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Journal articles on the topic 'Australian piano music'

Author: Grafiati

Published: 23 August 2023

Last updated: 31 July 2025

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1

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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2

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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4

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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5

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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7

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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8

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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9

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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10

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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11

Rose, Jeremy. "Three decades of The Necks: Reciprocal Patterns of Improvised Music and Organisational Behaviour." Critical Studies in Improvisation / Études critiques en improvisation 15, no. 1 (2022). http://dx.doi.org/10.21083/csieci.v15i1.6117.

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This article explores the nature of organisational behaviour within a long-standing improvised music group and its reciprocal relationship with their musical practice. It uses ideas from Ingrid Monson (1996) relating to social activities expressing the values and aesthetics of musical practice and adopts research findings from business management literature, in particular Kenneth Bettenhausen’s (1991) notion that the task patterns of a group play a role in shaping attitudes and behaviour, informing our understanding of the way improvisational music practices correlate with social and organisat

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12

Davie, Scott. "Australian Piano Music, 1850–1950: A Guide to the Composers and Repertoire and The Music of Meta Overman: Queen of Colour and Fantasy Australian Piano Music, 1850–1950: A Guide to the Composers and Repertoire , by Jeanell Carrigan, Wollongong, NSW, Wirripang, 2021, xxxii + 229 pp., ISBN-978-1-87682-978-0 (paperback) The Music of Meta Overman: Queen of Colour and Fantasy , by Jeanell Carrigan, Wollongong, NSW, Wirripang, 2021, xx + 149 pp., ISBN-978-1-87682-977-3 (paperback)." Musicology Australia, July 12, 2024, 1–4. http://dx.doi.org/10.1080/08145857.2024.2360262.

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13

Cheng, Zijia, and Jane Southcott. "Practice and learning the piano: Motivation and self-regulation." International Journal of Music Education, September 20, 2022, 025576142211251. http://dx.doi.org/10.1177/02557614221125173.

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Across the globe, students begin and continue learning the piano for various reasons. For many this can be an engaging and enjoyable activity which enhances their commitment to learning. Foundational in this process, practice is an essential part of piano learning. Without the excitement of performing for others, for some practice may become uninteresting and repetitious. Ultimately, boredom may affect piano learners and obstruct their commitment and progress. In this article, we explore what motivates upper primary and secondary school piano learners to practice and how piano teachers can sti

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14

Mercieca, Paul Dominic. "‘Southern’ Northern Soul: Changing Senses of Direction, Place, Space, Identity and Time." M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1361.

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Music from Another Time – One Perth Night in 2009The following extract is taken from fieldwork notes from research into the enduring Northern Soul dance scene in Perth, Western Australia.It’s 9.30 and I’m walking towards the Hyde Park Hotel on a warm May night. I stop to talk to Jenny, from London, who tells me about her 1970s trip to India and teenage visits to soul clubs in Soho. I enter a cavernous low-ceilinged hall, which used to be a jazz venue and will be a Dan Murphy’s bottle shop before the year ends. South West Soul organiser Tommy, wearing 34-inch baggy trousers, gives me a Northern

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15

Ryan, Robin Ann. "Forest as Place in the Album "Canopy": Culturalising Nature or Naturalising Culture?" M/C Journal 19, no. 3 (2016). http://dx.doi.org/10.5204/mcj.1096.

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Every act of art is able to reveal, balance and revive the relations between a territory and its inhabitants (François Davin, Southern Forest Sculpture Walk Catalogue)Introducing the Understory Art in Nature TrailIn February 2015, a colossal wildfire destroyed 98,300 hectares of farm and bushland surrounding the town of Northcliffe, located 365 km south of Perth, Western Australia (WA). As the largest fire in the recorded history of the southwest region (Southern Forest Arts, After the Burn 8), the disaster attracted national attention however the extraordinary contribution of local knowledge

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16

Barker, Timothy Scott. "Information and Atmospheres: Exploring the Relationship between the Natural Environment and Information Aesthetics." M/C Journal 15, no. 3 (2012). http://dx.doi.org/10.5204/mcj.482.

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Our culture abhors the world.Yet Quicksand is swallowing the duellists; the river is threatening the fighter: earth, waters and climate, the mute world, the voiceless things once placed as a decor surrounding the usual spectacles, all those things that never interested anyone, from now on thrust themselves brutally and without warning into our schemes and manoeuvres (Michel Serres, The Natural Contract, p 3). When Michel Serres describes culture's abhorrence of the world in the opening pages of The Natural Contract he draws our attention to the sidelining of nature in histories and theories th

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