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The theme for the ASME XXI National Conference is Uniting Voices, which seeks to embrace and celebrate music education across the vast array of institutions, organisations and professional associations which provide and support music learning in formal and non-formal contexts through all stages of life.
The Conference, which also coincides with the 50th Anniversary of the establishment of ASME, will take place over 3 days, and the program will include a range of specially invited keynote speakers, along with papers and workshops from leading educators, discussion panels, and concerts from various ensemble groups. There will be a trade display featuring the latest in music education resources.
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From the Chair
Greetings to all ASME members. I trust the year has got off to a good start for you.
ASME NSW continues to develop quality professional development opportunities for music teachers. The first for 2017 was held at Western Sydney University on Saturday February 25th from 2-5pm. The format for the first session was a TeachMeet with Kerrie Lacey presenting on her approach to teaching Preliminary Music 2, Cara Burrell sharing non-formal teaching strategies, Andrea van den Bol exploring collaborative practice with Drama and Music, Jane-Marie Talese sharing her research on how to best mentor early career music teachers and Andy Mifsud outlining how understanding is assessed in the classroom. Dr Brad Merrick, National Chair of ASME, was the keynote speaker focussing on assessment and preparation for the HSC.
Our next PD session will be held in Orange at the Orange Conservatorium on Saturday April 29th from 10am-1pm.
The format is again a keynote speaker with a TeachMeet session. Heather Crawford, Performing Arts Coordinator at Engadine High School, will share a new program for the classroom called GameComposer. The program is rich in concept-based practical activities, composition, performance and listening tasks and students build a digital portfolio, having devised their own game characters and music, action scenes and sound design. The program takes students on the journey through video game composition and creation from the 1970s to now, as they learn the cultural, social and historical aspects of the genre as well as aural and compositional techniques and analysis skills associated with this hugely popular topic. It is targeted for classroom music (Years 8-10) either compulsory or elective. In addition, a TeachMeet session will feature committee and local presenters on assessment and peer feedback, collaborative practice and ideas for composition.
Please keep the following dates free that we have set aside for more PD – Saturday June 17th at Barker College focusing on composition and Saturday October 14th focusing on choral repertoire.
The NESA review of School Based Assessment for Stage 6 Creative Arts has a survey for all senior Music teachers to complete. The survey is open until April 7th and I would encourage you to take the time to complete it and give feedback:
https://www.surveymonkey.com/r/SBACREATIVE
The ASME XXI National Conference will be held from July 13-15 at RMIT Melbourne. I strongly encourage you to come and hear about new programs, research and practice and to develop networks across the country with other music educators. Super early bird rates close on April 13.
Jenny Robinson
ASME NSW Chair.
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Regional TeachMeet & PD Day
Please join us to share an idea you have seen or used in your classroom for our TeachMeet session. We are looking for ideas on apps, websites and other tools that have enhanced learning in your music classroom. Presentations are short, with a maximum time of 10 minutes.
MusicEDU will also present a session on their new module, GameComposer, an exciting way to teach video game composition.
Presenters:
GameComposer Workshop with Heather Crawford & Kate Hargreaves
TeachMeet Presenters
Saturday April 29, 2017
10:00 am - 1:00 pm
Orange Regional Conservatorium
ORANGE, NSW
$25 (Morning tea and light lunch)
TeachMeet is free
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The NMTMP seeks to improve the quality of music education through the mentoring of generalist classroom teachers by experienced music educators. e Program is the brain-child of Richard Gill OAM, one of Australia’s foremost music educators.
The Program is implemented under the auspices of the Australian Youth Orchestra (AYO). Richard Gill generously provides continuing leadership to the Program pro bono. e Commonwealth Government has provided funding for three years to pilot the Program. Further funding is being sought.
e Program has commenced in four of the eight Australian states and territories in partnership with education departments and the Four Winds Festival: NSW, Victoria, WA and the NT.
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Praxial music education: A NSW regional perspective
Dr Graham Sattler
Regional Conservatoriums exist only in NSW. As autonomous, partially funded, community owned and operated music education organisations, the 17 non-metropolitan facilities offer everything from one-to-one instrumental and vocal tuition through group and ensemble activities for students of all ages and stages, to curriculum support in and for schools and professional learning services for generalist classroom teachers. The NSW Government, through the Department of Education Regional Conservatorium Grants Program supports the Association of NSW Regional Conservatorium (ANSWRC) member-organisations by partially funding them to provide administrative infrastructure necessary to maintain and sustain a critical resource outside of the metropolitan centres of Sydney and Newcastle.
A hallmark of the services provided by regional conservatoriums is the praxial underpinning of their output. While regional conservatoriums are in various stages of curriculum framework development, and indeed work in support of formal music educational programs (including partnerships with over 400 schools across the state and a growing number of tertiary providers), the principal thrust of their activity is education and training through practice, outcomes through activity. Smaller, non-metropolitan, environments differ from those of larger city populations in that community is more identifiable. It tends to be more cohesive and connected, and the role that a substantial and active community-owned organisation such as a regional conservatorium plays in such a community is different to that of its equivalent in a major city. Regional conservatoriums recognise that difference by prioritising equitable access and community inclusiveness in their offer, balancing those elements equally with best possible music education and training standards.
To survive in a regional community, a specialist music education organisation must recognise three things. One, that the responsibility for identifying the value of music education and activity, and communicating this to the broader community, is the organisation’s. Two, that quality - the capacity to take students as far as their interest and capability will allow – is not inconsistent with inclusivity and accessibility. And three, that the musician educators employed by and representing the organisations are necessarily advocates for music and music education, they need to be visible and active participants in their respective communities. Once again, music is doing. Visible, high level, community-connected practice of the musical act is its own advocacy.
As autonomous organisations, regional conservatoriums are poised to respond to the needs and demands of their local and (through the ANSWRC) state-wide communities. A current example of this willingness and capacity to respond is the Association’s increased involvement in professional learning for non music-specialist classroom teachers. Designed to mitigate the effects of the gradual dilution of pre-service music training, such programs typically orientate around practical classroom activities that provide context from which to draw theoretical content, lesson plans and program structures. The ANSWRC partnership with the NSW Teachers Federation Centre for Professional Learning, established in 2013 and currently comprising courses in Choral Conducting and Delivery of K-6 Curriculum, is a significant demonstration of the broadening remit of regional conservatoriums in this area.
Far from being poor country cousins to elite city-based institutions, regional conservatoriums are responsive, broad–based, music hubs that connect directly to and from their communities through a dynamic mixture of instruction, demonstration, innovation and participation. They offer flexible and tailored programs to engage, inform and nurture students and communities in the richness of musical life, preparing and providing pathways for vocational students and enhancing allied educational and cultural lifestyle services within their communities and beyond. Information about the Association of NSW Regional Conservatoriums and its 17 member-organisations can be found at http://www.regionalconsnsw.org.au
Dr Graham Sattler is Executive Director of the Mitchell Conservatorium. He has previously held positions of CEO, Orange Regional Conservatorium, and President, Vice-President and Secretary of the Association of NSW Regional Conservatoriums.
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Research Article
Measuring the effectiveness of performance appraisals to assist professional growth in Music Educators
Kirsten Macaulay
There is a growing body of investigation around effective strategies to be used in performance appraisals. Definitional, methodological and theoretical deficiencies, however, reduce the effectiveness of prevailing research. This essay provides a critical review of the literature on the model of performance appraisals, highlighting the connections between performance appraisals and teacher efficacy. Firstly, this review describes a range of ways performance appraisals have been defined from examining the literature widely from the health, business and education sectors before focussing on specific research on promoting professional growth in Music teachers. Concerns related to creating an effective definition of performance appraisal for the Education sector are also examined. Secondly, a critical review of empirical research on performance appraisals are examined as a sub-part of creating effective communities of practice. Finally, future directions for research, including a suggested definition of performance appraisals which are focussed on the Music Education sector, are addressed.
Read Full Article |
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Upcoming Events
April 18-21: Australian Kodály Certificate – NSW (Barker College, KMEIA)
April 29: TeachMeet & PD Day (Orange, ASME NSW)
June 15: Cool for School (Jazz and improvised music @ Riverside Theatre)
June 17: ASME NSW Composition Day (Barker College, ASME NSW)
July 13: ASME National Conference (Melbourne)
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News from other organisations
NESA
The NESA review of School Based Assessment for Stage 6 Creative Arts has a survey for all senior Music teachers to complete. The survey is open until April 7th.
KMEIA
KMEIA seeks to survey a broad range of music educators to assist in planning the future of KMEIA. By completing this short 10 question survey, your voice will contribute to the association’s future strategic direction. Please click on the following link to complete the KMEIA National Survey.
National Advocates for Arts Education – Submission to the Federal Government – Innovation and Creativity
Please follow the link and read submission (No.82 on page 5) from the National Advocates for Arts Education, of which ASME is a Member. This is also published on the NAAE Facebook site.
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Reviews from the Web: Streaming Services
Kirsten Macaulay
Apple Music (Android, iOS)Built on a backbone of iTunes Radio and Beats Music, the Apple Music (Android, iOS) streaming service offers subscribers a vast library of more than 30 million songs. Users can create custom playlists, try out new tunes in the "For You" category (which builds recommendations from your listening habits), check out featured content uploaded by artists through the "Connect" or explore curated playlists and the Beats 1 radio station.
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