Thematische Bibliographien / Music Australia

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Auswahl der wissenschaftlichen Literatur zum Thema „Music Australia“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 20. Februar 2023

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Zeitschriftenartikel zum Thema "Music Australia"

Box, Kiernan, und Greg Aronson. „Protest Songs From Indonesia And Australia: A Musicological Comparison“. Journal of Urban Society's Arts 9, Nr. 1 (19.12.2022): 48–59. http://dx.doi.org/10.24821/jousa.v9i1.7146.

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Protest music is both commercially viable and an important tool for shaping community awareness of socio-political issues. Indonesian and Australian artists have produced protest music which has stimulated significant effect upon community attitudes and behaviours. Socio-political issues can be described and examined in songs using various lyrical methods, including strategic use of characters and narrative. Iwan Fals is a Javanese singer-songwriter who frequently employs satire and parody in relation to weighty political issues. Cold Chisel, Midnight Oil and Paul Kelly are Australian rock artists who have used real-life events as the inspiration for protest songs, many of which are delivered with a confrontational mode of lyric and performance. Compared to Australian acts, Indonesian artists have faced greater risk to personal freedom by engaging in protest music; this may explain why Indonesian protest songs are often presented with more subtle characteristics. from the abstract or from the body of the text, or from the thesaurus of the discipline. Lagu Protes dari Indonesia dan Australia: Perbandingan Musikologi. Musik protes layak secara komersial dan peranti penting untuk membentuk kesadaran masyarakat tentang masalah sosial-politik. Seniman Indonesia dan Australia telah menghasilkan musik protes yang memberikan pengaruh signifikan terhadap sikap dan perilaku masyarakat. Isu sosial-politik dapat dideskripsikan dan dikaji dalam lagu dengan menggunakan berbagai metode lirik, termasuk penggunaan karakter dan narasi yang strategis. Iwan Fals adalah penyanyi-penulis lagu Jawa yang sering menggunakan sindiran dan parodi terkait dengan isu-isu politik yang berat. Cold Chisel, Midnight Oil, dan Paul Kelly adalah artis rock Australia yang telah menggunakan peristiwa kehidupan nyata sebagai inspirasi untuk lagu-lagu protes, banyak di antaranya dibawakan dengan gaya lirik dan penampilan yang konfrontatif. Dibandingkan dengan artis Australia, artis Indonesia menghadapi risiko yang lebih besar terhadap kebebasan pribadi dengan terlibat dalam musik protes; ini mungkin menjelaskan mengapa lagu-lagu protes Indonesia seringkali disajikan dengan ciri-ciri yang lebih halus. dari abstrak atau dari tubuh teks, atau dari tesaurus disiplin.

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Hope, Cat, Nat Grant, Gabriella Smart und Tristen Parr. „TOWARDS THE SUMMERS NIGHT: A MENTORING PROJECT FOR AUSTRALIAN COMPOSERS IDENTIFYING AS WOMEN“. Tempo 74, Nr. 292 (06.03.2020): 49–55. http://dx.doi.org/10.1017/s0040298219001177.

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AbstractThe Summers Night Project is an ongoing composer-mentoring programme established in 2018 by musicians Cat Hope and Gabriella Smart, with the support of the Perth-based new music organisation Tura New Music. The project aims to support and mentor emerging Australian female and gender minority composers to create new compositions for performance, with the aim of growing the gender diversity of composers in music programmes across Australia. Three composers were chosen from a national call for submissions, and works were performed by an ensemble consisting of members from the Decibel and Soundstream new music ensembles. Three new works were workshopped, recorded then performed on a short tour of Perth, Adelaide and Melbourne, Australia in July 2018. The project takes its name and inspiration from Australian feminist Anne Summers, author of the ground-breaking examination of women in Australia's history Damned Whores and God's Police (1975) and was inspired by her 2017 Women's Manifesto. This article examines the rationale for such a project, the processes and results of the project itself, and plans for its future.

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Baker, Sarah, und Alison Huber. „Locating the canon in Tamworth: historical narratives, cultural memory and Australia's ‘Country Music Capital’“. Popular Music 32, Nr. 2 (Mai 2013): 223–40. http://dx.doi.org/10.1017/s0261143013000081.

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AbstractThis article concerns the regional city of Tamworth, New South Wales, Australia, a place that prides itself on its reputation as Australia's home of country music. We consider the ongoing memorialisation of country music in Tamworth, and how the processes associated with the project of articulating country music's past work to create and maintain something that can be recognised (and experienced) as a dominant narrative or an Australian country music ‘canon’. Outlining a number of instances in which the canon is produced and experienced (including in performances, rolls of honour and monuments built around the city), the article explores the ways in which this narrativisation of Australia's country music history contributes to a certain kind of memory of the genre's past.

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Bartleet, Brydie-Leigh. „Building vibrant school–community music collaborations: three case studies from Australia“. British Journal of Music Education 29, Nr. 1 (21.02.2012): 45–63. http://dx.doi.org/10.1017/s0265051711000350.

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This paper explores the relationship between school music and community music in Australia. While many Australian schools and community music activities tend to exist in relative isolation from one another, a range of unique school–community collaborations can be found throughout the country. Drawing on insights from Sound Links, one of Australia's largest studies into community music, this paper explores three case studies of these unique school–community collaborations. These collaborations include a community-initiated collaboration, a school-initiated collaboration and a mutual collaboration. The author brings these collaborations to life for the reader through the words and experiences of their participants, and explores their structures, relationships, benefits, and educational and social outcomes. These descriptions feature important concepts, which could be transferred to a range of other cultural and educational settings in order to foster more vibrant school–community collaborations.

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YOUNG, GREG. „‘So slide over here’: the aesthetics of masculinity in late twentieth-century Australian pop music“. Popular Music 23, Nr. 2 (Mai 2004): 173–93. http://dx.doi.org/10.1017/s0261143004000145.

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For Australian men, the very act of appearing on stage has for much of the twentieth century aroused suspicion about their gender status and their sexuality. To aspire to the stage often implied homosexuality culturally in Australia. This has been evident in the evolving aesthetic of white Australian masculinity in pop music from the 1970s onwards. For most of that period, Anglo-Australian males who presented themselves in a rigid, almost asexual way dominated the aesthetic. The reality of urban Australia was ignored in their images, which were essentially confined to outback or coastal Australian settings. This paper examines that development as part of a continuum of twentieth century Australian male music performance that has variously been informed by the bush legend; a mythologised late nineteenth-century Australian masculine image, popularised in The Bulletin under the editorship of Archibald, that saw the urban as the feminine and the rural as the masculine. The paper considers how the combination of sexual anxiety surrounding male gender identity in Australian performance, and this rigid bush aesthetic, have encouraged the development of unstable male gender representations in Australian music that for the most part have come across as either caricatured male, sexless or anti-pop. The exception is the late Michael Hutchence whose performances were a clear departure from this in that on stage and in music videos he conveyed a star persona that was sexually charged and often ambiguous about its sexuality. It is for that reason alone that Michael Hutchence has been referred to as Australia's only international rock star (Carney 1997).

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Homan, Shane. „A contemporary cultural policy for contemporary music?“ Media International Australia 158, Nr. 1 (Februar 2016): 37–47. http://dx.doi.org/10.1177/1329878x15622077.

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Creative Nation confirmed the shift by federal governments to viewing popular music as part of the Australian cultural economy, where the ‘contemporary music’ industries were expected to contribute to economic growth as much as providing a set of creative practices for musicians and audiences. In the 19 years between Creative Nation and Creative Australia, much has changed. This article examines relationships between the music industries, governments and audiences in three areas. First, it charts the funding of popular music within the broader cultural sector to illuminate the competing discourses and demands of the popular and classical music sectors in federal budgets. Second, it traces configurations of popular music and national identity as part of national policy. Third, the article explores how both national policy documents position Australian popular music amid global technological and regulatory shifts. As instruments of cultural nationalism, Creative Nation and Creative Australia are useful texts in assessing the opportunities and limits of nations in asserting coherent national strategies.

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Bendrups, Dan. „Latin Down Under: Latin American migrant musicians in Australia and New Zealand“. Popular Music 30, Nr. 2 (Mai 2011): 191–207. http://dx.doi.org/10.1017/s026114301100002x.

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AbstractThe global significance of Latin American popular music is well documented in contemporary research. Less is known about Latin American music and musicians in Australia and New Zealand (collectively termed ‘Australasia’): nations that have historically hosted waves of migrants from the Americas, and which are also strongly influenced by globalised US popular music culture. This article presents an overview of Latin American music in Australasia, drawing on ethnographic research, with the aim of providing a historical framework for the understanding of this music in the Australasian context. It begins with an explanation of the early 20th-century conceptualisation of ‘Latin’ in Australasia, and an investigation into how this abstract cultural construction affected performance opportunities for Latino/a migrants who began to arrive en masse from the 1970s onwards. It then discusses the performance practices that were most successfully recreated by Latin American musicians in Australia and New Zealand, especially ‘Andean’ folkloric music, and ‘tropical’ dance music. With reference to prominent individuals and ensembles, this article demonstrates how Andean and tropical performance practices have developed over the course of the last 30 years, and articulates the enduring importance of Latin American music and musicians within Australasian popular music culture.

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Mitchell, Tony. „WORLD MUSIC, INDIGENOUS MUSIC AND MUSIC TELEVISION IN AUSTRALIA“. Perfect Beat 1, Nr. 1 (29.09.2015): 1–16. http://dx.doi.org/10.1558/prbt.v1i1.28571.

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Harrison, Gillian. „Community music in Australia“. International Journal of Community Music 3, Nr. 3 (01.11.2010): 337–42. http://dx.doi.org/10.1386/ijcm.3.3.337_1.

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Kennedy, Rosanne. „Soul music dreaming:The Sapphires, the 1960s and transnational memory“. Memory Studies 6, Nr. 3 (20.05.2013): 331–44. http://dx.doi.org/10.1177/1750698013485506.

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In memory studies, concepts of cosmopolitan, transnational and transcultural memory have been identified as a means of studying mnemonic symbols, cultural forms and cultural practices that cross national, ethnic and territorial borders. However, what do these concepts deliver for memory work that originates in an ‘off-centre’ location such as Australia, where outsiders often lack an understanding of the history and cultural codes? A recent Indigenous Australian film, The Sapphires, set in 1968, provides an opportunity to consider some of the claims that are made for the transnational travels of memory. The film tells the story of an Aboriginal girl group that travels to Vietnam to perform for the American troops. I discuss the mnemonic tropes and transcultural carriers of memory, particularly soul music, that enable this popular memory to circulate nationally and internationally. While global tropes and icons of the 1960s can be imported into Australia, and used to construct Australian cultural memory and identity, how effectively does cultural memory travel transnationally from Australia?

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Dissertationen zum Thema "Music Australia"

Smart, Bonnie Jane. „Leon Caron and the music profession in Australia“. Connect to thesis, 2003. http://repository.unimelb.edu.au/10187/1427.

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Leon Francis Victor Caron (1850-1905) was one of the major figures in Australian nineteenth-century opera and orchestral circles. He was a well-known and well-liked public figure, regarded with respect and affection by musicians and audiences alike. Little has been written concerning Caron’s career. Given the amount he contributed to the Australian stage, an assessment of his importance within the music profession is warranted. Most areas of Caron’s life are, as yet, totally unexplored; it falls outside the ambit of this thesis to present every detail pertaining to his varied and extensive musical career. Nevertheless, new information about a selection of Caron’s ventures is drawn upon here for the first time. Much of this material is used to examine the impact of Caron’s conducting on the orchestral profession in Melbourne and Sydney. Many of Caron’s performances (orchestral or otherwise) often featured the popular music of the day. The popular aspect of Caron as a composer is also considered, with particular reference to the incredibly successful pantomime Djin Djin. An examination of Caron’s performances gives great insight not only into the part he played in the wider profession; but it also sheds light on orchestral standards, performance practices and public tastes of the time. His contribution to the music profession in nineteenth-century Australia is extremely significant.

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Brownlee, Jane. „The Transmission of Traditional Fiddle Music in Australia“. Master's thesis, Sydney Conservatorium of Music, 2009. http://hdl.handle.net/2123/13919.

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Brownlee, Jane. „The transmission of traditional fiddle music in Australia“. Master's thesis, Sydney Conservatorium of Music, 2009. http://hdl.handle.net/2123/7913.

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Marshall, Anne, University of Western Sydney, of Arts Education and Social Sciences College und School of Social Ecology and Lifelong Learning. „Ngapartji-ngapartji : ecologies of performance in Central Australia : comparative studies in the ecologies of Aboriginal-Australian and European-Australian performances with specific focus on the relationship of context, place, physical environment, and personal experience“. THESIS_CAESS_SELL_Marshall_A.xml, 2001. http://handle.uws.edu.au:8081/1959.7/556.

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All forms of cultural interaction are expressive and creative. In particular, what the performing arts express is not always the conscious, the ideal and the rational, but more often the preconscious, pre-verbal, asocial and irrational, touching on darker undercurrents of human and extra-human interrelations, experiences, beliefs, fears, desires and values. So what is performance and how does it differ in cultures? A performance is a translation of an idea into a synaesthetic experience. In the context of this thesis, however, translation does not imply reductive literal translation as can be attempted by analogy in spoken or written descriptions and notation systems. The translation is one through which participating groups and individuals seek to understand the being in the world of the Other by means of mutual, embodied negotiation of meaning - sensually, experientially, perceptually, cognitively and emotionally - that is, by means of performance. As a contribution towards a social theory of human performance, the author offers reflections on an exchange between two performance ecologies - those of a group of Aboriginal Australian performers from Mimili, Central Australia and a mixed ethnic group of Australian performers from Penrith, NSW, Australia.
Doctor of Philosophy (PhD)

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Luckman, Susan Heather. „Party people : mapping contemporary dance music cultures in Australia /“. [St. Lucia, Qld.], 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16686.pdf.

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Campbell, Rachel. „Peter Sculthorpe's Irkanda period, 1954-1965: music, nationalism, 'aboriginality' and landscape“. Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12869.

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Peter Sculthorpe’s Irkanda Period, 1954-1965: Music, Nationalism, ‘Aboriginality’ and Landscape Peter Sculthorpe began writing what he considered to be truly Australian music in the mid1950s. Many audience members, critics and culture industry personnel also heard it as Australian. Sculthorpe’s place in Australian music has subsequently been very prominent, beginning in the early 1960s during his Irkanda period. The period takes its name from his works Irkanda I - IV, their name borrowed from an Aboriginal word meaning “scrub country” that Sculthorpe variously translated as “the huge scrub-country of Central Australia,” “an austere and lonely place” and “a remote and lonely place.” This thesis is a study of the Irkanda-period works on which Sculthorpe’s initial reception was based: the origin of his dominant nationalist project, of significance in both his oeuvre and the history of Australian music. These musical representations of aspects of Aboriginal ‘folklore’ and central Australian landscapes have received significant popular and academic attention. However, many accounts have been shaped by what is identified as a culturally nationalist historiography evident in much of the commentary on Australian music and culture from the mid1960s. This thesis addresses some of the distorting effects of this historiography, through biographical analysis, music analysis and source study. An overarching aim is to analyse the music and reception of Sculthorpe’s Irkanda works in detail to address the question of what it was that audiences found plausibly Australian about them. Sculthorpe’s Irkanda music draws on longstanding representational traditions in classical and entertainment genres of musical exoticism, landscape, and ‘primitivism.’ His work is strongly connected with contemporary non-indigenous Australian cultural expressions of landscape and ‘Aboriginality.’ The relationship of his work with these contexts is explored, as is the nationalist basis of his music and its context within wider Australian and transnational cultural traditions. Keywords Peter Sculthorpe’s Irkanda Period, 1954-1965: Music, Nationalism, ‘Aboriginality’ and Landscape Peter Sculthorpe began writing what he considered to be truly Australian music in the mid1950s. Many audience members, critics and culture industry personnel also heard it as Australian. Sculthorpe’s place in Australian music has subsequently been very prominent, beginning in the early 1960s during his Irkanda period. The period takes its name from his works Irkanda I - IV, their name borrowed from an Aboriginal word meaning “scrub country” that Sculthorpe variously translated as “the huge scrub-country of Central Australia,” “an austere and lonely place” and “a remote and lonely place.” This thesis is a study of the Irkanda-period works on which Sculthorpe’s initial reception was based: the origin of his dominant nationalist project, of significance in both his oeuvre and the history of Australian music. These musical representations of aspects of Aboriginal ‘folklore’ and central Australian landscapes have received significant popular and academic attention. However, many accounts have been shaped by what is identified as a culturally nationalist historiography evident in much of the commentary on Australian music and culture from the mid1960s. This thesis addresses some of the distorting effects of this historiography, through biographical analysis, music analysis and source study. An overarching aim is to analyse the music and reception of Sculthorpe’s Irkanda works in detail to address the question of what it was that audiences found plausibly Australian about them. Sculthorpe’s Irkanda music draws on longstanding representational traditions in classical and entertainment genres of musical exoticism, landscape, and ‘primitivism.’ His work is strongly connected with contemporary non-indigenous Australian cultural expressions of landscape and ‘Aboriginality.’ The relationship of his work with these contexts is explored, as is the nationalist basis of his music and its context within wider Australian and transnational cultural traditions.

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Martin, Toby. „Yodelling boundary riders : country music in Australia, 1936-2010“. Phd thesis, Department of History, 2011. http://hdl.handle.net/2123/8573.

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Morrow, Guy Richard. „Managerial creativity a study of artist management practices in the Australian popular music industry /“. Phd thesis, Australia : Macquarie University, 2006. http://hdl.handle.net/1959.14/42648.

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Thesis (PhD)--Macquarie University, Division of Humanities, Department of Contemporary Music Studies, 2006.
Bibliography: p. 377-385.
Introduction -- Literature review, discussion of methodologies and research orientation -- "20% of nothing": Australian rock music management -- Australian country music management -- Australian pop music management: the third party -- Conclusion: managerial creativity.
Artist managers 'create' careers for musicians, yet little has been written about their creativity in the academic domain. Thus this thesis develops the notion of managerial creativity. Artist managers build and maintain 'brands', and this is a creative industry function. The thesis begins with a description of what artist management is, then it reviews the way in which various Australian musicians' and artist managers' careers are created and maintained. A musical idea or product arises from the synergy of many sources and not only from the mind of a single person (Csikszentmihalyi, 1996). Therefore it is easier to enhance creativity by changing conditions in the environment the artist is located in than by trying to make artists think more creatively. Managerial creativity involves the creation and maintenance of the system, context or environment from which artistic creativity emerges and is therefore the facet of the music industry that can most effectively enhance musical creativity.
Mode of access: World Wide Web.
ix, 390 p., ill

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Hocking, Rachel School of Music &amp Music Education UNSW. „Crafting connections: original music for the dance in Australia, 1960-2000“. Awarded by:University of New South Wales. School of Music and Music Education, 2006. http://handle.unsw.edu.au/1959.4/27289.

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This thesis documents the artistic connections made between composers and choreographers in Australia during the period 1960-2000. These 40 years saw a growth in the establishment of dance companies, resulting in many opportunities for composers to write original music for original dance works. The findings of original dance-music are tabulated in an extensive database giving details of 208 composers and over 550 music compositions written specifically for dance. Examples of choreographer and composer collaborative relationships and attitudes to each other???s artforms are discussed. Further examination of how these relationships have affected the sound of the music is detailed in four case studies. These concern the works The Display (music by Malcolm Williamson, choreography by Robert Helpmann, 1964), Poppy (music by Carl Vine, choreography by Graeme Murphy, 1978), Ochres (music by David Page, choreography by Stephen Page, 1994), and Fair Exchanges (music by Warren Burt and Ros Bandt, choreography by Shona Innes, 1989). These case studies look at dancemusic collaborated in different styles: ballet, modern dance, dance-theatre and experimental dance. This discussion is carried out through the analysis of the context of the collaborative relationships, and the temporal and interpretive aspects of the original dance-music. It is found through the investigation of collaborative relationships and discussion of these case studies, that similar methods of writing are used when composing music for theatrical dance, regardless of the type of dance. These methods show that composers have intentionally crafted scores that fulfil needs in the dance works and that are suited to choreographers??? intentions. Importantly, it is also found that involvement with dance has influenced some composers??? styles, aided musical innovation and added significantly to the corpus of Australian music.

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Southcott, Jane Elizabeth, und mikewood@deakin edu au. „Music in state-supported schooling in South Australia to 1920“. Deakin University, 1997. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.104134.

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This thesis is a study of the establishment of the music curriculum in state-supported schools in South Australia from the beginnings of such schooling until 1920. There will be a discussion of issues to be explored and the method by which this investigation will proceed. A literature survey of relevant research will be included, after which there will be a sketch of the development of state-supported schooling in South Australia. Several broad themes have been chosen as the means of organising the historical material: the rationales offered for the inclusion of music in schooling, the methodologies, syllabi and materials of such music instruction, the provisions for teacher training in music, both preservice and as professional development for established teachers, and the place and function of music in schooling. Each of these themes will form the framework for a chronological narrative. Comparisons will be made with three neighbouring colonies/States concerning each of these themes and conclusions will be drawn. Finally, overall conclusions will be made concerning the initial contentions raised in this chapter in the light of the data presented. Although this study is principally concerned with the establishment of music in state-supported schooling, there will be a brief consideration of the colony of South Australia from its proclamation in 1836. The music pedagogical context that prevailed at that time will be discussed and this will, of necessity, include developments that occurred before 1836. The period under consideration will close in 1920, by which time the music curriculum for South Australia was established, and the second of the influential figures in music education was at his zenith. At this time there was a new school curriculum in place which remained essentially unchanged for several decades. As well as the broad themes identified, this thesis will investigate several contentions as it attempts to chronicle and interpret the establishment and development of music in state-supported schooling in South Australia up to 1920. The first contention of this thesis is that music in state-supported schooling, once established, did not change significantly from its inception throughout the period under consideration. In seeking a discussion of the existence and importance of the notion of an absence of change or stasis, the theory of punctuated equilibria, which identifies stasis as the norm in the evolutionary growth of species, will be employed as an insightful analogy. It should be recognised that stasis exists, should be expected and may well be the prevailing norm. The second contention of this thesis is that advocates were and continue to be crucial to the establishment and continued existence of music in state-supported schooling. For change to occur there must be pressure through such agencies as motivated individuals holding positions of authority, and thus able to influence the educational system and its provisions. The pedagogical method introduced into an educational system is often that espoused by the acknowledged advocate. During the period under consideration there were two significant advocates for music in state-supported schools. The third contention of this thesis is that music was used in South Australia, as in the other colonies/States, as an agent of social reform, through the selection of repertoire and the way in which music was employed in state-supported schooling. Music was considered inherently uplifting. During the nineteenth and early twentieth centuries, the music selected for school singing carried texts with messages deemed significant by those who controlled the education system. The repertoire was not that of the receiving class but came from a middle class tradition of fully notated art music in which correct performance and notational reading were emphasised. A sweet, pure vocal tone was desired, as strident, harsh, speaking tones were perceived as a symptom of incipient larrikinism which was not desired in schooling. Music was seen as a contributor to good order and discipline in schooling.

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Bücher zum Thema "Music Australia"

New classical music: Composing Australia. Sydney: UNSW Press, 2009.

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Kerry, Gordon. New classical music: Composing Australia. Sydney: UNSW Press, 2009.

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Kerry, Gordon. New classical music: Composing Australia. Sydney: UNSW Press, 2009.

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Tsourdalakēs, Kōstas. Krētikē mousikē stēn Australia = Cretan traditional music in Australia. [Sydney, Australia: s.n., 198-?], 1985.

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Australia, Musicological Society of. Musicology Australia. Kensington, N.S.W: Musicological Society of Australia, 1985.

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World music: Global sounds in Australia. Sydney: University of New South Wales Press, 2010.

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Experimental music: Audio explorations in Australia. Sydney, N.S.W: UNSW Press, 2009.

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Lepherd, Laurence. Music education in international perspective: Australia. Queensland, Australia: USQ Press, 1994.

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Bartleet, Brydie-Leigh. Sound links: Community music in Australia. Brisbane, Qld]: Griffith University, 2009.

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1946-, Connell John, Hrsg. Music festivals and regional development in Australia. Burlington, VT: Ashgate, 2011.

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Buchteile zum Thema "Music Australia"

Miller, Terry E., und Andrew Shahriari. „Oceania: Australia, Papua New Guinea, Hawai’i, Kiribati“. In World Music, 57–80. Fifth edition. | New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780367823498-4.

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McIntyre, Joanne. „Music Therapy“. In Longer-Term Psychiatric Inpatient Care for Adolescents, 107–14. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-1950-3_12.

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AbstractThe Walker Unit is one of only a few adolescent inpatient units in Australia to include a Registered Music Therapist on the Allied Health team. The Walker Unit has a music room equipped with guitars, ukuleles, a keyboard, a drum kit, African drums, a cello and a violin. Music therapy sessions are conducted with individuals, patient groups and families. Empirical evidence supporting the benefits of Music Therapy in this setting is limited, however we have observed that creating music in a containing environment enhances self-awareness, stimulates verbalization and facilitates relaxation.

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Tschmuck, Peter. „Recorded Music Sales and Music Licencing in Australia, 2000–2011“. In Music Business and the Experience Economy, 59–77. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-27898-3_5.

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McCarthy, Breda. „The Landscape of Music Festivals in Australia“. In Music Business and the Experience Economy, 119–34. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-27898-3_8.

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Baker, Andrea. „Melbourne, Live Music Capital of Australia to World Domination“. In The Great Music City, 241–65. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-96352-5_12.

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Joseph, Dawn, und Yin Paradies. „Indigenous music and cultural engagement“. In Musical Collaboration Between Indigenous and Non-Indigenous People in Australia, 90–108. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003288572-7.

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Barwell, Ismay, und Justine Kingsbury. „Aesthetics and Philosophy of Music in Australasia“. In History of Philosophy in Australia and New Zealand, 479–509. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-007-6958-8_25.

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Taylor, Sarah. „‘Making It’: The Ears, INXS, and Music Scene Restructuring as Seen Through Dogs in Space“. In Urban Australia and Post-Punk, 175–208. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-32-9702-9_17.

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de Bruin, Leon R. „Agua! The flourishing of Latin music in Melbourne, Australia“. In Musical Ecologies, 81–94. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003254508-8.

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McConnell, Bonnie B. „African popular music, race, and diasporic heritage in Australia“. In Mixing Pop and Politics, 38–49. New York: Routledge, 2022. http://dx.doi.org/10.4324/9780429284526-4.

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Konferenzberichte zum Thema "Music Australia"

Swift, Ben, Henry Gardner und Alistair Riddell. „Engagement networks in social music-making“. In the 22nd Conference of the Computer-Human Interaction Special Interest Group of Australia. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1952222.1952244.

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Komulainen, Sari, Minna Karukka und Jonna Häkkilä. „Social music services in teenage life“. In the 22nd Conference of the Computer-Human Interaction Special Interest Group of Australia. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1952222.1952303.

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Nettamo, Esa, Mikko Nirhamo und Jonna Häkkilä. „A cross-cultural study of mobile music“. In the 20th conference of the computer-human interaction special interest group (CHISIG) of Australia. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1228175.1228193.

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Swift, Ben, James Sheridan, Yang Zhen und Henry J. Gardner. „Mind-modulated music in the mind attention interface“. In the 2007 conference of the computer-human interaction special interest group (CHISIG) of Australia. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1324892.1324907.

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Sun, B., A. Bona, A. King und B. Zhou. „Diamond Drill-bit Seismic-While-Drilling Velocity Analysis Using Semblance and MUSIC from Hillside, South Australia“. In 76th EAGE Conference and Exhibition 2014. Netherlands: EAGE Publications BV, 2014. http://dx.doi.org/10.3997/2214-4609.20140918.

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W. L. Fong, Michelle. „Music in Cyberspace“. In InSITE 2004: Informing Science + IT Education Conference. Informing Science Institute, 2004. http://dx.doi.org/10.28945/2831.

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The music scene in cyberspace is an example of how a legal framework has been developed to curb online copyright infringement. The emergence, in the mid-1990’s, of online music websites and software programs such as MP3 technology to compress and download music, have delivered considerable copyright threat to the music industry. This threat has been further exacerbated by the remarkable development of technological innovations, such as high-speed broadband Internet connection and affordable CD burners, which are capable of delivering fast download and reasonably good audio and visual quality. This emerging information technology has made reproducing and sharing the work of others extremely easy, and has caused great concern for the music industry. This paper traces the evolution of the digital music scene in cyberspace and describes the attempts of the US and Australian music trade groups in putting an end to music piracy in cyberspace.

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Favilla, Stu, und Sonja Pedell. „Touch screen ensemble music“. In the 25th Australian Computer-Human Interaction Conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2541016.2541088.

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Sørensen, Henrik, Mathies G. Kristensen, Jesper Kjeldskov und Mikael B. Skov. „Proxemic interaction in a multi-room music system“. In the 25th Australian Computer-Human Interaction Conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2541016.2541046.

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Matthias, Philip, Mark Billinghurst und Zi Siang See. „This Land AR: an Australian Music and Sound XR Installation“. In VRCAI '19: The 17th International Conference on Virtual-Reality Continuum and its Applications in Industry. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3359997.3365740.

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Ouyang, Leyi, Bernd Ploderer, Peta Wyeth, Miss Xiaoxin Wang und Ross Andrew Brown. „Designing Tangible Interactions with Children for Pre-school Music Education“. In OzCHI '20: 32nd Australian Conference on Human-Computer-Interaction. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3441000.3441023.

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Berichte der Organisationen zum Thema "Music Australia"

Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan und Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, Dezember 2020. http://dx.doi.org/10.5204/rep.eprints.136822.

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The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.

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Hearn, Greg, Mark Ryan, Marion McCutcheon und Stuart Cunningham. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Fremantle. Queensland University of Technology, November 2021. http://dx.doi.org/10.5204/rep.eprints.216570.

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Fremantle is a small port city of only 29,000 people (36,000 if East Fremantle is included) that has vibrant and diversified creative industries and is geographically close to WA’s capital city Perth. Fremantle has a kind of New Orleans cultural DNA, where live music is cheap and affordable. Fremantle has a unique socio‐ cultural fabric that has contributed to the city’s large arts community and its reputation as an energetic creative city.

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Kerrigan, Susan, Phillip McIntyre und Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.

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McIntyre, Phillip, Susan Kerrigan und Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Marrickville. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208593.

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Marrickville is located in the western heart of inner-city Sydney and is the beneficiary of the centrifugal process that has forced many creatives out of the inner city itself and further out into more affordable suburbs. This locality is built on the lands of the Eora nation. It is one of the most culturally diverse communities in the country but is slowly being gentrified creating tensions between its light industrial heart, its creative industry community and inner city developers. SME’s, co-working spaces and live music venues, are all in jeopardy as they occupy light-industrial warehouses which either have been re-zoned or are under threat of re-zoning. Its location underneath the flight path of major air traffic may indeed be a saving factor in its preservation as the creative industries operate across all major sectors here and the air traffic noise keeps land prices down. Despite these pressures the creative industries in Marrickville have experienced substantial growth since 2011, with the current CI intensity sitting at 9.2%. This is the only region in this study where the cultural production sector holds more than half the employment for specialists and support workers, when compared to creative services.

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Kerrigan, Susan, Phillip McIntyre und Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.

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Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.

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McIntyre, Phillip, Susan Kerrigan und Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.

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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.

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