Academic literature on the topic 'Musicians Australia'
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Journal articles on the topic "Musicians Australia"
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Fuhrmann, Anita, Suzanne Wijsman, Philip Weinstein, Darryl Poulsen, and Peter Franklin. "Asthma Among Musicians in Australia: Is There a Difference Between Wind/Brass and Other Players?" Medical Problems of Performing Artists 24, no. 4 (December 1, 2009): 170–74. http://dx.doi.org/10.21091/mppa.2009.4034.
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Control of respiration is important in wind/brass instrument playing. Although respiratory diseases, such as asthma, may affect breathing control, little is known about the prevalence of asthma among wind and brass musicians. The aim of this study was to compare the prevalence of self-reported asthma between wind/brass musicians and non-wind/brass musicians through different stages of experience. A total of 1960 musicians completed a respiratory health questionnaire. The participants were categorized into the following five subgroups: primary students, secondary students, tertiary students, community musicians, and professional musicians. Chi-squared and logistic regression analyses were used to compare asthma prevalence and related health outcomes between wind/brass and non-wind/brass musicians. There were no significant differences in current asthma prevalence between the wind/brass and other musicians in any of the subgroups, apart from tertiary students in whom the prevalence of asthma and related outcomes appeared to be higher among wind/brass musicians. Asthma prevalence among musicians in our survey was similar to that in the overall population. The results suggest that having asthma does not significantly affect participation in music, the choice of instrument to learn (wind/brass or other), or progression to elite levels as a musician.
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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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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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Wijsman, Suzanne, and Bronwen J. Ackermann. "Educating Australian musicians: are we playing it safe?" Health Promotion International 34, no. 4 (May 17, 2018): 869–76. http://dx.doi.org/10.1093/heapro/day030.
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AbstractThe effectiveness of health promotion through arts engagement, and the health benefits and social importance of music in particular, are becoming increasingly recognized. However, like sport, music-making is an athletic endeavour, one that often involves high physiological and psychological loadings on the bodies and minds of musicians. Research over the past 30 years has revealed alarming rates of injury among musicians, and has identified health risk factors associated with music performance faced by professional and student musicians. Australia lacks consistent provision of essential health education for musicians, and research shows an unacceptably high prevalence of performance-related health problems among musicians of all ages. This article advocates for effective health promotion to be embraced in the policies and practices of Australian music performance organizations and educational bodies. It argues that a cultural shift is required, recognizing that a settings-based approach to health literacy is as fundamentally important for musicians as it is for any other occupation or athletic activity. Embedding health education into the delivery of music education will not only help to prevent injury over the lifespan of Australian musicians, it will support and sustain their capacity to contribute towards societal wellbeing and public health outcomes.
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Bendrups, Dan. "Latin Down Under: Latin American migrant musicians in Australia and New Zealand." Popular Music 30, no. 2 (May 2011): 191–207. http://dx.doi.org/10.1017/s026114301100002x.
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AbstractThe global significance of Latin American popular music is well documented in contemporary research. Less is known about Latin American music and musicians in Australia and New Zealand (collectively termed ‘Australasia’): nations that have historically hosted waves of migrants from the Americas, and which are also strongly influenced by globalised US popular music culture. This article presents an overview of Latin American music in Australasia, drawing on ethnographic research, with the aim of providing a historical framework for the understanding of this music in the Australasian context. It begins with an explanation of the early 20th-century conceptualisation of ‘Latin’ in Australasia, and an investigation into how this abstract cultural construction affected performance opportunities for Latino/a migrants who began to arrive en masse from the 1970s onwards. It then discusses the performance practices that were most successfully recreated by Latin American musicians in Australia and New Zealand, especially ‘Andean’ folkloric music, and ‘tropical’ dance music. With reference to prominent individuals and ensembles, this article demonstrates how Andean and tropical performance practices have developed over the course of the last 30 years, and articulates the enduring importance of Latin American music and musicians within Australasian popular music culture.
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Toltz, Joseph. "The Vanished Musicians: Jewish Refugees in Australia." Musicology Australia 39, no. 1 (January 2, 2017): 67–71. http://dx.doi.org/10.1080/08145857.2017.1334301.
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Dreyfus, Kay. "Breaching the Profession: The Musicians' Union of Australia, Immigrant Musicians and the Post-World War II Australian Music Industry." Musicology Australia 34, no. 1 (July 2012): 33–52. http://dx.doi.org/10.1080/08145857.2012.681620.
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Hope, Cat, Nat Grant, Gabriella Smart, and Tristen Parr. "TOWARDS THE SUMMERS NIGHT: A MENTORING PROJECT FOR AUSTRALIAN COMPOSERS IDENTIFYING AS WOMEN." Tempo 74, no. 292 (March 6, 2020): 49–55. http://dx.doi.org/10.1017/s0040298219001177.
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AbstractThe Summers Night Project is an ongoing composer-mentoring programme established in 2018 by musicians Cat Hope and Gabriella Smart, with the support of the Perth-based new music organisation Tura New Music. The project aims to support and mentor emerging Australian female and gender minority composers to create new compositions for performance, with the aim of growing the gender diversity of composers in music programmes across Australia. Three composers were chosen from a national call for submissions, and works were performed by an ensemble consisting of members from the Decibel and Soundstream new music ensembles. Three new works were workshopped, recorded then performed on a short tour of Perth, Adelaide and Melbourne, Australia in July 2018. The project takes its name and inspiration from Australian feminist Anne Summers, author of the ground-breaking examination of women in Australia's history Damned Whores and God's Police (1975) and was inspired by her 2017 Women's Manifesto. This article examines the rationale for such a project, the processes and results of the project itself, and plans for its future.
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Driscoll, T., B. Ackermann, and D. Kenny. "Risk factors and injury of orchestral musicians in Australia." Occupational and Environmental Medicine 68, Suppl_1 (September 1, 2011): A84. http://dx.doi.org/10.1136/oemed-2011-100382.276.
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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 "Musicians Australia"
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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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Morrow, Guy Richard. "Managerial creativity a study of artist management practices in the Australian popular music industry /." Phd thesis, Australia : Macquarie University, 2006. http://hdl.handle.net/1959.14/42648.
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Thesis (PhD)--Macquarie University, Division of Humanities, Department of Contemporary Music Studies, 2006.Bibliography: p. 377-385.
Introduction -- Literature review, discussion of methodologies and research orientation -- "20% of nothing": Australian rock music management -- Australian country music management -- Australian pop music management: the third party -- Conclusion: managerial creativity.
Artist managers 'create' careers for musicians, yet little has been written about their creativity in the academic domain. Thus this thesis develops the notion of managerial creativity. Artist managers build and maintain 'brands', and this is a creative industry function. The thesis begins with a description of what artist management is, then it reviews the way in which various Australian musicians' and artist managers' careers are created and maintained. A musical idea or product arises from the synergy of many sources and not only from the mind of a single person (Csikszentmihalyi, 1996). Therefore it is easier to enhance creativity by changing conditions in the environment the artist is located in than by trying to make artists think more creatively. Managerial creativity involves the creation and maintenance of the system, context or environment from which artistic creativity emerges and is therefore the facet of the music industry that can most effectively enhance musical creativity.
Mode of access: World Wide Web.
ix, 390 p., ill
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Smart, Bonnie Jane. "Leon Caron and the music profession in Australia." Connect to thesis, 2003. http://repository.unimelb.edu.au/10187/1427.
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Leon Francis Victor Caron (1850-1905) was one of the major figures in Australian nineteenth-century opera and orchestral circles. He was a well-known and well-liked public figure, regarded with respect and affection by musicians and audiences alike. Little has been written concerning Caron’s career. Given the amount he contributed to the Australian stage, an assessment of his importance within the music profession is warranted. Most areas of Caron’s life are, as yet, totally unexplored; it falls outside the ambit of this thesis to present every detail pertaining to his varied and extensive musical career. Nevertheless, new information about a selection of Caron’s ventures is drawn upon here for the first time. Much of this material is used to examine the impact of Caron’s conducting on the orchestral profession in Melbourne and Sydney. Many of Caron’s performances (orchestral or otherwise) often featured the popular music of the day. The popular aspect of Caron as a composer is also considered, with particular reference to the incredibly successful pantomime Djin Djin. An examination of Caron’s performances gives great insight not only into the part he played in the wider profession; but it also sheds light on orchestral standards, performance practices and public tastes of the time. His contribution to the music profession in nineteenth-century Australia is extremely significant.
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Gall, Jennifer. "Redefining the tradition : the role of women in the evolution and transmission of Australian folk music." Phd thesis, 2008. http://hdl.handle.net/1885/109562.
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This dissertation undertakes an examination of the truth of the assertion that
Australian folk music represents a predominantly masculine, working class genre -
the view expressed in the official Commonwealth Government description of
Australian folk music, the publications of the academy and promoted by the media. In
this thesis, the women who have played a key role in the history of Australian folk
music are restored from obscurity, highlighting the need for a root - and - branch
revision of the history of Australian folk music.
I argue that the evidence of primary sources confirms the role of women as integral to
the evolution and transmission of Australian folk music. The way in which oral and
written traditions interact in the music of Australian women is explained; traditional
boundaries of class which have been used in the past to delineate who owns folk
music are challenged; and it is argued that the piano must be admitted into the
category of bush instrument, thus expanding the range of the accepted Australian folk
music repertoire.
Australian women's folk music, as distinct from Australian indigenous women's
music, has its origins in the social, political and economic upheavals of the eighteenth
century. It embodies the dislocation experienced by pioneering women who travelled
to Australia from the British Isles and other European countries, either as convicts or
free settlers. Emergence of new post-industrial forms of folk music is also prominent.
Songs and tunes preserved through oral transmission and the development of
homegrown Australian songs represent the dichotomy of old world and new world
cultural values. Published broadside ballad sheets and piano arrangements of folk
songs and dance tunes were embraced by Australian women and shared widely
through oral and hand-written transmission. Diaries, letters, newspaper accounts,
archival music collections and field recordings provide evidence that women from a
broad range of economic, educational and social backgrounds performed folk music
from the earliest days of settlement in a way that was unique to Australia. Analysis in this thesis is structured by the chronological sequence of case studies
spanning the 1840s to the present. Case studies covering this extended period
demonstrate the diversity of women musician's lives, their place in the evolution of
Australian folk music from early settlement to contemporary times and the changing
manifestations of transmission affecting each generation. Both the items in the
repertoires of the women studied and aspects of their identity (indicated in their
choice of songs) are regenerated by performance of their music. Investigation of this
process concludes with examination of the contemporary operation of transmission in
the case study of my own participation in the evolving tradition of Australian
women's folk music.
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Graham, Jillian. "Composing biographies of four Australian women: feminism, motherhood and music." 2009. http://repository.unimelb.edu.au/10187/7402.
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This thesis examines the impact of gender, feminism and motherhood on the careers of four Australian composers: Margaret Sutherland (1897–1984), Ann Carr-Boyd (b. 1938), Elena Kats-Chernin (b. 1957) and Katy Abbott (b. 1971).Aspects of the biographies of each of these women are explored, and I situate their narratives within the cultural and musical contexts of their eras, in order to achieve heightened understanding of the ideologies and external influences that have contributed to their choices and experiences. Methodologies derived from feminist biography and oral history/ethnography underpin this study. Theorists who inform this work include Marcia Citron, Daphne de Marneffe, Sherna Gluck, Carolyn Heilbrun, Anne Manne, Ann Oakley, Alessandro Portelli, Adrienne Rich and Robert Stake, along with many others.
The demands traditionally placed on women through motherhood and domesticity have led to a lack of time and creative space being available to develop their careers. Thus they have faced significant challenges in gaining public recognition as serious composers. There is a need for biographical analysis of these women’s lives, in order to consider their experiences and the encumbrances they have faced through attempting to combine their creative and mothering roles. Previous scholarship has concentrated more on their compositions than on the women who created them, and the impact of private lives on public lives has not been considered worthy of consideration.
Three broad themes are investigated. First, the ways in which each composer’s family background, upbringing and education have impacted on their decision to enter the traditionally male field of composition are explored. The positive influence from family and other mentors, and opportunities for a sound musical education, are factors particularly necessary for aspiring female composers. I argue that all four women have benefited from upbringings in families where education and artistic endeavour have been valued highly.
The second theme concerns the extent to which the feminist movement has influenced the women’s lives as composers and mothers, and the levels of frustration, and/or satisfaction or pleasure each has felt in blending motherhood with composition. I contend that all four composers have led feminist lives in the sense that they have exercised agency and a sense of entitlement in choices regarding their domestic and work lives. The three living composers have reaped the benefits of second-wave feminism, but have eschewed complete engagement with its agenda, especially its repudiation of motherhood. They can more readily be identified with the currently evolving third wave of feminism, which advocates women’s freedom to choose how to balance the equally-valued roles of motherhood and the public world of work. I assert that Sutherland was a third-wave prototype, a position that was atypical of her era.
The third and final theme comprises an investigation of the ways in which historical and enduring negative attitudes towards women as musical creators have played out in the musical careers in these composers. It is contested that Sutherland experienced greater challenges than her successors in the areas of dissemination, composition for larger forces, and critical reception, but appears to have been more comfortable in promoting her work. The exploration of their careers demonstrates that all four of these creative mothers are well-respected and recognised composers. They are ‘third-wave’ women who have considerably enriched Australia’s musical landscape.
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Stanhope, Jessica Louise. "The preventable burden of musculoskeletal conditions in Australian musicians." Thesis, 2019. http://hdl.handle.net/2440/123109.
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Background: The prevalence of musculoskeletal symptoms (MSSs) among musicians is reportedly high, and may have a profound impact upon those affected. Most studies have been conducted on university classical music students and professional orchestral musicians, leaving other sub-groups, such as military band musicians and opera singers, under-investigated. Even for these most commonly researched groups, there have been relatively few studies investigating the impact of MSSs, or their preventability in terms of psychosocial and organisational factors potentially associated with MSS outcomes. The central research question in this thesis was: “is there a preventable burden of musculoskeletal conditions among Australian university music students and professional musicians?”. Methods: Data were obtained from two sources: the National Data Set for Compensation-based Statistics, and a targeted questionnaire survey developed specifically for this project. Questionnaire development was informed by a systematic search and narrative review of the types of outcomes and data collection tools used to assess musicians’ MSS outcomes. The questionnaire was distributed to university music students and professional musicians, as well as a reference group of university science students and non-music university staff. The utility of the questionnaire measures was examined using Rasch analysis. Data were analysed using standard statistical methods. Results: Musculoskeletal disorders accounted for the majority of workers’ compensation claims (WCCs) made by musicians (70%), and the majority of costs (78%). Of the musicians surveyed, 90% reported MSSs in the last 12 months, and 57% reported experiencing MSSs in the last 12 months that impaired musical activities. Musculoskeletal symptoms were most common in the upper limb and spinal regions. There was no significant difference in MSS prevalence overall between musicians and the reference groups, however music students reported a higher prevalence of wrist/hand MSSs specifically. Symptomatic music students also reported higher ratings of the emotional impact of MSSs than did science students. A higher proportion of symptomatic female professional musicians reported moderate-severe pain than their university staff counterparts. The majority (82%) of musculoskeletal WCCs made by musicians were attributed to body stressing. All symptomatic musicians surveyed provided at least one perceived cause (of up to three reported) of their MSSs that was likely modifiable or preventable. The most commonly reported such perceived causes were behavioural factors (94%). Psychological distress was identified as the most important modifiable personal factor to address, as it was associated with most MSS outcomes. The evidence for other factors was less consistent, however social support, musical activity time, sitting time, and perceived work effort were associated with specific MSS outcomes. Conclusion: Evidence from this research indicates that there is a preventable burden of musicians’ musculoskeletal conditions. To reduce this burden, interventions should be developed that are directed at psychological distress. The effectiveness of these interventions should be examined with particular reference to MSSs in the upper limb and spinal regions, and to the consequences of having MSSs. If found to be safe and effective, appropriate interventions could be implemented nationally, to reduce the burden of musicians’ musculoskeletal conditions.Thesis (Ph.D.) -- University of Adelaide, School of Public Health, 2019
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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.
Books on the topic "Musicians Australia"
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The vanished musicians: Jewish refugees in Australia. Bern: Peter Lang, 2015.
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Thorpe, Billy. Most people I know (think that I'm crazy). Sydney: Macmillan, 1998.
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Keith Urban. New York: Gareth Stevens Pub., 2010.
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Heazlewood, Justin. Funemployed: Life as an artist in Australia. South Melbourne: Affirm Press, 2014.
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Spencer, Chris. The various artist in Australia: A rock discography 1960-1989. Golden Square, Vic: Moonlight Publications, 1990.
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Spencer, Chris. The various artist in Australia: A rock discography, 1960-1989. 2nd ed. Golden Square: Moonlight Publications, 1996.
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The decline of the English musician, 1788-1888: A family of English musicians in Ireland, England, Mauritius, and Australia. Oxford: Clarendon Press, 1992.
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Fortunate son: The unlikely rise of Keith Urban. Milsons Point, N.S.W: Bantam, 2009.
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Miller, Heather. AC/DC: Hard rock band. Berkeley Heights, NJ: Enslow, 2009.
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Helen, Gee, ed. Ronnie: Tasmanian songman. Broome, W.A: Magabala Books, 2009.
Find full textBook chapters on the topic "Musicians Australia"
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Marsh, Kathryn, Catherine Ingram, and Samantha Dieckmann. "Bridging Musical Worlds: Musical Collaboration Between Student Musician-Educators and South Sudanese Australian Youth." In Visions for Intercultural Music Teacher Education, 115–34. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21029-8_8.
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Ottosson, Åse. "Changing Aboriginal men and musicians." In Making Aboriginal Men and Music in Central Australia, 173–79. Routledge, 2020. http://dx.doi.org/10.4324/9781003085928-8.
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Corn, Aaron. "Rights and Recognition." In The Oxford Handbook of Global Popular Music, C49.S1—C49.N3. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190081379.013.49.
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Abstract The 1960s brought significant changes to Australian Government law and policy that began the process of redressing systemic injustices suffered by Indigenous peoples. This coincided with influential experiences of rock and other globalized popular styles that inspired Indigenous musicians to explore and experiment with new forms of musical expression. By the 1980s, popular music had become an influential vehicle for publicly expressing of Indigenous values and aspirations as Indigenous Australians asserted new claims for due recognition and rights. This chapter addresses the diverse and dynamic approaches that characterize Indigenous expressions through popular music. It explores the original music of Indigenous artists who have contributed substantially to promoting improved recognition and rights for Indigenous Australians, and to shaping public perspectives on vital matters for Indigenous and all Australians, including land rights, native title, child removals, incarceration rates, nationhood, racism, reconciliation, and constitutional recognition. It also reviews existing scholarship on Indigenous popular music in Australia, and examines current thinking and research approaches surrounding studies in this field. Drawing upon the author’s extensive research collaborations with Indigenous musicians, communities, and scholars since 1996, the author critically examines the progress and direction of debates into surrounding Indigenous Australian popular music, and identifies trends that are informing both musical and research developments in this field into the future. While it is not possible to address all Indigenous popular music and musicians or related research in this chapter, the author seeks to offer an insight to their depth and diversity.
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Ashbolt, Anthony, and Glenn Mitchell. "Music, the Political Score, and Communism in Australia: 1945–1968." In Red Strains. British Academy, 2013. http://dx.doi.org/10.5871/bacad/9780197265390.003.0011.
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Throughout the 1940s and 1950s, and into the 1960s decade of rebellion, the Communist Party of Australia (CPA) developed significant relationships with cultural and artistic movements. The youth wing of the CPA, The Eureka Youth League (EYL), played a particularly important role in the attempt to forge an alliance between musicians and communism. First through jazz, and then through two folk music revivals, the EYL sought to use music to recruit members and to foster its ideological and political struggles. In the end, the EYL's and CPA's relationship with both jazz and folk was tenuous. Yet along the way, the music itself flourished. This, then, is a story of tensions between and paradoxes surrounding the Party and musicians sympathetic to it. Yet it is also a story about how the cultural life of Australia was greatly enriched by the EYL's attempt to use music as a political tool.
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Phillips, Damon J. "The Puzzle of Geographical Disconnectedness." In Shaping Jazz. Princeton University Press, 2013. http://dx.doi.org/10.23943/princeton/9780691150888.003.0002.
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This chapter explains why it matters that jazz was produced in sixty-seven cities worldwide. That is, jazz up to 1933 was primarily recorded in a small set of cities, including Chicago, London, and New York. Focusing on the mobility networks of musicians across these cities, the chapter examines how disconnectedness can have a unique role in social systems, particularly in innovation-based social systems familiar to scholars of organizations and markets (e.g., cultural markets, technological systems). Using an empirical approach to the rise of jazz during the period 1897–1933, it explores the impact of structurally disconnected cities and the emergence of jazz standards through the discographical canon. The chapter argues that it is important to pay attention to jazz recordings from more disconnected cities such as Minneapolis (Minnesota), Hilversum (Holland), Sydney (Australia), Buenos Aires (Argentina), and Calcutta (India).
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Glitsos, Laura. "Chapter 5 Frontierswomen and the Perth Scene: Female Metal Musicians on the ‘Western Front’ and the Construction of the Gothic Sublime." In Australian Metal Music: Identities, Scenes, and Cultures, 91–107. Emerald Publishing Limited, 2019. http://dx.doi.org/10.1108/978-1-78769-167-420191004.
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Crowley, Amanda McDonald. "System X: Interview with Founding Sysop Scot McPhee." In Social Media Archeology and Poetics. The MIT Press, 2016. http://dx.doi.org/10.7551/mitpress/9780262034654.003.0013.
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System X was an Australian-based dial up BBS, where users created a community of interest with both a variety of text-based conversations and a virtual gallery of images and sound that invited visual and sound artists and musicians to share work and collaborate. System X also sought to originate critical thought about information storage and control, data networks, and art practice in this media. Importantly, it provided a context for community members to upload their own content and to share that content not only with a Sydney-based community, but also with the growing international community. In an interview with Founding Sysop Scot McPhee, this chapter documents the roots of System X in the Sydney electronic music community; System X's role as an art project; the importance of uploading, downloading, manipulating and re-uploading music and images; the user community; the audience; and System X's legacy in the Australian digital arts community.
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"Are You a Musician? The Rock Ideology and the Construction of Authenticity on Australian Idol." In Adapting Idols: Authenticity, Identity and Performance in a Global Television Format, 183–94. Routledge, 2016. http://dx.doi.org/10.4324/9781315565620-23.
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Manning, Jane. "BRETT DEAN (b. 1961)Poems and Prayers (2006, revised 2011)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 56–59. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0019.
Full textAbstract:
This chapter explores Australian musician and composer Brett Dean’s Poems and Prayers (2006, revised 2011). These five songs form a highly distinctive showpiece, containing elements reminiscent of cabaret. The style is eclectic, within a ‘friendly atonal’ mode. Intervals will need careful tuning and rhythms are often elliptical. Each song could hardly be more different. The sharp, mordant texts have more than a hint of irony and bitterness, and the range of moods projected requires a singer of considerable artistry and poise as well as excellent diction. The first three songs (‘Literature’, ‘A Child Is a Grub’, and ‘Prayer I’) are brief, but highly concentrated. The vocal range throughout is comfortable and eminently practicable, avoiding extremes. Declamatory speech occurs in the fourth (‘Equality’), and the last movement (‘Prayer’) is almost entirely in Sprechstimme.