https://hdl.handle.net/2123/6346 2026-06-11T07:49:39Z 2026-06-11T07:49:39Z Fraser, Anna Elizabeth https://hdl.handle.net/2123/35283 2026-05-10T23:36:45Z 2025-01-01T00:00:00Z

Influencers of Vienna - Reconstructing a bel canto scene Fraser, Anna Elizabeth Is it possible to re imagine how late eighteenth century singers sounded—and to reconstruct the spaces in which influential musical figures gathered to exchange ideas, techniques, and aesthetic values? Influencers of Vienna explores this question by sonically and scenographically re-envisioning the learned musical environments of eighteenth- and early nineteenth century Vienna, where figures such as Mozart, Haydn, Schubert, Metastasio, Porpora, and the remarkable Marianna Martines (1744–1812) shared expertise with highly trained listeners and practitioners. Contemporary classical singing practice often demonstrates limited engagement with the continuum of creative techniques that characterised the bel canto era. Yet both aural evidence (early recordings) and written sources consistently attest that singers employed highly flexible and improvised expressive strategies. These included tempo rubato, rhythmic alteration and agogic accentuation, elaborate ornamentation, varied registral colouration, portamento, trembling effects, and adaptive laryngeal positioning. As John Potter observes, such practices were integral to “[demonstrating] the performer’s unique talents as a creative artist” (2012, p. 93). Drawing on recent developments in embodiment based, practice led music research, this project builds new knowledge of pre recording era bel canto through systematic reconstruction rather than historical abstraction. Manuel García II (1805–1906)—celebrated pedagogue and inventor of the laryngoscope—was the first to document these vocal practices in physiological detail, but the absence of sonic evidence from earlier periods demands innovative methodologies. This research adopts a two stage process: i) emulation of expressive techniques preserved in early recordings of nineteenth century bel canto singers; and ii) the sonification of documentary evidence through practical experimentation, extrapolating backward to imagine earlier sonic practices and atmospheres. This method expands the expressive palette available to modern singers while offering embodied insight into what historical vocal practices may have felt like in the body. It reframes bel canto not as a fixed technique but as a living constellation of adaptive, improvisatory practices. The accompanying exhibition presents objects and artefacts associated with the Discovery Project Shock of the old: Rediscovering the sounds of bel canto 1700–1900 (DP220101596) and the project’s ongoing explorations. These include a phonograph and gramophone record, historical imagery of singers and salons, vocal treatises, annotated musical sources and historic instruments. Curated listening experiences accessed via QR codes, enables the cross reference of visual and textual materials with historic recordings and modern emulations of influential singers many linked to the García pedagogical lineage. Annotated scores and codified performance instructions by García and the earlier vocal pedagogue Domenico Corri (1746–1825) are presented alongside original scores from the collections of Museums of History NSW—rare documents of historical expressivity. The project culminated in a live reconstructed musical scena, performed with an historically appropriate instrument, offering audiences a guided listening experience that traverses 250 years of vocal history. Through sound, space, and embodiment, Influencers of Vienna invites listeners to uncover a resounding bel canto time capsule—one that reframes early vocal practice as richly inventive, sensorial, and profoundly contemporary.

2025-01-01T00:00:00Z Russoniello, Julia https://hdl.handle.net/2123/35135 2026-04-28T07:46:46Z 2022-01-01T00:00:00Z

A History in Blue Pencil: Cyril Monk's Performance Annotations and a Bygone Musical Style Russoniello, Julia Australian violinist Cyril Monk (1882–1970) was described in a 1920 edition of Sydney’s Sun newspaper as ‘one of the best-known violinists in the Commonwealth’. Although he is an unfamiliar name today, Cyril Monk was a prolific recitalist, chamber musician, orchestral leader, and lecturer, as well as a pioneer in the presentation of Australian music. As Monk’s early musical training and most of his long professional career took place in Sydney, his individual playing style offers a perspective on the performing traditions of this time and place. Due to the scarcity of recordings of Australian artists before 1940, how Cyril Monk and violinists of his generation sounded is a mystery today. This article surveys Cyril Monk’s published editions as well as recently discovered annotated scores to document aspects of a string performance style which has been all but forgotten. Extant materials and a surviving recording from Cyril Monk’s musical life provide a snapshot of his individual playing style and of the performance culture in which he operated.

2022-01-01T00:00:00Z Phoenix, Ekrem Eli https://hdl.handle.net/2123/34633 2026-05-04T06:54:58Z 2025-01-01T00:00:00Z

Voices - Non Traditional Research Output (Dr Elizabeth Scott) Phoenix, Ekrem Eli In collaboration with composer Ekrem Eli Phoenix and Pulsing Heart creative director Joren Dawson, conductor Dr Elizabeth Scott (Sydney Conservatorium of Music, University of Sydney) workshopped and rehearsed this new work with twenty-five singers from VOX, Sydney Philharmonia Choirs. Each singer from within the ensemble was recorded using an individual microphone and each vocal stem was subsequently assigned to two separate audio outputs embedded within a fifty-element sculptural installation composed of suspended circular light tubes. This configuration allowed audience members to move through the installation, experiencing the choir as a unified whole or interacting with individual tubes to adjust the volume of specific voices through physical manipulation. In addition to recording the choral compositions, choristers contributed spoken responses to a series of questions about their personal histories and experiences. These recordings were integrated into the installation, enabling audiences to encounter individual narratives alongside the collective musical work.

2025-01-01T00:00:00Z Hoeppner-Ryan, Anke https://hdl.handle.net/2123/34561 2025-12-17T06:19:50Z 2023-01-01T00:00:00Z

Creating Intergenerational Meeting Spaces Through Sharing Musical Experiences Hoeppner-Ryan, Anke This paper examines how intergenerational meeting spaces can be created through shared musical experiences and explores the resulting educational benefits for undergraduate vocal students at the Sydney Conservatorium of Music. Drawing on integrated training in voice, diction, and performance, the study investigates how students develop broader graduate qualities—including cultural competence, communication, and reflective practice—through authentic audience engagement. Two learning contexts are examined: the Demant Dreikurs Scholarship Competition and the student-founded Concordia Ensemble opera company. Reflections from students and feedback from audience members highlight the potential of classical music to transcend generational boundaries, cultivate intercultural dialogue, and strengthen community relationships. The findings emphasise the value of small-scale, interpersonal performance experiences within higher education and point to new pedagogical opportunities for integrating intergenerational engagement into conservatoire training.

2023-01-01T00:00:00Z Mould, Stephen James https://hdl.handle.net/2123/34465 2025-11-03T05:55:14Z 2024-01-01T00:00:00Z

Carlo Felice Cillario Italian Maestro of the Australian Opera Mould, Stephen James Book covering the career of Carlo Felice Cillario in Australia, 1968-2003, with the Australian Opera and Opera Australia.

2024-01-01T00:00:00Z Curran, Georgia Yeoh, Calista https://hdl.handle.net/2123/33668 2025-03-09T23:05:31Z 2021-01-01T00:00:00Z

'That's Why I am Telliing This Story': Musical Analysis as Insight into the Transmission of Knowledge and Performance Practice of a Wapurltarli Song by Warlpiri Women from Yuendumu, Central Australia Curran, Georgia; Yeoh, Calista Insights into the knowledge, performance, and transmission of songs are pivotal in ensuring the survival of traditional Aboriginal songs. We present the first in-depth musical analysis of a Wapurtarli yawulyu song set sung by Warlpiri women from Yuendumu, Central Australia, recorded in December 2006 with a solo lead singer accompanied by a small group. Our musical analysis reveals that there are various interlocking parts of a song, and this can make it difficult for current generations to learn songs. The context of musical endangerment and the musical analyses presented in our study show that contemporary spaces for learning yawulyu must consider the complex components that come together for a song set to be properly performed.

2021-01-01T00:00:00Z Curran, Georgia Sims, Otto Jungarrayi https://hdl.handle.net/2123/33667 2025-03-09T23:01:06Z 2021-01-01T00:00:00Z

Performing Purlapa: Projecting Warlpiri Identity in a Globalised World Curran, Georgia; Sims, Otto Jungarrayi Performances of Aboriginal musical traditions have become widespread in various national and international spaces and are key ways in which Aboriginal people from distinct regions project their specific identities to a broader world. Warlpiri people, from the remote settlement of Yuendumu in the Tanami desert of Australia, have in the last few decades increasingly gained interest in performing their ceremonial songs and dances in intercultural spaces and to audiences with little understanding of the religious importance. Against a historical backdrop of settlement history and the shifts that have occurred to public ceremonial forms during this period (Dussart 2004), we analyse a recent performance of a purlapa at the Aboriginal Tent Embassy in Canberra. We suggest that Warlpiri people are using these performance opportunities to engage a broader world in specific aspects of their identities—being recognised as global citizens—whilst also maintaining important links to their specific cultural heritage.

2021-01-01T00:00:00Z Mould, Stephen https://hdl.handle.net/2123/32727 2024-08-08T01:18:56Z

Carlo Felice Cillario - violin recordings for 'La voce del padrone' 1930s Mould, Stephen These recordings were made for 'La voce del padrone' (His Master's Voice) in Italy, in the late 1930s and released as a 78RPM discs. Carlo Felice Cillario, violin. Riccardo Simonelli, piano.

Barbeler, Damian Allan https://hdl.handle.net/2123/32445 2024-04-10T22:18:38Z 2022-01-01T00:00:00Z

Scenes from the Bundian Way Barbeler, Damian Allan Australian landscape art music is often written from the safety of a home: at a desk, piano or computer. What benefits would arise if an art music composer followed in the footsteps of some our great painters and photographers (for example Arthur Boyd and Murray Fredricks), whose “en plein air” works are celebrated for their idiosyncratic and novel perspective? For this work”Scenes from the Bundian Way” composer and media artist Damian Barbeler hiked in the remote southern wild country of NSW, periodically over 12 months with a cinema camera, sound recording equipment and notebook. The resulting work was a feature event of the 2022 Canberra International Music Festival, it’s idiosyncratic character and authenticity born of the overwhelming emotion: wonderment, joy, fear etc, and vivid scenes that I experienced and captured in that region. This video is a recording of the live premier performance including the footage presented in that event. It includes live narration, original music, live musical performance, projected landscape footage and field recordings. A central theme of the show centres around the Bundian Way, and the rediscovery of that ancient pathway used by traditional peoples by John Blay, the work is also a meditation on the life changing significance of simply walking in nature. The original music was created by four different composer all of whom have deep connections to that specific country. Composers Brenda Gifford and Erica Avery in particular have a special connection being indigenous and of local Yuin decent. The work was commissioned for and premiered as part of the 2022 Canberra International Music Festival.

2022-01-01T00:00:00Z Liu, Lu https://hdl.handle.net/2123/32407 2026-05-04T06:54:58Z 2024-03-25T00:00:00Z

Music of the Past in the Modern World Liu, Lu This is a live recording of the research-led lecture-recital of pipa music presented at the New Law Building Annex, The University of Sydney, on Friday, December 8, 2023. The event was hosted by the China Studies Centre and Sydney Conservatorium of Music, University of Sydney, as part of the notable China Studies Association of Australia 2024 biennial conference. The performance garnered attention from over 400 attendees and distinguished itself as the largest CSAA conference in its 35-year history. Ten pieces, including premieres of compositions by Dr. Alex Chilvers and student Rory KNOTT, were performed in this lecture-recital.

2024-03-25T00:00:00Z Liu, Lu https://hdl.handle.net/2123/32393 2026-05-04T06:55:00Z 2019-01-01T00:00:00Z

The Road of Sonic Voyage Liu, Lu “The Road of Sonic Voyage” was a multi-faceted intercultural music research project held over 22-26 May 2019. It focused on a visit of Professor Zhang Qiang, pipa virtuoso at the Central Conservatory of Music, Beijing, who travelled to Sydney on a CSC Short-term visitor grant. The project aimed to challenge traditional perceptions of the pipa and expand the sonic possibilities of the instrument. The highlight of the project was a public concert featuring Zhang Qiang, myself, and Sydney Conservatorium of Music (SCM) students, featuring world premieres of three new works by SCM staff (Damien Ricketson, Ivan Zavada) and alumni (Rory Knott), interspersed with performance of ancient works from the pipa canon. These new compositions challenged the boundaries of the traditional concept of the pipa and the sounds that listeners expect pipa performers to produce. This research addresses a gap in understanding by exploring the evolving role of the pipa in contemporary music and its cultural significance. The collaboration between Professor Zhang Qiang, myself, and SCM colleagues and students exemplified the dynamic interplay between tradition and innovation in pipa music. The project emerged directly from my doctoral research on the recent development of the pipa (completed Dec 2019), and which reconnected me with Professor Zhang Qiang, who was one of my former pipa teachers. He is one of the nine key figures I consider within my study to have been influential in the development of the instrument and its music since the early twentieth century. My fieldwork in Beijing involved formal interviews and informal discussions with him in 2011, 2016 and 2018. In early 2018 that I proposed the idea of a concert with Zhang Qiang in Sydney and he agreed. I may have had many lessons with him previously as his student, but this was our first time to perform together on stage. Tuning the pipa for students before a concert is a common scene backstage in China, as a teacher myself nowadays living in Australia, I cannot even remember the last time my pipa was tuned by somebody else. Yet at the concert professor Zhang didn’t hesitate to tune my pipa during the rehearsals and before the concert, this warmth took me straight back to my student years. This is one of the many subtleties alive within the tradition of the teacher-student music teaching relationship. One which I believe is crucial as it provides strength, comfort, and sensitivity beyond the music. The concert reflects on a musical relationship: the teacher-student relationship.

2019-01-01T00:00:00Z Damien, Ricketson https://hdl.handle.net/2123/31609 2023-08-28T22:50:18Z 2022-01-01T00:00:00Z

Sound Touch Damien, Ricketson Video documentation of Sound Touch: a show-length immersive staged work for solo percussion, electronic music and custom designed instruments and sound installation pieces. Performance at Phoenix Central Park, Sydney, 26/07/2022 Artists: - Damien Ricketson - concept/composer - Niki Johnson - devising percussionist - Bree van Reyk - devising percussionist - Sally Blackwood - director - Fausto Brusamolino - lighting design - Benjamin Carey - sound design

2022-01-01T00:00:00Z Gorbach, Vladimir https://hdl.handle.net/2123/31259 2023-05-23T23:02:53Z 2022-01-01T00:00:00Z

Concerto for Guitar and Wind Symphony “Cinque Forme d’Amore” by Elena Kats-Chernin Gorbach, Vladimir This concerto for solo guitar and wind symphony was written by the Australian composer Elena Kats-Chernin. It's the result of my collaborative research in the field of contemporary classical guitar music composition. “Cinque Forme d’Amore” addresses a gap in knowledge in the field of contemporary classical guitar music, specifically in incorporating the solo guitar part into the wind symphony as a featured instrument and exploring the expressive and innovative qualities of this combination. The work was commissioned by SCM and presented as a world premiere at the SCM’s Verbrugghen Hall.

2022-01-01T00:00:00Z Parrish-Chynoweth, Tomas Liam https://hdl.handle.net/2123/30231 2026-05-04T06:55:00Z 2023-03-17T00:00:00Z

The Fractured Crown Parrish-Chynoweth, Tomas Liam A coronation. A crown, an oath, oils and regalia: bestowed upon a monarch, enthroned through hallowed hands. But what if the very essence of that monarch is heresy to those hands? "The Fractured Crown" by Tomas Parrish-Chynoweth offers a musical ‘what if’ inspired by Christopher Marlowe’s play "The Troublesome Reign and Lamentable Death of Edward the Second, Kind of England." The play follows Edward II (1284–1327) and his lover Piers Gaveston to their tragic deaths and – whether or not Marlowe’s account is factual – the plight of a gay king amidst hatred and condemnation, which became inspiration for the composition. Further inspiration came in the form of a message from a stranger – someone struggling to reconcile themself to their queerness and the implications of coming out to their family. Parrish-Chynoweth wanted to write a piece that honoured those who came before them, recognising their queer ancestors' beauty, love and heroism, so that young people might know we aren’t broken, we’re just made to feel that way. The Fractured Crown is a love letter to Edward II and to all those made to feel broken.’

2023-03-17T00:00:00Z Peres Da Costa, Neal https://hdl.handle.net/2123/29805 2026-05-04T06:54:58Z 2022-12-15T00:00:00Z

Mozart Piano Concerto K. 488 Project Peres Da Costa, Neal The 20th-century heralded unprecedented change in ‘classical’ music performance aesthetics as documented in sound recordings. By 1950, many unnotated expressive techniques (belonging to a long-established continuum of practice) had been all but expunged. In this ascendant modern style, the notation came to be considered sacrosanct, arguably for the first time ever. Compositions from Bach to Brahms donned identities and sound worlds that largely reflected their notation, largely devoid of individual artistic expression, and increasingly homogenous across performances and recordings. This text-literal ‘classicised’ style remains pervasive, even in historically informed performance (HIP), and has stultified performers and audiences alike. But innovative methods including: i) emulation/imitation of 19th-century-trained musicians on record; ii) cyclical processes in applying historical written evidence; and, iii) period instrument performance, can reignite artistic agency to help unlock the modernist sound of canonic works. This recording provides a novel reading of Mozart’s Piano Concerto K. 488, recently recorded by Neal Peres Da Costa with the Australian Romantic & Classical Orchestra. Referencing, among other significant evidence, the ear-opening 1904 piano roll by Carl Reinecke (b. 1824)—lauded as preserver of an ‘old’ Mozart tradition—of his piano solo arrangement of the K. 488 slow movement, we re-enact documented Mozartian practices of note dis-alignment, marked rhythm and tempo variation, and ornamentation. In so doing, we reimagine Mozart as unbridled, blustery, varied, and rhetorical, an alternative to the expected identities for his music of pretty, neat, tidy, and balanced. Such vivification of past musical practices can inspire renewed artistry and expressivity in the staging of classical music.

2022-12-15T00:00:00Z Kim, D.W. https://hdl.handle.net/2123/29134 2026-05-04T06:54:59Z 2022-01-01T00:00:00Z

Public Trust Lost and a Sign of Retroflexion: The Socio-Political Ecology of the Korean Church during the COVID-19 Pandemic Kim, D.W.

2022-01-01T00:00:00Z Curran, Georgia https://hdl.handle.net/2123/28767 2022-08-16T04:09:08Z 2020-01-01T00:00:00Z

Sustaining Indigenous Songs Curran, Georgia As an ethnography of Central Australian singing traditions and ceremonial contexts, this book asks questions about the vitality of the cultural knowledge and practices highly valued by Warlpiri people and fundamental to their cultural heritage. Set against a discussion of the contemporary vitality of Aboriginal musical traditions in Australia and embedded in the historical background of this region, the book lays out the features of Warlpiri songs and ceremonies, and centers on a focal case study of the Warlpiri Kurdiji ceremony to illustrate the modes in which core cultural themes are being passed on through song to future generations.

2020-01-01T00:00:00Z Curran, Georgia https://hdl.handle.net/2123/28765 2026-05-04T06:55:02Z 2017-01-01T00:00:00Z

Yurntumu-wardingki juju-ngaliya-kurlangu yawulyu: Warlpiri women's songs from Yuendumu Curran, Georgia Yawulyu have been passed down through many generations of Warlpiri women. In this book, the juju-ngaliya 'ritual experts' from Yuendumu present four yawulyu song series which follow the journeys of a number of ancestral beings across Warlpiri country. Chapter 1 presents the Minamina yawulyu songs and associated story of a group of ancestral women as they emerge from this site in the far west of Warlpiri country and begin their journey eastwards. Chapter 2 details the Watiyawarnu yawulyu and the story of an ancestor from Ngurlu-lirri-nyinanya to the north-west of Yuendumu, who travels southwards towards Mt.Liebig, in search of acacia seeds. Chapter 3 recounts the famous songs and story of the two Jangalas from Warlukurlangu whose evil blue-tongue lizard father lights a raging bush fire, forcing them to run away southwards away from their country before they return back home, weak and exhausted. And finally, chapter 4 presents the songs and stories of the Ngapa 'Rain' dreaming that travels westwards across the country to the north of Yuendumu. The book provides rhythms, sung words,, translations and accompanying stories of 63 songs, alongside audio links and photographs of women in performance. The accompanying DVD contains footage of women from Yuendumu painting their bodies with red and white ochres and performing the four yawulyu song series and their associated dances. The juju-ngaliya of Yuendumu intend this book to be a new way to pass on these yawulyu to future generations of Warlpiri women.

2017-01-01T00:00:00Z Curran, Georgia https://hdl.handle.net/2123/28763 2026-05-04T06:54:59Z 2019-01-01T00:00:00Z

‘Waiting for Jardiwanpa’: History and Mediation in Warlpiri Fire Ceremonies Curran, Georgia Warlpiri fire ceremonies, including Jardiwanpa, have been documented in various ethnographies and films for over 100 years. Focused on the documented history of these rituals in Yuendumu, and through ethnographic observations from recent decades, I analyse the transforming meanings of fire ceremonies in contemporary Warlpiri lives. I demonstrate that there have been post-settlement shifts in ritual purpose due to sedentarisation and the increased connections that Warlpiri people have made to a broader world. I note in particular that, when monetary payment for performing Jardiwanpa for filmic representation became standard practice in the 1990s, the intricacies of the Dreaming were no longer central, nor were the original purposes of conflict resolution and the opening up of marriage restrictions. Several films have been made of fire ceremonies, resulting in fixed representations of what otherwise are emergent practices. This has impacted the ways in which these rituals can be held today, and Warlpiri people have had to creatively re-negotiate a space for Jardiwanpa and similar fire ceremonies.

2019-01-01T00:00:00Z Curran, Georgia Carew, Margaret Martin, Barbara Napanangka https://hdl.handle.net/2123/28762 2022-06-22T06:21:55Z 2018-01-01T00:00:00Z

Representations of Indigenous cultural property in collaborative publishing projects: the Warlpiri women’s yawulyu songbooks Curran, Georgia; Carew, Margaret; Martin, Barbara Napanangka This paper explores issues around the representation of Indigenous cultural property, voices and images in two books of Warlpiri women's yawulyu song traditions that form part of a series published by Batchelor Press (Gallagher, C.N., et al., 2014. Jardiwanpa Yawulyu: Warlpiri Women’s Songs from Yuendumu. Batchelor: Batchelor Press and Warlpiri Women from Yuendumu. 2017. Yurntumu-wardingki juju-ngaliya-kurlangu yawulyu: Warlpiri Women’s Songs from Yuendumu [with Accompanying DVD]. Batchelor: Batchelor Press). These publications stem from collaborations between Indigenous knowledge holders and non-Indigenous researchers and involve long-term relationships between the team members. We draw out discussion of the motivations for making these books, and the agency within these intercultural teams, considering the colonising impact of academic research, the intercultural dimensions to Indigenous identities and the role of publications such as these in repatriation and reparation efforts. We demonstrate how Warlpiri women have directed the production processes and surrounding events so that these books not only represent forms of Warlpiri cultural knowledge but also contribute to the dynamic forms of cultural reproduction that ensure continued engagement with these song traditions into the future.

2018-01-01T00:00:00Z Curran, Georgia https://hdl.handle.net/2123/28761 2022-06-22T06:21:26Z 2018-01-01T00:00:00Z

On the poetic imagery of smoke in Warlpiri songs Curran, Georgia Smoke, an ever-present source of comfort in day-to-day Warlpiri lives, is also a powerful ritual symbol and theme in the poetic language of Warlpiri songs. Rather than signalling these soothing qualities, in this more formalised sung context, smoke symbolically alludes to tension, uncertainty and unknown liminal states of transition. Here, I analyse examples from Warlpiri song texts to argue that, rather than being a semantic paradox, the cultural symbolism surrounding smoke has a functional poetic purpose in that it flags circumstances of discomfort or unknown states within the Dreaming narratives upon which Warlpiri songs are centred. To illustrate this point, I analyse song imagery in which smoke and other visually similar phenomena are focal.

2018-01-01T00:00:00Z Carter, Jennifer https://hdl.handle.net/2123/28417 2026-05-04T06:54:58Z 2022-01-01T00:00:00Z

Preservice music teachers in New South Wales: How prepared do they feel for secondary music teaching in a changing world? Carter, Jennifer The ideas and philosophies of preservice secondary music teachers (PSMTs) are formalized in their tertiary education years. In these years, PSMTs must reconcile the expectations, beliefs, and values espoused by their lecturers, tutors, and other significant people from their past. PSMTs have accumulated various musical experiences through prior interactions with their primary and secondary school teachers and private tutors, which nurture and shape the kind of teachers they anticipate becoming. This research focuses on a group of six PSMTs who face a very different future, teaching in the COVID-19 world of digital delivery amid a time of curriculum change in New South Wales (NSW), Australia. Thirty-minute Zoom interviews with the six participants took place over the two semesters of 2020, beginning before the COVID-19 outbreak in Australia and investigating how prepared PSMTs felt they were for classroom teaching. Their most positive responses regarding online learning provided evidence that their music lecturers had built PSMTs' understanding of the curriculum, which increased their confidence in their musical ability during practicum. The findings in this article provide an informed NSW perspective about PSMTs' tertiary education, adding to research about classroom music pedagogy. Finally, the opinions of PSMTs on their current learning and future careers are of importance and interest for both tertiary education institutions and curriculum designers.

2022-01-01T00:00:00Z Curran, Georgia https://hdl.handle.net/2123/28219 2022-06-22T06:12:28Z 2020-01-01T00:00:00Z

Bird/monsters and contemporary social fears in the Central Desert of Australia Curran, Georgia Many societies across the world see birds as providers of information – be it environmental, cultural, or symbolic. In Central Australia, birds are seen by Aboriginal people as referents. One way in which central Australian Aboriginal people ‘know’ of monsters is through the visual, acoustic and sensory presence of birds: distinctive calls, fleeting movements, camouflaged sightings, scratched tracks and the sensation of being ‘watched’ are qualities displayed in uncannily similar ways by various species of birds and their monstrous counterparts. Whilst some birds warn of monsters and some accompany them, here I focus on a type of monster I call bird/monsters. They appear as ancestral beings in the songs and associated Dreaming narratives of Warlpiri people, who traditionally lived in the Tanami Desert and today live in towns fringing the Tanami as well as further afar. Bird/monsters are understood to be male figures that, at once, are both men and birds and exist amongst other ancestral beings which take on the form described by Rose (2011: 122) as “shape-shifters, sometimes walking as humans, sometimes travelling in the form of the being they would become.” Being birds and men simultaneously also distinguishes them from classical hybrid figures such as centaurs (part man, part horse) and werewolves (sometime person, sometimes wolf). What is clear is that like all monsters, bird/monsters defy easy categorisation (Cohen 1996). The two-part terminology I apply when describing them as bird/monsters reflects both this and their ability to move between different realms. Cohen suggests that “the ways in which [monsters] shift and refuse definition is what makes them so feared” (1996:6). The spiritual associations that birds have to Warlpiri people and their ever presence in their environment link them closely to the human realm, yet the immoral and culturally inappropriate acts of the monsters they embody continue to make this categorisation uneasy. As I show, despite potentially becoming more human-like these bird/monsters do not play by the rules of the human world, a factor which enhances their power to control and frighten. I begin by presenting portraits of four bird/monsters and explain how I understand them to be ‘monsters’. My main focus is on showing how the manifestations of bird/monsters as immoral, socially inept, violent and culturally defiant monsters highlight deep-seated social fears. The stories of these bird/monsters are passed on and made known to Warlpiri people through Dreaming narratives and songs, intimately linking them to fundamental and highly valued components of Warlpiri cultural heritage. I demonstrate how bird/monsters continue to have monstrous signification even when what is feared has changed. These bird/monsters continue to invoke fear in contemporary contexts marked by the widescale social changes associated with neo-colonialism and increased connections to a broader and more globalised world. Contemporary fears are concerned with loss—of connections to country, of traditional patterns of social organisation, of control over women’s sexuality, and of the gendered forms of sociality which have until recently typified Warlpiri life.

2020-01-01T00:00:00Z Foster, Shannon Harris, Amanda https://hdl.handle.net/2123/27976 2026-05-07T01:54:05Z 2020-01-01T00:00:00Z

Informing Practice through Collaboration: Listening to Colonising Histories and Aboriginal Music Foster, Shannon; Harris, Amanda This chapter describes an interdisciplinary and intercultural method for writing about historical performances of music and dance by Aboriginal people, and to inform collaborative performances with Aboriginal musicians. It discusses an approach of listening to history through current Indigenous knowledges, and interrogates how seeking to understand the continuities and disruptions of culture through the experiences of living Aboriginal people allows for new interpretations of archival sources. In combining Indigenous knowledges with historical methods, the chapter responds to Aileen Moreton Robinson's (2000) critique of scholarly approaches that contrast the ‘traditional’ and ‘contemporary’ Aboriginal subject, while erasing ongoing colonising influences. The chapter presents a song as methodology and practice, to sing up story and knowledges from history in the present.

2020-01-01T00:00:00Z Harris, Amanda https://hdl.handle.net/2123/27878 2026-05-07T01:54:06Z 2020-01-01T00:00:00Z

Localizing Aboriginal and Pacific Performance on Internationalized Stages, 1967-73 Harris, Amanda In 1967, Aboriginal and Torres Strait Islander people successfully campaigned for a referendum for constitutional change, releasing them from policies restricting movement outside of their home states and territories of residence. This chapter interrogates the contested space for representation of Aboriginal performance in the years following the referendum. New companies for Aboriginal music and dance performance flourished after 1967 and began to tour outside of Australia, including to Japan, Fiji and the USA. Non-Indigenous performers such as Beth Dean and Victor Carell, previously representing Aboriginal culture in their shows, quickly had to revise their approaches and soon began co-ordinating international music and dance performances by the owners of the traditions, instead of performing them. New companies included the Aboriginal Theatre Foundation (formed 1969) and South Pacific Festival of Arts (formed 1972, building on the 1970 Ballet of the South Pacific). Some of the key musician/dancers in these new performances, David Gulpilil, David Blanasi and Djoli Laiwanga, went on to prominent careers as recording artists, touring musicians and, in Gulpilil’s case, in film. The chapter considers how these new contexts for cultural exchange were internationalized while resisting globalisation, emphasising localized performances by the owners of the songs and dances themselves.

2020-01-01T00:00:00Z Harris, Amanda https://hdl.handle.net/2123/27868 2022-03-25T04:49:15Z 2020-01-01T00:00:00Z

Indigenising Australian music: authenticity and representation in touring 1950s art songs Harris, Amanda Aboriginal-influenced compositions have been central to Australian art music practice since the 1960s, and key to conceptions of an Australian style. While in other creative arts practices (for example, dance and visual arts) appropriative practices have largely become unacceptable, or at least highly contested, compositions influenced by Aboriginal music have retained a central role in art music composition. In this article, I trace this practice back to touring post-war performances of the ‘Aboriginal songs’ of Alfred and Mirrie Hill, Arthur S. Loam and Victor Carell from Carell and Beth Dean’s ‘Dance and Song around the World’ shows in the early 1950s. I suggest that the performance of these songs familiarised audiences with a notional ‘Aboriginal’ sonority that has continued to influence composers and their audiences. Dean and Carell’s claim to authoritative representations of Aboriginal music and dance has had ongoing reverberations throughout Australian performance history, disconnecting Indigeneity from individual Aboriginal people (historical and living) and their traditions. Although ultimately these representations have failed to replace the performance of culture by Aboriginal people, reductive portrayals of Aboriginal musical characteristics remain persuasive.

2020-01-01T00:00:00Z Campbell, Rachel Marian https://hdl.handle.net/2123/27457 2026-05-04T06:55:00Z 2022-01-01T00:00:00Z

Primitivism and Settler Primitivism in Music: The Case of John Antill’s Corroboree Campbell, Rachel Marian John Antill’s Corroboree (1944) was the most prominent Australian musical work of the first half of the twentieth century yet it has received little musical analysis, especially in terms of how it constructs a representation of First Nations Australians. This paper demonstrates that Corroboree exhibits a range of musical gestures associated with conceptual genealogies of early human musical development and thereby foregrounds a reading of the piece as an example of musical Primitivism. Primitivism itself is shown to be in complex relation with musical Exoticism. Further, Corroboree’s primitivist aesthetics and politics are in some respects distinct from works of modernist Primitivism such as Stravinsky’s Rite of Spring in that the former tends to eschew both an ethos of innovation as well as emulation of the primitive. Similarly, it is not so much a response to a disillusionment with modernity nor to a societal diagnosis of decadence or alienation. Rather, it accords more with an idea formulated by the anthropologist Nicholas Thomas, “settler primitivism”, that refers to instances of Primitivism in settler societies in which settler artists represent or appropriate a specific indigenous culture as a gesture of national identification. Settler primitivism tends to present Indigenous people as located in the ancient past, providing a lineage for the “young” settler colonial nation, symbolically vacating the land for the settlers, and associating them with modernity. https://academic.oup.com/mq/advance-article/doi/10.1093/musqtl/gdab022/6517202?guestAccessKey=f0ba8a6e-c908-4ed6-a232-0e0460a99857

2022-01-01T00:00:00Z Carrigan, Jeanell https://hdl.handle.net/2123/25564 2021-09-15T01:05:24Z 2021-07-02T00:00:00Z

Australian Piano Music 1850-1950. Sample Recordings Carrigan, Jeanell These 230 sound files are sample recordings of the works of 140 composers discussed in the book "Australian Piano Music 1850 -1950. A Guide to the Composers and Repertoire" by Jeanell Carrigan. Published by Wirripang, July 2021.

2021-07-02T00:00:00Z Harris, Amanda https://hdl.handle.net/2123/24592 2021-03-16T00:17:53Z 2020-01-01T00:00:00Z

Disciplining music: Too many Peter Sculthorpes? Harris, Amanda Representing Australian Aboriginal Music and Dance 1930-1970 offers a rethinking of recent Australian music history. Amanda Harris presents accounts of Aboriginal music and dance by Aboriginal performers on public stages. Harris also historicizes the practices of non-Indigenous art music composers evoking Aboriginal music in their works, placing this in the context of emerging cultural institutions and policy frameworks. Centralizing auditory worlds and audio-visual evidence, Harris shows the direct relationship between the limits on Aboriginal people's mobility and non-Indigenous representations of Aboriginal culture. This book seeks to listen to Aboriginal accounts of disruption and continuation of Aboriginal cultural practices and features contributions from Aboriginal scholars Shannon Foster, Tiriki Onus and Nardi Simpson as personal interpretations of their family and community histories. Contextualizing recent music and dance practices in broader histories of policy, settler colonial structures, and postcolonizing efforts, the book offers a new lens on the development of Australian musical cultures. Contents: 1. Staging Assimilation: Too Many John Antills? Prelude, Mungari Buldyan – Song for my Grandfather by Shannon Foster 2. 1930s – Performing Cultures: Navigating Protection, Responding to Assimilation 3. 1940s – Reclaiming an Indigenous Identity 4. 1950s – Jubilee Celebrations, Protest and National Cultural Institutions Interlude by Tiriki Onus 5. 1960-67 – Aboriginal Performance Takes the Main Stage 6. 1967-1970 – The End of Assimilation? 7. Disciplining Music: Too Many Peter Sculthorpes? Coda by Nardi Simpson https://www.bloomsbury.com/au/representing-australian-aboriginal-music-and-dance-1930-1970-9781501362934/

2020-01-01T00:00:00Z Harris, Amanda https://hdl.handle.net/2123/24591 2026-05-07T01:54:05Z 2017-01-01T00:00:00Z

Pan-Indigenous Encounter in the 1950s: ‘Ethnic Dancer’ Beth Dean Harris, Amanda From 1950, ‘ethnic dancer’ Beth Dean made her living on a lecture-demonstration touring circuit of the dance traditions of Australia, New Zealand, the Cook Islands and North America. To assert her expertise, she claimed to have studied Māori and Australian Aboriginal cultures for a number of years. This article investigates how Dean’s didactic performances drew on American traditions of ethnic dance to present apparently authoritative representations of Indigenous cultures, supported by Adult Education Boards in New South Wales, Victoria, Tasmania and Western Australia and national arts organisations. I argue that Dean exploited the symbolic potential of ‘corroboree’ as a performance of intercultural communication to establish her authority to speak about and perform Australian Aboriginal dance.

2017-01-01T00:00:00Z Collard, Len Bracknell, Clint Palmer, David https://hdl.handle.net/2123/23230 2020-08-28T08:57:06Z 2017-01-01T00:00:00Z

Nyungar of Southwestern Australia and Flinders: A Dialogue on Using Nyungar Intelligence to Better Understand Coastal Exploration Collard, Len; Bracknell, Clint; Palmer, David Methods used to investigate the history of mapping the coastal areas of Australia have relied heavily on the journals, diaries, ship’s logs, maps, and other accounts of European mariners available in the archival record. Although these records give some details of the part played by local Indigenous peoples, such texts by themselves are a far from reliable way to arrive at authoritative conclusions about Indigenous influence in coastal exploration. Taking the form of a dialogue, this article revisits archival material concerned with coastal exploration along the southern areas of what is now Western Australia from a fresh perspective, drawing out instances where the Nyungar took “center stage” and where mariners’ perceptions were shaped by their interest in the Nyungar and Nyungar knowledge. It draws upon Nyungar methods for “reading” the history of contact along the southern coast, incorporating oral accounts, knowledge of the Nyungar language, and Nyungar place-names to “talk back” to the old texts.

2017-01-01T00:00:00Z Bracknell, Clint Kickett, Casey https://hdl.handle.net/2123/23229 2020-08-31T06:52:10Z 2017-01-01T00:00:00Z

Inside Out: An Indigenous Community Radio Response to Incarceration in Western Australia Bracknell, Clint; Kickett, Casey An Indigenous prison requests show in Perth, Western Australia, Inside Out has emerged as a response to the disproportionately high incarceration rates of Indigenous people in the state and is the most popular show on the community broadcaster Noongar Radio, airing across twelve prisons with more than 270 requests per week. Incorporating interviews and analysis of language and music, this article will discuss how Aboriginal people in Western Australia use Inside Out as a shared communicative resource to assist in upholding their connections to family, community, and Country, connections that can be central to Aboriginal Australian social and emotional well- being but are most often impeded by incarceration. Using language and music—mostly country music—to enact Aboriginal cultural and social connectedness, Inside Out serves vital community concerns not addressed by commercial broadcasting, while also creating representations of Aboriginal culture for non-Aboriginal listeners.

2017-01-01T00:00:00Z Bracknell, Clint https://hdl.handle.net/2123/23228 2020-09-21T22:39:29Z 2017-01-01T00:00:00Z

Conceptualizing Noongar Song Bracknell, Clint As of 2011, an estimated 669,900 Aboriginal and Torres Strait Islander people accounted for 3 per cent of Australia’s total population (Australian Bureau of Statistics 2015). Of that population, over 30,000 people from a uniquely large urban/rural area in the southwest of Western Australia—including the author of this article—identify as Noongar (also spelled Nyungar). This makes Noongar one of the largest Aboriginal cultural groups in Australia (SWALSC 2009; see figure 1); and yet, the Noongar language is critically endangered, with just 369 speakers acknowledged in the 2011 Australian census (Australian Bureau of Statistics 2015). Noongar language is not unique in this regard; the most recent National Indigenous Languages Survey indicates that only “around 120” of more than two hundred Aboriginal languages are still spoken and that “about 13 can be considered strong” (Marmion, Obata, and Troy 2014:xii). Music traditions, often strongly tied to language, are disappearing too: approximately 98 per cent of Aboriginal musical traditions have been lost since colonization (Corn 2012:39). As is the case with most of Aboriginal Australia, traditional Noongar music is primarily vocal, featuring lyrics in the Noongar language. This implies an inextricable link between Noongar language and Noongar song traditions, a co-dependency that is critical for the vitality of both.

2017-01-01T00:00:00Z Toltz, Joseph https://hdl.handle.net/2123/20740 2026-05-04T06:55:02Z 2016-01-01T00:00:00Z

Listening to ethnographic Holocaust musical testimony through the 'ears' of Jean-Luc Nancy Toltz, Joseph Too often, musical testimony from the Holocaust does not receive the sort of careful attention and openness that characterises the act of listening. For the philosopher Jean-Luc Nancy, listening (écouter) is to be distinguished from entendre, the latter having the dual meanings of to hear and to understand. This paper examines my own ethnographic project of 5 years, interviewing approximately one hundred Holocaust survivors, talking about individual musical experience and memory from time spent in ghettos, camps, in hiding and in partisan groups. The kind of careful attention and openness that characterises the act of listening in Nancy's analysis is not the kind of attention that has been brought to bear on the place of music in Holocaust survivor narratives. Rather, the phenomenon of music in the Holocaust has too often been figured as a means to serve as an archival documentary function (or at worst, a 'garnish' for a historical narrative), where specific songs/music and their content are employed as a means through re-creations to come to (at best) an understanding of the truth of the Holocaust experience. As I understand his writing, for Nancy the critical attention figured by listening (écouter) opens up a very different kind of attentive space in which objects of study can be approached differently. It's obviously suitable that a critical approach based on listening be used when talking about music, yet this is arguably not what has happened, especially in the field of Holocaust studies. Was there something in musical experience at that time that helped people create their own intimate spaces? If there was, then the listening critic has a place, rather than coming to such experiences from the perspective of a petrified structure (i.e. music was not functioning as a political record, so it cannot be accused of working as such). This is the crucial turning that I wish to bring to bear on this area - a different mode of sensibility so that the discourse is dislodged (albeit momentarily) from the aforementioned means (however important or inevitable it might be). Nancy expresses the current problem when he writes that “what truly betrays music and diverts or perverts the movement of its modern history is the extent to which it is indexed to a mode of signification and not to a mode of sensibility.” In re-examining my previous work through Nancy's concepts, I imagine the site of listening as an act of care within the scholarly space.

2016-01-01T00:00:00Z Barwick, Linda Toltz, Joseph https://hdl.handle.net/2123/18218 2026-05-04T06:55:02Z 2017-01-01T00:00:00Z

Quantifying the ineffable? The University of Sydney's 2014 Guidelines for Non-Traditional Research Outputs Barwick, Linda; Toltz, Joseph

2017-01-01T00:00:00Z Fairchild, Charles https://hdl.handle.net/2123/15924 2026-05-04T06:55:01Z 2007-07-01T00:00:00Z

Building the authentic celebrity: The "Idol" phenomenon in the attention economy Fairchild, Charles The “Idol” phenomenon is a spectacle founded on the creation, perpetuation, and maintenance of specific kinds of carefully structured consumer relationships. Several of the more successful contestants are gradually formed into recognizable and familiar brands centered on varied and mostly familiar pop star personae intended to form the foundations of the relationships between the various contestants and their supporters. However “Idol” relationships are not limited to familiar musician-fan binaries, but grow and evolve into a series of intimate, active relationships that stretch well beyond the life of the show. By the end of each series the primary relationship is no longer confined to contestants and fans, but include a series of relationships between the program and its audience created through a wide range of channels. The main goal of “Idol’s” producers is to build affective investment in contestants and gradually shift that investment to the narrative and drama of the program itself.

2007-07-01T00:00:00Z Fairchild, Charles https://hdl.handle.net/2123/15931 2026-05-04T06:54:59Z 2008-01-01T00:00:00Z

The medium and materials of popular music: 'Hound Dog', turntablism and muzak as situated musical practices Fairchild, Charles Popular music studies has rarely exhibited the kinds of disciplinary coherence found in closely related disciplines mostly due to the field’s adoption and adaptation of methodological and theoretical innovations from a variety of disciplines, notably sociology, cultural studies, anthropology, media studies and musicology. However, many commentators continue to seek disciplinary coherence without making any critical aesthetic distinctions between the medium and materials of popular music. Distinctions and interrelationships between the literal or material aspects of popular music and the social or cultural processes of making meaning from popular music are central to the definition of a particular but not exclusive field of analysis. Through such distinctions, the very category ‘popular music’ can be understood as a more flexible and supple distinction based on an understanding of methods of construction, production and mediation in specific relation to the technical, contextual and sociological aspects of music. I use different performances of ‘Hound Dog,’ the practices of ‘turntablism,’ and the exigencies of Muzak as examples for analysis offering ways in which the aesthetic, material and contextual aspects of popular music can be understood in order to incorporate the actual sound of music into the analysis of its social, cultural and musical construction.

2008-01-01T00:00:00Z Toltz, Joseph https://hdl.handle.net/2123/15913 2026-05-04T06:54:58Z 2006-01-01T00:00:00Z

Music: An Active Tool of Deception? The Case of Brundibár in Terezín Toltz, Joseph

2006-01-01T00:00:00Z Fairchild, Charles https://hdl.handle.net/2123/15899 2026-05-04T06:55:00Z 2012-05-01T00:00:00Z

Alan Freed still casts a long shadow: the persistence of payola and the ambiguous value of music Fairchild, Charles Despite the enormous changes in the music industry in recent years, some things have persisted. Payola, the exchange of money or promotional consideration for radio airplay, has persisted if not increased over the past decade in the United States. This is due to the corresponding persistence of a series of contradictory social relationships between broadcasters, their sponsors and the audiences they seek to construct and maintain through the targeted deployment of music. I show here that payola, and its more legitimate cousin deregulation, are forms of ‘inter-elite communication’ designed to make the market in music more manageable and stable.

2012-05-01T00:00:00Z Toltz, Joseph https://hdl.handle.net/2123/15879 2026-05-04T06:55:01Z 2011-01-01T00:00:00Z

'Dragged into the Dance' - the Role of Kraftwerk in the Development of Electro-Funk Toltz, Joseph

2011-01-01T00:00:00Z Toltz, Joseph https://hdl.handle.net/2123/15880 2026-05-04T06:55:02Z 2010-01-01T00:00:00Z

Se non ora, quando?" - the hidden musical testimony of Holocaust survivors in Australia Toltz, Joseph In Australia, personal recorded testimony has been a feature of readings of the Holocaust since the early 1980s. Yet up to now, no specific studies in Australia have focussed on a notion of music as a testimonial device. This paper presents a cross-section of musical testimonies gathered from Holocaust survivors living in Australia. Such memories are a crucial part of the psychological and musical life of survivors, post-Shoah, where a wealth of hidden experience lives on in the songs and memories preserved, and each memory is used as a reflexive pedagogical tool in discussing the nature of those experiences. Music acts as a powerful medium in the context of traumatic isolation, describing, educating, mocking, soothing and distracting.

2010-01-01T00:00:00Z Toltz, Joseph https://hdl.handle.net/2123/15870 2026-05-04T06:55:01Z 2016-11-01T00:00:00Z

Music and Memory at Liberation Toltz, Joseph

2016-11-01T00:00:00Z Marsh, Kathryn https://hdl.handle.net/2123/15861 2026-05-04T06:55:01Z 2002-01-01T00:00:00Z

Observations on a Case Study of Song Transmission and Preservation in Two Aboriginal Communities: Dilemmas of a 'Neo-colonialist' in the Field Marsh, Kathryn Within a western tradition of music education research there is an expectation that a research project will have focussed aims, regardless of the research paradigm from which it emanates. This paper discusses the dilemma of a researcher when confronted with a disparity between her carefully formulated research aims and the needs of the communities within which her research project was implemented. These issues are discussed in relation to the initial stages of a research project which is investigating the music, movement and language characteristics, cross-cultural transmission and effects of the media on the musical play of Aboriginal and non-Aboriginal children in two small towns in central Australia.

2002-01-01T00:00:00Z Wierzbicki, James https://hdl.handle.net/2123/15850 2026-05-04T06:55:02Z 2008-01-01T00:00:00Z

Shrieks, Flutters, and Vocal Curtains: Electronic Sound/Electronic Music in Hitchcock’s The Birds Wierzbicki, James

2008-01-01T00:00:00Z Wierzbicki, James https://hdl.handle.net/2123/15851 2026-05-04T06:55:02Z 2007-01-01T00:00:00Z

The Hollywood Career of Gershwin's "Second Rhapsody" Wierzbicki, James George Gershwin's "Second Rhapsody" for Piano and Orchestra, which premiered in January 1932, was initially described as an "expanded" version of music that had been written for a 1931 Fox film titled "Delicious." In truth, Gershwin had finished the piece months before the movie went into production. His sketch for the complete work was made when the screenplay was still in its beginning stages. Evidence including manuscripts, various drafts of the screenplay, the conductor's score used for the film's recording sessions, and the restored film itself are used to clarify both the chronological and substantive relationship between the 15-minute "Second Rhapsody" and the soundtrack's seven-minute "New York Rhapsody." The first detailed account of the musico-narrative content of the picture's "New York Rhapsody" sequence is offered, and it is shown that the "New York Rhapsody" is a truncation of the "Second Rhapsody" engineered most probably by Fox Studios employee Hugo Friedhofer.

2007-01-01T00:00:00Z Wierzbicki, James https://hdl.handle.net/2123/15854 2026-05-04T06:55:01Z 2001-04-01T00:00:00Z

Dethroning the Divas: Satire Directed at Cuzzoni and Faustina Wierzbicki, James

2001-04-01T00:00:00Z Wierzbicki, James https://hdl.handle.net/2123/15849 2026-05-04T06:54:58Z 2008-01-01T00:00:00Z

Hanns Eisler and the FBI Wierzbicki, James

2008-01-01T00:00:00Z Wierzbicki, James https://hdl.handle.net/2123/15853 2026-05-04T06:54:57Z 2002-01-01T00:00:00Z

Weird Vibrations: How the Theremin Gave Musical Voice to Hollywood’s Extraterrestrial "Others" Wierzbicki, James The theremin played a unique role in 1950s science fiction films. In Rocketship X-M, The Day the Earth Stood Still, The Thing from Another Planet, and It Came from Outer Space, the instrument was not just a component of the studio orchestra but, in effect, the diegetic “voice” of the alien entities.

2002-01-01T00:00:00Z Wierzbicki, James https://hdl.handle.net/2123/15852 2026-05-04T06:55:00Z 2003-01-01T00:00:00Z

Grand Illusion: ‘Storm Cloud’ Music and The Man Who Knew Too Much Wierzbicki, James

2003-01-01T00:00:00Z Wierzbicki, James https://hdl.handle.net/2123/15801 2026-05-04T06:55:02Z 2014-01-01T00:00:00Z

The Imagined Sounds of Outer Space Wierzbicki, James This essay explores how the idea of the ‘sounds of space’ has been articulated in popular culture since the late nineteenth century through the early years of the Space Age. The primary focus is on sound and music in science-fiction films from Europe, the former Soviet Union, and the United States, and the four main topic areas are the sounds of signals from space, the sounds of outer-space technology, the sounds of ‘heavenly bodies,’ and the sounds/music associated with space travel. Framing this central portion of the essay, however, is a discussion of ‘space music’ by various composers for whom writing for the cinema was perhaps one of the furthest things from their minds. The essay argues that, in terms of depictions of weightlessness, perhaps certain works by composers Arnold Schoenberg and Edgard Varèse, and by the rock groups Popol Vuh and Tangerine Dream, have something in common with the music of sci-fi cinema.

2014-01-01T00:00:00Z