49Th Country Music Awards Of
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The Working-Class Experience in Contemporary Australian Poetry
The Working-Class Experience in Contemporary Australian Poetry A thesis submitted for the degree of Doctor of Philosophy Sarah Attfield BCA (Hons) University of Technology, Sydney August 2007 i Acknowledgements Before the conventional thanking of individuals who have assisted in the writing of this thesis, I want to acknowledge my class background. Completing a PhD is not the usual path for someone who has grown up in public housing and experienced childhood as a welfare dependent. The majority of my cohort from Chingford Hall Estate did not complete school beyond Year 10. As far as I am aware, I am the only one among my Estate peers to have a degree and definitely the only one to have attempted a PhD. Having a tertiary education has set me apart from my peers in many ways, and I no longer live on the Estate (although my mother and old neighbours are still there). But when I go back to visit, my old friends and neighbours are interested in my education and they congratulate me on my achievements. When I explain that I’m writing about people like them – about stories they can relate to, they are pleased. The fact that I can discuss my research with my family, old school friends and neighbours is really important. If they couldn’t understand my work there would be little reason for me to continue. My life has been shaped by my class. It has affected my education, my opportunities and my outlook on life. I don’t look back at the hardship with a fuzzy sense of nostalgia, and I will be forever angry at the class system that held so many of us back, but I am proud of my working-class family, friends and neighbourhood. -
World Music Reference
The Music Studio http://www.themusicstudio.ca [email protected] 416.234.9268 World Music Reference Welcome to The Music Studio’s World Music Reference! This is meant to be a brief introduction to the greater world of musical styles found in cultures around the globe. This is only the smallest sampling of the incredible forms of music that can be found once you leave the comfort of your own playlist! Dive in, explore, and find a style of music that speaks to you in a way might never have heard otherwise! North America Blues https://www.youtube.com/watch?v=N-KluFB9A8M The Blues is a genre and form of music that started out in the Deep South of the United States sometime around the 1870s. It was created by African Americans from roots in African musical traditions, African American work songs, and spirituals – an oral tradition that imparted Christian values while also describing the terrible hardships of slavery. Early blues often took the form of a loose story or narrative, usually relating to the discrimination and other hardships African Americans faced. The Blues form, which is now found throughout jazz, rhythm and blues, and rock and roll, is characterized by a call-and-response pattern, the blues scales, and specific song structure – of which, the 12-bar blues has become the most common. The Blues is also characterized by its lamenting lyrics, distinctive bass lines, and unique instrumentation. The earliest traditional blues verses used a single line repeated four times. It wouldn’t be until the early part of the 20th century that the most common blues structure currently used became standard: the AAB pattern. -
20Th Annual International Country Music Conference Nashville Tn
20TH ANNUAL INTERNATIONAL COUNTRY MUSIC CONFERENCE NASHVILLE TN K A S E Y C H A M B E R S: V O C A L S T Y L E A N D C U L T U R A L I D E N T I T Y L E I G H C A R R I A G E ‘You know things are going to hell when the freshest young voice in American roots music is an Australian.’ Rolling Stone (Sheffield, 2001: 73) Kasey Chambers is redefining the image and sound of alternative country music. Her style is challenging notions of cultural musical identity and the vocal characteristics that are associated with a particular environment. The ways in which Chambers approaches Country Music and the connection to the development of cultural identity is reflected in her music . The connection of what? In this paper I will touch on the phenomenon of her broad Australian-speaking accent and her American accented singing voice. The success of Chambers’ sound raises vital issues about the national character in Australian popular music. It is an interesting representation of the globalisation of international music culture that an Australian singer is being so highly regarded in the North American press as representing the latest (re-) incarnation of American roots/country music. In order to understand and comment comprehensively on the implications of foreign sources, cultural influences and their combined impact on new practices, in particular with Chambers, a thorough analysis must include music and industry marketing, musical fashion and tastes, lyrics and musical style, instrumentation, arranging and orchestration. -
VOL 22.1 NEWSLETTER of February 2011 – March 2011 the ADELAIDE COUNTRY MUSIC CLUB INC
COUNTRY CALL VOL 22.1 NEWSLETTER OF February 2011 – March 2011 THE ADELAIDE COUNTRY MUSIC CLUB INC. www.acmc.org.au Club Patron …Trev Warner WITH CO-OPERATION FROM THE SLOVENIAN CLUB THE ADELAIDE COUNTRY MUSIC CLUB INC. PRESENTS SUNDAY February 6th 2011 - show 12.30 to 4.30pm DOORS OPEN 11.00 am 22nd Birthday Show Craig Giles backed by the Blackhats Catering will be available 12 noon – 2pm Sandwiches - Cakes - Fruit Plates Entry:- ACMC members and other Country Music Club Members:- $5.00 all others $7.00 SUNDAY March 6th 2011 – Show 12.30 to 4.30pm DOORS OPEN 11.00 am Heartland plus Graeme Hugo Catering will be available 12 noon – 2pm Sandwiches - Cakes - Fruit Plates Entry:- ACMC and other Country Music Club Members:- $5.00 all others $7.00 Coming Attractions Norma O’Hara Murphy backed by Apr 3 2011 May 1 2011 Ian List and his Sidekicks Bernie & the Bandits June 5 2011 Brian Letton with Cactus Martens July 3 2011 City Cowboys + Billy Dee AGM and Charlie McCracken and Aug 7 2011 Sept 4 2011 Kindred Spirit band President’s Report Hi everyone Happy New Year to you all. Here we go with another exciting year of great music and fun at our club. It’s our 22nd birthday in February and that’s exciting on its own. Come and help us celebrate. Our band of the day will be Craig Giles backed by the Blackhats. It should be a great show. Don’t forget for some at our venue who don’t dance it gets cold with the air conditioner on so bring a jacket or cardigan. -
September 2019 Newsletter
TSA ‘’First the Song’’ President’s Report In this edition: Hi all members and friends of the TSA, President’s Report So far so good for 2019 with a great start at the January TCMF and TSA members having opportunities to perform after the TCMF at Bonnie Doon, Blue Water fes- TSA Song Comp RULES tival and Hats Off in July where we had 20 members playing over the three days. 2019 TSA Song Sessions All these opportunities provided by hard work and organising by Lydia Clare. We have also seen TSA members do well in the International Songwriting Competi- @ Hats Off Pics tion, Songs Alive Australia and hopefully in the ASA results coming up soon. Songwriting competitions are a wonderful way of testing your skill against others and we encourage you also support our sister organisations the ASA and Song- MEMBERS NEWS sAlive Australia as we all have something different to offer. Indeed, the TSA and • Kathryn Luxford songs Alive! Australia will combine to present a Songwriting WORKSHOP IN THE BLUE MOUNTAINS 14th- 15th September. This is a really good, short hard-working • Col Thomson workshop with plenty of performing, songwriting and networking. Details in this newsletter and there are some spots left. • Shelley Jones Band Planning for the 202 TCMF is well underway with the TSA Songwriting Competi- • Trinity Woodhouse tion open from 1st August entries www.tsa.songcentral.biz so get yourself to the workshop , write that song and enter the TSA Songwriting Competition. Blue Mountains Song- Our performance opportunities in Tamworth in 2020 will be centred at the Tam- writing workshop - worth City Bowling Club with Mini- Concerts, Talent Quest mornings and the September 14-15, 2019 Showcases afternoons. -
Calypso and the Bush
Calypso and the Bush PETER OOLEY Flinders University of South Australia his paper compares some of the lyrics from two apparendy radically different song codes - calypso from Tr inidad and Tobago in the postcolonial Caribbean, and the bushT ballad from white setder Australia. I am using two differentalthough interlocking time fr ames here. The bush ballad belongs primarily to the nineteenth and early twentieth centuries, while calypso sung in French patois dates as far back as the eighteenth century but only moved into English and began to achieve prominence at the beginning of the twentieth. Both song codes developed in environments with very different histories and very different colonising situations. There are, however, some interesting similarities. In both regions the indigenous people were almost totally erased and their lands occupied by new groups displaced from their own homelands. Australiawas a dumping ground for white convicts and then a 'land of opportunity' for immigrants, while Trinidad and Tobago, in addition to a mixed race population of English, French, Spanish, Dutch, Portuguese, Indian and Chinese colonists, received a huge influx of black Mrican slaves - mainly under Spanish rule during the second half of the eighteenth century - until the island passed into British hands in 1797. The people of both Trinidad and Tobago and Australia, then, have, in different ways and circumstances, been owned and controlled by England in its role as imperial power, and this shared subjection to colonisation provides a background to this comparison of calypso and the bush ballad. The main assumption here is that both song forms have, in their respective countries, played a significant part in creating and representing imagined ideas of a national culture. -
Teen Summer Challenge
https://www.vaughanpl.info/tsc/ Week 4, Challenge 1 Australian music – Past and present Indigenous music in Australia dates back over 60,000 years. The most famous instrument is the didgeridoo, which has been around for roughly 15,000 years. Australia also has a rich tradition of folk songs known as “bush ballads,” many of which were sung by prisoners sent to Australia by the British in the late 1700s. Additionally, Australia is home to many well-known contemporary artists, such as AC/DC, The Bee Gees, Keith Urban, Kylie Minogue, and Sia. Instructions: 1. Explore the music of Australia’s past: Listen to a piece of music featuring the didgeridoo or a traditional bush ballad. See “Library Resources” on the next page for examples. You can find traditional music on Naxos Music Library, free with your library card. Log in with your library card and PIN to access Naxos. 2. Explore the music of Australia’s present: Choose a contemporary artist from Australia and listen to some of their music. You can find many Australian artists on Hoopla Digital (see next page for ideas). Create a free account with your library card to stream or download music. 3. Claim your Ballot! Tell us what you listened to and what you thought. Did you like the music you chose? Share your opinion by sending us an email, with the subject line TSC, to [email protected]. 4. We will award your ballot towards this week's prize and the final grand prize draw and you will receive a badge in your profile. -
Contemporary Australian Gothic Theatre Sound Miles Henry O'neil
Contemporary Australian Gothic Theatre Sound Miles Henry O’Neil ORCID ID: 0000-0003-0192-7783 Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy March 2018 Faculty of Victorian College of the Arts & Melbourne Conservatorium of Music University of Melbourne Abstract This practice-based research analyses the significance of sonic dramaturgies in the development and proliferation of contemporary Australian Gothic theatre. Taking an acoustemological approach, I consider the dramaturgical role of sound and argue that it is imperative to the construction and understanding of contemporary Gothic theatre and that academic criticism is emergent in its understanding. By analysing companies and practitioners of contemporary Australian Gothic theatre, I identify and articulate their innovative contributions towards what has been called “the Sonic Turn”. My case studies include Black Lung Theatre and Whaling Firm and practitioner Tamara Saulwick. I argue that the state of Victoria has a particular place in the development of contemporary Gothic theatre and highlight the importance of the influences of Gothic Rock, rock band aesthetics, Nick Cave, and the Gothic myths and legends and specific landscapes of Victoria. I identify dramaturgical languages that describe the function of sound in the work of these practitioners and the crucial emergence of sound as a dominant affective device and its use in representing imagined landscapes of post-colonial Australia. I also analyse sound in relation to concepts of horror and trauma. I position my practice and my work as co-artistic director of the Suitcase Royale within the Sonic Turn and in relation to other Gothic theatre companies and practitioners. -
Task for the ABC Book of Australian Poetry Bush Ballad
Task for The ABC Book of Australian Poetry Bush ballad Close Study of ‘Clancy of the Overflow’ by Banjo Paterson The poem is based on a character of the Australian outback – Clancy of The Overflow. (The Overflow is an area near Nymagee in NSW). The poem has a recurring ABCB rhyme scheme and each line is of very similar length between 14 and 16 syllables. The main purpose of the poem is to contrast Paterson’s perspectives on city life and droving in the outback. Paterson has a nostalgic tone for the life of the drover in the beauty of the Australian bush. Understanding the narrative nature of ballads 1. Students can a. create a storyboard for each stanza using the template below b. identify the two characters with different colours c. rewrite the poem as a story without the rhyme. Copy the stanza Create an image – this can be a collage Rewrite the poem in a narrative form Understanding narrative structure Like a narrative, this poem has flashback and offers a backstory. Students can explain (with examples) how the poem is structured moving between past, distant past and present and between different characters and points of view. Understanding imagery and tone 2. Students find: a. phrases that contain images of the Australian outback or bush b. words that describe Clancy and his interactions with the bush, for example, ‘the bush has friends to meet him.’ i. What sense do you get of life in the Australian bush/outback from these lines? ii. What impression do we get of Clancy as a character? 3. -
VOL 20.6 NEWSLETTER of December 2009 – January 2010 the ADELAIDE COUNTRY MUSIC CLUB INC
COUNTRY CALL VOL 20.6 NEWSLETTER OF December 2009 – January 2010 THE ADELAIDE COUNTRY MUSIC CLUB INC. www.acmc.org.au Club Patron …Trev Warner WITH CO-OPERATION FROM THE SLOVENIAN CLUB THE ADELAIDE COUNTRY MUSIC CLUB INC. PRESENTS SUNDAY December 6th 2009 - show 12.30 to 4.30pm DOORS OPEN 11.30 am Peter Coad & the Coad Sisters plus Jim Hermel and Margaret Coad and a Line Dancing Demonstration Catering will be available 12 noon – 2pm Sandwiches ... Cakes ... and ... Cheese and Greens PLUS Xmas puddings Entry:- ACMC members FREE, other Country Music Club Members:- $5.00 all others $7.00 SUNDAY January 3rd 2010 – Show 12.30 to 4.30pm DOORS OPEN 11.30 am Kindred Spirit Catering will be available 12 noon – 2pm Sandwiches ... Cakes ... and ... Fruit Plates Entry:- ACMC and other Country Music Club Members:- $5.00 all others $7.00 Coming Attractions Country Junction City Cowboys with guest artist Feb 7 Mar 7 guest artist Allan Webster Sharon Crowe from NZ Apr 4 Country Mile including Sonni Francis Brian Letton and Cactus June 6 May 2 Tracey Rains & Claypan Martens President’s Report Hi Everyone, Well the silly season has arrived. Christmas is upon us and out goes all your money. We are looking forward to our Christmas show featuring the top band Peter Coad and the Coad Sisters plus Jim Hermel and Margaret Coad. Don’t forget to wear your Christmas gear and even bring along decorations for your table if you wish. It always makes the day even brighter and more fun if you get into the spirit of the season. -
Whiter Rock: Why the Easybeats Didn't Suceed In
Oz Rock and the ballad tradition in Australian popular music ‘While we are sitting here, singing folksongs, in our folksong clubs, the folk are somewhere else, singing something different.’ Quoted in Jeff Corfield ‘The Australian Style’1 Billy Thorpe and the Aztecs, and the Twilights, discussed in chapter one, were manifestations of an Australian popular music sensibility which was fundamentally European-derived, white. It was a tradition that valued melody, musical linearity and lyrical clarity. These bands, in particular Billy Thorpe and the Aztecs, and the Easybeats, laid the basis for the flowering of Australian rock in the 1970s and for Oz Rock groups such as Rose Tattoo, the Angels, Midnight Oil, Cold Chisel, Australian Crawl, and, in the 2000s, You Am I and Powderfinger among others.2 This tradition has continued to blend melody with strong guitar riffs and a big beat. Billy Thorpe’s self-penned ‘Most People I Know (Think That I’m Crazy)’, released in 1972, with its melody, driving beat and anthemic chorus combined with an emphasis on the lyrics, provided a template for Australian rock, for a tradition of bands—those Oz Rock bands that I mentioned above—whose success in Australia has, in the main, continued to be far greater than what they have achieved overseas.3 This tradition continues to privilege elements drawn from the white, European musical tradition over influences from African-American, and other Black musics. This hard rock development in Australia has another strand, the importance of the traditional ballad tradition and, along with this, the influence of American country music. -
Beyond the Bush Ballad: Authenticity in Australian Country Music
Beyond The Bush Ballad: Authenticity in Australian Country Music Amy Bauder Bachelor of Arts (Hons), Sydney University Macquarie University Faculty of Arts Department of Music, Media, Communication and Cultural Studies A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy August 2016 Table of Contents Table of Contents 1 List of Figures 3 Abstract 4 Statement of Authenticity 5 Acknowledgements 6 Part One: Contexts 9 Chapter One: Introduction 9 “Just Make Sure It Is Australian” 9 Defining Country Music: It Is About More Than the Sound 12 The Great Country Songbook: Ethnographic Fieldwork 13 “Distinctions” in the “Field”: Theoretical Framework 15 Contested Traditions and Mateship 20 “True Blue Bust-Up” 25 Thesis Structure 30 Chapter Two: Literature Review, Theoretical Framework and Methodology 33 Literature Review 33 Theoretical or Analytic Framework 59 Methodology 69 Fieldwork 78 Chapter Three: Roots and Heritage 89 “Honouring an Australian ‘Legend’”: Fieldwork Account 89 Slim Dusty as Touchstone for Australian Country Music 91 The Country Music Canon 92 Slim’s Life Story 95 Sources of the Legend 96 Part Two: People and RelationshipsWhat Are the elements? 10197 Introduction 101 Family 103 Coming Home: Fieldwork Account 103 Public Private Lives 107 Travelling Family Band: The Slim Dusty Family as Pioneers 108 The Family Business 112 Professionals and Stars 118 The Family Business Redux 119 Mateship 127 Troy Cassar-Daley & Friends: Fieldwork Account 127 “It’s Good to See You Mate”: Friendship in the