Letters to the editor

November 23 2018 - 4:30pm
Letters to the Editor – November 23
Letters to the Editor – November 23

Don’t stop the music

Readers who missed the first two episodes of the ABC three-part documentary Don't Stop the Music should go back and watch it. Evolving from the production of the series Musica Viva, it has organised a Don't Stop the Music appeal for musical instruments. So please everyone dig out that long unused guitar, violin, flute, trumpet, drum kit or other instrument and deliver it to the Salvation Army for distribution to schools in need of them to establish a music program. The documentary quoted a statistic that in the four years of Finland's teacher education course the graduate will have had over 400 hours exposure to music education experiences. This enables them to implement a meaningful curriculum in the primary class room. A graduate of a Victorian teacher education course will have experienced about 23 hours exposure to music in the classroom. Unless they come to the course with a musical background, a Victorian graduate will not have the confidence and ability to take classroom music. It is to be hoped that parents now will be moved to press their school principals and school councils to fund appropriate teaching staff, and allot classroom time. The whole community should press the teacher-ed providers for a greater emphasis on music in the teacher education courses. It is timely that Don't Stop the Music follows so closely on the death of Richard Gill – a tireless advocate for the importance of music to the young brain, and the better development of literacy, numeracy and social skills. At Richard Gill's instigation, in 2012 the Gwen & Edna Jones Foundation and the Uebergang Foundation funded a program at Deakin University to upskill local generalist primary school teachers to be confident in teaching classroom music. A similar project will be run by Melbourne Symphony Orchestra in Warrnambool in 2019 and 2020, in extension of its PizzIMMERSION program. This will be enabled by funding from the Gwen & Edna Jones Foundation.

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