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

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 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

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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3

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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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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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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6

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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7

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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8

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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9

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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10

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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11

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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12

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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13

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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14

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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15

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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16

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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17

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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18

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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19

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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20

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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21

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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22

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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23

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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24

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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25

Thrupp, Martin. "School Admissions and the Segregation of School Intakes in New Zealand Cities." Urban Studies 44, no. 7 (June 2007): 1393–404. http://dx.doi.org/10.1080/00420980701302361.

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26

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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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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29

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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33

Birkin, Kenneth. "The Wayfarers: Joubert's New School Opera." Musical Times 126, no. 1707 (May 1985): 281. http://dx.doi.org/10.2307/961306.

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34

Maaka, Margaret J. "Assessment for School Success." Journal of Invitational Theory and Practice 6, no. 1 (March 1, 2022): 6–27. http://dx.doi.org/10.26522/jitp.v6i1.3851.

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This article examines a national educational system that is founded on the premise that the individual student is the center of all learning and teaching. By drawing on her first-hand knowledge and experiences, the author presents an overview of the New Zealand student-centered curriculum. Central to this overview is: (a) a brief discussion of the beliefs New Zealand educators and the community have about children’s learning, (b) an examination of the guiding principles that underlie the assessment of children’s learning and how these translate into practice, and (c) a discussion of issues of accountability at the local and national levels of the educational system.

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35

Macgill, Andrew. "Composing in the School: Composing for the School." British Journal of Music Education 5, no. 1 (March 1988): 35–43. http://dx.doi.org/10.1017/s0265051700006318.

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This article describes some of the experiences of, and lessons learnt by a composer working as Head of Music in a secondary school. The article highlights in particular aspects which are considered to be of value to teachers and other colleagues now embarking on a new era of musical education in schools, notably aspects relevant to the composing component in public examinations. The text includes details of a recording of newly composed music.

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36

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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37

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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38

Orieščiková, Helena. "Music therapy or music philetics in school?" Kultura - Przemiany - Edukacja 8 (2020): 162–73. http://dx.doi.org/10.15584/kpe.2020.8.11.

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The paper is focused on explaining the concepts of music therapy and music philetics at school. Music philetics is defined as an artistic - pedagogical discipline with a very close relationship with music therapy. It tries to create his own, new ways, procedures with the basis in music therapy, but require a different procedure and approach within the implementation. Music philetics is a newly emerging discipline standing on the border of music education and music therapy. It is beneficial in schools where teachers use different working methods with music, rhythm, and voice. The text deals with comparing concepts and explanations of the primary missions of both music therapy and music philetics in the educational process.

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39

Stringer, Patricia Martha. "Capacity building for school improvement: a case study of a New Zealand primary school." Educational Research for Policy and Practice 8, no. 3 (August 5, 2009): 153–79. http://dx.doi.org/10.1007/s10671-009-9073-6.

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Whyte, Belinda, Maree Davies, and Aaron Wilson. "Online talk in a New Zealand primary-school context." Set: Research Information for Teachers, no. 1 (June 1, 2022): 46–51. http://dx.doi.org/10.18296/set.0217.

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The purpose of this study was to investigate the nature and understanding of online talk in a New Zealand primary-school context. This research consisted of a small-scale case study of the #NZReadaloud, a pre-existing literacy programme, over 6 weeks in mid-2020. A private online group on the education platform Edmodo was established where 14 students and four teachers participating in the study could discuss a text being read aloud in their classrooms. These discussions, along with eight follow-up interviews, were analysed to seek patterns and draw conclusions about the nature of online talk in this context. A key finding from this study showed that online talk was well liked by teachers and students, but that this did not translate into greater amounts or a more interactive style of participation. Allocated time for explicit teaching and modelling of how to talk online is important. Data from this study could be used in future research or as background when planning online literacy discussions.

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Smyth, Heather. "Somali Students’ Perceptions of a New Zealand Primary School." Kairaranga 14, no. 1 (January 1, 2013): 39–45. http://dx.doi.org/10.54322/kairaranga.v14i1.176.

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Cultural diversity is growing in New Zealand and deserves to be celebrated for the richness and opportunities for understanding it brings to our lives. Culturally-responsive approaches to education accept diversity and enable students to draw on their unique cultural capital as a learning resource. The aim of this study was to contribute to the literature in this area by finding out what Somali students in a New Zealand primary school think about their schooling: the aspects of school which challenge or support their cultural identities. Three nine and ten year-old Somali students attending a primary school in the Greater Wellington region participated in focus groups. Open- ended questions were used to elicit their perspectives on pedagogical approaches and their interactions with their peers and teachers. The students identified numerous positive aspects of their school lives, including strong friendships and autonomy in the classroom, yet revealed that bullying is an on-going issue, for themselves and other students, in and out of school.

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Kitchen, Margaret. "Is Asia represented in New Zealand secondary school curricula?" Curriculum Matters 5 (June 1, 2009): 60–76. http://dx.doi.org/10.18296/cm.0108.

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Stachowski, Christopher Allen. "Managing internal marketing in a New Zealand language school." Management in Education 22, no. 4 (October 2008): 31–38. http://dx.doi.org/10.1177/0892020608093264.

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Taylor, Mike. "(Re)presenting disaster vulnerability in New Zealand school geography." New Zealand Geographer 69, no. 2 (August 2013): 158–66. http://dx.doi.org/10.1111/nzg.12018.

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Fernando, Antonio, Chinthaka Samaranayake, Christopher Blank, Gareth Roberts, and Bruce Arroll. "Sleep disorders among high school students in New Zealand." Journal of Primary Health Care 5, no. 4 (2013): 276. http://dx.doi.org/10.1071/hc13276.

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INTRODUCTION: Adolescents are known to have high risk factors for sleep disorders, yet the youth rates of sleep disturbances are unknown. AIM: This study aimed to determine the prevalence of sleep disorders among New Zealand high school students. METHODS: The Auckland Sleep Questionnaire (ASQ) was administered to high school students at six schools in the North Island. Schools were chosen to reflect a range of ethnicities and school deciles, which identify the socioeconomic status of households in the school catchment area. RESULTS: A total of 1388 students completed the ASQ. The median age was 17 years (range 1423) and females represented 43.5% (n=604) of the total group. A total of 37.2% of the students surveyed reported having significant sleep symptoms lasting longer than one month. Depression and anxiety were present in 51.7% and 44.8% of students reporting a sleep problem, respectively. A moderate correlation was observed between sleep problems and depression (r=0.34, p<0.01), and sleep problems and anxiety (r=0.31, p<0.01). Problem alcohol use and other substance use were more common in students with sleep symptoms (12.2% and 5.5% respectively). No difference was found in the rate of sleep problems reported by different ethnic groups. DISCUSSION: A considerable proportion of students surveyed reported significant sleep symptoms. This study has the potential to aid physicians within New Zealand in better appreciating the burden of sleep disorders faced by young people and in effectively assessing and managing different causes of sleep symptoms in this demographic. KEYWORDS: Adolescent; insomnia; sleep disorders; New Zealand

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Papaliʼi-Curtin, Alistair T., Rachel Cox, Tiffany Ma, Lisa Woods, Albie Covello, and R. C. Hall. "Keratoconus Prevalence Among High School Students in New Zealand." Cornea 38, no. 11 (November 2019): 1382–89. http://dx.doi.org/10.1097/ico.0000000000002054.

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Marsh, Louise, Rob McGee, and Sheila Williams. "Why do New Zealand high school students carry weapons?" Australian & New Zealand Journal of Criminology 44, no. 3 (December 2011): 425–39. http://dx.doi.org/10.1177/0004865811419057.

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This study examined weapon carrying, including both the type of weapons being carried and reasons for carrying, in a sample of New Zealand high school students. A self-report online survey was administered to 1169 secondary students in the Otago region of New Zealand. Overall, 17 per cent had carried a weapon in the past year at school, and 24 per cent hadcarried outside school. The most common type of weapon was a pocket knife or knife, and the most common reason for carrying it at school was because it was in their bag or on their key ring, and for hunting or self-defence outside school. When psychological intention was taken into account, 9 per cent reported carrying for potential use as a weapon in the past year and 6 per cent in the past month. These students were also more likely to have been in a fight, to have missed school due to feeling unsafe, to have felt lonely, been bullied, bullied others and have few self-perceived competencies. In estimating the prevalence of weapon carrying, it is important to understand the psychological context of these behaviours.

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Robertson, Jan, and Thelma Miller. "School leadership and equity: the case of New Zealand." School Leadership & Management 27, no. 1 (December 22, 2006): 91–103. http://dx.doi.org/10.1080/13632430601092560.

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Scott, Pippa, Patricia C. Priest, Stephen T. Chambers, Janneke C. M. Heijne, and David R. Murdoch. "Staphylococcus Aureus Carriage in a New Zealand Primary School." Pediatric Infectious Disease Journal 37, no. 6 (June 2018): e172-e175. http://dx.doi.org/10.1097/inf.0000000000001796.

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Morgan, John. "Fortunate inhabitants? Challenges for school geography in New Zealand." International Research in Geographical and Environmental Education 23, no. 1 (November 27, 2013): 53–63. http://dx.doi.org/10.1080/10382046.2013.858440.

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