Changes, challenges, and successes facing secondary pre-service teacher education in Australia

In December 2008, the Australian Government was presented with a report from a Review of Australian HigherEducation known as the ‘Bradley Review’. The report clearly articulates many challenges that lie ahead; it questions thestructure, organisation and financial position of Australia to effectively compete in the global economy. This paperprovides a succinct discussion of some of the challenges and dilemmas encountered at a metropolitan Australianuniversity in Melbourne within the Faculty of Arts and Education in the School of Education. The courses will bereaccredited in 2016 and has to comply with the new Australian Qualification Framework (AQF), the AustralianTeaching Standards Framework (AITSL) and the Victorian Institute of Teaching (VIT). By employing narrative inquiry,reflective practice and document analysis as methodology, I discuss the Bachelor of Teaching (Secondary)/Bachelor ofArts course (degree), the largest secondary pre-service teacher education course at a university in Melbourne presentingsome strategies and inviting international dialogue in relation to some of the challenges faced regarding increasednumbers of students and lower entrance scores. Limitations of the current course are acknowledged and generalizationscannot be made to other education courses at universities across Australia. However, some new initiatives in the facultyare offered.

We did the how to teach it: music teaching and learning in higher education in Australia

The Australian Government recognizes that the Arts are acritical part of formal school education and it should not be viewedas subordinate or extra. This paper forms part of a wider researchproject titled “Pre-service teacher attitudes and understandings ofMusic Education” that started in 2013. The focus of this paperinvestigates music teaching and learning in a core unit within theBachelor of Education (Primary) course at Deakin University(Australia). Using questionnaire and interview data gathered in 2014,I employ Interpretative Phenomenological Analysis to analyse andcodify the data. Three themes are discussed in relation to: Why it isimportant to include music in the primary school? What wasenjoyable and what aspects were challenging in the musicworkshops? What can students integrate as generalist teachers intotheir future classrooms? Though the findings focus on “we did thehow to teach it”, it also highlights some challenges and opportunitiesfor students and staff. Tertiary educators are challenged to raise thecapacity and status of music when preparing students to translate themusic curriculum into their future classrooms.

Promoting African music and enhancing intercultural understanding in teacher education

Australia is a culturally diverse nation. The Arts provide a pathway that contributes to the rich tapestry of its people. Tertiary music educators have the responsibility to provide opportunities to effectively prepare and engage pre-service teachers in becoming culturally responsive. The authors discuss the importance and need to include guest music educators as culture bearers when preparing pre-service teachers to teach multicultural music. Drawing on data from student questionnaires, author participant observation and reflective practice in 2014, the findings highlight the experiences and practical engagement of an African music workshop in teacher education courses. Generalisations cannot be made, however, the findings revealed the need, importance and benefits of incorporating guest music educators as culture bearers who have the knowledge, skills and understandings to contribute to multicultural music education. This experience may be similar to other educational settings and it is hoped that the findings may provide a platform for further dialogue in other teaching and learning areas.

Comparative study of the microstructures and mechanical properties of direct laser fabricated and arc-melted AlxCoCrFeNi high entropy alloys

High entropy alloys (HEA) are a relatively new metal alloy system that have promising potential in high temperature applications. These multi-component alloys are typically produced by arc-melting, requiring several remelts to achieve chemical homogeneity. Direct laser fabrication (DLF) is a rapid prototyping technique, which produces complex components from alloy powder by selectively melting micron-sized powder in successive layers. However, studies of the fabrication of complex alloys from simple elemental powder blends are sparse. In this study, DLF was employed to fabricate bulk samples of three alloys based on the AlxCoCrFeNi HEA system, where x was 0.3, 0.6 and 0.85M fraction of Al. This produced FCC, FCC/BCC and BCC crystal structures, respectively. Corresponding alloys were also produced by arc-melting, and all microstructures were characterised and compared longitudinal and transverse to the build/solidification direction by x-ray diffraction, glow discharge optical emission spectroscopy and scanning electron microscopy (EDX and EBSD). Strong similarities were observed between the single phase FCC and BCC alloys produced by both techniques, however the FCC/BCC structures differed significantly. This has been attributed to a difference in the solidification rate and thermal gradient in the melt pool between the two different techniques. Room temperature compression testing showed very similar mechanical behaviour and properties for the two different processing routes. DLF was concluded to be a successful technique to manufacture bulk HEA[U+05F3]s.

Music in worship: making spiritual connections through sound

Music has played a significant role in religion and spiritual settings over the centuries and continues to be included throughout church history, forming an important aspect of worship, contributing to spiritual growth and wellbeing. This article situates itself within a wider study on Spirituality and Wellbeing: Music in the community. Drawing on narrative reflection, the authors discusstheir experiences across Melbourne (Australia) and Potchefstroom (South Africa) and include some interview data from church musicians from the wider study in Melbourne in relation to how church music contributes to spirituality and impacts on wellbeing. As church musicians they argue that music in church settings can offer parishioners the opportunity to experienceand express spirituality in their life through sound. They recognize and acknowledge that music through singing, playing, improvising and listening is an aspect of spiritual connection that is not confined to the institution of the church or to a religion but is concerned with the connection wefeel and sense in mysterious and unknown places and spacesThe findings of this study are limited as it only focuses on the experience of the authors, hence, generalizations to other musicians or church settings cannot be made. The authors argue that music in church settings can enliven andtransform worship through music in which spiritual connections can be fostered between God and man that positively engender wellbeing.

Using voice to make musical and social connections

Community music is a rich and ongoing activity-taking place in formal and informal settings around Australia. This small-scale phenomenological qualitative case study is part of my wider study Spirituality and Wellbeing: Music in the Community that began in 2013. This paper demonstrates that community music making in a regional district in Victoria (Australia) makes it possible for choirs to use their voice to make musical and social connections to self and community that enhances both personal and community wellbeing. In May 2014, I visited three choirs for a week in the city of Warnnambool. Drawing on observation, questionnaires and focus group semi-structured interviews, I analysed the data using Interpretative Phenomenological Analysis. The findings include why people join choirs in regional towns, what they enjoyed that contributed to their wellbeing and why they want to sing about issues that make connections to social justice and sustainability. Though generalisations cannot be made to other towns or choirs, the findings show the need, importance and benefits of connecting to each other and the wider community. Using voice can serve as an effective platform to promote issues in the community such as social justice and the environment. It is hoped that the findings may provide a vehicle for further dialogue where choirs in other settings may experience similar connections to their community.

“You’re a whole group of people singing”: sharing and learning together in The Choir of the Hawthorn U3A

For older people group music making can assist them remain independent and active in the community. Across Melbourne there are many non-competitive leisure based choirs made of older, active volunteer participants. This paper presents the findings of a phenomenological qualitative case study that was undertaken with members of The Choir of the U3A Hawthorn. This group is auspiced by the international University of the Third Age (U3A) that promotes life-long learning and personal fulfilment amongst older people. In 2008 we began a large joint ongoing research project between Deakin University and Monash University, Well-being and ageing: community, diversity and the arts in Victoria. In 2013 members of the U3A Hawthorn Choir were interviewed about their perceived benefits concerning active music engagement in choir membership. Participants recounted joining the group for different reasons including a positive attitude to singing, convenience, and a desire for social connectedness. Those interviewed considered ongoing choir membership an effective use of leisure time that also provided opportunities for shared learning and personal validation. The data were analysed using Interpretative Phenomenological Analysis and are reported under two themes: Music engagement and Social connections. Membership of the Hawthorn U3A choir provided participants opportunities for friendship, companionship, happiness, a sense of belonging, and acceptance. This resilient community music group (first formed in 1996) has maintained a busy schedule of rehearsals and performances. This music making offers significant ways for older people to maintain well-being and contribute to the wider community.

Community music making and philanthropy: with One Voice choirs

Across the globe there are numerous philanthropic organizations that support community music engagement. Philanthropy is the desire to promote the welfare of others and is generally supported by the generous donation of money to good causes. One such group situated in Melbourne is Creativity Australia who oversees the With One Voice choirs. This program offers weekly community choirs that are led by a professional conductor. Each meeting is followed by supper. The choirs are supported by public sponsorship and currently around 68% of the choir members are subsidised. In this multiple case study we interviewed stakeholders, conductors and members of several of the choirs. This research is part of a larger joint research project, begun in 2008, Well-being and ageing: community, diversity and the arts in Victoria. Data were gathered from documentary sources and by individual and focus group semi-structured interviews (2014-2015) and were analysed using interpretative phenomenological analysis. This paper explores the intersections of community music making and philanthropy

Surf and turf: music education riding the wave and/or planted firmly in teacher education arts courses across two Australian universities

Tertiary Arts educators are exhorted to offer The Australian Curriculum: The Arts (Dance, Drama, Media Arts, Music and Visual Arts) in their teacher education programs. This paper situates itself across two interstate universities (Deakin in Victoria and Griffith in Queensland) where both authors are music educators at these institutions. They discuss the two different ways that primary Arts education is offered at their universities by focusing on the Bachelor of Primary course (program/degree). The focus at Griffith University is on integrating the Arts whereas at Deakin University, the Arts are taught as a discipline within the unit (subject). Across both universities two teaching units for primary Arts education is core within the four-year program. Drawing on the author’s narrative reflection, observation, student questionnaire data, anecdotal feedback and student end of semester evaluations we discuss two different methods of delivery, assessment and challenges the units present to the authors and students. Though tertiary Arts educators are challenged to be inclusive of a rich and diverse arts curriculum as music educators we question whether the students are merely surfing the crest of the wave or being firmly planted in the ground to effectively implement music education in their future primary classrooms. We invite dialogue with other music educators who face similar situations where the delivery of music education is not located within the Arts and is dependent on staffing, resourcing and time limits and in some situations is almost drowning.

Community music: making social, community and music connections in Australia

Choirs are an important part of the social and cultural tapestry of any community. Participating, learning music and performing are key factors to joining music organisations such as choirs. Singing in a choir as a music activity within communities is found to be participatory and voluntary, providing an opportunity for civil expression, identity and connectedness. The focus of this paper involves three choirs from my wider research project ‘Spirituality and Wellbeing: Music in the community’ that started in 2013, in Melbourne (Australia). In May 2014, I visited three choirs for a week in the city of Warnnambool, a regional district in Victoria (Australia). I draw on Yin’s (2003) categorisation of case study methodology that is explanatory, exploratory and descriptive. I draw on observation notes and focus group semi-structured interviews to analyse and code the data using Interpretative Phenomenological Analysis. The findings include why people join choirs in regional towns, what they enjoyed that contributed to their wellbeing and why they want to sing about issues that make connections to social justice, the environment and the community. Though generalisations cannot be made to other towns or choirs, it is hoped that the findings may provide a vehicle for further dialogue where

Fostering cultural diversity in Australia: a case study of teaching, learning and assessing African musical arts

Australia is forged by ongoing migration welcoming a range of cultures, languages and ethnicities thus celebrating a diverse range of musical arts. In this multicultural society, music and dance may serve as a positive medium to transmit and promote social cohesion. I argue that the inclusion of innovative and immersive practice of African music in particular where authentic teaching and learning is facilitated may help foster understandings of culture in educational settings and the wider society. As a migrant forming part of the African Diaspora in Melbourne, I am strongly connected to my ancestral homeland (South Africa) when teaching African music to Australian tertiary students. Having gained ethical clearance to undertake the two research projects at Deakin University in Melbourne (Attitudes and perceptions of Arts Education Students: preparing culturally responsive teachers and Pre-service teacher attitudes and understandings of Music Education), I discuss tertiary students experience in relation to the teaching and learning of African music within higher education courses. Drawing on interview, questionnaire, observation notes, anecdotal feedback and narrative reflection, I employ Interpretative Phenomenological Analysis to analyse and code the data into themes. By offering a discussion of assessment and evaluation, I explore and invite international dialogue in regards to how best we can prepare, assess and evaluate our students to improve the quality of musical arts education.

Field experience : international student experiences in Australia

Many university programs in Australia undertaken by international students include a field experience (work placements, practicum, work-integrated learning, internships). This component of the program provides teaching and learning opportunities for international students to socialise into workplace settings often in unfamiliar cultural contexts. This presentation draws on data from an Australian Office for Learning and Teaching (OLT) Innovation and Development grant Improving work placement for international students, their mentors and other stakeholders across six universities. An outcome of the project was a ‘model’ developed by the team. This will be discussed taking into account the relationship between the concepts of internationalisation, professional socialisation and reflection. Ideas and recommendations on how to improve international students’ experience during the placement will be shared.

Promoting cultural understandings through song across the Tasman: pre-service primary teacher education

As tertiary music educators across the Tasman we argue that music, particularly song, is an effective medium for teaching and learning about non-western music when preparing generalist primary Pre-Service Teachers (PSTs). Using ‘voice’ as a portable and accessible vehicle to transmit cultural understandings, we draw on the Zimbabwean proverb ‘if you can speak you can learn to sing and if you can walk you can learn to dance’ to foster music creativity and enhance literacy development and confidence in our PSTs. Using narrative methodology, we share our teaching and learning experience at Deakin University (Australia) and the University of Auckland (New Zealand) where we include African and Māori music respectively as effective ways to promote cultural understandings. In our experience, the teaching of song goes beyond teaching a tune or something that is ‘fun’. Rather, it is as an effective context for developing knowledge, skills and understandings about multiculturalism and the importance and need to be ‘inclusive of others’. PSTs gained socially, linguistically, cultural and emotionally, to name a few. We encourage other music educators at all education levels to be culturally and linguistically inclusive and to explore non-western music as a positive teaching and learning experience.

Composing, performing, and reflecting: teaching and learning in higher education

This case study adds to a growing body of literature that focuses on preparing generalist teachers in music education for the primary classroom. As part of my wider research on “Pre-service teacher attitudes and understandings of Music Education,” this paper situates itself within the Bachelor of Education (Primary) teacher education course at a university in Melbourne (Australia). Drawing on student questionnaire data, observation notes, and anecdotal feedback gathered in May 2015, I discuss student understandings and perceptions of music teaching and learning in a core unit (Primary Arts Education: Music Focused Study). This paper highlights the opportunity and challenges of music composition and performance as a group assessment task. The findings show that student confidence and competence improved through the creative music process. It can be argued that music teaching and learning in a pre-service teacher context is most effective when composition, performance, listening, and reflection are interconnected. Follow up research need to be undertaken in relation to how students use songs and group work to foster creativity in their future classrooms. Limitations of the study are acknowledged and generalizations cannot be made to other pre-service teacher courses in Australia

If you’re happy and you know it: Music engagement and subjective wellbeing

Experiencing and engaging with music have been fundamental to all societies across the ages. This study explores the connection between habitual music engagement and subjective wellbeing. Subjective wellbeing (SWB) comprises individual evaluations of life satisfaction, and is internationally regarded at policy and government levels. The present study uses data gathered in 2014 as part of the 31st survey of the Australian Unity Wellbeing Index to provide insight into the relationship between music engagement and SWB. A stratified random sample of 1,000 participants was interviewed via telephone. The findings revealed that engaging with music by dancing or attending musical events was associated with higher SWB than for those who did not engage with music in these forms. The findings also emphasised the important role of engaging with music in the company of others with regard to SWB, highlighting an interpersonal feature of music. The study provides an overview of the general relationship between music and SWB at a population level, by contrast to most research in the area that has focused on evaluating clinical interventions involving music. The insight gained from these findings can be used to inform future interventions and to better understand how music is involved in emotional regulation.