At Orelia Primary School in Perth, Musica Viva Australia’s incursions and teaching resources have reshaped learning, building teacher confidence, student engagement and inclusive pathways to creative success.
When Ms Manjeet Singh first stepped into the music room at Orelia Primary School, it was not part of a carefully planned career move. Trained as a science teacher, Ms Singh had spent years working across classrooms before staffing changes following COVID-19 saw her take on music – a subject she describes as entirely new territory.
“I felt like I was in the deep end, and I didn’t know what to do with it,” Ms Singh says.
What followed over the next four years was the gradual reshaping of Orelia Primary’s music and visual arts program, underpinned by structured support from Musica Viva Australia and a growing sense of confidence in how music could be taught, adapted and embedded across the school.
Located in a low socio-economic community in Western Australia, Orelia Primary serves students with diverse learning needs, including trauma backgrounds, neurodivergence and inconsistent attendance. For Ms Singh, finding an approach that was accessible, engaging and curriculum-aligned was critical from the outset.
“I reached out to Musica Viva Australia because I had heard about them, and when I did, they were really helpful,” she says. “They explained the incursions and the 10-week teaching lessons that go with them, and I realised that from pre-primary to Year 6, the curriculum was already scaffolded.”
From that point on, Musica Viva Australia – or MVA, as it is also known – became a central reference point for planning, programming and resourcing music at the school.
Starting with structure and support
The first MVA program Ms Singh introduced was a Japanese taiko drumming ensemble. At the time, she had limited formal music training and was still finding her footing as a specialist teacher.
“I was a novice,” she says. “I’d learned a little bit at university, but I wasn’t musically inclined at all.”
What made the difference, she explains, was the combination of live performance and detailed teaching resources. Each MVA booking includes access to up to 12 weeks of curriculum-aligned lesson activities, instructional videos and student materials, available to schools on a long-term basis.
“The lessons were there, and they were interactive,” Ms Singh says. “I knew I was hitting the curriculum with all the kids.”
The taiko program also lent itself to practical adaptation. Ms Singh inherited fitness balls and drumsticks from a previous teacher and repurposed them for percussion activities. Over time, she added buckets, claves and PVC pipes, which students helped turn into makeshift bachi – traditional taiko drumsticks.
“It just engaged the kids,” she says. “They were making instruments, experimenting with sound, and actually wanting to practise.”
The live incursion marked a turning point. School leaders observed the sessions, and Ms Singh recalls a shift in confidence and trust.
“The principal said, ‘You have my blessing – just do whatever you want to do,’” she says. “From that point on, I felt supported to really build something.”
MVA’s teacher professional development also played a role. Ms Singh undertook the organisation’s 12-week Music Education Skills for the Primary Classroom course, designed for generalist teachers with limited music background. When funding was an issue, MVA arranged a scholarship.
“They paid for it,” Ms Singh says. “I did the modules, completed everything, and I just felt so proud. That’s when I really started thriving.”
Connecting music, visual arts and curriculum
As Ms Singh’s confidence grew, so did the scope of Orelia Primary’s arts programming. Alongside music, she now teaches visual arts, and the two subjects are intentionally linked.
“My whole programming is always around what ensembles are available,” she says. “I see what’s coming up with MVA first, and then I plan everything around that.”
When the taiko drummers returned with a water-themed program, Ms Singh designed visual arts units around ripples, movement and sound. Students created clay clouds, explored different media, and displayed their work across the school’s undercover areas.
“It became our big first-semester show,” she says. “An art show and the MVA performance together.”
This integrated approach has become a routine students recognise and anticipate. Ms Singh says children remember ensembles from earlier years and make connections between performances, classroom activities and their own creative work.
“They ask, ‘What are we doing as an ensemble?’ and they already know what that means for art as well,” she says.
Assessment tasks are also adapted to suit student choice and differentiation. During the taiko unit, Ms Singh developed a tiered rhythm assessment inspired by Japanese cuisine, allowing students to select their level of complexity.
“They could choose the small chilli, the red chilli, or the wasabi,” she says. “Some kids said, ‘I’m going for wasabi,’ and wanted the most complex rhythm.”
According to Ms Singh, this flexibility helped students take ownership of their learning while still meeting curriculum requirements.
“I took ideas from the teaching resources and tweaked them. Now I feel confident to add my own flavour or follow an interest the kids show.”
Access, engagement and confidence
MVA’s programs are designed to be accessible to a wide range of schools, including those facing financial or geographic barriers. Through its Equal Music initiative, financial assistance is available to low ICSEA and small schools, ensuring students can participate regardless of circumstance.
For Orelia Primary, this support has been essential. Ms Singh says the organisation is proactive in keeping her informed about subsidies, funding opportunities and upcoming programs.
“They know my school is low socio-economic,” she says. “They make sure we get the support that’s available.”
Beyond logistics, Ms Singh points to student engagement as the most significant outcome. She describes music lessons as a space where all students – including those with additional needs – can participate and experience success.
“Our special needs kids can access the lessons,” she says. “Kids with ADHD have success. The quieter kids start performing. They’re more confident and willing to step out of their comfort zone.”
She also notes that music days have become a drawcard for students with inconsistent attendance.
“There are kids who turn up because they know it’s music day,” she says.
MVA’s 2026 education program marks 45 years of delivering live, curriculum-aligned music experiences to Australian schools, reaching more than 200,000 students each year. The upcoming lineup includes returning and new performances designed for Foundation to Year 8, supported by a redesigned digital resource platform and free teacher professional development.
At Orelia Primary, Ms Singh says the long-term impact is evident not just in student outcomes, but in the school’s broader approach to the arts.
“Our arts program is thriving. The principal supports it, the budgeting aligns with it, and the kids look forward to it.”
Reflecting on her journey from science teacher to arts specialist, Ms Singh says the structured support and relationships built through MVA have been central to that growth.
“They’ve given me the confidence to teach music in a way that works for my students,” she says. “And that’s made all the difference. I just love it.”
Visit https://musicaviva.com.au/ to learn more about school incursions and resources.
