Primary school music

Primary teaching and music qualifications - a rare combination, not only in New Zealand today but in primary schools the world over for more than a decade. Helen Stowasser (1993) writes of 'insecure music teachers' and questions the adequacy of teacher education courses. The Arts in the New Zealand Curriculum states: 'The arts develop the artistic and
aesthetic dimensions of human experience. They contribute to our intellectual ability and to our social, cultural and spiritual understandings. They are an essential element of daily living and of lifelong learning' [the italics are mine]. If our Ministry of Education truly believes this and wants
to ensure that the music discipline is adequately taught, then there are some issues to be addressed, such as recruitment of musically capable teachers; acceptable standards of professional expertise in music; content, length and timing of pre-service programmes; and making provision for teachers' ongoing development.

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.

A case study of child sexual abuse within a Church community

A case study is presented of child sexual assault within a church community. How does a church community deal with the accusation of an adolescent female that-as a 13-year old-she was sexually victimised and assaulted by her then 18-year old boyfriend, five years her senior? Practical and pastoral issues, as well as ethical and legal concerns are addressed. Consideration is also given to the theological context of the church environments in which the situations arise. The implications for victims, perpetrators, leaders, and the church community of our actions-and failure to take appropriate action-are described, along with recommendations for prevention, and best practice in dealing with the sexual abuse of minors within church communities.

Music education research in Australia - 2006

This article summaries some research on music education in Australia. During 2006, the Bibliography of Australian Music Education Research (BAMER) database has undergone a major revision with the addition of several newly-located research studies and the updating of existing inaccurate or incomplete entries. The 27th World Conference of the International Society for Music Education (ISME) was held at the Kuala Lumpur Conference Centre in Malaysia from 16 to 21 July and was attended by several Australian delegates. Forthcoming conferences are listed.

Place of latin in the church

On the evening of Wednesday 13th September 2006, Solemn Vespers began in the historic 13th century chapel of Merton College Oxford, in much the same way as it would have done at the very first sung Vespers in this beautiful space, designed for the classical Roman liturgy already very well established in its language and forms when this chapel was first built 400 years before the English Reformation. For the next four days, the Roman liturgy, through Lauds, Solemn High Mass, Vespers and Compline, were celebrated in a place that – apart from one Novus Ordo Mass in English – had not seen the glories of this Liturgy celebrated in Latin since the mid 1500s. For those of us present at the 11th International Colloquium of the International Centre for Liturgical Studies (CIEL) dedicated to “The Genius of the Roman Liturgy: Historical Diversity and Spiritual Reach”, this was not just an incredibly moving experience, though it was certainly this, but an affirmation of the timelessness and spiritual heritage of the Latin liturgy.