA Grounds, CPIT, Madras St, Christchurch

Sat 14th May 2011.

Afternoon – 1.30pm–6pm FREE

Evening – 7.30pm–1am $15 +bf from cosmicticketing.co.nz

CHARTFEST 2011, Christchurch’s NZ Music Month live music extravaganza is set to return on Saturday 14 May at the new location of the CPSA Grounds at CPIT on Madras St.


‘I only sing in the shower or at the Sevens!’Jennifer Moss

These are the comments that I hear from new comers to the Manawatu Community Choir. Does it matter? … Absolutely not! Such is the atmosphere of trust, and security in Palmerston North’s newest choir.

The catalyst for the choir came from attending an inspiring and uplifting Voice Camp in the Hawkes Bay. During the course of the three-day camp, I was greatly moved and encouraged by both presenters and attendees to start a community choir in Palmerston North. With the encouragement and help of Julian Raphael, already leading the vibrant & successful Wellington Community Choir, I launched the Manawatu Community Choir.

Right from the start there was huge interest. Community newspapers were fascinated by the concept and 85 people came along to the very "rst rehearsal.

But aren’t there lots of choirs here already? There certainly are and some excellent ones at that, but we are di#erent!

There are no auditions…if you can walk in the door you’re in the choir!

No reading of music is required, we just project the lyrics for all songs on a screen. You don’t need to worry about ‘getting it right’ or ‘having a good voice’.

All are welcome, and all ages. You can come on a casual basis, anytime, whenever you wish to.

You don’t get told o#! It’s a positive atmosphere where all are valued and you will never be singled out (as so many fear with traditional choirs).

All of these elements make the Manawatu Community Choir very popular. As we nudge towards our "rst birthday, we have had 250+ people through the door, with an average of 60 for rehearsals and we make a brilliant sound!

So why the huge interest? I am continually astounded by the stories I hear from choir members who have had negative experiences with their singing. It could just be a casual comment in passing from a family member or teacher. This in turn has made them totally ‘shut up shop’ in the vocal department and has shattered any memory that they once had of ‘pleasure’ from singing. This unfortunately is the common factor linking many of us and our singing. Our voices are so very personal and "ercely tied into our own self esteems. These can easily be squashed and our voices never heard again. Choir members come to me in tears, grateful that "nally they are able to sing again. They tell me that now they sing everywhere…in the supermarket and the car and that it’s such a joy for them.

So I wonder….with our vast vocal education and knowledge, where did we lose that pure joy…when did getting it right become more important than the sheer pleasure of singing?

But where else do we sing if not in the shower? Our families no longer gather around the piano singing together. Our church singing is lessening dramatically and we hear apologetic and embarrassed droning at weddings and funerals. It’s come down to crowds shouting their way through ‘God of Nations’ at rugby and sporting occasions.

What is to be done? I have two strong messages to send your way. Firstly please be careful of your feedback to ‘anyone’ regarding their singing. Any negative

comment you make, no matter how small, can have a shocking long term e#ect. As you work with children in particular, please be aware of how you potentially hold that child’s singing future in your hands.

Secondly, let’s !ing open our doors to the community and provide a vehicle where people feel welcome and keen to bring their uplifted voices.

By coming together, regardless of ability or experience, Community Choirs are a wonderful way of binding people from all walks of life together through music. Let’s ride the wave, embrace it and Sing on New Zealand!

From choir members…

‘I really look forward to Monday nights. It’s great therapy, good fun, very well organised and enables us all to express ourselves with joy.’

‘The choir is great. I cannot sing a tuneful note but I have two hours of music where I can sing, enjoy and harmonise. Anyone can sing, even me!’

Jennifer Moss is a passionate musician and educator with many years of experience. She is a music specialist at Russell St School and Palmerston North Girls High School. As well as leading the Manawatu Community Choir, community ukulele and African drumming groups, Jennifer is a founding member of Manawatu’s smallest band ‘Ukephoria!


26

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TheMenza magazine

MENZA AdministratorPO Box 27499

Marion SquareWellington 6141

website: www.menza.org.nzemail: [email protected]

Why belong to MENZA?

Because MENZA works to bring live music-making opportunities to teachers, and to represent music educators on curriculum and professional development decision-making organisations.

The bene"ts of being a member include:

Professional support through workshops and conferences, �national tours of noted music educators.

Three publications annually of � Sound Arts, The MENZA magazine for teachers in kura, early childhood, primary and secondary schools, and teachers in itinerant and private studio , music therapy, tertiary and community settings.

Communication and networking via regular email �newsletters

Reduced costs to seminars, workshops, forums, conferences �performances and other related events that MENZA is involved with; and for School/institution members, special group rates for sta# to attend events;

Contacts with other national and regional music and arts �groups in New Zealand

Consultation: as the official MOE recognized subject �association, MENZA nominates and is represented by members on MOE, NZQA, PPTA and other advisory or regulatory education review groups;

Advocacy through association with the activities of METANZ, �the Music Education Trust of New Zealand Aotearoa, and MERC, the national music education research centre,

Membership to, and the exchange of information with ISME, �the International Society for Music Education.

To join, please "ll in the subscription form opposite, or download it from the website: www.menza.org.nz and send it to :

MENZA AdministratorPO Box 27499 Marion SquareWellington 6141

Or email: [email protected]

MENZA (Music Education New Zealand Aotearoa – M"tauranga a Puoro o Aotearoa) is the national professional body that represents the interests of all education sectors in this country.

MEMBERSHIPName

Title/Position

Organisation/School

Address

Postcode

Member Email

Accounts Dept Email

Phone

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Membership type (please tick one circle):

School/Institution membership $ 50(300 or less students)

School/Institution membership $100(more than 300 students)

Business $150

Library (publications only) $ 75

Individual $ 50Full-time Student Free(copy of student ID required)

Beginning Teacher (Yr 1) Free

Please tick one circle:

Internet Banking – Account No. 38 9011 0410882 00

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in this issue...enza magazine hook, line and singalong 2011, ideas for nz music month, small steps...

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