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Artykuły w czasopismach na temat „Music competitions, Sydney NSW”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 21 lutego 2023

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1

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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11

Dutton, Jacqueline. "Counterculture and Alternative Media in Utopian Contexts: A Slice of Life from the Rainbow Region." M/C Journal 17, no. 6 (November 3, 2014). http://dx.doi.org/10.5204/mcj.927.

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Introduction Utopia has always been countercultural, and ever since technological progress has allowed, utopia has been using alternative media to promote and strengthen its underpinning ideals. In this article, I am seeking to clarify the connections between counterculture and alternative media in utopian contexts to demonstrate their reciprocity, then draw together these threads through reference to a well-known figure of the Rainbow Region–Rusty Miller. His trajectory from iconic surfer and Aquarian reporter to mediator for utopian politics and ideals in the Rainbow Region encompasses in a
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Richardson, Catherine. "The Politics of a Country Culture." M/C Journal 3, no. 2 (May 1, 2000). http://dx.doi.org/10.5204/mcj.1841.

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Traditionally, the country way of life, the country worldview -- the country culture -- has been understood differently to the city way of life. Notions of rural have been represented in terms such as 'Eden', 'Arcadia', 'Golden Age', and associated with beauty, fertility, moral uprightness and authenticity. In contrast, notions of urban have been characterised by pollution, sterility, degeneration and artificiality. In Australia, the culture of the first white settlers developed out of this tradition, but with its own distinctive characteristics. The harshness and indomitability of the landsca
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Burgess, Jean, Joy McEntee, and Emma Nelms. "How to Pick a Fight." M/C Journal 6, no. 1 (February 1, 2003). http://dx.doi.org/10.5204/mcj.2131.

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In a post September 11 era “the fight”, as a cultural construct, could hardly be more pertinent. We are seemingly forever poised on the edge of controversial U.S. led attacks on wayward Middle Eastern states and unexamined oppositions between the concepts of ‘good’ and ‘evil’ are evoked as valid justifications for battle. Our leaders muster us into wars of vigilance and national cohesion against unseen, unknown and uncomprehended terrorists hiding where communists once lurked under our beds. The articles in this issue examine fights in terms of media strategies and cultural divides in a range
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Garbutt, Rob, Jacqueline Dutton, and Johanna Kijas. "Counterculture." M/C Journal 17, no. 6 (December 10, 2014). http://dx.doi.org/10.5204/mcj.930.

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What does counterculture do? This is the question we asked ourselves repeatedly in curating this issue for M/C Journal. While incredible examples of countercultural lives—collective and individual—were described in articles we received, what we have tried to do is bring together research on how counterculture is both theorised and practised in local and international contexts. At the heart of this issue is a two-day conference in May 2013 titled “Aquarius and Beyond: 40 years on…” (Southern Cross University) that marked the 40th anniversary of the 1973 Nimbin Aquarius Festival, held in the nor
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Hartman, Yvonne, and Sandy Darab. "The Power of the Wave: Activism Rainbow Region-Style." M/C Journal 17, no. 6 (September 18, 2014). http://dx.doi.org/10.5204/mcj.865.

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Introduction The counterculture that arose during the 1960s and 1970s left lasting social and political reverberations in developed nations. This was a time of increasing affluence and liberalisation which opened up remarkable political opportunities for social change. Within this context, an array of new social movements were a vital ingredient of the ferment that saw existing norms challenged and the establishment of new rights for many oppressed groups. An expanding arena of concerns included the environmental damage caused by 200 years of industrial capitalism. This article examines one as
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Champion, Katherine M. "A Risky Business? The Role of Incentives and Runaway Production in Securing a Screen Industries Production Base in Scotland." M/C Journal 19, no. 3 (June 22, 2016). http://dx.doi.org/10.5204/mcj.1101.

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IntroductionDespite claims that the importance of distance has been reduced due to technological and communications improvements (Cairncross; Friedman; O’Brien), the ‘power of place’ still resonates, often intensifying the role of geography (Christopherson et al.; Morgan; Pratt; Scott and Storper). Within the film industry, there has been a decentralisation of production from Hollywood, but there remains a spatial logic which has preferenced particular centres, such as Toronto, Vancouver, Sydney and Prague often led by a combination of incentives (Christopherson and Storper; Goldsmith and O’Re
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Pavlidis, Adele, and David Rowe. "The Sporting Bubble as Gilded Cage." M/C Journal 24, no. 1 (March 15, 2021). http://dx.doi.org/10.5204/mcj.2736.

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Introduction: Bubbles and Sport The ephemeral materiality of bubbles – beautiful, spectacular, and distracting but ultimately fragile – when applied to protect or conserve in the interests of sport-media profit, creates conditions that exacerbate existing inequalities in sport and society. Bubbles are usually something to watch, admire, and chase after in their brief yet shiny lives. There is supposed to be, technically, nothing inside them other than one or more gasses, and yet we constantly refer to people and objects being inside bubbles. The metaphor of the bubble has been used to describe
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Huijser, Henk, and Brooke Collins-Gearing. "Transmit." M/C Journal 9, no. 1 (March 1, 2006). http://dx.doi.org/10.5204/mcj.2581.

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 In an increasingly globalised and networked world, to transmit is to exist. In a sense this has always been the case as transmitting is at the heart of human communication and works on many different levels, including information, knowledge, culture, language, and media. What has changed then is not so much the action of transmitting itself, but rather the speed of transmission, facilitated by increasingly sophisticated transmission tools and widening access to those tools. This in turn has major implications for the volume of transmissions and the ability or inability to
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Williams, Graeme Henry. "Australian Artists Abroad." M/C Journal 19, no. 5 (October 13, 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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Scantlebury, Alethea. "Black Fellas and Rainbow Fellas: Convergence of Cultures at the Aquarius Arts and Lifestyle Festival, Nimbin, 1973." M/C Journal 17, no. 6 (October 13, 2014). http://dx.doi.org/10.5204/mcj.923.

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All history of this area and the general talk and all of that is that 1973 was a turning point and the Aquarius Festival is credited with having turned this region around in so many ways, but I think that is a myth ... and I have to honour the truth; and the truth is that old Dicke Donelly came and did a Welcome to Country the night before the festival. (Joseph in Joseph and Hanley)In 1973 the Australian Union of Students (AUS) held the Aquarius Arts and Lifestyle Festival in a small, rural New South Wales town called Nimbin. The festival was seen as the peak expression of Australian countercu
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Luckhurst, Mary, and Jen Rae. "Diversity Agendas in Australian Stand-Up Comedy." M/C Journal 19, no. 4 (August 31, 2016). http://dx.doi.org/10.5204/mcj.1149.

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Stand-up is a global phenomenon. It is Australia’s most significant form of advocatorial theatre and a major platform for challenging stigma and prejudice. In the twenty-first century, Australian stand-up is transforming into a more culturally diverse form and extending the spectrum of material addressing human rights. Since the 1980s Australian stand-up routines have moved beyond the old colonial targets of England and America, and Indigenous comics such as Kevin Kopinyeri, Andy Saunders, and Shiralee Hood have gained an established following. Additionally, the turn to Asia is evident not jus
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Khamis, Susie. "Nespresso: Branding the "Ultimate Coffee Experience"." M/C Journal 15, no. 2 (May 2, 2012). http://dx.doi.org/10.5204/mcj.476.

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Introduction In December 2010, Nespresso, the world’s leading brand of premium-portioned coffee, opened a flagship “boutique” in Sydney’s Pitt Street Mall. This was Nespresso’s fifth boutique opening of 2010, after Brussels, Miami, Soho, and Munich. The Sydney debut coincided with the mall’s upmarket redevelopment, which explains Nespresso’s arrival in the city: strategic geographic expansion is key to the brand’s growth. Rather than panoramic ubiquity, a retail option favoured by brands like McDonalds, KFC and Starbucks, Nespresso opts for iconic, prestigious locations. This strategy has been
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Rossiter, Ned. "Creative Industries and the Limits of Critique from." M/C Journal 6, no. 3 (June 1, 2003). http://dx.doi.org/10.5204/mcj.2208.

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‘Every space has become ad space’. Steve Hayden, Wired Magazine, May 2003. Marshall McLuhan’s (1964) dictum that media technologies constitute a sensory extension of the body shares a conceptual affinity with Ernst Jünger’s notion of ‘“organic construction” [which] indicates [a] synergy between man and machine’ and Walter Benjamin’s exploration of the mimetic correspondence between the organic and the inorganic, between human and non-human forms (Bolz, 2002: 19). The logo or brand is co-extensive with various media of communication – billboards, TV advertisements, fashion labels, book spines,
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James, Sara. "Finding Your Passion: Work and the Authentic Self." M/C Journal 18, no. 1 (February 9, 2015). http://dx.doi.org/10.5204/mcj.954.

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IntroductionThe existential question today is not whether to be or not to be, but how one can become what one truly is. (Golomb 200)In contemporary Western culture the ideal of living authentically, of being “true to yourself,” is ubiquitous. Authenticity is “taken for granted” as an absolute value in a multitude of areas, from music, to travel to identity (Lindholm 1). A core component of authentic selfhood is to find an occupation that is a “passion:” work that is “really you.” This article draws on recent qualitative interviews with Australians from a range of occupations about work, identi
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Young, Sherman. "Beyond the Flickering Screen: Re-situating e-books." M/C Journal 11, no. 4 (August 26, 2008). http://dx.doi.org/10.5204/mcj.61.

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The move from analog distribution to online digital delivery is common in the contemporary mediascape. Music is in the midst of an ipod driven paradigm shift (Levy), television and movie delivery is being reconfigured (Johnson), and newspaper and magazines are confronting the reality of the world wide web and what it means for business models and ideas of journalism (Beecher). In the midst of this change, the book publishing industry remains defiant. While embracing digital production technologies, the vast majority of book content is still delivered in material form, printed and shipped the o
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Sheridan, Alison, Jane O'Sullivan, Josie Fisher, Kerry Dunne, and Wendy Beck. "Escaping from the City Means More than a Cheap House and a 10-Minute Commute." M/C Journal 22, no. 3 (June 19, 2019). http://dx.doi.org/10.5204/mcj.1525.

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IntroductionWe five friends clinked glasses in our favourite wine and cocktail bar, and considered our next collaborative writing project. We had seen M/C Journal’s call for articles for a special issue on ‘regional’ and when one of us mentioned the television program, Escape from the City, we began our critique:“They haven’t featured Armidale yet, but wouldn’t it be great if they did?”“Really? I mean, some say any publicity is good publicity but the few early episodes I’ve viewed seem to give little or no screen time to the sorts of lifestyle features I most value in our town.”“Well, seeing a
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Maybury, Terry. "Home, Capital of the Region." M/C Journal 11, no. 5 (August 22, 2008). http://dx.doi.org/10.5204/mcj.72.

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There is, in our sense of place, little cognisance of what lies underground. Yet our sense of place, instinctive, unconscious, primeval, has its own underground: the secret spaces which mirror our insides; the world beneath the skin. Our roots lie beneath the ground, with the minerals and the dead. (Hughes 83) The-Home-and-Away-Game Imagine the earth-grounded, “diagrammatological” trajectory of a footballer who as one member of a team is psyching himself up before the start of a game. The siren blasts its trumpet call. The footballer bursts out of the pavilion (where this psyching up has taken
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Matthews, Nicole, Sherman Young, David Parker, and Jemina Napier. "Looking across the Hearing Line?: Exploring Young Deaf People’s Use of Web 2.0." M/C Journal 13, no. 3 (June 30, 2010). http://dx.doi.org/10.5204/mcj.266.

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IntroductionNew digital technologies hold promise for equalising access to information and communication for the Deaf community. SMS technology, for example, has helped to equalise deaf peoples’ access to information and made it easier to communicate with both deaf and hearing people (Tane Akamatsu et al.; Power and Power; Power, Power, and Horstmanshof; Valentine and Skelton, "Changing", "Umbilical"; Harper). A wealth of anecdotal evidence and some recent academic work suggests that new media technology is also reshaping deaf peoples’ sense of local and global community (Breivik "Deaf"; Breiv
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Radywyl, Natalia. "A Moment's Daydreaming." M/C Journal 12, no. 1 (March 2, 2009). http://dx.doi.org/10.5204/mcj.118.

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Drift: An IntroductionEntering into Drift is akin to entering—or becoming ensnared by—a hum. Projected across one wall, the work uses abstract visual forms to draw visitors into its meditational folds. Quadraphonic sound circulates in smooth, heavy pulses, like the steady rumble of a train running over deep-set tracks. A succession of vibrating lines occupy the screen, much like the horizontal static of a poorly-tuned television. Gradually, the ambient timbre darkens, the hum becomes more persistent and atmospheric undulations more frequent, until room and body expand with intensity. Throbbing
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Flynn, Bernadette. "Towards an Aesthetics of Navigation." M/C Journal 3, no. 5 (October 1, 2000). http://dx.doi.org/10.5204/mcj.1875.

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Introduction Explorations of the multimedia game format within cultural studies have been broadly approached from two perspectives: one -- the impact of technologies on user interaction particularly with regard to social implications, and the other -- human computer interactions within the framework of cybercultures. Another approach to understanding or speaking about games within cultural studies is to focus on the game experience as cultural practice -- as an activity or an event. In this article I wish to initiate an exploration of the aesthetics of player space as a distinctive element of
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Coull, Kim. "Secret Fatalities and Liminalities: Translating the Pre-Verbal Trauma and Cellular Memory of Late Discovery Adoptee Illegitimacy." M/C Journal 17, no. 5 (October 26, 2014). http://dx.doi.org/10.5204/mcj.892.

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I was born illegitimate. Born on an existential precipice. My unwed mother was 36 years old when she relinquished me. I was the fourth baby she was required to give away. After I emerged blood stained and blue tinged – abject, liminal – not only did the nurses refuse me my mother’s touch, I also lost the sound of her voice. Her smell. Her heart beat. Her taste. Her gaze. The silence was multi-sensory. When they told her I was dead, I also lost, within her memory and imagination, my life. I was adopted soon after but not told for over four decades. It was too shameful for even me to know. Impri
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