Inspired by the past, driven by the passion: music in state-supported education in New South Wales and Victoria 1848-1920

This investigation considers the development of class music teaching in New South Wales and Victoria during the first seventy-two years of state-supported primary education. The first chapter describes the English background including music teaching methods (resulting from the mid-nineteenth century English choral singing movement) and the subsequent development of music teaching in English elementary schools. The promotion of school music is then considered on a broadly chronological basis in the two states and several themes are identified in relation to school music policy and practice. These include the status of music (core curriculum or extra-curricular subject), who should teach music (generalist or specialist teachers), what teaching methods and music notation should be used (staff or Tonic Sol-fa), musical training for generalist teachers, and curriculum content in relation to the aims and objectives of school music. Comparisons are made between developments in both states and between both states and English school music. The final chapter demonstrates the relevance of many of the historical themes identified for music education today. The thesis concludes by identifying a recurring problem from the past. namely the lack of co-ordination between various aspects of school music policy, as the most serious problem to be overcome in the future.

Analysis of cultural conflict in the development of web-enabled information systems

The advent of the World Wide Web (WWW) and the emergence of Internet commerce have given rise to the web as a medium of information exchange. In recent years, the phenomenon has affected the realm of transaction processing systems, as organizations are moving from designing web pages for marketing purposes, to web-based applications that support business-to-business (WEB) and business-to-consumer (B2C) interactions, integrated with databases and other back-end systems (Isakowitz, Bieber et al., 1998). Furthermore, web-enabled applications are increasingly being used to facilitate transactions even between various business units within a single enterprise. Examples of some of the more popular web-enabled applications in use today include airline reservation systems, internet banking, student enrollment systems in universities, and Human Resource (HR) and payroll systems. The prime motive behind the adoption of web-enabled applications are productivity gains due to reduced processing time, decrease in the usage of paper-based documentation and conventional modes of communication (such as letters, fax, or telephone), and improved quality of services to clients. Indeed, web-based solutions are commonly referred to as customer-centric (Li, 2000), which means that they provide user interfaces that do not necessitate high level of computer proficiency. Thus, organizations implement such systems to streamline routine transactions and gain strategic benefits in the process (Nambisan & Wang, 1999), though the latter are to be expected in the long-term. Notwithstanding the benefits of web technology adoption, the web has ample share of challenges for initiators and developers. Many of these challenges are associated with the unique nature of web-enabled applications. Research in the area of web-enabled information systems has revealed several differences with traditional applications. These differences exist with regards to system development methodology, stakeholder involvement, tasks, and technology (Nazareth, 1998). According to Fraternali (1999), web applications are commonly developed using an evolutionary prototyping approach, whereby the simplified version of the application is deployed as a pilot first, in order to gather user feedback. Thus, web-enabled applications typically undergo continuous refinement and evolution (Ginige, 1998; Nazareth, 1998; Siau, 1998; Standing, 2001). Prototype-based development also leads web-enabled information systems to have much shorter development life cycles, but which, unlike traditional applications, are regrettably developed in a rather adhoc fashion (Carstensen & Vogelsang, 2001). However, the principal difference between the two kinds of applications lies in the broad and diverse group of stakeholders associated with web-based information systems (Gordijn, Akkermans, et al., 2000; Russo, 2000; Earl & Khan, 2001; Carter, 2002; Hasselbring, 2002; Standing, 2002; Stevens & Timbrell, 2002). Stakeholders, or organizational members participating in a common business process (Freeman, 1984), vary in their computer competency, business knowledge, language and culture. This diversity is capable of causing conflict between different stakeholder groups with regards to the establishment of system requirements (Pouloudi & Whitley, 1997; Stevens & Timbrell, 2002). Since, web-based systems transcend organizational, departmental, and even national boundaries, the issue of culture poses a significant challenge to the web systems’ initiators and developers (Miles & Snow, 1992; Kumar & van Dissel, 1996; Pouloudi & Whitley, 1996; Li & Williams, 1999).

Change and stasis in schoolmusic education in Victoria: the past informing the future

This article reviews the current state of music education in Victoria in terms of both past and present issues. It is argued that many of these issues are the result of change and stasis that have occurred over the past 150 years of school music in Victoria. The principal issues that confront the present generation of music educators and policy makers are the role and place of music in school education and the provision of music teachers for government schools. Both of these issues are discussed in terms of the historical development of music in Victorian schools and it is demonstrated that many of the problems associated with these issues are either cyclical in nature, or have been endemic and simply never adequately addressed. It is suggested that one of the principal challenges to be faced in the government school sector at present is to retain the integrity of music as a discrete subject area in face of the current trend towards a generically-based arts curriculum. There is often a tendency in education to adopt an overly critical and even pessimistic approach to what are perceived as long-standing and seemingly insolvable problems. However, a counter-balancing factor is the rich heritage of Victorian music education which provides the basis for a more optimistic outlook. An important aspect of this heritage is the example of many outstanding music educators in Victoria and elsewhere. It is argued that a knowledge of such past achievements as well as a fuller appreciation of the historical development of music education policies and practices should provide a more informed and rational basis from which to decide the future course of music education in Victoria.

Mapping music education in Australia

Music education research in Australia has grown almost exponentially over the past 25 years. Particularly in the area of doctoral research studies, there has been a substantial increase in the number of theses completed from two in 1977 to 72 in 2002. In addition, there have been increases in professional research undertaken by university academics, in the number of nationally competitive research grants being awarded by the Australian Research Council and other research funding agencies, and in commissioned research studies. This article reviews the various types of music education research being undertaken in Australia and also discusses the dissemination of the findings of research through articles in national and international scholarly journals and papers presented at local and international conferences. One of the conclusions drawn is that Australian music education has ‘come of age’ in terms of both the quantity and the quality of its national research profile.

Comparing external and internal dorsal-spine bands to interpret the age and growth of the giant lantern shark, Etmopterus baxteri (Squaliformes: Etmopteridae)

The giant lantern shark, Etmopterus baxteri, is taken as bycatch of commercial fisheries that operate in deepwater off southeastern Australia. Bands on the second dorsal spine were used to obtain age estimates. The number of bands on the external surface of the spine and within the inner dentine layer increased with animal length. Most spines had more bands on the external surface, and the rate of band formation was significantly different between the external surface and the inner dentine layer. Females had a maximum of 57 external bands and 26 internal bands, while males had up to 48 external bands and 22 internal bands. Age estimates from external bands suggest maturity (A ₅₀) at 20 years for males and 30 years for females. Internal band age estimates suggest maturity at 10.5 years for males and 11.5 years for females. Although there is a large discrepancy between these two preliminary (i.e., unvalidated) age estimates, they both suggest that E. baxteri is a long-lived and late maturing species that is likely to be susceptible to over fishing.

Descriptions of rajid egg cases from southeastern Australian waters

Egg cases from nine skate species occurring in Tasmanian waters were examined and measured. A species-specific identification key is provided for eight of these species. The key was developed primarily from fresh egg cases dissected from the oviduct, although specimens collected from the ocean floor or found dried on the beach were also used to test the key. Egg cases for the ninth species could not be included because the only egg case pair recovered was partially fomled. A diagnosis of the posterior end of this egg case is provided.

Surface bands on deepwater squalid dorsal-fin spines : an alternative method for ageing centroselachus crepidater

Bands on the external surface of the second dorsal-fin spine proved to be a novel method of estimating the age and growth of Centroselachus crepidater. Bands that followed the shape of the spine base were enhanced with an alizarin red derivative. Internal bands in spine cross sections were also examined. The number of both external and internal bands increased with animal size, although most spines had more external than internal bands. External bands were more reliable and were assumed to be annuli. The rate of band formation differed after five bands had been formed, and internal bands ceased forming after 30 years. Females to 54 years old and males to 34 years old were examined. Maturity occurred over a wide age range, with estimates of 20 years for females and 9 years for males. The youngest pregnant female was 27 years old. The Francis reparameterized von Bertalanffy growth model found similar growth for males and females, and the von Bertalanffy equations were L _t = 96.12^{(1 – e(–0.072(t+6.13))}) for females and L_t = 73.22(1 – e^{(–0.141(t+2.99))}) for males.

Narcotics Anonymous participation and changes in substance use and social support

In Victoria (a southern Australian state) in 1995, Narcotics Anonymous had a small but growing membership providing an opportunity to study the early experience of new self-help members. Ninety-one new members were interviewed and 62 (68%) were reinterviewed after 12 months. Three measures of self-help participation were examined: service role involvement, step work, and stable meeting attendance. Lower prior involvement in treatment services and greater participation in self-help predicted subsequent self-help participation. Higher levels of secondary school education predicted service role involvement and longer periods in stable meeting attendance. Higher self-help participation through the 12 months prior to follow-up was associated with lower levels of hazardous alcohol use and higher emotional support at reinterview. Multivariate regression analysis suggested stable self-help meeting attendance and step work continued to predict reductions in hazardous alcohol use and improvements in social support, after controlling for a range of alternative predictors.

A case for a revival of tonic sol-fa in the twenty-first century

The Tonic Sol-fa method of teaching singing was developed in England by John Curwen over a period of forty years from the 1840s until the 1870s. Although originally an aid to reading staff notation, the J 872 Standard Course saw staff notation dispensed with altogether in favour of its own notational system. By the end of the century it had spread from Britain to Australia, New Zealand, South Africa, Canada, the United States, India, China, Japan and the Pacific Islands. However, largely due to its notational isolation, Tonic Sol-fa declined markedly during the early twentieth century. Except for the incorporation of certain aspects into the Kodaly method, it has largely disappeared from contemporary music teaching practice. Surprisingly, however, Tonic Sol-fa in its nineteenth century form is presently "alive and well" in certain developing countries in Africa, Asia and the Pacific. This paper will present an analysis of Tonic Sol-fa and evaluate its characteristics in terms of contemporary pedagogical and notational theory. The paper will then report on the current use of Tonic Sol-fa in developing countries and it will be argued that, in certain of these countries, this nineteenth century teaching method and notational system has not only survived but has indeed flourished. It will be argued that, in at least one case, Tonic Sol-fa has been "indiginised" so that it has not only become an integral part of the musical culture but also has become part of the social fabric of the country. The case will be put for a revival of Tonic Sol-fa in developing countries where, for social, economic and educational reasons, an alternative model to that utilised in more highly developed countries may be more successful/ in promoting school and community choral music.

Easy, cheap and true : the case for promoting the Curwen method of teaching choral singing in developing countries

The Curwen method (Tonic Sol-fa) was developed by the Rev. John Cunven in England from the 1840s originally as a means of teaching music reading from staff notation. However, in the 1872 Standard Course, staff notation was dispensed with altogether in favour of Tonic Sol-fa "letter" notation. By the end of the century, Tonic Sol-fa had spread from Britain to many overseas countries. Although aspects were later incorporated into staff-based teaching
systems such as the Kodaly approach and the "New Curwen Method", Tonic Sol-fa in its late nineteenth century ' form has been "extinct" in Britain for several decades. Nevertheless, it is "alive and well", indeed flourishing, in certain African, Asian and Pacific countries. This paper analyses the Tonic Sol-fa system in terms of contemporary pedagogical practice and notational theory. The paper also reports on the use of Tonic Sol-fa in two countries - South Africa and Fiji - where it is now the mainstay of community choral music. It is argued that, particularly for developing countries, the Curwen method and its letter notation should be seriously considered as an alternative to staff notation methods as a highly effective means of promoting school and community choral singing.

Tonic sol-fa in South Africa : a case study of endogenous musical practice

Tonic Sol-fa was introduced to South Africa during the mid nineteenth century initially by Christian missionaries and later by professional educators to schools, teacher training institutions and local communities. Despite Tonic Sol-fa being the principal means of formal pedagogy and the most commonly-accepted notational medium through which South African communities have developed and sustained what is unquestionably a vibrant choral music tradition, there has been some fairly forthright condemnation of the overall effects of European music - particularly tonal-functional harmony - on indigenous culture. Agawu (2003) and Nzewi (1999), for example, have identified what they describe as the adverse effects of European music on African culture.

This paper counters these criticisms in one respect. It argues that, as one of the most prominent manifestations of European musical culture in sub-Saharan Africa, Tonic Sol-fa represents what Ntuli (2001) identifies as endogenous knowledge - knowledge acquired from non-indigenous sources that has been assimilated and integrated with indigenous knowledge to become the collective heritage of a people. This contention is supported by four short case studies of indigenous South African composers - two past and two contemporary musicians - who have utilised Tonic Sol-fa in their choral music writing and teaching, albeit in differing ways. The paper aims to counter the general criticism that European music has been injurious to indigenous African culture; rather it argues that in reality this manifestation of European music represents an exemplar of endogenous knowledge.