Tag Archives: ASME

ASME Conference, Day Four

July 22, 2011


All you had to do was look at everyone’s faces to know that this was the last day of the conference. People were drifting around in a kind of exhausted daze, including me. Thankfully the workshop selection was nice and light: only two hours.

I only did one workshop session that day, with Katie Wardrobe. She showed us some very cool stuff for teaching composition with technology. She had some short (fourteen seconds) films which students can use for adding sound effects and music. I’m in the first stages of a soundtracks unit for my junior music classes, so these will come in very handy.

There was a panel discussion entitled, “Finding one’s way from Secondary to Tertiary Music Education and Training”, which sounded very interesting, but I only caught a few minutes of it. Then there was the closing ceremony, where we were treated to a performance by TSS Drumline. I’ve seen the film before, but I’d never seen a real live drumline group up close, so I was most impressed. We were drummed out to lunch (where Jenny Craig once again went by the wayside) and they kept playing for us while we ate gorgeous food. A perfect way to end a conference!

I spoke with Andrew Reid, one of the organisers of ASME 2011, a couple of weeks before the conference started. He was sweating, wondering if it would be any good, wondering of people would turn up. He needn’t have worried. He and the other organisers did a fantastic job. Two thumbs up from me!

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ASME Conference, Day Three (That’s right, I’m back!)

July 21, 2011


My apologies to everyone for not getting this out earlier. Life took a turn for the busier just after the conference, and then the new term started. I’m just about back on board now, so here’s the rest of the ASME conference that you’ve all been waiting for with baited breath!

On day three, my first workshop was with Allan Melville, about creating and using electronic resources in the secondary music classroom. I was rather thrilled about this particular one, because I’m a subscriber of his fantastic website, e-learning resources, and Allan and I had spoken on the phone many times prior to this. (If you haven’t yet checked out his website, you really should. It’s awesome.)

I wrote a previous post on this resource, which goes into more detail about all the stuff that’s contained there.

The next workshop, held by Kelly Parkes from Virginia Tech in the US, was a very small and intimate gathering of three or four university lecturers plus myself. The topic was “Supporting and Assessing New Types of Reflective Practice in Music Student Teachers”.

It turned out to be targeted more towards the tertiary instructors, but I still found it useful from a secondary point of view. I’m a big fan of professional reflection, as some of you will know, and I was interested in finding some good ideas for encouraging a thorough reflective process in my student teachers.

I’ve mentored two pre-service teachers so far, and what I’ve found is that mentoring does wonders for my own professional practice as well (but that’s another blog post). Future pre-service teachers may find me a little more demanding after this workshop. I hope so. (*Evil laugh*)

I was particularly interested in the idea of a video diary, where the pre-service teacher is video-taped while teaching, several times over an extended period. Written reflections focus on their teaching practice at that particular moment, and its development over time.

Kelly talked about different levels of depth in reflection, and the importance of guiding the pre-service teacher to say more than just “this is what I did today”, but to actually think about why they decided to use a particular strategy, how well it worked, what could be done to make something work better next time.

The afternoon’s keynote speaker was Laura Hassler, and she delivered a beautiful – at times heart-wrenching – talk about how music can be used to heal and make peace in war-torn countries such as Bosnia. She talked about Musicians Without Borders, an organisation which uses music to do just that.

They travel in small groups on a “music bus”, and bring music to towns and villages where the ravages of war have sometimes affected the people so deeply that they no longer sing. Musicians Without Borders works with the people to help them find their musical voices once more, and in doing so, find healing.

One short film that stuck with me was about their work with the women of Srebrenica, whose lives were torn apart in 1995 when more than 8000 men and boys were massacred during the Bosnian war. The grief and pain on their faces was so deep that I found myself in tears just looking at them. I was in tears again when I saw them smiling, singing, clapping and dancing together, after Lord knows how many weeks and months of musical workshops it would have taken for them to reach that point.

I’ve always known that music has the power to do amazing things, but it was that keynote which really brought that fact home to me.

The Jacinth Oliver Address was given by John Curro, during which he dealt with the rather thorny topic of universities and their handling of specialist music degrees. He argued that far too much time has been taken away from the practical development of students as elite musicians, and given to research and university administration.

I brought this up in conversation at the conference dinner that evening, where I was seated with another university professor from Singapore. He told me that he got into “a heated discussion” about this during the afternoon, so this is obviously a subject of ongoing debate in tertiary circles.

My last workshop of the day was held by Ruth Bonetti, on assertive communication with…how does one say it?…difficult parents. You know, the ones who question why we didn’t award their child an “A” when the child is, after all, a genius.

I swear that Ruth could be a drama teacher (in fact, she probably is). She had the wigs and costumes all ready for us, so we could role-play the “interview with the difficult parent”, if we wished. As it turned out, we were all a bit too reticent for that.

Ruth took us through some strategies and choice phrases one could use to politely suggest that the child actually needs to do some practice during the week to achieve an “A”, or that jumping from grade three to grade five might not perhaps be such a great idea.  She delivered these lines with a big, toothy smile and a voice which reminded me of Hyacinth from “Keeping Up Appearances”. Delightfully hilarious!

That evening, we had the conference dinner, which I’ve mentioned. The food was wonderful – my Jenny Craig diet went decidedly out the window. We were also treated to some very fine performances from Best of Brass, the Blenders, and the Canterbury College Cantabile Choir.

Whew! That was day three. Day four will (I promise!) be posted tomorrow. In fact, I’m going away to write it up now.

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Day Two of the ASME Conference

July 3, 2011

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Another massive and awesome day at the ASME Conference. I saw quite a lot today, and I probably won’t get it all down in one sitting. There are a few things that I’ll need to sit down with for a while and mentally digest before I can write too much, but here are some brief brushstrokes:

George Spartels of “Play School” fame presented the keynote address for this morning’s session of the conference. His title question: If we take music out of the equation of children and their education, then how grounded, drab, and even unsustainable would learning be?

He talked about how music is absolutely basic to human development, right from the earliest days of childhood. Something he said which immediately stuck in my mind was,”children are not an inferior audience”. Young children have a highly sophisticated (and critical) faculty for listening, and it’s actually much harder to write a song for children than a song for adults.

He talked about how the script of an episode of Play School would be figured out in minute detail, how arguments went back and forth around the table for hours at a stretch over the selection of phrases, or even the choice of a single word. This was all out of a huge awareness of just how much children pick up in the course of an episode…and what they pick up may not be entirely what you’d expect.

Example: George showed us a clip of a song he wrote about surfing, where he was pretending to surf on his desk before going out onto the beach with an actual surfboard. He was trying to get across the message of fitness and of getting outdoors. What many children picked up was: the action of surfing is done by standing on a desk. George had nightmares of injured children and lawsuits after finding that out.

He spoke about the essential importance of music in an episode of Play School. I have fond memories of Warren’s piano playing, how it wove in and out constantly, how it could make me laugh, calm me down, or tell me, “there’s a song coming”.

George talked about the emotional cues communicated by music, which wouldn’t necessarily be conveyed in a script or a visual image. He described how music could be used to convey to a child: this is a safe place to imagine whatever you like, however bizarre or out of the box.

His keynote ended as only a Play School presenter’s keynote can: by all three hundred conference delegates standing up and singing “I’m a Little Teapot”, with actions.

After the keynote, I went to a workshop held by Ros McMillan, about engaging junior secondary students in musical activities. She showed us some interesting and fun ways to create rhythmic rounds on the spur of the moment, and gave us a number of ideas for using just one song in a variety of different lessons.

Something Ros emphasised was the idea of connecting her units to something wider than simply musical content, like “The Environment”, or “Relationships” for example, and embedding musical ideas within those contexts.

I saw two presentations by Geoffrey Lowe, the first of which was very effectively entitled, “This Sucks!” It was all about why so many students drop out of music at school, considering some form of music engagement (listening, playing, creating) is probably the single most widely preferred leisure activity among children and teens, over and above TV, computer games, or sport.

This was so popular that people had to bring in extra chairs, and it was very nearly standing room only. Geoff’s main premise was that kids prefer prac-based, contextual-based music learning, and hate theory and aural skills training when they’re delivered out of context (ie: when they can’t hear it, or use it to play or create something).

They also have very clear ideas about the kinds of music they do and don’t like, and familiar is preferred, so that brings up the (for some) delicate question of popular music in the curriculum.

Basically, Geoff’s presentation invited music teachers to reflect on their practice and ask, “am I doing something here which may be contributing to the cause of students leaving?”

I also attended a workshop on Musical Futures by Ken Owen. I’ve heard quite a bit about Musical Futures lately, mainly from the Music Teachers’ Network, so I wanted to hear more about this one.

I got to have my very first go at using a jam hub, which was exciting (when it worked properly). I also felt a bit affirmed: much of the Musical Futures approach is similar to the approach I try to take in my classes, at least some of the time: informal, prac-based, student-directed learning.

There are some drawbacks, though: it doesn’t always work. But I want to find out more about Musical Futures and see how I can refine my practice. It’s certainly a very good tool, and one that I would love to embrace more fully.

I finished my day with a workshop focused on ACARA, the coming national Arts curriculum, held by Andrew Reid and Jay McPherson. This is a rather thorny topic, with lots of rumours floating around about it. This workshop was first of all an exercise in straightening out fact from fiction, and myth from reality.

They also discussed the recent draft (or “Shape” paper, if I remember rightly) and ASME’s not-so-enthusiastic reaction to it, for a variety of reasons.

What I mainly got out of that one was: no one really knows when it’s coming, and no one really knows what’s on it. So don’t worry about it…for now.

They were the workshops. I should also mention the stunning performances I heard from the AB Paterson Chamber Choir and Brisbane Birralee Voices during the breaks. There was also the Gold Coast City Wind Orchestra, and Trinity Lutheran College Revelation, a rock group, both of which were also very impressive.

Whew! That was a long one. Sorry for the overlong read. I just wanted to make sure I got everything mentioned at least briefly. Tomorrow I won’t be posting, as the conference dinner will be held in the evening. Tuesday I’ll be heading to Brisbane to visit family after the closing ceremony, before flying back home on Wednesday. My next post on the conference will hopefully be either Wednesday or Thursday.

Till then!


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ASME Conference: Day One

July 2, 2011


It’s official: I’m addicted to conferences. I attended Day One of the ASME (Australian Society for Music Education) conference at the Gold Coast Convention Centre today. I’m knackered, but I really want to get this written before I see too much more cool stuff, otherwise I’ll never get it all down.

Unfortunately, I missed the opening ceremony. Having not slept very well the night before, two alarms were insufficient to wake me up on time, and I slept in. Way in. I was most miffed and thoroughly unimpressed with myself.

However, I did get there in time to catch the latter half of Robert Duke’s keynote speech: “Strategic Confusion and the Joys of Learning”, which was very informative as well as highly entertaining.

Robert’s basic philosophy is this: if you’re comfortable, you’re not learning much. If students are getting everything done for them, having everything clarified immediately without first having to be a bit confused and do some searching for answers, they’re learning very little. Robert spoke about how he seeks to embed what he calls “strategic confusion” into his lessons to enhance the learning process.

According to research, the process of learning (on a physical, neurological level) is a process of error correction. Students have to have the opportunities to perceive their own errors in their own musical behaviour (eg: holding a violin bow the wrong way) and correct it themselves, instead of always having the teacher correct it for them (ie: making them too comfortable).

Finally, Robert’s other main point: teachers are learners as well.

The three sessions I attended today after the keynote were held by Katie Wardrobe, Stefanovych Roberts, and Antony Hubmayer.

Katie Wardrobe took us through a selection of software programs and games for teaching various aspects of music in her talk, “Music Technology Resources on a Shoestring”. The best part about most of these is that they’re free. The ones that aren’t, require only a small subscription fee.

Katie will be putting her notes and links on her website, so I won’t steal her thunder by putting it all here. But I must tell you about one thing which I just thought was the coolest of the cool: a “space invaders”style game called STAFF WARS. You can download it here.

Basically, musical notes come floating along a giant staff at the top of the screen, and the player has to name the note correctly before it crashes into the clef (treble, bass, or alto). When the player hits the right note name, a little spaceship at the bottom of the screen shoots the note. The game starts off slow, and gets faster as you go on. There are heaps of other games Katie showed us as well, but that was my favourite.

Stefanovych Roberts presented a doctoral paper on Metacognition on Music Performance: Theoretical frameworks within an Assessment for Learning paradigm. This presentation focused mainly on the importance of feedback for the student during the learning process, and he mentioned three types (coined by Hattie, if I remember right): feed up (where am I going?), feed back (how am I going?), and feed forward (where do I go next?).

He also spoke about the importance of formative assessment as a valuable tool for developing the student’s musical metacogition, and how there seem to be relatively few opportunities for that formative assessment process to occur within the secondary school environment.

The last seminar I attended today was by Antony Hubmayer: “Riding the wave of pedagogy: Designing learning experiences that deepen musical understanding without drowning the learner”. His presentation really resonated with my ideas about being a “learning designer” when he talked about “designing musical learning experiences” within a constructivist framework.

He showed us his “Learning Experience Framework”, a simple chart by which he plans his units, and then showed us some different examples of the framework in action. One was in the form of a student-created reflection video about the experience of teaching a younger class cohort how to play a song on the ukelele and perform in an ensemble. Another was for a choral group, and we viewed their eisteddfod performance.

Antony’s website is here, and I would imagine his presentation will be made available there sometime down the track, as his other ones have been.

Lack of sleep finally caught up with me after that session, and I had to go back to my hotel room to rest my brain, which by then was feeling a bit fried. I did manage to pick up a few good books on the way out though. (Books know my name. I always hear them calling me, and I am helpless to resist.)

Hopefully I will sleep a bit better tonight, and I can get there on time tomorrow.

Till then!


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Looking forward to the ASME conference

June 2, 2011


I feel like I’ve accomplished much more professionally in the weeks since the MTEC 2011 conference, than I have done for many months. Between this blog (thanks for the inspiration, James!) and all the contacts I’ve made through MTEC, MPLN, the Music Teachers’ Network, and Twitter, I’ve had so much to keep me motivated to make a lot of positive changes in the ways I’ve been working and teaching.

Now there’s another conference coming up, much closer to home: the ASME conference at the Gold Coast. I’ve had a look at the program, and I’ve already been picking and choosing the sessions I want to go to. If there was one complaint I could have made about MTEC 2011, it’s that so many great sessions were filled up and I couldn’t go to them! I’m really hoping that doesn’t happen this time.

From the look of the program so far, the ASME conference seems to have a greater emphasis on research and academics, rather than the hands-on focus of MTEC, but the topics still look fantastic. I’m definitely going to Katie Wardrobe’s session about technology on a shoestring budget, which is exactly what I’ve got. Antony Hubmayer’s session on pedagogy and deepening student understanding also looks really interesting.

There are also about twenty different music groups that will be performing at the conference over the four days.

Who else is going along? 🙂

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