Relevant bibliographies by topics / Music Australia

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Music Australia'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Music Australia"

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Box, Kiernan, and Greg Aronson. "Protest Songs From Indonesia And Australia: A Musicological Comparison." Journal of Urban Society's Arts 9, no. 1 (December 19, 2022): 48–59. http://dx.doi.org/10.24821/jousa.v9i1.7146.

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Protest music is both commercially viable and an important tool for shaping community awareness of socio-political issues. Indonesian and Australian artists have produced protest music which has stimulated significant effect upon community attitudes and behaviours. Socio-political issues can be described and examined in songs using various lyrical methods, including strategic use of characters and narrative. Iwan Fals is a Javanese singer-songwriter who frequently employs satire and parody in relation to weighty political issues. Cold Chisel, Midnight Oil and Paul Kelly are Australian rock art
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Hope, Cat, Nat Grant, Gabriella Smart, and Tristen Parr. "TOWARDS THE SUMMERS NIGHT: A MENTORING PROJECT FOR AUSTRALIAN COMPOSERS IDENTIFYING AS WOMEN." Tempo 74, no. 292 (March 6, 2020): 49–55. http://dx.doi.org/10.1017/s0040298219001177.

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AbstractThe Summers Night Project is an ongoing composer-mentoring programme established in 2018 by musicians Cat Hope and Gabriella Smart, with the support of the Perth-based new music organisation Tura New Music. The project aims to support and mentor emerging Australian female and gender minority composers to create new compositions for performance, with the aim of growing the gender diversity of composers in music programmes across Australia. Three composers were chosen from a national call for submissions, and works were performed by an ensemble consisting of members from the Decibel and
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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 (May 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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Bartleet, Brydie-Leigh. "Building vibrant school–community music collaborations: three case studies from Australia." British Journal of Music Education 29, no. 1 (February 21, 2012): 45–63. http://dx.doi.org/10.1017/s0265051711000350.

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This paper explores the relationship between school music and community music in Australia. While many Australian schools and community music activities tend to exist in relative isolation from one another, a range of unique school–community collaborations can be found throughout the country. Drawing on insights from Sound Links, one of Australia's largest studies into community music, this paper explores three case studies of these unique school–community collaborations. These collaborations include a community-initiated collaboration, a school-initiated collaboration and a mutual collaborati
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YOUNG, GREG. "‘So slide over here’: the aesthetics of masculinity in late twentieth-century Australian pop music." Popular Music 23, no. 2 (May 2004): 173–93. http://dx.doi.org/10.1017/s0261143004000145.

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For Australian men, the very act of appearing on stage has for much of the twentieth century aroused suspicion about their gender status and their sexuality. To aspire to the stage often implied homosexuality culturally in Australia. This has been evident in the evolving aesthetic of white Australian masculinity in pop music from the 1970s onwards. For most of that period, Anglo-Australian males who presented themselves in a rigid, almost asexual way dominated the aesthetic. The reality of urban Australia was ignored in their images, which were essentially confined to outback or coastal Austra
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Homan, Shane. "A contemporary cultural policy for contemporary music?" Media International Australia 158, no. 1 (February 2016): 37–47. http://dx.doi.org/10.1177/1329878x15622077.

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Creative Nation confirmed the shift by federal governments to viewing popular music as part of the Australian cultural economy, where the ‘contemporary music’ industries were expected to contribute to economic growth as much as providing a set of creative practices for musicians and audiences. In the 19 years between Creative Nation and Creative Australia, much has changed. This article examines relationships between the music industries, governments and audiences in three areas. First, it charts the funding of popular music within the broader cultural sector to illuminate the competing discou
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Bendrups, Dan. "Latin Down Under: Latin American migrant musicians in Australia and New Zealand." Popular Music 30, no. 2 (May 2011): 191–207. http://dx.doi.org/10.1017/s026114301100002x.

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AbstractThe global significance of Latin American popular music is well documented in contemporary research. Less is known about Latin American music and musicians in Australia and New Zealand (collectively termed ‘Australasia’): nations that have historically hosted waves of migrants from the Americas, and which are also strongly influenced by globalised US popular music culture. This article presents an overview of Latin American music in Australasia, drawing on ethnographic research, with the aim of providing a historical framework for the understanding of this music in the Australasian con
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Mitchell, Tony. "WORLD MUSIC, INDIGENOUS MUSIC AND MUSIC TELEVISION IN AUSTRALIA." Perfect Beat 1, no. 1 (September 29, 2015): 1–16. http://dx.doi.org/10.1558/prbt.v1i1.28571.

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Harrison, Gillian. "Community music in Australia." International Journal of Community Music 3, no. 3 (November 1, 2010): 337–42. http://dx.doi.org/10.1386/ijcm.3.3.337_1.

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Kennedy, Rosanne. "Soul music dreaming:The Sapphires, the 1960s and transnational memory." Memory Studies 6, no. 3 (May 20, 2013): 331–44. http://dx.doi.org/10.1177/1750698013485506.

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In memory studies, concepts of cosmopolitan, transnational and transcultural memory have been identified as a means of studying mnemonic symbols, cultural forms and cultural practices that cross national, ethnic and territorial borders. However, what do these concepts deliver for memory work that originates in an ‘off-centre’ location such as Australia, where outsiders often lack an understanding of the history and cultural codes? A recent Indigenous Australian film, The Sapphires, set in 1968, provides an opportunity to consider some of the claims that are made for the transnational travels o
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Dissertations / Theses on the topic "Music Australia"

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Smart, Bonnie Jane. "Leon Caron and the music profession in Australia." Connect to thesis, 2003. http://repository.unimelb.edu.au/10187/1427.

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Leon Francis Victor Caron (1850-1905) was one of the major figures in Australian nineteenth-century opera and orchestral circles. He was a well-known and well-liked public figure, regarded with respect and affection by musicians and audiences alike. Little has been written concerning Caron’s career. Given the amount he contributed to the Australian stage, an assessment of his importance within the music profession is warranted. Most areas of Caron’s life are, as yet, totally unexplored; it falls outside the ambit of this thesis to present every detail pertaining to his varied and extensive mus
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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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Marshall, Anne, University of Western Sydney, of Arts Education and Social Sciences College, and School of Social Ecology and Lifelong Learning. "Ngapartji-ngapartji : ecologies of performance in Central Australia : comparative studies in the ecologies of Aboriginal-Australian and European-Australian performances with specific focus on the relationship of context, place, physical environment, and personal experience." THESIS_CAESS_SELL_Marshall_A.xml, 2001. http://handle.uws.edu.au:8081/1959.7/556.

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All forms of cultural interaction are expressive and creative. In particular, what the performing arts express is not always the conscious, the ideal and the rational, but more often the preconscious, pre-verbal, asocial and irrational, touching on darker undercurrents of human and extra-human interrelations, experiences, beliefs, fears, desires and values. So what is performance and how does it differ in cultures? A performance is a translation of an idea into a synaesthetic experience. In the context of this thesis, however, translation does not imply reductive literal translation as can be
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Luckman, Susan Heather. "Party people : mapping contemporary dance music cultures in Australia /." [St. Lucia, Qld.], 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16686.pdf.

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Campbell, Rachel. "Peter Sculthorpe's Irkanda period, 1954-1965: music, nationalism, 'aboriginality' and landscape." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12869.

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Peter Sculthorpe’s Irkanda Period, 1954-1965: Music, Nationalism, ‘Aboriginality’ and Landscape Peter Sculthorpe began writing what he considered to be truly Australian music in the mid1950s. Many audience members, critics and culture industry personnel also heard it as Australian. Sculthorpe’s place in Australian music has subsequently been very prominent, beginning in the early 1960s during his Irkanda period. The period takes its name from his works Irkanda I - IV, their name borrowed from an Aboriginal word meaning “scrub country” that Sculthorpe variously translated as “the huge scrub-co
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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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Morrow, Guy Richard. "Managerial creativity a study of artist management practices in the Australian popular music industry /." Phd thesis, Australia : Macquarie University, 2006. http://hdl.handle.net/1959.14/42648.

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Thesis (PhD)--Macquarie University, Division of Humanities, Department of Contemporary Music Studies, 2006.<br>Bibliography: p. 377-385.<br>Introduction -- Literature review, discussion of methodologies and research orientation -- "20% of nothing": Australian rock music management -- Australian country music management -- Australian pop music management: the third party -- Conclusion: managerial creativity.<br>Artist managers 'create' careers for musicians, yet little has been written about their creativity in the academic domain. Thus this thesis develops the notion of managerial creativity.
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Hocking, Rachel School of Music &amp Music Education UNSW. "Crafting connections: original music for the dance in Australia, 1960-2000." Awarded by:University of New South Wales. School of Music and Music Education, 2006. http://handle.unsw.edu.au/1959.4/27289.

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This thesis documents the artistic connections made between composers and choreographers in Australia during the period 1960-2000. These 40 years saw a growth in the establishment of dance companies, resulting in many opportunities for composers to write original music for original dance works. The findings of original dance-music are tabulated in an extensive database giving details of 208 composers and over 550 music compositions written specifically for dance. Examples of choreographer and composer collaborative relationships and attitudes to each other???s artforms are discussed. Further e
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Southcott, Jane Elizabeth, and mikewood@deakin edu au. "Music in state-supported schooling in South Australia to 1920." Deakin University, 1997. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.104134.

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This thesis is a study of the establishment of the music curriculum in state-supported schools in South Australia from the beginnings of such schooling until 1920. There will be a discussion of issues to be explored and the method by which this investigation will proceed. A literature survey of relevant research will be included, after which there will be a sketch of the development of state-supported schooling in South Australia. Several broad themes have been chosen as the means of organising the historical material: the rationales offered for the inclusion of music in schooling, the methodo
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Books on the topic "Music Australia"

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New classical music: Composing Australia. Sydney: UNSW Press, 2009.

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Kerry, Gordon. New classical music: Composing Australia. Sydney: UNSW Press, 2009.

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Kerry, Gordon. New classical music: Composing Australia. Sydney: UNSW Press, 2009.

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Tsourdalakēs, Kōstas. Krētikē mousikē stēn Australia = Cretan traditional music in Australia. [Sydney, Australia: s.n., 198-?], 1985.

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Australia, Musicological Society of. Musicology Australia. Kensington, N.S.W: Musicological Society of Australia, 1985.

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World music: Global sounds in Australia. Sydney: University of New South Wales Press, 2010.

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Experimental music: Audio explorations in Australia. Sydney, N.S.W: UNSW Press, 2009.

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Lepherd, Laurence. Music education in international perspective: Australia. Queensland, Australia: USQ Press, 1994.

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Bartleet, Brydie-Leigh. Sound links: Community music in Australia. Brisbane, Qld]: Griffith University, 2009.

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1946-, Connell John, ed. Music festivals and regional development in Australia. Burlington, VT: Ashgate, 2011.

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Book chapters on the topic "Music Australia"

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Miller, Terry E., and Andrew Shahriari. "Oceania: Australia, Papua New Guinea, Hawai’i, Kiribati." In World Music, 57–80. Fifth edition. | New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780367823498-4.

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McIntyre, Joanne. "Music Therapy." In Longer-Term Psychiatric Inpatient Care for Adolescents, 107–14. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-1950-3_12.

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AbstractThe Walker Unit is one of only a few adolescent inpatient units in Australia to include a Registered Music Therapist on the Allied Health team. The Walker Unit has a music room equipped with guitars, ukuleles, a keyboard, a drum kit, African drums, a cello and a violin. Music therapy sessions are conducted with individuals, patient groups and families. Empirical evidence supporting the benefits of Music Therapy in this setting is limited, however we have observed that creating music in a containing environment enhances self-awareness, stimulates verbalization and facilitates relaxation.
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Tschmuck, Peter. "Recorded Music Sales and Music Licencing in Australia, 2000–2011." In Music Business and the Experience Economy, 59–77. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-27898-3_5.

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McCarthy, Breda. "The Landscape of Music Festivals in Australia." In Music Business and the Experience Economy, 119–34. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-27898-3_8.

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Baker, Andrea. "Melbourne, Live Music Capital of Australia to World Domination." In The Great Music City, 241–65. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-96352-5_12.

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Joseph, Dawn, and Yin Paradies. "Indigenous music and cultural engagement." In Musical Collaboration Between Indigenous and Non-Indigenous People in Australia, 90–108. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003288572-7.

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Barwell, Ismay, and Justine Kingsbury. "Aesthetics and Philosophy of Music in Australasia." In History of Philosophy in Australia and New Zealand, 479–509. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-007-6958-8_25.

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Taylor, Sarah. "‘Making It’: The Ears, INXS, and Music Scene Restructuring as Seen Through Dogs in Space." In Urban Australia and Post-Punk, 175–208. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-32-9702-9_17.

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de Bruin, Leon R. "Agua! The flourishing of Latin music in Melbourne, Australia." In Musical Ecologies, 81–94. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003254508-8.

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McConnell, Bonnie B. "African popular music, race, and diasporic heritage in Australia." In Mixing Pop and Politics, 38–49. New York: Routledge, 2022. http://dx.doi.org/10.4324/9780429284526-4.

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Conference papers on the topic "Music Australia"

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Swift, Ben, Henry Gardner, and Alistair Riddell. "Engagement networks in social music-making." In the 22nd Conference of the Computer-Human Interaction Special Interest Group of Australia. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1952222.1952244.

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Komulainen, Sari, Minna Karukka, and Jonna Häkkilä. "Social music services in teenage life." In the 22nd Conference of the Computer-Human Interaction Special Interest Group of Australia. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1952222.1952303.

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Nettamo, Esa, Mikko Nirhamo, and Jonna Häkkilä. "A cross-cultural study of mobile music." In the 20th conference of the computer-human interaction special interest group (CHISIG) of Australia. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1228175.1228193.

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Swift, Ben, James Sheridan, Yang Zhen, and Henry J. Gardner. "Mind-modulated music in the mind attention interface." In the 2007 conference of the computer-human interaction special interest group (CHISIG) of Australia. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1324892.1324907.

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Sun, B., A. Bona, A. King, and B. Zhou. "Diamond Drill-bit Seismic-While-Drilling Velocity Analysis Using Semblance and MUSIC from Hillside, South Australia." In 76th EAGE Conference and Exhibition 2014. Netherlands: EAGE Publications BV, 2014. http://dx.doi.org/10.3997/2214-4609.20140918.

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W. L. Fong, Michelle. "Music in Cyberspace." In InSITE 2004: Informing Science + IT Education Conference. Informing Science Institute, 2004. http://dx.doi.org/10.28945/2831.

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The music scene in cyberspace is an example of how a legal framework has been developed to curb online copyright infringement. The emergence, in the mid-1990’s, of online music websites and software programs such as MP3 technology to compress and download music, have delivered considerable copyright threat to the music industry. This threat has been further exacerbated by the remarkable development of technological innovations, such as high-speed broadband Internet connection and affordable CD burners, which are capable of delivering fast download and reasonably good audio and visual quality.
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Favilla, Stu, and Sonja Pedell. "Touch screen ensemble music." In the 25th Australian Computer-Human Interaction Conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2541016.2541088.

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Sørensen, Henrik, Mathies G. Kristensen, Jesper Kjeldskov, and Mikael B. Skov. "Proxemic interaction in a multi-room music system." In the 25th Australian Computer-Human Interaction Conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2541016.2541046.

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Matthias, Philip, Mark Billinghurst, and Zi Siang See. "This Land AR: an Australian Music and Sound XR Installation." In VRCAI '19: The 17th International Conference on Virtual-Reality Continuum and its Applications in Industry. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3359997.3365740.

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Ouyang, Leyi, Bernd Ploderer, Peta Wyeth, Miss Xiaoxin Wang, and Ross Andrew Brown. "Designing Tangible Interactions with Children for Pre-school Music Education." In OzCHI '20: 32nd Australian Conference on Human-Computer-Interaction. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3441000.3441023.

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Reports on the topic "Music Australia"

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Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan, and Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, December 2020. http://dx.doi.org/10.5204/rep.eprints.136822.

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The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia.
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Hearn, Greg, Mark Ryan, Marion McCutcheon, and Stuart Cunningham. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Fremantle. Queensland University of Technology, November 2021. http://dx.doi.org/10.5204/rep.eprints.216570.

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Fremantle is a small port city of only 29,000 people (36,000 if East Fremantle is included) that has vibrant and diversified creative industries and is geographically close to WA’s capital city Perth. Fremantle has a kind of New Orleans cultural DNA, where live music is cheap and affordable. Fremantle has a unique socio‐ cultural fabric that has contributed to the city’s large arts community and its reputation as an energetic creative city.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Ma
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Marrickville. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208593.

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Marrickville is located in the western heart of inner-city Sydney and is the beneficiary of the centrifugal process that has forced many creatives out of the inner city itself and further out into more affordable suburbs. This locality is built on the lands of the Eora nation. It is one of the most culturally diverse communities in the country but is slowly being gentrified creating tensions between its light industrial heart, its creative industry community and inner city developers. SME’s, co-working spaces and live music venues, are all in jeopardy as they occupy light-industrial warehouses
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.

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Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establish
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.

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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals act
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