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ATS3061 Music in Australia (Draft)
This page includes resources for ATS3061 Music in Australia which supplement your reading list. To find further examples in Search enter the keywords related to you essay topics. The resources are intended to support your assessment preparation, and where possible, the books are available as an ebooks. If you are seeking a particular kind of resource, please contact your librarian or your learning skills adviser.
Landscapes of Indigenous Performance by
Publication Date: 2005
This book brings together a wide range of contemporary explorations of Indigenous music and dance in the Torres Strait and the tropical regions of the Northern Territory. This collection shows how traditional music and dance have responded to colonial control in the past and more recently to other external forces beyond local control. It looks at musical pasts and presents as a continuum of creativity; at contemporary cultural performance as a contested domain; and at cross-cultural issues of recording and teaching music and dance as experienced by Indigenous leaders and educators, and non-Indigenous researchers and scholars. Indigenous and non-Indigenous contributors demonstrate how local music and dance genres have been subject to missionary, institutional, popular and global influences. They offer an understanding of the cultural background and history of Torres Strait music; discuss how contemporary Christian music and dance in Arnhem Land incorporate traditional ritual; unpack the complex form and structure of an Australian Aboriginal song series; and examine the transformation of a nineteenth-century American popular song into a 'traditional' anthem of the Torres Strait. The book also examines the interface between Aboriginal ritual, movement and the environment as portrayed on film, and explores the issues raised by the presence of Aboriginal performers in the non-Indigenous university classroom. The book is of critical importance for those involved in the fields of music, dance and performance in general.
Cultural Theory and Popular Culture (8th edition) by
Publication Date: 2018
Now in its eighth edition, Cultural Theory and Popular Culture: An Introduction, presents a clear and critical survey of competing theories of and various approaches to popular culture. Its breadth and theoretical unity, exemplified through popular culture, means that it can be flexibly and relevantly applied across a number of disciplines. Retaining the accessible approach of previous editions, and using appropriate examples from the texts and practices of popular culture, this new edition is revised, rewritten and updated. There is a new chapter on class and popular culture and a ist of updated student resources at www.routledge.com/cw/storey. The new edition remains essential reading for undergraduate and postgraduate students of cultural studies, media studies, communication studies, the sociology of culture, popular culture and other related subjects.
Collaborative Creative Thought and Practice in Music by
Publication Date: 2016
Many of the contributors in this book are Australians who offer new perspectives to our understandings of the role of collaborative thought and processes in creative work across the domain of music including: composition, musicology, performance, music education and music psychology. Focusing on the domain of music, this book falls into three sections: investigations of the people, processes, products, and places of collaborative creativity in compositional thought and practice; explorations of the ways in which creative collaboration provides a means of crossing boundaries between disciplines such as music performance and musicology; and studies of the emergence of creative thought and practice in educational contexts including that of the composer and the classroom. The volume concludes with an extended chapter that reflects on the ways in which the studies reported advance understandings of creative thought and practice. Chapters include "The Scattering of Light" with shared insights into the collaborative and cooperative processes that underpin the development and performance of a commissioned work with contributions from Margaret Barrett, Andrew Ford, Patrick Murphy, Patricia Pollett, Elizabeth Sellars and Liam Viney and "Collaborative Re-creation: A Case Study of a Pianist Recording Australian Women Composers" by Katie Zhukov.
Convincing Ground by
Publication Date: 2007
In "Convincing Ground" Bruce Pascoe asks us to fully acknowledge our past and the way those actions continue to influence our nation today, both physically and intellectually. The book resonates with ongoing debates about identity, dispossession, memory and community. Pascoe draws on the past through a critical examination of major historical works and witness accounts and finds uncanny parallels between the techniques and language used there to today's national political stage. He has written the book for all Australians, as an antidote to the great Australian inability to deal respectfully with the nation's constructed Indigenous past. For Pascoe, the Australian character was not forged at Gallipoli, Eureka and the back of Bourke, but in the furnace of Murdering Flat, Convincing Ground and Werribee. He knows we can't reverse the past, but believes we can bring in our soul from the fog of delusion. Pascoe proposes a way forward, beyond shady intellectual argument and immature nationalism, with our strengths enhanced and our weaknesses acknowledged and addressed.
Finding the heart of the nation : the journey of the Uluru Statement towards voice, treaty and truth by
Publication Date: 2019
Since the Uluru Statement from the Heart was formed in 2017, Thomas Mayor has travelled around the country to promote its vision of a better future for Indigenous Australians. He’s visited communities big and small, often with the Uluru Statement canvas rolled up in a tube under his arm. Through the story of his own journey and interviews with 20 key people, Thomas taps into a deep sense of our shared humanity. The voices within these chapters make clear what the Uluru Statement is and why it is so important. And Thomas hopes you will be moved to join them, along with the growing movement of Australians who want to see substantive constitutional change. Thomas believes that we will only find the heart of our nation when the First peoples – the Aboriginal and Torres Strait Islanders – are recognised with a representative Voice enshrined in the Australian Constitution.
Convincing Ground: learning to fall in love with your country by
Publication Date: 2007
"Convincing Ground" pulses with love of country. In this powerful, lyrical and passionate new work Bruce Pascoe asks us to fully acknowledge our past and the way those actions continue to influence our nation today, both physically and intellectually. The book resonates with ongoing debates about identity, dispossession, memory and community. Pascoe draws on the past through a critical examination of major historical works and witness accounts and finds uncanny parallels between the techniques and language used there to today's national political stage. He has written the book for all Australians, as an antidote to the great Australian inability to deal respectfully with the nation's constructed Indigenous past. For Pascoe, the Australian character was not forged at Gallipoli, Eureka and the back of Bourke, but in the furnace of Murdering Flat, Convincing Ground and Werribee. He knows we can't reverse the past, but believes we can bring in our soul from the fog of delusion. Pascoe proposes a way forward, beyond shady intellectual argument and immature nationalism, with our strengths enhanced and our weaknesses acknowledged and addressed.
Engaging First Peoples in Arts-Based Service Learning by
Publication Date: 2015
This volume offers educators, higher education institutions, communities and organizations critical understandings and resources that can underpin respectful, reciprocal and transformative educative relationships with First Peoples internationally. With a focus on service learning, each chapter provides concrete examples of how arts-based, community-led projects can enhance and support the quality and sustainability of First Peoples' cultural content in higher education. In partnership with communities across Australia, Aotearoa New Zealand, Canada and the United States, contributors reflect on diverse projects and activities, offer rich and engaging first-hand accounts of student, community and staff experiences, share recommendations for arts-based service learning projects and outline future directions in the field.
The Oxford Handbook of Social Justice in Music Education by
Publication Date: 2015
Music education has historically had a tense relationship with social justice. One chapter is about the role of music in the lives of young refugees and newly arrived immigrants in Sydney, Australia, and is investigated in terms of its social and cultural effects as well as the transformative capacity that musical interaction fosters. Other chapter look a how teaching multicultural practices, for example, has historically provided potentially useful pathways for music practices that are widely thought to be socially just. However, curricula often map alien musical values onto other musics and in so doing negate the social value of these practices, grounding them in a politics of difference wherein "recognition of our difference" limits the push that might take students from tolerance to respect and to renewed understanding and interaction.The Oxford Handbook of Social Justice in Music Education provides a comprehensive overview and scholarly analyses of the major themes and issues relating to social justice in musical and educational practice and scholastic inquiry worldwide. The first section of the handbook conceptualizes social justice while framing its pursuit within broader social, historical, cultural, and political contexts and concerns. Authors in the succeeding sections of the handbook fill out what social justice entails for music teaching and learning in the home, school, university, and wider community. The concluding section of the handbook offers specific and groundbreaking practical examples of social justice in action through a variety of educational and social projects and pedagogical practices that might inspire and guide those wishing to confront and attempt to ameliorate musical or other inequity and injustice.
Songs from the stations : Wajarra as sung by Ronnie Wavehill Wirrpnga, Topsy Dodd Ngarnjal and Dandy Danbayarri at Kalkaringi by
Publication Date: 2019
The Gurindji people of the Northern Territory are perhaps best-known for their walk-off of Wave Hill Station in 1966, protesting against mistreatment by the station managers. The strike would become the first major victory of the Indigenous land rights movement. Many discussions of station life are focused on the harsh treatment of Aboriginal workers. Songs from the Stations portrays another side of life on Wave Hill Station. Amongst the harsh conditions and decades of mistreatment, an eclectic ceremonial life flourished during the first half of the 20th century. Constant travel between cattle stations by Indigenous workers across north-western and central Australia meant that Wave Hill Station became a cross-road of desert and Top End musical styles. As a result, the Gurindji people learnt songs from the Mudburra who came further east, the Bilinarra from the north, the Nyininy from the west, and the Warlpiri from the south.
Ngarra-Burria: First Peoples Composers (a website from the Australian Music Centre)
Ngarra-Burria is a program that builds bridges for First Peoples musicians to step forward, further develop their composing skills, and connect with the art music* sector. The program was initiated by Dharug composer Chris Sainsbury, and is delivered by a partnership between Moogahlin Performing Arts, the Australian Music Centre, ANU School of Music, Ensemble Offspring and the Royal Australian Navy Band, with funding support from APRA AMCOS, and in-kind support from EORA College of TAFE.
Singing Bones: Ancestral Creativity and Collaboration by
Publication Date: 2020
Manikay are the ancestral songs of Arnhem Land, passed down over generations and shaping relationships between people and the country. Singing Bones foregrounds the voices of manikay singers from Ngukurr in southeastern Arnhem Land and charts their critically acclaimed collaboration with jazz musicians from the Australian Art Orchestra, Crossing Roper Bar. It offers an overview of Wägilak manikay narratives and style, including their social, ceremonial and linguistic aspects, and explores the Crossing Roper Bar project as an example of creative intercultural collaboration and a living continuation of the manikay tradition. “Through song, the ancestral past animates the present, moving yolŋu (people) to dance. In song, community is established. By song, the past enfolds the present. Today, the unique voices of Wägilak resound over the ancestral ground and water, carried by the songs of old.”
New Classical Music by
Publication Date: 2009-03-01
This book offers an approachable and evocative introduction to classical music composed in Australia in recent decades. With a balance of historical background and detailed description, composer and music journalist Gordon Kerry explores a number of themes - landscape and spirituality, the influence of Europe and Asia - that bring together the exciting variety of new works and voices working in Australian music
Aesthetics and Experience in Music Performance by
Publication Date: 2005
The papers included in this publication bring together the research of a wide community of scholars (e.g., musicologists, anthropologists, ethnomusicologists and linguists) working in the field of performance studies and collectively reflect the musicological issues being debated in Australia today. The papers articulate the varied perspectives on the role of music, its interpretation and function in contexts supported by those who practice or experience it. The formal and shorter discussion papers included in this scholarly collection were presented at the National Workshop of the Musicological Society of Australia, held at the University of Queensland, Brisbane in October 2003. The themes of aesthetics and experience are central to this publication and each paper engages in a scholarly dialogue on the technical, expressive and embodied aspects of performance.
Australian chamber music with piano by
Publication Date: 2011
This book represents the first critical survey of a section of a rich Australian corpus of chamber music. The author has included various instrumental combinations with piano as well as vocal music with piano. The survey is chronological, as well as by composer. An appendix to the work provides source material for future research into this area. The research has concentrated on progressive modernist music by Australian composers. The commentary
Djilile from Three Pieces for Piano by
Publication Date: Composed 1986
Djilile, for piano, is based upon an adaptation of an Aboriginal melody collected in northern Australia, in the late 1950s by A P Elkin and Trevor Jones. The title means ‘whistling-duck on a billabong’. Peter Sculthorpe had a special fondness for this melody, having used it in the string work Port Essington (1977), and more recently in the orchestral work Kakadu (1988), the solo ‘cello piece Threnody (1991) and the piano trio Dream Tracks (1992). You also have access to online versions of his arrangements for guitar solo, for percussion, for string orchestra and even for a consort of 5 viols.
Kanimbla Moon by
Publication Date: 2009
The music Kanimbla Moon was inspired by a strange and beautiful mood emanating from a painting 'Kanimbla Moon' given to Amanda Handel by a friend, Craig Duffy. The piece was composed to capture the
magic of the blue, watery, lonely yet intimate scene. Kanimbla Moon is probably the first ever score written for didjeribone.
Publication Date: 2008
When William Barton and Matthew Hindson set out to co-compose an orchestral work designed to explore the transition of traditional songlines between the past, present and future, they began with a song that William had composed at the age of 15. It was written in his traditional Kalkadoon language, detailing the passing of the culture from one generation to the next, and in it, a Kalkadoon man and woman teach their child to listen to traditional stories and to dance around the campfire at night.
Mountains: for solo piano by
Publication Date: 1982
Mountains was commissioned by the Sydney International Piano Competition, 1981, with assistance from the Music board of Australia Council. It was first performed by Gabriella Pusner in Verbugghen Hall, Sydney Conservatorium of Music, on 4 July 1981. The work is a response to the mountainous terrain of Tasmania, often known as 'Isle of Mountains', where the composer was born.
Magpies at sunrise: for solo piano by
Publication Date: 1946
In Magpies at Sunrise, dedicated to the composer's mother, one starts to hear a bolder and more experimental harmonic language, with elements of late Impressionism (like early Dutilleux), and of harmonic dissidents like Scriabin. There is even something of the musical ornithology of a Messiaen in its pianistic “bird calls”. The antic tonal shifts are now more sudden and the scales more unusual, including the Lydian mode with flattened 7th.
Lurugu [from the AIATSIS collection]
Publication Date: 1973
Made at the request of the people of Mornington Island, this film was the first of five made by Curtis Levy for the Australian Institute of Aboriginal Studies (now AIATSIS). Lurugu is the name of an initiation ceremony that had almost died out on Mornington Island (in the Gulf of Carpentaria in north Queensland) after mission contact during World War One. This film records the community's efforts to revive the ceremony after a lapse of 14 years. The film follows the preparations for the dancing, singing, feasting and body decoration that were an integral part of the ceremony. Dick and Lindsay Roughsey (both of the Lardil tribe) were among those responsible for this attempt to revive the Lurugu ceremony, as part of a wider return to traditionalism in northern Australia, and the film follows their negotiations with tribal members and other groups about how the event is to be managed and performed.
Nothing rhymes with Ngapartji
Publication Date: 2011 (This film has been co-produced by ABC TV and big hART co. Directed by Suzy Bates.)
Aboriginal and Torres Strait Islander viewers are advised that the following program contains images and voices of people who have died*.
The film follows the journey of acclaimed Pitjantjatjara actor, Trevor Jamieson, as he returns to his traditional country to perform his hit stage show - Ngapartji Ngapartji - to an all-Indigenous audience, in the remote Aboriginal community of Ernabella, South Australia. Trevor has struggled to hold onto language and culture while living away from his traditional country. Ngapartji Ngapartji is a live theatre performance in two languages. But usually the audience is fluent in English, not Pitjantjatjara. It is terrible timing for Trevor, whose father, a central character in the stage show, passed away only weeks before. Not only does Trevor have to confront his grief in order to deliver the performance, in doing so he has to grapple with the decision to risk breaking traditional law by saying his father's name, acting the part of him, and showing footage of him as part of the show.
Platform Papers (Available online 2004 -2012 issue)
Platform Papers is a quarterly publication on an issue affecting the health of the performing arts. Each essay challenges the applause and the brickbats and tells you what is really happening in the arts industry. The authors seek new directions in music, theatre, dance, arts and entertainment, film, television, cultural policy, advocacy, copyright and defamation, arts training and innovation, the creative economy, race relations, young people’s theatre and the digital arts. Print Issues from 2013 are available in the Matheson Library. Issues 35,40, 54 and 57 are digitised on the ATS3061 Reading List.
Ngarra - Burria : new music and the search for an Australian sound by
Call Number: 780.629915 S132N 2019 (Print)
Publication Date: 2019
In a considered account of composers’ pursuit of an Australian sound in contemporary music, from John Antill’s Corroboree to the rappers of today, Christopher Sainsbury, composer, academic, activist and member of the Dharug people, uncovers the powerful bond between heritage and musical expression in the members of Ngarra-burria: First Peoples Composers program. For non-Indigenous Australians the long tail of European tradition continues to burden our music, he says; but the new Indigenous composers draw their inspiration from their own history, their country, stories, politics. Years of separation and misunderstanding have led to the misappropriation of Aboriginal songs and rituals in search of Australian-ness. Sainsbury calls for a rethinking of this, based on respect, and a new collaboration to begin between First Peoples composers and the new music sector, in which the former can be recognised as creators and performers of a real Australian sound that echoes back to the dawn of history
The time is ripe for the great Australian musical by
Call Number: 792.60994 S474T 2015 (Print)
Publication Date: 2015
Australians love musicals. IBIS World estimates the music and theatre production industry in Australia generated revenue of $1.2 billion in 2013–14. It is big business. But as profits from yet another revival of Les Mis or Wicked flow back to the originators and investors abroad, the local, original, bigtime musical is virtually extinct. Here we have no shortage of composers, producers and performers but rarely do they have the chance to fully develop a large-scale work, especially one that tells our own stories with our own music. It is too complex, too risky, easier to build a show around familiar hits. Not good enough, says John Senczuk. He proposes pooling our resources into a national development program that will sustain new work right through to commercial readiness. He calls it The Perth Solution and has found a way to bring it off and make it sustainable.
Paying the piper: there has to be a better way by
Call Number: 700.994 H939P 2015 (Print)
Publication Date: 2015
In the week this paper went to press Malcolm Turnbull challenged and overturned the incumbent Prime Minister Tony Abbott in a late-night ballot and announced the appointment of Senator Mitch Fifield as Minister for Communication and the Arts. Now Australia waits to see if this new leadership will overturn the hasty decision by former Minister George Brandis to seize more than $120 million from the Australian Council arts budget and place it under his own control. This paper shows this ill-conceived action has exposed the fragility of our national arts funding, and the urgent need for change. Cathy Hunt responds to this challenge by arguing that only changes at a system level to the task of building sector resilience will enable the excellence called for to be achieved. This must include introducing a new funding framework with government and the philanthropic sector working together, new business models and new forms of financing to get there. Her findings are surprising.
Deadly sounds, deadly places: contemporary aboriginal music in Australia by
Call Number: 781.629915 D899D 2004
Publication Date: 2004
This is the first comprehensive book on contemporary Aboriginal music in Australia. The names of many well-known Aboriginal artists are scattered through the book’s pages, including such household names as Ernie Bridge, Kev Carmody, Troy Cassar-Daley, Coloured Stone, Jimmy Little, Archie Roach, the Warumpi Band and, of course, Yothu Yindi. The book includes a Discography of the artists featured in the book.
Journal articles are indexed by databases. Informit, Proquest and EBSCOhost (which includes RILM Abstracts) are useful indexes for music in Australia. To see all databases related to Music go to Databases and indexes on this guide.
Call Number: Online
Publication Date: 2007-
Resonate is Australia's only specialist online magazine devoted specifically to Australian composers, sound artists and their art form. It provides a unique space for members of the new music community to explore, discuss, and debate all aspects of their art practice.
Published by the Australian Music Centre, Resonate encourages discussion about all aspects of new music*. Whether you're a professional musician or a complete novice, Resonate is about engaging with Australia's new music scene. The publication features in-depth articles and discussion, blog articles, news and commentary; interviews with composers, sound artists and performers. In 2007-2009, regular reviews of the latest performances of Australian music around the country were also published in Resonate
Sounds Australian by
Call Number: 780.99405 A938A
Publication Date: 1987-2006
Sounds Australian (54 issues published between 1987 and 2006), which featured topics such as Australian tertiary music education, Australian music for the screen, new music performance, the teaching and learning of composition, and Australian music discourse. During 19 years of Sounds Australian's existence, contributors included some of Australia's leading musical thinkers, arts practitioners, musicologists, and educators.
Musicology Australia by
Call Number: Online
Publication Date: 1963-
Musicology Australia is the scholarly journal of the Musicological Society of Australia. Since 1963, the journal has published articles on all aspects of music research, including ethnomusicology and musicology. Today, articles and reviews cover a broad spectrum of music research, including historical musicology, ethnomusicology, popular music, indigenous music practices, jazz, theory and analysis, organology, performance practice, contemporary music and psychology of music. The journal is published twice a year. Although many articles are related to Australian music, contributors are not required to write on Australian music or be Australian-based musicologists.
Making Aboriginal Men and Music in Central Australia by
Call Number: Ebook
Publication Date: 2017
This detailed ethnographic study explores the intercultural crafting of contemporary forms of Aboriginal manhood in the world of country, rock and reggae music making in Central Australia. Focusing on four different musical contexts - an Aboriginal recording studio, remote Aboriginal settlements, small non-indigenous towns, and tours beyond the musicians' homeland - the author challenges existing scholarly, political and popular understandings of Australian Aboriginal music, men, and related indigenous matters in terms of radical social, cultural and racial difference. Based on extensive anthropological field research among Aboriginal rock, country and reggae musicians in small towns and remote desert settlements in Central Australia, the book investigates how Aboriginal musicians experience and articulate various aspects of their male and indigenous sense of selves as they make music and engage with indigenous and non-indigenous people, practices, places, and sets of values. It provides new analytical insights in fields such as social and cultural anthropology, cultural studies, popular music and gender studies.
Dark emu : Aboriginal Australia and the birth of agriculture by
Call Number: Ebook
Publication Date: 2018
Dark Emu puts forward an argument for a reconsideration of the hunter-gatherer tag for precolonial Aboriginal Australians. The evidence insists that Aboriginal people right across the continent were using domesticated plants, sowing, harvesting, irrigating and storing-behaviours inconsistent with the hunter-gatherer tag. Gerritsen and Gammage in their latest books support this premise but Pascoe takes this further and challenges the hunter-gatherer tag as a convenient lie. Almost all the evidence comes from the records and diaries of the Australian explorers, impeccable sources.
The Biggest Estate on Earth by
Call Number: Ebook on order
Publication Date: 2013
Explodes the myth that pre-settlement Australia was an untamed wilderness revealing the complex, country-wide systems of land management used by Aboriginal people. "Across Australia, early Europeans commented again and again that the land looked like a park. With extensive grassy patches and pathways, open woodlands and abundant wildlife, it evoked a country estate in England. Bill Gammage has discovered this was because Aboriginal people managed the land in a far more systematic and scientific fashion than we have ever realised. For over a decade he has examined written and visual records of the Australian landscape. He has uncovered an extraordinarily complex system of land management using fire, the life cycles of native plants, and the natural flow of water to ensure plentiful wildlife and plant foods throughout the year.
APA 7th is the latest edition of the American Psychological Association referencing style. Please see the Monash University Library APA 7th Guide: https://guides.lib.monash.edu/citing-referencing/apa7th
The University of Queensland also has a helpful guide: https://guides.library.uq.edu.au/referencing/apa7.
Both are based on the Publication Manual of the American Psychological Association. If you need help with your referencing, you can drop-in completely online to get expert advice from a learning skills adviser or librarian.
During semester 2, the online Research and Learning point service is available Monday to Friday 12pm to 5pm via Zoom.
Publication Manual of the American Psychological Association by
Call Number: 808.06615 A512P 2020 (Print copies)
Publication Date: 2019
The Publication Manual of the American Psychological Association, Seventh Edition is the official source for APA Style. It also offers guidance on choosing the headings, tables, figures, language, and tone that will result in powerful, concise, and elegant scholarly communication. It guides users through the scholarly writing process--from the ethics of authorship to reporting research through publication. It reflects best practices in scholarly writing and publishing. It includes resources for students on writing and formatting annotated bibliographies, response papers, and other paper types as well as guidelines on citing course materials There is a new chapter on bias-free language guidelines for writing about people with respect and inclusivity in areas including age, disability, gender, participation in research, race and ethnicity, sexual orientation, socioeconomic status, and intersectionality. There are more than 100 reference examples covering journal articles, books, audiovisual media, social media, webpages and websites, and legal resources. There is also guidance on ethical writing and publishing practices, including how to ensure the appropriate level of citation, avoid plagiarism and self-plagiarism, and navigate the publication process.
Specific examples for music scores are provided by the APA style here: https://apastyle.apa.org/style-grammar-guidelines/references/examples/musical-score-references
For those familiar with APA 6th here is a quick summary of the differences:
APA 6th vs APA 7th: Summary of the main citing and referencing changes
An online resource from the APA "Learning Center" is available through our library catalogue: Academic Writer