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Journal articles on the topic 'Aboriginal music'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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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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11

Li, Ping-hui, and Wolfgang Laade. "Music of Man Archive: Taiwan - Music of the Aboriginal Tribes." Asian Music 25, no. 1/2 (1993): 309. http://dx.doi.org/10.2307/834223.

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12

Martin, Toby. "Dougie Young and political resistance in early Aboriginal country music." Popular Music 38, no. 03 (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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13

Barwick, Linda, and Allan Marett. "Selected Audiography of Traditional Music of Aboriginal Australia." Yearbook for Traditional Music 28 (1996): 174. http://dx.doi.org/10.2307/767812.

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14

Yulianti Farid, Lily. "Representing Australian Aboriginal Music and Dance 1930–1970." Australian Historical Studies 52, no. 3 (2021): 456–57. http://dx.doi.org/10.1080/1031461x.2021.1944292.

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15

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

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16

Barwick, Linda, Margaret Clunies Ross, Tamsin Donaldson, and Stephen A. Wild. "Songs of Aboriginal Australia." Ethnomusicology 34, no. 1 (1990): 177. http://dx.doi.org/10.2307/852377.

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17

Yeoh, Calista, and Myfany Turpin. "An Aboriginal Women’s Song from Arrwek, Central Australia." Musicology Australia 40, no. 2 (2018): 101–26. http://dx.doi.org/10.1080/08145857.2018.1550141.

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18

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

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19

Gummow, Margaret. "Deadly sounds, deadly places: Contemporary aboriginal music in Australia." Musicology Australia 27, no. 1 (2004): 152–60. http://dx.doi.org/10.1080/08145857.2005.10416536.

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20

Wong, Cynthia Po-man, John Ting-jui Ho, and Wolfgang Laade. "Taiwan, Republic of China--Music of the Aboriginal Tribes." Ethnomusicology 39, no. 3 (1995): 517. http://dx.doi.org/10.2307/924642.

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21

Gibson, Chris, and Peter Dunbar-Hall. "Nitmiluk: Place and Empowerment in Australian Aboriginal Popular Music." Ethnomusicology 44, no. 1 (2000): 39. http://dx.doi.org/10.2307/852654.

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22

Neuenfeldt, Karl. "Deadly Sounds, Deadly Places: Contemporary Aboriginal Music in Australia." Ethnomusicology 50, no. 1 (2006): 162–64. http://dx.doi.org/10.2307/20174435.

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23

Carfoot, Gavin. "‘Enough is Enough’: songs and messages about alcohol in remote Central Australia." Popular Music 35, no. 2 (2016): 222–30. http://dx.doi.org/10.1017/s0261143016000040.

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AbstractThis article examines some of the ways in which Australia's First Peoples have responded to serious community health concerns about alcohol through the medium of popular music. The writing, performing and recording of popular songs about alcohol provide an important example of community-led responses to health issues, and the effectiveness of music in communicating stories and messages about alcohol has been recognised through various government-funded recording projects. This article describes some of these issues in remote Australian Aboriginal communities, exploring a number of complexities that arise through arts-based ‘instrumentalist’ approaches to social and health issues. It draws on the author's own experience and collaborative work with Aboriginal musicians in Tennant Creek, a remote town in Australia's Northern Territory.

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24

Citro, Silvia, and Adriana Cerletti. "“Aboriginal Dances Were Always in Rings“: Music and Dance as a Sign of Identity in the Argentine Chaco." Yearbook for Traditional Music 41 (2009): 138–65. http://dx.doi.org/10.1017/s0740155800004173.

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In Argentina, aboriginal music and dance—as part of what UNESCO has called “intangible cultural heritage“—has been overlooked for a long time. During the construction of Argentina as a nation, especially in the late nineteenth and early twentieth centuries, European-derived societies and cultures were the privileged models in our country. In that period, the national government sponsored the wave of European immigration and, at the same time, the military persecution of aboriginal peoples and their forced assimilation to “Western Christian civilization.” One of the consequences of this history, mostly in the cultural imagination of the urban middle classes, was the pervasive thought that “Argentinians are descendants of the ships”—a popular saying referring to the ships that brought “our grandparents from Europe,” mainly from Spain and Italy.

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25

Fairley, Jan. "Our Place Our Music. Aboriginal Music, Australian Popular Music in Perspective Vol. 2. Edited by Marcus Breen. Canberra: Aboriginal Studies Press, 1989. (Distributed by Cambridge University Press) 172 pp." Popular Music 11, no. 3 (1992): 382–84. http://dx.doi.org/10.1017/s0261143000005262.

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26

Koch, Grace E. D. "A bibliography of publications on Australian aboriginal music: 1975–1985." Musicology Australia 10, no. 1 (1987): 58–71. http://dx.doi.org/10.1080/08145857.1987.10415180.

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27

Turpin, Myfany, Calista Yeoh, and Clint Bracknell. "Wanji-wanji: The Past and Future of an Aboriginal Travelling Song." Musicology Australia 42, no. 2 (2020): 123–47. http://dx.doi.org/10.1080/08145857.2020.1957302.

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28

Pace, Ian. "The Panorama of Michael Finnissy (II)." Tempo, no. 201 (July 1997): 7–16. http://dx.doi.org/10.1017/s0040298200005775.

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A large body of Michael Finnissy's work refers to music, texts and other aspects of culture outside the mainstream European tradition. As a child he met Polish and Hungarian friends of the family, and was further attracted to aspects of Eastern European music when asked to transcribe Yugoslav music from a record, for a ballet teacher. Study of anthropological and other literature led him to a conviction that folk music lay at the roots of most other music, and related quite directly to the defining nature of man's interaction with his environment. Finnissy went on to explore the widest range of folk music and culture, from Sardinia, Yugoslavia, Rumania, Bulgaria, the Kurdish people, Azerbaijan, the Vendan Africans, China, Japan, Java, Australia both Aboriginal and colonial, Native America and more recently Norway, Sweden, Denmark, India, Korea, Canada, Mexico and Chile.

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29

Coleman, Elizabeth Burns. "Aboriginal Painting: Identity and Authenticity." Journal of Aesthetics and Art Criticism 59, no. 4 (2001): 385–402. http://dx.doi.org/10.1111/0021-8529.00040.

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30

Burns Coleman, Elizabeth. "Appreciating “Traditional” Aboriginal Painting Aesthetically." Journal of Aesthetics and Art Criticism 62, no. 3 (2004): 235–47. http://dx.doi.org/10.1111/j.0021-8529.2004.00156.x.

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31

Martin, Toby. "Historical Silences, Musical Noise: Slim Dusty, Country Music and Aboriginal history." Popular Music History 12, no. 2 (2020): 215–36. http://dx.doi.org/10.1558/pomh.39715.

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32

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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33

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

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34

Ottosson, Åse. "Aboriginal Music and Passion: Interculturality and Difference in Australian Desert Towns." Ethnos 75, no. 3 (2010): 275–300. http://dx.doi.org/10.1080/00141844.2010.503899.

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35

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

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36

Wang, Elaine L. "The Beat of Boyle Street: Empowering Aboriginal youth through music making." New Directions for Youth Development 2010, no. 125 (2010): 61–70. http://dx.doi.org/10.1002/yd.338.

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37

Miller, Benjamin. "A. B. Original's “Dumb Things”: Decolonizing the Postcolonial Australian Dream." ab-Original 4, no. 1-2 (2020): 103–23. http://dx.doi.org/10.5325/aboriginal.4.1-2.0103.

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ABSTRACT In 2016, Aboriginal hip-hop duo A. B. Original joined Paul Kelly live on radio to cover his iconic song “Dumb Things” (1987). Kelly's original version presented a critique of nationalist rhetoric in the lead up to the Australian bicentenary celebrations. Kelly's development of an itinerant counter-dreamer as a voice against nationalism, however, fashioned a brand of innocent, postcolonial whiteness and, thereby, remained complicit with colonial domination of Indigenous people. This article explores A. B. Original's commentary on institutional, systemic, and discursive racism, and their criticism of postcolonial whiteness through a close reading and contextualization of their music output in 2016. With particular emphasis on “Dumb Things” in its original context and its most recent context, this article argues that A. B. Original issues a call for, and demonstrates, the decolonization of postcolonial narratives of the Australian dream.

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38

Corn, Aaron, Lee Amoroso, Anthea Skinner, and Noémie Malengreaux. "Fixing the Address: Slow Appraisal and the Making of the Centre for Aboriginal Studies in Music (CASM) Archive." Preservation, Digital Technology & Culture 50, no. 3-4 (2021): 131–37. http://dx.doi.org/10.1515/pdtc-2021-0024.

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Abstract The Centre for Aboriginal Studies in Music (CASM) at the University of Adelaide was founded in 1972 and is the world’s only dedicated university centre for Australian Indigenous music studies. This article investigates the making of the CASM Archive through collaboration between CASM academics and students and professional archivists in the University of Adelaide Library. It demonstrates how this unusual approach, originally intended to provide students with an understanding of CASM’s history, resulted in a collaborative process of slow appraisal that enabled CASM students to make greatly useful contributions to appraising and communicating the significance of the CASM Archive.

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39

Rose, Jon. "Listening to History: Some Proposals for Reclaiming the Practice of Live Music." Leonardo Music Journal 18 (December 2008): 9–16. http://dx.doi.org/10.1162/lmj.2008.18.9.

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The author explores the vibrant, but often hidden, unorthodox musical culture of Australia, recounting little known movements, events, dates, personalities and Aboriginal traditions. He urges the listener to investigate and value this unique and fecund musical history, and in so doing, find models that are relevant to solving the dilemmas of a declining contemporary music practice. Live music encourages direct interconnectivity among people and with the physical world upon which we rely for our existence; music can be life supporting, and in some situations, as important as life itself. While there is much to learn from the past, digital technology can be utilized as an interface establishing a tactile praxis and enabling musical expression that promotes original content, social connection and environmental context.

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40

Mackinlay, Elizabeth. "Disturbances and Dislocations: Understanding Teaching and Learning Experiences in Australian Aboriginal Music." Australian Journal of Indigenous Education 29, no. 2 (2001): 1–7. http://dx.doi.org/10.1017/s1326011100001320.

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One of the biggest debates in Australian Indigenous education today revolves around the many contested and competing ways of knowing by and about Indigenous cultures and the representation of Indigenous knowledges. Using Bakhtin's theories of dialogue and voice, my concern in this paper is to explore the polyphonic nature of power relations, performance roles and pedagogical texts in the context of teaching and learning Indigenous Australian women's music and dance. In this discussion, I will focus on my experiences as a lecturer in the Aboriginal and Torres Strait Islander Studies Unit at the University of Queensland and my involvement in this educational setting with contemporary Indigenous performer Samantha Chalmers. Like a field experience, the performance classroom will be examined as a potential site for disturbing and dislocating dominant modes of representation of Indigenous women's performance through the construction, mediation and negotiation of Indigenous knowledge from and between both non-Indigenous and Indigenous voices.

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41

Moyle, Richard, Clunies Ross, Margaret, and Johnny Mundrugmundrug. "Goyulan [:] The Morning Star. An Aboriginal Clan Song Series from North Central Arnhem Land." Yearbook for Traditional Music 21 (1989): 150. http://dx.doi.org/10.2307/767790.

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42

Porcello, Thomas G. "Recording Culture: Powwow Music and the Aboriginal Recording Industry on the Northern Plains." Ethnomusicology Forum 23, no. 1 (2014): 140–43. http://dx.doi.org/10.1080/17411912.2014.882243.

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43

CURRAN, GEORGIA, and CALISTA YEOH. "“That is Why I am Telling this Story”: Musical Analysis as Insight into the Transmission of Knowledge and Performance Practice of a Wapurtarli Song by Warlpiri Women from Yuendumu, Central Australia." Yearbook for Traditional Music 53 (December 2021): 45–70. http://dx.doi.org/10.1017/ytm.2021.4.

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AbstractInsights into the knowledge, performance, and transmission of songs are pivotal in ensuring the survival of traditional Aboriginal songs. We present the first in-depth musical analysis of a Wapurtarli yawulyu song set sung by Warlpiri women from Yuendumu, Central Australia, recorded in December 2006 with a solo lead singer accompanied by a small group. Our musical analysis reveals that there are various interlocking parts of a song, and this can make it difficult for current generations to learn songs. The context of musical endangerment and the musical analyses presented in our study show that contemporary spaces for learning yawulyu must consider the complex components that come together for a song set to be properly performed.

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44

Dean, Roger T., and Freya Bailes. "Modeling Perceptions of Valence in Diverse Music." Music Perception 34, no. 1 (2016): 104–17. http://dx.doi.org/10.1525/mp.2016.34.1.104.

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We investigate the roles of the acoustic parameters intensity and spectral flatness in the modeling of continuously measured perceptions of affect in nine diverse musical extracts. The extract sources range from Australian Aboriginal and Balinese music, to classical music from Mozart to minimalism and Xenakis; and include jazz, ambient, drum n' bass and performance text. We particularly assess whether modeling perceptions of the valence expressed by the music, generally modeled less well than the affective dimension of arousal, can be enhanced by inclusion of perceptions of change in the sound, human agency, musical segmentation, and random effects across participants, as model components. We confirm each of these expectations, and provide indications that perceived change in the music may eventually be subsumed adequately under its components such as acoustic features and agency. We find that participants vary substantially in the predictors useful for modeling their responses (judged by the random effects components of mixed effects cross-sectional time series analyses). But we also find that pieces do too, while yet sharing sufficient features that a single common model of the responses to all nine pieces has competitive precision.

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45

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

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46

Arndt, Grant. "Recording Culture: Powwow Music and the Aboriginal Recording Industry on the Northern Plains." Ethnohistory 63, no. 1 (2016): 171–72. http://dx.doi.org/10.1215/00141801-3135370.

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47

Mackinlay, Elizabeth. "Music for dreaming: Aboriginal lullabies in the Yanyuwa community at Borroloola, Northern Territory." British Journal of Ethnomusicology 8, no. 1 (1999): 97–111. http://dx.doi.org/10.1080/09681229908567282.

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48

Magowan, Fiona. "Playing with Meaning: Perspectives on Culture, Commodification and Contestation Around the Didjeridu." Yearbook for Traditional Music 37 (2005): 80–102. http://dx.doi.org/10.1017/s0740155800011243.

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The didjeridu has accumulated considerable symbolic capital in recent years. Its status as an icon of Aboriginality, musical tradition and ritual significance has embedded it firmly within the Australian national imagination. However, the didjeridu did not hold centre stage as a symbol of Indigeneity until fairly recently, when it moved from the periphery of the Australian continent to come to stand for Australianness at its centre. The didjeridu has crossed internal boundaries altering perceptions of music and music making in different parts of Aboriginal Australia. It has crossed national and international boundaries through adaptations of its shape, tone and rhythmic contours, and it has taken on new cultural histories as a result of its global appropriation by non-Indigenous peoples. Globalisation presents both a threat and an opportunity for the recontextualisation of Indigenous meanings around the didjeridu.

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49

Gillam, Barbara J. "Figure-Ground and Occlusion Depiction in Early Australian Aboriginal Bark Paintings." Leonardo 50, no. 3 (2017): 255–67. http://dx.doi.org/10.1162/leon_a_01423.

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Aboriginal painting has been largely treated as conceptual rather than perceptual and its visual impact little examined. In this article the author shows the perceptual skill and innovation demonstrated by Aboriginal bark painters in depicting figure-ground and occlusion. This has heuristic value for studying occlusion perception and adds visual meaning to the conceptual meaning of the paintings.

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50

Bailes, Freya, and Linda Barwick. "Absolute Tempo in Multiple Performances of Aboriginal Songs: Analyzing Recordings of Djanba 12 and Djanba 14." Music Perception 28, no. 5 (2011): 473–90. http://dx.doi.org/10.1525/mp.2011.28.5.473.

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Abstract:

songs that are not notated but transmitted through live performance are of particular interest for the psychological study of the stability of tempo across multiple performances. While experimental research points to highly accurate memory for the tempi of well-known recorded music, this study asks whether there is any evidence of absolute tempo in a performance tradition that does not draw on such reference recordings. Fifty-four field recordings of performances of one Aboriginal dance-song, Djanba 14, were analyzed. Results showed that over a span of 34 years, performance tempi deviated positively or negatively, on average, by 2%. Such small tempo variation is similar to JND thresholds to discriminate the tempi of isochronous sequences. Thirty-five field recordings of another song from the same repertory, Djanba 12, deviated in tempi by an average of 3%. We discuss the musical, psychological, physical, and cultural factors likely to shape such temporal stability.

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