Relevant bibliographies by topics / Aboriginal music

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  1. Journal articles

Academic literature on the topic 'Aboriginal music'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Aboriginal music"

1

Lee, Angela Hao-Chun. "The influence of governmental control and early Christian missionaries on music education of Aborigines in Taiwan." British Journal of Music Education 23, no. 2 (2006): 205–16. http://dx.doi.org/10.1017/s0265051706006930.

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There has been little research conducted on Taiwanese Aboriginal music education in comparison to Aboriginal education. C. Hsu's Taiwanese Music History (1996) presents information on Aboriginal music including instruments, dance, ritual music, songs and singing, but information on music education practices is lacking. The examination of historical documentation shows that music education was used by both the Japanese government and Christian missionaries to advance their political and religious agendas. This paper will examine the development of the music education of Aborigines in Taiwan from the mid nineteenth century, when Christian missionaries first came to Taiwan, until the end of the Japanese protectorate (1945). I shall discuss how the missionaries from Britain and Canada successfully introduced Western religious music to Aboriginal communities by promoting various activities such as hymn singing and religious services. The paper will then look at the influence of government policy on Aboriginal music education during the colonial periods. These policies affected both the music taught in elementary schools and the teaching materials.
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2

Mackinlay, Elizabeth, and Peter Dunbar-Hall. "Historical and Dialectical Perspectives on the Teaching of Aboriginal and Torres Strait Islander Musics in the Australian Education System." Australian Journal of Indigenous Education 32 (2003): 29–40. http://dx.doi.org/10.1017/s132601110000380x.

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AbstractIndigenous studies (also referred to as Aboriginal and Torres Strait Islander studies) has a double identity in the Australian education system, consisting of the education of Indigenous students and education of all students about Aboriginal and Torres Strait Islander cultures and histories. Through explanations of the history of the inclusion of Aboriginal and Torres Strait Islander musics in Australian music education, this article critiques ways in which these musics have been positioned in relation to a number of agendas. These include definitions of Aboriginal and Torres Strait Islander musics as types of Australian music, as ethnomusicological objects, as examples of postcolonial discourse, and as empowerment for Indigenous students. The site of discussion is the work of the Australian Society for Music Education, as representative of trends in Australian school-based music education, and the Centre for Aboriginal Studies in Music at the University of Adelaide, as an example of a tertiary music program for Indigenous students.
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3

HARRIS, AMANDA. "Representing Australia to the Commonwealth in 1965: Aborigiana and Indigenous Performance." Twentieth-Century Music 17, no. 1 (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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4

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 (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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5

Maddern, Eric. "'We Have Survived': Aboriginal Music Today." Musical Times 129, no. 1749 (1988): 595. http://dx.doi.org/10.2307/966788.

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6

Lee, Schu-Chi, and Wolfgang Laade. "Taiwan: Music of the Aboriginal Tribes." Yearbook for Traditional Music 25 (1993): 180. http://dx.doi.org/10.2307/768716.

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7

Chadwick, Graham, and George Rrurrambu. "Music education in remote aboriginal communities." Asia Pacific Journal of Anthropology 5, no. 2 (2004): 159–71. http://dx.doi.org/10.1080/1444221042000247698.

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8

Curran, Georgia. "Amanda Harris. Representing Australian Aboriginal Music and Dance, 1930–1970." Context, no. 47 (January 31, 2022): 85–87. http://dx.doi.org/10.46580/cx80760.

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In Representing Australian Aboriginal Music and Dance 1930–1970, Amanda Harris sets out a history of Aboriginal music and dance performances in south-east Australia during the four-decade-long period defined as the Australian assimilation era. During this era, and pushing its boundaries, harsh government policies under the guise of ‘protection’ and ‘welfare’ were designed forcibly to assimilate Aboriginal people into the mainstream population. It is striking while reading this book how few of these stories are widely known, particularly given the heavy influence that Harris uncovers it having on the Australian art music scene of today. As such, the book makes an important contribution to the ‘truth telling’ of Australian history while also showing that—despite the severe policies during this era, including the banning of speaking in Indigenous languages and restricting the performance of ceremony—Aboriginal people have remained active agents in driving their own engagements and asserting their own culturally distinct modes of music and dance performance. This resilience against significant odds has been aptly described by one of the book’s contributors, Yorta Yorta and Dja Dja Warrung cultural leader, visual and performance artist, curator and opera singer Tiriki Onus, as ‘hiding in plain sight,’ referring to the ways in which Aboriginal people ensured the continued practice and performance of their culture by doing so in public, the only place they were allowed to…
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9

Newsome, Jennifer K. "From Researched to Centrestage: A Case Study." Musicological Annual 44, no. 1 (2008): 31–50. http://dx.doi.org/10.4312/mz.44.1.31-50.

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Applied research is a key way for music researchers to respond to the research agenda of Aboriginal and Torres Strait Islander peoples in Australia. Developments at the Centre for Aboriginal Studies in Music (CASM) point to applied research as an effective response to the call for self-determination and self-representation by Indigenous peoples in research.
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10

Wang, Ying-Fen. "IFMC, Masu Genjiro, Kurosawa Takatomo, and Their Recordings of Taiwanese Music." Yearbook for Traditional Music 50 (2018): 71–90. http://dx.doi.org/10.5921/yeartradmusi.50.2018.0071.

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Masu Genjiro (1904-1995) and Kurosawa Takatomo (1895-1987) were two Japanese musicologists who were commissioned by the Government-General of Taiwan to form the Formosan Folk Music Investigation Team with Yamagata Takayasu, then recording engineer of Victor Company of Japan (hereafter Nippon Victor), to carry out a comprehensive survey and make recordings of Taiwanese music and musical life in the spring of 1943. The purpose of the survey was to establish a music cultural policy that adapted to the wartime needs of the people on the island, which became Japan's first colony in 1895, and could also be applied to Japan's newly acquired colonies in Southeast Asia and the Pacific after the outbreak of the Pacific War in December 1941. The team received full support from Taiwan's Government-General and was assisted by local experts, police officers in Aboriginal villages, and filming crews from both Japan and Taiwan. During its three-month stay in Taiwan, the team first conducted fieldwork around the island and then recorded and filmed Han Chinese and Aboriginal music and dance as well as rituals and ceremonies. They also collected data about Aboriginal musical instruments through questionnaires filled out by police officers in 155 Aboriginal villages.
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