Relevant bibliographies by topics / Australian Aboriginal music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Australian Aboriginal music'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Australian Aboriginal music"

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

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Carfoot, Gavin. "‘Enough is Enough’: songs and messages about alcohol in remote Central Australia." Popular Music 35, no. 2 (April 14, 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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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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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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Koch, Grace E. D. "A bibliography of publications on Australian aboriginal music: 1975–1985." Musicology Australia 10, no. 1 (January 1987): 58–71. http://dx.doi.org/10.1080/08145857.1987.10415180.

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

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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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Dissertations / Theses on the topic "Australian Aboriginal music"

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Marshall, Anne, University of Western Sydney, of Arts Education and Social Sciences College, and School of Social Ecology and Lifelong Learning. "Ngapartji-ngapartji : ecologies of performance in Central Australia : comparative studies in the ecologies of Aboriginal-Australian and European-Australian performances with specific focus on the relationship of context, place, physical environment, and personal experience." THESIS_CAESS_SELL_Marshall_A.xml, 2001. http://handle.uws.edu.au:8081/1959.7/556.

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All forms of cultural interaction are expressive and creative. In particular, what the performing arts express is not always the conscious, the ideal and the rational, but more often the preconscious, pre-verbal, asocial and irrational, touching on darker undercurrents of human and extra-human interrelations, experiences, beliefs, fears, desires and values. So what is performance and how does it differ in cultures? A performance is a translation of an idea into a synaesthetic experience. In the context of this thesis, however, translation does not imply reductive literal translation as can be attempted by analogy in spoken or written descriptions and notation systems. The translation is one through which participating groups and individuals seek to understand the being in the world of the Other by means of mutual, embodied negotiation of meaning - sensually, experientially, perceptually, cognitively and emotionally - that is, by means of performance. As a contribution towards a social theory of human performance, the author offers reflections on an exchange between two performance ecologies - those of a group of Aboriginal Australian performers from Mimili, Central Australia and a mixed ethnic group of Australian performers from Penrith, NSW, Australia.
Doctor of Philosophy (PhD)
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Marshall, Anne. "Ngaparti-ngaparti ecologies of performance in Central Australia : comparative studies in the ecologies of Aboriginal-Australian and European-Australian performances with specific focus on the relationship of context, place, physical environment, and personal experience. /." View thesis, 2001. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040804.155726/index.html.

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Billard, Jennifer Christine. "Relationships between identity and music preferences in female Anangu Pitjantjatjara teenagers /." Title page, abstract and contents only, 1997. http://web4.library.adelaide.edu.au/theses/09mub/09mubb596.pdf.

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Ryan, Robin Ann 1946. ""A spiritual sound, a lonely sound" : leaf music of Southeastern aboriginal Australians, 1890s-1990s." Monash University, Dept. of Music, 1999. http://arrow.monash.edu.au/hdl/1959.1/8584.

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Blanch, Faye Rosas. "Nunga rappin talkin the talk, walkin the walk ; young Nunga males and education /." 2008. http://catalogue.flinders.edu.au/local/adt/public/adt-SFU20090226.102604/index.html.

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Books on the topic "Australian Aboriginal music"

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Moyle, Richard M. Balgo: The musical life of a desert community. Nedlands, WA, Australia: Callaway International Resource Centre for Music Education, University of Western Australia, 1997.

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group), Yothu Yindi (Musical. Freedom. Burbank, CA: Mushroom International, 1994.

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Afterlife before Genesis: An introduction : accessing the eternal through Australian Aboriginal music. New York: Peter Lang, 1997.

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1947-, Perkins Tony, ed. Singing the coast. Canberra, A.C.T: Aboriginal Studies Press, 2010.

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International Council for Traditional Music. Colloquium. Music and dance of aboriginal Australia and the South Pacific: The effects of documentation on the living tradition : papers and discussions of the Colloquium of the International Council for Traditional Music, held in Townsville, Queensland, Australia, 1988. Edited by Moyle Alice M. Sydney: University of Sydney, 1992.

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International Council for Traditional Music. Colloquium. Music and dance of aboriginal Australia and the South Pacific: The effects of documentation on the living tradition :papers and discussions of the Colloquium of the International Council for Traditional Music, held in Townsville, Queensland, Australia, 1988. Edited by Moyle Alice M. Sydney: University of Sydney, 1992.

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Wright, Kerry. How to make and play Australian aboriginal didjeridoos and music sticks. Elliot Heads: Emuart, 1989.

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Marett, Allan. Songs, dreamings, and ghosts: The wangga of North Australia. Middletown, Conn: Wesleyan University Press, 2005.

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Aboriginal music, education for living: Cross-cultural experiences from South Australia. St. Lucia, Qld: University of Queensland Press, 1985.

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Mackinlay, Elizabeth. Disturbances and dislocations: Understanding teaching and learning experiences in indigenous Australian woman's music and dance. New York: Lang, 2006.

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Book chapters on the topic "Australian Aboriginal music"

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Webb, Michael, and Clint Bracknell. "Educative Power and the Respectful Curricular Inclusion of Aboriginal and Torres Strait Islander Music." In The Politics of Diversity in Music Education, 71–86. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_6.

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AbstractThis chapter argues for the full, respectful curricular inclusion of Aboriginal and Torres Strait Islander music in order to promote a more balanced and equitable social and cultural vision of the nation-state in Australian schools. It challenges views that claim Indigenous cultures have been irretrievably lost or are doomed to extinction, as well as the fixation on musical authenticity. We propose that the gradual broadening of Indigenous musical expressions over time and the musical renaissance of the new millennium have created an unprecedented opportunity for current music educators to experience the educative power of Aboriginal and Torres Strait Islander music. This means that culturally nonexposed music teachers can employ familiar musical-technical approaches to the music even as they begin to more fully investigate the music’s cultural-contextual meanings. The chapter considers issues that impinge on the music’s educative power, especially those relating to its definition, its intended audiences, and pedagogies. It aims to help clear the way for the classroom to become an environment in which students can sense the depth and vitality of contemporary Australian Indigenous music.
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Power, Anne. "Transformations in Arts-Based Service Learning: The Impact of Cultural Immersion on Pre-service Teachers’ Attitudes to Australian Aboriginal Creative Music-Making." In Engaging First Peoples in Arts-Based Service Learning, 147–58. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-22153-3_10.

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Turner, David H. "From Here into Eternity: Power and Transcendence in Australian Aboriginal Music." In Indigenous Religious Musics, 35–55. Routledge, 2017. http://dx.doi.org/10.4324/9781315092706-3.

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"CHAPTER 11. Transforming Lives: Exploring Eight Ways of Learning in Arts-based Service Learning with Australian Aboriginal Communities." In Community Music in Oceania, 153–76. University of Hawaii Press, 2018. http://dx.doi.org/10.1515/9780824867034-011.

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Will, Udo. "Temporal Processing and the Experience of Rhythm." In The Philosophy of Rhythm, 216–30. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199347773.003.0015.

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Chapter 14 considers the physiological, psychological, and social origins of rhythm. It reviews analytical data from music performances of Australian Aboriginal groups, arguing that processing differences for vocal and instrumental rhythms suggest dynamic neural models; these challenge an abstract conception of rhythm. As a result, it is difficult to regard the rhythm of speech as at the origin of vocal music, and which in turn gives rise to instrumental music. The author holds that vocal rhythms in speech and music, and instrumental rhythms, derive from different ways of interacting with our environment and are controlled by different temporal mechanisms. Thus instrumental music should be considered in parallel to vocal music, not as derived from it.
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Treloyn, Sally, and Rona Goonginda Charles. "Music Endangerment, Repatriation, and Intercultural Collaboration in an Australian Discomfort Zone." In Transforming Ethnomusicology Volume II, 133–47. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197517550.003.0009.

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To the extent that intercultural ethnomusicology in the Australian settler state operates on a colonialist stage, research that perpetuates a procedure of discovery, recording, and offsite archiving, analysis, and interpretation risks repeating a form of musical colonialism with which ethnomusicology worldwide is inextricably tied. While these research methods continue to play an important role in contemporary intercultural ethnomusicological research, ethnomusicologists in Australia in recent years have become increasingly concerned to make their research available to cultural heritage communities. Cultural heritage communities are also leading discovery, identification, recording, and dissemination to support, revive, reinvent, and sustain their practices and knowledges. Repatriation is now almost ubiquitous in ethnomusicological approaches to Aboriginal music in Australia as researchers and collaborating communities seek to harness research to respond to the impact that colonialism has had on social and emotional well-being, education, the environment, and the health of performance traditions. However, the hand-to-hand transaction of research products and represented knowledge from performers to researcher and archive back to performers opens a new field of complexities and ambiguities for both Indigenous and non-Indigenous participants: just like earlier forms of ethnomusicology, the introduction, return, and repatriation of research materials operate in “social spaces where disparate cultures meet, clash, and grapple with each other, often in highly asymmetrical relations of domination and subordination” (Pratt 2007 [1992]). In this chapter, we recount the processes and outcomes of “The Junba Project” located in the Kimberley region of northwest Australia. Framed by a participatory action research model, the project has emphasized responsiveness, iteration, and collaborative reflection, with an aim to identify strategies to sustain endangered Junba dance-song practices through recording, repatriation, and dissemination. We draw on Pratt’s notion of the “contact zone” as a “discomfort zone” (Somerville & Perkins 2003) and look upon an applied/advocacy ethnomusicological project as an opportunity for difference and dialogue in the repatriation process to support heterogeneous research agendas.
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Dunbar-Hall, Peter. "‘We have survived’: popular music as a representation of Australian Aboriginal cultural loss and reclamation." In The Resisting Muse: Popular Music and Social Protest, 119–31. Routledge, 2017. http://dx.doi.org/10.4324/9781351218061-9.

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Haskins, Victoria. "Beth Dean and the Transnational Circulation of Aboriginal Dance Culture: Gender, Authority and C. P. Mountford." In Circulating Cultures: Exchanges of Australian Indigenous Music, Dance and Media. ANU Press, 2014. http://dx.doi.org/10.22459/cc.12.2014.02.

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Harris, Amanda. "Hearing Aboriginal Music Making in Non-Indigenous Accounts of the Bush from the Mid-Twentieth Century." In Circulating Cultures: Exchanges of Australian Indigenous Music, Dance and Media. ANU Press, 2014. http://dx.doi.org/10.22459/cc.12.2014.04.

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Ottosson, Åse. "Playing Aboriginal communities." In Making Aboriginal Men and Music in Central Australia, 103–22. Routledge, 2020. http://dx.doi.org/10.4324/9781003085928-5.

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