AbstractIn this paper, we provide a reflection upon the influence of the Swanwick–Tillman (ST) model (1986) from the perspectives of music research in Aotearoa New Zealand. In this paper we take stock of where music education in New Zealand currently sits in relation to the Swanwick Tillman theory of musical development. We examine the strengths and the weakness of the model 35 years on to ask what it might still offer music educators in a context where issues of culture and colonisation have taken centre stage. We also reflect upon the impact of a visit to New Zealand by Keith Swanwick in 1989. Despite the postmodern or colonial critiques we might make now, we consider if the model may still signify a holistic way of conceiving music development and might still have implications for curriculum design and curriculum making in the 21st century.

中文翻译：

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从斯旺维克和蒂尔曼的音乐发展模式看新西兰音乐教育

摘要在本文中，我们从新西兰 Aotearoa 音乐研究的角度对 Swanwick-Tillman (ST) 模型 (1986) 的影响进行了反思。在本文中，我们评估了新西兰音乐教育目前与 Swanwick Tillman 音乐发展理论的关系。我们检查了 35 年后该模型的优势和劣势，以询问在文化和殖民问题已成为中心舞台的背景下，它仍然可以为音乐教育者提供什么。我们还反思了 Keith Swanwick 于 1989 年访问新西兰的影响。尽管我们现在可能会提出后现代或殖民主义的批评，但我们会考虑该模型是否仍然意味着构想音乐发展的整体方式，并且可能仍然对21世纪的课程设计与课程制作。