BY JESSIE WANG, LEAD WRITER (COMMUNITY AND SOCIAL AWARENESS)
Do you remember the moment when you started learning music?
For many of us, it was through our school music programs. But in some schools across Australia, a music program does not exist.
Three-part ABC documentary Don’t Stop the Music tells us why that may be the case, and follows the transformative journey of a school after implementing a music program.
The series has so far raised more than $60,000 for Musica Viva and the Salvos’ music program, and received donations of 4,000 instruments for the schoolchildren of Australia.
After the show’s success throughout the country, we chat with neuro-musical educator Dr Anita Collins on what the show means to the future of Australian music education.
Hi Anita. So, what is Don’t Stop the Music?
Don’t Stop the Music is a three-part documentary that follows students and staff at a challenging school in Perth, Western Australia, as they introduce a music program across the school. It specifically follows the journeys of the Year 4 students and their teachers.
I wanted to be involved because I feel that documentaries have the capacity to help see behind the curtain of a particular experience. In this case, very few people have the privilege of seeing how children grow through learning music; they only get to see the final product, which is usually a performance, months and months after they started learning. It is in these months of great achievement, but also great challenge, that the children really blossom.
I wanted to be part of sharing that journey with the Australian viewing public.
Of all the famous Australian musicians, why did you choose Guy Sebastian to work with you on the show?
I would love to say I chose him, but I didn’t. He was already attached the project when I came on board. But the producers and the ABC could not have chosen a better person. He is a dedicated musician, and is deeply committed to education and helping children who may not get all the opportunities that they should.
I learned so much from him through the filming, and I admire not only his musical work but his work as a person. He is amazing!
Why do you think music is necessary to the lives of children?
I believe it is essential because it helps every child to grow; and that doesn’t mean growing into a professional musician, it means growing into a productive and happy human.
We have these misconceptions that music education is only for the smart or talented or children whose parents can afford to pay for it. Yet, the research tells us that it benefits every child, and especially those who may have grown up in challenging circumstances.
Music education helps to wire every child’s brain in an effective way, giving them a boost with their language skills, social skills, attention skills and memory skills. These are all vital for a child to learn, perform well at school, and understand themselves.
DSTM showed this process happening over time and across extremely different children, and yet the outcome was the same. Their confidence improved, which improved their willingness and ability to achieve better academic results while helping them improve their social skills.
The show was aired around the time of Richard Gill’s passing – the man who had shaped Australia’s music education. How was the show affected by this legend of Australian music?
I think every music educator around Australia has been impacted by Richard’s tireless work in championing music education, whether they know it or not. He set the scene for DSTM decades ago, and his legacy will be felt for decades to come.
How have you found Australia has reacted to the show? Have there been any surprises?
Australia has really embraced the show; and the outpouring of praise, emotion and personal stories has been extraordinary. The only surprise was that a documentary about something so specific as music education had such a broad reach.
I think this, in the end, was because this is a story about Australian children and how we can give the next generation of Australians every opportunity to succeed and thrive. Music education was just the tool for a larger conversation about access, equity, and where music sits in every child’s development.
So how have you and Guy responded to the show’s release?
It has been fantastic. We are particularly pleased with the response to the instrument donation campaign, which is close to 4,000 instruments at last count and significant cash donations. It shows that the Australian public cares about music education and appreciate the opportunity to make a difference.
How has DSTM changed the lives of the kids beyond the show’s duration?
The students are still learning their instruments and constantly improving. One of the best outcomes was the young singer from episode 1, Anastacia Dawes, who got to perform her song Catastrophe with the Perth Symphony Orchestra in December last year. The impact of this program will just keep on growing. It would be great to see where they are in a year’s time.
Lastly, we all know music is lacking in most schools across the country. What do you think needs to be done to change the lives of more than just the kids seen in the show?
Firstly, we need to change our tune (pun intended) on music education. We have a misconception about why our children should learn music, and even who should learn it. Music education is beneficial for every child, and gives them the cognitive advantage they need to improve their performance at school and go out into the world and tackle any challenge.
Once we change the place and purpose of music education in every child’s development, we need to swing into action in schools. Schools all over Australia have music programs, but the quality and quantity are wildly different. Principals and school leadership teams need to look at their programs and ask hard questions: What is the quality of the program that is being delivered? Is the program sequential to ensure that the cognitive and musical outcomes are happening? How confident and competent are our teachers, and what can we do to help them improve their skills? Do we have the right equipment and space to enable the high quality, sequential, and ongoing music education we know benefits children’s development to happen? In many cases, principals will need help with this part, and there are many music education organisations and experts ready to assist.
Then, there is planning for change and committing to the long haul. Music programs take years to build and seconds to tear down. Again, school leaders need to recognise that the impact they want won’t happen overnight, but, like all good things, slow change means powerful change. We are talking years of consistent, strategic, and responsive development. Three years is a good yard stick for this type of change, but by the end of the three years, the changes in not only the music program but the whole school will be incredible.
You can donate to Don’t Stop the Music until January 31.
Say thanks to Jessie for facilitating this conversation
Thanks for supporting Jessie as she volunteers her time for Australian arts journalism.. [purchase_link id=”14483″ style=”button” color=”orange” text=”Pay what you like”]
Pay what you like through PayPal. 80 per cent of your contribution will go to the writer who composed this piece, and 20 per cent to our volunteer editor. We protect your personal information.
Images supplied. Credit: Artemis Media.
