Videos by Andrew Sutherland
This book provides a musicological investigation into operas that include children. Just over 100... more This book provides a musicological investigation into operas that include children. Just over 100 works have been selected here for an in-depth discussion of the composer, the children, and the productions, and around 250 relevant works from around the world are also referenced. Four composers to have most significantly proliferated the medium are discussed in even greater detail: César Cui, Benjamin Britten, Gian Carlo Menotti, and Peter Maxwell Davies. Since opera began, it has been inextricably linked to society, by reflecting and shaping our culture through music and narrative, and, as a result, children have been involved. Despite the contribution they played, for several centuries, their importance was overlooked. By tracing the development of children’s participation in opera, this book uncovers the changing attitudes of composers towards them, and how this was reflected in the wider society. 116 views
Papers by Andrew Sutherland
Music Education Research, 2022
For many music students studying classical piano in tertiary institutions,
techniques in improvis... more For many music students studying classical piano in tertiary institutions,
techniques in improvisation are not included in their undergraduate
curriculum. Despite the acknowledged musical benefits of improvisation,
piano pedagogy curricula remain firmly rooted in the nineteenth century,
focusing on the performance of the familiar canon of classical repertoire.
In this study, in which we set out to explore the possible benefits of
introducing formal improvisation lessons, eight students were selected
from two universities in Hong Kong and Perth respectively. Using an
active research methodology, the students were given four one-hour
improvisation lessons each of which was followed by a focus group
interview. In addition to making recommendations for improvisation
to occupy a space in undergraduate classical piano curricula, other
unexpected findings regarding group teaching for pianists, and teaching
across an international context are presented.
International Journal of Music Education, 2022
Music leaders who conduct ensembles in education and community settings, create an ecology of par... more Music leaders who conduct ensembles in education and community settings, create an ecology of participation depending on their style of leadership. The paradigm of master/apprentice that has long been pilloried in music education academia is still a popular modus operandi for many conductors. Understanding the effect that leadership has on group identity and ensemble cohesion can help participant musicians to continue lifelong engagement with ensemble music making. This exploratory research consists of three phases. First, the relevant literature regarding group work, leadership theories, and musical ensembles was explored. Second, utilizing a purpose-designed questionnaire instrument issued to three musical ensembles. The data was collected and analyzed to determine which leadership factors were considered most important in developing a positive ecology for ensemble members. Data were collected from three musical ensembles, resulting in a convenience sample of n = 73. Some unexpected results emerged from several analytical techniques that explored the cross-tabulation of questionnaire data using Pearson's kurtosis and skewness coefficients and platykurtic distributions. Finally, this research recommends a more egalitarian ecology in order to maintain a strong interest in ensemble music making for participant musicians.
The Qualitative Report, 2018
Combining choirs for a large-scale performance can be rewarding. If the choirs comprise different... more Combining choirs for a large-scale performance can be rewarding. If the choirs comprise different generations, differing vocal timbres can add musical possibilities. A school in London operates two choirs in partnership: one for adult members of the school community and a student choir. They perform large-scale works together regularly. Interviews were undertaken with adults to understand their experience of the partnership. Frequently research explores students’ engagement but rarely are the views of adults sought. Intergenerational music-making involves challenges such as participants working collaboratively and not in competition. Participants in this case study discuss the impact of singing in a choir with sons or grandsons and implications for family and community cohesion through music-making are explored.
International Journal of Music Education, 2020
Participating in large-scale musical performances as part of a secondary school ensemble can be e... more Participating in large-scale musical performances as part of a secondary school ensemble can be exhilarating. Although students experience such events differently, emotional state is not uniform throughout the process. Developing musicians may put themselves under pressure to
perform well and once the event is over, the feelings of anxiety and anticipation are replaced by relief, euphoria or in some cases, melancholy. These emotional reactions can impact the desire
to attend subsequent rehearsals and performance projects. Three student members of a school choir reflected on their emotional state from the early part of the rehearsal process to the post event period. Semi-structured interviews were conducted, transcribed and thematically analysed. Findings address the five phases of the performance process: early rehearsals, later rehearsals, the
performance, immediately after the event, and the aftermath. Recommendations for secondary school music ensemble conductors encourage lifelong learning of adolescent ensemble musicians
through understanding fluctuating emotions connected with performance.
International Journal of Research into Choral Singing, 2019
The use of a guest conductor for large-scale, collaborative choral works is a common practice. It... more The use of a guest conductor for large-scale, collaborative choral works is a common practice. It allows fresh insight into the performance of a work into which the guest conductor may have unique or expert insight. Working with a guest conductor can allow a fresh perspective for choristers and allow for the exchange of musical and pedagogical practices for the regular conductor. Such exchanges are not always successful, however, and egotism on the part of musical leaders can provide for tense situations which is harmful to the musical process. Jonathan Willcocks has emic and etic perspectives of numerous international and large-scale collaborative performances and reflects on projects that were enjoyable and in some cases problematic. Using Interpretative Phenomenological Analysis, Jonathan’s reflections are explored to understand the manifestation of factors when a guest conductor is engaged for a performance. Implications for positive use of a guest conductor are discussed and recommendations made for efficacious interaction.
The Qualitative Report, 2018
Combining choirs for a large-scale performance can be rewarding. If the choirs comprise different... more Combining choirs for a large-scale performance can be rewarding. If the choirs comprise different generations, differing vocal timbres can add musical possibilities. A school in London operates two choirs in partnership: one for adult members of the school community and a student choir. They perform large-scale works together regularly. Interviews were undertaken with adults to understand their experience of the partnership. Frequently research explores students’ engagement but rarely are the views of adults sought. Intergenerational music-making involves challenges such as participants working collaboratively and not in competition. Participants in this case study discuss the impact of singing in a choir with sons or grandsons and implications for family and community cohesion through music-making are explored.
Musicology Australia, 2018
In the nineteenth century, a small number of composers included parts for children’s ... more In the nineteenth century, a small number of composers included parts for children’s chorus in their symphonic and choral works. As the twentieth century progressed, more and more composers scored for
children’s choirs to perform alongside their adult counterparts. The children’s chorus became an indispensable component of the score, with their voices necessary for delivering texts or portraying roles inappropriate for adult voices. Post-war Europe was enjoying a change in mood, creating art works that embodied hope and renewal, and in many instances it turned to children to reflect this zeitgeist. At the same time, composers were exploring the possibilities of children’s choirs to add to the developing timbral palette available to them. As the repertoire for children’s choirs and adult orchestras increased, so too did the sophistication of the musical demands made upon them. Children’s choirs in the twenty-first century now need to be highly skilled and well trained in order to effectively perform some of the modern compositions. In a response to these trends, symphony orchestras around the world are choosing to have their own ‘in-house’ children’s chorus in order to perform the growing number of works that call for them. In this article, seven works for children’s chorus and adult music ensembles are explored, and compositional and historical trends are discussed. The contrast in musical demands from the earlier works is compared with those of more recent pieces, and the rise of the modern, symphonic children’s chorus is explored.
Film score composers are searching for unusual timbres to help define their work in a growing mar... more Film score composers are searching for unusual timbres to help define their work in a growing market. Concurrently, film scores for world cinema are gaining greater popularity while Western composers’ interest in the instruments available outside of the traditional symphony orchestra or contemporary popular ensemble increase. Film scoring is moving beyond the use of ethnographically appropriate instrumentation to enhance the audience perception of time and place. Increasingly, film score composers are turning to world music instruments without creating a sense of appropriate ethnographic association for the listener. This study explores the notion of ‘othering’ that use of an exotic timbral palette provides. The choice of alternative sonorities for the sake of novelty is also discussed. The effect of globalisation on the modern film composer has allowed an enriched palette of instruments and timbres, but consideration of world instruments in film scores enhancing a utopian view of globalisation and the negative perception of corporate culturalism is advocated.
Britten's War Requiem is a large-scale orchestral and choral work requiring a variety of musical ... more Britten's War Requiem is a large-scale orchestral and choral work requiring a variety of musical resources that are unlikely to be found within a single organisation. The performance reported in this article involved four conductors each responsible for preparing their own group of musicians (an orchestra and three choirs). Musical collaboration is needed to provide all the components for realising the score accurately. If carefully considered, the process of collaboration can provide opportunities for enhanced learning, intergenerational understanding and the motivation for pursuing active music making. If successful, musicians' desire to continue collaborating will be evident. This qualitative case study employed interpretative phenomenological analysis to explore the implications of a performance of the War Requiem through the lenses of the four participating conductors. The participants discussed their experiences on two occasions, before and after the performance, and reflected on how they understood the experiences of the members of their 'own' groups. Although the ambition to perform such a work was admirable, not all facets of the process were positive. The implications are discussed in terms of an understanding of successful musical performance collaboration. Empathy and respect between participating groups is recommended for a successful performance and for a continuing desire to collaborate further.
Thanks to the efforts of music teachers in arranging concerts, young musicians develop a multitud... more Thanks to the efforts of music teachers in arranging concerts, young musicians develop a multitude of skills when performing with others. Music teachers are notoriously time-poor with the pressures of various curricular and co-curricular demands. To find time to provide performance opportunities for students that involve other schools adds layers of administrative complexities to an already comprehensive workload. Although there is literature to suggest the benefits of collaboration, the necessities of getting the mechanics of a music department running smoothly often places the idea of musical collaboration in the category of " luxury " to be considered " when there is time ". The experiences of several music teachers from different schools who have collaborated on a series of concerts performed biannually evolved over six years and significantly impacted their music departments. An important component of these concerts was the impact of the visiting conductors who acted as " Artists in Residence " in the lead up to the performance. The findings suggest collaboration as being vital to the building process of a developing Music Department and the article makes recommendations for the use of guest conductors.
Secondary students have many activities competing for their time outside of the classroom. Establ... more Secondary students have many activities competing for their time outside of the classroom. Establishing choral singing as a viable option with a critical mass of students in a secondary school is no easy task. To do so can develop a singing culture in the school with its concomitant musical, health and social benefits. A school in West London fosters collaboration between students and members of the community in a choral society formed as a permanent partnership to perform large choral works. Using Interpretative Phenomenological Analysis, I interviewed pupils involved in the choir to explore the perceived benefits of making music with parents, teachers and adult community members. I used Intergroup Contact Theory to discuss the data, which revealed the efficacy of school music programmes to integrate community involvement that ultimately fosters the development of a singing culture. This study identifies positive implications for community engagement but notes cautions against processes that avoid intergenerational disconnect.
Many secondary music students graduate from school and stop being actively involved in making mus... more Many secondary music students graduate from school and stop being actively involved in making music in the community. This is frustrating for music educators who have watched their journey of musical development and then discover it came to a sudden end once they leave the school. One of the goals of a music teacher is to develop a love of music that will enable lifelong learning. Five students who have been taught by the researcher discuss issues and events that have led to their passion for music making lasting beyond the secondary school experience. Their musical experiences provided such a positive impact on them that not only did they pursue musical activities beyond school, but also discussed that they would not consider ceasing musical engagement until the end of their lives. Their relationship with music and their friends who share a similar passion has provided them all with a sense of musical identity. They are musicians and they hope they always will be. The formation of personal, musical identity and social musical identity is critical in the process of students seeing themselves as lifelong, active participants in music. Identity and the impact that this had on their decision to remain actively engaged with music will be explored. Implications for the research will include providing secondary music students with a variety of musical activities that includes collaboration with outside ensembles to support the development of personal and social, musical identity.
The Qualitative Report, Oct 19, 2015
In this paper I explore my personal experiences with collaborative music performance projects. Co... more In this paper I explore my personal experiences with collaborative music performance projects. Collaborations
between different groups of musicians can be a transformative moment in the lives of students and music
educators. The process of collaboration provides opportunities that cannot always be achieved when an
ensemble performs alone. Many of these projects were undertaken in my role as a music educator responsible
for school music ensembles but in one case, as a conductor of a community band. This idiographic autoethnographical
study is based on my own reflective journal, which was analysed using Autoethnography and
Interpretive Phenomenological Analysis. The themes identified include: Isolation versus Collaboration, Social
Interaction, and Music on a Grand Scale. The findings support the idea that there are considerable advantages
for engaging in collaborative performance projects, which cannot only be musically enriching but provide
unexpected social and cognitive benefits.
Keywords:
Autoethnography, Collaboration, Music Performance, Community
A new post-compulsory Music course known as the Western Australian Certificate of Education (WACE... more A new post-compulsory Music course known as the Western Australian Certificate of Education (WACE) Music course was recently introduced into Year 11and 12 in Western Australian (WA) schools. Following a convoluted process of creation, its implementation into classrooms has been problematic. Given criticism levelled at its process of creation and implementation, the researcher questions whether the WACE Music course embodies effective, recognised principles to support the effective teaching and learning of music. This study investigates the principles which should form the basis of an effective, post-compulsory music curriculum, suitable for WA. It involved a literature review which sought to produce a set of principles for teaching and learning frameworks based upon international best practice in music education, and applicable in the unique geographical, historical and multicultural WA context. In addition, the study employed a researcher–designed survey instrument to examine whether Western Australian music teachers perceived these principles to be evident in their practical experiences of the new WACE music course. With the subsequent publishing of a draft Australian National Arts Curriculum, it is an appropriate time to review the principles which should underpin an effective Music curriculum for senior secondary students in the WA context because, without a clear set of guiding principles that are understood by curriculum writers, there is a possibility that following courses could be fundamentally flawed and not serve the best interests of students.
Australian Journal of Teacher Education, vol. 39, no. 11, 2014, pp. 161-177. Volume 39 | Issue 11 Article 10, 2014
Western Australia introduced a new Western Australian Certificate of Education (WACE) Music cours... more Western Australia introduced a new Western Australian Certificate of Education (WACE) Music course for Year 11 and 12 students in 2009. Course construction was protracted due to political interference, input from vested interests within the music teaching community and adverse community publicity. The result has been the creation of a long and potentially confusing syllabus document. This article reports on music teacher experiences with the new course five years after its initial implementation. A questionnaire was distributed to all WACE music teachers asking them to respond to 27 statements drawn from a literature review relating to course design in music education, and the WACE syllabus document. At the end of the questionnaire, participants were invited to provide extended responses regarding the new course.
Conference Presentations by Andrew Sutherland
Reasons for collaborating with other musical organisations to produce a performance can often be ... more Reasons for collaborating with other musical organisations to produce a performance can often be practical; enlarged musical forces can make it easier to sell tickets and the score may require forces beyond the scope of a single ensemble. However, the implications for collaboration are more significant. This case study of a performance of Britten’s War Requiem explores the implications for combing three choirs that represent multi-generations; a secondary choir, a university choir and a choral society. The implications for inter-generational collaboration for include a variety of social factors but can also provide a pivotal moment for young musicians. Pivotal moments in the form of important musical experiences can promote life-long learning and active engagement in music beyond school. The implications of the performance of Britten’s War Requiem will continue well beyond the last chord and this study seeks to further understand those implications.
In this paper I explore my personal experiences with collaborative music performance projects. Co... more In this paper I explore my personal experiences with collaborative music performance projects. Collaborations between different groups of musicians can be a transformative moment in the lives of students and music educators. The process of collaboration provides opportunities that cannot always be achieved when an ensemble performs alone. Many of these projects were undertaken in my role as a music educator responsible for school music ensembles but in one case, as a conductor of a community band. This idiographic auto-ethnographical study is based on my own reflective journal, which was analysed using Autoethnography and Interpretive Phenomenological Analysis. The themes identified include: Isolation versus Collaboration, Social Interaction, and Music on a Grand Scale. The findings support the idea that there are considerable advantages for engaging in collaborative performance projects which can not only be musically enriching but provide unexpected social and cognitive benefits.
Keywords: Autoethnography, collaboration, music performance, community.
Music teachers are notoriously time-poor with the pressures of various curricula and co-curricula... more Music teachers are notoriously time-poor with the pressures of various curricula and co-curricular demands. To find time to provide performance opportunities for students that involve other schools adds layers of administrative complexities to an already comprehensive workload. Although there is literature to suggest the benefits of collaboration, the necessities of getting the mechanics of a Music Department running smoothly often places the idea of musical collaboration in the category of ‘luxury’ to be considered ‘when there is time’. The experiences of several Music teachers from different schools who have collaborated on a series of concerts performed biannually evolved over six years and significantly impacted their Music Departments. An important component of these concerts was the impact of the visiting conductors who acted as ‘Artists in Residence’ in the lead up to the performance. The findings suggest collaboration as being vital to the building process of a developing Music Department and makes recommendations for the use of guest conductors.
Key words
Collaboration, interpretative phenomenological analysis, motivation, performance, school music departments.
Film scores have always been at the cutting edge of innovation and experimentation. The search fo... more Film scores have always been at the cutting edge of innovation and experimentation. The search for new timbres to perfectly match characters and setting of the film is well documented. Increasingly, film scores for world cinema have gained popular following in the West and simultaneously, so has composers’ interest in the instruments available outside of the traditional symphony orchestra or contemporary popular ensemble. The expectation to use ethnographically appropriate instrumentation in a film score to enhance the audience perception of time and place is obvious. Increasingly, film score composers are turning to world music instruments not to assist with the listener’s sense of ethnographic association, but simply because of the desire to use an alternative timbre. An effect of globalisation on the modern film composer has been to enrich the palette of instruments and timbres for consideration rather than the expected limitations of the Western musical context.
Key words: Film score, world music, timbre, globalisation
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Videos by Andrew Sutherland
Papers by Andrew Sutherland
techniques in improvisation are not included in their undergraduate
curriculum. Despite the acknowledged musical benefits of improvisation,
piano pedagogy curricula remain firmly rooted in the nineteenth century,
focusing on the performance of the familiar canon of classical repertoire.
In this study, in which we set out to explore the possible benefits of
introducing formal improvisation lessons, eight students were selected
from two universities in Hong Kong and Perth respectively. Using an
active research methodology, the students were given four one-hour
improvisation lessons each of which was followed by a focus group
interview. In addition to making recommendations for improvisation
to occupy a space in undergraduate classical piano curricula, other
unexpected findings regarding group teaching for pianists, and teaching
across an international context are presented.
perform well and once the event is over, the feelings of anxiety and anticipation are replaced by relief, euphoria or in some cases, melancholy. These emotional reactions can impact the desire
to attend subsequent rehearsals and performance projects. Three student members of a school choir reflected on their emotional state from the early part of the rehearsal process to the post event period. Semi-structured interviews were conducted, transcribed and thematically analysed. Findings address the five phases of the performance process: early rehearsals, later rehearsals, the
performance, immediately after the event, and the aftermath. Recommendations for secondary school music ensemble conductors encourage lifelong learning of adolescent ensemble musicians
through understanding fluctuating emotions connected with performance.
children’s choirs to perform alongside their adult counterparts. The children’s chorus became an indispensable component of the score, with their voices necessary for delivering texts or portraying roles inappropriate for adult voices. Post-war Europe was enjoying a change in mood, creating art works that embodied hope and renewal, and in many instances it turned to children to reflect this zeitgeist. At the same time, composers were exploring the possibilities of children’s choirs to add to the developing timbral palette available to them. As the repertoire for children’s choirs and adult orchestras increased, so too did the sophistication of the musical demands made upon them. Children’s choirs in the twenty-first century now need to be highly skilled and well trained in order to effectively perform some of the modern compositions. In a response to these trends, symphony orchestras around the world are choosing to have their own ‘in-house’ children’s chorus in order to perform the growing number of works that call for them. In this article, seven works for children’s chorus and adult music ensembles are explored, and compositional and historical trends are discussed. The contrast in musical demands from the earlier works is compared with those of more recent pieces, and the rise of the modern, symphonic children’s chorus is explored.
between different groups of musicians can be a transformative moment in the lives of students and music
educators. The process of collaboration provides opportunities that cannot always be achieved when an
ensemble performs alone. Many of these projects were undertaken in my role as a music educator responsible
for school music ensembles but in one case, as a conductor of a community band. This idiographic autoethnographical
study is based on my own reflective journal, which was analysed using Autoethnography and
Interpretive Phenomenological Analysis. The themes identified include: Isolation versus Collaboration, Social
Interaction, and Music on a Grand Scale. The findings support the idea that there are considerable advantages
for engaging in collaborative performance projects, which cannot only be musically enriching but provide
unexpected social and cognitive benefits.
Keywords:
Autoethnography, Collaboration, Music Performance, Community
Conference Presentations by Andrew Sutherland
Keywords: Autoethnography, collaboration, music performance, community.
Key words
Collaboration, interpretative phenomenological analysis, motivation, performance, school music departments.
Key words: Film score, world music, timbre, globalisation
techniques in improvisation are not included in their undergraduate
curriculum. Despite the acknowledged musical benefits of improvisation,
piano pedagogy curricula remain firmly rooted in the nineteenth century,
focusing on the performance of the familiar canon of classical repertoire.
In this study, in which we set out to explore the possible benefits of
introducing formal improvisation lessons, eight students were selected
from two universities in Hong Kong and Perth respectively. Using an
active research methodology, the students were given four one-hour
improvisation lessons each of which was followed by a focus group
interview. In addition to making recommendations for improvisation
to occupy a space in undergraduate classical piano curricula, other
unexpected findings regarding group teaching for pianists, and teaching
across an international context are presented.
perform well and once the event is over, the feelings of anxiety and anticipation are replaced by relief, euphoria or in some cases, melancholy. These emotional reactions can impact the desire
to attend subsequent rehearsals and performance projects. Three student members of a school choir reflected on their emotional state from the early part of the rehearsal process to the post event period. Semi-structured interviews were conducted, transcribed and thematically analysed. Findings address the five phases of the performance process: early rehearsals, later rehearsals, the
performance, immediately after the event, and the aftermath. Recommendations for secondary school music ensemble conductors encourage lifelong learning of adolescent ensemble musicians
through understanding fluctuating emotions connected with performance.
children’s choirs to perform alongside their adult counterparts. The children’s chorus became an indispensable component of the score, with their voices necessary for delivering texts or portraying roles inappropriate for adult voices. Post-war Europe was enjoying a change in mood, creating art works that embodied hope and renewal, and in many instances it turned to children to reflect this zeitgeist. At the same time, composers were exploring the possibilities of children’s choirs to add to the developing timbral palette available to them. As the repertoire for children’s choirs and adult orchestras increased, so too did the sophistication of the musical demands made upon them. Children’s choirs in the twenty-first century now need to be highly skilled and well trained in order to effectively perform some of the modern compositions. In a response to these trends, symphony orchestras around the world are choosing to have their own ‘in-house’ children’s chorus in order to perform the growing number of works that call for them. In this article, seven works for children’s chorus and adult music ensembles are explored, and compositional and historical trends are discussed. The contrast in musical demands from the earlier works is compared with those of more recent pieces, and the rise of the modern, symphonic children’s chorus is explored.
between different groups of musicians can be a transformative moment in the lives of students and music
educators. The process of collaboration provides opportunities that cannot always be achieved when an
ensemble performs alone. Many of these projects were undertaken in my role as a music educator responsible
for school music ensembles but in one case, as a conductor of a community band. This idiographic autoethnographical
study is based on my own reflective journal, which was analysed using Autoethnography and
Interpretive Phenomenological Analysis. The themes identified include: Isolation versus Collaboration, Social
Interaction, and Music on a Grand Scale. The findings support the idea that there are considerable advantages
for engaging in collaborative performance projects, which cannot only be musically enriching but provide
unexpected social and cognitive benefits.
Keywords:
Autoethnography, Collaboration, Music Performance, Community
Keywords: Autoethnography, collaboration, music performance, community.
Key words
Collaboration, interpretative phenomenological analysis, motivation, performance, school music departments.
Key words: Film score, world music, timbre, globalisation
Each of the films have been organised into genres however it is important for teachers to choose the sequence that they would like to teach them in. The films can be taught in any order and have not been designed to be sequential. Teachers may choose to spend more time on certain lessons and omit others from their teaching and learning program.
Some of the films included in this text book have ratings that may not suit the age of the students. It is important to note that the lessons are designed so that the films do not have to be watched. If teachers wish to add viewing as part of the process this can of course be included but it is advised to be aware of the film rating.
Although each of the active listening activities are provided so that a mark out of 20 can be awarded, they are designed as learning tools to promote engagement during the listening process. Teachers may not wish to record the result of each listening test. When referring to the answers provided in the Teacher’s manual, the answers given should guide the teacher as to the kinds of responses to award a mark for. This should be approached with a degree of flexibility depending on the musical experience and capability of the music class.