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Статті в журналах з теми "Music Australia"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 20 лютого 2023

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1

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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2

Hope, Cat, Nat Grant, Gabriella Smart, and Tristen Parr. "TOWARDS THE SUMMERS NIGHT: A MENTORING PROJECT FOR AUSTRALIAN COMPOSERS IDENTIFYING AS WOMEN." Tempo 74, no. 292 (March 6, 2020): 49–55. http://dx.doi.org/10.1017/s0040298219001177.

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AbstractThe Summers Night Project is an ongoing composer-mentoring programme established in 2018 by musicians Cat Hope and Gabriella Smart, with the support of the Perth-based new music organisation Tura New Music. The project aims to support and mentor emerging Australian female and gender minority composers to create new compositions for performance, with the aim of growing the gender diversity of composers in music programmes across Australia. Three composers were chosen from a national call for submissions, and works were performed by an ensemble consisting of members from the Decibel and Soundstream new music ensembles. Three new works were workshopped, recorded then performed on a short tour of Perth, Adelaide and Melbourne, Australia in July 2018. The project takes its name and inspiration from Australian feminist Anne Summers, author of the ground-breaking examination of women in Australia's history Damned Whores and God's Police (1975) and was inspired by her 2017 Women's Manifesto. This article examines the rationale for such a project, the processes and results of the project itself, and plans for its future.

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3

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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4

Bartleet, Brydie-Leigh. "Building vibrant school–community music collaborations: three case studies from Australia." British Journal of Music Education 29, no. 1 (February 21, 2012): 45–63. http://dx.doi.org/10.1017/s0265051711000350.

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This paper explores the relationship between school music and community music in Australia. While many Australian schools and community music activities tend to exist in relative isolation from one another, a range of unique school–community collaborations can be found throughout the country. Drawing on insights from Sound Links, one of Australia's largest studies into community music, this paper explores three case studies of these unique school–community collaborations. These collaborations include a community-initiated collaboration, a school-initiated collaboration and a mutual collaboration. The author brings these collaborations to life for the reader through the words and experiences of their participants, and explores their structures, relationships, benefits, and educational and social outcomes. These descriptions feature important concepts, which could be transferred to a range of other cultural and educational settings in order to foster more vibrant school–community collaborations.

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5

YOUNG, GREG. "‘So slide over here’: the aesthetics of masculinity in late twentieth-century Australian pop music." Popular Music 23, no. 2 (May 2004): 173–93. http://dx.doi.org/10.1017/s0261143004000145.

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For Australian men, the very act of appearing on stage has for much of the twentieth century aroused suspicion about their gender status and their sexuality. To aspire to the stage often implied homosexuality culturally in Australia. This has been evident in the evolving aesthetic of white Australian masculinity in pop music from the 1970s onwards. For most of that period, Anglo-Australian males who presented themselves in a rigid, almost asexual way dominated the aesthetic. The reality of urban Australia was ignored in their images, which were essentially confined to outback or coastal Australian settings. This paper examines that development as part of a continuum of twentieth century Australian male music performance that has variously been informed by the bush legend; a mythologised late nineteenth-century Australian masculine image, popularised in The Bulletin under the editorship of Archibald, that saw the urban as the feminine and the rural as the masculine. The paper considers how the combination of sexual anxiety surrounding male gender identity in Australian performance, and this rigid bush aesthetic, have encouraged the development of unstable male gender representations in Australian music that for the most part have come across as either caricatured male, sexless or anti-pop. The exception is the late Michael Hutchence whose performances were a clear departure from this in that on stage and in music videos he conveyed a star persona that was sexually charged and often ambiguous about its sexuality. It is for that reason alone that Michael Hutchence has been referred to as Australia's only international rock star (Carney 1997).

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6

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

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

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7

Bendrups, Dan. "Latin Down Under: Latin American migrant musicians in Australia and New Zealand." Popular Music 30, no. 2 (May 2011): 191–207. http://dx.doi.org/10.1017/s026114301100002x.

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AbstractThe global significance of Latin American popular music is well documented in contemporary research. Less is known about Latin American music and musicians in Australia and New Zealand (collectively termed ‘Australasia’): nations that have historically hosted waves of migrants from the Americas, and which are also strongly influenced by globalised US popular music culture. This article presents an overview of Latin American music in Australasia, drawing on ethnographic research, with the aim of providing a historical framework for the understanding of this music in the Australasian context. It begins with an explanation of the early 20th-century conceptualisation of ‘Latin’ in Australasia, and an investigation into how this abstract cultural construction affected performance opportunities for Latino/a migrants who began to arrive en masse from the 1970s onwards. It then discusses the performance practices that were most successfully recreated by Latin American musicians in Australia and New Zealand, especially ‘Andean’ folkloric music, and ‘tropical’ dance music. With reference to prominent individuals and ensembles, this article demonstrates how Andean and tropical performance practices have developed over the course of the last 30 years, and articulates the enduring importance of Latin American music and musicians within Australasian popular music culture.

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8

Mitchell, Tony. "WORLD MUSIC, INDIGENOUS MUSIC AND MUSIC TELEVISION IN AUSTRALIA." Perfect Beat 1, no. 1 (September 29, 2015): 1–16. http://dx.doi.org/10.1558/prbt.v1i1.28571.

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9

Harrison, Gillian. "Community music in Australia." International Journal of Community Music 3, no. 3 (November 1, 2010): 337–42. http://dx.doi.org/10.1386/ijcm.3.3.337_1.

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10

Kennedy, Rosanne. "Soul music dreaming:The Sapphires, the 1960s and transnational memory." Memory Studies 6, no. 3 (May 20, 2013): 331–44. http://dx.doi.org/10.1177/1750698013485506.

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In memory studies, concepts of cosmopolitan, transnational and transcultural memory have been identified as a means of studying mnemonic symbols, cultural forms and cultural practices that cross national, ethnic and territorial borders. However, what do these concepts deliver for memory work that originates in an ‘off-centre’ location such as Australia, where outsiders often lack an understanding of the history and cultural codes? A recent Indigenous Australian film, The Sapphires, set in 1968, provides an opportunity to consider some of the claims that are made for the transnational travels of memory. The film tells the story of an Aboriginal girl group that travels to Vietnam to perform for the American troops. I discuss the mnemonic tropes and transcultural carriers of memory, particularly soul music, that enable this popular memory to circulate nationally and internationally. While global tropes and icons of the 1960s can be imported into Australia, and used to construct Australian cultural memory and identity, how effectively does cultural memory travel transnationally from Australia?

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11

D'Cruz Barnes, Isobel. "Shane Homan, Seamus O’Hanlon, Catherine Strong and John Tebutt. Music City Melbourne: Urban Culture, History and Policy (review)." Context, no. 48 (January 31, 2023): 117–20. http://dx.doi.org/10.46580/cx70617.

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Documenting cultural life in contemporary Australia seems a fraught and daunting task, if not for the one-sided narratives so consistently reinforced through early scholarship, then at least due to the geographical vastness and diverse population that makes generalisation so difficult. The arrival of Music City Melbourne: Urban Culture, History and Policy is thus welcomed for its resolute specificity and unique historical lens. The book narrates and delineates popular music in Melbourne from the 1950s until the mid-2000s, exploring how it has shaped, and been shaped by, cultural policy and migration. The text is a much-needed contribution to scholarship on both Australian cultural policy, which focuses predominantly on the fine arts, and Australian popular music that in general fails to account for the historical contributions made by marginalised groups. Indeed, the authors describe Music City Melbourne’s historical emphases and use of subtly critical language (most notably, their casual use of the term ‘invasion’ as opposed to ‘settlement’ of Australia) as ‘an important corrective of Anglo Saxon accounts’ of Australian history (p. 3, emphasis added). [...]

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12

COYLE, JACKEY, and REBECCA COYLE. "ALOHA AUSTRALIA Hawaiian Music in Australia (1920-55)." Perfect Beat 2, no. 2 (October 7, 2015): 31–63. http://dx.doi.org/10.1558/prbt.v2i2.28788.

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13

Rowe, David, and Tony Bennett. "Tastes and practices in three Australian cultural fields: television, music and sport." Media International Australia 167, no. 1 (April 19, 2018): 121–25. http://dx.doi.org/10.1177/1329878x18767937.

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This article introduces the Themed Section of Media International Australia, ‘Tastes and practices in three Australian cultural fields: television, music and sport’, which presents selected findings of the 2014-2015 survey of Australian cultural practices conducted as part of the Australian Research Council project Australian Cultural Fields: National and Transnational Dynamics (DP140101970). It briefly discusses the social organisation of the production of consumption of Australia in the period between the national cultural policies Creative Nation (1994) and Creative Australia (2013). The Introduction then outlines the methodology underlying the Australian Cultural Fields survey that, in building on the approach of French sociologist Pierre Bourdieu, was developed to assess how far entrenched cultural hierarchies and inequalities have been displaced by broadened patterns of access to arts and culture. Of particular concern is the role of traditional and new forms of cultural capital in differentiating patterns of cultural consumption and participation across relations of class, gender and ethnicity, which the distinctive survey design and administration seek to capture in the Australian context. Bringing together the methods of Multiple Correspondence Analysis (MCA) and Cluster Analysis, each article highlights specific aspects of the relations between cultural tastes, practices, and social positions in contemporary Australia via an engagement with contemporary debates in cultural capital theory. The contributions on television (by Tony Bennett, Modesto Gayo, and David Rowe), music (Ben Dibley and Modesto Gayo) and sport (Modesto Gayo and David Rowe) address the dynamics of these Australian cultural fields, while also indicating the significance of their research findings for studies of other nationally-constituted cultural fields, as well as the contested play of cultural capital within nations and in the transnational/global sphere.

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14

Gifford, Edward F. "An Australian Rationale for Music Education Revisited: A Discussion on the Role of Music in the Curriculum." British Journal of Music Education 5, no. 2 (July 1988): 115–40. http://dx.doi.org/10.1017/s0265051700006471.

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One of the outcomes of the National Music Administrators' Conference held in Brisbane, Australia, in 1980 was a ‘Rationale for Music Education’ in Australian schools. This paper uses this Rationale as a stimulus for the discussion of the role of music in the curriculum. The issues raised here are neither new nor distinctively Australian. However, an attempt has been made to evaluate critically what Eisner would categorise as the ‘contexturalist’ and ‘essentialist’ justification for music in education. In an age of accountability and timetable restraints, teachers and administrators must explain their curricula to different audiences. Therefore, the ability to justify music in the curriculum must become part of the teacher's professional equipment.

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15

Silsbury, Elizabeth. "Tertiary Music Education in Australia." British Journal of Music Education 5, no. 2 (July 1988): 173–80. http://dx.doi.org/10.1017/s0265051700006513.

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During the Whitlam years, tertiary education burgeoned in Australia. Colleges of Advanced Education, most of them transformed Teachers' Colleges and unconvinced that their coaches would not turn out to be pumpkins after all, sprang up and/or expanded in city and country districts in all states. A national study carried out in 1977 showed that tertiary music and music education was everywhere healthy and in some places flourishing. In 1980 the Razor Gang went on a surgical rampage, perpetrating amalgamations in the name of economy on the GAEs, and forcing many of them into alliances as unwieldy as they were unholy. In 1987 a national review involving universities as well as GAEs was launched.Elizabeth Silsbury's article traces those changes, describes their effect on music and takes a punt on what might happen when the dust settles for the third time in less than 20 years.

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16

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

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

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17

Scott-Maxwell, Aline. "K-pop flows and Indonesian student pop scenes: situating live Asian pop music in an ‘Asian’ Australia." Media International Australia 175, no. 1 (February 29, 2020): 20–35. http://dx.doi.org/10.1177/1329878x20906550.

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Transnational responses to globalisation in the Asia-Pacific region have included the flow of Asian pop genres throughout Asia and beyond, which pose a modest challenge to the normative dominance of Anglophone pop globally. Over the last decade, Australia has entered this flow and become part of the market for Asian pop. Iwabuchi argues that ‘burgeoning popular culture flows have given new substance to the ambiguous imaginary space of “Asia”’. Recent growth in the Australian consumption and production of Asian popular music and media coupled with rapidly expanding, diverse and fluid Asian-Australian diaspora populations and communities of transient migrants from Asia, specifically international students, who together form Asian pop’s primary consumers in Australia, highlight the ambiguity of both ‘the imaginary space of “Asia”’ and the imaginary space of ‘Australia’. The article considers Australian engagement with Asian pop from two perspectives: K-pop dominated media production and commercial scale concerts of East Asian pop and the social and experiential dimension of how international students engage with live Asian pop. Ethnographic case studies of two Asian pop events draw attention to the self-contained, socially and culturally demarcated communities of international students in Australia. They illustrate how such concert events express shared identities; a collective sense of community, belonging and agency; and, further, a connectedness to ‘Asia’ and a disconnectedness to the Australian societies that enable their communities and pop music activities.

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18

Temmerman, Nita. "The Philosophical Foundations of Music Education: The Case of Primary Music Education in Australia." British Journal of Music Education 8, no. 2 (July 1991): 149–59. http://dx.doi.org/10.1017/s0265051700008251.

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Primary music education programme development and implementation is founded on philosophical beliefs about the purpose of music education.Primary classroom teachers who ultimately have responsibility for development and implementation of the music education programme formulate their philosophical beliefs about the purpose of music education based on a multitude of variables. Whilst their own past music experiences and education assume significance in the formation of a music education philosophy, the primary music curriculum documents provided by education authorities constitute an important source for teachers' current philosophical opinion about the purpose of music education.Two philosophical arguments have thus far formed the basis of the purpose of music education in the history of the western world, namely, the intrinsic and extrinsic arguments. Primary music curriculum documents have also been based on one (or perhaps both), of these philosophical views about the purpose of music education.In this article a discussion of the philosophical foundations of music education, with special reference to primary music education in Australia, is presented. Five primary music curriculum documents will be looked at, and commentary given about the current philosophical status of Australian primary music education and the implications for programme development and implementation.

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19

Mitchell, Tony. "Treaty Now! Indigenous Music and Music Television in Australia." Media, Culture & Society 15, no. 2 (April 1993): 299–308. http://dx.doi.org/10.1177/0163443793015002011.

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20

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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21

Comte, Martin. "Australia." International Journal of Music Education os-8, no. 1 (November 1986): 71. http://dx.doi.org/10.1177/025576148600800121.

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Oliver, Jacinth. "Australia." International Journal of Music Education os-10, no. 1 (November 1987): 56–58. http://dx.doi.org/10.1177/025576148701000120.

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Comte, Martin. "Australia." International Journal of Music Education os-12, no. 1 (November 1988): 65–66. http://dx.doi.org/10.1177/025576148801200119.

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24

HARRIS, AMANDA. "Representing Australia to the Commonwealth in 1965: Aborigiana and Indigenous Performance." Twentieth-Century Music 17, no. 1 (October 24, 2019): 3–22. http://dx.doi.org/10.1017/s1478572219000331.

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AbstractIn 1965, the Australian government and Australian Elizabethan Theatre Trust (AETT) debated which performing arts ensembles should represent Australia at the London Commonwealth Arts Festival. The AETT proposed the newly formed Aboriginal Theatre, comprising songmakers, musicians, and dancers from the Tiwi Islands, northeast Arnhem Land and the Daly River. The government declined, and instead sent the Sydney Symphony Orchestra performing works by John Antill and Peter Sculthorpe. In examining the historical context for these negotiations, I demonstrate the direct relationship between the historical promotion of ‘Australianist’ art music composition that claimed to represent Aboriginal culture, and the denial of the right of representation to Aboriginal performers as owners of their musical traditions. Within the framing of Wolfe's settler colonial theory and ‘logic of elimination’, I suggest that appropriative Australian art music has directly sought to replace performances of Aboriginal culture by Aboriginal people, even while Aboriginal people have resisted replacement.

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25

Lett, Warren R. "Research In Australian Music Education: A Review and Analysis." British Journal of Music Education 5, no. 2 (July 1988): 141–56. http://dx.doi.org/10.1017/s0265051700006483.

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A review is made of the contents of the Australian Journal of Music Education from 1969, and of conferences in the early history of the Australian Society of Music Education. The categories of music education theses 1936–78 are described. A review of the research presentations is made from reports of the conferences of the Association of Music Education Lecturers. The paper identifies seminal summaries of music education research issues over a twenty-five-year period. It traces the lines of reported research, distinguishing standards for identification of research. It is concluded that although awareness of research issues has been consistently present amongst music educators in Australia, a lack of research orientation, together with inadequate planning and organisational structure has left the field to haphazard individualism. Proposals for current research priorities and procedures for their pursuit are made.

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26

WHITEOAK, JOHN. "HAWAIIAN MUSIC AND JAZZING Some Comments on 'Aloha Australia - Hawaiian Music in Australia (1920-55)'." Perfect Beat 2, no. 3 (October 6, 2015): 115–19. http://dx.doi.org/10.1558/prbt.v2i3.28782.

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27

Wilson, Pat H. "Singing Our Songs: Celebrating Australian Music Theatre repertoire." Australian Voice 22 (2021): 9–15. http://dx.doi.org/10.56307/bxzp3343.

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Although live theatrical performances combining music, spoken dialogue, songs, acting and dance have existed since ancient times, modern Western musical theatre (colloquially, “musicals”) emerged in the 19th century. There is an increasing interest in analysing, understanding and researching American musicals. British and European music theatre is also gathering a stronger profile academically. However, it is less well-known that Australia has a large and richly varied music theatre history. Singing teachers, vocal coaches and singers working in music theatre constantly seek to expand repertoire, especially solo material suitable for use in auditions. Lack of research attention and a dearth of readily available published scores have resulted in few performances of solo songs from the growing canon of Australian music theatre. A serious investigation, interrogating suitability and availability of the scores of Australian music theatre works, is long overdue. This paper seeks, in some small way, to commence the process.

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28

Stevens, Robin S., and Gary E. McPherson. "Mapping Music Education Research in Australia." Psychology of Music 32, no. 3 (July 2004): 330–42. http://dx.doi.org/10.1177/0305735604043262.

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Pestana, Ginette. "Preparing preservice early childhood educators to use music in Australian settings: An audit of programmes." Australasian Journal of Early Childhood 47, no. 1 (December 7, 2021): 74–86. http://dx.doi.org/10.1177/18369391211056669.

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Music is ever-present in early childhood but does not feature strongly in the national curriculum framework – The Early Years Learning Framework in Australia or in the intentional practice of educators in early childhood education and care settings. This is mainly due to a lack of knowledge and confidence or self-efficacy to engage musically with the children. Preservice educator training plays a critical role in the development of effective pedagogical skills, knowledge and understanding. This article explored the music education preparation that preservice educators receive in initial training. A content analysis approach was used to review course content of all approved preservice educator programmes in Australia by the Australian Children’s Education & Care Quality Authority. Interviews with tertiary teachers explored content taught. The findings offer rich insight into the extent of music education provided for preservice early childhood educators and implications for the development for future programmes.

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30

Dibley, Ben, and Modesto Gayo. "Favourite Sounds: the Australian music field." Media International Australia 167, no. 1 (April 20, 2018): 146–61. http://dx.doi.org/10.1177/1329878x18768059.

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Drawing on data from the Australian Cultural Fields survey, this article investigates the music field. Following the protocols of multiple correspondence analysis (MCA), it charts the music field in Australia, mapping the cultural and social contours of those who populate this space. In this context, the article considers the notion of emerging cultural capital deployed in recent surveys on social class. The article questions the contention that the correlation between emergent cultural practices and a younger educated cohort necessitates a new class formation by returning to Bourdieu’s arguments on the connections between cultural capital, age and the relations between class fractions.

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31

COX, GORDON, and STEPHANIE PITTS. "Editorial." British Journal of Music Education 21, no. 1 (March 2004): 5–6. http://dx.doi.org/10.1017/s0265051704005595.

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This issue – the first of our 21st anniversary year – has two clear themes: the teaching and learning of world musics, and the assessment of musical performance and understanding. Within these themes, the papers present accounts of research at all levels of music teaching, from nursery to higher education, and range across diverse geographical contexts: Australia, China, the UK, the USA and Zambia. There is evidence here of a wide-ranging research community in music education, which would have been hard to imagine when the British Journal of Music Education was founded in 1984.

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32

Hillier, Benjamin. "Jon Stratton, Jon Dale and Tony Mitchell, eds. An Anthology of Australian Albums: Critical Engagements." Context, no. 47 (January 31, 2022): 93–96. http://dx.doi.org/10.46580/cx26553.

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An Anthology of Australian Albums: Critical Engagements is a welcome addition to the growing body of work that examines Australian popular music from a critical and scholarly perspective. It was conceptualised by eminent Australian musicologist Tony Mitchell as an academic companion to the often excellent work of non-academic journalists examining Australian popular music albums. As such, this book provides a critical perspective on Australian albums across a range of genres, from black metal to hip-hop, singer-songwriters, and the ever-present pub-rock bands that dominate the landscape of Australian popular music. This perspective leads the volume to consider some of these more common topics from new angles, omitting many of the great works of the canon of Australian rock royalty from the 1970s (AC/DC, The Angels, et al.) in favour of significant yet overlooked or marginalised artists. It is also decidedly contemporary in its choice of albums to analyse, with ten of the fifteen chapters focused on albums released in the twenty-first century, thus providing a valuable insight into recent developments in Australian popular music. Finally, the volume’s focus on individual works and albums makes it a useful complement to other scholarly volumes, such as Sounds of Then, Sounds of Now: Popular Music in Australia…

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Goldsworthy, David. "Teaching gamelan in Australia: Some perspectives on cross-cultural music education." International Journal of Music Education os-30, no. 1 (November 1997): 3–14. http://dx.doi.org/10.1177/025576149703000102.

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Indonesian percussion orchestras (gamelan) have found a place in several Australian education institutions. Their presence and usage confronts music educators and students alike with a whole range of cross-cultural issues – social, ethical, pedagogical, and musical. Javanese gamelan is an ideal medium for introducing students to broader aspects of Indonesian society as well as to the musical principles and procedures of another culture. The educative value of gamelan studies also extends to musical insights and skills of a more general application in a student's music education. This paper examines some approaches to teaching gamelan in Australia, and discusses problems faced by students of this tradition in a cross-cultural situation.

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34

Jarman, Douglas. "THE MUSIC OF ANTHONY GILBERT (PART 2)." Tempo 58, no. 230 (October 2004): 38–49. http://dx.doi.org/10.1017/s0040298204000300.

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The influence of the rhythmic and harmonic ideas derived from Anthony Gilbert's study of birdsong made itself apparent in his works of the mid and late 1970s, firstly in the radio opera The Chakravaka-Bird, many sections of which are based on overlapping short figurations (Gilbert calls them ‘mantras’) that, like the calls of a large body of different birds singing together, are repeated at measured intervals to produce larger rythmic cycles; and then in Towards Asâvari, which was written in Australia in the spring (that is to say the Australian spring – between August and December) of 1978.

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35

Zion, Lawrence. "The impact of the Beatles on pop music in Australia: 1963–66." Popular Music 6, no. 3 (October 1987): 291–311. http://dx.doi.org/10.1017/s0261143000002336.

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For young Australians in the early 1960s America was the icon of pop music and fashion. This was the result of the projection of America through the mass media and the numerous American rock'n'roll acts that were brought to Australia by Lee Gordon, an American entrepreneur who lived in Sydney (Zion 1984). This overall tendency led the American, A. L. McLeod, to observe when writing about Australian culture in 1963 thatin general, Australian popular music is slavishly imitative of United States models; it follows jazz, swing, calypso or whatever the current fashion is in New York or San Francisco at a few months distance. (McLeod 1963, p. 410)Yet by late 1963 the potency of America was in decline. For while the Californian surf music craze made a somewhat delayed impact, especially in Sydney, the popularity of the Beatles was gathering momentum. This can be traced crudely through the Top Forty lists of the day: in Sydney the song ‘From Me To You’ entered the charts on 12 July 1963 and eventually reached number six (Barnes et al. 1979, p. 50).

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36

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

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

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37

Pearce, Sharyn. "‘Just Every-day Arabs Having Fun’: Representing Race in Jammin' in the Middle E." International Research in Children's Literature 3, no. 1 (July 2010): 15–27. http://dx.doi.org/10.3366/ircl.2010.0003.

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This article looks at the Australian film, Jammin' in the Middle E, which was televised in Australia in 2006 on the multicultural channel SBS. It explores the ways in which rap music is appropriated in the film, and subsequently used as a collective form of expression at a time of increased public and media hostility towards Muslims. While it argues that rap helps to develop an alternative cultural space, developing a Lebanese-Australian subject position still quite rare in Australian cultural texts, it also contends that Jammin', like the rap music which frames it and occurs throughout the narrative, is not a clear-cut and emancipatory text, but is fraught with the particular tensions of its time and place.

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38

Skinner, Anthea, and Jess Kapuscinski-Evans. "Facilitate This! Reflections from Disabled Women in Popular Music." Journal of Popular Music Studies 33, no. 2 (June 1, 2021): 3–14. http://dx.doi.org/10.1525/jpms.2021.33.2.3.

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This article is a reflection by the authors on the impact that their identities as disabled women have had on their ongoing music careers. Skinner and Kapuscinski-Evans make up two-thirds of the Australian crip-folk trio, the Bearbrass Asylum Orchestra (the term “crip” is a cultural reappropriation of “cripple”). The Bearbrass Asylum Orchestra is a band that performs as part of the Disability Music Scene in Melbourne, Australia, using folk music to portray their experiences as people with disabilities. In this article Skinner and Kapuscinski-Evans discuss the formation of and philosophy behind the band, as well as the impact that growing up as disabled women had on their musical education, careers, and influences.

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39

Goh, Talisha. "FROM THE OTHER SIDE: FEMINIST AESTHETICS IN AUSTRALIAN MUSICOLOGY." Tempo 74, no. 292 (March 6, 2020): 21–29. http://dx.doi.org/10.1017/s0040298219001141.

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AbstractThe rise of new musicology and feminist music criticism in the 1980s prompted a rethinking of gender in Australian art music spheres and resulted in over a decade of advocacy on behalf of women music makers. Local musicological publications began to cover feminist concerns from the late 1980s, with a focus on composing women. Catalysed by the proliferation of feminist musicology internationally in the 1990s, a series of women's music festivals were held around Australia from 1991–2001 and accompanied by conferences, symposia and special-issue publications. Aesthetic concerns were at the forefront of this debate as women musicologists and practitioners were divided on the existence of a gendered aesthetic and the implications this might have. This article examines the major feminist aesthetic contributions and debates at the time and how these considerations have impacted music-making practices, with particular reference to women composers of new music.

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40

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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41

Bachman, Jarrett R. "Music Festivals and Regional Development in Australia." Event Management 16, no. 3 (October 1, 2012): 267–68. http://dx.doi.org/10.3727/152599512x13461660017475.

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42

Semple, Anne-Louise. "Music festivals and regional development in Australia." Australian Geographer 44, no. 2 (June 2013): 220–21. http://dx.doi.org/10.1080/00049182.2013.799054.

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43

Scott, Craig. "Improvisatory music and contemporary jazz in Australia." Musicology Australia 29, no. 1 (January 2007): 167–72. http://dx.doi.org/10.1080/08145857.2007.10416594.

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44

Goldsworthy, Anna. "Music Festivals and Regional Development in Australia." Musicology Australia 37, no. 1 (January 2, 2015): 99–100. http://dx.doi.org/10.1080/08145857.2014.968962.

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45

Rihova, Ivana. "Music Festivals and Regional Development in Australia." Tourism Management 36 (June 2013): 119. http://dx.doi.org/10.1016/j.tourman.2012.11.014.

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46

Burt, Warren. "Experimental music in Australia using live electronics." Contemporary Music Review 6, no. 1 (January 1991): 159–72. http://dx.doi.org/10.1080/07494469100640171.

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47

Temmerman, Nita. "Music Education in a Multicultural Society—Australia." International Journal of Music Education os-5, no. 1 (May 1985): 56–59. http://dx.doi.org/10.1177/025576148500500112.

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48

Walsh, Michael. "Review: Experimental Music: Audio Explorations in Australia." Media International Australia 133, no. 1 (November 2009): 168–69. http://dx.doi.org/10.1177/1329878x0913300138.

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49

Lee, Seeun. "Music festivals and regional development in Australia." Annals of Leisure Research 17, no. 2 (October 17, 2013): 243–44. http://dx.doi.org/10.1080/11745398.2014.845930.

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50

Doornbusch, Paul. "Early Computer Music Experiments in Australia and England." Organised Sound 22, no. 2 (July 12, 2017): 297–307. http://dx.doi.org/10.1017/s1355771817000206.

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This article documents the early experiments in both Australia and England to make a computer play music. The experiments in England with the Ferranti Mark 1 and the Pilot ACE (practically undocumented at the writing of this article) and those in Australia with CSIRAC (Council for Scientific and Industrial Research Automatic Computer) are the oldest known examples of using a computer to play music. Significantly, they occurred some six years before the experiments at Bell Labs in the USA. Furthermore, the computers played music in real time. These developments were important, and despite not directly leading to later highly significant developments such as those at Bell Labs under the direction of Max Mathews, these forward-thinking developments in England and Australia show a history of computing machines being used musically since the earliest development of those machines.1

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