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Relevant bibliographies by topics / Country music – australia – history and criticism

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Academic literature on the topic 'Country music – australia – history and criticism'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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Journal articles on the topic "Country music – australia – history and criticism"

1

Baker, Sarah, and Alison Huber. "Locating the canon in Tamworth: historical narratives, cultural memory and Australia's ‘Country Music Capital’." Popular Music 32, no. 2 (2013): 223–40. http://dx.doi.org/10.1017/s0261143013000081.

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AbstractThis article concerns the regional city of Tamworth, New South Wales, Australia, a place that prides itself on its reputation as Australia's home of country music. We consider the ongoing memorialisation of country music in Tamworth, and how the processes associated with the project of articulating country music's past work to create and maintain something that can be recognised (and experienced) as a dominant narrative or an Australian country music ‘canon’. Outlining a number of instances in which the canon is produced and experienced (including in performances, rolls of honour and m

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Jaelani, Irwan, Ratisa, and Yesi. "History of Islam in Australia: Muslim Migration and the Evolution of Islamic Education." Jurnal Ilmiah Edukatif 10, no. 1 (2024): 83–93. http://dx.doi.org/10.37567/jie.v10i1.2880.

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This study describes the history of Islam in Australia, highlighting the influx of Muslims and depicting the development of Islam in the country. This research employs the historical method, comprising four stages: heuristics for source collection, source verification or criticism, interpretation or analysis, and historiography for historical writing. The results of this study demonstrate that Islam began to spread to Australia in the early 17th century, primarily due to the regular presence of Makassar fishermen and traders searching for tripang. The next wave of Muslims who came and settled

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Gray, Rosemary. "The Music under the Stone: A Reading of Alex La Guma’s The Stone Country." Commonwealth Essays and Studies 23, no. 2 (2001): 47–53. http://dx.doi.org/10.4000/1248v.

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This paper recognizes the critical divide occasioned by Alex La Guma’s The Stone Country, providing examples of theoretical positioning from the Formalist and Marxist schools, respectively. In a re-reading of the text, motivated by the author’s own metapoetic stance, it argues for the opening up of new ground in the study of South African literary sociology and proffers ‘psycho-history’ as an additional – even newer – critical tool to set alongside conventional textual analysis and literary criticism, in an attempt to explain the significance of ‘the music under the stone’ of imprisonment in a

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4

Southcott, Jane. "Examining Australia: The Activities of Four Examiners of the Associated Board for the Royal Schools of Music in 1923." Journal of Historical Research in Music Education 39, no. 1 (2017): 51–77. http://dx.doi.org/10.1177/1536600617709543.

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In the mid-nineteenth century, a system of music examinations was initiated in Britain that came to encompass the far-flung reaches of the British Empire. These examinations offered an internationally recognized system of professional and musical standards. For the next several decades the Associated Board of the Royal Schools of Music (ABRSM) and Trinity College London (TCL) maintained this extensive system of graded instrumental and vocal examinations across large parts of the globe, principally those countries that were part of the British Empire (later the Commonwealth). Both the ABRSM and

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Somerville, Craig, Kirra Somerville, and Frances Wyld. "Martu Storytellers: Aboriginal Narratives Within the Academy." Australian Journal of Indigenous Education 39, S1 (2010): 96–102. http://dx.doi.org/10.1375/s1326011100001186.

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AbstractThe Martu people originate from the Pilbara region in Western Australia. Despite policies of removal, incarceration in prison and the need to leave community fo health services, Martu maintain identity and connection to country. Their narratives have used to inform a wider Australian audience about the history and culture of Aboriginal people. But the stories have also received criticism and been the subject of a Westernised anthropological view. With the emergence of storytelling as method in the academy, a new space is being created for Aboriginal and non-Aboriginal people to find a

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Johnson, Bruce. "Deportation Blues <br> doi:10.5429/2079-3871(2010)v1i1.5en." IASPM Journal 1, no. 1 (2010): 1–13. http://dx.doi.org/10.5429/297.

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The history of popular music in the twentieth century has been regularly intersected by outbreaks of moral panic regarding the debilitating influence of particular genres, for which the association between 'blackness' and degradation has provide especially inflammable fuel. In Australia this has been intensified by virtue of a strain of racism and xenophobia, most recently manifested in the government's refusal of entry to Rapper Snoop Dogg in April 2007 after failing a 'character test'. One case from 1928 resulted in a generic quarantine that affected the development of popular music in Austr

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Kartomi, Margaret J. "“Traditional Music Weeps” and Other Themes in the Discourse on Music, Dance and Theatre of Indonesia, Malaysia and Thailand." Journal of Southeast Asian Studies 26, no. 2 (1995): 366–400. http://dx.doi.org/10.1017/s0022463400007141.

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One of the most remarkable features of the past twenty years of scholarship on the Southeast Asian performing arts has been the sparking off of ideas between Southeast Asian-born scholars, whether trained in Southeast Asian universities or overseas, and Western scholars of the Southeast arts who live in North America, Australia, Europe, Japan and elsewhere. In colonial Indonesia (until 1945) and Malaysia (until 1957), research agendas of Dutch and British scholars respectively had complied with the social, economic and political priorities of the colonial powers and associated local court-cent

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Curkpatrick, Samuel, and Daniel Wilfred. "The Wind Is Always Blowing: Generative Crosscurrents of Ethnographic Dialogue in Australia." Oceania 94, no. 1 (2024): 3–17. http://dx.doi.org/10.1002/ocea.5392.

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ABSTRACTLive conversations and writing play an important role in ethnographic research that seeks to develop understanding across cultural differences. Both forms of communication need not remain distinct: written dialogue can develop critical thought while foregrounding the shared contexts and relational impetuses of communication across cultures. Set against the background of recent styles in ethnographic writing about and with Yolŋu people, this article extends from conversations about wata (wind), exploring collaborative practices (music performance and teaching) and approaches to writing

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Wahyudin, Wahyudin, and Nur Fajar Absor. "MASYARAKAT KELAS BAWAH DALAM LIRIK LAGU-LAGU IWAN FALS (1981-1994)." Estoria: Journal of Social Science and Humanities 2, no. 2 (2022): 302–16. http://dx.doi.org/10.30998/je.v2i2.937.

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Abstract This article discusses Iwan Fals' musical career and his songs with the theme of social criticism, especially songs with the theme of lower class society from 1981-1994. The purpose of this article is to explain the meaning or content contained in the lyrics of Iwan Fals' songs with the theme of lower class society which will then be linked to the context of society at that time. This article uses the Historical method which is presented in a descriptive-analytical form and utilizes news sources, cassette covers, newspapers and magazines, photos and relevant books. To examine the lyri

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Kupets, Lyubov A. "“New Ballet Criticism” (1993–2003) About “Soviet” Ballet: Forms of Cultural Recycling." Problemy muzykal'noi nauki / Music Scholarship, no. 4 (December 2023): 22–34. http://dx.doi.org/10.56620/2782-3598.2023.4.022-034.

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In post-Soviet Russia ballet criticism, similar to opera criticism, has an almost 30-year-old history, but the period perceived as the brightest and most significant is the first period, spanning the 1990s and the early part of the first decade of the 21st century. For this New Ballet Criticism (as it has been labelled by Vadim Gaevsky), as a part of New Russian Music Criticism (as defined by Olga Manulkina and Pavel Gershenzon), a number of features have become normative: provocative styles and titles, a demythologization of works and of choreographers, the use of comparisons with mass cultur

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Dissertations / Theses on the topic "Country music – australia – history and criticism"

1

Martin, Toby. "Yodelling boundary riders : country music in Australia, 1936-2010." Phd thesis, Department of History, 2011. http://hdl.handle.net/2123/8573.

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Brownlee, Jane. "The Transmission of Traditional Fiddle Music in Australia." Master's thesis, Sydney Conservatorium of Music, 2009. http://hdl.handle.net/2123/13919.

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Brownlee, Jane. "The transmission of traditional fiddle music in Australia." Master's thesis, Sydney Conservatorium of Music, 2009. http://hdl.handle.net/2123/7913.

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Stein, Eric 1973. ""Living right and being free" : country music and modern American conservatism." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21267.

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The rising popularity of country music in the United States since WWII is a cultural phenomenon intimately related to the ascendance of conservative values, leaders, and movements over the same period. By routinely celebrating themes like heterosexual love, the patriarchal nuclear family, hard work, individualism, freedom, patriotism, religion, and small-town life, country music provided the soundtrack for the insurgent conservatism of politicians like George Wallace, Richard Nixon, and Ronald Reagan. In the sixties and seventies, while other forms of popular music (rock, folk, soul) articulat

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Stafford, Andrew. "Pig city : from The Saints to Savage Garden." Thesis, Queensland University of Technology, 2004.

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She comes from Ireland, she's very beautiful I come from Brisbane, and I'm quite plain Pig City - The Go-Betweens, Lee Remick If popular music really is a universal language, it's curious how easily a song - even a commercially obscure one - can come to symbolise a city's identity. The stories of London, Liverpool, Manchester, Dunedin, Detroit, Memphis, Nashville, New York, New Orleans, San Francisco and Seattle are inextricably entwined with the music made there. Robert Forster, however, could never have imagined that his self-deprecating paean to an actress would become so fabled in h

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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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Huntsman, L. F. "In margins and in longings ...: the beach in Australian life and literature." Thesis, The University of Sydney, 1998. http://hdl.handle.net/2123/12333.

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O'Connor, Jennifer. "Black snow by Michael Smetanin : an analysis : and original compositions." University of Western Australia. School of Music, 2004. http://theses.library.uwa.edu.au/adt-WU2004.0054.

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Black Snow, an orchestral work composed by Michael Smetanin in 1987, was named after the book Black Snow by Mikhael Bulgakov. Newspaper articles, reviews and the literature researched, all comment on Smetanin’s style and on the influences that shaped that style. The aggressive and confrontational style of much of Smetanin’s music can be attributed partly to his love of rock music and jazz and partly to his mentor in the Netherlands, Louis Andriessen. The same sources quote other composers who also influenced Smetanin’s style. Three works in particular are named, that is, Trans by Stockhausen,

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Lock, Julia Corinne. "Waltz across Texas literary and cinematic articulations of Texas country music and dance culture /." 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3116108.

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Bowan, Kate. "Musical mavericks : the work of Roy Agnew and Hooper Brewster-Jones as an Australian counterpart to European modern music 1906-1949." Phd thesis, 2007. http://hdl.handle.net/1885/109691.

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In 1920 the Lone Hand reported that Sydney composer Roy Agnew (1891-1944) had “after much anxious consideration been forced to abandon the limitations of key and tonal relationship.” For this transgression, he was branded, among other things, a musical Bolshevik. Three years later in Adelaide, Hooper Brewster-Jones (1887-1949) wrote the first of his “formula” pieces which are part of a larger body of works that experiment with various aspects of musical language. In this thesis, I will argue that together certain works of these two isolated composers constitute an instance of what is kno

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Books on the topic "Country music – australia – history and criticism"

1

Kosser, Michael. Country music '88. Paperjacks, 1988.

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Carr, Aaron. Country. AV2 by Weigl, 2015.

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3

Howard, Smith Benjamin, ed. Country music stars. Crescent Books, 1994.

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1973-, Neal Jocelyn R., ed. Country music, U.S.A. 3rd ed. University of Texas Press, 2010.

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5

Sachs, Lloyd. American country. Twenty-First Century Books, 2013.

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6

E, Bekker Peter O., ed. Roots of country: The story of country music. Friedman/Fairfax Publishers, 1996.

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7

Country Music Hall of Fame & Museum (Nashville, Tenn.), ed. Country music: The complete visual history. Dorling Kindersley, 2006.

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8

Carr, Patrick. The illustrated history of country music. Edited by Carr Patrick. Random House/Times Books, 1995.

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9

Hollis, James. California's lost treasure (country music). AuthorHouse, 2007.

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10

Hinton, Brian. Country roads: How country came to Nashville. Sanctuary, 2000.

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