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

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

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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2

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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4

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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Pierard, Tom, and David Lines. "A constructivist approach to music education with DAWs." Teachers and Curriculum 22, no. 2 (November 3, 2022): 135–45. http://dx.doi.org/10.15663/tandc.v22i2.406.

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Increased interest in music technology education in recent years has prompted music teachers, technology educators and theorists to reconsider both the human and technical processes rendered by creative work in digital sound media. Music technology learning environments range from more structured classroom learning to informal, autodidactic practices, where student identity and creative agency are paramount. However, there is a need to develop more specific teaching and learning strategies that move beyond basic instructional or blended learning environments for digitally literate students (Darlis & Sari, 2021). This chapter discusses common learning practices of Digital Audio Workstation (DAW) users, and the dangers of superimposing conventional music teaching strategies to music technology when the learning style, participatory culture and multimodal affordances are inherently different. This article draws on a recent study involving a constructivist approach with secondary school students in Aoteaora New Zealand via creatively navigating “blocks” in students’ autodidactic processes. Some findings are reported before some initial ideas of how teachers can incorporate aspects of individual identity (e.g., cultural, social, and political contexts) into DAW learning are offered.

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Glenn Schellenberg, E., and Ellen Winner. "Music Training and Nonmusical Abilities: Introduction." Music Perception 29, no. 2 (December 1, 2011): 129–32. http://dx.doi.org/10.1525/mp.2011.29.2.129.

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the objective of this special issue of Music Perception, which includes contributions from researchers based in Canada, Germany, New Zealand, and the US, is to present the best new research on associations between music training and nonmusical abilities. Scholarly interest in associations between music training and nonmusical cognitive functioning has sparked much research over the past 15–20 years. The study of how far associations between music training and cognitive abilities extend, and whether such associations are more likely for some domains of cognition than for others, has theoretical relevance for issues of transfer, modularity, and plasticity. Unlike most other areas of scientific inquiry, there is parallel interest on the part of the public, the media, and educators who want to know if nonmusical intellectual and academic benefits are a welcome by-product of sending children to music lessons. Indeed, some educators and arts advocates justify music training in schools precisely because of these presumed and desired nonmusical associations.

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13

Bolton, Jan. "Technologically mediated composition learning: Josh's story." British Journal of Music Education 25, no. 1 (March 2008): 41–55. http://dx.doi.org/10.1017/s0265051707007711.

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An innovative ICT project called Compose has been implemented in some New Zealand primary schools in an effort to counteract the lack of classroom composition opportunities. Compose combines the use of music software and online learning with attempts to address barriers to primary classroom composition. This article illustrates, through personal narrative, how Compose made successful composition experiences possible for a student in a classroom where no such opportunities had previously existed. The project led to the student acquiring compositional skill and knowledge and a positive music self-concept. Though it is not possible to generalise from a single case study, the findings indicate that Compose could offer a potentially viable way to increase classroom composition learning opportunities.

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BURNARD, PAMELA, and GARY SPRUCE. "Editorial." British Journal of Music Education 28, no. 2 (June 6, 2011): 115–16. http://dx.doi.org/10.1017/s0265051711000027.

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In this issue, we witness different ways in which to illuminate the complexities of music teachers and music teaching processes and the conditions through which students learn and teachers embody different and contested images of professional ideals, ideologies and practices. In studies drawn from as far afield as New Zealand, Australia, Republic of Ireland and the UK, authors locate current debates about practice and offer careful analysis, insights and compelling ideas for change that range from teacher professionalism and accountability to community engagement and government policy. There are a range of theoretical frameworks incorporated (including cognitive psychology, constructivism, interpretative phenomenology, and sociocultural theories of situated learning, zone of proximal learning, and concept formation) and the authors' work relates to a range of contested areas. The articles move between teacher thinking and classroom practice to key factors in students’ learning and achievement and music learning in the ‘third age’. All are concerned with the ways in which beliefs, values and identities, structural and curriculum reforms, informal and formal learning sites, and pre-service and continuing professional development, shape and affirm the importance in building understandings of students and teachers' musical lives and how particular practices get embodied in particular contexts. The sites of practice include secondary school music, conservatoire research, university programmes, music communities and local government sectors. The articles draw on diverse data generated via in-depth interview methods, questionnaires, document analysis, observation and accounts of musical experiences.

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15

Scanlen, Sean. "Educational Change and the Secondary School Music Curriculum in Aotearoa New Zealand. Edited by Graham McPhail, Vicki Thorpe, and Stuart Wise (2018)." New Zealand Journal of Educational Studies 54, no. 1 (October 17, 2018): 205–13. http://dx.doi.org/10.1007/s40841-018-0121-8.

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McPhail, Graham. "Informal and formal knowledge: The curriculum conception of two rock graduates." British Journal of Music Education 30, no. 1 (July 2, 2012): 43–57. http://dx.doi.org/10.1017/s0265051712000228.

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Informal learning has become a prominent theme in music education literature in recent times. Many writers have called for a new emphasis on informal knowledge and pedagogy as the way forward for music education. The position taken in this paper is that a central issue for music education is the accommodation of a tension between types of knowledge and the ways of knowing strongly associated with popular and classical of music – socially acquired informal knowledge and socially developed but formally acquired disciplinary knowledge. Approaches to curriculum conception and realisation observed in a recent series of case studies in New Zealand secondary schools suggest that a key factor in student engagement is the degree to which teachers can create links between informal and formal knowledge so that students’ understanding and conceptual abilities can be extended across these knowledge boundaries. The teaching approaches of two recent graduates in rock music are discussed to support the social realist argument that a ‘progressive’ approach to curriculum involves creating links between informal and formal knowledge rather than replacing one with the other or dissolving the boundaries between them. Through seeing the two types of knowledge as necessarily interconnected within educational contexts, the epistemic integrity of classroom music is maintained. In this way students are able to recognise themselves and their aspirations while also recognising the potential and power of the foundational knowledge of the discipline.

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Thorpe, Vicki. "An activity theory analysis of the relationship between student identity and the assessment of group composing at school." British Journal of Music Education 35, no. 1 (October 17, 2017): 5–22. http://dx.doi.org/10.1017/s0265051717000158.

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The purpose of this article is to contribute to existing literature about how activity theory might be used in music education research. It draws from the author's doctoral action research into the assessment of group composing for New Zealand's secondary school qualification, the National Certificate of Educational Achievement (NCEA). It outlines and explains how activity theory was used to examine three interacting activities: social jamming, group composing and achievement in the NCEA. Analysis revealed a relationship between students’ identities, their achievement in NCEA group composing, and socio-economic disparity.

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O‘Rourke, Anne C. "New Zealand: New Zealand Society for Music Education Inc." International Journal of Music Education os-8, no. 1 (November 1986): 73–74. http://dx.doi.org/10.1177/025576148600800126.

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Browne, Jade. "New Zealand’s refreshed curriculum: Another promise unfulfilled?" Teachers and Curriculum 22, no. 1 (August 3, 2022): 21–25. http://dx.doi.org/10.15663/tandc.v22i1.390.

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Art disciplines such as music have continued to be marginalised in the curriculum, due to educational policies such as National Standards that have focused solely on numeracy and literacy. With growing concerns of a narrowing curriculum, there have been several developments in education, including the removal of National Standards in 2017, the introduction of the Creatives in Schools programme and a refresh of New Zealand’s national curriculum. Despite this, minimal resources continue to be allocated to primary music education, with the subject remaining underfunded and under resourced.

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Thomson, J. M. "New Zealand and Oxford." Musical Times 126, no. 1706 (April 1985): 201. http://dx.doi.org/10.2307/962176.

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Buckley, Susan, Zachary Gerring, Jacqueline Cumming, David Mason, Janet McDonald, and Marianna Churchward. "School Nursing in New Zealand." Policy, Politics, & Nursing Practice 13, no. 1 (February 2012): 45–53. http://dx.doi.org/10.1177/1527154412438919.

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White, Tina. "New Zealand School Journals, 1960s-70s." Back Story Journal of New Zealand Art, Media & Design History, no. 5 (December 1, 2018): 41–47. http://dx.doi.org/10.24135/backstory.vi5.36.

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In this commentary, Tina White draws on her collection of the New Zealand School Journal to illustrate how by the 1960s and 1970s the Journal commissioned content from some of the country’s best writers, illustrators and photographers. Founded in 1907 with the high-minded aim to develop among New Zealand schoolchildren an “appreciation of the higher literature”, it is believed to be the longest running serial publication for children in the world with around 750,000 copies published annually in four parts. Athol McCredie, who writes on the New Zealand photobook in this issue, once described the New Zealand School Journal as an element of New Zealanders’ cultural consciousness – “remembered as evocatively as the smell of stale school milk, the feel of chalk and finger paint, and the steamy atmosphere of a classroom of wet bodies on a rainy day”.

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Renner, J. M. "SCHOOL CERTIFICATE ATLAS FOR NEW ZEALAND." New Zealand Journal of Geography 49, no. 1 (May 15, 2008): 31–32. http://dx.doi.org/10.1111/j.0028-8292.1970.tb00461.x.

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Cannata, David Butler, and John Mansfield Thomson. "The Oxford History of New Zealand Music." Notes 48, no. 3 (March 1992): 887. http://dx.doi.org/10.2307/941715.

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Martin, Brett A. S., and Celeste A. McCracken. "Consumption imagery in New Zealand music videos." Asia Pacific Journal of Marketing and Logistics 13, no. 2 (June 2001): 3–22. http://dx.doi.org/10.1108/13555850110764739.

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Martin, Brett A. S., and Celeste A. McCracken. "Music marketing: music consumption imagery in the UK and New Zealand." Journal of Consumer Marketing 18, no. 5 (September 1, 2001): 426–36. http://dx.doi.org/10.1108/eum0000000005602.

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This research examines cross‐country differences in marketing imagery. Marketing imagery in music videos broadcast in the UK and New Zealand are studied. Results suggest that UK music videos have more brand references, fashion imagery, darkside products and role model behaviour outcomes than New Zealand music shows. Pop music marketing references are mainly visual while hard rock has more darkside products, brand references and punishment outcomes.

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Mollgaard, Matt. "New Zealand Music in the Popular Imagination 1988-2010: Revisiting a Moment for ‘Our Music’." Back Story Journal of New Zealand Art, Media & Design History, no. 5 (December 1, 2018): 49–69. http://dx.doi.org/10.24135/backstory.vi5.37.

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From the late 1980s until around 2010 a new type of national conversation arose around music created in Aotearoa/ New Zealand. This conversation was played out in popular literature, public forums, academic research and ultimately in government policy outputs. This period of energy and enthusiasm for claiming a unique musical heritage and in developing the cultural, social and economic potential of this music was brief, but notable. Looking back, we can clean interesting insights into a period of real enthusiasm for New Zealand music as an important signifier of what it meant to be ‘from New Zealand’ through books about New Zealand music aimed at mainstream audiences. This interest in discussing New Zealand music in new ways was also reflected in the academy, with attempts to deconstruct the popularity of New Zealand music and government involvement in it being published around the same time. This article is by no means an exhaustive history of this period in New Zealand music literature, but a review of key books and the common themes that strung them together in what represents not a canon, but a moment in New Zealand music that captured the popular imagination and was celebrated in print as well as discussed in broader academic forums too. This moment can be critiqued as gendered – dominated by male writers and therefore male perspectives, but that is not the purpose of this article. This flurry of publishing is cast here as a reaction to popular culture that was very much of its time and the wider contexts of New Zealand’s socio-political culture during that period. It is argued that ultimately, this rash of books about New Zealand music reflected an energy around trying to connect New Zealand music to the wider work of identifying and celebrating a maturing and definitive understanding of what it meant to be from New Zealand. This fed a wider interest in New Zealand music as significant inside the academy andalso within government agencies charged with supporting cultural work.

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Guyver, Robert. "School History in New Zealand and Australia." Curriculum and Teaching 25, no. 2 (January 1, 2010): 5–29. http://dx.doi.org/10.7459/ct/25.2.02.

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Broughton, Katherin. "Anticipated death in New Zealand school communities." Kairaranga 9, no. 2 (July 1, 2008): 41–46. http://dx.doi.org/10.54322/kairaranga.v9i2.117.

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Few resources seem to be available to support school communities that have a child whose death is anticipated. The present article draws on the experiences of school staff and special education employees who have been involved in New Zealand school communities where a child was terminally ill and died These experiences could help other school communities to provide optimal support and avoid pitfalls Schools could use this article to develop a plan tofit their own unique situation.

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Rubie-Davies, Christine M., and Michael A. R. Townsend. "Fractures in New Zealand Elementary School Settings." Journal of School Health 77, no. 1 (January 2007): 36–40. http://dx.doi.org/10.1111/j.1746-1561.2007.00160.x.

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Hopfengardner, Jerrold D., and Frank L. O'Dell. "A Visit to a New Zealand School." Clearing House: A Journal of Educational Strategies, Issues and Ideas 62, no. 5 (January 1989): 235–37. http://dx.doi.org/10.1080/00098655.1989.10114061.

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Jones, Alison, and Kuni Kaa Jenkins. "Bicentenary 2016: The First New Zealand School." New Zealand Journal of Educational Studies 51, no. 1 (October 17, 2015): 5–18. http://dx.doi.org/10.1007/s40841-015-0026-8.

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Editorial Collective, UnderCurrents. "Contributors." UnderCurrents: Journal of Critical Environmental Studies 18 (April 27, 2014): 60. http://dx.doi.org/10.25071/2292-4736/38554.

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Omer Aijazi is a PhD candidate in the Department of Educational Studies, University of British Columbia. His research examines place based, community led micro processes of social repair after natural disasters. His research destabilizes dominant narratives of humanitarian response and disaster recovery and offers an alternate dialogue based on structural change.Jessica Marion Barr is a Toronto artist, educator, and PhD candidate in Cultural Studies at Queen’s University. Her interdisciplinary practice includes installation, found-object assemblage, drawing, painting, collage, and poetry, focusing on forging links between visual art, elegy, ecology, ethics, and sustainability. "In October 2013, Jessica curated and exhibited work in Indicator, an independent project for Toronto's Nuit Blanche.Gary Barwin is a poet, fiction writer, composer, visual artist, and performer. His music and writing have been published, performed, and broadcast in Canada, the US, and elsewhere. He received a PhD in Music Composition from SUNY at Buffalo and holds three degrees from York University: a B.F.A. in music, a B.A. in English, and a B.Ed.O.J. Cade is a PhD candidate in science communication at the University of Otago, New Zealand. In her spare time she writes speculative fiction, and her short stories and poems can be found in places like Strange Horizons, Cosmos Magazine, and Abyss and Apex. Her first book, Trading Rosemary, was published in January of 2014 by Masque Books.Kayla Flinn is a recent graduate from the Masters in Environmental Studies program, with a Diploma in Environmental and Sustainable Education from York University. Originally from Nova Scotia, Kayla is both an artist and athlete, spending majority of her time either surfing or trying to reconnect people to nature/animals through art she produces.Frank Frances is a playwright, poet, music programmer, artistic director, community arts and social justice activist, former jazz club owner, and believer of dreams of a greater humanity. Frank majored in English, creative writing, post colonial literature and theory, drama and theatre, and is a graduate of York University.Sarah Nolan is a PhD candidate at the University of Nevada, Reno, where she studies twentieth and twenty-first century American poetry. Her dissertation considers developing conceptions of ecopoetics and how those ideas contribute to poetry that is not often recognized as environmental.Darren Patrick is an ecologically minded queer who lives in a city. He is also a PhD candidate in the Faculty of Environmental Studies at York University in Toronto, Ontario.Portia Priegert is a writer and visual artist based in Kelowna, B.C. She completed her MFA in Creative Writing at UBC Okanagan in 2012, with funding from the Social Sciences and Humanities Research Council of Canada.Elana Santana is a recent graduate of the Masters in Environment Studies program at York University. Her research focuses on the intersections of feminist, queer, posthumanist studies and the environment. Her academic work informs her creative pursuits a great deal, particularly in her attempts to photograph the non-human world in all its agential glory. Conrad Scott is a PhD candidate in the University of Alberta’s Department of English and Film Studies. His project examines the interconnection between place, culture, and literature in a study of dystopia in contemporary North American eco-apocalyptic fiction.Joel Weishaus has published books, book reviews, essays, poems, art and literary critiques. He is presently Artist-in-Residence at Pacifica Graduate Institute, Carpinteria, CA. Much of his work is archived on the Internet: http://www.cddc.vt.edu/host/weishaus/index.htmMichael Young is presently the University and Schools advisor for Operation Wallacea Canada, a branch of a UK based biodiversity research organization. He is a recent graduate of the Masters in Environmental Studies program at York University (MES), where his culminating portfolio examined apocalyptic narratives and popular environmental discourse. He is presently in the process of developing an original television pilot, which he began writing as a part of his master’s portfolio.

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Shuker, Roy. "CLIMBING THE ROCK: The New Zealand Music Industry." Perfect Beat 1, no. 4 (October 3, 2015): 16–27. http://dx.doi.org/10.1558/prbt.v1i4.28671.

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Morreale, Fabio. "Rethinking music technology pedagogy: A New Zealand focus." Teachers and Curriculum 22, no. 2 (November 3, 2022): 127–33. http://dx.doi.org/10.15663/tandc.v22i2.404.

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In the creative sector, "music technology" refers to a wide range of musical practices, tools and devices enabled or facilitated by computers. Yet the music technology curriculum in New Zealand, as in other parts of the world, is dominated by two specific tools: commercial Digital Audio Workstations (DAWs) and notation software. In this chapter, I problematise this limitation by showing the pedagogical issues deriving from this exclusive model and by unpacking the ideological substrate of these tools, which is firmly grounded on neoliberal practices and principles. My analysis covers the ontology of these tools—what they are, what they do—and their business model. I then compare these tools against alternative approaches to music technology based on free-to-use, open-source software and programming languages based on principles of inclusion, collaboration and creative exploration.

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Hearon, Jim. "New Zealand Sonic Art." Computer Music Journal 27, no. 1 (March 2003): 101–3. http://dx.doi.org/10.1162/comj.2003.27.1.101.

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Kopytko, Tania. "Breakdance as an Identity Marker in New Zealand." Yearbook for Traditional Music 18 (1986): 21. http://dx.doi.org/10.2307/768516.

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Thomas, Allan. "“Pokarekare”: An Overlooked New Zealand Folksong?" Journal of Folklore Research: An International Journal of Folklore and Ethnomusicology 44, no. 2-3 (May 2007): 227–37. http://dx.doi.org/10.2979/jfr.2007.44.2-3.227.

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Holton, Derek. "Nurturing Mathematical Talent in New Zealand." Mathematics Teacher 88, no. 6 (September 1995): 514–17. http://dx.doi.org/10.5951/mt.88.6.0514.

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During the last seven years, a program has been developing to assist high school students in New Zealand who have an aptitude for mathematics. It is the only New Zealand program in any subject that aims to help all talented students, no matter where they live or what school they attend.

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Shuker, Roy. "New Zealand popular music, government policy, and cultural identity." Popular Music 27, no. 2 (May 2008): 271–87. http://dx.doi.org/10.1017/s0261143008004066.

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AbstractThe New Zealand popular music industry has recently undergone impressive growth, and is poised to make a significant international impact. Two aspects of this newly privileged position are examined. First, broadly sketching twenty years of developments, I argue that Government willingness to get behind the local industry, especially the role of the post-2000 Labour Government, is a crucial determinant of the present success story. Secondly, I consider the debated relationship between local music and New Zealand cultural identity, with particular reference to two prominent musical styles: Kiwi ‘garage’ rock, and Polynesian-dominated local rap, reggae and hip-hop-inflected music. I argue that the local must not be overly valorised, and that it is necessary to distinguish between ‘local music’ as a cultural signifier and locally made music, with both worthy of support.

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Scott, Michael. "The networked state: New Zealand on Air and New Zealand’s pop renaissance." Popular Music 27, no. 2 (May 2008): 299–305. http://dx.doi.org/10.1017/s026114300800408x.

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AbstractWhen New Zealand’s ‘third-way’ Labour government came to power in 1999 it placed a greater policy and funding emphasis on the arts and culture. Like other ‘promotional states’ (Cloonan 1999) the Labour government sought to support the domestic popular music industry through a voluntary radio quota. Drawing on qualitative research, this article describes the ways in which the state, through New Zealand on Air, negotiates and leverages domestic popular music artists onto commercial radio. In this process, state agents mobilise social networks to ‘join-up’ commercially appropriate artists to radio programmers. The success of this programme is based upon state agents developing an institutional isomorphism with existing music industry practices. Even so, popular music makers contest New Zealand on Air’s sympathetic policy settings by citing forms of institutional exclusion.

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Diannisa, Rizky, Neti Karnati, and Supadi Supadi. "IMPLEMENTASI MANAJEMEN BERBASI SEKOLAH (MBS) DI SD SPK NEW ZEALAND SCHOOL." Hikmah: Journal of Islamic Studies 17, no. 2 (February 3, 2022): 109. http://dx.doi.org/10.47466/hikmah.v17i2.182.

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AbstractThe purpose of this study was to determine the implementation of School-Based Management (MBS) in the New Zealand School-Joint Cooperative School (SPK) Elementary School Jakarta. The data collection methods are through documentation method, interview and observation. Based on the descriptive analysis, overall, SPK New Zealand School Elementary School Jakarta has well implement MBS. The finding can be seen from the management of facilities and infrastructure; they follow the predefined procedure, in managing the students, teachers and staffs management were conducted accountably and transparent. The supporting factor in implementing MBS in SPK New Zealand School Elementary School Jakarta is the participation of the community, and almost every aspect meet the academic qualification. Meanwhile, the obstacle was the shortage of teachers.AbstrakPenelitian ini bertujuan menganalisa penerapan manajemen sekolah (MBS) di Sekolah Dasar (SD) New Zealand School of Education (SPK) New Zealand School Jakarta beserta hal-hal yang mendudukung dan menghambat dalam pelaksanaan MBS di SD SPK New Zealand School Jakarta. Metode pengumpulan data: metode dokumentasi, wawancara dan observasi. Berdasarkan hasil analisis deskriptif, SD SPK New Zealand secara keseluruhan Jakarta berprestasi baik dalam MBS. Hal ini terlihat dalam pengelolaan sarana dan prasarana yang dilakukan sesuai dengan proses yang telah ditetapkan, dalam pengelolaan siswa, guru dan tenaga kependidikan yang dilakukan secara transparan dan tanggung jawab. Faktor pendukung dalam pelaksanaan MBS di SD School SPK New Zealand Jakarta adalah keterlibatan masyarakat, dan hampir semuanya memiliki tingkat pendidikan. Sedangkan faktor penghambatnya adalah kurangnya jumlah guru di kelas.

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Sakura, Fubuki. "School monitoring and quality assurance in the New Zealand school system." Educational Research for Policy and Practice 6, no. 3 (May 17, 2007): 229–34. http://dx.doi.org/10.1007/s10671-007-9025-y.

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Shuker, Roy, and Michael Pickering. "Kiwi rock: popular music and cultural identity in New Zealand." Popular Music 13, no. 3 (October 1994): 261–78. http://dx.doi.org/10.1017/s0261143000007194.

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The New Zealand popular music scene has seen a series of high points in recent years. Published in 1989 were John Dix's labour of love, Stranded in Paradise, a comprehensive history of New Zealand rock'n'roll; an influential report by the Trade Development Board, supportive of the local industry; and the proceedings of a well-supported Music New Zealand Convention held in 1987 (Baysting 1989). In the late 1980s, local bands featured strongly on the charts, with Dave Dobbyn (‘Slice of Heaven’, 1986), Tex Pistol (‘The Game of Love’, 1987) and the Holiday Makers (‘Sweet Lovers’, 1988) all having number one singles. Internationally, Shona Laing (‘Glad I'm Not A Kennedy’, 1987) and Crowded House (‘Don't Dream It's Over’, 1986) broke into the American market, while in Australia many New Zealand performers gathered critical accolades and commercial success.

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Renwick, Margery, and Alison Gray. "Change & the New Zealand primary school curriculum." Set: Research Information for Teachers, no. 1 (June 1, 1997): 1–4. http://dx.doi.org/10.18296/set.0865.

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REGAN, Asher, Winsome PARNELL, Andrew GRAY, and Noela WILSON. "New Zealand children's dietary intakes during school hours." Nutrition & Dietetics 65, no. 3 (September 2008): 205–10. http://dx.doi.org/10.1111/j.1747-0080.2008.00288.x.

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Notman, Ross. "Intrapersonal factors in New Zealand school leadership success." International Journal of Educational Management 26, no. 5 (June 15, 2012): 470–79. http://dx.doi.org/10.1108/09513541211240264.

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Gage, Ryan, William Leung, James Stanley, Anthony Reeder, Christina Mackay, Moira Smith, Michelle Barr, Tim Chambers, and Louise Signal. "Sun Protection Among New Zealand Primary School Children." Health Education & Behavior 45, no. 5 (December 3, 2017): 800–807. http://dx.doi.org/10.1177/1090198117741943.

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Schools are an important setting for raising skin cancer prevention awareness and encouraging sun protection. We assessed the clothes worn and shade used by 1,278 children in eight schools in the Wellington region of New Zealand. These children were photographed for the Kids’Cam project between September 2014 and March 2015 during school lunch breaks. Children’s mean clothing coverage (expressed as a percentage of body area covered) was calculated. Data on school sun-safety policies were obtained via telephone. Mean total body clothing coverage was 70.3% (95% confidence interval = 66.3%, 73.8%). Body regions with the lowest mean coverage were the head (15.4% coverage), neck (36.1% coverage), lower arms (46.1% coverage), hands (5.3% coverage), and calves (30.1% coverage). Children from schools with hats as part of the school uniform were significantly more likely to wear a hat (52.2%) than children from schools without a school hat (2.7%). Most children (78.4%) were not under the cover of shade. Our findings suggest that New Zealand children are not sufficiently protected from the sun at school. Schools should consider comprehensive approaches to improve sun protection, such as the provision of school hats, sun-protective uniforms, and the construction of effective shade.

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Burrows, Lisette, and Jan Wright. "Developing Children in New Zealand School Physical Education." Sport, Education and Society 6, no. 2 (October 2001): 165–82. http://dx.doi.org/10.1080/13573320120084254.

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GUNDER, MICHAEL, and TOM FOOKES. "PLANNING SCHOOL PROGRAMS IN AUSTRALIA AND NEW ZEALAND." Australian Planner 34, no. 1 (January 1997): 54–61. http://dx.doi.org/10.1080/07293682.1997.9657742.

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