Journal articles: '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.

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Noble, Alistair. "Bendigo International Festival of Exploratory Music (BIFEM) 2015." Tempo 70, no. 275 (December 7, 2015): 94–95. http://dx.doi.org/10.1017/s0040298215000753.

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Each September, contemporary music enthusiasts, composers, scholars and performers from around Australia migrate toward the Victorian regional city of Bendigo for BIFEM, a remarkable music festival now in its third year. The festival has established itself as an annual event of unparalleled significance in Australia – not only as a forum for the presentation of exciting and little-heard music, but as a gathering of like-minded peers. A high proportion of the audience consists of musicians and composers, so informal conversations between concerts are almost as stimulating as the programmed forums and workshops that take place during the festival. In 2015, over the weekend 4–6 September, almost every work in the programme was an Australian premiere, which gives some further evidence of the importance of the festival to the nation's cultural ecology.

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Homan, Shane. "A contemporary cultural policy for contemporary music?" Media International Australia 158, no. 1 (February 2016): 37–47. http://dx.doi.org/10.1177/1329878x15622077.

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

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O′Brien, Ian, BronwenJ Ackermann, and Tim Driscoll. "Hearing and hearing conservation practices among Australia′s professional orchestral musicians." Noise and Health 16, no. 70 (2014): 189. http://dx.doi.org/10.4103/1463-1741.134920.

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O'Connell, Deirdre. "Contesting White Australia: Black Jazz Musicians in a White Man's Country." Australian Historical Studies 47, no. 2 (May 3, 2016): 241–58. http://dx.doi.org/10.1080/1031461x.2016.1163725.

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Michelson, Grant. "Out of Tune? Union Amalgamations and the Musicians Union of Australia." Journal of Industrial Relations 39, no. 3 (September 1997): 303–31. http://dx.doi.org/10.1177/002218569703900301.

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

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AbstractThis article examines some of the ways in which Australia's First Peoples have responded to serious community health concerns about alcohol through the medium of popular music. The writing, performing and recording of popular songs about alcohol provide an important example of community-led responses to health issues, and the effectiveness of music in communicating stories and messages about alcohol has been recognised through various government-funded recording projects. This article describes some of these issues in remote Australian Aboriginal communities, exploring a number of complexities that arise through arts-based ‘instrumentalist’ approaches to social and health issues. It draws on the author's own experience and collaborative work with Aboriginal musicians in Tennant Creek, a remote town in Australia's Northern Territory.

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Hargreaves, Wendy. "Profiling the jazz singer." British Journal of Music Education 30, no. 3 (April 30, 2013): 383–96. http://dx.doi.org/10.1017/s0265051713000107.

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This paper presents new data extracted from the National Survey of Jazz Instrumentalists and Vocalists. The survey was administered to 209 professional jazz musicians who resided and performed in Australia during 2009–2010. Presented here are five statistically significant characteristics which differentiate vocalists’ experiences from other jazz musicians. These are: the singers’ preference for learning by imitation, their use of chords to find starting notes, their reliance on aural feedback, their greater sense of personal risk in improvisation, and their desire to be comfortable when performing lyrics. The results are accompanied by suggestions as to how jazz educators may respond to the findings.

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Baadjou, Vera A., Suzanne I. Wijsman, Jane Ginsborg, Christine Guptill, Rae de Lisle, Bridget Rennie-Salonen, Peter Visentin, and Bronwen J. Ackermann. "Health Education Literacy and Accessibility for Musicians: A Global Approach. Report from the Worldwide Universities Network Project." Medical Problems of Performing Artists 34, no. 2 (June 1, 2019): 105–7. http://dx.doi.org/10.21091/mppa.2019.2011.

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OBJECTIVE: To address the need for accessible health education and improved health literacy for musicians throughout their lifespan. METHODS: Formation of a multicultural, international, and interdisciplinary collaborative research team, funded by the Worldwide Universities Network. The goal is to design a multi-strand research program to develop flexible and accessible approaches to health education for musicians, thus improving their health literacy. RESULTS: Two team meetings took place in 2018. The first was held 11 to 15 April 2018 in Perth, Australia, and involved a review of existing literature and interventions on health education in music schools, intensive development of research topics, aims, and methodologies, and identification of potential funding sources to support future large-scale research programs. This resulted in the draft design of three research projects, finalized during a second meeting in Maastricht, the Netherlands, 27 to 31 August 2018. DISCUSSION: These intensive meetings identified the need for both cultural change in music education settings as well as improved health literacy in musicians across global geographical regions. A global project to address health literacy and health education accessibility for musicians has commenced.

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O'Shea, Helen. "‘Get back to where you once belonged!’ The positive creative impact of a refresher course for ‘baby-boomer’ rock musicians." Popular Music 31, no. 2 (April 23, 2012): 199–215. http://dx.doi.org/10.1017/s0261143012000025.

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AbstractThis article reports on a study of participants in a Weekend Warriors Program for ‘lapsed’ rock musicians in Melbourne, Australia. It observes musicians over a six-week period that included a jam session, coaching sessions and a gig (concert). It examines the learning pathways of participants and their goals and experiences alongside those of the programme organisers within the comparative context of music learning practices among young and older musicians and in the light of academic research into the midlife ageing process. A question that arises from the data is the extent to which the experience and actions of middle-aged women musicians coincides with the literature on gender in youth rock music scenes and the literature on music, ageing and gender. The article concludes that the Weekend Warriors Program draws on the learning practices that the musicians involved had adopted in their youth and which act as a catalyst for their further musical and social participation and self-directed group learning. Age appeared to create no barrier to their enjoyment or their achievements; indeed in many ways it seemed to make them less inhibited and self-conscious in realising individual objectives that were further encouraged by working within a supportive if loosely bonded group.

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Temperley, Nicholas, and A. V. Beedell. "The Decline of the English Musician, 1788-1888: A Family of English Musicians in Ireland, England, Mauritius, and Australia." American Historical Review 99, no. 1 (February 1994): 230. http://dx.doi.org/10.2307/2166228.

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Rohr, Deborah, and A. V. Beedell. "The Decline of the English Musician 1788-1888: A Family of English Musicians in Ireland, England, Mauritius, and Australia." Notes 50, no. 3 (March 1994): 958. http://dx.doi.org/10.2307/898555.

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Hadley, David Warren, and Ann V. Beedell. "The Decline of the English Musician, 1788-1888: A Family of English Musicians in Ireland, England, Mauritius, and Australia." Journal of Interdisciplinary History 25, no. 2 (1994): 297. http://dx.doi.org/10.2307/206356.

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Bridgstock, Ruth. "Australian Artists, Starving and Well-Nourished: What Can we Learn from the Prototypical Protean Career?" Australian Journal of Career Development 14, no. 3 (October 2005): 40–47. http://dx.doi.org/10.1177/103841620501400307.

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Recent literature documents the demise of traditional linear careers and the rise of protean, boundaryless, or portfolio careers, typified by do-it-yourself career management and finding security in ongoing employability rather than ongoing employment. This article identifies key attributes of the ‘new career’, arguing that individuals with careers in the well-established fields of fine and performing arts often fit into the ‘new careerist’ model. Employment/career data for professional fine artists, performing artists and musicians in Australia is presented to support this claim. A discussion of the meta-competencies and career-life management skills essential to navigate the boundaryless work world is presented, with specific reference to Australian artists, and recommendations for future research.

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Brady, Veronica. "Towards an Ecology of Australia: Land of the Spirit." Worldviews: Global Religions, Culture, and Ecology 3, no. 2 (1999): 139–55. http://dx.doi.org/10.1163/156853599x00117.

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AbstractEcology has to do with the realisation of the relationships between human beings and the larger fabric of life. But the strangeness of the Australian environment as seen by the first European settlers, together with the exploitative ideology of colonisation, have posed particular problems for the development of ecological awareness. This paper argues, however, that writers, painters and musicians have kept the possibility of developing ecological awareness open from the beginnings of settlement. It also maintains that increasing sensitivity to the significance of Aboriginal culture, the oldest living culture on earth, will be perhaps the most crucial factor in this transformation.

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Gibson, Chris. "“We Sing Our Home, We Dance Our Land”: Indigenous Self-Determination and Contemporary Geopolitics in Australian Popular Music." Environment and Planning D: Society and Space 16, no. 2 (April 1998): 163–84. http://dx.doi.org/10.1068/d160163.

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Strategies for indigenous self-determination have emerged at unique junctures in national and global geopolitical arenas, challenging the formal hegemony of the nation-state with claims to land rights, sovereignty and self-governance. These movements are reflected qualitatively, in a variety of social, political, and cultural forms, including popular music in Australia. An analysis of the ‘cultural apparatus’, recordings, and popular performance events of indigenous musicians reveals the construction of ‘arenas of empowerment’ at a variety of geographical scales, within which genuine spaces of Aboriginal self-determination and self-expression can exist. Although these spaces often remain contested, new indigenous musical networks continue to emerge, simultaneously inscribing Aboriginal music into the Australian soundscape, and beginning to challenge normative geopolitical doctrines. The emergence of a vibrant Aboriginal popular music scene therefore requires a rethinking of Australian music, and appeals for greater recognition of Aboriginal artists' sophisticated geopolitical strategies.

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Grant, Catherine, Zoë Loxley Slump, and Sally Walker. "1:1 CONCERTS for a pandemic: Learnings from intimate musical encounters." International Journal of Community Music 15, no. 2 (July 1, 2022): 193–209. http://dx.doi.org/10.1386/ijcm_00059_1.

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1:1 CONCERTS is a performance initiative where a listener and a musician share a ten-minute, non-verbal musical encounter in a non-traditional performance space. The authors conducted a survey and focus groups with musicians, listeners and ‘hosts’ (facilitators) of 1:1 CONCERTS in Australia, seeking perspectives on their experiences of the Concerts during the COVID-19 pandemic. David Camlin’s three dimensions of music ‐ aesthetic/presentational, praxial/participatory and social ‐ served as a framework for data analysis. The intimate locational and musical aspects of the encounter generated feelings of connection, privilege and pleasure for many participants; for some, COVID-19 lockdowns, social distancing and live-arts deprivation heightened those feelings. We argue that while 1:1 CONCERTS retain presentational features typical of western classical music concerts, the model emphasizes the praxial and social dimensions of music-making, prioritizing process as well as product in ways relevant for music and music-making as a social resource, well beyond the pandemic.

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Kenny, Dianna, Tim Driscoll, and Bronwen Ackermann. "Psychological well-being in professional orchestral musicians in Australia: A descriptive population study." Psychology of Music 42, no. 2 (December 12, 2012): 210–32. http://dx.doi.org/10.1177/0305735612463950.

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Martin, Toby. "Dougie Young and political resistance in early Aboriginal country music." Popular Music 38, no. 03 (October 2019): 538–59. http://dx.doi.org/10.1017/s0261143019000291.

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AbstractCountry music has a reputation for being the music of the American white working-class South and being closely aligned with conservative politics. However, country music has also been played by non-white minorities and has been a vivid way of expressing progressive political views. In the hands of the Indigenous peoples of Australia, country music has often given voice to a form of life-writing that critiques colonial power. The songs of Dougie Young, dating from the late 1950s, provide one of the earliest and most expressive examples of this use of country music. Young's songs were a type of social-realist satire and to be fully understood should be placed within the broader socio-political context of 1950s and 1960s Australia. Young's legacy was also important for Aboriginal musicians in the 1990s and the accompanying reassessment of Australia's colonial past. Country music has provided particular opportunities for minority and Indigenous groups seeking to use popular culture to tell their stories. This use of country music provides a new dimension to more conventional understandings of its political role.

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Bartleet, Brydie-Leigh. "How concepts of love can inform empathy and conciliation in intercultural community music contexts." International Journal of Community Music 12, no. 3 (December 1, 2019): 317–30. http://dx.doi.org/10.1386/ijcm_00003_1.

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This article explores how concepts of love, in particular compassionate love, can provide a way of promoting empathy and conciliation in intercultural community music contexts. Drawing on the work of Deborah Bird Rose and bell hooks, it considers how love is first and foremost a verb, a participatory emotion and a social practice that can both inform and underpin efforts at building connections with others through music. The article then seeks to ask two thorny and critical questions that can arise when community musicians conceptualize their intercultural music-making through the lens of love. These questions point towards the oftentimes irreconcilable complexities, cultural politics and legacies of colonization that underpin peace-building and conciliation efforts. To illustrate and unpack these ideas, the article draws on stories and experiences of a ten-year intercultural music collaboration with Warumungu and Warlpiri musicians in Central Australia.

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Gibson, Chris. "Music Festivals: Transformations in Non-Metropolitan Places, and in Creative Work." Media International Australia 123, no. 1 (May 2007): 65–81. http://dx.doi.org/10.1177/1329878x0712300108.

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This paper addresses the theme of this special issue of MIA in the context of music festivals. It discusses the continuing growth of music festivals as avenues for musical performance, and for regional economic development, and considers what festivals mean for musicians in terms of changing audience demographics and the conditions of work. Festivals are increasingly important for musicians in building audiences and incomes. They have proliferated particularly in rural, coastal and ex-urban parts of Australia, linked to day-tripper and short-stay tourism and the wider socioeconomic transition of those places. Festivals both reflect and contribute to social and cultural changes, such as the diffusion of musical genres with specialist audiences, inward migration of particular demographic groups and shifting place identities. They also offer new opportunities for places seeking to develop tourism, and local music and performance-based industries. This paper explains these trends, and draws on results from a recent large research exercise that sought to document the extent and impact of festivals. Although they are not new, festivals continue to reconfigure musical touring networks, audiences and performance opportunities. Such reconfigurations have occurred with less public fanfare than developments surrounding digital technology and downloading cultures, but their influence on the working lives of musicians is no less profound.

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Murphy, Kerry. "Choral Concert Life in the Late Nineteenth-Century ‘Metropolis of the Southern Hemisphere’." Nineteenth-Century Music Review 2, no. 2 (November 2005): xi—xiv. http://dx.doi.org/10.1017/s1479409800002172.

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This issue of the Nineteenth-Century Music Review is devoted to Australia and more specifically to music-making in colonial Melbourne. The colony of Victoria was acknowledged as the cultural heart of Australia during the second half of the nineteenth century. Melbourne hosted two International Exhibitions in the 1880s and welcomed innumerable travelling musicians to its shores, where significant amounts of money could be made. Because of Melbourne's standing and cultural significance at the time and the extensive body of material available for study, the articles in this journal focus on this ‘metropolis of the Southern Hemisphere’. However, the activities discussed here can all be found, to varying degrees, in other parts of Australia as well. Liedertafels, for instance, were very prominent in Adelaide and its surrounding areas (and indeed still exist today), because of the significant German migration there. Philharmonic choirs were also widely established.

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Chan, Cliffton, Tim Driscoll, and Bronwen J. Ackermann. "Effect of a Musicians’ Exercise Intervention on Performance-Related Musculoskeletal Disorders." Medical Problems of Performing Artists 29, no. 4 (December 1, 2014): 181–88. http://dx.doi.org/10.21091/mppa.2014.4038.

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PURPOSE: To evaluate the effect of a purpose-designed exercise program on performance-related musculoskeletal disorders (PRMDs) and associated risk factors in a sample of professional orchestral musicians. METHODS: A 10-week exercise program was made available to full-time musicians employed by the eight premier symphony orchestras of Australia. Questionnaires were administered before, immediately after (T1), and 6 months after interventions (T2) containing questions relating to change in frequency and severity of PRMDs, ratings of perceived exertion (RPE) during rehearsal, private practice, and performance, as well as nine performance-related factors. Participants were also asked to rate whether these performance-related factors affected their overall playing capacity during different playing situations. A comparative control group of musicians had no intervention and completed a modified questionnaire at the same time points. RESULTS: Exercise participants (n=30) reported a reduction in frequency (p<0.05) and severity (p<0.05) of PRMDs at T1 but not at T2 compared to controls (n=23). The exercise group reported a significant improvement in RPE during private practice at T1 (p<0.01) and T2 (p<0.01), but not during rehearsal and performance. At T1, the intervention was rated to be moderately to highly effective for three performance-related factors: strengthening muscles that support playing, learning techniques that support playing, and posture. Further, participants reported an intervention effect on overall playing capacity during rehearsal at T1 and T2. CONCLUSIONS: A tailored exercise program for musicians was effective at managing PRMDs, especially in reducing the frequency and severity of PRMDs. Physical therapy exercises should be considered in modifying performance-related factors that have been reported to be predictors of PRMDs.

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Game-Lopata, Jenny. "Divine Art: Three Musicians Reveal the Nature of the Profession in Early Twentieth-Century Australia." Musicology Australia 34, no. 1 (July 2012): 111–15. http://dx.doi.org/10.1080/08145857.2012.681754.

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Anacin, Carljohnson. "I lost a gig ‘pero ok lang’: Filipino migrant musicians in Australia during the COVID-19 pandemic." Perfect Beat 21, no. 1 (August 27, 2021): 33–39. http://dx.doi.org/10.1558/prbt.19260.

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Smit, Eline Adrianne, Andrew J. Milne, Hannah S. Sarvasy, and Roger T. Dean. "Emotional responses in Papua New Guinea show negligible evidence for a universal effect of major versus minor music." PLOS ONE 17, no. 6 (June 29, 2022): e0269597. http://dx.doi.org/10.1371/journal.pone.0269597.

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Music is a vital part of most cultures and has a strong impact on emotions [1–5]. In Western cultures, emotive valence is strongly influenced by major and minor melodies and harmony (chords and their progressions) [6–13]. Yet, how pitch and harmony affect our emotions, and to what extent these effects are culturally mediated or universal, is hotly debated [2, 5, 14–20]. Here, we report an experiment conducted in a remote cloud forest region of Papua New Guinea, across several communities with similar traditional music but differing levels of exposure to Western-influenced tonal music. One hundred and seventy participants were presented with pairs of major and minor cadences (chord progressions) and melodies, and chose which of them made them happier. The experiment was repeated by 60 non-musicians and 19 musicians in Sydney, Australia. Bayesian analyses show that, for cadences, there is strong evidence that greater happiness was reported for major than minor in every community except one: the community with minimal exposure to Western-like music. For melodies, there is strong evidence that greater happiness was reported for those with higher mean pitch (major melodies) than those with lower mean pitch (minor melodies) in only one of the three PNG communities and in both Sydney groups. The results show that the emotive valence of major and minor is strongly associated with exposure to Western-influenced music and culture, although we cannot exclude the possibility of universality.

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Crooke, Alexander Hew Dale, Mariko Hara, Jane Davidson, Trisnasari Fraser, and Tia DeNora. "Fractured bonds and crystal capital: Social capital among COVID-era music communities." International Journal of Community Music 14, no. 2 (November 1, 2021): 247–72. http://dx.doi.org/10.1386/ijcm_00047_1.

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As COVID-19-driven lockdowns and social distancing became the new normal in 2020, musicians experienced a reshuffling of their social networks. This article uses in-depth interviews with nine community arts practitioners in Australia, Norway and the United States to explore the impact of COVID-19 on their ability to practise, collaborate and connect with their musical communities. Results showed that, while social distancing has significantly disrupted active connection with localized communities and musical networks, participants reported increased connection and engagement with wider networks through technology. Applying Putnam’s concepts of bonding and bridging capital, the authors posit that COVID-era music engagement has seen a shift towards decentralized communities through an emphasis on bridging capital. Ultimately, however, analysis showed Putnam’s concepts to be unhelpful in describing online music connections, and ‘crystal capital’ is proposed as a possible way to theorize the subjective nature of online music engagement.

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White, Rachel. "High Achievement and the Musically Gifted: How Music Educators across New South Wales, Australia Develop and Extend Their Most Capable Students." Australasian Journal of Gifted Education 31, no. 1 (April 1, 2022): 37–53. http://dx.doi.org/10.21505/ajge.2022.0004.

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Musical giftedness can manifest in many ways, and music teachers should be able to identify high musical potential beyond the demonstration of instrumental skill or musical knowledge. It is important to have a multi-faceted approach to the education of musically gifted students, particularly in the senior secondary years when students are beginning to reach higher levels of musical proficiency. As part of a study examining high achievement in senior secondary music, 50 teachers in 23 schools across New South Wales were asked about how they supported and extended the musically gifted students at their school. Results showed that participants were intuitively utilising gifted education strategies and approaches in their teaching. However, it was mainly students with demonstrable talent who were benefiting from their expertise. This study advocates for all music educators working with high achieving and gifted musicians to broaden their skills and knowledge of gifted education practices to better serve all students with high musical potential.

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Howard, Frances, Andy Bennett, Ben Green, Paula Guerra, Sofia Sousa, and Ernesta Sofija. "‘It’s Turned Me from a Professional to a “Bedroom DJ” Once Again’: COVID-19 and New Forms of Inequality for Young Music-Makers." YOUNG 29, no. 4 (April 1, 2021): 417–32. http://dx.doi.org/10.1177/1103308821998542.

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Given the unprecedented circumstances of the COVID-19 pandemic and increasingly uncertain socio-economic conditions, cultural practice remains a stable canvas upon which young people draw the most agency and exercise a sense of freedom. This article reports on an international research collaboration, drawing on the voices of 77 young musicians from three countries—Australia, England and Portugal—who were interviewed about their music-making practices during lockdown. Despite reporting loss of jobs and income and the social distancing restrictions placed upon the ability to make music, most young music-makers were positive about the value of having more time, to be both producers and consumers of music. At the same time, however, our data also highlight increasing forms of inequality among young music-makers. This article argues that despite short-term gains in relation to developing musical practice, the longer-term impacts of COVID-19 on the music industry will affect the sector for years to come.

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Bartleet, Brydie-Leigh, Naomi Sunderland, and Gavin Carfoot. "Enhancing intercultural engagement through service learning and music making with Indigenous communities in Australia." Research Studies in Music Education 38, no. 2 (October 6, 2016): 173–91. http://dx.doi.org/10.1177/1321103x16667863.

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This article explores the potential for music making activities such as jamming, song writing, and performance to act as a medium for intercultural connection and relationship building during service learning programs with Indigenous communities in Australia. To set the context, the paper begins with an overview of current international perspectives on service learning and then moves towards a theoretical and practical discussion of how these processes, politics, and learning outcomes arise when intercultural engagement is used in service learning programs. The paper then extends this discussion to consider the ways in which shared music making can bring a sense of intercultural “proximity” that has the potential to evoke deep learning experiences for all involved in the service learning activity. These learning experiences arise from three different “facings” in the process of making music together: facing others together; facing each other; facing ourselves. In order to flesh out how these theoretical ideas work in practice, the article draws on insights and data from Queensland Conservatorium Griffith University’s award winning Winanjjikari Service Learning Program, which has been running in partnership with Barkly Regional Arts and Winanjjikari Music Centre in Tennant Creek since 2009. This program involves annual service learning trips where university music students travel to Central Australia to work alongside Aboriginal and non-Indigenous musicians and artists on a range of community-led projects. By looking at the ways in which shared music making brings participants in this program “face to face”, we explore how this proximity leads to powerful learning experiences that foster mutual appreciation, relationship building, and intercultural reconciliation.

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Nazarska, Georgeta. "Emigrants, Travelers, and Escapers: the Haidutoff Family between Occident and Orient." Balkanistic Forum 30, no. 2 (June 1, 2021): 166–84. http://dx.doi.org/10.37708/bf.swu.v30i2.10.

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The article examines the migrations of young Bulgarians abroad in the 1920-1930s, caused by the Great Depression and in particular the labor migrations of Bulgarian musicians in Egypt and the Near East and their cultural and social interactions with the Bulgarian diaspora there and with the local population. The focus of the study is the travels of the Haidutoff family – a musical trio that has made a living in Egypt for many years, and in the 1920s-1930s traveled and gave concerts in Argentina, France, Italy, Germany, Belgium, Switzerland, Australia and Java island, then returned to Bulgaria and re-emigrated to Egypt. The text analyzes how their mobility is facilitated by blood-related networks, professional networks and interest networks, how it enables their nationalism to interact with the international environment, and how they perceive the West and the East (Orient) as traveling people through their own cultural stereotypes and social distances. The fate of the violinist Nedyalka Simeonova – the daughter-in-law in the family and a member of the musical trio – is traced in detail.

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de Bruin, Leon R. "Evolving Regulatory Processes Used by Students and Experts in the Acquiring of Improvisational Skills: A Qualitative Study." Journal of Research in Music Education 65, no. 4 (November 17, 2017): 483–507. http://dx.doi.org/10.1177/0022429417744348.

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The way an improviser practices is a vital and significant aspect to a musician’s means and capacities of expression. Expert music performers utilize extensive self-regulatory processes involving planning, strategic development, and systemized approaches to learning and reflective practice. Scholars posit that these processes are constructivist and socioculturally explained and manifest in individual, jointly negotiated, and shared learning. This qualitative study explores the regulatory processes of four prominent Australian improvising musician-educators and four tertiary improvisation students. Expert and developing musicians’ processes in learning and teaching improvised music-making were investigated through observations of self-regulation, co-regulation, and shared regulation strategies. I identified and analyzed regulatory learning strategies located from practice, training, and experience using interpretative phenomenological analysis. Findings suggest insights of evolving self-regulative behavior that are dynamic, task-specific, personalised, and contextually contingent across individual and collaborative tasks and activity. An integrative regulatory model of learning offers guidance and reflection of metacognitive flow within a social constructed view of learning. Implications for researchers and educators are drawn for meaningful educational practice by knowing and understanding expert improvisers’ complex concepts of self-regulation, critical thinking, problem solving, and the evolution and evaluation of creative processes in improvisers.

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Weber, William. "A. V. Beedell. The Decline of the English Musician, 1788–1888: A Family of English Musicians in Ireland, England, Mauritius, and Australia. New York: The Clarendon Press, Oxford University Press. 1992. Pp. xv, 329. $72.00." Albion 25, no. 3 (1993): 508–10. http://dx.doi.org/10.2307/4050906.

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Lee, Juyoung, Amanda E. Krause, and Jane W. Davidson. "The PERMA well-being model and music facilitation practice: Preliminary documentation for well-being through music provision in Australian schools." Research Studies in Music Education 39, no. 1 (April 12, 2017): 73–89. http://dx.doi.org/10.1177/1321103x17703131.

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The aim of this study was to consider how we can invest in music-making to promote well-being in school contexts. Web-based data collection was conducted where researchers identified 17 case studies that describe successful music programs in schools in Australia. The researchers aligned content from these case studies into the five categories of the PERMA well-being model: Positive emotions, Engagement, Relationships, Meaning, and Accomplishment, in order to understand how each well-being element was realised through the music programs. The results indicate that the element of the PERMA well-being model that relates to relationships was described most often. Collaboration and partnership between students, teachers, and staff in schools, and local people in the community such as parents, local entrepreneurs, and musicians were repeatedly identified as a highly significant contributing factor in the success of the music program. The school leaders’ roles in providing opportunities for students to experience musical participation and related activities (engagement) and valuing these experiences (meaning) were also crucial in the facilitation of the music programs. The findings of this study indicate that tailored music and relationship-centred music programs in schools not only increase skills and abilities of the students, but also improve the psychosocial well-being of the students and the community.

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Ranelli, Sonia, Leon Straker, and Anne Smith. "Playing-related Musculoskeletal Problems in Children Learning Instrumental Music: The Association Between Problem Location and Gender, Age, and Music Exposure Factors." Medical Problems of Performing Artists 26, no. 3 (September 1, 2011): 123–39. http://dx.doi.org/10.21091/mppa.2011.3021.

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PURPOSE: Playing-related musculoskeletal problems (PRMP) are common in adult musicians, and risk factors include gender, music exposure, and particularly instrument type. Emerging evidence suggests PRMP are common in children and adolescents and that risk factors may be similar. The aim of this study was to determine the prevalence of PRMP, both symptoms and disorders, and PRMP location in children and adolescents as well as the associations with gender, age, and music exposure factors such as type and number of instruments and playing time. METHODS: This study surveyed 731 children (460 females), aged 7 to 17 years, studying instrumental music in government schools in Perth, Australia. Lifetime and monthly symptoms, monthly disorders (inability to play an instrument as usual), and PRMP location were examined. Chi-squared analyses were used to evaluate associations between gender, age, music exposure, and PRMP outcomes. Logistic regression evaluated the independent association of these potential risk factors with PRMP prevalence and location. RESULTS: Sixty-seven percent of students reported PRMP symptoms at some point, 56% reported them within the last month, and 30% reported an inability to play as usual within the last month. After adjustment for gender and age, the type of instrument played (upper and lower strings, woodwind, and brass) was significantly associated with all PRMP (p<0.005) and playing three instruments was protective against monthly symptoms (OR 0.43, p=0.05). The right (24%) and left (23%) hand/elbow and neck (16%) were the most commonly reported PRMP locations, with females affected significantly more than males Prevalence of PRMP increased with age for neck (p<0.001), mid-back (p=0.007), low back (p<0.001), right hand/elbow (p=0.008), and mouth (p=0.011). PRMP prevalence for the left hand/elbow and right and left shoulders demonstrated high rates across all childhood ages. Odds ratios for the risk of PRMP in different locations varied by instrument played. CONCLUSIONS: The high prevalence and location of PRMP are important issues for child and adolescent instrumentalists. Gender, age, and music exposure are associated with PRMP risk and need to be addressed to ensure musicians’ personal well-being and musical longevity.

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Rini, Peni Candra. "Interpretasi Feminisme Tokoh Nyai Ontosoroh Dalam Novel Bumi Manusia Tulisan Pramoedya Ananta Toer Pada Komposisi Musik Ontosoroh Karya Peni Candra Rini." Gelar : Jurnal Seni Budaya 17, no. 1 (August 6, 2019): 24–30. http://dx.doi.org/10.33153/glr.v17i1.2598.

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ABSTRAK Komposisi musik Ontosoroh mencoba menginterpretasi feminisme Nyai Ontosoroh dalam karya musik Ontosoroh, karya Peni Candra Rini. Dalam karya ini mencoba mengungkap wacana-wacana feminisme dari seorang wanita dalam menghadapi lika-liku kehidupan yang penuh dengan kemalangan dan nasib buruk yang diperoleh sejak kecil. Tetapi dari nasib buruk tersebut, Ontosoroh memiliki tekad yang kuat dalam mengubah nasib hidupnya dari seorang gundik, menjadi seorang pengusaha sukses dengan kekayaan yang melimpah. Karya yang digunakan sebagai obyek material adalah pementasan yang dilakukan di TBJT Surakarta pada 18 Agustus 2013, pukul 19:30. Pementasan ini adalah ‘preview season’ menjelang ‘Australia premiere’ di OzAsia Festival, Adelaide, Australia Selatan, pada tanggal 16 dan 17 September 2013. Pementasan ini dibantu oleh tiga musisi, yakni; Prisha Bashori Mustofa (Biola), Iswanto (Gender), dan Plenthe (Perkusi). Landasan teoritis karya ini menggunakan teori feminisme, sedangkan wacana feminisme yang diperoleh akan dipaparkan menjadi beberapa babak dalam satu pementasan, antara lain babak yang menggambarkan kelahiran tokoh Ontosoroh, Adegan Ontosoroh dijual oleh ayahnya, dan usaha-usaha yang ditampilkan oleh Ontosoroh dalam mengatasi nasib malangnya. Interpretasi feminisme di tafsir ulang dalam bentuk interaksi musikal, berupa komposisi musik dan vokal tunggal. Kata Kunci: Ontosoroh, Bumi Manusia, Feminisme, Peni Candra Rini. ABSTRACT The musical composition Ontosoroh tries to interpret Nyai Ontosoroh’s feminism in the musical work Ontosoroh by Peni Candra Rini. This work tries to uncover feminism discourses from a woman in facing her life that is full of misfortune and bad luck obtained since her childhood. From the bad luck, Ontosoroh has a strong will to change his destiny from a mistress to become a successful businessman with abundant wealth. The work used as a material object is a performance presented at the Surakarta TBJT on August 18, 2013, at 7:30 p.m. This performance is a ‘preview season’ ahead of ‘Australia premiere’ at the OzAsia Festival, Adelaide, South Australia, on September 16 and 17 2013. The performance is assisted by three musicians, namely; Prisha Bashori Mustofa (Biola), Iswanto (Gender), and Plenthe (Percussion). The theoretical basis of this work uses the theory of feminism, and the discourse of feminism obtained will be presented into several stages in one performance. The stages include the birth of Ontosoroh, Ontosoroh is sold by his father, and the struggle of Ontosoroh in overcoming his bad luck. The interpretation of feminism is reinterpreted in the form of musical interaction presented in the form of a musical composition and a single vocalist. Keywords: Ontosoroh, Bumi Manusia, Feminism, Peni Candra Rini.

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Said, Shannon. "White Pop, Shiny Armour and a Sling and Stone: Indigenous Expressions of Contemporary Congregational Song Exploring Christian-Māori Identity." Religions 12, no. 2 (February 16, 2021): 123. http://dx.doi.org/10.3390/rel12020123.

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It has taken many years for different styles of music to be utilised within Pentecostal churches as acceptable forms of worship. These shifts in musical sensibilities, which draw upon elements of pop, rock and hip hop, have allowed for a contemporisation of music that functions as worship within these settings, and although still debated within and across some denominations, there is a growing acceptance amongst Western churches of these styles. Whilst these developments have taken place over the past few decades, there is an ongoing resistance by Pentecostal churches to embrace Indigenous musical expressions of worship, which are usually treated as token recognitions of minority groups, and at worst, demonised as irredeemable musical forms. This article draws upon interview data with Christian-Māori leaders from New Zealand and focus group participants of a diaspora Māori church in southwest Sydney, Australia, who considered their views as Christian musicians and ministers. These perspectives seek to challenge the relationship between Indigenous and non-Indigenous relations within a church setting and create a more inclusive philosophy and practice towards being ‘one in Christ’ with the role of music as worship acting as a case study throughout. It also considers how Indigenous forms of worship impact cultural identity, where Christian worship drawing upon Māori language and music forms has led to deeper connections to congregants’ cultural backgrounds.

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Stevens, Robin S. "Pathfinder and Role Model: Ada Bloxham, Australian Vocalist and Tonic Sol-fa Teacher." Journal of Historical Research in Music Education 39, no. 2 (January 18, 2017): 131–47. http://dx.doi.org/10.1177/1536600616669360.

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The Australian mezzo-soprano Ada Beatrice Bloxham (1865–1956) was the inaugural winner (in 1883) of the Clarke Scholarship for a promising musician resident in the Colony of Victoria to study at the Royal College of Music in London. She was the first Australian to enrol at the Royal College of Music and to graduate as an Associate of the College in 1888, and she was the first woman to be awarded a Fellowship of the Tonic Sol-fa College, London, also in 1888. After a period teaching and performing in Japan (1893–1899), she married and lived variously in South Africa, England, and France, returning to Australia in 1927. Due most probably to her marriage and family responsibilities, she appears not to have achieved her full potential as a performer and teacher. Nevertheless, Bloxham is worthy of recognition as having gained success as a musician and educator both in her native Australia and abroad during her early and middle years, and as a pathfinder and role model for other women during the early years of their musical careers.

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McCredie, Andrew D. "Musician Exiles in Australia." Zeitschrift für Australienstudien / Australian Studies Journal 10 (1996): 169–70. http://dx.doi.org/10.35515/zfa/asj.10/1996.26.

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Radic, Thérèse. "Major Choral Organizations in Late Nineteenth-Century Melbourne." Nineteenth-Century Music Review 2, no. 2 (November 2005): 3–28. http://dx.doi.org/10.1017/s1479409800002184.

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Australian musical life was founded and sustained for over 150 years by a particular class of displaced British and European professional musicians, mostly men, who brought with them what is now known as Western art music. At the time of Australia's foundation, a number of British musicians (many of them composers at the rudimentary level expected of musicians of the day), unable to find work where Italians and Germans were preferred, opted for migration to the colonies in the hope of trading their way out of a difficult situation. Some took ship to avoid the law (the debt-ridden composer Isaac Nathan for example), some came as farmers or joined the gold rushes, only to fail and have to turn to their musical skills again to earn a living (William Vincent Wallace, composer of one of the nineteenth century's most popular operas, Maritana, comes to mind).

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Southcott, Jane, and Renee Georgoulas. "Heritage and adaptation: Greek Australian musicians in Melbourne." International Journal of Community Music 12, no. 2 (August 1, 2019): 189–205. http://dx.doi.org/10.1386/ijcm.12.2.189_1.

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Journal articles on the topic 'Musicians Australia'

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