Relevant bibliographies by topics / Aboriginal Australians Songs and music

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Academic literature on the topic 'Aboriginal Australians Songs and music'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Aboriginal Australians Songs and music"

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Carfoot, Gavin. "‘Enough is Enough’: songs and messages about alcohol in remote Central Australia." Popular Music 35, no. 2 (April 14, 2016): 222–30. http://dx.doi.org/10.1017/s0261143016000040.

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AbstractThis article examines some of the ways in which Australia's First Peoples have responded to serious community health concerns about alcohol through the medium of popular music. The writing, performing and recording of popular songs about alcohol provide an important example of community-led responses to health issues, and the effectiveness of music in communicating stories and messages about alcohol has been recognised through various government-funded recording projects. This article describes some of these issues in remote Australian Aboriginal communities, exploring a number of complexities that arise through arts-based ‘instrumentalist’ approaches to social and health issues. It draws on the author's own experience and collaborative work with Aboriginal musicians in Tennant Creek, a remote town in Australia's Northern Territory.
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Martin, Toby. "Dougie Young and political resistance in early Aboriginal country music." Popular Music 38, no. 03 (October 2019): 538–59. http://dx.doi.org/10.1017/s0261143019000291.

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AbstractCountry music has a reputation for being the music of the American white working-class South and being closely aligned with conservative politics. However, country music has also been played by non-white minorities and has been a vivid way of expressing progressive political views. In the hands of the Indigenous peoples of Australia, country music has often given voice to a form of life-writing that critiques colonial power. The songs of Dougie Young, dating from the late 1950s, provide one of the earliest and most expressive examples of this use of country music. Young's songs were a type of social-realist satire and to be fully understood should be placed within the broader socio-political context of 1950s and 1960s Australia. Young's legacy was also important for Aboriginal musicians in the 1990s and the accompanying reassessment of Australia's colonial past. Country music has provided particular opportunities for minority and Indigenous groups seeking to use popular culture to tell their stories. This use of country music provides a new dimension to more conventional understandings of its political role.
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Dunbar-Hall, Peter. "“Alive and Deadly”: A Sociolinguistic Reading of Rock Songs by Australian Aboriginal Musicians." Popular Music and Society 27, no. 1 (January 2004): 41–48. http://dx.doi.org/10.1080/0300776042000166594.

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Dunbar‐Hall, Peter. "Rock songs as messages: Issues of health and lifestyle in central Australian aboriginal communities." Popular Music and Society 20, no. 2 (June 1996): 43–67. http://dx.doi.org/10.1080/03007769608591622.

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Miller, Benjamin. "A. B. Original's “Dumb Things”: Decolonizing the Postcolonial Australian Dream." ab-Original 4, no. 1-2 (December 2020): 103–23. http://dx.doi.org/10.5325/aboriginal.4.1-2.0103.

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ABSTRACT In 2016, Aboriginal hip-hop duo A. B. Original joined Paul Kelly live on radio to cover his iconic song “Dumb Things” (1987). Kelly's original version presented a critique of nationalist rhetoric in the lead up to the Australian bicentenary celebrations. Kelly's development of an itinerant counter-dreamer as a voice against nationalism, however, fashioned a brand of innocent, postcolonial whiteness and, thereby, remained complicit with colonial domination of Indigenous people. This article explores A. B. Original's commentary on institutional, systemic, and discursive racism, and their criticism of postcolonial whiteness through a close reading and contextualization of their music output in 2016. With particular emphasis on “Dumb Things” in its original context and its most recent context, this article argues that A. B. Original issues a call for, and demonstrates, the decolonization of postcolonial narratives of the Australian dream.
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Norris, Ray P., and Duane W. Hamacher. "The Astronomy of Aboriginal Australia." Proceedings of the International Astronomical Union 5, S260 (January 2009): 39–47. http://dx.doi.org/10.1017/s1743921311002122.

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AbstractThe traditional cultures of Aboriginal Australians include a significant astronomical component, which is usually reported in terms of songs or stories associated with stars and constellations. Here we argue that the astronomical components extend further, and include a search for meaning in the sky, beyond simply mirroring the earth-bound understanding. In particular, we have found that traditional Aboriginal cultures include a deep understanding of the motion of objects in the sky, and that this knowledge was used for practical purposes such as constructing calendars. We also present evidence that traditional Aboriginal Australians made careful records and measurements of cyclical phenomena, and paid careful attention to unexpected phenomena such as eclipses and meteorite impacts.
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Barwick, Linda, Margaret Clunies Ross, Tamsin Donaldson, and Stephen A. Wild. "Songs of Aboriginal Australia." Ethnomusicology 34, no. 1 (1990): 177. http://dx.doi.org/10.2307/852377.

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Lee, Angela Hao-Chun. "The influence of governmental control and early Christian missionaries on music education of Aborigines in Taiwan." British Journal of Music Education 23, no. 2 (June 29, 2006): 205–16. http://dx.doi.org/10.1017/s0265051706006930.

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There has been little research conducted on Taiwanese Aboriginal music education in comparison to Aboriginal education. C. Hsu's Taiwanese Music History (1996) presents information on Aboriginal music including instruments, dance, ritual music, songs and singing, but information on music education practices is lacking. The examination of historical documentation shows that music education was used by both the Japanese government and Christian missionaries to advance their political and religious agendas. This paper will examine the development of the music education of Aborigines in Taiwan from the mid nineteenth century, when Christian missionaries first came to Taiwan, until the end of the Japanese protectorate (1945). I shall discuss how the missionaries from Britain and Canada successfully introduced Western religious music to Aboriginal communities by promoting various activities such as hymn singing and religious services. The paper will then look at the influence of government policy on Aboriginal music education during the colonial periods. These policies affected both the music taught in elementary schools and the teaching materials.
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CURRAN, GEORGIA, and CALISTA YEOH. "“That is Why I am Telling this Story”: Musical Analysis as Insight into the Transmission of Knowledge and Performance Practice of a Wapurtarli Song by Warlpiri Women from Yuendumu, Central Australia." Yearbook for Traditional Music 53 (December 2021): 45–70. http://dx.doi.org/10.1017/ytm.2021.4.

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AbstractInsights into the knowledge, performance, and transmission of songs are pivotal in ensuring the survival of traditional Aboriginal songs. We present the first in-depth musical analysis of a Wapurtarli yawulyu song set sung by Warlpiri women from Yuendumu, Central Australia, recorded in December 2006 with a solo lead singer accompanied by a small group. Our musical analysis reveals that there are various interlocking parts of a song, and this can make it difficult for current generations to learn songs. The context of musical endangerment and the musical analyses presented in our study show that contemporary spaces for learning yawulyu must consider the complex components that come together for a song set to be properly performed.
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Hemetek, Ursula. "Applied Ethnomusicology in the Process of the Political Recognition of a Minority: A Case Study of the Austrian Roma." Yearbook for Traditional Music 38 (2006): 35–57. http://dx.doi.org/10.1017/s0740155800011656.

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Applied ethnomusicology has a special relevance for studies on music and minorities. What constitutes this relevance in particular cases was the focus of a plenary panel discussion at the 38th World Conference of the ICTM in Sheffield in 2005, which explored cultural, social, political, and economic issues pertinent to the musical life of minority groups within the context of a larger (majority) society. Panel participants addressed the topic from the perspective of their individual research fields and the different minority groups they have worked with: Adelaida Reyes provided the example of refugee camps, Stephen Wild of the Rom ceremony of Australian Aborigines, and John O'Connell of a Song for Peace by a Kurdish singer. The aim was to contribute to discourses on applied ethnomusicology in the light of theoretical and methodological insights gained through studies of music and minorities.
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Dissertations / Theses on the topic "Aboriginal Australians Songs and music"

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Holland, Amanda L. "Wandayarra a-yabala = Following the road : searching for indigenous perspectives of sacred song /." St Lucia, Qld, 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17854.pdf.

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San, Roque Craig Mumford Sally. "Intoxication : 'facts about the black snake, songs about the cure' : an exploration in inter cultural communication through the Sugarman Project /." View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20031125.132446/index.html.

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Thesis (Ph.D.) -- University of Western Sydney, Hawkesbury, 1998.
At foot of title: Its origins, development, rationale and implications with performance script, performance video, reviews, evaluation and potential as a therapeutic paradigm considered. "Offered in submission for a Doctorate of Philosophy in the School of Social Ecology, University of Western Sydney" Bibliography : leaves 268-275.
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Billard, Jennifer Christine. "Relationships between identity and music preferences in female Anangu Pitjantjatjara teenagers /." Title page, abstract and contents only, 1997. http://web4.library.adelaide.edu.au/theses/09mub/09mubb596.pdf.

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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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Chu, Szu-Yu. "A Study Guide of the Taiwanese Composer, Nan-Chang Chien, and his Four Aboriginal Lieder for Soprano and Orchestra." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1408536260.

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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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Blanch, Faye Rosas. "Nunga rappin talkin the talk, walkin the walk ; young Nunga males and education /." 2008. http://catalogue.flinders.edu.au/local/adt/public/adt-SFU20090226.102604/index.html.

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Toner, Peter Gerald. "When the echoes are gone : a Yolngu musical anthropology." Phd thesis, 2001. http://hdl.handle.net/1885/109822.

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Music is ubiquitous in the social life of the Yolngu people of northeast Arnhem Land in northern Australia. Not only does it accompany virtually every phase of ritual, including dance, painting, and the production of sacred objects, but it is frequently performed in non-ritual contexts as well, purely for the enjoyment of performers and listeners alike. As such, an understanding of music provides a unique and privileged point of entry into the study of Yolngu culture as a whole. The ethnomusicologist Anthony Seeger has written that an anthropology of music examines the ways in which music is an integral part of culture, while in contrast a musical anthropology examines the ways in which culture is musical and aspects of culture are created and re-created through musical performance. This dissertation is a work of musical anthropology. I provide a detailed examination of the form, content, and meaning of the songs of one particular group of Yolngu, the Dhalwangu people of the community of Gapuwiyak, N.T. I then employ this understanding of Dhalwangu songs to examine three aspects of Yolngu culture which have been subject to intense scrutiny in the Arnhem Land ethnographic literature: sociality, connections to country, and social change. I will demonstrate that musical structures and musical performances contribute significantly to the production and reproduction of these and other aspects of Dhalwangu culture. Yolngu culture is indeed musical, and a Yolngu musical anthropology enables a greater understanding of Yolngu culture in all its beauty, variety, and complexity.
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Hsu, Shu-chen, and 許淑貞. "A Study of Using the Aboriginal Songs in The Elementary School Music Curriculum--Take Bunun as an Ezample." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/08235713477711542047.

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碩士
國立臺南大學
音樂教育學系碩士班
93
The spirit of the new curriculum for the nine-year compulsory education is to return the education to the livelihood. Through the curriculums provided by schools, the native music education may be carried out, and through the educational mechanism, a variety of Taiwan music with regional attributes may acquire appropriate teaching progression. However, the nine-year compulsory education can only provide with principle without any substantive prescriptions on teaching progression. Therefore, with the concern for the position of the schools and native music education, qualitative research method has been utilized in the research to investigate on the development of worldwide and Taiwan native music, and the teaching material of aboriginal music from relevant literature. In addition, 270 Bunun songs were collected, analyzed and summarized. Moreover, questionnaire survey and in-depth interviews were also conducted in an attempt to have further understanding about the application status of aboriginal songs in school music curriculum, and the proportion of “singing”, “music theory”, “appreciation”, “instruments” and “creation” distributed in teaching activities. The study has also probed the difficulties that the music teachers have encountered in their using of Bunun songs in the Bunun region. Finally, an outline of rational music teaching progression for the Bunun region has been compiled and the database of Bunun songs for teaching has been established for the use of searching. With the above study process, following conclusions have been submitted by the researcher： (1) The current status for the use of aboriginal songs in school music classes： Aboriginal songs do not take significant proportion in the textbooks currently published, and they are also not the major teaching material. In the teaching aspect, they are still mainly used to be “sung” with supportive “appreciation” activities. “Creation” and “music theory” (sound sense and recognition of music score) are most seldom used in the teaching dimension. There are two main reasons for teachers not to use aboriginal songs as the teaching material: linguistic problem and the difficulty to acquire the song material. (2) The current teaching status of the Bunun songs taught by the music teachers in the schools at the Bunun region. The teaching activities of the Bunun songs held in the schools at the Bunun region are mostly included in the native linguistic courses, or proceeded with the chorus established through the participation in the contests of native songs. The teaching in school’s music classes is still mostly based on the content of ratified textbooks, so the music curriculum does not include the teaching activities of the Bunun songs. (3) To explore the in-depth meaning of music teaching of the Bunun songs, and establish the teaching database of analyzed Bunun songs for music teachers to use in teaching. Amongst the 270 Bunun songs collected by the researcher, targeting sound group, rhythm, tone, voice range, musical forms and lyrics, etc., a database for searching has been established by using the Linux operation system to include the 270 Bunun analyzed songs. According to “song classification”, “rhythm”, “suggested teaching age”, and “tone”, users may search for relevant information to use in teaching. (4) Targeting the schools in the Bunun region, an outline of rational teaching progression has been made, so it can be used as the reference for other aboriginal areas to implement native music education. The music elements of the Bunun songs regarding musical scales, melodies, rhythm, etc., have been summarized by the researcher and edited as an outline of rational teaching progression. In addition, amongst the 270 songs, the researcher tried to find out the material which could echo the teaching progression. The researcher believes that, the process may be further applied to other aborigines for the study and use of their native music. Finally, based on the conclusions, the researchers has submitted her personal recommendations as the reference for policy making and to be used by the music teachers in the aboriginal areas or those who are interested in the study of aboriginal music.
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Lu, Shao-Fan, and 呂紹凡. "The New Sounds of the Original Singing Songs: the Forming and Development of the Aboriginal Pop-Music in Taiwan’s 90s." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/wev739.

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碩士
國立政治大學
中國文學系
106
The “Music” or “Singing” has a special position in Taiwan’s aboriginal culture. It is not only an indispensable element in the development of “Aboriginal literature” but also very important in the vast indigenous oral literature beyond written languages. Nowadays, Bob Dylan won the Nobel Prize for Literature as a singer songwriter. It indicates that the steady state of the “songs” between popular literature and classic literature once again been challenged or eliminated, while it also points out that the points of view that popular culture, entertainment industrial, and common people’s life as well as Pop-music are feasible to be part of “literature”. To discuss the reason why “Taiwanese Aboriginal Pop-Music” became a type and how it worked, the thesis starts from the idea of two field, which is “oral literature” and "popular music”. In the year of 90s in Taiwan when the record companies were consolidated across different countries and the booming of the local awareness of the music and the multi-culturalism were as the key successful factors at that time. The axis of this study is the development that from the description of “Others”, the construction of “Identity” to the formation of “difference categories”. It demonstrated clearly in the development of western contemporary theories. It is not only a microcosm of the life course of an individual, but also closely corresponds to the ethnic experience of the indigenous people in Taiwan over the past centuries. First,this dissertation research the social in natures of the periods reflected by aboriginal "oral folk songs” and the “Collectivity” of oral culture among them with the difference levels of identity experience. Then, I explored the key properties that arose when the oral folk songs entering the interface of pop-music. Second, to depict the formation of aboriginal pop-music, I discussed the music environment in Taiwan’s 90s according to three aspects of views, which are industry, creative production and cultural. At last, I analyzed the actual cases of the aboriginal pop-music by the theoretical perspective of “Pop-Music” research, which contains the discussions of its core values and boundary. It also been compared with the cases of other "oral" ethnic music globally, that formed the genre of music and influences mainstream pop music. In these wide range of topics and the research in the light of “Historical Narratology”, I tried to contoured a possible way to research the indigenous music or other music types and to express personal music experience. It depends on the aboriginal pop music, as a music type, has its own “Differential Autonomy” in its context, corresponding to the “Collectivity” of oral literature and the “Aboriginality” from “Others”.
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Books on the topic "Aboriginal Australians Songs and music"

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Marett, Allan. Songs, dreamings, and ghosts: The wangga of North Australia. Middletown, Conn: Wesleyan University Press, 2005.

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Moyle, Richard M. Balgo: The musical life of a desert community. Nedlands, WA, Australia: Callaway International Resource Centre for Music Education, University of Western Australia, 1997.

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group), Yothu Yindi (Musical. Freedom. Burbank, CA: Mushroom International, 1994.

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Songs, dreaming, and ghosts: The wangga of North Australia. Middletown, CT: Wesleyan University Press, 2005.

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Helen, Gee, ed. Ronnie: Tasmanian songman. Broome, W.A: Magabala Books, 2009.

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Summers, Ronnie. Ronnie: Tasmanian songman. Broome, W.A: Magabala Books, 2009.

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McLean, Michael. Distant serenade. Salt Lake City, Utah: Deseret Book, 1993.

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Alyawarra music: Songs and society in a central Australian community. Canberra: Australian Institute of Aboriginal Studies, 1986.

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Magowan, Fiona. Melodies of mourning: Music & emotion in Northern Australia. Santa Fe, NM: School of American Research Press, 2005.

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Wright, Kerry. How to make and play Australian aboriginal didjeridoos and music sticks. Elliot Heads: Emuart, 1989.

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Book chapters on the topic "Aboriginal Australians Songs and music"

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Treloyn, Sally, and Rona Goonginda Charles. "Music Endangerment, Repatriation, and Intercultural Collaboration in an Australian Discomfort Zone." In Transforming Ethnomusicology Volume II, 133–47. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197517550.003.0009.

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To the extent that intercultural ethnomusicology in the Australian settler state operates on a colonialist stage, research that perpetuates a procedure of discovery, recording, and offsite archiving, analysis, and interpretation risks repeating a form of musical colonialism with which ethnomusicology worldwide is inextricably tied. While these research methods continue to play an important role in contemporary intercultural ethnomusicological research, ethnomusicologists in Australia in recent years have become increasingly concerned to make their research available to cultural heritage communities. Cultural heritage communities are also leading discovery, identification, recording, and dissemination to support, revive, reinvent, and sustain their practices and knowledges. Repatriation is now almost ubiquitous in ethnomusicological approaches to Aboriginal music in Australia as researchers and collaborating communities seek to harness research to respond to the impact that colonialism has had on social and emotional well-being, education, the environment, and the health of performance traditions. However, the hand-to-hand transaction of research products and represented knowledge from performers to researcher and archive back to performers opens a new field of complexities and ambiguities for both Indigenous and non-Indigenous participants: just like earlier forms of ethnomusicology, the introduction, return, and repatriation of research materials operate in “social spaces where disparate cultures meet, clash, and grapple with each other, often in highly asymmetrical relations of domination and subordination” (Pratt 2007 [1992]). In this chapter, we recount the processes and outcomes of “The Junba Project” located in the Kimberley region of northwest Australia. Framed by a participatory action research model, the project has emphasized responsiveness, iteration, and collaborative reflection, with an aim to identify strategies to sustain endangered Junba dance-song practices through recording, repatriation, and dissemination. We draw on Pratt’s notion of the “contact zone” as a “discomfort zone” (Somerville & Perkins 2003) and look upon an applied/advocacy ethnomusicological project as an opportunity for difference and dialogue in the repatriation process to support heterogeneous research agendas.
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