Relevant bibliographies by topics / Australian piano music

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

Academic literature on the topic 'Australian piano music'

Author: Grafiati
Published: 23 August 2023
Last updated: 31 July 2025

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Journal articles on the topic "Australian piano music"

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Griswold, Erik. "The Piano Mill: Nostalgic Music and Architecture in the Australian Bush." Leonardo Music Journal 27 (December 2017): 53–54. http://dx.doi.org/10.1162/lmj_a_01014.

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The Piano Mill is a tower in the forest of New South Wales designed and purpose-built to house 16 reclaimed pianos. Architect Bruce Wolfe conceived it as a massive sound sculpture incorporating a steampunk look and nineteenth-century acoustical devices. To launch The Mill the author composed a new work, All’s grist that comes to the mill, that responds to the architecture, the natural environment and Australian colonial heritage.
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Zhukov, Katie. "Exploring the content of instrumental lessons and gender relations in Australian higher education." British Journal of Music Education 25, no. 2 (2008): 159–76. http://dx.doi.org/10.1017/s0265051708007900.

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This observational study analysed the lesson content of 24 instrumental lessons (piano, strings and winds) using a gender-balanced sample (equal numbers of male/female teachers and students) from five Australian higher education institutions to ascertain the priorities of topics in advanced applied music lessons in the Western Classical tradition. The results were analysed according to gender to determine differences of approach between male and female teachers and male and female students. Same-gender and different-gender pairings were also considered. Technique was found to be of the greates
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Tarwiyah, Tuti. "ECE Music Courses in Higher Education: Rhythmic Learning Based on Local Culture Through the Solfeggio Technique." JPUD - Jurnal Pendidikan Usia Dini 17, no. 1 (2023): 134–43. http://dx.doi.org/10.21009/jpud.171.10.

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The lack of learning techniques used by teachers in teaching music in early childhood, especially rhythmic learning, in general teachers only teach rhythm by explaining the value of notes, not using singing, and not connecting it with singing. The purpose of this research is to describe the effectiveness of rhythmic learning using cultural-based solfeggio techniques through lecture assignments. The research method used is descriptive qualitative with an emphasis on exploration. Data collection was taken from the results of the learning value of the rhythmic ensemble which lasted for four meeti
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Daniel, Ryan, and Julia Bowden. "The intermediate piano stage: exploring teacher perspectives and insights." British Journal of Music Education 30, no. 2 (2013): 245–60. http://dx.doi.org/10.1017/s0265051713000041.

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While many piano students successfully progress beyond beginner status to reach what is commonly referred to as the intermediate stage, there is minimal research specific to this area of practice. This is despite the fact that there is a high drop-out rate at this stage. This research study therefore set out to develop an in-depth understanding of the key issues of relevance from the perspective of the teachers who work with intermediate piano students. In order to develop a substantial body of data and therefore increase the validity of the findings, a comprehensive e-survey was developed and
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Ellsworth, Therese. "The British Isles and Beyond: The Performance of Instrumental Music by William Sterndale Bennett during the Long Nineteenth Century." Nineteenth-Century Music Review 13, no. 2 (2016): 233–55. http://dx.doi.org/10.1017/s1479409816000628.

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Bennett wrote in a variety of instrumental and vocal genres. Some of his most popular pieces during his lifetime comprise anthems, oratorios and cantatas. But his enduring legacy resides with his instrumental output, in particular works that include a pianist. This article begins with an examination of performances that occurred in Britain and in Germany, where Bennett’s close associations with the Mendelssohn circle provided him with substantial encouragement during his formative years. Advances in transportation and increasing globalization led touring artists to travel farther to cities wor
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Sarafanova, A. G., and A. A. Sarafanov. "The cinematic tourist as an industry of creating attractive images of destinations." Service and Tourism: Current Challenges 17, no. 3 (2023): 20–28. https://doi.org/10.5281/zenodo.10076625.

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<i>In recent years, there has been an increase in interest in films that can affect the image of territories and result in tourist expectations. In addition, it is specific destination marketing. The purpose of this article is to systematize the theoretical information of film tourism and review historical films that create attractive images of destinations. The authors present various forms and directions of cinematographic tourism. Two questions were studied regarding historical films and the film industry. The authors analyze the relationship between cinema and literary tourism. On the one
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Zhukov, Katie, and Jennifer Rowley. "Crafting successful music careers: Insights from the professional lives of Australian pianists." Research Studies in Music Education, August 10, 2021, 1321103X2110346. http://dx.doi.org/10.1177/1321103x211034647.

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This study investigates the careers of 28 classical pianists in Australia to develop greater understanding of skills needed to build professional music careers and to highlight implications for higher music education training. Semi-structured interviews were analyzed for emerging themes using Subotnik and Jarvin’s scholarly productivity or artistry (SP/A) model, looking for connections between distinct skills developed during education and their role in the building of professional careers. Participants in this study began learning to play the piano at an early age and pursued lessons during p
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Wickham, David Charles. "The songs for solo voice and piano of Meta Overman (1907-1993)." Journal of Music Research Online 10 (January 21, 2022). https://doi.org/10.20851/vjrvmp13.

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In this paper I aim to introduce the piano-accompanied songs of Dutch-Australian composer Meta Overman to scholars and performers. A brief biographical survey sketches her musical training in Rotterdam, especially under important composer-teacher Willem Pijper, and then a short survey of major Dutch song composers of the preceding two generations sets her songwriting in context. I will argue that the music of Willem Pijper and Alphonse Diepenbrock influenced her compositional technique and I point out affinities with other song composers, notably Matthijs Vermeulen, Henri Zagwijn and Henriëtte
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Taylor, Hollis. "Post Impressions: Music Writing as Bent Travelogue." PORTAL Journal of Multidisciplinary International Studies 8, no. 1 (2011). http://dx.doi.org/10.5130/portal.v8i1.1692.

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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 cu
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Gibson, Chris. "On the Overland Trail: Sheet Music, Masculinity and Travelling ‘Country’." M/C Journal 11, no. 5 (2008). http://dx.doi.org/10.5204/mcj.82.

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Introduction One of the ways in which ‘country’ is made to work discursively is in ‘country music’ – defining a genre and sensibility in music production, marketing and consumption. This article seeks to excavate one small niche in the historical geography of country music to explore exactly how discursive antecedents emerged, and crucially, how images associated with ‘country’ surfaced and travelled internationally via one of the new ‘global’ media of the first half of the twentieth century – sheet music. My central arguments are twofold: first, that alongside aural qualities and lyrical cont
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Dissertations / Theses on the topic "Australian piano music"

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Lichnovsky, Michael Wade. "Australian sonatas for alto saxophone and piano: new editions and performance guides for three works by major australian composers." Diss., University of Iowa, 2008. https://ir.uiowa.edu/etd/30.

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This project has come about because of the need for Australian saxophonists to develop an awareness of saxophone history and culture in their own country. Dulcie Holland, William Lovelock and Margaret Sutherland were artists who were active and influential in the areas of performance, composition and pedagogy, helping to create and promote the musical arts in Australia during the first half of the twentieth century. The high regard in which they are held should be evidence enough that their works for saxophone must be performed by their fellow Australians as
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Davies, Ryan. "Uncovering the unpublished chamber music of George Frederick Boyle Volume I: Dissertation." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1769.

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This dissertation examines the chamber works for piano and strings by Australian--‐born American composer, pianist, and teacher, George Frederick Boyle (1886–1948). Boyle was somewhat of a prodigy in his younger years and contributed much to Australia’s burgeoning concert scene. In 1905 he left Australia to study with Ferruccio Busoni, and from 1910 until his death he lived and worked in the United States, where he was on the faculty of some of the most prestigious music schools. Despite Boyle's eminence as a pianist, composer and educator, today he is almost forgotten. This dissertation offer
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Th'ng, Hannah. "Larry Sitsky’s Century: A response to selected twentieth-century notation, associated piano techniques, and performance possibility." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2023. https://ro.ecu.edu.au/theses/2662.

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In 2016, the Australian composer, virtuoso pianist, and pedagogue Larry Sitsky (b. 1934) completed a three-volume set of 155 graded pieces for pianists entitled Century. The work focuses on certain twentieth-century innovations with regard to notation and associated piano technique(s)—distinctive issues not commonly explored pedagogically. This study addresses specific notational and associated technical challenges in selected pieces from Century. The study also provides performative and pedagogical suggestions derived both from Sitsky himself and from the author. The following notational cate
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Handel, Amanda Jane. "Music of balance : circles and squares." Thesis, View thesis View thesis, 2004. http://handle.uws.edu.au:8081/1959.7/26753.

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Music of balance is a portfolio of eight compositions, all of which bear the concealed influence of mandalas in their conception - these are made manifest musically in cycle structures with shifting drones, pedals and tonal ambiguities.The compositional process maximises minimal materials - circles and squares - symbolically. Organising thought, feeling and knowledge into a balanced acoustic music form of expression is the objective of this creative project - which is carried out under the influence of symbols. Whilst the compositional processes are intuitive, they involve a disciplinary measu
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Lichnovsky, Michael Wade Holland Dulcie Lovelock William Sutherland M. "Australian sonatas for alto saxophone and piano new editions and performance guides for three works by major australian composers /." 2008. http://ir.uiowa.edu/etd/30.

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Thesis (D.M.A.)--University of Iowa, 2008.<br>Thesis supervisor: Kenneth Tse. Includes performance editions of : Sonata for E♭ alto saxophone and piano / Dulcie Holland (leaves 74-94) ; Sonata for saxophone & pianoforte / William Lovelock (leaves 95-131) ; Sonata for alto saxophone and piano / Margaret Sutherland (leaves 132-153). Includes bibliographical references (leaves 154-155).
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Rutkowska, Monika. "An identification of past influences and current trends in Australian piano pedagogy." Thesis, 2018. http://hdl.handle.net/1959.13/1395140.

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Masters Research - Master of Philosophy (MPhil)<br>This thesis looks at a significant but little studied aspect of piano teaching traditions in Australia: the influence of external traditions and international teachers on the development of piano study in this country. As a country with a relatively short history in the Western musical tradition, many Australian pianists have furthered their music study with international teachers, either abroad or in Australia. There have also been many overseas piano teachers who have chosen to settle in Australia. While there have been similar studies compl
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Grenfell, Julia Michele. "The influences of traditional Asian music on an Australian composer: A study of three works for flute and piano by Anne Boyd." Thesis, 2003. http://hdl.handle.net/1911/18534.

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A study is presented of three works for flute and piano by prominent Australian composer Anne Boyd (b. 1946). The works are Goldfish Through Summer Rain; Red Sun, Chill Wind; and Bali Moods No. 1. An examination is made of the influences of two types of Asian music on these three works. The influence of Japanese music is found in Goldfish Through Summer Rain and Red Sun, Chill Wind. The influence of Balinese music is found in Bali Moods No. 1.
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Garrett, Junko Ueno. "Japanese piano compositions of the last hundred years: A history of piano music in Japan and a complete list of Japanese piano compositions." Thesis, 1998. http://hdl.handle.net/1911/19260.

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This dissertation consists of six chapters: The first four chapters trace the history of Japanese piano music; the fifth chapter is a conclusion; and the last chapter is a complete list of 3,000 Japanese piano compositions written since the first Japanese piano piece was composed in 1900. The response of Japanese composers to Western-style music from the Meiji Restoration to the present is analogous to a transfusion: Japanese composers have accepted Western music while maintaining their cultural identity in an ever changing environment. The introduction of Western music through public school e
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Handel, Amanda Jane, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "Music of balance : circles and squares." 2004. http://handle.uws.edu.au:8081/1959.7/26753.

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Music of balance is a portfolio of eight compositions, all of which bear the concealed influence of mandalas in their conception - these are made manifest musically in cycle structures with shifting drones, pedals and tonal ambiguities.The compositional process maximises minimal materials - circles and squares - symbolically. Organising thought, feeling and knowledge into a balanced acoustic music form of expression is the objective of this creative project - which is carried out under the influence of symbols. Whilst the compositional processes are intuitive, they involve a disciplinary measu
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Books on the topic "Australian piano music"

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Sitsky, Larry. Australian Chamber Music with Piano. ANU Press, 2011.

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Carrigan, Jeanell. Australian post-1970 solo piano works: An annotated guide. Australian Music Centre, 1997.

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Library, Australian Music Centre. Piano music: Scores held at the Australian Music Centre Library. Australian Music Centre, 1997.

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Carrigan, Jeanell. Australian post-1970 solo piano works: An annotated guide. 2nd ed. Australian Music Centre, 1998.

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Mays, Sally. Australian Piano Music (Currency Music). Currency Press, 1990.

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Mays, Sally. Australian Piano Music (Currency Music). Currency Press, 1996.

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Mays, Sally. Australian Piano Music (Currency Music). Currency Press, 1995.

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Australian Piano Music (Currency Music). Currency Press, 2000.

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Australian Piano Music of the Twentieth Century. ABC-CLIO, LLC, 2005.

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Piano music: Scores held at the Australian Music Centre Library. Australian Music Centre, 1997.

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Book chapters on the topic "Australian piano music"

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"Can Music be Debunked? (1933/ 4)." In Grainger on Music, edited by Malcolm Gillies, Bruce Clunies Ross, Bronwen Arthur, and David Pear. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198166658.003.0033.

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Abstract Editor’s Note: In this, the first of several articles the eminent Australian composer and pianist has promised to contribute to the Australian Musical News, he says a number of things which are provocative and stimulating. Some will contend, of course, that in order to ‘debunk’ singing, for instance, or to ‘debunk’ piano playing and other forms of musical expression as we understand it, the art of composition would have to be abolished altogether, and all set compositions beyond the simplest would have to be forgotten. That may be left to the musicians themselves to fight out, if they
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"Peter Weir and the Piano Concerto." In Voicing the Cinema, edited by Erik Heine. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043000.003.0012.

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Australian director Peter Weir’s career has spanned five decades, working in both Hollywood and Australia. One typical trait in his films is the subject matter that typically falls outside of Hollywood spectacle, choosing to focus on characters and introspection. Another trait is the use of preexisting art music in nearly all of his films. Weir’s use of art music spans more than 400 years, drawing on a wide range of composers such as Albinoni, Bach, Mozart, Beethoven, Chopin, Vaughan Williams, Glass, and Górecki, among others. One genre, the piano concerto, is used particularly effectively in
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"Music for Ensemble Players (1927)." In Grainger on Music, edited by Malcolm Gillies, Bruce Clunies Ross, Bronwen Arthur, and David Pear. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198166658.003.0025.

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Abstract Editor’s Note: If the greatest instrumentalists the world has known, men such as Liszt, Kreisler, Busoni, Rubinstein, Pablo Casals, or Paderewski, have chosen to play in ensembles, why should the lesser lights of music disdain to do so? This is the pointed query put by Mr. Percy Grainger in concluding his valuable series of articles in the Australian Musical News, which should be taken to heart by every musician on this continent. Many times one has heard from pianists that there are not enough works for a combination of forces at their instrument. Avoiding the ordinary list, adopted
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"Modernism in Pianoforte Study (1915)." In Grainger on Music, edited by Malcolm Gillies, Bruce Clunies Ross, Bronwen Arthur, and David Pear. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198166658.003.0007.

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Abstract Editor’s Note.-Mr. Percy Grainger came to the United States last Fall by no means unknown to the elect, but comparatively little known to the public. It was his intention to live quietly in this country and complete several large unfinished orchestral and choral compositions. However, the exceptionally enthusiastic reception accorded to his orchestral compositions by press and public alike when performed by Walter Damrosch of the New York Symphony Orchestra in New York and other leading cities last winter induced him to appear as a piano virtuoso, and the result was numerous engagemen
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