Annual Report 2014–15
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Recipients of Honoris Causa Degrees and of Scholarships and Awards 1999
Recipients of Honoris Causa Degrees and of Scholarships and Awards 1999 Contents HONORIS CAUSA DEGREES OF THE UNIVERSITY OF MELBOURNE- Members of the Royal Family 1 Other Distinguished Graduates 1-9 SCHOLARSHIPS AND AWARDS- The Royal Commission of the Exhibition of 1851 Science Research Scholarships 1891-1988 10 Rhodes Scholars elected for Victoria 1904- 11 Royal Society's Rutherford Scholarship Holders 1952- 11 Aitchison Travelling Scholarship (from 1950 Aitchison-Myer) Holders 1927- 12 Sir Arthur Sims Travelling Scholarship Holders 1951- 12 Rae and Edith Bennett Travelling Scholarship Holders 1979- 13 Stella Mary Langford Scholarship Holders 1979- 13 University of Melbourne Travelling Scholarships Holders 1941-1983 14 Sir William Upjohn Medal 15 University of Melbourne Silver Medals 1966-1985 15 University of Melbourne Medals (new series) 1987 - Silver 16 Gold 16 31/12/99 RECIPIENTS OF HONORIS CAUSA DEGREES AND OF SCHOLARSHIPS AND AWARDS Honoris Causa Degrees of the University of Melbourne (Where recipients have degrees from other universities this is indicated in brackets after their names.) MEMBERS OF THE ROYAL FAMILY 1868 His Royal Highness Prince Alfred Ernest Albert, Duke of Edinburgh (Edinburgh) LLD 1901 His Royal Highness Prince George Frederick Ernest Albert, Duke of York (afterwards King George V) (Cambridge) LLD 1920 His Royal Highness Edward Albert Christian George Andrew Patrick David, Prince of Wales (afterwards King Edward VIII) (Oxford) LLD 1927 His Royal Highness Prince Albert Frederick Arthur George, -
Handbook, 1957
THE UNIVERSITY OF MELBOURNE FACULTY OF MUSIC HANDBOOK, 1957 MELBOURNE UNIVERSITY PRESS Page numbers are not in sequence. This is how they appear in the publication UNIVERSITY OF MELBOURNE CONSERVATORIUM OF MUSIC Established 1894 t. Director—T ORMOND Рковнssок 0F Music, SIR BERNARD HEINZE, К В LL.D.нк (British Columbia), Mus. Doc. (W.A.), M.A., F.R.C.M., Degré Supérieur, Schola Cantorum, Paris. Vice-Director—REVEREND PERCY JONES, Ph.D., Mus.Doc. Registrar of the University—F. H. JOHNSTON, B.A., B.Com., L.C.A., J.P. Secretary—IAN PAULL FIDDIAN, Barrister and Solicitor. THE ORMOND CHAIR OF MUSIC AND THE CONSERVATORIUM The Chair of Music was founded in the University of Melbourne by the generous endowment (f20,000) of the late Mr. Francis Ormond in 1891. Three years later, in 1894, the Conservatorium was established. THE BUILDING The present building consists of twenty teaching rooms, a finе lecture hall, concert hall (known as Melba Hall), Director's room, administrative offices, library, social room and staff and students' rooms. AIM OF THE CONSERVATORIUM The chief aim of the Conservatorium is co provide a general course of musical education, while provision is also made for specialization in any particular subject. In the absence, on leave, of Mr. Henri Touzeau, Mr. Keith Humble has directed the orchestra. A programme was provided for the National Council of Women at the Melbourne Town Hall, and by the end of the year three concerts will have been given in Melba Hall. At two of these concerts a number of students will have had an opportunity to appear as soloists with the orchestra. -
PAT HOFFIE: Skatebowl in a Gallery, Ipswich Essay by Julianne Schultz
PAT HOFFIE: Skatebowl in a Gallery, Ipswich essay by Julianne Schultz MONA – the Museum of Old and New Art – is a glamorous curiosity box on the banks of the Derwent River at Glenorchy in working class Hobart. In just a few years it has been the catalyst of and economic and social transformation – crystallising the cultural essence of early twenty-first century Tasmania, and changing notions of productive work. In the process it has put the state on the global tourism agenda, providing opportunities for artists, craftspeople, performers and thinkers to find like minded souls and develop new businesses and to stretch the horizons and possibilities for countless others. Similar interventions are occurring around the world, as artists, entrepreneurs, local administrators and communities stretch the boundaries of engagement, creativity and art. Skatebowl in a Gallery, Ipswich is the most recent move into this space by the important Brisbane artist, Pat Hoffie. That this work, titled Immaterial Labour: Skatebowl Prounspace has found a home at the Ipswich Art Gallery is itself important – it is the juxtapostion of works like this in unexpected places, and with people who may not routinely visit a gallery, that adds to their power and impact. MONA is a great example. It is itself arguably as much a work of art – of genius – as some of the works assembled in its subterranean galleries and inspiring spaces. It is a product of vision and skill of one man, David Walsh, executed with unstinting precision using the proceeds of a form of work (gambling), which is more often thought of as play. -
Discovering the Contemporary Relevance of the Victorian Flute Guild
Discovering the Contemporary Relevance of the Victorian Flute Guild Alice Bennett © 2012 Statement of Responsibility: This document does not contain any material, which has been accepted for the award of any other degree from any university. To the best of my knowledge, this document does not contain any material previously published or written by any other person, except where due reference is given. Candidate: Alice Bennett Supervisor: Dr. Joel Crotty Signed:____________________ Date:____________________ 2 Contents Statement of Responsibility: ................................................................................................................... 2 Chapter One ............................................................................................................................................ 5 Introduction ........................................................................................................................................ 5 Methodology ....................................................................................................................................... 6 Literature Review ................................................................................................................................ 9 Chapter Outlines ............................................................................................................................... 11 Chapter Two ......................................................................................................................................... -