http://hdl.handle.net/2123/1307 Papers by members of the PARADISEC project. 2013-05-21T17:03:56Z http://hdl.handle.net/2123/8935 Title: Arriving, digging, performing, returning: an exercise in rich interpretation of a djanba song text in the sound archive of the Wadeye Knowledge Centre, Northern Territory of Australia Authors: Barwick, Linda; Marett, Allan; Blythe, Joe; Walsh, Michael Abstract: This article covers issues around song language interpretation and documentation in relation to a djanba song in Murriny Patha language composed by Lawrence Kolumboort (djanba 11). Description: Submitted with the permission of the volume editor, Prof. R.M. Moyle. 2007-01-01T00:00:00Z http://hdl.handle.net/2123/8931 Title: Barwick, L. (1994). The Filipino komedya and the Italian maggio: cross-cultural perspectives on related genres of popular music theatre Authors: Barwick, Linda Abstract: The Filipino komedya and the Italian maggio are contemporary traditions of sung popular theatre that use written librettos drawing on European chivalrous verse romances. Their present-day forms, themes and performance practice reflect the intercultural contact and conflict that have characterised their histories. After introducing case studies drawn from the Filipino komedya and the Italian maggio, the paper surveys the history of performance traditions associated with the chivalrous romance, including review of contemporary survivals in a number of performance media, and the use of writing in these and other popular traditions. In order to explain the striking parallels in present-day manifestations of both komedya and maggio, it is necessary to grasp the complex but largely hidden history of dramatic performances that have accompanied the published verse romances. Description: This paper has been archived in PARADISEC as part of collection LB1, "Luna and Burgos (Ilocos Sur) (1993) and Vigan (Ilocos Sur) (1995)". Linda Barwick (collector), Linda Barwick (author), 1994; Article by Linda Barwick on 'The Filipino komedya and the Italian maggio', PDF, http://catalog.paradisec.org.au/collections/LB1/items/ARTICLE 2013-02-12. 1994-01-01T00:00:00Z http://hdl.handle.net/2123/7906 Title: ‘Scolpire le parole’ [sculpting the words]: Context sensitivity in vocal and movement performance style of the Tuscan Maggio. Authors: Barwick, Linda Abstract: In the maggio (sung popular theatre) of the Garfagnana valley north of Lucca, the main dimensions open to improvisation, and thus to context sensitivity, are music and movement. The song session, lasting about three hours, is defined by the enactment of a written text, consisting of about 170 stanzas and read to performers a line at a time by an on-stage prompt. The same text is presented on a number of occasions through the summer months in a number of different outdoor venues. Whether performances take place in a clearing in the chestnut forest on a Sunday afternoon or, at night-time, in a piazza within one of the many small towns in the Garfagnana valley, the audience members who surround the performance space are vociferous in their applause and shouted encouragement for particularly appropriate and/or well-executed embellishments to the vocal line and movements (including stylised gestures and sword-fights). Within the Garfagnana, particular characteristics of music and movement have been traditionally associated with different localities. These days, the situation is considerably more complex, as massive emigration and other social changes have decreased the pool of performers and necessitated the formation of companies comprising members from a number of different localities. In addition, improved transport networks have meant that companies from the neighbouring Emilian area occasionally perform in the Garfagnana, so that performers and audiences are exposed to a much wider variety of performance styles than would have been possible in the past. Analysis reveals that rather than singing a fixed melodic contour, singers enjoy a considerable degree of flexibility in performance of the standard stanzaic melody. While most stanzas will be performed in a style associated with the singer's place of origin, other possibilities are available, which may be exploited depending on the contour being used by the other singers (some of whom may come from distant localities using a different style), on the place of performance (and thus the style most appreciated by the local audience), and, importantly, on the context within the narrative. Unusual contours and exceptionally elaborate ornamentation may be used to mark particularly important dramatic or emotional points in the text. Musical and movement aspects of the performance are thus responsive to the performance group, to the dramatic text, and to the audience. 1995-01-01T00:00:00Z http://hdl.handle.net/2123/7711 Title: Italian traditional music in Adelaide Authors: Barwick, Linda Abstract: This article questions the framing of Italian and other immigrant music traditions within Australian folklore studies. It discusses the fundamental diversity of regional musical cultures brought by Australia's immigrants from Italy and some examples of performances in various contexts in Adelaide in the 1970s and 1980s. Includes musical transcriptions and English translations of song texts. 1987-01-01T00:00:00Z http://hdl.handle.net/2123/7114 Title: “An ample and very poetical narrative”: the vicissitudes of “La Pia” between the literary and oral traditions. Authors: Barwick, Linda Abstract: In the nearly seven hundred years since Dante's Purgatorio first appeared, the story of “La Pia” (Purgatorio V, 130-136), a Sienese woman who died under mysterious circumstances in the Maremma region, has generated much speculation as to her identity and the possible reasons for Dante's having situated this courteous but cryptic soul amongst the negligenti of antePurgatorio. These seven scant lines, placed at the very end of Canto V of Purgatorio, continue to give rise not only to a plethora of commentaries (surveyed and analysed in Diana Glenn's recent work)3, but also to a significant body of creative works that have expanded, elaborated and explored the fragmentary history of Pia. This paper concentrates on the circulation and dissemination of theatrical works drawing on the Pia story in the 19th and 20th centuries, with special emphasis on the Tuscan maggio, a form of sung popular theatre still performed in northwestern Tuscany today. There, La Pia is known to Maggio audiences, as indeed she was to Dante scholars until the end of the nineteenth century, by the name of “Pia de' Tolomei,” and her story unfolds over the course of about three hours. 2005-01-01T00:00:00Z http://hdl.handle.net/2123/5389 Title: THE LAST BIWA SINGER: A Japanese Blind Musician in History, Imagination and Performance Authors: de Ferranti, Hugh Abstract: This book concerns the traditions of Japanese blind musicians and ritualists who accompanied themselves on the biwa, as embodied in the music and identity of Yamashika Yoshiyuki (1901-1996). Yamashika was the last person to have earned his income from performing a repertory of musical tales, songs and rites with biwa (a four-stringed lute), and to many seemed like a twentieth-century apparition of the blind bards who first performed the Tale of the Heike and other canonical medieval narratives. Yamashika’s identity as a musician and individual was far more complex, but he became well known as "the last biwa hōshi" and was the subject of books, media programs, and a feature-length documentary film. An apparent living relic of a Japan long vanished, Yamashika even appeared in the New York Times in his last years. The author draws upon approaches from Japanese historical and literature studies, performance studies and ethnomusicology in an examination of history, which yielded on the one hand images of blind singers that still circulate in Japan and on the other a particular tradition of musical story-telling and rites in regional Kyushu, of representations of Yamashika in diverse media, of his experiences training for and making a living as a professional performer and ritualist from the 1920s on, and of the oral compositional process in performances made between 1989 and 1992. Description: Item HDF1-YY46-A from the Paradisec archive - Yamashika performance of the second dan of the tale "Shuntokumaru", recorded March 7th, 1989. 2009-01-01T00:00:00Z http://hdl.handle.net/2123/1337 Title: The National Recording Project for Indigenous Performance in Australia: year one in review Authors: Marett, Allan; Yunupingu, Mandawuy; Langton, Marcia; Gumbula, Neparrnga; Barwick, Linda; Corn, Aaron Abstract: The National Recording Project for Indigenous Performance in Australia was conceived at Gunyangara in Arnhem Land during the inaugural Indigenous Performance Symposium in August 2002. The symposium was funded by the Australian Institute for Aboriginal and Torres Strait Islander Studies (AIATSIS) and hosted by the Yothu Yindi Foundation (YYF) as part of the fourth Garma Festival of Traditional Culture. Indigenous communities have used recording technologies to circulate and support the inter-generational transmission of their performance traditions for several decades now. Many Indigenous performers now keep recordings of their forebears’ past performances and listen to them for inspiration before performing themselves. In recent years, community digital archives have been set up in various Australian Indigenous communities. Not only can recordings reinforce memory and facilitate the recovery of lost repertoire, they can also provide inspiration for creative extensions of tradition. This paper reports on the outcomes of pilot studies undertaken in 2005 to develop and trial appropriate procedures and methodologies, and establish infrastructure requirements for the project. Ultimately, the National Recording Project for Indigenous Performance in Australia hopes to aid Indigenous communities in sustaining cultural survival by stimulating lifelong interest in performance traditions through its serial recording and documentation initiatives, and the collections that it will deposit in local repositories for perpetual community access. Description: Permission to archive granted by Lindsay Read on behalf of the Australia Council for the Arts, 4 December 2006. 2006-01-01T00:00:00Z http://hdl.handle.net/2123/1332 Title: “An ample and very poetical narrative”: the vicissitudes of “La Pia” between the literary and oral traditions Authors: Barwick, Linda Abstract: In the nearly seven hundred years since Dante's Purgatorio first appeared, the story of “La Pia” (Purgatorio V, 130-136), a Sienese woman who died under mysterious circumstances in the Maremma region, has generated much speculation as to her identity and the possible reasons for Dante's having situated this courteous but cryptic soul amongst the negligenti of antePurgatorio. These seven scant lines, placed at the very end of Canto V of Purgatorio, continue to give rise not only to a plethora of commentaries, but also to a significant body of creative works that have expanded, elaborated and explored the fragmentary history of Pia. This paper concentrates on the circulation and dissemination of theatrical works drawing on the Pia story in the 19th and 20th centuries, with special emphasis on the Tuscan maggio, a form of sung popular theatre still performed in northwestern Tuscany today. There, La Pia is known to Maggio audiences, as indeed she was to Dante scholars until the end of the nineteenth century, by the name of “Pia de' Tolomei,” and her story unfolds over the course of about three hours. How have seven lines from Dante managed to expand to fill three hours of Maggio performance? The story is a long but fascinating one. Description: Permission to archive from Diana Glenn, Flavia Coassin and Margaret Baker received 3 December 2006 2005-01-01T00:00:00Z http://hdl.handle.net/2123/1321 Title: Cybraries in paradise: new technologies and ethnographic repositories. Authors: Barwick, Linda; Thieberger, Nicholas Abstract: Digital technologies are altering research practices surrounding creation and use of ethnographic field recordings, and the methodologies and paradigms of the disciplines centered around their interpretation. In this chapter we discuss some examples of our current research practices as fieldworkers in active engagement with cultural heritage communities documenting music and language in the Asia- Pacific region, and as developers and curators of the digital repository PARADISEC (the Pacific and Regional Archive for Digital Sources in Endangered Cultures: <http://paradisec.org.au>). We suggest a number of benefits that the use of digital technologies can bring to the recording of material from small and endangered cultures, and to its re-use by communities and researchers. We believe it is a matter of social justice as well as scientific interest that ethnographic recordings held in higher education institutions should be preserved and made accessible to future generations. We argue that, with appropriate planning and care by researchers, digitization of research recordings in audiovisual media can facilitate access by remote communities to records of their cultural heritage held in higher education institutions to a far greater extent than was possible in the analog age. Description: Note: This is a postprint, with the pagination adjusted to match the published version for citation. Used with permission from Lawrence Erlbaum Associates (30 November 2006). Visit http://www.erlbaum.com to purchase a copy of the book. 2006-01-01T00:00:00Z http://hdl.handle.net/2123/1317 Title: Networking digital data on endangered languages of the Asia Pacific region Authors: Barwick, Linda Abstract: Since the invention of audio-visual recording technologies in the late nineteenth century, scholars of languages, cultures and musics from around the world have enthusiastically embraced the potential of portable recording technologies — initially audio, and since the 1970s, video — to capture the events that they study. Because of the changing nature of people, societies and technologies, many ethnographic recordings have outlasted the people, traditions and even languages that they recorded. These research recordings now have immense significance not only for researchers but also for the descendants of the people recorded and the cultural heritage communities whose traditions and languages they encode, yet they are more endangered than ever because of the current crisis of format obsolescence for many of the most common audio- and video-recording formats used in the 20th century. This paper discusses issues for finding and preserving these important cultural documents, many of which are held in private collections, or small research collections in Universities or local cultural museums. Many small archives do not have the funding or expertise to digitise and preserve their analogue audiovisual collections. There is some scope for optimism, however, because significant opportunities for collaboration across institutional and even national boundaries have been opened up by emerging high-bandwidth networking and distributed storage technologies. These enable distributed facilities for storage and management of archived research data. Digital technologies can also facilitate including the relevant cultural community collaborations to look after and manage significant audiovisual recordings. The paper discusses these issues through a case study of PARADISEC (the Pacific and Regional Archive for Digital Sources in Endangered Cultures) (http://www.paradisec.org.au), an Australian project established in 2003 by the Universities of Sydney, Melbourne and the Australian National University to preserve and make accessible Australian researchers’ field recordings in the Asia-Pacific region. 2005-01-01T00:00:00Z http://hdl.handle.net/2123/1316 Title: PARADISEC: Background statement for the APAC Data Collections workshop, 18 October 2005 Authors: Barwick, Linda Abstract: PARADISEC (http://www.paradisec.org.au) is a cross-institutional research initiative established in 2003 by the Universities of Sydney, Melbourne and the Australian National University, joined in 2004 by the University of New England. Funded by the Australian Research Council's Linkage Infrastructure Equipment and Facilities Programme, participant institutions and Grangenet, PARADISEC offers a web-enabled facility for collaborative digitisation, management and access to Australian researchers' ethnographic recordings of endangered languages and musics of the Asia Pacific region. The collection is housed in APAC’s store facility, where it is managed by Stuart Hungerford. Since portable field recording equipment became readily available in the 1950s, many thousands of hours of ethnographic recordings have been made by Australian researchers. These unique and irreplaceable records are now in danger of being lost to future generations because of the impending obsolescence of analogue recording formats, deterioration of the original tapes, and orphaning of the collections as their creators retire or die. Before PARADISEC, there was no Australian repository available to salvage recordings made in the Asia-Pacific region. Indexing orphaned collections preparatory to digitisation was an important step in itself: our catalogue of 2400 records currently includes data on 390 languages from 50 countries in our region, previously inaccessible information that is now accessible worldwide via our web catalogue. As well as salvaging old recordings, we provide a facility for deposit and management of current research collections and advice on data creation and management for researchers planning future field trips. Our data collection hosts material recorded as long ago as the early 1950s and as recently as 2005. 2006-11-29T10:57:21Z http://hdl.handle.net/2123/1315 Title: Planning for PARADISEC Authors: Barwick, Linda Abstract: PARADISEC is a collaborative digital research resource set up by the University of Sydney, the University of Melbourne and the Australian National University in 2003, with funding from the Australia Research Council's Linkage Infrastructure Equipment and Facilities scheme. Conceived and created in cyberspace, the project locates its digitisation equipment at the University of Sydney, its website at ANU, and metadata database at the University of Melbourne, with researcher contributions from all three Universities. Current planning issues concern provision of appropriate levels of digital rights management and access for the many stakeholder communities located throughout the Asia-Pacific region. This presentation outlines the principles that have guided us in planning and implementation of PARADISEC. 2003-01-01T00:00:00Z http://hdl.handle.net/2123/1314 Title: Endangered songs and endangered languages. Authors: Marett, Allan; Barwick, Linda Abstract: It is widely reported in Australia and elsewhere that songs are considered by culture bearers to be the “crown jewels” of endangered cultural heritages whose knowledge systems have hitherto been maintained without the aid of writing. It is precisely these specialised repertoires of our intangible cultural heritage that are most endangered, even in a comparatively healthy language. Only the older members of the community tend to have full command of the poetics of song, even in cases where the language continues to be spoken by younger people. Taking a number of case studies from Australian repertories of public song (wangga, yawulyu, lirrga, and junba), we explore some of the characteristics of song language and the need to extend language documentation to include musical and other dimensions of song performances. Productive engagements between researchers, performers and communities in documenting songs can lead to revitalisation of interest and their renewed circulation in contemporary media and contexts. 2003-01-01T00:00:00Z http://hdl.handle.net/2123/1313 Title: A musicologist’s wishlist: some issues, practices and practicalities in musical aspects of language documentation. Authors: Barwick, Linda Abstract: This paper summarises some of the issues that have arisen for me in my collaborations with linguists in documentation of Australian song. It provides pointers for recording techniques and guidelines as to some of the things that musicologists would like to know about musical performance, especially in the case of musical traditions and practices transmitted orally within small language groups (as is typically the case for documentation of musical traditions in endangered languages). 2006-01-01T00:00:00Z http://hdl.handle.net/2123/1297 Title: EOPAS, the EthnoER online representation of interlinear text Authors: Schroeter, Ronald; Thieberger, Nicholas 2006-01-01T00:00:00Z http://hdl.handle.net/2123/1290 Title: Powerless in the field: a cautionary tale of digital dependencies Authors: Honeyman, Tom 2006-01-01T00:00:00Z http://hdl.handle.net/2123/1288 Title: Sustainable data from digital fieldwork: the state of the art (Sydney, 2006) Authors: Barwick, Linda 2006-01-01T00:00:00Z http://hdl.handle.net/2123/140 Title: Resultatives Authors: Simpson, Jane Abstract: This paper looks at the syntactic and semantic conditions in English on resultative attributes, which describe the state of an entity resulting from the action denoted by the main predicate. It is argued that these entities are expressed as the objects of transitive verbs, and the subject of intransitive unaccusative verbs. A fake object construction is required for a resultative to describe the state of an entity expressed as the subject of an intransitive unergative verb or an indefinite object-deleting verb. 1983-01-01T00:00:00Z