Bibliografias temáticas / Music Central Australia

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Literatura científica selecionada sobre o tema "Music Central Australia"

Autor: Grafiati
Publicado: 4 de junho de 2021
Última modificação: 21 de fevereiro de 2023

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Artigos de revistas sobre o assunto "Music Central Australia"

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Geczy, Adam. "Making Aboriginal Men and Music in Central Australia." Journal of Asia-Pacific Pop Culture 2, no. 2 (December 1, 2017): 250–53. http://dx.doi.org/10.5325/jasiapacipopcult.2.2.250.

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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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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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Werner, Ann. "REVIEW | Making Aboriginal Men and Music in Central Australia." IASPM@Journal 6, no. 2 (December 31, 2016): 189–91. http://dx.doi.org/10.5429/2079-3871(2016)v6i2.14en.

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Cowlishaw, Gillian. "Making Aboriginal Men and Music in Central Australia - By Åse Ottosson." Oceania 86, no. 2 (July 2016): 212–13. http://dx.doi.org/10.1002/ocea.5128.

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Johnson, Henry. "Åse Ottosson. 2016. Making Aboriginal Men and Music in Central Australia." Perfect Beat 19, no. 1 (December 17, 2018): 89–91. http://dx.doi.org/10.1558/prbt.37462.

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Malone, Jacki, and Peter Schembri. "Paradise Beach: Local Cultural Implications." Queensland Review 1, no. 1 (June 1994): 55–60. http://dx.doi.org/10.1017/s1321816600000507.

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According to one newspaper report, Paradise Beach was initially marketed in the US as a ‘very hip, very cool’ Australian serial about three good-looking suburban kids finding romance and adventure in an endless summer. Here, in Australia, Channel 9 did something rather similar: PARADISE BEACH is where the perfect white sand stretches for miles; where the music is hot and the party just goes on and on. It's where teenagers from everywhere converge to cut loose, find the perfect wave, and fall hopelessly in love. And that's exactly what happens with our four young and passionate central characters and their friends.
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Taçon, Paul S. C. "The power of stone: symbolic aspects of stone use and tool development in western Arnhem Land, Australia." Antiquity 65, no. 247 (June 1991): 192–207. http://dx.doi.org/10.1017/s0003598x00079655.

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For want of other secure evidence, the study of art in prehistoric societies normally amounts to looking at pictures, though there must have also been sound, and surely music. The long lithic tradition of central northern Australia permits a rare insight into another kind of prehistoric art, the meaning and aesthetic order that may lie behind a lithic industry.
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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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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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Teses / dissertações sobre o assunto "Music Central Australia"

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Marshall, Anne, University of Western Sydney, of Arts Education and Social Sciences College, and School of Social Ecology and Lifelong Learning. "Ngapartji-ngapartji : ecologies of performance in Central Australia : comparative studies in the ecologies of Aboriginal-Australian and European-Australian performances with specific focus on the relationship of context, place, physical environment, and personal experience." THESIS_CAESS_SELL_Marshall_A.xml, 2001. http://handle.uws.edu.au:8081/1959.7/556.

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All forms of cultural interaction are expressive and creative. In particular, what the performing arts express is not always the conscious, the ideal and the rational, but more often the preconscious, pre-verbal, asocial and irrational, touching on darker undercurrents of human and extra-human interrelations, experiences, beliefs, fears, desires and values. So what is performance and how does it differ in cultures? A performance is a translation of an idea into a synaesthetic experience. In the context of this thesis, however, translation does not imply reductive literal translation as can be attempted by analogy in spoken or written descriptions and notation systems. The translation is one through which participating groups and individuals seek to understand the being in the world of the Other by means of mutual, embodied negotiation of meaning - sensually, experientially, perceptually, cognitively and emotionally - that is, by means of performance. As a contribution towards a social theory of human performance, the author offers reflections on an exchange between two performance ecologies - those of a group of Aboriginal Australian performers from Mimili, Central Australia and a mixed ethnic group of Australian performers from Penrith, NSW, Australia.<br>Doctor of Philosophy (PhD)
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Marshall, Anne. "Ngaparti-ngaparti ecologies of performance in Central Australia : comparative studies in the ecologies of Aboriginal-Australian and European-Australian performances with specific focus on the relationship of context, place, physical environment, and personal experience. /." View thesis, 2001. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040804.155726/index.html.

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Ottosson, Ase-Britt Charlotta. "Making Aboriginal men and music in Central Australia." Phd thesis, 2006. http://hdl.handle.net/1885/149659.

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Marshall, Anne. "Ngapartji-ngapartji : ecologies of performance in Central Australia : comparative studies in the ecologies of Aboriginal-Australian and European-Australian performances with specific focus on the relationship of context, place, physical environment, and personal experience." Thesis, 2001. http://handle.uws.edu.au:8081/1959.7/556.

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All forms of cultural interaction are expressive and creative. In particular, what the performing arts express is not always the conscious, the ideal and the rational, but more often the preconscious, pre-verbal, asocial and irrational, touching on darker undercurrents of human and extra-human interrelations, experiences, beliefs, fears, desires and values. So what is performance and how does it differ in cultures? A performance is a translation of an idea into a synaesthetic experience. In the context of this thesis, however, translation does not imply reductive literal translation as can be attempted by analogy in spoken or written descriptions and notation systems. The translation is one through which participating groups and individuals seek to understand the being in the world of the Other by means of mutual, embodied negotiation of meaning - sensually, experientially, perceptually, cognitively and emotionally - that is, by means of performance. As a contribution towards a social theory of human performance, the author offers reflections on an exchange between two performance ecologies - those of a group of Aboriginal Australian performers from Mimili, Central Australia and a mixed ethnic group of Australian performers from Penrith, NSW, Australia.
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Livros sobre o assunto "Music Central Australia"

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Library, Australian Music Centre. Piano music: Scores held at the Australian Music Centre Library. Sydney: Australian Music Centre, 1997.

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Centre, Australian Music. Vocal music: Scores held at the Australian Music Centre Library. Grosvenor Place, N.S.W: Australian Music Centre, 1997.

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Alyawarra music: Songs and society in a central Australian community. Canberra: Australian Institute of Aboriginal Studies, 1986.

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Centre, Australian Music. Brass music. Grosvenor Place, N.S.W: Australian Music Centre, 1997.

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Centre, Australian Music. Orchestral music: Scores held at the Australian Music Centre Library. Grosvenor Place, N.S.W: Australian Music Centre, 1998.

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Library, Australian Music Centre. String music: Scores held at the Australian Music Centre Library. Grosvenor Place, N.S.W: Australian Music Centre, 1997.

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Lenehan, Angela. Directory of Australian composers. 2nd ed. Ultimo, N.S.W: Australian Music Centre, 1988.

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Carrigan, Jeanell. Australian post-1970 solo piano works: An annotated guide. Grosvenor Place, NSW: Australian Music Centre, 1997.

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Carrigan, Jeanell. Australian post-1970 solo piano works: An annotated guide. 2nd ed. Grosvenor Place, N.S.W: Australian Music Centre, 1998.

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Meyer, John. Touches of sweet harmony: Music in the University of Western Australia, 1953-1998. Nedlands, Western Australia: CIRCME, School of Music, 1999.

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Capítulos de livros sobre o assunto "Music Central Australia"

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Ottosson, Åse. "Desert musics." In Making Aboriginal Men and Music in Central Australia, 35–57. Routledge, 2020. http://dx.doi.org/10.4324/9781003085928-2.

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Ottosson, Åse. "Music and men in the Aboriginal studio." In Making Aboriginal Men and Music in Central Australia, 59–78. Routledge, 2020. http://dx.doi.org/10.4324/9781003085928-3.

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Ottosson, Åse. "Real and imagined Aboriginal music, men and place." In Making Aboriginal Men and Music in Central Australia, 1–33. Routledge, 2020. http://dx.doi.org/10.4324/9781003085928-1.

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Ottosson, Åse. "Men making the studio." In Making Aboriginal Men and Music in Central Australia, 79–101. Routledge, 2020. http://dx.doi.org/10.4324/9781003085928-4.

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Ottosson, Åse. "Playing Aboriginal communities." In Making Aboriginal Men and Music in Central Australia, 103–22. Routledge, 2020. http://dx.doi.org/10.4324/9781003085928-5.

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Ottosson, Åse. "Blackfellas playing whitefella towns." In Making Aboriginal Men and Music in Central Australia, 123–43. Routledge, 2020. http://dx.doi.org/10.4324/9781003085928-6.

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Ottosson, Åse. "Touring blackfellas." In Making Aboriginal Men and Music in Central Australia, 145–71. Routledge, 2020. http://dx.doi.org/10.4324/9781003085928-7.

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Ottosson, Åse. "Changing Aboriginal men and musicians." In Making Aboriginal Men and Music in Central Australia, 173–79. Routledge, 2020. http://dx.doi.org/10.4324/9781003085928-8.

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Barwick, Linda, and Myfany Turpin. "Central Australian Women’s Traditional Songs." In Sustainable Futures for Music Cultures, 111–44. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780190259075.003.0005.

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"A Match Made in Heaven: Why Popular Music is Central to the Growth in Pentecostal Charismatic Christianities." In Australian Pentecostal and Charismatic Movements, 109–25. BRILL, 2020. http://dx.doi.org/10.1163/9789004425798_007.

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Relatórios de organizações sobre o assunto "Music Central Australia"

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention &amp; Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.

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Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.

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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.
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