Our Philoshophy

Our community focused music and performing arts lessons celebrate diversity, and warmly welcome asylum seekers, single parents and those in need.


​By instilling students with a life-long love for music, bridging communities through music and engagement with cultural diversity, we enrich the social and intellectual fabric of our local community

Baby Sensory Music Enrichment classes

Early Childhood Multi-instrumental Classes

Early Childhood Multi-instrumental Classes

Vocal and Group Instrumental classes in all disciplines

Kindergarten multi-instrumental 2 hour drop-off sessions 6 days a week

The Melbourne Children’s Choir - as part of the Boite Children's Chorus - Wednesdays 3.45-5.15

Rock Band, Songwriting, and Parent & Child Musical Journeys

We offer school pick up from Coburg North Primary School 5 days a week as well as group instrumental and vocal classes


We also offer home visits by appointment only.


We pride ourselves on having a high-level, concise, and multi-layered curriculum incorporating Feierabend, Orff & Kodaly methodologies, along with Volaris, Alfred's and ABC instrumental curriculum.

Our Story

The Kodály concept was inspired by the philosophies of the Hungarian composer and educator, Zoltan Kodály (1882 – 1967). Throughout Kodály’s writings are the notions that a person cannot be complete without music and that music serves to develop a person on all levels – emotionally, spiritually and intellectually.

Kodály believed that every person has musical aptitude and that, ideally, a music education should begin as early as possible in a person’s life – firstly at home and then later within the school curriculum.

Kodály believed that singing should be the foundation of all music education.

“It is a long accepted truth that singing provides the best start to music education; moreover, children should learn to read music before they are provided with any instrument…even the most talented artist can never overcome the disadvantages of an education without singing” (Kodaly, 1974).The use of the voice is one of the most defining features of the Kodály approach. The voice is the most accessible of all instruments and this makes it most suitable for musical instruction and can lead to a highly developed musical ear. By focusing on learning through engaging with music, singing, playing, moving and enjoying, music becomes part of the natural learning process.Developmental, Sequential, Cumulative and Continuous Music EducationKodály believed that musical instruction should reflect the way that children learn naturally. Through singing games, fun and play the child discovers the musical elements as they are presented sequentially and has the opportunity to enter the world of music through the creative development of the ear and the eye.


The Kodály Concept within the Australian ContextSince its introduction into the Australian context the influence of the Kodály concept has been significant in the areas of early childhood, primary and secondary education. Research and training have underpinned endeavours in the ACT, NSW, Queensland, Victoria, South Australia and Western Australia and have encouraged many teachers to strive for a better musical future for their students.

The use of the voice is one of the most defining features of the Kodály approach. The voice is the most accessible of all instruments and this makes it most suitable for musical instruction and can lead to a highly developed musical ear. By focusing on learning through engaging with music, singing, playing, moving and enjoying, music becomes part of the natural learning process.

Developmental, Sequential, Cumulative and Continuous Music EducationKodály believed that musical instruction should reflect the way that children learn naturally. Through singing games, fun and play the child discovers the musical elements as they are presented sequentially and has the opportunity to enter the world of music through the creative development of the ear and the eye.

The Kodály Concept within the Australian ContextSince its introduction into the Australian context the influence of the Kodály concept has been significant in the areas of early childhood, primary and secondary education. Research and training have underpinned endeavours in the ACT, NSW, Queensland, Victoria, South Australia and Western Australia and have encouraged many teachers to strive for a better musical future for their students.


AUSTRALIAN MUSIC CURRICULUM

We incorporate the Australian Curriculum for Music Education and ensure the following standards are met in all lessons at the academy -

Early Childhood - Grade 2

become aware of rhythm, pitch, dynamics and expression, form and structure, timbre and texture

explore sounds as they learn to listen to and make music

learn to discriminate between sounds and silence, and loud and soft sounds

learn to move and perform with beat and tempo

learn to listen as performers and as audience

Grade 3-4

extend their understanding of the elements of music as they develop their aural skills

match pitch and show the direction of a tune with gesture or drawings

recognise difference between notes moving by step and by leap

recognise and discriminate between rhythm and beat

explore meaning and interpretation, forms, and elements including rhythm, pitch, dynamics and expression, form and structure, timbre and texture as they make and respond to music

learn to listen as performers and as audience, extending their awareness of themselves and others as performers and as audience

Grades 4-5

fuel their understanding of rhythm, pitch, dynamics and expression, form and structure, timbre and texture in music

extend their understanding and use of aural skills as they sing and play independent parts against contrasting parts and recognise instrumental, vocal and digitally generated sounds

explore and use rhythm, pitch, dynamics and expression, form and structure, timbre and texture in music they perform and compose

explore meaning and interpretation, forms and elements of music as they make and respond to music.

​Grades 5-6

further their understanding of rhythm, pitch, dynamics and expression, form and structure, timbre and texture in music

extend their understanding and use of aural skills as they sing and play independent parts against contrasting parts and recognise instrumental, vocal and digitally generated sounds

explore and use rhythm, pitch, dynamics and expression, form and structure, timbre and texture in music they perform and compose

explore meaning and interpretation, forms and elements of music as they make and respond to music.

​School holiday bookings now open

Fall seven times and stand up eight

We specialise in teaching multi-instrumental, creative movement and singing programs to children from the birth to 3 years, 4 to 12 years and 13-18 years.


We also offer individual instrumental and vocal classes for adults and children


We are a professional body of musicians, educators and teaching specialists hailing from around the world who are nurturing, child centered and passionate about music education. We incorporate a range of curriculum into our teaching practices including Kodaly and Orff and differentiate our lessons to suit our ever growing student population.


We focus on providing a diverse curricula which embraces cultural diversity and varied thematic contact by bridging the gap with vulnerable communities through partnerships with bodies such as the Salvation Army, homeless shelters and refugee groups.


We also pride ourselves on having a strong rapport with all students.


All music lessons are specially tailored to suit your or your child’s or your own needs, abilities and interests in a relevant and engaging manner. Our school holiday music camps form the basis of a life-long love for learning and provide a fun and exciting group environment for children of all ages.


Adult learners can either be taught to read music, or taught using the easy-to-follow keyboard or guitar tablature.


All lessons are taught with the underlying objective of creating a fun, engaging, relevant, educational and interesting learning experience for all students. Music curriculum can cover a range of genres ranging from classical to jazz, as well as popular, contemporary music.


Students can also be prepared for yearly grade examinations, both in theory and in practice. Music examination board preparation include AMEB, ABRSM and Trinity.

​The Benefits of Music Education

Whether your child is the next Beyonce or more likely to sing her solos in the shower, she is bound to benefit from some form of music education. Research shows that learning the do-re-mis can help children excel in ways beyond the basic ABCs.

More Than Just Music

Research has found that learning music facilitates learning other subjects and enhances skills that children inevitably use in other areas. “A music-rich experience for children of singing, listening and moving is really bringing a very serious benefit to children as they progress into more formal learning,” says Mary Luehrisen, executive director of the National Association of Music Merchants (NAMM) Foundation, a not-for-profit association that promotes the benefits of making music.

Making music involves more than the voice or fingers playing an instrument; a child learning about music has to tap into multiple skill sets, often simultaneously. For instance, people use their ears and eyes, as well as large and small muscles, says Kenneth Guilmartin, cofounder of Music Together, an early childhood music development program for infants through kindergarteners that involves parents or caregivers in the classes.

“Music learning supports all learning. Not that Mozart makes you smarter, but it’s a very integrating, stimulating pastime or activity,” Guilmartin says.

Language Development

“When you look at children ages two to nine, one of the breakthroughs in that area is music’s benefit for language development, which is so important at that stage,” says Luehrisen. While children come into the world ready to decode sounds and words, music education helps enhance those natural abilities. “Growing up in a musically rich environment is often advantageous for children’s language development,” she says. But Luehrisen adds that those inborn capacities need to be “reinforced, practiced, celebrated,” which can be done at home or in a more formal music education setting.

According to the Children’s Music Workshop, the effect of music education on language development can be seen in the brain. “Recent studies have clearly indicated that musical training physically develops the part of the left side of the brain known to be involved with processing language, and can actually wire the brain’s circuits in specific ways. Linking familiar songs to new information can also help imprint information on young minds,” the group claims.

This relationship between music and language development is also socially advantageous to young children. “The development of language over time tends to enhance parts of the brain that help process music,” says Dr. Kyle Pruett, clinical professor of child psychiatry at Yale School of Medicine and a practicing musician. “Language competence is at the root of social competence. Musical experience strengthens the capacity to be verbally competent.”

Increased IQ

A study by E. Glenn Schellenberg at the University of Toronto at Mississauga, as published in a 2004 issue of Psychological Science, found a small increase in the IQs of six-year-olds who were given weekly voice and piano lessons. Schellenberg provided nine months of piano and voice lessons to a dozen six-year-olds, drama lessons (to see if exposure to arts in general versus just music had an effect) to a second group of six-year-olds, and no lessons to a third group. The children’s IQs were tested before entering the first grade, then again before entering the second grade.

Surprisingly, the children who were given music lessons over the school year tested on average three IQ points higher than the other groups. The drama group didn’t have the same increase in IQ, but did experience increased social behavior benefits not seen in the music-only group.

The Brain Works Harder

Research indicates the brain of a musician, even a young one, works differently than that of a nonmusician. “There’s some good neuroscience research that children involved in music have larger growth of neural activity than people not in music training. When you’re a musician and you’re playing an instrument, you have to be using more of your brain,” says Dr. Eric Rasmussen, chair of the Early Childhood Music Department at the Peabody Preparatory of The Johns Hopkins University, where he teaches a specialized music curriculum for children aged two months to nine years.

In fact, a study led by Ellen Winner, professor of psychology at Boston College, and Gottfried Schlaug, professor of neurology at Beth Israel Deaconess Medical Center and Harvard Medical School, found changes in the brain images of children who underwent 15 months of weekly music instruction and practice. The students in the study who received music instruction had improved sound discrimination and fine motor tasks, and brain imaging showed changes to the networks in the brain associated with those abilities, according to the Dana Foundation, a private philanthropic organization that supports brain research.

Spatial-Temporal Skills

Research has also found a causal link between music and spatial intelligence, which means that understanding music can help children visualize various elements that should go together, like they would do when solving a math problem.

“We have some pretty good data that music instruction does reliably improve spatial-temporal skills in children over time,” explains Pruett, who helped found the Performing Arts Medicine Association. These skills come into play in solving multistep problems one would encounter in architecture, engineering, math, art, gaming, and especially working with computers.

Improved Test Scores

A study published in 2007 by Christopher Johnson, professor of music education and music therapy at the University of Kansas, revealed that students in elementary schools with superior music education programs scored around 22 percent higher in English and 20 percent higher in math scores on standardized tests, compared to schools with low-quality music programs, regardless of socioeconomic disparities among the schools or school districts. Johnson compares the concentration that music training requires to the focus needed to perform well on a standardized test.

Aside from test score results, Johnson’s study highlights the positive effects that a quality music education can have on a young child’s success. Luehrisen explains this psychological phenomenon in two sentences: “Schools that have rigorous programs and high-quality music and arts teachers probably have high-quality teachers in other areas. If you have an environment where there are a lot of people doing creative, smart, great things, joyful things, even people who aren’t doing that have a tendency to go up and do better.”

And it doesn’t end there: along with better performance results on concentration-based tasks, music training can help with basic memory recall. “Formal training in music is also associated with other cognitive strengths such as verbal recall proficiency,” Pruett says. “People who have had formal musical training tend to be pretty good at remembering verbal information stored in memory.”

Being Musical

Music can improve your child’ abilities in learning and other nonmusic tasks, but it’s important to understand that music does not make one smarter. As Pruett explains, the many intrinsic benefits to music education include being disciplined, learning a skill, being part of the music world, managing performance, being part of something you can be proud of, and even struggling with a less than perfect teacher.

“It’s important not to oversell how smart music can make you,” Pruett says. “Music makes your kid interesting and happy, and smart will come later. It enriches his or her appetite for things that bring you pleasure and for the friends you meet.”

While parents may hope that enrolling their child in a music program will make her a better student, the primary reasons to provide your child with a musical education should be to help them become more musical, to appreciate all aspects of music, and to respect the process of learning an instrument or learning to sing, which is valuable on its own merit.

“There is a massive benefit from being musical that we don’t understand, but it’s individual. Music is for music’s sake,” Rasmussen says. “The benefit of music education for me is about being musical. It gives you have a better understanding of yourself. The horizons are higher when you are involved in music,” he adds. “Your understanding of art and the world, and how you can think and express yourself, are enhanced.”

Melbourne Inner North Performing Arts Academy

4 Bolingbroke Street

Pascoe Vale, Victoria, 3044


melbourneinnernorthpaa@gmail.com

03 9943 4827

0422350290

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