Gustav Holst and British Music Society of Victoria collections at the State Library of Victoria

The paper presents a content-based evaluation, tracing the historical background of two heritage music collections at the State Library of Victoria (Melbourne, Australia).  In the case of the Gustav Holst and the British Music Society of Victoria Collections, history and content intertwine for the reason that both collections were initiated at the same time and by the same visionary power. During the early 1930s Louise Hanson-Dyer, a patron of Gustav Holst, issued a complete catalogue of the composer’s works and donated to the State Library of Victoria the first batch of Holst scores. This was to be the initial installment of a complete collection of published British music, which, however, was stopped due to duty tax complications. At the same time, the British Music Society of Victoria, founded by Louise Hanson-Dyer in 1921, maintained the first open library of chamber music in Australia. The BMS of Victoria Collection came to the State Library of Victoria in the 1980s. The most valuable materials in the collection are manuscripts of Australian twentieth century works, concert programs and first publications of British music from the 1920s and 1930s, which also supplement the Gustav Holst Collection. The collections are valuable reference and research collections, which document musical taste and music-making in Melbourne from 1920s well into the 1970s. The collections are also sources for studies into Louise Hanson-Dyer’s gift in collection development and her efforts to raise the professional standards of music performance in Melbourne and Australia.

School based partnerships : an Orff approach experiencing, exploring and engaging in music education

This article considers the role school-based partnerships can offer pre-service music education students. It is a reflection on what my students and I experienced, explored and engaged in music teaching and learning at a local primary school in Melbourne where the teacher is an Orff practitioner. As Wiggins says, 'Excellent teacher education programs provide students with experiences from which they can construct their own understandings of music, education, and music education' (Wiggins, 2007, p.36). Although both students and I kept reflective journals over our fiveweek visit during the first semester of 2008, this article selectively reports on some of my observation notes regarding music teaching and learning using the Orff approach. Such interaction paves the way for ongoing professional growth for all concerned (preservice students, music teacher and lecturer). It may be argued that school based partnerships offer students 'hands on' opportunities to 'develop an initial repertoire of teaching competencies, comprehend the various dimensions of music experience and understand student learning' (Campbell & Brummett, 2007. p.52). Although this article draws on the principal of linking theory to practice where the emphasis is on school and university partnerships (Henry, 2001) it makes pertinent links to the Orff approach to music teaching and learning.

What have we learnt? Pre-service music teaching and learning

Making pre-service teacher education relevant to teaching through onsite visits is not new to tertiary institutions in Australia. "The merits of field based teacher education are frequently cited, concluding increased relevance for students and greater accountability for colleges through participation of local schools" (Elmore, 1979, p. 378). This article reports on a Deakin University initiative with a local school in semester one 2008 with the Bachelor of Teaching (Primary and Secondary) music methodology students. The school chosen has a specialist music teacher. Conkling (2007) points out, "when the experienced music teacher presents a compelling vision of music teaching, pre-service teachers not only attend to this exemplar of teaching practice, but they also recognize the influences of teaching practices on younger students learning" (p. 45). This article explores the concept of school based partnerships and professional development as a way to enhance pre-service music methodology students understanding of teaching and learning. This article highlights some of our reflections during our five-week visit. We discuss the benefits of the experience from the point of view of a university student and a music education lecturer. Whilst such an experience had benefits for the school and the university, we also highlight some limitations that were encountered.

Value perception in music information systems

When referring to the value that IS adds to business and provides to consumers, we often (implicitly or explicitly) pertain to monetary value. However, perspectives exist regarding the notion of value which go beyond the monetary significance and maintain a direct influence on businesses and their performance. This paper explores the concept of value, its importance in IS, and the importance of understanding of how IS stakeholders perceive value. The paper focuses on the challenge of studying value in IS -although value manifests in properties of an information system, it can only be experienced and perceived subjectively through sense perception, experience and judgement of the system stakeholders. To address this challenge, the paper suggests the existence of a clearly shifting trend in the perception of IS technology and comments on the social impacts of end-users (consumers) being absorbed into the value-creation process for an information system in the music industry.

Authenticity in a modern music industry : a qualitative exploration into 'selling out'

This paper looks at the impact of authenticity in the modern music industry. With a focus on the influence of an artist’s life cycle and the evolution of the music industry, this paper explores the relationship between authenticity, the concept of selling out and social perception. A conceptual model is presented depicting the above relationships derived from the relevant literature. The paper concludes with a discussion of the method that will be used to undertake this research.

Music teacher education partnerships as professional development

This paper reports my reflections of a school and university partnership carried out in Semester One 2008 by the Bachelor of Teaching (Primary/Secondary) music education specialist at a University in Melbourne. As students have a specific 'situated learning' experience at a primary school, their five-week visit during the ten-week semester acts as onsite professional development by both the music teacher and myself. Here students are able to reflect and discuss both content and pedagogical knowledge. They are also given the opportunity to teach small groups whilst being mentored by the music teacher and myself. I contend that by universities providing such opportunities as good exemplars of best practice in music education as a form of professional development students can only improve teaching and learning and be better prepared when entering the teaching profession.

In this paper I report on my pre-service music education students' experience as school based music teaching and learning as an effective form of professional development. My reflections are supported by my observational notes are informed by self study methodology I consider the link between tertiary and school partnership as a way forward to improve both the teaching and learning of music education. Universities in Australia are increasingly encouraged to forge pathways with schools where students and teacher educators have the opportunity to observe best practice, engage in teaching and learning onsite and reflect on both content and pedagogical knowledge. Such practice promotes educational praxis for a sustainable future.

Exploring creative music making as a vehicle for integrated teaching and learning

The arts have evolved with each society as a means of consolidating cultural and social identity and connecting past with future generations (Russell-Bowie, 2006, p3). Situating the arts within a broader interdisciplinary curriculum, we believe, allows students to discover and explore social issues and their relevance to students' contemporary lives. We argue that creative music making through composition promotes a deeper and more personally relevant teaching and learning experience for teacher education students, particularly when situated within an interdisciplinary framework.

The challenge for us as teacher educators' is to prepare pre-service teachers for both disciplinary and interdisciplinary learning as is required by the Victorian Essential Learning Standards (VELS). At Deakin University, in the Bachelor of Teaching (Primary/Secondary) Degree, the postgraduate unit called Humanities, Societies and Environments; Language and Music Education adopts an interdisciplinary pedagogy that encourages students to learn from each other, share content knowledge and make links between and across VELS domains.

In this paper we reflect on the possibilities exploring of creative music making to enhance the teaching and learning of social education, with particular reference to issues of environmental change. Specifically, we reflect on non-music specialist students' experiences in Semester 1, 2008 using Jeannie Baker's book Window (1991) as a platform to deliberate about the impact of urbanisation on the environment. Through dramatisation and a sonic environment students were able to both further conceptualise issues of social change and their understandings of the power of integrating music across other VELS domains.

Recognizing and celebrating Xhosa traditional music in South Africa

The recognition and celebration of Indigenous Knowledge Systems (IKS) as a way forward to promote democracy and inclusivity continues to be part of South Africa's nation building process. One effective platform for this to take place is through community music making as music making in Africa is a way of life. Since democracy in 1994 many initiatives were set up to explore and foster traditional music. This paper presents a brief contextualization of IKS, identity and community music making. It reports on the a Xhosa music research project (2004-2006) as an ethnographic study which is descriptive and interpretive as a holistic cultural portrait. Participants in the project included post-graduate music students, community culture bearers and academics. Only some significant aspects of the Xhose music project at the University of Fort Hare will be reported on. We contextualize the recognition and celebration of IKS within the parameters of the music and the culture of the amaMpondo within the Xhosa people. The paper specifically focuses on the ritual life of the amaMpondo. It also describes the indigenous bow instruments of the Uhadi and Umrhubhe as unique examples of South Africa's traditional music. As this initiative proved a worthy undertaking, we challenge whether such a project could strengthen local IKS elsewhere and be a pathway for tertiary institutions to engage effectively with local community music practitioners in order to prepare students effectively as holistic music educators.

Sharing music and culture through singing in Australia

This article discusses the notion of sharing music and culture as an effective platform to celebrate diversity in Melbourne, Australia. My research project ‘Celebrating Music Making and Finding Meaning’ investigates and illustrates a context of diversity, one that promotes respect in a multicultural society sharing music and culture of a minority group. In 2007, I interviewed members of the South African choir in Melbourne; here I report on some data regarding why members sing in the choir, what are their understandings of a so-called South African identity and what they would like to share with the wider Australian community. I present some theoretical perspectives focusing on the notion of cultural and musical identity within a multicultural society. Such findings may have similar implications for other multicultural educational settings exploring the possibilities of valuing cultural diversity and making music across ages through a choir where difference can be shared and celebrated.

Opening the doors to multiculturalism : Australian pre-service music teacher education students' understandings of cultural diversity

Educational reform in Australia has urged teachers and tertiary institutions to prepare students for multicultural classrooms. Engagement with multicultural music by teachers and students promotes understanding of difference and diversity as music has both global and cross-cultural manifestations. This article reports on a research project undertaken at both Deakin University and Monash University (Melbourne, Victoria, Australia) with final year music specialist students (2005-2007). Students participated in an online, anonymous survey (2005) regarding their understandings of multiculturalism. By in-depth analysis of four semi-structured interviews undertaken with volunteers from the 2006 to 2007 cohort, using Interpretative Phenomenological Analysis, emergent themes and construct understandings of participant experiences were identified. Two significant themes are discussed: representations of multicultural music in Victorian schools and cultural context. Music education can be an effective platform to 'opening the doors to multiculturalism and cultural understanding'. Pre-service teacher education courses should reflect the changing societies in which they are situated.