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Journal articles on the topic 'Royal Festival Hall (London, England)'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Miller, Malcolm. "London, Royal Festival Hall: Steve Reich's ‘Radio Rewrite’." Tempo 67, no. 265 (2013): 78–79. http://dx.doi.org/10.1017/s0040298213000521.

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Radio Rewrite, whose world première by the London Sinfonietta (who co-commissioned it) was warmly greeted by the capacity audience at the Royal Festival Hall on 5 March 2013, represents a fascinating postmodern symbiosis that attests to the veteran minimalist composer's continuing quest to cross new aesthetic boundaries in his eighth decade. It formed the centrepiece of a stunning concert, broadcast live by BBC Radio 3, which marked the first leg of a UK Reich tour that preceded the work's first USA airing (in Stanford on 16 March by the other commissioning ensemble, Alarm Will Sound). Reich c

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Anderson, Martin. "London, Royal Festival Hall: Shostakovich: Prologue to ‘Orango’." Tempo 67, no. 266 (2013): 83–84. http://dx.doi.org/10.1017/s0040298213000971.

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The music of Shostakovich's abandoned opera Orango wasn't itself such a surprise: the première, given in Los Angeles in December 2011, was recorded live and released soon after on a Deutsche Grammophon CD (0289 479 0249 2). But experiencing it in the flesh – at its European première in the Royal Festival Hall on 16 May – revealed the music all over again and left at least this listener slack-jawed in astonishment at the profligacy of Shostakovich's genius.

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Clarkson, M. H., D. Birks, P. L. Younger, A. Carter, and S. Cone. "Groundwater cooling at the Royal Festival Hall, London." Quarterly Journal of Engineering Geology and Hydrogeology 42, no. 3 (2009): 335–46. http://dx.doi.org/10.1144/1470-9236/08-080.

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Graham, Cameron. "John Luther Adams Across the Distance, Meltdown Festival, Royal Festival Hall, London." Tempo 70, no. 275 (2015): 89–90. http://dx.doi.org/10.1017/s0040298215000716.

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John Luther Adams holds a unique position in American contemporary music. His works are as tinged with minimalist virtues as they are rigorously experimental, offering sound worlds that seem at once unearthly and welcoming, unconventional yet accessible. At the core of the Pulitzer Prize-winning composer's work lies a major concern with translating the tenuous and illusory concept of acoustic and natural sonic space into densely textured instrumental works. Exploring the composer's oeuvre, one senses a deep fascination with acoustic phenomena; in works such as the orchestral soundscape Becomin

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5

Rogers, Victoria. "Thomas Goff, Four Harpsichords, J.S. Bach and the Royal Festival Hall." Royal Musical Association Research Chronicle 49 (2018): 50–67. http://dx.doi.org/10.1080/14723808.2017.1341204.

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During the 1950s and 1960s in London, in the Royal Festival Hall, an unusual series of concerts took place. These concerts stood apart from the usual offerings in London's post-war musical life. What they offered was early music, principally J.S. Bach's concertos for two, three and four keyboards, played not on the piano, as had hitherto been the case, but on the harpsichord. This article documents, for the first time, the facts, and the implications, of the Royal Festival Hall concert series: how it came about; the repertoire; the performers; and the performances. The article concludes that t

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Stein, Robert. "Górecki Symphony No. 4, London Philharmonic Orchestra; Royal Festival Hall, London (12 April 2014)." Tempo 68, no. 270 (2014): 76–77. http://dx.doi.org/10.1017/s0040298214000382.

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It's not the premiere of every Polish symphony that's greeted by a near sell-out audience at the Royal Festival Hall, but then it's not every composer whose previous symphony had the success of Henryk Górecki's Third, his Symphony of Sorrowful Songs. The Upshaw/London Sinfonietta/Zinman recording of this work has sold over a million copies.

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Newman-Turner, Roger. "FOUNDATION FOR INTEGRATED MEDICINE: INTEGRATED HEALTHCARE AWARDS 21 NOVEMBER 2001, ROYAL FESTIVAL HALL, LONDON." Complementary Therapies in Medicine 9, no. 4 (2001): 252–53. http://dx.doi.org/10.1054/ctim.2002.0505.

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Orlowski, R. J. "Developments in the Acoustic Design of Concert Halls from the Royal Festival Hall, London, to the Segerstrom Hall, California." Building Acoustics 2, no. 1 (1995): 331–40. http://dx.doi.org/10.1177/1351010x9500200101.

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Duncan, Craig. "Cutlers' Surgical Prize." Bulletin of the Royal College of Surgeons of England 90, no. 6 (2008): 211. http://dx.doi.org/10.1308/147363508x314816.

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The Worshipful Company of Cutlers, in association with The Royal College of Surgeons of England, each year awards the Cutlers' Surgical Prize, comprising the silver gilt Clarke medal and a sum of £1,000, for the entry judged to be the most outstanding advance in design of a surgical instrument or technique. The award is presented at a dinner held in the spring at Cutlers' Hall in the City of London.

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Broad, Leah. "Harrison Birtwistle Responses: Sweet disorder and the carefully careless for piano and orchestra, Royal Festival Hall, London." Tempo 69, no. 272 (2015): 61–62. http://dx.doi.org/10.1017/s0040298214001041.

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2014, Sir Harrison Birtwistle's 80th birthday year, witnessed a plethora of events celebrating his music, from the Barbican's ‘Birtwistle at 80’ series to the ‘In Broken Images’ concerts at the Southbank Centre. Included in the latter was the UK premiere of his new concerto for piano and orchestra, Responses: Sweet disorder and the carefully careless, performed on 6 December 2014 by Pierre-Laurent Aimard and the London Philharmonic Orchestra under the direction of Vladimir Jurowski. Birtwistle describes the concerto as addressing the problem of ‘the relationship between the piano and the orche

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Blackmore, Howard L. "The Boxted Bombard." Antiquaries Journal 67, no. 1 (1987): 86–96. http://dx.doi.org/10.1017/s0003581500026299.

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In 1792 the Society published in Archaeologia an engraving of ‘An antient Mortar at Eridge Green’, with the claim that it was the first gun made in England. Subsequent writers on the history of artillery, while noting the gun's importance as one of the first examples of a wrought-iron cannon or bombard (to give it its correct name), believed that it had been destroyed. In fact, by the date of its publication, the bombard had been removed to Boxted Hall, Suffolk, where it remained unrecognized until its transfer to the Royal Armouries, H. M. Tower of London, in 1979. This article traces the his

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Agnon, Uri. "Laura Bowler and Cordelia Lynn, Houses Slide. London Sinfonietta, Aszodi, Edwards, Mitchell. Royal Festival Hall, 9 July 2021." Tempo 76, no. 299 (2021): 87–89. http://dx.doi.org/10.1017/s0040298221000759.

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At its beginning Houses Slide is raised from complete darkness by 16 cyclists. Their pedalling powers the show; its constant woosh is the pedal point against which Laura Bowler's music is played. Both impressive and absurd, pedalling fast but getting nowhere, these cyclists are an apt symbol for the questions that Houses Slide raises. This London Sinfonietta commission explores the consciousness of the ecologically conscious. At the heart of the piece lies a paradox that has become part of our collective and personal anxiety. We are repeatedly told two contradictory things: that our actions ar

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Mohini, Chandra. "Matérialité." ARCHIVO PAPERS 3, no. 1 (2023): 126–33. https://doi.org/10.5281/zenodo.7951401.

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Mohini Chandra is an internationally renowned artist and researcher based in England, UK. Her artistic work expands from the personal scale of her multi-layered cultural identity into inquieries on the global flow of people and cultures. She inscribes herself in the history of the Indian diaspora in Fiji, which caused decades of mass immigration from India to the Pacific region in the late 19th century through the colonial “Indentured labour system”. From this transcultural perspective, Mohini Chandra reflects on the mutual conditionality of cultural identi

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Robbins, Michael. "County Hall. 287 × 220mm. Pp. xviii + 151, 48 pls., 51 text figs., 2 folded drawings. London: The Athlone Press for the Royal Commission on the Historical Monuments of England (Survey of London Monograph, 17), 1991. ISBN 0-485-48417-X. £28.00. - 50 Years of the National Buildings Record 1941–1991. 245× 188mm. iv + 68, 104 ills. London: Royal Commission on the Historical Monuments of England, 1991. ISBN 0-904929-27-2 (p/b 0-904929-28-0). £14.95; £9.95 (p/b)." Antiquaries Journal 71 (September 1991): 304–5. http://dx.doi.org/10.1017/s000358150008728x.

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Høiris, Ole. "Den skæggede eskimo." Kuml 53, no. 53 (2004): 275–308. http://dx.doi.org/10.7146/kuml.v53i53.97502.

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The bearded Eskimo Looking at old Inuit and North American Indian portraits one can see that the men very often have a full beard; these representations are in this respect factually inaccurate and also in conflict with the written texts from the Renaissance that describe these people as beardless. Based on actual examples, this article shows how this can be explained with reference to Renaissance anthropology: the beard showed what kind of humans those natives really were, which was far more important than showing exactly what they looked like in a mirror.Martin Frobisher’s expeditions in sea

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Fowler, Peter. "Dorset in depth - John C. Barrett, Richard Bradley & Martin Green. Landscape, monuments and society: the prehistory of Cranborne Chase. x + 255 pages, 2 plates, 116 figures, 29 tables. 1991. Cambridge & New York (NY): Cambridge University Press; ISSN 0-521-32128-X hardback £35 & $59.50. - John Barrett, Richard Bradley & Melanie Hall (ed.). Papers on the prehistoric archaeology of Cranborne Chase. iv + 251 pages, 11 plates, 78 figures. 1991. Oxford: Oxbow Books (Oxbow Monograph 11); ISSN 0-946897-31-X paperback £24 & $48. - Royal Commission on the Historical Monuments of England (by H.C. Bowen, edited by B.N. Eagles). The archaeology of Bokerley Dyke. xiv + 127 pages, 53 plates, 66 figures, 7 area plans. 1990. London: HMSO; ISSN 0-11-300019-7 paperback £35. - Royal Commission on the Historical Monuments of England (by H.C. Bowen, edited by B.N. Eagles). The archaeology of Bokerley Dyke. xii + 37 pages, 1991. London: Royal Commission on the Historical Monuments of England; ISSN 1-873592-00-0 paperback free on request from RCHME Fortress House, 23 Savile Row, London W1x 2JQ. - Peter J. Woodward. The south Dorset Ridgeway survey and excavations 1977-84. x + 174 pages, 33 plates, 72 figures, 31 tables, 3 microfiches.1991. Dorchester: Dorset Natural History & Archaeological Society (Monograph 8); ISSN 0-900341-30-0 paperback £12.95 + £?price? postage & handling from the Society at the County Museum, Dorchester, Dorset." Antiquity 65, no. 249 (1991): 988–92. http://dx.doi.org/10.1017/s0003598x00080807.

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"FIRST PERFORMANCES." Tempo 63, no. 247 (2009): 46–69. http://dx.doi.org/10.1017/s0040298209000059.

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Tanglewood Festival: Elliott Carter Celebrations Christian CareyLondon, Royal Albert Hall and elsewhere: Proms 2008 Martin Anderson, Malcolm Miller, Rodney Lister, Robert SteinSanta Cruz, CA: Christopher Rouse Jeff DunnBrisbane, Australia: Liza Lim's ‘The Navigator’ Sarah CollinsCheltenham Festival: Peter Maxwell Davies Paul ConwayLondon, Globe Theatre 2008 Jill BarlowManchester, Bridgewater Hall: Halle Taj Festival Tim MottersheadLincoln: Voice and Verse Festival Peter PalmerLondon: Spitalfields Festival 2008 Jill BarlowPresteigne Festival: Matthew Taylor Paul ConwayFurther reports from Londo

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"First Performances." Tempo 61, no. 239 (2007): 53–70. http://dx.doi.org/10.1017/s0040298207000058.

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London, Royal Albert Hall: Proms 2006 Martin Anderson, Robert Stein, Rodney Lister, Malcolm MillerBelgrade: Jon Gibson's ‘Violet Fire’ Donata PremeruLondon, St Pancras Church: Francis Pott Jill BarlowCheltenham Festival 2006 Paul ConwayEdinburgh: Stuart MacRae's ‘The Assassin Tree’ David JohnsonLucerne Festival: Heinz Holliger Peter PalmerLondon, Globe Theatre: ‘Edges of Rome’ Jill BarlowBlonay Report: Contemporary String Quartets Leo HepnerFurther London reports Paul Conway, Jill Barlow

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19

"Vintage Champagne Seminar, 2 December 2002, Royal Festival Hall, London." Journal of Wine Research 14, no. 1 (2003): 53–61. http://dx.doi.org/10.1080/0957126032000114955.

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20

Fry, Katherine. "Concert Hall Music Drama: From London to Bayreuth and Back Again." Cambridge Opera Journal, December 16, 2024, 1–24. https://doi.org/10.1017/s095458672400003x.

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Abstract A year after the premiere of the complete Ring cycle in Bayreuth in 1876, a concert-form ‘London Wagner Festival’ took place at the Royal Albert Hall, newly opened in South Kensington near the site of the Great Exhibition of 1851. Comprising lengthy excerpts from Wagner’s operas performed by a vast orchestra and star singers, this event was partly born out of financial necessity in the aftermath of the costly and extravagant staging of the Ring in Bayreuth. But Wagner’s London connections also reveal the significance of Victorian industry and the built environment in disseminating his

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"First Performances." Tempo 62, no. 243 (2008): 43–64. http://dx.doi.org/10.1017/s0040298208000041.

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London, Royal Albert Hall Proms 2007 Robert Stein, Rodney Lister, Malcolm Miller, Martin AndersonTallinn: Estonian Music Days Benjamin BroeningGloucester: Three Choirs Festival Roderic DunnettCheltenham Festival 2007: MacMillan and Payne Paul ConwayCardiff, Welsh National Opera: ‘The Sacrifice’ Roderic DunnettLondon, Almeida Theatre: Streetwise Opera Jill BarlowPretoria: Stefans Grové Annemie StimieMendham, Suffolk: A Pastoral Revelation John WheatleyBrussels, La Monnaie: Henze's ‘Phaedra’ Roderic DunnettSt. Albans, Maltings Arts Centre: Stephen Dodgson's ‘Nancy the Waterman’ Jill BarlowFurthe

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Cooper, Maxwell John, Carl Fernandes, and Benjamin Whiston. "‘Disciples of Aesclepius’: Glimpses into lives of the ‘Gentlemen of the Faculty’ of medicine in Brighton, England 1800–1809." Journal of Medical Biography, October 25, 2022, 096777202211319. http://dx.doi.org/10.1177/09677720221131946.

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Here we present newspaper accounts from the Sussex Advertiser to consider hitherto largely unknown Brighton doctors active between 1800 and 1809. This body of physicians, surgeons and apothecaries comprised Brighton's ‘Gentlemen of the [medical] Faculty’, whom the newspaper also dubbed the ‘Disciples of Aesclepius’. Members are considered under three broad categories. First, are Brighton-based clinicians (Mr Barratt, Mr Bond, Charles Bankhead, Thomas Guy, John Hall, John Newton, Benjamin Scutt and Sir Matthew Tierney). Second are London clinicians, probably in attendance to the Prince of Wales

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Beech, Nick. "Humdrum Tasks of the Salaried Men: Edwin Williams, a London County Council Architect at War." FOOTPRINT, 2015. http://dx.doi.org/10.59490/footprint.9.2.864.

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Working at the London County Council Architects’ Department through the 1930s to 1950s, and known (if at all) as a member of the design team for the Royal Festival Hall, Edwin Williams is usually presented as a regressive figure, his design work marked by his Beaux Arts training. Using archival evidence and histories of the construction industry, this paper sets out Williams’s role in the organisation of rescue and recovery services in London during the Second World War. The paper argues that through his development of training schools and curricula for Rescue Service personnel, Williams playe

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Whiston, Benjamin, and Maxwell J. Cooper. "Unearthing a provincial medical school and its students – A history of the 1834 ‘School of Practical Medicine and Surgery’ at the Sussex County Hospital, Brighton, England." Journal of Medical Biography, September 28, 2021, 096777202110361. http://dx.doi.org/10.1177/09677720211036112.

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The 19th century was a period of rapid change in English medical education. Little is known about the important contribution of smaller, hospital-based, provincial medical schools which sprang up to provide important practical training opportunities for students, typically as a foundation for further training and examination in London. One such example is the 1834 Brighton ‘School of Practical Medicine and Surgery’, which was based at the Sussex County Hospital and recognised by the Royal College of Surgeons and Worshipful Society of Apothecaries. Unlike many other 19th century medical schools

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Pucciarelli, Edvige. "Edward Elgar’s Masque The Crown of India Resonances of the Raj at the London Coliseum." 20 | 2018, no. 1 (December 21, 2018). http://dx.doi.org/10.30687/tol/2499-5975/2018/04/013.

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The music for The Crown of India was written by Edward Elgar in 1912 to accompany an ‘Imperial Masque’ with a libretto by Henry Hamilton. The impresario Sir Oswald Stoll had commissioned Elgar to compose the Masque music for the lavish celebration of the coronation of King George V as Emperor of India as part of a larger entertainment in the Coliseum Theatre in St. Martin’s Lane. The Masque was part of an ample music-hall programme, involving shows as different as mime, pantomime and music. Elgar’s ‘Imperial Masque’ was meant to be an assertion of the British Empire, bringing to the London sta

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Pucciarelli, Edvige. "Edward Elgar’s Masque The Crown of India." 20 | 2018, no. 20 (December 21, 2018). http://dx.doi.org/10.30687/tol/2499-5975/2018/20/013.

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The music for The Crown of India was written by Edward Elgar in 1912 to accompany an ‘Imperial Masque’ with a libretto by Henry Hamilton. The impresario Sir Oswald Stoll had commissioned Elgar to compose the Masque music for the lavish celebration of the coronation of King George V as Emperor of India as part of a larger entertainment in the Coliseum Theatre in St. Martin’s Lane. The Masque was part of an ample music-hall programme, involving shows as different as mime, pantomime and music. Elgar’s ‘Imperial Masque’ was meant to be an assertion of the British Empire, bringing to the London sta

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"The earliest copy in Russia of Newton’s Principia : is it David Gregory’s annotated copy?" Notes and Records of the Royal Society of London 46, no. 2 (1992): 203–18. http://dx.doi.org/10.1098/rsnr.1992.0022.

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Some years ago an exhibition of rare books was held to mark the recent opening of the renovated assembly hall of Moscow University. One of the exhibits was a contemporary edition of Newton’s Principia , and examination revealed that it was a first edition of the Philosophiae naturalis principia mathematica , published in London in 1687. A historian of science must find this a striking fact, given the current opinion that, until the October Revolution at least, Russia had not possessed a copy of the first edition.1 A copy was donated as a great treasure by the Royal Society of London to the Sov

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"Francis Thomas Bacon, 21 December 1904 - 24 May 1992." Biographical Memoirs of Fellows of the Royal Society 39 (February 1994): 1–18. http://dx.doi.org/10.1098/rsbm.1994.0001.

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Francis Thomas Bacon, known to all his friends as Tom, was a gentleman scientist with impeccable antecedents. He was a direct descendant of Sir Nicholas Bacon, Lord Keeper of the Great Seal in the time of Queen Elizabeth I. Sir Nicholas’s son by his second marriage was Sir Francis Bacon (1561-1626), Lord Keeper of the Great Seal in the time of James the First, the author of Bacon’s Esay, Novum Organum, The New Atlantis , etc., who became Baron Verulam, Viscount St Albans. He persuaded his contemporaries that a scientific society should be founded in England; this led to the formation of the Ro

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Gladkova, Ekaterina, and Naho Matsuda. "‘What is visible… and what isn't’: A public art intervention for re‐imagining the food system." Area, March 18, 2025. https://doi.org/10.1111/area.70010.

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AbstractIndustrial meat production fuels multiple socio‐environmental crises and needs to be urgently addressed. Art practice research offers an original way of re‐imagining the existing food system. Such research develops an open‐ended, transformative approach for learning about and experimenting with possible food futures, creating a critical mass for change. Yet, creative geographers have also been calling for developing art practice research that imagines and engenders alternatives to the status quo. This paper contributes to the question of what creative practices can ‘do’ by discussing a

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Williams, Graeme Henry. "Australian Artists Abroad." M/C Journal 19, no. 5 (2016). http://dx.doi.org/10.5204/mcj.1154.

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At the start of the twentieth century, many young Australian artists travelled abroad to expand their art education and to gain exposure to the modern art movements of Europe. Most of these artists were active members of artist associations such as the Victorian Artists Society or the New South Wales Society of Artists. Male artists from Victoria were generally also members of the Melbourne Savage Club, a club with a strong association with the arts.This paper investigates the dual function of the club, as a space where the artists felt “at home” in the familiar environment that the club offer

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Charles, Sally, and Hilary Nicoll. "Aberdeen, City of Culture?" M/C Journal 25, no. 3 (2022). http://dx.doi.org/10.5204/mcj.2903.

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Introduction This article explores the phenomenon of the Creative City in the context of Aberdeen, Scotland’s third-largest city. The common perception of Aberdeen is likely to revolve around its status, for the last 50 years, as Europe’s Oil & Gas Capital. However, for more than a decade Aberdeen’s city planners have sought to incorporate creativity and culture in their placemaking. The most visible expression of this was the unsuccessful 2013 bid to become the UK City of Culture 2017 (CoC), which was referred to as a “reality check” by Marie Boulton (BBC), the councillor charged with the

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Noyce, Diana Christine. "Coffee Palaces in Australia: A Pub with No Beer." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.464.

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The term “coffee palace” was primarily used in Australia to describe the temperance hotels that were built in the last decades of the 19th century, although there are references to the term also being used to a lesser extent in the United Kingdom (Denby 174). Built in response to the worldwide temperance movement, which reached its pinnacle in the 1880s in Australia, coffee palaces were hotels that did not serve alcohol. This was a unique time in Australia’s architectural development as the economic boom fuelled by the gold rush in the 1850s, and the demand for ostentatious display that gather

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Nichols, L. Dugan. "Generational Detectives." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3136.

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Introduction This article examines American Conspiracy: The Octopus Murders (2024), a four-part documentary released on Netflix. Directed by Zachary Treitz, the documentary follows young photojournalist Christian Hansen as he tries to solve the mysterious death of Danny Casolaro. In 1991, Casolaro was found deceased in a hotel room while tracking officials in the CIA and former Reagan White House. He had planned to write an explosive book about what he termed “The Octopus”, an octuplet of overlapping conspiracies that transpired in the 1980s. At the time, local officials ruled Casolaro’s death

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Farrell, Nathan. "From Activist to Entrepreneur: Peace One Day and the Changing Persona of the Social Campaigner." M/C Journal 17, no. 3 (2014). http://dx.doi.org/10.5204/mcj.801.

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This article analyses the public persona of Jeremy Gilley, a documentary filmmaker, peace campaigner, and the founder of the organisation Peace One Day (POD). It begins by outlining how Gilley’s persona is presented in a manner which resonates with established archetypes of social campaigners, and how this creates POD’s legitimacy among grassroots organisations. I then describe a distinct, but not inconsistent, facet of Gilley’s persona which speaks specifically to entrepreneurs. The article outlines how Gilley’s individuality works to simultaneously address these overlapping audiences and arg

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Nielsen, Hanne E. F., Chloe Lucas, and Elizabeth Leane. "Rethinking Tasmania’s Regionality from an Antarctic Perspective: Flipping the Map." M/C Journal 22, no. 3 (2019). http://dx.doi.org/10.5204/mcj.1528.

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IntroductionTasmania hangs from the map of Australia like a drop in freefall from the substance of the mainland. Often the whole state is mislaid from Australian maps and logos (Reddit). Tasmania has, at least since federation, been considered peripheral—a region seen as isolated, a ‘problem’ economically, politically, and culturally. However, Tasmania not only cleaves to the ‘north island’ of Australia but is also subject to the gravitational pull of an even greater land mass—Antarctica. In this article, we upturn the political conventions of map-making that place both Antarctica and Tasmania

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Higley, Sarah L. "Audience, Uglossia, and CONLANG." M/C Journal 3, no. 1 (2000). http://dx.doi.org/10.5204/mcj.1827.

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Could we also imagine a language in which a person could write down or give vocal expression to his inner experiences -- his feelings, moods, and the rest -- for his private use? Well, can't we do so in our ordinary language? -- But that is not what I mean. The individual words of this language are to refer to what can only be known to the person speaking; to his immediate private sensations. So another person cannot understand the language. -- Ludwig Wittgenstein, Philosophical Investigations par. 243 I will be using 'audience' in two ways in the following essay: as a phenomenon that produces

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Wise, Nathan, and Lisa J. Hackett. "The Inculcative Power of Australian Cadet Corps Uniforms in the 1900s and 1910s." M/C Journal 26, no. 1 (2023). http://dx.doi.org/10.5204/mcj.2972.

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The 1900s and 1910s were a prime era for the growth and empowerment of cadet corps within Australia. Private schools in particular sought to build on a newfound spirit of nationalism following the Federation of the colonies in 1901 by harnessing enthusiasm for the nation and British Empire, and by cultivating a martial culture among their predominantly middle-class students. The principal tool harnessed in that cultivation were the school cadet corps, and the most visible symbol of those corps were their uniforms. By focussing on the cadet corps in the private schools of Sydney during this era

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