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Journal articles on the topic 'Songs of Central Australia'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

CURRAN, GEORGIA, and CALISTA YEOH. "“That is Why I am Telling this Story”: Musical Analysis as Insight into the Transmission of Knowledge and Performance Practice of a Wapurtarli Song by Warlpiri Women from Yuendumu, Central Australia." Yearbook for Traditional Music 53 (December 2021): 45–70. http://dx.doi.org/10.1017/ytm.2021.4.

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AbstractInsights into the knowledge, performance, and transmission of songs are pivotal in ensuring the survival of traditional Aboriginal songs. We present the first in-depth musical analysis of a Wapurtarli yawulyu song set sung by Warlpiri women from Yuendumu, Central Australia, recorded in December 2006 with a solo lead singer accompanied by a small group. Our musical analysis reveals that there are various interlocking parts of a song, and this can make it difficult for current generations to learn songs. The context of musical endangerment and the musical analyses presented in our study show that contemporary spaces for learning yawulyu must consider the complex components that come together for a song set to be properly performed.

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2

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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3

EWART, A. "Two new genera and five new species of Mugadina-like small grass cicadas (Hemiptera: Cicadidae: Cicadettini) from Central and Eastern Australia: comparative morphology, songs, behaviour and distributions." Zootaxa 4413, no. 1 (April 20, 2018): 1. http://dx.doi.org/10.11646/zootaxa.4413.1.1.

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Moulds (2012) established the genus Mugadina for two small cicadas, M. marshalli (Distant) and M. emma (Goding and Froggatt), both grass inhabiting species known from Queensland and New South Wales. Both species are notable for their relatively simple 'ticking' songs. Moulds further noted that there were at least two superficially similar genera of cicadas, but each with different genitalia. This paper describes two new genera of small (9–15 mm body lengths) and distinctive grass cicadas with genitalia that are very similar to those of Mugadina, but possess clear morphological, colour and calling song differences. The new genera are: Heremusina n. gen. with two known species namely H. udeoecetes n. sp. and H. pipatio n. sp.; the second new genus is Xeropsalta n. gen., containing four known species, X. thomsoni n. sp., X. aridula n. sp., X. rattrayi n. sp., and X. festiva n. comb. Heremusina n. gen. species are described from the Alice Springs area of Northern Territory and the Cloncurry area of northwest Queensland, from arid to semi arid habitats. The Xeropsalta n. gen. species are described from western, southwest and central Queensland, and from the Simpson and Strzelecki Deserts in northeastern South Australia and northwestern New South Wales, respectively, all locations in very arid to arid habitats, but close to seasonal (often irregular) rivers and lakes. X. festiva n. comb. occurs in semi arid habitats in southern and southeastern Australia. Detailed taxonomic descriptions are provided of the new species, together with distributions, habitats, and the calling songs. The Heremusina species emit songs with short repetitive buzzing echemes, the echeme durations differing between each species. The Xeropsalta songs are notable for their complexity, containing multiple elements with rapid changes of amplitudes and temporal structures, rather atypical of the songs of most small grass dwelling cicadas. Detailed song structures distinguishing each of the species are illustrated and interpreted in each case in light of their respective taxonomic status.

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4

EWART, A., L. W. POPPLE, and K. B. R. HILL. "Five new species of grass cicadas in the genus Graminitigrina (Hemiptera: Cicadidae: Cicadettinae: Cicadettini) from Queensland and Northern Territory, Australia: comparative morphology, songs, behaviour and distributions." Zootaxa 4228, no. 1 (February 7, 2017): 1. http://dx.doi.org/10.11646/zootaxa.4228.1.1.

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Five new species of small grass cicadas belonging to the genus Graminitigrina Ewart and Marques are described, together with detailed analyses of their calling songs. Four species occur in Queensland, G. aurora n. sp. from eastern central Queensland near Fairbairn Dam; G. flindensis n. sp. from central Queensland between Hughenden northwards for at least 108 km; G. einasleighi n. sp. from near The Lynd, Einasleigh River, northeastern Queensland; G. selwynensis n. sp. from the Selwyn Range, northwestern Queensland, at locations about 40 km east of Mount Isa and 25 km southwest of Cloncurry, this latter here transferred from G. bowensis Ewart and Marques; G. uluruensis n. sp. from Uluru and the Olgas in southwestern Northern Territory, extending northwards through Tennant Creek and apparently further north to near Larrimah, a linear distance of approximately 1190 km. These new species bring the known Graminitigrina species to ten, all superficially similar in colour and morphology. A key to male specimens is provided for the 10 species. Additional distribution records and additional aural song recordings are presented for G. bowensis, these requiring the transfer of populations previously identified as G. bowensis from Croydon and Georgetown, northern Gulf region, to G. karumbae Ewart and Marques. Detailed comparative analyses, including NMDS analyses, of the songs of all 10 species are provided, which show that the song parameters are appropriate to distinguish the species, although some partial overlap is noted in the waveform plots between the songs of G. uluruensis n. sp. and G. flindensis n. sp. Regional variations of song parameters are noted in the calling songs of most of the species described.

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5

Turpin, Myfany, and Jennifer Green. "Rapikwenty: ‘A loner in the ashes’ and other songs for sleeping." Studia Metrica et Poetica 5, no. 1 (August 5, 2018): 52–79. http://dx.doi.org/10.12697/smp.2018.5.1.03.

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Rapikwenty is a traditional Australian Indigenous set of stories-and-songs from the Utopia region of Central Australia performed by Anmatyerr speaking adults to lull children to sleep. The main protagonist is a boy who is left to play alone in the ashes. Like many lullabies, Rapikwenty is characterised by scary themes, soft dynamics, a limited pitch range and repetition. The story-and-song form is not common in the Australian literature on lullabies, yet such combinations of prose and verse are found in other forms of verbal art of the region (Green 2014). This verbal art style is also well-attested in other oral traditions of the world (Harris & Reichl, 1997). Rapikwenty resembles other Anmatyerr genres in its song structure; yet differs in its performance style. Echoing Trainor et al. (1999: 532), we find it is the “soothing, smooth, and airy” delivery, rather than any formal properties of the genre, that achieves the lulling effect. In addition, Rapikwenty uses the recitative style known as arnwerirrem ‘humming’. The voice thus moves seamlessly between spoken story and sung verse, creating a smooth delivery throughout. We suggest that the combination of prose and verse reflects an Anmatyerr concept of song as prototypically punctuating events in a story rather than a medium for story-telling itself. This article suggests a more nuanced approach to the relationship between genre and performance styles.

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6

Keller, Judith. "Songs of the Australian Landscape: The Art and Spirituality of Rosalie Gascoigne." Pacifica: Australasian Theological Studies 20, no. 3 (October 2007): 307–21. http://dx.doi.org/10.1177/1030570x0702000305.

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This article focuses upon the central motifs and symbols of the Australian abstract artist Rosalie Gascoigne (1917-1999) in an attempt to uncover the spirituality in her work, and to connect this with Australian spirituality and with spirituality in the wider Christian tradition. The author proposes such a connection to be the fruit of bringing to bear the religious imagination upon Gascoigne's work, that is, a capacity to attend to the contemplative, creative and sacramental layers in it. Such a capacity invites a response to the artist's work that is ultimately religious. For Australia to be known as land of the spirit ( Terra spiritus), theologians cannot neglect the work of artists such as Rosalie Gascoigne.

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EWART, A., and L. W. POPPLE. "New species of Drymopsalta Heath Cicadas (Cicadidae: Cicadettinae: Cicadettini) from Queensland and Northern Territory, Australia, with overview of genus." Zootaxa 3620, no. 1 (March 5, 2013): 1–42. http://dx.doi.org/10.11646/zootaxa.3620.1.1.

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Three new species are described in the genus Drymopsalta Ewart, previously known only from D. crepitum Ewart and D. daemeli Distant. The three new species occur in Southern Queensland and Northern Territory. D. wallumi sp. nov. occurs along coastal S.E. Queensland, whereas D. hobsoni sp. nov. is restricted to the Bringalily State Forest, near Inglewood, southern inland Queensland. D. acrotela sp. nov. is found in the Litchfield National Park and other locations near Jabaluka, Cahills Crossing, E. Alligator River and Nourlangie, all across the northern Northern Territory. D. crepitum occurs on the Cape York Peninsular extending into the southern Gulf, while D. daemeli occurs in two localised regions in central coastal N.S.W. Each of the species inhabits heath vegetation, often spilling-over into adjacent tree foliage. The species of Drymopsalta are small and inconspicuous cicadas (<15 mm body length) with relatively high frequency songs (~15 to 22 kHz). The temporal structures of the normal calling songs follow a similar pattern in each species, consisting of the emission of short chirps (comprising 2–16 ticks). Between the chirps are emitted one (D. wallumi, D. hobsoni, D. acrotela), two (D. daemeli) or 1–9 (D. crepitum) intervening single ticks. The species can be distinguished by the timing and the number of these single ticks relative to the adjacent chirps with the notable exception of D. hobsoni and D. acrotela. The calling songs of these two allopatric species are indistinguishable, an unusual feature in Australian cicadas. Two additional song variants are described, a more unstructured chirping song without intervening single ticks observed in each of the species except D. crepitum, and periodic extended buzzing echemes emitted within the calling songs (excepting the D. wallumi song).

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8

Roseman, Marina, and Richard M. Moyle. "Alyawarra Music: Songs and Society in a Central Australian Community." Yearbook for Traditional Music 20 (1988): 235. http://dx.doi.org/10.2307/768184.

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9

Lauridsen, Jan, Richard M. Moyle, and Slippery Morton. "Alyawarra Music: Songs and Society in a Central Australian Community." Ethnomusicology 38, no. 1 (1994): 159. http://dx.doi.org/10.2307/852272.

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10

Stubington, Jill. "Alyawarra music: Songs and society in a central australian community." Musicology Australia 10, no. 1 (January 1987): 73–74. http://dx.doi.org/10.1080/08145857.1987.10415182.

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11

Yeoh, Calista, and Myfany Turpin. "An Aboriginal Women’s Song from Arrwek, Central Australia." Musicology Australia 40, no. 2 (July 3, 2018): 101–26. http://dx.doi.org/10.1080/08145857.2018.1550141.

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12

Messner, Gerald Florian, and Richard M. Moyle. "Songs of the Pintupi; Musical Life in a Central Australian Society." Yearbook for Traditional Music 17 (1985): 211. http://dx.doi.org/10.2307/768446.

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13

POPPLE, LINDSAY W., and DAVID L. EMERY. "Five new species of Yoyetta Moulds (Hemiptera: Cicadidae: Cicadettinae) from south-eastern Australia." Zootaxa 5141, no. 5 (May 30, 2022): 401–41. http://dx.doi.org/10.11646/zootaxa.5141.5.1.

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Five new species are described in the genus Yoyetta Moulds, each belonging to the Yoyetta tristrigata (Goding and Froggatt) species group. Yoyetta australicta n. sp. occurs in southern eucalypt woodlands in two separate populations, one extending from the foothills of the Mt Lofty Ranges and southern fringes of Adelaide north to the Flinders Ranges, and the other from Warrumbungle National Park and from Clandulla, near Orange and near Grenfell in New South Wales south to Mt Taylor in the Australian Capital Territory. Yoyetta corindi n. sp. has a restricted, coastal and subcoastal warm temperate distribution in north-eastern New South Wales open forest communities between Trustums Hill and Arrawarra, extending inland from south-west of Grafton to Tyringham. Yoyetta delicata n. sp. has an inland warm temperate distribution in eucalypt woodland and open forest from near Killarney and west of Warwick in south-east Queensland south to Cassilis and near Wyong in central New South Wales. Yoyetta ignita n. sp. is found from Flinders Peak and Mt Tamborine in south-east Queensland, south along the Great Dividing Range (and inland to Mt Kaputar) in New South Wales, with a disjunct population on the eastern slopes of Mt Ainslie in the Australian Capital Territory. Yoyetta robusta n. sp. is found from the Granite Belt in south-east Queensland south to the Glenn Innes area in northern New South Wales. The new species are all small–medium sized cicadas (15–25 mm body length) with male calling songs that are distinguishable from one another and from other species in the genus. In three of the new species (Y. australicta n. sp., Y. corindi n. sp. and Y. robusta n. sp.), the songs are characterised by sharp, high energy ticks or clicks, produced mainly in flight. Each of these species also produces ticks or clicks, sometimes in combination with a short buzz, while stationary. Of the remaining two species, one (Y. delicata n. sp.) produces a soft, coarse buzzing song while stationary and the other (Y. ignita n. sp.) produces a combination of buzzes and clicks while stationary. A key to species in the Y. tristrigata species group is provided.

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Warren, Victoria E., Rochelle Constantine, Michael Noad, Claire Garrigue, and Ellen C. Garland. "Migratory insights from singing humpback whales recorded around central New Zealand." Royal Society Open Science 7, no. 11 (November 2020): 201084. http://dx.doi.org/10.1098/rsos.201084.

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The migration routes of wide-ranging species can be difficult to study, particularly at sea. In the western South Pacific, migratory routes of humpback whales between breeding and feeding areas are unclear. Male humpback whales sing a population-specific song, which can be used to match singers on migration to a breeding population. To investigate migratory routes and breeding area connections, passive acoustic recorders were deployed in the central New Zealand migratory corridor (2016); recorded humpback whale song was compared to song from the closest breeding populations of East Australia and New Caledonia (2015–2017). Singing northbound whales migrated past New Zealand from June to August via the east coast of the South Island and Cook Strait. Few song detections were made along the east coast of the North Island. New Zealand song matched New Caledonia song, suggesting a migratory destination, but connectivity to East Australia could not be ruled out. Two song types were present in New Zealand, illustrating the potential for easterly song transmission from East Australia to New Caledonia in this shared migratory corridor. This study enhances our understanding of western South Pacific humpback whale breeding population connectivity, and provides novel insights into the dynamic transmission of song culture.

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Dussart, Françoise. "Sustaining Indigenous Songs: Contemporary Warlpiri Ceremonial Life in Central Australia. By GeorgiaCurran. New York‐Oxford: Berghahn. 2020. Pp. 206." Oceania 91, no. 1 (March 2021): 128–29. http://dx.doi.org/10.1002/ocea.5291.

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

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17

Gibson, Jason. "Central Australian Songs: A History and Reinterpretation of their Distribution through the Earliest Recordings." Oceania 85, no. 2 (July 2015): 165–82. http://dx.doi.org/10.1002/ocea.5084.

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18

Curran, Georgia, Linda Barwick, Myfany Turpin, Fiona Walsh, and Mary Laughren. "Central Australian Aboriginal Songs and Biocultural Knowledge: Evidence from Women's Ceremonies Relating to Edible Seeds." Journal of Ethnobiology 39, no. 3 (September 19, 2019): 354. http://dx.doi.org/10.2993/0278-0771-39.3.354.

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Contois, Emily J. H. "“He just smiled and gave me a Vegemite sandwich”." Journal of Historical Research in Marketing 8, no. 3 (August 15, 2016): 343–57. http://dx.doi.org/10.1108/jhrm-06-2015-0019.

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Purpose Through a case study of J. Walter Thompson and Kraft’s efforts to market Vegemite in the USA in the late 1960s, this paper aims to explore transnational systems of cultural production and consumption, the US’s changing perception of Australia and the influence of culture on whether advertising fails or succeeds. Design/methodology/approach This paper draws from archival primary sources, including advertisements and newspapers, as well as secondary literatures from the fields of advertising history, food studies and transnational studies of popular culture. Findings Although J. Walter Thompson’s advertising contributed to Vegemite’s icon status in Australia, it failed to capture the American market in the late 1960s. In the 1980s, however, Vegemite did capture American interest when it was central to a wave of Australian popular culture that included films, sport and music, particularly Men at Work’s hit song, “Down Under”, whose lyrics mentioned Vegemite. As such, Vegemite’s moment of success stateside occurred without a national advertising campaign. Even when popular, however, Americans failed to like Vegemite’s taste, confirming it as a uniquely culturally specific product. Originality/value This paper analyzes a little-studied advertising campaign. The case study’s interdisciplinary findings will be of interest to scholars of advertising history, twentieth century USA and Australian history and food studies.

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20

Mackinlay, Elizabeth, Johnny Mundrugmundrug, Jacky Riala, and Margaret Clunies Ross. "Australia: Goyulan: The Morning Star. An Aboriginal Clan Song Series from North Central Arnhem Land." Ethnomusicology 39, no. 3 (1995): 515. http://dx.doi.org/10.2307/924641.

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21

Major, Richard E., and Greg Gowing. "Survival of red-capped robins (Petroica goodenovii) in woodland remnants of central western New South Wales, Australia." Wildlife Research 28, no. 6 (2001): 565. http://dx.doi.org/10.1071/wr01040.

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To determine relative survival rates of small birds occupying small, linear strips of woodland compared with large patches of woodland, marked populations of red-capped robins were monitored over a two-year period. In total, 196 male robins were banded with unique colour combinations in 10 woodland remnants and censused by song playback at half-yearly intervals. The Cormack–Jolly–Seber method was used to calculate half-yearly survival probabilities for birds in the two habitat configurations and the strongest model included separate survival parameters for summer (36.2% 5.1) and autumn (88.9% 13.5) half-years, but a constant recapture probability (50.5% 7.2). The inclusion of separate parameters for the large and linear habitat configurations reduced the strength of the model, indicating that there was no significant difference between the survival rates of birds occupying small, linear strips of woodland and birds occupying large patches of woodland. The mean annual survival, determined by multiplying the half-yearly survival probabilities, was 32%, which is low, compared with the annual survival of other Petroica robins. Although no banded birds were located away from the banding site, we suspect that much of the ‘mortality’ represented emigration during the summer half-year. Under this scenario a better estimate of annual survival (79%) might be achieved by extrapolation of survival over the winter half-year. This study provides no data to support the contention that adult mortality is higher in small, linear strips of habitat, although further data on the fate of birds that disappear from remnants is required before this is conclusive. In addition, to detect a 20% difference in survival using similar methods to the present study, with their accompanying sources of variation, at least 10 times the number of birds would need to be monitored. This might most effectively be done as a co-operative banding project.

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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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23

Carter, Simon A., Liz Lightstone, Dan Cattran, Allison Tong, Arvind Bagga, Sean J. Barbour, Jonathan Barratt, et al. "A Core Outcome Set for Trials in Glomerular Disease." Clinical Journal of the American Society of Nephrology 17, no. 1 (December 30, 2021): 53–64. http://dx.doi.org/10.2215/cjn.07840621.

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Background and objectivesOutcomes reported in trials in adults with glomerular disease are often selected with minimal patient input, are heterogeneous, and may not be relevant for clinical decision making. The Standardized Outcomes in Nephrology–Glomerular Disease (SONG-GD) initiative aimed to establish a core outcome set to help ensure that outcomes of critical importance to patients, care partners, and clinicians are consistently reported.Design, setting, participants, and measurementsWe convened two 1.5-hour workshops in Melbourne, Australia, and Washington, DC, United States. Attendees were identified purposively with 50 patients/care partners and 88 health professionals from 19 countries; 51% were female. Patients and care partners were from the United States, Australia, and Canada, and had experience of a glomerular disease with systemic features (n=9), kidney-limited nephrotic disease (n=9), or other kidney-limited glomerular disease (n=8). Attendees reviewed the results of the SONG-GD Delphi survey and aims of the workshop and then discussed potential core outcomes and their implementation in trials among moderated breakout groups of eight to 12 people from diverse backgrounds. Transcripts of discussions were analyzed thematically.ResultsThree themes were identified that supported the proposed core outcomes: limiting disease progression, stability and control, and ensuring universal relevance (i.e., applicable across diverse populations and settings). The fourth theme, preparedness for implementation, included engaging with funders and regulators, establishing reliable and validated measures, and leveraging existing endorsements for patient-reported outcomes.ConclusionsWorkshop themes demonstrated support for kidney function, disease activity, death, life participation, and cardiovascular disease, and these were established as the core outcomes for trials in adults with glomerular disease. Future work is needed to establish the core measures for each domain, with funders and regulators central to the uptake of the core outcome set in trials.

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YANG, MINA. "Moulin Rouge! and the Undoing of Opera." Cambridge Opera Journal 20, no. 3 (November 2008): 269–82. http://dx.doi.org/10.1017/s095458670999005x.

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AbstractWhile Moulin Rouge! (2001) riffs on and even exaggerates conventions from classic Hollywood backstage musicals, it owes a clear debt to an even earlier musico-dramatic genre – the opera. Combining operatic and film musical elements with those of pop videos, contemporary cinema and the rave scene, Baz Luhrmann's film engages with many of the thorny issues that have concerned opera critics of late, such as power, gender, exoticism, authorship, and identity construction and performance. The spotlight on the central love triangle of a consumptive courtesan, a writer and a wealthy patron makes possible a deeper scrutiny of traditional gender roles in the production and reception of Western art. The film's formulaic plot and the backstage musical format render transparent the commercial impetus behind the creative process and demystify the role of the Romantic artist-genius. Finally, the transnational and transhistorical elements of the film – a mostly Australian production team and crew, American and British pop songs, a Parisian backdrop, the Bollywood-inspired show-within-a-show, numerous anachronisms that refuse to stay confined within the specified time setting of the late nineteenth century – disrupt the Classical ideals of artistic unity and integrity and suggest new postmodern geographies and temporalities. This article considers how Luhrmann, by simultaneously paying homage to and critiquing operatic practices in Moulin Rouge!, deconstructs and reinvents opera for the postmodern age.

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25

Southcott, Jane, and Angela Hao-Chun Lee. "Imperialism in School Music: Common Experiences in Two Different Cultures." International Journal of Music Education os-40, no. 1 (May 2003): 28–40. http://dx.doi.org/10.1177/025576140304000104.

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Empire, imperialism and colonialism are all terms that defy easy definition. The variety of imperial regimes and colonial situations demonstrates a “patchwork quilt of ad hoc adaptations to particular circumstance” (Osterhammel, 1997, p. 4). However, this paper does not seek to define such phenomena but to explore their effects on the school music that existed within such regimes. Japanese and British imperialism evolved in distinct ways, but the enactment of imperialism in school music was, ultimately, similar. Two different examples of early twentieth century empires will be considered – Taiwan, a colony of Japan between 1895 and 1945, and the British colonies that were to become Australia with their Federation in 1901 (Parsons, 1999). Central to the notion of empire was the imperial ruler, either emperor or empress. Empire and ruler were celebrated by school children in song and pageant, demonstrating the use of music as a vehicle of messages to be inculcated in the young participants.

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Barwick, Linda, Margaret Clunies Ross, Tamsin Donaldson, and Stephen A. Wild. "Songs of Aboriginal Australia." Ethnomusicology 34, no. 1 (1990): 177. http://dx.doi.org/10.2307/852377.

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Payne, Helen. "Songs of aboriginal Australia." Musicology Australia 11, no. 1 (January 1988): 107–10. http://dx.doi.org/10.1080/08145857.1988.10420642.

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Morphy, Howard, and Margaret Clunies Ross. "Songs of Aboriginal Australia." Man 24, no. 4 (December 1989): 711. http://dx.doi.org/10.2307/2804335.

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Zarbock, Carol Gee, Alan Maralung, Peter Manaberu, Allan Marett, and Paddy Naughton. "Bunggridj-bunggridj: Wangga Songs from Northern Australia." Ethnomusicology 40, no. 1 (1996): 143. http://dx.doi.org/10.2307/852454.

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Mark Gregory. "Joe Hill Centenary and IWW Songs in Australia." Labour History, no. 109 (2015): 169. http://dx.doi.org/10.5263/labourhistory.109.0169.

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31

S, Rishvana Parveen. "Velliveethiyar Songs Perception." International Research Journal of Tamil 4, SPL 2 (February 28, 2022): 289–94. http://dx.doi.org/10.34256/irjt22s245.

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Female poets have sung fewer songs than any other literary genre. There is a difference between the central theme in masculine songs and the central theme in feminist songs. Poems composed by poets have a deep expression and environment. Thus, her sentiments are expressed in the songs of Sangam literary feminist Vellividiyar. Tolkappiah says that feminine lust should be symbolized. But Vellividiyar's introspection is a way of expressing the woman's lust and indivisibility. The purpose of this research paper is to express the expression of lust (love), the dilemma of power, the condemnation of adultery and consensus in his songs.

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Turpin, Myfany. "Artfully hidden: Text and rhythm in a central Australian aboriginal song series." Musicology Australia 29, no. 1 (January 2007): 93–108. http://dx.doi.org/10.1080/08145857.2007.10416590.

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Leger, Daniel W., and D. James Mountjoy. "Geographic Variation in Song of The Bright-Rumped Attila (Tyrannidae: Attila Spadiceus): Implications for Species Status." Auk 120, no. 1 (January 1, 2003): 69–74. http://dx.doi.org/10.1093/auk/120.1.69.

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Abstract Bright-rumped Attilas (Attila spadiceus) have two song forms, one sung primarily at dawn, the other primarily during the rest of the day. Both songs consist of a main phrase and an optional terminal phrase. Our recordings of dawn and day songs in Costa Rica were very similar to those made elsewhere in Central America. However, Central American dawn songs were significantly different than dawn songs from South America, both in terms of quantitative features (temporal and frequency variables) and qualitative characteristics (note shape). Day songs from Central and South America were similar. Song differences suggest that the Bright-rumped Attila may be two species, one in Central America, the other in South America.

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Helweg, David, Peter Jenkins, Douglas Cat, Robert McCauley, and Claire Garrigue. "Geograpmc Variation in South Pacific Humpback Whale Songs." Behaviour 135, no. 1 (1998): 1–27. http://dx.doi.org/10.1163/156853998793066438.

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AbstractEvery winter, (male) humpback whales (Megaptera novaeangliae) produce long complex songs. Song content is dynamic and singers incorporate changes as they occur, thus song is shared through cultural transmission. We compared songs recorded in winter migratory termini in Tonga, New Caledonia, Eastern Australia, and on migration paths off Eastern Australia and New Zealand, in the winter of 1994. Seven themes were shared by all regions, with an additional two themes shared by all but Tonga. Differences in regional variants were most pronounced between Tongan and Eastern Australian song. New Caledonian and Kaikouran song were more similar to songs from Eastern Australia rather than Tonga. These regional differences were stable across the season. The results suggest some migratory exchange among widely separate wintering regions of Area V, consistent with tag recovery data, but the time and location at which song sharing occurs remains speculative.

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Fujie, Linda, and Allan Marett. "Bunggridj-bunggridj: Wangga Songs by Alan Maralung, North Australia." Yearbook for Traditional Music 28 (1996): 233. http://dx.doi.org/10.2307/767847.

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Treloyn, Sally. "Songs, Dreamings, and Ghosts: The Wangga of North Australia." Ethnomusicology 52, no. 3 (October 1, 2008): 484–87. http://dx.doi.org/10.2307/20174616.

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Box, Kiernan, and Greg Aronson. "Protest Songs From Indonesia And Australia: A Musicological Comparison." Journal of Urban Society's Arts 9, no. 1 (December 19, 2022): 48–59. http://dx.doi.org/10.24821/jousa.v9i1.7146.

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Protest music is both commercially viable and an important tool for shaping community awareness of socio-political issues. Indonesian and Australian artists have produced protest music which has stimulated significant effect upon community attitudes and behaviours. Socio-political issues can be described and examined in songs using various lyrical methods, including strategic use of characters and narrative. Iwan Fals is a Javanese singer-songwriter who frequently employs satire and parody in relation to weighty political issues. Cold Chisel, Midnight Oil and Paul Kelly are Australian rock artists who have used real-life events as the inspiration for protest songs, many of which are delivered with a confrontational mode of lyric and performance. Compared to Australian acts, Indonesian artists have faced greater risk to personal freedom by engaging in protest music; this may explain why Indonesian protest songs are often presented with more subtle characteristics. from the abstract or from the body of the text, or from the thesaurus of the discipline. Lagu Protes dari Indonesia dan Australia: Perbandingan Musikologi. Musik protes layak secara komersial dan peranti penting untuk membentuk kesadaran masyarakat tentang masalah sosial-politik. Seniman Indonesia dan Australia telah menghasilkan musik protes yang memberikan pengaruh signifikan terhadap sikap dan perilaku masyarakat. Isu sosial-politik dapat dideskripsikan dan dikaji dalam lagu dengan menggunakan berbagai metode lirik, termasuk penggunaan karakter dan narasi yang strategis. Iwan Fals adalah penyanyi-penulis lagu Jawa yang sering menggunakan sindiran dan parodi terkait dengan isu-isu politik yang berat. Cold Chisel, Midnight Oil, dan Paul Kelly adalah artis rock Australia yang telah menggunakan peristiwa kehidupan nyata sebagai inspirasi untuk lagu-lagu protes, banyak di antaranya dibawakan dengan gaya lirik dan penampilan yang konfrontatif. Dibandingkan dengan artis Australia, artis Indonesia menghadapi risiko yang lebih besar terhadap kebebasan pribadi dengan terlibat dalam musik protes; ini mungkin menjelaskan mengapa lagu-lagu protes Indonesia seringkali disajikan dengan ciri-ciri yang lebih halus. dari abstrak atau dari tubuh teks, atau dari tesaurus disiplin.

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Osei, Dr Addei, and Dr Elizabeth Osei Cynthia. "Thematic Analysis of the Aboakyer Festival Songs & Libation Texts." Journal of English Language and Literature 11, no. 1 (February 28, 2019): 1070–73. http://dx.doi.org/10.17722/jell.v11i1.403.

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This paper analyses the underlying themes in the songs and libation texts of the Aboakyer Festival of the Effutu in the Central Region of Ghana. The paper argues that the central theme and sub-themes of the songs and libation texts of the Aboakyer festival, reflect the worldview of the Effutu tribe of Ghana. The songs and libation texts reveal the Effutus as appreciative, religious, and haters of evil-doers.

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Berndt, Catherine. "A Selection of Children's Songs from Ooldea, Western South Australia." Mankind 4, no. 9 (February 10, 2009): 364–76. http://dx.doi.org/10.1111/j.1835-9310.1952.tb00263.x.

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Berndt, M., and Catherine Berndt. "A Selection of Children's Songs from Ooldea, Western South Australia." Mankind 4, no. 10 (February 10, 2009): 423–34. http://dx.doi.org/10.1111/j.1835-9310.1953.tb00197.x.

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Berndt, Catherine. "A Selection of Children's Songs from Ooldea, W. South Australia." Mankind 4, no. 12 (February 10, 2009): 501–8. http://dx.doi.org/10.1111/j.1835-9310.1954.tb00207.x.

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42

Jackson, Michael. "Songs, Dreamings, and Ghosts: The Wangga of North Australia (review)." Journal of Folklore Research 43, no. 2 (2006): 187–88. http://dx.doi.org/10.1353/jfr.2006.0018.

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Gim, Bo-hei. "Creative Songs by Korean people in Central Asia." STUDIES IN KOREAN MUSIC 42 (December 30, 2007): 41–76. http://dx.doi.org/10.35983/sikm.2007.42.41.

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Honisch, Erika Supria. "Drowning Winter, Burning Bones, Singing Songs." Journal of Musicology 34, no. 4 (2017): 559–609. http://dx.doi.org/10.1525/jm.2017.34.4.559.

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In 1587 the Flemish composer Carolus Luython, employed by Holy Roman Emperor Rudolf II, published an unusual motet collection in Prague. Titled Popularis anni jubilus, the collection describes the sounds and rituals beloved by Central European peasants, recasting them as the ecstatic songs of rustic laborers (jubilus) famously celebrated by Saint Augustine in his Psalm commentaries. Highlighting the composer’s collaboration with the Czech cleric who wrote the motet texts, this study serves as a corrective to the interpretative frameworks that have broadly shaped discourses on Central European musical and religious practices in the early modern period. To make sense of the print’s raucous parade of drunken revelers, mythological figures, honking geese, and the Christ child, this analysis sets aside the hermetic lens typically used to account for the cultural products of the Rudolfine court and turns instead to contemporary theological tracts and writings by Augustine and Ovid that were foundational to the literary worlds of Renaissance humanists. Doing so brings into focus an ordered sequence of motets that offers some of the earliest and most vivid documentation in Central Europe of lay practices associated with the major feasts of the church year, from the bonfires on the Nativity of St. John the Baptist to the drowning of winter on Laetare Sunday. At the same time, this study shows the extent to which such “folk” traditions, parsed along national lines since the nineteenth century, had in fact long occupied common ground in the diverse territories of Habsburg Central Europe.

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Norris, Ray P., and Duane W. Hamacher. "The Astronomy of Aboriginal Australia." Proceedings of the International Astronomical Union 5, S260 (January 2009): 39–47. http://dx.doi.org/10.1017/s1743921311002122.

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AbstractThe traditional cultures of Aboriginal Australians include a significant astronomical component, which is usually reported in terms of songs or stories associated with stars and constellations. Here we argue that the astronomical components extend further, and include a search for meaning in the sky, beyond simply mirroring the earth-bound understanding. In particular, we have found that traditional Aboriginal cultures include a deep understanding of the motion of objects in the sky, and that this knowledge was used for practical purposes such as constructing calendars. We also present evidence that traditional Aboriginal Australians made careful records and measurements of cyclical phenomena, and paid careful attention to unexpected phenomena such as eclipses and meteorite impacts.

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Massad, Joseph. "Liberating Songs: Palestine Put to Music." Journal of Palestine Studies 32, no. 3 (2003): 21–38. http://dx.doi.org/10.1525/jps.2003.32.3.21.

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This article surveys the history of songs about Palestine from 1948 to the present, examining how the changes in musical style and lyrics correspond to the changes in the exigencies of the Palestinian struggle itself. Tracing the primacy of revolutionary Egypt in the 1950s and 1960s, the central role of Fayruz and the Rahbani brothers in the wake of the 1967 war, and the emergence of Palestinian groups and singers as of the late 1960s, the article provides historical and political analyses of these songs as central features of how Arab popular culture has dealt, and continues to deal, with the Palestine tragedy.

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Kundush, Kateryna. "Typology of wedding melodies of the village Ostriv, Dubno region, Rivne area." Ethnomusic 18, no. 1 (December 2022): 127–46. http://dx.doi.org/10.33398/2523-4846-2022-18-1-127-146.

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The article offers studying of the wedding music culture in the village Ostriv of Central Volhyn. The main wedding rites are characterised retrospectively. The music repertoire consists of 112 vocal melodies, recorded by the author from old singers’ individual performance in non-rituals conditions and during the real wedding action. The methodological work of Lviv ethnomusicologist Bohdan Lukanyuk „Melotypol- ogy ladkankas and songs (based on West Polissya and West Volhyn)” are used for de- termining of melotypology of the songs. It was defined the main types are ladkankas, songs and pryspivkas. Keywords: Central Volhyn, Dubno region, Ostriv, vocal folklore, wedding cycle, melotypology.

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Freeman, Mark A., and Prashant Bordia. "Assessing alternative models of individualism and collectivism: a confirmatory factor analysis." European Journal of Personality 15, no. 2 (March 2001): 105–21. http://dx.doi.org/10.1002/per.398.

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Six alternative structural models of individualism–collectivism are reviewed and empirically compared in a confirmatory factor analysis of questionnaire data from an Australian student sample (N = 340). Central to the debate about the structure of this broad social attitude are the issues of (1) polarity (are individualism and collectivism bipolar opposites, or orthogonal factors?) and (2) dimensionality (are individualism and collectivism themselves higher‐order constructs subsuming several more specific factors and, if so, what are they?). The data from this Australian sample support a model that represents individualism and collectivism as a higher‐order bipolar factor hierarchically subsuming several bipolar reference‐group‐specific individualisms and collectivisms. Copyright © 2001 John Wiley & Sons, Ltd.

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Berwick, Robert C. "Songs to Syntax." International Journal of Cognitive Informatics and Natural Intelligence 5, no. 4 (October 2011): 22–32. http://dx.doi.org/10.4018/jcini.2011100102.

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Language comprises a central component of a complex that is sometimes called “the human capacity.” This complex seems to have crystallized fairly recently among a small group in East Africa of whom people are all descendants. Common descent has been important in the evolution of the brain, such that avian and mammalian brains may be largely homologous, particularly in the case of brain regions involved in auditory perception, vocalization and auditory memory. There has been convergent evolution of the capacity for auditory-vocal learning, and possibly for structuring of external vocalizations, such that apes lack the abilities that are shared between songbirds and humans. Language’s recent evolutionary origin suggests that the computational machinery underlying syntax arose via the introduction of a single, simple, combinatorial operation. Further, the relation of a simple combinatorial syntax to the sensory-motor and thought systems reveals language to be asymmetric in design: while it precisely matches the representations required for inner mental thought, acting as the “glue” that binds together other internal cognitive and sensory modalities, at the same time it poses computational difficulties for externalization, that is, parsing and speech or signed production. Despite this mismatch, language syntax leads directly to the rich cognitive array that marks us as a symbolic species.

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Aragon, Lorraine V. "Suppressed and Revised Performances: Raego' Songs of Central Sulawesi." Ethnomusicology 40, no. 3 (1996): 413. http://dx.doi.org/10.2307/852470.

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