AUSTRALIAN MUSICAL FUTURES: TOWARDS 2020

DELEGATES' IDEAS

Delegates are invited to send in a brief statement describing issues or outcomes the summit should consider. This is an opportunity to turn other participants' thoughts towards issues that you believe are important, in advance of the discussions.

Remember that the outcome we seek is recommendations for action. We suggest a limit of say 400 words. Please send them to Rachel Hocking

Rob Appel, CEO, Chaos Music

The main issue I would like to see addressed within the group is the lack diversity of legal music outlets online in the Australian market. The Australian legitimate download market is currently dominated by iTunes at around 90%, followed by Bigpond with less than 5% and the remainder spread amongst a handful of others. This is a virtual monopoly, dramatically reducing diversity in the way music in presented to the Australian consumer.
In the traditional market 1000s of independent retailers have co-existed alongside the major chains to present customers with a diverse range of music. This has been critical in developing niche markets. In many cases the smaller independent retailers have presented the only channel to market for new Australian music.

John Colwill, President, Music Teachers Association Queensland

The focus on universal music literacy ‘OR' musical engagement suggests a dichotomy. We, the music educators of this place, would be better served and better serve Australians by striving for ‘universal musical engagement that stimulates a desire for musical literacy through education.' Music's power to unite, uplift, soothe and excite engages us all, by the ubiquity of its presence in the context of broadcasting. The (anecdotally) recognized effect of Idol, Operatunity, Battle of the Choirs and Dancing with the Stars in raising interest, sales and/or enrolments in these activities can and must be further used to extend, stimulate and ‘legitimate' music learning and the development of talent.

Hans Hoegh-Guldberg, economist, Economic Strategies P/L

All four proposed subject areas will, or should, help demonstrate that ‘cultural capital' is a distinct source of economic growth (as argued by David Throsby but ignored by many other economists). This outcome of the think tank can only be fully realised through subsequent analysis of its proceedings, but it would be a good idea to plant the seeds in participants' minds in the initial sessions. It is part of the process to convince governments about the economic importance of cultural activities including music - for all creative pursuits to take their rightful place in the economic policy framework despite their apparent lack of short-term impact.

Add a fourth point to the first subject area in subsequent communications?

Why all this is important in fostering economic growth

I think it may be possible to point to another possible outcome of the think tank. Scenario planning is essentially about the long term, and 2020 is a good vantage point. Maybe the think tank could be told that the proceedings could provide the raw material for creating, say, two or three scenario stories, including a 'business as usual (BAU)' middle (or worst?) case, a worst case unless 'BAU' is it, and something that would bring out more desirable features and outcomes for all concerned. These cases would be equally credible and equally likely< to occur by 2020, with no further action taken. The policy recommendations would be to mitigate the worst case by devising means to promote a better future. The scenarios while focusing on the music sector would necessarily have to provide the context in terms of infrastructure, policy-making framework, general cultural setting and diversity, international pressures and what not.

No scenarios are likely to actually eventuate. The concept is to set the boundaries for all plausible futures.

If we focus on it, we might even be able to provide some feedback and get some in turn during the Assembly.

John Gould, Conductor, Manuki Symphony, community orchestra, Canberra

I am hoping for a whole new approach to music education by all Australia's music institutions, from infant schools right through to universities and conservatoria.

My experience has shown me that education systems aim at results, which are not necessarily producing well rounded, happy and competent musicians. My method of teaching (based on positive encouragement, allowing people to grow at their own pace without judgement, nurturing with love and respect (Suzuki), and allowing the student to reach their true potential) has resulted in many of my students becoming well rounded and happy musicians. Many have chosen to become professionals.

I look forward to the panel discussions. Thank you.

Margaret Moore, Education Manager, Sydney Symphony Orchestra

I welcome the opportunity to participate in a summit with 100 other key leaders and thinkers to discuss our Australian musical future.

On behalf of the Sydney Symphony I urge the development of a practical action plan that will return arts education to our school students and raise the status and remuneration of arts teachers. We need to encourage the establishment of a statutory framework that will make change in this field imperative. With our wide expertise and long established program, the Sydney Symphony would like to play a leadership role. Issues we think should be brought to the discussion table include:

• Increased teacher training in the arts, particularly in music, as it is a distinct skills set
• increased numbers of properly remunerated music teachers, especially at Primary level as this is the age at which musical pathways are created in the brain and learning can best take place
• Improved connection between the education and arts sectors. The separation between these inhibits collaboration and prevents the cross-fertilisation that breeds innovation
• Improved opportunities for young people with an interest and ability in the arts to transition from student to ‘young professional' status.

Terry Noone, National Secretary, Musicians'Union of Australia

OUTLINE

The music industry is a significant part of the Australian economy but has two fundamental problems:

1. 1Musicians do not receive their fair share of the turnover.

    

2. Accurate statistics indicating musicians' income are not available.

There is demand from many parts of the industry for government support but no guarantees from the industry regarding fair and equitable remuneration for the principal product creators of the industry... musicians.

These problems occur in all aspects of the industry including royalties and rights payments of various kinds and fees for performance.

This situation has unfortunately typically led to a call for government support of musicians rather than fair and ethical behaviour by the industry. This has been an understandable but misguided response to the near disappearance of the profession of Musician which the situation has caused.

RECOMMENDATIONS

1. The problem would be better understood and a more convincing argument could be made to both government and the public if better statistics were available.
2. Regulation (either self regulation or government imposed) to guarantee fair treatment of musicians.

Sheena Prince, Albany Senior High School

I am attempting to bring to the summit a perspective from regional Australia and the challenges faced by both professional and hobby musicians as well as audiences and music consumers living outside the capital cities. After talking to a number of people engaged in a variety of aspects of music in WA, a view has been formed that many of the problems could be ameliorated by the resourcing of local and/or regional Community Music (Arts?) Liaison person who can help isolated locals stay in touch with the ‘real' world

• write grant applications
• source incursion opportunities by linking with touring groups and festivals,
• develop authentic learning opportunities for students,
• coordinate local performance programs
• inform government decision making (at all levels local, state and federal)
• liaise with local performance venues and advise on enhancing their appropriateness for music performance use by both professional and hobby musicians.
• develop e-learning and e-networking opportunities

This provision of an infrastructure person would support the music industry, the community music program and music in schools. It could also have a huge impact on audience development which is a critical factor in sustaining both performance venues and professional musicians inregional areas.

Jenny Rosevear, President, Australian Society for Music Education

Recommendations/actions: The National Review of School Music Education has identified key aspects which are needed in order to improve the quality and status of music in schools. So far, the outcomes of the Review have related more to the status issue, such as through the National Awards for Excellence administered by ASME and by Music Count Us In administered by Music Play for Life. The development of the music education portal will eventually provide an important resource and support which will impact on quality, however, developing other strategies aimed at improving quality, as well as access, could be the focus of a think tank discussion.

Susan West, Convenor, Music Education Program, Australian National University

There are four points I offer for consideration growing out of the work of the Music Education Program at the ANU, all of which could be the basis for action.

1. Establish a 'base line' for music in primary schools that is seen as achievable by classroom teachers. In the ACT our base line is called 'seventy over seven' (70/7): ten songs a year over seven years teachable by every classroom teacher in ten minutes a day so that all students leave school able and willing to sing 70 songs individually and as part of a group. The base line could be different for each state, allowing a range of simple ideas to develop that do not overwhelm teachers who lack confidence.
2. Use the power of joint advocacy to address the previous government's position on grading and ranking students in music, particularly in the junior years, which causes stress to students, parents and teachers, discourages long-term engagement, and contradicts international research into musical development.
3. Consider the issue of some separate music making for girls and boys at the upper primary and secondary level. Our research, based on leadership and feedback from students, suggests that some single sex classes, particularly in singing, can aid individual musical development and encourage stronger mixed sex engagement.
4. Consider a 'mixed model' for primary school that doesn't rely on music specialists. In general specialists work in 'release time' for classroom teachers which means that a) the classroom teacher's confidence and music skills do not develop and b) the students receive a message about those who can and those who can't. A 'mixed model' might involve a small group of 'specialists' who are extra numerary to school and encourage general musical engagement at whatever level in whatever way across the sector, coupled with up-skilled teachers and/or in-school specialists who have the capacity to work together with students and their classroom teachers. Both these ideas would involve some funding and some creative help for schools to set up but would be cheaper than a specialist-only model.