Guide to Alice Moyle Materials at AIATSIS
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Including Music and the Temporal Arts in Language Documentation. in N
Linda Barwick University of Sydney Barwick, Linda. (2012). Including music and the temporal arts in language documentation. In N. Thieberger (Ed.), The Oxford Handbook of Linguistic Fieldwork (pp. 166-179). Oxford, UK: Oxford University Press. Postprint version, with page numbers edited to match the published version. 1 Including music and the temporal arts in language documentation Linda Barwick This chapter is intended for linguistic researchers preparing to undertake fieldwork, probably documenting one of the world’s many small or endangered languages. Recognising that linguists have their own priorities and methodologies in language documentation and description, I will advance reasons for including in your corpus the song and/or instrumental music that you are almost certain to encounter in the course of your fieldwork. I start by providing an overview of current thinking about the nature and significance of human musical capacities and the commonly encountered types, context and significance of music, especially in relation to language. Since research funding usually precludes having a musicologist tag along in the original fieldwork, I will suggest some topics for discussion that would be of interest to musicologists, and make some suggestions for what is needed on a practical level to make your recordings useful to 166 musicologists at a later date. I comment on the technical and practical requirements for a good musical documentation and how these might differ from language documentation, and also provide some suggestions on a workflow for field production of musical recordings for community use. Examples taken from my own fieldwork are intended to provide food for thought, and not to imply that music and dance traditions in other societies are necessarily structured in comparable ways. -
Endangered Songs and Endangered Languages
Endangered Songs and Endangered Languages Allan Marett and Linda Barwick Music department, University of Sydney NSW 2006 Australia [[email protected], [email protected]] Abstract Without immediate action many Indigenous music and dance traditions are in danger of extinction with It is widely reported in Australia and elsewhere that songs are potentially destructive consequences for the fabric of considered by culture bearers to be the “crown jewels” of Indigenous society and culture. endangered cultural heritages whose knowledge systems have hitherto been maintained without the aid of writing. It is precisely these specialised repertoires of our intangible The recording and documenting of the remaining cultural heritage that are most endangered, even in a traditions is a matter of the highest priority both for comparatively healthy language. Only the older members of Indigenous and non-Indigenous Australians. Many of the community tend to have full command of the poetics of our foremost composers and singers have already song, even in cases where the language continues to be spoken passed away leaving little or no record. (Garma by younger people. Taking a number of case studies from Statement on Indigenous Music and Performance Australian repertories of public song (wangga, yawulyu, 2002) lirrga, and junba), we explore some of the characteristics of song language and the need to extend language documentation To close the Garma Symposium, Mandawuy Yunupingu to include musical and other dimensions of song and Witiyana Marika performed, without further performances. Productive engagements between researchers, comment, two djatpangarri songs—"Gapu" (a song performers and communities in documenting songs can lead to about the tide) and "Cora" (a song about an eponymous revitalisation of interest and their renewed circulation in contemporary media and contexts. -
Theory and Analysis of Melody in Balinese Gamelan
RELATING THE PRESENT TO THE PAST THOUGHTS ON THE STUDY OF MUSICAL CHANGE AND CULTURE CHANGE IN ETHNOMUSICOLOGY Bruno Nettl http://www.muspe.unibo.it/period/MA/index/number1/nettl1/ne1.htm The relationship of past to present is one of the principal issues in all human cultures. It is also perhaps the most important task of many areas of scholarship, and in different ways, of musicology and anthropology. In ethnomusicology and in anthropology, one of the principal ways of associating past to present has been through the concepts of culture change and musical change, the idea that something that a society maintains and shares can change in character or in detail and yet remain essentially the same. I would like to approach the relationship of past and present through this concept. It is an immense subject, and you will understand why I have had problems finding ways to grasp it. To deal with it properly might require that one define culture and music and then change, to say nothing of providing a bibliography. But instead, as a more modest goal, I would like to try to circumscribe the subject by mentioning and discussing a few of the issues that dominate this area of endeavor, phrasing each in terms of a widely accepted generalization and then illustrating each with something from my experience. The ultimate concern of musicology has always been the nature of musical change. The majority of musicologists, who see themselves mainly as music historians, have tried to show that there is a systematic way in which music proceeds from past to present, using, for example, the concept of periods, the significance of biography, the belief that similarity or identity must usually be explained by contact and influence. -
Cimf20201520program20lr.Pdf
CONCERT CALENDAR See page 1 Beethoven I 1 pm Friday May 1 Fitters’ Workshop 6 2 Beethoven II 3.30 pm Friday May 1 Fitters’ Workshop 6 3 Bach’s Universe 8 pm Friday May 1 Fitters’ Workshop 16 4 Beethoven III 10 am Saturday May 2 Fitters’ Workshop 7 5 Beethoven IV 2 pm Saturday May 2 Fitters’ Workshop 7 6 Beethoven V 5.30 pm Saturday May 2 Fitters’ Workshop 8 7 Bach on Sunday 11 am Sunday May 3 Fitters’ Workshop 18 8 Beethoven VI 2 pm Sunday May 3 Fitters’ Workshop 9 9 Beethoven VII 5 pm Sunday May 3 Fitters’ Workshop 9 Sounds on Site I: 10 Midday Monday May 4 Turkish Embassy 20 Lamentations for a Soldier 11 Silver-Garburg Piano Duo 6 pm Monday May 4 Fitters’ Workshop 24 Sounds on Site II: 12 Midday Tuesday May 5 Mt Stromlo 26 Space Exploration 13 Russian Masters 6 pm Tuesday May 5 Fitters’ Workshop 28 Sounds on Site III: 14 Midday Wednesday May 6 Shine Dome 30 String Theory 15 Order of the Virtues 6 pm Wednesday May 6 Fitters’ Workshop 32 Sounds on Site IV: Australian National 16 Midday Thursday May 7 34 Forest Music Botanic Gardens 17 Brahms at Twilight 6 pm Thursday May 7 Fitters’ Workshop 36 Sounds on Site V: NLA – Reconciliation 18 Midday Friday May 8 38 From the Letter to the Law Place – High Court Barbara Blackman’s Festival National Gallery: 19 3.30 pm Friday May 8 40 Blessing: Being and Time Fairfax Theatre 20 Movers and Shakers 3 pm Saturday May 9 Fitters’ Workshop 44 21 Double Quartet 8 pm Saturday May 9 Fitters’ Workshop 46 Sebastian the Fox and Canberra Girls’ Grammar 22 11 am Sunday May 10 48 Other Animals Senior School Hall National Gallery: 23 A World of Glass 1 pm Sunday May 10 50 Gandel Hall 24 Festival Closure 7 pm Sunday May 10 Fitters’ Workshop 52 1 Chief Minister’s message Festival President’s Message Welcome to the 21st There is nothing quite like the Canberra International Music sense of anticipation, before Festival: 10 days, 24 concerts the first note is played, for the and some of the finest music delights and surprises that will Canberrans will hear this unfold over the 10 days of the Festival. -
Walakandha Wangga
Walakandha Wang ga Archival recordings by Marett et al. Notes by Marett, Barwick & Ford 1 THE INDIGENOUS MUSIC OF AUSTRALIA CD6 Ambrose Piarlum dancing wangga at a Wadeye circumcision ceremony, 1992. Photograph by Mark Crocombe, reproduced with the permission of Wadeye community. Walakandha Wangga THE INDIGENOUS MUSIC OF AUSTRALIA CD6 Archival recordings by Allan Marett, with supplementary recordings by Michael Enilane, Frances Kofod, William Hoddinott, Lesley Reilly and Mark Crocombe; curated and annotated by Allan Marett and Linda Barwick, with transcriptions and translations by Lysbeth Ford. Dedicated to the late Martin Warrigal Kungiung, Marett’s first wangga teacher Published by Sydney University Press © Recordings by Allan Marett, Michael Enilane, William Hoddinott, Frances Kofod, Lesley Reilly, & Mark Crocombe 2016 © Notes by Allan Marett, Linda Barwick and Lysbeth Ford 2016 © Sydney University Press 2016 All rights reserved. No part of this CD or accompanying booklet may be reproduced or utilised in any way or by any means electronic or mechanical, including photocopying, recording or by any information storage and retrieval system without prior written permission from the publisher. Sydney University Press, Fisher Library F03, University of Sydney NSW 2006 AUSTRALIA Email: [email protected] Web: sydney.edu.au/sup ISBN 9781743325292 Custodian statement This music CD and booklet contain traditional knowledge of the Marri Tjavin people from the Daly region of Australia’s Top End. They were created with the consent of the custodians. Dealing with any part of the music CD or the texts of the booklet for any purpose that has not been authorised by the custodians is a serious breach of the customary laws of the Marri Tjavin people, and may also breach the Copyright Act 1968 (Cwlth). -
Bluetongue Australian Guitar Quartets CHARLTON • HOUGHTON KATS-CHERNIN • WESTLAKE Guitar Trek Bluetongue Australian Guitar Quartets
Bluetongue Australian Guitar Quartets CHARLTON • HOUGHTON KATS-CHERNIN • WESTLAKE Guitar Trek Bluetongue Australian Guitar Quartets Nigel WESTLAKE (b. 1958) Six Fish (2003) 15:25 1 I. Guitarfish 2:13 2 II. Sunfish 3:29 3 III. Spangled Emperor 1:16 4 IV. Sling-Jaw Wrasse 1:55 5 V. Leafy Sea Dragon 2:33 6 VI. Flying Fish 3:57 Richard CHARLTON (b. 1955) Five Tails in Cold Blood (Guitar Quartet No. 8) (2017) * 15:02 7 I. Shingleback 3:03 8 II. Lace Monitor 3:17 9 III. Manta Ray Ballet 2:53 0 IV. Water Dragon Dreams 2:57 ! V. Bluetongue 2:44 Phillip HOUGHTON (1954–2017) @ Nocturne (1976) (version for guitar quartet, 2002) 3:19 Opals (1993, rev. 1994) 9:42 # I. Black Opal 2:16 $ II. Water Opal 4:09 % III. White Opal 3:14 8.579060 2 News from Nowhere (1992) 16:39 ^ I. FLUX: Being Lost In Long Grass – TRANCE: Seeing The River 7:57 & II. DRIFT: Slow Boat to Nowhere… Stars on Night Water in the Aqua-Realm 3:02 * III. ROCKS: The Arrival… and the Rocks Hum and Hover 5:40 ( Wave Radiance (2002) (version for guitar quartet, 2004) 6:24 Elena KATS-CHERNIN (b. 1957) ) Bleached Memories (2001) * 10:05 * WORLD PREMIERE RECORDINGS Guitar Trek Timothy Kain, Standard Guitar 1–! #–% (, Treble Guitar @ ^–* ) Minh Le Hoang, Standard Guitar Bradley Kunda, Standard Guitar 7–%, 12 String Guitar 1–6, Treble Guitar (, Baritone Guitar ^–* ) Matt Withers, Standard Guitar #–% (, Bass Guitar 7–@ ^–* ), Dobro 1–6 3 8.579060 Guitar Trek gives special thanks to the late Australian luthier Graham Caldersmith OAM for his original conception and design of the Guitar Family. -
Nyikina Paradigms and Refunctionalization: a Cautionary Tale in Morphological Reconstruction
Nyikina Paradigms and Refunctionalization: A Cautionary Tale in Morphological Reconstruction Claire Bowern Yale University Department of Linguistics PO Box 208366 New Haven, CT 06520, USA [email protected] Ph: +1.203.432.2045 Keywords: morphology, Nyulnyulan, Australian languages, exaptation, reconstruction, analogy 1 Abstract Here I present a case study of change in the complex verb morphology of the Nyikina language of Northwestern Australia. I describe changes which lead to reanalysis of underlying forms while preserving much of the inherited phonological material. The changes presented here do not fit into previous typologies of morphological change. Nyikina lost the distinction between past and present, and in doing so, merged two paradigms into one. The former past tense marker came to be associated with intransitive verb stems. The inflected verbs thus continue inherited material, but in a different function. These changes are most parsimoniously described in a theory of word formation which makes reference to paradigms. 1 Introduction 1.1 Background Many types of change can occur in morphology. Studies such as Anderson (1988) and Koch (1996) identified a series of processes which cause change in morphemes. These include, in addition to regular sound change which operates on fully inflected forms, various types of boundary shift (such as the absorption of material into stems or the reanalysis of one morpheme as two), and analogical changes such as paradigm regularization. Inflectional material can also be lost. Other processes are particularly associated with morphological change in complex paradigms, though by no means exclusively so. These include so-called “hermit-crab” morphology – and the related change of “lost wax” – described by Heath (1997, 1998). -
Sydney Conservatorium of Music Postgraduate Handbook
2008 Postgraduate handbook Sydney Conservatorium of Music Postgraduate handbook Set a course for Handbooks online … visit www.usyd.edu.au/handbooks Acknowledgements Acknowledgements The Arms of the University Sidere mens eadem mutato Though the constellation may change the spirit remains the same Copyright Disclaimers This work is copyright. No material anywhere in this work may be 1. The material in this handbook may contain references to persons copied, reproduced or further disseminated ± unless for private use who are deceased. or study ± without the express and written permission of the legal 2. The information in this handbook was as accurate as possible at holder of that copyright. The information in this handbook is not to be the time of printing. The University reserves the right to make used for commercial purposes. changes to the information in this handbook, including prerequisites for units of study, as appropriate. Students should Official course information check with faculties for current, detailed information regarding Faculty handbooks and their respective online updates along with the units of study. University of Sydney Calendar form the official legal source of Price information relating to study at the University of Sydney. Please refer to the following websites: The price of this handbook can be found on the back cover and is in www.usyd.edu.au/handbooks Australian dollars. The price includes GST. www.usyd.edu.au/calendar Handbook purchases Amendments You can purchase handbooks at the Student Centre, or online at -
A Distinctive Voice in the Antipodes: Essays in Honour of Stephen A. Wild
ESSAYS IN HONOUR OF STEPHEN A. WILD Stephen A. Wild Source: Kim Woo, 2015 ESSAYS IN HONOUR OF STEPHEN A. WILD EDITED BY KIRSTY GILLESPIE, SALLY TRELOYN AND DON NILES Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] This title is also available online at press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Title: A distinctive voice in the antipodes : essays in honour of Stephen A. Wild / editors: Kirsty Gillespie ; Sally Treloyn ; Don Niles. ISBN: 9781760461119 (paperback) 9781760461126 (ebook) Subjects: Wild, Stephen. Essays. Festschriften. Music--Oceania. Dance--Oceania. Aboriginal Australian--Songs and music. Other Creators/Contributors: Gillespie, Kirsty, editor. Treloyn, Sally, editor. Niles, Don, editor. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design and layout by ANU Press. Cover photograph: ‘Stephen making a presentation to Anbarra people at a rom ceremony in Canberra, 1995’ (Australian Institute of Aboriginal and Torres Strait Islander Studies). This edition © 2017 ANU Press A publication of the International Council for Traditional Music Study Group on Music and Dance of Oceania. Aboriginal and Torres Strait Islander people are advised that this book contains images and names of deceased persons. Care should be taken while reading and viewing. Contents Acknowledgements . vii Foreword . xi Svanibor Pettan Preface . xv Brian Diettrich Stephen A . Wild: A Distinctive Voice in the Antipodes . 1 Kirsty Gillespie, Sally Treloyn, Kim Woo and Don Niles Festschrift Background and Contents . -
To What Extent Can Libyan Intellectual Property Laws Protect Traditional Cultural Expressions from Unauthorised Use?
To what extent can Libyan intellectual property laws protect traditional cultural expressions from unauthorised use? A thesis submitted in fulfilment of the requirement for the award of the degree of Doctor of Philosophy by Abdolhamed Masoud M Agal The School of Law The Faculty of Professions The University of Adelaide, Australia 2016 Table of Contents Abstract .................................................................................................................................. iv Declaration............................................................................................................................. vi Acknowledgements ............................................................................................................. vii Dedication ........................................................................................................................... viii 1 General introduction to the thesis ................................................................................. 1 1.1 Introduction ......................................................................................................................... 1 1.2 Research objectives ............................................................................................................. 5 1.3 Research questions .............................................................................................................. 6 1.4 Methodology ...................................................................................................................... -
The Land Rights Movement
25 YEARS OF NATIVE TITLE RECOGNITION Contents Settlement and 1 disposession Yirrkala Bark Petitions 1963 2 The Freedom Ride 1965 2 Wave Hill Station walk off 3 1966–1975 Gove Land Rights case 4 1968–1971 Aboriginal Tent Embassy 4 1972 Yolgnu claimants in the Land Rights case over the Gove Peninsula discuss aspects of Racial Discrimination Act 5 the hearing outside the courtroom in Canberra, September 1970. Source: National Archives of Australia. 1975 Reproduced with permission from Department of Foreign Affairs and Trade Aboriginal Land Rights (NT) 6 © Commonwealth of Australia. Act 1976 Noonkanbah 6 THE ROAD TO NATIVE TITLE: 1978–1980 THE LAND RIGHTS MOVEMENT Mabo No 2 6 1982–1992 Settlement and dispossession Paul Keating Redfern 7 From the time of first European settlement, Aboriginal and Torres Strait Islander Speech 1992 Australians have fought to maintain, and have recognised, their traditional rights to ownership of land. In 1788 the colony of New South Wales was established and the founding of Australia as a British colony had begun. The colony was settled on the basis of the doctrine of international law whereby the continent was deemed to be terra nullius—land belonging to no-one. Despite the obvious presence of Indigenous people, in the eyes of the British the land was considered to be practically unoccupied, without settled inhabitants and without settled law. The Colony was claimed for the British Sovereign on 26 January 1788. There is ongoing debate about the legal status of the ‘settlement’ as the land was clearly occupied and; there was no treaty and no (declared) war. -
The Evolution of Linguistic Diversity
The Evolution of Linguistic Diversity Daniel Nettle Thesis submitted for the degree of PhD University College London 1996 ProQuest Number: 10044366 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10044366 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ABSTRACT This thesis examines the causes and consequences of diversity in human language. It is divided into three sections, each of which addresses a different aspect of the topic. The first section uses computer simulations to examine various mechanisms which may produce diversity in language: imperfect learning, geographical isolation, selection on the basis of social affiliation, and functional selection amongst linguistic variants. It is concluded that social and functional selection by speakers provide the main motive forces for the divergence of languages. The second section examines the factors influencing the geographical distribution of languages in the world. By far the most important is the ecological regime in which people live. Seasonal climates produce large ethnolinguistic groups because people form large networks of exchange to mitigate the subsistence risk to which they are exposed.