DOCSLIB.ORG

Keeping up Appearances

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Keeping up Appearances The Elder Hall Appeal The details The past $12 million is required to fully restore and transform For further information please contact: Help us return Elder Hall to The first School of Music in Australia was opened Elder Hall to its former glory. We aim to raise this Ms Robyn Brown in our University in 1885 and, only two years later, amount in the next three years. Director of Development and Alumni its former glory. It’s all about a £20,000 grant from Sir Thomas Elder was used T +61 (0)8 8313 5800 to establish the Elder Conservatorium of Music There is now an opportunity for you and/or your E [email protected] keeping up and to build, as its home, Elder Hall. company to support this important project by making www.alumni.adelaide.edu.au/elderhall a donation or annual pledge for three years towards appearances Elder Hall remains the centrepiece along the the revitalisation of Elder Hall. You can choose to historic North Terrace boulevard – it is at the memorialise your family through a donation to cover geographic centre of a built environment of the cost of one of the specific projects within the National Heritage significance. rebuilding program. Your contribution will be recognised by future generations when Elder Hall regains its rightful Elder Hall, built position as one of the state’s iconic heritage by benevolence buildings and performance spaces following and arguably a successful fundraising program. the most public building on North Terrace boulevard, requires conservation as currently it appears like a missing tooth in the smile of this beautiful person we call Adelaide. Theo Maras AM The present The problem The solution The people The Elder Conservatorium of Music, with Elder Hall The University of Adelaide has recognised the need $12 million is needed to revitalise Elder Hall and provide a The international reputation that the Elder as its base, is a major contributor to the teaching for urgent revitalisation of Elder Hall to its original state. 21st Century fit-out so that the University can continue to Conservatorium enjoys in the area of graduates and performance of music in South Australia and Conservator assessing Elder Hall for the Conservation produce 21st Century artists to perform on the global stage. in performance, composition and post-doctoral Australia. Elder Hall has provided an outstanding Management Plan wrote: “Overall the stonework is in programs, under-pinned by the excellence in performance space which has enabled many of our poor condition and among the worst I have seen in over Individuals, families, corporations and organisations can performance provided by Elder Hall, has assisted to alumni to achieve state, national and international 25 years of work in this field”. contribute to the fund or to choose to memorialise their launch our alumni into professional careers including musical careers. family or organisation by selecting to support a particular the current Vienna Philharmonic Principal Viola, The rejuvenation of aspect of the revitalisation project. London Symphony Orchestra Principal Violinist and Elder Hall is used 364 days per year by local, this iconic building has Principal Oboe in the Lisbon Metropolitan Orchestra. Born of Sir Thomas national and international bodies – it is a significant become critical. The Elder’s extraordinary community venue. University of Adelaide philanthropy, Elder Hall has already spent has become South $1.7 million to commence Australia’s most loved this process but needs and used concert and the assistance of the celebratory venue. entire South Australian Now more than a community to help century on, this heritage restore this wonderful jewel of the University I was inspired to want to play the cello performance hall to its and the North Terrace after being taken to Elder Hall to hear original state for future boulevard urgently the Elder Conservatorium Junior Orchestra generations to use needs our help before conducted by Harold Fairhurst over 50 years and enjoy. it melts and rots ago. This was an awesome experience for beyond saving. me and a defining moment in my life and Keith Conlon OAM one which I will never forget and which has not left me to this day. After that concert I passionately asked Professor John Bishop if my hands were big enough and when I could start to learn the cello and join that orchestra! Janis Laurs, an Elder Conservatorium graduate, founding Cellist of the Australian String Quartet and current Principal Cellist of the Adelaide Symphony Orchestra .
Load more

Recommended publications
  • Vladimir Krstić
    Vladimir Krstić Instructor, Nazarbayev University Department of History, Philosophy and Religious Studies Phone: +77006473943 Email: [email protected] [email protected] Webpage: www.vladimirkrstic.net AREAS OF SPECIALISATION____________________________________________ Philosophy of Mind and Language, Philosophy of Deception. AREAS OF COMPETENCE______________________________________________ Critical Thinking, Epistemology, Religious Studies, Continental Philosophy. EDUCATION______________________________________________________ 2013–25/09/2018 University of Auckland PhD, Department of Philosophy, Faculty of Arts Dissertation: The Analysis of Self-Deception: Rehabilitating the Traditionalist Account John Bishop (supervisor), Frederick Kroon (co-supervisor), Jordi Fernández (University of Adelaide, examiner), Andy Egan (Rutgers University, examiner). 24/08–01/10/2015 University of Arizona Visiting Scholar, School of Information / Department of Philosophy. 15/04–01/06/2015 Melbourne University Visiting Scholar, Department of Philosophy. 2007–2009 University of Belgrade MA in Philosophy, Department of Philosophy, Faculty of Philosophy Faculty of Philosophy, University of Belgrade, Serbia Thesis: Buber’s Conception of ‘Meeting’ and its Implications in Philosophical and Theological Thought. 2000–2006 University of Belgrade Honours Degree in Theology, Faculty of Orthodox Theology, University of Belgrade, Serbia. PEER-REVIEWED JOURNAL ARTICLES ___________________________________ Krstić, V. 2020. ‘On the nature of indifferent lies, a reply
    [Show full text]
  • Adelaide Festoval Centre
    ADELAIDE FESTIVAL CENTRE ANNUAL REPORT 2011-12 September 2012 Adelaide Festival Centre King William Road ADELAIDE SA 5000 GPO Box 1269 ADELAIDE SA 5001 Telephone: (08) 8216 8600 Facsimile: (08) 8212 7849 Website: www.adelaidefestivalcentre.com.au ABN: 90940 220 425 ISBN: 978-0-9807040-6-8 Contents Introduction ......................................................................................................... 4 Chairman’s Report .............................................................................................. 5 CEO & Artistic Director’s Report ......................................................................... 7 ROLE, PERFORMANCE AND GOVERNANCE ................................. 9 Adelaide Festival Centre Trust Act 1971............................................................. 9 Trustees .............................................................................................................. 9 Risk and Audit Committee ................................................................................ 10 Risk Management ............................................................................................. 10 Remuneration Committee ................................................................................. 10 Precinct Reference Group ................................................................................ 10 The Adelaide Festival Centre Foundation Board .............................................. 10 Organisational Chart ........................................................................................
    [Show full text]
  • “It All Begins with the Beat of a Drum”: Early Australian Encounters with Orff Schulwerk
    australian societa y fo r s music educationm e “It all begins with the beat i ncorporated of a drum”: Early Australian encounters with Orff Schulwerk Jane Southcott, Wei Cosaitis Monash University Abstract The introduction of the influential Orff Schulwerk approach to music education in Australia is generally reported as occurring in the late 1960s. However, this was not the earliest encounters with the pedagogy in Australia. Patricia L. Holmes included Orff materials in teacher inservices in the late 1950s, before she travelled overseas to work with Doreen Hall, Carl Orff and Gunild Keetman. Historical research is lacking in many aspects of music education in Australia and this article attempts to chronicle early efforts and add to our understanding of what has been done in the past and shapes our present practices. Key words: Orff Schulwerk; Australian music education; Patricia L. Holmes; history of music education. Australian Journal of Music Education 2012:2,20-32 Introduction music-making became firmly established with the Orff-Schulwerk approach. Keith Smith Orff Schulwerk is an internationally recognized introduced Orff-Schulwerk to Queensland creative music pedagogy developed by German schools, from where it spread to other states. composer Carl Orff and his colleague Gunild John Morriss also promoted the method, initially Keetman (Orff, 1978; Frazee, 1987; Goodkin, in Victoria and later in Tasmania. There were 2001). Since its re-emergence in the 1950s the Orff-Schulwerk associations in most states” Orff approach has made a significant impact (Stevens, 1997, p. 399). Hogg (2003) is more on music education worldwide (Taylor, 2000; specific and offers helpful details concerning International Herald Tribune, 1982).
    [Show full text]
  • University of Adelaide Elder Conservatorium of Music the South
    University of Adelaide Elder Conservatorium of Music Thesis Submitted in fulfilment of the requirements for the degree of Master of Philosophy – Music Education The South Australian May Music Camp: 1962 -1986 Submitted by Jennifer Watkins Adelaide, July 30, 2018 1 1 Abstract The aim of this research is to compile a chronological history of the South Australian May Music Camp (SAMMC), identifying it as a significant extra-curricular activity in the calendar of music education opportunities, open to children from nine to 23 years of age, between 1962 and 1986. This annual non- residential music camp took place over a five-day period, in the May school holidays. In 1987, a change of name to the South Australian State Music Camp (SASMC) occurred when the South Australian Government altered the annual school calendar from three terms to four, and the camp moved from the May to July school holidays. Students auditioned for SAMMC, to engage in an intensive, graded music ensemble experience, receiving expert tuition from professional music educators, while being exposed to extensive orchestral and wind ensemble repertoire. The SASMC continues to run successfully in 2018. This research follows the establishment of music camps in Australia in 1948, examining the contribution of the National Music Camp Association (NMCA) in the spread of state-based camps across Australia, specifically the SAMMC in Adelaide, and the subsequent formation of the South Australian Music Camp Association (SAMCA). The investigation outlines the aims and objectives of SAMCA acknowledging the important position SAMMC holds in South Australian music education history. Prior to this research, no record of the activities of SAMCA or SAMMC existed, so it makes a significant contribution to SA historical records.
    [Show full text]
  • History of the Adelaide Festival of Arts
    HISTORY OF THE ADELAIDE FESTIVAL OF ARTS Past Festivals and Posters Below is a collection of each Festival poster since its inception in 1960. The Adelaide Bank 2008 Festival of Arts was held from 29 February – 16 March, with Brett Sheehy as the Artistic Director for the second year in a row. One of the largest multi‐arts festivals in the world, the 2008 Adelaide Bank Festival of Arts attracted a 600,000‐strong audience and exceeded box office targets to achieve more than $2.5 million in ticket sales. Total income from the Festival and its associated events reached nearly $6 million. The event, which celebrated its 25th anniversary, featured 62 high quality international and national arts events and brought more than 700 of the world’s best artists to Adelaide, creating an unparalleled environment of cultural vibrancy, artistic endeavor and creativity. The Festival delivered to South Australia a total net economic benefit of $14.03 million in terms of income and ensured a positive social impact by enhancing the state’s reputation and image in the eyes of the event’s local, interstate and international attendees. There were a total of 300,000 free attendances of Northern Lights (up from150,000 in 2006). Northern Lights was funded by the Premier to continue an additional 2 weeks beyond it scheduled duration. 20,000 people attended the Northern Lights Opening Night – Ignition! 35,000 people attended Visual art exhibitions and 5000 attended Artists’ Week. The 2008 Adelaide Bank Festival of Arts achieved; • An increase of 8% over 2006 to create a direct net economic impact of $14.03million to the state • Interstate (8,025) and international (2,992) visitation increased by 105% to 11,017 over 2006.
    [Show full text]
  • 4.0 ANALYSIS and ASSESSMENT of COMPONENTS 4.1.32 North Terrace Assessment
    4.0 ANALYSIS AND ASSESSMENT OF COMPONENTS 4.0 ANALYSIS AND ASSESSMENT OF COMPONENTS 4.1.32 North Terrace Assessment Image: extract, North Terrace Urban Design Concept by Taylor Cullity Lethlean (2001). NORTH TERRACE: 1003 4.0 ANALYSIS AND ASSESSMENT OF COMPONENTS North Terrace 188 North Terrace; Gawler Chambers 201-202 North Terrace; The Gallerie (part former G & R Wills Warehouse) Note: North Terrace in this Report and Assessment exists of a tract of land contained within 203-205 North Terrace; former John Martin & Co Ltd Building (part former G & R Karrawirra/Park 12 and Tandanya Womma/Park 26 extending from the Morphett Street Bridge Wills Warehouse) eastwards along North Terrace to East Terrace. North Terrace west of the Morphett Street 206-207 North Terrace; former John Martin & Co Ltd Building (former Offices) Bridge is included in the Report and Assessment for Tulya Wodli/Park 27 which is wherein it 237-240 North Terrace; Scots Church is formally managed presently by the Corporation. 254-260 North Terrace; Freemasons Hall 261-262 North Terrace; House 263-265 North Terrace; former Houses Existing Planning / Development Plan Context 287-300 North Terrace; Ayers House 301 North Terrace; Botanic Chambers One component of North Terrace, adjacent to the promenade space, is identified in the Listing 302 North Terrace; Botanic Chambers of the National Heritage under the commonwealth’s Environment Protection and Biodiversity 303 North Terrace; Botanic Chambers Conservation Act 1999: 304 North Terrace; Botanic Chambers 305 North Terrace; Botanic Chambers Old & existing Parliament Houses, North Terrace (Place ID: 105710; Place File No. 307 North Terrace; Botanic Chambers 3/03/001/0049), as included January 2006.
    [Show full text]
  • The South Australian May Music Camp
    australian asociety s for mumsic The South Australian May Music e ducation incorporatede Camp: 1962-1986 Jennifer M. Watkins Concordia College, Adelaide Abstract This research provides an account of the activities of the South Australian May Music Camp (SAMMC), identifying it as a significant extra-curricular activity in the calendar of music education opportunities open to children from nine to 23 years of age, between 1962 and 1986. This annual non-residential music camp took place during the two-week May school holidays. Students auditioned for SAMMC to engage in an intensive, graded music ensemble experience, receiving expert tuition from professional music educators, while being exposed to extensive orchestral, string and wind ensemble repertoire. The contribution of the National Music Camp Association in the establishment of state-based camps across Australia is acknowledged, specifically regarding SAMMC in Adelaide, and the subsequent formation of the South Australian Music Camp Association (SAMCA). This research notes the establishment of the South Australian Department of Education Music Branch, which resulted in an increased number of primary school students learning to play musical instruments, contributing to the need for further ensemble performance opportunities in South Australia. The research observes the actions of the SAMCA to evaluate and expand activities at SAMMC to accommodate these developments. This research provides evidence that SAMMC made an important contribution to South Australian music education history. Keywords: May Music Camp Introduction offering a short-term challenge during a set time- period, with the goal to achieve excellence by The South Australian May Music Camp (SAMMC) the closing night concert. Thousands of students was an annual music day-camp which took participated in SAMMC across its 25-year history place in Adelaide, South Australia between 1962 (Watkins, 2018).
    [Show full text]
  • Adelaide 2010 Feb
    Adelaide 2010 Feb. Published 105 52 driLLer jet Armstrong 62 Lyndon Dadswell 76 Greg Healey 104 106 David Bromley Progress Gregg Mitchell 103 107 Daubist mural no 1. 1998 copper low relief Geoff Cobham acrylic mural repainted sculpture, 1959 Custart and altered from the Rundle Mall Plaza façade Alucabond, LED signage, original mural painted 2010 by Carol Ruff & Barbary 63 Shaw Hendry Fowler’s Lion Factory O’Brien in 1984 Bee building corner of Rundle Street cast aluminium, gold leaf E C D R I V and Frome Road and paint, sculpture, 1998 77 Aleks Danko O T A N I on top of Bee Hive Corner Songs of Australia, Volume B building, Three, At Home 102 corner Rundle Mall and red brick installation, King William Street 1999 Lion Arts Centre courtyard, enter off North Terrace 78 City SK8 - City Skate Park JamFactory Metal Photo: courtesy Adelaide City Design Studio Council Wave Fence steel fencing, 2000 TORR I ENS R 53 Karen Genoff R R PLEASE TURN OVER FOR The Apron Photo: Craigh Marsden Scott Coleman IV PA ER RA mixed media sculpture, acrylic mural, walls, 2008 / KARRAW IR DETAIL OF PUBLIC ART LOCATIONS Vardaro Italo Photo: (No.45) 1997 64 Marguerite Derricourt Pieces 14 Ebenezer Place, A Day Out Narisha Cash with Valamanesh Angela off Rundle Street bronze sculpture, 1999 Scott Coleman Valamanesh Hossein Rundle Mall, acrylic mural, toilet block, Below: 54 Owen Broughton near Stephens Place 2010 Untitled SA Arts courtesy Photo: detail (No. 64) (No. detail austen steel sculpture, 65 Neil Cranney 79 Leslie Matthews 78 String of 1976 A Share in the
    [Show full text]
  • 2008 July, SA Flute News
    South Australian Flute News Print Post Pub. No. PP531629/00017 July, 2008 ABN: 96 991 331 922 The Flute Society of South Australia Inc. www.saflutesociety.asn.au Founder Professor David Cubbin From the President Patron All are welcome to come and listen to Alison Rosser Dear Members, the many and varied performances, ranging from the 10 years and under to Vice Patrons the highly technically advanced Elizabeth Koch OAM I have just returned from this year’s performances of complete sonatas and Robert Brown Carolyn White Memorial Scholarship suites. where I was excited to see such a high standard of performance amongst our S younger players. With fourteen entrants unday, September 7 is a special day this year the competition was very hot for Barossa flautists when our very own and our adjudicator, Leah Stephenson, Michal Rosiak is running an exciting admitted to having a difficult time workshop programme Barossa choosing the prize winners. Flautissimo at the Barossa Convention All players performed wi th poise and Centre, Tanunda. See inserted brochure are to be congratulated on their inside for more details. excellent playing and for helping make Then on Monday, September 15 it a very enjoyable afternoon’s concert. Katherine Kemmler, professor at Special congratulations must go to Louisiana State University, is visiting Contents Denny Majoros,1st prize; Adelaide and will run a junior Nicole Pearce, 2nd prize and Yijie Yin, masterclass as well as a recital late President’s Report 1 Honorary Mention. Our thanks must afternoon on that day. also go to Leah for taking on the Wednesday, October 29 has been Flute Events 2-3 difficult task of adjudicating and sharing marked in the calendar for this year’s Flute Concerts 4 her ideas and insights into what makes David Cubbin Memorial Prize for a performance a real winner.
    [Show full text]
  • BISHOP MATHEW B. HALE Papers, 1849-95 Reel M381
    AUSTRALIAN JOINT COPYING PROJECT BISHOP MATHEW B. HALE Papers, 1849-95 Reel M381 Special Collections Department University Library University of Bristol Tyndall Avenue Bristol BS8 1TJ National Library of Australia State Library of New South Wales Filmed: 1958 BIOGRAPHICAL NOTE Mathew Blagden Hale (1811-1895) was born at Alderley, Gloucester, and educated at Lady Berkeley’s School, Wotton-under-Edge, and Trinity College, Cambridge. He was ordained priest in 1837 and in the next ten years was curate in a number of parishes in Gloucestershire. He married Sophia Clode in 1840 and they had two daughters. His wife died in 1845. In 1847 Augustus Short, the first Bishop of Adelaide, invited Hale to be archdeacon and examining chaplain in South Australia. Hale and his daughters arrived in Adelaide in December 1847, where he took charge of St Matthew’s Church, Kensington, and St John’s Church, Adelaide. In 1848 Short and Hale visited the Western Australia part of the diocese and during the visit Hale met the Molloy Family at the Vasse. He married Sabina Molloy at Busselton on 31 December 1848. In 1850 Hale obtained a grant to establish a mission where Aborigines from Adelaide could be taught farming and other practical pursuits. He bought the lease of Poonindie run near Port Lincoln. After a time, Hale agreed to accept Aborigines from any part of the colony on the advice of the Protector of Aborigines. By 1856 there were 62 residents at Poonindie and, despite rising costs and crop failures, the mission became self-supporting. It was eventually closed in 1894.
    [Show full text]
  • National Portrait Gallery of Australia Annual Report 17/18
    National Portrait Gallery of Australia Annual Report 17/18 National Portrait Gallery of Australia Annual Report 17/18 © National Portrait Gallery The National Portrait Gallery is located on of Australia 2018 King Edward Terrace in the Parliamentary Zone of Canberra. issn 2204-0811 Location and opening hours All rights reserved. No part of this publication The National Portrait Gallery is situated in front may be reproduced or transmitted in any form of the High Court and alongside the National or by any means, electronic or mechanical Gallery of Australia. The Gallery is open daily (including photocopying, recording or any from 10.00am to 5.00pm, except for Christmas information storage and retrieval system), Day 25, December. For more information visit without permission from the publisher. portrait.gov.au All photographs unless otherwise stated Parking by Mark Mohell. The underground public car park can be accessed from Parkes Place. The car park is open seven This report is also accessible on the days per week and closes at 5.30pm. Parking National Portrait Gallery’s website spaces for people with mobility difficulties are portrait.gov.au provided in the car park close to the public access lifts. Paid parking applies to: Monday to Friday National Portrait Gallery 8.30am to 5.00pm; parking is free on weekends King Edward Terrace and public holidays. Canberra, Australia Public transport Telephone (02) 6102 7000 Bus routes run from the various city centres past the National Portrait Gallery on a regular portrait.gov.au basis. They include routes 1, 2, 3, and 80 on weekdays, and routes 934 and 935 on weekends and public holidays.
    [Show full text]
  • Beethoven Sollima Cawrse Saturday 17 October 2020, 7Pm Elder Hall
    MEDIA RELEASE October 2020 Anne Cawrse’s thought provoking homage to Virginia Woolf set to inspire in Australian String Quartet world premiere The Australian String Quartet (ASQ) will treat South Australian audiences to the world premiere of acclaimed Australian composer Anne Cawrse’s brand new work, A Room of Her Own in a special event on Saturday, 17 October 2020 in Adelaide’s much-loved Elder Hall at the University of Adelaide. The premiere, which was cancelled earlier this year as a result of COVID-19, is inspired by renowned writer Virginia Woolf’s seminal 1929 essay, A Room Of One’s Own. Commissioned for the Australian String Quartet by the Elder Conservatorium of Music with support of the John Bishop Memorial Commission. For Anne, the Virginia Woolf essay came as a revelation and when the opportunity presented itself to write a brand new commission for the ASQ, the essay quickly became her inspiration. “I had just started reading the essay and I thought what better standpoint to base a major work on than this text that has meant a great deal to so many people. I found the words incredibly eye- opening and relevant for how I am feeling about being a creative woman – what that looks like, and balancing all the aspects of life and creativity.” ASQ Cellist, Sharon Grigoryan said that the quartet is honoured that Anne has written this work specifically for the ASQ. “What a thrill it will be to finally be able to bring Anne’s creation to life. In what has been a very different 2020 to what we all expected, music that explores creativity, opportunity and expression is so important for audiences to hear as live music begins to return.
    [Show full text]