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Message Stickyour Way Forward
Message StickYour way forward September 2019 A proposal for furthering the Uluru Statement from the Heart Ewamian Tatampi Puranga Aboriginal Corporation RNTBC Ewamian Aboriginal Corporation Doing Deadly Things& In Eco-Tourism NAIDOC NAIDOC WEEK: POSTERS OF THE PAST 2019 1972 TO PRESENT VOICE. TREATY. TRUTH. NATIVE TITLE Djabugay culture lights up Redlynch Ngarraboolgan gets Djungan Cultural Sign Update from the Chief Executive Officer Engagement & Development Support Unit Update Message from Madam Chair Pictured: Dennis Hunter, Djabugay Traditional Owner Traditional Djabugay Dennis Hunter, Pictured: Your way forward Message Update Native Title Update: From From The Compensation Engagement & Madam CEO Development Chair Support Team A Proposal Ewamian Djabugay NAIDOC for Furthering Doing Deadly Culture 2019: the Uluru Things In Lights up VOICE. Statement Eco-Tourism Redlynch TREATY. from the TRUTH. Heart NAIDOC Week Ngarraboolgan Posters Of gets Djungan The Past: Cultural Sign 1972-NOW Message Stick is published by the North Queensland Land Council Native Title Representative Body Aboriginal Corporation Body Aboriginal Corporation Representative Title by the North Queensland Land Council Native Stick is published Message is information Any resale. for Stick is not Message CEO. of the NQLC consent in whole, or part, without the written reproduced and should not be to NQLC copyright Stick are of Message (ICN 1996). The contents of by the Department provided from funding Stick is made possible Message of significance. sites deceased individuals or cultural contain used that any images for time of writing. The publisher apologises at correct Michelle Liddy on 1800 814 779 or [email protected]. the editor contact Stick, please Message queries regarding Any and Cabinet. -
Music Business and the Experience Economy the Australasian Case Music Business and the Experience Economy
Peter Tschmuck Philip L. Pearce Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Music Business and the Experience Economy . Peter Tschmuck • Philip L. Pearce • Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Editors Peter Tschmuck Philip L. Pearce Institute for Cultural Management and School of Business Cultural Studies James Cook University Townsville University of Music and Townsville, Queensland Performing Arts Vienna Australia Vienna, Austria Steven Campbell School of Creative Arts James Cook University Townsville Townsville, Queensland Australia ISBN 978-3-642-27897-6 ISBN 978-3-642-27898-3 (eBook) DOI 10.1007/978-3-642-27898-3 Springer Heidelberg New York Dordrecht London Library of Congress Control Number: 2013936544 # Springer-Verlag Berlin Heidelberg 2013 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Exempted from this legal reservation are brief excerpts in connection with reviews or scholarly analysis or material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’s location, in its current version, and permission for use must always be obtained from Springer. -
Didgeridoo Notation
DIDGERIDOO NOTATION MARKOS KOUMOULAS A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO DECEMBER 2018 © MARKOS KOUMOULAS, 2018 Abstract The didgeridoo is a unique musical instrument considered to be one of the world’s oldest instruments. It plays an integral part in Australian Aboriginal history, spirituality, rituals and ceremonies. Didgeridoo playing is solely based on oral tradition with varying techniques and interpretations among Aboriginal communities. For non-Aboriginal musicians and composers, the didgeridoo lacks the status of a “serious” instrument and is often viewed as a novelty instrument. This may be why there is a lack of didgeridoo notation and its misrepresentation in the western notation world. This paper presents a “Didgeridoo Notation Lexicon” which will allow non-didgeridoo composers to understand a readable legend and incorporate the didgeridoo into their compositions. The need for didgeridoo notation will be discussed and analyzed in comparison to previous notation attempts of composers and musicologists such as Sean O’Boyle, Liza Lim, Harold Kacanek and Wulfin Lieske. In the past, the inclusion of the didgeridoo in orchestral contexts has predominately been focussed on its associated Aboriginal imagery regarding dreamtime and spirituality. Conversely, my original composition fully integrates the didgeridoo within the orchestra as an equal instrument, not a focal point to advance a particular theme. I travelled to Cairns, Australia to interview world-renowned didgeridoo player, David Hudson. Hudson’s insight, experience and knowledge of the Aboriginal community supported the creation of a Didgeridoo Notation Lexicon. -
Mapping the Cultural Atlas of North Queensland
Mapping the Cultural Atlas of North Queensland: Ronald “Tonky” Logan a Case Study Abstract The ‘Cultural Atlas’ proposed by the PIP (People, Identity, Place) research cluster at James Cook University aims to contextualize cultural communities and artists in North Queensland into a comprehensive profile. Case study Ronald “Tonky” Logan is a North Queensland Aboriginal Country Western musician. The secondary theme of this article is the appropriation of Country Western music by Australian Aboriginal groups as traditional music. This article draws on research by Dunbar-Hall & Gibson (2004), who demonstrate the relevance of contemporary music within Australian Aboriginal contexts, based on location and geography, as a means of establishing people, identity and place. Dr. David Salisbury James Cook University School of Creative Arts Digital Sound Introduction In 2005 the PIP (People, Identity, and Place) research cluster of James Cook University held an annual seminar during which the concept of initiating a Cultural Atlas was proposed. In March 2006 a PIP Cultural Atlas meeting was held and basic concepts were proposed including some preliminary boundaries of latitude 18, south to Bowen and Hayman Island, west to Mt. Isa and north covering the Gulf region (the Torres Strait Islands are not included). Possible outputs could be a Website as a primary means to maintain a collection of data and resources for tourism, focusing on eco and cultural-tourism CD’s and DVD’s. Initially this article aims to establish the context in which the subject of this case study, Ronald ‘Tonky’ Logan, performs and lives by outlining a brief history of Aboriginality in North Queensland along with a brief history of Aboriginal music in the region. -
Speaker Biographical Notes
Speaker Biographical Notes David Hudson (Facilitator - Indigenous Entertainer, Musician, Artist and Actor) David Hudson is a descendent of Ewamian and Western Yalanji of North Queensland and is an internationally renowned musician, composer, actor and entertainer. In all these areas, his work comprises a combination of contemporary and traditional Aboriginal influences. He is a highly accomplished performer and in 1997 David toured with Yanni (Greek composer) over a 7-year period. He has performed at the Taj Mahal, India and the Forbidden City China, acted alongside Marlon Brando and Val Kilmer in The Island of Doctor Moreau (1996). David is the co-founder, choreographer of Tjapukai Aboriginal Cultural Park and from 2008-12 had returned to take control as General Manager. David is well known around the world for his music and has released 28 albums which range in their mediums from the traditional right through to the classical arena. Mastering the didgeridoo at an early age, he is renowned as a pioneer in the art of making and playing the didgeridoo and taking this instrument to the world stage. Performances in the corporate/convention and tourism areas have been all apart of in David’s extensive career. He is an accomplished inspirational guest speaker and delivers cross cultural workshops to various organisations and corporate groups. He has performed, promoted and travelled with Tourism Bodies with their promotions throughout Queensland, Australia and the world. He is also the recipient of an Honorary Tourism Ambassadors Award and a Centenary Medal for services to Aboriginal and Torres Strait Islander Affairs. David / Didgeralia was commissioned to deliver the entertainment and interactive component of Dreamworld Corroboree, Gold Coast. -
The Black List Is an Important Addition to Reference Material B
T h e Produced by Screen Australia’s Strategy & Research Unit, The Black List is an important addition to reference material B on Indigenous filmmaking in Australia, cataloguing the work l a of 257 Indigenous Australians with credits as producer, c director, writer or director of photography on a total of k 674 screen productions. L he i Listings go back as far as 1970 for feature films and telemovies, ! Film and TV to 1980 for documentaries and mini-series, and to 1988 for T shorts and series. projects since 1970 Titles are indexed by year and by filmmaker, and the book with also features a statistical summary and timeline of key titles and events. Indigenous Australians in key creative SCREEN A Black roles US TRALIA Li! he OVX:YD+1 T cf[TEChg gOYCEÐÖõÏ pOhM YDOLEY[jg jghf:VO:Yg OYUErCfE:hOoE Black f[VEg Li! ÛÛ #!1!1/ 0 .0 Yhf[DjChO[YÒ _nSKi@mnQKvxK@lm_JURK_apm~\^^@[KlmS@uKHla[K_nSlapRSna@ISUKuKHanSIlUnUI@\@_J Ia^^KlIU@\mpIIKmmvUnS-@ISK\*Kl[U_m¡3`O\?bS5OSn@[U_R^alKnS@_ Ý^U\\Ua_@nnSK Mf[Y[V[Lr[K pmnl@\U@_HawaQ~IK7@lvUI[0Sal_na_vU__U_RnSK @__Km @^Kl@J¡"lQalO[]\5SZWZOV YDOLEY[jgxVXò+1Ó @_J^p\nUi\K@v@lJmQalilaRl@^mmpIS@m7W`a2ba`OZWO\@_JDVS4W`QbWa DVS3ZOQY=WaIK\KHl@nKmnSKmKIa_nK^ial@lxmIlKK_mnalxnK\\Klm@_JnSamKnS@nS@uK Ergh:hOghOCgÐÑ Ra_KHKQalKilauUJU_RJKmIlUinUuK\UmnU_RmaQJl@^@@_JJaIp^K_n@lxnUn\KmvSKlK_JURK_apm pmnl@\U@_mS@uKHKK_IlKJUnKJU_nSK[KxIlK@nUuKla\KmaQilaJpIKlJUlKInalvlUnKlalJUlKInal +OhVEgBrrE:f aQiSanaRl@iSx¼ "*½ E:hjfEg ÐÔ 0SKI@n@\aRpK@U^mnaHK@mIa^ilKSK_mUuK@miammUH\KvUnSU_nSKnU^KiKlUaJmIauKlKJQal +1Df:X: ÐÔ K@ISQal^@n [CjXEYh:fOEg[YL -
Katalog 2005 : Katalog 2005, Flat 1 of 20 - Pages: 40, 1, 02/22/05 02:52 Pm
Katalog 2005 : Katalog 2005, Flat 1 of 20 - Pages: 40, 1, 02/22/05 02:52 pm compact disk catalogue art direction and design: 2005 eckart rahn celestial harmonies p.o. box 30122 tucson, arizona 85751-0122 u.s.a. e-mail [email protected] internet www.harmonies.com 19000-9 printed in germany on recycled paper celestial harmonies 40 1 Katalog 2005 : Katalog 2005, Flat 2 of 20 - Pages: 2, 39, 02/22/05 02:52 pm march 21, 1995: CNN international and CNN headline news in the united states feature celestial harmonies’ environmental policy in an interview with eckart rahn. It is the first time that a record company has developed a comprehensive environmentally sensitive packaging policy and is consistently living up to it. The Nobility of Purpose and the Refinement of Expression I In 1993, Celestial Harmonies began using the CD slim-line box, a jewel box half the width and 34 percent the weight of a standard jewel box, becoming the first company in the industry to issue full-length CDs in this packaging. The slim-line package also eliminates the need for the wasteful CD tray, which holds the CD in place. I In 1993, Celestial Harmonies began using recycled paper for all its corporate letterhead, envelopes and other printed materials. For a detailed description of I In 1994, Celestial Harmonies began printing all paper used in its music releases in non-toxic vegetable our artists and their recordings, inks. please find us on the Internet at I Recycled paper and non-toxic vegetable inks will be used when remanufacturing older releases on the www.harmonies.com company’s labels. -
2006 Catalogue
compact disk catalogue 2006 celestial harmonies The Nobility of Purpose and the Refinement of Expression For a detailed description of our artists and their recordings, please find us on the Internet at www.harmonies.com october 29, 1993: march 21, 1995: the australian foreign minister, gareth evans, launches CNN international and CNN headline news in the “the music of cambodia” at his office in sydney. his united states feature celestial harmonies’ assistance later on proved to be invaluable; without environmental policy in an interview with eckart rahn. the support of the australian embassy in hanoi our “the it is the first time that a record company has developed music of vietnam” series would have been incomplete. a comprehensive environmentally sensitive packaging the recordings made in vietnam’s ancient capital hue by policy and is consistently living up to it. david parsons became instant music history. THE ENVIRONMENT: WE’RE DOING OUR PART At Celestial Harmonies we recognize that protecting the environment is critical to preserving the future of civilization and all living things. As a company that produces music by and for people all over the world, we are firmly committed to doing our part by engaging in environmentally-conscious practices in all elements of our business operations. Therefore, we are pleased to take a leadership position in the record industry by clearly stating a company-wide environmental policy, which both serves as a guideline for all Celestial Harmonies employees and demonstrates our unwavering support of responsible environmental behavior to the recording artists on our labels and our customers. Our environmental mission: to engage in innovative, environmentally-conscious practices in all elements of our production, packaging, distribution and other operations, and to record artists whose environmental views are in accord with responsible environmental behavior. -
2000 Celestial Harmonies Compact Disk Catalogue
front covercover calligraphy:front calligraphy: helmut zimmermannhelmut zimmermann earth mapmap inin shodoearth shodo- stylestyle (((111999999111))) art directiondirection andand design:art design: eckart rahneckart rahn celecelecelessstial harmoniestial harmonies p.o. bp.o. booox 30122x 30122 tututucccson, arizonaarizona 85751-0122son, 85751-0122 u.s.a.u.s.a.u.s.a. e-mail celestiale-mail celestial@@@harmonies.comharmonies.comharmonies.com internetinternet http://www.harmonies.cominternet http://www.harmonies.comhttp://www.harmonies.com 19000-919000-919000-9 200020002000 celestialcelestialcelestial harmonies harmoniesharmonies printed inin germanygermany onon recycledrecycled paperprinted paper compactcompact diskdiskdisk cataloguecompact cataloguecatalogue 40 THE ENVIRONMENT: WE’RE DOING OUR PART VIDEOS STEVEN MICHAEL VALDEZ/ At Celestial Harmonies we recognize that protecting the environment is critical to MUSIC BY DEUTER preserving the future of civilization and all living things. As a company that produces music by and for people all over the world, we are firmly committed to doing our 19001-8 THE PETRIFIED FOREST 47’20” part by engaging in environmentally-conscious practices in all elements of our business STEVEN MICHAEL VALDEZ/ operations. Therefore, we are pleased to take a leadership position in the record STEVEN MICHAEL VALDEZ/ industry by clearly stating a company-wide environmental policy, which both serves NARRATED BY J. REUBEN SILVERBIRD as a guideline for all Celestial Harmonies employees and demonstrates our unwavering MUSIC BY PERRY SILVERBIRD support of responsible environmental behavior to the recording artists on our labels AND MARK LINEBERRY and our customers. 19002-8 THE WORLD IN OUR EYES A NATIVE AMERICAN VISION OF CREATION 102’32” Our environmental mission: to engage in innovative, environmentally-conscious practices in all elements of our production, packaging, distribution and other operations, and to record artists whose environmental views are in accord with responsible environmental behavior.