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1
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.
2
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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3
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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4
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)
5
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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6
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.
7
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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8
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.
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Hocking, Rachel School of Music & 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.
10
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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Maximova, Galina, und res cand@acu edu au. „Russian Orthodox Music in Australia: The translation of a tradition“. Australian Catholic University. School of Arts and Sciences, 1999. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp217.04092009.
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For over 50 years the presence of Russian people has been significant in Australia and the Russian Orthodox Church has been established in 24 centers in all states and territories. The richness of the musical heritage of the Russian Orthodox Church is well known; it has a tradition extending over many centuries and one which embraces an enormous repertoire of various styles of chant together with a vast repertoire of polyphonic music, much of it by famous composers. At this point in time there has been virtually no documentation of the history and practice of Russian Orthodox liturgical music in Australia. There are three histories of the Russian church in Australia (Protopopov 1997, 1998, 1999) but the topic of music is not addressed. This is also true of Galina Zakrjevsky's history of St Nicholas Russian Orthodox Cathedral (1998). Studies of Russian immigration to this country include the dissertation by Maria Frolova (1996) and the book by Elena Govor (1997). While liturgical music is not a concern of these writers, their studies nevertheless provide useful background material for an investigation into Russian Orthodox Liturgical music as practised in this country. There are of course numerous studies of Russian church music, notably by Gardner (1980) and Morosan (1991). Their focus is understandably Russian and these books are essential for any understanding of the Australian experience of such liturgical music. This study thus seeks to document the practice of Russian Orthodox liturgical music in Australia from 1926 to 1999. The central research questions are: What is and has been the makeup of Russian Orthodox church choirs in Australia? What is the repertoire of these choirs? What training is available for choristers? To what extent have Australian choirs been able to maintain the traditions of Russian Orthodox liturgical music? What changes have taken place in performance traditions during the time of settlement? In order to achieve these aims there has been a heavy reliance on surveys by means of a questionnaire and interviews with choirmasters, choristers and clergy in five states. Extensive use has been made of archival sources and church magazines such as Word of the Church and Australiada: A Russian Chronicle. Material for a background study of Russian Orthodox music has been drawn from Secondary sources such as Gardner, Morosan, Brill, and Rasumovsky and for a background history of Russian Orthodox church in history of the Russian Orthodox church in Australia from 'A short history of the first Russian Orthodox parish in Sydney' by Soovoroff. For the discussion in Part 2: The Australian Scene special consideration has been given to four choirs: SS Peter & Paul's Cathedral (Sydney), St Nicholas Cathedral (Brisbane), St Nicholas Church (Adelaide), Holy Dormition Church (Dandenong), Holy Virgin Protection Cathedral (Melbourne), the reason being that these represent the different levels of choral standards in this country. Thus these embrace one choir of a large cathedral church, one of a moderately sized cathedral church, one of a very small cathedral church and one of a tiny parish church. The approach adopted involves an examination of the makeup of these selected choirs throughout the time frame of the study. This is followed by an analysis ofthe their repertoire, based on repertoire lists supplied by choir directors. Due to the paucity of source material and fading memories of informants, it has often been impossible to identify key persons by their name: only the surname and initial can be given.
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Maximova, Galina. „Russian orthodox music in Australia: The translation of a tradition“. Thesis, Australian Catholic University, 1999. https://acuresearchbank.acu.edu.au/download/d03b7aa994da89bc99a880e5e5e2cfe280a8fd6553aa1220f001ed26ba004b8d/3858245/64980_downloaded_stream_205.pdf.
Der volle Inhalt der QuelleAnnotation:
For over 50 years the presence of Russian people has been significant in Australia and the Russian Orthodox Church has been established in 24 centers in all states and territories. The richness of the musical heritage of the Russian Orthodox Church is well known; it has a tradition extending over many centuries and one which embraces an enormous repertoire of various styles of chant together with a vast repertoire of polyphonic music, much of it by famous composers. At this point in time there has been virtually no documentation of the history and practice of Russian Orthodox liturgical music in Australia. There are three histories of the Russian church in Australia (Protopopov 1997, 1998, 1999) but the topic of music is not addressed. This is also true of Galina Zakrjevsky's history of St Nicholas Russian Orthodox Cathedral (1998). Studies of Russian immigration to this country include the dissertation by Maria Frolova (1996) and the book by Elena Govor (1997). While liturgical music is not a concern of these writers, their studies nevertheless provide useful background material for an investigation into Russian Orthodox Liturgical music as practised in this country. There are of course numerous studies of Russian church music, notably by Gardner (1980) and Morosan (1991). Their focus is understandably Russian and these books are essential for any understanding of the Australian experience of such liturgical music. This study thus seeks to document the practice of Russian Orthodox liturgical music in Australia from 1926 to 1999.;The central research questions are: What is and has been the makeup of Russian Orthodox church choirs in Australia? What is the repertoire of these choirs? What training is available for choristers? To what extent have Australian choirs been able to maintain the traditions of Russian Orthodox liturgical music? What changes have taken place in performance traditions during the time of settlement? In order to achieve these aims there has been a heavy reliance on surveys by means of a questionnaire and interviews with choirmasters, choristers and clergy in five states. Extensive use has been made of archival sources and church magazines such as Word of the Church and Australiada: A Russian Chronicle. Material for a background study of Russian Orthodox music has been drawn from Secondary sources such as Gardner, Morosan, Brill, and Rasumovsky and for a background history of Russian Orthodox church in history of the Russian Orthodox church in Australia from 'A short history of the first Russian Orthodox parish in Sydney' by Soovoroff. For the discussion in Part 2: The Australian Scene special consideration has been given to four choirs: SS Peter & Paul's Cathedral (Sydney), St Nicholas Cathedral (Brisbane), St Nicholas Church (Adelaide), Holy Dormition Church (Dandenong), Holy Virgin Protection Cathedral (Melbourne), the reason being that these represent the different levels of choral standards in this country. Thus these embrace one choir of a large cathedral church, one of a moderately sized cathedral church, one of a very small cathedral church and one of a tiny parish church. The approach adopted involves an examination of the makeup of these selected choirs throughout the time frame of the study. This is followed by an analysis ofthe their repertoire, based on repertoire lists supplied by choir directors.;Due to the paucity of source material and fading memories of informants, it has often been impossible to identify key persons by their name: only the surname and initial can be given.
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Sattler, Graham Charles. „Community music: perceptions, expectations and conditions in non-metropolitan Australia“. Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16043.
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Sociocultural enrichment as an outcome of community arts activity is a phenomenon that has been increasingly observed, and documented, since the 1960s. Benefits derived from participation in community music activity in particular have not received the same level of attention. Notwithstanding this disparity, inclusive group music activity continues to gain traction internationally as a vehicle for affinity-based community wellbeing, an intervention for social change, and as a platform for informal and nonformal education. While recognizing that community music activity can be studied in many ways, utilizing strategies such as single group, traditional geographical location, ethnicity or faith-based community case studies, this thesis presents a multiple case study ethnographic investigation. Its focus is perspectives and experiences, perceptions and expectations, of community music group participants involved in six regional New South Wales (Australia) communities, marginalised by a variety of factors. One North American music community also participated in the research by way of international comparison. The research used two principal research questions: (1) What aspects of social and cultural development result directly from community group music programs?, and (2) How are the sociocultural benefits that are identified as resulting from participation in community music activity best effected?. Analysis of group member data revealed nine themes of socio-cultural development, with a subset of six themes identified by the group leaders. Emerging from cross-cohort data that addressed the second question are six defining dimensions of community music. The thesis proposes that the three-tiered analytical template used to interrogate group member perspective, leader perspective and environmental context, is a viable option for broad application in community music enquiry.
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Brennan, Marc Andrew. „Writing to reach you : the consumer music press and music journalism in the UK and Australia“. Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16141/1/Marc_Brennan_Thesis.pdf.
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The music press and music journalism are rarely subjected to substantial academic investigation. Analysis of journalism often focuses on the production of news across various platforms to understand the nature of politics and public debate in the contemporary era. But it is not possible, nor is it necessary, to analyse all emerging forms of journalism in the same way for they usually serve quite different purposes. Music journalism, for example, offers consumer guidance based on the creation and maintenance of a relationship between reader and writer. By focusing on the changing aspects of this relationship, an analysis of music journalism gives us an understanding of the changing nature of media production, media texts and media readerships.
Music journalism is dialogue. It is a dialogue produced within particular critical frameworks that speak to different readers of the music press in different ways. These frameworks are continually evolving and reflect the broader social trajectory in which music journalism operates. Importantly, the evolving nature of music journalism reveals much about the changing consumption of popular music. Different types of consumers respond to different types of guidance that employ a variety of critical approaches. This thesis, therefore, argues that the production of music journalism is one that is influenced by the practices of consumption.
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Brennan, Marc Andrew. „Writing to Reach You: The Consumer Music Press and Music Journalism in the UK and Australia“. Queensland University of Technology, 2005. http://eprints.qut.edu.au/16141/.
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The music press and music journalism are rarely subjected to substantial academic investigation. Analysis of journalism often focuses on the production of news across various platforms to understand the nature of politics and public debate in the contemporary era. But it is not possible, nor is it necessary, to analyse all emerging forms of journalism in the same way for they usually serve quite different purposes. Music journalism, for example, offers consumer guidance based on the creation and maintenance of a relationship between reader and writer. By focusing on the changing aspects of this relationship, an analysis of music journalism gives us an understanding of the changing nature of media production, media texts and media readerships. Music journalism is dialogue. It is a dialogue produced within particular critical frameworks that speak to different readers of the music press in different ways. These frameworks are continually evolving and reflect the broader social trajectory in which music journalism operates. Importantly, the evolving nature of music journalism reveals much about the changing consumption of popular music. Different types of consumers respond to different types of guidance that employ a variety of critical approaches. This thesis, therefore, argues that the production of music journalism is one that is influenced by the practices of consumption.
16
Garth, Alan, und edu au jillj@deakin edu au mikewood@deakin edu au kimg@deakin. „A Study of an Australian Rural Music Festival“. Deakin University. School of Australian and International Studies, 2000. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20040617.152028.
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A social and cultural study of the development of the Port Fairy Folk Festival within the context of the current revival of folk music in Australia. The folk music movement is a social and cultural phenomenon, as well as a musical event.
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Kirkwood, Sandra Jane. „Frameworks of Culturally Engaged Community Music Practice for Rural Ipswich, Australia“. Thesis, Griffith University, 2010. http://hdl.handle.net/10072/367823.
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This study is a critical reflection on two music projects that I conducted in my home area of Ipswich, Australia, prior to undertaking this research. The music projects involved participatory action research to investigate the music heritage and culture of the rural Ipswich region. The purpose of this study is to review and analyse the creative processes that I used in the rural Ipswich music projects in order to develop suitable practice frameworks for similar projects in future.
The first music project was a collaborative investigation of the music history of Purga in rural Ipswich (2003-2005). Local people and those who used to live in the area were invited to come back to share memories of the music from the area with one another. People collaborated creatively: This allowed me to write The Purga Music Story and Harold Blair (2005), an inter-generational community education package. In 2003, we established the Purga Music Museum as a meeting place where the music heritage and culture of our neighbourhood is performed and displayed. The second music project (2006) was a study of contemporary music in rural Ipswich that resulted in community consultation and the development of a Music Action Plan for the area. I continued facilitating community music in rural Ipswich, as the curator of the Purga Music Museum, until 2008.
Both music projects presented different challenges in the establishment of processes that would be effective for the needs and interests of people from various cultural groups. The work was fraught with complex decisions and ethical dilemmas about representation and music cultural heritage management because our neighbourhood previously contained the Purga Aboriginal Mission (1915-1948). The findings therefore relate to the struggles of the ‘Stolen Generation’-- Aboriginal and Torres Strait Islander people who were taken away from their families and forced to live in government-controlled residential situations. New, respectful approaches had to be found, conducive to the health and well-being of all concerned. For this reason, participatory action research methods were developed and a ‘Community of Discovery’ approach was used.
Throughout this study, I investigate issues that arose as people told their music stories, and passed on music heritage and culture from one generation to the next. The key question is “What are appropriate frameworks of culturally engaged community music practice for rural Ipswich?” This study also draws on findings from the music projects to address the sub-questions, “How did community music practice function in the past in rural Ipswich?” “What is the current situation regarding contemporary community music practice in rural Ipswich?” and “What can be done to enhance future community music practice for rural Ipswich?”
Aspects of music and health practice complement each other in this study. As a dual qualified music and health professional, I draw on expertise from both of these areas. Ethnographic methods were used to record and review the findings from each music project. The analysis is grounded in review of literature and other sources, creative display and performance, analysis of music history, community consultation, and critical reflection on my own community music practice. Finally, this evidence-based process of professional reasoning leads to the development of appropriate practice frameworks that transform the way that I intend to deliver services in future, and will hopefully inspire others.
The thesis has five parts. The context and rationale for the research are outlined in Part 1. This is followed by description of the two music projects in Part 2. Part 3 is an exploration of how my music practice is situated in relation to scholarly literature (and other sources) and outlines the chosen theoretical constructs or models. This prepares for critical analysis and discussion of specific issues that arose from reflection on practice in Part 4. The conclusions of the research, presented in chapter 9, outline the creative processes, underlying principles, and the philosophy of my practice. The study concludes with an epilogue, which is a consideration of the present situation and suggested future directions for service provision and research.Thesis (Masters)
Master of Philosophy (MPhil)
Queensland Conservatorium
Queensland Conservatorium of Music
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Tsounis, Demeter. „Rebetika music-making in Adelaide : diaspora musical style and identity /“. Title page, contents and abstract only, 1997. http://web4.library.adelaide.edu.au/theses/09PH/09pht88195.pdf.
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Pascoe, Beverley. „The influence of primary school music programmes on student choice of music studies in lower secondary schools“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1995. https://ro.ecu.edu.au/theses/1174.
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The omnipresence of music in today's adolescent society in Australia is evidenced by the fact that adolescents, almost without exception, listen to and enjoy music throughout most of their leisure time, and indeed, much of their study time. A large portion of their financial resources is spent on music and its associated promotional material. It could be said that music plays a major part in their sub-culture and their lives. According to Davey (1991, p.ll), "Music is an addiction in our culture" and "the Walkman and ghetto blaster assure access wherever and whenever we choose." The obvious fulfilment and satisfaction enjoyed by our adolescents through music is not, however, reflected in the comparatively small number of students who choose or qualify to undertake music studies at high school. A study by the U.S. Department of Education (1988) cited by Patchen (1993, p.19) indicates that, while from Kindergarten to sixth grade 80% of students participate in music, in 7th and 8th grades this falls to 48% and by grades eleven and twelve only 9% of students participate in music classes.
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Davies, Ryan. „Uncovering the unpublished chamber music of George Frederick Boyle Volume I: Dissertation“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1769.
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This dissertation examines the chamber works for piano and strings by Australian--‐born American composer, pianist, and teacher, George Frederick Boyle (1886–1948). Boyle was somewhat of a prodigy in his younger years and contributed much to Australia’s burgeoning concert scene. In 1905 he left Australia to study with Ferruccio Busoni, and from 1910 until his death he lived and worked in the United States, where he was on the faculty of some of the most prestigious music schools. Despite Boyle's eminence as a pianist, composer and educator, today he is almost forgotten. This dissertation offers a reappraisal of George Boyle through focussing on his chamber works for piano and strings. Editions of Boyle’s chamber works and a DVD recorded performance of these same works are included as part of this research project.
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Hammond, Susan J. „Psalms, Hymns, And Spiritual Songs For The Use Of The People Called Christians“. Costa Mesa, CA : Vanguard University of Southern California, 2007. http://dx.doi.org/10.2986/tren.034-0051.
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Sutherland, Andrew T. „Principles for designing an effective, post-compulsory music curriculum suitable for Western Australia“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2012. https://ro.ecu.edu.au/theses/542.
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A new post-compulsory Music course known as the Western Australian Certificate of Education (WACE) Music course was recently introduced into Year 11 and 12 in Western Australian (WA) schools. Following a convoluted process of creation, its implementation into classrooms has been problematic. Given criticism levelled at its process of creation and implementation, the researcher questions whether the WACE Music course embodies effective, recognised principles to support the effective teaching and learning of music. This study investigates the principles which should form the basis of an effective, post-compulsory music curriculum, suitable for WA. It involved a literature review which sought to produce a set of principles for teaching and learning frameworks based upon international best practice in music education, and applicable in the unique geographical, historical and multicultural WA context. In addition, the study employed a researcher–designed survey instrument to examine whether Western Australian music teachers perceived these principles to be evident in their practical experiences of the new WACE music course. With the subsequent publishing of a draft Australian National Arts Curriculum, it is an appropriate time to review the principles which should underpin an effective Music curriculum for senior secondary students in the WA context because, without a clear set of guiding principles that are understood by curriculum writers, there is a possibility that following courses could be fundamentally flawed and not serve the best interests of students.
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Eyles, Anne-Maree T. „Teachers' perspectives about implementing ICT in music education“. Thesis, Griffith University, 2020. http://hdl.handle.net/10072/393605.
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This research was incited by the release of the Prep to Year 10 (P-10) Australian Curriculum which included the significant feature of Information and Communication Technology (ICT) both as an independent subject and as a subsection of each subject within the Australian Curriculum. This research focuses on the implementation of ICT in music education, which is one of the five subject areas within the Arts Curriculum.
The purpose of this research was to investigate the lived experiences and perspectives of classroom music teachers throughout Queensland and to gain an insight into the organisational practices that positively and negatively influence the implementation of ICT in music education. Classroom music teachers were deliberately chosen to participate in this research due to their exclusive knowledge belonging to the specialist subject area of music education. The timing of this research occurred one year after the scheduled implementation of the Australian Curriculum: The Arts – music subject. This delay allowed a year for classroom music teachers to experience the curriculum and establish ideas and resources they require to deliver the curriculum.
This mixed methods research was conducted using explanatory sequential mixed methods, which were used to gather music teachers’ perspectives regarding issues such as, but not limited to: availability of ICT resources, ICT support, teacher confidence, current teaching practices and the provision of professional development. Following the analysis of the quantitative survey data, a number of qualitative semi-structured interviews were conducted to further investigate the identified themes, to provide a deeper understanding of the practical issues and ensure triangulation.
The data revealed that classroom music teachers perceived their attempts to implement ICT in music education programs were significantly inhibited due to the lack of accessibility to adequate ICT resources, ICT funding and ICT support. These issues forced classroom music teachers to favour resources based on availability, reliability and familiarity which limited pedagogical methodologies to whole class learning activities, contrary to the development of ICT proficiencies stated in curriculum documents. Although classroom music teachers were held responsible and accountable for the delivery of the Australian Curriculum, they were subject to organisational practices and decision making by School Leadership within local schools. Local context decision making was found to significantly contribute to the inadequate supply of resources necessary to support the implementation of ICT in music education and directly determined an inequitable delivery of music education throughout Queensland.Thesis (Professional Doctorate)
Doctor of Philosophy (PhD)
School Educ & Professional St
Arts, Education and Law
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Dennis, Simone J. „Sensual extensions : joy, pain and music-making in a police band“. Title page, contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phd4115.pdf.
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Bibliography: leaves 210-226. Based on 18 months ethnographic fieldwork about the ways in which members of the South Australian Police Band make music. Studies their disconnection from the body of the community, acheived via an embodiment of emotional disconnection; the power of the Department to appropriate a particular order of emotion for the purposes of power; and, the misrecognition of the appropriation of emotion by members of the public who are open to the Department's emotional domination. The context material describes the reasons for the existence of the police band in the police view, while the core material of the thesis is concerned with describing what it is that police band members do, and what they do most of all is, in their own words, experience something that they call "the feel".
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Bennett, Dawn Elizabeth. „Classical instrumental musicians : educating for sustainable professional practice“. University of Western Australia. School of Music, 2005. http://theses.library.uwa.edu.au/adt-WU2006.0002.
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[Truncated abstract] This study extends understanding of the careers of classical instrumental musicians within the cultural industries, and ascertains the extent to which professional practice is reflected within current classical performance-based music education and training. Little is known about the careers of classically trained instrumental musicians in terms of the activities in which they engage and the skills and attributes used to sustain their professional practice, and there is also widespread lack of understanding about the music industry and the wider cultural industries. The extent to which education and training reflects the careers of music performance graduates has gained heightened exposure at the same time as higher education institutions have become increasingly accountable for the employability of graduates, and yet much of the available literature has only tangential relevance and there remains a shortage of literature relating to the complex area of creative practice. The research approach for the study bridges both the interpretive and normative paradigms. Using survey and interview methods, the study employs three distinct but interrelated data collections to investigate sustainable professional practice through analysis of musicians’ careers, performance-based education and training, and the cultural industries. The study identifies the longitudinal characteristics of musicians’ professional practice and presents in a conditional matrix the intrinsic and extrinsic influences that impact upon it. The study proposes a practitioner-focussed Arts Cultural Practice (ACP) framework that consists of four practitioner-focussed, non-hierarchical groups which were determined through analysis of the major foci characterising roles within the cultural industries. As such, the ACP framework represents a new paradigm of sustainable practice that circumvents existing barriers; submitting a non-hierarchical view of cultural practice that clearly indicates the potential for an exciting diversity of holistic practice often not considered by practitioners. The ACP curricular model posits the collaborative delivery of generic skills across artforms. This study substantiates the generic skills used by artists throughout the cultural industries, and confirms the rationale for education and training which considers the sustainability of music graduates’ careers as arts cultural practitioners. Thus, individual strengths and talents should be developed according to the intrinsic and extrinsic influences which drive the passion for arts practice.
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Zhukov, Katie School of Music & Music Education UNSW. „Teaching styles and student behaviour in instrumental music lessons in Australian conservatoriums“. Awarded by:University of New South Wales. School of Music and Music Education, 2004. http://handle.unsw.edu.au/1959.4/20698.
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This investigation into instrumental music teaching at the tertiary (conservatorium) level sought to observe and describe typical teacher and student behaviour in this under-researched educational setting. The aim of the study was to examine a wide range of areas associated with instrumental music teaching in order to identify patterns of behaviour exhibited by teachers and students and to define teaching and learning styles present in advanced applied music teaching. After a review of literature on teaching in general and on music teaching in particular, an observational instrument for individual instrumental music lessons was developed and refined in pilot studies. 12 prominent Australian teachers were videotaped teaching 24 students, with the sample being balanced geographically, institutionally, by instrument (three mainstream groups: piano, strings and winds) and by gender (equal numbers of male and female teachers and students). Steps were taken to observe realistic teaching of typical students and to minimise the observer???s intrusion into the lesson dynamics. The videotaped lessons were analysed using an observational instrument and the data was subjected to various statistical analyses. Results are reported according to five main areas (lesson structure, lesson content, teaching methodology, teacher/ student relationship, and teaching and learning styles) and discussed with reference to existing literature. The conclusions of this study enhance current understanding of studio music teaching, by supporting many of the findings of previous research and substantiating their application to advanced instrumental music teaching. This study provides new insights into the underlying structure of instrumental music lessons, the primacy of technique in terms of lesson content, the use of teaching strategies such as demonstration, evaluation and questioning, gender differences between teachers and between students, and the types of teaching and learning styles that are prevalent in conservatorium settings. Findings contribute to and extend existing research into applied music teaching.
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Strazzullo, Guy, University of Western Sydney, of Arts Education and Social Sciences College und School of Contemporary Arts. „An intercultural approach to composition and improvisation“. THESIS_CAESS_CAR_Strazzullo_G.xml, 2003. http://handle.uws.edu.au:8081/1959.7/501.
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Experiences as a composer and performer in Australia involve a number of significant collaborations with musicians from diverse cultures and musical backgrounds. The musical result incorporates a number of world music elements in the form of drones, rhythms and the use of instruments such as modified guitars and the tabla. But it is distinctly different in content and approach from the generic term, World music, because it deals almost exclusively with music traditions where improvisation is central to collaborative processes. The application of the term ‘intercultural improvisation’ is a more useful descriptor of the process in which musicians from diverse backgrounds cross the boundaries of their music and step into ao zone of experimentation. This is explored through composition and improvisation that cross musical boundariesMaster of Arts (Hons.)
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Bartholomew, Peter G. „Personal rights, property rights and Section 55(2) of the Copyright Act 1968 : a consideration of the adaptation right in the compulsory licensing scheme for recording of musical works“. Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/36898/1/36898_Digitised%20Thesis.pdf.
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George, Christina Anne Maree. „Anthem for the year 2000 and beyond : Australian rock music and cultural identity“. Thesis, Queensland University of Technology, 2002.
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This thesis develops and theorises the presence of an identifiable cultural and national identity through Australian rock music, concentrating on the 1990s and into the year 2000 and beyond. It draws upon the traditions of Australian culture, being the beach, sport and suburbia as well as those 'new' cultural values and indicators such as multiculturalism. Music analysis comes from a hybrid background involving the disciplines of sociology, musicology, cultural studies and popular culture. The works are diverse and include that of Simon Frith, Thomas Swiss, Graeme Turner, Marcus Breen and Toby Cresswell. These theorists provide a diverse analysis of contemporary rock music and how it influences cultural identity. More specifically, Breen, Turner, Cunningham and Mitchell all theorise the influence rock music has had on Australia and how it has shaped cultural identity, policy and infrastructure. A textual analysis of lyrics, images and the idea of an Australian sound will provide a focus on how the music itself constructs a path to the idea of an Australian identity. Industry and policy as seen though Triple J and Channel [V], parallel importation and radio quotas respectively, play an integral part in how these areas contribute to the cultural value that Australian
music provides. By analysing these aspects through the concepts of antipodality and hybridity, it will be asserted that Australian music contributes to the recontextualisation of Australian cultural identity.
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Twigger, Jillian Margaret. „'My own island harp’: Irish sentimental ballads in colonial Australia, 1854–1889“. Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16799.
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This thesis examines the role of Irish sentimental ballads, especially Thomas Moore’s Irish Melodies, in colonial New South Wales (NSW) and Victoria. First is a study of Irish soprano Catherine Hayes (1818–1861) and her tours to NSW and Victoria in 1854 and 1855. Hayes represented a Victorian-era feminine ideal and her concerts, which included both opera and Irish sentimental ballads, were seen to raise the musical standard in Australia. The second study examines a series of public lectures on the subject of ancient Irish music delivered by Irish lawyer John Hubert Plunkett (1802–1869), previously attorney general of NSW. The third is a study of The Australian Album for 1857. This musical album was published in Sydney and was designed to serve as a specimen of the high standard of music in Australia at the time. The album opens with a piano fantasia composed by visiting French pianist Edouard Boulanger (1829–1863) based on ‘The Last Rose of Summer,’ one of Moore’s Irish Melodies. Fourth and last is a study of the Thomas Moore statue erected in Ballarat, Victoria, in 1889. The design of the statue and its unveiling conveyed a notion of unity within the white community and feelings of Australian nationalism. Through these studies I argue that Irish ballads played an important role in creating a respectable cultural identity not just for the Irish community but for the developing Australian society as well.
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Lowe, Geoffrey Masterton. „A study into year 8 student motivation to continue class music in Perth, Western Australia“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2008. https://ro.ecu.edu.au/theses/1820.
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Post compulsory music education courses in Western Australia have undergone major curriculum reform. Reform has included a shift from a prescriptive curriculum based upon the Western canon to a more embracing practical and creative one, due for full implementation in 2009. As the numbers of students undertaking elective post compulsory music in Western Australia has been traditionally low, education authorities anticipate that more students will elect to undertake the new course. However, given previous research into motivational issues associated with the transition to secondary school, low post compulsory enrolment numbers may be reflective of retention issues arising from lower secondary class music, as much as the previous post compulsory course structure. Large numbers of students opt to discontinue music studies beyond their first year in secondary school.
This study examined the motivation of students to elect.to continue class music studies beyond their first year in secondary school (Year 8). Following an extensive review of the current literature on achievement motivation in education, the study employed Expectancy-value theory as its theoretical basis for examining the values and competence beliefs of 276, Year 8 students across eight secondary schools in Perth, Western Australia. The study included the development of an instrument to examine student values and beliefs towards class music activities at the commencement and conclusion of Year 8. In addition, for triangulation, the study employed focus groups to examine issues arising from findings associated with the instrument.
The study found that while Year 8 student values declined over the course of Year 8, their beliefs remained relatively stable. These findings implied that in many instances, students increasingly devalued the activities they undertook in class music over the course of the year, regardless of their competence beliefs. This in tum impacted upon their subsequent enrolment choices into elective music courses from Year 9. Therefore, declining valuing of class music in lower secondary school may be the major determinant of enrolment numbers in post compulsory class music, as values have been demonstrated in previous research to be accurate predictors of subsequent emohnent decisions.
The implications of this study suggest that curriculum reform may not necessarily succeed in increasing participation rates in post compulsory music education courses in Western Australia until motivational issues associated with the teaching of class music in lower school are addressed.
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Bonshek, Corrina. „Australian deterritorialised music theatre : a theoretical and creative exploration“. Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/40061.
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This project consists of a theoretical examination of Australian music theatre and a portfolio of musical compositions. The thesis proposes an innovative analytical model for music theatre/multi-media with a distinctive perspective. Adapting concepts from feminist Deleuzean theorists, it advances a notion of feminine difference that moves beyond earlier debates between essentialists and anti-essentialists. This theoretical framework guides the close examination of three works ― Andrée Greenwell’s Laquiem: Tales from the Mourning of the Lac Women (1999), Greenwell’s Laquiem (2002) and Gretchen Miller’s Inland (1999/2000) ― that complicate the category ‘music theatre’ in the way that they cross genre boundaries. Greenwell’s Laquiem: Tales from the Mourning of the Lac Women is a new music performance work based upon Kathleen Mary Fallon’s ‘The Mourning of the Lac Women’. This work has a close relationship to Laquiem (2002), a short film directed, composed and scripted adapted by Greenwell based upon the same text by Fallon. Inland is a radiophonic work that Miller also staged as a live performance. The thesis argues that changing format and interdisciplinary content of works such as these has contributed to the current proliferation of genre labels. Recent works can be defined under various descriptors such as ‘performance art’, ‘documentary opera’ or ‘installation performance’. The thesis offers the concept of ‘deterritorialised music theatre’ to address works that exist at and beyond the limits of music theatre as a category. The penultimate chapter applies a Deleuzean feminist framework to the composition portfolio submitted with the thesis. The creative work consists of two audio-visual installations (one with quadraphonic sound), a music-theatre work (exploring ‘action’- instrumental possibilities) and a music-art tour that includes music for string trio, singer and brass/sax septet.
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Lichnovsky, Michael Wade. „Australian sonatas for alto saxophone and piano: new editions and performance guides for three works by major australian composers“. Diss., University of Iowa, 2008. https://ir.uiowa.edu/etd/30.
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This project has come about because of the need for Australian saxophonists to develop an awareness of saxophone history and culture in their own country. Dulcie Holland, William Lovelock and Margaret Sutherland were artists who were active and influential in the areas of performance, composition and pedagogy, helping to create and promote the musical arts in Australia during the first half of the twentieth century. The high regard in which they are held should be evidence enough that their works for saxophone must be performed by their fellow Australians as a part of a well rounded, international exposure to the very best repertoire available. Saxophonists in Australia will be able to place themselves in a relevant world context only when they are fully aware of the heritage their instrument has in their own country. The present editions (created using the type-setting software Sibelius 4) seek to make performance considerably easier by eliminating the need to use the composer's autograph manuscripts, which are sometimes difficult to read and understand, due to poor hand-copying or repeated photocopying which has subsequently made some pages illegible. The accompanying performance guides are designed as introductions, the first step for the young student wishing to tackle these national treasures.
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Ryan, Robin Ann 1946. „"A spiritual sound, a lonely sound" : leaf music of Southeastern aboriginal Australians, 1890s-1990s“. Monash University, Dept. of Music, 1999. http://arrow.monash.edu.au/hdl/1959.1/8584.
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Chadwick, Felicia School of Education Studies UNSW. „An Australian perspective on talent development in music: The influence of environmental catalysts upon the provision of opportunities for learning, training and practice in the musical domain“. Awarded by:University of New South Wales. School of Education Studies, 2000. http://handle.unsw.edu.au/1959.4/17624.
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The study explored the influence of environmental catalysts, upon the provision of field specific opportunities for learning, training, and practice, for a sample population of musically involved young Australians. The findings enhance understandings of the conditions in which children's musical aptitudes are developed. Research bases in the fields of gifted education and music education were employed to support the investigation. Components of Gagn??'s Differentiated Model of Giftedness and Talent (1995a) provided the theoretical framework for this investigation. Two survey questionnaires, completed by Australian parents (N = 194 and N = 182 respectively), sought information pertaining to the subject child's musical involvements and undertakings. Some details of the musical interests and involvements of the child's parents and siblings were also obtained. Quantitative and qualitative data contribute to an extensive profile of the types of music programs and provisions which support the normative and expert development of Australian children's musical behaviours. Parents' musical interests and involvements appear to have strongly influenced the choice of home-based recreational pursuits for their children. The convincingly articulated, positive, field specific views espoused by Australian parents appear to have been translated into the provision of multiple, simultaneous opportunities for their children to engage with musical undertakings. Notable amongst the data are the structured involvements of young musicians with music composition engagements. The data also indicate that many of the sample of Australian children received high levels of support and encouragement for musical undertakings from parents who were themselves musically interested and knowledgeable. Parental involvements with their children's music lesson and practice related engagements, were found to be characterised by features of deliberate practice. The home-based environments of young Australian musicians were found to be characterised by opportunities for exposure to rigorous and challenging musical engagements, undertaken at an optimally early age, thereby enhancing normative musical development. Such engagements provided the necessary foundation for expert levels of musical skill acquisition. An ascending progression of musical skill development was demonstrated to correspond to increasing age further reinforcing the developmental perspective on the acquisition of musical expertise. Some parents indicate that musical engagement has been pursued as a means of appropriately challenging children exhibiting the cognitive and affective characteristics of giftedness.
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Stafford, Andrew. „Pig city : from The Saints to Savage Garden“. Thesis, Queensland University of Technology, 2004.
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She comes from Ireland, she's very beautiful
I come from Brisbane, and I'm quite plain Pig City
- The Go-Betweens, Lee Remick
If popular music really is a universal language, it's curious how easily a song - even a commercially obscure one - can come to symbolise a city's identity. The stories of
London, Liverpool, Manchester, Dunedin, Detroit, Memphis, Nashville, New York, New Orleans, San Francisco and Seattle are inextricably entwined with the music made there. Robert Forster, however, could never have imagined that his self-deprecating paean to an actress would become so fabled in his home town.
This is understandable. Queensland's often stifling subtropical capital doesn't exactly spring to mind when discussing the world's great musical cities. Partly this comes down to Australian pop and rock's poor-relation status next to the United States and
the United Kingdom. Inside Australia, too, Brisbane for decades wore a provincial reputation as a big country town, at least in the southern capitals of Sydney and Melbourne.
Of course, one of the most successful bands in recording history began life in Brisbane in the late 1950s. But the Bee Gees didn't so much outgrow the city as outgrow Australia. Struggling for recognition, the Brothers Gibb began an exodus of musicians out of the country when they left for their native UK at the beginning of 1967, the year before a peanut fanner, Joh Bjelke-Petersen, took control of
Queensland's ruling Country Party (later the National Party).
The literature on Australian pop is only beginning to accumulate, so again it is understandable that Brisbane, so far, has rated little more than a footnote. The bigger problem is that the footnote has remained the same, recycled in various contexts by various authors: that music in Brisbane especially the punk scene of the late '70s -
was overwhelmingly a reaction to the repression of the Bjelke-Petersen era.
This is partly true. Bjelke-Petersen's rule of Queensland between 1968 and 1987 was nothing if not iron-fisted. Public displays of dissent were often brutally suppressed;
the rule of law was routinely bent to the will of those charged with its enforcement; minorities were treated as simply another obstacle on the path to development. To top
it all off, the electoral system was hopelessly rigged in favour of the incumbents. 'Here,' writes Rod McLeod, 'in a city practically under police curfew, you fucked and
fought, got stoned, got married, or got out of town.'
But it makes little sense to give a politician too much credit for the creation of a music scene. Major cultural movements result from an intersection of local, national and
international factors. The Saints were not so much a reaction to living in a police state as they were a response to the music of not just the Stooges and the MC5, but the Easybeats and the Missing Links. And it's doubtful the national success of a string of Brisbane acts in the '90s - from Powderfinger to George - could have happened
without the nationalisation of the Triple J network.
Of course, it would be naïve to suggest that growing up in a climate of fear and loathing did not heavily distort the prism through which these artists saw the world. As Saints guitarist Ed Kuepper says, 'I think the band was able to develop a more obnoxious demeanor, thanks to our surroundings, than had everyone been really nice.' In the words of Australian music historian Ian Mcfarlane, 'That Australia's most conservative city should give rise to such a seditious subcultural coterie is a sociological phenomenon yet to be fully explored.
This book is my attempt to document the substantial yet largely unsung contribution that Brisbane has made both to Australian popular culture and to international popular
music. In doing so, I aimed to chart the shifts in musical, political and cultural consciousness that have helped shape the city's history and identity. In its broadest
sense, Pig City is the story of how Brisbane grew up.
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Kent, David Martin, und n/a. „The Place of Go-Set in Rock & Pop Music Culture in Australia, 1966 to 1974“. University of Canberra. Professional Communication, 2002. http://erl.canberra.edu.au./public/adt-AUC20050509.095456.
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This is the first academic examination of the place and history of works produced by
Go-Set Publications in studies of contemporary Australian teenage culture.
Go-Set (Go-Set Publications, Melbourne) is perhaps the single most significant musicbased
newspaper in the history of Australian teenage popular culture. Go-Set reflected
the teenage culture of the period 1966 to 1974, helping create a dynamic
independently thriving Australian rock music scene from 1969. It was independently
owned and operated, set its own agendas and defined its own place in Australian
teenage society.
Go-Set's history is given as a biography (following van Zuilen (1977) in distinct
stages from birth till death, highlighting the important landmarks of its life. In
particular Go-Set led culturally by developing the first National Top-40 song chart. It
provided musicians and non-musicians with weekly updates on the nature of the
Australia's teenage music-based societal culture. It led in the development of a
teenage counter-culture by keeping readers informed about alternative thinking and
ideologies through the views of pop/rock stars, and later, more editorially directly,
through its radical sister publication Revolution.
Go-Set survived because readers continued to support it. It both entertained and
informed. It gave young Australians the necessary knowledge, instruction, and advice
to keep them up-to-date in a changing social scene
To explain why Go-Set was so important to its readers, this thesis postulates a series
of six speculative models describing how readers might have used the newspaper.
These models suggest a process of usage relevant to teenage socialisation, by defining
the criteria for acceptance of Go-Set's content as sets of instructions, or codes, of
particular social relevance, namely the codes of personal life, music, fashion, and
alternative lifestyle. The models postulate some sociological and psychological
reasons for reading Go-Set, and suggest why the magazine was so successful during a
period when other, similar, magazines failed.
38
Grigg, Jodie. „A mixed methods study of drug use at outdoor music festivals in Western Australia and Victoria“. Thesis, Curtin University, 2020. http://hdl.handle.net/20.500.11937/79426.
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This study investigated the nature and extent of drug use associated with Australian music festivals, assessed current and potential future policy and practice strategies aimed at reducing the risk of drug-related harm at festivals, and developed evidence-based recommendations aimed at improving current strategies. Key recommendations included: expanding drug-checking services; ceasing the use of drug detection dogs; removing barriers to seeking medical attention; shifting to a harm reduction policy; and creating more enabling environments for harm reduction.
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Benn, Michele Karen. „Identity and Community: A Qualitative Study of Specialist Primary Music Teachers in New South Wales, Australia“. Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/16962.
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This qualitative study explored the experiences of specialist primary (elementary) music teachers working in New South Wales, Australia. The study was significant in developing understanding about these practitioners in an Australian context, as research in this area has principally been undertaken in jurisdictions where specialist primary music teachers are more prevalent. The data were collected in two stages, using a qualitative multicase design. The first stage entailed semi-structured interviews with 19 participants, including specialist music teachers and professional learning providers. The second stage consisted of four intensive case studies conducted within school settings that enabled investigation of the themes that emerged during initial data analysis. The two themes identified were the participants’ music teacher role identities and their participation in learning communities. In accordance with symbolic interactionist theories, the participants’ music teacher role identities were shaped by social interaction. The study reaffirmed the dynamic nature of the music teacher role identity, with participants experiencing shifts in the prominence of sub-identities. The findings revealed the influence of role support for music teachers’ self-perceived identities provided by school leaders and community members. Personal conceptions of role identities were expressed through music education pedagogical practices. The participants’ interactions with school staff and community stakeholders affected the place of music in school-based communities of practice. The inclusion of music in the joint enterprises of schools was reflected in the provision of teaching spaces, time allocations or support for professional learning, and the withholding of resources hindered the music teachers’ participation in communities of practice. Music specialist teachers engaged in landscapes of practice that influenced identities and provided avenues for developing shared competencies.
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Duster, Benjamin D. „Cassette Culture 2.0: On how the Cassette prevails in the Digital Age“. Thesis, Griffith University, 2021. http://hdl.handle.net/10072/405209.
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From the early to mid 2000s, music cassettes appeared to be on the brink of extinction in industrialised nations. Nonetheless, in genres such as Punk, Noise and Hip Hop the format remained in use throughout this time. Growing sales over the past decade have led mass media outlets to declare a general revival of the cassette yet, the reasons for this resurgence remain to be investigated.
This investigation is drawing on qualitative ethnographic fieldwork conducted in Japan, Australia and the USA entailing participant observation at various events, concerts and record shops and in-depth expert interviews with a total of 85 individuals involved in DIY cassette cultures. I argue that the cassette’s contemporary function, though in some cases enabling decelerated consumption and face-to-face interaction, is to provide an additional physical artefact of music that is primarily distributed digitally on the internet. This thesis explores how the cassette’s hybrid significance as a tool for expression and social connection perseveres in the 21st century within a locally, translocally, and virtually connected context. Here, grassroots DIY music scenes are creatively processing the challenges of the present, while major music corporations seek to capitalise on these cultural dynamics and embodiments of nostalgia.
The core analysis section of the thesis begins with a comparison of the different music markets in Japan, Australia and the United States in order to analyse and relativise the massmedia notion of an overarching ‘cassette revival’. It becomes apparent here, that the cassette is not treated as a fully-fledged audio format perse, but merely as a novelty merchandise item for example, for movie soundtracks such as the Guardians of the Galaxy franchise. Based on this, the material qualities of the cassette that contribute to its current significance are explored. Notably, the consumption of the cassette in the digital age has been subjected to a visual turn, meaning that the format is primarily consumed for its visual and material characteristics and in numerous cases functions as a cultural currency in DIY music scenes that legitimates primarily digitally curated and distributed music projects. Several case studies of cassette labels, cassettebased podcasts and the annual international Cassette Store Day illustrate this aspect and underline the cassette’s technological and cultural hybridity that leads to its numerous appropriations throughout various cultural and social divisions. Finally, by drawing on the practices of DIY cassette recycling and decade-old mixtapes re-appearing as marine debris, environmental aspects of current cassette consumption are taken into consideration in regard to a possible sustainable existence of the format in the future.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Hum, Lang & Soc Sc
Arts, Education and Law
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Cummings, Joanne. „Sold out ! : an ethnographic study of Australian indie music festivals“. Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35961.
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The focus of this sociological research is on the five most popular and commercially successful Australian indie music festivals: Livid, Big Day Out, the Falls festival, Homebake, and Splendour in the Grass. The three key features of Australian indie music festivals are, firstly, that they are multi-staged ticketed outdoor events, with clearly defined yet temporal boundaries. Secondly, the festivals have a youth-orientated focus yet are open to all ages. Finally, the festivals are primarily dominated by indie-guitar culture and music. My aim is to investigate how these music festivals are able to strike an apparently paradoxical balance between the creation of a temporal community, or network of festivalgoers, and the commodity of the festivals themselves. My research methodology utilises a postmodern approach to ethnography, which has allowed me to investigate the festivalgoers as an ‘insider researcher.’ Data was collected through a series of participant observations at Australian indie music festivals which included the use of photographs and field notes. In addition I conducted nineteen semi-structured interviews and two focus groups with festivalgoers and festival organisers. The thesis adopts a post-subcultural approach to investigating the festivalgoers as an ideal type of a neo-tribal grouping. Post-subculture theory deals with the dynamic, heterogeneous and fickle nature of contemporary alliances and individuals’ feelings of group ‘in-betweeness’ in late capitalist/ global consumer society. I argue that Maffesoli’s theory of neo-tribalism can shine new light on the relationships between youth, music and style. Music festivals are anchoring places for neo-tribal groupings like the festivalgoers as well as a commercialised event. An analysis of the festivalgoers’ ritual clothing (t-shirts as commodities), leads to the conclusion that the festivalgoers use t-shirts to engage in a process of identification. T-shirts, I argue, are an example of a linking image which creates both a sense of individualism as well as a connection to a collective identity or sociality.
Through a case study of moshing and audience behaviour it is discovered that the festivalgoers develop neo-tribal sociality and identification with each other through their participation in indie music festivals. Although pleasure seems to be the foremost significant dimension of participating in these festivals, the festivalgoers nevertheless appear to have developed an innate sense of togetherness and neo-tribal sociality. The intensity and demanding experience of attending a festival fosters the opportunity for a sense of connectedness and belonging to develop among festivalgoers.
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Marshall, Anne. „Ngaparti-ngaparti 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. /“. View thesis, 2001. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040804.155726/index.html.
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Lickiss, Aleo Angela. „The oboe and English horn works of Ross Edwards and his place in Australian music“. Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3130.
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The oboe and English horn works of Ross Edwards are fascinating and challenging to oboists of all abilities. However, Edwards' works have received little recognition beyond Australia. These pieces can be used to expose students to non-European influences in music, especially that of Aboriginal Australians. These works deserve to be considered part of the standard repertoire of an oboist due to their musical and technical demands and their position in the repertoire of the 20th and 21st centuries.
Modern Australian music history can be traced back to the time the English first colonized the continent. After that time, the country began its journey toward musical independence from England eventually leading to a uniquely Australian sound. Born in 1943, Ross Edwards is a contemporary Australian composer that has identified his music as Australian. He acknowledges several outside sources in his music, from Australian Aboriginal to the distilled sounds of nature from the Australian Outback. Edwards has created his own musical style, utilizing distilled musical fragments later named icons, and system he uses to compose his works. It is through an understanding of where Australia's musical heritage begins, and how it develops, that we may gain a greater knowledge of contemporary Australian composers like Ross Edwards. This study demonstrates the importance of Ross Edwards' music in the development of an Australian sound through historical context and the analysis of his oboe and English horn works.
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Schmidt, Emanuel. „Communication processes in jazz performance“. Thesis, Sydney Conservatorium of Music, 2005. http://hdl.handle.net/2123/13718.
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Frisina, Wendy-Cara. „Factors influencing students who continue or discontinue their music studies from year 8 to year 9: A survey of selected Western Australian secondary schools“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/1061.
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This research examined the most significant factors which influence students' decisions to continue or discontinue their music studies from Year 8 to Year 9, in selected Western Australian Secondary Schools. The research was conducted during term 4, 2000. Results from the questionnaires were analysed and interpreted to determine the most significant factors which contribute to the discontinuation or continuation of instrumental music studies. Analysis of data examined factors as to why students continued or discontinued learning music or studying an instrument. Findings indicated that students' self-concept and music ability levels strongly influence the success or failure of a student undertaking music studies. Career choice, parental influence, parental support, peer pressure, time commitment, part-time work, teacher influence, choice of music studied and the fear of failure are the main contributors for students discontinuing their instrumental studies. Through the recognition of the most common problem areas it may be possible to assist with strategies to promote the retention rate of students in music studies. This study may assist non-music teachers to appreciate problems and help them to perceive music as part of the school program.
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Charry, Marroquin Angela Janneth. „Critical discourse analysis of news media representations of people from refugee backgrounds participating in music in Australia“. Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/230264/1/Angela%20Janneth_Charry%20Marroquin_Thesis.pdf.
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This research used critical discourse analysis to explore the ways people from refugee backgrounds’ participation in music is constructed in the Australian news media. Using Fairclough’s three-dimensional framework, findings revealed that, while the media ostensibly tells stories of hopefulness derived from the joy of music, the workings of racialised power within the discourse remain deeply intertwined. Social tropes which often accompany music intersect with deficit and othering discourses surrounding people from refugee backgrounds. This research emphasises the need for a critically reflective social work practice to resist and challenge dominant discourses that disempower people seeking refuge.
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Cain, Melissa Anne. „Philosophy, Policy, Practice Visions and Realities of Cultural Diversity in Selected Primary Music Classrooms in Brisbane and Singapore“. Thesis, Griffith University, 2011. http://hdl.handle.net/10072/365990.
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Abstract :Music educators are busy people, dealing with a crowded curriculum, an assortment of teacher duties, and the pressure to create and present performances at different grade levels. Everyday obligations leave teachers little opportunity to reflect on their work and to critically assess the values which underlie their educational choices. Practical survival, suggests Broomhead, “is a more potent motivator than ensuring the philosophical soundness of daily classroom activities” (2004, p. 21). Over the past twenty-five years, school music programs across the globe have increasingly aimed at being more diversified and culturally inclusive. This has been an outcome of policy makers, theorists, and practitioners responding to changes in contemporary school populations and societies, the result of decolonisation, economic migration and other aspects of globalisation. These cultural and demographic changes have led to some music programs being modified and expanded to better reflect the cultural diversity of student bodies, but seem to have barely affected others. In order to examine this trend, this thesis investigates the occurrence, place and role of cultural diversity in a selection of primary music programs in Singapore and in Brisbane, Australia, highlighting the ways in which philosophy, policy, curriculum and teacher training influence teacher practice. The three main objectives of this study are: 1) to provide an overview of current practices in this field in both cities; 2) to examine the appeals for more diverse music programs by current music philosophers and the rhetoric of policy makers in response to these requests; and 3) to report on discrepancies between policy and actual practice occurring in primary music classrooms and teacher training, and the challenges and obstacles teachers face when attempting to include a variety of music cultures in their programs. Between June 2008 and February 2010, data was collected at twenty primary schools and six teacher training institutions in Singapore and Brisbane through 44 interviews, extensive observation of music classes and scrutiny of curricula and policy documents. In both cities, one can find examples of schools with a strong focus on Western musical concepts and skills, and also schools committed to providing students a music education based on a greater diversity of music cultures. These cities provide an interesting contrast with respect to the history of nation building, governance, cultural policy, educational policy and cultural make-up, while also presenting many similarities. The choice of these specific research locations was also informed by my own teacher training and teaching experience in both cities, which has led to a personal interest in researching the changes in music education programs over the past twenty-five years, and has facilitated access to people and sources. This document opens with an auto-ethnographic introduction in order to highlight how my education and work experience has led me to research this topic. This section introduces the research questions and a description of the methodology used, which is in turn informed by an extensive review of relevant literature. The importance of philosophical inquiry and critical reflection on teacher practice is reiterated throughout this thesis. Key themes are summarised and highlighted in the personal reflections that conclude each chapter. These reflections have allowed me to critically analyse the research topics and the role they play in my own teaching situation. It has been beneficial for me to weigh up the various positions presented by theorists writing on culturally diverse music education, and to make professional decisions on the major issues that affect my practice. I believe my teaching has already been positively impacted by this exercise, as I have been encouraged to revisit these issues frequently and make changes accordingly. Through the analysis of interview data several main themes emerge. The findings across these themes highlight that while many music teachers are indeed making attempts to address a variety of music cultures in their classrooms, several influential factors such as state and national educational policies, music curriculum documents, teacher training courses and most importantly constructs – professional and personal philosophies of music education – greatly impact the success and continuance of these attempts. In this way, this study aims to provide important insights to inform teachers, teacher educators and policy makers about the current state of cultural diversity in primary music classrooms in Brisbane and Singapore. It highlights examples of best practice and presents recommendations to developers of educational policies and school curricula. In addition, it is anticipated that results of this study may inform changes in teacher training in other parts of the world, with the aim of equipping educators to be more competent and confident in addressing cultural diversity in the music classroom.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium of Music, Griffith University.
Arts, Education and Law
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Handel, Amanda Jane. „Music of balance : circles and squares“. Thesis, View thesis View thesis, 2004. http://handle.uws.edu.au:8081/1959.7/26753.
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Music of balance is a portfolio of eight compositions, all of which bear the concealed influence of mandalas in their conception - these are made manifest musically in cycle structures with shifting drones, pedals and tonal ambiguities.The compositional process maximises minimal materials - circles and squares - symbolically. Organising thought, feeling and knowledge into a balanced acoustic music form of expression is the objective of this creative project - which is carried out under the influence of symbols. Whilst the compositional processes are intuitive, they involve a disciplinary measure which employs the circle and the square as tools. Acting symbolically these tools imbue the music with deeper meaning than the obvious listening surface, and provide a rich substance of sound. Programmatic influences have been absented; replaced instead by the language of symbols - namely the mandala symbol. A range of apparent opposites arising from circles and squares - physical/ephemeral matter, chronological/eternal time and form/expression - are investigated for musical reconciliation. The compositional exploration is guided and focused by the circle in a square image understood as a universal symbol (grounded in the ancient Indian Arts, Tibetan Buddhism, Sufism and Jungian psychology), and active in representing, and thus restoring the natural balance of the soul in the universe.
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Forsyth, James. „Music of the Anglican churches in Sydney and surrounding regions“. Thesis, The University of Sydney, 2002. http://hdl.handle.net/2123/2447.
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Ottosson, Ase-Britt Charlotta. „Making Aboriginal men and music in Central Australia“. Phd thesis, 2006. http://hdl.handle.net/1885/149659.
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