Douglas Lawrence

Total Page:16

File Type:pdf, Size:1020Kb

Douglas Lawrence music for organ, brass, voices, didjeridu and electronics DOUGLAS LAWRENCE REVERBERATIONS ONE REVERBERATIONS TWO Douglas Lawrence, organ Douglas Lawrence, organ music for organ, brass, music for organ, didjeridu, and electronic tape voices, and electronics 1 Cathedral Music I * 1 Sanctus * Ian Bonighton 13’05” Ron Nagorcka 20’25” 2 Toccata 2 Hymn for the death of Felix Werder 10’35” Jesus James Penberthy 6’25” 3 Theme and Variations 3 Scherzo (‘Devils up there’) Ron Nagorcka 11’00” James Penberthy 4’15” 4 Paraphrase ‘In Five’ + 4 Holy Thursday Mass = Statico 2 Felix Werder 4’50” Keith Humble 10’50” * didjeridu / Ralph Nicholls * The Festival Brass electronics / Tim Robinson Ensemble voices / Ernie Althoff, Andrew trumpets / Boris Belousov, Bernard, Ann Blare, Mars John Grey, Robert Harry McMillan, Ron Nagorcka, trombones / Robert Clark, Susan Nagorcka, Jane Eric Klay O’Brien, Tim Tyler, Andrew Uren Cover design / Peter Green Registration assistance by Photography (front) / Ann Blore and Rod Junor. The Ivan Gaal production of Reverberations Engineering / two has been assisted by the Martin Wright Australia Council Production / Photograph of Douglas Nicholas Alexander Lawrence (back) / Paul Wright Artwork (inside back) / Peter Green P 1973/1979/2000 MOVE RECORDS move.com.au essence of the toccata mentality. Structured worked as an assistant. In 1960 he founded and Reverberations lines that burst out of the frame; shadowy free directed the Centre de Musique at the American movement and accoustical happenings that bear Artists Centre in Paris. Six years later he returned one witness to the influence of electronics and textures to the Faculty of Music in Melbourne University that are mirrored so that the work ends in exact becoming in charge of the then new Electronic IAN BONIGHTON (1942-1975) was rapidly gaining inverse of its opening.” Music Studio. He explained the piece on this recognition not only as a brilliant composer, but record as follows: “PARAPHRASE ‘IN FIVE’ is an also as an outstanding teacher at the time this RON NAGORCKA (b. 1948) studied under Ian instruction to the organist to take my work IN recording was made. He studied at the University Bonighton and Keith Humble and began composing FIVE and paraphrase it to his instrument. IN FIVE of Melbourne and taught there from 1968. In in 1971. Of THEME AND VARIATIONS he writes: is a klangfarben melodic work for any number 1972 he was awarded the degree of Doctor of “The form of this piece is baroque only in that of instruments. Its structure is built around the Music in composition, leaving Australia in 1974 registration changes are made at the end of each number 5. MASS is an electronic work (actually the to visit European electronic music studios and variation. These changes are specified for every 4th movement of ‘parodie’) and the program for to secure a lectureship at the University of East manual and the pedal of a four-manual organ this work is built on similar principles to IN FIVE. Anglia. His CATHEDRAL MUSIC 1 was written for so that each variation becomes an exploration Add the two events together and you have STATICO the 1972 Melbourne Autumn Festival of Organ and of the textural possibilities of a different total 2.” Harpsichord. The work is scored for two organs registration. After setting certain parameters and brass ensemble. In this recording, the second (e.g. pitch areas, length and notation) the cluster DOUGLAS LAWRENCE (b. 1943) has established organ part was ‘double-tracked’ by Douglas arrangement, pauses and rhythmic outline of the himself as one of the most brilliant of the younger Lawrence. The composer describes CATHEDRAL theme were written following random numbers generation of Australian organists. He studied MUSIC I as follows: “The work sets out to explore generated by logarithmic tables. The variations under Sergio de Pieri in Melbourne and spent two the sonorities available within a large building. take the form of visual or geometric rather than years at the Vienna Academy in the concert class The result is a polychoral mosaic in which large aural arrangements of a theme in order to create of Anton Heiller. During 1971 and 1972 he gave masses of sound are juxtaposed with subtle tonal a maximum of textural interest. The performer recitals in Spain, Switzerland and Austria and shadings to create a type of music that could only is given considerable freedom with regard to returned to the Music Faculty of the University of be produced in a cathedral.” rhythm, silence and at times the actuaI sequence Melbourne where he is now Chief Study Teacher of of events. There is no message and only one aim – Organ. FELIX WERDER (1927) is one of Australia’s most the liberation of sound.” distinguished and prolific composers. Although In recital, Douglas Lawrence usually chooses to born in Berlin, he spends most of his composing KEITH HUMBLE (1922-1995) was one of Australia’s include the works of contemporary composers in career here and considers himself very much the foremost exponent of electronic music and at his program. He considers it important that new Australian composer. The organ TOCCATA belongs the time of this recording was dividing his time works for the organ are played – if only to make to what Warder says is his ‘Gothic’ period. He between Melbourne and San Diego where he was sure that composers do not lose their enthusiasm writes: “The Gothic mentality is one of intellectual a visiting professor at the University of California. for the instrument. Over the past decade or so, organisation which conceals passion – that linear He studied at the University of Melbourne, the there has been a resurgence of interest in the quality that knots at the base but untwines as Royal Academy of Music in London and with Rene organ and something of a renaissance in organ it reaches for the stars. In the TOCCATA, I have Leibowitz in Paris with whom he subsequently building – especially in Australia. The works presented not so much the form but the platonic Lawrence has recorded here differ greatly in their fifth to evoke pathos. It sounds like the many times individual styles. They all indicate, however, that reiterated name of Jesus. the composers have a positive, forward-looking approach which is marked by its determination to SCHERZO bears great compositional similarities to explore the full possibilities of the instrument. the first work but has a much more lighthearted This recording was made in St. Patrick’s Cathedral, SANCTUS, by Ron Nagorcka, is the coming disposition. Cheeky little figures scurry around the Melbourne by kind permission of the Dean. The together of an organist, a didjeridu player, an organ. It is subtitled ‘Devils up there’. The piece organ, built in 1964 by George Fincham and Sons, electronic technician and a group of untrained is a commentary on the triumph and grandeur of is a neo-classical instrument of four manuals and singers in the cathedral to produce a sonic object resurrection. 73 speaking stops. according to the general specifications of a simple score. Of Sanctus, the composer has said: “Sounds Felix Werder wrote HOLY THURSDAY on a – especially those produced by human beings – commission from the Victorian Society of Organists Reverberations exist in a cultural context. Didjeridu, pipe-organ, in 1978. It was first performed by John Hogan in voices, electronic devices and cathedrals all that year at St Patrick’s Cathedral. Of the piece, the two produce sounds with specific and unique cultural composer has written: “I thought that the Society identities. Hopefully, the attempt to blend them into had in mind the famous poem of William Blake The original idea for REVERBERATIONS ONE came a mere sonic compatibility does not destroy the in which he ironically deals with the professional from a spectacular performance at St Patrick’s ambiguities resulting from their juxtaposition, nor charity-mongers of the satanic mills. So I read the Cathedral, Melbourne during the Festival of Organ in any way belittle the Immense significance of the poem and was suitably inspired particularly by and Harpsichord during 1972. One of the pieces on didjeridu in the culture of its origin.” the imagery of the children ‘like the mighty wind the program was Cathedral Music I – composed they raise to heaven the voice of song’ and how for the festival by the late Ian Bonighton. With the The two James Penberthy pieces were written the wooden galleries in which they sit seemed work, the composer had set out to “explore the for the Perth Organ Festival in 1972 and first transformed into the ‘seats of Heaven’”. The piece sonorites available within a large building” and performed in St. George’s Cathedral by Michael is a logical continuation of the scatter techniques so successful was he in achieving this aim, that a Wentzell. Both works use strict notation alongside and constant nuance of tempo and colour that recording of the work was made by Move Records aleatoric sections. One of the strongest devices is Werder first showed in his Toccata – recorded on and released – along with works by Keith Humble, the “pegging” or the holding down of the last note Reverberations One. In Holy Thursday, the writing Ron Nagorckaand Felix Werder - under the title of of each event. This is done by placing a weight is more terse – more sparse, and a feeling of inner Reverberations. on the organ key. In this way a gradual cluster of vitality is generated. many notes is built up leaving the hands free to Reviewers of the first Reverberations have, without play further events. Recorded in St Patrick’s Cathedral, Melbourne, by exception, been unanimous in their praise of the kind permission of the Dean, the Very Rev.
Recommended publications
  • (WA) from 1938 to 1980 and Its Role in the Cultural Life of Perth
    The Fellowship of Australian Writers (WA) from 1938 to 1980 and its role in the cultural life of Perth. Patricia Kotai-Ewers Bachelor of Arts, Master of Philosophy (UWA) This thesis is presented for the degree of Doctor of Philosophy at Murdoch University November 2013 ABSTRACT The Fellowship of Australian Writers (WA) from 1938 to 1980 and its role in the cultural life of Perth. By the mid-1930s, a group of distinctly Western Australian writers was emerging, dedicated to their own writing careers and the promotion of Australian literature. In 1938, they founded the Western Australian Section of the Fellowship of Australian Writers. This first detailed study of the activities of the Fellowship in Western Australia explores its contribution to the development of Australian literature in this State between 1938 and 1980. In particular, this analysis identifies the degree to which the Fellowship supported and encouraged individual writers, promoted and celebrated Australian writers and their works, through publications, readings, talks and other activities, and assesses the success of its advocacy for writers’ professional interests. Information came from the organisation’s archives for this period; the personal papers, biographies, autobiographies and writings of writers involved; general histories of Australian literature and cultural life; and interviews with current members of the Fellowship in Western Australia. These sources showed the early writers utilising the networks they developed within a small, isolated society to build a creative community, which welcomed artists and musicians as well as writers. The Fellowship lobbied for a wide raft of conditions that concerned writers, including free children’s libraries, better rates of payment and the establishment of the Australian Society of Authors.
    [Show full text]
  • Bankks Butterley Mealee Werder
    BANKS BUTTERLEY MEALE WERDER Like so many string quartets, the maestoso’, but the music is hard and changes texture in a more flexible manner. pieces recorded here engage with the concrete. These blocks of sound vary The moments when the quartet comes relationship of the ensemble’s four in length – the rhythmic notation is together in rhythmically regular music are players. Some of the works continue flexible – and the performers decide the striking and climactic. the tradition of cohesive playing, and length of each block in the moment of The second seating configuration, ‘far others question that aspect of the genre’s performance. The effect is that both the away’, begins with, is sustained by, and history. start and end of notes are highly charged. ends with clouds of harmonics. If the first In live performances of Meale’s String In some cases Meale further heightens section retains some hint of progression Quartet No. 1 his direct challenge to this idea, and the fourth chord, marked in its procession of variations, this section the performers is plain to see, for the dolce, ends with a left-hand pizzicato as is totally still. Through the harmonics piece is in two sections: in the first the the bow leaves the string. The abruptness Meale traces lines of pitches that lead us performers sit in the usual configuration, of the gesture is not at all what one might across the stage, but nowhere else. These and for the second section the performers think of as dolce, but this is a piece that three sequences are labelled ‘Tropes’.
    [Show full text]
  • Madame Ballet' As Establish a Perth-Based Ballet Company Western Australian Author Ffion Murphy As a Result of Those Who Had Prepared the Ground for Her
    Michelle Potter reveals how Bousloff, whose youth had been lived out Russian dancer Kira Bousloff boldly of a suitcase as she travelled the world as a dancer with the Ballets Russescompanies created an environment for dance of Colonel de Basil, decided to remain in to flourish in Western Australia Australia in 1939 at the end of a tour by the Covent Garden Russian Ballet. She recalls When I came to the airport here in little Perth, that decision in an oral history interview at the end of the world, I put my feet on the recorded for the National Library in 1990: ground, I looked around, and I said loudly and strongly 'That's where I'm going to live and I was sitting in my hotel room in Melbourne that's where I'm going to die'. on my own and I had a strong feeling that my father (who had died many years ago) -Kira Bousloff touched my shoulder. It was a physical feeling practically. Then I had suddenly this strong ira Bousloff, or Kira Abricossova as feeling that I had to stay in Australia. So she was known during her early without even thinking twice (of course, you see, Kperforming career, was the founder of I'm a bit queer, eccentric, but that's the truth, the West Australian Ballet, one of Australia's that's what happened) I ran down the stairs and earliest state-based ballet companies-the rang up ... a very good friend and I said, 'I want first, in fact, to call itself a state company.
    [Show full text]
  • Jerzy Kozlowski Michael Kieran Harvey New Song Cycles
    ASTRA 2010 6 pm, Saturday 19 June, 6 pm, Sunday 20 June ELEVENTH HOUR THEATRE Fitzroy, Melbourne Jerzy Kozlowski bass Michael Kieran Harvey piano new song cycles: Michael Bertram at 75, Lawrence Whiffin at 80 Michael Bertram UNDERGROUND SONGS (2008) first performance Everyone Sang (Siegfried Sassoon) Trail all your pikes ( Anne Finch) He wishes for the Cloths of Heaven ( W.B.Yeats) I saw a peacock with a fiery tail (Anon. 17thC) Lawrence Whiffin PIANO SONATA NO.1 (1961/2006) I. Allegro molto II. Andante – Theme and Variations I N T E R V A L Lawrence Whiffin TIME STEALS SOFTER (2009) poems by George Genovese first performance Time Steals Softer (I) Walking Patriots Two Lives A Poet's Office Medi-Whinge 2004 Time Steals Softer (II) UNDERGROUND SONGS / TIME STEALS SOFTER … Sets of songs provoke a special relation between music and poetry – the choice and the order of poems has a formative influence on the trajectory and characters of the music that enters into their space. In the two new song cycles of this concert another influence is at work as well: the voice of the singer himself. Jerzy Kozlowski’s singing has become a well-known part of Astra programs over a long time and a wide terrain, from mediaeval music and Monteverdi to Reger (Eichendorrf), Busoni (Faust), Elisabeth Lutyens (Auden) and Helen Gifford (Shakespeare). Specifically, his two previous Astra solo recitals performing the late song-cycles of Shostakovich (Michelangelo and Dostoyevsky) made a remarkable impression for the possibilities of the medium of bass voice and piano, and stimulated both Michael Bertram and Lawrence Whiffin to compose new sets of songs particularly for him.
    [Show full text]
  • The Australian Symphony of the 1950S: a Preliminary Survey
    The Australian Symphony of the 1950s: A Preliminary survey Introduction The period of the 1950s was arguably Australia’s ‘Symphonic decade’. In 1951 alone, 36 Australian symphonies were entries in the Commonwealth Jubilee Symphony Competition. This music is largely unknown today. Except for six of the Alfred Hill symphonies, arguably the least representative of Australian composition during the 1950s and a short Sinfonietta- like piece by Peggy Glanville-Hicks, the Sinfonia da Pacifica, no Australian symphony of the period is in any current recording catalogue, or published in score. No major study or thesis to date has explored the Australian symphony output of the 1950s. Is the neglect of this large repertory justified? Writing in 1972, James Murdoch made the following assessment of some of the major Australian composers of the 1950s. Generally speaking, the works of the older composers have been underestimated. Hughes, Hanson, Le Gallienne and Sutherland, were composing works at least equal to those of the minor English composers who established sizeable reputations in their own country.i This positive evaluation highlights the present state of neglect towards Australian music of the period. Whereas recent recordings and scores of many second-ranking British and American composers from the period 1930-1960 exist, almost none of the larger works of Australians Robert Hughes, Raymond Hanson, Dorian Le Gallienne and their contemporaries are heard today. This essay has three aims: firstly, to show how extensive symphonic composition was in Australia during the 1950s, secondly to highlight the achievement of the main figures in this movement and thirdly, to advocate the restoration and revival of this repertory.
    [Show full text]
  • Dogs in Space Music Credits
    THE BANDS 'Dogs in Space' 'Whirlywirld' Edward Clayton-Jones Arnie Hanna Michael Hutchence David Hoy Chuck Meo Johnn Murphy Nique Needles Ollie Olsen Glenys Osborne 'Too Fat To Fit Through the Door' 'Thrush and the C...S' Marcus Bergner Denise Grant Marie Hoy Marie Hoy John Murphy Danila Stirpe James Rogers Jules Taylor Ollie Olsen 'Primitive Calculators' 'Marie Hoy & Friends' Terry Dooley Marie Hoy Denise Grant Loki Stuart Grant Tim Millikan David Light John Murphy Ollie Olsen Musical Director Ollie Olsen Strange Noises John Murphy Music Research Bruce Milne Music Recorded at Richmond Recorders by Tony Cohen Music mixed at A.A.V. by Ross Cockle "Rooms for the Memory" Remixed by Nick Launay 'Shivers Video Clip' directed by Paul Goldman and Evan English 3RRR I.D. Written & Produced by Martin Armiger Sung by Jane Clifton THE MUSIC 'Dog Food' Performed by Iggy Pop, James Osterman Music (BMI), Administered by Bug Music Group, (P) 1980, Arista Records Inc., Courtesy of Arista Records 'Frankie Teardrop' Courtesy of Stamphyl Revega 'Dogs in Space' Written by Sam Sejavka and Mike Lewis 'Win/Lose' Written by Ollie Olsen, Performed by Whirlywirld, Courtesy of Missing Link Records 'True Love' Performed by The Marching Girls, Courtesy of Missing Link Records 'Sky Saw' Written by Brian Eno, Courtesy of E.G. Records Ltd. and E.G. Music Ltd. 'Skullbrains' Written by Marcus Bergner and Marie Hoy 'Shivers' Written by Roland S. Howard, Performed by Boys Next Door Courtesy of Mushroom Records 'Diseases' Composed by Thrush and The C...s 'Pumping Ugly Muscle' Composed by The Primitive Calculators 'Window to the World' Written by Ollie Olsen, Performed by Whirlywirld 'Happy Birthday' and 'Mr.
    [Show full text]
  • When Director Richard Lowenstein Opened the First Page of the Novel
    DOGS IN SPACE SYNOPSIS Set against the backdrop of Melbourne‟s late 70s punk rock scene, Dogs in Space chronicles life in a chaotic, squalid share house. Hippies, addicts, students and radicals fill their days and nights with sex, drugs, parties and television. A series of chaotic vignettes are balanced with the central romance between Sam (Michael Hutchence), the lead singer of the band, Dogs in Space and his lover Anna (Saskia Post) as the house spirals out of control. Hutchence is a brilliant symbol of reckless youth in this, his first dramatic screen role, giving Dogs in Space instant cult status upon its original release in 1986. Shortly following its release, Dogs in Space achieved cult status, and received Official Selection for the Berlin, Edinburgh, London, and New York Film Festivals. It has since been described by Geoff Andrew of Time Out as an "uplifting and deliciously different movie,” and was also singled out for praise by Harlan Kennedy of Film Comment magazine as one of a number of films from the late 1980s which brought “shifting perspectives, structural experiment, and highly discomforting stories and characters” into the fold of Australian cinema. Unscreened for over twenty years, this classic film has been painstakingly restored from the original negative and remixed in 5.1 digital sound. PRODUCTION COMPANIES GHOST PICTURES PTY. LTD. CENTRAL PARK FILMS PTY. LTD. ENTERTAINMENT MEDIA THE BURROWES FILM GROUP FILM VICTORIA AUSTRALIAN DISTRIBUTOR UMBRELLA ENTERTAINMENT COPYRIGHT: 2009 ORIGINAL RELEASE DATE: JANUARY 1, 1987. RATING: MA RUNNING TIME: 103 MINUTES ORIGINAL FILM STOCK: KODAK 5294, COLOUR. ORIGINAL FORMAT: 35MM DISTRIBUTION FORMAT: HDCAM LOCATION: MELBOURNE, VICTORIA, AUSTRALIA.
    [Show full text]
  • Quintet for Eb Alto Saxophone and String Quartet
    his recording contains work As Eric Gross had written written for me over the past works for me to play in 9 years. Each work was London during 1976 and T later in Europe, I suggested composed for a specific occasion, the idea of the likelihood of a all of them (except “Journeys” work for this particular type by Barry Conyngham) were of ensemble. In his usual written to be part of important enthusiastic manner, Eric overseas engagements. The music took up the challenge, and reflects a close collaboration with certainly succeeded. At first there were a number the composers in an attempt of unsuccessful attempts to produce more worthwhile to perform it in Australia, Australian clarinet and saxophone as few established quartets music. were willing to perform The only disappointing feature anything other than their of these attempts is the lack standard repertoire. So the first performance was of any facility in Australia to given in Germany in 1982 publish the music, such as an with a string quartet from organization like Donemus in Munich. These performances Holland. Because of the many were received with great requests for copies of the music – enthusiasm by the German particularly overseas – numerous audiences. Shortly afterwards the Petra Quartet agreed unsuccessful attempts were made to record it, and they to find publishers both within and approached it with their usual outside Australia. As the result, artistic enthusiasm. The work this recording is a means of certainly demonstrates the keeping the music alive, and the composer’s craftsmanship only published documentation of and it is hoped that more live Quintet for Eb Alto Saxophone performances can be given of a very worthwhile set of musical the work in the near future.
    [Show full text]
  • Illuminating the Dark Side: an Interview with Brenton Broadstock
    Illuminating the Dark Side: An Interview with Brenton Broadstock Linda Kouvaras Over the last fifteen years, I have been an avid follower of the music of Brenton Broadstock, Associate Professor and Reader, and Co-ordinator in Composition at the Faculty of Music, University of Melbourne. I have commissioned and recorded a work for piano, In the Silence of Night (1989), performed his piano music on a number of occasions, and written several articles about his music and liner notes for two of his CDs. An interview at this point seemed a good idea, Broadstock having recently returned from an extended composing sojourn overseas. In 1998, he spent three months composing in Italy on fellowships given by the Civitella Ranieri and Rockefeller Foundations. In 1999, he received the prestigious Don Banks Award from the Australia Council, which enabled him to compose for the year, including visits to the USA (Indiana University), England and Russia. I wanted to know whether andlor how this time overseas had had an impact on his artistic direction. I was also interested to see whether his perceptions of the existence of 'Australian-ness,' in music and in general, had changed since we last spoke of these matters some years ago. This interview was recorded on 24 August 2000 at the University of Melbourne's University House over a glass of their finest, then transcribed and edited. I asked Brenton what he set out to achieve compositionally on his overseas residencies. I had a major orchestral commission to fulfill from Andrew Wheeler and the Krasnoyarsk Symphony Orchestra in Russia.
    [Show full text]
  • No.98 Dunera News Oct 2016
    A publication for former refugees from Nazi and Fascist persecution (mistakenly shipped to and interned Dunera in Australia at Hay and Tatura, many later serving with the Allied Forces), News their relatives and their friends. No. 98 October 2016 Dunera Hay anniversary 2016 Paul Haarburger (son of Werner Haarburger) with Hay locals, disembarking at Hay Railway station. Photo © Margie McClelland Foundation Editor: SEEKING INFORMATION From the President The late Henry Lippmann OAM Hay bank notes Editorial responsibility: Mick Vort-Ronald is preparing The Committee of the Dunera Association a second edition of the book Hay Dunera Association on facebook Internment Camp Notes and War – Friends of the Dunera Boys Savings Certificates for publication in November 2016, with additions Rebecca Silk Welcome to our spring edition of the Dunera News for 2016. Letters and articles for publication are welcome. including hidden features and President This issue contains some fascinating stories of wartime Email: [email protected] Dunera Association recent sales of Hay notes. experiences and later lives of Dunera internees Walter Tandler Anyone with information about and Klaus Friedeberger, and Singapore group internee Cover photo © Margie McClelland the Hay Camp Notes that you Ruth Simon. wish to contribute, please contact In this edition we also report on the Mick: [email protected] reunions held at Hay and Sydney this year. or PO Box 653, Willaston, In Hay we joined with friends old and new, South Australia 5118. although sadly no Dunera Boys. In Sydney it was a pleasure to reconnect with Dunera families and friends from Canberra and Sydney along with Dunera Boys Bern Brent and Henry James.
    [Show full text]
  • Australia, Report 2013
    Association internationale des bibliothèques, archives et centres de documentation musicaux (AIBM) International Association of Music Libraries, Archives and Documentation Centres (IAML) Internationale Vereinigung der Musikbibliotheken, Musikarchive und Musikdokumentationszentren (IVMB) Australia, report 2013 Looking back : Annual Conference September 2012, University of Adelaide It’s not often one is given the opportunity to stand in an anechoic chamber to consider Cage’s 4’33” and the concept of absolute silence, and I’m delighted that this was one of many highlights of our 2012 national conference held at the University of Adelaide in September. Stephen Whittington hosted this experience as part of his talk on the Cage Exhibition in situ at the Barr Smith Library. 41 individuals attended this event held in partnership with PASIG (the Performing Arts Special Interest Group of Museums Australia), with 22 being IAML members. The partnership once again provided an enriched programme, and crossing into the wider performing arts areas proved particularly useful to IAML members responsible for cross disciplinary collections. It did pose some administrative challenges which will be considered when taking on future partnership events. Rob Brookman, CEO of the State Theatre Company of South Australia gave the keynote address as a love letter to archivists entitled “Catching Lightning in a Bucket”, encapsulating the role of archivists as “the keepers of memory”. Julja Szuster, Visiting Research Fellow at the Elder Conservatorium of Music, discussed the ‘Virtual Problems in 21st-Century Music Research’ focussing on the use of open access journals. Two online resources demonstrated the continuing vision to provide access to information here in Australia.
    [Show full text]
  • Docohent Rehm
    DOCOHENT REHM ED 132 431 CB 009 266 AUTHOR Payne, Douglas, Ed. TITLE Adult Education Occasional Papers. Volume 3. October . 1976. INSTITUTION Australian Association of Adult Education:; Tasmania Adult Education Board, Hobart (Australia). PUB DATE Oct 76 NOTE 2gp. EDES PRICE HF-$0.83 HC-S2.06 Plus Postage. DESCRIPTORS *Adult Education; *Community Education; Community Involvement; Comaunity Prograas; *Continuous Learning; Foreign Countries; Program Destriptions IDENTIFIERS Australia (Tasmania) ABSTRACT This collection of occasional papers, developed to show the spread of continuing education activities in Tasmania, Australia, includes (I) "Adult Education--Beyond the Traditional Class Programme" by Gordon Goward, Assistant Director of Adult Education; c4 "Forging a New Group in the Comaunity" by Frank Perry, Prison Education Officer; (3) "The Crisis of Human Environment in Relation to Education" by Douglas Payne, Director of Adult Education; (4) articles froa part-time teachers--"Crafts and Adult Learning" by Eita^Leyland, and "25 years with the Adult Education Board" by Wilma Stollenwerk; and (5) Community Involvement in the Arts" by Don Boyce, Community Arts Officer. (NL) *********************************************************************** Documents acquired by ERIC include many inforaal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, iteas of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDES is not * responsible for the quality of the original document. Reproductions * * supplied by ENS are the best that can be made from the original. * *********************************************************************** (A # adult educatio2 Ikwcasio-ai ers volume 3 October 1976 4.
    [Show full text]