Who says boys don`t read? They do in literature circles!

This article is about Literature Circles and its ongoing implementation at Parade College, where it is regarded as an innovative, flexible and inclusive strategy that motivates adolescent learners, particularly boys, to read for enjoyment, for independent learning, and for the enhancement of literacy knowledge, skills and capabilities.

Why teach music in schools?

One of the most pressing problems for contemporary school education is an overcrowded curriculum. The so-called 'National Curriculum' developed as a result of the Australian Education Council's Hobart meeting in 1989 and the subsequent publication of a series of 'Statements' and 'Profiles' by the Curriculum Corporation in 1994 consolidated the school curriculum into eight Key Learning Areas (Curriculum Corporation 1994a, 1994b). Since that time most states have moved away from school-based curriculum development and have embraced the National Curriculum but with adaptations to suit their own needs. In the case of Victoria there have been two iterations of the National Curriculum in the form of Curriculum and Standards Frameworks. In the original version, Music was one of the five arts strands specified for years P to 6 and one of the six strands for years 7 to 12 (Board of Studies 1995). With the CSF2, Music is now one of three possible arts form included under Performing Arts which, with Visual Arts, form the two strands specified for years P to 4 (Board of Studies 2000). Music is then included in its own right as one of six Arts strands for years 5 to 12. However, effectively the CSF2 represents a significant loss of ground for Music at the lower and middle primary school levels in Victoria.

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.

Music needs no visa : insights from three South African voices on teaching African music in Melbourne, Australia

As Australia becomes increasingly multicultural, there are many that would argue that the teaching and learning of music at educational settings can be carried out in a number of ways where cultural context and authenticity is imperative. This paper discusses the main arguments of teaching and learning in music education and provides some theoretical perspectives of teaching African music as groundwork for the discussion and findings. This paper is part of a wider study called 'Smaller steps in longer journeys' and. provides insight into the teaching of South African music in Melbourne. Three South African voices (my own as tertiary music educator, an artist in schools and a primary music specialist) through reflection and interview data considers 'how' and 'why' African music is taught The discussion presents an openmindedness of music when it travels to a new country where the pedagogy is the process of production and exchange, a social-discursive practice whereby process and understanding is more important than just product. As music requires no visa it will continue to travel and be shared in different context where pedagogical practice considers teacher, learner and knowledge.

Engaging, exploring, and experiencing multicultural music in Australian music teacher education : the changing landscape of multicultural music education

ln multicultural Australia, the development of positive intercultural attitudes is essential in the creation of a harmonious society. Music education is a powerful medium to address cultural inclusivity. The 2005 National Review of School Music Education challenges Australian higher education institutions to prepare programs that explore multiculturalism to engender tolerance.This research explored how final year teacher education students at Monash University and Deakin University (Victoria, Australia) engage with music of other cultures and how this affects their understanding of cultural diversity in school music. From 2005 to 2008, teacher education students undertaking music methodologies were invited to participate in semi-structured interviews.The data collected from the interviews were transcribed and analyzed using interpretative phenomenological analysis, and from these data, we developed patterns of meaning that are reported thematically; student teachers' beliefs, attitudes, and understandings of multiculturalism and the classroom realities of multiculturalism.The findings contribute to how we, as tertiary educators, evaluate our role and programs.

Technology and music in the early years of schooling

An investigation of junior primary school children's use of computer-based music technology found that, with active support from teachers, young children were able to participate effectively in relatively complex musical processes, with particular regard to listening, performing and composing, thus extending the traditional scope of young children's music education.

Music, in early childhood education : teachers' levels of confidence and happiness

This paper presents the results of a study which investigates early childhood teachers’ levels of confi dence
and happiness in conducting music activities with young children. A sample of 284 in-service and preservice
early childhood teachers in Hong Kong participated in the study. Two new research instruments
entitled Teachers Music Confi dence Scale (TMCS) and Teachers Happiness Scale (THS) were designed for
data collection to answer the research questions. Results showed that early childhood teachers have the
highest and the lowest level of confi dence in singing and composing/improvising respectively. In-service
teachers showed higher confi dence and happiness levels in conducting several musical activities with
young children than pre-service teachers. There was also a statistically signifi cant relationship between
these two variables. Implications for engagement in music are discussed in the paper.

Ambient music (in the elevator)

In the Elevator is a warped take on ambient elevator music and a good piece of audio for a digital project where elevators or boredom are needed.

Toka boot/the big jam : making music in rural East Timor

This article discusses a community music project in rural East Timor. Australian musician Gillian Howell lived for three months in the isolated town of Lospalos as an Asialink artist-in-residence, where she worked with local community members and visiting Australian musicians to share music and ideas, and to communicate across cultures. Three activities are described in detail: a songwriting project, a large-scale community music event and a series of informal jam sessions, particularly with respect to the context, teaching and learning models used. An evaluation of the impact of the project on participants, other community members and visiting musicians, indicated that stakeholders valued the project highly for a range of different reasons. These included fun and enjoyment, maintenance of cultural heritage, creative expression, English language learning and cross-cultural exchange. Learnings and recommendations for future similar cross-cultural collaborations include the value of integrating local music traditions with new participatory arts approaches.