PARENTS ONLINE: Can you tell us a bit about your background, especially as a music teacher?

ADRIANNE FITZPATRICK: I started teaching music quite by accident. In my mid teens I became involved in a children's after-school activity group and became responsible for the music programme, at 17 I began teaching a children's singing group, and at 18 I picked up a job teaching electronic organ and piano. Since then I've continued to teach instrumental music privately as well as direct many vocal choirs, both adult and children's.

POL: Why is it important for children to learn music?

AF: Learning music has many benefits. There is the obvious enjoyment of being able to play an instrument - although children may not always think so when they discover that practice is essential! - but statistics have shown that children who learn music are generally better students all round. Learning music isn't just about playing either; it can also be about listening, enjoying and moving to music.

POL: Do you think music is taught well in Australian schools?

AF: I think children are luckier in today's school music programmes than when I was a child. The programme is more varied now and children have greater opportunities to learn an instrument or to be in a vocal or speech choir. Like everything else, though, I believe so much depends on the teacher. A teacher dedicated to music can instil an invaluable love of music in the children, which I believe is even more important than helping them get high grade levels.

POL: Is it compulsory? Do parents ever have to pay extra for it?

AF: All children of primary school age (that is, 5 - 12 years) have one lesson of music each week in which they sing, play instruments, learn to read music as well as some of the history and theory of music - and hopefully have fun.
Many schools also offer an instrumental programme. In State schools this programme is funded by the government and is usually free to students but may incur a nominal fee for the year to cover the cost of maintenance for school instruments, supplying of music for ensembles and such like. Most schools offer stringed instruments to children in the year they turn eight (third year of school). Brass and woodwind instruments plus double bass are usually offered in the fifth year (ten year olds). Larger schools sometimes find that the government allocation of funds is insufficient to cover the number of students wishing to participate, and some of them have introduced a 'user pays' system where a term fee is set. Even this, however, is usually considerably less than for private lessons.

POL: What do you think parents should look for in a school, if they want to ensure a good musical education for their children?

AF: Firstly, what sort of musical programme are they offering? Here in Australia the classroom programme is fairly standard from school to school, at least within the same State. So what extra activities are on offer? Is there an instrumental programme and how easy is it to access? Are there enough places for every child who wishes to learn an instrument? Are ensembles a standard part of the instrumental programme?
Does the school run a vocal programme? Can anyone who wants to be in a choir access one, regardless of apparent ability? The school I'm currently involved with has three Eisteddfod choirs, and a showcase vocal group, all of which require a successful audition for admission. Four years ago that left a lot of disappointed children believing they couldn't sing, and I was asked to take on those children who didn't pass the audition. My brief was to give these children an opportunity to sing and to express the love of music they already had, a love that outstripped their vocal development - at that point in time. This choir entered its first Eisteddfod recently and took out third place - all they needed was the chance to let their ability catch up with their dream.

POL: Does the school offer any other extra-curricula activities such as the presentation of a musical or music nights?

AF: If the school is small, does it combine with other schools to give the children access to opportunities they might not otherwise have? Where I live, we have a biannual "Magic of Music" festival: a combined choir of 500 voices made up from between 15 and 20 schools performing at City Hall. Most of these schools have choirs of less than 40 children and without this opportunity they would never otherwise have the thrill of performing in a large choir (complete with student orchestra as backing music).

POL: How can parents help their children to become interested in music?

AF: Firstly, parents need to get rid of their own inhibitions around music. Have music playing in the house - often enough that the children don't wonder what's going on when music is suddenly wafting through the place!
While the children are small, dance with them. Don't worry about being a good dancer or getting the moves right. Just move to the music. Rock the baby or toddler. Move their limbs to the music. Give them variety, even if it's not the sort of music you would normally choose to listen to.
Sing to them. Don't worry about not being a great singer. Children need to learn that it's okay to enjoy the music without being perfect. One of the biggest hurdles we have to face is the belief that ability to sing recording star potential and that anything less means we can't sing. We can all sing, if we'll just exercise our vocal chords and train our ears to hear.

POL: What can they do to help their children become confident singers and musicians, regardless of talent?

AF: Teach your children to love music! If they love what they're doing, they will be confident. And watch the messages you give your children. Be positive and encouraging. (Telling a child to take the instrument into the backyard to practise does not do the confidence a lot of good!)

POL: If parents want to pay for private out-of-school tuition, what should they look for in a teacher or class? At what age is good to start learning?

AF: It depends on what you have in mind. Babies and toddlers can benefit from kinder-music classes where the parents are directly involved. The benefit here, though, is in the contact with the parent rather than actual music training. Music will be the accompaniment and can assist in developing the love of music; but, primarily, the greatest benefit is gained in the interaction between parent and child.
Keyboard instruments are generally started around 7 years of age. Some families - and teachers - like to start the children earlier and you'll need to make up your own mind about this. My experience has been that children starting at around 3-4 years frequently give up around 8 or 9, partly because practising is a chore for younger children and partly because the demands of the music outstrips their maturity.
However, whether to start at 4 or 7 or somewhere in between will depend largely on the child's interest, and, depending on the instrument, physical readiness. (For example, small fingers may have difficulty with the spread required for playing a keyboard.) I do recommend, however, that a child not begin an instrument in the first year of school. Learning to decode written language as well as making all the other adjustments to school life is difficult enough without adding in the added stress of learning to read and play music in a formal setting.
Choosing a teacher should be done with care. If all goes well, this will be a long-term relationship so don't be afraid to consider changing teachers if your child is not happy or not wanting to go to lessons. Music should always be fun, even when it's being taken very seriously.
You may need to choose between classes and individual lessons and this will depend on the child and on the programme being taught. Some children thrive in the classroom setting while others find it a nightmare. Some children are very shy and sit back in class while the clown may be disruptive; yet both may settle down happily with the attention accorded in an individual lesson. Classes are generally pitched for the average learners in that particular class. If your child is having difficulty or, conversely, is advancing very quickly, classes may not be the most effective environment.