Australian Kodaly

Australian Kodály Journal
INTRODUCTION
2012
THE KODÁLY MUSIC EDUCATION INSTITUTE OF AUSTRALIA INC
A publication of The Kodály Music Education
Institute of Australia Inc FROM THE EDITOR
Affiliated National Institutional Member of the
International Kodály Society Once again this issue of the Australian Kodály
ISSN 1839-2032 Journal aims to engage KMEIA members with
AUSTRALIAN KODÁLY JOURNAL current research and practice in music education,
© 2012 and is focused on building national and international
partnerships, and the sharing of ideas and
information through the Kodály music education
community. The aim is to produce a journal that
stimulates ideas and debate across all areas of
music education. It is hoped that the open online
access provided will make the journal more readily
available to academics, researchers and classroom
educators.
Founder
I acknowledge the lateness in this edition of the
Dr Deanna Hoermann
journal being published. Unfortunately this was due
President to circumstances preventing a more timely release.
Tess Laird
I would like to thank the group of distinguished
Vice-President
music education researchers and practitioners
Helene Matters who provided scripts for the journal as well as
Immediate Past President: Ex Officio the reviewers who voluntarily provided their time,
expertise and advice to review the articles in the
Gail Godfrey 2012 issue.
Secretary
I would also like to encourage you to think about
Treasurer preparing and submitting papers of interest.
The survival of the journal is dependent on your
Susan Fredline contributions and submissions. These could be
Membership Secretary focused in the areas of classroom pedagogy,
Jason Boron curriculum development, creative music making,
leadership or research. In this ongoing climate
following all the commissioned reports on the
Jason Goopy state of music education in Australia with the
Ann Carroll consequence of funding and resources still being
Aleta King minimal and not a priority, it is important to note,
celebrate and share ideas and knowledge about
best practice as witnessed by the many Kodály
EDITORIAL TEAM centred music programs happening in schools
Editor across Australia.
Dr Terrence Hays
Best wishes
Editorial Panel Terrence
Editor 2012
Anne Carroll
Dr James Cuskelly The Australian Kodály Journal is a fully-refereed
journal.
Dr Kay Hartwig
Dr Terrence Hays KMEIA
Dr Deanna Hoermann PO Box 8299
Toowoomba Mail Centre
Judith Johnson
QLD 4352
Tess Laird www.kodaly.org.au
Dr Liz Mackinlay [email protected]
Dr Robin Stevens
Dr Jane Southcott
CONTENTS
CLICK ON THE ARTICLE TITLE TO JUMP TO THAT PAGE
INTRODUCTION KODÁLY NEWS
4
A message from the KMEIA
president State Reports
Tess Laird
LIFE MEMBERSHIP NEWS 46 Queensland

7 Dr Deanna Hoermann
8 Mark O’Leary
48 Western Australia
REFEREED PAPERS
49 South Australia
9 The ‘Junior Vocal Stream’ at the

Conservatorium High School
Robert Curry
50 New South Wales
12 Singing in a New Land

Judith Johnson
51 Do-Re-Mi Report
17
Preparing the Next Generation of
Professional Musicians
Terrence Hays
27
The Importance of Folk Materials:
The “Little Story” and the “Big
Story”
James Cuskelly
31 Yi Lull
Elizabeth Mackinley
The Adolescent Male Changing

37 Voice: Physiological, Psychological
and Practical Considerations for
Classroom Music Teachers
Anthony Young
INTRODUCTION
A MESSAGE FROM THE KMEIA PRESIDENT

TESS LAIRD
I
t is my great pleasure to present the 2012 President’s report celebrating the
2011 achievements of the Kodály Music Education Institution of Australia
Incorporated (KMEIA) and its state and territory Branches.
The most significant event during our year was without a doubt, the
International Kodály Symposium entitled “Shared Visions – Connecting with
Kodály”. This was held in Brisbane, at very short notice, during July 2011;
and was co-hosted by the Cuskelly School of Music and KMEIA’s QLD branch
under the directorship of Dr James Cuskelly and Mr Daniel Crump, the
Queensland President. Heartfelt thanks must go to these gentlemen and their
organising committee for the vibrant and varied offerings, wonderful catering
and hospitality. Many concerts were offered which gave us the opportunity to
enjoy high quality choral performances, one of the great favourites being the
guest Malaysian choir, which performed with such energy and warmth.
Tess Laird
It has been pleasing (if at times challenging) to employ technology in a more
efficient way to communicate with our members this year. With the help of
membership secretary, Jason Boron, we’ve been able to use Clubs on Line to
send messages and celebrate events more frequently and at no postage cost.
Through this service we have let members know about special events, and
extraordinary and AGM meeting dates and information. We’ve also used Skype
meetings to replace expensive teleconference meetings of the National Council.
Thanks go to Jason Goopy and Jason Boron for their technical support here,
as using Skype, while not as productive as a face to face meeting, is certainly a
much cheaper and quicker alternative to flying cross country.
2011 has also been the year of the inaugural electronic edition of the Australian
Kodaly Journal. The gesture of including CD copies of this publication in the
IKS delegate bags was very popular and much commented on by delegates.
We say a huge ‘thank you’ to Ann Carroll as she resigns as co-editor of the
Journal. She has generously provided her expertise for the past seven issues
of the journal (2005-2011), and now hands over the role of editor to Dr Terrence
Hays.
Of course, the other major project from the last three years, came to fruition
at the Extraordinary General Meeting of the Institute on 2nd January at All
Hallows’ School in Brisbane, where the Revised Constitution was adopted with
unanimous support from all members present. Countless thanks must go to
the Constitution Committee: Ann Carroll, (Convenor) Dr Deanna Hoermann
and Julie Logan. Public acknowledgement was given in appreciation of the pro
bono services of John Carroll, Partner in Charge, and Philip Harrison, Special
Counsel, in the Canberra Branch of Clayton Utz. It is very exciting to be
conducting this first AGM under the rules of our newly revised constitution.
At this juncture, on behalf of the Kodály Music Education Institute of Australia, I

would like to thank Ann Carroll for her phenomenal work in many vital areas of
business over the past few years.
AUSTRALIAN KODÁLY JOURNAL 2012 4

INTRODUCTION
Aside from the Journal and the Constitution, Ann has also guided National Council to complete tasks with
extremely thorough attention to the details and deadlines so often over looked by others. Countless hours
of her time have been devoted to resolving Insurance Agreements and exploring archiving possibilities for
our benefit.
In addition to this, Ann is always willing to proof read letters, messages, website updates and my own
attempts at formulating agendas, minutes and reports. Jason Boron, as membership secretary, has also
been extremely appreciative of Ann’s assistance in many matters, and particularly recently with the sending
out of notices regarding the AGM.
Our members have been very hard working, and it’s very gratifying to note that since the last year’s AGM
there have been 18 successful applicants for the Australian Kodaly Certificate. A sincere thank you to
course providers for continuing to offer this rigorous and valuable training in order to further the knowledge
and skills of teachers, and to increase the understanding of the teaching philosophies of Zoltan Kodaly,
both in Australia and overseas.
Following Geza Silvay’s visit to Australia in 2010 to participate in Colour Strings training with teachers and
at the National Conference hosted by the Victorian Branch in Melbourne, we have had news of the awards
of several Honorary International Colourstrings Certificates. Congratulations go to Judy Fromhyr, Dr
David Banney, Yuri Djachenko, and Rodney and Celia Egerton. These Honorary Certificates appear to be
unique to these Australian recipients. This is a wonderful way to recognise the huge steps taken recently in
employing Kodaly philosophies in an instrumental discipline.
The State Branches and Chapters celebrated many significant achievements in the past year:
The Victorian Branch has continued to provide a wide range of resources and quality professional
development opportunities via workshops, courses, two choral festivals and the 2 day Autumn Seminar,
which is scheduled again for May this year. Apart from producing regular newsletters throughout the
year, they have been working on expanding their pool of presenters for courses, and offered praise and
thanks to all of their current presenters and those who have organised workshops and courses for their
members.
The New South Wales Branch has achieved their goal, after very hard work, to have all of their
workshops and courses on their 2011/2012 calendar endorsed by the NSW Institute of Teachers – which
allows teachers to accumulate Endorsed Professional Development hours through quality experiences
offered by KMEIA NSW.
The New South Wales Branch has also supported the formation of a new Armidale Chapter, which held
its inaugural meeting on 8th March, 2011. Many of its members are currently studying for the Australian
Kodaly Certificate. We look forward to hearing more of their activities in the near future.
Our newest branch in Western Australia has been busy offering professional development opportunities
in the form of methodology workshops and musicianship classes. There are 32 members already, and
I’m sure they will continue to go from strength to strength under the leadership of a vibrant and young
committee.
The South Australian Branch have continued to offer a wide variety of workshops, newsletters and
regular courses this year, despite having taken on the hosting of our Biennial National Conference which
will happen from 2-5 October. Planning and organisation for this event is well under way – check out
their website and make sure you register soon!
In the past year, the ACT Branch have actively run workshops concentrating on choral performance,
developing conducting skills, and early childhood and primary methodology and resources. An
impressive number of members make this a very strong branch for such a small geographical area. I
commend their focus and tenacity in searching out the very best of presenters for members, despite
being a significant distance from other larger urban centres of Australia.

INTRODUCTION
The Queensland Branch has provided a variety of workshops, conferences and courses, including
the popular Open Classroom Series, and regular newsletters. Due to the outstanding success of the
symposium the organisers were able to donate $5000 to the IKS and to provide six scholarships to the
Cuskelly School of Music Summer schools for participants wishing to study for the Australian Kodály
Certificate. Production is underway for their next major DVD project, Music in the Middle Years. They
are also supplementing workshops by providing a series of “Twilight Talk” sessions for teachers to
share activities, resources and seek support in areas of interest.
The Mackay Chapter of the Queensland Branch enjoyed great success with their workshops and
festivals, kick started by the 2011 Annual Choral Festival with Reka Csernyik and Anthony Young. By
this time the 2012 Choral Festival with Anthony Young and Debra Shearer-Dirie will have happened.
A large representation from the Mackay Chapter was able to attend the IKS Symposium due to the
generous provision of funds from the Judy Creen Education Bursary.
Finally, the Townsville Chapter of the Queensland Branch has had a most exciting year. The Biennial
“Spirit of the Voice” Festival produced a performance of the Beethoven’s 9th Symphony with massed
choir and orchestra. This event was then nominated for a number of Townsville Arts Awards, including
the category in which they won “Production of the Year”. Congratulations!
The Townville Chapter also celebrated their 20th anniversary as a branch last year at their AGM, during
which the award of Honorary Life Membership was bestowed upon our beloved Sr Valerie Huston.
Projects for 2012 and 2013 are many and varied. The Victorian Branch raised the concern of how we
could further advocate for quality tertiary teacher training. Initial responses to this suggestion were
supportive and the council would like to form a committee this year to further investigate and liaise with
other music education bodies in order to advocate for more effective teacher training.
Currently a test website is in development which will hopefully be easier for KMEIA Branches to access
and update as required. Early feedback on this site has been very positive, and we owe much gratitude
to Jason Goopy for all of the work which he has done to liaise with branches and transfer materials
across. Please make sure you contact him if you have thoughts or suggestions in this area.
It is interesting to note the many commonalities in the State and Chapter President reports that comment
on the burden of maintaining administrative demands in time-poor committees. Without exception, the
contributions of busy executive and committee members were recognised for their diligence, energy, and
enthusiasm.
Following along these lines, I would like to offer my thanks to members of the National Council for their
contributions to the smooth running of our organisation during this past year: Membership Secretary
Jason Boron, Past President Gail Godfrey; Vice President David Banney; Secretary Aleta King; Treasurer
Jill Meneely; co-editors of the 2011 Journal Ann Carroll and Terence Hays; Web master: Darren Wicks
and Web Master in training Jason Goopy; Do-re-mi national co-ordinator and NSW President Julie
Logan, Mackay Chapter past President, Jill Green, SA President Kirsty Dent; Co-opted Members: Daniel
Crump and Dr James Cuskelly for their work on the IKS Symposium and Wendy- Cara Dugmore for her
assistance on the web team and her initial support for the membership secretary.
We bid farewell and thank you to resigning members of National Council: Ann Clifton, Jill Meneely, Jill
Green, Terrence Hays, James Cuskelly, David Banney, Darren Wicks and Wendy-Cara Dugmore.
As we continue to move towards a National Curriculum it would be well to remember the following quote
from Kodaly, which is a relevant and significant comment on the current situation as well as the past.
“We put up the fancy spires first. When we saw that the whole edifice was shaky, we set to building
the walls. We have still to make a cellar.”
Zoltan Kodály
I wish you all the very best for a successful year ahead educating your students and the music educators
of tomorrow.

LIFE MEMBERSHIP
DR DEANNA HOERMANN
At last year’s International Kodály Symposium,

held in Brisbane in July 2011, Dr Deanna
Hoermann was awarded Honorary Membership
of the International Kodály Society. This award
is based on particular contributions in the fields of
composition, performing, research or education,
mostly connected to the dissemination of Kodály’s
vision.
Most of us are aware of Dr Hoermann’s unique

contributions to music education in Australia and
internationally. Firstly, this is evident with regard
to her introduction and promotion of the Kodály
philosophy and adaption of this pedagogical
approach in Australia, the facilitation of student
and teacher education, and in documenting
successes in the field of educational studies and
research. Dr Hoermann was the founder of the
Institute, and to this day participates actively on
Deanna Hoermann
the National Council to further promote our aims.
Many may not be aware that Dr Hoermann was
also the first President of the International Kodály
Society in 1975-76. She has certainly exemplified
a life-long commitment to the dissemination of
Kodály’s vision. Australia owes her a great debt
for bringing Kodály philosophy to so many and with
such conviction. She has certainly
On behalf of all KMEIA members I would like
exemplified a life-
to offer our congratulations to Dr Hoermann long commitment to
for receiving this important award of Honorary
Membership to the IKS, and to thank her for her the dissemination of
unsurpassed contribution to music education in
Australia.
Kodály’s vision.

LIFE MEMBERSHIP
MARK O’LEARY
Mark O’Leary
Mark’s Honorary Life Mark’s outstanding career as a teacher and choral

conductor serves as a model for all of us and it is a
Membership couldn’t be more testimony to the fact that it is possible to provide an
deserved; we are so grateful excellent music program in Australia. The Young
Voices of Melbourne, now past its 20th birthday
that he is here! and one of the most outstanding youth choirs in
Australia, is proof of the value of aural training and
music literacy in young choirs.
There can hardly be a music educator in Victoria
who has not in some way been influenced by the Mark is an inspiring and energetic leader of the
work of Mark O’Leary, and many teachers in other Victorian Branch and his no nonsense approach
states might make the same claim. Through his to getting things done makes it possible for the
commitment to promoting Kodály methodology in committee and branch members to keep moving
music education and choral work, Mark has made forward.
it possible for countless teachers to develop their
own teaching practices to the highest standards. Mark’s Honorary Life Membership couldn’t be more
He is generous with advice on choral repertoire, deserved; we are so grateful that he is here!
classroom teaching, and in so many other areas of
music; Mark is an invaluable resource. Susan Searle Victorian Committee

REFEREED PAPERS
THE ‘JUNIOR VOCAL STREAM’ AT THE

CONSERVATORIUM HIGH SCHOOL
ROBERT CURRY
It may come as something of a surprise to readers of this Journal to learn

that the Conservatorium High, a school which has educated many of
Australia’s most distinguished musicians, espouses no particular philosophy
of music education and has never adopted a consistent pedagogical
approach to the teaching of classroom music. This laissez-faire attitude
has something to do with the origins of the school as the secondary arm
of the NSW State Conservatorium of Music and the manner in which that
secondary-tertiary relationship evolved over time. In more recent times,
it has more to do with entrenched one-size-fits-all departmental staffing
policies that are very much in the news today.
Robert Curry
The Conservatorium’s inaugural Director, Henri Verbrugghen whose
The JVS initiative holds great brainchild the high school was, firmly believed that “a good general
promise, certainly for the education is as much a necessity to a musician as to a lawyer or a medical
Conservatorium’s secondary practitioner.” The school’s first principal was seconded from Sydney Boys’
arm, the Con High, and High; he taught both secondary and tertiary Conservatorium students. The
potentially too for its tertiary music-educational needs of the Con’s secondary students were adjudged
arm, Sydney University’s (not unusually for the period) to be essentially the same as those of the
tertiary students: solfège, harmony, counterpoint, music history, and
Faculty of Music. Various
orchestration, all of which were all treated as ancillary to the main pursuit:
aspects of the Stream could instrumental performance. Students, both secondary and tertiary, were
well be of interest to students admitted to the Conservatorium on the basis of their ability and potential as
pursuing degrees in music instrumentalists. No consideration was given to the possibility of accepting
education. Readers of this students into the junior school as choristers. Instrumental music reigned
Journal will no doubt think supreme.
of many more; here are
just three topics that spring Until the late 1970s Conservatorium High students received not just
to mind: ‘Identification of instrumental tuition but all their music subjects from members of the
the musically gifted: the Conservatorium’s tertiary staff. That situation changed with the appointment
JVS audition and selection of a music specialist as principal in 1975 and the adoption of the Board’s
Music Courses during 1977-78. By the end of the decade, under
process’; ‘A longitudinal study
Margaret Cunningham as principal, the school had gained a complement
of JVS students’ musical of four classroom music teachers; and, finally, in 1981, the school was
and academic development’; granted a Head Teacher position in Music – which was duly filled without
or ‘The JVS as catalyst in advertisement.
the assimilation of Kodály
methodology into the
Conservatorium High’s music
program’.

REFEREED PAPERS
This pot-luck approach to staffing hampered the Students at the Conservatorium High pursue
school’s addressing what many of us have regarded two programs of study that run concurrently: the
as a major shortcoming in its music program. I standard NSW Board of Studies curriculum and a
am referring to the lack of an integrated, rationally co-curricular music program that encompasses a
planned all-school choral program directed by a Board-endorsed course. Students receive 16 hours
choral/vocal specialist, ideally, one who is Kodály- of individual tuition per semester in their major and
trained. To be sure, the school long recognised that 8 hours in their minor areas which, in addition to
the most effective way to develop our students’ instrumental and now vocal music, can embrace
musicianship and aural acuity is through singing. composition/ arranging, conducting and musicology.
And in recent years greater emphasis has been They have opportunities to perform in chamber and
placed on things vocal, not to diminish the vocal ensembles, a wind orchestra and a symphony
importance of instrumental training but to enhance orchestra, and everybody sings in the all-school
and sharpen the focus of music pedagogy in the choir.
school overall.
For the present, the Junior Vocal Stream is catering
Those changes notwithstanding, the Con High for students starting their first year of high school
remained reluctant to admit into the junior school (Yr 7) or entering Yr 8. Like all Conservatorium
children whose preferred medium of musical High junior students, those in the JVS follow Stage
expression is singing. Simply put, the school lacked 4 & 5 Mandatory and Elective Music courses, and
the wherewithal to provide junior vocal students undertake the usual academic subjects. Unlike
with coaching and musical training that was both other students, however, the primary medium of
tailored to their particular needs and comparable in instruction in the JVS is the voice - one of the
breadth and rigour to the level of training provided distinctive features of the vocal stream initiative.
to instrumental students. This anomaly stems from While the pedagogical mode of delivery differs
the fact that expertise in training the young teenage between the instrumental and vocal streams,
voice is not part of the remit of the singing teachers syllabus requirements remain essentially the same
on the tertiary side of the Conservatorium which, for all junior students.
as mentioned above, continues to be the traditional
provider of most instrumental tuition for Con High Another distinctive feature of the JVS is its
students. articulation with the Sydney Children’s Choir (SCC).
Students in the JVS develop their general vocal
The Junior Vocal Stream (JVS) is a new initiative and aural skills at school through the Con High’s
designed to remedy this longstanding shortcoming graded aural classes, small vocal ensembles and
in the Conservatorium High’s music program. It the all-school choir. They receive specialist vocal
aims to inculcate the principles of Kodály method coaching and additional aural training outside
into our classroom-music teaching and, more school hours through their participation in the
broadly, it emboldens the hope that, over time, this workshops and classes that are conducted by staff
pedagogical approach will enliven and underpin of the Sydney Children’s Choir. One of the great
the whole-school music program. Most importantly, attractions of the JVS is that students accepted into
the JVS opens the way now for the Con High to this Conservatorium High program become bona
admit into the junior school students whose great fide members of the Sydney Children’s Choir and,
joy and preferred medium of musical expression is as such, they participate in all the scheduled SCC
singing. The JVS hinges on a two-pronged strategy: rehearsals and public performances.
collaboration with Sydney Children’s Choirs and
engagement of a Kodály-trained choral specialist The JVS application process differs in only one
to teach the JVS students, to oversee the school’s respect from that applicable to all other Con High
choral program and to mentor members of the Con aspirants: JVS candidates must also complete the
High’s music faculty in Kodály pedagogy. Fulfilling Sydney Children’s Choir audition which, in this case,
this important role is the school’s Director of Vocal & is conducted by its Artistic Director, Lyn Williams
Choral Studies, Liz Scott who completed advanced OAM, in collaboration with the Con High’s Director
training at the Kodály Institute, Kecskemét and is, of Vocal & Choral Studies, and the Principal. The
herself, an accomplished singer. audition takes approximately 15 minutes. Applicants
are first asked to sing two songs of their own choice,

REFEREED PAPERS
one with piano accompaniment, and the other The JVS initiative holds great promise, certainly
unaccompanied. Lyn Williams then conducts the for the Conservatorium’s secondary arm, the Con
following short aural tests: High, and potentially too for its tertiary arm, Sydney
University’s Faculty of Music. Various aspects of the
1. Recognition of pitch patterns: the candidate is Stream could well be of interest to students pursuing
asked to sing back intervals played on the piano degrees in music education. Readers of this
2. Melodic memory: two short melodies are played Journal will no doubt think of many more; here are
twice. Candidates sing them back from memory just three topics that spring to mind: ‘Identification of
3. Singing the lower part: reading from the music, the musically gifted: the JVS audition and selection
candidates are asked to sing the lower part of process’; ‘A longitudinal study of JVS students’
two two-part melodies musical and academic development’; or ‘The JVS as
4. Sight-singing: candidates are presented with catalyst in the assimilation of Kodály methodology
three tonal melodies of increasing difficulty. They into the Conservatorium High’s music program’.
are given the starting note and asked to sing at
sight.
The remaining, standard components of the Dr Robert Curry is a musicologist and pianist.
Con High application process accord with the He completed his undergraduate training at the
Department of Education and Communities’ policy NSW State Conservatorium of Music, graduating
on gifted and talented education, specifically the with honours. He continued his musical education
range of recommended strategies for identifying in Warsaw at the Państwowa Wyższa Szkoła
gifted children. These components entail workshops Muzyczna [Uniwersytet Muzyczny im. Fryderyka
involving diagnostic testing together with individual Chopina] and at the State University of New
instrumental auditions (where applicable) and York, Stony Brook, where he studied under the
academic assessment through the NSW Selective distinguished pianist-scholar, Charles Rosen.
Schools Test or a WISC-IV test (Wechsler After completing two Master’s degrees at Stony
Intelligence Scale for Children, 4th ed., 2004). Brook, in music performance and in historical
musicology, he took up a University of Toronto
In accepting children into the JVS the school is doctoral fellowship to pursue studies in Latin
mindful of the variability of the maturation process paleography and medieval music. Following his
as it affects the young singing voice. There can be return to Australian in 1982 he was appointed a
no guarantee that the vocal quality and potential foundation member of the Conservatorium staff
identified in a Year 6 student at audition will be in the Western Australian Academy of Performing
retained and blossom as the teenage voice settles Arts. He was Head of Classical Music in the
following puberty. Furthermore, it is not uncommon Academy until his appointment, in October 2006,
for Con High students to discover among the rich as Principal of the Conservatorium High School,
offerings at the Conservatorium another medium of Sydney.
musical expression that claims their passion and
this realisation may lead to their changing majors,
from the one presented at audition to a different
instrument or to composition/ arranging/ conducting.
For this reason, the school insists on JVS students
undertaking at least one minor instrumental study.
The many factors bearing upon selection of an
appropriate minor study are discussed with students
and their parents at interview with the Principal
shortly after the formal offers have been advised.
Thanks to the generosity of the Emorgo Foundation,
JVS students wishing to pursue a woodwind
instrument as their obligatory minor study can
now apply to the Public Education Foundation for
financial assistance.

REFEREED PAPERS
SINGING IN A NEW LAND
JUDITH JOHNSON
On 13th May 1787, 11 ships left Portsmouth in England to travel to the

distant land of New South Wales. This is known in the history of modern
Australia as the First Fleet, and brought with it the first white settlement to
Australia. The settlement included 759 convicts, their Marine guards (some
of whom brought their families), and a few civil officers. They arrived to find
300,000 Aborigines who had inhabited the world’s oldest continent for more
than 10,000 years.
The largest section of the First Fleet was the convicts, many of whom
were guilty of petty crimes, often made necessary by the poor conditions
in England. For stealing a loaf of bread or catching a rabbit, they were
sentenced to transportation. However, there were also many hardened Judith Johnson
criminals – murderers, thugs, forgers and rebels who could no longer be
sent to America as a result of the American War of Independence. These
then were the pioneers, who through hard work, perseverance and great
hardship were left to survive and build a new colony through their self-
sufficiency.
The last convicts were transported to Australia in 1868, but by then a total
of 162,000 men and women had been taken from their homes and shipped
across the seas to this developing colony. Of the convicts, 70% were
English and Welsh, 24% were Irish and the remaining 5% were Scots. By
this time, however, free settlers had begun to arrive in the colony. These
early pioneers, convicts and free settlers came from countries with a long
history of folk singing and a great deal of the knowledge we have of their
lives in those early days has been preserved in the songs they sang in this
new land.
The first record of a musical performance in Australia was when the

Surgeon-General, John White, whistled the folk tune When Marlborough
Went to War to a group of Aborigines. It was later reported that the
aborigines remembered the tune and were able to sing it perfectly. Even
today we still sing this tune to the words of For He’s a Jolly Good Fellow.
In the second volume of his book, Folk Songs of Australia, John Meredith
comments on the nature of Australian folk songs, “There is no such thing
as an original traditional song, and any item when closely examined will be
found to contain musical or textual references to some earlier one . . . Our
songs are derived mainly from Irish street ballads and music hall or pub
songs” (Meredith, Corell & Brown, 1987)

REFEREED PAPERS
At the International Kodály Society Symposium in there were less folksongs than there were sets of
Ohio I gave a paper reporting on a new initiative to words, broadside singers often used and reused just
analyse the folk songs of Australia in the accepted the songs they knew.
international format. I also related a tale describing
my experience with the American folk song Sweet Folk song collectors in Australia understood the
Betsy from Pike and how Australian children had value of this source of history and many made
rejected this song until I discovered a folk song here use of the small collections that exist in Sydney
which used the same tune but with an Australian and Canberra. In 1985, Ron Edwards of North
story set in a Northern Queensland cane farm. I Queensland was awarded the Australian Folk Trust
have now discovered nineteen songs with the same Fellowship. This award enabled him to travel to
melody. Britain for a month to investigate the collections of
broadsides in libraries in Liverpool, York, Bangore
The tune used for these songs was an old music University, Dublin, Sheffield, Glasgow and the British
hall song Villikins and his Dinah. In the early days, Museum. As a result of his research he produced
the music hall relied heavily on folksongs and their two books The Convict Maid and The Transport’s
tunes. In this instance Villikins and his Dinah is a Lament and where possible, he included tunes to
parody of a much earlier folk song which started which the broadsides had been sung by pioneers
life as a broadside based on the murder of Maria here in Australia.
Marten in 1827. Villikins and his Dinah itself
became a broadside and appears to have lasted The other way in which folk songs in Australia have
longer than the original. been collected is through field research. Many
people have contributed, and the result is a large
Other tunes which have been used in the same way collection held in the National Library in Canberra,
are The Wearing of the Green, Bow Wow Wow, much of which still needs to be transcribed from the
Marching Through Georgia and A Fine Old English sound recordings. One of our greatest collectors
Gentlemen to name just a few, but very frequently has been John Meredith. His books, Folk Songs
notes on the original, collected songs will indicate of Australia, Volumes 1 & 2, contain traditional
which tune is used. When collating the analysis songs, dance tunes, yarns and social history, all of
information I therefore thought it necessary to which give valuable information about the singers
keep a record of these “borrowed” melodies where or players who performed for him: their names and
they were known. Original melodies are rare, so it ages, their family history, where they learned the
seems. For us, the interest is in the words and the tune and who they learned it from. All this helps us
stories they tell. get closer to the origin of the tune.
Some of these connections have been made In addition to Meredith, there are many other
by investigation of the broadsides which are still collectors to whom we are indebted for the large
available. Broadsides could be defined as a song collections held in Canberra - John Manifold, Hugh
text or texts printed on one side of a single sheet of Anderson, Bill Scott, Bob Michell and Stan Arthur,
paper. Broadsides have existed in Britain since the to name just a few - and much work is still going on
early 1500s. They were produced in huge numbers to transcribe songs from the tapes. The Library still
and were still being sold in the twentieth century. sends collectors out into the field to try to find yet
Sanderson of Edinburgh was selling broadsides more material.
in 1944 and they were frequently found in Ireland
in the 1950s and 60s. Technically, any subject All of this is interesting, necessary and valuable
material could be printed as a broadside, but we are work, but to date and to my knowledge, no work
interested in broadside ballads referring to the early has been done to analyse the music itself to see if it
white settlement in Australia. hides information that as teachers we all need. This
has become my interest. I am not a collector. I do
Broadsides were cheap, so that put them in the not go out into the field; instead I am investigating
reach of almost everybody. Only occasionally did the work that has already been accomplished by
they print the tune which was to be used, but many those that have gone before.
broadside sellers “sang” the words to any popular
folk song or music hall song they knew. Because

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Shortly before he died I spent a morning with Bill Scott in Warwick to discuss with him what I wanted to do
and to see if he thought that my plans had any merit. He was so supportive but had this warning.
“Lass, be careful, once you start, it is very obsessive!” And an obsession it has proved to be. I have now
analysed or partly analysed 1400 songs in the recognised international format. There are still many more to
go but at least this number will allow us to draw some basic conclusions.
Each song has been transposed so that it finishes on the note G, with one phrase on each line and then
analysed in accordance with International guidelines. In addition a spreadsheet has been prepared with the
following information:
• Name of the song

• Source
• Tone Set
• Scale
• Range
• Interval
• Rhythmic Content
• Metre
• Is there an anacrusis
• Value of the anacrusis
• Form
• Cadence Notes of each phrase
• Number of syllables per phrase
• Whether the song is heterosyllabic or isosyllabic
• Number of bars per phrase
• Whether heteropodic or isopodic
• Tune used if it is known
The easiest way to understand these is to look at an analysed song:
TITLE: MAZLIM’S MILL

First Line: Now I am a bullock driver and I work for Mazlim’s mill
SOURCE DATA: Collected by John Meredith from Jim Bourke, Surry Hills, Sydney around 1954.
Printed in the Second Penguin Australian Songbook edited by Bill Scott and in The Australian Folk Song
index Part Seven by Ron Edwards. In some versions the name is recorded as Mazlin thought to be
John Mazlin who was a pioneer who owned a saw mill near where the present town of Atherton now
stands.

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2 songs use that interval.

Tone Set s,l,t,drmfs Form: A-B-A-Bv
Scale: Plagal Major Cadence Notes: vi:v:vi:1 Metre: In metre, 247 songs are in 4/4 and 147 are
Range: v-5 Interval: Perf.8ve in 2/4. In 6/8 there are 274 songs and 177 in 3/4.
Verbal Syllables: 15:14:14:14 Heterosyllabic However, many of the 3/4 songs work just as well, if
Metre: 4/4 Number of Bars: 2:2:2:2 Isopodic not better, in 6/8 –so it would seem that the metre of
choice is compound. There is a sprinkling of other
Index: A/AU/NW/bd time signatures and a few songs with mixed metre.

Source: Where possible I have used only Anacrusis: Of the 1400 songs analysed, 1324
material which has been collected in the field or begin with an anacrusis.
from broadsides by reputable collectors who have
given as much information as possible about the Of the other categories, Verse/Chorus is one of the
contribution, to verify its authenticity. most common forms. As most of the songs are
ballads this is not surprising. The cadence notes
Tone set: The range of notes is given in sol-fa give the pitch at the end of each phrase by using the
from the lowest to the highest with the finalis of the same numbering system as for range. The phrase
song indicated. I have often been disappointed structure is definitely heterosyllabic, meaning that
that more Australian folk song is not used in our each phrase has a different number of syllables
classrooms and have been told –“Oh it’s all too in its make up, but the phrase structure is also
hard for the children – much too complicated” – and predominantly isopodic, meaning that each phrase
yet, this analysis is discovering songs with simple contains the same number of bars.
rhythm and simple melodies, very adaptable to our
classrooms. True there is not the wealth of simple Finally the song is placed in a coded index. The
pentatonic material which is available from other code given for this example as A/AU/NW/bd means
sources, but there are pentatonic songs—mostly this is an Adult folk song collected in Australia,
with a tone set of s,l, drm and its variants—which specifically in New South Wales, and is a ballad.
will prove to be very useful.
Not all the analysis has been completed, but we
Scale: Of the 1400 songs analysed, 73 use the do now can draw some conclusions which confirm
pentatonic scale, 60 use the do hexachord and 1047 ideas that previously used anecdotal evidence to
are in a major key - 36 of these use a plagal major claim characteristics of Australian folk song.
scale. La tonality is less common. To date there are
only 9 songs in la pentatonic, la hexachordal and At the moment this seems to be just a big jumble of
la pentachordal, but I have found 65 in the minor statements and numbers. What does it mean for us
scale. Of the 71 modal songs found there are as teachers? There are questions to be asked and
representatives in the Aeolian, Mixolydian, Dorian decisions to be made.
and Lydian modes.
Do we want our students singing more Australian
Range: The range for each song is indicated by folk songs? If the answer is “yes”, then we need
Roman numerals below the finalis and Arabic to know why, and the analysis task needs to
numerals above the finalis. Of the songs analysed, be continued, so that we can find the very best
906 include notes a fourth, fifth and even a sixth materials. The very best materials will also have to
below the finalis. Did the predominance of males take into account the texts of the songs. Our early
in early colonisation need songs which used the settlers were rough men and women who sang
lower part of the scale? Only further research will about life as it was for them. Some of the texts will
confidently answer that question. not be suitable for classroom use, so our analysis
needs to also investigate the complete songs –
Interval: The interval recorded is from the lowest some of which have 12 to 14 verses.
note to the highest note. Songs with restricted
intervals are in the minority. Only 10 songs have The analysis so far has shown that there are
the range of a fifth or a sixth. The most common many songs which can successfully be used for
range is that of a ninth with 289 songs in that musicianship training. All aspects of literacy could
category. The widest range is a fourteenth but only be addressed even with the small number of songs

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already analysed. One interesting aspect that has

spiked interest is the frequency of the ascending
major sixth in melodic lines. One line of thinking
says that this ascending interval denotes “emotion”.
Given the hard life these people led perhaps that is
not too far from the truth.
Undoubtedly these songs are not for the youngest

children, but that does not mean that we cannot
use them to sing to the children as a teacher
performance, and then reuse them further into
primary school after they have some basic literacy
training.
For me, the greatest value of these songs is the

history they contain. We presently have a Federal
Government that rightly insists on history being
part of every curriculum. These songs cover so
much of what is needed that it does not take long
to realise the opportunities for cross curriculum
investigation. From transportation, the life of a
convict, early free settlement, the Indigenous
people, the pastoral industry, the shearers, the gold
rush, the bushrangers, the beginning of the railways,
to sailors and their ships - the list is endless. The
songs refer to real people, real places and real
events.
The ballads are there and tell the stories, but

even more importantly we want our children to be
singing the songs for the love of the singing, the
beautiful melodies they contain and the unique
Australian humour that is often found therein. They
are enjoyable and whilst we can learn and teach
many things from them, it is the performance that is
important. Our ancestors brought the songs to us;
our task is to ensure that their descendants continue
to sing them in this new land.
Reference
Meredith, J., Covell, R. & Brown, P. (1987). Folk songs of
Australia, Volume 2. Sydney, Australia: University of New
South Wales Press.

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PREPARING THE NEXT GENERATION

OF PROFESSIONAL MUSICIANS
TERRENCE HAYS
Introduction
Much has been written about mentorship and its application in the
educational (Savage et al., 2010), medical and corporate worlds
(Caldwell & Carter, 1993; Field & Field, 1994; Furlong & Maynard, 1995;
Miles & Watkins, 2007; Zey, 1995). While there is an abundance of
literature concerning mentoring in the fields of nursing, medicine and
business, there is a scarcity of literature highlighting the significance of
mentoring in the training of musicians. On the other hand, there is much
literature on the nature of the on-to one nature of studio teaching in
music institutions. This is the traditional practice of instrumental teaching
passed down via luminaries such as the Bach’s, Beethoven and Liszt
(Hultberg, 2000; Jorgensen, 2000; Nerland, 2007). It is the master-
apprentice approach, which (Hultberg, 2000, pp. 25-26) describes as
focusing on aural learning to facilitate better ability ‘to play, to understand
and to create music’. Lehmann (2007) also refers to this as the mentor-
Abstract: This paper explores
friend model.
the nature of mentor
relationships in the training Uszler (1992) states this model of master/apprentice implies the
of musicians. Using in-depth teacher being responsible for inspiring the student who in turn listens,
interviews with professional imitates and tends to seek approval. In this model of instruction the
musicians, this study uses main concentrated focus is the development of performance skill and
a qualitative framework to technique (Burwell, 2006; Gaunt, 2008; Leber, 2008; Presland, 2005;
describe the construction and Reid, 2001).
meaning of mentorship for
musicians from the perspective Presland (2005, p. 237) makes the point that the conservatoire model of
of the mentor and the protégé. teaching depends largely on a successful relationship between the
student and their instrumental/vocal teacher, and that this relationship
The study particularly looks
exists within an ‘intense, demanding and rarefied environment’. In such
at the training of musicians
institutions faculty staff can be full-time people who have moved away
focused on preparing for a from a performance career, or in many cases be part-time adjunct staff
career in music. The findings who also continue to have a busy performing schedule. This also raises
identify key functions relating the issue of many studio teachers not having any pedagogical training,
to the psychosocial and and are often are employed according to their status as a performer.
career development of the
protégé and the meaning Instrumental teachers often have highly individualistic approaches to
of the experience for both their teaching and at times use unorthodox methodologies, which is
participants. The results seen by the institution as being artistic license (Burwell, 2006; Kingsbury,
highlight the developmental and 2001; Nerland, 2007). For the institution, the main focus often being the
training and graduating of talented students who may bring kudos and
sociological importance of the
status to the music faculty. In which case it is not surprising that many
relationship and the need for
teachers spent much of their time teaching technique and repertoire,
music supervisors and faculty which is only one aspect of professional musicianship (Burwell, 2006;
administrators to understand Lehmann et al., 2007; Nerland, 2007; Young et al., 2003). The focus
the scope of the role in an area ideally should be on ‘producing rounded musicians showing a high level
of professional training.
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of instrumental competence’, a depth of musical academic services, as well as added functions

understanding and a core of personal confidence such as counseling, advising, assessing
that will allow them to express themselves with total guiding, evaluating skills, and overseeing the
commitment in any performing area’ (Presland, intellectual development of an individual. In the
2005, p. 237). last two decades the importance of the mentoring
relationship has been researched in the areas
Many of the great musicians and pedagogues of of adult education, health, business and academia
today and the past have had mentor figures in their (Penner, 2001; Savage et al., 2010; Yager et al.,
lives, and today interestingly, music training is still 2007).
mostly taught on a one-to-one basis (Chasins,
1988). It is interesting to note that the other The mentorship phenomenon has often been
most notable example of one-to-one training in labeled as a ‘symbiotic partnership’ because the
education is the higher degree research student relationship largely exists as a result of the
undertaking postgraduate studies with the guidance benefits that both mentor and protégé provide
of an experienced professor. The issue in today’s to each other (Blackburn et al., 1981) and is
world with both the musician and the graduate considered the basic form of education because it
student how can we prepare them for the modern can provide a holistic, individualistic and experiential
world in terms of multi- competencies so they are approach to learning.
employable (Leber & McWilliam, 2008; Yorke,
2006; McWilliam & Dawson, 2008; McWilliam et al., Mentorship is not only defined by formal roles but
2007)? How do we refine this timehonored also in terms of the relationship and the functions it
pedagogy so that it is about the management of serves (Cullingford, 2006). The relationship requires
learning rather than the focus on acquisition of a personal and professional interest in the
skills? development of a younger protégé by the mentor
who, in turn, acts as a teacher, sponsor, host, guide,
The nature of mentorship counselor, defender and realiser of the
The term mentor is derived from Homer’s Odyssey, professional ‘dream’ (Barnes & Stiasny, 1995;
whereby Athene took the image of Mentor who Levinson, 1978).
was Odysseus’ loyal and most trusted friend and
given the responsibility of caring and nurturing It has been suggested that mentoring “begins by
Telemachus (Odysseus’ son) whenever the father engendering trust, issuing a challenge, providing
was away from home. The relationship of Mentor to encouragement and offering a vision for the
Telemachus was one of responsibility, where journey” (Daloz, 1986, p. 30). Throughout this
guidance, counseling, tutoring, coaching, journey, the mentor supports and challenges their
sponsorship, defending, and protection, were protégé to professionally develop as a person
expected. In short, Telemachus was ‘locus in by providing ongoing assessment and feedback.
parentis’ for Odysseus (Carruthers, 1993; Daloz, Gaunt (2008, p. 230) suggests it is indispensable,
1983; Daloz, 1986). Savage, Karp and Logue intense and intricate part of instrumental and vocal
(2010) describe the process of mentoring as being teaching. It is the guiding, nurturing and molding of
a “person, usually of superior rank and outstanding the student in terms of their learning in preparation
achievement, guides the development of an entry- for a career, which is paramount in terms of the
level individual”. pedagogy.
In the mid 1960s the term ‘mentor’ came into vogue An important aspect of this association is to
when educational sociologist Torrance (1980) noted encourage a protégé to recognise their own
that the descriptive terms ‘patron’, ‘sponsor’ or strengths and weaknesses, while they develop their
‘coach’ were insufficient to describe the depth of the own skills in a rigorous, nurturing environment
relationships that were instrumental in the (Portner, 2005). The relationship is usually
development and guidance of creatively gifted exclusionary and discriminatory in nature, allowing
children. Torrance (1983) also suggested that for high-level cognitive and technical skills to be
whenever independence and creativity occur and developed by the one-to-one relationship between
persist, there are usually people who play the role of mentor and protégé. Students working in fields
mentor for aspiring protégés. requiring practical skills (such as the case with
advanced music students), need to have mentors
In the 1970s Shapiro (1977), Sheehy (1976) and who are practitioners and role models who can
Levinson (1978) used the term mentor to describe demonstrate how to approach the different ways to
relationships which focused on the delivery of approach technical problems, interpret scores, and

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provide models of problem solving (Rogers, 1986). of the interviews were held at the homes of the
informants, which provided time and space where
Several authors have proposed different roles the informant could be relaxed and uninterrupted
or relationships associated with mentoring. For by work pressures. The remaining three interviews
example, Shapiro (1977) suggests that mentoring is were held in the informants’ teaching studios.
part of a continuum of advisory support relationships The duration of all the interviews ranged between
that form part of the larger patron system. They 45 and 60 minutes. The informants interviewed were
identify a system of professional patronage and drawn from various music faculties in Australia,
sponsorship, with ‘peer pals’ at one end of the and included one from the United States of
spectrum and, mentors at the other end. Between America. They were purposely selected to include
these two points are ‘guides’ and ‘sponsors’. professional musicians responsible for the
Kram (1985b) and Merriam (1983) suggest that training of the next generation of musicians. The
mentorship functions can be classified as either sample included eight informants working with
career or psychosocial functions. Career functions students in the areas of performance, three who
can include sponsorship, exposure, visibility, worked in faculty administration, and four who
coaching, protection and challenging assignments, taught across academic studies.
while psychosocial functions can include role
modeling, friendship, counseling, acceptance and Consistent with qualitative techniques in
confirmation. Other factors that affect the functions interviewing, the interview schedule allowed for a
of mentor relationships include the developmental free flowing, conversational style (Minichiello et
tasks that each individual brings to the relationship, al., 2008). The focus of the interview was on the
which then shape the particular functions sought by personal meaning of the mentor experience. The
protégés and offered by mentors. interview schedule was designed to focus the
informants on their own experience of being
The focus of the research mentored, and also how they undertook mentoring a
This study describes how mentor relationships in protégé. The focus of the interview was to
music are constructed and given meaning in the explore the meaning and construction of such
context of the conservatoire studio teacher and relationships. The interviews were tape recorded
the instrumental and or vocal student who is and then transcribed into text as outlined by Browne
preparing for a career in music. The study explores (2004). These texts were then coded and analysed
the dynamics, functions and skills required by for meaning units and recurring consistencies.
the mentor and the protégé whereby the relationship
can develop and be mutually beneficial. The term The analysis of the data was a process of ‘thematic
mentor is not necessarily synonymous with discovery’ from the transcribed interviews using
the term teacher, (which is often the case in the methodological principles of open and axial
professional training) although some teachers can coding described by Strauss and Corbin (1998).
become mentors. Rather, mentorship is essentially Recurring relevant themes were identified by
about interpersonal relationships extending beyond repeated examination and cross-checking of the
the normal teacher/student interaction. It is about codes identified from the transcripts. The interviews
the gift and the legacy of the interaction where the were staggered and undertaken in groups of five
protégé is privileged in terms of learning outcomes at a time allowing the researcher to refine the
and opportunities provided by the mentor. The interview schedule for the second and third round
relationship implies trust and a commitment to the of interviews so that they were more focused on the
development of a professional identity, which is themes, issues and ideas that emerged from the
facilitated by the passing on of knowledge, expertise initial set of interviews. The interviews also followed
and experience from the older person who is a recursive style of interaction that was more
professionally recognised in their field. conversational in nature and facilitated
clarification of ideas and themes raised as
Methods suggested by Minichiello, Aroni and Hays (2008).
There were 15 informants in this study, comprising
six women and nine men. All the informants Using coding principles associated with qualitative
interviewed were employed as tertiary faculty data analysis (Browne, 2004), the data were
staff music and were directly involved in teaching organised in terms of the following categories:
both undergraduate and graduate students. All general descriptions and definitions, types of
the informants had been recognised professional mentorship relationships, skills and attributes,
performers in their time, and several continued to negative aspects of the relationship, meaning and
perform outside their teaching commitments. Twelve importance. From this coding emerged the two

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primary categories (or functions), one that relates She was very honest, very direct, very straight
directly to the personal developmental aspect of forward about expectations, very interested in
mentor relationships, and the other that directly not only my musical development but also my
influenced professional skills training and career development as a person. (David)
development.
A long standing relationship with whom you
Kram (1985a) refers to these primary functions advise musically, technically, culturally and
as psychosocial functions and career functions. privately too. (Clare)
This is supported by Caldwell and Carter (1993)
whose definitions of mentorship fall into one of two The development of a mentor relationship was
categories: firstly, the mentorship that facilitates described by the as mutual bonding by the
the professional development of the protégé only, informants. For the student, it meant learning to
and secondly, the mentorship that emphasises speak the same language as the teacher. One of
the professional and personal development of the the informants stated that protégés often develop
protégé. an understanding and love of the discipline that
grows from a sense of confidence, challenge,
Defining the concept of the mentor experience motivation and recognition conveyed by the mentor.
All the informants agreed that mentorship was Another informant stated, ‘…a mentor at the
about relationships, where the value of the beginning, must have a love of music, and a love
experience was important to both the mentor and of passing on what there’re doing in music to inspire
also the protégé. For the mentor, it essentially is the student. (Deanna)
intellectually stimulating and the passing on of
professional and personal knowledge. For the Mentorship is dependent on both the mentor and the
protégé, the relationship was associated with protégé having certain skills and attributes. These
personal development and professional training, skills relate to both to the discipline of music and
and at times taking the mentor’s ideas another step personal attributes. The common view was mentors
further. This concept was summarised when one needed to be capable of advising and instructing the
informant said, she said to me 'now you take it' and student in the broader technical, interpretative and
it was like passing on the baton of her work’. From performance details of music. As such, the mentor
the mentor's perspective, mentorship was explained must also have a thorough knowledge of their
as follows: particular area of teaching. For example, as an
instrumental teacher, this requires being able to
I grow all the time. I love it because I am play or having played the repertoire that they teach.
surrounded by very gifted students who They must also ‘ ... be able to communicate, have a
sometimes bring tremendous insights to me in natural inclination and know an awful lot about what
areas that I’m just not looking at the present time, you (mentor) are teaching. You need to know it in a
and it causes me to re-focus, so I find it to be practical way.’ (Stephen)
tremendously exciting. (Laura)
Other attributes reported by the informants as
The informants agreed that mentorship was critical important for mentoring music students included
in the training of musicians, and all could identify good inter-personal qualities. For example, mentors
one or more cases of mentorship in their lives as need to be committed, patient, perceptive, open,
part of their professional training. Mentorship is caring, and have a genuine interest in the student’s
a ‘natural relationship’ evolving from a common welfare, a sensitivity to other’s needs, honest, and
understanding and starting point associated have professional integrity.
with a ‘good’ teaching style. It grows out of the
process of the teacher and student interaction Mentors need to be intuitive. They sense that
with the relationship being described by several there’s something there. It takes an enormous
informants as a ‘surrogate parental’ relationship. amount of time, effort, patience, thought
Such a relationship was described as requiring and worry. I want someone (protégé) who is
patience, generosity of time, and a genuine interest receptive and open so that they can watch
in the welfare of the student where the mentor what I do and learn from my strengths, and
takes responsibility for the total development don’t do what’s bad or weak, and then provide
of the protégé. This included the development opportunities and sort of guide them, knowing
of instrumental technique, musicianship and when are the crucial moments where growth can
academic development, as outlined by the following take place. (Heather)
statements:

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Finally, mentors leave imprints on protégés’ lives by the same number, or diversity of functions. The
their charismatic personalities and love of music, functions of the relationship are dependent on
with mentorship given a special meaning because the participants, their interpersonal skills, and
of the genuine interest and care they have for their their particular needs at the time of interaction.
students. Informants also reported that mentors also Table 2 summarises the recurring descriptors,
‘open doors’ for protégés. This is summarised by the skills, attributes and functions of the music mentor
following extracts: relationship put forward by the informants.
That teacher opened the doors to all sorts Table 1: Summary of functions of a music
of things to me, to music, to conducting, to mentorship
orchestration, to counterpoint, because of the Psychosocial functions Career functions
chemistry between us. (Ian) Dynamics: personal Professional values and
involvement, friendship standards
They (mentors) extend you (protégé) and give
Degree of satisfaction Skills development and
something of their own message and their own training
insights, caring and approachable, encouraging
Importance: acceptance Sponsorship
and challenging. (Charles) and confirmation
Gender issues Exposure
Functions of the mentor relationship
The data suggests that functions, defined as the Role modeling Protection
working components of the mentor relationship, Counsel Challenge
are many and varied, and are the aspects of Developing independence Networking
the relationship that enhance both the protégé’s
and mentor’s personal growth and development.
These functions are the essential characteristics Table 2: Summary of the informants’ common
that differentiate developmental relationships from descriptives, skills/attributes, and the functions
other work relationships. of the music mentor relationship.
Descriptors Skills/Attributes Functions
The primary functions are classified into two
distinct categories: these are (a) psychosocial parent figure patient opening door
functions; and (b) career associated functions. inspirer professional providing
These classifications come from the data and opportunities
also support Kram's (1985) findings regarding
motivator listener role model
mentor relationships in organisations. Psychosocial
challenger perceptive professional
functions include role modeling, friendship,
standards
counseling, acceptance and confirmation.
Career functions include sponsorship, exposure, carer empathy protector
networking, coaching, protection and professional facilitator clinician supporter
training. career adviser ethical teaching
technique
The quality and meaning of the mentor experience charismatic committed developing
is dependent on the functions offered in the independence
mentorship, and is directly associated with supporter passionate recognition of
the interpersonal and communication skills of latent talent
both parties that together form the nature of openness developing
the mentor relationship. This is captured by the analytical skills
following statement "…they (mentors) extend you honest networking
and give something of their own message and
trusting professional
their own insight … caring and approachable, guide
encouraging and challenging". It is the sum of
open coach
the individual personalities and the nature of the communication
relationship that determines the meaning of the
good
mentor experience. Ultimately, it is the nature of
interpersonal
the relationship that determines the quality and skills
meaning of the relationship for both the protégé,
and the mentor. These functions are summarised
in Table 1. Not every mentorship experience has

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The psychosocial functions are directly related to

the interpersonal relationship between the mentor … that one-to-one association was for me
and protégé that fosters mutual trust and increasing (protégé) a special time because everything
intimacy. Through the quality of the interpersonal else at school was in larger groups where
bond the protégé is able to identify the older mentor you didn’t have the opportunity of being close to
as a role model whom he/she aspires to become. someone. But she didn’t ever intrude on my, sort
The mentor, in return, advises the protégé on of, thoughts or plans or ideas terribly much, she
dilemmas facing a younger person in launching a simply was there when I wanted her.(Carmel)
career. It is the individual experience, acceptance,
and self-confirmation, through interaction with I would tell or discuss with my teacher that which
the mentor, that supports the protégé’s views of him/ I would never tell my parents, and I find the same
her ‘self’ as a musician. Simultaneously, the protégé with my students. They open the door and they
supports the mentor’s views of ‘self’ as someone come in and I know what’s going on … you know,
with wisdom, skill and experience to share. This something’s wrong, I can even tell over the
is illustrated by the statement when one informant phone. (Elizabeth)
said: ‘Mentors have to be constantly building the
confidence of the protégé, making corrections within Possible drawbacks of mentoring relationships
a field of confidence by using a positive approach Not all mentor relationships are ideal. Mentorship
rather than a negative one’. (Elizabeth) failures usually are a result of poor communication,
personal egos, manipulation, private
Career functions are associated with the aspects or nondisclosed agendas, and/or professional
of learning professional values and skills, jealousy. Some teachers also have short-term
and these functions are directly related to the goals, or otherwise created a dependency of
mentor’s personal experience, status and influence the protégé, as summarised by the following
within an organisation. These functions include statements:
sponsorship, coaching, exposure and visibility to
help the protégé gain recognition and establish She (mentor) was a dominating personality,
a career as summarised by the statement: ‘He extremely manipulative emotionally and a parent
(mentor) took a special interest in me. It was quite figure that managed to ruin my life. (Jane)
easy for a one hour lesson to turn into a two hour
lesson, and there were also the extra things that he They (mentor) create dependency so the protégé
would try to do for you, or show an interest in, or will keep coming back to be anointed and re-
provide, such as playing opportunities’ (Carmel). anointed for the rest of their life, which makes
them (mentor) feel good. (Mary)
Time and space are needed for mentorship to
develop where both the mentor and protégé The dynamics of a negative mentorship
can find a common ground, establish goals, usually are a result of a controlling power base
set up open communication and feel confident perspective rather than a guiding teaching
and at ease with each other. As one informant style that fosters independence, professional
stated, ‘a certain amount of intimacy is essential, growth, analytical thought and holistic personal
and individuals (protégés) don’t always reveal development. Informants referred to these
themselves, it takes time to develop, because negative styles of teaching as ‘guru’, ‘tyrannical’,
you have to speak the same language’. (Dianna) ‘authoritarian’ and ‘Svengali like’. The ‘guru’ style
was described as occurring where students pay
Mentorships are intense and exclusive and the homage to the master, and in return hope to be
significance on the psyche of the individual is anointed. These negative teaching relationships
immeasurable. These relationships affect the the informants believed to be "clone" producing
protégé’s cognitive development by affecting his/ or "occupying the student’s space". Other ways of
her conceptualisation of self, and his/her goals in manipulation can include giving advice in areas
life. The mentor and the music lesson can provide concerning the student’s life that do not relate
a means whereby the student has the opportunity to music, especially in areas where the mentor is
of developing a special personal relationship with neither trained nor qualified.
his/her teacher that is not controlled, directed or
imposed by external forces, which he/she may not Another hazardous aspect of mentorship for
get to experience elsewhere during developing protégés is the possibility of assuming the mentor’s
years. This point is illustrated in the following musical deficits. This can lead to particular
extracts: skill deficiencies such as technical problems, or

REFEREED PAPERS
a limited exposure to repertoire. Likewise, it may

influence the professional attitudes of the protégé In order to teach an instrument I (mentor) have
for the future, such as his/her personal attitudes to to touch them, I have to hold their hands, or put
particular choice of repertoire, performance styles, my hand on top of theirs, you know? There’s a
attitudes to other musicians and/or organisations. lot of physical things. I always now preface it with
‘I’m now going to touch you’, as I now think some
No one’s perfect. Teachers have issues and their women will make an enormous fuss. (John)
own problems, and I think the danger is that you
(mentor) start teaching some of your negatives or Challenge, motivation and safety zones
deficits, and the student starts to pick these up as Many of the informants noted that it is the mentor’s
well. (Stephen) role to help the student to be focused, stimulated
and motivated, and ultimately guiding the protégé
Another hazard of the close working relationship is towards being an independent analytical thinker.
the individuals becoming emotionally involved in a They also stated that the protégé needed to be
non-platonic relationship where the dynamics take challenged beyond their immediate comfort zone
on another dimension and there are imbalances of their abilities, also requiring the mentor to have
in the nature and power relationship. This was a longterm vision for the protégé. It was noted that
expressed by one informant when they said: mentors should be constantly challenged to find
new ways to communicate musical and technical
I think what can change a mentor relationship is concepts to protégés. The mentor at the beginning
when the relationship becomes sexual. You can of the relationship needs to consciously do a ‘needs
get someone (mentor) who has the appearance assessment’ of the protégé so that they can develop
of being a good mentor and then the protégé strategies of helping the student attain professional
feels a loss of trust and sense of agony. (Donald) musical skills. This was expressed by one informant
when he said: ‘You (mentor) first of all have to get a
Regardless of whether the emotional involvement feeling for what the person (protégé) is interested in,
is mutual or one-sided, it was considered by all the what motivates them, and what are their problems
informants that the relationship would be fraught both technical and emotional’. (Charles)
with danger, be non-productive, and likely to lead to
failure. This can create a feeling of distrust, betrayal Interestingly, the informants also stated the students
and stress for the student. The protégé can then need to feel safe and protected while developing
find them self in a compromised situation, where professional skills, and to be provided opportunities
they feel they need to be more compliant for fear to make decisions regarding their career. This can
of low grades or professional opportunities that include feedback from other professionals regarding
could be jeopardised by the teacher. For example, their overall development, and at times, can result
as described by one informant when they said: in them making poor choices, or occasionally failing.
With the mentor's help, however, the student can
There is a danger of the relationship becoming use this as a developmental learning experience,
too involved, too strong, with the teacher with the mentor providing a safety net for the
ceasing to be a mentor. They (mentor) become protégé so that the experience can be interpreted
an autocratic, a Svengali teacher, taking over the within a positive context.
protégé’s life lock, stock and barrel. (Rosanna)
That they (protégés) are wanting to take some
Mentorship can also lead to over personal of the steps and decisions, so gradually you
involvement by either the mentor or the protégé (mentor) have to build in procedures to allow that
and a blurring of the interpersonal boundaries. to happen. Sometimes you have to let the kids
One informant explained this when she said this go by themselves. This is part of the shepherding
was because ‘the student is enamoured with the approach. Sometimes they are going to make
mentor in the first place, and is having weekly terrible mistakes and sometimes they’re going
one-to-one lessons”. A few informants reported to make terrible choices, but you have to let that
that they were particularly careful about teacher- happen occasionally. (Deanna)
student interaction and the possibility of sexual
harassment claims made against them by the Discussion
protégé. This especially applied to female students Mentor relationships are an integral part of the
and the misconstruing of physical contact within development and training of musicians who are
the teaching studio by a male teacher. One focused on a professional career. It is about
informant stated: the development of a unique relationship in which

REFEREED PAPERS
the personal characteristics, philosophies, needs provide specific professional skills to equip him/

and priorities of the individuals determine the her for a career in music. These relationships are
nature, direction and duration of the relationship a powerful tool in helping a protégé to develop and
(Portner, 2005; Cullingford, 2006; Yager et al., build a self-conception of him/herself, while helping
2007; Savage et al., 2010) (Cohen, 1995; Morton- him/her to increase self-esteem and confidence
Cooper & Palmer, 1993; Zey, 1995). The partnership in his/her own abilities as a musician. The
is unique because of the process of sharing, relationships recognise the skills, knowledge and
encouragement, challenging and supportiveness. experience of the mentor, while allowing him/
This is based on the mutual attraction and common her (the mentor) to be stimulated, challenged,
goals of the mentor and protégé. This study motivated and valued as a professional musician.
shows that it is these aspects of the relationship
that facilitate the personal development and Like other studies on mentorship (Caldwell & Carter,
career socialisation for the protégé. 1993; Carruthers, 1993; Daloz, 1986), this study
has found that the meaning and construction of
Mentorships are multi-dimensional relationships, the mentor relationship is a result of the internal
with the meaning and quality of the experience dynamics of the relationship, and relies on the
characterised by the interaction between rapport between the individual personalities of
the mentor and protégé. The interaction is defined the mentor and protégé. These dynamics are
by the functions offered and the dynamics of the dependent upon both the mentor’s and the
interpersonal interaction. The relationship is mutual, protégé’s skills of: (i) interpersonal communication;
exclusive, and provides important functions that are (ii) perception; (iii) empathy; (iv) analysis; and (v)
of benefit to both parties. The interpersonal skills of technical competence. For the experience to be
the mentor are especially important in establishing mutually beneficial and fulfilling, there needs to be
the early relational and informational foundation of a genuine interest, trust, care and commitment to
the relationship, thus affecting the future framework the relationship by both parties.
of mentor and protégé interaction.
This study supports Kram’s findings (1985a) that the
Carey (2010) argues that this traditional dominating two primary functions of the relationship include the
pedagogical approach in Conservatoires needs a psychosocial aspects and the career developmental
major overhaul. There should be a greater emphasis functions related to becoming a professional
on the student becoming an independent learner musician. While most of the participants related
who takes greater responsibility for their learning similar stories of their own experience of being
through a broader range of activities. Reid mentored and their subsequent philosophies
(2001, p. 40) makes the point it is imperative that of mentorship in the teaching of their students, not
students should also develop understanding of all relationships offer the exact same functions as
‘artistic, social, political and cultural areas that are each other. This is also related to the fact that studio
different from their previous experience’ which teachers are appointed with different backgrounds,
in turn will facilitate them to ‘find their own views’ training and performance experience, but also
as professionals ‘From a teaching perspective, generally have license to teach according to their
activities should be designed for students that own particular style, and in many cases with no
allow them to encounter all aspects of musicality pedagogical training as suggested by Nerland
within a musical and communicative framework’. (2007) and Young, Burwell and Pickup (2003).
The study shows that is possible in terms of the right
teacher and student match, and where mentorship The informants in this study confirmed the
is allowed to blossom. While institutions appoint importance of mentor relationships in their musical
faculty staff because of their musical competence training, as well as the training of their own present
and perceived status, it is also noted that there day students. The relationship gives recognition to
can be a hierarchical order in conservatorires in the expertise of the mentor and helps to focus on
terms of who learns from which teacher. This in the development of the protégé. This is achieved by
turn also can create internal tensions for staff and extending the protégé’s ability to analyse, interpret,
students (Gaunt, 2008; Nerland, 2007; Young et al., express and perform music. It is also largely
2003). conditional on the protégé’s intellect, personality,
and intuitive and perception skills. As Roger Smalley
The results suggests that mentor relationships (1996, p. 51) stated, 'the true performer is constantly
extend and develop the protégé, providing researching, analysing and learning more about the
psychosocial support and development, along subject'.
with applied career skills and opportunities that

REFEREED PAPERS
for their excellence and expertise in mentoring

The results of this study also confirms Torrance students. Such programs would better equip
(1983) and Kaufmann’s (1986) research that most staff with increased knowledge and skills in
gifted people who are successful in their profession communication and perception, with increased
have had a mentor in their life who they perceived benefits and outcomes for the individuals and the
as helping them by being encouraging, supportive institution. This would facilitate the development
and acting as a role-model. The research shows of forums for shared discussion concerning best
that for musicians the concept of being successful practice teaching and help alleviate the sense of
is not necessarily equated with financial income, isolation as suggested by (Gaunt, 2008) and (Young
status or employment position, as suggested by et al., 2003). This would also alleviate the issues
(Moore, 1982; Phillips, 1977; Roche, 1979), and within institutions raised by Jorgensen (2000, p.
(Rogers, 1986). Being ‘successful’ for a musician 75) concerning what is the worth and value of it’s
is equated more with personal contentment and teaching and ‘what makes a good musician’. It
satisfaction, which is ultimately associated with might also encourage team teaching and shared
one’s quality of life, life choices, and the place and responsibilities between supervisors as outlined
value of music in one’s life. This is in contrast to by (Haddon, 2011). This already happens in higher
how success is often measured in other fields, such degree research training, so why not the music
as medicine, business, and law. studio?
The music mentor relationship is concerned with The study suggests that the sociological concept
adult learning and development, with helping the of ‘the self’ can shed important light on how
protégé to develop the expectation that he/she individuals develop their professional identity and
will continue to go on learning and discovering. career as a process, which partly evolves from their
This concept of on-going education means that mentor experiences. The study supports Gaunt’s
the protégé will continue to learn new repertoire, (2008) suggestion that mentorship experience at it’s
be better able to solve technical problems, devise best can be creative, fulfilling and inspiring to both
strategic practice schedules in preparation for parties involved. At it’s worst, it can also be volatile,
concert performances, and revise learnt repertoire limiting and damaging. The nature of the relationship
in terms of style and interpretation. In summary, depends on the internal dynamics, confidentiality
the primary requirements for facilitating a and trust that each participant affords the other, and
mentorship for musicians includes the following: ultimately can be the gift and the legacy of shared
(i) developing a genuine rapport, knowledge.
(ii) the protégé learning the professional skills and
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REFEREED PAPERS
THE IMPORTANCE OF FOLK MATERIALS: THE

“LITTLE STORY” AND THE “BIG STORY”
JAMES CUSKELLY
Kodály believed that folksongs were of the greatest importance and

his manifesto for music education places singular emphasis on the
inclusion of folk materials within the pedagogical framework. While
Kodály believed that the folksong was “the mirror of the spirit of the entire
Hungarian people” (Selected Writings, p. 24), he spoke more broadly
of the value of folksong in terms of the embodiment of cultural identity,
societal values and personal meaning. In this paper, I suggest that the
use of such materials as the building blocks of teaching and learning
not only elegantly and comprehensively achieves desirable educational
outcomes, but also provides all those involved - students, teachers,
parents and the wider society - with a deep sense of meaning, in both
intrinsic and extrinsic senses of that concept. For the purposes of this
paper, I intend to reflect upon the ways in which that sense of personal
and shared meaning is engendered by the inclusion of folk materials
within the overall context of teaching and learning.
The most obvious benefit of working with folk materials in music

education is the way in which such materials are used to promote
true musicality in children, even at the very earliest levels. Dobszay
explains that the “most essential material for music education lies in
monophonic folk songs” (p. 52). There is a vast amount of folk material
suitable for teaching and learning within the classroom context. Further,
this repertory exhibits key musical characteristics in simple, explicit
or miniaturised form, thereby presenting students with unparalleled
opportunities for learning. The simple and appealing nature of these
materials encourages active engagement and fosters learning
through the development of discipline specific skills and knowledge.
A great deal of energy and expertise has been already dedicated to
the collection, analysis and sequencing folk songs and games drawn
from and employed across a range of linguistic and cultural contexts,
thus giving further proof of the efficacy of such repertoire choices for
teaching and learning. Kodály’s emphasis on folk materials alongside his
understanding of the benefits of sequential learning, appropriate to the
maturation, development and context of the learner, provided the basis
for the evolution of an educational philosophy and practice that is breath-
taking in its simplicity and effectiveness.
However, if it were simply a matter of finding materials and carefully

sequencing them to maximise learning, then surely other materials
would serve just as well? Could we not use pop music or jazz? Why not
just write some music which would start with the simplest elements and
then progress steadily onto the more complex elements? Indeed, such
thinking is often seen in a myriad of publications but few of these sorts
of materials persist and it is clear that a staged progression in learning is
but part of the solution.
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I suggest that the inclusion of the folk materials does is an increasing trend to patronise children and to
so much more than just provide access and a logical diminish their potential for learning and intelligent
progression in learning. Firstly, the basic musical engagement and it seems clear to me at least,
activity within the Kodály approach is singing, and that children are perfectly capable of precise and
Kodály himself considered singing as the “essence” excellent musical performance. Even very young
of his ideas on music education. From a broader children may be performing as musicians in the
educational perspective, it is important to note that earliest classes; the students are evidencing the
singing requires the active involvement of learners. behaviours and attitudes of performing musicians,
Dobszay states that and this experience of music-making forms the
basis for of a personalised understanding of music
Music education must firstly aim at the active more broadly. The point here is not that the children
participation of the pupils and not at passive lack ability, but rather that our education systems fail
listening to music, and voice is the only to provide suitable opportunities for the students to
instrument accessible to all. Besides, singing achieve their potential.
evokes the fundamental experience of music
since music originates, according to Kodály, in This induction into the world of music and music
singing... (p. 52). making has profound import in terms of the long
term development of a sense of meaning. A key
Singing as fundamental stimulus for active component of this framework is the process of
engagement experience before intellectualisation, and for me,
The idea that learners need to be actively engaged this is fundamental to the development of a sense of
is one that is universally endorsed by many meaning. Laurens van der Post explains:
researchers (Brown, 2008; Dobszay, 1992: Elliot
1995; Gardner, 1993; Silberman, 1996) and indeed, It is one of the laws of life that the new meaning
active engagement in the processes of education must be lived before it can be known, and in
is fundamental to the idea of the construction of some mysterious way modern man knows so
knowledge. Constructivism is predicated upon much that he is the prisoner of his knowledge.
the fact that students learn more by doing and The old dynamic conception of the human spirit
experiencing rather than by observing (Dewey, as something living always on the frontiers of
1963). At its core, constructivism holds that humans human knowledge has gone. We hide behind
are not mere empty vessels waiting to be filled with what we know. And there is an extraordinarily
knowledge, but rather that they are motivated by angry and aggressive quality in the knowledge
the search for meaning. In this vein, Brown (2008) of modern man; he is angry with what he does
contends that learning is most meaningful when not know; he hates and rejects it. He has lost
the students are “actively connected to the creation the sense of wonder about the unknown and
and comprehension of knowledge” (p. 31). In a he treats it as an enemy. The experience which
Kodály-based classroom, children sing and chant, is before knowing, which would enflame his life
dance and play music games, they are involved in with new meaning, is cut off from him. Curiously
a range of literacy tasks such as notating or sight- enough, it has never been studied more closely.
reading, and they apply their knowledge through People have measured the mechanics of it, and
combining rhythms and improvising melodies – in the rhythm, but somehow they do not experience
short, a Kodály based classroom is fundamentally it (van der Post, p.2).
characterised by active, minds-on learning.
I believe that we could insert the word “music” here
Given this scenario, it is important to emphasise that and the significance would be all the more apparent:
students are not only experiencing the music and
constructing knowledge, but that they are also taking The experience of music comes before knowing,
on the role of musician. Through performing the this experience of music which would enflame
music, the music itself is a product of the students, life with new meaning. Curiously enough, the
and the quality of that product is a reflection not only experience of music has never been studied more
of the careful guidance of a teacher, but also of the closely. People have measured the mechanics
actualisation of the latent musical abilities within the of it, and the rhythm, but somehow they do not
children themselves. The essential point to be made experience it.
here is that music education in this sense is not
condescending, a watering down of music so that Long before van der Post wrote this, Kodály
the children are able to do it, but rather the elevation understood that it is only through the experience
of the children into authentic musical activity. There of music that a person could be awakened to the

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potential of music in the human spirit, that it is the Then slowly, slowly she came up and slowly she
experience not the knowledge of music that must came nigh him
come first, and that it is the experience of music And all she said when there she came, “Young
which forms the basis of all the meaning. I believe man I think you’re dyin’.”
that this also explains in part why Kodály had such As she was walking o’er the fields, she heard the
admiration, almost a reverence, for folk music and dead bell knellin’
the people who sang it. And every stroke the dead bell gave cried “Woe”
to Barbara Allen.
The importance of text When he was dead and laid in grave her heart
The singing is important for another very significant was struck with sorrow
reason. Singing is based upon text and that the “Oh, mother, mother make my bed, for I shall die
texts themselves inevitably engage the imagination, tomorrow.”
portray the natural world and the creatures in it, “Farewell she said, she virgins all, and shun the
or describe an event which involves characters in fault I fell in
some way; in short, the text tells a story. Story telling Henceforth take warning by the fall of cruel
is fundamental to our very humanity and people Barbara Allen.”
everywhere and of all ages respond on the deepest
level to storytelling. The great mythologist, Joseph I would like to reflect upon the text and to
Campbell reminds us that story and symbol are summarise the story from two perspectives, that
universals, stretching across cultures. According to of the ‘Little Story’ and of the ‘Big Story’. From
Bill Moyers, stories and myth are full of the essential the point of view of the little story, this is a tragic
components of meaning which are most directly tale of ill-fated love, of the vagaries of beauty and
relevant to the human condition, and he explains attraction, and of the sad loss of two beautiful
that the remnants of the ‘stuff’ of mythology “line the young people. Do we hear of similar instances of
walls of our interior system of beliefs” (p.xiv). doomed love in the modern world? And do we also
all too frequently hear of the tragic consequences of
He goes on to explain that myths and stories such unrequited love in contemporary times? Such
provide an interior road map of experience, drawn stories feed the sensationalism that is the modern
by people who have travelled it (Moyers, 1988, p. day press, but I am always deeply saddened to hear
xvi). The presence of such fundamental attributes of such events.
in all human endeavours highlights a “constant
requirement in the human psyche for a centering in However, from the perspective of the ‘Big Story’ this
terms of deep principles” (Moyers, 1988, p. xvi). song recounts a sadly recognisable tale which may
From the work of Campbell and others we have have happened anywhere, to any group of people,
come to understand the significance not only of folk at any time. This is not an experience unique to
song and story, but of all cultural artefacts, in that a particular group of people or relevant only to
these artistic endeavours serve to remind us of who specific point in history. The commonality of human
we are and where we have come from. However, in experience is embedded in tale, and in the telling of
thinking about folk songs, there is another aspect it through singing we are reminded of such events
which I would like to consider here. We have already within our own worlds. While the recounting of such
discussed the idea that the folksongs tell stories and a story serves to directly tell the ‘Little Story’, it
the ballad in particular has served as a particularly also transmits a deeper message. Thus, the song
notable way of transmitting the story. represents a certain wisdom, distilled from a myriad
of human responses, and it is in this way that the
It worth investigating an example to illustrate the folksong serves the purposes of the ‘Big Story. I am
point, and to do that I would like to use the well not suggesting that these songs overtly serve as
known English ballad, Barbara Allen. morality tales but rather, that such materials serve
to artistically capture and recount this essence
Barabara Allen of human experience that is both particular and
In Scarlet Town where I was born there was a fair universal.
maid dwellin’,
Made every youth cry ‘Welladay’; her name was The significance of the “ Big Story”
Barbara Allen One final point to briefly consider here is that
All in the merry month of May when green buds connection which Kodály always made between folk
they were swellin’ song and the best of art music. For me at least, it is
Young Jemmy Grove on his death bed lay for love clear that this dual purpose of recounting the ‘Little
of Barbara Allen Story’ and the ‘Big Story’ is evident in the finest

REFEREED PAPERS
folk materials and that this same process is in play furniture of the soul”, and he admonished us to
in the masterworks of the great composers. Thus, “cultivate them further” (p. 31). I encourage you to
Moyer’s ‘stuff’ of mythology, apparent in the folklore cultivate your own awareness of the importance of
and which “lines the walls of our interior system of folksongs. I urge you to sit on the ‘ancient furniture
beliefs”, is both the foundation of and the basis for of the soul’ and to feel its comfort and support. –
great works of art. and I exhort you to share the beauty and depth of
folksongs with the children so that they too may
Kodály stated that Hungarian folk music was so know that sense of belonging that comes with being
important because “there is not a single experience connected.
of a single segment of the Hungarian people which
has not left its mark on it” (p. 24). Such thinking
is echoed by Dobszáy who asserts that that there References
are “profound relations between music and other Brown, J.K. (2008). Student-centered Instruction:
manifestations of folk life”, and that folk cultures Involving students in their own education. Music
give “elaborated forms to the great events of life by Educators Journal, 94: 30-35.
means of folk customs” (p. 80). Equally, the great Campbell, J. (n.d). The power of myth.
works of the music literature – the lieder and songs, Dewey, J. (1963). Democracy and education. New York:
the oratorios and masses, the symphonies and Macmillan.
operas, the chamber music and solo works – are
Kecskemét: Zoltán Kodály. Pedagogical Institute of
laden with the archetypes, stories and symbols Music.
of our deepest, but often tacitly held, beliefs and
Gardner, H. (1993). Frames of mind: The theory of
values.
multiple intelligences. New York: Basic Books.
These defining aspects of our culture and Kodály. Z. (1974). The selected writings of Zoltán Kodály.
London: Boosey & Hawkes.
community are captured in the folk materials and
laid down in us all. Standing on the shoulders of Moyers, B. (1988). The power of myth. New York:
those who have gone before, gifted composers are Doubleday.
able to draw upon this interior system and engage Silberman, M. (1996). Active Learning: 101 Strategies to
us directly in the story – both the ‘Little and the Big teach any subject. Iowa: Prentice-Hall. Retrieved from:
Stories’. The search for meaning is a basic human http://jmt.sagepub.com/content/16/2/75.extract
instinct, evident in all peoples irrespective of culture van der post, L. (1962). Patterns of renewal.
or history. Indeed, van der Post would posit that it is Pennsylvania: Pendle Hill Publications.
meaning not happiness that has the most profound van der post, L. (1996). Hasten slowly: The journey of Sir
impact and long-term influence upon the human Laurens van der Post.
condition. He says:
There's nothing wrong in searching for happiness.

But we're using happiness there in a term as
if it were the ultimate of human striving. And
actually what we found in prison, and I find in
life, which gives far more comfort to the soul,
is something which is greater than happiness
or unhappiness and that is meaning. Because
meaning transfigures all. And once what you are
living and you are doing has for you meaning, it
is irrelevant whether you are happy or unhappy.
You're content. You're not alone in your spirit. You
belong. (van der Post, 1996)
For me, Kodály had a deep understanding of the

potential of music to engage us, to give us meaning,
to connect with ourselves and others and place,
and to give us a sense of belonging. His philosophy
for education provides a framework in which we
can eloquently speak the music of the spheres with
our children and in so doing, share the wisdom of
the ages. He said, “Folksongs are.... the ancient

REFEREED PAPERS
YI LULL
ELIZABETH MACKINLEY
“Yil Lull” is a song written by North Queensland Indigenous singer

songwriter Joe Geia and it often plays around in my head. Sometimes
it whispers to my heart as a sad and quiet lament. At others times the
words and melody roar like the angry waters of a tempest, refusing to lull
into silence. Each time I hear it, my head and heart collide in a clumsy
attempt to do exactly as Joe Geia asks – to recognise, to listen, to hear,
and to bear witness to the message this song holds about Indigenous
Australian people in this country. But it is not just about them – the
message is about me too as a non-Indigenous educator. Geia is calling
us to account and asking us how our practice as music educators
enacts such recognition. The recognition that he and other Indigenous
peoples ask is not comfortable terrain because it requires moving across
the distances between us to encounter and be with one another. Arts
education philosopher, Maxine Greene would suggest, that such acts of
recognition come hand in hand with “face-to-face morality - the morality
that finds expression in coming towards another person, looking him or
her in the eyes, gazing, [and] not simply glancing” (1995, p. 156). ‘Face-
“Yil Lull” by Joe Geia to-face morality’ is the ability to cross the distance with empathy as our
guide, so as to imagine the “familiar heart of the stranger” (Greene, 1995,
I sing for the black and the p. 157). Speaking to a gathering of folklorists and ethnomusicologists
people of this land at an opening of the International Council for Traditional Music in 1964
I sing for the red and the blood in his role as president of the organisation, Kodály himself pondered
the morality we hold as Western music educators in our attempts to
that’s been shed
define, understand, decode, analyse, notate and recreate the music
Now I’m singing for the gold of Indigenous peoples into our composition and classrooms. He could
And a New year for young and see how social, cultural and musical encounters could facilitate mutual
old understanding between us and others and foretold that without these
moments of recognition and moral obligation, we would fall “prey to
Yil lull lay, Yil Lull lay prejudice” (1964, p. 5).
Yil Lull lay, Yil Lull lay
Yil Lull lay – ay - ay In this paper, I want to take time to converse your reader’s heart and
mind as though we were good friends to turn around the interlinked ideas
I sing, unto him on the most of recognition as relationship, relationship as pedagogy, and the power
high such a pedagogy of heart - indeed, of love - holds for shifting, changing
and transforming the ways in which we think about, make representations
I sing so many praises, it
of, and engage with Indigenous Australian peoples, musics and
makes me want to cry cultures in our classrooms. In doing so, it is my heartfelt hope to carry
Now I’m singing just for you you across the threshold from mere disinterested critique into a space
So all can recognize where empathy, compassion and mindful caring emerge as necessary
recognition and a vital response to the situation we find ourselves in.
Yil lull lay, Yil Lull lay
Yil Lull lay, Yil Lull lay The here and now situation
Yil Lull lay – ay - ay What exactly then, is this situation? I can only speak from my own
positioning and experiences, and I would like to invite you to take a walk

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with me into the place and people of my heart. I inside and outside Burrulula (e.g., Mackinlay, 2000,
grew up as a qualitative researcher in the interlinked 2003, 2005, 2008). I learnt about Yanyuwa women’s
fields of ethnomusicology and music education public songs by sitting around campfires late into
listening to and learning from Yanyuwa, Garrwa, the night listening to their voices. I learnt about the
Mara and Kudanji women from the Aboriginal Yanyuwa concept of ngalki (the essence of things)
community at Burrulula in the Northern Territory by hearing the different songs, voices and melodies
of Australia through music. The remoteness of of the Dreamings for each clan group as senior
Burrulula is something which is difficult to fathom men sang of their travels across country and their
if you have never been ‘out bush’ in the north connection to themselves today. I learnt by talking
of Australia. Burrulula is approximately 80kms with Yanyuwa Law women and men that if you do
inland from the Gulf of Carpentaria in the Northern not have an embodied and performative knowledge
Territory of Australia and nearly 400km west of and relationship with song – if you are without song
the Queensland border. The drive from Darwin – then you are a nothing person. I learnt about the
to Burrulula is long and straight, the last 380km violence and mess colonising culture began by
is a single lane bitumen road without any fuel or listening to my maternal granddaughter tell me the
food stops, and occasionally blocked by herds of horror of her partner hacking her leg with a machete
Brahman cattle. and by standing at the graveside of my daughter’s
eleven year old son. I learnt about Yanyuwa
Situated on the banks of the McArthur River, the relationships to country and family by dancing in
Aboriginal name Burrulula remembers and holds the dust on the ceremony ground alongside my
knowledge about a lagoon complex associated with kundiyarra – my female song partners. I learnt
the Mountain Kangaroo Dreaming. The location of how to sing and dance with my voice out of tune
the town today was not a natural meeting place for and my feet out of step but always by the side of
Aboriginal people prior to colonisation. Yanyuwa, my generous, forgiving and patient teachers – my
Mara, Garrwa and Kudanji people were forcibly marruwarra (female cross-cousins) Mudinji Issac
rounded up and placed in Burrulula by government a-Karrakayn and Dinah Norman a-Marrngawi,
officials in line with Australia’s assimiliation policies my baba (sister) Jemima Miller a-Wuwarlu, my
from the 1940’s onwards. Burrulula has long held kulhakulha (daughters) Rose Noble a-Makurndurna,
a reputation as a Wild West Town (Baker, 1999; Nancy McDinny a-Yukuwal, Linda McDinny
Roberts, 2005) – it is rough, associated with a-Wambadurna and Mrs Green, my kurkurdi
lawlessness, and overflowing with racial tension. (maternal grandmother) Mrs Dickson, my wukuku
There are approximately 900 people living in (maternal granddaughter) Violet Hammer, and so
Burrulula, with 80% of the transient population many others.
identifying as Aboriginal people. The white people
who live in town are government officials, health Upon each return visit to Burrulula, I hope that
workers, school teachers, parks and wildlife officers, maybe things will be different. But no matter how
tourism operators, fly in and fly out miners, and shop much I may want it, there is no use pretending.
owners. The whitefellas don’t tend to stay for very My husband’s family at Burrulula – my family - live
long – the stress of living in a town like Burrulula in what can only be described as fourth world
sends them back to the cities down south usually conditions in a first world country. Burrulula is an
within two months or less. outback ghetto – out of sight, out of mind. There
are four Aboriginal camps, one for each language
I have been coming to and from Burrulula place group. The houses in the camps range from small
since 1994 – it is the place, country and spirit of corrugated iron huts to fancier demountable homes.
my husband’s family and over time it has become Each house sleeps more than they were ever
mine too. I am married to a Yanyuwa Aboriginal intended, with a mattress on every square inch of
man and we have two beautiful boys. Relationship concrete floor. Sometimes houses have electricity,
grounds me in this place – my relationship to sometimes they don’t - access to power depends
people as kin; the way I perform my relationships upon who can afford to purchase the over-priced
socially, politically and musically; the roles ‘power cards’ from the local chicken shop. The
and responsibilities I enact because of these remoteness of a place like Burrulula means that
relationships; the way my actions as both a student food prices are exorbitant, so much so that the call
and teacher reflect these relationships; the way I from the Health department to eat five serves of
perform and respect what I have learnt about one fruit a day seems ridiculous when it is cheaper to
system of Indigenous Australian music as a white fill a family’s belly with hot chips than a packet of
person in white settings; and, the understandings I five apples. In the town camps, people are hungry,
bring to music through performance of relationship sick, reliant upon government welfare and waiting

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– for something, anything – to heal their broken meant to be completely and utterly nurtured and
pride, spirits, people and culture. While they wait, sustained in body, mind and spirit through song.
young and old people die too often – from suicide; Nancy’s mother, Mudinji McDinny a-Manankurra
from family violence; from curable diseases such was my sister Yanyuwa way, and my Aboriginal
as tuberculosis, pneumonia, the common flu, and bush name was given to me by her. Nancy and her
stomach bugs; and from deeper and more insidious sisters Isa, Linda, Myra and Rachel have continued
health problems such as alcoholism, drug addiction, to carry and guide me on my Yanyuwa music
and mental illness. Burrulula represents what education journey, and it is their words I want to
happens when Indigenous people are dispossessed share with you.
– when people were shot and killed because they
were ‘natives’, when Aboriginal women serviced We were sitting together under the shade of a large
the needs of white men; when Aboriginal children mango tree at the Sandridge, languishing in the cool
were stolen from their mothers because they had breeze and the lengthening shadows of the late
yellow skin; when people were forced to leave their afternoon. Linda, Nancy and baba Jemima were
traditional country to make way for progress and talking about their memories of music education the
civilised society; and when a proud people were Yanyuwa way. “When I was little”, Linda began, “I
no longer allowed, and as a consequence can used to follow my Nana around. She used to teach
no longer, speak the languages, sing the songs, me how to hunt for goanna and sugar bag and she
dance the ceremonies, nor walk, visit and care for used to tell us story”. Nancy nodded, “I remember
their country and their culture in the ways of their sitting down with my grandmother and my Mum, I’d
ancestors. Each time I return to Burrulula it makes learn a lot from them. So I used to sit next to them
me ashamed of the colonising culture I represent. all the time as I grew up, sitting next to them and
listening to them singing. They told me, ‘You have
It would be wrong of me to only highlight the dark to get this song, learn how to sing so you can teach
side of Burrulula. People live there; they have to and your children when we’re gone’ ”. The three women
do survive. Sometimes they do more. Whenever sat quietly remembering. Jemima was the first to
possible people take their young children out bush break the silence, softly humming under her breath
to get proper ‘tucker’ - fresh fish, long necked turtle, and was soon joined by Nancy and Linda. Before
goanna, bush plums, dugong and sea turtle dugong. long they were singing loudly; the words, rhythm
Young and old people work for the Language and melody gathering momentum and meaning with
Centre, the Arts Centre, the Sea Ranger’s Program, each repetition.
the Health Clinic and for the local Aboriginal Council
Mabunji. Every opportunity to teach young people, The song they sang was not just any song – it
to keep them away from grog and gunja, to grow up was a song which is called ‘Li-anthawirriyarra’.
strong babies and keep culture strong is grabbed Li-anthawirriyarra is a ‘big”’ Yanyuwa word which
with two hands. While many elders despair about can be loosely translated into English as “we are
the future of their children and the culture they know, people whose spirits belong to the island country,
they have never given up hope – but I wonder, we are kin to the islands”. The sentiment expressed
have we? In our haste to turn our faces away in this phrase is multivocalic and suggests,
from Indigenous people, have we ignored hope amongst many things, a deep emotional, social
and thrown away our capacity for empathy and and spiritual attachment to country and sea. The
compassion? song is not kujika (Dreaming song) however; Li-
anthawirriyarra is a-kurjia or a fun song made by
Two moments in time women (see Bradley & Mackinlay, 2000). Belonging
Let me take you to a moment and place in time to the Yanyuwa genre of lhamarnda or unrestricted
approximately 20km outside of Burrulula, an performance, this body of contemporary song
outstation called Sandridge which is owned by literature is sometimes termed ‘little history’ songs
Nancy and her family. The McDinny family have by the Yanyuwa. Called a-kurija when composed by
long played a central role as my teachers at women and walaba when composed by men, these
Burrulula. Nancy’s father, Mudinji McDinny Nyilba, songs concern the actions of human ancestors and
was an esteemed Garrwa song man. When I first these unrestricted songs are believed to have a
arrived at Burrulula in July 1994, he greeted me with historical time scale from those composed by old
a twinkle in his eye and asked, “Did you bring your people a long time ago to others which have been
tape recorder my girl?” I nodded and he replied, composed by present day performers and their
“Well, I have some songs to sing for you”. He then peers. They are narratives of human experience
proceeded to sing every morning and evening for and interaction with one another, of relationships
two months and in doing so, taught me what it to land-and-sea-scapes, and of the contemporary

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social world in which the Yanyuwa community live and begin to sing:
today. These songs represent one of the few ways
in which Jemima, Nancy, Linda and their families Yanyuwa English
can identify with a traditional past while embracing,
Luku-luku-aya Circle to the left my friend
expressing and reinforcing a present and future
identity. The three women brought the song to a Luku-luku-aya Circle to the left my friend
close and almost as if she could read my mind, Luku-luku-aya Circle to the left my friend
Jemima proudly said, “When we have culture all la Luku-luku-aya-barra Circle to the left now
time – singing, dancing and ceremony – we make Ngalbandangu luku- Step in turn yourself
ourselves strong. Strong country too. Makim strong, luku ngarna around
our land and our people”.
Walamaya luku-luku Step out turn yourself
ngarna around
The culture that Jemima, Nancy and Linda
speak and sing of is strong, resilient and linked
inherently to the land and sea, the Dreamings, the Luku-luku-akarriya Circle to the right my friend
ceremonies and the songs that hold them. They are Luku-luku-akarriya Circle to the right my friend
of one generation and there is another following Luku-luku-akarriya Circle to the right my friend
behind. I want to introduce you to Rosie - paternal
granddaughter to Jemima and me. One of the Luku- akarriya barra Circle to the right now
strongest images I have of teaching and learning Ngalbandangu luku- Step in turn yourself
with Indigenous children is sitting with Rosie on luku ngarna around
the banks of a lagoon some 60km out of Burrulula. Walamaya luku-luku Step out turn yourself
“Nah, ngabuji (paternal grandmother),” she tells ngarna around
me quietly. “I don’t go to whitebala school - me
just stay home la camp with family. When that The two girls hold my hands tightly and watch my
whitebala bus bin come to pick us up, we bin scatter face intently as we dance. They are looking at my
im bushes and wait tilim all gone.” I look down at lips as they listen carefully to the Yanyuwa words.
her and cheekily reply, “Yeah, except on the days We finish singing and take a deep bow. Rosie asks
when you’ve got a mutaka (car) and you can come shyly, “Ngabuji, can you singim one more time and
out bush for hunting with me!” It is midday and the mindubala dance? … And we’ll try singim too”.
water of the lagoon is cool. Our feet are knee deep
in mud and we are playing dodge ball with the tiny My sister Jemima (Rosie’s other paternal
fish swimming in and out of our toes. “What im grandmother) begins to stir from her sleep as Rosie
that song you bin singim, ngabuji? Tharrun on the and Sandy finish dancing and calls out excitedly,
CD in the Toyota?” I stop and look across at my “Yu! Proper deadly one that song!” Rosie grins from
granddaughter. “What you mean? Beyonce? Or ear to ear. I look over at Jemima - and I notice she
Snoop Doggy?” Rosie looks at me and raises her is crying. I rush over to her. “I’m sorry baba! I didn’t
eyebrows. “Well, I don’t know, ngabuji.” I reply, “Do mean to upset you! I won’t put the Yanyuwa words
you want to hum some of it for me?” She bursts in those songs again!” Jemima shakes her head and
into a fit of giggles. “I can’t sing im, ngabuji! But sniffles, “No baba, that’s not it. To hear my ngabuji
you can - I bin listen to you sing im alla time!” Our sing in language; that’s it, that’s the song that’s
shared laughter dies down and we are silent for a makim me cry. Can you makim some more for us?”
moment before Rosie shyly asks, “You reckon you Rosie, Jemima and I spend the rest of the afternoon
could teach me some songs, ngabuji? You know, the putting Yanyuwa language to English songs,
ones you bin learn im those other kids in school?” laughing at both the ease and awkwardness it takes
I pause, trying to think of the songs she is talking to make the translation. Afternoon shadows begin
about, and then it dawns on me. Rosie wants me to fall and we decide it’s time to head back to town.
to teach some of the clapping and singing games We all crawl back into the Toyota to begin the long
I use in my music education classes in Darwin. I drive home. As the car rattles along the corrugated
smile back at her and take her hands in mine. “Sure, dirt road, I can hear Jemima softly singing the songs
ngabuji! Stand up now and let’s go!” of her mothers, grandmothers and ancestors beside
me - the Dreaming songs of her childhood and
Together, Rosie, my maternal granddaughter Sandy those of her life as a senior Yanyuwa woman today.
and I make a small circle. I know exactly which Rosie smiles as she listens to her grandmother sing
song I am going to teach them. I quickly translate and whispers to me, “I love it, ngabuji, when she
the words of the well-known song “Circle to the left” sings like that.”
(Hoermann & Bridges, 1985, p. 40) into Yanyuwa

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Yanyuwa women, like Jemima, do everything they practice? Her experience is but one amongst many
can to ensure that their children and grandchildren similar held by Aboriginal people regardless of
know the songs of their Dreaming, their country whether they live in the bush, in rural towns or the
and their ancestors. When asked, Jemima and big cities. Do we dare to stand and look face-to-
other senior Aboriginal people provide ‘culture’ face at our moral obligations as music educators in
lessons at the Burrulula School, children are taken relation to Indigenous peoples and in that moment
on excursions out to sites of cultural significance, imagine that our classrooms should, could and can
girls and boys participate in both public and be otherwise? And if not now, when? All of us here
restricted ceremony, whenever and wherever today are passionate about music in the lives of
they can. However, it is not easy and at times the children and their learning. We all know the magic
obstacles seem insurmountable. Access to vehicles and power that music brings to our lives as teachers
and money for food and fuel is scarce. Access to and learners to touch that something which we
classrooms and an hour in the school timetable is struggle to describe but which we all share – our
limited and wavering, dependent upon the political humanity. When will we brave enough to engage
commitment of the School Principal to Aboriginal our thinking hearts, decide that the inequality and
education. Jemima, her granddaughter Rosie, injustice experienced by Aboriginal people – my
their family and the entire Aboriginal community Aboriginal family – is ‘unendurable’, and act upon
at Burrulula fight daily to survive against the all that we hold to be true about music, education
contemporary realities of historical legacy, social and our shared humanity? When we will have the
upheaval and cultural fracturing and dispossession. courage as teachers to engage in a musicking
Children like Rosie struggle to draw links between which is thoughtful, nurturing, and socially just all
the songs her grandmother sings while out bush at once – a musicking which can and must save
with the harsh reality of town camp living where the world? bell hooks reminds us that “all the great
people are hungry, poor and unhealthy. Children movements for social justice in our society have
find it hard to see the value in the songs of her strongly emphasized a love ethic” (hooks, 2000,
grandmothers’ when all of the people around her p. xix) and that to “truly love we must learn various
in positions of power - the white teachers at her ingredients - care, affection, recognition, respect,
school, the white people working at the ration shop, commitment, and trust, as well as honest and open
the white authorities from the government who fly in communication” (hooks, 2000, p. 5). Let us move
and out - place little value on the song knowledge together and enter into that open space to look
her grandmother holds. Children like Rosie want to at each other’s humanity and ‘musick’ in dialogue
be able to sing like her grandmother in language, to across those borders that would divide us. Let us
dance to the rhythms of her ancestors on country, imagine what it would mean if to dialogue was to
but the contexts for her to learn from Jemima speak and to hear, to hear was to recognise, to
according to Yanyuwa systems of teaching, learning, recognise was to respond, to respond was to feel
and knowledge, are few and far between. The empathy, to feel empathy was to love, and to love
gap between her Yanyuwa Aboriginal culture and was to enact change? (Rose, 2005, p. 213). There is
mainstream Australian culture sometimes seems too so much we can do - if we care to. ‘What we cannot
wide to even contemplate closing and children like imagine cannot come into being’ and while I cannot
Rosie are unsure which side she belongs to. know how, what, when or why you might be in a
position to choose to engage your thinking heart and
Conclusion a love ethic in your work in relation to Indigenous
I can’t help but think that I have not given what peoples, social justice and music education, all I
many of you may have wanted from me today. I ask is that when that moment comes, you are brave
have not told you which traditional and authentic enough to begin the imagining.
Aboriginal music can be used in classrooms, I have
not said anything about the tonality of Aboriginal References
music and how we can teach it to children, and Baker, R. (1999). Land is life: From bush to town, the
I have not talked about how we might go about story of the Yanyuwa people. Sydney, NSW: Allen and
actually teaching the songs of Indigenous people. Unwin.
I have not done anything of these things because Bradley, J., & Mackinlay, E. (2000). Songs from a plastic
we need to go back to the start and ask ourselves, water rat: An introduction to the musical traditions of
which side do we sit on? Where do we belong in the Yanyuwa Community of the Southwest Gulf of
this educational landscape as music educators? Carpentaria. Ngulaig 17. Brisbane: Aboriginal and Torres
Do we open doors or do we slam them tightly shut Strait Islander Studies Unit, University of Queensland.
for children like Rosie to be empowered as an hooks, b. (2000). All about love: New visions. New York:
Aboriginal person through our music education NY: Harper Perennial.

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Greene, M. (1995). Releasing the imagination: Essays

on education, the arts and social change. San Francisco,
CA: Jossey-Bass.
Hoermann, D., & Bridges, D. (1985). Catch a song.
Brookvale, NSW: Dominie Publications.
Kodaly, Z. (1964). Address. Journal of the International
Folk Music Council, 16, 4-5.
Mackinlay, E. (2000). Maintaining grandmothers' law:
Female song partners in Yanyuwa culture. Musicology
Australia, 23, 76-98.
Mackinlay, E. (2003). Performing race, culture, and
gender in an Indigenous Australian women’s music
and dance classroom. Communication and Education,
52(3/4), 258-272.
Mackinlay, E. (2005). The personal is political is musical:
Reflections on women's music making in the Yanyuwa
Aboriginal community at Borroloola, Northern Territory
(pp. 221-233). In E. Mackinlay, S. Owens & D. Collins
(Eds.), Aesthetics and experience in music performance.
Cambridge: Cambridge Scholars Press.
Mackinlay, E. (2008). Crossing and negotiating borders
of identity, knowledge and tradition: Coming to an
understanding of Aboriginal women's performance
in educational locales as a white woman. Journal of
Australian Studies, 32(2), 179 – 196.
Roberts, T. (2005). Frontier justice: A history of the Gulf
country to 1900. St Lucia, QLD: University of Queensland
Press.
Rose, D. B. (2005). Reports from a wild country: Ethics
for decolonization. Sydney, NSW: University of New
South Wales Press.

REFEREED PAPERS
THE ADOLESCENT MALE CHANGING VOICE:

PHYSIOLOGICAL, PSYCHOLOGICAL AND PRACTICAL
CONSIDERATIONS FOR CLASSROOM MUSIC TEACHERS
ANTHONY YOUNG
Kodály said, “if one were to attempt to express the essence of this
education in one word, it could only be – singing” (Kodály, 1974, p.
206). Singing remains a core tenet of Kodály inspired music instruction
(Cuskelly, 2008, p. 27). While singing is an acceptable means of
expression in many cultures, in others, notably, the United States, the
United Kingdom and Australia, adolescent boys have resisted singing
for many years. (Harrison, Engaging boys in a sequential, voice-based
music program, 2006, p. 6) (Swanson, 1960; Freer, 2007; Ashley, 2009).
The author, a teacher in an all boys secondary school, has investigated
the reasons behind this resistance in order to attempt to find ways to
encourage boys to sing, thereby enabling them to enjoy the musical
education Kodály envisaged.
Physiological challenges to adolescent male singers

Historical Development; the ‘Broken’ voice vs. the “Changing’
voice
Adolescent boys were actively discouraged from singing by teachers for
many years. (Friar, 1999, p. 26). Manuel Garcia, in the late 19th century
“proposed that the voice should be rested during its time of change”
(Cooksey, 2000, p. 719). Garcia’s view was persistent in the United
Abstract: This paper Kingdom in the 1920s (Richards, 1922, pp. 43,44).
provides practical
Teachers in the United States had to teach boys through the voice
suggestions for change because of the development of middle school curriculum choirs
teachers working “so these teachers learned to adapt their teaching to the students’
with changing voice needs” (Friar, 1999, p. 27). This practice of singing ‘through the change’
boys in Australia, was influential on English authorities over time and by 1933, Cooksey
reports that the London County City Schools issued a statement that “a
the United States boy’s voice never breaks” and that “singing and speaking are essentially
and England after the same process” (Cooksey, 2000, p. 217).
summarising
While singing through the voice change was slowly becoming accepted,
historical approaches a number of approaches emerged, none of which seemed to deal
and discussing satisfactorily with the experiences of all teachers and boys. Duncan
the physiological McKenzie introduced his ‘alto –tenor plan’ (Brinson, 1996, p. 217). Irvin
and sociological Cooper developed the ‘Cambiata plan’ in the 1950s (Ashley, 2009, p.
49). Frederick Swanston’s work was also influential following his initial
challenges inherent experiments with his students in the mid 1960s (Brinson, 1996, p. 217).
in this area.
Friar states “choral educators of the 1970s needed more empirical
evidence of the value of the new approach(es)” and the most influential
researcher in this era was John Cooksey (Friar, 1999, p. 28). Cooksey’s
work reconciled earlier approaches. He found that the voices went

REFEREED PAPERS
through six sequential stages of development, stages of voice change.

namely, Premutational, Midvoice I (beginning 5) Increase in height seems related to the most
of change), Midvoice II (middle of change), extensive voice maturation stages while increase
Midvoice IIA (climax of change) New Baritone in weight accompanies the settling baritone
(tapering period) and Settling Period (expansion classification.
development) (Cooksey, Voice Transformation in
Male Adolescents, 2000, pp. 721, 733). In spite of his very comprehensive work,
Cooksey’s view that there are fixed stages of
By 1977, Cooksey claimed that: vocal development is not completely uncontested.
White and White quote Sataloff and Speigel who
1) Pubertal stages of development closely parallel claim the voice can change in four different ways
the stages of voice mutation. Singing is most but agree that “despite the nature of the change,
limited at the climax of puberty. the young male is still capable of free natural
2) Voice mutation proceeds at various rates singing throughout puberty, provided he receives
through sequential stages which affect singing encouragement, good training and the opportunity to
differently in each stage. The onset of voice sing appropriate literature” (White & White, 2001, p.
transformation is variable. 41).
3) Mutation can start as early as age 12 and end
as late as 17. Physiological description of voice change
4) The first stage of voice mutation is indicated by during adolescence
an increase in “breathiness and strain” in the upper White and White efficiently summarise the
registers. physiological changes that occur to cause the
5) The lower register is generally more stable speaking voice to drop approximately one octave.
throughout the mutation than the upper.
6) The most noticeable changes occur in the The muscles and cartilage of the larynx change in
Midvoice I, Midvoice II and Midvoice IIA stages. position, size, strength and texture; accordingly,
7) Register definitions (modal, falsetto, whistle) the singing voice changes in range, power and
become clear during the high mutational period. tone”. “At the onset of puberty….physiological
8) Age and grade level are not reliable criteria for changes occur in the organs, muscles, cartilage,
voice classification. and bones that support the phonatory process.
9) The average speaking fundamental frequency The epiglottis grows, flattens and ascends,
lies near the bottom of the voice pitch range. the neck usually lengthens. The chest cavity
grows larger, especially in males. As the skeletal
Between 1977 and 1980, Cooksey, Beckett and structure of the head grows, the resonating
Wiseman used sonographic analysis to investigate cavities increase in size and change in shape.
the area. Groom and Baressi and Bless carried More important, the larynx grows at different rates
out further work in 1984. Later, the London Oratory and in different directions according to gender.
School Study (1992 – 1994) and the Cambridge The male larynx grows primarily in the anterior
Study (1996) were undertaken (Cooksey, Voice - posterior (front-to-back) direction, leading to
Transformation in Male Adolescents, 2000, pp. 723- the angular projection of the thyroid cartilage,
734). the Adam’s apple, a visible indication of the
impending voice change. In fact, the male’s vocal
Cooksey alleges that these studies have largely folds lengthen four to eight millimeters (White &
validated his claims and that they support the White, 2001, pp. 39-40). This description aligns
following additional observations: with that of Thurman and Klitzke (Thurman &
1) Total pitch range compass is the most important Klitzke, 2000, pp. 697-701) and Ashley (2009, p.
vocal criterion in determining voice maturation 42).
stage.
2) Other criteria include tessitura, voice quality Ashley’s work in England noted a strong correlation
(increased breathiness and constriction in the between a “rapid increase in lung volume and
Midvoice IIA stage), register development and weight “ and the “end of the treble career” (Ashley,
average speaking fundamental frequency. 2009, p. 44). He says:
3) Adult voice quality should not be expected from
the early adolescent male voice, even after the Boys experience increasing muscular difficulty
Settling Baritone classification has been reached. in controlling their voices at around age thirteen
4) The width of the comfortable singing pitch range or fourteen. This is fundamentally no different to
(tessitura) remains fairly stable throughout the general adolescent clumsiness and the difficulty

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some boys have at the same age of controlling Social and Sociological Challenges to
limbs that have suddenly changed length. The Adolescent Male Singers
vocal folds at this stage become quite rapidly A growing dislike of singing in both genders
more massive…and this change outpaces the Sociological issues that are not gender specific
boy’s ability to adjust the way he controls their compound this reluctance. In the United Kingdom,
movement. The result is not infrequently a flip Graham Welch has investigated whether attitudes
between child and emergent adolescent pitch to school singing and singing ability are improving
during speech, the ‘cracking’ or ‘squeaky’ voice as a result of the ‘Sing Up’ program. He found “girls
that can embarrass boys at this age” (Ashley, consistently tend to have more positive attitudes
2009, p. 47). towards singing than boys” and “younger children
tend to be more positive than their older peers”.
Cookey’s description is similar; “when a young “As children get older, they get more competent at
man sings in his upper range, then, his vocal folds singing, but appear to like it less”. He claims that
cannot thin out as much as before, but his habitual this “relates to changes in their musical identity,
prepubertal brain program will lengthen them for which often becomes much more peer focused.
those pitches anyway.” “If male voices shift suddenly Singing in school becomes a less ‘cool’ thing to do
from lower or upper registers to the falsetto” boys as children are increasingly influenced by popular
“commonly shut off their voices” and say that their music culture” (Welch, 2010). Elsewhere he states
voice “cracked” or “broke” (Cooksey, 2000, pp. 827- “as they become older, both sexes have less
828). positive attitudes towards singing in school, socially
and in the home. Older children of both sexes
Cooksey attacks the term “broken voice”. He engage with singing more at a personal (private)
explains that during puberty “voice function… level, suggesting that it may be something to do
becomes “confused”, and unintended “surprise” with singing in school (’school music’) and/or singing
sounds and out-of-tune singing can be expected in related to a childhood identity that creates increased
boys” who are vocally inexperienced (and) continue negativity” (Welch).
to use “prepubertal brain programs”. (Cooksey, In the United Kingdom at least, it appears that
2000, pp. 827-828). children like to sing less as they grow up and that
boys are even less likely to want to sing. Teachers
Clearly, voices change dramatically, and perhaps may not get to nurture changing male voices
erratically, through a set of predictable stages during because the boys will have decided not to sing at
adolescence. Continuing to sing during the voice school at all. Ashley suggests that the boys’ attitude
change is not inherently dangerous (Phillips, 1996, to singing “a social decision about how to sing” is
pp. 67-87). Cooksey claims, “the extent and vigour more influential, perhaps, than physiological factors.
of speaking activities has the greater potential for (Ashley, 2009, p. 44).
the development of voice disorders”. Any teacher
who has heard students yelling at a sporting match Boys not wanting to sound like girls
or a school dance, will agree that those activities are Ashley states, in the current social climate, courage
far more damaging. Accordingly “if the capabilities is required for a boy to sing as a treble with the
and limitations of changing voices are taken into fluty, feminine head voice, also described as ‘thin
account, singing can be an exciting and healthy fold’ vocal production which has been advocated by
activity. Voices …used in a (sic) efficient, expressive educators for more than a century. For the purposes
and healthy way are much more likely to continue of this article, ‘head voice’ is defined as vocal
expressive speaking and singing for the rest of their production in which the ‘lengthener” muscles of the
lives” (Cooksey, 2000, p. 833). Phillips and Aitchison larynx are predominantly used. They have to “defy
assert that “singing is a learned behaviour and peer proscription to sing in a high voice”. A high
can be effectively taught as a developmental skill” voice is seen as feminine and a social “compulsory
and “total range may be improved with instruction, heterosexuality” in childhood (Ashley, 2009, p. 89),
especially for boys” (Phillips & Aithchison, 1997, p. stems from a “hegemonic masculinity” which has
195). created “the idea that sounding like a girl is in any
case a terrible thing”. “Whatever the reasons might
The reassurance of Phillips and Aitchison is be, it is undeniable that for most ten to fourteen-
encouraging but the fact remains that boys at the year-old boys, a degree of socio-cultural distance
peak of vocal mutation, unsure of what sounds their from girls is as fundamental an element of young
voice will make, have good physiological reasons to male identity as there can be” (Ashley, 2009, p. 58).
be reluctant to sing.

REFEREED PAPERS
He postulates that in the early 1900s, boys “had a may in fact damage a child’s social capital in the
much more deferential relation to adults and would playground. This material suggests that teachers
not question the order to sound like a woman in need to exercise care and make careful judgements
the way that boys would today” (Ashley, 2009, p. when considering whether to have boys sing in their
58,59). Modern boys are much less malleable head voices in front of some peer groups.
because of the “rise in youth cultural taste and the
children’s rights movement” (iAshley, 2009, p.59). The foregoing overly simplifies the complex
sociological issue of singing and identity for boys
Ashley has done considerable research in this area and the reader is recommended to consult Ashley
and notes the development of the ‘Continental’ How High Should Boys Sing for a more detailed
treble sound first promoted at Westminster Catholic treatment of the subject in the English context.
cathedral in London by organist George Malcolm.
“The term refers to a hard edged, ‘reedy’ sound and Boys wanting to be ‘real’ boys and ‘real’ boys
contrasted with what was then a more traditional, don’t sing
softer and flutier ‘English’ sound” (Ashley, 2009, p. In the secondary school, when the voice change
59). The sound was described in unmistakeably occurs, boys are said to be under intense pressure
male terms. Ashley quotes Malcolm who claimed to conform to narrow conceptions of masculinity
“Boys will be boys….they are expected to sound which often exclude singing. Swain in 2003 found
like boys and are not taught to produce an that “the pupil peer group” has “a fundamental
uncharacteristic quality of tone, remotely unlike influence on the construction of masculine
that of the voices with which they talk, or laugh, or identities”. “It provides boys with a series of
cheer at a football match”. George Guest, who also collective meanings of what it is to be a boy, and
taught John Scott, Sir David Lumsden and Stephen there is constant pressure on individuals to perform
Cleobury introduced the “Continental” sound into and behave to the expected group norms”. “It is the
St. John’s College Cambridge and it was a boys’ peer group, rather than individual boys, that is the
choral sound which was “Benjamin Britten’s clearly bearer of gender definitions”. Boys need to gain
stated preference” (ibid p 59,60). Ashley’s material “power” and “status” through “intense manoeuvring”
suggests that English Cathedral organists have “through negotiation” and this power is sustained
developed this more ‘boyish’ choral sound to better through “physical performance” (Swain, 2003, p.
differentiate boys’ singing from female singing, 302).
thereby making it more socially acceptable for the
boys. Swain examined constructions of male identity in
three English schools; one upper-middle class,
In the United States, Cooper concurs suggesting one middle class and one working class (Swain
that thin fold, head voice should be used only in 2003,. p 301). Unsurprisingly, Swain found “the
a closed community such as a boy choir away boys defined their masculinity through action, and
from the influence of other boys who do not sing. the most esteemed and prevalent resource that the
Ashley relates “it is other young people outside boys drew on across all three schools to gain status
this community who will say that the higher voices was physicality /athleticism, which was inextricably
‘sound like girls’ and, in such circumstances, Collins’ linked to the body in the form of strength, power,
recommendation is that a limited tessitura, based skill, fitness and speed”. “The best athletes were
upon modal range should be adapted (Ashley, 2009, generally the most popular in their class and school
p.68). For the purposes of this article, modal means year”. “Boys are strongly encouraged to be active,
vocal production with the ‘shortener’ muscles, those physical, competitive, aggressive, and so on, and it
used for speech, being predominant in producing is seen by many as an entry into the world of men”
sound. English trebles seem to consider that their (Swain, 2003, p. 303).
performances are aimed at older audiences and
never for peers. Ashley quotes an eleven-year- The control by the peer group even extended to
old singer who was shown a performance by a mandating what “trainers” (shoes) and other clothing
boy band comprised of cathedral singers, (ibid p. could be worn. “There were serious risks involved
75). The boy said, “old people and grannies will for anyone not conforming to the group norms” and
love them and they might appeal to very young there was a need to dress “in order to be safe” and
boys, but no way to me. It was no longer “cool” for to avoid “rejection and/or peer-group ostracism”.
young boys to sing just to “please mummy” (Ashley, (Swain, 2003, p 308). The “dominant bodies were
2009, p. 96). While it is admirable for students to invariably heterosexual bodies, for masculinity and
sing for “old people and grannies” it is clear that heterosexuality are entwined and to be a ‘real’ boy
performances for peers may not be valued and (or girl) is to be heterosexual. Thus, the boys at the

REFEREED PAPERS
bottom of the pupil hierarchy were often positioned Practical suggestions for assisting male
and controlled by feminising them and by using the adolescent singers
strategy of homophobic abuse” (Swain, 2003, p Dealing creatively with sociological realities;
309). Clearly, Swain’s study has serious implications Turning singing into a sport
for the emotional and intellectual growth of boys Given that constructions of maleness have been
generally; none of the peer groups seemed to educationally problematic for hundreds of years,
privilege academic achievement, decency, reliability, it is probably most useful to appropriate elements
compassion, understanding or honour. For the of hegemonic masculinity so as to effect change
music teacher, the study is particularly depressing, from within the discourse. The foregoing material
as singing would almost certainly be excluded from clearly establishes that the dominant construction
the definition of ‘real boy’. of masculinity is to be active and physical.
Accordingly, recasting singing as a sport-like activity
The construction of masculinity as being anti- is a way forward. Harrison admits, “examples of
intellectual is as problematic as the construction effective practice in exploring the complementary
being anti-singing and it is a construction of long nature of the two activities are scarce, but isolated
standing. Freer refers to John Locke complaining instances can provide useful illustrations for…
in 1695 about “the failure of boys to concentrate improving the plight of music in relation to status
on their Latin studies” (Freer, 2007, p. 29). Mills and participation” (Harrison, 2005, p. 56). Harrison
observes that in Australia, “there is a valorisation wisely counsels, “sport can be harnessed as a
within many schools of boys who perform well at motivational tool in music, but this needs to be
sport”. “Accompanying this is often a denigration of executed with caution so as to avoid entrenching
boys who reject sport, especially if this rejection is stereotypes” (Harrison, 2005, p.57). It is important
not replaced by another masculinised activity, for that the music program does not become complicit
example, an interest in motorbikes”. Like Swain, in reinforcing some of the more unsavoury aspects
Mills found that “denigration is often delivered of hegemonic masculinity.
through misogynist and homophobic discourses
and the deployment of terms such as ‘girl’ and In Australia, the structures of co-curricular music
‘poofter’ to marginalise boys whose behaviours do and sport are very similar. Sportsmen train and
not accord with expected forms of masculinity”. Mills Musicians rehearse. Sport has games and Music
also found these issues in “most schools, elite and has concerts. Cultivating an effective working
poor” (Mills, 2009, p. 18). relationship with the sport department can benefit
all concerned. Roe advises “get the coach to back
Mills found that “within some communities there is a the choral program if you can” (Roe, 1983, p. 17).
construction of schoolwork as feminine, and some Ashley coached rugby himself (Ashley, 2009, p.
subjects more than others, for example, dance, 94). The boys in his choral outreach program “are
music, English and drama”. As such, he found content to go out to primary schools…as long as
that “one of the contributing factors in the lower the lesson they are missing is not double sport”.
achievement levels of boys…is an avoidance of all He advises “boys will sing provided they are not
things feminine (Mills, 2009, p. 19). asked to choose between choir and sport, an unfair
choice that youngsters should not have to make
Mills alleges that successful teachers in this context (Ashley, 2009, p. 103). Clever and complementary
have “rejected notions of a ‘true masculinity’ and scheduling of singing and sporting activities is
encouraged boys to see that there were multiple therefore essential.
ways of being a man” (Mills, 2009, p. 19). This is
indeed a laudable aim and successful teachers The great vocal pedagogue Richard Miller recalls
of male singing are indeed able to broaden the that his high school choral conductor “would identify
concept of maleness and hopefully, as a result of leading athletes” and “convinced students that being
the thoughtful modelling of appropriate behaviour a member of the choral group was as prestigious
develop more inclusive, healthy constructions of as being on an athletic team. Her logic was that
masculinity. However, it is submitted that in the face well-developed bodies would produce relatively
of substantial sociological barriers, it might be more mature voices”. “As a result, as an un-athletic
efficient to subvert the dominant paradigm from fourteen-year-old my location in the concert choir
within. was between the co-captain of the football team and
a leading basketball player” (Miller, 2008, p. 18).
Clearly, Miller’s conductor was effectively recruiting
influential sporting peers to the choral program so
that it would be a socially acceptable activity. This

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is an example of the broadening of the concept of seek reassurance that plenty of other boys sing and
masculinity advocated by Mills. that “those boys that do are ‘normal’ in the sense
that they also play sport, fight each other, have a
Incorporation of kinaesthetic learning laugh and so on” (Ashley, 2009, p. 157).
Sport-like, active music lessons and choral
rehearsals can work very well. Voice pedagogues Environment within the rehearsal or class
already use the term “vocal athlete”. Sessions There is no point in recruiting young men to join
that start with physical “warm ups” align well with choir rehearsals or music classes if the experience
physical education lessons. Indeed, Kodály believed is unsatisfactory. Kodály exhorts us to “teach music
“singing connected with movements and action and singing at school in such a way that it is not a
is a much more ancient, and, at the same time, torture but a joy for the pupil” (Kodály, 1974, p. 120).
more complex phenomenon than is a simple song” By contrast, Thurmann and Welch begin their text
(Kodály, 1974, p. 46). with some horrific vignettes. Here is one:
Voice pedagogy and choral methodology “As a child I loved to sing. I sang all the time. One
support physical involvement in singing. Rodney day the music teacher at school had us all sing
Eichenberger’s work encourages the singers to for her by ourselves, and she divided us up into
move in rehearsal to assist with vocal technique two groups- the bluebirds and the crows.”
and interpretation (Eichenberger, 2001). Castles “I was a crow”
claims “boys like action” (Castles, 2009, p. 40). The “Well, I grew up on a farm, and I knew what crows
Kodály method encourages using the large limbs sounded like. I haven’t sung since”
for the feeling the beat. Singing while walking the (Thurman & Welch, 2000, p. xii)
beat or dancing is a valuable way of developing a
sense of the beat in singers while, at a technical Leon Thurman writes:
level, encouraging them to keep their knees
unlocked and their hips free. Cooksey recommends All human beings have experiences that
using “physical gestures that serve as a visual- are interpreted as threatening and we have
kinaesthetic metaphor for some aspect of the vocal experiences that we interpret as beneficial,
skill being targeted” such as “pretending to throw and we evolve reactive behaviour patterns in
a Frisbee, spreading open arms down and away response to them…The only way to change a
with voicing or turning hands in rapid circles in protective-prominent ratio toward a constructive-
front of the abdomen” to encourage active breath prominent ratio is to create consistently safe
support and healthy voice use. (Cooksey, 2000, surroundings. (Thurman, 2000, p. 25).
p. 829). Clapped ostinati, games and the Curwen
hand signs are also part of the stock in trade of the Oakes writes that it is “the confidence of each
Kodály teacher and can make the music classroom individual singer which must be carefully and
and rehearsal room more sporty places. The consistently encouraged”. He says the teacher
author of this paper has incorporated considerably must “strive to maintain an environment that is a
increased movement into his secondary classes safe place to sing and experiment with the voice”
and rehearsals and found this improves singing, (Oakes, 2008, p. 116). Cassidy Parker believes
attitudes to music and lesson effectiveness (Young, that the classroom should be a friendly place. She
2006, pp. 19, 74-75). Continuing Kodály games reports, “social interaction produced the highest
throughout schooling would further encourage the levels of excitement in the students. Excitement
allying of sport and singing and Ashley validates the led to intrinsic motivation. Therefore, we can
value of singing as “social play” (Ashley, 2009, p. conclude that if students are with friends in the
146). choral classroom, they will have higher levels of
excitement and in turn, develop greater intrinsic
The value of older peers as role models motivation.” Later she notes, “for many students, the
Ashley also notes the sociological value of older school chorus becomes part of their social identity
peers singing as role models for younger students. as the group’s social bonds grow”. She remarks
Boys will look up to young men who are the age of “teens are vulnerable in the classroom” but “if an
their older brothers and will emulate their singing environment is deemed safe and trustworthy…the
behaviour. He uses Mechling’s term “fratriarchy” singing experience will be one that fosters growth of
“to reflect the fact that it is the community of older individuals and their voices” (Cassidy Parker, 2007,
brothers rather than adults who are the main pp. 28-29). A supportive environment, where strong
influences on boys’ identity and aspirations. “ peer relationships can be forged, would enable
(Ashley, 2009, p. 156). Ashley notes younger boys students to sing through the voice change with

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confidence. Creating this environment might require

courage on the part of the teacher to demand and Modal and head voice
enforce interpersonal respect and the valuing of While professing a love of the sound of the Head
others as core attributes of classroom discourse Voice, Ashley suspects that “for boys who do
(Young, 2009, pp. 75,76). not sing, I have reached the conclusion that an
introduction to singing has to be through the
Research on boys’ learning styles modal voice” while the “boy voice, in its full range
Freer recommends ”a change of activity focus or of capability from head/falsetto downwards” will
location in the room about every twelve or thirteen become a “small specialist niche” for those boys
minutes”. This accords with current Kodály teaching who are interested in singing and want to extend
methodology, which recommends that lessons themselves (Ashley, 2009, pp. 168-169). Ashley’s
comprise a number of short focuses (Klinger, finding is at variance with prevailing pedagogy. The
1990). In addition, Freer suggests teachers “take author, continuing to work in an all boys’ school,
advantage of research suggesting that competition with perhaps the luxury of boys who are willing to
and timed activities promote learning in male experiment with their voices, continues to develop
students” (Freer, 2007, p. 29). both head and chest adjustments of the voice. This
follows Ancel’s approach with the Australian Boys
Bromfman recommends repetition of activities with Choir. Ashley’s material suggests, however, that
variety when explaining the “research in motor the teacher needs to start by using whatever vocal
learning in relation to skill acquisition”. He finds “for register will work in his or her context.
optimal physical learning to occur, repetition should
ideally consist of a variety of similar tasks..…related Unison singing range and repertoire
to, but not an exact replication of the skill to be Cooksey states “Unison singing is possible”. He
learned” (Bromfman, 2009, p. 61). Leon Thurman complains “most published unison songs have
says the brain learns by “target practice” and the pitch ranges that are too wide or the appropriate
adolescent male needs opportunities for continual ones are in keys that force many changing voices
“target practice” throughout the voice change into pitch ranges that they are incapable of singing
process. (Thurman, Human-Compatible Learning, without excess vocal effort” (Cooksey, 2000, p. 824).
2000, p. 196). This approach also reflects the use This presents challenges for the Kodály teacher
of focus teaching in the Kodály method where each for whom unison singing of repertoire and scales
focus will usually end with a reinforcement stage, is essential for teaching musicianship and music
which is a repetition of the skill learned in a new way theory. In Queensland this problem is ameliorated
(Klinger, 1990, pp. 25-28). Similarly, the practice by the Late Beginner sequence of concepts,
activities undertaken after a musical element has which starts with restricted range (doh, re and mi)
been “presented” or “made conscious” provide and builds gradually. The teacher will encounter
just the sort of “target practice” that Thurman students at different stages of voice mutation, but
recommends (Klinger, 1990, p. 57-61). good voice teaching coupled with careful choice of
keys should enable the teacher to accommodate
Separation of boys and girls during the voice most changing voice boys (Young, 2006, p.
mutation 20). Students with particularly unruly voices and
The separation of male and female singers during restricted ranges can learn to swap octaves and
voice change is recommended by a number of still participate in tune in class activities without
researchers (Freer, 2007; Brinson, 1996), so that compromising their vocal comfort or development.
boys are less self-conscious. This may not be
possible in many circumstances. If so, students Exercises and the development of vocal
should be seated sensitively so that boy trebles are technique
not placed with sopranos for example. Changing Cooksey does not seem to advocate intense
voice boys can sit together, male trebles in a vocal training and he reserves his technical advice
separate group and the girls in another group again. for those boys who are having trouble singing
The teacher can make clear the fact that a male through their range, in particular, having a ‘hole’
treble singing in the same octave as a soprano is between C4 and F4. Like many other researchers,
not automatically ‘a girl’ just as a trumpet playing he recommends vocalising downward through
in the same octave as a flute does not mean that the falsetto (Cooksey, 2000, p. 829). He states
the trumpet is a flute (‘gendered’ instruments “physically efficient register transitions can be
are chosen here on purpose). This classroom facilitated by vocalising from the upper range
arrangement worked for the author in a co- down-ward if falsetto (head voice) register can be
educational context in the past. produced with ease”. “These register transition

REFEREED PAPERS
processes can produce a very consistent, efficiently It is imperative that the teacher who wishes students
produced tone throughout the singer’s pitch range” to use their voices possesses the skills to empower
(Cooksey, 2000, p. 828). David Jorlett, Anton them to use their voices successfully.
Armstrong, and Jerry Blackstone also support
maintaining the Head Voice with Blackstone Adolescent males can sing with more accuracy and
advocating extensive use of Head Voice for settling vibrancy than is presently expected with diligent
voices (Blackstone, 1998). but not excessive training in a safe supportive
environment. If classroom teachers are going to use
Cooksey also recommends spoken sighs, which the voice as the core means of music instruction, it
glide smoothly from head to chest (Cooksey, 2000, follows that voice teaching should be incorporated
p. 829). These exercises are part of the voice intrinsically into teaching focuses. In the case of
development regime advocated by Westminster boys, this is necessary if the aural discovery of
Choir College (Haasemann & Jordan, 1991, p. 62). musical concepts is to be facilitated by the singing
Cooksey suggests these exercises be refined into of material in which those concepts are found.
descending 5 note and 3 passages as the voices Moreover, facility with the instrument will build
develop. He also recommends imitation of teacher confidence in learning, satisfaction in competent
modelled sounds with various pitch inflections and singing and joy in successful performance.
voice qualities. The author has found all of these
exercises very valuable. References
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In the quest for good intonation during the voice Thirteen annotated vocal exercises for studio and choral
change, the author recommends viewing correct rehearsal. In S. Harrison (Ed.), Perspectives on Teaching
intonation as ’an achievable challenge rather than singing: Australian vocal pedagogues sing their stories.
a quixotic goal.’ The word ‘closer’ will be more Bowen Hills. Queensland, Australia: Australian Academic
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encouraging and effective than ‘wrong’. The teacher
should have aural and vocal solutions for the hard Ashley, M. (2009). How high should boys sing? Gender;
working struggling student and also have motivating authenticity and credibility in the young male voice.
strategies for the less involved student (Young, Farnham, Surrey, England: Ashgate Publishing Limited.
2006, p. 20). The teacher should also check all of Blackstone, J. (Writer), & Blackstone, J. (Director).
the usual physical causes of out of tune singing, (1998). Working With Men's Voices [Motion Picture].
such as poor breath management, bad body Santa Barbara.
alignment, tight jaw or tongue (Young, 2006). If the Brinson, B.A. (1996). Choral music: Methods and
basic physical coordination of the student appears materials. New York, United States: Schirmer Books.
in order, then aural training will assist. Inner hearing Bromfman, J. (2009). Repeating with
and ‘silent singing’ are essential (Young, 2006). variety:Implementing motor learning theory in the Middle
Again, inner hearing exercises are core activities in School choral rehearsal.The Choral Journal , 50(1), 61-
the Kodály method. 63.
Cambiata Press. (n.d.). Cambiata Press. Retrieved
General voice teaching including training in voice April 19, 2011 from Cambiata Press: http://www.
production, resonance, breath management, cambiatapress.com/
diction, and body alignment also enhance good Cassidy Parker, E. (2007). Intrapersonal and
vocal coordination. Researchers and practitioners interpersonal growth in the school chorus. The Choral
provide excellent exercises specifically for male Journal, 48(26- 31).
changing voices. Ancel, who has had considerable Castles, A. (2009). Oh Boy(s)! Ideas for engaging boys in
success with changing voices, has developed the music. Music In Action , 7(2), 40.
“loo law” exercise (Ancel, 2010). Similarly, White Chapman, J., & Morris, R. (2006). Breathing and support
and White have developed excellent exercises, (p. 52). In J. Chapman (Ed.), Singing and teaching
which take advantage of the vowel formants and singing: A holistic approach. San Diego, California, United
vowel modification to assist in making the register States: Plural Publishing.
shift of the voice more comfortable and less Cooksey, J. (2000). Male adolescent transforming
noticeable (2001). Once a teacher is aware of the voices: voice classification, voice skill development, and
physiology of singing, he or she can develop their music literature selection. In L. Thurman, G. Welch, & J.
own exercises and incorporate them into classes. Ostrem (Eds.), Bodymind and Voice (Vol. 3, pp. 821-841).
Moreover, the repertoire of the method can be sung, Minneapolis, Minnesota, United States: Fairview Voice
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for example, on fricative consonants (such as “th”
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(Eds.), Bodymind and voice: Foundations of voice Vocal Music. (n.d.). The Cambiata concept. Retrieved
education (Vol. 3, pp. 718 -738). Minneapolis, Minnesota, from: http://www.cambiatapress.com/CVMIA/
United States: Fairview Voice Centre. TheCambiataConcept2.html
Cuskelly, J. (2008). Singing for meaning: What the Thurman, L. (2000). Human-compatible learning (pp.
students have to say. Bulletin of the International Kodaly 188-301). In L. Thurman, G. Welch, & J. Ostrem (Eds.),
Society, 33(2), 21. Bodymind and voice (Vol. 1). Mineapolis, Minnesota,
Eichenberger, R. (2001). Enhancing musicality through United States: Fairview Voice Centrre.
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Freer, P.K. (2007). Between research and practice: How human bodyminds (pp. 18-26). In L. Thurman, & G.
choral music loses boys in the middle. Music Educators Welch (Eds.), Bodymind and voice: Foundations of voice
Journal , 94(2). education (Vol. 1). Minneapolis, Minnnesota, United
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Friar, K.K. ( 1999). Changing Voices, Changing Times
Recent developments in changing-voice theory can help Thurman, L., & Klitzke, C. (2000). Highlights of physical
adolescent boys and girls sing "through the change". growth and function of voices from prebirth to age 21 (pp.
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Thurman, L., & Welch, G. (2000). Sunsets, elephants,
Harrison, S.D. (2006). Engaging boys in a sequential, vocal self-expression and lifelong learning (pp. xi-xxiv).
voice-based music program. Australian Kodály Bulletin. In L. Thurman, & G. Welch (Eds.), Bodymind and voice:
Harrison, S.D. (2005). Music versus sport: A new Foundations of voice education (Vol. 1). Minneapolis,
approach to scoring. Australian Journal of Music Minnesota, United States: Fairview Voice Centre.
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Kodály, Z. (1974). The selected writings of Zoltan Kodály. and voice: Foundations of voice education. Collegeville,
London, United Kingdom: Boosey and Hawkes. Minnesota: Voicecare Network.
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Choral Journal, 49(5), 16-22. http://www.singup.org/magazine/magazine-article/
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Instilling confidence in the young male singer.Choral yes-we-can/
Journal, 116- 118. White, C.D., & White, D.K. (2001, May). Commonsense
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students' singing performance. Journal of Research in Young, A. (2009). The singing classroom: Singing in
Music Education, 45(2), 185-196. classroom music and its potential to transform school
Queensland Studies Authority. (2004). The Senior Music culture (pp. 62-78). In S.D. Harrison (Ed.), Male
syllabus. Brisbane, QLD: The State of Queensland. voices: Stories of boys learning through making music.
Camberwell, Victoria, Australia: ACER Press.
Richards, H. (1922). Church choir training. London,
England: Joseph Williams Limited.
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Cliffs, New Jersey, Unitd States: Prentice-Hall Inc. .
Swain, J. (2003). How young schoolboys become
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The Cambiata Institute of America for Early Adolscent

KODÁLY NEWS
STATE REPORTS 2012
QUEENSLAND REPORT
The year 2012 has been another busy and productive one for the KMEIA
Queensland branch. We have continued in our objective to provide a range
of professional development opportunities for members and non-members
across the state, that promote best practice and self-reflection in music
education. This has seen the continuance of events such as the Nuts and
Bolts workshop, the Early Childhood Conference and the Open Classroom
Series, and the introduction of new projects such as the Twilight Talks and the
one-off workshops with Lilla Gabor. Work on further DVDs following on from
the success of the Musical Beginnings project continues to progress. Members
and committees in our Townsville and Mackay chapters have also been hard at
work this year.
Townsville Chapter
Our Townsville Chapter of the Queensland Branch has had a most exciting
year. The Biennial “Spirit of the Voice” Festival produced a performance of the
Beethoven’s 9th Symphony with massed choir and orchestra. This event was
then nominated for a number of Townsville Arts Awards, including the category
in which they won “Production of the Year”. Congratulations! The Townsville
Chapter also celebrated their 20th anniversary as a branch last year at their
AGM, during which the award of Honorary Life Membership was bestowed
upon our beloved Sr Valerie Huston.
Mackay Chapter
Our Mackay Chapter of the Queensland Branch enjoyed great success
with their workshops and festivals, kick started by the 2011 Annual Choral
Festival with Reka Csernyik and Anthony Young. By this time the 2012 Choral
Festival with Anthony Young and Debra Shearer-Dirie will have happened.
A large representation from the Mackay Chapter was able to attend the IKS
Symposium due to the generous provision of funds from the Judy Creen
Education Bursary.
Nuts and Bolts Workshop

The Queensland Branch’s 2012 year got off to a great start with the Nuts
and Bolts workshop held at Mt Alvernia in March. Sessions were facilitated
by Maree Hennessy, Debbie O’Shea, Anthony Young, Lois Pagano, Kathryn
Yarrow and Stacey Pye and included work in musicianship, and early
childhood, primary and secondary methodology. This year we had sixty
participants, seven of which were new members and two of which were
students. The day was a great way to begin the year sharing ideas and
experiences with colleagues from around the greater Brisbane area and
beyond.
Lilla Gabor Workshops

We were delighted to host Lilla Gabor whilst she visited Australia this year in
June. Lilla was in Brisbane from the 4th to the 8th of June. During her stay
she had the opportunity to visit many of our schools to take workshops with

QUEENSLAND REPORT CONTINUED
a number of choirs. Lilla worked with Anthony Young and his TTBB choir for fourteen to seventeen year
old boys at St Laurence’s College, and with Dr James Cuskelly and the Queensland Kodaly Choir and the
SSA choir at St Aidan’s Anglican Girl’s College. She also spent some time working with Anne Pook and her
treble voices choir at Warrigal Road State School, Daniel Crump and the SSA choir at Mt Alvernia College
and with Jane Hooper and her SSA choir at Jamboree Heights State School. Lilla then flew to Townsville
to participate in the Winter School celebrations from the 24th to the 26th of June. Overall it was a full and
productive trip and we thank Lilla for the time she spent with us.
Twilight Talk Series

In 2012 KMEIA Queensland introduced the Twilight Talks series to provide a forum for professional dialogue
surrounding matters that we face each day in our schools. The first of our Twilight Talks, held at Brisbane
Girls Grammar School in February, focused on the issues surrounding the Older Beginners Sequence. A
group of like-minded people came together to network and discuss matters relating to Older Beginners
including: intakes and shifting school populations, where to begin, repertoire, vocal and general maturity
issues, popular culture, technology, school expectations, differentiation and extension in a multi-level
classroom, integration with instrumental programs….the list of issues on this topic seems endless.
For ninety minutes we tossed around ideas, shared our experiences, and listened to various points of view
as to how we can tackle this broad range of issues. Those in attendance were challenged to think about
not only what we do in our classrooms but also why we choose to do what we do. The aim of the Twilight
Talk Series is not to offer perfect solutions but rather to offer a range of suggestions and to get teachers
talking to and connecting with each other. Lengthy notes were taken and conversations continued across
the table during our post-Talk dinner and the aim is for KMEIA Qld to facilitate continuing conversation
online in the days and weeks that follow.
As another new concept KMEIA plans to incorporate Twilight Talk #2 – Thoughts on Advocacy with our
2012 AGM with a live Twitter feed to ensure all members have the opportunity to have their voice heard.
Open Classroom Series

Perhaps one of the most exciting and effective professional development opportunity the Queensland
branch of KMEIA provides is the Open Classroom Series. The Open Classrooms Series enables teachers
to gather to observe and discuss ‘best’ and ‘next’ practices in music education. Accessing well-known
‘master teachers’, the sessions provide insight into effective music programs in a variety of contexts in
Queensland schools. Sessions have included classroom music in early childhood, primary, middle school
and senior settings. Links between instrumental programs have been showcased as well as open choral
rehearsals and open lectures in the university setting. This is the 4th year that the series has been running
and with great success. Schools from varying sectors and age-groups have been involved over the years
and in 2012, we thank Mt Alvernia, The Gap State School and St Joseph’s School (Ipswich) for their
sessions in Term 3 – with more to come in Term 4.
Whilst providing an excellent model for teaching and learning, these afternoons enable a forum for teachers
to gather, connect and to critically reflect on their own teaching. Certainly, the QCT and AITSL overtly
state that it is reflective practices such as this that underpin the development of teachers in their career
trajectories from Graduate through to Proficient, Highly Accomplished and Lead Teacher.
The discussions following each session provide insight into the structure of the programs at the host
schools, examining and highlighting common challenges, effective pedagogies, use of repertoire as well as
useful advocacy processes.
The ways in which the ‘master’ teachers engage, challenge, and support their students in varying contexts
highlights the flexibility and ‘responsivity’ of the pedagogies (inspired by Kodály’s vision). Kodály’s vision for
access to excellent music education is evidenced in varying ways and is affected by factors such as time
allocation, school structure, needs and demographic of students and the character and style of the teacher.

QUEENSLAND REPORT CONTINUED
The networking aspect of this event is also beneficial - for pre-service, beginning and well-established
teachers to be part of a professional community of ‘like minds’ – one of support and focus on excellent
practice. Informal mentoring opportunities and collaborations have arisen as a direct result of this series.
The Open Classrooms model has been an exciting inter-systemic professional learning opportunity
for music teachers in Queensland. We acknowledge the contribution that the host schools make when
‘opening’ their classrooms and thank them for inspiring us to continually strive for excellence in music
education in Australia.
Early Childhood Conference

Later this month, on the 22nd and 23rd of September, KMEIA Qld will be once again facilitating the
annual Early Childhood Conference. This year it will take place at the Anglican Church Grammar School
(Churchie) in East Brisbane and will include presentations from Dr James Cuskelly, Paula Melville-
Clark, Debbie O’Shea, Debra Todhunter, Emma Rowe, Stacey Pye, Kathryn Yarrow, Kerryn Vezos and
Deb Brydon. Attendees will have the opportunity to participate in practical workshops focussing on best
practise and skill development in the area of musical education in early childhood. Predicted numbers for
attendance at this stage are around 30.
Do-re-mi
The Do-re-mi chapter of the KMEIA Qld branch also continues to be a hub of activity and productivity. Do-
Re-Mi teachers attended a Teachers Afternoon in June at which the opportunity to raise issues and ideas
was provided. The do-re-mi committee continues to provide support for its affiliated do-re-mi teachers in
the way of providing advertisement, the purchasing of stock, maintenance of the website, appointments of
new teachers, the organisation of the Early Childhood Conference and currently a renewal process of the
curriculum.
Musical Beginnings DVD
Middle Years DVD
Once again it has been already a full and busy year for everyone involved in the KMEIA Queensland
branch. We acknowledge and thank all of the volunteers on the committees that help to make possible all
of these important and valuable opportunities for teachers to continue to develop and reflect upon their own
skills as professionals. At this point in time when our national music education curriculum is under review,
it has never been more important for music educators across the country to be involved in engaging with
each other in dialogue and reflection upon what the fundamental goals of our Australian music education
curriculum should be.
WESTERN AUSTRALIAN REPORT
Throughout 2012, KMEIA WA has facilitated a number of professional development opportunities for
teachers focusing on Musicianship classes and Methodology training. An introduction to the Kodály
approach was also delivered at the ASME WA Induction Day in March for new and returning teachers,
resulting in a number of new members to join the Institute.
In July, the Branch offered the Methodology Mania event for music teachers. Maree Hennessy (QLD)
travelled to Perth to share her knowledge and expertise with primary music teachers. Wendy-Cara
Dugmore and Philippa Chapman presented repertoire and teaching strategies for secondary educators.
The event was a success with 50 people attending on the day, including a number of tertiary students
currently studying music education. I am very grateful to Presbyterian Ladies’ College who made available
their facilities for the day as well the dedicated committee who work tirelessly to advance the aims and
objects of the Institute in Western Australia.
Jason Boron, President, KMEIA WA Inc.

SOUTH AUSTRALIAN REPORT
This year the South Australian Branch is being challenged by planning and organising the National Kodály
Conference to be held at Prince Alfred College between the 2-5th October: www.kodaly2012.com
We are conscious that the support we give to our teachers must still go on. Our first term workshop was
combined with Orff and Dalcroze. This is the first time we have had such a workshop, but it was a great
success. A clearer understanding of the different systems was highlighted. Our opening warm up song was
taught by three teachers each representing the different groups approach in working with song material.
Kodály used the voice, Orff-Schulwerk used body percussion and Dalcroze used movement and dance
building on what had gone before. It was great watching the various groups working together: encouraging
and challenging participants to be totally involved yet still having fun in making music together.
Two presenters from each Association gave a lesson aimed at either the early childhood or primary sector.
It was fascinating to see the different approaches in succession. Every session offered a variety of great
teaching ideas and strategies. We were delighted that 47 Kodály members attended. We also gained a
few new members because of the Conference.
Getting in readiness for the Olympics was our Term 2 theme, “Let the Games Being”. Our torch- bearer
came running into the ‘arena’ carrying her’ flaming’ torch to Chariots of Fire, it was a hilarious start to the
workshop. We started with a Health Hussle to warm up in readiness for the Games, which had a musical
purpose. Musical skills were tested in games like Rhythm Baseball, Gymnastics, in which we were divided
into three groups; one working with hoops, another with Chinese flags and the third with streamers We
were stimulated with O Fortuna- from “Carmina Burana’ by Carl Orff
Pitch games and activities challenged our musical knowledge. We were shown how to assess these
activities. We finished with ball/beat work to Queen’s “We are the Champions” & “We will Rock You” (I am
sure Kodály purists would be shocked! ) but all had fun developing coordinated body responses to beat,
rhythm and ensemble skills. Another plus for the committee was the 18 University students attending the
workshop.
In our preparations for the National Conference we were able to get funding for scholarships for distant
educators; early years teaching; university students; and Instrumental teachers. We were able to fill our
quota for the scholarship applications from those attending the workshop. This was just before the Super
Early Bird deadline closed.
Our third term workshop catered for 0 to 5 year olds. Early childhood music is an area, which we are able
to address with confidence. Two of our members have published a book ‘Let’s Start with a Song’ showing
how games offer so many avenues to link with Belonging, Being, Becoming (the Curriculum Framework).
In this workshop not only were the 3 “B’s” addressed but the “3 ‘R’s” Respect, Reflect, Relate (Resource
of Assessment of learning and Development using Observation Scales) and acknowledging in the Quality
Improvement Plan (QIP) for the National Quality Standard. We had 45 who attended this, for many, their
first Music Conference.
Kirsty Dent, our President, teaches at Willunga Primary School to the south of the city. She ran a Cluster
Group Workshop after school one afternoon titled: “Sing Sing Sing”. Her aim was to help the local
classroom teachers to sing with their children. Kirsty introduced simple songs and games which they could
sing well; have lots of fun with, and get them involved in an approach to classroom music which many were
not very familiar with. The teachers were able to identify the value of basic Kodály principles we hold so
dear. They also saw the capacity to support language development; the relations with literacy, numeracy
and many other areas like PE.

NEW SOUTH WALES REPORT
SOUTH AUSTRALIAN BRANCH REPORT
New Format for Teacher Training Courses in Sydney: Primary Level 1

Seventeen teachers have appreciated our new modular format of presenting the course in two extended
three-day segments combined with a greater quantity of external assignments. The first section of
the Primary 1 Teacher Training course in Methodology, Cultural Materials and Teaching Techniques is
offered in the first week of the April holidays and the second segment of Musicianship and Conducting
at the beginning of the June vacation. Participants wishing to satisfy the requirements of the Australian
Kodály Certificate have chosen to complete elective individual projects applying Kodály principles to their
respective settings during Term 3.
Teachers are choosing to update their music education skills for NSW Institute of Teachers endorsed PD
hours and/or assessment towards the Australian Kodály Certificate and have formed a supportive network
across NSW. Participants have worked hard, but left inspired by the expertise of the highly regarded
lecturers as noted by Kristin Potter:
I just wanted to thank you briefly for running a great Course. You have reminded me why I do what I
do, and of what I always felt was important in teaching little ones. I now have a much clearer head, and
clear direction! Thank you so much - I wonder if you realise how far reaching your wonderful influence
will be!
We are thrilled to think of all the children both in Sydney and regional NSW who will benefit from this
talented, enthusiastic and dedicated group of teachers and look forward to welcoming them back in 2013
for Primary Level 2 along with a fresh group to commence Primary Level 1.
NSW Institute of Teachers endorsed Professional Development hours through Professional

Teachers’ Council of NSW
Specialist music and classroom teachers have been accumulating their endorsed PD hours in music with a
wonderful variety of workshops on offer, including 65 attending a Primary Music Day in Penrith with Maree
Hennessy (Qld), two fantastic IWB sessions with Catriona Turnbull (Sydney), and sublime choral sessions
with Jenny Samild (Sydney) and Lilla Gabor (Hungary).
Early Childhood staff across Sydney have also flocked to the series of workshops for under 5’s presented
by Jill Holland and Rose Bloom and are very pleased to be able to incorporate meaningful and sequential
music experiences into their new Early Years Learning Frameworks programs. 37 teachers also travelled
from far and wide to relish a whole day of delightful activities for 0-6 years with Julie Wylie from New
Zealand (pictured).
Armidale Chapter have established an efficient committee who work hard to bring an impressive array of
lecturers in for a whole weekend of Kodály for every age and stage, each October. These have been well
attended and becoming an integral part of the region’s music education PD diary. The extensive grassroots
work of all the committees is a reflection of the Kodály ethos of making high quality music education
available to all. Keep an eye on the website for 2013 events in NSW.
A very dedicated group of Committee members have been working regularly to develop the National
Kodály Music Education Conference. With about 4 weeks to go, they are getting down to the finer
details necessary to run such a Conference. They are very relieved at the response with the number of
registrations received so far, and most grateful to the support received from Music Leaders in the other
States.
Julie Logan, President, NSW Branch

KODÁLY NEWS
DO-RE-MI 2012 UPDATE

JULIE LOGAN NATIONAL DRM COORDINATOR
Do-re-mi teachers are either classroom teachers and/or private instrumental

teachers who are required to achieve their AKC in early childhood studies as
well as updating their professional development every two years.
Over 2000 Australian children are benefitting from a developmental and

sequential music program presented by 43 highly qualified and experienced
teachers. The majority of do-re-mi programs are offered in Qld and NSW but
we are very pleased to welcome Ginette Aitchison in Melbourne, Gabrielle
Freer in South Australia, Jennifer Sullivan in Perth, Elaine Ding in Jakarta
and Tammy Kilpatrick to Armidale.
Most do-re-mi teachers are self employed and benefit from being involved
with a network of like minded teachers available for support, furthering ideas
and sharing of music material – new songs, extension of known material with
the benefit of a community of teachers who have been teaching the do-re-mi
programme for 20 years or more.
Some do-re-mi teachers also provide classes for children in day care and
preschools as well as providing professional development workshops to early
childhood staff.
Do-re-mi classes are often the first point of contact with Kodály for many
families. Parents of our students see us as a qualified and professional group
using the same logo, core curriculum and our fabulous website showcasing
our teachers and photos of students past and present.
Families on the move actively seek out do-re-mi teachers in their new
locations and subsequently become advocates for quality Kodály based
music education at their children’s primary schools.
Do-re-mi graduates who pursue further instrumental or vocal studies are

noticed by music teachers for their trained ear and voice and generally
superior ‘musicality’.
I wish to extend our gratitude to all the committee members who also facilitate
a great deal of professional development for teachers working in the field of
Early Childhood Music and in particular three retiring members of the Qld do-
re-mi Committee: Caryn Eastman, David O’Keeffe and Bernadette Barr who
have worked tirelessly and made an enormous contribution to KMEIA.
Our structure is a unique model built on the philosophy of Zoltan Kodály

to generously share expertise and time in supporting the development of
our teachers and consequently enriching the musical lives of many families
across Australasia.
For further information please visit: www.do-re-mi.com.au

Queensland Communications Co-ordinator: Kathryn Yarrow kyarrow1@
bigpond.com
NSW Communications Co-ordinator: David Hawkins David.Hawkins@
newcastle.edu.au

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Australian Kodály Journal

INTRODUCTION KODÁLY NEWS

LIFE MEMBERSHIP NEWS 46 Queensland

9 The ‘Junior Vocal Stream’ at the

12 Singing in a New Land

The Adolescent Male Changing

A MESSAGE FROM THE KMEIA PRESIDENT

At this juncture, on behalf of the Kodály Music Education Institute of Australia, I

AUSTRALIAN KODÁLY JOURNAL 2012 4

AUSTRALIAN KODÁLY JOURNAL 2012 5

AUSTRALIAN KODÁLY JOURNAL 2012 6

At last year’s International Kodály Symposium,

Most of us are aware of Dr Hoermann’s unique

AUSTRALIAN KODÁLY JOURNAL 2012 7

Mark’s Honorary Life Mark’s outstanding career as a teacher and choral

AUSTRALIAN KODÁLY JOURNAL 2012 8

THE ‘JUNIOR VOCAL STREAM’ AT THE

It may come as something of a surprise to readers of this Journal to learn

AUSTRALIAN KODÁLY JOURNAL 2012 9

AUSTRALIAN KODÁLY JOURNAL 2012 10

AUSTRALIAN KODÁLY JOURNAL 2012 11

SINGING IN A NEW LAND

On 13th May 1787, 11 ships left Portsmouth in England to travel to the

The first record of a musical performance in Australia was when the

AUSTRALIAN KODÁLY JOURNAL 2012 12

AUSTRALIAN KODÁLY JOURNAL 2012 13

• Name of the song

The easiest way to understand these is to look at an analysed song:

TITLE: MAZLIM’S MILL

AUSTRALIAN KODÁLY JOURNAL 2012 14

2 songs use that interval.

AUSTRALIAN KODÁLY JOURNAL 2012 15

already analysed. One interesting aspect that has

Undoubtedly these songs are not for the youngest

For me, the greatest value of these songs is the

The ballads are there and tell the stories, but

AUSTRALIAN KODÁLY JOURNAL 2012 16

PREPARING THE NEXT GENERATION

of instrumental competence’, a depth of musical academic services, as well as added functions

AUSTRALIAN KODÁLY JOURNAL 2012 18

AUSTRALIAN KODÁLY JOURNAL 2012 19

AUSTRALIAN KODÁLY JOURNAL 2012 20

AUSTRALIAN KODÁLY JOURNAL 2012 21

The psychosocial functions are directly related to

AUSTRALIAN KODÁLY JOURNAL 2012 22

a limited exposure to repertoire. Likewise, it may

AUSTRALIAN KODÁLY JOURNAL 2012 23

the personal characteristics, philosophies, needs provide specific professional skills to equip him/

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for their excellence and expertise in mentoring

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THE IMPORTANCE OF FOLK MATERIALS: THE

Kodály believed that folksongs were of the greatest importance and

The most obvious benefit of working with folk materials in music

However, if it were simply a matter of finding materials and carefully

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There's nothing wrong in searching for happiness.

For me, Kodály had a deep understanding of the