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Libros sobre el tema "Festivals Australia"

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Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 20 de febrero de 2023

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1

Wyeth, Chris. Festivals & offbeat events: Australia. Kenthurst: Kangaroo Press, 1992.

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2

Gibson, Chris. Music festivals and regional development in Australia. Burlington, VT: Ashgate, 2011.

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3

Griffiths, Diana. Australia. Milwaukee: Gareth Stevens Pub., 1999.

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4

Tōkyō Kokuritsu Kindai Bijutsukan. Firumu Sentā. Ōsutoraria eigasai: Nichi-Gō kōryūnen 2006 = Australian film festival : 2006 Australia-Japan year of exchange. Tōkyō: Kokuritsu Bijutsukan, 2006.

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5

Denmark), Visionlines (1998 Aarhus. Visionlines: Cultural festivals, new music theatre, comtemporary music : an international conference Denmark-Australia, Aarhus, September 1-3, 1998 : report. Copenhagen K: Danish Music Information Centre, 1999.

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6

Aloian, Molly. Cultural traditions in Australia. New York: Crabtree Pub., 2013.

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7

Estonian, World Festival ESTO (5th 1988 Melbourne Australia). Esto '88: V Estonian World Festival. Baltimore: Esto, Inc., 1989.

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8

Stevens, Kirsten. Australian Film Festivals. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58130-3.

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9

Smith, Susan Bradley, Marele Day y Fay Knight. Making waves: 10 years of the Byron Bay Writers Festival. St. Lucia, Qld: University of Queensland Press, 2006.

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10

(2012), Adelaide Biennial of Australian Art. Parallel collisions: 2012 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide Festival. Adelaide, S. Aust: Art Gallery of South Australia, 2012.

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11

Johnny, Allen, ed. Festival and special event management. 3a ed. Milton, Qld: John Wiley & Sons Australia, 2005.

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12

Vic.) Next Wave Festival (2014 Melbourne. Blak wave. Editado por Hale Meg editor, Moar Tahjee curator, Sexton Emily curator y Next Wave Festival Inc. North Melbourne, VIC, Australia: Next Wave Festival Inc., 2014.

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13

Avstraliĭskiĭ festivalʹ russkoĭ tradi︠t︡sionnoĭ i ėksperimental'noĭ literatury (2nd 2008 Sidneĭ). Antipody: Vtoroĭ avstraliĭskiĭ festivalʹ russkoĭ tradi︠t︡sionnoĭ i ėksperimental'noĭ literatury, Sidneĭ noi︠a︡brʹ-dekabrʹ 2008 = Antipodes : the second Australian Festival of Russian Traditional and Experimental Literature, Sydney November-December 2008. Sydney: Antipodes Association, 2010.

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14

Composing, Women's Festival and Conference (1994 Melbourne Australia). Repercussions: Australian Composing Women's Festival and Conference, 1994. Clayton, Vic: National Centre for Australian Studies, Monash University, 1995.

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15

Morris, Leon. Yirra: Land, law, and language : strong and alive. Fitzroy Crossing, W.A: Kimberley Aboriginal Law and Cultural Centre, 1996.

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16

Hüssein, Serkan. Yesterday & Today: Turkish Cypriots of Australia : North Cyprus Turkish Festival 60th anniversary. Melbourne, Vic: S. Hüssein, 2007.

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17

NT Writers' Festival (Darwin, N.T.). Terra: A bilingual anthology from WordStorm, the NT Writers' Festival = Antologi dwi bahasa dari WordStorm, Festival Sastra Northern Territory, Australia. Darwin: NT Writers' Centre, 2007.

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18

Charles, Green, National Gallery of Victoria, National Gallery of Victoria. Council of Trustees. y Australian Centre for the Moving Image., eds. 2006 Contemporary Commonwealth: Presented as part of Festival Melbourne 2006 and the 2006 Commonwealth Games. Melbourne: Council of Trustees of the National Gallery of Victoria, 2006.

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19

International, Festival of Youth Orchestras (1988 Brisbane Qld ). The Queensland Youth Orchestra's International Festival of Youth Orchestras: Australia, 17 July-18 August 1988. Brisbane: Queensland Youth Orchestra, 1988.

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20

Ülemaailmsed Eesti Päevad (5th 1988-1989 Melbourne, Vic.). Esto '88: V Estonian World Festival = V Ülemaailmsed Eesti Päevad, 28.12.1988-4.1.1989, Melbourne, Austraalia. Baltimore, Md., USA: Esto, 1989.

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21

Köpping, Klaus-Peter. Shattering frames: Transgressions and transformations in anthropological discourse and practice. Berlin: Reimer, 2002.

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22

Hanna, Michelle. Reconciliation in Olympism: Indigenous culture in the Sydney Olympiad. Petersham, N.S.W: Walla Walla Press in conjunction with the Aboriginal Research and Resource Centre and the Centre for Olympic Studies, the University of New South Wales, 1999.

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23

Australia. Singapore: Times, 1999.

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24

Connell, John y Chris Gibson. Music Festivals and Regional Development in Australia. Taylor & Francis Group, 2016.

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25

Connell, John y Chris Gibson. Music Festivals and Regional Development in Australia. Taylor & Francis Group, 2016.

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26

Connell, John y Chris Gibson. Music Festivals and Regional Development in Australia. Taylor & Francis Group, 2016.

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27

Connell, John y Chris Gibson. Festival Places: Revitalising Rural Australia. Channel View Publications, Limited, 2011.

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28

Connell, John y Chris Gibson. Festival Places: Revitalising Rural Australia. Channel View Publications, Limited, 2011.

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29

Connell, John y Chris Gibson. Festival Places: Revitalising Rural Australia. Channel View Publications, Limited, 2011.

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30

Connell, John y Chris Gibson. Festival Places: Revitalising Rural Australia. Channel View Publications, Limited, 2011.

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31

Connell, John y Chris Gibson. Festival Places. Channel View Publications, Limited, 2011.

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32

Stevens, Kirsten. Australian Film Festivals: Audience, Place, and Exhibition Culture. Palgrave Macmillan, 2017.

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33

Stevens, Kirsten. Australian Film Festivals: Audience, Place, and Exhibition Culture. Palgrave Macmillan, 2016.

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34

Festival Places Revitalising Rural Australia. Channel View Publications, 2011.

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35

Weber, Millicent. Literary Festivals and Contemporary Book Culture. Palgrave Macmillan, 2018.

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36

Weber, Millicent. Literary Festivals and Contemporary Book Culture. Palgrave Macmillan, 2019.

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37

McAlpine, Kenneth B. Netlabels and Real-World Festivals. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190496098.003.0009.

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This chapter explores how the infrastructure of the established music industry—the routes to market and, just as significantly, the gatekeepers who control them—emerged spontaneously as part of the chipscene, albeit with a noncommercial ethos, giving rise to an economy built on community esteem and authenticity. The chapter begins by exploring how diskmags and archives provided a way for fans to collect and share the music that they loved. Gathering together a complete collection of the video game music that fans loved—a common feature of fandom—and providing software players and emulators that allowed the music to be played on modern computer platforms enabled 8-bit music to be collected and shared. From these archives grew netlabels, online record labels that publish and distribute new music, and festivals, most significantly the Blip festival, which has grown into a major international event, with shows in North America, Europe, Japan, and Australia.
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38

Harris, Robert L., William O'Toole, Johnny Allen y Ian McDonnell. Festival and Special Event Management (Wiley Australia Tourism). 3a ed. Wiley, 2005.

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39

Hilvert, John. Indigenous Australian Festivals. Macmillan Education Australia, 2008.

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40

Double destiny: Festival Youth Awards anthology. Netley, S. Australia: Wakefield Press, 1986.

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41

Whitfield Green & Son. Stray Leaves from the Diary of an Indian Officer: Containing an Account of the Famous Temple of Juggurnath, Its Daily Ceremonies and Annual Festivals, and a Residence in Australia. HardPress, 2020.

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42

Evans, Peter. Sunbury: Australia's Greatest Rock Festival. Melbourne Books, 2017.

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43

Blanche, Lather, ed. Five Warana one act winners: 1984 Warana Drama Festival. Ashgrove [Queensland]: Playlab Press, 1985.

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44

--the return of the words: Poems from the 1993 Darwin Poetry Festival. Nightcliff, N.T., Australia: Little Gem Publications, 1993.

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45

1942-, Dose Gerd y Keil Bettina, eds. Writing in Australia: Perceptions of Australian literature in its historical and cultural context ; a series of lectures given at Hamburg University on the occasion of the 1st Festival of Australian Literature in Hamburg 1995. Münster: Lit, 2000.

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46

Alex, Butler y Australian Productivity Council, eds. The 1986 all-Australian calendar book: A guide to the days of significance in our multicultural society. Richmond, Australia: Hodja Educational Resources Cooperative, 1986.

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47

Esto '88: V Estonian World Festival = V Ulemaailmsed Eesti Paevad, 28.12.1988-4.1.1989, Melbourne, Austraalia. Esto, 1989.

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48

Magowan, Fiona. Mission Music as a Mode of Intercultural Transmission, Charisma, and Memory in Northern Australia. Editado por Jonathan Dueck y Suzel Ana Reily. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.001.

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This article, focuses on the durability of Methodist “mission music” among the Yolngu, an Australian Indigenous people, and addresses questions of musical transfer between missionaries and Yolngu over fifty years that have shaped their Christian music politics. “Mission music” is marked as a genre by its association with the early missionaries among the Yolngu, their processes of teaching and transmission and its articulation with some aspects of Yolngu ritual performance practices. Today, mission music is performed together with an array of contemporary Christian musics reflecting its ongoing importance as a local, transnational and international currency. Magowan shows how hymnody has persisted for Yolngu as a musical mode of remembering and celebrating the past, illustrated first in early dialogic approaches to music teaching and choral training, and later recaptured in choral performances for the 50th anniversary festival of a Yolngu mission. She argues that “mission music,” in spite of its introduced, non-local origins, has become an experiential, rhythmical and textual sign of the “local” as it is adopted and used by the Yolngu. Choral singing is shown to be a means of embodying mission memories and facilitating local charismatic leadership, in turn, transforming Yolngu-missionary relationships over time. Ongoing work with missionary evangelists and frequent travel to foreign mission fields have also created new arenas for intercultural dialogue, leading to increasing complexity in Yolngu relationships embodied in Christian performance.
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49

Köpping, Klaus-Peter. Shattering Frames. Reimer, 2002.

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50

Cinema: A selection of Italian publications, 1995-1999 : published on the occasion of the first edition of the Goat Island Film Festival of the City of Sydney, Australia, 5-12 November 1999. Fiesole (Firenze): Casalini libri, 1999.

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