https://hdl.handle.net/2123/1161 2026-06-10T16:38:41Z https://hdl.handle.net/2123/35283 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 https://hdl.handle.net/2123/35135 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 https://hdl.handle.net/2123/34633 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 https://hdl.handle.net/2123/34561 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 https://hdl.handle.net/2123/34465 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 https://hdl.handle.net/2123/33668 '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 https://hdl.handle.net/2123/33667 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 https://hdl.handle.net/2123/32727 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. https://hdl.handle.net/2123/32445 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 https://hdl.handle.net/2123/32407 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 https://hdl.handle.net/2123/32393 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 https://hdl.handle.net/2123/32208 THE IMPACT OF PARENTAL INVOLVEMENT ON PIANO LEARNING IN CULTURALLY DIVERSE COMMUNITIES Ong, Sharon This thesis compared and examined approaches to parental involvement in piano learning in various sociocultural contexts in Greater Sydney. The study also explored how piano teachers adapted their teaching styles to encourage intrinsic motivation while meeting their students’ and parents’ cultural expectations. Using a mixed methods multi-case study design, data collected for the study consisted of qualitative semi-structured interviews with six piano teachers from Greater Sydney and quantitative Likert-style questionnaires completed by culturally diverse parents of these teachers’ students. Adopting a grounded theory approach to analyse and triangulate the data, common themes within the discussion involved overbearing parents, language barriers, and performance anxiety due to forced participation in piano examinations. Findings from this study implied the need for a more culturally diverse pool of piano teachers to accommodate for the increasingly diverse Greater Sydney population. Extending upon an emerging field of literature, this thesis endeavours to assist all instrumental teachers working in culturally diverse communities to develop more strategies to communicate effectively with parents from non-English speaking backgrounds, providing their students with culturally relevant and responsive piano instruction. 2024-02-12T00:00:00Z https://hdl.handle.net/2123/31609 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 https://hdl.handle.net/2123/31259 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 https://hdl.handle.net/2123/30231 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 https://hdl.handle.net/2123/30185 Songs and the Deep Present Barwick, Linda This chapter contributes to frameworks for understanding the deep human past by considering how expansion of attention to the present, through performance among other practices, can change one’s awareness of self in relation to the world in all its aspects. In particular, through close attention to repetition phenomena in one Warlpiri women’s ceremonial song, I explore how nonlinear temporal structures in music may contribute to time “collapse”—that is, how “Indigenous embodied practices for knowing, remembering and re-enacting the past in the present blur the distinctions between time, making all history ‘now.’” Even though past performances may have left few or no traces in the material record, I suggest that musical performance and cognition have operated and continue to operate as integral and deeply embedded components within an interplay of multiple interacting and socially negotiated responses to the world. 2023-01-01T00:00:00Z https://hdl.handle.net/2123/29805 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 https://hdl.handle.net/2123/29400 M, of Anambaba [John McGarvie] (1829): The exile of Erin on the Plains of Emu [O! Farewell my country - my kindred - my lover] (Tune: The exile of Erin); Koen van Stade (tenor), Neal Peres Da Costa (pianoforte); Elizabeth Bay House, Sydney, 27 February 2022 Peres Da Costa, Neal; van Stade, Koen; Stephens, Matthew; Skinner, Graeme This lovely song, published in the ‘Sydney Gazette’ in 1829, is a parody of the Irish nationalist song, ‘Erin go Bragh’ (‘The exile of erin’), to be sung to its tune. It ventriloquises the laments of a colonial exile - a convict or political prisoner - who finds himself ‘enchained’ to the hard land on the Emu Plains, cruelly separated from his motherland, mother, and betrothed. The empathetic author was neither convict nor Irish himself, but the Glasgow-born Presbyterian cleric John McGarvie. Words (first verse only): O! Farewell my country - my kindred - my lover; / Each morning and evening is sacred to you, / While I toil the long day, without shelter or cover, / And fell the tall gums, the black-butted and blue. / Full often I think of and talk of thee, Erin - / Thy heath-covered mountains are fresh in my view, / Thy glens, lakes, and rivers, Loch-Con and Kilkerran, / While chained to the soil on the Plains of Emu. View McGarvie’s full words, as first published, and the music, here: https://www.sydney.edu.au/paradisec/australharmony/checklist1826-1830.php#1829-05-Exile-of-Erin-on-the-Plains-of-Emu 2022-08-12T00:00:00Z https://hdl.handle.net/2123/29399 Alexander Lee (1802-1851), Thomas Haynes Bayly (words): Come where the aspens quiver]; Koen van Stade (tenor), Neal Peres Da Costa (pianoforte); Elizabeth Bay House, Sydney, 27 February 2022 Peres Da Costa, Neal; van Stade, Koen; Stephens, Matthew; Skinner, Graeme This theatre song, with its chivalric evocations of troubadors and guitars, was first popularised by a star theatrical singer in 1820s London, Mrs (Harriet) Waylett. A decade later, in Sydney, the song was still being sung in concerts, as well as on the Sydney stage between the plays (usually two, sometimes three plays a night) by local professional vocalists. Words: Come where the Aspens quiver / Down by the flowing river / Bring your guitar, bring your guitar / Sing me the Songs I Love. / Sing me of Fame and Glory, / Sing of the poor Maid’s story, / When he true love must leave her, / Call’d to the Holy war. // Come to the wild rose bower, / Come at the vesper hour, / Bring your guitar, bring your guitar / Sing me the Songs I Love. / Sing of affection slighted, / Sing me of fond hope blighted, / Sing of the Dewy flower, / Sing of the Evening Star. See here for the original London sheet music edition: https://archive.org/details/hartley00535542/page/n105/mode/2up (DIGITISED) 2022-08-12T00:00:00Z https://hdl.handle.net/2123/29398 John Barnett (1802-1890), Harry Stoe van Dyk (words): The light guitar [Oh! leave the gay and festive scenes]; Koen van Stade (tenor), Neal Peres Da Costa (pianoforte); Elizabeth Bay House, Sydney, 27 February 2022 Peres Da Costa, Neal; van Stade, Koen; Stephens, Matthew; Skinner, Graeme This theatre song, with its chivalric evocations of troubadors and guitars, was first popularised by a star theatrical singer in 1820s London, Madame (Lucia) Vestris. A decade later, in Sydney, the song was still being sung in concerts, as well as on the Sydney stage between the plays (usually two, sometimes three plays a night) by local professional vocalists. Words: Oh! leave the gay and festive scenes, / The halls, the halls of dazzling light, / And rove with me thro’ forests green, / Beneath the silent night. / Then as we watch the ling’ring rays, / That shine from ev’ry star, / I’ll sing the song of happier days, / And strike the light Guitar. // I’ll tell thee how the maiden wept / When her true night was slain, / And how her broken spirit slept, / And never woke again. / I’ll tell thee how the steed drew nigh, / And left his lord afar, / But if my tale should make thee sigh, / I’ll strike the light Guitar. See here for the original London sheet music edition: https://archive.org/details/hartley00535542/page/n237/mode/2up (DIGITISED) 2022-08-12T00:00:00Z https://hdl.handle.net/2123/29397 William Ellard (d. c. 1838/39): The much admired Australian quadrilles (Dublin and Sydney, 1835) (‘Dedicated by permission to Miss Hely of Engehurst’) [1] La Sydney; [2] La Wooloomooloo [sic]; [3] La Illawarra; [4] La Bong-Bong; [5] La Engehurst; Neal Peres Da Costa (pianoforte), Annie Gard (violin), Daniel Yeadon (violoncello); Elizabeth Bay House, Sydney, 27 February 2022 Peres Da Costa, Neal; Yeadon, Daniel; Gard, Annie; Stephens, Matthew; Skinner, Graeme Dublin-born Francis Ellard, Sydney’s earliest specialist music publisher, advertised his first sheet music titles late in 1835. Ellard engraved all of his later sheet music himself and had it printed here in Sydney, but in this first instance, he commissioned his brother William in Ireland to arrange the music, print it there in Dublin, and ship it out to the colony to be sold. The Ellards gave each of the quadrilles a local title. All five are based on tunes popular in the 1830s, including two still well-known today, in the first quadrille the grand march from Bellini’s ‘Norma’, and in the last the troop song ‘The girl I left behind me’. View the 1835 first edition of the sheet music here: https://trove.nla.gov.au/work/156931406 (TROVE record); https://nla.gov.au/nla.obj-179509547 (DIGITISED) 2022-08-12T00:00:00Z https://hdl.handle.net/2123/29396 Henry Rowley Bishop (1787-1856): Overture to Guy Mannering (arr. for pianoforte trio); Neal Peres Da Costa (pianoforte), Annie Gard (violin), Daniel Yeadon (violoncello); Elizabeth Bay House, Sydney, 27 February 2022 Peres Da Costa, Neal; Yeadon, Daniel; Gard, Annie; Stephens, Matthew; Skinner, Graeme Following quickly on its first publication, Walter Scott’s 1815 novel ‘Guy Mannering’ was adapted for the lyric stage as an opera produced in London the following year, with a score ‘composed, selected, and arranged’ by Henry Bishop. Bishop’s overture is a simple but effective medley of traditional and popular Scottish tunes, most of which were later also sung in the opera itself. Like that to ‘Lodoiska’, the overture was frequently performed in early colonial Sydney by bands, and also by pianists and other instrumentalists at home, performing from piano sheet music editions such as that engraved and published in Sydney by Francis Ellard (which the performers are playing from), and which can be viewed here: https://trove.nla.gov.au/work/24534315/version/29614773 (TROVE record); https://collection.sl.nsw.gov.au/record/74VvBxdkyzXM (DIGITISED) 2022-08-12T00:00:00Z https://hdl.handle.net/2123/29395 Henri Herz (1803-1838): Variations brillantes sur un thème favori de l'opéra de Zampa [by Hérold]; Neal Peres Da Costa (pianoforte); Elizabeth Bay House, Sydney, 27 February 2022 Peres Da Costa, Neal; Stephens, Matthew; Skinner, Graeme The French virtuoso pianist and composer Henri Herz was not only a star in Dublin and London, but was also well-known in 1830s Sydney, where pianos he had specially selected in London and Paris were exported to NSW and sold here by his friend William Vincent Wallace. Sheet music of Herz’s latest compositions was also highly sought after in Sydney, such as this set of ‘brilliant variations’ on a theme from Ferdinand Hérold’s new 1832 opera of ‘Zampa’. View the original sheet music here: https://imslp.org/wiki/Special:ReverseLookup/324999 2022-08-12T00:00:00Z https://hdl.handle.net/2123/29394 William Joseph Cavendish (1789-1839); Fairy quadrilles and waltzes (Sydney, 1833); first modern performance; Neal Peres Da Costa (pianoforte), Annie Gard (violin), Daniel Yeadon (violoncello); Elizabeth Bay House, Sydney, 27 February 2022 Peres Da Costa, Neal; Yeadon, Daniel; Gard, Annie; Stephens, Matthew; Skinner, Graeme Movements: [1] Pantalon (Radoma); [2] L’Été (Betanimena); [3] Poule (Kurry Jong); [4] Pastourelle (Woo-loo-moo-loo) [sic]; [5] Finale (Matitanana); [6] Waltz No. 1; [7] Waltz No. 2. Until he tragically drowned in Sydney Harbour during the annual regatta on 26 January 1839, Cavendish was a popular local teacher of music and dance, and a cellist and pianist in the theatre band. On first arriving in Sydney from London via Mauritius in 1833, he composed this set of music for ballroom dances, including two quadrilles with local Aboriginal titles, Woo-loo-moo-loo [sic] and Kurry Jong. The original 1833 manuscript of the music, along with Cavendish’s covering letter, sent from Sydney to his wife in London (now at the State Library of New South Wales), can be seen here: https://trove.nla.gov.au/work/235977419 (TROVE record); https://collection.sl.nsw.gov.au/record/1kVdqqxn/VadJlPQdNpQg (music - DIGITISED); https://collection.sl.nsw.gov.au/record/1kVdqqxn/8O2RmKAm42VPP (covering letter - DIGITISED). For more on Cavendish, see here: https://www.sydney.edu.au/paradisec/australharmony/cavendish-william-joseph.php 2022-08-12T00:00:00Z https://hdl.handle.net/2123/29393 Eliza Hamilton Dunlop (c.1796-1880), words: Your Eyes Have the Twin-Star's Light (Tune: The Foggy Dew) (Sydney, 1839); first modern performance; Koen van Stade (tenor), Neal Peres Da Costa (pianoforte); Elizabeth Bay House, Sydney, 27 February 2022 Peres Da Costa, Neal; van Stade, Koen; Stephens, Matthew; Skinner, Graeme The Irish poet Eliza Hamilton Dunlop arrived in NSW with her family in January 1838, and over the next two years her series of eight ‘Songs of exile’ were successively published in Sydney newspapers. The most famous of these is her lament for a murdered child, ‘The Aboriginal mother’, written in response to a recent colonial atrocity, the Myall Creek Massacre, and also included in this concert. The second song performed here, written for the Irish tune ‘Foggy dew’, is the lullaby of an emigrant mother to a beloved child she has left behind. Words (first verse only): Your eyes have the twin-star's light, ma croidhe, / Mo Cuisle INGHEAN ban; / And your swan-like neck is dear to me, / Mo Cailin og alain: / And dear is your fairy foot so light, / And your dazzling milk-white hand, / And your hair! it's a thread of the golden light / That was spun in the rainbow's band. The full words and music can be viewed here: https://www.sydney.edu.au/paradisec/australharmony/dunlop-eliza-hamilton.php#1839-your-eyes-have 2022-08-12T00:00:00Z https://hdl.handle.net/2123/29392 Eliza Hamilton Dunlop (c.1796-1880), words: The Aboriginal mother [Oh! hush thee - hush my baby] (Tune: ’Twas when the seas were roaring, G. F. Handel) (Sydney, 1838); first modern performance; Koen van Stade (tenor), Neal Peres Da Costa (pianoforte); Elizabeth Bay House, Sydney, 27 February 2022 Peres Da Costa, Neal; van Stade, Koen; Stephens, Matthew; Skinner, Graeme The Irish poet Eliza Hamilton Dunlop arrived in NSW with her family in January 1838, and over the next two years her series of eight ‘Songs of exile’ were successively published in Sydney newspapers. The most famous of these is her lament for a murdered child, ‘The Aboriginal mother’, written in response to a recent colonial atrocity, the Myall Creek Massacre, and to be sung to George Frederick Handel’s suitably melancholy theatre song, ‘’Twas when the seas were roaring’. Words (first verse only): Oh! hush thee - hush my baby, / I may not tend thee yet. / Our forest home is distant far, / And midnight's star is set. / Now, hush thee - or the pale-faced men / Will hear thy piercing wail, / And what would then thy mother's tears / Or feeble strength avail! The words in full and music of The Aboriginal mother can be viewed here: https://www.sydney.edu.au/paradisec/australharmony/dunlop-eliza-hamilton.php#1838-aboriginal-mother 2022-08-12T00:00:00Z https://hdl.handle.net/2123/29391 William Vincent Wallace (1812-1863), Robert Stewart (words): Echo’s song [Oh! I am Echo, Queen of sound] (Sydney, 1837); first modern performance; Koen van Stade (tenor), Neal Peres Da Costa (pianoforte); Elizabeth Bay House, Sydney, 27 February 2022 Peres Da Costa, Neal; van Stade, Koen; Stephens, Matthew; Skinner, Graeme For two years from early 1836 to early 1838, Sydney was home to the young Irish violinist, pianist and composer William Vincent Wallace. The musical offspring of leading local families lined up for the honour of receiving music lessons from him, and were the target market for the only two pieces of sheet music he published here. The first was ‘Echo’s song’, to words by Sydney attorney Robert Stewart, and dedicated to Wallace’s cousin, Maria Logan, who was herself later Sydney’s leading society piano teacher. The second was a set of original piano variations on a popular waltz by Johann Strauss II. Words (first verse only): Oh! I am Echo, Queen of sound, / Mid rocks and caves I roam, / Unseen I float the wide world round, / Or make the sea my home. / Upon the distant shore I sleep, / 'Till waked by Magic song; / Then climbing up the mountain steep, / I bear the notes along. The original Sydney sheet music edition of ‘Echo’s song’ can be viewed here: https://trove.nla.gov.au/work/24305586; (TROVE record); https://nla.gov.au/nla.obj-168749528 (Copy at the National Library of Australia, DIGITISED) 2022-08-12T00:00:00Z https://hdl.handle.net/2123/29386 Rodolphe Kreutzer (1766-1831): Overture to Lodoiska (arr. for pianoforte trio); Neal Peres Da Costa (pianoforte), Annie Gard (violin), Daniel Yeadon (violoncello); Elizabeth Bay House, Sydney, 27 February 2022 Peres Da Costa, Neal; Yeadon, Daniel; Stephens, Matthew; Skinner, Graeme; Gard, Annie The English comic opera Lodoiska, a pasticcio (or compilation) from several continental operas of the same name, was first performed in London in 1794, and its overture, drawn from Kreuzter’s 1791 Paris Lodoiska, remained a favourite with British audiences for decades thereafter. It was equally popular in Sydney, as regularly played by military bandsmen in the Domain and at the theatre, and in sheet music piano solo arrangements, such as that published in Sydney by Francis Ellard (copies of which the performers are playing from) and which can be viewed here: https://trove.nla.gov.au/work/201858007/version/37685687 (TROVE record); https://nla.gov.au/nla.obj-168118404 (Copy at the National Library of Australia, DIGITISED) 2022-08-10T00:00:00Z https://hdl.handle.net/2123/29315 Concert, ‘On the Plains of Emu’ - Settler Art Music in Early NSW, Elizabeth Bay House, Sydney, 27 February 2022; presented by Sydney Living Museums and the Hearing the Music of Early NSW 1788-1860 project; Koen van Stade (tenor); Neal Peres Da Costa (pianoforte), Annie Gard (violin), Daniel Yeadon (violoncello) – on historically appropriate instruments Peres Da Costa, Neal; Skinner, Graeme; Stephens, Matthew; Gard, Annie; Yeadon, Daniel; van Stade, Koen This selection recreates a typical household entertainment of songs, dances, and piano music, as might have been ‘got up’ by musical members and guests of wealthier ‘gentry’ and merchant families in 1830s NSW. All of the pieces chosen are documented as having been performed, published, or popularly regarded in Sydney during that decade, many on several or repeated occasions. Two particular families, both with musically active daughters and sons, are ‘channelled’ in our selection; the Macleays of Elizabeth Bay House, who were also ‘at home’ in the country at Brownlow Hill near Camden – their Scottish ancestry is recalled in the Guy Mannering Overture; and the Helys of Engehurst in what is now Ormond Street, Paddington, who came from County Tyrone, Ireland - to them, the Australian Quadrilles, last on the program, were originally dedicated on their first publication in 1835. PART 1 [1] Rodolphe Kreutzer (1766-1831): Overture to Lodoiska (arr. for pianoforte trio) [2] William Vincent Wallace (1812-1863); words, Robert Stewart (c.1806-1849): Echo’s Song (Sydney, 1837) – FIRST MODERN PERFORMANCE [3] Words by Eliza Hamilton Dunlop (c.1796-1880): The Aboriginal Mother (Tune: ’Twas when the seas were roaring, G. F. Handel) (Sydney, 1838) – FIRST MODERN PERFORMANCE [4] Words by Eliza Hamilton Dunlop (c.1796-1880): Your Eyes Have the Twin-Star's Light (Tune: The Foggy Dew, arr. Edward Bunting) (Sydney, 1839) – FIRST MODERN PERFORMANCE [5] William Joseph Cavendish (1789-1839): Fairy Quadrilles and Waltzes (Sydney, 1833) – FIRST MODERN PERFORMANCE (arr. for pianoforte trio): [i] Pantalon (Radoma); [ii] L’Été (Betanimena); [iii] Poule (Kurry Jong); [iv] Pastourelle (Woo-loo-moo-loo) [sic]; [v] Finale (Matitanana); [vi] Waltz No. 1; [vii] Waltz No. 2 PART 2 [1] Henry Rowley Bishop (1787-1856): Overture to Guy Mannering (arr. for pianoforte trio) [2] John Barnett (1802-1890), music; Harry Stoe van Dyk (1797-1828), words: The Light Guitar [3] Alexander Lee (1802-1851), music; Thomas Haynes Bayly (1797-1839), words: Come Where the Aspens Quiver [4] Henri Herz (1803-1838): Variations brillantes sur un thème favori de l'opéra de Zampa [by Hérold] [5] Words by ‘M, of Anambaba’ (John McGarvie): The Exile of Erin on the Plains of Emu (Tune: The Exile of Erin) (Sydney, 1829) [6] William Ellard (d. c. 1838/39): The Much Admired Australian Quadrilles (Dublin and Sydney, 1835) (arr. for pianoforte trio): [i] La Sydney; [ii] La Wooloomooloo [sic]; [iii] La Illawarra; [iv] La Bong-Bong; [v] La Engehurst 2022-01-01T00:00:00Z https://hdl.handle.net/2123/29134 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 https://hdl.handle.net/2123/28800 Concert, From the Sydney Amateur Concerts 1826, SCM Early Music Ensemble, Neal Peres Da Costa (director), Sydney Conservatorium of Music, 27 May 2021 Peres Da Costa, Neal; Troy, Jakelin; Harris, Amanda; Martin, Toby; Skinner, Graeme; Tobin, Jacinta This is a live audio-visual recording of a public concert that recreated a unique colonial concert experience. The featured musical works are drawn from the programs of the first ever series of public concerts held in Sydney 195 years ago, The Sydney Amateur Concerts of 1826, and are performed on instruments of the period, and in an historically informed manner. The music includes orchestral and instrumental works by Mozart, Corelli, Pleyel, Samuel Arnold, and only the second Australian performance (after that of 1826) of Hyacinthe Jardin's Ouverture for winds (c. 1795). The vocal music includes songs and glees by Samuel Webbe, William Shield, John Wall Callcott, and William Horsley. Also included are performances of two versions of an Aboriginal women's song of the Ngarigu people (Monaro plains): the first in the Westernised transcription for solo voice and piano as published by John Lhotsky as 'A Song of the Women of the Menero Tribe' (Sydney 1834, the earliest piece of sheet music published in NSW); and the second in a restored traditional version, 'Gundji gawalgu yuri' (Linda Barwick and Jakelin Troy 2021), the performers including Ngarigu women singers. Full program details of the concert and the names of all the orchestral, instrumental, and vocal performers are contained in the PDF file. 2022-06-09T00:00:00Z https://hdl.handle.net/2123/28767 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 https://hdl.handle.net/2123/28765 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 https://hdl.handle.net/2123/28763 ‘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 https://hdl.handle.net/2123/28762 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 https://hdl.handle.net/2123/28761 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 https://hdl.handle.net/2123/28417 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 https://hdl.handle.net/2123/28219 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 https://hdl.handle.net/2123/20394.2 Mirrwana and wurrkama: applying an Indigenous knowledge framework to collaborative research on ceremonies Ford, Payi Linda; Barwick, Linda; Marett, Allan This chapter outlines how Ford, Barwick and Marett have collaborated to develop, implement, and critically evaluate a research project that integrates and remains true to both Indigenous and western academic knowledge systems. The context is the ceremonies of the Tyikim people from remote, rural and urban areas in the Wagait-Daly region of the Top End of Northern Territory, and in particular, the series of ceremonies that followed the death of Ford’s mother in 2007. We outline the processes of Indigenous and non-Indigenous collaboration that underpinned the performance and documentation of the ceremonies and, more specifically, how this process can be seen through the Indigenous knowledge framework mirrwana-wurrkama, developed by Ford based on her family’s traditional cycad nut processing practices. 2014-01-01T00:00:00Z https://hdl.handle.net/2123/27976 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 https://hdl.handle.net/2123/27878 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 https://hdl.handle.net/2123/27868 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 https://hdl.handle.net/2123/27700 Sharing and storing digital cultural records in Central Australian Indigenous communities Vaarzon-Morel, Petronella; Barwick, Linda; Green, Jennifer This article considers how Indigenous peoples in Central Australia share and keep digital records of events and cultural knowledge in a period of rapid technological change. To date, research has focused upon the development of digital archives and platforms that reflect Indigenous epistemologies and incorporation of protocols governing access to information. Yet there is scant research on how individuals with little access to such media share and hold—or not, as the case may be—digital cultural information. After surveying current enabling infrastructures in Central Australia, we examine how materials are held and shared when people do not have easy access to databases and the Internet. We analyze examples of practices of sharing materials to draw out issues that arise in managing storage and circulation of cultural records via Universal Serial Bus (USB) flash drives, mobile phones, and other devices. We consider how the affordances of various platforms support, extend, and/or challenge Indigenous socialities and ontologies. 2021-01-01T00:00:00Z https://hdl.handle.net/2123/27457 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 https://hdl.handle.net/2123/25564 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 https://hdl.handle.net/2123/24592 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 https://hdl.handle.net/2123/24591 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 https://hdl.handle.net/2123/24519 Raising the musical self-efficacy of classroom teachers: best practice collaborative strategies for visiting artists Cortez, Karen This study aimed to investigate the collaborative possibilities of a modified single visit format to support the musical self-efficacy of teachers. A “truncated” action research model (Cain, 2008) was used to demonstrate at a methodological level the importance of teacher involvement in this process. The ensemble Quart-Ed worked with four teachers from Banana School over the course of two collaborative meetings in preparation for delivering a program for their classes. Using interviews, fieldnotes, video recordings, and formal and informal reflection from all participants at every stage of the process, numerous strategies for positive teacher-artist collaboration were identified that increased musical self-efficacy or fostered a sense of ownership of the program. Some attempted strategies were less successful and modified versions are suggested for future cycles of action research. The results of this study suggest that the modified single-visit format has strong potential to positively impact teacher musical self-efficacy and is a possible solution for artists wishing to encourage the musical capabilities of the teacher with whom they interact. 2021-02-12T00:00:00Z https://hdl.handle.net/2123/24242 Variation or contamination? Narrative instability in the Italian traditional song Donna lombarda Barwick, Linda This paper arises out of my doctoral research (Barwick 1985), which examined a large sample of documented versions of the Italian traditional narrative song (or 'ballad', to adopt the term by which such strophic narrative songs are generally known elsewhere in Europe), Donna lombarda (Nigra 1). In this sample of 479 , 120 of which were accompanied by musical information, no two versions were exactly alike . It became increasingly clear to me in the course of my research that neither melodic, musical, formulaic nor narrative analysis would yield a stable definition of the song; indeed, such detailed analysis forced me to confront the impossibility of reducing the song to a neat abstraction of any kind . Instead of talking of the 'song' Donna lombarda, I suggested we should rather discuss it as a 'song tradition'. The overall picture of narrative change given by the examination of narrative variation in the Italian versions of Donna lombarda supports a view of the song tradition as an inherently unstable process that can no more be defined in terms of a particular plot than in terms of a particular textual or melodic realisation; rather it is a temporal process, whose realisation is contingent upon the conditions of its performance. What are some of the implications of this perspective for consideration of the interaction of one song tradition with another, in other words, for the consideration of what has been in the past conceived as 'contamination' of two (presumably pure) essential songs? I will approach this point via a brief demonstration of the inherent instability of the narrative of the Donna lombarda song tradition as revealed in the documents analysed. 1994-01-01T00:00:00Z https://hdl.handle.net/2123/24241 Women as performers and agents of change in the Italian ballad tradition Barwick, Linda What is lost when performances of orally-transmitted traditional songs are transcribed and published as written documents? This question arose for me as a result of the lack of connection I found between my experiences as a performer of Italian traditional songs and the ways in which the subject was treated by academic folklorists, among others, whose analyses tended to be centred in the content of the written documents. In particular, the concern of the written academic tradition with the "problem" of variation seemed to presuppose that staticity was normal, and yet my experience as a performer was that the unfolding of each performance in a unique context led inevitably to differences in the details. And all those differences were explainable in experiential terms; for example, I might sing in a different key depending on the current state of my voice, or I might leave out part of a song because I felt uncomfortable with the performance situation, or because I was singing with other people who knew a different version of the song. I came to believe that the reason academics expected uniformity between performances was related to the normality of exact reproduction inthe print media, and that in order to understand variation in the documents of an orally transmitted performance tradition it was necessary to ground the analysis in an awareness of the actual conditions of performance of the songs: even though the particular experiences that would explain the form of each document are no longer accessible, an awareness of the types of experience affecting performance seemed to me to lead to very different ways of interpreting and approaching the documents as a body of data. In particular, the written documents could no longer be seen as self-sufficient items of information, but rather represented a series of incomplete records of random moments in the continuing process of performance within an otherwise unwritten oral tradition . 1992-01-01T00:00:00Z