The Arrival of Graded Music Exams in New Zealand: A Case Study of Dunedin up to 1916

2021 ◽  
pp. 153660062110119
Author(s):  
Philip Jane, PhD
Keyword(s):  
New Zealand ◽  
British Empire ◽  
Music Teachers ◽  
Trinity College ◽  
Teaching Profession ◽  
Music Teaching ◽  
Considerable Debate ◽  
Professional Body ◽  
Southern City

Toward the end of the nineteenth century a number of external music examining systems were introduced to New Zealand. Two of them, Trinity College, London, and the Associated Board, gained a strong following and became de facto standards in the absence of a national music conservatorium. This article briefly outlines the beginning of external exams in England and follows their export to various overseas members of the British Empire. Graded music exams as a form of tuition engendered considerable debate as to efficacy, merit, and overall validity. Trinity College arrived first in New Zealand, in 1888, followed by the Associated Board in 1897, and their rapid assumption in the southern city of Dunedin is documented and used as a case study of their progress up until 1916. There is a background discussion on the growth and use of post-nominal letters in the local music teaching profession, and the increasing use of formal qualifications by music teachers is noted. These included the professional diplomas from both schools, and the role they played in the formation of a local professional body is explored.

scholarly journals Making a House a Home: Motivations for Earthquake Strengthening   Domestic Homes in Dunedin, an Argument Towards Domestic Heritage

2021 ◽  
Author(s):  
◽  
Imogen Stockwell
Keyword(s):  
New Zealand ◽  
Residential Buildings ◽  
Top Down ◽  
Bottom Up ◽  
Conservation Practice ◽  
Heritage Studies ◽  
Heritage Buildings ◽  
Southern City ◽  
The Relationship

<p>Following the 2010 and 2011 Canterbury earthquakes, earthquake strengthening is one of the biggest issues facing heritage buildings in New Zealand. This process is mainly affecting commercial and public buildings; residential buildings are generally exempt from earthquake-prone building policies. However, some homeowners are choosing to do what is often perceived to be an expensive and time-consuming process. This research explores whether there is a heritage relationship between the homeowner and their house that motivates conservation work, such as earthquake strengthening. The central question for this research is: “What makes a heritage house a home? Is “home” a motivation for owners to earthquake strengthen their building? a case study of Dunedin”.  The relationship between homeowners and the heritage of their homes and domestic conservations practices has been underexamined in heritage studies in New Zealand. The current dissertation addresses this problem and contributes to the literature of Museum and Heritage Studies. The theoretical framework employed in this research draws on the field of Critical Heritage Studies in order to explore the relationship between ‘top-down’ and ‘bottom-up heritage’, the notion of ‘peoples-based’ heritage, the value of intangible heritage and a cycle of care. This research utilised qualitative research methods, involving the interviewing three heritage homeowners and two heritage professionals. These provided detailed findings about homeowners’ perceptions of their houses and the interaction between heritage practitioners and homeowners. The southern city of Dunedin was the case study which framed this research, because it has a rich collection of heritage buildings and a council which has been proactive in encouraging earthquake strengthening.  It was found that the heritage homeowner’s relationship with their home played a role in conservation how decisions are undertaken and that there is a lack of outreach from heritage authorities to heritage homeowners. This research provides information about the nature of the interaction between top-down and bottom-up heritage, and how this relationship can lead to positive heritage outcomes. Recommendations include developing open channels of communication between officials and homeowners, increased acknowledgement of the homeowner’s role in the conservation practice, and the establishment of a concept of Domestic Heritage to assist within the development of a cycle of care by heritage homeowners.</p>

scholarly journals Making a House a Home: Motivations for Earthquake Strengthening   Domestic Homes in Dunedin, an Argument Towards Domestic Heritage

2021 ◽  
Author(s):  
◽  
Imogen Stockwell
Keyword(s):  
New Zealand ◽  
Residential Buildings ◽  
Top Down ◽  
Bottom Up ◽  
Conservation Practice ◽  
Heritage Studies ◽  
Heritage Buildings ◽  
Southern City ◽  
The Relationship

<p>Following the 2010 and 2011 Canterbury earthquakes, earthquake strengthening is one of the biggest issues facing heritage buildings in New Zealand. This process is mainly affecting commercial and public buildings; residential buildings are generally exempt from earthquake-prone building policies. However, some homeowners are choosing to do what is often perceived to be an expensive and time-consuming process. This research explores whether there is a heritage relationship between the homeowner and their house that motivates conservation work, such as earthquake strengthening. The central question for this research is: “What makes a heritage house a home? Is “home” a motivation for owners to earthquake strengthen their building? a case study of Dunedin”.  The relationship between homeowners and the heritage of their homes and domestic conservations practices has been underexamined in heritage studies in New Zealand. The current dissertation addresses this problem and contributes to the literature of Museum and Heritage Studies. The theoretical framework employed in this research draws on the field of Critical Heritage Studies in order to explore the relationship between ‘top-down’ and ‘bottom-up heritage’, the notion of ‘peoples-based’ heritage, the value of intangible heritage and a cycle of care. This research utilised qualitative research methods, involving the interviewing three heritage homeowners and two heritage professionals. These provided detailed findings about homeowners’ perceptions of their houses and the interaction between heritage practitioners and homeowners. The southern city of Dunedin was the case study which framed this research, because it has a rich collection of heritage buildings and a council which has been proactive in encouraging earthquake strengthening.  It was found that the heritage homeowner’s relationship with their home played a role in conservation how decisions are undertaken and that there is a lack of outreach from heritage authorities to heritage homeowners. This research provides information about the nature of the interaction between top-down and bottom-up heritage, and how this relationship can lead to positive heritage outcomes. Recommendations include developing open channels of communication between officials and homeowners, increased acknowledgement of the homeowner’s role in the conservation practice, and the establishment of a concept of Domestic Heritage to assist within the development of a cycle of care by heritage homeowners.</p>

Te Karere o Poneke: Creating an Indigenous Discursive Space?

Itinerario ◽  
2020 ◽  
Vol 44 (2) ◽  
pp. 365-390
Author(s):  
Lachy Paterson
Keyword(s):  
New Zealand ◽  
Public Sphere ◽  
British Empire ◽  
Market Economy ◽  
Discursive Space ◽  
The Public ◽  
Western Model ◽  
The World ◽  
The Public Sphere

AbstractOver sixteen months in 1857 and 1858, Walter Buller produced a weekly newspaper for Māori of the Wellington region in their own language. Although he was the son of a Wesleyan missionary and an official interpreter, the niupepa was neither a church nor a government publication, although it promoted discourses favoured by both. A number of niupepa had preceded Buller's Te Karere o Poneke, the first appearing in 1842, but his paper was distinctive in the sizable platform he provided for correspondence. Over half of the items printed comprised letters from Māori, many of them commenting on, and occasionally critiquing the colonial milieu.The concept of “public sphere” is heavily theorized, often postulated in acultural terms (although suspiciously European in form) and it is debatable if Te Karere o Poneke's readership and their engagement with the textual discourse meet the theory's required criteria of constituting a public sphere. New Zealand was annexed to the British Empire in 1840, meaning that by 1857 colonization was still a relatively new phenomenon, but with substantial immigration and a developing infrastructure, change was both extensive and dynamic. According to the theory, it may be difficult to apply the concept of “public sphere” to Māori anytime during the changing contexts of nineteenth-century colonialism, and indeed other colonised cultures for whom the advent of literacy, Christianity, market economy and colonial administration had been sudden and unexpected. Of course this does not mean that Māori lacked a voice, at times critical. Using Te Karere o Poneke as a case study, this essay argues that Wellington Māori of 1857 do not readily fit the Western model of the “public sphere”, but they nevertheless utilized the discursive spaces available to them to discuss and evaluate the world they now encountered.

Evaluating the use of LoLa in European conservatoires: The SWING project

2021 ◽  
Vol 13 (2-3) ◽  
pp. 199-217 ◽  
Author(s):  
Benjamin Redman
Keyword(s):  
Instrumental Music ◽  
Music Teachers ◽  
New Technology ◽  
Music Teaching ◽  
High Quality ◽  
Synchronous Interaction ◽  
Teachers And Students ◽  
One To One

The research presented in this article reports on the SWING project, a qualitative case study initiated by The Association Européenne des Conservatoires, Académies de Musique et Musikhochschulen (AEC) into the use of LoLa (low-latency audio-visual streaming) for instrumental music teaching between conservatoires. LoLa is a software package that allows musicians to perform and interact together synchronously in real-time with high-quality audio, something not currently possible with standard videoconferencing platforms. LoLa is a relatively new technology and there is limited research available on how effective it is when used for instrumental music teaching. Trials of LoLa technology were conducted in three conservatoires in Austria, Italy and Slovenia in early 2019. Follow-up interviews were conducted with music teachers, students and technicians to understand their experiences of using the technology, what changes took place in the teaching, and to determine the potential and limitations of LoLa for teaching in conservatoires. Participants in the trials reported overall satisfaction with the system, with many being surprised at the high quality. The findings showed that LoLa can expand the possibilities for artistic development by facilitating synchronous interaction between teachers and students in different conservatoires. These possibilities include one-to-one lessons, group masterclasses, examinations, and opportunities to rehearse and perform synchronously with musicians from other institutions. This aligns with current research which calls for a reappraisal of the traditional one-to-one conservatoire studio lesson.

scholarly journals The Mir of India in Ireland: Nationalism and Identity of an Early 'Muslim' Migrant

2010 ◽  
Vol 46 (2) ◽  
Author(s):  
VIVIAN IBRAHIM
Keyword(s):  
Nineteenth Century ◽  
British Empire ◽  
Trinity College ◽  
Multiple Identities ◽  
Civil Servants ◽  
Secondary Literature ◽  
Archival Material ◽  
Trinity College Dublin ◽  
Nationalism And Identity

The article examines the case of Mir Aulad Ali, the nineteenth-century Professor of Arabic, Hindustani and Persian at Trinity College Dublin. Using a combination of archival material and secondary literature, it is argued that the contextualization of early migrants to Europe is necessary in order to avoid objectification by historians through the label of 'Muslim'. Examining the specific ways in which both Ireland and India viewed one another, it is argued that the nineteenth century brought about a shift in perception. Both countries increasingly sought to establish movements which questioned the colonial hold of the British Empire. The case study of Mir Aulad Ali highlights the complexity of multiple identities. While he defended Islam from slander, there is little evidence to suggest that he was strict in observance. The case of Mir Aulad also highlights how ideas of independence and nationalism permeated and found room in educated circles in both Ireland and India, while at the same time he paradoxically continued to train British Civil Servants for India.

Encouraging Students to Consider Music Education as a Future Profession

2016 ◽  
Vol 26 (2) ◽  
pp. 12-24 ◽  
Author(s):  
Ann M. Porter ◽  
Phillip D. Payne ◽  
Frederick W. Burrack ◽  
William E. Fredrickson
Keyword(s):  
Professional Development ◽  
United States ◽  
Job Satisfaction ◽  
Music Education ◽  
Music Teachers ◽  
The United States ◽  
Music Educators ◽  
Teaching Profession ◽  
Music Teaching ◽  
Career Option

The purpose of this study was to examine the attitudes, communication, and opportunities provided by music teachers to encourage consideration of the music teaching profession. Survey participants ( N = 436) were music educators from the Southeast (235), Midwest (51), and Southwest (149) National Association for Music Education regions of the United States. Fifty-two percent of respondents reported encouraging students to explore the music teaching profession, one third reported uncertainty about their encouragement of a music education career, and 21% indicated active discouragement. Personal job satisfaction, student music abilities, and constraints/forces outside the profession were factors for respondents who discourage students from the profession. A majority reported providing opportunities to explore the profession as a viable career option and those experiences reflected the authentic practices of the teaching profession. Professional development opportunities for in-service teachers in the encouragement of students toward music teaching should be strongly considered.

The Impact of Professional Music Diplomas on Women Music Teachers in Early Twentieth-Century New Zealand

2017 ◽  
Vol 39 (2) ◽  
pp. 148-170
Author(s):  
Philip Jane
Keyword(s):  
Twentieth Century ◽  
New Zealand ◽  
Music Teachers ◽  
Trinity College ◽  
Social Background ◽  
Musical Ability ◽  
Marriage And Family ◽  
Career Option ◽  
The Right ◽  
The Impact

At the end of the nineteenth century, music was an accomplishment that many women were encouraged to pursue. For some, this was merely an additional “ornament” to enhance marriage prospects, but a growing number took the opportunity to turn musical ability into a career option. A small group of musically educated women in New Zealand at the start of the twentieth century is studied. At this time, two British examining bodies, Trinity College, London, and the Associated Board, introduced professional diplomas as the culmination of their graded music exams. In their first five years, forty-five women were successful in these “higher examinations” and gained either an Associate from Trinity College (ATCL), or a Licentiate from the Associated Board (LAB). Armed with a prestigious qualification that granted the right to add “letters” after their name, some then followed a career as a teacher of music. Biographical details of each woman are explored and compared to see if any reasons can be found to explain why some continued with music while others didn’t. Similarities as to family and social background are revealed, while the main reason for not continuing with a musical career appears to be the intervention of marriage and family commitments.

William Smyth (1838–1913), a commercial taxidermist of Dunedin, New Zealand

2018 ◽  
Vol 45 (2) ◽  
pp. 292-308 ◽  
Author(s):  
Rosi Crane ◽  
B. J. GILL
Keyword(s):  
New Zealand ◽  
Museum Collections ◽  
Professional Interaction ◽  
New Zealand Birds ◽  
Public Museum

William Smyth, unable to get work in a New Zealand museum, ran a commercial taxidermy business at Caversham, Dunedin, from about 1873 to 1911 or 1912. His two decades of correspondence with Thomas Frederic Cheeseman at the Auckland Museum provide a case study of Smyth's professional interaction with one of New Zealand's main museums. We have used this and other sources to paint a picture of Smyth's activities and achievements during a time when there was great interest in New Zealand birds but few local taxidermists to preserve their bodies. Besides the Auckland Museum, Smyth supplied specimens to various people with museum connections, including Georg Thilenius (Germany) and Walter Lawry Buller (New Zealand). Smyth was probably self-taught, and his standards of preparation and labelling were variable, but he left a legacy for the historical documentation of New Zealand ornithology by the large number of his bird specimens that now reside in public museum collections in New Zealand and elsewhere.

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