Log in

Relevant bibliographies by topics / Australian Aboriginal music / Journal articles

To see the other types of publications on this topic, follow the link: Australian Aboriginal music.

Journal articles on the topic 'Australian Aboriginal music'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Australian Aboriginal music.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

2

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

Abstract:

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?

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

11

Mitchell, Tony. "The Diy Habitus of Australian Hip Hop." Media International Australia 123, no. 1 (May 2007): 109–22. http://dx.doi.org/10.1177/1329878x0712300111.

Full text

Abstract:

Since its origins in the late 1980s, Australian hip hop continues to be fundamentally a do-it-yourself (DIY) subcultural field which has little or no music industry input or support. This paper profiles some of the small labels and producers in Australian hip hop (Obese, Elefant Traks, Nuff Said, Crookneck, Invada, etc.) and examines how they have formed from the ground up, using community radio stations such as 2SER, PBS and 3ZZZ, and websites such as Ozhiphop.com , to promote their music, as well as organising their own gigs and tours. It also examines Aboriginal practitioners of hip hop, who have even less infrastructure than the DIY network of independent producers and labels. Drawing on Holly Kruse's writing about ‘situated practices’ in independent rock music, which refers to Bourdieu's ‘fields of practice’ and ‘habitus’, I examine the subcultural networks and associations that have emerged in Australian hip hop, mediated through a nexus of genre, gender, space, location, race and ethnicity. The concept of habitus is arguably a useful way of referring to hip hop practices like MCing, DJing, breakdancing and graffiti, as well as the social behaviour associated with the hip hop subculture.

APA, Harvard, Vancouver, ISO, and other styles

12

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

13

Dunbar-Hall, Peter. "“Alive and Deadly”: A Sociolinguistic Reading of Rock Songs by Australian Aboriginal Musicians." Popular Music and Society 27, no. 1 (January 2004): 41–48. http://dx.doi.org/10.1080/0300776042000166594.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

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 (October 1992): 382–84. http://dx.doi.org/10.1017/s0261143000005262.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Koch, Grace E. D. "A bibliography of publications on Australian aboriginal and torres strait islander music: 1986–1992." Musicology Australia 15, no. 1 (January 1992): 87–95. http://dx.doi.org/10.1080/08145857.1992.10415208.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Dunbar‐Hall, Peter. "Rock songs as messages: Issues of health and lifestyle in central Australian aboriginal communities." Popular Music and Society 20, no. 2 (June 1996): 43–67. http://dx.doi.org/10.1080/03007769608591622.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Syron, Liza-Mare. "‘Addressing a Great Silence’: Black Diggers and the Aboriginal Experience of War." New Theatre Quarterly 31, no. 3 (July 9, 2015): 223–31. http://dx.doi.org/10.1017/s0266464x15000457.

Full text

Abstract:

In 2014 Indigenous theatre director Wesley Enoch announced in an interview that ‘the aim of Indigenous theatre is to write into the public record neglected or forgotten stories’. He also spoke about the aims of a new Australian play, Black Diggers, as ‘honouring and preserving’ these stories. For Enoch, Black Diggers (re)addresses a great silence in Australia’s history, that of the Aboriginal experience of war. Also in 2014, the memorial sculpture Yininmadyemi Thou Didst Let Fall, commissioned by the City of Sydney Council, aimed to place in memoriam the story of forgotten Aboriginal soldiers who served during international conflicts, notably the two world wars. Both Black Diggers and the Yininmadyemi memorial sculpture are counter-hegemonic artefacts and a powerful commentary of a time of pseudo-nationalist memorialization. Both challenge the validity of many of Australia’s socio-political and historical accounts of war, including the frontier wars that took place between Aboriginal people and European settlers. Both unsettle Australia’s fascination with a memorialized past constructed from a culture of silence and forgetfulness. Liza-Mare Syron is a descendant of the Birripi people of the mid-north coast of New South Wales in Australia. An actor, director, dramaturg, and founding member of Moogahlin Performing Arts, a Sydney-based Aboriginal company, she is currently the Indigenous Research Fellow at the Department of Media, Music, Communication, and Cultural Studies at Macquarie University, Sydney. She has published widely on actor training, indigenous theatre practice, inter-cultural performance, and theatre and community development.

APA, Harvard, Vancouver, ISO, and other styles

18

Neuenfeldt, Karl. "Aboriginal Contemporary Music as Australian Cultural Heritage: The Black Image Band's CD,Beautiful Land and Sea." Popular Music and Society 31, no. 4 (October 2008): 453–67. http://dx.doi.org/10.1080/03007760802052916.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

20

Anthony, Brendan, Donna Weston, and Samuel Vallen. "Thumbs Up: The effective use of music in health and well-being education for Australian Aboriginal youth in remote communities." International Journal of Community Music 11, no. 1 (February 1, 2018): 71–89. http://dx.doi.org/10.1386/ijcm.11.1.71_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Anderson, Richard L. "Cross-Cultural Aesthetic Contrasts and Implications for Aesthetic Evolution and Change." Empirical Studies of the Arts 11, no. 1 (January 1993): 51–60. http://dx.doi.org/10.2190/tkv4-73d6-x9td-6cp2.

Full text

Abstract:

In contrast to small-scale societies, philosophies of art in complex societies tend to be relatively explicit, produced by specialists, and densely textured—a pattern exemplified by the differences between the aesthetic systems of Aboriginal Australian versus pre-Columbian Aztec societies. These differences may parallel the gradual changes in aesthetics that occurred as some small, pre-neolithic cultures evolved into complex states. Also, when traditional societies undergo the shock of culture contact, their previously profound aesthetic systems, whether explicit or implicit, tend to be replaced by concerns about craftsmanship, intensiveness of work, and market value—as exemplified by pre- and post-contact Aztec culture. Also discussed are possible future developments in each of these dynamic processes, respectively designated “bary-evolution” and “ocy-evolution.”

APA, Harvard, Vancouver, ISO, and other styles

22

Bradley, John, Frances Devlin-Glass, and Elizabeth Mackinlay. "Diwurruwurru: Towards a New Kind of Two-Way Classroom." Australian Journal of Indigenous Education 27, no. 2 (December 1999): 24–26. http://dx.doi.org/10.1017/s1326011100600546.

Full text

Abstract:

A project is currently underway at http://arts.deakin.edu.au which is innovative on a number of fronts. It has multiple beginnings: in the proactive, as culture dissemination work of a number of Yanyuwa and Garrwa women, who proclaimed in the white man’s world that they were ‘bosses themselves’ (Gale 1983) and who in various ways have sought to bring their culture to the attention of the wider world. This has been accomplished through a prize-winning (Atom Australian Teachers of Media awards in 1991) film, Buwarrala Akarriya: Journey East (1989), of are-enacted ritual foot-walk in 1988 from Borroloola to Manankurra 90 kilometres away. They also made a another prize winning film called Ka-wayawayarna: The Aeroplane Dance (1993) which won the Royal Anthropological Society of London award for the best ethnographic film in 1995. Since 1997 senior Yanyuwa women have been involved on a regular basis in sharing their knowledge of Yanyuwa performance practice with tertiary students in a subject called Women’s Music and Dance in Indigenous Australia which is offered as a course in anthropology through the Aboriginal and Torres Strait Islander Studies Unit, they have also lectured in core anthropology subjects in the faculty of Social and Behavourial Sciences Department of Anthropology and Sociology at the University of Queensland. They have also engaged actively in work as language preservers and teachers at the Borroloola Community Education Centre (hereafter BCEC) and in the Tennant Creek Language Centre program called Papulu Apparr-Kari.

APA, Harvard, Vancouver, ISO, and other styles

23

Martin, Toby. "Dougie Young and political resistance in early Aboriginal country music." Popular Music 38, no. 03 (October 2019): 538–59. http://dx.doi.org/10.1017/s0261143019000291.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

24

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

25

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Werner, Ann. "REVIEW | Making Aboriginal Men and Music in Central Australia." IASPM@Journal 6, no. 2 (December 31, 2016): 189–91. http://dx.doi.org/10.5429/2079-3871(2016)v6i2.14en.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Yeoh, Calista, and Myfany Turpin. "An Aboriginal Women’s Song from Arrwek, Central Australia." Musicology Australia 40, no. 2 (July 3, 2018): 101–26. http://dx.doi.org/10.1080/08145857.2018.1550141.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Kennedy, Keith. "Instruments of Music Used by the Australian Aborigines." Mankind 1, no. 7 (February 10, 2009): 147–57. http://dx.doi.org/10.1111/j.1835-9310.1933.tb00896.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

36

Johnson, Henry. "Åse Ottosson. 2016. Making Aboriginal Men and Music in Central Australia." Perfect Beat 19, no. 1 (December 17, 2018): 89–91. http://dx.doi.org/10.1558/prbt.37462.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Bartleet, Brydie-Leigh, Naomi Sunderland, and Gavin Carfoot. "Enhancing intercultural engagement through service learning and music making with Indigenous communities in Australia." Research Studies in Music Education 38, no. 2 (October 6, 2016): 173–91. http://dx.doi.org/10.1177/1321103x16667863.

Full text

Abstract:

This article explores the potential for music making activities such as jamming, song writing, and performance to act as a medium for intercultural connection and relationship building during service learning programs with Indigenous communities in Australia. To set the context, the paper begins with an overview of current international perspectives on service learning and then moves towards a theoretical and practical discussion of how these processes, politics, and learning outcomes arise when intercultural engagement is used in service learning programs. The paper then extends this discussion to consider the ways in which shared music making can bring a sense of intercultural “proximity” that has the potential to evoke deep learning experiences for all involved in the service learning activity. These learning experiences arise from three different “facings” in the process of making music together: facing others together; facing each other; facing ourselves. In order to flesh out how these theoretical ideas work in practice, the article draws on insights and data from Queensland Conservatorium Griffith University’s award winning Winanjjikari Service Learning Program, which has been running in partnership with Barkly Regional Arts and Winanjjikari Music Centre in Tennant Creek since 2009. This program involves annual service learning trips where university music students travel to Central Australia to work alongside Aboriginal and non-Indigenous musicians and artists on a range of community-led projects. By looking at the ways in which shared music making brings participants in this program “face to face”, we explore how this proximity leads to powerful learning experiences that foster mutual appreciation, relationship building, and intercultural reconciliation.

APA, Harvard, Vancouver, ISO, and other styles

38

Hutchings, Suzi. "Making Aboriginal Men and Music in Central Australia by Ǻse Ottosson. London: Bloomsbury, 2016. 240 pp." American Anthropologist 118, no. 4 (November 24, 2016): 945–46. http://dx.doi.org/10.1111/aman.12744.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Mackinlay, Elizabeth, Johnny Mundrugmundrug, Jacky Riala, and Margaret Clunies Ross. "Australia: Goyulan: The Morning Star. An Aboriginal Clan Song Series from North Central Arnhem Land." Ethnomusicology 39, no. 3 (1995): 515. http://dx.doi.org/10.2307/924641.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Gummow, Margaret. "Music and dance of Aboriginal Australia and the South Pacific: The effect of documentation on the living tradition." Musicology Australia 19, no. 1 (January 1996): 79–81. http://dx.doi.org/10.1080/08145857.1996.10416549.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Kealiinohomoku, Joann W., and Alice Marshall Moyle. "Music and Dance of Aboriginal Australia and the South Pacific: The Effects of Documentation on the Living Tradition." Ethnomusicology 39, no. 2 (1995): 277. http://dx.doi.org/10.2307/924430.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Spiller, Henry. "Ottosson, Åse. Making Aboriginal men and music in central Australia. 216 pp., maps, illus., bibliogr. London: Bloomsbury, 2016. £85.00 (cloth)." Journal of the Royal Anthropological Institute 23, no. 3 (August 4, 2017): 647–48. http://dx.doi.org/10.1111/1467-9655.12678.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Marett, Allan, Martin Anggalitji Warrisal, and Robert Ilyerre Daly. "Wanggasongs of northwest Australia: Reflections on the performance of aboriginal music at the symposium of the international musicological society '88." Musicology Australia 14, no. 1 (January 1991): 37–46. http://dx.doi.org/10.1080/08145857.1991.10416853.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Love, Jacob Wainwright. ": Music and Dance of Aboriginal Australia and the South Pacific: The Effects of Documentation on the Living Tradition . Alice Marshall Moyle." American Anthropologist 95, no. 1 (March 1993): 247–48. http://dx.doi.org/10.1525/aa.1993.95.1.02a01060.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Hinkson, Melinda. "Making Aboriginal Men and Music in Central Australia A. Ottosson London: Bloomsbury Academic, 2016. xviii + 240 pp., illustrations, notes, bibliog., index. ISBN 978-1474224635. AUD$130 (Hb.)." Australian Journal of Anthropology 27, no. 3 (April 24, 2016): 414–15. http://dx.doi.org/10.1111/taja.12210.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

KITLV, Redactie. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 162, no. 4 (2008): 523–94. http://dx.doi.org/10.1163/22134379-90003665.

Full text

Abstract:

I Wayan Arka, Malcolm Ross (eds); The many faces of Austronesian voice systems; Some new empirical studies (René van den Berg) H.W. Dick; Surabaya, city of work; A socioeconomic history, 1900-2000 (Peter Boomgaard) Josiane Cauquelin; The aborigines of Taiwan: the Puyuma; From headhunting to the modern world. (Wen-Teh Chen) Mark Turner, Owen Podger (with Maria Sumardjono and Wayan K. Tirthayasa); Decentralisation in Indonesia; Redesigning the state (Dorian Fougères) Jérôme Samuel; Modernisation lexicale et politique terminologique; Le cas de l’Indonésien (Arndt Graf) Nicholas J. White; British business in post-colonial Malaysia, 1957-70: neo-colonialism or disengagement? (Karl Hack) Chin Peng; Alias Chin Peng; My side of history; As told to Ian Ward and Norma Miraflor (Russell Jones) C.C. Chin, Karl Hack (eds); Dialogues with Chin Peng; New light on the Malayan Emergency (Russell Jones) Saw Swee-Hock; Population policies and programmes in Singapore (Santo Koesoebjono) Domenyk Eades; A grammar of Gayo; A language of Aceh, Sumatra (Yuri A. Lander) Derek Johnson, Mark Valencia (eds); Piracy in Southeast Asia; Status, issues, and responses (Carolyn Liss) Niclas Burenhult; A grammar of Jahai (James A. Matisoff) Ann R. Kinney, Marijke J. Klokke, Lydia Kieven (photographs by Rio Helmi); Worshiping Siva and Buddha; The temple art of East Java (Dick van der Meij) Ruben Stoel; Focus in Manado Malay; Grammar, particles, and intonation (Don van Minde) Pamela J. Stewart, Andrew Strathern (eds); Expressive genres and historical change; Indonesia, Papua New Guinea and Taiwan. (Dianne van Oosterhout) Johszua Robert Mansoben; Sistem politik tradisional di Irian Jaya, Indonesia; Studi perbandingan (Anton Ploeg) Timothy B. Barnard (ed.); Contesting Malayness; Malay identities across boundaries (Nathan Porath) Joel Bradshaw, Francisc Czobor (eds); Otto Dempwolff’s grammar of the Jabêm language in New Guinea (Ger Reesink) Jon Fraenkel; The manipulation of custom; From uprising to intervention in the Solomon Islands (Jaap Timmer) Clive Moore; Happy isles in crisis; The historical causes for a failing state in Solomon Islands, 1998-2004 (Jaap Timmer) Peter Burns; The Leiden legacy; Concepts of law in Indonesia (Bryan S. Turner) Terry Crowley; Bislama reference grammar (Kees Versteegh) REVIEW ESSAY Matthew Isaac Cohen; Transnational and postcolonial gamelan Lisa Gold; Music in Bali Margaret J. Kartomi; The Gamelan Digul and the prison camp musician who built it; An Australian link with the Indonesian revolution Marc Perlman; Unplayed melodies; Javanese gamelan and the genesis of music theory Ted Solís (ed.); Performing ethnomusicology; Teaching and representation in world music ensembles Henry Spiller; Gamelan; The traditional sounds of Indonesia Andrew N. Weintraub; Power plays; Wayang golek theater of West Java REVIEW ESSAY Victor T. King; People and nature in Borneo Tim Bending; Penan histories; Contentious narratives in upriver Sarawak Rajindra K. Puri; Deadly dances in the Bornean rainforest; Hunting knowledge of the Penan Benalui, 2005 Reed L. Wadley (ed.); Histories of the Borneo environment; Economic, political and social dimensions of change and continuity In: Bijdragen tot de Taal-, Land- en Volkenkunde no. 162 (2006), no: 4, Leiden

APA, Harvard, Vancouver, ISO, and other styles

47

Jun Wu, James. "Sounds of Australia: Aboriginal Popular Music, Identity, and Place." Nota Bene: Canadian Undergraduate Journal of Musicology 7, no. 1 (August 20, 2014). http://dx.doi.org/10.5206/notabene.v7i1.6595.

Full text

Abstract:

During the late twentieth century, Australia started to recognize the rights of the Aboriginal people. Indigenous claims for self-determination revolved around struggles to maintain a distinct cultural identity in strategies to own and govern traditional lands within the wider political system. While these fundamental challenges pervaded indigenous affairs, contemporary popular music by Aboriginal artists became increasingly important as a means of mediating viewpoints and agendas of the Australian national consciousness. It provided an artistic platform for indigenous performers to express a concerted resistance to colonial influences and sovereignty. As such, this study aims to examine the meaning and significance of musical recordings that reflect Aboriginal identity and place in a popular culture. It adopts an ethnomusicological approach in which music is explored not only in terms of its content, but also in terms of its social, economic, and political contexts. This paper is organized into three case studies of different Aboriginal rock groups: Bleckbala Mujik, Warumpi Band, and Yothu Yindi. Through these studies, the prevalent use of Aboriginal popular music is discerned as an accessible and compelling mechanism to elicit public awareness about the contemporary indigenous struggles through negotiations of power and representations of place.

APA, Harvard, Vancouver, ISO, and other styles

48

White, Cameron. ""Rapper on a Rampage": Theorising the Political Significance of Aboriginal Australian Hip Hop and Reggae." Transforming Cultures eJournal 4, no. 1 (April 29, 2009). http://dx.doi.org/10.5130/tfc.v4i1.1070.

Full text

Abstract:

Hip hop is a powerful vehicle for the expression of identity and resistance in contemporary Aboriginal popular music. This paper examines the origins of Aboriginal hip hop and explains the reasons for its cultural and political significance. By looking at the influence of reggae in Aboriginal hip hop, especially in the work of CuzCo (Wire MC and Choo Choo), it locates hip hop’s history in terms of the reggae tradition in Aboriginal popular music, represented here by the work of No Fixed Address in the early 1980s. In this way hip hop is understood as part of a longer history of Aboriginal transnationalism. The paper seeks to understand how and why transnationalism is such an important element of Aboriginal political expression. It concludes by arguing that transnationalism represents a speaking position from which Aboriginal Australians can negotiate the cultural hegemony of the state.

APA, Harvard, Vancouver, ISO, and other styles

49

Bracknell, Clint, and Linda Barwick. "The Fringe or the Heart of Things? Aboriginal and Torres Strait Islander Musics in Australian Music Institutions." Musicology Australia, September 24, 2021, 1–15. http://dx.doi.org/10.1080/08145857.2020.1945253.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Taylor, Hollis. "Post Impressions: Music Writing as Bent Travelogue." PORTAL Journal of Multidisciplinary International Studies 8, no. 1 (August 9, 2011). http://dx.doi.org/10.5130/portal.v8i1.1692.

Full text

Abstract:

The wind is our universal musician and has been recognized as such for millennia. If the wind can play a fence as an aeolian harp, then a violinist armed with a bow could also cause these gigantic structures to sing. Thus, an American woman and an Australian man set out to explore and perform on the giant musical instruments covering the continent of Australia: fences. This presentation excerpts highlights from the voyage, illuminating the range of sounds to be drawn out of a five-wire fence. Playing fences reveals a sound world that is embedded in the physical reality and the psyche of the culture. In pursuit of their instruments, including the Rabbit-Proof Fence and the 5300-kilometre–long Dingo Fence, the duo travels 40,000 kilometres, engaging with a singing dingo, an auctioneer, an Aboriginal gumleaf virtuoso, bush musicians, the first (now ruined) piano in Central Australia, and the School of the Air’s distorted, modulating, phasing white and pink electronic noise. PLEASE NOTE: there are four supplementary files that accompany this contribution. Click on the tab 'Supplementary Files' on the right hand side of the screen when accessing the pdf of the article.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!