Статті в журналах: "Church music South Australia"

1

Southcott, Jane. "Curriculum Stasis: Gratton in South Australia." Research Studies in Music Education 14, no. 1 (June 2000): 50–60. http://dx.doi.org/10.1177/1321103x0001400105.

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2

Koepping, Elizabeth. "Spousal Violence among Christians: Taiwan, South Australia and Ghana." Studies in World Christianity 19, no. 3 (December 2013): 252–70. http://dx.doi.org/10.3366/swc.2013.0060.

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Local, often unconscious, understanding of male and female informs people's views irrespective of the religious ideology of (for Christians) the imago dei. This affects church teaching about and dealings with spousal violence, usually against wives, and can be an indicator of the failure of contextualising, from Edinburgh to Tonga and Seoul to Accra, actually to challenge context and ‘speak the Word of God’ rather than of elite-defined culture. In examining five denominations (Assembly of God, Methodist, Lutheran, Roman Catholic, True Jesus Church) in Ghana, South Australia and Taiwan, ecclesial attitudes to divorce are shown to have a crucial effect on an abused woman's decision regarding the marriage, especially where stated clerical practice differs from precept. Adding that to the effects of church teaching, the side-lining of pressure and support groups and the common failure of churches to censure spousal violence of pastors, leads the writer to suggest that any prophetic voice is strangled by shameful culture-bound collusion.

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3

김은성. "Reformation of Church Music in South Korea: The Reformation and Music for Worship." Korea Presbyterian Journal of Theology 49, no. 1 (March 2017): 93–114. http://dx.doi.org/10.15757/kpjt.2017.49.1.004.

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4

English, Helen Jane, Sarah Monk, and Jane W. Davidson. "Music and world-building in Newcastle, New South Wales, Australia." International Journal of Community Music 11, no. 3 (December 1, 2018): 245–64. http://dx.doi.org/10.1386/ijcm.11.3.245_1.

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5

Lydon, Jane, and Sari Braithwaite. "Photographing “the Nucleus of the Native Church” at Poonindie Mission, South Australia." Photography and Culture 8, no. 1 (March 2015): 37–57. http://dx.doi.org/10.2752/175145215x14244337011126.

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6

Pitman, Julia. "Feminist Public Theology in the Uniting Church in Australia." International Journal of Public Theology 5, no. 2 (2011): 143–64. http://dx.doi.org/10.1163/156973211x562741.

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AbstractThis article considers the expression of Protestant feminist public theology by the first women to gain access to leading positions in the Uniting Church in Australia, which was inaugurated in 1977. Roman Catholic and Protestant feminist theologians have started to provide theories of feminist public theology. The case studies of Lilian Wells, first Moderator of the Synod of New South Wales, and Jill Tabart, first woman President of the Assembly of the Uniting Church, provide evidence for the revision of these theories. The article argues that both the desire for and the expression by women of feminist public theology has a history that is longer than might be assumed. It also argues that such history confirms but also challenges aspects of received theories of feminist public theology, and that the two cases outlined below provide insight into the constraints inherent in the expression of feminist public theology in Protestant denominations such as the Uniting Church in Australia.

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7

Moyle, Richard M., and Catherine J. Ellis. "Aboriginal Music: Education for Living. Cross-Cultural Experiences from South Australia." Ethnomusicology 31, no. 1 (1987): 155. http://dx.doi.org/10.2307/852307.

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8

Wild, Stephen A. "Aboriginal music: Education for living. Cross-cultural experiences from South Australia." Musicology Australia 9, no. 1 (January 1986): 66–69. http://dx.doi.org/10.1080/08145857.1986.10415166.

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9

Parker, Murray, and Dirk H. R. Spennemann. "Contemporary Sound Practices: Church Bells and Bell Ringing in New South Wales, Australia." Heritage 4, no. 3 (August 12, 2021): 1754–72. http://dx.doi.org/10.3390/heritage4030098.

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As a social species, humans have developed soundscapes that surround, and to some extent circumscribe, their daily existence. The concept of aural heritage, its conceptualization and its management represent a rapidly expanding area of research, covering aspects of both natural and human heritage. However, there have been no contemporary regional or supra-regional studies that examine the nature of sound making in Christian religious settings, nor the extent to which it is still used. This paper presents the results of a survey into the presence of bells and bell ringing practices among five major Christian denominations in New South Wales, and examines to what extent bell ringing is still practiced and what factors may determine any differentiation. In doing so, it provides an objective basis from which to investigate future changes in bell ringing practices, and provides a solid foundation with reference to aural heritage of sound in a religious setting.

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10

Zweck, Dean. "A Fruitful Dialogue between Lutherans and Catholics in the South Land of the Holy Spirit." Review of Ecumenical Studies Sibiu 8, no. 2 (August 1, 2016): 206–18. http://dx.doi.org/10.1515/ress-2016-0017.

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Abstract Lutherans and Catholics in Australia have engaged in fruitful ecumenical dialogue for forty years, producing eight documents that have consistently had a view toward reception in the two respective churches. In recent years this Dialogue has been encouraged on its journey by the concept of receptive ecumenism. Ecumenical encounter is a work of the Holy Spirit, and each church can be enriched by recognising and receiving the charism of a partner church.

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11

Kaye, Bruce N. "The Baggage of William Grant Broughton: The First Bishop of Australia as Hanoverian High Churchman." Pacifica: Australasian Theological Studies 8, no. 3 (October 1995): 291–314. http://dx.doi.org/10.1177/1030570x9500800303.

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This article examines the intellectual and ecclesiastical baggage which W. G. Broughton brought with him when he came to New South Wales as Archdeacon in 1829 by tracing Broughton's early life and education, his early ministry and scholarly writings, and identifying Broughton's circle of friends in the Church of England. The travel diary which Broughton kept on his journey to New South Wales is examined for his estimate of the books he read while on ship. Broughton emerges from this study as a person of considerable scholarly talent, and a member of the old High Church group by both theological, and political conviction as well as personal friendships.

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12

Jorritsma, Marie. "The Significance of Small Journeys: Travel and the Congregational Music of Kroonvale, South Africa." Nineteenth-Century Music Review 16, no. 02 (July 27, 2018): 229–47. http://dx.doi.org/10.1017/s1479409817000672.

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In James Clifford’s influential text, Routes (1997), he makes the point that, contrary to the entrenched belief that only the ethnographer is a traveller to faraway places, the local people and communities are also travellers. This article takes his notion as its point of departure and investigates the implications of travel within the context of my research among the members of three church congregations of coloured people in Kroonvale, South Africa, where I undertook fieldwork in 2004 and 2005. Historically, the international journeys of colonial officials, European missionaries and slaves from the Cape, along with large-scale migration of the indigenous peoples across the country’s frontiers, resulted in the encounters which gave rise to this congregational music. More recently, while the community appears static and fixed in a certain place, there is an ongoing occurrence of small journeys: mobile ministers, church members travelling between denominations, moving from place to place in and around Kroonvale and, perhaps most poignantly, the congregations’ move from the main town of Graaff-Reinet to Kroonvale as part of the implementation of the apartheid-era Group Areas Act (1950). In this article, I examine Clifford’s theories in conjunction with notions of music and place in order to argue that these short journeys have made an important contribution to the sound and style of congregational music in Kroonvale.

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13

Iskhakova, Saida Z. "Eastern and Western Influences in the Cantus Publicus Tradition of the 12th and 13th Centuries." Observatory of Culture, no. 5 (October 28, 2014): 66–72. http://dx.doi.org/10.25281/2072-3156-2014-0-5-66-72.

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Considers the impact of MuslimArab culture (via Andalusia) on the one hand and of the Church poetry and music on the other on the troubadours’ art. The author argues that though troubadours’ love poetry was quite alike Arabic lyrics, the formal structure of the songs created in the South of France was directly related to the Church Latin poetry and music of the second half of the 11th century. However, the ambiguity about the issue is rooted in the poetic Arab influence on these Church “songs” that spread during the 9th and the 10th centuries.

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14

Southcott, Jane. "The Singing By-Ways: Origins of Class Music Education in South Australia." Journal of Historical Research in Music Education 25, no. 2 (April 2004): 116–27. http://dx.doi.org/10.1177/153660060402500205.

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15

Edwards, William H. "The Church and Indigenous Land Rights: Pitjantjatjara Land Rights in Australia." Missiology: An International Review 14, no. 4 (October 1986): 473–86. http://dx.doi.org/10.1177/009182968601400406.

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In this article the author, whose experience in cross-cultural communication as a missionary was used by a group of Australian Aboriginal people among whom he had worked to interpret their demand for title to their traditional land, outlines aspects of the traditional life of the Pitjantjatjara people and their conception of their relation to the land. Edwards traces the history of the dispossession of the land following European settlement, and the history of negotiations which led to the recognition of their title to the land under South Australian legislation. He comments on the role of the churches in these events and reflects on a Christian approach to indigenous land rights, noting that churches in other lands, in their mission work, are also involved with indigenous peoples in struggles to achieve just recognition to title for their land.

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16

Roberts, Rosie, and Sam Whiting. "The impact of COVID-19 on music venues in regional South Australia: A case study." Perfect Beat 21, no. 1 (August 27, 2021): 25–32. http://dx.doi.org/10.1558/prbt.19334.

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17

Southcott, Jane. "The Establishment of the Music Curiculum in South Australia: The Role of Alexander Clark." Research Studies in Music Education 5, no. 1 (December 1995): 1–10. http://dx.doi.org/10.1177/1321103x9500500101.

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18

Baker, Sarah. "Young People and Community Radio in the Northern Region of Adelaide, South Australia." Popular Music and Society 30, no. 5 (December 2007): 575–90. http://dx.doi.org/10.1080/03007760600835389.

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19

Lebaka, Morakeng Edward Kenneth. "Integration of Vocal Music, Dance and Instrumental Playing in St Matthews Apostolic Church: Maphopha Congregation." European Journal of Interdisciplinary Studies 4, no. 2 (July 24, 2018): 34. http://dx.doi.org/10.26417/ejis.v4i2.p34-44.

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There are a number of different approaches to determining the functions of music. Members of St Matthews Apostolic church – Maphopha congregation in Sekhukhune district – Limpopo Province in South Africa identify themselves by their music and allow music to become a representation of themselves. In responding to a song, to a hymn, they are drawn into affective and emotional alliances. Their relationship to music is inevitably based upon their emotions and internal connection to a particular song. Emotionally intense songs are even used during funerals to cue specific emotions from the audience for suspense, heartbreak, or a peaceful resolution. Songs, then, become an active ingredient in their lives as they find ways to employ music as a tool to share in their life experiences and bring them to a desired emotional state. The purpose of this study was to contribute towards documenting and describing the integration of vocal music, dance and instrumental playing in this church. To achieve this aim, the study employed a naturalistic approach and data was collected through video recordings of church services, interviews and observations. The primary question the study addressed is: how is collective identity formed through music and how does religious music serve as a core part of culture? The results have shown that in this church, music is manipulated to serve congregational purposes. The investigation has also shown that identity is largely related to musical preference, and the congregants use music to understand who they are and define themselves internally as well as externally.

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20

Kaye, Bruce. "From a Colonial Chaplaincy to Responsible Governance: The Anglican Church of Australia and Its Ecclesiological Challenge." Ecclesiastical Law Journal 23, no. 1 (January 2021): 34–49. http://dx.doi.org/10.1017/s0956618x20000666.

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Habits and institutions gradually emerged in earliest Christianity. They were soon enrolled in the Roman empire and subsequently into various forms of Christendom. The English Christendom lasted many centuries and in the period of empire planted the Anglican Church in Australia. This Christendom model was fractured decisively in New South Wales in the first half of the nineteenth century. The recent Royal Commission into abuse in institutions has brought to light serious abuse in the Church and associated it with a form of clericalism. The Commission identifies this issue but does not offer any analysis of its character or causes, which has the effect of diminishing the contribution that the Commission might have made to addressing the problem. A preliminary attempt is offered in this article.

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21

Burley, Stephanie. "Past Principals: “The Public Pervasive Presence of Powerful Women in the Church” in South Australia, 1880–1925." Paedagogica Historica 35, sup1 (January 1999): 339–52. http://dx.doi.org/10.1080/00309230.1999.11434948.

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22

Liew, Kai Khiun, and Angela Lee. "K-pop boot camps in choreographic co-creative labor." Global Media and China 5, no. 4 (December 2020): 372–88. http://dx.doi.org/10.1177/2059436420974935.

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The worldwide popularity of South Korean popular music has generated global consumer demand for variations of its grueling training regimen offered by talent recruitment agencies and dance studios. Using the case study of the South Korean popular music boot camps offered by the Australia-based agency, The Academy, this article seeks to frame these performative engagements along more cosmopolitan notions of choreographic co-creative labor. In contrast to the highly competitive South Korean popular music machinery, participation in these boot camps can be characterized as affective prosumer “free labor” from trainees from diverse backgrounds, abilities, and motivations. Through programs that enable trainees to “re-present,” “re-organize,” and “re-interpret” K-pop dance performances, studios like The Academy leverage on K-pop’s popularity and its training pedagogies so as to open new fields of creative labor. Accompanying such openings are the strengthening transnational connectivities in the activities of The Academy in intensifying existing multicultural networks in Australia. The studio is also part of a more cosmopolitan platform in orienting traditionally Eurocentric mainstream Australia culturally toward the Asia-Pacific region. By further democratizing the dance abilities of K-pop choreographies, initiatives like The Academy serve in enlarging creative labor in transnational rhythmic communities.

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23

Coaldrake, Kimi. "Engaging History and Negotiating National Identity with Miki'sConcerto Requiem(1981) at the 18th Biennial Festival of Arts in Adelaide, South Australia." Musicology Australia 35, no. 1 (July 2013): 66–85. http://dx.doi.org/10.1080/08145857.2013.761100.

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24

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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25

Joseph, Dawn. "Tertiary educators’ voices in Australia and South Africa: Experiencing and engaging in African music and culture." International Journal of Music Education 33, no. 3 (January 17, 2014): 290–303. http://dx.doi.org/10.1177/0255761413516063.

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26

Ballantine, Christopher. "Concert and Dance: the foundations of black jazz in South Africa between the twenties and the early forties." Popular Music 10, no. 2 (May 1991): 121–45. http://dx.doi.org/10.1017/s0261143000004475.

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The explosive development of a jazz-band tradition in South African cities from the 1920s – closely allied to the equally rapid maturation of a vaudeville tradition which has been in existence at least since the First World War – is one of the most astonishing features of urban-black culture in that country in the first half of the century. Surrounded by myriad other musics – styles forged by migrant workers; traditional styles transplanted from the countryside to the mines; petty bourgeois choral song; music of the church and of western-classical provenance – jazz and vaudeville quickly established themselves as the music which represented and articulated the hopes and aspirations of the most deeply urbanised sectors of the African working class.

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27

Hatoss, Anikó. "Language, faith and identity." Australian Review of Applied Linguistics 35, no. 1 (January 1, 2012): 94–112. http://dx.doi.org/10.1075/aral.35.1.05hat.

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While most language-planning and policy (LPP) studies have focussed on language decisions made by government bodies, in recent years there has been an increased interest in micro-level language planning in immigrant contexts. Few studies, however, have used this framework to retrospectively examine the planning decisions of religious institutions, such as “ethnic” churches. This paper explores the language decisions made by the Lutheran church in Australia between 1838 and 1921. The study is based on archival research carried out in the Lutheran Archives in Adelaide, South Australia. The paper draws attention to the complex interrelationships between language, religion and identity in an immigrant context.

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28

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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29

Phillips, Stephen. "Aversive behaviour by koalas (Phascolarctos cinereus) during the course of a music festival in northern New South Wales, Australia." Australian Mammalogy 38, no. 2 (2016): 158. http://dx.doi.org/10.1071/am15006.

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The effects of short-term disturbances that result in changes to movement patterns and/or behaviour of wildlife are poorly understood. In this study the movements of seven koalas were monitored before, during and after a five-day music festival. During the monitoring program koalas occupied home-range areas of 0.6–13 ha with one or more core areas of activity. Aversive behaviour in the form of evacuation of known ranging areas was demonstrated by three koalas that had core areas within 525 m of the approximate centre of the festival area, the associated responses comprising movements that were perpendicular to and away from staging areas where music was played. Responses contained within known ranging areas were observed in three other koalas whose core areas were located up to 600 m away. The type of response appeared related to the proximity of koala home ranges to music-staging areas, while the maximum distance associated with an aversive response was 725 m. Six of the radio-tracked koalas returned to their home-range areas following the conclusion of festival activities. While the specific stimulus eliciting aversive behaviour was not identified, responses in all instances were initiated during the musical phase of the festival event. The potential for short-term disturbances such as music festivals to significantly influence the ranging patterns of koalas warrants recognition of possible longer-term ecological consequences for planning and management purposes.

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30

Parker, Murray, and Dirk H. R. Spennemann. "For Whom the Bell Tolls: Practitioners’ Views on Bell-Ringing Practice in Contemporary Society in New South Wales (Australia)." Religions 11, no. 8 (August 17, 2020): 425. http://dx.doi.org/10.3390/rel11080425.

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For centuries, religious buildings have been using bells to call the faithful to prayer. Bell-ringing activity on church premises does not serve a purely religious function, however, as people in the community may perceive this activity secularly, attributing their own meanings and significances towards these sounds. If bell ringing (or the actual sound) were found to have great significance to a specific community, denomination, or a regionality bracket, this may have future implications in any management of these resources. There is a need to hear the voices of the actual practitioners and their perceptions regarding what they, their congregations, and their host communities feel. This paper represents the first large-scale assessment of the views of practitioners of five major Christian denominations with regards to bell-ringing practice and its role in contemporary society.

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31

Kealiinohomoku, Joann W., and Alice Marshall Moyle. "Music and Dance of Aboriginal Australia and the South Pacific: The Effects of Documentation on the Living Tradition." Ethnomusicology 39, no. 2 (1995): 277. http://dx.doi.org/10.2307/924430.

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32

Chavin, M. "Bright, R. (1991). Music in Geriatric Care: A Second Look. New South Wales, Australia: Music Therapy Enterprises. 135 pages. ISBN 0-646-04685-3." Music Therapy Perspectives 12, no. 2 (January 1, 1994): 136. http://dx.doi.org/10.1093/mtp/12.2.136-a.

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33

Cain, Melissa, Lauren Istvandity, and Ali Lakhani. "Participatory music-making and well-being within immigrant cultural practice: exploratory case studies in South East Queensland, Australia." Leisure Studies 39, no. 1 (February 21, 2019): 68–82. http://dx.doi.org/10.1080/02614367.2019.1581248.

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34

Gummow, Margaret. "Music and dance of Aboriginal Australia and the South Pacific: The effect of documentation on the living tradition." Musicology Australia 19, no. 1 (January 1996): 79–81. http://dx.doi.org/10.1080/08145857.1996.10416549.

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35

Foster, Neil. "The Bathurst Diocese Decision in Australia and its Implications for the Civil Liability of Churches." Ecclesiastical Law Journal 19, no. 01 (December 20, 2016): 14–34. http://dx.doi.org/10.1017/s0956618x1600106x.

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In the New South Wales Supreme Court decision of Anglican Development Fund Diocese of Bathurst v Palmer in December 2015, a single judge of the court held that a large amount of money which had been lent to institutions in the Anglican Diocese of Bathurst, and guaranteed by a letter of comfort issued by the then bishop of the diocese, had to be repaid by the bishop-in-council, including (should it be necessary) levying the necessary funds from the parishes. The lengthy judgment contains a number of interesting comments on the legal personality of church entities and may have long-term implications (and not merely in Australia) for unincorporated, mainstream denominations and their contractual and tortious liability to meet orders for payment of damages. The article discusses the decision and some of those implications.

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36

Ward, James C. "The Lord Will Make a Way Somehow: Strategies for Cross-Cultural Music and Worship." Review & Expositor 109, no. 1 (February 2012): 39–50. http://dx.doi.org/10.1177/003463731210900106.

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With neighborhoods shifting racially and economically, churches are challenged with meeting the new population with relevant and culturally meaningful worship music. Ethnic groups are diverse within themselves as well, with black and Latino peoples having disparate tastes and traditions from Church of God in Christ to South American Evangelicals. Congregations must have strong pastoral leadership and competent, spiritually alert musicians and singers. Although the leadership may want more effective outreach through music, it requires trained musicians, often in jazz, to educate the musicians as well as the congregation. Vocalists must also be melded together, trained and untrained, into a vernacular blend in praise teams or choirs. Musicians must do research in the community for songs and resources that touch the “heart music” of the target population. The result of such a commitment is to see a congregation rally around a new mission and new friendships. Children growing up in such a cross-cultural worship have a more open view of the world. But bearing fruit in cross-cultural ministry is measured in decades and may not have overwhelming success like some homogeneous church plants. If we want to see the church's witness as credible before a watching world, racial reconciliation and justice fleshed out in the worshipping community must be a greater priority. In a society still plagued with racial alienation, this may be the toughest strategy of all.

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37

Knight, Frances. "Anglican Worship in Late Nineteenth-Century Wales: a Montgomeryshire Case Study." Studies in Church History 35 (1999): 408–18. http://dx.doi.org/10.1017/s0424208400014170.

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In 1910, the Royal Commission on the Church of England and the Other Religious Bodies in Wales and Monmouth revealed that the Church of England was the largest religious body in Wales, and attracted over a quarter of all worshippers. This indicated a significant improvement in the Church’s fortunes in the previous half century, and a different picture from that which had emerged from the 1851 Census of Religious Worship, which had suggested that the established Church had the support of only twenty per cent of Welsh worshippers. The purpose of this paper is to shed some light upon the Church’s improving fortunes between 1851 and 1910 by exploring the liturgical patterns which were evolving in a particular Welsh county, Montgomeryshire, in the late nineteenth century. Montgomeryshire is part of the large rural heart of mid-Wales, bordered by Radnor to the south, Cardigan and Merioneth to the west, Denbigh to the north, and Shropshire to the east. The paper considers the annual, monthly, and weekly liturgical cycles which were developing in the county, and how the co-existence of the Welsh and English languages was expressed in different styles of church music and worship.

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38

Baker, Sarah, and Alison Huber. "Locating the canon in Tamworth: historical narratives, cultural memory and Australia's ‘Country Music Capital’." Popular Music 32, no. 2 (May 2013): 223–40. http://dx.doi.org/10.1017/s0261143013000081.

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AbstractThis article concerns the regional city of Tamworth, New South Wales, Australia, a place that prides itself on its reputation as Australia's home of country music. We consider the ongoing memorialisation of country music in Tamworth, and how the processes associated with the project of articulating country music's past work to create and maintain something that can be recognised (and experienced) as a dominant narrative or an Australian country music ‘canon’. Outlining a number of instances in which the canon is produced and experienced (including in performances, rolls of honour and monuments built around the city), the article explores the ways in which this narrativisation of Australia's country music history contributes to a certain kind of memory of the genre's past.

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Dimopoulos-Bick, Tara, Kim E. Clowes, Katie Conciatore, Maggie Haertsch, Raj Verma, and Jean-Frederic Levesque. "Barriers and facilitators to implementing playlists as a novel personalised music intervention in public healthcare settings in New South Wales, Australia." Australian Journal of Primary Health 25, no. 1 (2019): 31. http://dx.doi.org/10.1071/py18084.

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Listening to personalised music is a simple and low-cost intervention with expected therapeutic benefits, including reduced agitation, stress responses and anxiety. While there is growing evidence for the use of personalised music as a therapeutic intervention, there has been little investigation into processes and strategies that would support the implementation of playlists. The aim of this study was to identify the perceived barriers and facilitators to implementing personalised playlists on a large scale in public healthcare settings. A mixed-methods approach was used to evaluate the feasibility of the intervention in 21 different acute, sub-acute and primary healthcare settings in New South Wales (NSW), Australia, between June 2016 and June 2017. Data collection included 153 survey responses (staff n=35, patients n=49 and family members n=69), six focus groups (staff n=21) and an analysis of 37 documents. Data sources were systematically categorised using a Policy Analysis Framework. Facilitators included the use of implementation leads and volunteers, a high level of staff engagement and the integration of music selection and playlist development into routine clinical practice. Barriers included ongoing and unexpected funding, time to prepare playlists and staff turnover. The results from this study support the feasibility and acceptability of implementing playlists in different healthcare settings.

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40

Bowers, Roger. "Aristocratic and Popular Piety in the Patronage of Music in the Fifteenth-century Netherlands." Studies in Church History 28 (1992): 195–224. http://dx.doi.org/10.1017/s0424208400012456.

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It has always been recognized that during the fifteenth century the vigorous and affluent commercial towns of the Low Countries served as centres of artistic excellence, especially in respect of painting and of manuscript production and illumination. That the region was no less fertile a generator of practitioners and composers of music—especially of music for the Church—has also long been appreciated. If for present purposes the Low Countries be defined—rather generously, perhaps—as the region coterminous with the compact area covered by the six dioceses of Thérouanne, Arras, Cambrai, Tournai, Liège, and Utrecht (see map), then it was an area if not packed with great cathedrals, yet certainly thickly populated with great collegiate churches, which sustained skilled choirs and offered a good living and high esteem to musicians who composed; the area also sustained a catholic and generous patron and consumer of artistic enterprise of all sorts, sacred and secular music included, namely, the House of the Valois Dukes of Burgundy and its Habsburg successors. From the end of the fourteenth century to the first half of the sixteenth, the region produced church musicians in such numbers that it became the principal area of recruitment for those princes of the south of Europe who were seeking the ablest men available to staff their household chapels. The Avignon popes of the 1380s and 1390s, the dukes of Rimini and Savoy, and the Roman popes of the mid-fifteenth century, and from the 1470s onwards the fiercely competitive dukes of Milan and Ferrara, the popes, cardinals, and bishops of the Curia, the king of Naples, the prominent families and churches of Florence and Venice, all alike recruited from the North; and though many of the ablest, like Ciconia, Dufay, Josquin, Isaac, and Tinctoris, were lured south to spend their lives in the sunshine, many more remained at home to maintain the Low Countries tradition.

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Stephens, Randall J. "“Where else did they copy their styles but from church groups?”: Rock ‘n’ Roll and Pentecostalism in the 1950s South." Church History 85, no. 1 (February 29, 2016): 97–131. http://dx.doi.org/10.1017/s0009640715001365.

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Church leaders and laypeople in the US went on the defensive shortly after rock and roll became a national youth craze in 1955 and 1956. Few of those religious critics would have been aware or capable of understanding that rock ‘n’ roll, in fact, had deep religious roots. Early rockers, all southerners—such as Elvis Presley, Johnny Cash, Little Richard, Jerry Lee Lewis, and James Brown—grew up in or regularly attended pentecostal churches. Pentecostalism, a vibrant religious movement that traced its origins to the early 20th century, broke with many of the formalities of traditional protestantism. Believers held mixed-race services during the height of Jim Crow segregation. The faithful spoke in tongues, practiced healing, and cultivated loud, revved-up, beat-driven music. These were not the sedate congregants of mainline churches. Some pentecostal churches incorporated drums, brass instruments, pianos, and even newly invented electric guitars. Rock ‘n’ roll performers looked back to the vibrant churches of their youth, their charismatic pastors, and to flashy singing itinerants for inspiration. In a region that novelist Flannery O'Connor called “Christ-haunted,” the line between secular and sacred, holy and profane was repeatedly crossed by rock musicians. This article traces the black and white pentecostal influence on rock ‘n’ roll in the American South, from performance style and music to dress and religious views. It also analyzes the vital ways that religion took center stage in arguments and debates about the new genre.

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42

Czeglédy, André. "A New Christianity for a New South Africa: Charismatic Christians and the Post-Apartheid Order." Journal of Religion in Africa 38, no. 3 (2008): 284–311. http://dx.doi.org/10.1163/157006608x323504.

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AbstractThe international growth of Pentecostalism has seen a rush of congregations in Africa, many of which have tapped into a range of both local and global trends ranging from neo-liberal capitalism to tele-evangelism to youth music. Based on ethnographic fieldwork, this discussion focuses on the main Johannesburg congregation of a grouping of churches that have successfully engaged with aspects of socio-economic transformation in post-apartheid South Africa. Such engagement has involved conspicuous alignment with aspects of contemporary South African society, including an acceptance of broader policy projects of the nation state. I argue that the use of a variety of symbolic and thematic elements of a secular nature in the Sunday services of this church reminds and inspires congregants to consider wider social perspectives without challenging the sacred realm of faith.

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43

Parker, Murray, and Dirk HR Spennemann. "Anthropause on audio: The effects of the COVID-19 pandemic on church bell ringing and associated soundscapes in New South Wales (Australia)." Journal of the Acoustical Society of America 148, no. 5 (November 2020): 3102–6. http://dx.doi.org/10.1121/10.0002451.

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44

Shelemay, Kay Kaufman, Peter Jeffery, and Ingrid Monson. "Oral and written transmission in Ethiopian Christian chant." Early Music History 12 (January 1993): 55–117. http://dx.doi.org/10.1017/s0261127900000140.

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Of all the musical traditions in the world among which fruitful comparisons with medieval European chant might be made, the chant tradition of the Ethiopian Orthodox Church promises to be especially informative. In Ethiopia one can actually witness many of the same processes of oral and written transmission as were or may have been active in medieval Europe. Music and literacy are taught in a single curriculum in ecclesiastical schools. Future singers begin to acquire the repertory by memorising chants that serve both as models for whole melodies and as the sources of the melodic phrases linked to individual notational signs. At a later stage of training each one copies out a complete notated manuscript on parchment using medieval scribal techniques. But these manuscripts are used primarily for study purposes; during liturgical celebrations the chants are performed from memory without books, as seems originally to have been the case also with Gregorian and Byzantine chant. Finally, singers learn to improvise sung liturgical poetry according to a structured system of rules. If one desired to imitate the example of Parry and Lord, who investigated the modern South Slavic epic for possible clues to Homeric poetry, it would be difficult to find a modern culture more similar to the one that spawned Gregorian chant.

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45

Bennett, Cary. "Challenges facing regional live music venues: A case study of venues in Armidale, NSW." Popular Music 39, no. 3-4 (December 2020): 600–618. http://dx.doi.org/10.1017/s0261143020000483.

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AbstractThis article draws from a wider research project undertaken in 2018 in Armidale, a small regional city in New South Wales (NSW) Australia, to explore the challenges commercial venues face in presenting and maintaining a regular live music programme. An analysis of the main themes suggests that the issues regional venues encounter are often qualitatively and/or quantitatively different from those facing their urban counterparts. This research found that regulatory issues, such as licensing, planning and noise, were not considered major impediments to regularly hosting live music. Rather, finding and accessing affordable quality bands in the numbers and styles needed to keep audiences coming to gigs, and getting audiences to regularly attend and spend money in the numbers needed to sustain the gigs, were identified as ongoing difficulties. Although venues in larger metropolitan cities are often confronted with similar problems, these are not the sort of issues that stand out in the research in this area. Rather the regulatory environment is emphasised. By drawing attention to the non-regulatory challenges regional venues face, important new avenues of research are opened up that will benefit live music scenes across Australia.

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46

Saucier, Catherine. "Johannes Brassart’s Summus secretarius." Journal of Musicology 34, no. 2 (2017): 149–81. http://dx.doi.org/10.1525/jm.2017.34.02.149.

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The motet Summus secretarius remains an enigma in the polyphonic output of the south Netherlandish composer Johannes Brassart (ca. 1400/5–1455). While extant sources (I-Bc Q15 and GB-Ob 213) attest to Brassart’s authorship, the message and function of this motet have long perplexed musicologists seeking to identify the work’s elusive subject and understand its cryptic language. Who is the “highest secretary” hailed at the outset, and what is this figure’s relationship to the biblical and cosmological references in the ensuing lines? Summus secretarius reveals its secrets when examined within the context of the medieval cult of St. John the Evangelist. Taking cues from Brassart’s careful musical treatment of words quoted from the Gospel of John (1:1), we can decipher the motet’s language and symbolism using a diverse array of exegetical writings, images, and liturgical music that illuminate the unique status of John as Christ’s most intimate confidant, the seer and evangelist privy to his secrets. Brassart would have experienced the evangelist’s cult most vividly through his service as singer, chaplain, priest, and canon at the collegiate church of Saint-Jean l’Evangéliste in Liège—the most likely place for the motet’s composition and performance. Summus secretarius demonstrates to an exceptional degree the hermeneutic richness of enigmatic language in the unique texts of freely composed fifteenth-century motets.

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47

Veblen, Kari K., Nathan B. Kruse, Stephen J. Messenger, and Meredith Letain. "Children’s clapping games on the virtual playground." International Journal of Music Education 36, no. 4 (May 14, 2018): 547–59. http://dx.doi.org/10.1177/0255761418772865.

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This study considers children’s informal musicking and online music teaching, learning, playing, and invention through an analysis of children’s clapping games on YouTube. We examined a body of 184 games from 103 separate YouTube postings drawn from North America, Central and South America, Europe, Africa, Asia, Australia, and New Zealand. Selected videos were analyzed according to video characteristics, participant attributes, purpose, and teaching and learning aspects. The results of this investigation indicated that pairs of little girls aged 3 to 12 constituted a majority of the participants in these videos, with other participant subcategories including mixed gender, teen, adult, and intergenerational examples. Seventy-one percent of the videos depicted playing episodes, and 40% were intended for pedagogical purposes; however, several categories overlapped. As of June 1, 2016, nearly 50 million individuals had viewed these YouTube postings.

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48

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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49

Young, Marisa. "From T.T. Reed’s Colonial Gentlemen to Trove: Rediscovering Anglican Clergymen in Australia’s Colonial Newspapers." ANZTLA EJournal, no. 11 (April 19, 2015): 74–88. http://dx.doi.org/10.31046/anztla.vi11.268.

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T. T. Reed’s pioneering book on the lives of Anglican clergymen in South Australia is still an important guide to the contribution made by these men to the expansion of educational opportunities for children. However, the development of Trove by the National Library of Australia has provided new ways of tracing the educational activities of Anglican clergymen in Australia. Researchers have frequently acknowledged the importance of the roles played by Protestant ministers of religion in the expansion of primary and secondary education during the nineteenth century. Much of the focus of this research work in religious history and educational history has been linked to the contribution of Protestant clergymen in educational administrations, either through leadership roles as headmasters or through participation in activities established by school boards or councils. Numerous Protestant ministers of religion developed high profile roles during the early growth of non-government as well as government-supported primary and secondary schools in colonial South Australia. This article will emphasise the ways that information searches using Trove can highlight forgotten aspects of educational activities undertaken by clergymen. It will focus on the activities of three ministers from the Church of England who combined their parish duties in the Diocese of Adelaide with attempts to run schools funded by private fees. Their willingness to undertake teaching work in this way thrust them into the secular world of an emerging Australian education market, where promotional activity through continuous newspaper advertising was part of the evolution of early models of educational entrepreneurship. These clergymen faced considerable competition from private venture schools as well as government-supported schools in the colonial capital. This article will also highlight gender issues associated with their promotional activities, as each minister used different definitions of gender in order to build supportive social networks for their schools and attract attention to their teaching activities.

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50

Stevens, Kate, Gary McPherson, and Denis Burnham. "7 th International Conference on Music Perception & Cognition (ICMPC7), July 17 —21, 2002, University of New South Wales, Sydney, Australia." Research Studies in Music Education 16, no. 1 (June 2001): 73–74. http://dx.doi.org/10.1177/1321103x010160010101.

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