w Exams are bookable online, with results available as soon as an exam has been marked.
w Easy-to-use, industry-leading notation software — no downloads necessary.
w On-demand exams can be taken at a place, date and time that suits the learner. Take it from a familiar place such as home or at school.
All existing Theory workbooks, Past Papers, and Model Answers can be used to prepare for the Digital Exam. Explore these on the ebook store. store.trinitycollege.com
Ben Lau (Chair) - Wellington blau@newlands.school.nz
Katrina Daniela (Deputy Chair) - Tauranga kdaniela@papamoacollege.school.nz
Megan Flint (Secretary) - Taupo meganjude@xtra.co.nz
Charlotte Nicklin (Treasurer) - Auckland C.Nicklin@maristcollege.school.nz
Jade Wrathall - Hamilton jadewrathall@outlook.co.nz
Rapua Timoti - Tauranga rapua.timoti@bethlehemschool.ac.nz
Trevania Walbaekken - Hamilton trevaniaw@nawton.school.nz
Christian McDonald - Northland christianm@taipa.school.nz
Chris Williamson - Tauranga c.williamson@tbc.school.nz
Tracy Reed – Kaiapoi tracy@wovenrhythms.nz
MENZA ISME National Affiliate Representative Linda Webb lgwgwebb@gmail.com
For advertising enquiries, contact Pauline Logger: admin@menza.co.nz
Editor: Charlotte Nicklin c.nicklin@maristcollege.school.nz
Design and Printing: McEwan&Co.org & RazzPrint.co.nz
TUNE ME IN is published by: MENZA: Music Education New Zealand Aotearoa.
The professional magazine for all New Zealand music educators. MENZA Vision: Together Growing Musical Lives. MENZA Website: menza.co.nz
The postal address is: MENZA, c/- 1288 Upper Ohauiti Road, RD3, Tauranga 3173
The Editorial team encourages reader feedback. If you have any comments or experiences that relate to articles published in Tune Me In, please mail or email them to Pauline Logger, the MENZA Administrator at admin@menza.co.nz
These may be printed in the next edition of the magazine or published on the MENZA website.The views expressed do not necessarily reflect the views of the MENZA Board and the Tune Me In Editorial team.
The Editorial team request that sources are rightfully acknowledged in all MENZA publications. Where it is felt a breach of this protocol may have occurred this can be notified to the editor or directly to the writer. MENZA has an expectation of ethical practices in the matter of disclosures. ISSN 2381-9987 (Print) ISSN 2381-9995 (Online) 32 30
Success is not the work of an individual, but the work of many.
Kia ora koutou, and welcome to the first Edition of Tune Me In Magazine for 2024. I chose the whakatauki above as MENZA is not about the individual but about the team and our wonderful community. A lot of changes have happened, and there are a few people I need to thank to ensure MENZA continues its work in Education in Aotearoa.
First and foremost, I extend my gratitude to Duncan Ferguson for his invaluable contributions, both throughout his tenure at MENZA and particularly during his three-year role as the Editor of Tune Me In Magazine. Under his guidance, we've witnessed a significant transformation in the magazine's appearance, leveraging our website and social media platforms to enhance its visual appeal. Duncan's dedication as editor and proactive approach to shaping MENZA's image deserves special recognition, and I sincerely appreciate his efforts.
Hayley Hunter has stepped down from her position on the Board, and Tracy Reed has been appointed as a full board member to fill the vacancy. Hayley's profound expertise in Music education, particularly in the realm of early years Primary education, has been invaluable. Her insightful perspective has enriched our Board discussions, and we extend our best wishes to her in her future endeavours.
We are thrilled to extend a warm welcome to Rapua Timoti and Trevania Walbaekken as they join the board as Tangata Whenua Representatives. Their inclusion is instrumental in supporting the mahi of Christian McDonald, our existing Tangata Whenua Representative, and ensuring that the diverse voices within our community are represented. They have already played a significant role in developing our Matauranga Puoro Māori and Puna Karakia resources in their brief time with us.
Supported by the Network of Expertise, MENZA has facilitated the release of a multitude of resources and organised wananga (workshops) to aid teachers in their Professional Development. We conducted a three-day Matauranga Puoro Māori wananga in Huntly, Waikato with a more recent wananga in Tāmaki Makaurau. Additionally, we hosted one-day wananga in various centres across Aotearoa. Our efforts have resulted in the release of diverse resources such as the Matauranga Puoro Māori resource, Music Foundation resource, and Puna Karakia resource.
Furthermore, we have provided opportunities for regional gatherings to discuss the NCEA change package.
MENZA has responded to the closure of Musicnet by introducing Te Ara Puoro, a Discourse page to meet the needs previously served by Musicnet. While Musicnet was an invaluable resource for Music Teachers nationwide, Te Ara Puoro provides a forward-looking platform for the Music community. Though it may lack some of Musicnet's functionalities and conveniences, Te Ara Puoro is poised to serve the community effectively in the long term. If you haven't already, we encourage you to become part of this vibrant community by joining us at www.menza.co.nz/ discourse-te-ara-puoro
The transition in government has introduced fresh challenges and adjustments. Fortunately, our organisation is agile and adaptable. There have been recent announcements regarding the postponement of the change package for NCEA Level 2 and Level 3, an increased emphasis on numeracy and literacy, as well as potential shifts in funding streams. We are prepared to confront these challenges head-on. I am grateful to have a dedicated and steadfast board, and we are actively implementing systems to address these changes and advocate for Music Education in Aotearoa.
Ben Lau | ChairBen Lau is the Chair of MENZA and has over twenty years of experience teaching music as a Violin teacher and a Secondary School Music Teacher. He is the Head of Music at Newlands College in Wellington and loves teaching Music and leading Co-Curricular Music groups. In the following weeks, he will move departments to be the Head of Careers and Transition at Newlands College and start a new chapter in his teaching career. However, he knows that music education will always be part of his life and his passion.
BEN LAUKo te manu e kai ana i te miro nōnā te ngahere,
ko te manu e kai ana i te mātauranga, nōnā te ao.
I tipu ake ahau ki te tāwharau ō maungawhau
Kei te noho ahau ki te whenua ō Ngāti Whātua Ōrākei
Kei te noho ahau ki raro ki te maru ō maungakiekie
Ko Nicklin tōku whanau, Ko Charlotte tōku ingoa
Nō reira, tēnā koutou katoa.
I am excited to bring you the first edition of Tune Me In for 2024, and my first as Editor. The articles in this edition cover a range of relevant topics for our readers.
With their focus on literacy and numeracy, our decision-makers might enjoy learning about the benefits of music on language development, to be found in our articles in the ECE and Primary sections (Musical Play pg 16, Integrating Music pg 18).
The relatable experience of teacher burnout is expressed by one author (Beat Back Burnout pg 9), whereas the collective support of our profession as a whole is also explored through articles on crosscurricular and large projects (Producing Stairway to Heaven pg 22, Empowering Students Through Product Design pg 26). This dichotomy is something many of us can relate to in the Music education space: A hugely supportive network, projects often funded by goodwill, but also the inevitable burnout that can occur in such an environment.
With the increase of Songwriting as a tool for expression in the education setting, it is explored from Primary to Tertiary levels on pages 18, 28, and 30, and we also see the success in this arena of a group of
rangatahi from Hawkes Bay, Te Whanau Puoro in Tangata Beats (pg 14).
We pay homage to our dearly missed colleague Anne-Marie Lalakai by reprinting her most recent article for Tune Me In (pg 40), and introduce our new board members Rapua Timoti, Trevania Walbaekken and Tracy Reed, who all bring expertise and energy to the board.
I would like to express my thanks to Duncan Ferguson for his massive mahi editing this magazine for 3 years, and developing systems to streamline the process. My feet are smaller, but perhaps they will one day grow to fill your shoes.
It is my hope that this magazine can continue to serve as a source of connection and learning for our music education community. Hopefully, too, for our general education teachers who are making time for teaching music amongst their many other curriculum obligations.
So, please, leave the hard copy on your table in the staffroom, and share relevant online articles with friends and colleagues. Happy reading.
Charlotte Nicklin | EditorI am a secondary music specialist, and Head of Performing Arts at Marist College, Auckland, although currently on parental leave to raise my 18 month old daughter, Antonia. My own music making is primarily as a vocalist, and has spanned many genres. I am a huge fan of working with young people in the music classroom, school productions and in choirs. I have been on the MENZA board since 2020 and am the current treasurer.
Join thousands of students and teachers across Aotearoa and around the world using Music Ecademy to improve musical literacy.
Developed in Aotearoa New Zealand. Curriculum following international music exam boards, school curriculum including NCEA, keyboard skills and musical terms in Te Reo Māori.
Teacher accounts allow you to track your students' progress. With individual logins for each student, Music Ecademy is perfect for BYOD and at home learning.
Leaderboards, levels and badges help to keep students engaged. Thousands of possible questions in hundreds of quizzes help students learn the best way possible – through practice!
"Sir, does it matter if I get a Not Achieved on the practice exam?”
“No. Nothing matters.”
“….ok thanks, Sir. See you tomorrow!
It’s hard to trace the exact point where my Year 11 Music class began morphing into the existential -nihilstic grumblings of a sad old man, but there was a very clear moment when the metamorphosis was complete.
Like chocolate and peanut butter, teaching and subsequent burnout pair naturally. When looking at our profession and the temperament of many who are drawn to it, this outcome almost seems like an inevitability - idealism very quickly loses energy when it is buffeted by all the meaningless tasks that crowd our days: meetings about meetings, data collection for the sake of data collection, spirals of justification for a management unit that ultimately just mean more meetings. All of this at the expense of time and energy that could have been focused on our real responsibility - being present and prepared with our students who very much need our help. Having been chewed at relentlessly by the Hydra of the Ministry of Education, NZQA, and the Teacher’s Council, idealism inevitably inverts and becomes cynicism.
As with so many industries, the 2020 pandemic and lockdown pulled back the curtain on what was important to our students, and what was not. We saw clearly what they would miss out on, and the value that those things had. Amidst the anxiety and boredom was some small hope that at least now, having seen what we all saw, there could be an institutional change in how we filled our day. For a long time teachers had rightfully complained about how timepoor they were, and yet so much of this was self-inflicted. This was a golden opportunity to take stock of how we spent our time before the plague and consider how much administrative busy-work and acronym learning had any meaningful impact on our student’s experiences.
The yern to get ‘back to normal’ as quickly as possible was entirely understandable, yet still disappointing given the
opportunity that had been presented to us. An even more drastic 2021 pulled the curtain back for longer, yet the rush to maintain the status quo in all industries was even stronger. It was impossible not to reflect on the way we had been doing things, and question why we wouldn’t do things differently.
Amidst this mayhem, the Teacher’s Council took the opportunity to double the registration fees of teachers. The consultation process, as the Council generously referred to their actions, was an offensive farce – the PPTA successfully took legal action against the Teacher’s Council. Having admitted they were in the wrong, the Council lobbied then education minister and future PM Chris Hipkins to change the law so they could go ahead with their shaking down of the workers they claim to represent. Mid 2022 marked the beginning of over a year of negotiations, and inevitably industrial action. Our partners in the Ministry of Education spent months delaying and deferring, leaking half-truths to the media, all for the cause of doing nothing, rather than the minimal something that teachers were asking for.
Cynicism is noted as a common sign of burnout, and loss or absence of control is sometimes noted as a cause. My burnout was very much of the existential variety - it was never lost on me how lucky I was to have supportive friends in my place of work, and how much of a privilege it was to get to play a small part in the education of incredible young people. Yet it was in spite of this that I found myself feeling worse – at a foundational level, I could not shake a lurking despair about the state of things, an ever-more-apparent feeling that education as a sector was irreparably doomed. That there was no hope for it to get better because we had been given opportunities to make it better and we didn’t. The Ministry is too disconnected to do meaningful good for our students - it could if it wanted to, but it won’t. The Teacher’s Council serves next to no function whatsoever, and if they act outside the law, they will simply change the laws to suit
their interests. NZQA and The Ministry appear to be at odds with each other and refuse to work together, yet we are somehow answerable to both.
While I do believe much of the doom I felt to be valid, I feel great shame at having sometimes let it impact the experiences of my students. A big part of the job is wearing the mask - don’t make your problems your student's problems. The mask does invariably slip in moments of crisis, or towards the end of Term 4, but I had felt myself discard it altogether in some moments. Why are we lying to these young people about the state of things? We should respect them enough to speak honestly with them about the world we are sending them into. The covidcohort in our care is in desperate need of consistent and supportive adults, not dramatic, apocalyptic, Eeyore-coded nihilists, which is exactly what I tended to turn into in my darker moments. The vital truth that I often missed in my rumination was that none of this was in my control, and it certainly wasn’t something that my students had any control over. More than ever they needed a consistent, supportive, and present teacher.
Stoic philosophy teaches us that while we don’t have control over the outside stimuli that might affect us, we do have control over how we respond to them. Whether or not one genuinely believes we have control over anything, or if free will is non-existent, I have found the Stoic sentiment is still a helpful thing to keep in mind. A conversation with a mentor helped me with this realisation: obvious in hindsight, but very easy to miss in the gloom. I spoke with said mentor about the unshakeable despair I was feeling and genuinely asked how they had been able to stave off cynicism, given how much longer they had stared into the abyss. They had to work very closely with The Ministry as part of their role and no doubt had a clearer vision of the disorder ahead. What I appreciated most in their response was their candour:
“I’m not going to tell you that it’s going to get better. It’s not.” They affirmed that all they could do within their power was focus on why this job, this industry, was important to them - that at its core, it was about supporting and helping young people. They also quite rightly suggested that I make use of the counselling services that we teachers have available to us.
"Another light that shone through the gloom was realising that we get paid to make art and help young people discover their passion for making art. As I tried to refocus my attention on what was within my control I found myself accompanying my students in their performances much more frequently, and many of them had discovered songs that I loved when I was their age."
To be asked to teach and perform a song I had loved as an optimistic young guitarist, with a new generation of optimistic artists is an incredible thing to do for a living. These moments may make up a fraction of our day, but I realised I did have the autonomy to make the joy of creating art a bigger part of the job – it had been there the whole time.
I am in no way endorsing toxic positivity or delusional optimism as a cure for burnout. As people who care about art and the education of the younger generation, there is much that we should be furious about. Despair, anger and indignation should all be felt, but we should stay vigilant that we don’t set up shop in those places forever, and that we are leaving enough space within ourselves for gratitude and connection with the people who count on us.
Today I got to tune all the school guitars to drop D and teach my students the riffs I loved when I was 14, and that makes me feel incredibly lucky.
In an era defined by technological advancements, educators continually seek innovative ways to engage students and enrich their learning experiences. One such tool that holds immense potential for enhancing music education is ChatGPT, an AI-powered language model developed by OpenAI. By integrating ChatGPT into the music classroom, educators can unlock new avenues for creativity, exploration, and personalised learning.
Interactive Learning:
ChatGPT can serve as a virtual assistant, providing students with instant access to information, resources, and feedback related to music theory, history, and composition.Through interactive conversations with ChatGPT, students can ask questions, clarify concepts, and receive tailored explanations in real-time, fostering a deeper understanding of musical concepts.
Composition and Arrangement:
ChatGPT can inspire students to explore composition and arrangement in novel ways. By providing prompts and suggestions, ChatGPT can spark creativity and help students overcome writer's block. Additionally, students can collaborate with ChatGPT to generate musical ideas, experiment with different chord progressions, and refine their compositions, there by honing their skills as composers and arrangers.
Historical and Cultural Context:
Understanding the historical and cultural context of music is essential for developing a well-rounded appreciation of the art form. ChatGPT can serve as a knowledgeable guide, providing insights into various musical genres, composers, and historical periods. Through conversational interactions, students can delve into the rich tapestry of musical heritage, gaining a deeper appreciation for the diversity and evolution of music over time.
This image was generated by AI promts.
Developing a keen ear for music is a fundamental aspect of musical proficiency. ChatGPT can assist students in honing their listening skills through exercises such as ear training and musical analysis. By analyzing audio excerpts and discussing their characteristics with ChatGPT, students can enhance their ability to identify musical elements such as melody, harmony, rhythm, and timbre, thereby sharpening their listening acumen.
One of the greatest strengths of ChatGPT is its ability to adapt to individual learning needs and preferences. By analyzing students' interactions and responses, ChatGPT can tailor its guidance and recommendations to suit each student's unique learning style and pace. Whether providing additional practice exercises, suggesting supplementary resources, or offering personalized feedback, ChatGPT empowers students to take ownership of their learning journey.
Incorporating ChatGPT into the music classroom offers a myriad of opportunities for enriching and enlivening the learning experience. From interactive learning and composition assistance to historical exploration and personalized feedback, ChatGPT serves as a valuable ally for both students and educators alike. By harnessing the power of AI technology, we can inspire a new generation of musicians to explore, create, and appreciate the transformative power of music.
This article was written by ChatGPT. There are a lot of benefits as it states in this AI created article on how it can support our teaching and our students. Some people see AI as a way for our students to cheat on their work. However, it is also a very powerful tool and we can use it in positive ways to demonstrate how to use it to enhance students understanding of content.
Term 1, Week 1. A fresh batch of students enters your music department with wildly different experiences, musical backgrounds, abilities and tastes. Imagine you had just one week to organise them into bands, teach them an instrument, write a song, and then they would perform that song in a concert in front of friends and whānau on the Saturday. Terrifying.
And yet, imagine if you taught these students all day, every day that week. Add in some incredibly talented tutors to help learn the instruments. And adult band mentors to help them negotiate the tricky interpersonal dynamics of being in a band (and being a teenager) and writing a song. Then add talks, workshops and lunchtime gigs by other musicians. And a crew of volunteers who passionately believe in the project and are all on the same page. Now it is still terrifying but feels achievable, and incredibly exciting.
This is what To The Front youth programmes do throughout the motu during school holidays. To The Front (TTF) aims to bring women and gender minorities “to the front” to use the phrase from the Riot Grrrl movement of the ‘90s. The organisation behind these programmes is Girls Rock! Aotearoa (GRA) which is part of a worldwide network of Girls Rock! or Rock ‘n’ Roll Camp for Girls organisations that began in Portland, Oregon in 2001 to address gender inequality in the music world. GRA have been running programmes since 2018 but took the step of changing the programme name to TTF to reflect their passion to include not only young women, but also trans, intersex, takatāpui, queer and gender diverse youth.
What can we learn from to the front?
Now, as music educators,especially those in classroom settings, we will not enjoy the luxury of a week of mentoring a small band for a few hours a day, BUT there is a lot we can take from TTF into our classrooms that can enhance how we
approach our teaching, as well as excellent practical resources we can use. Here are some of the key tools and strategies we could use in our departments.
Resource Hub The NZ Music Commission have previously sent out resources from GRA which are filled with helpful activities for songwriting and performance tips. I suggest everyone checks out their Resource Hub on the GRA website.
Amazing musicians and professionals have contributed their time and expertise to make accessible and helpful resources that you can download for free, and use in your classrooms. There are also fantastic resources on the page from NZ Music Commission about topics like management and approaching record labels.
Their most recent set is a series of video top tips from the TTF team about performance, songwriting, production, recording and singing. Well worth a watch in your lessons and as extra resources for your students (or yourself!).
Ensuring a Safer Space TTF is about creating a safe environment for youth and adults. One of the ways they achieve this is by ensuring all the adults involved complete safeguarding training before every event and sign a code of conduct which clearly outlines expectations and boundaries. This is supported by a TTF Handbook and orientation session for each event. The handbook covers a huge range of situations from emergency procedures to maintaining equipment, but the best parts are the clear, explicit guides for how to speak to and interact with youth such as using inclusive language, setting appropriate physical/emotional boundaries and maintaining positivity in your interactions.
Some departments/schools/organisations are already using resources or systems like this and I think it is a great way to help cement your department’s kaupapa. Safer Spaces in Music Education has also created great resources to help
and I, personally, hope we reach a point where safeguarding training is a mandatory part of teacher registration.
Living the values What makes a TTF programme such an inspiring place to be for musicians of all ages are the values that underpin their approach to making music. Their kaupapa is to empower youth by giving them practical skills and role models in a safe, supportive space. Their values are:
- honouring and recognising everyone's inherent creativity
- there is no correct way to be a musician
- perfection not existing and having fun being a valued outcome
I asked one of my students who has been a regular attendee of TTF what they thought music departments could learn from this approach and they said:
“The understanding that music education is not a linear pathway, and that there is space for everyone, everywhere. The freedom to just play, as that is what leads to better understanding [...] overall enjoyment and passion for music.”
I have watched students start to heal and grow when they come into contact with these values, especially when they have come from a place of pain or dismissal in other musical settings, thinking they are not good enough. I hold these values very closely but I am challenging myself to see how much more explicit I can make them in all aspects of my teaching, including resources, posters, tasks, and feedback.
I started emphasising “creativity over completion” with some particular tasks and ended up with more creative AND more complete pieces of music. I also emphasise with every student, “It’s not IF you’re musical, it’s HOW you’re musical”. One day I will have enough time to make that into posters!
How can we get involved?
If you are interested, there are many ways to support this kaupapa.
BIO: Carmel McGill Wright is Head of Music at Western Springs College. Ngā Puna o Waiōrea and a member of Girls Rock! Aotearoa and Safer Spaces in Music Education. She has been a secondary music teacher here and in the UK for a decade and is passionate about making the music industry and education world a safer and more inclusive place for everyone.
Promote the programmes to your students! Many of you already promote the programmes to your students which is really wonderful, thank you! There are currently programmes in Tāmaki Makaurau, Pōneke, Te Papaioea and a new one in Kirikiriroa. There is also a Pathways Internship programme for ages 16-19. Although these are paid programs, there is some financial assistance for targeted youth.
Lend them your gear! Gathering all the gear needed for a programme can be an Herculean effort. This year I lent the gear from our department to the Tāmaki Makaurau programme. It was much easier to source the gear from one place, rather than scrounging guitars, keyboards and drum kits from all over the city.
Lend your skills! I thought I wasn’t cool enough to join the programme as a teacher and not a “proper musician” but I applied anyway. In the programme, I did some singing teaching and later was a band mentor and I absolutely loved it. Usually I fully disconnect from teaching during the holidays, but these programmes bring me such energy that it is a joy to be involved. Our classroom and itinerant teaching skills are really valuable to the programme. They have assured me they would love to get more educators involved!
I want to finish with a shout out to the phenomenal people involved in Girls Rock! Aotearoa and To The Front. A lot of the work behind the scenes is voluntary but they fundraise hard all year to make sure tutors and mentors at the programmes are paid for their work. They are an incredible group of people who are making such a difference in the lives of some of our most vulnerable youth by providing a place for them to be themselves.
Check out www.girlsrockcamp.co.nz for more information about the organisation, the programmes, the people (invite them to come share their skills with your students!), and the excellent resources. You and your students can find them and follow them on Instagram, Facebook and TikTok.
Te Whānau Puoro hail from the busy metropolis of Flaxmere College and Tamatea High School in the Hawke’s Bay. They won first place at the national final of Smokefree Tangata Beats in Auckland, Tāmaki Makaurau 2023 for their waiata ‘Rise up’.
Te Whānau Puoro band’s success was sparked by their school band tutors Tukotahi Raki and Talitha Blake, who mentored and coached these young rangatahi in band practises, collaboration and song writing.
Te Whānau Puoro’s line-up includes Aroha Sellwood (vocals, guitar), Izrael Shields (guitar), Naiara Marshall (keys), Hohua Mitai-Price (bass), Koha Sellwood (drums) and Shayne Te Kuru (lead vocals).
“This is honestly beyond what we wanted to achieve,” says Te Whānau Puoro’s Shayne Te Kuru (Ngāti Pāhaurewa, Ngāti Kahungunu), who described the win as “amazing”.
While writing the new single Rise Up, Shayne Te Kuru remembers the process as being not 100% straight forward.
“I was a bit whakamā about how the band would feel standing up for our culture and ancestors,” she admits.
“But I believe every song that we do write, we get everyone together so that we’re all on the same page. Sometimes I just sit in my own little room, make up a few words, maybe a little rhythm, and then I just come back out and sing it to everyone.
I write words easily when I have something to talk about.”
Entries into Smokefree Tangata Beats needed to have elements of Māori or Pasifika culture in their performance. Competitiors competed in over 35 heats and finals from Invercargill to Whangārei held in conjunction with the Smokefree Rock Quest.
The national finalists were selected from videos sent by the regional winners and judged by a panel from the NZ music industry.
The judges for 2024 were Reuben Butler (of the Modern Māori Quartet), Petrina Togi-Sa’ena (of the Pacific Music Awards), Lucky Lance (of Team Dynamite) and Tree (musician Katrina Manu).
Te Whānau Puoro won $3000 in musical equipment from Rockshop and an NZ On Air new tracks recording, video and promo grant.
“Our main goal was to put out our message,” says Te Kuru (vocals, pūtātara).
“We just want to get our message across that our generation, this generation, we are still aware of the impacts of what colonisation and land confiscation has upon us. We just
want people to know that we are still here, and we will forever be here,” she says.
Tangata Beats began in 1994 as the Urban Beats Award within Smokefree Rock Quest. The event has steadily built over the years into a competition in its own right, and was originally called Smokefree Pacifica Beats. It was renamed as Smokefree Tangata Beats in 2018.
The competition standout successes through the years include Nesian Mystik - the only New Zealand band to ever have 10 singles all certified gold or platinum - plus Ria Hall, Spacifix, Adeaze, Strangely Arousing and Alien Weaponry.
Musical Play is a universal, sensory, relationship-based language of the emotions. It is the first language of children. It is an intuitive part of our humanity based on physical and acoustic laws. This is why we need to give children many opportunities to listen, watch, explore, interact, and be inspired to create their own music and dance. They learn by performing, moving, doing, listening, feeling, expressing themselves, naturally incorporating elements of music.
I believe that only when children have mastered the joyful art of incorporating these elements into their own self expression and play, are they ready to advance to learning, reading and playing the musical instrument of their choice.
The keys to a child’s learning are:
1. Being calm and alert; controlled by their lower brain
2. Being in happy relationship with people who love them; controlled by their midbrain
3. Forming memories (including language) through experiencing the world
4. Being able to think, reason and create; controlled by their neocortex upper brain
The elements of music can be used to match emotions and movement, as well as to evoke either arousal or calmness. These elements are:
• Rhythm: tempo, timing, pattern, repetition, sequence.
• Melody/pitch: emotional tones, pitches that form our uniquely human form of social communication and symbolic expression of feelings and needs.
• Dynamics: use of loud and soft that brings about energy and sensory stimulation.
• Form: the structure of the song or music. Music has shape, it begins, peaks, resolves. Form is a key element in Musical Play and Music Therapy helping students to listen, wait and anticipate the beginning, middle and end of a song or music activity.
• Texture: one voice, thin texture, or many voices creating a thicker texture.
• Timbre/tone: the defining sound colour that makes one sound easily identified from another.
• Harmony: occurs when two or more notes are sounded together and combined in a special way.
Rhythm
Rhythm is everywhere, from the sound of our heartbeat, the rhythms of our universe, to the general rhythms of the home, the classroom and every aspect of our daily lives. Rhythm stimulates patterned, repetitive neural brain stem activity. Steady beat activities give a regulating, supportive heart beat rhythm.
Rhythmic patterns keep the brain continually alert and curious about the ever changing musical information. In language the presence of pattern is very evident. Rhythmic patterning is one of the most important elements in pacing the learning of spoken language.
Steady beat paces, drives and causes the anticipation of pattern. Pattern embellishes, teases, drives, and causes the anticipation of the next beat. The most effective aspect of rhythmic beat and pattern is its consistency and repetitive nature. For young children, the tempo/speed often determines the effectiveness of a song or piece of music to keep children’s attention, emotional engagement and enjoyment.
The components of rhythmic play and steady beat are the underlying foundations of early intervention and music therapy for achieving physiologic pacing, adaptation and cognitive learning. I have seen so many young children learn to walk, sing and talk, by joining them in the moment, improvising, matching their breathing rate, movement, singing about what they are doing moment by moment, giving them the vital experience of listening, feeling, moving and playing together in synchrony through improvised rhythmic play. Such play
can involve gradual speeding up, slowing down, stopping for the music cue, repetition, moving and playing in time and layering rhythmic patterns on top of a steady beat through sung narrative, story, and song.
Dancing and moving to music involves our innate musicality, and meets the child’s need for rhythmic movement and for the development of mind and body. When babies learn to bounce, move, pat and clap to music, not only are they enjoying the whole sensory experience, being in synchrony with their parent, but they are also learning where their bodies begin and end and how each body part moves. This knowing and feeling where each body part is and what they are doing is called proprioception which is essential for a child’s development. When young children dance, their sense of where their body is in space and what their bodies can do is reinforced through every move and every sequence of the dance form. They learn to interact with others, to pick up on emotional cues, listen, watch, wait, anticipate, and follow a sequence of actions. Repetition helps their brains anticipate, remember and follow the actions of the dance. Movement to music reinforces timing, rhythmic patterning, creativity, self expression, social skills, spatial awareness, language development and sensory learning.
Think carefully about your choice of songs and music for your children:
• Keep songs within the child’s pitch range around middle C4 - A4.
• Make sure that the dance is not too fast and ensure the dance moves are developmentally appropriate.
• Use appropriate props such as scarves, rainbow ring, or parachute to promote a sense of timing, steady beat, pitch direction and rhythmic flow.
Are the arrangements musical? Are the words simple? Can children follow the actions? Match children’s energy levels and emotions. Much of the music written for young children has rushing song syndrome and is fast, frenetic. Young children cannot regulate themselves and very fast music can put children in a state of high arousal and anxiety. Predictable rhythmic activities through steady beat help to bring everyone into a state of calm and synchrony and this is a vital key of musical play. Such predictable, rhythmic play can regulate a whole classroom of students.
began offering her musical play classes for parents with babies and children up to school age in 1990, and founded the New Zealand Musical Parenting Association in 1992. She was also the founder of the musical play programme at the Champion Centre at Burwood Hospital in Christchurch, where she was the senior music specialist for twenty-eight years. In addition to running her own music school, she is the Director of the online training programme leading to the Postgraduate Certificate in Musical Play Therapy. She is also working with the University of Canterbury School of Music in their Community Music Degree course, doing guest lecturing, working with students on placement and intervnships, and having students involved in her Intergenerational Musical Play programme. Julie's leadership in music, alongside her wealth of musical resources, has garnered international acclaim. She's been sought after to lead workshops and present papers on music both nationally and internationally.
• Engage in steady beat and rhythmic activities, such as rocking, patting, chanting, and moving together in a circle with stretchy bungee cords, rainbow rings, or co-oper bands. This fosters children's abilities to observe, listen, anticipate, move, and play in time. These activities also enhance their memory, singing, verbal expression, and ability to play in synchrony with others.
• Listen to and play a variety of nursery rhymes, as these contain all the rhythms of early childhood: walking, running, skipping and galloping.
• Read and sing beautiful rhyming stories.
• Create songs and stories about what the children are doing.
• Match their pitch, their tempo, their rhythmic patterning, their emotional expression.
• Sing about each child’s musical offering.
• Make up chants and echo songs together.
• Sing instructions and use narrative songs about what children are doing moment by moment.
• Improvise together. It’s infectious, playful, and babies and young children can easily take the lead. Follow the leader, follow the child.
When you are enjoying creating, playing, singing and saying, the children will pick up on your enthusiasm and join in the joyful music interactions. The more you engage musically with your tamariki, the more you will enhance their passion for music, their overall learning and development. Music is the child’s first language. It is a language of the emotions. It can be used to underpin all learning.
The next edition of Tune Me In will have part two of this article, which focuses on engaging with children through the music elements of pitch, melody and song with background theory, examples and accessible practical activities.
References:
Berger, D. S. (2002) Music Therapy, Sensory Integration and the Autistic Child, Jessica Kingsley Publishers Ltd. London. Koenig, J. (2021) The Musical Child. William Collins. Harper Collins Publishers. London. Perry, B D. Neurosequential Model of Therapeutics. https/www.bdperry.com.
The 3 R’s Regulate, Relate, Reason For further research and Musical Play ideas go to www.juliewyliemusic.com
It is my belief that a musically enriched classroom deepens and forms connections of one's internal and external world. Music grows the developing brain.
Can we teach a mainstream class with music seamlessly integrated into our learning journey? I believe so.
Let’s integrate and find joy in music everyday!
Here are some simple ideas integrating music, dance/ movement, literacy and science concepts using the Orff Approach. Students will use speech, singing, instrumental music and movement to explore and understand different types of weather and changes in weather conditions.
Note - Tamariki at my school are withdrawn regularly for explicit music teaching from a gifted music specialist. Therefore, this article will give you a small snapshot of how a junior classroom teacher (former music specialist) finds opportunities for music education within the structure of daily teaching.
In this article I will give you a brief outline of three ways I integrate music into my classroom programme.
* Everyday easies - music everyday
* Integrating music - topics and themes
* Learning through play - musical invitations
I will outline why I believe music is valuable for learning and how I implement music within my classroom.
Everyday Easies
Why music everyday?
Feelings of inclusion and wellbeing are strengthened through music - it’s fun and sparks joy within. Music provides an opportunity to move our bodies and engage in kinesthetic and auditory learning processes. Through movement
tamariki strengthen fine and gross motor skills and develop bilateral coordination.
Language and numeracy is developed, as are memory, attention, speaking and listening skills. Language acquisition is reinforced through music. Vocabulary and comprehension is strengthened and diversified through singing, poems and rhymes. Language patterns and syntax through beat and rhythm.
Elements of music create a foundation for musical exploration, creativity, inquiry and collaboration. I will often draw on my class sets of music resources to implement and enhance my teaching of the elements of music.
How do I integrate music everyday?
The day begins and ends with songs which incorporate fine and gross body movements. Words and lyrics are reinforced through actions which develop meaning and understanding of language and topics. Language acquisition and rhythmic patterns of words are strengthened through chanting, clapping and body percussion
Classroom transitions are cued with music - tidy up or break times. Alphabet and counting chanted to a musical beat or sung and Reo embraced through our daily waiata. Spontaneous musical conversations are integrated throughout the day, we like to sing the roll, engage in call and response singing and rhythmic chants. I model song writing processes, writing for and with children, incorporating their lyrics and ideas into songs.
We find opportunities to listen to music, explore environmental sounds around us and music is often played before school or during learning times. Children are encouraged to experiment with sound through shared stories, rhymes and poems which are often accompanied by soundscapes, vocalizations and noise creation.
Regular musical brain breaks throughout the day - action songs, beat and rhythmic games, body percussion and movement activities.
Focusing on the elements of music
Beneficial resources to support and facilitate the learning of elements of music in my classroom.
- Bucket drums
- Magic rainbow hand wands
- A large Rainbow stretchy band
- Chiffon, floating material (various sizes)
- Found sounds and loose parts
- Untuned and tuned percussion instruments
- Classroom set up always has a large area of space to move, play and create
Why do I integrate music through topics and themes?
Teaching themes and topics is a powerful way to open pathways to facilitate music exploration - it allows music to have meaning in context. Music can be used as a tool to intertwine and implement cross curricular learning and allow scope to diversify and enrich learning in my class.
I can facilitate the four main modes of learning kinesthetic, read/write, auditory and visual - with a focus on kinesthetic and auditory processes through music integration.
A sense of meaning and understanding can be developed through music, sparking creativity and inquiry based learning which increases agency and purpose.
How do I integrate music through topics and themes?
Music exploration is integrated into the learning process. Not a single entity but intertwined through cross curricular unification. Here are the ways I would integrate music into the overarching theme of - The River and Bucket filling.
River / Te Awa
Listen to the sounds of the river and watch video excerpts of rivers. Use language to identify what we see and hear. Use whole body movement and vocalization to experiment simulating the sounds and movements of the river.
Chiffon and floating materials are an excellent resource for sensory exploration. Children can create movements representing the river. A long piece of floating material can be held at either side to represent the river.
Sing and listen to a variety of songs about the river.
Graphic notation can be used to personify the river path. tamariki can develop a soundscape to accompany symbols whilst unpacking the vocabulary and meaning of the words.
River flows from the mountain
Swishes down a narrow path
Rushes through rocks
Drop - slap - waterfall
Bubbling, babbling Still
Open mouth
Waves crash
Sea River is free
Follow the leader listening to river sounds, river songs or music. The leader creates the path of the river, moving in different pathways and directions.
Students create a river path using loose parts and found play equipment. Facilitate experimentation with sound making utilizing the loose parts - rocks, sticks, shells, dried seaweed and any other natural resources are easily found and available music resources.
Teacher chants a word pattern - children respond using loose parts - repeating the word pattern. Could be beating sticks together, tapping rocks, body percussion, shells rolled together in a circular rotation or shaking shells in containers. Children can create their own sentences or sayings about the river and then use the loose parts or percussion instruments to accompany their words with sound.
I wrote this song for and with 5 year olds in the Junior classroom, which we then use in the below ways:https://www. youtube.com/watch?v=bMERflisGfk
I am a bucket filler
bucket filler, bucket filler
I am a bucket filler
I am kind
I will help you
I will smile
I'll be kind to you
I will love you I will listen I'll share with you
I am a bucket filler bucket filler, bucket filler
I am a bucket filler
I am kind
Focus on elements of music using bucket drums as a resource. Explore timbre, dynamics, and tempo on the bucket drums. Use our hands and fingers in different ways to create sound. Play bucket filling song - children beat their drums in time. Turn the bucket upside down and pretend to place affirmations of love, kindness, listening, sharing in their bucket. Call and response - teacher taps a word rhythm on the drum - children repeat.
through play
Why do I facilitate and invite music through play?
Music is play, play is music. Learning through explorative musical play is student led and provides students autonomy to solidify understanding and knowledge within their own world while having fun! Environments enriched in music give children opportunities to develop capability in areas of the key competencies and facilitate inquiry based learning.
Through play I observe tamariki integrating, developing and extending their knowledge and understandings of music in a non-competitive, non-judgemental way. It’s joyful and sparks curiosity and wonderment within learning. I observe students using music as a pathway to strengthen cross curricular links.
Music invites children to be involved in their own learning and decision making, based on individual interests. Creating an environment of inclusiveness and focusing on co-constructivism.
through play with music?
Musical invitations are set up within my play based classroom environment.
Let’s say we are learning about pirates as a topic or theme, I will ensure I have sound making materials within my play environment which spark curiosity, a variety of open ended metallic materials, brass goblets, metal bowls and platters, buttons, containers, treasure chests and shells. I would observe tamariki not only using these materials for role play and vocabulary extension but also for sound making and musical exploration. Beating the goblets together in chant, filling containers with shells and buttons and experimenting with tamariki which accompany pirate shanties and songs. tamariki would invent sounds as auditory cues in their role play. For example, creating a noise to signal danger is imminent - ‘‘pirate ship on the horizon!".
Musical invitations, resources and materials are regularly changed or adapted depending on my observations of children's interests, topics and themes we are exploring through the year. As discussed above, in the River theme - I would set out chiffon and materials for movement exploration and river making, a variety of found loose parts - rocks and sticks for tapping and beating and shells for rubbing together encouraging open ended play and sound exploration.
I make untuned and tuned percussion instruments regularly available along with a variety of musical resources such as magic rainbow hand wands and bucket drums for tamariki to engage in music making processes while solidifying elements of music.
By integrating music into my daily classroom teaching, I feel I am able to diversify learning which maximizes opportunities for growth, extension of ideas and creativity.
It is my belief that through explorative and enhanced musical teaching, tamariki can connect understanding and knowledge internally and externally with greater agency and authenticity within their world.
BIO: Isla is currently working in the Piwakawaka syndicate at Western Heights School teaching an awesome group of year 0 and 1 tamariki. She has been a kaiako across multiple teaching levels and a music specialist in the past, also a private flute tutor. Over the years, she has learnt lots of different instruments but these days her guitar and voice are her main tools of choice. She is passionate about incorporating music into her teaching and if she has some free time she enjoys writing and recording songs for the kids in her class that relate to learning themes. She lives in West Auckland with her husband and is a Mum to her three kids. You can hear some of her musical creations for kids here: https://www.youtube.com/@islanoakesinbig272
Immerse yourself in a world of sound, expression, and innovation with New Zealand’s most flexible music degree. Combine creative practice and critical study to get ahead, and make meaningful contributions to music, community, and industry.
The Bachelor of Popular Music (BPM) is open to students from a range of musical backgrounds, and without requirements for specific types of musical training.
The three-year BPM includes seven core courses that will connect you with your peers, and provide a solid foundation in audio production and critical approaches to popular music.
*Subject to regulatory approval.
Along with the core courses, you’ll choose a major subject from the following:
• Audio Production and Recording
• Electronic Music
• Popular Music Studies
• Songwriting (available from 2026).
The Electronic Music and Popular Music Studies majors are the first of their kind in New Zealand.
The Prizegiving finale for St Andrew’s College in 2023 was a musical performance of “Stairway to Heaven”. While we often video and record our Prizegivings, this is the first time we recorded the audio properly. We are glad we did as the video has since had over 1.3 million views across our school social media channels.
I’ve had many people contact me to ask how we went about producing that performance so I thought I’d describe the process in case other schools would like to do something similar, adapting the process to suit their own resources.
We have been producing a big musical finale for our Prizegivings for 10 years. Other songs we have done in the past are “You Raise Me Up”, “This Is Me”, “Songs for a New World” and “Time of your Life (Good Riddance)”. I usually choose a song that plays into the strengths of any particular year 13 group.
The 2023 year 13’s were a group that was very strong in Rock performance, so we really had to go for something big and loud for them to fill the Wolfbrook Arena where we hold our Prizegivings.
I had initially thought of doing some Queen, but the YouTube video of Heart performing “Stairway To Heaven” at the
Kennedy Center Honours concert was passed on to me by our Board chair (https://www.youtube.com/watch?v=2cZ_ EFAmj08), and I couldn’t stop listening to it.
I did have push back as the words in “Stairway To Heaven” are not at all appropriate for a Prizegiving or Graduation, but the arrangement and performance in that video had the ‘x-factor’ which I knew people would love. And I never really listen to lyrics anyway, so it didn’t matter to me.
The Heart arrangement worked great structurally, but I wanted to involve our whole school orchestra, choirs, as well as feature some of our rock musicians. I am very fortunate to have an exstudent who is one of my piano tutors at StAC who is always very happy to knock out arrangements very much at ‘mates rates’. Without William Ernest and his generosity this probably would never have happened (there aren’t enough hours in the day for me to have done the arrangement).
William chatted to me about the various strengths (and weaknesses) of the orchestra and wrote parts out accordingly.
The choral arrangement is very simple, mostly just in two-part so it was very achievable for our choirs.
I knew we had some stunning guitarists in the school. But Mia was something extra special. She only started learning guitar in year 9, but due to her love of music and high levels of motivation she progressed very quickly to become one of our best guitarists by year 12, winning a best musician award at the Rockquest regional finals. I knew she had to take the solo, not because she’s a girl, but because she’s awesome. (But the fact that she’s a girl and on stage shredding is probably the main reason why the video has been so popular – I have heard from many female musicians who have fought against prejudice and poor attitudes in the music industry who have found her having the spotlight very inspiring).
The key point here though, if I didn’t have the guitarists, we couldn’t have done this, and we would have needed to choose a different piece. It’s a lesson I keep having to relearn as a band director… don’t choose material that’s too hard for your band just because you love the song or the arrangement. Luckily for us, the arrangement, and the musicians available matched perfectly.
There isn’t much to say here. The orchestra rehearsed their parts for 4-5 rehearsals, the choir learned their parts in a couple of rehearsals and I met with the rock musicians to make sure they had gone away and learned their parts. We brought all the various groups together for the first time three days before
BIO: Duncan is the Head of Music at St Andrew’s College, the South Island’s only co-educational Independent School with a role of around 1600. He is also the managing director of Learning Ideas Ltd and this year has produced resources for the new NCEA 1.1 “Use Music Skills in a Music Style” Achievement Standard which are available from www.learningideas.org
DUNCAN FERGUSON
Prizegiving and because everyone knew what was expected of them (as a result of clear and repetitive messages from me), it came together very easily.
One aspect I’m most proud of is the staging. The ‘choreography’ (if you can call it that) was done by me, as none of our usual staff were available to help. But this only looked good because of the amazing light show.
As we have Prizegiving in a large venue we always have to engage a professional lighting company (with students assisting). This is the first time for a Prizegiving I contacted them six months in advance and talked through some ideas with them. Once again, this was done at ‘mate’s rates’ by The Light Site. Sean Hawkins clearly had a passion to support us in his design, and he designed a light show with over 70 cues for the song. The moment Mia steps forward to play the solo is made even more impactful as all the lights dim in the rest of the room placing the sole focus on her.
This also had the extra benefit of allowing us to sneak the larger choir on stage for a big reveal in the final stanza. In the Heart video it’s done with the choir behind a curtain that is raised, but with the size of our stage that was impossible. Sean’s solutions worked great and added to the arrangement by having many moments where the intensity was increased.
While we video all our Prizegivings, we usually just take the audio feed from the FOH desk and put that to video. It usually sounds terrible (as you can see from previous performances on our YouTube channel). This year I plugged my laptop into the venue sound desk literally 15 minutes before Prizegiving started so we could record all the audio separately for mixing later. For those that care… I installed Dante Virtual Sound card and plugged into the sound desk via ethernet so that we could record more than the 32 channels that is all a USB connection can typically handle. Luckily the sound mixer did all this for me at very short notice.
After Prizegiving I spent a few hours mixing the 100 or so channels back at school in Logic Pro and did a pretty rough job that I regret not putting more time into with the video having proven so popular.
Unfortunately, all the wide-angle video shots got lost when they were all put on a hard drive that became corrupted. All we were left with were close ups that weren’t particularly well put together. Therefore, I put a plea out to parents to upload
any of their phone footage to a Dropbox folder. These were then edited into place by our school film and TV teacher Paul Sparkes to produce something that looked pretty good in the end.
One of my guitar teachers said this performance would get a million views in the days leading up to Prizegiving. I thought he was nuts. It has been such a massive surprise to me this has turned out so popular. It has proven to be a very special time in my life, and especially in the lives of the wonderful ākonga who feel very chuffed to have been part of this. Interviews on live TV, radio, with the BBC World Service, all added an extra week or two of work at the end of the year. But we didn’t mind it. We very much enjoyed our ’15 minutes of fame’.
If you haven’t seen the video yet, just search it up on YouTube, it’ll appear near the top of your results page.
At Pāpāmoa College, Product Design Technology isn’t just about crafting projects for the sake of it; it’s about empowering students to become real-world inventors and designers who can solve tangible problems. Technology teacher, Mike Wright, is the driving force behind the Technology programme at Pāpāmoa College. As a dedicated educator with a passion for innovation and hands-on learning, Mike embodies the essence of experiential education. With a keen understanding of the intersection between technology and creativity, he empowers students to become inventors and designers who can tackle real-world challenges with confidence and ingenuity. Under his guidance, students embark on a journey of discovery, where they learn not only technical skills but also critical thinking, problem-solving, and collaboration.
A prime illustration of this innovative approach can be found in the endeavours of student Seth McEwan, who is channelling his love for both technology and music into tangible solutions for real-life problems.
Product Design Technology at Pāpāmoa College invites students to tackle unique challenges and devise custom solutions that address specific needs. Whether it's improving storage, organising spaces, or addressing other specific needs within the school community, students delve into the heart of the problem and work closely with stakeholders to develop effective solutions. From crafting stage sets and props to designing inclusive products for individuals with disabilities, students engage in a process that goes beyond theoretical knowledge, allowing them to witness the transformative power of their creations in the real world.
Seth McEwan’s journey exemplifies this approach. As a musician himself, he understands the needs of the school's Music department. The intersection of technology and music served as the catalyst for his project. By selecting the Music department as his focus area and Curriculum Leader of Music, Kat Daniela as his stakeholder, Seth embarked on a journey fuelled by his genuine connection to the subject matter. This personal investment not only fuelled his motivation but also enriched the depth of his understanding and commitment to the project. Seth embarked on a mission to enhance the music learning spaces at Pāpāmoa College.
Integral to Pāpāmoa College’s Product Design Technology program is its iterative design process. Central to Seth’s approach was identifying needs and understanding the
challenges faced by stakeholders within the Music department. Through a process of observation, interviews with stakeholders like Kurt Somervell (the guitar and bass tutor), and rigorous evaluation, Seth developed a comprehensive understanding of the issues at hand. This sat alongside his own experiences as a senior Music student. Seth gained invaluable insights into the specific issues that needed addressing, such as the improper use of furniture as equipment stands and the lack of adequate storage solutions.
Seth’s project aimed to tackle two main challenges: the use of a chair as an amp stand and the lack of adequate storage for guitars in the band room. With a clear understanding of the problem, Seth embarked on a comprehensive design process. From initial brainstorming and concept development to prototyping and testing, Seth navigated through each stage with precision and purpose. Seth ensured that his solutions were not only functional but also aligned with the practical needs of the end-users.
Seth’s journey exemplifies the transformative potential of hands-on, experiential learning. His project wasn’t just about meeting academic standards; it was about bridging the gap between classroom learning and real-world application. By integrating his passion for music with his skills in technology, Seth not only fulfilled curriculum requirements but also created tangible solutions that directly impacted his school community.
For Curriculum Leader Kat Daniela, the collaboration between the Music department and the Technology department at Pāpāmoa College has been invaluable. Over the years, this partnership has yielded a multitude of benefits, with students identifying various issues and devising creative solutions. From re purposing old art storage cupboards into guitar spaces to designing storage solutions for ukuleles and hire keyboards, the Music department has seen a transformation thanks to student ingenuity. Additionally, students have crafted a storage rack for multiple stands, complete with wheels for easy mobility during performances. These visible examples of student work not only solve practical problems but also showcase the power of collaboration and innovation within the school community.
At Pāpāmoa College, Product Design Technology isn’t just a subject; it’s a journey of discovery and innovation. By engaging in authentic projects that bridge the gap between theory and practice, students are empowered to become agents of change. Students not only acquire technical skills
but also cultivate essential competencies such as critical thinking, problem-solving, and collaboration – skills that will serve them well in whatever path they choose to pursue. Fostering a culture of creativity and collaboration can help cultivate the next generation of problem-solvers who are equipped to navigate the complexities of an ever -evolving world.
Conclusion
The story of Seth McEwan’s project at Pāpāmoa College exemplifies the transforvmative power of education when students are given the opportunity to apply their learning to real-world challenges. By fostering creativity, curiosity, and collaboration, schools can empower the next generation of innovators to make a positive difference in their communities and beyond.
As a teacher at Te Aho o Te Kura Pounamu, a trend I had noticed is the increase in music ākonga submitting release - quality songs for assessment purposes. It seemed apparent to me that, in the modern music environment, there was no reason why they couldn't go to the next step and release their work in a professional environment.
Given Te Aho o Te Kura Pounamu’s emphasis on ‘leaving to learn,’ and students gaining job-related skills, this seemed like an opportunity waiting to happen. This is far from the first time that a Kura has recorded and released students' work; this approach is innovative because it actually puts them in the marketplace in a structured and safe way, with the support of a clear outline containing the skills and processes necessary to publish their work.
The intent was to take what initially seems like quite a daunting and, frankly, intimidating process and break it down into a sequential, manageable process that also enabled ākonga to retain control over the copyright of their master recordings and intellectual property.
We have applied this approach with a small group of ākonga who meet two relatively simple criteria:
1. Can produce a quality recording of a finished work
Sometimes we need to offer help on this, but not often. There is no editorial involvement, and I have observed that solid writing tends to go hand in hand with quality recording. There is no bias towards any particular genre, and no consideration whatsoever about whether a song might ‘sell.’
2. Are willing to go through the process
This is necessary because the process of releasing music is not easy, nor is it quick. Normally things would take 6-8 weeks from the beginning to an actual release date, and then 3 months of promotion after that. None of the ākonga involved showed any hesitation about this aspect.
Here is what we do:
• Pay for individual tracks to be mastered, including the cost of digital distribution (a minimal outlay)
• Offer advice on the basics of contemporary promotional techniques and practice.
• Guide ākonga through:
- a basic understanding of copyright, performance royalties and mechanical royalties;
- submitting their works with APRA and Recorded Music NZ, each of whom have been extremely helpful and supportive; using a digital distributor (of their choice) to get their songs onto most of the streaming services; and
- how to use Spotify for artists to understand their streaming data.
Criticism of this particular platform is fairly widespread, but the key thing that Spotify offers artists above all else is accurate analytical data. This means an artist can get a really clear picture of how a song is doing in terms of plays, countries, listening demographic and so on.
I want to identify two crucial outcomes. Firstly, the student retains ownership and control over their work, allowing them to benefit from an income from their work. While this may seem like not much of a big deal, it is in fact crucial; most income in the music industry comes from ownership of master recordings and intellectual property. Historically, there has been a considerable amount of frankly predatory behaviour in this area. It is really important for an artist to understand, given that a song has a ‘lifetime of a lifetime’ and can continue to earn income for its creators in perpetuity.
Secondly, because this process can be repeated at will, each artist becomes the ‘owner/operator’ of a small business with an exploitable asset (each song) and experience of the process of releasing and controlling incomes. Essentially, ākonga become a small record label on their own. The message is one of empowerment, that of a creative artist being able to make steps into a world from which they traditionally have been largely excluded or distracted by meaningless promises of fame.
We have been running this initiative for a number of years now, and it has been a gratifying process guiding these young folks through their first steps into a new music industry. This industry is stronger because they are empowered to create their own vision, aware of how to retain incomes, and confident enough to take the necessary chances that make creative work ultimately so fulfilling as a career.
BIO: Trevor Faville is the secondary music teacher for the Central North region at Te Aho o Te Kura Pounamu (the Correspondence school) Previously he worked as a Head of Department at Melville High School, Fairfield College and also as a lecturer in the graduate programme at the University of Waikato School of Education.In addition, he has actively contributed to the NZ music industry since 2003. Working in multiple bands including DateMonthYear and running the bespoke music consultation service, DMY Foundation, Faville’s self-funded, produced, and marketed approach have seen his releases successfully licensed to TV, movies, and ads worldwide. Experienced in writing, recording, performing, and collaborating, Faville is passionate about engaging with musicians to create opportunities through sharing industry knowledge and experience.
Based in Parnell, Auckland, SAE Institute has a long history in delivering creative production programmes in Audio, Screen and Music. Since it was established in 1990, initially focused on audio engineering, SAE now offers tertiary studies at Diploma and Bachelor degree levels. The SAE Auckland campus is part of a global network, with 40+ campuses across more than 20 countries worldwide. The SAE approach is one of delivering interdisciplinary creative projects to support students to develop an array of skills that are applicable and transferable in a range of creative careers. SAE has close links with professional industries, in part to provide work experience (Work-Integrated Learning) as a component of degree study, and also to provide robust discussion to inform decisions around programme design, content and future workforce planning. In late-2023, in response to demands of the creative community, SAE received NZQA accreditation to deliver Songwriting qualifications to complement the creative disciplines already on offer.
Although largely unsupported by a national curriculum until 2016, songwriting has always had a place in secondary schools. As secondary music teachers know all too well, songwriting is an immersive and multi-layered discipline that lends itself to a project-styled approach: the lyrics need to be relevant to a community, the music will support the text, the stylistic and genre elements will generally align with known factors, the instrumental parts should interlink with all of these and the vocal delivery should communicate the authenticity of the overall product. As a natural (and often expensive) consequence, secondary schools have embraced studio recording and production technologies. The intersectionality of writing and genre-based studio production sets popular songwriting apart from some heritage music disciplines.
Emerging songwriters often create with a recording in mind and intended production values become an additional and essential facet of their work. The song might not be considered fully realised until it has been produced. In that sense, the definitive creative work lives far beyond the words and notes. Accordingly, studio recording facilities are highly desirable (essential) at all school levels, and this has been seen at progressive secondary schools for many years (even Pomaria Primary School in Henderson has a songwriting programme, recording studio and radio station).
It should come as no surprise that the same processes and values are evident in the tertiary landscape, just as they are in the community and industry, and this is reflected in the SAE programme in which multi-disciplinary collaboration is key. The NZQA Level 5 Diploma in Music qualification underpins the first year of study, which sees students developing fundamental practice in lyric-writing, music arrangement,
recording and performance skills. Students also collaborate across-discipline in professional practice exercises and creative outputs. At Levels 6 and 7 – the second and third years of the degree – songwriting students work closely with the filmmaking, audio engineering and music production students to realise creative work that speaks to contextual studies and emerging research typical of degree programmes.
A key focus of the Level 6 and 7 offering is an Artist in Residence programme that will provide guided collaborative work with external guest recording/performing artists to achieve releasable outputs. Working closely with an Artist in Residence in this way will help transition the songwriting students into the professional realm.
A typical 6-week project in the SAE programme is SM502 In Miniature, in which students produce a portfolio of songs (recordings) of less than 2 minutes duration. The purpose of this is to encourage succinct writing and economy of content. The short duration work encourages prolificity and streamlines the writing process through multiple drafts. Students are introduced to concepts of short-duration songs by established artists via textual and musical analysis with a focus on story development and its structural relationship to harmonic narrative in the accompaniment. Genres are unpacked via discussion of instrumentation, arrangement, vocal arrangement, production values, audience and artist profile. Students develop their chordal language with the introduction of extensions, and harmonic language via concepts of modulation. Show - Don’t Tell techniques (simile, metaphor, imagery) are developed against the time constraint.
A significant feature of the programme is the future delivery of songwriting in te reo Māori and in Pacific languages. Scheduled for launch in February 2025, and currently enjoying consultative development and workshops, these programmes will allow Māori and Pacific students to connect their cultural identity to their professional and community work through the authentic practice of writing in their chosen language. Values, traditions, disciplines and protocol will be upheld through the shepherding provided by advisory groups linked to each programme. SAE are grateful to Ngāti Whātua Ōrākei and our extended Pacific community and very excited to be part of a genuine nurturing of cultural practice in songwriting that not only leads to highly regarded qualifications, but also to meaningful and lasting impact and influence in our communities.
It's encouraging to see Songwriting gain such interest and support at the tertiary level. This compliments the flourishing of songwriting within New Zealand secondary schools in recent years. It is hoped that SAE’s new Diploma in Songwriting and Musicianship and Bachelor of Songwriting will further cultivate talent for national and international music industries.
BIO: Dr Stephen Small heads the Songwriting qualifications at SAE Auckland. Alongside his work in music education, Stephen is also a multi-instrumentalist/producer/arranger. He has recorded and released multiple albums primarily under his stage name Stableford, is the Music Director and arranger for legendary Grammy-winning New Age artist Kitaro, and he has worked alongside many luminaries of popular music, such as Jaz Coleman, Belinda Carlisle, Beth Hart, Graeme Downes (Verlaines), Bonnie Tyler and Leo Sayer. Stephen continues to tour regularly including most recently with Hello Sailor and Kitaro. Stephen holds a Doctorate of Musical Arts (performance) and a Doctor of Music (composition).
BIO: Dr Suzette Major is the Director of SAE Auckland. Prior to joining SAE in 2016, Suzette was the General Manager of MAINZ and headed ideaschool at the Eastern Institute of Technology (EIT) in Hawkes Bay. She set up New Zealand’s first university course on Marketing the Arts at the University of Waikato in 1998 and has held a range of academic positions with Waikato University, Victoria University, WINTEC and Deakin University. She also co-founded the arts management companies ArtsBiz Ltd and Artemiz Ltd. Suzette holds a PhD in arts marketing and is often invited to speak at international conferences and events.
Hapaitia te ara tika, pumau ai te rangatiratanga, mo nga uri whakatipu
Foster the pathway of knowledge to strength, independence and growth for future generations.
In the rugged, picturesque landscapes of New Zealand's Far North, talent blooms like the vibrant flora that dots its terrain. Amidst the rolling hills and crystalline waters, a remarkable event emerges as a celebration of both talent and tradition: the Far North Got Talent Wananga held at Kenana Marae, Mangonui. This unique gathering, supported by the New Zealand Music Commission, Shine on Kaitaia, and NXTLVL Events, serves as a platform for showcasing the rich cultural heritage and diverse talents of the region, intertwining Maori customs with contemporary performance arts. A special mention to Jessica Bailey, Laughton Kora, Kenape Saupese, Hani Hotorewa, Rodney Fisher, Jon Pirini who mentored the 30+ students throughout the 5 days on the Marae, and to Micah Tawhara and Reo Lanigan for organising the kaupapa.
Central to the ethos of the Far North Got Talent Wananga is the celebration and preservation of Maori cultural identity. Maori customs, beliefs, and traditions infuse every aspect of the event, from the performances to the kai, fostering a deep sense of pride and connection to Te Ao Maori. Through the medium of music, dance, and storytelling, participants pay homage to their ancestors while exploring modern avenues of expression.
At the heart of the Wananga are Manaakitanga, Mana Motuhake and Whakawhanaungatanga, traditional tikanga and songs encapsulate the essence of Maori culture. These traditional forms of expression serve as a bridge between past and present, carrying with them the stories, struggles, and triumphs of our rangatahi. Through the medium of music & dance, performers breathe new life into the marae, infusing it with flair, creativity and life.
The Far North Got Talent Wananga provides a nurturing environment for emerging talent to flourish. Under the guidance of seasoned mentors and industry professionals, participants receive valuable feedback and support to hone their craft. Workshops and master classes delve into various aspects of performance, from stage presence to songwriting, empowering artists to reach their full potential.
Beyond the spotlight, the Wananga fosters community engagement and empowerment, providing a platform for individuals of all ages and backgrounds to share their talents and stories. From aspiring musicians to seasoned performers, the event welcomes participants from across the region, fostering a sense of belonging and unity. Through collaborative performances and cultural exchanges, barriers are broken down, and bonds are forged, enriching the fabric of the community.
In an era of rapid globalisation and cultural homogenisation, events like the Far North Got Talent Wananga play a crucial role in preserving and revitalising indigenous traditions of Toi Maori - Whare Rehia. By showcasing the beauty and resilience of Toi Maori, the event inspires pride and reverence among younger generations, ensuring that age-old customs continue to thrive in the modern world.
With the unwavering support of the New Zealand Music Commission, Taipa Area School, Shine on Kaitaia, and NXTLVL Events, this annual celebration of talent and tradition will continue to serve as a beacon of creativity and community for years to come, nurturing the next generation of Far North artists and storytellers.
In the Far North, where the land meets the sea and the past meets the present, the stage is set for a cultural renaissance - one where talent thrives, and traditions endure.
Whāia te iti kahurangi
Pursue what is important aim high for what is truly valuable be persistent and not let obstacles stop you reaching your goals
Tē tōia, tē haumatia
Nothing can be achieved without a plan, workforce and way of doing things
The whakatauki talks about a Maori story of successfully dragging a waka to shore with help. In order for something to work, you need the right people in the right place doing the right thing. In our ever-evolving landscape of education, innovation is the key to unlocking the full potential of every student and teacher. Amidst this quest for excellence, the Tai Orooro Tai Auaha wananga model stands as a beacon of success, ushering in a new era of academic achievement and cultural empowerment. This groundbreaking approach has not only elevated NCEA outcomes and attendance rates but has also seamlessly integrated Maori values through the transformative power of music and nga toi Maori.
At the heart of the Tai Orooro Tai Auaha model lies a deep reverence for Maori culture and traditions based on the values of Tika and Pono. By infusing every aspect of education with these values, students are not only empowered academically but also spiritually and emotionally enriched. The model acknowledges that true success in education goes beyond the 4 walls of the traditional education system - put in place to cater to parents needing something for their kids to do while they go to work; it encompasses holistic growth and builds genuine whakawhanaungatanga, self-esteem, cultural capability and identity.
One of the hallmarks of the Tai Orooro Tai Auaha model is its unwavering commitment to academic excellence. Through personalised learning pathways in the Arts and innovative traditional Maori teaching methods, students are equipped with the skills and knowledge needed to indirectly achieve NCEA accreditation. The model fosters a culture of high expectations, where every student is encouraged to strive for their personal best.
Central to the Tai Orooro Tai Auaha model is the integration of Taonga Puoro as a vehicle for cultural expression and academic achievement. Through the rich tradition of Maori music, students not only learn the art of performance but also delve into the historical and cultural significance of each Taonga. Music becomes a medium through which Maori values are transmitted, fostering a deep sense
of pride and connection to heritage. We are in awe of the Taonga that is brought to the wananga by Horomona Horo, as a part of the Haumanu Collective. Taonga Puoro are put on the table to be talked about, played and then composed into a performance for our whanau to see.
Since the implementation of the Tai Orooro Tai Auaha model in 2019, there has been a notable increase in NCEA pass rates and attendance levels, but more so the relationships built between all involved has seen the most success, from teachers, students, whanau, researchers, academics, social workers and the wider community. The overflow of the wananga has enticed many schools and professionals to join in on the kaupapa. This holistic and agentic approach to education has created a ripple effect, transforming not only individual lives but is starting to plant seeds in how our marae are doing things.
Beyond academic success, the Tai Orooro Tai Auaha model is shaping the leaders of tomorrow. By instilling values of resilience, perseverance, and cultural awareness, students are prepared to navigate the complexities of the modern world with confidence and integrity. The Maori values of Tika and Pono are becoming evident in the lives of our rangatahi - where it is becoming a life-long journey. The model empowers students to embrace their identity and heritage, equipping them with the tools needed to effect positive change firstly in their own lives, then in their whanau and community. It only takes one moment, one movement to change the direction of the waka, and it only takes 1 degree to alter the end destination.
As we look to the future of education, the Tai Orooro Tai Auaha model stands as an example of what is possible when innovation meets tradition. Its success serves as a foundation for educators worldwide, demonstrating the transformative power of holistic, culturally responsive approaches to pedagogy. By embracing diversity and honouring heritage, we can unlock the ‘potential’ - we all talk about - of both students and teachers to create a brighter future for generations to come.
Whaowhia te kete matauranga Fill the basket of knowledge
During the term two holidays in 2023, it was an honour to be part of Malaga Tautua (journey of service) to Samoa.
The group was made up of 20 teachers, staff, and family members representing the Auckland Central Catholic Kahui Ako. Our purpose was to support the work of the Samoan Victim Support Group (SVSG), specifically the Campus of Hope Childrens' Home. The young people living at the home are victims of abuse, neglect or abandonment. At the time we visited, there were 84 children from newborn to 19 years of age living and studying at the campus. Our group also delivered resources to schools, which had been donated by many individuals and businesses from back home. Two large containers of donated goods were presented to the Campus of Hope to assist with their ongoing work with the children in their care. We did manage to find time to visit some wonderful local attractions, including swimming in
the To Sua Trench, and took road trips covering almost the entirety of the island of Upolu. We traveled on the ferry to the island of Savai’i for a few days, sleeping in beachside fale’s and attending the Safoto Catholic Church.
None of the sightseeing and tourist attractions came close to the special times shared at the Campus of Hope Children’s home.
"
We were welcomed by the powerful and beautiful singing of the children who had an old ukulele, a guitar,
and a drum kit that many of our NZ music departments would have decommissioned years ago."
These young people sang and danced and offered up their talents to this diverse group of visitors from Auckland who were choked up, thinking of how these young men and women were grateful to be alive, to have shelter, food in their tummies, shoes on their feet and carers at the home who genuinely love and care for them.
BIO: Glenn Stanbridge is the Director of Music at St Paul’s College, Ponsonby, which is a year 7 to 13 Marist Catholic boys’ school situated in Central Auckland. He has found developing the music department of the school over the past decade to be both a challenging and rewarding experience, and music has become one of the key growth areas of St Paul’s College. The department now boasts choirs, a concert band, and mass & rock bands, most of which have become a new cultural norm for the college.
GLENN STANBRIDGE
Many special moments and memories were shared amongst the group. This is only the start of a relationship with SVSG. I know that I will be back. We are already planning our next Malaga Tautua for 2025, which I am definitely putting my hand up to be a part of. I haven’t told our finance department at school yet, but the new guitar I’ve budgeted for is not for my kids, it’s to be donated by our music department to the children at the Campus of Hope. I think our wonderful headmaster will be ok with this… he might even stretch the budget a little further?
This article was originally published in 2022, written by our former beloved Board member - Anne-Marie Lalakai.
The Ministry for Pacific Peoples is the Crown’s principal advisor on policies and interventions aimed at improving outcomes for Pacific peoples in Aotearoa. Language Week celebrations had their origins in Samoa in 2007. In 2009, the Humans Rights Commission came on board and the concept of Pacific Language Weeks was born. Since 2010, the Ministry
BIO: Anne-Marie Lalakai (was TIC of Music at Wesley College, Paerata, Auckland) was of Samoan and Tongan descent, and grew up in Dunedin. Her passion for music was ignited by her high school music teacher. She was a music teacher who mostly worked in South Auckland Schools, and played double bass and piano. She thoroughly enjoyed working in the classroom with young budding musicians.
of Pacific Peoples has been supporting Pacific Language Weeks, promoting and raising awareness of the diversity of our Pacific Languages in Aotearoa.
In this article we will look at simple Pasifika phrases you can use in your classroom with your learners.
Mālō e lelei
Mālō ‘aupito
Ko hai ho hingoa
Greetings/Hello Faiako Teacher
Thank you very much Fanau ako Students
What is your name? Fanongo Listen
‘Alu ā Goodbye
Taimi ako Time to learn
Fakamolemole Please Pō Ako Homework
Here are some phrases in Cook Islands Maori and Samoan you can also use:
ENGLISH COOK ISLANDS MĀORI
Hello Kia Ōrana
Thank you Meitaki
Tālofa lava Bula
Fa’afetai Vinaka vaka levu
What is your name? Ko’ai tō’ou ingoa? O ai lou igoa? O cei na yacamu?
Good bye ‘Aere rā
Tōfā Ni sa moce Please ‘Inē
We have our first lot of Musical Elements translated into Samoan, Tongan and Fijian. Thanks to Glenn Stanbridge for
Timbre Anga ‘oe le’o/ongo
Tonality Fakafuo
Rhythm Tā & Vā
Dynamics Tainēmiki (Faka’ilonga le’olahi moe le’osi’i)
Form Fa’unga
Texture Fōtunga
Melody Afo/Fasi
Harmony Afo potupotu tatau
Fa’amolemole Kerekere
the original document, Sharon Ledua for the Fijian translation and Sola Vuna for the Tongan translation.
Rogo ni sere Lanu
Veilutuki ni rorogo
Vadagu ni rorogo Taimi
Veilutuki ni rorogo Leo tele ma le leo itiiti
Vadagu ni rorogo Ituaiga o pese
Tuvatuva ni rorogo Fati
Sota ni rorogo/domo Tufa’atasiga o leo
A day of engaging and entertaining speakers with collaborative content aimed at expanding your knowledge of technology in music education.
Friday 14th June 2024
8:50am NZT to 4:10pm ACT
Wellington, New Zealand & Adelaide, Australia
Live from two cities, Wellington and Adelaide. Streamed world-wide.
have access to recordings of all sessions post event.
• 19+ hours of PD in one day!
• Practical ideas for primary, middle school and senior years
• Choose as many sessions as you wish
• Plenary session on the latest and emerging technologies
• Access recordings for 3 months
• Presentations and workshops delivered by leading educators and industry experts
• Take-aways that you can use with your students tomorrow
• Opportunities to network and collaborate in-person and virtually Full details and to register visit daytime.com.au or scan the QR code.
Embarking on my career as an audio engineer, little did I know that the journey would be a myriad of challenges and growth..
Audio has truly pushed me to the brink of insanity, from learning the vast amount of technical theory to the practical application of complex equipment in high-stress environments. This article is written for new audio engineers entering the field. It focuses on what I know now versus what I wished I knew at the beginning of my career. For those of you teaching audio, I hope that it will provide some insight into the realities of working in the industry that you can pass on to your students.
My journey begins with my first Certificate and then my Bachelor’s degree in Audio Engineering and Production at the Southern Institute of Technology (SIT). My time at SIT helped develop the foundation for my understanding of sound theory and engineering principles, guided by my friendly and knowledgeable tutors Aron Ives, Stu Carr, Doug Heath, and Dr. Sally Bodkin-Allen. The institution's facilities and tutors offered me world-class training on state of the art equipment during the early years of SIT’s Zero-Fees scheme. The excitement of the new scheme and the influx of international and interregional students became a hub of creativity and developed my passion for audio as a potential career pathway.
After graduating in 2007, I moved to Wellington and began working at the Heavy Metal bar Valve (formerly Medusa, and currently Valhalla) in 2010. My role at these venues was to provide technical support, maintain the equipment, and set up, mix front of house (the speakers the audience listen to), and pack down all the bands that come through the venue without their own sound engineer. If bands brought in their own engineer, it was my job to assist them with any venue requirements.
At this time analogue technology was still commonly used throughout the world with some digital consoles being used more within the larger festival scene. Medusa and Valhalla are where much of my live sound education really began. Understanding how to set up and operate the equipment confidently took years of trial and error. There were mentors who would help at certain points, but most sound techs at that time were already established within the region and very protective of their jobs. It was not uncommon for the old dogs to watch me sink because they were cautious of the new kids coming through and taking much needed work.
Luckily by 2012 I had learnt enough to make certain bands happy with the quality of sound I could produce at that time, eventually leading to more touring work with specific artists. As I transitioned from the role of a live venue technician to a touring engineer, I quickly learned the importance of adaptability and troubleshooting in dynamic environments.
You will often hear of older engineers stating their love for analogue equipment and the sound that it produces, but personally I find some of the gear cumbersome and problematic. With old analogue equipment you could spend hours trying to figure out why only one side of the PA was working, especially if your knowledge of signal flow is not strong. You also had to start sound check from scratch as you would usually reconfigure the mixing desk to suit your workflow. This often started from resetting all the parameters like gain, equalisers (EQ), and auxiliary encoders back to their neutral position, as well as the outboard equipment like front of house and monitor speaker EQ. You’d be limited by how many compressors or gates certain venues would have, and it could just be a nightmare.
When digital mixing desks became more prevalent throughout the industry in 2012/13 it essentially meant I had to relearn how to mix. The pros of digital tech meant you could save settings such as gain, EQ, stage monitor levels etc for different bands and instantly recall these settings in any venue with the same console. There were fewer cables to problem shoot and there were digital stage boxes that eliminated the need for bulky snakes which connected the console to the stage connections. Digital desks also used a single connector type which nullified engineers having to carry a briefcase full of cable adapters. The cons of the digital consoles were a compromise in sound quality and workflow. Instead of having every dial in front of you, you now had to push buttons to access things like effects and monitor send level, and then push the same button to go back to front of house mix mode, making it harder to do things faster.
In 2015 I began working for the band L.A.B. starting as front of house engineer, and currently work as their stage sound engineer, commonly referred to as a monitor engineer. This means that the front of house mixer and I have independent control over the band's levels. In short, during my time with the band I have seen L.A.B. play shows where they have struggled to sell tickets to 20 people, to now being a part of their own sold-out shows in front of a crowd of 20,000. My journey culminated in a role as a professional monitoring engineer in arenas, pushing me to refine not only my technical skills but also my ability to communicate effectively in high -pressure situations. If something isn’t working and you only have 5 minutes to fix it before the band walks out, you better know how to fix it.
From managing stage dynamics to optimising in-ear monitor mixes, I had to take on the technical challenges unique to the role of a monitor engineer. One of the main aspects of my role has been finding the balance between fulfilling the band's requirements, as well as utilising the technology to its fullest. At times I have had over 85 separate channels to mix into 12 sets of in-ear monitors along with 12 stage monitors.
Reflecting on my career, my journey from an audio engineering and production graduate to a professional monitoring engineer has been a continuous learning curve. The trials and tribulations of the early years made me who I am, and has taught me resilience, and a passion for the art of sound. If there were things that I wish I knew back at the start, they would be these:
1. Get experience before starting your career - find people who organise shows or do sound and offer to assist them. Often you will start doing this for free, but eventually you will get to ask for something in return like food, transport, and finally money.
2. Know your worth but be realistic - when you can start charging money, ask the client what their budget is and see if it will cover your minimum costs. I started on $150 per 8-hour day when I first started and built up from there. If you go in guns blazing, you may lose clientele because your wants exceed their budget, hence why I ask for their budget first.
3. Learn how to do your taxes - taxes vary depending on your business status, but most engineers operate as contractors. This is where you are hired to perform specific tasks for money. Sound engineers generally have to pay their own tax, and when working as a contractor you will have to make schedular payments, formerly known as withholding tax. At this stage the tax bracket is 20%, and the person paying you will deduct this from your agreed payment. To be paid you are legally obligated to send an invoice to the employer. If you do not know how to do this, go to the Inland Revenue website and read up on what you must put on the invoice. They also provide templates to work from, e.g. if you are being paid $100 for a job, your employer will deduct 20%, in this case $20 and pay this to Inland Revenue, and they will put in $80 directly into your bank account. From this $80 you will also need to deduct ACC levies, student loan repayments, and KiwiSaver payments.
Luckily for us, there are also apps that make the invoicing and tax obligations so much easier. A lot of my friends in the industry use Hnry, an app where you can create and send invoices. Hnry will also deduct the ACC, student loan and KiwiSaver repayments, saving you the headache of a big tax bill throughout the year.
4. Know how to use any gear before entering the venue - ring the venue you are working in and get a list of gear they use, and phone numbers of important people involved with the venue such as the live sound engineer. If you can, find some way of getting your hands on any equipment that you may need to set up at that show. If you cannot get your hands on the exact equipment do your research! There are a ton of videos available on most modern equipment for free on YouTube.
5. Take on any job you can - when I was living in Wellington there was a bit of kick back to some of the shows engineers would take. I was different, I would take anything, and those jobs led me to where I am now. There will come a time when you can pick and choose what you want when you reach a better position in the pecking order.
6. Understand the client’s technical requirements - who is the band member you can contact? What instruments do they use? How many microphones and direct boxes do they need? Where is everyone positioned onstage? Do they have a technical rider? What time will they be at soundcheck? What opening acts will there be? What are their technical requirements? So on and so forth.
7. Finally, and most important! Believe in yourself but take on feedback without getting defensive - Make sure you can take constructive criticism; you will come across it at some point. Just suck it up and keep getting better.
M o n d a y 2 3 r d S e p t e m b e r C o n c e r t 45 p m R e h e a r s a l s 9 . 4 53 p m W e l l i n g t o n C o l l e g e 1 1 D u f f e r i n S t , W e l l i n g t o n 6 0 2 1 VENUE
Kia ora koutou. Haere mai to the NCEA and External Moderation Update.
With the implementation of the new suite of NCEA Level 1 standards 2024 is looking very different to previous years. Keep an eye on the NCEA Music Homepage as it will be updated regularly and includes:
• All Music standards resources
• Submission dates 1.3 and 1.4 and reports from 2023 evidence
• 1.1 and 1.2 exemplars
• Music Technology resources
• Instrumental Performance Guidelines
• Request for Clarification of standards, including Level 1.
When you have a moment, you can also read the latest NAA Newsletter which summarises moderation observations from 2023.
The standards chosen for the ‘Insights’ section are Level 3 standards 91418 (Group performance) and 91425 (Research).
External Moderation
The focus for 2024 will be on the new Level 1 standards, 91948 and 91949. HODs have selected for moderation a generally even split for each standard. As evidence arrives, more exemplars will be created.
Minimal Level 2 and Level 3 existing standards will also be moderated, including Mus Tech.
Assessor Support:
Visit https://www.nzqa.govt.nz/about-us/events /assessor-support/
Online Courses
These can be accessed using your Education Sector Logon on our Pūtake website.
Assessor Practice Tool
The Assessor Practice Tool (APT) will be used to support assessors with the new NCEA standards from 2024 onwards. The purpose of the APT is to allow assessors to practice making assessment judgements and immediately receive feedback on their judgements from a moderation panel.
The APT will initially have material for some existing Level 3 standards, with moderated samples for the new Level 1 NCEA standard subjects being added as material becomes available. Material for the new Level 2 and Level 3 standards will be added over time, and all material for the old NCEA standards will be archived.
Material will be available in April for:
• 91425 Research a music topic
• 91416 Perform two programmes of music as a featured soloist.
All the very best to you and your classes for NCEA assessments this year. Thank you for all you do for our musical ākonga.
BIO: Delysse Glynn, National Assessment Advisor for NCEA Music. Together with moderating NCEA Music standards, I work alongside an experienced team of contractors to provide assessor support for secondary schools. Most of this support has recently been online with the development of Pūtake courses. This has been an enjoyable aspect of my role, but I really miss our Face-to-Face workshops and interactions. Outside my day job, I volunteer as the President of the Friends of Auckland Philharmonia and am involved in music ministry at the Cathedral of St Patrick and St Joseph. I love a good deadlift at the gym and a solid Downward Facing Dog most mornings. Croatian/hrvatski is my latest language exploration. Doviđenja!
As brass and wind specialists, we have had the pleasure of working with Band and Orchestral Programmes in Auckland schools over the last 6 years. We have both taught classroom & instrumental music, and have worked with a range of school ensembles since becoming registered teachers.
In this article, we would like to share with you some of our experiences running bands and orchestral programmes in schools, including
• some of the realities and challenges faced;
• what worked for us;
• what could be done to improve; and
• our ideal visions and goals.
Why introduce a band programme?
Band and Orchestral Programmes have great benefits for the whole school. For the majority of students, this would be their first encounter with a brass, wind or string instrument. Not only does it open up new opportunities for the student, performing in larger groups teaches the student skills beyond music such as focus, physical and mental coordination, resilience, team work, self-control, and communication.
We have found that:
• students learn better and faster in a group/ensemble setting as they tend to teach and learn from each other;
• for students that don’t fit in in other aspects of school, this programme opens up an otherwise unexplored experience for them and allows them to find their voice, their ‘tribe’ and build their confidence through music;
• by having the whole school learn an instrument in the junior years, school ensembles grow in size and strength,
BIO: Zyia-Li Teh has been engaged with music education as a NZ registered teacher since 2011. Her teaching experience includes private woodwind tutor, music specialist at Blockhouse Bay Intermediate, music tutor with the KBB Music Programme, Concert Band conductor for the Auckland Primary Principals’ Association (APPA) Music Festival, musical director for numerous school and amateur stage musicals as well as BayLynn Youth Band and teaching at various primary and secondary schools in London, UK. Zyia-Li currently teaches at St Peter's College (Auckland) - co-runs the middle school music programme, musical director for the Big Band, teacher of Saxophone & Clarinet, and classroom music Years 9, 12, and 13 of Music composition.
which can promote student enjoyment and continued participation throughout the school years;
• it improves student learning - academically and reduces behaviour problems.
What factors can influence success?
Parental cooperation and support is desirable. This is to ensure the student’s practice is done at home with positive encouragement, student resilience is built, and the student has their instrument at school on the days of the lesson. More importantly, the parent becomes aware of the student’s involvement and has a good understanding of the importance of the programme towards the student’s growth and learning.
Having strong support from the school is crucial to a successful programme. We understand that cost is a key factor in getting a programme going at any school and potential instrument hire or lesson costs could pose a challenge within each community.
With a good working relationship / communication with the home room teacher and Head of Year, students remember their instrument more frequently and parents should be notified if it becomes a regular issue.
Careful and thoughtful planning is required to make best use of resources that are available at the school - teaching materials, classroom space, and teaching personnel availability, and this has to integrate with the overall school timetable.
What works for us?
Theory should be encouraged and integrated with everyday playing and with the ensemble sessions. It should both emanate from and reinforce what the student is encountering whilst playing. We have found that Bruce Pearson’s Tradition
BIO: Da-Hae Kim is a trained secondary teacher by trade, and is currently teaching brass at secondary schools with a focus on middle school students (Years 7 and 8) as an itinerant music teacher. Since becoming a registered teacher in NZ, she has travelled to the South Island, South Korea and England to teach students of all ages.
Her love for singing has led to choir accompanying and directing as well as getting involved with musical theatre both in and out of school, and occasionally performs with community ensembles as an instrumentalist.
of Excellence Book 1 is suitable for the first year’s programme. As for strings, most schools seem to use either the Suzuki Method or Essential Elements for Strings. We have compiled our own theory books and a “song book” with various ensemble pieces as an extension.
Regular review and adaptation of the programme is done to tailor it to the students’ needs and abilities. At one of the schools we teach at, we included the strings into the ensemble setting in order to have the whole class perform together. We quickly found that adaptation and re-arranging a couple of parts for the strings was needed to achieve better inclusiveness. Incorporating strings with wind and brass at the elementary level is an issue due to the engrained traditional teaching methods. These may not have been looked at for many years, perhaps the time has come when more adventurous music educators could research this further.
When it comes to introducing new ideas or ensemble pieces, we have found that the most efficient way for a student to learn is for the instrumental teachers to get together and demonstrate. The students would follow the music and give their observations before attempting to play. Showing the students from the beginning of their musical journey how to look for repetitive sections / motives in a piece has helped their note and sight reading skills.
Games such as Staff Wars, Staff Wars Live and Ningenius are also used in class to assist and enforce students' note reading skills and fingerings in the initial stages of learning. Rhythm flashcards and exercises are used regularly in our programmes to introduce new rhythms. Students are taught to notate the counting, count out loud and clap the rhythm (“clap and talk”), followed by playing the rhythms on their instruments.
Aural skill is also incorporated into the programmes we run with most sessions starting with rhythmic “Simon Says” on their tuning/warm up note. This activity also encourages our students to focus on: intonation, tone, posture, tonguing /bowing, breathing, and more importantly it settles the students at the beginning of every session. Throughout the programme, we would also include: half-step and whole
-step recognition; major and minor scale recognition; arpeggios; and major & minor chord recognition.
What would improve our programmes?
An ideal situation is to have two timetabled sessions per week - one session would focus on the student’s respective instrument; and the other session would focus on ensemble playing, theory and aural skills. Due to space availability, some schools have a rotational system - split the class in half to swap over between the instrumental lessons and ensemble / theory within a session.
It would be useful and helpful for instrumental teachers to have a grasp of basic band director experience and basic elementary knowledge of all instruments in the programme. Instrumental teachers should aim to have an understanding of the characteristics and difficulties of each instrument (e.g. embouchure, fingering/slide position, basic instrument set up, reed placement, sticky valves, etc.) to assist students during the ensemble session.
It would be advantageous to be able to enlist the support of instrumental teachers at the school to share their expertise. An open discussion and at times, workshops for teachers learning the basics of each instrument and how to troubleshoot frequently faced issues among the team. It would be advisable for teachers to pick up other instruments and endeavour to understand the difficulties a beginning student may face.
Our ideal vision is that every student in the country gets an opportunity to learn a musical instrument, starting in the primary school sector and that Band and Orchestral programmes become more widespread in the country. An ideal Band and Orchestral Programme would be over two school years to see its benefits and student growth. It is also our hope that Music Teachers (Classroom and Instrumental) will be better supported through more opportunities for professional development related to programmes like these and for teachers to be more open to running programmes in schools.
Three new models have been added to the Celviano range:
are available in Black,
while the AP-750BK is available in Black.
