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Journal articles on the topic "Australian orchestras"
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Kenny, Dianna T., Tim Driscoll, and Bronwen J. Ackermann. "Is Playing in the Pit Really the Pits? Pain, Strength, Music Performance Anxiety, and Workplace Satisfaction in Professional Musicians in Stage, Pit, and Combined Stage/Pit Orchestras." Medical Problems of Performing Artists 31, no. 1 (March 1, 2016): 1–7. http://dx.doi.org/10.21091/mppa.2016.1001.
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INTRODUCTION: Typically, Australian orchestral musicians perform on stage, in an orchestra pit, or in a combination of both workplaces. This study explored a range of physical and mental health indicators in musicians who played in these different orchestra types to ascertain whether orchestra environment was a risk factor affecting musician wellbeing. METHODS: Participants comprised 380 full-time orchestral musicians from the eight major state orchestras in Australia comprised of two dedicated pit orchestras, three stage-only symphonic orchestras, and three mixed stage/pit orchestras. Participants completed a physical assessment and a range of self-report measures assessing performance-related musculoskeletal disorders (PRMD), physical characteristics including strength and perceived exertion, and psychological health, including music performance anxiety (MPA), workplace satisfaction, and bullying. RESULTS: Physical characteristics and performance-related musculoskeletal profiles were similar for most factors on the detailed survey completed by orchestra members. The exceptions were that pit musicians demonstrated greater shoulder and elbow strength, while mixed-workload orchestra musicians had greater flexibility Significantly more exertion was reported by pit musicians when rehearsing and performing. Stage/pit musicians reported less physical exertion when performing in the pit compared with performing on stage. Severity of MPA was significantly greater in pit musicians than mixed orchestra musicians. Pit musicians also reported more frequent bullying and lower job satisfaction compared with stage musicians. DISCUSSION: There were few differences in the objective physical measures between musicians in the different orchestra types. However, pit musicians appear more psychologically vulnerable and less satisfied with their work than musicians from the other two orchestra types. The physical and psychological characteristics of musicians who perform in different orchestra types have not been adequately theorized or studied. We offer some preliminary thoughts that may account for the observed differences.
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Boyle, Stephen, and David Throsby. "Corporatisation, Economic Efficiency and the Australian Symphony Orchestras." Economic Papers: A journal of applied economics and policy 31, no. 1 (February 20, 2012): 36–49. http://dx.doi.org/10.1111/j.1759-3441.2011.00150.x.
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Goldsworthy, David. "Teaching gamelan in Australia: Some perspectives on cross-cultural music education." International Journal of Music Education os-30, no. 1 (November 1997): 3–14. http://dx.doi.org/10.1177/025576149703000102.
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Indonesian percussion orchestras (gamelan) have found a place in several Australian education institutions. Their presence and usage confronts music educators and students alike with a whole range of cross-cultural issues – social, ethical, pedagogical, and musical. Javanese gamelan is an ideal medium for introducing students to broader aspects of Indonesian society as well as to the musical principles and procedures of another culture. The educative value of gamelan studies also extends to musical insights and skills of a more general application in a student's music education. This paper examines some approaches to teaching gamelan in Australia, and discusses problems faced by students of this tradition in a cross-cultural situation.
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Kenny, Dianna T., Tim Driscoll, and Bronwen J. Ackermann. "Effects of Aging on Musical Performance in Professional Orchestral Musicians." Medical Problems of Performing Artists 33, no. 1 (March 1, 2018): 39–46. http://dx.doi.org/10.21091/mppa.2018.1007.
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BACKGROUND: The physical and psychological demands of playing a musical instrument are likely to be affected by age-related decline in function, including physical, cognitive, psychological, and organ-related changes. However, the complex neurophysiological demands of playing a musical instrument may delay many normal aging-related changes. AIM: This study compared professional classical musicians of different ages, using a range of physical and psychological measures, to discover how increasing age might affect work performance and to identify possible risk and protective factors for physical and psychological health as the musicians age. SUBJECTS: 377 professional orchestral musicians from eight Australian orchestras (70% response rate), ages 18 to 68 yrs (mean 42.1). Multiple standardized physical and psychological tools were used to evaluate the impact of age on a range of physical and mental health variables. RESULTS: Age was not statistically associated with frequency or severity of performance-related musculoskeletal disorders, ratings of perceived exertion, QuickDASH scores, use of beta-blockers, workplace satisfaction, and most psychological tests. Differences were observed on SPIN (social anxiety) scores, with lowest scores in the oldest age group (10.66 in 55+ yrs vs 17.83 in 18-30 yrs, p=0.016). Older musicians had higher BMIs and fewer practice sessions per day than younger musicians and also were more likely to consume alcohol on 5+ days/wk (44% vs 9%, p=0.003). CONCLUSION: Advancing age does not appear to exert undue negative impacts on physical and psychological health or performance capacity of professional orchestral musicians. However, dwindling numbers in the older age groups may suggest a "survivor" effect, whereby those who develop significant age-related decrements may cease professional performance at earlier ages. Longitudinal studies on the professional trajectories of professional orchestral musicians are needed to explore this question further.
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Ackermann, Bronwen, Tim Driscoll, and Dianna T. Kenny. "Musculoskeletal Pain and Injury in Professional Orchestral Musicians in Australia." Medical Problems of Performing Artists 27, no. 4 (December 1, 2012): 181–87. http://dx.doi.org/10.21091/mppa.2012.4034.
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This paper reports on the major findings from the questionnaire component of a cross-sectional survey of the musicians in Australia’s eight fulltime professional symphonic and pit orchestras, focusing on performance-related musculoskeletal disorders (PRMDs). METHODS: All musician members of the orchestras participating in this project were invited to complete a self-report survey. The overall response rate was about 70% (n = 377). In addition to general health and experience questions, respondents who reported a current or previous PRMD were asked to report on a range of associated factors. RESULTS: Of the participants, 84% had experienced pain or injuries that had interfered either with playing their instrument or participating in normal orchestral rehearsals and performances. Fifty percent reported having such pain or injury at the time of the survey, mostly with disorders perceived by the musicians to be work-related. Twenty-eight percent had taken at least 1 day off from work for such pain in the previous 18 months. The most common broad sites affected were the trunk (primarily the back), the right upper limb and neck, the left upper limb and neck, and the neck alone, but the relative proportions varied by instrument. Of those musicians who reported at least one episode of pain or injury in the past, less than 50% reported that they had completely recovered. The most commonly cited performance-related factors that had contributed to injury or pain all related to training and playing load (including practice and performance). CONCLUSION: This study provides strong evidence that PRMDs are a common complaint in professional orchestral musicians and identifies a range of factors suggested as contributing to the occurrence or persistence of these disorders.
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Vinci, Stefano, Anne Smith, and Sonia Ranelli. "Selected Physical Characteristics and Playing-Related Musculoskeletal Problems in Adolescent String Instrumentalists." Medical Problems of Performing Artists 30, no. 3 (September 1, 2015): 143–51. http://dx.doi.org/10.21091/mppa.2015.3028.
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PURPOSE: Music research has investigated the prevalence of playing-related musculoskeletal problems in adults and children, but the prevalence in adolescents has not been established. String instrumentalists report high problem rates, though it is unclear whether rates vary between upper and lower strings in adolescent instrumentalists. Further, there is limited evidence for the association between physical characteristics and playing problems in this group of musicians. METHODS: Seventy-six adolescent string musicians from the West Australian Youth Orchestras were surveyed. Their experience of playing problems, both symptoms (PRMS) and disorders (PRMD), within the last month and measurements of body mass index, hand span, and joint mobility (Beighton scale) were obtained. Prevalence rates were calculated and compared between upper and lower string instrumentalists using a chi-squared test. Logistic regression examined the association of physical measures with playing problems, adjusting for confounding factors. RESULTS: Within the last month, 73.5% participants reported experiencing a PRMS and 26.5% reported experiencing a PRMD. There was no significant difference between the problem rates in upper and lower string instrumentalists. After adjusting for potential confounders, an increasing count of hypermobile joints remained significantly associated with problems (OR 1.76, CI 1.02 to 3.04, p=0.042). CONCLUSIONS: This study found playing problems are common in adolescent string instrumentalists, though rates did not differ between upper and lower string players. Joint hypermobility was associated with playing-related problems in adolescent musicians. Early identification of problems in this group of maturing musicians may help prevent disabling disorders and maximize performance.
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Rickert, Dale LL, Margaret S. Barrett, and Bronwen J. Ackermann. "Injury and the Orchestral Environment: Part III. The Role of Psychosocial Factors in the Experience of Musicians Undertaking Rehabilitation." Medical Problems of Performing Artists 29, no. 3 (September 1, 2014): 125–35. http://dx.doi.org/10.21091/mppa.2014.3028.
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Workplace rehabilitation in the orchestral setting poses a number of challenges that arise in part due to a poor fit between generic injury insurance and medical care and the elite performance requirements of professional musicians. Currently, the orchestral profession lacks information and strategies to best deal with the unique challenges of this complex rehabilitation environment. In order to inform future directions for research and suggest possible changes of practice, the researchers conducted a qualitative case-study aimed at understanding the injury and rehabilitation experiences of professional musicians. In-depth semi-structured interviews were undertaken with three chronically injured professional cellists from a single Australian orchestra. After initial data analysis, further interviews were undertaken with a set of five orchestral management staff as a means of data triangulation. All data were analysed using a themes-based analysis-of-narrative approach. The findings indicate that injury concealment played a considerable role in the development of chronic injuries for these musicians, and management staff felt that this concealment may be the norm amongst orchestral musicians. The musicians in this study suffered emotional and psychological trauma as the result of their injuries, and two participants felt socially marginalised. During rehabilitation, the musicians in this study encountered difficulties with medical staff not understanding the elite performance requirements of orchestral work. The article proposes recommendations that may assist in dealing with the complex challenges of injury rehabilitation in the orchestral environment.
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Rickert, Dale LL, Margaret S. Barrett, and Bronwen J. Ackermann. "Injury and the Orchestral Environment: Part II. Organisational Culture, Behavioural Norms, and Attitudes to Injury." Medical Problems of Performing Artists 29, no. 2 (June 1, 2014): 94–101. http://dx.doi.org/10.21091/mppa.2014.2020.
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The organisational culture, behavioural norms, and attitudes of a workplace have a profound influence on levels of injury and illness amongst its workers. While this is well established in Work Health and Safety literature, very little research has attempted to understand the influence of organisational culture on injury risk in the orchestral profession. To address this, the current study aimed to investigate the influence of organisational culture on injury outcomes for orchestral musicians. Using a qualitative case study methodology, in-depth semi-structured interviews were undertaken with 10 professional orchestral cellists (2 freelance and 8 fulltime members) from a single Australian orchestra. After initial data analysis, further interviews were undertaken with a set of 5 orchestral management staff as a means of data triangulation. All data were analysed using a themes-based “analysis of narrative” approach. The findings indicate that an orchestral culture exists in which musicians see injury as a sign of weakness, failure, and poor musicianship. Such negative perceptions of injury influence musicians to play through considerable levels of pain and continue performing with injuries. Because of perceived judgment from the orchestral group, musicians were found to conceal injuries from colleagues and management staff. Freelance musicians felt that disclosing injuries may lead to decreased work opportunities, and both full-time and casual musicians felt that “opening up” about injury may subject them to group judgment about their technique or musicianship. The study suggests education measures which may be effective at influencing individual behaviours and attitudes as well as cultural change initiatives which could lead to long-term positive health outcomes in the orchestral workplace.
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Skinner, Anthea, and Jess Kapuscinski-Evans. "Facilitate This! Reflections from Disabled Women in Popular Music." Journal of Popular Music Studies 33, no. 2 (June 1, 2021): 3–14. http://dx.doi.org/10.1525/jpms.2021.33.2.3.
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This article is a reflection by the authors on the impact that their identities as disabled women have had on their ongoing music careers. Skinner and Kapuscinski-Evans make up two-thirds of the Australian crip-folk trio, the Bearbrass Asylum Orchestra (the term “crip” is a cultural reappropriation of “cripple”). The Bearbrass Asylum Orchestra is a band that performs as part of the Disability Music Scene in Melbourne, Australia, using folk music to portray their experiences as people with disabilities. In this article Skinner and Kapuscinski-Evans discuss the formation of and philosophy behind the band, as well as the impact that growing up as disabled women had on their musical education, careers, and influences.
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HARRIS, AMANDA. "Representing Australia to the Commonwealth in 1965: Aborigiana and Indigenous Performance." Twentieth-Century Music 17, no. 1 (October 24, 2019): 3–22. http://dx.doi.org/10.1017/s1478572219000331.
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AbstractIn 1965, the Australian government and Australian Elizabethan Theatre Trust (AETT) debated which performing arts ensembles should represent Australia at the London Commonwealth Arts Festival. The AETT proposed the newly formed Aboriginal Theatre, comprising songmakers, musicians, and dancers from the Tiwi Islands, northeast Arnhem Land and the Daly River. The government declined, and instead sent the Sydney Symphony Orchestra performing works by John Antill and Peter Sculthorpe. In examining the historical context for these negotiations, I demonstrate the direct relationship between the historical promotion of ‘Australianist’ art music composition that claimed to represent Aboriginal culture, and the denial of the right of representation to Aboriginal performers as owners of their musical traditions. Within the framing of Wolfe's settler colonial theory and ‘logic of elimination’, I suggest that appropriative Australian art music has directly sought to replace performances of Aboriginal culture by Aboriginal people, even while Aboriginal people have resisted replacement.
Dissertations / Theses on the topic "Australian orchestras"
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O'Connor, Jennifer. "Black snow by Michael Smetanin : an analysis : and original compositions." University of Western Australia. School of Music, 2004. http://theses.library.uwa.edu.au/adt-WU2004.0054.
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Black Snow, an orchestral work composed by Michael Smetanin in 1987, was named after the book Black Snow by Mikhael Bulgakov. Newspaper articles, reviews and the literature researched, all comment on Smetanin’s style and on the influences that shaped that style. The aggressive and confrontational style of much of Smetanin’s music can be attributed partly to his love of rock music and jazz and partly to his mentor in the Netherlands, Louis Andriessen. The same sources quote other composers who also influenced Smetanin’s style. Three works in particular are named, that is, Trans by Stockhausen, Keqrops by Xenakis and De Tijd by Andriessen. It was decided, in the light of previous investigations into Smetanin’s music, to take one of these composers, namely Stockhausen and his work Trans, and discover how much Smetanin was influenced by this composer and this particular work. Trans was chosen because the similarities with Black Snow are less obvious. All aspects of Black Snow were examined - namely the harmony, rhythms, the important textures, serial/mathematical techniques, orchestration, the dramatic program, how the instruments are played - and then compared with Trans for similarities and differences. The results of the analytical investigation show that, while the internal organisation of the two works is very different, there are significant similarities between the two works in most of these areas. Serial/mathematical techniques could only be demonstrated in one area, and this is only conjecture.
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Dollman, Emily Kate. "Orchestral education programmes : a study of Australian and British models." Thesis, 2016. http://hdl.handle.net/2440/103771.
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This doctoral thesis, submitted to the University of Adelaide, examines the education programmes of symphony orchestras in Australia and the United Kingdom, both past and present. Through this detailed exploration the thesis considers directions for future development. In Australia, orchestras increasingly look to their education departments to both foster the next generation of musicians and to maintain social relevance. However, there is a mismatch between the evident importance of such work and the relative lack of research in the field. The research presented here aims to fill this gap by presenting the first comprehensive overview of current practice and historical development in the field. At the time of writing orchestral education programmes are in a period of growth in Australia. Several Australian orchestras have made connections with British specialists, in acknowledgment that the United Kingdom is a world leader in participatory, creative orchestral education programming. The thesis analyses the reasons behind the United Kingdom’s strength in this area, giving particular attention to the development of the creative music workshop format. Other key topics in the thesis include: the implications of the growth of orchestral education work for classical music training at the tertiary level; the importance of partnership between arts and education organisations and the international impact of the Venezuelan El Sistema upon music education. New primary source materials have been generated in the form of interviews with leading figures in the field, including Managing Directors and Education Directors of orchestras in both Britain and Australia. The detailed insight gained from these interviews highlights current best practice in the field and reveals possibilities for further growth. The conclusion of this thesis offers a blueprint for future orchestral education programming.Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2016.
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Curkpatrick, Samuel. "Conversing tradition : Wagilak manikay 'song' and the Australian Art Orchestra's Crossing Roper Bar." Phd thesis, 2014. http://hdl.handle.net/1885/124938.
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This thesis is an exploration of tradition as event in the present, realised through the dynamic expressions of manikay (song) in contemporary contexts. Particular focus is given to the collaboration between Wagilak songmen from Ngukurr in Australia's Northern Territory and the Australian Art Orchestra, known as Crossing Roper Bar. Inquiry into various musicological, performative, narrative, philosophical and historical aspects of Wagilak song and Crossing Roper Bar, draws together abundant examples supporting the thesis that tradition exists as a dynamic interplay, a conversation, between the past and the present, between individual subjects and situations, and amid ongoing iterations of performance. Through involved, creative articulation, tradition is known and sustained into the future. This is true of conservative performance contexts and those dramatically envisioned. Crossing Roper Bar is a laudable approach to musical engagement amid diversity in Australia and this thesis documents some of the history, intentions and achievements of the project. Descriptions of the differing musical cultures of individuals involved mirrors my exploration of tradition as substantiating, effective history (Gadamer) shaping our horizons of performance. Consecutively, the creative possibilities of unique, vocative expression within orientations of situation and orthodox form are also appraised. A dynamic picture of tradition as discursive play emerges, engaging individuals amid an excess of perspectives, forms, motivations, contexts and technologies. Musical and contextual analysis is directed by an interpretation of the Yolngu hermeneutic of tradition resonant with philosopher Hans-Georg Gadamer's hermeneutics. This allows the development of an explicit understanding of Crossing Roper Bar as a part of Yolngu ceremonial tradition, present articulations of performance shown to be legitimate iterations within an ongoing, orienting ancestral groove. Challenging prevalent notions of intangible culture, such tradition is not ossified heritage: the ancestral text is known as it is tangibly engaged and disclosed within the lives of present generations. Investigation into the musical and personal interactions between different individuals and cultures in Crossing Roper Bar begins from musical analysis that pursues: textures of sound, textures of situation and layered media; the animation of musical forms; the vocative expression of individuals. This thesis draws on diverse sources including extensive fieldwork and ongoing relationships with the Young Wagilak Group and the Australian Art Orchestra, as well as the writings of Yolngu leaders and other academics. The conversation generated presents, itself, an image of discursive engagement with diverse perspectives - a key motivation behind the Crossing Roper Bar collaboration. Subsequently, a rich demonstration of tradition emerges as something more vocative than essentialist, as something that speaks uniquely into our lives and is simultaneously sustained by creative articulation and performance.
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Manning, Lisa Jane. "Towards a new approach : an evaluation and critique of the Australian orchestral audition process." Thesis, 2005. http://hdl.handle.net/1885/151276.
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Watkins, Jennifer. "The South Australian May Music Camp: 1962 -1986." Thesis, 2018. http://hdl.handle.net/2440/118054.
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The aim of this research is to compile a chronological history of the South Australian May Music Camp (SAMMC), identifying it as a significant extra-curricular activity in the calendar of music education opportunities, open to children from nine to 23 years of age, between 1962 and 1986. This annual nonresidential music camp took place over a five-day period, in the May school holidays. In 1987, a change of name to the South Australian State Music Camp (SASMC) occurred when the South Australian Government altered the annual school calendar from three terms to four, and the camp moved from the May to July school holidays. Students auditioned for SAMMC, to engage in an intensive, graded music ensemble experience, receiving expert tuition from professional music educators, while being exposed to extensive orchestral and wind ensemble repertoire. The SASMC continues to run successfully in 2018. This research follows the establishment of music camps in Australia in 1948, examining the contribution of the National Music Camp Association (NMCA) in the spread of state-based camps across Australia, specifically the SAMMC in Adelaide, and the subsequent formation of the South Australian Music Camp Association (SAMCA). The investigation outlines the aims and objectives of SAMCA acknowledging the important position SAMMC holds in South Australian music education history. Prior to this research, no record of the activities of SAMCA or SAMMC existed, so it makes a significant contribution to SA historical records. A literature review summarises the potential benefits of music ensemble participation for student development, particularly within a non-residential music camp context. The music education environment in SA from which SAMMC emerged is observed, noting other ensemble opportunities available to primary and high school children at that time. This research records the establishment of the SA Department of Education Music Branch, which resulted in an increase in the number of primary school students learning to play a musical instrument, and discusses how this growth contributed to the need for further ensemble performance opportunities in SA, highlighting how this was reflected in the expansion of SAMMC. The organisational structure, management and finances of the SAMCA are detailed, along with methods of communication. The administrative and learning environments are presented, specifically staffing, daily routines, repertoire and instrumentation, ensembles, standards and audition processes. Key personnel, such as Founders, Directors, Administrators, and people after whom SAMMC ensembles were named, are documented. This research records known historical details of the SAMMC, through the examination of primary and secondary sources, providing a comprehensive timeline of activities, outlining significant milestones. The oral testimonies of 51 past SAMMC participants who are still involved in community music activities was collected, which provides their opinions on the benefits of ensemble participation at music camps and confirms the significant contribution made by the SAMMC to music education in SA. The research observes the actions of the SAMCA to recognise the changing music education environment surrounding SAMMC, and how it sought ways to adjust, change and expand activities to accommodate those developments. The evidence presented provides significant evidence supporting the argument that the SAMMC has made an important contribution to South Australian music education history.Thesis (M.Phil.) -- University of Adelaide, Elder Conservatorium of Music, 2018
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Martin, Ruth Florence Lee. "The dark corner : a study of the dynamic dialectic between women composers and the Australian orchestral milieu." Phd thesis, 2000. http://hdl.handle.net/1885/11000.
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This thesis is an exploration of Australian women composers' interaction with their
orchestral world. The purpose is to gain an understanding of the socio-cultural forces
which impact upon women's participation as orchestral composers, and to understand
the ways in which women composers impact upon their orchestral environment. It has
also been my intention to draw attention to specific problems women composers
encounter in the orchestral sphere, and to investigate the way in which the sociocultural
elements manifest within the musical works themselves. The methodology
which forms the basis of this study draws on a wide range of theoretical and
methodological perspectives, most specifically feminism and postmodem theory. The
thesis relies on the basic presupposition that music is essentially a social construct, and
as such, like language, it reflects the gender bias of our society on many levels and in
many ways. The orchestral world is particularly susceptible to bias due to its
longstanding associations with power and prestige.
The first part of the study examines the topic from a broad cultural basis beginning
with an overview of women as orchestral composers and examining assumptions
which have hindered their progress. In Chapter Three statistical data was used to
indicate the situation of female orchestral composers within Australia and confined, for
the most part, within the boundaries of Australian contemporary music. The second
part of the thesis contextualises eight orchestral women composers and attempts to
understand how they position themselves within the Australian orchestral context by
documenting their individual methods of negotiating the orchestral milieu. A work was
selected from each of the eight case studies and its progress was traced through the
repertorial process, from inception to mediation and dissemination. In Part Three of the
thesis there is a detailed study of three selected works. In this case the orchestral works
were selected for analysis as socialised, cultural artefacts. The analyses tease out the
composer's relationship to culture articulated within the work itself, and examine the way in which the work can act as a cultural force by reflecting ideas back into the
culture. In each of the works the three women composers, in a sense, authenticate
themselves within the male dominated orchestral world of musical composition by
writing works which are, in some way, strongly related to the 'feminine'. Finally, an
original orchestral work Gair Na Mara completes the thesis. The writing of an
orchestral work as a part of this thesis provided insights into the orchestral
environment from a personal perspective.
Some of the findings to come out this study are that in building a composing career
networking and self-promotion play crucial roles, yet these are areas in which women
have been disadvantaged. Women composers have not (and still do not) have the same
access to those with power and influence in the musical world, and due to gendered
socialisation they are not well equipped, in some ways, to negotiate the orchestral
world. It is of concern to note that under 20% of Australian composers are female, and
that only 10% of Australian women composers are writing orchestral works. I argue
that this is due, in part, to the fact that women composers have so few established role
models.
In conclusion I argue that there is an onus of responsibility on males operating in the
orchestral milieu to support and facilitate the entry of their female colleagues into a rich
and full participation.
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Fraser, Fiona. "A City for Music Lovers: Creating a classical music culture in Sydney 1889-1939." Phd thesis, 2018. http://hdl.handle.net/1885/155784.
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Through the efforts of thousands of dedicated men and women
classical music obtained a privileged position in Sydney in the
early twentieth century. This neglected area of Australia’s
cultural history was part of a transnational phenomenon which has
divided historians and musicologists. Does it demonstrate the
imposition of elite culture from above or did it emerge from the
combined energies of those who believed that classical music
might provide genuine benefits for the whole community?
Contributing to a body of literature on the social history of
classical music in Europe and the United States, this thesis
incorporates a Bourdieuian analysis examining the creation of
classical music in Sydney from the perspective of key
stakeholders: entertainment entrepreneurs, musical institutions,
performers, composers and audience. It focuses on the interaction
between these stakeholders to consider the field of classical
music as a dynamic, constantly evolving arena of interaction
where the personal and political intersect. It takes into account
social, economic, political and technological developments as
Australia established itself as an independent nation grappling
with a rapidly expanding population, modernity and the rise of a
politically engaged working class.
Such an approach brings into question previous accounts of the
development on classical music in Australia which have focused on
the role of the government owned Australian Broadcasting
Commission (ABC) rather than the efforts of multiple
stakeholders, community groups and committed individuals. It
provides a new perspective that demonstrates the complex and
iterative nature of social change and suggests ways in which our
musical choices have come to define who we are.
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Wood, Callie. "Portfolio of compositions and exegesis: composing for a choral spectrum." 2008. http://hdl.handle.net/2440/54229.
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This portfolio of compositions and exegesis submitted for the degree of Master of Music in Composition, at the Elder Conservatorium of Music, comprises original creative works supported by a detailed commentary. The creative investigation has focused on ‘Composing for a Choral Spectrum.’ This was investigated through practical experiments in choral composition, designed to test the compositional limitations of the choral spectrum, and resulted in a portfolio of choral works. The portfolio includes: simple choral works for young children in one part; choral works for children in two parts; choral works for children in three parts; a choral work for teenage treble voices; a multimedia choral work for boys with changing voices with a moving image DVD; a choral work for male voices; choral works for adult female voices; a complex choral work for adult choirs of a professional standard; and a larger scale choral and orchestral work. The exegesis provides a commentary on the genesis, composition processes, limitations and solutions, for each original work included in the portfolio.http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1345050
Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2008
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Wood, Callie. "Portfolio of compositions and exegesis: composing for a choral spectrum." Thesis, 2008. http://hdl.handle.net/2440/54229.
Full textAbstract:
This portfolio of compositions and exegesis submitted for the degree of Master of Music in Composition, at the Elder Conservatorium of Music, comprises original creative works supported by a detailed commentary. The creative investigation has focused on ‘Composing for a Choral Spectrum.’ This was investigated through practical experiments in choral composition, designed to test the compositional limitations of the choral spectrum, and resulted in a portfolio of choral works. The portfolio includes: simple choral works for young children in one part; choral works for children in two parts; choral works for children in three parts; a choral work for teenage treble voices; a multimedia choral work for boys with changing voices with a moving image DVD; a choral work for male voices; choral works for adult female voices; a complex choral work for adult choirs of a professional standard; and a larger scale choral and orchestral work. The exegesis provides a commentary on the genesis, composition processes, limitations and solutions, for each original work included in the portfolio.Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2008
Books on the topic "Australian orchestras"
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Meredith, John. King of the dance hall: The story of fifty years of ballroom music with Frank Bourke and the White Rose Orchestra. Kenthurst, N.S.W: Kangaroo Press, 1986.
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Centre, Australian Music. Orchestral music: Scores held at the Australian Music Centre Library. Grosvenor Place, N.S.W: Australian Music Centre, 1998.
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International, Festival of Youth Orchestras (1988 Brisbane Qld ). The Queensland Youth Orchestra's International Festival of Youth Orchestras: Australia, 17 July-18 August 1988. Brisbane: Queensland Youth Orchestra, 1988.
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Dreyfus, Kay. Sweethearts of rhythm: The story of Australia's all girls bands and orchestras to the end of the Second World War. Sydney: Currency Press, 1998.
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Global Contemporary Percussion Innovations: The Australian Perspective. Taylor & Francis Group, 2018.
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Curkpatrick, Samuel. Voices on the wind. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0007.
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The musical project Crossing Roper Bar (CRB) is based on a collaboration between Wägilak songmen from Australia’s Northern Territory and the Australian Art Orchestra (AAO). Individuals drawn into this collaboration bring their distinct voices and histories to performance, while opening themselves to those of others. A new, malleable approach to orchestral performance in Australia is the result of this collaboration, which places improvisation at the centre of conversational musical interaction. This chapter introduces orthodox narrative elements of Wägilak manikay (song) that are creatively renewed and sustained in CRB. It highlights how the collaboration demonstrates the compelling play of musical performance that can generate nuanced, respectful and ongoing interactions between individuals, and between individuals and traditions. Amidst the vibrant, cultural diversity of contemporary Australian society, CRB suggests new possibilities for productive and relevant orchestral music-making.
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Harrison, Marcia. WEST AUSTRALIAN SYMPHONY ORCHESTRA. WASO Holdings, 2003.
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Kakadu: Orchestra Impressions from Australia. Faber & Faber, 2001.
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Fiala, Michele L., and Martin Schuring. Great Oboists on Music and Musicianship. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.001.0001.
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This volume contains interviews with twenty-six of the most prominent oboists from around the world. The chapters are in prose format and highlight different aspects of each musician’s career, focusing on musicianship and pedagogy in ways that are applicable to all musicians. The interviews contain topics such as creating musical interpretations and shaping phrases, the relationship of vocal to instrumental music, taking orchestral auditions, and being a good ensemble player/colleague. The subjects describe their pedagogy and their thoughts on breathing and support on wind instruments, developing finger technique, and creating a useful warm-up routine. The oboists discuss their ideals in reed making, articulation, and vibrato. They also share stories from their lives and careers. The oboists and English hornists profiled from North America are Pedro Diaz, Elaine Douvas, and Nathan Hughes (Metropolitan Opera Orchestra); John Ferrillo (Boston Symphony Orchestra); Carolyn Hove (Los Angeles Philharmonic); Richard Killmer (Eastman School); Nancy Ambrose King (University of Michigan); Frank Rosenwein and Robert Walters (Cleveland Orchestra); Humbert Lucarelli (soloist); Grover Schiltz (formerly Chicago Symphony); Eugene Izotov (San Francisco Symphony, originally from Russia); Allan Vogel (Los Angeles Chamber Orchestra retired); David Weiss (formerly Los Angeles Philharmonic); Randall Wolfgang (New York City Ballet and formerly Orpheus Chamber Orchestra); Alex Klein (Brazil, formerly Chicago Symphony and currently Calgary, Canada); and Sarah Jeffrey, Toronto Symphony Orchestra. The performers based in Europe are Neil Black, Nicholas Daniel, and Gordon Hunt (England); Maurice Bourgue and David Walter (France); Thomas Indermühle (Switzerland); László Hadady (Hungary and France); and Omar Zoboli (Italy). From Australia is Diana Doherty of the Sydney Symphony Orchestra.
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(Australia), Cultural Ministers Council, and Australian Government Publishing Service, eds. Study into the future development of orchestras in Australia: Report of the Study Group to the Cultural Ministers Council, March 1985. Canberra: Australian Government Pub. Service, 1985.
Find full textBook chapters on the topic "Australian orchestras"
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Fiala, Michele. "Humbert Lucarelli." In Great Oboists on Music and Musicianship, 177–95. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0018.
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Humbert Lucarelli has appeared as soloist with orchestras and chamber music groups throughout the United States, South America, Europe, Australia, and Asia. Among his recordings is the Concerto for Oboe and Orchestra written for him by John Corigliano. He held positions as professor of oboe at the Hartt School in West Hartford, Connecticut, and the Steinhardt School at New York University. In this chapter, Lucarelli describes his musical training, early career, and how he became a soloist. He shares his musical decision-making process and how he uses storylines in interpretation. Lucarelli discusses qualities of great performers and his experience in studying drama and the visual arts to further his artistry. He describes physical aspects of performing such as tongue placement and the relationship of the cheeks to the embouchure. He talks about vibrato, the character of the oboe, and his advice for young performers.
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"Peter Weir and the Piano Concerto." In Voicing the Cinema, edited by Erik Heine, 207–26. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043000.003.0012.
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Australian director Peter Weir’s career has spanned five decades, working in both Hollywood and Australia. One typical trait in his films is the subject matter that typically falls outside of Hollywood spectacle, choosing to focus on characters and introspection. Another trait is the use of preexisting art music in nearly all of his films. Weir’s use of art music spans more than 400 years, drawing on a wide range of composers such as Albinoni, Bach, Mozart, Beethoven, Chopin, Vaughan Williams, Glass, and Górecki, among others. One genre, the piano concerto, is used particularly effectively in Weir’s films. The second movement of Beethoven’s Piano Concerto No. 5, “Emperor,” is used in two films, Picnic at Hanging Rock and Dead Poets Society. In The Truman Show, the second movement of Chopin’s Piano Concerto No. 1 is used, in each case sounding a “voice of innocence” to the respective characters, a wordless voice that the characters are unable to articulate themselves. This musical voice protests the repressive structures that these characters confront, and the play between soloist and orchestra in these slow movements serves as a particularly apt musical metaphor for their highly regimented lives and their dreams of escaping the control.
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Beggs, Christopher, and Matthew Warren. "Safeguarding Australia from Cyber-Terrorism." In Cyber Behavior, 282–97. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-5942-1.ch016.
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Terrorist groups are currently using information and communication technologies (ICTs) to orchestrate their conventional attacks. More recently, terrorists have been developing a new form of capability within the cyber-arena to coordinate cyber-based attacks. This chapter identifies that cyber-terrorism capabilities are an integral, imperative, yet under-researched component in establishing, and enhancing cyber-terrorism risk assessment models for SCADA systems. This chapter examines a cyber-terrorism SCADA risk framework that has been adopted and validated by SCADA industry practitioners. The chapter proposes a high level managerial framework, which is designed to measure and protect SCADA systems from the threat of cyber-terrorism within Australia. The findings and results of an industry focus group are presented in support of the developed framework for SCADA industry acceptance.
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Beggs, Christopher, and Matthew Warren. "Safeguarding Australia from Cyber-Terrorism." In Strategic and Practical Approaches for Information Security Governance, 369–84. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-4666-0197-0.ch021.
Full textAbstract:
Terrorist groups are currently using information and communication technologies (ICTs) to orchestrate their conventional attacks. More recently, terrorists have been developing a new form of capability within the cyber-arena to coordinate cyber-based attacks. This chapter identifies that cyber-terrorism capabilities are an integral, imperative, yet under-researched component in establishing, and enhancing cyber-terrorism risk assessment models for SCADA systems. This chapter examines a cyber-terrorism SCADA risk framework that has been adopted and validated by SCADA industry practitioners. The chapter proposes a high level managerial framework, which is designed to measure and protect SCADA systems from the threat of cyber-terrorism within Australia. The findings and results of an industry focus group are presented in support of the developed framework for SCADA industry acceptance.
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Fiala, Michele. "Diana Doherty." In Great Oboists on Music and Musicianship, 40–43. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0005.
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Diana Doherty is principal oboe of the Sydney Symphony Orchestra (Australia). She won first prize at the Prague Spring International Music Competition in 1991 and was a joint winner of the 1995 Young Concert Artist auditions in New York. In this chapter, she discusses her early life, the international aspects of her career, and reeds. She also talks about how she warms up on the instrument and offers advice on developing finger technique and articulation. She shares her inspirations and memorable concerts
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Wiebe, Heather. "Music and the Good Life in Postwar Britain." In The Oxford Handbook of Music and the Middlebrow, C6P1—C6N75. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197523933.013.6.
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Abstract Australian pianist Eileen Joyce was one of the biggest musical celebrities in Britain in the 1940s and 1950s, thanks in part to her work in films including Brief Encounter and The Seventh Veil. At the same time, her popularity generated anxiety among critics, who associated her with a stultification of orchestral culture. Joyce casts light on a more commercial side of middlebrow endeavors, and onto a postwar British effort to build a mass audience for art music by bringing the concert hall closer to the world of film and popular entertainment. She also shows how a concert culture directly aimed at social mobility and mass appeal was discounted by critics, who saw in its appeal to pleasure—as well as work—a threat to the health of music itself.
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Lo, Patrick, Robert Sutherland, Wei-En Hsu, and Russ Girsberger. "Jennifer Fung, Music Library Administrator and Peter Alexander, Music Librarian, Opera Australia." In Stories and Lessons from the World's Leading Opera, Orchestra Librarians, and Music Archivists, Volume 2: Europe and Asia, 271–83. Emerald Publishing Limited, 2022. http://dx.doi.org/10.1108/978-1-80262-659-920221025.
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Lo, Patrick, Robert Sutherland, Wei-En Hsu, and Russ Girsberger. "Jennifer Fung, Music Library Administrator and Peter Alexander, Music Librarian, Opera Australia." In Stories and Lessons from the World's Leading Opera, Orchestra Librarians, and Music Archivists, Volume 2: Europe and Asia, 271–83. Emerald Publishing Limited, 2022. http://dx.doi.org/10.1108/978-1-80262-659-920221025.
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