Andrew Sutherland
My latest book, 'Queer Opera' was published by Lexington along with my edited volume, 'Revolutions in Music Education'. They follow 'Children in Opera', which is available through Cambridge Scholars. I completed my PhD from Monash University in Melbourne; 'School and community ensembles: Implications for collaborative musical performances.' M.Ed was completed at Edith Cowan University in Perth; 'Principles for designing an effective, post-compulsory Music curriculum suitable for Western Australia.' I currently lecture in Music and Music Education at Hong Kong Baptist University. Research interests include: musicology, music education, ensemble music-making, children in opera, and film music.
Supervisors: Jane Southcott, Geoff Lowe, and Samuel Leong
Phone: +44 07880594966
Address: London, UK
Supervisors: Jane Southcott, Geoff Lowe, and Samuel Leong
Phone: +44 07880594966
Address: London, UK
less
InterestsView All (10)
Uploads
Videos
Papers
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
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.