DOCSLIB.ORG

Complexity Through Interaction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Complexity Through Interaction Complexity Through Interaction An investigation into the spontaneous development of collective musical ideas from simple thematic materials Nicholas Tasman Haywood M.Music Performance, The University of Melbourne (Victorian College of the Arts) Submitted in partial fulfilment of the degree of Doctor of Philosophy University of Tasmania Hobart (June 2014) ii DECLARATION This exegesis contains the results of research carried out at the University of Tasmania, Conservatorium of Music between 2010 and 2013. It contains no material that, to my knowledge, has been accepted for a degree or diploma by the University or any other institution, except by way of background information that is duly acknowledged in the exegesis. I declare that this exegesis is my own work and contains no material previously published or written by another person except where clear acknowledgement or reference has been made in the text. This exegesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Nicholas Tasman Haywood Date ii Table of Contents Acknowledgements ................................................................................................. iv List of Figures ............................................................................................................ v Abstract ................................................................................................................... vi Chapter 1 .................................................................................................................. 1 Introduction and Literature Review ............................................................................ 1 Author’s related professional experience ............................................................................. 4 What is (Jazz) Improvisation? .............................................................................................. 5 Common problems with skill acquisition studies ................................................................ 6 Practice-Room – Performance-Stage Dichotomy ................................................................ 9 Inhibiting Factors ............................................................................................................... 11 Intuition and Creativity ...................................................................................................... 16 The Concept of Jazz Improvisation .................................................................................... 17 Jazz Improvisation – Instructional Texts ............................................................................ 21 Chapter 2 ................................................................................................................ 24 Methodology ................................................................................................................... 24 Chapter 3 ................................................................................................................ 30 The Recordings ................................................................................................................ 30 Process ............................................................................................................................... 30 First Recording of the Ensemble .................................................................................................. 30 The Pieces .......................................................................................................................... 33 Second Recording of the Ensemble ................................................................................... 52 Chapter 4 ................................................................................................................ 54 Identifying the Key Concepts ........................................................................................... 54 Materials ............................................................................................................................ 54 Aural and Visual Awareness .............................................................................................. 58 Trust and Respect .............................................................................................................. 62 Intuition ............................................................................................................................. 71 Chapter 5 ................................................................................................................ 81 An application of the key concepts ................................................................................... 81 Conclusion .............................................................................................................. 89 Appendix 1 ............................................................................................................. 93 List of Recordings ............................................................................................................ 93 CD 1: Nick Haywood Quartet 1234 .................................................................................... 93 CD 2: Live at Bennett’s Lane Jazz Club, Melbourne, Australia. Set 1 ................................ 93 iii CD 3: Live at Bennett’s Lane Jazz Club, Melbourne, Australia. Set 2 ................................ 94 DVD 1 ................................................................................................................................. 94 DVD 2 ................................................................................................................................. 94 Appendix 2 ............................................................................................................. 95 Bibliography ......................................................................................................... 100 iv Acknowledgements I would like to take this opportunity to acknowledge the understanding and patience of my family: in Australia - Nellie, Ella and Ruby-Rose and in Germany - Che and Eva. I am eternally grateful to you all for your love and encouragement. I would especially like to thank my supervisors, Dr Glen Hodges and Associate Professor Andrew Legg for your insights and invaluable guidance in completing this work. I can’t thank you enough. I am forever indebted to Allan Browne, Colin Hopkins and Stephen Magnusson for their musical contributions, candid interview contributions and especially their friendship. I would also like to thank Mal Stanley and Tony Norris for making the recording sessions happen and to Stewart Long and Caleb Miller at UTAS for their work with the CDs and DVDs. This work could not have been done without you all. v List of Figures Figure 1 John Coltrane's solo on Giant Steps (first chorus). 13 Figure 2 John Coltrane's Giant Steps (Lead Sheet) 14 Figure 3 G.P. 33 Figure 4 The Moon's a Harsh Mistress 35 Figure 5 Tahdon 38 Figure 6 Round Trip 40 Figure 7 Detention river 42 Figure 8 4 x 4 45 Figure 9 Blue Eyes Crying in the Rain 47 Figure 10 Slow Tune 50 Figure 11 The Key Concepts 71 Figure 12 When I Grow Too Old to Dream 74 vi Abstract The purpose of this research is to investigate and describe the optimum conditions under which collaborative improvised musical expression in performance can be established. This study is an exhaustive examination of selected performances of an ensemble in which I perform. This ensemble was newly formed, specifically for this research study. The research investigates the impact of the ensemble dynamic on the improvisations of each individual within the ensemble and the way in which this affects and informs my own playing. Performances and recordings by this ensemble are used as the basis of the research presented in the accompanying exegesis. The weighting of this project is 80% folio and 20% exegesis. The recordings have not been analysed in the traditional harmonic, melodic and rhythmic manner as the focus of this study is on the way in which musicians connect at an intuitive level. The manner in which each participant’s contributions affect their co-performers has been analysed and discussed. Aural perception and the collective and individual musical history of the participants are seen as significant factors and as such have been investigated through interviews. It is proposed that a musician’s familiarity with repertoire should be such that conscious decision making in performance becomes redundant. In fact, it is felt that the need to deliberately think about both physical and material requirements of music making, when playing, is a hindrance to high quality musical performance, both during improvisation and interpretation of pre-composed materials. To this end, there is a need to separate the manner in which a musician accumulates musical knowledge via practice, from the way they present music, as a performer. The study explores this important relationship in the context of the case study of the project album. These issues have also been examined with a view to offering some insight into the mindset and methods that best support the development of high-level improvisation and interpretive skills. 1 Chapter 1 Introduction and Literature Review The purpose of this research is to investigate and describe the optimum conditions under which collaborative improvised musical expression can be established. This investigation will seek to identify the essential contextual elements that underpin
Load more

Recommended publications
  • BOB SEDERGREEN: the INTERVIEW by Adrian Jackson*
    BOB SEDERGREEN: THE INTERVIEW by Adrian Jackson* _______________________________________________________ [This interview appeared in the December 1981 edition of Jazz Magazine] ver the last decade, I have had the pleasure of hearing pianist Bob Sedergreen play on many occasions: with vibist Alan Lee, with a succession of bands led O by Brian Brown, as the focal point of the Ted Vining Trio, with Onaje, as the wild card in Peter Gaudion’s Blues Express, providing fairly heroic support to visiting stars Jimmy Witherspoon, Phil Woods, Richie Cole and Milt Jackson, even solo. I have always enjoyed and admired his playing for its unflagging swing and qualities of joy, resourcefulness and commitment, and his determination to take chances at all times in search of inspiration, which he seems to find more frequently than most. He has long impressed me as a jazz musician who often plays ‘above himself’ because he has the courage to do just that. Bob Sedergreen: the sum total of his music is pure Sedergreen… In the last few years, he has continued to increase the scope and depth of his playing, and his confidence in it, to the point where he is obviously one of the best musicians in Australia. We have too few others who can so consistently be so exciting, original, inventive, surprising and enjoyable. __________________________________________________________ *In 1981 when this was published, Adrian Jackson was a freelance writer, who had been jazz critic with the Melbourne Age since 1978. 1 I won’t try to describe his playing. As with any really good jazz artist, his playing is a reflection of his listening and playing experiences, and his own personality.
    [Show full text]
  • Short Takes Jazz News Festival Reviews Jazz Stories Interviews Columns
    THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC SHORT TAKES JAZZ NEWS FESTIVAL REVIEWS JAZZAMANCA 2020 JAZZ STORIES PATTY WATERS INTERVIEWS PETER BRÖTZMANN BILL CROW CHAD LEFOWITZ-BROWN COLUMNS NEW ISSUES - REISSUES PAPATAMUS - CD REVIEWS OBITURARIES Volume 46 Number 2 April May June Edition 2020 Ed Schuller (bassist, composer) on GM Recordings My name is Eddy I play the bass A kind of music For the human race And with beauty and grace Let's stay on the case As we look ahead To an uncertain space Peace, Music Love and Life" More info, please visit: www.gmrecordings.com Email: [email protected] GM Recordings, Inc. P.O. Box 894 Wingdale, NY 12594 3 | CADENCE MAGAZINE | APRIL MAY JUNE 2016 L with Wolfgang Köhler In the Land of Irene Kral & Alan Broadbent Live at A-Trane Berlin “The result is so close, so real, so beautiful – we are hooked!” (Barbara) “I came across this unique jazz singer in Berlin. His live record transforms the deeply moving old pieces into the present.” (Album tip in Guido) “As a custodian of tradition, Leuthäuser surprises above all with his flawless intonation – and that even in a live recording!” (Frankfurter Allgemeine Zeitung) “Leuthäuser captivates the audience with his adorable, youthful velvet voice.” (JazzThing) distributed by www.monsrecords.de presents Kądziela/Dąbrowski/Kasper Tom Release date: 20th March 2020 For more information please visit our shop: sklep.audiocave.pl or contact us at [email protected] The latest piano trio jazz from Quadrangle Music Jeff Fuller & Friends Round & Round Jeff Fuller, bass • Darren Litzie, piano • Ben Bilello, drums On their 4th CD since 2014, Jeff Fuller & Friends provide engaging original jazz compositions in an intimate trio setting.
    [Show full text]
  • Lists of Members 1996
    Lists of Members Governing Bodies, Faculties, Boards, Academic and Administrative Staff 1996 Main Committees and Departmental Lists as at 1st February, 1996. Address All general correspondence directed to the University should be addressed to The Registrar, The University of Melbourne, Parkville, Victoria. Australia, 3052. Telephone: (03) 9344 4000 Fax: (03) 9344 5104 Contents UNIVERSITY OF MELBOURNE: SENIOR OFFICE BEARERS COUNCIL 1 *COMMI 11tES 2 4 COUNCILS OF HALLS OF RESIDENCE COMMITthE OF CONVOCATION 8 *ACADEMIC BOARD FACULTIES 10 BOARDS 13 PROFESSORS 21 22 PROFESSORIAL ASSOCIATES WITH 1-11LE OF PROFESSOR 28 READERS 30 PROFESSORS EMERITUS 35 HEADS OF AFFILIATED COLLEGES 40 HEADS OF HALLS OF RESIDENCE 40 TEACHING AND RESEARCH STAFF - Agriculture, Forestry and Horticulture 41 Architecture, Building and Planning 45 Arts 46 Economics and Commerce 53 Education 56 Engineering 60 Law 65 Medicine, Dentistry and Health Sciences 67 Melbourne Business School 99 Music 100 Science 101 Veterinary Science 107 Victorian College of the Arts 109 LIBRARY 112 FACULTY ADMINISTRATION 115 GRADUATE SCHOOL ADMINISTRATION 119 CENTRAL ADMINISTRATION 120 Office of the Vice-Chancellor and Principal 120 Academic Registrar's Division 122 Academic Services 122 Academic Administration 122 Academic Planning Support Unit 122 External Relations 122 The Graduate Centre 123 International Office 123 Student and Staff Services 123 Human Resources 125 Registrar's Division 126 Executive Services 126 Financial Operations 126 Information
    [Show full text]
  • The Tony Gould Quartet Live in Concert Featuring Graeme Lyall
    THE TONY GOULD QUARTET LIVE IN CONCERT FEATURING GRAEME LYALL 1 he main purpose of this recording likes of the Lyall, who has never been even if only for posterity. (The producer is to document the playing of one of remotely interested in promoting his own of this recording, Martin Wright, is one Tthe great jazz saxophonists. extraordinary talent. He reminds one of the few in this country who have a The number of recorded performances of the great Paul Desmond, who might conscience in this regard, and thankfully by Graeme Lyall is shamefully small. It never have been heard had it not been for it extends right across the spectrum of is a classic case of ‘cultural cringe’ in that Brubeck. Desmond, too, by the way, was art music. Some future history of music while this country continues to enjoy visits quiet of nature, which probably accounts in this country will confirm this man’s by outstanding jazz players from overseas, for the sheer beauty of sound both these contribution.) most of whom record prolifically, we tend musicians produce. And so the pieces here were recorded still to ignore some of the marvellous Not many people make a real effort to in two venues, not always under ideal talent ‘on our doorstep’, especially the ensure that we record such musicians, conditions for recording, but given the above, well worth the trouble. These are all well known and much loved pieces. All the performances are spontaneous in every way. Rehearsals consisted of coffee all round, friendly debate about which pieces to play, and what key to play them in, not necessarily the same one each time! The only thing left was to argue about who announces the pieces.
    [Show full text]
  • International Jazz News Festival Reviews Concert
    THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC INTERNATIONAL JAZZ NEWS TOP 10 ALBUMS - CADENCE CRITIC'S PICKS, 2019 TOP 10 CONCERTS - PHILADEPLHIA, 2019 FESTIVAL REVIEWS CONCERT REVIEWS CHARLIE BALLANTINE JAZZ STORIES ED SCHULLER INTERVIEWS FRED FRITH TED VINING PAUL JACKSON COLUMNS BOOK LOOK NEW ISSUES - REISSUES PAPATAMUS - CD Reviews OBITURARIES Volume 46 Number 1 Jan Feb Mar Edition 2020 CADENCE Mainstream Extensions; Music from a Passionate Time; How’s the Horn Treating You?; Untying the Standard. Cadence CD’s are available through Cadence. JOEL PRESS His robust and burnished tone is as warm as the man....simply, one of the meanest tickets in town. “ — Katie Bull, The New York City Jazz Record, December 10, 2013 PREZERVATION Clockwise from left: Live at Small’s; JP Soprano Sax/Michael Kanan Piano; JP Quartet; Return to the Apple; First Set at Small‘s. Prezervation CD’s: Contact [email protected] WWW.JOELPRESS.COM Harbinger Records scores THREE OF THE TEN BEST in the Cadence Top Ten Critics’ Poll Albums of 2019! Let’s Go In Sissle and Blake Sing Shuffl e Along of 1950 to a Picture Show Shuffl e Along “This material that is nearly “A 32-page liner booklet GRAMMY AWARD WINNER 100 years old is excellent. If you with printed lyrics and have any interest in American wonderful photos are included. musical theater, get these discs Wonderfully done.” and settle down for an afternoon —Cadence of good listening and reading.”—Cadence More great jazz and vocal artists on Harbinger Records... Barbara Carroll, Eric Comstock, Spiros Exaras,
    [Show full text]
  • Catalogue.Pdf
    MASTER TAPE SOUND LAB sonic upstream www.MasterTapeSoundLab.com For Orders: [email protected] MASTER TAPE CATALOGUE Masterpieces on Master Tape: 64 Master Tapes, about 30 min. each Limited release on 1 generation 2 track 15 ips IEC master tape dubs: Jazz, Classical, Vocals, other. Pricing & formats: www.mastertapesoundlab.com. Samples & recording process: http://www.reel2reel.tv/transformer/recordings_intro.htm All recordings on this catalogue were licensed for limited master tape release by Master Sound Tape Lab and are hereby offered for personal use only. Any reproduction of the tapes offered here is forbidden and subject to copy right law. "I just received the samples this morning. Utterly brilliant. The finest capture of the natural acoustic I have ever heard". - Howard Popeck, SIMPLY STAX, UK "Wonderful recording - you have captured the airy and spacious acoustic perfectly, there is lovely delicacy in the treble and the mids are liquid; in short, very very analogue." - Mike Kontor, designer of NotePerfect Loudspeakers. "I do love Mercury Living Presence recordings and I thought that the sound was impossible to get again, now you did it!" - Vincenzo Fratello, SAP, Nagra Italy. "In essence, it's audio 'vanity publishing': Metaxas has issued a disc of recordings from his own archives. But the results will simply astound you". Ken Kessler, Hi Fi News & Record Review. A. Jazz: 1. Anita Hustas Trio, BMW EDGE, Melbourne 2005 2-3. Andrea Keller - Jazz Ensemble, BMW EDGE, 2005 Tapes 1&2 4-5. Aaron Choulai Trio at BENNETTS LANE, Melbourne 2005, Tapes 1&2 6-7. Aaron Choulai Trio, at BMW EDGE, 2005, Melbourne, Tapes 1&2 8-9.
    [Show full text]
  • February 2021
    January Sunday, 3rd Sunday, 17th. Dasika/Keller/Svoboda – Premiere Holly Moore Quartet – Debut Presenting original jazz & improvised Hailed for his “captivating honesty” (The Music Trust), Niran Dasika is a multi As the 2020 recipient of the Melbourne International Jazz Festivals program Take music in Melbourne since 1983 award-winning trumpeter and improvisor, known for his ethereal, expressive Note, Holly Moore premiered a new suite of music for sextet (3-piece horn trumpet playing and deeply evocative compositions, described as “ravishing” section and rhythm section) at ‘These Digital Times’ to much acclaim. As an (The Sydney Morning Herald) and “exquisite” (Australian Book Review). Dasika’s advocate for women in jazz, Holly also designed and delivered a series of online latest project introduces a new trio with legendary Melbourne pianist Andrea jazz workshops to Victorian high school students with the MIJF. Holly Moore Keller and emerging bass virtuoso Helen Svoboda, presenting an evening of brings together her new quartet featuring some of Melbourne’s finest young contemplative, minimalist compositions. Based in the Netherlands for the last musicians. This group explores her new compositions inspired by the chaos of two years, Svoboda is the recipient of 2020 Freedman Jazz Fellowship, and the 2020, delving into themes of love, loss and displacement. Drawing on European AAO’s ‘Pathfinder’ Music Leadership program for 2020/2021. jazz and post-bop influences, their sound is lush, grand and dynamic. Holly Moore (alto saxophone) performs with Kade Brown (piano), Robbie Finch (double bass) and Luke Andresen (drums). January& Sunday, 10th Meatshell + Claire Cross & Harry Cook – Debuts MEATSHELL is the experimental-folk duo of Helen Svoboda (contrabass/voice) Sunday, 24th and Andrew Saragossi (tenor saxophone).
    [Show full text]
  • Melodic Drumming in Contemporary Popular Music: an Investigation Into Melodic Drum-Kit Performance Practices and Repertoire
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by RMIT Research Repository 1 Melodic Drumming in Contemporary Popular Music: An Investigation into Melodic Drum-Kit Performance Practices and Repertoire A project submitted in fulfilment of the requirements for the degree of Master of Arts Michael Jordan School of Education College of Design & Social Context RMIT University February 2009 2 Declaration by the candidate I certify that: • This thesis is entirely my own work • Due acknowledgement has been made where appropriate • The work has not been submitted previously, in whole or in part, to qualify for any other academic award • The content of the thesis is the result of work which has been carried out since the official commencement date of the approved research program Candidate’s signature: Contents Acknowledgements Abstract Artifacts 1.1 Introduction 3 1.2 Rationale 1.3 Melodic drumming 1.4 Key research question 1.5 Methodology 2 Autobiographical context 2.1 Early influences 2.2 Duo performance 2.3 Traditional Irish influences 2.4 Teaching experience 3 Historical context 3.1 Early developments 3.2 Drum-kit instruments 4 Significant contributors to melodic drumming in popular music 4.1 Warren Dodds 4.2 Art Blakey 4.3 Max Roach 4 4.4 Tony Williams 4.5 Paul Motion 4.6 Jack De Johnette 5 Rudimental drumming 5.1 Educational context 5.2 Rudimental drumming 5.3 Buddy Rich and rudimental drumming 5.4 drum-kit examination repertoire 6 Time-feel 6.1 The nature of time-feel 6.2 Drum-kit player responses to time-feel 6.3 Time-feel and student drummers 6.4 The grid system 6.5 Drum-kit playing in schools 6.6 Beyond the grid 7 Voicing melody on the drum-kit 7.1 Voicing and tuning 7.2 Early tuning experience in performance 7.3 Tuning and the world music genre 8 Melodic drum-kit performance techniques.
    [Show full text]
  • THE MUTE CANARY PROJECT on Myspace Music - Free Streaming Mp3s, Pictures & Music Videos 7/12/10 4:05 PM
    THE MUTE CANARY PROJECT on Myspace Music - Free Streaming MP3s, Pictures & Music Videos 7/12/10 4:05 PM Music My Music Music Videos Charts Featured Playlists Music News Shows For Artists “ has joined MySpace! ” Mood: good 6:56 PM 17 Oct 2009 Discover ▼ Sign Up • Login ▼ Search Music Search THE MUTE CANARY PROJECT Friend Home People MusicAdd CommentVideo · SendGames MessageTV Movies Topics More ▼ Help Sign Up Login General Info Genre: Experimental / Jazz / Progressive Profile Location Brisbane, Queensland, AU Profile Views: 6977 Music Last Login: 4/12/2010 Member Since 17/10/2009 Photos Record Label BLACK RHINO Type of Label Indie Shows Bio Stream Upcoming Events for November: .. .. THE MUTE CANARY PROJECT led by Elliott Dalgleish .. .. Curated by Akai-Dalgleish-Hodgins-Kawauchi-Koyano-McNicol-Richardson- Friends Saunders-Wallis-Weston-Vale. .. .. The Judith Wright Centre for Contemporary Arts (Shopfront) .. 23rd of November .. 7:30pm .. .. Cecil Taylor, Roscoe Mitchell and The Art Comments Ensemble of Chicago meets Conlon Nancarrow, Charles Wuorinen, La Monte Young and Advertisement Toru Takemitsu.. .. Guests: .. .. Roger Dean (Piano/Keyboards) SYD/UK .. Jim Denley Badges (Saxophone) SYD .. Benjamin Marks (Trombone) BRIS .. Brett Evans (Saxophone) MELB Shows & Events .. Robert Davidson (Double Bass) BRIS .. Ian Thompson (Toy Sampler, Noise Maker) BRIS .. John Rodgers (Bush Poet) BRIS .. Cameron Kennedy (Percussion) BRIS.. Gus 7 upcoming shows/events Cereijo (Congas/Percussion) CUBA.. Leif GIfford (Projection) BRIS .. Tim Green (Drums) BRIS .. Scott McConnachie (Saxophone) BRIS .. Vanessa Tomlinson (Vibes) BRIS .. DEC Blue Birdie BLACK ANGELS STRING QUARTET BRIS .. Jamie Cooper (Painting/Sketches) BRIS .. Byron Bay, NSW, AUSTRALIA Dave Ades (Saxophone) BYRON BAY.. Jacum Manricks (Saxophone) NY USA.
    [Show full text]
  • Burke CV2018
    Associate Professor Robert Burke Curriculum vitae 2018 Personal Details Full name: Associate Professor Robert Louis Burke Current position: Convenor of Jazz and Popular Music Department/ Monash University School/ Sir Zelman Cowen School of Music Faculty/Division: Faculty of Arts Correspondence address: 14 Albert St Caulfield North 3161 Email address: [email protected] ABOUT In 2002, Rob Burke instigated, launched and is currently the Convenor of Jazz and Popular Studies at Monash University (Melbourne Australia). Rob recognised an unfulfilled need in Melbourne's jazz academic landscape, established its course curriculum and provided a clear pathway for musicians to develop their proficiency and aptitude for their academic and performance outcomes. His background as a classically educated musician also enables him to traverse many musical genres and he is in a unique position to speak to students and colleagues about their requirements/concerns and provide balanced outcomes. His ongoing research focuses on issues relating to how we respond to improvised jazz: artistically, critically and personally. His work includes studying the processes and outcomes of music participation and music listening. An internationally acclaimed performer and composer, Rob has released 12 CD's under his own name and has composed and performed on a further 300 CD's. His sensitive and balanced perspective has allowed Rob to traverse many different styles and this has, in part, been expressed as collaborative performances with international leaders in classical, jazz and experimental music. His embrace of many genres of music and the clear expression of his diversity in his role as an educator, researcher and performer, has given rise to a vibrant dialect that resonates through his students and also his performances.
    [Show full text]
  • 26 November 2007 Federation Square Melbourne
    Finalist exhibition 12 – 26 November 2007 Federation Square Melbourne Melbourne Prize for Music 2007 fi nalists / Brenton Broadstock / Paul Grabowsky / David Jones / Paul Kelly / Richard Mills Outstanding Musicians Award fi nalists / Clare Bowditch / David Chisholm / The Cat Empire / Luke Howard and Leonard Grigoryan / Cameron Hill / Andrea Keller / Genevieve Lacey / Stephen Magnusson / Geoffrey Morris / Flinders Quartet Development Award fi nalists / Sam Anning / Sophie Brous / Aura Go / Julian Langdon / Tristram Williams The Melbourne Prize for Music 2007 The free public exhibition of fi nalists will be catalogue provides a review of the fi nalists held in the Atrium at Federation Square in the following award categories: between 12 – 26 November 2007. Visitors can read about each fi nalist and listen to examples / Melbourne Prize for Music 2007 of their music. / Outstanding Musicians Award For further information on the Melbourne Prize / Development Award Trust and Melbourne Prize for Music 2007 please visit www.melbourneprizetrust.org or call 03 9650 8800. The Melbourne Prize for Music 2007 is made possible by the support of our partners and patrons. The Melbourne Prize Trust would like to thank all partners for their generosity. Government Partner Founding Partners Patrons Diana Gibson AO Megg Evans Melbourne Prize for Music 2007 Partners Venue & Exhibition Partner Exhibition Design Exhibition Construction Digital Printing & Banners Exhibition Photography Exhibition Consultants Coleby Consulting Audio Equipment PartnerMedia Communications Professional Services Print Partner Winners Trophies Website Fundere Foundry The Melbourne Prize for Music 2007 celebrates excellence and talent in music and demonstrates the value our community places on its creative resources. With the generous support of all our partners, we have been able to recognise and reward the abundant and diverse musical talent we have in Victoria and make this accessible to the public.
    [Show full text]
  • Addendum About the Wangaratta Festival of Jazz & Blues
    Submission to the Senate Enquiry on the Impact of the 2014 and 2015 Commonwealth Budget decisions on the Arts Submitted by Paul Squires, Chair, on behalf of the Board of Wangaratta Festival of Jazz Inc. Summary This submission expresses our concerns about the Commonwealth budget in 2014 and 2015, as it relates to our festival specifically; and expresses our concerns on behalf of the Australian jazz sector on the whole. In brief, our concern is that the cuts in funding for the Arts in the Commonwealth budget in 2014 and 2015, and some of the associated or consequent outcomes, could have a number of serious adverse consequences. The most significant of these is the reduced opportunities for developing excellence in the Australian Jazz and Blues sector, which consists entirely of small to medium organisations, individuals and emerging artists (those most adversely impacted by the cuts), whom our festival depends on to produce artistic excellence during our festival. As the foremost platform for Australian Jazz and Blues music, we need certainty of funding for multi-year operational support so that we can continue to develop and showcase Australia’s reputation for excellence in these art forms, and contribute between $3 and $5 million annually to our local regional economy. wangarattajazz.com.au 1 PO Box 860 Wangaratta VIC 3677 03 5722 1666 Key Issues We urge the Senate to re-examine the budget allocation to the Australia Council in 2014 and 2015, to consider whether a significant budget increase ought to be a priority; and to consider the following key issues for our organisation and the wider sector: 1.
    [Show full text]