Relevant bibliographies by topics / New Zealand School of Music

Academic literature on the topic 'New Zealand School of Music'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "New Zealand School of Music"

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Linzey, Kate. "The Auckland School of Music, Post-Modernism & Nervous Laughter." Architectural History Aotearoa 6 (October 30, 2009): 12–20. http://dx.doi.org/10.26686/aha.v6i.6751.

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In 1984, the book-of-the-television-show The Elegant Shed was released by Otago University Press, and subsequently reviewed by Libby Farrelly in New Zealand Architect (1985) 2:39-40. Declaring the cover "wholly seductive ... glutinous sensuality," but its contents only "occasionally brilliant," Farrelly asks a lot of a not very big volume: to be "a definitive treatise on New Zealand's architecture." Though concluding that such a demand was "unsupporting" Farrelly's persistent fear is that David Mitchell and Gillian Chaplin lacked a "valiant idea." The review included the plan of Hill, Manning, Mitchell Architects' design for the Auckland School of Music. Citing Mitchell's comment in The Elegant Shed that "there was no logical connection between the side of a grand piano and the shape of a noise deflecting wall," Farrelly warns that such arbitrary aesthetics condemns architecture to mere "applique." Though "applique" is not, strictly speaking, collage, patching together is an apt description of the design process evident in the Music School plan. In their description of the design Hill, Manning, Mitchell Architects tauntingly declared that the project contains elements of "Baroque, Spanish Mission and Post-Modern" architecture (New Zealand Architect (1981) 5/6:1-3), and suggested that their transition from being "straight-line modernists" to "sensuous and baroque... [is] not unexpected in middle age." This paper will discuss Manning & Mitchell's design of the Auckland Music School in the context of their own writings and seminal international texts on the post-modern architecture, Learning From Las Vegas (1972) and Complexity and Contradiction (1966) by Robert Venturi et al. and Colin Rowe's Collage City (1978). I will argue that the hardest thing for architecture to bear/bare, especially New Zealand architecture, is a sense of humour.
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Locke, Terry, and Lauren Prentice. "Facing the Indigenous ‘Other’: Culturally Responsive Research and Pedagogy in Music Education." Australian Journal of Indigenous Education 45, no. 2 (May 5, 2016): 139–51. http://dx.doi.org/10.1017/jie.2016.1.

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This narrative article is based on an analysis of 61 documents, mostly articles, of which 37 were peer-reviewed, including research studies, reviews, conceptual research and narratives of practice. Review findings are reported with specific reference to the Australian and New Zealand contexts in relation to the following topic categories: the presence of indigenous music in the curriculums of selected ‘new world’ countries, teacher education in indigenous performing arts, questions of curriculum design and programming, resource selection, activity design, and school and community relationships. Certain key themes emerged across these topics: the need for a greater emphasis on more culturally nuanced music teacher education in relation to indigenous musics; the critical importance of teaching indigenous music/arts contexts; song ownership; and the need for music educators and researchers to develop a critical stance towards their subject and discipline.
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BERKAHN, JONATHAN. "HAYDN: FORMS OF EXPRESSION, NEW ZEALAND SCHOOL OF MUSIC, WELLINGTON, 22–24 MAY 2009." Eighteenth Century Music 7, no. 1 (January 21, 2010): 179–81. http://dx.doi.org/10.1017/s1478570609990790.

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McPhail, Graham. "From singular to over-crowded region: Curriculum change in senior secondary school music in New Zealand." British Journal of Music Education 29, no. 3 (April 2, 2012): 317–30. http://dx.doi.org/10.1017/s0265051712000058.

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This paper discusses recent developments in the senior music curriculum in New Zealand. I suggest that school music is in transition from its clearly defined origins to its ‘regionalisation’ by new content and knowledge. The concepts of knowledge differentiation and verticality are considered in relation to the subject's now diverse range of curriculum segments, and I argue that the varied progression requirements of these segments combined with an ‘emptying out’ of significant aspects of knowledge within an outcomes-based curriculum presents significant challenges for curriculum construction and pedagogy. Also vying for space within the curriculum are elements of informal music learning. These challenges need to be carefully considered in light of recent social realist critiques which highlight the significance of the relationship between knowledge structures, curriculum, pedagogy and student access to powerful knowledge.
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Owens, Samantha. "‘Unmistakeable Sauerkrauts’: Local Perceptions of Itinerant German Musicians in New Zealand, 1850–1920." Nineteenth-Century Music Review 15, no. 1 (February 6, 2017): 37–49. http://dx.doi.org/10.1017/s1479409817000076.

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Although largely forgotten today, bands of German musicians (generally from the Westpfalz region) were regular visitors to New Zealand’s shores from the 1850s up until the outbreak of World War I, making them among the earliest professional European musical ensembles to be heard in the country. Plying their trade on the streets and in other public spaces, German bands were also routinely hired to perform for garden parties, school sports days, dances and boat trips, as well as on countless other occasions. Yet despite their apparent popularity, contemporary comment published in newspapers of the day demonstrates that reactions to their performances were decidedly mixed. While some members of the public clearly enjoyed the contribution German bands made to local musical life, others were less than delighted by their (often noisy) presence. In 1893, for example, one Wellington resident complained that ‘a German Band … may be heard braying at every street corner at all hours of the day and night’, while noting also that ‘It is the genuine article, all the performers being wanderers from the “Vaterland”, unmistakeable “sauerkrauts”’ Within weeks of the outbreak of World War I, ten members of a German band had been arrested in Auckland and taken to Somes Island in Wellington harbour, where they were interned for the duration of the conflict. This article examines the New Zealand public’s changing perceptions of this particular brand of street musician from colonial times until shortly after the end of the First World War.
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McPhail, Graham John, and Trevor Thwaites. "Managing Time for Heads of Music Departments." Teachers' Work 15, no. 1 (August 9, 2018): 46–62. http://dx.doi.org/10.24135/teacherswork.v15i1.244.

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New Zealand secondary music teachers spend many hours each week in both preparing and training a variety of performance ensembles, often before school, during lunchtimes, after school, on weekends and during holidays. In many cases this can be regarded as unpaid labour, yet their efforts make a significant contribution to a school’s life: its atmosphere and spirit. In this paper we report on interviews with six music Heads of Departments and note the challenging nature of their work underpinned as it is by a what we describe as a structured antagonism and the bipolarity of compulsion and desire. The wider context is a world of increasing educational global spectacle as systems of teacher and school accountability, clustered together with associated targets and benchmarks, have become powerful and pervasive forces transforming the life and work of teachers.
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Locke, Linda, and Terry Locke. "Sounds of Waitakere: Using practitioner research to explore how Year 6 recorder players compose responses to visual representations of a natural environment." British Journal of Music Education 28, no. 3 (October 14, 2011): 263–84. http://dx.doi.org/10.1017/s0265051711000209.

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How might primary students utilise the stimulus of a painting in a collaborative composition drawing on a non-conventional sound palette of their own making? This practitioner research features 17 recorder players from a Year 6 class (10–11-year-olds) who attend a West Auckland primary school in New Zealand. These children were invited to experiment with the instrument to produce collectively an expanded ‘repertoire’ or ‘palette’ of sounds. In small groups, they then discussed a painting by an established New Zealand painter set in the Waitakere Ranges and attempted to formulate an interpretation in musical terms. On the basis of their interpretation, drawing on sounds from the collective palette (complemented with other sounds), they worked collaboratively to develop, refine and perform a structured composition named for their chosen painting. This case study is primarily descriptive (providing narrative accounts and rich vignettes of practice) and, secondarily, exploratory (description and analysis leading to the development of hypotheses). It has implications for a range of current educational issues, including curriculum integration and the place of composition and notation in the primary-school music programme.
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Wise, Stuart, Janinka Greenwood, and Niki Davis. "Teachers' use of digital technology in secondary music education: illustrations of changing classrooms." British Journal of Music Education 28, no. 2 (June 6, 2011): 117–34. http://dx.doi.org/10.1017/s0265051711000039.

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The music industry in the 21st century uses digital technology in a wide range of applications including performance, composition and in recording and publishing. Much of this digital technology is freely available via downloads from the internet, as part of software included with computers when they are purchased and via applications that are available for some mobile phones. Such technology is transforming music and the way people approach many traditional music activities. This paper is about transformative practices that are underway in some secondary school music classrooms. Practices are being shaped by the culture of the schools and the students that they recruit. We describe the perceptions and practices of nine music teachers in four New Zealand secondary schools with regard to digital technology and how they are changing their work in their classroom. Data collection techniques include interviews, observation and a questionnaire. The data were subjected to two stages of thematic analysis. Grounded analysis was used to allow the teachers' voices emerge. This was then followed by the application of five themes identified in the literature on pedagogic change prompted by teachers' adoption of digital technologies.
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McQueen, Robyn. "Enhancing student agency in the primary music classroom through culturally responsive practice." Teachers and Curriculum 22, no. 2 (November 3, 2022): 89–98. http://dx.doi.org/10.15663/tandc.v22i2.403.

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In Aotearoa New Zealand and Australia work is ongoing to upskill teachers in culturally responsive practice as a way of addressing inequalities for Māori and Aboriginal students (Macfarlane, 2004; Morrison et al., 2019). Through supplementary materials to the New Zealand Curriculum, such as Tātaiako and The Hikairo Schema (New Zealand Ministry of Education & New Zealand Teachers Council, 2011; Rātima et al., 2020), cultural competencies and culturally responsive teaching and learning practices have been schematised. Internationally, student agency has been theorised in the context of addressing inequities in learning outcomes (Toshalis & Nakkula, 2012). Many of the teaching practices embedded in active music-making approaches, such as Orff and Kodály, are characteristically agentic. However, for a number of reasons, specialist teachers in primary schools may be isolated from current educational philosophical trends and imperatives. Drawing on the literatures of culturally responsive practice and student agency, this article identifies themes that resonate with and potentially enhance active music-making in the classroom. Based on years of practice as a classroom teacher and my current role as an Orff-trained primary music specialist, I offer examples of ways music teachers can enhance student agency informed by cultural competencies. These include approaches to group and individual tasks, cross-curricular creative projects, sourcing and curating content and integrating digital learning.
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Stevens, Robin. "Book Review: Music at Canterbury: A Centennial History of the School of Music, University of Canterbury, Christchurch, New Zealand, 1891–1991." International Journal of Music Education os-21, no. 1 (May 1993): 92. http://dx.doi.org/10.1177/025576149302100115.

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Dissertations / Theses on the topic "New Zealand School of Music"

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Lile, Trudy. "Creating new standards : jazz arrangements of pop songs : a thesis presented in partial fulfillment of the requirements for the degree of Master of Music in Jazz Performance, New Zealand School of Music, Auckland, New Zealand." New Zealand School of Music, 2009. http://hdl.handle.net/10179/1203.

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This study involves the research, analysis, and performance of existing arrangements of songs that have been played and recorded by jazz musicians, and are identifiable as pop songs of the last thirty years. This project will discuss the development of these songs as new repertoire in the jazz idiom. In particular it will examine transcriptions of arrangements by Herbie Hancock, Dianne Reeves, Brad Meldau, Charlie Hunter, Christian McBride, and Bob Belden. The analysis of these transcriptions will consider the techniques these musicians used in their arrangements including reharmonisation, melodic interpretation, rhythm, and restructuring of the form of the original song. Further, the techniques identified in the analyses will be applied in the creation of new arrangements of similar songs from that era for jazz ensemble of various sizes.
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Boniface, Emma Jane. "Promoting sociability : staff perceptions of music therapy as a way to enhance social skills : a project presented in partial fulfilment of the requirements for the degree of Master of Music in Music Therapy, New Zealand School of Music, Wellington, New Zealand." Massey University, 2009. http://hdl.handle.net/10179/1172.

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This thesis is the result of working with nine students and one teacher aide in group music therapy in special education. Through opportunities to learn about music and sound, the students were invited to use descriptive language to express emotions and thoughts about their music therapy experience. This research used a qualitative research design, where the purpose was to learn about the perceptions that staff may have of music therapy and to highlight how music therapy can promote sociability in an educative setting. The data collected mainly through research journal entries and two interviews (as well as material from a discussion group) offer evidence about how improvisational group music therapy can help create a positive social environment in the classroom and complement socialisation goals in education.
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Jennings, Janet. "A composer-teacher in context: Music for the performing arts faculty in a New Zealand secondary school." The University of Waikato, 2008. http://hdl.handle.net/10289/2605.

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This thesis examines the processes and outcomes of a composer-teacher's practice in the context of a New Zealand secondary school. The research was undertaken by the composer-teacher/researcher as a case study that integrates an investigation of the context with four action research music composition projects developed as a creative response to that context. Chapters One to Three comprise the background theory. Chapter One provides an introduction and overview of the research; Chapter Two explains and justifies the research methods. Chapter Three peels away and examines five layers of the secondary school context identified as significant in shaping the perceptions of the participants: approaching the context in a multi-layered way enabled coherent synthesis and appraisal of the relevant literature. Chapters Four to Seven comprise the four action research music composition projects. Each action research project focuses on a music score composed by the composer-teacher/researcher for a specific group of students at Macleans College, Auckland. The composition, production, and performance processes are investigated from the perspectives of all the participants. Each music project comprises a four part progression - plan (composition process), data (music score), data analysis (recordings of performances, surveys, and interviews with all participants) and reflection (feedback, and feedforward into the next project). Each phase of the research generated significant outcomes, such as the four original music scores. Chapter Eight summarizes the themes, issues, and patterns that emerged, and makes recommendations for further research. A model of co-constructive practice emerges from this research: teacher and students co-construct artistic worlds through performance. The model is not new (it is common practice, adopted by generations of musician-teachers) but is rarely acknowledged and currently un-researched. This research demonstrates the validity of the practice from both musical, and teaching and learning perspectives, and examines the strengths and limitations of the model. At its best, the creative processes co-constructed by a teacher with her students are shown to provide a crucible within which intense and creative learning experiences occur. Students of all levels of ability are shown to gain confidence in this context, and subsequently develop skills with apparent ease. The co-constructive model is limited in that it cannot meet the musical needs of all students: co-construction should be considered as one model of practice, appropriate for use in association with many others. This research provides 'virtual access' to a particular world of performance practice, revealing the secondary school context as a realm of authentic and valid musical practice.
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Nyce, Douglas L. "New Zealand primary music education: a promise broken : a comparison of the de jure and de facto philosophies of music education of New Zealand primary, intermediate and middle schools." Thesis, University of Auckland, 2012. http://hdl.handle.net/2292/18071.

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This thesis project is undertaken in order to expose and analyse the philosophies of music education of the New Zealand educational system at the primary level. Research is conducted and presented in the disciplines of philosophy, the philosophy of music, the philosophy of education and the philosophy of music education so that this analysis might be as conceptually broad and deep as possible. Information is also gathered from New Zealand governmental documents on the subject of music educational philosophy and previous surveys of New Zealand music education are explored. Current information is also gathered through the conducting of a survey of 1247 New Zealand schools. This thesis is a vehicle both for the presentation and analysis of data gathered through this survey of New Zealand primary, intermediate and middle school music education and for the presentation and philosophical analysis of the discipline of the philosophy of music education. Using data collected through the survey instrument, the de facto philosophies reported by music educators and principals as operating in New Zealand schools have been established. The data collection involves qualitative questioning regarding the philosophy of music education as well as quantitative questioning regarding philosophy, methods, curriculum and materials utilised. The responses are analysed, as are many other competing philosophical viewpoints for logical validity and empirical relevance. Efforts are also made to place them within the context of the history and philosophy of music education. The conclusions of this exposition and analysis are that there is a discernable philosophy of music education predominantly operating in New Zealand schools as demonstrated by teacher practice (the philosophy of music education de facto) and that this philosophy is in some ways inconsistent with the predominant philosophy of music education as articulated in New Zealand Ministry of Education documents (the philosophy of music education de jure). Based on its validity and efficacy, I recommend that a particular philosophy of music education bridging the two be developed and be adopted, both de jure and de facto, by New Zealand officials and educators.
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Kahui, Dennis Jon. "A cultural approach to music therapy in New Zealand : a Maori perspective : a dissertation presented in partial fulfilment of the requirements for the degree of Master of Music Therapy at Massey University, NZ School of Music, Wellington, New Zealand." Massey University, 2008. http://hdl.handle.net/10179/898.

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The main theme of this study is to form a culturally appropriate approach to music therapy concepts from a Maori perspective that could be inclusive and accommodate both Maori and Tauiwi (non-Maori) Rangatahi (adolescents) in health care settings. In order to provide a descriptive account of the holistic aspects of introducing Maori musical concepts in a music therapy setting a qualitative design was employed. The study draws on my personal journal entries, an interview with Kaumatua (Maori respected elders) regarding the appropriateness of introducing and altering traditional Maori musicality to accommodate the patient’s needs and a case study involving the Haka as a music therapy intervention strategy with a young Maori patient diagnosed with schizophrenia. My findings show that as a music therapist consultation with Kaumatua regarding anything related to Maori cultural aspects was essential. I also found that when working with a Maori Rangatahi who is immersed in Maori culture, it created an atmosphere of containment, familiarity, enjoyment, engagement and an environment that facilitated the achievement of therapeutic goals. Te Whare Tapa Wha Maori mental health model is well suited as a music therapy assessment tool to the characteristics of the physical, emotional, spiritual and family context of the Haka. I also found that Tauiwi music therapists wishing to introduce cultural elements must first learn about Maori culture and the people in order to confidently understand the music. Tauiwi Rangatahi may also benefit from the introduction of Maori musicality as a therapeutic means by being an inclusive member of the community and the positive psychological effects. For example, Rangatahi benefited from learning the proper pronunciation and meaning of the Haka, which in turn gave them a sense of achievement. I also found that some Maori protocols fit well with the protocols of music therapy, such as the beginning and endings with a hello and goodbye song.
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Park, Yaeun Kyung. "Improving understanding of music therapy with a non-verbal child: sharing perceptions with other professionals : a research presented in partial fulfilment of the requirements for the Master of Music Therapy at New Zealand School of Music, Wellington, New Zealand." Massey University, 2008. http://hdl.handle.net/10179/999.

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This study explored the value of music therapy practice with a non-verbal child conducted by the author, a Music Therapy Student (MTS), as seen through the eyes of two music therapists and the child’s mother, as well as the improvement achieved in the MTS’s understanding of music therapy practice through sharing the three professionals’ insights. The paper addresses two research questions: (1) How is music therapy with a non-verbal child perceived by music therapy professionals? (2) How does sharing these professionals’ understanding of music therapy improve the MTS’s understanding of this therapeutic process? The MTS’s self-reflections were treated as part of the data in this research, as was the non-verbal communication within the music therapy intervention to support the findings. The qualitative research, ‘Naturalistic inquiry’ was used for this research. Data was collected by interviewing these three professionals individually about their perceptions of music therapy after watching three video extracts of normal music therapy sessions with the child. The video extracts were selected from the significant moments of non-verbal communication. Through this process of sharing the professionals’ perceptions, the MTS gained a deeper understanding of both the child and the music therapy practice administered, confirming and extending her understanding of the musical and therapeutic skills and techniques of the three professionals, which they had gained in their varied experiences and which had been shaped by their varied backgrounds. The MTS was thus engaged in a learning process which hoped would enhance the quality of therapy provided by her in the future.
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Wong, Chit Yu. "How can a music therapy student facilitate contributions by adolescent clients who have psychiatric disorders in group music therapy? : a thesis presented in partial fulfillment of the requirements for the degree of Master of Music Therapy at New Zealand School of Music, Wellington, New Zealand." Massey University, 2009. http://hdl.handle.net/10179/1093.

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This study explored ways in which a music therapy student could modify and improve her own clinical practice in order to facilitate client contribution in group music therapy in an acute adolescent inpatient unit. Through cycles of observation, evaluation, planning, and action, the music therapy student was able to examine her facilitation techniques in detail and modified them accordingly. There were six fortnightly cycles and in each cycle, the research journal, research notes, and video-recording were systematically reviewed by the music therapy student herself, and themes were drawn out to contribute to the planning of the next cycle. The results suggested that while direct questions predominated at the start of study, the music therapy student was able to adopt a variety of other techniques by the end of the research period, including self-disclosure, appropriate eye contact, and the shifting of responsibility. The music therapy student also found that her own anxiety level, which was often caused by periods of silence in music groups, also had an important impact on her ability to facilitate. The discussion addressed other factors that are believed to have contributed to the student?s ability to facilitate in group music therapy.
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Wong, Chit Yu. "How can a music therapy student facilitate contributions by adolescent clients who have psychiatric disorders in group music therapy? : a thesis submitted to the New Zealand School of Music, Wellington, New Zealand, in partial fulfilment of the requirements for the degree of Master of Music Therapy /." ResearchArchive e-thesis, 2009. http://hdl.handle.net/10063/1003.

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Chiang, Jenny Yu Kuan. "Music therapy for young children who have special needs : the music therapy experience from the perspectives of carers and professionals : a thesis submitted to the New Zealand School of Music, Wellington, New Zealand, in partial fulfilment of the requirements for the degree of Master of Music Therapy /." ResearchArchive@Victoria e-Thesis, 2008. http://hdl.handle.net/10063/1046.

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Braatvedt, Sue. "A history of music education in New Zealand state primary and intermediate schools 1878-1989." Thesis, University of Canterbury. Department of Music, 2002. http://hdl.handle.net/10092/3915.

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Music education has been part of the New Zealand curriculum since the nineteenth century yet it has not been perceived as a "mainstream" subject in the school curriculum. This research examines how music has been perceived in the curriculum, and looks at the effectiveness of the teacher in implementing music education programmes during the existence of the Department of Education between 1878 and 1989. While the Education Act of 1877 established the Department of Education, in practical terms the Department only started to function in 1878 and ceased to exist in 1989. External events such as the two economic depressions of the 1890s and the early 1930s, and the two World Wars, had a deleterious effect on music education development. In the local political arena there was inconsistency in attitudes towards the subject that further inhibited growth. The majority of immigrants during the nineteenth century were from Britain. A review of the sight singing movement in England is included in chapter one to determine why singing dominated school music in the New Zealand curriculum. In 1928 the syllabus changed from "singing" to "music." This reflected a wider concept of musical activity, including musical appreciation, movement and the playing of musical instruments. The 1920s represented an era of many new initiatives in school music, dominated by the appointment of the first Supervisor of School Music, E. Douglas Tayler. The subsequent appointments of four British music lecturers to the four Training Colleges augured well for school music. Broadcasts to schools programmes that featured prominently in the lives of many New Zealand school pupils, had begun life with Tayler's music programmes in 1931. The appointment of the National Adviser of Music, W.H. Walden Mills in 1958 represented another important milestone in music education, since no-one had held this position on a national level since Tayler's resignation 27 years earlier. Walden Mills' influence was manifest in the appointments of District Music Advisers during the 1960s who provided a much needed support service to teachers. Further developments in music education occurred during the 1970s with the implementation of special music programmes in certain schools, including the Music Teacher Scheme (MT scheme) and the composers in schools scheme. During the 1970s and 1980s awareness of other cultures became an integral part of school music programmes, and contemporary music of all kinds became an acceptable part of the school environment. Two significant events that reflected changing attitudes towards music education were the publication of the Tait Report in 1970 and the Ritchie Report in 1980. A CD accompanies the thesis giving examples of school songs published in various song books used in New Zealand schools between 1878 and 1980.
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Books on the topic "New Zealand School of Music"

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M, Jennings John. Music at Canterbury: A centennial history of the School of Music, University of Canterbury, Christchruch, New Zealand, 1891-1991 : together with a roll of graduates in music. Christchurch, NZ: School of Music, University of Canterbury, 1991.

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Thomas, Adrian. Report on aspects of senior music in Australia and New Zealand: Submitted to the Music Sub-committee of the Arts Subject Advisory Committee, Board of Senior Secondary School Studies, 21 February 1991. Spring Hill, Qld: The Board, 1991.

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Organisation for Economic Co-operation and Development., ed. New Zealand. Paris: OECD, 2008.

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Agassiz-Suddens, Doreen. Lesbian music of New Zealand. Auckland, N.Z: Published by Papers Inc. and the Charlotte Museum Trust, 2011.

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Berry, John. Country Music (Television New Zealand). Auckland, N.Z: TVNZ Pub., 1986.

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Freed, Dorothy. Directory of New Zealand music organizations. 2nd ed. Wellington: National Music Council of New Zealand, with assisstance of the Queen Elizabeth II Arts Council of New Zealand, 1986.

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Bibliography of New Zealand compositions. 3rd ed. Christchurch: Nota Bene Music, 1991.

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100 essential New Zealand albums. Wellington, N.Z: Awa Press, 2009.

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Thomson, John Mansfield. Biographical dictionary of New Zealand composers. Wellington: Victoria University Press, 1990.

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Cardno, Carol E. M. Collaborative management in New Zealand schools. Auckland, N.Z: Longman Paul, 1990.

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Book chapters on the topic "New Zealand School of Music"

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Locke, Linda. "Legacy and Adaptation: The Orff Approach in the New Zealand School Setting." In Intersecting Cultures in Music and Dance Education, 97–117. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-28989-2_7.

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Buntting, Cathy, and Alister Jones. "School science in New Zealand." In Studies in Science Education in the Asia-Pacific Region, 194–206. London: Routledge, 2017. http://dx.doi.org/10.4324/9781315717678-17.

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Moeed, Azra, and Dayle Anderson. "The New Zealand Context and Research Design." In Learning Through School Science Investigation, 17–31. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-1616-6_2.

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Wills, Rod, and Stephen A. Rosenbaum. "The Problematics of Inclusive Education in New Zealand Today." In Tales from School, 91–108. Rotterdam: SensePublishers, 2014. http://dx.doi.org/10.1007/978-94-6209-893-0_9.

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Macartney, Bernadette. "How ‘Specialese’ Maintains Dual Education Systems in Aotearoa, New Zealand." In Tales from School, 165–79. Rotterdam: SensePublishers, 2014. http://dx.doi.org/10.1007/978-94-6209-893-0_15.

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Wylie, Cathy, Graeme Cosslett, and Jacky Burgon. "New Zealand Principals: Autonomy at a Cost." In A Decade of Research on School Principals, 269–90. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-23027-6_13.

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Crowe, Ada. "Policy, Policy Research in Aotearoa New Zealand." In International Handbook for Policy Research on School-Based Counseling, 437–55. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58179-8_29.

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Pimenta, Ricardo Milheiro, and Richard L. Light. "The contribution of positive relationships to girls wellbeing in a New Zealand school basketball team." In Sport in Aotearoa New Zealand, 159–70. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003034445-14.

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Rickson, Daphne. "Music Therapy Places and Spaces." In Music Therapy with Autistic Children in Aotearoa, New Zealand, 307–20. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-05233-0_22.

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Rickson, Daphne. "Music Therapy with Tamariki Takiwātanga." In Music Therapy with Autistic Children in Aotearoa, New Zealand, 35–61. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-05233-0_3.

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Conference papers on the topic "New Zealand School of Music"

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Lang, Alexander, and Masood Masoodian. "Graphic designers' quest for the right music." In the 8th ACM SIGCHI New Zealand chapter's international conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1278960.1278965.

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Watters, Paul A., Maya Watters, and Jacqueline Ziegler. "Malicious Advertising and Music Piracy: A New Zealand Case Study." In 2014 Fifth Cybercrime and Trustworthy Computing Conference (CTC). IEEE, 2014. http://dx.doi.org/10.1109/ctc.2014.13.

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Hutter, Manuela, and Sally Jo Cunningham. "Towards the design of a kids' music organizer." In the 9th ACM SIGCHI New Zealand Chapter's International Conference. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1496976.1496979.

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Thompson, David, and Tim Bell. "Adoption of new computer science high school standards by New Zealand teachers." In the 8th Workshop in Primary and Secondary Computing Education. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2532748.2532759.

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Samarasekara, Chamindi K., Claudia Ott, and Anthony Robins. "Barriers to New Zealand High School CS Education - Learners' Perspectives." In SIGCSE 2022: The 53rd ACM Technical Symposium on Computer Science Education. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3478431.3499344.

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Samarasekara, Chamindi K., Claudia Ott, and Anthony Robins. "Future Scenarios for High School Digital Technology in New Zealand." In ACE '23: Australasian Computing Education Conference. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3576123.3576126.

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Waranusast, Rattapoom, Arin Bang-ngoen, and Jeerapa Thipakorn. "Interactive tangible user interface for music learning." In 2013 28th International Conference of Image and Vision Computing New Zealand (IVCNZ). IEEE, 2013. http://dx.doi.org/10.1109/ivcnz.2013.6727048.

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Urrutia, Ana, and Miren Josu Arriolabengoa. "GAMES AND MUSIC: CONTRIBUTIONS FOR CHILDREN´S SCHOOL." In International Conference on Education and New Learning Technologies. IATED, 2016. http://dx.doi.org/10.21125/edulearn.2016.0886.

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Boamah, Eric. "Unfettered Resilience of School Archivists in Maintaining Value of Records to Support the New Zealand School Curriculum." In 2021 ITP Research Symposium. Unitec ePress, 2022. http://dx.doi.org/10.34074/proc.2205016.

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The purpose of this study is to explore the key function of school archives and to highlight the important roles school archivists play in maintaining the value of records to support the curriculum. Although school archives play an important role in the school, little has been researched in New Zealand about the challenges school archivists face and their unfettered resilience to push through those obstacles to maintain the value of school records to support the curriculum. This article is part of a study in progress that employs an interpretive qualitative approach to understand the perspectives of school archivists on their purpose. The perspectives of seven school archivists from four regions of New Zealand are presented. The findings reveal the core functions of the school archive as a source of information for researchers, family members of past students, and corporate entities. The archive supports teaching and learning by providing teachers with useful and unique teaching aids from the collection. It also serves to preserve the identity and memory of the school. Specific tasks of the school archivist include collecting items for the archive, organising the collection, reporting, and displaying the materials for easy access and use by those who need them. Certain resources enable the archivist to achieve their purposes, but their passion is a key enabler. The main challenges school archivists face relate to issues with training and skills development, resourcing, recognition and awareness, inadequate facilities and collaboration. The study has useful implications for archival research in New Zealand as it discusses an area that has not been explored before. This article is limited to the perspectives of only seven school archivists, meaning it can be difficult to form a generalisation of school archivists in the whole of New Zealand. However, the study is still in progress and the author hopes to gather more perspectives in order to make a comprehensive generalisation.
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Johnson, Henry. "Charlie King, Chinese Music, and Media Representation in a New Zealand Gold Mining Setting." In – The Barcelona Conference on Arts, Media & Culture 2020. The International Academic Forum(IAFOR), 2020. http://dx.doi.org/10.22492/issn.2435-9475.2020.5.

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Reports on the topic "New Zealand School of Music"

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Blakeley, John. Development of Engineering Qualifications in New Zealand: A Brief History. Unitec ePress, February 2016. http://dx.doi.org/10.34074/ocds.027.

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Post 1840, New Zealand’s early engineers had mainly trained in Britain prior to emigrating. The need for educating and training young engineers was soon recognised. This was initially done by means of a young engineer working under the close supervision of an older, experienced engineer, usually in a cadetship arrangement. Correspondence courses from the British engineering institutions became available from 1897. Several technical colleges in New Zealand implemented night classes to assist students who were preparing for the associated examinations. The first School of Engineering was established at Canterbury University College in 1887. Teaching of engineering, initially within a School of Mines, commenced at Auckland University College in 1906. Engineering degrees did not become available from other universities in New Zealand until the late 1960s. The New Zealand Certificate in Engineering (NZCE) was introduced as a lower level of engineering qualification in the late 1950s and was replaced by a variety of two-year Diploma in Engineering qualifications from 2000, now consolidated together and known as the New Zealand Diploma in Engineering (NZDE) and taught at fifteen institutions throughout New Zealand from 2011. At an intermediate level, the three-year Bachelor of Engineering Technology degree qualification (BEngTech) was also introduced from 2000 and is now taught at seven institutes of technology and polytechnics, and the Auckland University of Technology.
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Watson, Sophie. Student activism: Learning through doing. NZCER, May 2022. http://dx.doi.org/10.18296/rep.0020.

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What do we know about student activism in Aotearoa New Zealand? How do schools view and respond to student activism? And, in what ways does the New Zealand Curriculum support student activism? This paper uses recent literature and media reports to examine the relationship between activism and formal education, including the benefits and challenges associated with in-school activism. Recent examples of out-of-school youth activism are analysed, giving insight to youth activism participation and expression. Adult responses to youth activism, the framing of youth activism and the agency, and ideas about the educational potential of student activism are also discussed.
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Alansari, Mohamed, Cathy Wylie, Rose Hipkins, Sinead Overbye, Renee Tuifagalele, and Sophie Watson. Secondary teachers' Perspectives from NZCER's 2021 National Survey of Secondary Schools. NZCER, June 2022. http://dx.doi.org/10.18296/rep.0022.

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The long-running National Survey of Schools project is part of the New Zealand Council for Educational Research’s (NZCER’s) Te Pae Tawhiti programme of research. NZCER has run a national survey of secondary schools every 3 years since 2003. For the 2021 National Survey of Secondary Schools, we surveyed a sample of 5,376 teachers, randomly chosen from a stratified sample of Years 9–13 and Years 7–13 secondary schools to ensure national representation of schools across all deciles. A total of 1,093 teachers responded to the survey over two data collection waves, giving a nationally representative picture in terms of school decile.
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Alansari, Mohamed, Melinda Webber, Sinead Overbye, Renee Tuifagalele, and Kiri Edge. Conceptualising Māori and Pasifika Aspirations and Striving for Success. NZCER, April 2022. http://dx.doi.org/10.18296/rep.0019.

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The COMPASS project is part of NZCER’s Te Pae Tawhiti Government Grant programme of research. It is also aligned to the broad goals and aspirations of NZCER, in that its overarching purpose is to give effect to Te Tiriti o Waitangi and the notion of Whakatere Tōmua—Wayfinding. The COMPASS project has examined the ways kaiako, ākonga, and whānau navigate educational experiences and contexts. Using quantitative and qualitative data, the report focuses on examining the social-psychological conditions for school success from the perspectives of Māori and Pasifika students (n = 5,843), Pasifika whānau members (n = 362), and Māori kaiako (n = 311) from 102 schools across Aotearoa New Zealand.
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