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University of Tasmania Annual Report 2004
UNIVERSITY OF TASMANIA ANNUAL REPORT 2004 The University of Tasmania is the State’s university. It is a generator of ideas and knowledge and makes a significant contribution to the economic, social and cultural fabric of the Tasmanian community. It has a crucial role to play in the State’s long prosperity. Contents Mission and Vision _________________________________ 2 The Chancellor’s Message __________________ 3 The Vice-Chancellor’s Message _________ 4 2004 at a glance _______________________________________ 6 Governance _____________________________________________ 8 Identity ___________________________________________________ 14 Teaching & Learning ____________________________ 21 Our People ____________________________________________ 24 Research & Research Training ___________ 27 State & Community Development ____ 34 Financials ______________________________________________ 39 UBELONG 1 Mission The University of Tasmania is committed to excellence in the creation, preservation, communication and application of knowledge and to scholarship that is international in scope, reflecting the distinctiveness of Tasmania and serving the needs of its community. The University will continue to provide leadership within its community, contributing to the cultural, economic and social development of Tasmania. Vision By 2010, the University of Tasmania will be ranked among the top echelon of research-led universities in Australia. The University will be a world leader in its specialist, thematic areas and will be recognised for its contribution -
An Assessment of the Contribution to Australian String Pedagogy and Performance of Jan Sedivka
\ AN ASSESSMENT OF THE CONTRIBUTION TO AUSTRALIAN STRING PEDAGOGY AND PERFORMANCE OF JAN SEDIVKA BY MARlNA LOUISE PHILLIPS B.Mus (Hons) (The University of Western Australia) M.Mus (The University of Western Australia) SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY (VIOLIN PERFORMANCE) UNIVERSITY OF TASMANIA HOBART, DECEMBER 2001 f~ I LL\fS y ',.\ t'h .1)_ I 2w l vof.1 This exegesis contains no material which has been accepted for a degree or diploma by the University or any other institution, nor is it material published or written by another person except where due acknowledgment has been made in the text. 2g 11 0 ' Date Jk,,~ touiu, P~· 11,f~ Marina Louise Phillips This exegesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. 18 / 11 o / Date PL11°j1/ Marina Louise Phillips ABSTRACT The doctoral exegesis presented here has assessed the contribution to Australian string performance and pedagogy of Jan Sedivka, Professor of Violin for almost forty years at the Tasmanian Conservatorium of Music. The exegesis examines and documents the pedagogical philosophy, content, and process of Jan Sedivka. A biographical overview _of his musical life and a brief outline of signiflGant developments in the evolution of the Australian string culture precede a literature review. The methodology employed in this research included questionnaires, an extensive series of interviews and many hours of observation. The interviews were conducted with Sedivka and his former students from each five-year period of his teaching in Australia, in addition to prominent associates and colleagues. -
Australian Women's Book Review
Australian Women’s Book Review 26 Nos. 1 / 2 2014 ISSN: 1033 9434 Editor: Carole Ferrier Editorial Advisory Board: Sharon Bickle Barbara Brook Susan Carson Margaret Henderson Bronwen Levy Nicole Moore Brigid Rooney Editorial Assistance: Angel Browning ISSN: 1033 9434 Cover artwork: Will somebody please help me take this knot out of my mouth (2009) Jenny Watson See p. 48 for acknowledgement and detail of artwork and artist. (1951--) Submissions: Potential reviewers of recent books, please email Professor Carole Ferrier, in the School of Communication and Arts at The University of Queensland. Email Address: [email protected] Australian Women’s Book Review Volume 26 Nos. 1/2 2014 2 Memory in a Curiously Conservative Francesca Rendle-Short. Bite Queensland Your Tongue. Marcus Breen 8 The Artistic Journey of Two Ingenues Jeanette Hoorn. Hilde Rix in Tangier Nicholas and Elsie Rix’s Carol Schwarzman Moroccan Idyll: Art and Orientalism. 13 Life Writing as Conundrum Jill Hellyer. Letters to Huldah. Suzanne Dixon 18 Thrilled Even Without an Audience: Rachael Munro. Indigo Thoughts About Poetic Engagement Morning. Ynes Sanz Pam Brown. Home by Dark. Ray Tyndale. Café Poet. 26 The Plague of Love Merlinda Bobis. Locust Girl: A Emily Yu Zong Lovesong. 30 Courting Blakness: Fiona Foley, Louise Martin- Recalibrating Knowledge in the Chew and Fiona Nicoll. Sandstone University Courting Blakness. Yamini Krishna 35 Coming up for Air Jena Woodhouse. Dreams of Alison Cotes Flight. 38 You Don’t Need To Be a Karen Lamb. Thea Astley: Weatherwoman To Know Which Way Inventing Her Own Weather. the Wind Blows Christina Ealing-Godbold 41 Gwen Harwood’s Competing Robyn Mathison and Robert Identities Cox. -
Mappings of the Plane: New Selected Poems Ebook, Epub
MAPPINGS OF THE PLANE: NEW SELECTED POEMS PDF, EPUB, EBOOK Gwen Harwood,Greg Kratzmann,Chris Wallace-Crabbe | 168 pages | 01 Jun 2009 | Carcanet Press Ltd | 9781847770424 | English | Manchester, United Kingdom Mappings of the Plane: New Selected Poems PDF Book Far from here, lying close to the final darkness, a great-grandmother lives and suffers, still praising life: another morning on earth, cockcrow and changing light. He has written extensively in the areas of Australian literature and English medieval literature. Average rating 3. Another name now. Goodreads helps you keep track of books you want to read. More Details Notify me of follow-up comments by email. Our aim was to provide the kind of information that would aid interpretation. Poems such as "Burning Sappho" expose the tensions of being a poet and a mother. Harwood, G. By extending a focus on structure, teachers might also enable students to perceive how Harwood bends or breaks traditional rules as often as she observes them:. With an introduction by the leading Harwood critic Gregory Kratzmann and the Australian poet Chris Wallace- Crabbe, who corresponded with Harwood, the selection includes hitherto little-known work along with poems which have become part of the central canon of Australian poetry. Find a list of reviewers here. Gregory Kratzmann , Chris Wallace-Crabbe. After her marriage in she moved to Hobart, Tasmania, where her husband held an academic position, and where she developed her interest in the works of Ludwig Wittgenstein. First Name. John Beston, Douglas Dennis, A. She was shortlisted for the Montreal International Poetry Prize. His first book of poems was published in Australia in , but in the s he began to publish with Oxford University Press, with the The Amorous Cannibal. -
Gwen Harwood: an Introductory Approach
Gwen Harwood: An Introductory Approach Mário Vítor Bastos ULICES - University of Lisbon Centre for English Studies ISSN: 0873-0628ANGLO-SAXONICA Série II número 26 Gwen Harwood: An Introductory Approach wen Harwood (1920-1995) is still relatively unknown outside her country. In Australia, however, since the 21 st century her Gwriting has found its place in the curricula of literature in the advanced degrees of secondary courses as well as in the universities. Her case in Australian 20 th century poetry is unique as a poet with her own voice, with an array of multiple forms and themes and complex dialogues with the cultural past and present. This makes her writing, with all its heterodoxy, didactic (even when it feigns that is not) and a paradigm for the study of poetry and general poetics in Australia today. As an adult, she lived in the town of Hobart on the southern part of the island of Tasmania, raising a family of four children and working as a secretary. Even so, she succeeded in writing verse, almost ceaselessly, until her death in 1995. Most of what we know about her life, ideas and views on poetry (apart from the poems about the art of poetry) comes from the volumi nous correspon - dence with friends and Australian intellectuals, 1 to whom she dedicates many poems. The grand thematic scope of her poetry ranges from the trivial to the reflexive, from literature, culture and History to family, the cats, dogs and frogs in the neighbourhood. Dreams and nightmares, eroticism, social satires, the Australian natural landscape, art, part ic ularly, music, philosophy and religion also have an outstanding presence in her poetry. -
Australian Chamber Music with Piano
Australian Chamber Music with Piano Australian Chamber Music with Piano Larry Sitsky THE AUSTRALIAN NATIONAL UNIVERSITY E PRESS E PRESS Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at: http://epress.anu.edu.au/ National Library of Australia Cataloguing-in-Publication entry Author: Sitsky, Larry, 1934- Title: Australian chamber music with piano / Larry Sitsky. ISBN: 9781921862403 (pbk.) 9781921862410 (ebook) Notes: Includes bibliographical references. Subjects: Chamber music--Australia--History and criticism. Dewey Number: 785.700924 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 E Press Cover image: ANU E Press Printed by Griffin Press This edition © 2011 ANU E Press Contents Acknowledgments . vii Preface . ix Part 1: The First Generation 1 . Composers of Their Time: Early modernists and neo-classicists . 3 2 . Composers Looking Back: Late romantics and the nineteenth-century legacy . 21 3 . Phyllis Campbell (1891–1974) . 45 Fiona Fraser Part 2: The Second Generation 4 . Post–1945 Modernism Arrives in Australia . 55 5 . Retrospective Composers . 101 6 . Pluralism . 123 7 . Sitsky’s Chamber Music . 137 Edward Neeman Part 3: The Third Generation 8 . The Next Wave of Modernism . 161 9 . Maximalism . 183 10 . Pluralism . 187 Part 4: The Fourth Generation 11 . The Fourth Generation . 225 Concluding Remarks . 251 Appendix . 255 v Acknowledgments Many thanks are due to the following. -
An Australian Composer Abroad: Malcolm Williamson And
An Australian Composer Abroad: Malcolm Williamson and the projection of an Australian Identity by Carolyn Philpott B.Mus. (Hons.) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Conservatorium of Music University of Tasmania October 2010 Declaration of Originality This dissertation contains no material that has been accepted for a degree or diploma by the University of Tasmania or any other institution, except by way of background information that is duly acknowledged in the text. I declare that this dissertation is my own work and to the best of my knowledge it contains no material previously published or written by another person except where clear acknowledgement or reference is made in the text, nor does it contain any material that infringes copyright. This dissertation may be made available for loan and limited copying in accordance with the Copyright Act 1968. Carolyn Philpott Date ii Abstract Malcolm Williamson (1931-2003) was one of the most successful Australian composers of the latter half of the twentieth century and the depth, breadth and diversity of his achievements are largely related to his decision to leave Australia for Britain in the early 1950s. By the 1960s, he was commonly referred to as the “most commissioned composer in Britain” and in 1975 he was appointed to the esteemed post of Master of the Queen’s Music. While his service to music in Britain is generally acknowledged in the literature, the extent of his contribution to Australian music is not widely recognised and this is the first research to be undertaken with a strong focus on the identification and examination of the many works he composed for his homeland and his projection of an Australian identity through his music and persona. -
How Do You Like Australia?
ANATOLIJ MIROSZNYK HOW DO YOU LIKE AUSTRALIA? This book is the memoirs of the well-known Ukrainian pianist and composer, Anatolij Mirosznyk, who lives in Sydney, Australia. It embraces a large span of time from the end of the twenties of the last century till today. Through the author’s reception of the events, the reader will acquire an understanding of how Kyivites (people of the city of Kyiv, the capital of Ukraine) lived in the thirties in their occupied country during the Second World War. The memoirs present interesting facts of life, the author’s life and his countrymen. The author was taken by force to labour in Germany and later migrated to Australia. This book is addressed to all readers. This publication is sponsored by FUSA (Foundation of Ukrainian Studies in Australia) 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, recording or otherwise, without the prior permission of the author. Copyright © Anatolij Mirosznyk 2009 ISBN 978-0-646-51734-6 Printed in Australia by BA Printing & Publishing Services Pty. Ltd. www.baprinting.com.au CONTENTS A Dedication.................................................................................................. 4 From The Author........................................................................................... 4 About Kyiv, Ukraine - The Country Of My Birth........................................ 5 Early Years................................................................................................... -
Gwen Harwood and Margaret Atwood
A juxtaposition of poets : Gwen Harwood and Margaret Atwood A juxtaposition of poets : Gwen Harwood and Margaret Atwood Eric Hornsby A juxtaposition of poets : Gwen Harwood and Margaret Atwood Copyright © by Eric Hornsby. All Rights Reserved. Contents Attribution vii Key to Abbreviations of Books viii Introduction 1 1. Chapter 1 7 2. Chapter 2 18 3. Chapter 3 32 4. Chapter 4 57 Bibliography 67 Attribution A thesis presented in partial fulfillment of the requirements of the degree of Bachelor of Arts with Honours in English Literature. Eric Hornsby 1986 The University of Queensland vii Key to Abbreviations of Books Books by Margaret Atwood: CG – The Circle Game AC – The Animals in that Country PU – Procedures for Underground PP – Power Politics YAH – You are Happy SP – Selected Poems THP – Two Headed Poems TS – True Stories Books by Gwen Harwood: P – Poems P2 – Poems Volume 2 SP – Selected Poems LB – The Lion’s Bride viii Introduction In the foreword to a seminal work of comparative Australian and Canadian literary criticism – J.P. Matthew’s Tradition in Exile – Claude Bissell observed that “comparisons are most effective and helpful when they deal with divergences from 1 a strong common base”. His comment (and its context) provides a pertinent point of entry into a discussion of the lyric poetry of Gwen Harwood and Margaret Atwood. In being women (and mothers), in writing out of the recognisably analogous psychic and cultural environments of ‘post-colonial’ Australia and Canada; in having achieved positions of eminence in the critical acclaim of the literary establishments of their respective countries, the two poets would seem, superficially at least, to share ‘a strong common base’ in the circumstances of their artistic production. -
100 Years of Biology Origins of World Leading Research
UNIVERSITY OF TASMANIA December 2009 • Issue 36 100 YEARS OF BIOLOGY ORIGINS OF WORLD LEADING RESEARCH ENGINEERING 50TH ANNIVERSARY ENGINEERING A SUSTAINABLE FUTURE INDIGENOUS EDUCATION TASMANIANS IN THE OUTBACK The Friends’ School, PO Box 42 North Hobart, Tasmania 7002 Australia Telephone: (03) 6210 2200 - Facsimile: (03) 6234 8209 [email protected] - www.friends.tas.edu.au T H E F R I E N D S ’SC H O O L H O B A R T Leading-edge school on the quiet rim of the world Friends’ School Hobart is a pre-K to 12 co-educational school with residential facilities. Our students and staff live and work in Tasmania’s quiet, clean and natural environment. Established by Quakers in 1887, Friends’ has a reputation for academic excellence. In 2008, 98% of our final year students qualified for university entrance. Academic Excellence At Friends’, we believe in providing the widest possible range of educational opportunities. That’s why we offer our Year 11 and 12 students the choice of the International Baccalaureate, the Tasmanian Certificate of Education (TCE) and Vocational Education and Training. We’d like to tell you more about Friends’ School. For a copy of our prospectus or to arrange a visit, please contact us. MOTIVATED BY CHALLENGE AND A SENSE OF DISCOVERY? THINK POSTGRADUATE STUDY. AT THE UNIVERSITY OF TASMANIA WE ARE COMMITTED TO EXCELLENCE IN TEACHING, LEARNING AND RESEARCH. Our postgraduate programs span a diverse range of specialised and traditional disciplines. UTAS students gain a competitive advantage through strong professional links and programs tailored to meet the needs of industry. -
Applications for the 2016 Sydney International Piano Competition Are Now Open
Applications for the 2016 Sydney International Piano Competition are now open Entries are now open online for the 2016 competition, to be staged in the Verbrugghen Hall at the Sydney Conservatorium of Music and at the Sydney Opera House in July, with audition videos sought before the closing date of December 1, 2015. With a formidable international reputation, the competition is open to pianists of all nationalities aged 18 to 32 and has an impressive alumni of first prize winners hailing from all corners of the globe. Unique to the competition is the provision of flights and expenses for all 32 competitors to come to Sydney to perform and compete for almost $200,000 in cash prizes. Under the artistic directorship of acclaimed Australian pianist Piers Lane AO the Competition has reduced the number of accepted competitors from 36 to 32 and will reduce that number to 12 after the two preliminary rounds of competition. Other innovations to the competition include the requirement for early round participants to play on the allocated four different pianos, reflecting the real life environment of concert performance, rather than having a choice of instruments. The prizes for 2016 have been named in honour of significant and influential Australian pianists such as the Ernest Hutcheson First prize of $50,000, the Percy Grainger Second prize of $25,000 and the Eileen Joyce Concerto prize. There is also a People’s Choice Prize named after Rex Hobcroft AM who founded the competition with Claire Dan, AM, OBE in 1977. Applications are now open at www.sydneypianocompetition.com.au. -
Unit3 Chris Wallace-Crabbe & Gwen Harwood
UNIT3 CHRIS WALLACE-CRABBE & GWEN HARWOOD Structure Objectives Introduction 'Melbourne' 3.2.1 The Social Context 3.2.2 The Literary Context 3.2.3 The Text 'In the Park' 3.3.1 The Social Context 3.3.2 The Literary Context 3.3.3 TheText Common Concerns Let Us Sum Up Glossary Questions Suggested Reading 3.0 OBJECTIVES The primary objective of this unit is to analyse 'Melbourne' by Chris Wallace- Crabbe and 'In the Park' by Gwen Harwood. The secondary objective is to explore-through these poems-the way the topography of contemporary Australia changes and redefines itself. 3.1 INTRODUCTION Chris Wallace-Crabbe @. 1934) taught at the University of Melbourne. One of his students here was Bruce Dawe (see 2.1) and indeed a section of one of Wallace- Crabbe's major poetic sequences entitled 'Losses and Recoveries' is dedicated to Dawe. I find the role of remembrancer or 'memory keeper' to the public, is one that Wallacecrabbe plays in some of his poems. For instance, this is how he dls Dawe in the poem to which I just referred. Film has no tenses, the latest pundit says, poems have tenses and nostalgias though like anytlung, and when I get to think of the mid-fifties, flashing through my slides, I see you slope past Chemistry, blue-chinned in military shirt and a maroon figured art-silk tie.. The idea that poetry has its own 'tensions and nostalgias' is, I think. central to an understanding of Wallacecrabbe. Here his concern is not simply to evoke the presence of Bruce Dawe-a fellow-poet and an old student-but (as importantly) to evoke a specific time (the 1950's) and a specific place (Melbourne).