Gotowe bibliografie tematyczne / Music competitions, Sydney NSW

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Gotowa bibliografia na temat „Music competitions, Sydney NSW”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 21 lutego 2023

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Artykuły w czasopismach na temat "Music competitions, Sydney NSW"

Pitts, Stephanie, and Jane Davidson. "Supporting Musical Development in the Primary School: An English Perspective on Band Programmes in Sydney, NSW." Research Studies in Music Education 14, no. 1 (June 2000): 76–84. http://dx.doi.org/10.1177/1321103x0001400107.

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Homan, Shane. "A portrait of the politician as a young pub rocker: live music venue reform in Australia." Popular Music 27, no. 2 (May 2008): 243–56. http://dx.doi.org/10.1017/s0261143008004030.

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AbstractThis paper examines the recent NSW state government reassessment of the role of live music venues, and the gradual inclusion of live music within broader urban cultural policy across Australia. Focusing on Sydney, it maps the live music venue at the intersection of competing policy agendas, alternatively viewed as ‘vibrant’, exciting sites that represent a rejuvenated inner-city culture; or as sites of disruption, encouraging anti-social activity on the margins of legality (or sometimes both). The ‘rehabilitation’ of live music in the eyes of key government sectors was not simply a mat

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Morley, Sarah. "The Garden Palace: Building an Early Sydney Icon." M/C Journal 20, no. 2 (April 26, 2017). http://dx.doi.org/10.5204/mcj.1223.

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IntroductionSydney’s Garden Palace was a magnificent building with a grandeur that dominated the skyline, stretching from the site of the current State Library of New South Wales to the building that now houses the Sydney Conservatorium of Music. The Palace captivated society from its opening in 1879. This article outlines the building of one of Sydney’s early structural icons and how, despite being destroyed by fire after three short years in 1882, it had an enormous impact on the burgeoning colonial community of New South Wales, thus building a physical structure, pride and a suite of memori

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Fairchild, Charles. "'Australian Idol' and the Attention Economy." M/C Journal 7, no. 5 (November 1, 2004). http://dx.doi.org/10.5204/mcj.2427.

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The elaborate cross-media spectacle, ‘Australian Idol,’ ostensibly lays bare the process of creating a pop star. Yet with so much made visible, much is rendered opaque. Specifically, ‘Idol’ is defined by the use of carefully-tuned strategies of publicity and promotion that create, shape and reshape a series of ‘authentic celebrities’ – pop stars whose emergence is sanctified through a seemingly open process of public ratification. Yet, Idol’s main actor is the music industry itself which uses contestants as vehicles for crafting intimate, long-term relationships with consumers. Through an anal

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Brabazon, Tara, and Stephen Mallinder. "Off World Sounds: Building a Collaborative Soundscape." M/C Journal 9, no. 2 (May 1, 2006). http://dx.doi.org/10.5204/mcj.2617.

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There are many ways to construct, shape and frame a history of popular music. From a focus on performers to a stress on cities, from theories of modernity to reveling in ‘the post,’ innovative music has been matched by evocative writing about it. One arc of analysis in popular music studies focuses on the record label. Much has been written about Sun, Motown, Factory and Apple, but there are many labels that have not reached this level of notoriety and fame but offer much to our contemporary understanding of music, identity and capitalism. The aim of this article is to capture an underwritten

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Hackett, Lisa J. "Dreaming of Yesterday: Fashioning Liminal Spaces in 1950s Nostalgia." M/C Journal 23, no. 1 (March 18, 2020). http://dx.doi.org/10.5204/mcj.1631.

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The 1950s era appears to hold a nostalgic place in contemporary memories and current cultural practices. While the 1950s is a period that can signify a time from the late 1940s to the early 1960s (Guffey, 100), the era is often represented as a liminal space or dream world, mediated to reflect current desires. It is a dream-like world, situated half way between the mediated vision of the 1950s and today. Modern participants of 1950s culture need to negotiate what is authentic and what is not, because as Piatti-Farnell and Carpenter remind us ‘history is what we want it to be’ (their emphasis).

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Goggin, Gerard. "Conurban." M/C Journal 5, no. 2 (May 1, 2002). http://dx.doi.org/10.5204/mcj.1946.

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Conurbation [f. CON- + L. urb- and urbs city + -ation] An aggregation of urban areas. (OED) Beyond the urban, further and lower even than the suburban, lies the con-urban. The conurban: with the urban, partaking of the urbane, lying against but also perhaps pushing against or being contra the urban. Conurbations stretch littorally from Australian cities, along coastlines to other cities, joining cities through the passage of previously outlying rural areas. Joining the dots between cities, towns, and villages. Providing corridors between the city and what lies outside. The conurban is an accre

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McKenzie, Peter. "Jazz Culture in the North: A Comparative Study of Regional Jazz Communities in Cairns and Mackay, North Queensland." M/C Journal 20, no. 6 (December 31, 2017). http://dx.doi.org/10.5204/mcj.1318.

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IntroductionMusicians and critics regard Australian jazz as vibrant and creative (Shand; Chessher; Rechniewski). From its tentative beginnings in the early twentieth century (Whiteoak), jazz has become a major aspect of Australia’s music and performance. Due to the large distances separating cities and towns, its development has been influenced by geographical isolation (Nikolsky; Chessher; Clare; Johnson; Stevens; McGuiness). While major cities have been the central hubs, it is increasingly acknowledged that regional centres also provide avenues for jazz performance (Curtis).This article disc

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Felton, Emma. "Brisbane: Urban Construction, Suburban Dreaming." M/C Journal 14, no. 4 (August 22, 2011). http://dx.doi.org/10.5204/mcj.376.

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When historian Graeme Davison famously declared that “Australia was born urban and quickly grew suburban” (98), he was clearly referring to Melbourne or Sydney, but certainly not Brisbane. Although the Brisbane of 2011 might resemble a contemporary, thriving metropolis, its genealogy is not an urban one. For most of its history, as Gillian Whitlock has noted, Brisbane was “a place where urban industrial society is kept at bay” (80). What distinguishes Brisbane from Australia’s larger southern capital cities is its rapid morphology into a city from a provincial, suburban, town. Indeed it is Bri

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Ryan, Robin, and Uncle Ossie Cruse. "Welcome to the Peoples of the Mountains and the Sea: Evaluating an Inaugural Indigenous Cultural Festival." M/C Journal 22, no. 3 (June 19, 2019). http://dx.doi.org/10.5204/mcj.1535.

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IntroductionFestivals, according to Chris Gibson and John Connell, are like “glue”, temporarily sticking together various stakeholders, economic transactions, and networks (9). Australia’s First Nations peoples see festivals as an opportunity to display cultural vitality (Henry 586), and to challenge a history which has rendered them absent (587). The 2017 Australia Council for the Arts Showcasing Creativity report indicates that performing arts by First Nations peoples are under-represented in Australia’s mainstream venues and festivals (1). Large Aboriginal cultural festivals have long thriv

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Rozprawy doktorskie na temat "Music competitions, Sydney NSW"

Lees, Jennifer Anne, University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "Eisteddfoditis : the significance of the City of Sydney Eisteddfod in Australian cultural history 1933-1941." THESIS_CAESS_HUM_Lees_J.xml, 2003. http://handle.uws.edu.au:8081/1959.7/714.

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This thesis documents the early history of the City of Sydney Eisteddfod from its beginning in 1933 until it recessed in 1941 for the duration of the Pacific War. Eisteddfods had long been commonplace in Australia, but this competition began for political rather than cultural reasons in 1932, when organisers of the Harbour Bridge celebrations decided that since the spectacular edifice had made Sydney an icon on the world map, the city needed to cultivate a more sophisticated image. In observing events that led to its establishment, the project looks at the technological revolution of the 1920s

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Lees, Jennifer Anne. "Eisteddfoditis : the significance of the City of Sydney Eisteddfod in Australian cultural history 1933-1941." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/714.

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Fraser, Fiona. "A City for Music Lovers: Creating a classical music culture in Sydney 1889-1939." Phd thesis, 2018. http://hdl.handle.net/1885/155784.

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Through the efforts of thousands of dedicated men and women classical music obtained a privileged position in Sydney in the early twentieth century. This neglected area of Australia’s cultural history was part of a transnational phenomenon which has divided historians and musicologists. Does it demonstrate the imposition of elite culture from above or did it emerge from the combined energies of those who believed that classical music might provide genuine benefits for the whole community? Contributing to a body of literature on the social history of

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Whalan, Jenny V. "Fostering musical cultures in schools : building the capacity of teaching staff to deliver classroom music : a collaborative framework for establishing a creative music program in a special school in Sydney, NSW." Thesis, 2021. http://hdl.handle.net/1959.7/uws:67546.

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Music therapy has been shown to be adaptable across diverse areas of health and education. Some research has shown how collaboration between music therapists and educators in special school settings can grow an engaging musical culture, however there is little research about collaboration with support staff. Feedback was gathered from the teaching staff of three classes at a School for Specific Purposes (SSP) in NSW. Within an Action Research framework, participants collaboratively designed a classroom music program. Data was collected via focus group discussions, weekly online surveys and tri

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Części książek na temat "Music competitions, Sydney NSW"

Fiala, Michele. "Diana Doherty." In Great Oboists on Music and Musicianship, 40–43. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0005.

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Diana Doherty is principal oboe of the Sydney Symphony Orchestra (Australia). She won first prize at the Prague Spring International Music Competition in 1991 and was a joint winner of the 1995 Young Concert Artist auditions in New York. In this chapter, she discusses her early life, the international aspects of her career, and reeds. She also talks about how she warms up on the instrument and offers advice on developing finger technique and articulation. She shares her inspirations and memorable concerts

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Raporty organizacyjne na temat "Music competitions, Sydney NSW"

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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