The inclusion of jazz ensembles within extra-curricular instrumental music programs in secondary schools in Australia has grown exponentially in the past two decades. Despite this growth, there is a deficiency of specialist teacher training in jazz education and pedagogy in Australian tertiary institution instrumental music courses. This lack of…

As a response to the ban on singing and playing woodwind and brass instruments, and with the heightened exposure of Auslan interpreters in the media due to COVID reporting, many music teachers considered Auslan choirs to be a safe singing-replacement activity for end-of-year performances. Auslan holds deep cultural significance to the Deaf…

Cultural hegemony permeates society and is spread through social institutions. These institutions socialize people into the norms, values and beliefs of the dominant social groups. Moreover, cultural hegemony is spread and perpetuated through education in the form of compulsory education, a national curriculum, national assessments, as well as the…

This article discusses the use of beta-blockers by performing artists, the reasons why they are taken, and the potential associated risks. We argue that there are high levels of usage within sectors of the professional performing arts community and that there may be high levels of risk in using these medications, particularly without medical…

This paper overviews the decline and revival of music education in New South Wales schools from 1920 to 1956. Commencing with a focus on vocal music during the period up to 1932, a time of decline in music teaching, the paper examines initiatives introduced in 1933 to address shortcomings in music education, and the subsequent changes in…

The introduction of the influential Orff Schulwerk approach to music education in Australia is generally reported as occurring in the late 1960s. However, this was not the earliest encounters with the pedagogy in Australia. Patricia L. Holmes included Orff materials in teacher inservices in the late 1950s, before she travelled overseas to work…

The Holyoake DRUMBEAT (Discovering Relationships Using Music--Beliefs, Emotions, Attitudes, & Thoughts) program was first developed in 2003 as a means of engaging Australian Aboriginal youth who were resistant to talk-based therapeutic approaches. Aboriginal Australians, like indigenous peoples in many other countries, are over-represented in…

Informal learning practices, based on Lucy Green's research into how popular musicians learn, offer students in the music classroom the opportunity to explore collaborative, aural-based learning that is guided, rather than directed, by the teacher. Over a period of five years, informal learning projects were included in the music curricula of two…

Karratha is a town in Australia's remote north-west, 1600 km north of a capital city, Perth. It was a long way from "musical civilization" and a totally different teaching situation for a music teacher used to English classrooms. The first challenge was the dominance of sport at the school, but Peter Younghusband tells how he worked to…

Describes an improvised science lesson that grew out of elementary students' interests and questions about music and sound. Students designed, built, and performed with their own musical instruments. (WRM)

Frank Callaway, the fourth Honorary President of ISME, was a New Zealander who contributed greatly to raising the profile of music education in both that country and Australia. His essentially democratic view of music education was moulded by his teaching experience at King Edward Technical College in Dunedin. At the University of Western…

The Instrumental Music Program Unit in the South-West Priority Country Area (a vast, generally arid hot region some 800 km by 450 km) is a unique, dynamic, and successful program, enjoying an extremely high degree of enthusiastic support from all involved--administrators, instructors, students, schools, and communities. Begun in 1977, there are…