Month: May 2019

Why Dont We Just Walk Together

The dates for NRW remain the same each year; 27 May to 3 June. These dates commemorate two significant milestones in the reconciliation journey— the successful 1967 referendum, and the High Court Mabo of 1993 decision respectively.

According to ‘Reconciliation Australia’ National Reconciliation Week (NRW) is a time for all Australians to learn about shared histories, cultures, and achievements, and to explore how all citizens can contribute to achieving reconciliation in Australia.

Reconciliation Australia believes “Reconciliation must live in the hearts, minds and actions of all Australians as we move forward, creating a nation strengthened by respectful relationships between the wider Australian community, and Aboriginal and Torres Strait Islander peoples”.

Reconciliation Week has been the topic of the last two blogs and will be again this week.  Reconciliation through music education is the central purpose of this blog.  Because of its importance to the blog I am giving it time and space.  There is a lot that can be done through music education.

More information about Reconciliation Week itself and the theme for this year can be found in the last two blogs.

This week there are some suggestions for different aspects of music education.  If you use something and it does or doesn’t work, I would love to know.  Let us share and learn from each other.

Early Childhood to Middle Primary

Objective – Children are to explore the ‘Tree of Truth’ logo through movement and responding to classical music.

Resources – copy of the ‘Tree of Truth’ logo

scarves or crepe paper streamers (one or two each)

recording of Dawn Mantras by Ross Edwards.

Activity

• Show the logo to the children. Explore the logo with children noting the roots all jagged, then the golden pathway to the heart, how the heart touches all the people, how out of the people a bright beautiful new future is grown.
• Students are told they will recreate this logo with their bodies and the scarves whilst music is being played. They are to find their own spot and sit down. Distribute scarves/streamers.
• When the music starts they can begin moving and the teacher can provide verbal prompts.
• Here is how I ran the activity with my year 1s and 2s.

Section of Music	Activity
0.00 – 00.43	Develop the roots, staying low to the ground and gradually circling and moving away from the body. Small and jagged movements on the floor.
00.43 – 1.30	Roots still developing and some of the gold lines up to the heart growing. Slightly larger movements with making the roots and then small vertical lines getting bigger.
1.30 – 2.07	Love emitting from the heart. Smooth arcs to different heights for the different people. Still on the spot.
2.07 – 2.56	Can now slowly move off the spot spreading love to all corners of the world.  Watch for behaviour.  I remind students here about ‘sensible behaviour now, no being silly or make sounds or you will lose scarf/streamer.
2.56 – 3.33	Still moving slowly throw the scarf into the air and catch over and over- love is released into the wider society creating a beautiful new world.
3.33 – 3.46	Freeze movement and hold for 5 seconds and students to melt into the floor as low as they can and freeze.
3.46	Fade out music

• Reconsider the logo with the class. Ask what was their favourite part to move to and recreate?

This scarf is available through Bundyi Culture.  Imagine a class set of these to use with your class.  Heaven. These would be amazing for an important concert performance. They retail for $89 each through their online store. https://www.bundyiculture.com.au/

I used transparent classroom ones purchased through Optimum Percussion.  They float nicely.  Set of 6 for $12.95 https://www.optimumpercussion.com.au/

Upper Primary

Objective – identify timbres and the textural changes of a song.

Resources – https://www.youtube.com/watch?v=LoRgNxvw6To ‘For Everyone’

Background Information to ‘For Everyone’ (at end of this blog)

Activity

• Read the background information about ‘For Everyone’ to the class.
• Play the clip then allow for some discussion if students wish to share or comment.
• Replay clip and students are to list the timbres and instrument choices they hear.
• As a class discuss the student findings.
• Teacher to demonstrate how to create a textural graphic score by listening to a section of the song and model recording the timbre and textural sounds as the piece progresses. Record this on the whiteboard.
• Here is an example

• Allocate different sections to groups of students. In their groups they are to produce their part of a textural graph of the song.
• Display all the graphs. Listen to the track and follow the ‘graphic score’. Discuss accuracy and possible reasoning behind textural changes.
• PLEASE NOTE : This topic and its background information can be confronting. Teachers may need to remind students about being sensitive with what they say.  This does not mean the discussions shouldn’t happen.  They should.  Easy and uneasy truths should be shared and understood.  Sharing stories, good and bad is an important part of the theme. Reinforce this when introducing the activity with the class.

Secondary

Objective – compare timbres and the textural changes of two songs.

Resources – Clip of ‘For Everyone’ by Jordie Lane and Yirrmal

Clip of Spinifex Gum Feat. Briggs, Marliya & Senator Patrick Dodson “Locked Up”,

Background to ‘For Everyone’

Activity

• Read the background information about ‘For Everyone’ to the class.
• Play the clip ‘For Everyone’ then allow for some discussion if students wish to share or comment.
• Model graphing the texture and timbre as per Upper Primary activity. Allocate different sections to groups of students.  In their groups they are to produce their part of a textural graph of the song.
• Play clip ‘Locked Up’. Allow for comment and sharing.
• Again allocate different sections to different groups and they are to produce their part of a textural graph of the piece.
• Students are to study the two graphs and write down four similarities and four differences of timbre and texture of the songs. They are also to comment on what impact the texture and timbre differences make to the ‘message’ of each song.
• PLEASE NOTE : This topic and its background information can be confronting. Teachers may need to remind students about being sensitive with what they say.  This does not mean the discussions shouldn’t happen.  They should.  Easy and uneasy truths should be shared and understood.  Sharing stories, good and bad is an important part of the theme. Reinforce this when introducing the activity with the class.

Clinton Pryor walking to Canberra

‘For Everyone’ Background Information

https://www.youtube.com/watch?v=LoRgNxvw6To – the following information was published with the release of the YouTube clip

‘For Everyone’ is a powerful song of reconciliation by acclaimed Indigenous songwriter and guitarist Yirrmal Marika and Australian indie roots artist Jordie Lane.

 

Directed and produced By Darius Devas. Inspired by Clinton Pryor’s incredible 6,000km Walk for Justice from Perth to Canberra in 2017, this song captures the spirit of reconciliation and is a poignant symbol of the strength of Indigenous Australia.

 

New generation indigenous artist Yirrmal Marika is an inspiring songwriter and guitarist with a beautiful voice, singing songs about his homeland and culture with feeling and depth beyond his years. Melbourne-born, Nashville-based Jordie Lane is widely regarded as one of Australia’s finest singer-songwriters.

 

‘For Everyone’ came to be when Jordie Lane created the moving score for our documentary ‘Spirit Walker – Clinton’s Walk For Justice’.

 

Jordie was deeply inspired by Clinton’s heroic stand for Indigenous Australia, and took it as an opportunity to collaborate with Yirrmal to write a song which captured the essence of the protest walk.

 

https://www.documentaryaustralia.com.au/films/4165/clintons-walk-for-justice

Young indigenous man Clinton Pryor walked from WA to Canberra to meet the Prime Minister and Governor General in the name of justice and change for his people.

“This walk is about bringing people from different cultures back together and showing that if there any hope for this country we must work together.”

Clinton’s Walk For Justice, is an inspiring short documentary following 27 year old Clinton Pryor, a young Yulparitja man from Perth. The film will document the last stages of his epic seven month 5,800km journey on foot from Heirisson Island in Perth to the Federal Parliament in Canberra. It will meet him first along the pristine East Gipsland, capturing his connection to nature and the communities he meets along the way. Pyror’s journey culminates with his historical meetings with both the Prime Minster and the Governor General at the Houses of Parliament. Clinton is an inspiring symbol for change for his people, he is an ordinary man who decided to make a stand.

“If my people gotta dream of being something in this world… Just believe in yourself… because if you can see me believing in myself walking across a whole country… I realised I had this much potential in myself… You can become something you never expected you would be.”

 

References

https://www.reconciliation.org.au/national-reconciliation-week/

https://www.youtube.com/watch?v=dSkQzW8xyt0  “Locked Up”

https://www.youtube.com/watch?v=LoRgNxvw6To “For Everyone”

https://www.abc.net.au/news/2017-09-03/clinton-pryor-in-canberra-after-year-long-walk-for-justice/8867968

Tree Of Truth

This week I have been using the logo for Reconciliation Week 2019 as the inspiration for music making for classroom music for all year groups in my primary school setting.

Background to National Reconciliation Week

As mentioned in the blog last week, National Reconciliation Week runs between May 27 and June 3 each year.

 

The theme for National Reconciliation Week 2019 is ‘Grounded in Truth: Walk Together with Courage’.

The organisation which coordinates the national week is Reconciliation Australia.  When they announced the theme for 2019, Reconciliation Australia’s Chief Executive Officer, Karen Mundine, said that “trust and truth is the basis for all strong, equitable relationships”.

“Reconciliation is ultimately about relationships and like all effective relationships the one between Aboriginal and Torres Strait Islander people and other Australians must be grounded in truth” she said. She added “There can be no trust without an honest, open conversation about our history”.

With these thoughts in mind here are some activities I used with my classes which used the logo as the centrepiece of music making and discussions about music.

Year 1 and 2

Objectives – Develop the ability to hold a rhythmic musical line independently, Learn different dynamics, terminology and symbols of music including piano, forte, crescendo, decrescendo, mezzo piano and mezzo forte.

Resources – Whiteboard to show the ‘Tree Of Truth’ logo, un-tuned percussion instruments for each student (I used claves), worksheet (see later in blog)

Rhythm and Dynamics Tree of Truth Worksheet-1gxdv6z

Activities

Introduce the concept of National Reconciliation Week to students. For these young students the concept of reconciliation took a bit of explaining. With certain classes the discussion had to be managed carefully as some students have had troubling experiences with their families having had or having traumatic relationship breakdowns.

Show the logo and ask students to identify the different elements.  Discuss what it is trying to show.

Tell students this will be the inspiration for some music making today.

Have students echo the phrase “grounded in truth” several times and then its rhythmic pattern using body percussion.  I used patsching with the rhythm ‘tete ta ta za’.

Have students echo the phrase “walk together in courage” several times and then its rhythmic pattern using body percussion.  I used clapping with the rhythm ‘ta ta tete ta tete za za za’.

Distribute un-tuned percussion instruments.

Remind students of dynamics terms, symbols and the definitions for piano, mezzo piano, mezzo forte, forte, crescendo and decrescendo.

Choose different student ‘teachers’ to choose the dynamics and have them point to which symbol the students are to play either ‘walk together in courage’ or ‘grounded in truth’ patterns.

Display and explain the rhythmic notation for each of the speech patterns the students are to read.

Give worksheet instructions and distribute one sheet to each student for them to complete.

Plenary – Discuss: What did we made music with today?  What were the two speech patterns we used? What musical terms did we use today and what do they mean?  Have the students draw a symbol for one of the terms and explain it.

 

Year 3 and 4

Objectives – Develop the ability to hold a rhythmic musical line independently, Improvise melodically aiming to hold the rhythmic pattern and explore resolved melodies.

Resources – Whiteboard to show the ‘Tree Of Truth’ logo, un-tuned percussion instruments for each student (I used claves), tuned percussion (I used chime bars – alto and soprano sets but xylophones and metallophones would be an alternative)

Activities

Introduce the concept of National Reconciliation Week to students. For these young students the concept of reconciliation took a bit of explaining. With certain classes the discussion had to be managed carefully as some students have had troubling experiences with their families having had or having traumatic relationship breakdowns.

Show the logo and ask students to identify the different elements.  Discuss what it is trying to show.

Tell students this will be the inspiration for some music making today.

Have students echo the phrase “grounded in truth” several times and then its rhythmic pattern using body percussion.  I used patsching with the rhythm ‘tete ta ta za’.

Have students echo the phrase “walk together in courage” several times and then its rhythmic pattern using body percussion.  I used clapping with the rhythm ‘ta ta tete ta tete za za za’.

Have students echo the phrase “empathy, solidarity, goodwill and love” several times and then its rhythmic pattern using body percussion.  I used chest tapping with the rhythm ‘tete te tika tete ta ze te ta  te ta za’.

Divide students into three groups.  Group 1 is to work with the un-tuned percussion instruments and the speech pattern “Grounded In Truth’.  Group 2 is to work with the alto chime bars or xylophones and the rhythm “Walk Together In Courage”.  This group is to improvise over the notes C and G.  Group 3 is to work with the soprano chime bars or xylophones and improvise over the notes C D A. This group will require instruction about melodic resolution on the tonic.

Distribute tuned and un-tuned percussion instruments.

Have students practice their parts and layer in the sections.  I like to rotate students through the different parts.

Choose different student ‘conductors’ to indicate to their ensemble the dynamics and ‘bring in the layers’. Choose a student ‘music critic’ for each ‘performance’ and have them give a positive and a constructive piece of feedback.

Plenary – Discuss : What did we made music with today?  What were the three speech patterns we used? What does improvise mean?  What is a ‘musical resolution’?  Have the students recall a favourite melodic pattern they used for their improvisation on C D and A?

 

Year 5 and 6

Objectives – Develop the ability to hold a rhythmic musical line independently, Improvise melodically aiming to hold the rhythmic pattern and explore resolved melodies. Make informed musical decisions about the dynamics of different sections of a composition.

Resources – Whiteboard to show the ‘Tree Of Truth’ logo and the speech pattern parts, range of instruments – tuned and untuned

Activities

Introduce the concept of National Reconciliation Week to students. For these young students the concept of reconciliation took a bit of explaining. With certain classes the discussion had to be managed carefully as some students have had troubling experiences with their families having had or having traumatic relationship breakdowns.

Show the logo and ask students to identify the different elements.  Discuss what it is trying to show.

Tell students this will be the inspiration for some music making today.

Display the different speech patterns inspired by the logo which will make up the piece.

Part 1 History – learn from the past. We can learn together grounded in truth.

Part 2 Courage. Let’s walk together with courage.

Part 3 Empathy, solidarity, goodwill and truth.

Part 4 Education growth and understanding.

Part 5 Always learning, always growing, outwards and upwards.

Work through the different patterns using speech and body percussion patterns to learn the different parts.

Have students consider and then suggest instruments for different sections. Deeply question the students about their choices and prompt them to give reasons for their choices and whether or not this reflects the logo. Question the group if they consider these choices appropriate. One of my classes chose contra bass bars and tapping sticks for part 1, shakers for part 2, vocal chant for part 3, improvised acoustic guitar for part 4, improvised xylophones for part 5.

Have students suggest dynamics for the different sections and arrangement suggestions.  Have the students provide reasons for their decisions and seek group approval for performance choices.

Perform the piece a few times choosing a student ‘music critic’ for each ‘performance’. The critic is to give the class musicians a positive and a constructive piece of feedback.

Plenary – Discuss: What did we made music with today?  What were the speech patterns we used? What does improvise mean?  Which was their favourite part and why?  Where did they as musicians most reflect the intentions of the artist of the ‘tree of truth’?  Have them explain their reasoning behind their choices and comments.

 

References

https://www.reconciliation.org.au/national-reconciliation-week-theme-announced-grounded-in-truth-walk-together-with-courage/

https://www.reconciliation.org.au/national-reconciliation-week/

Information which unpacks the “Tree of Truth” https://www.reconciliation.org.au/wp-content/uploads/2019/05/tot-rationale.pdf

Reconciliation Week

Grounded In Truth – Walk Together In Courage

Coordinated by Reconciliation Australia

Fifty two years ago Australians voted yes to change its laws by referendum to remove two discriminatory references in the constitution. The changes allowed the federal government to make laws affecting Aboriginal people and include the count of “aboriginal natives” in the Census. Now Aboriginal people were counted as people, no longer as part of the flora and fauna.

Twenty seven years ago the Mabo decision was passed by the High Court of Australia. The court decided that terra nullius should not have been applied to Australia which recognised that Aboriginal and Torres Strait Islander peoples have rights to the land – rights that existed before the British arrived and can still exist today.

The Mabo decision was a turning point for the recognition of Aboriginal and Torres Strait Islander peoples’ rights, because it acknowledged their unique connection with the land.

Two years ago an important concert was held in Sydney to commemorate these decisions.  The concert was entitled ‘1967 : Music in the Key of Yes’. Held at the Sydney Opera House, the concert included music of hope, empowerment, and freedom. Original and reworked pieces were performed by a range of the best Aboriginal and Torres Strait Islander musicians representing different parts of Australia and different styles and genres.

The two reforms carry important messages of hope and history for Reconciliation Australia.  Every May 27 to June 3 the organisation promotes ‘Reconciliation Week’ which asks Australians to consider the importance of the two events and reflect on the societal progress since 1967.  Yes, the dates remain the same, rather than it being a calendar week.  This will be explained later.

So next week sees the start of Reconciliation Week 2019, the theme being ‘grounded in truth, walk together in courage’.

Musically, we can honour this week.  As music teachers we can play our part in adding to the thinking around the remembering, reflecting and planning for how Australia wants its future to be.

Suggested Activities

1. Sing or play from the repertoire of the ‘1967- Music in the Key of Yes’ concert, such as :

• Solid Rock – Goanna;
• We Have Survived – Bart Willouby – No Fixed Address;
• Black Fella White Fella – Warumpi Band;
• Yil Lul – Joe Geia
• From Little Things Big Things Grow – Paul Kelly and Kev Carmody.

2. Listen to and study the musical elements of one of the pieces listed above.
3. Compose a new repertoire list for a similar concert. Suggest musicians, artists, bands to perform. Suggest a venue and guest list.
4. Compose a new piece or song which reflects the artistic symbol of Reconciliation Week 2019 ‘Tree of Truth’.
5. Compose a new piece or song about the 1967 Referendum or the Mabo decision and changes since then.
6. Compose a new piece or song which explores the idea put forward by Reconciliation Australia that “reconciliation must live in the hearts, minds and actions of all Australians as we move forward, creating a nation strengthened by respectful relationships between the wider Australian community, and Aboriginal and Torres Strait Islander peoples”.

Background To The Reconciliation Week 2019 ‘Tree Of Truth’ logo

(information copied from Reconciliation Australia website)

EXPLAINING THE TREE OF TRUTH

The Tree of Truth is what happens when the seeds of empathy, solidarity and love are sown. This is a representation of the community that we can grow into if we are able to acknowledge our history, learn from it and move forward together courageously.

 

BREAKING DOWN THE GRAPHIC THE TREE

The tree stems from what happens when people come together. It illustrates positive growth and is an aspirational view of what the future could be.

1. The HEARTS represent empathy, solidarity, goodwill and love. They are the feeling, emotional elements.
2. The THOUGHT POINTS represent education, growth and understanding. They are the cognitive elements of the tree.
3. The GROWTH BANDS radiate outwards from some of the branches. They represent that we are always learning and growing – pushing outwards and upwards into the future.

 

THE PEOPLE Members of our diverse community coming together in harmony.

 

THE HEART This is the connection point of the people in the graphic. When the people’s hands join, it creates an energy force which is represented by the love heart. The energy runs upwards and downwards – linking past, present and future.

 

The word ‘Truth’ is the bedrock for all of our positive growth. When we understand and accept our truth we have a solid foundation to grow from.

 

The roots represent our history and links to the past.

 

The word ‘Grounded’ quite literally is on the surface of the ground.

 

‘Grounded in Truth’ is designed to be the base of the tree that all of the positive growth stems from.

 

Background To Reconciliation Week #NRW2019 Campaign

(information copied from Reconciliation Australia website)

At the heart of reconciliation is the relationship between the broader Australian community and Aboriginal and Torres Strait Islander peoples. To foster positive race relations, our relationship must be grounded in a foundation of truth.

 

Aboriginal and Torres Strait Islander peoples have long called for a comprehensive process of truth-telling about Australia’s colonial history. Our nation’s past is reflected in the present, and will continue to play out in future unless we heal historical wounds.

 

Today, 80 per cent of Australians believe it is important to undertake formal truth telling processes, according to the 2018 Australian Reconciliation Barometer. Australians are ready to come to terms with our history as a crucial step towards a unified future, in which we understand, value and respect each other.

 

Whether you’re engaging in challenging conversations or unlearning and relearning what you know, this journey requires all of us to walk together with courage. This National Reconciliation Week, we invite Australians from all backgrounds to contribute to our national movement towards a unified future.

 

The dates for NRW remain the same each year; 27 May to 3 June. These dates commemorate two significant milestones in the reconciliation journey— the successful 1967 referendum, and the High Court Mabo decision respectively.

 

Reconciliation must live in the hearts, minds and actions of all Australians as we move forward, creating a nation strengthened by respectful relationships between the wider Australian community, and Aboriginal and Torres Strait Islander peoples.

 

References

https://www.reconciliation.org.au/national-reconciliation-week/

https://theconversation.com/celebrating-the-songs-of-australias-civil-rights-movement-71480

https://www.sbs.com.au/nitv/article/2019/01/23/enjoy-playlist-26-songs-about-survival-protest-reconciliation-and-truth-telling

https://sydney.edu.au/news-opinion/news/2017/06/02/five-things-you-should-know-about-the-mabo-decision.html

I was thinking this week that most of my posts have been about songs. Most of the discussions have been about the elements and usage of songs in the classroom. Songwriters like Archie Roach, Deborah Cheetham, Troy Cassar-Daly and Shellie Morris have also been introduced. These songs have been great examples of Australian story telling with words and music.

 

I was left wondering about Aboriginal music in its instrumental form. Other than the ‘traditional’ didgeridoo pieces, on initial research there appeared to be very limited ‘high art’ Aboriginal compositions. Is this because there is a lack of Aboriginal musicians performing and composing in the ‘high art’ music sphere of Australian society?  The answer is ‘yes’.  However, a program to address the lack of Australian First Nations composers is working towards developing Aboriginal composers in the music industry.  Ngarra-Burria is the name of the program established at the Australian National University in Canberra. It is the brain-child of Dr Chris Sainsbury, himself an Aboriginal composer and a lecturer at the School of Music of the ANU.

Pictured above is Chris Sainsbury, Indigenous composer and ANU School of Music lecturer. The AMPLIFY: Indigenous Composer Initiative was his brainchild.

Background

Over the last three decades, Australian society seems to be increasingly accepting of Aboriginal voices and songs in mainstream music. Examples include Yothu Yindi and Christine Anu in the nineties to Jessica Mauboy, Briggs and Baker Boy today. Aboriginal composers and songwriters have been sharing their stories through the lyrics of their songs. These stories have been shared with us in English and more recently using traditional languages. With more prominent mainstream exposure to more Aboriginal songs and songwriters, more of the population will hear the music. Perhaps more of us will listen to what has happened, the stories, the history, perhaps more of us will begin to understand what is important and learn about a way forward which will be acceptable for all.  Hearing Aboriginal songs allows us the opportunity to finally listen to Aboriginal people.

 

But instrumental music is important too.  The high art form of ensemble and orchestral music which allows for the sharing of sounds and emotions uncluttered by lyrics. Aboriginal Australians should be afforded space in this genre too. It is another avenue to express ideas, emotions and knowledge.

 

I think there is space for both instrumental music and lyrical songs.  There is an appetite to understand and right wrongs of the past and move forward in a better more fair way into the future. There is an appetite for this both instrumentally and vocally, across a variety of genres.

 

This Indigenous void is especially pronounced in the Art Music and Instrumental genres, where it is almost unheard of to feature Aboriginal music. Due to increasing societal interest there has been greater reference to and inclusion of Aboriginal music and cultures, particularly with collaborations. There has been some examples too by composers, particularly of Anglo-saxon and European ancestory, musically representing Aboriginal stories and culture, particularly in the choral sphere.

Is it appropriate for people from ‘foreign’ cultures to be adoptive of the music styles, topics, stories and languages of the Indigenous Australians? There have been many instances over the years where decisions and actions of those in power (the dominant culture), while well-meaning, perhaps at times, has been misplaced and missing the mark.   When the dominant culture begins to tell the minority culture the way they should feel and how society is and needs to be through appropriating the minority cultures music, we need to ask has it gone too far?

 

Consider the visual art industry.  It is certainly frowned upon for non-Indigenous artists to adopt Aboriginal styles and market them as Aboriginal. The Aboriginal voice needs to exist in Aboriginal music as it does in Art.  Composers of Anglo and European backgrounds do not need to ‘help’ by composing Aboriginal-influenced music. The dominant culture would do well to perhaps stop, find and listen to Aboriginal music. Not create and promote a ‘white-washed’ version.

 

So, Aboriginal song, songwriters and performers are established. But where is the Aboriginal Art Music?

 

Enter ‘Ngarra-Burria’ project. Last week I came across a social media post by Professor Chris Sainsbury about the project. I emailed him about accessing recordings and putting some lesson ideas together.  He suggested the Australia Music Centre. I checked it out and the resources I found were fantastic.  There are some recordings and scores ready to go for musicians of a medium to high level of ability. These are perfect for investigation for high school and tertiary programs.

Left to Right : Brenda Gifford,   Elizabeth Sheppard, Tim Gray, Troy Russell and Rhyan Clapman.

Then I received a message from a Music teacher friend in rural Victoria with a link to a radio podcast about Ngarra-Burria.  It seemed the universe was speaking to me that this should be the blog topic for the week.

 

I think at this point, I, and we, should stop talking and start listening.

 

As music teachers we should listen to the interview with the composers via this link. Our secondary and tertiary students too should listen, perhaps in short compartments.  They are real food for thought and discussion by us in the music education space and those exploring Australian music.

 

As music teachers we should look to the Aboriginal composers’ repertoire in the Australian Music Centres library. Listen, reflect, and use. http://echo.australianmusiccentre.com.au/#lm-9

As music teachers we should be sharing works by Aboriginal composers alongside the ‘Sculthorpes’ and ‘Edwards’.

 

Here is some homework for YOU to do this week.

 

Listen to the radio podcast.  Let it sink in. Let us all listen to and reflect on one instrumental piece from the Australian Music Centre.  Explore the AMC resources and find some interesting pieces which you can share with others. Share your thoughts about one or more of the pieces and or their composers.  Let us brainstorm some different uses for different sectors.

 

Have a great week.

 

Ngurra-Burria Information

taken from https://www.abc.net.au/classic/new-waves/ngarra-burria-first-peoples-composers/10834456

‘Ngarra-Burria’ means ’to sing, to hear’ in Dharug, the First People’s language of much of the Sydney region. It’s the name of a project initiated and directed by First Peoples composer and academic Christopher Sainsbury.

The first cohort of First Peoples composers to participate in the two year program presented many of their new works in a concert performance at the end of November 2018 featuring First Peoples singer Sonya Holowell and members of Ensemble Offspring.

Ngarra-Burria: First Peoples Composers is presented by Moogahlin Performing Arts, Redfern, with the support of the Music Department, Australian National University, the Australian Music Centre, Eora College of TAFE, and collaborating musicians Ensemble Offspring. The concert was planned to take place at Eora College of TAFE in Redfern, Sydney, but the venue was damaged by storms two days before the concert. At artistic director Christopher Sainsbury’s request, ABC Classic invited Moogahlin Performing Arts to hold the event in the ABC’s Eugene Goossens Hall in nearby Ultimo. The compare on the night was Buduna man and Moogahlin co-artistic director Fred Copperwaite.

MUSIC DETAILS
Troy Russell: Where Are You? 3’40
Troy Russell: New Home 2’01
Troy Russell: Hymn 2’56
Elizabeth Sheppard: Kaya Mary (The Blue Pool)* 2’10
Elizabeth Sheppard: Wonthaggi (Wind and Rain)** 4’59
Elizabeth Sheppard: Burradowi (Women’s Song to the Eels) 2’43
Elizabeth Sheppard: Warangka Makialo (Singing Makialo) 2’47
Tim Gray: Lupe vs Demons 2’29
Brenda Gifford: Miriwa 4’06
Rhyan Clapham: Talk To Me, I’m Listening*** 5’42

Musicians: Sonya Holowell, voice), and members of Ensemble Offspring: Jason Noble (clarinets), Anna Michael (violins), Roland Peelman (piano), with Elizabeth Sheppard (*alto voice; **clapstick), Rhyan Clapham (***drumkit)
Recorded Friday 30 November 2018, Eugene Goossens Hall, ABC Ultimo Centre, Sydney, by sound engineer Jason Blackwell and producer Stephen Adams.

References

https://www.abc.net.au/classic/new-waves/ngarra-burria-first-peoples-composers/10834456

http://echo.australianmusiccentre.com.au/#lm-9