Australasian Music at Home and Abroad

43RD ANNUAL CONFERENCE OF THE AUSTRALASIAN MUSICOLOGICAL SOCIETY OF AUSTRALIA

MUSIC AT HOSTED BY

THE MELBOURNE CONSERVATORIUM HOME AND OF MUSIC CELEBRATING ITS 125TH ANNIVERSARY

ABROAD 3 – 5 December 2020

WELCOME

2020 marks 125 years since the establishment of the Conservatorium of Music at the University of Melbourne. We are delighted that the MSA has allowed us to link our celebration of this event with the 43rd MSA national conference, in conjunction with the 19th Symposium on Indigenous Music and Dance. Our initial projected grand celebrations have necessarily had to be curtailed because of COVID and sadly we are not able to physically showcase the splendour of our new building to musicologists and ethnomusicologists across the country and indeed the world. But this current online conference is still a very special event for us, which truly marks our history (a history which is directly addressed by our two wonderful keynotes) and more generally contextualises our history by its theme, Australasian Music Making: At Home and Abroad. We have an exciting programme with outstanding scholars from across Australia, New Zealand and the world, addressing many different aspects of our theme, and beyond. I am sure that wherever you are watching you will thoroughly enjoy the conference. – Kerry Murphy, Convenor

I am delighted to welcome you to the 43rd National Conference of the Musicological Society of Australia, held in conjunction with the 19th Symposium on Indigenous Music and Dance. I am also thrilled that the aforementioned events offer us all the opportunity to celebrate the 125 years since the founding of the Conservatorium of Music at the University of Melbourne. While the National Conference and Symposium are taking place virtually due to Covid-19, it is reassuring that so many researchers from across Australia, New Zealand and the world will be able to come together to highlight the social, cultural, historical, political and scientific importance of music and music making. I hope that you will be able to attend as many sessions as possible and engage in lively and collegial debate. We exercise our scholarship, and undertake research in many different ways. This, then, is an opportunity to share, grow and enjoy.

– Jonathan McIntosh, MSA President

Conference Team

Convenor: Kerry Murphy

Conference Organiser: Sarah Kirby

Organising Committee: John Gabriel, Fred Kiernan, Linda Kouvaras, Tiriki Onus, Sally Treloyn

Program Committee: Linda Kouvaras (Chair), Michael Christoforidis, John Gabriel, Rachel Orzech

Web Support: Kristal Spreadborough

Treasurer: Peter Campbell

SIMD Convenors: Tiriki Onus and Sally Treloyn

SIMD Organising committee: Tiriki Onus, Sally Treloyn, Megan McPherson

MSA Access and Equity Officer: Anthea Skinner

Our physical Faculty meets to make, teach and research art on the lands of the Wurundjeri and Boon Wurrung peoples of the Kulin nation, who have been custodians of this land for tens of thousands of years where they have practiced song, ceremony and art belonging to this country. We acknowledge that sovereignty to this land has not been ceded, and pay our respects to their Elders past and present, as well as to Aboriginal and Torres Strait Islander people connected to the wider Melbourne community. We meet virtually for this conference on the lands of many other Indigenous nations and peoples; we acknowledge their elders, past present and emerging.

CONTENTS

Welcome ...... 1 Conference Team ...... 2 Contents ...... 3 ZOOM INSTRUCTIONS ...... 4 For Delegates ...... 4 For Presenters ...... 4 PROGRAMME ...... 6 KEYNOTES AND ROUNDTABLES ...... 18 Keynote 1: Brenda Gifford Journey of a Yuin composer: Change, challenges and crossroads ...... 18 Keynote 2: Dylan Robinson Queens University, Canada thá:ytset: shxwelí li te shxwelítemelh xíts'etáwtxw / Reparative Aesthetics: The Museum’s Incarceration of Indigenous Life ...... 18 Keynote 3: Peter Tregear University of Melbourne Conflicts, Constitutions, and the ‘Con’ ...... 19 Keynote 4: Suzanne Robinson Melbourne Conservatorium of Music “Neither Athletes nor Blue stockings”: Women in the Music Profession in Melbourne, 1892–1912 ...... 20 Roundtable 1: Beethoven and Australia: Reflections on his 250th Anniversary ...... 20 Roundtable 2: Ethnomusicology and Musicology in Australia: The Next 125 Years ...... 21 SPECIAL EVENTS AND ACTIVITIES ...... 22 Book Launches...... 22 Virtual Bookstand ...... 23 Multivocal Exhibition...... 23 Tour of the Ian Potter Southbank Centre...... 24 Social Events ...... 24 ABSTRACTS AND PRESENTER BIOGRAPHIES ...... 26 PRESENTER INDEX ...... 127

ZOOM INSTRUCTIONS GENERAL ZOOM INSTRUCTIONS FOR DELEGATES

Make sure you have Zoom installed on your computer well in advance of the conference.

You may have Zoom available through your institution, otherwise, you can download the Free ‘Basic’ version of Zoom by signing up here: https://zoom.us/pricing

Links for Stream A, B, C & D and special events like book launches will be emailed to you the evening before each day of the conference. To join a session, click on the appropriate stream link at the time of the paper you wish to see.

Microphones will be automatically muted on entry. If you wish to speak, you can unmute yourself by clicking on the microphone symbol in the lower left-hand corner of the window, or temporarily by holding down the spacebar on your keyboard. Please keep yourself muted during presentations unless called on to speak by the presenter or session chair.

You have the option to have your camera on or off. If possible, please keep your camera on—it’s much nicer speaking to a screen of faces than blank squares! But the option to turn off remains available to you by clicking the ‘video’ symbol in the bottom left-hand corner of your screen.

There is also a ‘chat’ option, which can be used to submit comments and questions. Your messages are set to be visible to everyone in the session. There is an option to chat privately with another attendee, but please also be aware that transcripts of these conversations can be read by the meeting hosts.

At the end of each talk, the chair will select questions from the chat for the speaker to answer, and also call on participants to ask other questions live.

ZOOM INSTRUCTIONS FOR PRESENTERS

Please join your scheduled session ten minutes early to test your microphone and any slides or audio you may be using.

You will be put in contact with both your session chair and a dedicated tech assistant before the conference. Please provide a copy of your powerpoint slides (if you are using them) to your tech assistant NO LATER than one week before the conference. These will be a back-up copy in case you run into difficulties on the day.

Zoom provides some information on best practices for presenting https://support.zoom.us/hc/en-us/articles/209743263-Meeting-and- Webinar-Best-Practices-and-Resources

Make sure your microphone remains muted until it is your turn to give your presentation.

For instructions on sharing your screen (to allow delegates to see your powerpoint, for example) see: https://www.youtube.com/embed/YA6SGQlVmcA?rel=0&autoplay=1&cc_load_pol icy=1

If you are intending to play musical or video examples it is very important that you click the ‘share computer sound’ check box when starting to share your screen. Further information here: https://support.zoom.us/hc/en-us/articles/201362643-Sharing- Computer-Sound-During-Screen-Sharing

Please make sure your paper runs to time. Long zoom sessions can be exhausting for viewers and breaks are factored in to the programme, so papers should be no longer than 20 minutes to make the most of these breaks.

PROGRAMME Thursday 3 December

Stream A – Symposium on Stream B Stream C Stream D Indigenous Music and Dance and Symposium on Indigenous Arts and Culture in the Academy

9:00am MSA AGM

10:00am Welcome to Country – N’Arweet Carolyn Briggs Conference Opening – Richard Kurth Chair – Tiriki Onus

11:00am KEYNOTE 1 (SIMD) Brenda Gifford Journey of a Yuin composer: Change, challenges and crossroads Chair – Sally Treloyn

12:00pm Lunch Break Lunch Break Lunch Break Lunch Break

Stream B study group: Gender Stream C study group: Australian and Diversity Forum Music Chair: John Phillips Chair: Michael Hooper

1:00pm Session 1A: Reviving Session 1B: Nineteenth Century Session 1C: Opera: Structure, Session 1D: Creativity and and Reclaiming through Songs, Music in Australia Shape, and Society COVID-19 Composition and Singing Chair: Kerry Murphy Chair: Denis Collins Chair: Louise Devenish Chair: Amanda Harris  Jan Stockigt – ‘Madame  Brigette De Poi – The  Alexander Hew Dale Crooke,  Clint Bracknell, Trevor Ryan Boema’s Splendid Soprano Commercialisation of Public Jane W. Davidson, and and Roma Yibiyung Winmar Voice’: The Australian Career Opera in 17th-Century Venice Trisnasari Fraser – COVID-19, – Mayakeniny: Increasing of Gabriella Roubalová, and its Influence on Music Communities and Community Access to 1879–1922 Composers Bridging Capital Noongar Song  Jula Szuster – Philipp Oster’s  Alan Maddox – Rhetorical  Brent Keogh – ‘Catch My  James Henry – Traditional Album: Evidence of an Early Expression and Political Disease’ - Ethnographies of a Song in Contemporary South Australian Music Strategy in Antonio Caldara’s Virus as Told by Contexts Library L’ingratitudine gastigata Contemporary Western Art  Jesse Hodgetts –  Rosemary Richards – ‘Copied Musicians Ngiyangilanha Ngiyampaa while lying to in a gale’:  Frederic Kiernan and Jane W. Guthi Wirradhurray Guthi – Robert Wrede’s Manuscript Davidson – Musical Notating Traditional Music Collection Creativity and Wellbeing Ngiyampaa and Wiradjuri During the COVID-19 Songs Pandemic in Australia: A Qualitative Study 2:30pm Tea Break Tea Break Launch of Indigenous Knowledges Institute MC: Tiriki Onus 3:00pm Session 2A: Inclusion, Legacies Session 2B: Australia and New Session 2C: Improvisation Session 2D: Music, Isolation and Futures Zealand in Empire across the Centuries and COVID-19 Chair: Linda Barwick Chair: Rachel Orzech Chair: Nick Freer Chair: Anthea Skinner

 Muriel Swijgheusen and  Robert James Stove –  Timothy Clarkson – Towards  Cat Hope, Louise Devenish Aaron Corn – Singing and Outposts of the Empire: an Ethical Framework for the and Aaron Wyatt – Two Dancing DORA: The San Minutes From Home: A

Francisco Declaration of Stanford Pupils’ Australian Tonnetz as a Tool for Analysis Community of Practice Research Assessment and its Division of Jazz Improvisation Response to COVID-19 implications for Indigenous  Sarah Kirby – ‘Objects to be  Gemma Turvey – 18th- Impacts Australian participation in seen’ and ‘objects to be Century Solfeggi and Third  Damien Ricketson – Academia heard’: The Piano at Stream Ear Training: Creativity, Connection and  Sylvia Nannyonga-Tamusuza Nineteenth-Century Creating a Foundation for Covid: New Music for – Double-edged Sword of International Exhibitions in Teaching Improvisation to Isolated Performers Colonial Archives: The Australia Classical Music Students  Sally Walker – 1:1 Concerts: Dilemma of Defining  Francis Yapp and Joanna  Anthony Abouhamad – A Diaspora of Concert Hall “Indigenous” Music in Szczepanski – Arthur Lilly Playing the Partitura: Mozart Refugees Find New Uganda and the 1916 Festival of New as Organ Accompanist Performance Spaces  Tiriki Onus, Sally Treloyn Zealand Music: A Search for  Helen Kasztelan Chapman –  Christina Green – Post- and Megan McPherson: Language and Tradition Bartók’s Improvisations Op. Doctoral Pathways as a Biganga Bayiya (singing the Ahead of its Time 20: Exploring Music Composer/Performer – possum): Three years of the  Johanna Selleck – From Perception and Cognition Onward and Outward amidst Research Unit for Indigenous Sterling to Currency: the Unexpected Challenges of Arts and Cultures Representing identity in 2020 Colonial Australia through Music Reviews and Cartoons 5:00pm Tea Break Book Launch: Amanda Harris Representing Australian Aboriginal Music and Dance 1930–1970 Chair: Liza Lim

5:30pm Session 3A: Session 3B: Presentation/Performances Roundtable 1 – Chair: Clint Bracknell Beethoven and Australia: Reflections on his 250th Anniversary

 Robin Ryan and Chelsy Michael Christoforidis, Anna Goldsworthy, David Larkin, and Peter McCallum Atkins – 'Mother Earth is Chair: Warren Bebbington Hurting': Adapting an

Indigenous Lament Through a Time of Ecological Grief  Genevieve Campbell and the Tiwi Strong Women's group – Tiwi Yilaniya: Healing in Song and Ceremony 7:00pm END

Friday 4 December

Stream A (SIMD) Stream B Stream C Stream D

9:00am KEYNOTE 2 (SIMD): Dylan Robinson, Queens University thá:ytset: shxwelí li te shxwelítemelh xíts'etáwtxw / Reparative Aesthetics: The Museum’s Incarceration of Indigenous Life Chair: Barb Bolt 10:00am Tea Break Celebration of the Jan Stockigt Musicology Australia Volume Hosts: Kerry Murphy, Fred Kiernan, Andrew Frampton and Jan Stockigt 10:30am Session 4A: [Panel] Music, Session 4B: Musical Patronage, Session 4C: Sonata Form: Session 4D: [Panel] – Becoming Dance and the Archive: Dissemination and Promotion Analysis and Philosophy Bird: Transcription, Reclaiming Indigenous Chair: Alan Maddox Chair: Maurice Windleburn Composition, Performance Performance Histories Chair: Sally Ann McIntyre Chair: Amanda Harris  Hannah Spracklan-Holl –  Rafael Echevarria – Musical Songtexts in Context: New Modernity and Dialectical  Hollis Taylor – Australian Amanda Harris, Linda Barwick, Light on Devotional Music in Deformations: Listening Birdsong Transcription, Jakelin Troy, Matt Poll, Tiriki the Private Lives of under the New Formenlehre (re)Composition, Onus, Lyndon Ormond-Parker, Seventeenth-Century Paradigm Performance: A Feedback Sharon Huebner, Jacqueline Shea Protestant German  Koichi Kato – “Paving the Loop Murphy, Jack Gray, Rosy Simas, Noblewomen way toward a grand  Eleanor Brimblecombe – Shannon Foster and Nardi  Peter Campbell – “An symphony:” Schubert’s Understanding Climate Simpson Englishman, an Irishman and rotational principle in the B- Change through the Musical a Scotsman Walk out of a Bar minor and C-major Appropriation of Australian …”: Philanthropy and the Symphonies Birdsongs Promotion of Musical  Daizhimei Chen – The time  Sally Ann McIntyre – Huia Activity at Australia’s Early is out of joint: Narrative Transcriptions: Listening Universities (re)ordering in Beyond the Extinct Sound  Kerry Murphy and Madeline Mendelssohn’s A Archive Roycroft – Louise Dyer and Midsummer Night’s Dream

Les Six: Publisher, Friend, Promoter, from France to Australia 12:00pm Lunch Break Lunch Break Lunch Break Lunch Break

Stream A study group: National Stream B study group: Opera Recording Project for Indigenous Studies Performance in Australia Chair: Alan Maddox (NRPIPA) Chairs: Aaron Corn and Brigitta Scarfe

1:00pm Session 5A: Listening: Session 5B: Music & Dance Session 5C: Musical Structures Session 5D: Discovery and Indigenous Archives and Voices Chair: Catherine Falk Chair: Michael Hooper Rediscovery Chair: Genevieve Campbell Chair: Helen English  Niall Edwards-FitzSimons –  Nicholas Freer – John  Mary Ingraham, Bert Acehnese Sitting Dances in Coltrane: Decoupling and  David Larkin – A Stylistic Crowfoot and Tom Sydney and Melbourne Repurposing Elements of Crossroads: Sardanapalo Merklinger – Coming Full  Jeanette Mollenhauer – Tonal Cadential Progression and the Reassessment of Circle: Digitizing the Points of Contact, Acts of in Jazz Liszt Ancestors and Re-sounding Transfer: Dance  Natalie Williams –  Melanie Plesch – From Cultural Voices Transmission from Europe to Contemporary Counterpoint, Buenos Aires to Melbourne:  Calista Yeoh – ‘We sing it Australia Defining Historical Towards a Performance this way, they sing it that  Catherine Ingram and Mary Allegiances in Twentieth- History of Alberto way’: Analysing Wanji-wanji Mamour – ‘Our Culture is Century Contrapuntal Ginastera’s Second  Gemma Turner – Aboriginal Growing in a Different Way’: Practice Symphony (‘Elegíaca’) And Torres Strait Islander Understanding Developments  Maurice Windleburn –  Ken Murray – Random Sung Voice Qualities: in Dance-Music Connections Musical Hyperrealism: Reflections: The Guitar Potential Methods For in South Sudanese Australian Exploring Noah Music of Ian Bonighton Description, Communication Culture and Community Creshevsky’s Compositions And Analysis Through Jean Baudrillard’s Ideas

2:30pm Tea Break

3:00pm Session 6A: Revitalisation and Session 6B: Instruments: New Session 6C: Cosmopolitan Session 6D: Politics and music vitality Works, New Performers, New Popular Music in Australia Identity in Music in the 21st Chair: Reuben Brown Techniques Chair: Elizabeth Kertesz Century Chair: Johanna Selleck Chair: Fred Kiernan  Rona Charles and Sally  Ross Chapman – Percy Treloyn – Repatriated  Nessyah Gallagher – Grainger's Saxophone  Meena De Silva – Beychella: Recordings and Music Australian-French  John Whiteoak – ‘In the How Beyonce’s 2018 Vitality in the Kimberley Saxophone Connections: The Gypsy Manner’: Continental Coachella Performances Shed  Margaret Kartomi – Origin, Letters between Peter Clinch Music in Inter- and Post-War Light on Black Culture Change and Revitalisation of (1930–1995) and Jean-Marie Australian Entertainment  Linda Kouvaras – The the Indigenous Gamolan Londeix (b. 1932) History. Composer Herself: Pekhing and Adolescent  Jonathan Fitzgerald – The  Aline Scott-Maxwell – Contemporary Snapshots Dances in Lampung, Intersection of Light and Carosello: Australia’s First  Cassandra Gibson – The Indonesia Sound: An Examination of Televised Italian Variety (mis)Representation of  Erin Matthews – Bora: The Compositional Approaches in Show as a Pre-multicultural Musical Women and Men: Past, the Present, the Future. Multimedia Works for Commercialised Window Navigating Gender Identity A Study of Indigenous Electric Guitar and Visual into the Italian-Australian and Sexual Agency in the Acculturation In Lockhart Projections Popular Music Scene Classical Music Industry River  Louise Devenish –  Benjamin Hillier and Ash  Georgia Curran and Calista Instrumentality, Virtuosity Barnes – Wolf in Sheep’s Yeoh – “That is why I am and the ‘Specialist Non- Clothing: Extreme Right-Wing telling this story”: Some Specialist’ in Australian New Ideologies in Australian Black Insights from Musical Music Metal Analysis of the Wapurtarli  Thomas Laue – New Bells, Song Set Sung by Warlpiri New Music, and New Women from Yuendumu Audiences in Mid- and Post- Pandemic Australia 5:00pm Tea Break Tea Break Performance Lorraine Nungarrayi Granites,

Alice Napanangka Granites, Audrey Napanangka Williams, Ida Nangala Granites and Pamela Nangala Sampson – Yawulyu Puturlu-wardingki – Women’s Songs from Mt Theo Chair: Georgia Curran 5:30pm Session 7A: Country and Session 7B: KEYNOTE 3 (MSA) Collaboration Chair: Aaron Corn Peter Tregear, University of Melbourne Conflicts, Constitutions, and the ‘Con’  Gillian Howell and Natalie Davey – Flow and Other Chair: Richard Kurth Stories: Songs as Place- markers in the Fitzroy Valley  Bianca Beetson, Vicki Saunders, Leah Barclay and Sarah Woodland – Listening to Country: Exploring the Role of Acoustic Ecology in Connection to Country and Wellbeing  Sam Curkpatrick and Daniel Wilfred – Shimmering Brilliance: A Yolŋu Aesthetic of Collaboration and Creativity [incorporating book launch of same name] 7:00pm END

Saturday 5 December

Stream A (SIMD) Stream B Stream C Stream D

9:00am Session 8A: Maintaining 9:30am start Session 8C: Instruments: 9:30am start Indigenous Knowledges in New History and Techniques Musical Forms Session 8B: Inter- and Post- Chair: Rosemary Richards Session 8D: Traditions, Chair: Dan Bendrups War Politics Religion and Cultural Identity Chair: John Gabriel  Jacinta Dennett – Fusing Chair: Adrian McNeil  Tzutu Kan, Pedro Cruz and Carlos Salzedo’s M.C.H.E. – Maya  Madeline Roycroft – ‘Allons “Fundamental Harpistic  Jesse Dass – The Origins, Cosmovicion and Hip Hop au-devant de la vie’: Gesture” and Rudolf Cultural Significance, and  Jaas Newen and Chilkatufe Shostakovich and the Front Steiner’s Eurythmy, through Rhythm of Hadrah and – Pangui Lef: Hip-Hop populaire campaign in 1930s Performing Helen Gifford’s Gambusan in Lampung Mapuche France Fable (1967) for solo harp.  John Napier – From  Philip Matthias, John  Rachel Orzech – Wagner in  Alison Catanach – Flute Traditionalists to Glocalists Parsons, Marshal Meppe- the Eyes of the French Playing in Eighteenth- (and Back): Young South Sailor and Toby Whaleboat Resistance Press, 1941–1944 Century Britain: A Indian Performers in – The Coming of the Light:  Cameron McCormick – A Gentlemanly Pastime Australia Maintaining Traditions on Political Turn:  Thomas Rann – The  Victoria Parsons – An Army the Mainland Representations of the War in Aristocratic Cello: A in Conflict: The Changing T.S. Eliot’s Four Quartets, Performative Biography of Musical and Cultural Picasso’s Guernica and Count Matvei Vielgorsky— Identity of the Salvation Stravinsky’s Symphony in Cellist, Dedicatee, Army in Australia Three Movements Commissioner, and Impresario  Khalida de Ridder – Applying Lucien Capet’s Bow Division Notation System to Repertoire

11:00am Tea break Book Launch: Teresa R. Balough and Kay Dreyfus, Distant Dreams: The Correspondence of Burnett Cross and Percy Grainger 1944–1960 Chair: Vincent Plush 11:30am Session 9A: Dance: Indigenous Session 9B: Music and the Session 9C: The Evolution of Session 9D: Access, Solidarity Approaches and Perspectives Visual Postwar Australian Music and Inclusion Chair: Carol Brown Chair: Tim Daly Chair: Aline Scott-Maxwell Chair: Linda Kouvaras  Liz Cameron and Gretel  Denis Collins – Giovanni  Holly Caldwell – From  Alex Hedt – The Aussie Taylor – Barefoot on Maria Nanino at the Anglophile to Apple Isle d/Deaf Music Lover: Country: Cultural Dance Intersection of Visual Arts Advocate: Composer Don Redefining Access, Participation and Social and and Musical Practice in Kay and the Development of Participation and Identity Emotional Wellbeing Early 17th-century Rome a Tasmanian Voice  Ellan Lincoln-Hyde and  Jorge Poveda Yánez – From  Thalia Laughlin – Reflections  Emma Townsend – From the Jenny Guilford – (In)Equal Cannibalising Regimes to on Early Music Publishing: Tropics to the Snow (1964): Temperament: Enabling Indigenous Futurism: The Marie Laurencin’s Venus and The Expansion of White Intercultural Performance Role of New Technologies to Adonis Masculine Nation-Building Collaboration through Prevent Misappropriation of  Elizabeth Kertesz – Rupert Emotions in Commonwealth Public Installation Sound Art Indigenous Dances Bunny and Echoes of Spain Government Film Scores of  Katrina McFerran, Grace  Presentation/Performance  Andrew Callaghan – The the Mid-1960s Thompson, Anthea Skinner Marisol Vargas – ‘Iñ che Kay Sonorous Mould:  Stephanie Shon – and Tess Hall – Using Che’ (here am I the woman Indexicality, Inaudibility and ‘Biographical Milestones’: Online Music Gatherings to and the man that still lies in Truth-claims in Hildur Interpreting Sixty Years of Support Social Inclusion for me) Study–Research that Guðnadóttir’s Score for Larry Sitsky’s Stylistic People with Disabilities in Explores the Performance Chernobyl Evolution in Australia Australia during the COVID- that Would Change to an Art (1959–2019) through a 19 Crisis Installation Comparative Analysis of his  Helen English and Jane W. Compositional Shifts Davidson – Australian Street  Michael Hooper – Barry Music: Critical Conyngham after Princeton: Consciousness, Solidarity Serialism and Sky (1977). and Self-Realisation through

the Medium of a Street Opera in Melbourne 1:30pm Lunch Break Lunch Break Performance/Demonstration: David Manmurulu, Jenny Manmurulu, Rupert Manmurulu, Renfred Manmurulu, Solomon Nangamu, Reuben Brown and Isabel O’Keeffe, New environments for exchanging manyardi Chair: Reuben Brown 2:30pm Session 10A: Session 10B: KEYNOTE 4 (MSA) Performance/Demonstrations Suzanne Robinson, MCM Chair: Tiriki Onus “Neither Athletes nor Blue stockings”: Women in the Music Profession in Melbourne, 1892–1912

 Anita Asaasira and Mseto Chair: Inge van Rij Nation – From Archives to Repertoire: MsetoNation Band’s Definition of a “Ugandan Sound”  James Howard – Reclamations of Cultural Identity through Music Composition and Performance

4:00pm Tea Break

4:30pm Session 11

Roundtable 2 – Ethnomusicology and Musicology in Australia: The Next 125 Years

Peter Tregear, Sarah Collins, Linda Barwick, and Clint Bracknell Chair: Malcolm Gillies

6:00pm Closing Remarks Student Prizes

KEYNOTES AND ROUNDTABLES

KEYNOTE 1: BRENDA GIFFORD JOURNEY OF A YUIN COMPOSER: CHANGE, CHALLENGES AND CROSSROADS

Thursday 3 December, 11:00am Registration: https://unimelb.zoom.us/webinar/register/WN_XvVZ7tJdTiulaFgFS_EqDg

Brenda Gifford is a Yuin woman from south coast NSW. She is part of a hopeful vision for the future of Aboriginal women composers, musicians and diverse people, in positions of power and creative control. In this keynote, Brenda will talk about her own journey as an Aboriginal musician, working and touring with pioneer Aboriginal reggae artist Bart Willoughby and Mixed Relations, and now a classical composer writing for the Sydney Symphony Orchestra and beyond. Drawing on decades of experience, Brenda will look at how the industry has changed and how Aboriginal women composers and musicians still face challenges in the music industry: “I feel we are at a crossroads of great possibilities for Indigenous composers and musicians in the classical realm”.

Brenda Gifford | Yuin composer, https://www.brendagifford.com/about

KEYNOTE 2: DYLAN ROBINSON QUEENS UNIVERSITY, CANADA THÁ:YTSET: SHXWELÍ LI TE SHXWELÍTEMELH XÍTS'ETÁWTXW / REPARATIVE AESTHETICS: THE MUSEUM’S INCARCERATION OF INDIGENOUS LIFE

Friday 4 December, 9:00am Registration: https://unimelb.zoom.us/webinar/register/WN_2eWu0EQeSUmxzaohe2f28g

Across the globe, museums filled with glass and plexiglass vitrines display collections of Indigenous belongings. These cases render the life they contain into objects of display, things to be seen but not touched. Alongside the life of ancestors who take material form, thousands of Indigenous songs collected by ethnographers on wax cylinder recordings, reel- to-reel tape and electronic formats are similarly confined in museums. These songs also hold life, but of different kinds to that of their material cousins. For Indigenous people, experiencing these systems of display and storage are often traumatic because of the ways in

18 which they maintain the separation of kinship at the heart of settler colonialism. To re- assess the role of the museum as a place that confines life is to put into question its relationship to incarceration. If the museum is a carceral space, how then might we define repatriation in relation to practices of “re-entry” and kinship reconnection? In what ways might prison abolition apply to the museum? These questions, among others, have increasingly been focalized through the reparative aesthetics of Indigenous artists. Dylan Robinson is a xwélmexw (Stó:lō/Skwah) artist and writer, and Associate Professor Queen’s University where he holds the Canada Research Chair in Indigenous Arts. His monograph, Hungry Listening (Minnesota University Press, 2020), considers listening from both Indigenous and settler colonial perspectives, and proposes decolonial practices of attention that emerge from increased awareness of our listening positionality. His previous publications include the co-edited volumes Music and Modernity Among Indigenous Peoples of North America (Wesleyan University Press, 2018) and Arts of Engagement: Taking Aesthetic Action in and Beyond the Truth and Reconciliation Commission of Canada (Wilfred Laurier University Press, 2016).

KEYNOTE 3: PETER TREGEAR UNIVERSITY OF MELBOURNE CONFLICTS, CONSTITUTIONS, AND THE ‘CON’

Friday 4 December, 5:30pm Registration: https://unimelb.zoom.us/webinar/register/WN_7e3m6mQbSsS5xnCVpuvDtg

The global rise of institutions specialising in professional music training is one of the more significant (but surprisingly under-researched) aspects of modern music history. Arising in part out of a desire by musicians themselves to have access to the kinds of accreditation already long afforded to other, more ‘respectable’ trades, the widespread growth in conservatoria also reflected (and soon served to shape) tensions between idealistic and pragmatic views of the role of music in modern society more generally. In particular, there was a widely held belief that music could, and should, be put into the service of the emergent nation-state. This paper seeks to place the foundation of the Melbourne Conservatorium of Music into this global context, and demonstrate how it too reflected both the power of a global cultural franchise, but also global movements seeking political enfranchisement. It concludes with some thoughts on the cultural and political significance of the ‘Con’ today.

A graduate of the Melbourne Conservatorium of Music (where he is currently a Principal Fellow), Peter Tregear subsequently undertook doctoral studies at King’s College, Cambridge, and was then appointed a Lecturer and Director of Music at Fitzwilliam College. After returning to Australia he served as Executive Director of the Academy of Performing Arts at Monash University and from 2012–2015 he was Head of the ANU School of Music in Canberra. Earlier this year he was appointed the inaugural Director of Little Hall at the University of Melbourne. Active as both a performer and public commentator on music and culture, Peter has published widely in both the academic press and the mainstream media. His scholarly and performing work centres on early twentieth

19 century Australian and European musical culture and on composers whose careers and lives were ruined by the rise of Nazi Germany. He also holds an Adjunct Professorship at the University of Adelaide.

KEYNOTE 4: SUZANNE ROBINSON MELBOURNE CONSERVATORIUM OF MUSIC “NEITHER ATHLETES NOR BLUE STOCKINGS”: WOMEN IN THE MUSIC PROFESSION IN MELBOURNE, 1892–1912

Saturday 5 December, 2:30pm Registration: https://unimelb.zoom.us/webinar/register/WN_4uLg-anMRwCJputC4Du1Ew

It has long been assumed that the women of the Marshall-Hall Orchestra were amateurs— most of them conservatorium students—and that one of the reasons for the orchestra’s demise in 1912 was that the men of the Musicians’ Union refused to play with lady amateurs. Over the course of the twenty years of the orchestra’s existence, with up to eight concerts per season, approximately 230 musicians appeared in the orchestra, of whom around 45 were women violinists, violists or cellists. This study explores who these women were and interrogates the definition of “professional” when this is a historically contingent concept bound up with debates about feminism, modernism, equal rights and labour market economics. It also situates the increasing participation of women in the orchestra, and the profession, in the context of the social and cultural history of Melbourne: the effects of the recession in the early 1890s, the increasingly visible suffrage cause, the gradual acceptance of women into degrees at the university and the career of Marshall-Hall himself, who as founder of two conservatoriums, the orchestra and the Musicians’ Union was the central figure in the city’s musical landscape.

Dr Suzanne Robinson is the author of Peggy Glanville-Hicks: Composer and Critic(Illinois, 2019) and editor or co-editor of five other books, including Grainger the Modernist (Ashgate, 2015) and Marshall-Hall’s Melbourne (ASP, 2012). She has recently been shortlisted for the Magarey Medal for Biography (awarded by the Australian Historical Association) and the Hazel Rowley Fellowship, and is the recipient of the Kurt Weill Prize (Weill Foundation, New York) as well as awards from the Society for American Music and the American Musicological Society. Her writings on modernist composers have appeared in books including the Cambridge Companion to Michael Tippett (CUP, 2013), National Traditions in Nineteenth-Century Opera (Ashgate, 2010) and T.S. Eliot’s Orchestra (Garland, 2000), and in journals such as Cambridge Opera Journal, the Australian Journal of Biography and History and Musical Quarterly. She is currently Series Editor at Lyrebird Press and an Honorary Fellow at the Melbourne Conservatorium of Music.

ROUNDTABLE 1: BEETHOVEN AND AUSTRALIA: REFLECTIONS ON HIS 250TH ANNIVERSARY

Thursday 3 December, 5:30pm–7:00pm

Michael Christoforidis, Anna Goldsworthy, David Larkin, and Peter McCallum Chair: Warren Bebbington

Registration: https://unimelb.zoom.us/webinar/register/WN_nctUruLnRISWpnxDbRVKOA

ROUNDTABLE 2: ETHNOMUSICOLOGY AND MUSICOLOGY IN AUSTRALIA: THE NEXT 125 YEARS

Saturday 5 December, 4:30pm–6:00pm

Peter Tregear, Sarah Collins, Linda Barwick, and Clint Bracknell Chair: Malcolm Gillies

Registration: https://unimelb.zoom.us/webinar/register/WN_SSO5DszuQuagPUf8oiqLKA

SPECIAL EVENTS AND ACTIVITIES BOOK LAUNCHES

Two books and one journal special issue are being launched at this year’s conference.

Representing Australian Aboriginal Music and Dance 1930– 1970 Amanda Harris with contributions from Shannon Foster, Tiriki Onus and Nardi Simpson Bloomsbury Academic LAUNCH: Thursday 3 December 2020, 5:00pm

Special Issue: Musicology Australia 41, Issue 2 (2019) Zelenka, Bach and the Eighteenth-Century German Baroque: Essays in Honour of Janice B. Stockigt Kerry Murphy, Fred Kiernan, Andrew Frampton (eds) LAUNCH: Friday 4 December 2020, 10:00am

Distant Dreams: The Correspondence of Burnett Cross and Percy Grainger 1944–1960 Teresa R. Balough and Kay Dreyfus (eds) Lyrebird Press LAUNCH: Saturday 5 December 2020, 11:00am

VIRTUAL BOOKSTAND

https://blogs.unimelb.edu.au/msa-conf2020/virtual-bookstand/ Our Virtual Bookstand showcases a variety of recent books, themed journal issues, scores, and recordings by MSA members.

MULTIVOCAL EXHIBITION

https://about.unimelb.edu.au/old-quad/multivocal

Multivocal celebrates the creation, performance, and experience of music at the University of Melbourne, past and present. From formal musical education, to student-led musical societies, indigenous music, and world music traditions, this exhibition explores the ways in which music has enriched the lives of people in the University community and beyond.

The exhibition highlights a range of objects from Cultural Collections across the University, including the Grainger Museum, Rare Music, University of Melbourne Archives, University Library, Victorian College of the Arts Special Collections, Ian Potter Museum of Art, School of Physics Museum and Trinity College Collection, as well as a few private loans. Showcasing objects and audio, the exhibition draws visitors into the sounds and stories of the many people who have contributed to this richly polyphonic landscape.

There are many highlights of great musicological interest. In the keyboard section you’ll find Wayne Stuart’s microtonal piano, a hand-painted spinet created by Meredith Moon, and a golden plaster cast of Edward Goll’s hands. In a section on Music and Wellbeing there are objects illustrating the history of music therapy, as well as one of Percy Grainger’s colourful ‘blind-eye’ scores. Tools of the Trade contains all those bits and pieces of ‘stuff’ necessary to write, practice, perform, and research music, including some beautiful objects relating to Mona McBurney (the first woman to graduate with a Bachelor of Music in Australia). There are also numerous examples of objects and audio illustrating the long history of experimental music at the University.

A section exploring music across cultures features a film made by the University of Melbourne Learning Environments team, called ‘Diary of the Heart’. This is an incredibly moving story of how music supports our international students as they find a new home in Melbourne, and features the Conservatorium’s Chinese Music Ensemble, directed by Dr Wang Zheng-Ting.

The central musical experience of the exhibition is Corroboree song, created by Dr Lou Bennett AM. Lou writes:

“In 1885, anthropologist Reverend G.W. Torrance scribed an eight-bar passage ‘from the lips of the singer’ (Howitt, p. 330, 1887) ngurungeata (esteemed elder) and ‘native bard’, William Barak titled ‘Corroboree Song’. It was part of a selection of songs recorded in literature in the ‘The Journal of the Anthropological Institute of Great Britain and Ireland, Vol. 16’ called ‘MUSIC of the AUSTRALIA ABORIGINE by Rev. G. W. Torrance, M.A., Mus.D. [An Appendix to Mr. Howitt’s “Notes on Songs

and Songmakers of some Australian Tribes.”]’(Howitt, pg 335 1887). Jump forward to the present day, in 2017, I was invited by members of the Wurundjeri community to rearrange and record ‘Corroboree Song’ for the 2017 annual Tanderrum performance for the Melbourne International Arts Festival. The song was used for the finale dance where all five tribes of the Kulin Nation (Woi Wurrung, Boonwurrung, Wathaurong, Dja Dja Wurrung and Taunurong) join each other on the dance mound to complete the performance ceremony. I rearranged the song extending it to represent the five tribes of the Kulin with a sixth cycle at the end for all tribes to come together at the very end of the piece in celebration of what the Tanderrum represents; a ritual of diplomacy. For the purposes of this exhibition I have created three versions: Pelican, Black Swan and Duck. All three birds are represented within the song cycle, all having an integral relationship with the wetland songlines”. . This exhibition also includes new commissions, such as the Spaces, Places soundscape by graduate Imogen Cygler, evoking the brief snatches of musical activity one hears while walking through a conservatorium building, and VCA film graduate Alex Wu’s film Frisson which explores the psycho-physiological phenomenon of musical ‘chills’.

We encourage you come and see Multivocal at the Old Quad when we finally open our doors in early 2021, but in the meantime, explore and enjoy the website (created by student Intern from Software Engineering, Jingyi Liu), and check out some examples of curriculum- generated responses to the exhibition from current music students. We’d also love for you to share your own memories of music at Melbourne, and add to our growing collection of recollections.

– Dr Heather Gaunt, curator

TOUR OF THE IAN POTTER SOUTHBANK CENTRE

https://blogs.unimelb.edu.au/msa-conf2020/virtual-tour-of-the-ian-potter-southbank- centre/ We would have loved to show the Conservatorium’s new home at the Ian Potter Southbank Centre in person, we hope that you will enjoy exploring the new building and campus virtually, through images, video and an interactive tour of our campuses.

SOCIAL EVENTS

Student Meet Up Thursday 3 December, 7:30pm Graduate and honours students are invited to a relaxed trivia mixer after the first day's sessions. Students from all universities, presenters and non-presenters welcome! Come along, meet your fellow grad students, leave when the zoom fatigue starts to drain your soul. Email [email protected] to register your attendance and receive the zoom link.

Friday Night (Zoom) Drinks Friday 4 December, 7:00pm BYO drink of your choice, and dress up if you feel like it! All are welcome to come for a low- key chat following the second day of the conference. https://unimelb.zoom.us/j/89231881981?pwd=Lzh3K2J2cFZ4bGlQVDBodWdPMDBjdz0 9 Password: MSADRINKS

Other Social Events Finally, while we’re all missing the incidental opportunities to meet up that come with an in-person conference, you are very much encouraged to organise your own social gatherings during the conference. If you need a hand facilitating a zoom meeting, get in touch at msa- [email protected].

ABSTRACTS AND PRESENTER BIOGRAPHIES

ANTHONY ABOUHAMAD SYDNEY CONSERVATORIUM OF MUSIC PLAYING THE PARTITURA: MOZART AS ORGAN ACCOMPANIST

Part of Wolfgang Mozart’s official duties as a Salzburg court organist included accompanying concerted church music. In the late eighteenth century, organists mainly accompanied through the medium of basso continuo. In order to understand how Mozart practised this form of improvisation, it is necessary to examine his early musical training. Unfortunately, very little information on this aspect of Mozart’s musical instruction with his father survives. Nevertheless, six manuals on playing a ‘partitura’ (a term Austrian musicians used to describe basso continuo accompaniment) written by Salzburg court organists, help shine light on the matter. These manuals, written from the time of Georg Muffat to Michael Haydn, detail a systematic method for improvising a basso continuo. Despite this chronological distance, all the manuals follow a remarkably consistent method of instruction. Thus, they reflect a tradition of basso continuo instruction in eighteenth- century Salzburg in addition to providing details of Mozart’s own practice. Through an analysis of these manuals’ methods, I demonstrate that Salzburg court organists practised basso continuo accompaniment from within a contrapuntal paradigm. This means that organists realised an accompaniment by adding layers of counterpoint to a bass and not, as may be commonly presumed, by stacking chords above it. This contrapuntal approach affects not only how we understand eighteenth-century basso continuo in practice but has wider implications on our perceptions of music theory. It suggests that late eighteenth- century Salzburg organists understood musical structures primarily as interval combinations and not through Jean-Philippe Rameau’s theory of basse fondamentale.

Anthony Abouhamad is a PhD graduand from the Sydney Conservatorium of Music (SCM). He has earned a bachelor’s degree in harpsichord performance from both the SCM as well as the Royal Conservatory of The Hague. As a harpsichordist, Anthony performs regularly both at home and abroad. His interests in the field of musicology centre on historical music theory and particularly its intersection with eighteenth-century performance practices. Currently, he teaches in the historical performance and musicology divisions at the SCM. In addition to his musical pursuits, Anthony is a keen swimmer and trains with the Sydney-based swimming team “Wett Ones”.

ANITA ASAASIRA AND MSETO NATION BAND THE UNIVERSITY OF MELBOURNE, AUSTRALIA/MAKERERE UNIVERSITY, UGANDA FROM ARCHIVES TO REPERTOIRE: MSETO NATION BAND’S DEFINITION OF A “UGANDAN SOUND”

Presentation and performance/demonstration For over a decade, Uganda's popular music industry has been grappling with the search for a unique 'sound' that can be locally and internationally identified as Ugandan. For the last half a century, Uganda's popular music has been mainly imitative of other countries' music styles. It has failed to create her own 'sound.' One reason for this is the high level of cultural diversity in the country, which precludes one representative style. Nevertheless, there seems to be a consensus that Uganda's 'sound' should be generated from its rich and diverse cultural musical heritage. So, I sought to explore the potential of archival recordings of Uganda's musical heritage as an untapped resource that musicians could utilize in creating a 'Ugandan sound.' I recruited Mseto Nation Band to reinterpret selected archival recordings and create a contemporary repertoire of music defined through the creative process as 'Ugandan.' In this presentation, I will discuss the band members' evaluation of their creative experience focusing on; definition of the generated 'Ugandan sound', 2) the impact of archival recordings on the 'sound,' and 3) approaches to the creative process.

Anita Asaasira | The University of Melbourne, Australia, and Makerere University, Uganda Aloysius Migadde (Electric Guitar) | Mseto Nation Band, Uganda Lawrence Matovu (Bass Guitar) | Mseto Nation Band, Uganda Ronnie Bukenya (Keyboard) | Mseto Nation Band, Uganda Julius Sengooba (Drums) | Mseto Nation Band, Uganda Brian Busuulwa (Vocals) | Mseto Nation Band, Uganda

BIANCA BEETSON, VICKI SAUNDERS, LEAH BARCLAY AND SARAH WOODLAND GRIFFITH UNIVERSITY/UNIVERSITY OF THE SUNSHINE COAST/UNIVERSITY OF MELBOURNE LISTENING TO COUNTRY: EXPLORING THE ROLE OF ACOUSTIC ECOLOGY IN CONNECTION TO COUNTRY AND WELLBEING

Listening to Country represents an innovative approach to exploring the relationship between Country, sound, and wellbeing among individuals and communities in Australia. The project adopts an Indigenous led, participatory methodology that draws from deep active listening and acoustic ecology to highlight our unique and potentially healing soundscapes, and the transformative potential held within Aboriginal ways of listening. Our presentation will draw on pilot research investigating how the performance and technologies of acoustic ecology and environmental soundscapes enhanced wellbeing and cultural connection for women at Brisbane Women’s Correctional Centre, forming the basis for the Listening to Country approach. We will share the approach, and discuss how it is now evolving through an iterative process of knowledge translation and relationship building as we move into the next phases of the research.

Bianca Beetson (Kabi Kabi) | Griffith University Vicki Saunders (Gunggari) | Griffith University Leah Barclay | University of the Sunshine Coast Sarah Woodland | University of Melbourne

CLINT BRACKNELL, TREVOR RYAN AND ROMA YIBIYUNG WINMAR EDITH COWAN UNIVERSITY MAYAKENINY: INCREASING COMMUNITY ACCESS TO NOONGAR SONG

This presentation describes the development of a new online resource increasing community access to Noongar song content. It showcases work developed via one of three different revitalisation modalities: 1) The translation of well-known children’s songs has been integral to language education efforts in the southwest over the past three decades and spearheaded by language teachers like Roma Yibiyung Winmar. Song is effective in language learning contexts and translated children’s songs allow for broad and unrestricted public engagement with the Noongar language. 2) Written records from the nineteenth and early twentieth century feature lyrics for over seventy Noongar songs. However, an absence of musical notation, audio recordings and oral transmission means that it is impossible to know exactly how these songs would have been originally performed. A project instigated by the City of Perth and its Noongar Elders advisory committee to recompose two Noongar songs based on lyrics recorded in 1830 required the articulation of an aesthetic framework to guide the development of new melodies in something like the old Noongar style. This framework is based on historical details about Noongar performance and the analysis of a small number of audio recordings of Noongar singing from the mid-twentieth century onwards. 3) The framework has underpinned the development of completely new songs. Rather than drawing on archival lyrics for musical inspiration, new Noongar works are being created in response to Country.

Clint Bracknell | Edith Cowan University Trevor Ryan | Edith Cowan University Roma Yibiyung Winmar | Edith Cowan University

NESSYAH BUDER GALLAGHER MELBOURNE CONSERVATORIUM OF MUSIC AUSTRALIAN-FRENCH SAXOPHONE CONNECTIONS: THE LETTERS BETWEEN PETER CLINCH (1930–1995) AND JEAN-MARIE LONDEIX (B. 1932)

Compared to the United States and Europe, very little has been written about the Australian saxophone, yet Australian saxophonists and saxophone music deserve greater global attention. Australian saxophonist Peter Clinch (1930–1995) became internationally acclaimed for his performing, teaching, and research into the connections between the body and performance for single reed musicians. Clinch’s international connections and activities, such as participating in and helping organise the World Saxophone Congress (1982–1992), brought Australian saxophone music to the attention of some of the most significant concert saxophonists from around the world at the time, including Marcel Mule and Jean-Marie Londeix (France), Eugene Rousseau (USA), and Ryo Noda (Japan). It is through the personal connections made at these Congresses that pieces such as Introspections for Saxophone and Prepared Tape by Geoffrey D’Ombrain and Sonata for alto saxophone and piano by William Lovelock were performed and became known by saxophonists around the world.

Despite his significance in the saxophone world, no full-length biography of Clinch has been written. Ali Fyffe’s twenty-page honours thesis is currently the most detailed account of Clinch’s life and contributions to the saxophone. This document contains much valuable information, but leaves many questions unanswered, particularly concerning the details of how Clinch related to these international saxophone figures, and how these personal connections helped to weave Australian saxophone music into the broader canon. Extensive correspondence between Jean-Marie Londeix (b. 1932) and Peter Clinch has recently become available. Drawing on this correspondence, this paper explores the connections between Clinch and Londeix and the implications these connections had for the advancement of the saxophone in Australia.

Dr. Nessyah Buder holds degrees in saxophone performance and music education from Northwestern University (B.M. 2011), ethnomusicology from the University of Miami (M.M. 2013), and saxophone performance from Shenandoah Conservatory (DMA 2016). She is the 2012 University of Miami recipient for the Presser Music Award, and she is currently pursuing a PhD in musicology at the University of Melbourne.

HOLLY CALDWELL UNIVERSITY OF TASMANIA FROM ANGLOPHILE TO APPLE ISLE ADVOCATE: COMPOSER DON KAY AND THE DEVELOPMENT OF A TASMANIAN VOICE

Don Kay AM (b. Smithton, Tasmania 1933) is renowned for his compositions reflecting the Tasmanian natural environment, such as There Is an Island (1977), Hastings Triptych (1986), and Tasmania Symphony: The Legend of Moinee (1988). Kay attributes the development of much of his musical language to his experience of Tasmania’s history and environment; however, before arriving at this point, Kay negotiated two vividly contrasting worlds. As a young, self-professed Anglophile and pastoralist composer heavily influenced by Vaughan Williams, Kay eagerly ventured abroad to England in 1959. There, he began studies in London with high-profile Australian ex-patriate composer Malcolm Williamson (1931- 2003), who, according to Kay in a 1999 interview with Ruth Lee Martin, “hoicked [him] into a more avant-gardish activity, through the twelve-tone … technique.” Paradoxically, it was this exposure to the European method of serialism that triggered for Kay an internal resolution between Tasmania, where he was born, and his longing for England as the motherland.

Through the examination of recent interviews with Kay and of select musical works, this paper will consider the composer’s experience in London and his subsequent newfound desire to more deeply connect with Australia’s island state as the determinant of his success in developing a personal compositional voice.

Holly Caldwell is a PhD candidate in musicology at the University of Tasmania Conservatorium of Music. Her current research investigates composer Don Kay (b. 1933) and the ways in which his music reflects the history and natural environment of Tasmania. Her broader research interests centre on how a greater presence of Australian art music can help to enrich a sense of culture, identity and place for those in Australia. She recently completed her Master of Music research on the composition of art music for children’s performance in Australia.

ANDREW CALLAGHAN MELBOURNE CONSERVATORIUM OF MUSIC THE SONOROUS MOULD: INDEXICALITY, INAUDIBILITY AND TRUTH-CLAIMS IN HILDUR GUÐNADÓTTIR’S SCORE FOR CHERNOBYL

Traditionally, film scores are set in opposition to notions of filmic realism. In particular, indexicality, the quality of photographs being a product of that which they signify (akin to a footprint or smoke indicating a fire), has been regarded as a cornerstone of film’s ability to capture the world. Non-diegetic music, as a signifier of post-production, has been rejected by various filmic movements from verité documentarians to Dogme practitioners in the 1990s as an unwelcome indicator of authorial manipulation.

One solution that has emerged has involved an ambiguity between diegetic sound and score, making music a less noticeable invasion and more akin to its visual analogue. On occasions, the musical features of diegetic sound are exploited to perform some functions we might normally ascribe to music. With sampling technology, the inverse also becomes possible: environmental sound is sampled and shaped with musical tools to create a score.

Hildur Guðnadóttir’s recent score for Chernobyl is an exemplar of this approach. In building her score largely out of recordings made at a nuclear power plant, her music interweaves with environmental sounds in ways that at times makes the distinction between the two impossible to discern. Additionally, given her process was broadly reported in the press, some new questions arise: What does knowledge of music made of environmental sound do to our experience of the production? Does such ‘indexical’ music have more permission in serious, realistic settings?

Andrew Callaghan is a composer, sound designer, researcher and educator. He has scored productions for film, TV, podcasts, and albums as well as live events and installations that have been acclaimed internationally. A keen teacher of music history, technology, arranging and screen music, he is currently undertaking a Ph.D. in music at the University of Melbourne. His current research focus is on the structures, effects and contribution of accompanying music to realism in narrative and documentary media.

LIZ CAMERON, GRETEL TAYLOR, ENID NANGALA GALLAGHER AND LORRAINE NUNGARRAYI GRANITES DEAKIN UNIVERSITY/SOUTHERN NGALIYA DANCE PROJECT BAREFOOT ON COUNTRY: CULTURAL DANCE PARTICIPATION AND SOCIAL AND EMOTIONAL WELLBEING

“Doing the dances tells you who you are and where you are from. Like you’ve got nothing inside you if you don’t know.” - Nangala, 19-year-old participant, Southern Ngaliya project, Yuendumu, Northern Territory (interview with Taylor and O’Connor, 2012). There is strong suggestion that participation in cultural dance facilitates social, health and spiritual benefits through embodied connection with cultural identity and Country. These benefits include powerful ramifications for individual self-esteem, intergenerational relationships and the wellbeing and resilience of communities (Dunphy and Ware, 2019, Smith, 2000). We consider these interconnected effects through the frame of Social and Emotional Wellbeing (SEWB), which can be defined as ‘a multidimensional concept of health that includes mental health, but which also encompasses domains of health and wellbeing such as connection to land or Country, culture, spirituality, ancestry, family, and community’ (Gee et al., 2014). This presentation includes excerpts from recent online yarning sessions with Warlpiri women, who are core members of Southern Ngaliya, a successful women’s dance project that has been running for over a decade, to reflect upon wellbeing effects of participation in these intergenerational dance camps on Warlpiri Country.

Liz Cameron | Deakin University Gretel Taylor | Deakin University Enid Nangala Gallagher | Southern Ngaliya Dance Project LORRAINE NUNGARRAYI GRANITES | SOUTHERN NGALIYA DANCE PROJECT

GENEVIEVE CAMPBELL AND MEMBERS OF THE TIWI STRONG WOMEN’S GROUP SYDNEY ENVIRONMENT INSTITUTE, SYDNEY CONSERVATORIUM OF MUSIC/TIWI STRONG WOMEN’S GROUP TIWI YILANIYA: HEALING IN SONG AND CEREMONY

Presentation and performance/demonstration The practise of mortuary-related ceremony and associated rituals remains central to 21st century life on the Tiwi Islands, Northern Australia. Essential to this is the Yilaniya ‘Smoking’ ritual. Comprising songs that create direct conversation between the living and the dead, Yilaniya documents the deceased’s country, kinship and family relationships and their new place amongst the ancestors. This encourages their spirit to leave, allowing the living to move on and heal, with the loss properly acknowledged. The impact of colonial rule over the last century has resulted in changes to the logistics of mortuary rituals. Yilaniya - traditionally male-led and having a specific ritual function - is now widely also called ‘Healing’, is increasingly sung by senior song-women and has expanded to include new song forms and crossovers into Christianity. Through examples of old and new forms of Yilaniya songs we will explain how this has resulted in a blurring of traditionally gendered roles in song composition and custodianship as well as broadening the motivations and understandings of ‘Smoking’ and ‘Healing’ beyond their ritual context - both in their own right remaining pivotal to the spiritual and, perhaps more importantly, the social health and wellbeing of the Tiwi community.

Genevieve Campbell | Sydney Environment Institute, Sydney Conservatorium of Music Members of the Tiwi Strong Women's Group | Tiwi Strong Women’s Group

PETER CAMPBELL UNIVERSITY OF MELBOURNE/UNIVERSITY OF DIVINITY “AN ENGLISHMAN, AN IRISHMAN AND A SCOTSMAN WALK OUT OF A BAR …”: PHILANTHROPY AND THE PROMOTION OF MUSICAL ACTIVITY AT AUSTRALIA’S EARLY UNIVERSITIES

While the awarding of music degrees had been allowed for in the Acts establishing Australia’s earliest Universities, the introduction of teaching in those degrees was not always straightforward or immediate. There were both practical and philosophical issues to be dealt with, although the major stumbling block was money. To the rescue came several wealthy and influential figures.

At the same time, those on the ground—faculty members and students with musical interests—were organising their own music societies, enabling them to gather to perform or listen to music of a great variety of styles. This included both live performances and recordings.

This paper examines the development of these two streams of musical activity in Sydney, Melbourne, Adelaide and Hobart, as Australia’s tertiary education institutions were founded and expanded during the nineteenth century. The personnel and personalities of those involved are identified, the legal and institutional problems examined and the outcomes and achievements reviewed.

This new assessment of early musical activity in Australian universities leads to a better appreciation of the role philanthropy has played in establishing music as a discipline of academic study in Australia and brings to light new evidence of early performances of music in our universities.

Peter Campbell is Registrar, Trinity College Theological School, University of Divinity, and Honorary Research Fellow at the Melbourne Conservatorium of Music, University of Melbourne. He completed doctoral studies on Australia’s Intervarsity choral movement and has written extensively on aspects of Australian music history, particularly relating to choirs, including work on composer Larry Sitsky, Bach in Canberra and Marshall-Hall’s relationship with Trinity College at the University of Melbourne. Peter is a singer, chorister and composer who has performed across Australia, Britain, Europe and North America.

ALISON CATANACH MELBOURNE CONSERVATORIUM OF MUSIC FLUTE PLAYING IN EIGHTEENTH-CENTURY BRITAIN: A GENTLEMANLY PASTIME

Advertised as a musical instrument of novelty in London newspapers at the beginning of the eighteenth century, the transverse flute became a fashionable choice for gentlemen performers. At a time when much was written and published about the attributes necessary to present as a ‘gentleman’ in society, the acquisition of practical musical skills was not always highly valued. There is evidence, however, which points to musical participation by wealthy male amateurs in Britain throughout the eighteenth century, and of the increasing popularity of the transverse flute. Examples of flute playing in varied situations reveal a continuing interest in the display of social status and gentility. Drawing on primary sources including art, journals and contemporary literature, I explore reasons for the favour given to the transverse flute by gentleman musical performers and give insight into the perception of flute playing in eighteenth-century British society

Alison Catanach is a Melbourne flautist known for her performance on historical flutes. After completing a MMus (performance) at the University of Melbourne, Alison studied traverso with Wilbert Hazelzet at the Royal Conservatorium in the Hague, the Netherlands. Alison is a frequent performer with Melbourne early music chamber groups and orchestras. Alison is currently studying for a PhD in performance and musicology at the University of Melbourne. Her doctoral studies explore amateur and professional flute playing in eighteenth-century Britain

ROSS CHAPMAN MELBOURNE CONSERVATORIUM OF MUSIC PERCY GRAINGER’S SAXOPHONE

It is not commonly known that the saxophone arrived in Australia before it was first performed in the United States, but by the time of Percy Grainger it had come to almost singularly represent the energy and dynamism of America. After moving stateside in 1914, Grainger enlisted in the US military as a saxophonist in 1917. Although his eighteen month stint in uniform was brief, the saxophone clearly left an impression: he would later advocate for the instrument’s role in orchestras of the future ('The Orchestra for Australia', 1927) , and decades hence note that, contrary to the prevailing view that it was a novel noisemaker, ’the world-wise and ever-growing popularity of the saxophone must be considered part of that great revival of interest in melody that characterises our century’ ('The Saxophone’s Business in the Band’, 1949). Grainger’s influence on the saxophone will be contextualised among the instrument's marginalised place in the British-influenced brass banding movement, its relative prominence in the Sousa Band which toured Australia in 1911, and its employment by the ’Sousa of the Antipodes’ Alexander Lithgow.

Ross is a saxophonist, educator, and researcher currently completing the Master of Music (Research) at the Melbourne Conservatorium of Music, under the supervision of Dr. Michael Christoforidis. His thesis investigates the early history of the saxophone in Australia, building on his 2010 dissertation on the instrument’s cultural trajectory in Europe and the United States and findings from the 2014 SAX200 conference in Brussels. Ross has served with the Australian Army Band since 2009, conducted the Clarinet and Saxophone Society of Victoria’s Saxophone Ensemble since 2014, and never failed to marvel at the saxophone’s knack of offering insights into music and culture far beyond its station.

DAIZHIMEI CHEN UNIVERSITY OF SYDNEY THE TIME IS OUT OF JOINT: NARRATIVE (RE)ORDERING IN MENDELSSOHN’S A MIDSUMMER NIGHT’S DREAM

From a narratological perspective, musicologists James Hepokoski and Warren Darcy interpret the tonal journey and material deployment of the standard 18th-sonata as embodying the Enlightenment idea of a perfect human action. The linear succession of musical events here corresponds to the narrative type known as story, in which plot events are presented in chronological order. However, this narrative model is inappropriate for some Romantic overtures, where composers responded to a literary work and altered the order of its original story narrative. Therefore, events fall out of chronological order, which constructs the reordered overture as a narrative discourse.

This paper uses the story – narrative discourse distinction from narratology to reconsider Hepokoski and Darcy’s framework. As an example of innovative 19th-century program music, Mendelssohn’s A Midsummer Night’s Dream overture will serve as my case study. In this paper, I will firstly explain Sonata Theory, which establishes a dialogical relationship between the 18th-century and 19th-century sonatas. I will then compare the narrative of Mendelssohn’s overture to Shakespeare’s original play and explore why Mendelssohn designs his overture as a narrative discourse. This study emphasises the role temporality plays in Mendelssohn’s overture and helps us understand the way programmatic factors shape sonata form in general.

Daizhimei Chen is currently doing her Honours degree in Music at the University of Sydney. Under the supervision of Dr David Larkin, her thesis explores the way programmatic factors shape Romanic forms by comparing the narrative of Shakespeare plays and the adapted Romantic overtures. Daizhimei’s research interests include 19th-century music, musical forms, as well as philosophy of music.

TIMOTHY CLARKSON SYDNEY CONSERVATORIUM OF MUSIC TOWARDS AN ETHICAL FRAMEWORK FOR THE TONNETZ AS A TOOL FOR ANALYSIS OF JAZZ IMPROVISATION

Neo-Riemannian Theory (NRT) has been used by a range of jazz scholars to illuminate the voice leading of modern jazz compositions. NRT and the Tonnetz provide an opportunity to reveal similar transformational voice leading processes in melodic improvisation: either reflecting transformational harmony or superimposing other tonalities.

Philip Ewell and others have highlighted the prescriptive categorisations of theorists such as Schenker and Riemann and the curtailing impact of the white racial frame on interpretations of individual agency. Stephen Rings argues that NRT’s modern form constitutes a substantial change in values from normative categories to decentred tonal spaces and analytical pluralism, allowing for more nuanced and adaptive analysis.

By illuminating the voice leading that occurs in a range of modern jazz solos through an animated map, this paper will show that animation of the Tonnetz serves as useful way of identifying soloistic choices and foregrounding performer agency.

This provides a strong visual representation of convergence and divergence of improvisation with composed harmony and further decentralises the notion of functional tonality and hierarchy identified by Ewell as central to the white racial frame. It aims to establish a voice leading framework that reflects the unique solutions posed by each improvisor by highlighting not only localised change as familiar to NRT theorists, but localised multiplicity.

Tim Clarkson is a jazz saxophonist, composer, bandleader resident in Sydney currently undertaking a DMA candidate at the Sydney Conservatorium of Music. His research explores theory and practise of tonal transformation and superimposition in modern jazz improvisation, following previous Masters research on the harmonic language of New York saxophonist Mark Turner. A highly creative and unique voice on saxophone, his albums feature regularly on national radio as leader or sideman and has performed with George Benson, The Temptations, and Grammy Award winner Elio Villafranca. In Sydney he performs regularly with the Tim Clarkson Trio, Dan Barnett Big Band, Dave Panichi Orchestra and multi ARIA award winners The MARA! Band.

DENIS COLLINS UNIVERSITY OF QUEENSLAND GIOVANNI MARIA NANINO AT THE INTERSECTION OF VISUAL ARTS AND MUSICAL PRACTICE IN EARLY 17TH-CENTURY ROME

While scarcely mentioned in modern histories of music, Giovanni Maria Nanino (ca. 1543– 1607) was nonetheless the most prestigious Roman composer and pedagogue at the turn of the seventeenth century. Holding prestigious posts at Rome’s most eminent churches before joining the Papal Chapel in 1577, Nanino was well placed to influence musical developments in his native city and beyond, with his madrigals, for instance, circulating as far as England. As was the case for many of his Roman contemporaries, Nanino’s musical output could find expression through complex visual representations in which musical notation was embedded within imagery that had many layers of symbolic meaning. The present study takes as its starting point the brief mention near the end of Pietro Cerone’s El melopeo y maestro (1613) of a canon by Nanino in cruciform notation. Although all modern commentators consider Nanino’s cross canon to be lost, I propose that in fact two differently notated versions exist, one in a manuscript collection of canons by the contemporary English composer Elway Bevin and the other close to the beginning of Cerone’s mammoth treatise. The differences in notation and the contrasts in artistic imagery between these versions point to how compositional techniques, especially canon, could serve a wide array of functions for different communities. The findings of this study also help to reinforce the view of Nanino as a leading figure engaged with different strands of musical and artistic practice of his time.

Denis Collins is Associate Professor of Musicology at the University of Queensland. His research interests span the history of contrapuntal techniques in Western music before ca. 1800, music and visual culture, and digital musicology. He has been Lead Chief Investigator for two ARC Discovery Projects on the history of canonic techniques from the late fourteenth to early seventeenth centuries. His recent publications have appeared in Acta Musicologica, Music Theory Online, Musicology Australia and Music Analysis. He was co-editor with Kerry Murphy and Samantha Owens of J.S. Bach in Australia: Studies in Reception and Performance (Lyrebird Press, 2018).

ALEXANDER HEW DALE CROOKE, JANE W. DAVIDSON, AND TRISNASARI FRASER UNIVERSITY OF MELBOURNE COVID-19, MUSIC COMMUNITIES AND BRIDGING CAPITAL

Co-authored with Tia DeNora and Mariko Hara, Department of Sociology/Philosophy, University of Exeter, UK This presentation explores the impact of COVID-19 on musicians and their ability to practice, collaborate, and connect with their audiences. It draws on interviews with members of music communities in Australia and USA. While social distancing as a result of COVID-19 has significantly disrupted active connection with localised communities and musical networks, participants report increased connection and engagement with wider networks through technology. The presentation draws on Putnam’s concepts of bonded and bridging capital to explore how music engagement during the COVID-19 pandemic of 2020 has promoted decentralised communities through its emphasis on bridging capital. It proposes a hybrid or intersectional capital that seems be particular to online networks. The implications of this idea are discussed in relation to key social theories, including the perceived benefits and barriers this presents for social cohesion and community resilience among musicians. Dr Alexander Hew Dale Crooke is Postdoctoral Research Fellow at the University of Melbourne. He is a transdisciplinary researcher who works across the fields of music therapy, sociology, psychology, music education, cultural studies, and social policy. His research agenda centres on the individual and social affordances of music in community and education settings, with an emphasis on musical participation as a site for social justice work, and access to culturally responsive arts experiences. Dr Crooke publishes regularly across several fields, and works internationally as a consultant in the design, implementation, and evaluation of arts programs in school and community settings. Professor Jane W. Davidson is currently Head of Performing Arts, Faculty of Fine Arts & Music at the University of Melbourne and Chair of the University’s Creativity & Wellbeing Hallmark Research Initiative. Her research embraces the study of musical skill, music as social interaction, arts for wellbeing outcomes, music and emotion, and opera performance. Recent outputs include a major six-volume series A Cultural History of Emotions (with Susan Broomhall and Andrew Lynch, Bloomsbury, 2019), the co-authored Music Nostalgia and Memory (with Sandra Garrido, Palgrave, 2019) and the two-volume series Opera, Emotion and the Antipodes (with Stephanie Rocke and Michael Halliwell, Routledge 2020). Trisnasari Fraser is a practising psychologist with an interest in the wellbeing of creative people and the therapeutic value of community music and dance. Her current PhD research investigates intercultural music engagement during COVID-19. As a community-based dance practitioner she co- directed a performing arts agency for ten years, directing ensembles encompassing a range of culturally diverse artforms. She has conducted quantitative and qualitative research on the genetic basis of singing ability and the wellbeing of artists of culturally diverse background in Australia. She writes regularly for ArtsHub and has recently been a main contributor to their Wellness and Recovery Resource.

SAM CURKPATRICK AND DANIEL WILFRED MONASH UNIVERSITY/AUSTRALIAN ART ORCHESTRA AND WAGILAK CEREMONIAL LEADER, NGUKURR COMMUNITY BRILLIANCE: A YOLŊU AESTHETIC OF COLLABORATION AND CREATIVITY

In Yolŋu art, the aesthetic of bir’yun (shimmering brilliance) is the visual play created by the fine crosshatching that fills a painting; bir’yun brings symbolic representation to life by generating movement and energy. A parallel aesthetic might be discerned in Yolŋu manikay (song), in the dense interweaving of voices. The ŋaraka (bones) or basic forms structuring song are enlivened through this complex heterophony. The experience of bir’yun is enriched as new voices and colours (timbres) are woven into the mix, suggesting a productive approach to creativity and collaboration between Yolŋu and Balanda (non-indigenous) Australians. Depending on travel restrictions, this paper will be given in conversation with Daniel Wilfred (Ngukurr community) and/or include a video extract from his recent ‘Solo Series’ recording with the Australia Art Orchestra. This project highlights the different voices of family and elders that manikay singers imitate in performance, which contributes to the rich, interwoven textures of song. Over the past 5 years, Daniel has led the Australian Art Orchestra’s Creative Music Intensive, working with graduate level music students to explore creativity and voice within manikay.

Sam Curkpatrick | Monash University Daniel Wilfred | Australian Art Orchestra and Wagilak ceremonial leader, Ngukurr Community

GEORGIA CURRAN AND CALISTA YEOH SYDNEY CONSERVATORIUM OF MUSIC “THAT IS WHY I AM TELLING THIS STORY”: SOME INSIGHTS FROM MUSICAL ANALYSIS OF THE WAPURTARLI SONG SET SUNG BY WARLPIRI WOMEN FROM YUENDUMU

Custodians of Aboriginal songs face considerable threats to future transmission of the songs that are deeply valued components of their cultural heritage. For Warlpiri women from Yuendumu, Central Australia, there is no longer a big group of female singers who can sing their Wapurtarli song set, making it one of many traditional songs that are becoming increasingly at risk of endangerment. In this paper, we explore the importance of song performance and how its practices reflect the social context songs derive from. Using Grant’s (2014) ‘Music Vitality Endangerment Framework’ we assess the health of the Wapurtarli song set. A musical analysis of this song set aids in understanding how various musical features interlock together, and whether they assist in the cognitive processes taken to learn, sing and teach songs. Our findings show that complex components come together for a song set to be properly performed, yet the flexibility of the verse structure and permutations of the melodic contour will never be exact in two performances of the same song set. We consider how analysis of these complex mechanisms can inform revitalisation efforts and assist with some of the challenges faced by the senior singers leading these initiatives.

Georgia Curran | Sydney Conservatorium of Music Calista Yeoh | Sydney Conservatorium of Music

JESSE DASS MONASH UNIVERSITY THE ORIGINS, CULTURAL SIGNIFICANCE, AND RHYTHM OF HADRAH AND GAMBUSAN IN LAMPUNG

Despite having the largest Islamic population in the world, Arab-influenced Islamic music in Indonesia is generally under-researched, in comparison to indigenous music from Java and Bali. Sumatra, where Islam first arrived in the Malay Archipelago, represents such an under-researched region within the field of Ethnomusicology. This paper will focus on the Islamic performing arts genres of Hadrah and Gambusan within the Lampung province in Sumatra. Sufi-influenced Hadrah involves liturgical rituals, prayers, and songs in Lampungese and/or Arabic. Gambusan, characterised by its use of ‘ud lutes, consists of both religious and secular songs.

In this paper, I will provide discuss i) the spiritual and cultural significance of these genres to Lampung Muslims, ii) the origins of these genres in Indonesia through the arrival of Islam and Arab immigration, and iii) rhythmic analysis of these genres. Lastly, I will play a recording of the Hadrah song ‘Robikum robikum’ as a case study of Islamic performance style and nuance. Overall, the paper will showcase the uniqueness of Islamic musical traditions in Lampung through the combination of Arabian, Malay, and indigenous cultures in these genres.

Jesse Dass is a fourth-year Science and Global Studies undergraduate at Monash University. Alongside his major in Indonesian studies, Jesse completed a 3-month internship with the Music Archive of Monash University (MAMU) in 2019 and was selected for the Australia Indonesia Youth Exchange Program (AIYEP) 2019/20 in East Java. After graduating, Jesse aspires to work in diplomacy and international development.

JACINTA DENNETT MELBOURNE CONSERVATORIUM OF MUSIC FUSING CARLOS SALZEDO’S “FUNDAMENTAL HARPISTIC GESTURE” AND RUDOLF STEINER’S EURYTHMY, THROUGH PERFORMING HELEN GIFFORD’S FABLE (1967) FOR SOLO HARP

Harpist Carlos Salzedo’s “Fundamental harpistic gesture,” spawned in collaboration with dancer choreographer Vaslav Nijinsky, in the Summer of 1916, is used to visually emphasise the aural intent of the music performed on harp. Eurythmy, an art of movement, created by Rudolf Steiner in 1912, makes the audible visible by extending the intention to speak or sing into the limbs, that then manipulate the surrounding stream of air. I have formulated a new performance paradigm in harp performance by fusing Salzedo’s “fundamental harpistic gesture” and Steiner’s art of eurythmy. I demonstrate this hybrid approach using Helen Gifford's only composition for solo harp, Fable (1967).

Jacinta Dennett leads harp pedagogy at the Melbourne Conservatorium of Music, the Australian National Academy of Music, and the Victorian College of the Arts Secondary School. She tutors at the Australian National and State Music Camps and for the Melbourne Youth Music program. Jacinta's performance is recognised for its rare fusion of poetry—through her heartfelt and intuitive embodiment of music—and physicality—enriched by her studies in Flamenco dance, Iyengar yoga, and martial arts. Delving into Australian harp solo compositions Jacinta’s Ph.D. research has brought a deeper authenticity and sense of belonging to her work.

LOUISE DEVENISH SIR ZELMAN COWEN SCHOOL OF MUSIC, MONASH UNIVERSITY INSTRUMENTALITY, VIRTUOSITY AND THE ‘SPECIALIST NON- SPECIALIST’ IN AUSTRALIAN NEW MUSIC

Contemporary Australian art music increasingly explores the sonic and musical potential of a vast range of instruments, objects and surfaces in addition to standardised musical instruments. Correspondingly, the techniques and performance practices associated with new music have diversified beyond the application of existing techniques associated with specific instruments, with many new works dependent on the performer’s ability to transfer, develop and apply existing instrumental techniques to various materials. When done successfully, this transferal of technique allows the musical potential, known as the ‘instrumentality’, to be coaxed from any object or material for use in performance. As the nature of this practice is experimental and the resulting works diverse, practitioners become ‘specialist non-specialist’ instrumentalists, offering new perspectives on virtuosity. This presentation discusses instrumentality, performance practice and new notions of virtuosity in twenty-first century Australian music, using Annie Hui-Hsin Hsieh’s Permeating Through the Pores of Shifting Planes (2019) as a case study. This work emerged from an instrument- led creative process that sought to expand the sonic and performative possibilities of sheet materials such as paper, acetate, plastic and aluminium, used as both instrument and infrastructure in performance.

Dr Louise Devenish is a percussionist whose creative practice blends performance, collaboration and artistic research. As a soloist and with ensembles Decibel, The Sound Collectors Lab and Intercurrent, she develops new works exploring notation, post-instrumental practice and collaborative creativity, performing around Australasia, Europe, North America and UK. Louise has collaborated on award- winning recordings released on Hat[now]art, Listen/Hear, Immediata, Innova and room40, as well as debut album music for percussion and electronics (Tall Poppies). Louise is Senior Research Fellow (ARC DECRA), Honours Coordinator and Percussion Coordinator at Monash University. She is a Churchill Fellow, and recently published her first book Global Percussion Innovations: An Australian Perspective.

RAFAEL ECHEVARRIA SYDNEY CONSERVATORIUM OF MUSIC MUSICAL MODERNITY AND DIALECTICAL DEFORMATIONS: LISTENING UNDER THE NEW FORMENLEHRE PARADIGM

Driven by the work of William Caplin, James Hepokoski, and Warren Darcy, the ‘New Formenlehre’ has refined recent understanding of 18th-century sonata form and its 19th- century developments. However, these technical theories have paid less attention to the role of philosophical issues surrounding modernity. In particular, Karol Berger’s contrast of premodernity’s circular conception of time with modernity’s linear understanding highlights the deeper significance of musical forms, one that has remained underdeveloped in the New Formenlehre. Thus, a more philosophical consideration of sonata form, especially in relation to our aesthetic experience, is required. This paper develops Berger’s discussion of temporality to enable a renewed understanding of the New Formenlehre. It contrasts the philosophies of Theodor Adorno and Friedrich Nietzsche to reveal how modernity enables, enhances, and problematises our aesthetic listening experience. When applied to Janet Schmalfeldt’s processual form, Hepokoski and Darcy’s Sonata Theory, and its offshoot Deformation Theory, tensions emerge between the immediacy of listening and external influence, thereby challenging our understanding of sonata form and its historical developments. This discussion not only connects various strands of the New Formenlehre to enable a more sophisticated understanding of sonata form, but also elucidates important insights about what it really means to listen.

Rafael (Ardi) Echevarria is an aspiring musicologist with an eclectic range of interests—musicology, philosophy, education, to name a few. Ardi’s research investigates the intersection between music theory and the philosophy of music, with a particular focus on 19th-century music, harmony, and form. Supervised by Dr. David Larkin, Ardi achieved First Class Honours in Musicology at the Sydney Conservatorium of Music and was subsequently awarded the Busby Musical Scholarship. His paper on this research earned 2nd Prize at the MSA’s 2019 conference Student Awards. He is currently completing a Master’s degree while tutoring as part of the Conservatorium’s musicology division.

NIALL EDWARDS-FITZSIMONS SYDNEY CONSERVATORIUM OF MUSIC ACEHNESE SITTING DANCES IN SYDNEY AND MELBOURNE

From their coastal Acehnese and highland Gayo origins, the sitting dance genres of Aceh have exploded in popularity and acclaim in recent decades and are performed by traditional performance groups at schools, universities, embassies and festival stages across Indonesia and the world. Acehnese sitting dances are performed in Sydney, Melbourne and other cities of Australia by groups made up of participants drawn from both inside and outside local Indonesian diaspora communities. Participants in these dance groups reflect a range of histories present in these diaspora communities, including Acehnese and non-Acehnese Indonesian migrants to Australia, locally-born Indonesian-Australians, and temporary migrants such as university students, while other participants come from outside the diaspora community. This presentation will share histories and insights drawn from interviews conducted with members of performance groups Suara Indonesia in Sydney and Bhinneka in Melbourne in the course of my doctoral research. Interview participants include students, amateurs, and professional dancers, and each brings their own unique histories and relationships with various genres of Acehnese sitting dances to their participation in these groups. The testimony shared by participants reflects the nature of these performance groups as sites of negotiation of these dance genres’ status as Acehnese, Indonesian and/or Australian culture.

Niall is a PhD candidate working on unceded Gadigal land at the Sydney Conservatorium of Music, where he also tutors in courses on Australian music, popular music, music media and digital music techniques. His doctoral research is focused on the concept of togetherness in Acehnese sitting dances, in pursuit of which he has worked with dance groups across Aceh and in Jakarta, Sydney and Melbourne. He is a musician, beatmaker/DJ, and a broadcaster and volunteer with Sydney’s Radio Skid Row.

HELEN ENGLISH AND JANE W. DAVIDSON UNIVERSITY OF NEWCASTLE / UNIVERSITY OF MELBOURNE AUSTRALIAN STREET MUSIC: CRITICAL CONSCIOUSNESS, SOLIDARITY AND SELF-REALISATION THROUGH THE MEDIUM OF A STREET OPERA IN MELBOURNE

In what ways was a street opera created from scratch a vehicle for protest, transformation and reconnection with community? In 2018 Serenading Adela was performed in Pentridge Prison to celebrate and remember the 100th anniversary of a forgotten moment in history when approximately 100 women sang under the prison cell window of Adela Pankhurst, imprisoned for her anti-conscription rallies. The operatic work was conceived and developed over a period of nearly 2 years and rehearsed for 5 months. The 100 participants who rehearsed over the 5-month period were intensely engaged, studying the historical documents, memorising words and music, making costumes and billboards. The high levels of motivation, engagement and self-realisation were aspects that the researchers wished to investigate. Taking a qualitative approach, they attended rehearsals and the performance, interviewed the directors and held focus groups for participants. A recurring theme was solidarity, objectified as the song Solidarity Forever. Paolo Friere’s statement that ‘solidarity requires that one enter into the situation of those with whom one is in solidarity’, led the researchers to use his concept of transformative learning as a lens to examine in what ways the opera raised consciousness of the need for social and political change.

Helen English is Senior Lecturer in Music, School of Creative Industries at the University of Newcastle. Her research interests include colonial music, gender and music, music education, community music and creative ageing. The concept of Music and World-Building, developed in doctoral thesis, informs her research, most recently as a monograph, Music and World-Building in the Colonial City (Music in Nineteenth-Century Britain series, Routledge, 2020). She has numerous publications on colonial music-making, including a chapter in Diversity in Australia’s Music, an homage to Roger Covell and a chapter in Opera, Emotion and the Antipodes (edited Jane Davidson, Stephanie Rocke and Michael Halliwell, Routledge 2020). Professor Jane W. Davidson is currently Head of Performing Arts, Faculty of Fine Arts & Music at the University of Melbourne and Chair of the University’s Creativity & Wellbeing Hallmark Research Initiative. Her research embraces the study of musical skill, music as social interaction, arts for wellbeing outcomes, music and emotion, and opera performance. Recent outputs include a major six-volume series A Cultural History of Emotions (with Susan Broomhall and Andrew Lynch, Bloomsbury, 2019), the co-authored Music Nostalgia and Memory (with Sandra Garrido, Palgrave, 2019) and the two-volume series Opera, Emotion and the Antipodes (with Stephanie Rocke and Michael Halliwell, Routledge 2020).

JONATHAN FITZGERALD CONSERVATORIUM OF MUSIC, UNIVERSITY OF WESTERN AUSTRALIA THE INTERSECTION OF LIGHT AND SOUND: AN EXAMINATION OF COMPOSITIONAL APPROACHES IN MULTIMEDIA WORKS FOR ELECTRIC GUITAR AND VISUAL PROJECTIONS [LECTURE RECITAL]

The use of light to accompany and augment musical performance dates back to the 1920’s. While the popular music industry has long embraced immersive, multimedia performances which utilise lighting, projections and visual effects, such performances are a relative rarity even within the realm of contemporary classical music, and rarer still in works involving the electric guitar. Though recent decades have seen an increase in the number of compositions for the instrument which include a visual element (only around 30 works in total), there are currently none by Australian composers.

This lecture recital examines the use of visual projections and effects in works for electric guitar, providing a brief synopsis of the approaches utilised in the existing repertoire, and exploring in depth two new works commissioned by the author, including the first such work by an Australian composer. Icelandic composer Gulli Bjornsson’s work, written for electric guitar, Max-patch, and visuals, employs an innovative approach that utilises a type of guitar step-sequencer which triggers manipulations of a prerecorded video clip in realtime response to the sounds of the live performance. Australian composer Victor Arul’s piece is currently being written, and will be examined upon completion in the coming months.

Dr Jonathan Fitzgerald has established an international reputation with a career at the intersection of performance, teaching and artistic research. A multi-award winning educator, Jonathan serves as Chair of Strings & Guitar and lectures in Music Theory at the University of Western Australia’s Conservatorium of Music. Past concert highlights include performances with the West Australian Symphony Orchestra, radio performances for ABC Radio National, and solo recitals across the United States and Australia. Jonathan earned Bachelor and Master of Music degrees at the Cleveland Institute of Music, and a Doctor of Musical Arts from the Eastman School of Music.

NICHOLAS FREER MELBOURNE CONSERVATORIUM OF MUSIC JOHN COLTRANE: DECOUPLING AND REPURPOSING ELEMENTS OF TONAL CADENTIAL PROGRESSION IN JAZZ

John Coltrane’s influence on jazz extends from changing saxophone performance techniques to pioneering new sub genres. This paper explores elements of Coltrane’s harmonic conception, with an emphasis on his reinterpretation and manipulation of existing forms of tonal cadential harmonic progression as they manifest within the selected Coltrane compositions. By decoupling specific elements within existing forms of cadential harmonic progression and re-contextualising their function, Coltrane evolves his personal harmonic syntax. This idiosyncratic shift contributes towards a repurposing of harmonic elements within jazz’s harmonic organisational syntax and foments a conceptual shift in jazz’s harmonic organisation.

Nick is a Melbourne based guitarist and composer. He has worked extensively as a musician in the genres of modern jazz and jazz fusion in numerous ensembles both domestically and internationally. He is undertaking a PhD in Musicology through the University of Melbourne with a research focus on the organisation of post-tonal harmony in modern jazz. His research interests include music analysis, music theory, geometric music modelling and the intersection of music and philosophy.

CASSANDRA GIBSON SIR ZELMAN COWEN SCHOOL OF MUSIC, MONASH UNIVERSITY THE (MIS)REPRESENTATION OF MUSICAL WOMEN AND MEN: NAVIGATING GENDER IDENTITY AND SEXUAL AGENCY IN THE CLASSICAL MUSIC INDUSTRY

Celebrities are often described as being presented in stereotypically gendered ways which, especially for women, often leads to objectification and questions of their sexual agency. This mixed-methods research seeks to understand the extent to which the representation of Australia’s classical musicians follows similar trends. Through a new adaptation of Erving Goffman’s (1987) gender theory, this study assesses images of advertising and, through an analysis of CD artwork, preliminary findings suggest some gendered distinctions between the representation of the male and female musicians, with some being sexualised. To further develop these initial findings, this new study will also include a sample with more diverse advertising material. Additionally, the research will continue to refine the chosen analytical framework to better examine the gendered and sometimes sexualised representation of Australia’s musical women and men.

The aim of this study that this research can contribute meaningful discourse to the industry and provide guidance for emerging artists. Through qualitative data, collected through survey (and eventually interview) results, I will explore the socio-cultural implications for women entering the industry. Results will develop understandings of the gendered dynamics within the music industry, while hopefully providing guidance to maintain their own personality and identity as they are commercialised.

Growing up in rural NSW meant that I had limited opportunities to explore music performance, but once I began playing the flute, I knew I wanted to pursue a career in music. After completing my teaching degree in 2015, I knew I wanted to continue studying. This led enabled me to incorporate my two passions, music and feminism, which I hope will lead to an exciting and engaging career. I hope that, through my research, I can help improve employment conditions and make the Australian classical music industry a more inclusive and diverse place for emerging musicians.

CHRISTINA GREEN WESTERN SYDNEY UNIVERSITY POST-DOCTORAL PATHWAYS AS A COMPOSER/PERFORMER – ONWARD AND OUTWARD AMIDST THE UNEXPECTED CHALLENGES OF 2020

In this paper I will explore aspects of my ongoing artistic practice as a composer/performer, maintaining and developing strands from the practice-led doctoral work I completed in 2019. In the final chapters of my thesis I drew on percussionist Steven Schick’s idea of an ‘externally facing artistic practice’, referencing the compositional practices of the two composers whose work I studied, Pauline Oliveros and Eve Beglarian, and envisioning ways forward for my own work. In late 2019 and in 2020 I have been exploring ways to create and share new work both locally and further afield, making use of avenues already established and seeking new ones. Covid-19 and accompanying restrictions, resulting in the loss of live performance/venue-based music life, have brought particular challenges. I will share two works completed/performed pre-pandemic, one at home and one abroad, both embodying strands from my doctoral work, as well as work created during lockdown, discussing adjustments to my practice during this time, and ways in which the unexpected and the new have emerged in both music and practice

Christina Green is a Melbourne-based composer, songwriter, performer, music therapist and teacher. She has studied composition with a range of teachers through undergraduate and postgraduate degrees, including Peter Tahourdin, Donald Erb, Katy Abbott Kvasnica, Julian Yu, Stuart Greenbaum and Clare Maclean. Between 2012 and 2019 Green completed a Doctorate of Creative Arts (composition folio/exegesis), working with Dr Sally Macarthur (musicology) and Dr Clare Maclean (composition), at Western Sydney University. Green works as a composer/performer and as a composer for other ensembles/soloists, as well as maintaining activities as a performing songwriter in the acoustic/folk scene in Melbourne and beyond.

ALEX HEDT MELBOURNE CONSERVATORIUM OF MUISC THE AUSSIE D/DEAF MUSIC LOVER: REDEFINING ACCESS, PARTICIPATION AND IDENTITY

In Australia, deaf musical accessibility is popularly conflated with Australian Sign Language (Auslan) interpreting. This accords with established definitions of Deaf culture and identity, which foreground native sign languages. However, this cultural-linguistic lens does not account for the realities of growing up deaf in Australia. From the mid-twentieth century, increasing numbers of deaf children born to hearing families were subjected to oralist educational policies, isolated from deaf peers and denied access to Auslan. Nevertheless, music figures prominently in the lives of a small group of deaf Australians born during these years, who do not access music in Auslan.

In this paper, I examine how these conditions shaped deaf Melburnians’ musical access, preferences and experiences in the second half of the twentieth century. Incorporating accounts from interviews, published memoirs and my own experiences as a hard-of-hearing musician, I interrogate the nature of musical participation and demonstrate music’s hard- won social currency for deaf people in English-speaking contexts. Obvious language barriers notwithstanding, I argue that over-emphasising Auslan in discourses of musical accessibility and Deaf culture excludes the deaf Australians for whom music is most relevant. Instead, future studies of deaf musicking in Australia should consider diverse access strategies and liminal deaf identities.

Alex Hedt recently submitted her Master of Music (Ethnomusicology) thesis at the Melbourne Conservatorium of Music, The University of Melbourne, where she is currently a research assistant. In her thesis, she employed both historical and ethnographic methods to examine the nature of d/Deaf musical engagement in Australia in both Deaf and mainstream contexts, including Deaf-led performing arts and Auslan-interpreted music and theatre. Informed by prior studies in music and education, Alex is interested in disability arts cultures, diversity and accessibility in music, and the ways in which mainstream musical institutions construct and portray musical ability.

JAMES HENRY INDEPENDENT SCHOLAR TRADITIONAL SONG IN CONTEMPORARY CONTEXTS

Recently I was a recipient of the Hutchinson Fellowship in which I spent 18 months learning about traditional Aboriginal music and finding ways to incorporate it into contemporary contexts and genres. Initially I thought it would be much more of a study in the nuts and bolts of traditional music and finding ways to blend this music in to conventional Western tonal music. What I found is that it ended up being more of a study into the politics and protocols of using traditional Aboriginal music. In this presentation I will talk about verses I have written in a traditional style in the Yuwaalaraay/Gamilaraay language(s). With this I have been able to openly practice, arrange and perform these verses in different genres. The one in which I will speak about in depth is a verse I wrote about the Ibis ‘Murrgumurrgu’. With limited lyrical content I am able to extend it into a verse and then an arrangement utilising AA, BB, A, B, etc traditional structure and musical arrangement incorporating other instrumentation. What helps the sustainability of the repetition is the sophistication of the time signature variation which is dictated by the lyrical rhythmic structure. This song comfortably exists for a solo singer with clapsticks all the way up to its soon to be performance with a 100 voice choir and orchestra.

James Henry | Independent artist and scholar

BENJAMIN HILLIER AND ASH BARNES UNIVERSITY OF TASMANIA WOLF IN SHEEP’S CLOTHING: EXTREME RIGHT-WING IDEOLOGIES IN AUSTRALIAN BLACK METAL

This paper will examine the presence of extreme right-wing ideologies (specifically, ultra- nationalist, fascist and ‘alt-right’ political views) in the Australian black metal bands. Focusing on two key bands, Spear of Longinus and Deströyer 666, we demonstrate how that their views are presented within artwork, lyrics, and live performances which in turn, influence the ideological and political opinions of their fans. We use paratextual analysis alongside close readings of song lyrics and other texts to create a conceptual framework in which these musicians justify their views. This paper concludes with the suggestion that these concepts are being used as political tools when engaging in online spaces and that one cannot simply separate the art from the artist, especially with regards to questions of national identity

Benjamin Hillier is a PhD Candidate at the University of Tasmania, Conservatorium of Music. His doctoral research focuses on musical characteristics of Australian extreme metal bands and the potential for a unique Australian sound among them. His interests are primarily in music theory and analysis of metal music, supported by ethnomusicological inquiries into metal communities and scenes. Beyond this, he maintains an interest in musicology that investigates genre, extreme music, popular music, and video game music.

Ash Barnes is a cultural criminological who specialises in transgression, aggression and physical and sexual violence in live music spaces. Ash also specialized in human and non-human animal liberation, using innovative theory and methodologies. She is presently undertaking a PhD in the School of Social Sciences at the University of Tasmania, Australia.

JESSE HODGETTS UNIVERSITY OF NEWCASTLE NGIYANGILANHA NGIYAMPAA GUTHI WIRRADHURRAY GUTHI – NOTATING TRADITIONAL NGIYAMPAA AND WIRADJURI SONGS

Traditional Ngiyampaa and Wiradjuri songs of Western NSW hold power from country and are connected to a line of ancestors that can be felt when listened to. However, Aboriginal songs of Australia are often analysed in academia through an outsider cultural lens. Songs are anaylsed through Western musicology and Western musical notation methods, which do not capture the power from county and ancestors. The performances of traditional Ngiyampaa and Wiradjuri singers are often not fixed to any specific key or meter when performed. The songs are not drawn from western musical systems such as scales, key, metre and tempo. To represent Ngiyampaa and Wiradjuri songs through written form, I as a Ngiyampaa and Wiradjuri singer have created my own form of notation and terminology to analyse these songs. This presentation explores why traditional Ngiyampaa and Wiradjuri songs are not accurately represented in western musical notation and suggests a more suitable form of notating the songs to represent them in their cultural context.

Jesse Hodgetts | The University of Newcastle, Australia

MICHAEL HOOPER UNIVERSITY OF NEW SOUTH WALES BARRY CONYNGHAM AFTER PRINCETON: SERIALISM AND SKY (1977)

The 1970s has been much neglected: scholars of modernism have mostly seen the time as too late even for late modernist practices; scholarship that focuses on music under late capitalism has similarly, and for similar reasons, looked elsewhere for their exemplars, mostly to more recent music. The 1970s is too late, too early, and too compromised. Such historiographies tend not to account for the interests, ambitions, and successes of the music that was being composed, and for the young (and high-profile) Australian composer Barry Conyngham it was a particularly productive time. Between 1972 and 1974 he was a Harkness Fellow in the US, initially at University of California San Diego, and then at Princeton. The 1970s is a period that for him was typically prolific, and it includes Snowflake (1972), for keyboards, Playback (1972), for double bass and tape, Through Clouds (1973–4), an electronic work, Without Gesture (1973), for orchestra, Mirror Images (1975), for ensemble, and Sky (1977), for string orchestra, as well as the unperformed opera Ned (1974–7). Conyngham considered Sky to be his only serial work, and he also thought of Sky as a piece about Australian nationalism, alongside a series of other compositions: Mirages (1978), Horizons (1980), String Quartet (1980), Southern Cross (1981), and Dwellings (1982). The decade from 1972 therefore contains some of Conyngham’s most varied music, and some of the most important works for his status as a composer writing music about Australia.

Dr Michael Hooper is a Senior Lecturer in Music at the University of New South Wales. He joined UNSW with an ARC DECRA in 2012, having previously held a Research Fellowship at the Royal Academy of Music, London. His first book was The Music of David Lumsdaine: Kelly Ground to Cambewarra (Routledge, 2012), and his most recent book is Australian Music and Modernism: 1960–1975 (Bloomsbury, 2019). He has ongoing interests in Australian and British music; he has also published articles about practice-based research, including the relationship between artistic scholarship, analysis, and prose.

CAT HOPE, LOUISE DEVENISH, AND AARON WYATT SIR ZELMAN COWEN SCHOOL OF MUSIC, MONASH UNIVERSITY TWO MINUTES FROM HOME: A COMMUNITY OF PRACTICE RESPONSE TO COVID19 IMPACTS

This paper examines the Decibel new music ensemble ‘2 Minutes from Home’ project of twenty, two-minute pieces commissioned between July and December 2020. These works are released as audio-visual outcomes on social media, highlighting the six musicians in the ensemble performing the animated score, also shown in motion on the video. The process of selecting composers for the project draws from Wegner’s concept of community of practice (1998), and composers the group had engaged with in some way in the past were preferenced. Further, the project was planned so as to resist possible further disruptions created by intermittent lockdowns and border closures, as members in the ensemble and composers are distributed around Australia and the world. Each release is accompanied by a podcast interview with the composer and an ensemble member, where the context for the creation of each work is discussed, providing the project with anthropological insights of artists’ lives around the world during the COVID19 pandemic. This project is a unique response to challenges of making music in the current pandemic, and this presentation will discuss selected individual works from the series in addition to interrogating the overall artistic research methodology.

Professor Cat Hope is an artist scholar academic whose research interests include animated notation, Australian music, gender and music, digital archiving as well as music composition and performance as artistic research. She is Professor of Music at the Sir Zelman Cowen School of Music at Monash University in Melbourne, where she was Head of School (2017-2020). Hope is vice president of the Australian Council of Deans and Directors of Creative Arts (DDCA), a member of the Monash Academic Board and a reviewer for a number of journals and conferences. She was a member of the Australian Research Council College of Experts, on the Humanities and Creative Arts panel (2016- 2019). Dr Louise Devenish is a percussionist whose creative practice blends performance, collaboration and artistic research. As a soloist and with ensembles Decibel, The Sound Collectors Lab and Intercurrent, she develops new works exploring notation, post-instrumental practice and collaborative creativity, performing around Australasia, Europe, North America and UK. Louise has collaborated on award- winning recordings released on Hat[now]art, Listen/Hear, Immediata, Innova and room40, as well as debut album music for percussion and electronics (Tall Poppies). Louise is Senior Research Fellow (ARC DECRA), Honours Coordinator and Percussion Coordinator at Monash University. She is a

Churchill Fellow, and recently published her first book Global Percussion Innovations: An Australian Perspective. Mr Andrew Wyatt is an accomplished violist who, before moving to Melbourne to take up an assistant lectureship at Monash, was a regular casual with the West Australian Symphony Orchestra. He has played in a wide variety of ensembles across many different genres, and has toured internationally with a number groups, including the nationally recognised Decibel New Music ensemble. Aaron is also the developer behind the Decibel ScorePlayer app, the group’s cutting edge, animated graphic notation software for the iPad. Most recently, he was nominated for a Helpmann Award for his role as musical director in the premiere of Cat Hope’s new opera, Speechless, at the 2019 Perth International Arts Festival.

JAMES HOWARD UNIVERSITY OF MELBOURNE RECLAMATIONS OF CULTURAL IDENTITY THROUGH MUSIC COMPOSITION AND PERFORMANCE

Presentation and performance/demonstration My research examines how I, as an Indigenous man disconnected from my culture, can redevelop that Indigenous identity through my music practice. That practice is rooted in forms of sonic expression through sound technology, particularly the technical manipulation of field recordings and other audio samples. In my practice, I often make field recordings of specific places, be they natural or urban spaces. Through the process of attentive listening to the soundscapes of Country, and the processing of those experiences through my musical expression, I aim to engage with what Indigenous epistemologies might call the ‘spirit’ voices of Country captured in the digital audio (Brown and Treloyn 2017). Alternatively, Benjamin might have called this the ‘aura’ of an artwork (Benjamin 2002), especially when considering the recording process as a means of framing soundscapes into works of art.

James Howard | The University of Melbourne

GILLIAN HOWELL AND NATALIE DAVEY UNIVERSITY OF MELBOURNE AND TURA NEW MUSIC/WANGKI RADIO, MARNINWARNTIKURA WOMEN’S RESOURCE CENTRE AND MANGKAJA ARTS FLOW AND OTHER STORIES: SONGS AS PLACE-MARKERS IN THE FITZROY VALLEY

Taking as its starting point the idea of songs as markers of history, culture and place, this paper examines the creation, community embrace, and cultural congruence of the collection of original songs and pieces of sound art developed during the first three years of the Fitzroy Valley New Music Project [FVNMP], 2017-2019. Two of the FVNMP’s collaborators will share insights and reflections on the values, processes and challenges that guided collaborative songwriting and recording, the songs’ gradual absorption into community life including as a form of ‘softer’ activism around the rights of the Fitzroy River, and the characteristics that have rendered some songs to be particularly meaningful and resonant for the community. At what is an interim point in the FVNMP, this paper is also an opportunity to critically reflect on what has been learned during the first three years, and to imagine future directions that will further consolidate and strengthen the Fitzroy Valley community members’ connections to their history and place within the contemporary cultural context.

Gillian Howell | The University of Melbourne and Tura New Music Natalie Davey | Wangki Radio, Marninwarntikura Women’s Resource Centre and Mangkaja Arts

MARY INGRAHAM, BERT CROWFOOT AND TOM MERKLINGER UNIVERSITY OF LETHBRIDGE/ABORIGINAL MULTI-MEDIA SOCIETY OF ALBERTA/UNIVERSITY OF ALBERTA COMING FULL CIRCLE: DIGITIZING THE ANCESTORS AND RE- SOUNDING CULTURAL VOICES

Circles are significant in Indigenous lifeways, representing the unity, fullness, and richness of nature and all beings. Through the Digitizing the Ancestors Project, we bring full circle the sounds of long-silent archival radio and television recordings from the late 1960s and early 1980s, re-sounding the voices, stories, music, and dances of Indigenous Elders, culture bearers, and youth that speak of urgent cultural revitalization and resurgence. In this presentation, we share the collaborative practices, methods, and individual voices from the archive that resonate decades after they were first heard, through stories, interviews, and performances of music and dance that reflect on important social, political, and cultural issues of the time. The voices we hear are members of Cree Nations across the Canadian prairies; they sing, drum, dance, and speak of residential school restrictions on cultural expression and share stories of round dances, drumming circles, and singing the land. They talk of healing through music, rhythm, and words and of the need to educate Indigenous and non-Indigenous alike. In re-sounding their voices for new listeners, we return their messages to community and listen with them to their echoes within contemporary society.

Mary Ingraham | University of Lethbridge, Canada Bert Crowfoot | CEO, Aboriginal Multi-media Society of Alberta (AMMSA), Canada Tom Merklinger | University of Alberta, Canada

CATHERINE INGRAM AND MARY MAMOUR SYDNEY CONSERVATORIUM OF MUSIC “OUR CULTURE IS GROWING IN A DIFFERENT WAY”: UNDERSTANDING DEVELOPMENTS IN DANCE-MUSIC CONNECTIONS IN SOUTH SUDANESE AUSTRALIAN CULTURE AND COMMUNITY

Dance, and music for dance, are almost ubiquitous within a wide range of cultural contexts involving people of South Sudanese heritage living in Australia – from weddings and community gatherings to video clips made by younger South Sudanese Australian hip hop and other contemporary music artists. The different forms of “traditional” dance and different types of accompanying music featured in these contexts are reflective of the incredible ethnic diversity of South Sudan, yet they share certain commonalities. In particular, the musical forms which are now used for dancing have often undergone recent change, especially with the addition of electronic and Western instruments where once the dancing might have occurred together with only vocals and drums. However, much value is placed on dancing in the ways of generations past. In this paper, we describe and analyse these developments in dance-music connections within South Sudanese Australian musical activities. We explore how changes in dance-music connections show that “our culture is growing in a different way”, as one prominent South Sudanese Australian musician describes these developments. We attempt to identify the main sociocultural and other factors which are influencing these changes, including any impact of dance-music making in the diasporic environment.

Catherine Ingram is a lecturer in ethnomusicology at the Sydney Conservatorium of Music. Since 2004 she has conducted extensive research on Kam (in Chinese, Dong) minority musical culture in southwestern China, and since 2015 she has also undertaken ethnographic research on music-making within various sectors of the South Sudanese Australian community. Her current ARC Discovery Project brings together these two areas of research to explore the different ways that marginal groups in culturally diverse societies work to enhance the resilience of their music.

Mary Mamour is a well-known community leader within the South Sudanese Australian community, as well as a singer and songwriter who is in great demand at community and cultural events. She is a very active community advocate who has initiated and been involved with many formal and informal activities to benefit the wider South Sudanese Australian community, and who was recognized as NSW Volunteer of the Year in 2007. As occasional guest lecturer and research assistant at the Sydney Conservatorium of Music she has been ground-breaking in helping to develop understandings of South Sudanese musical culture within Australia’s tertiary education context.

TZUTU KAN, PEDRO CRUZ AND M.C.H.E MAYAN COSMOVISION AND HIP HOP

Presentation and performance/demonstration Tzutu Kan is an artist and member of the project Balam Ajpu (https://soundcloud.com/balam-ajpu), changing the notion of Mayan poetry in contemporary arts. His music includes native sounds and modern instruments, creating a unique sound. The Maya Hip Hop mission is a dual, artistic and spiritual project that represents the ancestral word, the fabric that gives origin to creation and formation in the Mayan cosmogony. Language revitalization and Hip Hop are both global movements with profound effects on local understandings of identity. In the Maya Hip Hop music, these two trends come together to produce a variety of challenges to the dominant understandings of ethnic identity in contemporary Guatemala (Barrett 2016). Tzutu Kan's music mixes Post- classic Mayan sound with Hip Hop and lyrics composed in Tz’utujil, K’iche and Kaqchiquel Mayan languages that advocate for cultural, ecology, peace and justice. Tzutu Kan's music promotes an ideology that they call Hip Hop Cosmovision that links the politics of Hip Hop with the term cosmovision, a common term in the Maya Movement to refer to Maya understandings of the world.

Pedro Cruz | Mayan Elder Tzutu Kan | Mayan Rapper

MARGARET KARTOMI MONASH UNIVERSITY ORIGIN, CHANGE AND REVITALISATION OF THE INDIGENOUS GAMOLAN PEKHING AND ADOLESCENT DANCES IN LAMPUNG, INDONESIA

This paper examines the origin, recent changes, and revitalisation of a reputedly ancient bamboo xylophone (gamolan pekhing), its ensemble, and the ritual adolescents’ dances that it accompanies in the mountainous Sekala Brak area of Lampung Province. Sekala Brak is venerated by Lampung’s indigenous ethno-lingual groups as the homeland whence their ancestors departed down the rivers to settle throughout the province over the past millennium. Unusually in Southeast Asia, local associations of adolescent men and women play an important role in performing and organising performances of music and dance at domestic ceremonies marking the five stages in a person’s life: birth, adolescence, marriage, obtaining a title, and death. The traditional 20th century gamolan’s ergology, organology, tuning system, musical memory codes, and performance style were subjected to radical revitalisation following its elevation in status and official designation as Lampung’s provincial musical symbol from 2011. Thousands of gamolan were tuned to the diatonic major scale without the original pivot-note key, thus disabling the instrument’s modulatory function, but enabling the performance of national and popular songs by Lampung’s indigenous and transmigrant population. The artistic changes that we observed between 1980 and 2011 paralleled the radical social changes in Lampung over those three decades.

Margaret Kartomi | Monash University

HELEN KASZTELAN CHAPMAN AUSTRALIAN MUSIC EXAMINATIONS BOARD BARTÓK’S IMPROVISATIONS OP. 20: EXPLORING MUSIC PERCEPTION AND COGNITION

The Western European music tradition forms the cornerstone of the established piano repertory, with a wide diversity in musical styles reflected in the works listed in Australian examination syllabi. However, in my experience as a piano examiner and adjudicator, the piano works of Béla Bartók (1881-1945) tend to be performed less frequently than those of other European composers. Perhaps one of the reasons for this may be explained by some of the cultural constraints experienced within an Australian context and their effect upon musical perception. Arguably, the linguistic patterns unique to Hungarian, echoed in the rhythmic structures of Bartók’s music, may affect the understanding and reception of his works.

With reference to selected movements from Bartók’s Improvisations Op. 20, this paper will examine his unique blend of Eastern European folk music with Western art music traditions and consider a new pedagogical approach that supports the exploration of this repertoire. The social, cultural, and educational implications of teaching Bartók’s piano music may lead us to question entrenched views, as well as examine more closely existing concepts of conformism and marginalization. What music is taught may be tied to perceptions of dissonance and tunefulness as well as the political positioning of teaching.

Helen is a senior piano examiner with the Australian Music Examinations Board and has over 25 years teaching and adjudicating experience. Following undergraduate and postgraduate studies at the VCA, Helen gained a master’s in performance from The University of Melbourne. She has tutored and lectured in Harmony, History and Analysis at the Victorian College of the Arts (VCA) and the University of Melbourne. Helen has also conducted workshops for the AMEB, VMTA and Suzuki Music in Melbourne as well as presented scholarly academic papers at national and international conferences in the fields of musicology, instrumental performance, and music education.

KOICHI KATO UNIVERSITY OF SOUTHAMPTON “PAVING THE WAY TOWARD A GRAND SYMPHONY:” SCHUBERT’S ROTATIONAL PRINCIPLE IN THE B-MINOR AND C-MAJOR SYMPHONIES

Hepokoski and Darcy published Elements of Sonata Theory, a monumental systematic theory for the classical sonata form, and its fundamental concept lies in a twin notion of rotational form complimented with teleological telos.

While Hepokoski claims that his sonata deformation theory is suitable for Schubert and Sonata Theory cites numerous examples from Schubert’s master works, it largely remains unexplored. The principle of rotational form is ideal to explore Schubert’s sonata movement, whose structure is often cyclic. Thematic rotation is essential aspect to how Schubert constructs a large-scale instrumental works, to expand a structure in form by a (sometimes exhaustive) repetition of theme or melody.

Moreover, this would contribute to a three-key exposition structure of sonata form in his later mature works, like the first movements of the E-flat major Piano Trio D. 929 and the C-major Quintet D. 956.

This paper explores a central thesis of rotational form, focusing on the first movement of Schubert’s “Unfinished Symphony,” D. 759, to investigate and demonstrate the point that Hepokoski and Darcy assert its development-recapitulation as a “single large rotation,”and will demonstrate Schubert’s approach to an expansion of a ‘two-part’ structure of exposition by the rotational form.

Koichi Kato obtained the postgraduate degree from Royal Holloway, University of London, where he wrote a thesis under the supervision of Professor Jim Samson. He has been presenting conference papers in domestic and international venues, including CityMac Conference (Society for Music Analysis, 2018), Music and Musicology in the age of Post-Truth (CUD, Dublin, 2018), where he read a paper entitled “Deconstructive Approach to Formalism: Dilemma in Analysis through Reading James Hepokoski‘s Sonata Deformational Theory”, and Music and Spatiality Conference (Belgrade, 2019). He participated in the NZMS and SMA Combined conferences (2010, 13, and 17).

BRENT KEOGH UNIVERSITY OF TECHNOLOGY SYDNEY “CATCH MY DISEASE” – ETHNOGRAPHIES OF A VIRUS AS TOLD BY CONTEMPORARY WESTERN ART MUSICIANS

This paper offers a work in progress, presenting ethnographic data from interviews I conducted with Western Art musicians around the world, exploring the ways they have been impacted by the novel coronavirus and, importantly, responded creatively in difficult times. This research provides insights into the real, lived experiences of Western Art musicians, with a particular focus on independent musicians, who are trying to maintain a living from music during the COVID-19 crisis. The data reveals complex and diverse experiences resulting from the extent of the virus as it has spread throughout different nation states, as well as providing insights into the ways government responses to COVID- 19 have been keenly felt by these musicians and the industry that supports them. This research provides individual perspectives on living and working as a musician during times of crisis, especially when that crisis necessitates that restrictions on physical proximity undermines the live music industry. It also details ways in which musicians have creatively used digital technologies, engaged with their fanbase, and sought other forms of income when the primary income they would usually derive from touring and live performance is not a possibility.

Brent Keogh is a Lecturer in Music and Sound Design at UTS. He currently convenes 54092 Culture: Plugged and Unplugged and teaches in 5409 Audio Production. He completed his doctoral studies at Macquarie University in 2014, examining the discourse of World Music in Australia. His current research interests include exploring perceptions of intimacy through immersive audio/visual technologies, sonic branding, and music sustainability. He is also a composer and performer, and plays a number of instruments including mandolin, middle eastern lute (oud), guitar, and vocals.

ELIZABETH KERTESZ MELBOURNE CONSERVATORIUM OF MUSIC RUPERT BUNNY AND ECHOES OF SPAIN

The musicality of Australian artist Rupert Bunny is well known. An accomplished pianist, many of his paintings employ musical titles after the manner of Whistler, and portray rapt listeners as well as contemporary celebrity performers like Percy Grainger and Nellie Melba. Bunny led a cosmopolitan life. Based in Paris from the mid 1880s to the early 1930s, he did not escape the fashion for Spanish-themed dance, music and entertainment that swept Europe during the Belle Epoque. Unlike his contemporaries John Russell and Tom Roberts, however, Bunny’s oeuvre does not document time spent in Spain. In this paper I uncover clues that he was aware of and engaged with the Spanish arts from at least the late 1890s through the 1900s, suggested by his paintings and sketches of the Spanish dancer and music hall star Carolina Otero, and stylistic aspects of his series Days and Nights in August (1907- 8).

Elizabeth Kertesz is a research fellow at the Melbourne Conservatorium of Music, University of Melbourne. She has written extensively on the English composer Ethel Smyth, and in 2018 she published a monograph with Michael Christoforidis, entitled Carmen and the Staging of Spain: Recasting Bizet's Opera in the Belle Epoque (Oxford University Press). Her current research interests include Spanish-themed music, entertainment and film from the Belle Epoque into the first half of the twentieth century, and the engagement of Australian visual artists with music in the late nineteenth and early twentieth centuries.

FREDERIC KIERNAN AND JANE W. DAVIDSON UNIVERSITY OF MELBOURNE MUSICAL CREATIVITY AND WELLBEING DURING THE COVID-19 PANDEMIC IN AUSTRALIA: A QUALITATIVE STUDY

The COVID-19 pandemic has impacted almost all aspects of social life. In 2020 huge portions of the Australian population have worked from home, while social distancing policies have restricted face-to-face human contact. These changes are forcing Australians to rethink the way we navigate our social relationships, maintain meaningful social connections, and protect individual and community wellbeing during this time of pandemic crisis. There is a rich literature linking creative activities with wellbeing benefit; indeed, artistic creative activities such as making music, writing, dancing and crafts have been shown to be beneficial in regulating emotion (Fancourt 2019), while music listening activities have been effectively used in interventions for anxiety and depression (Garrido 2019). The question of music’s social effects also has a long tradition in social theory, but only in the last three decades have music sociologists and psychologists seriously turned towards ethnographic and empirical investigation of mundane musical practices and music consumption to examine how music “gets into”, and provides a medium for, social agency (DeNora 1999). This paper contributes to this growing literature by reporting on a study involving 29 qualitative interviews with Australian participants who have used music to navigate the conditions of life during the COVID-19 pandemic and to explore links with wellbeing.

Frederic Kiernan has a PhD in Music from the University of Melbourne and is currently the Research Coordinator of the Creativity and Wellbeing Hallmark Research Initiative at that university. His is a specialist on the music of Bohemian composer Jan Dismas Zelenka (1679–1745) and its reception, although his research also examines the intersection of music, creativity, emotion and wellbeing using methods from music psychology, music sociology, and the history of emotions.

Professor Jane W. Davidson is currently Head of Performing Arts, Faculty of Fine Arts & Music at the University of Melbourne and Chair of the University’s Creativity & Wellbeing Hallmark Research Initiative. Her research embraces the study of musical skill, music as social interaction, arts for wellbeing outcomes, music and emotion, and opera performance. Recent outputs include a major six-volume series A Cultural History of Emotions (with Susan Broomhall and Andrew Lynch, Bloomsbury, 2019), the co-authored Music Nostalgia and Memory (with Sandra Garrido, Palgrave, 2019) and the two-volume series Opera, Emotion and the Antipodes (with Stephanie Rocke and Michael Halliwell, Routledge 2020).

SARAH KIRBY MELBOURNE CONSERVATORIUM OF MUSIC ”OBJECTS TO BE SEEN” AND “OBJECTS TO BE HEARD”: THE PIANO AT NINETEENTH-CENTURY INTERNATIONAL EXHIBITIONS IN AUSTRALIA

Nineteenth-century international exhibitions—some of the most significant cultural events of the era—were monumental attempts to represent modernity, ‘progress’, and ‘invention’ through displays of material objects. These vast events usually included music in their programmes of entertainment but also attempted to ‘display’ music through physical exhibits. Australian exhibitions were no exception, and amongst the varied displays at exhibitions in Sydney, Melbourne and Adelaide, were a vast number of musical instruments. Most prominent were pianos—objects that carried significant cultural importance in colonial Australia as a marker of ‘progress’ toward European standards.

This paper analyses the multiple ways in which the public interacted and engaged with pianos at Australian exhibitions in the 1870s and ’80s, and how these instruments were received in the press as both physical and musical objects. It argues that exhibitors employed deliberate strategies to present their instruments as aesthetic, domestic, national, and cultural objects, imbued with a significance beyond their mechanical parts. It also considers how, through demonstration recitals held at the exhibitors’ stands, the performance of art music was given an overtly commercial context, which influenced critics’ assessments of the performances. Finally, this paper explores how, in this explicitly commercial environment, the performers themselves became objectified.

Sarah Kirby recently completed her PhD in musicology at the University of Melbourne, which explored music at international exhibitions in the British Empire through the 1880s. She has published on a variety of topics including music and museum studies, women in music, empire, and cosmopolitanism in a range of different journals, including Music and Letters, Early Music, and Nineteenth-Century Music Review. Her first monograph, based on her PhD is soon to be published by Boydell & Brewer (expected 2021). She has recently been keeping busy by organising this conference.

LINDA KOUVARAS MELBOURNE CONSERVATORIUM OF MUSIC THE COMPOSER HERSELF: CONTEMPORARY SNAPSHOTS

The Composer Herself: Contemporary Snapshots is an in-progress collection of essays (on which I am a co-editor), authored by living composers from across the globe, reflecting on their music. Coterminous to the recent worldwide resurgence in feminist focus, the distinguishing feature of this book is the “snapshots” of creative processes and conceptualizing on the part of women who write music, writing in the present day. Despite all of the recent great gains, initiatives and programs to encourage and present the work of women who compose music, their works are not receiving commensurate exposure. The book’s rationale is based upon stepping into the juncture point at which feminism finds itself, as we approach the third decade of the twenty-first century: as binary conceptions of gender are (rightly) being dissolved, with (much-needed) critiques of the attendant gender-based historical generalisations of composers, we are interested in exploring what, actually, is being composed by women, and what their thoughts are on their work and on the still-vexed question of the “woman composer”. This paper presents a contemporary moment in time across the generations and within developments in composition, and how the issue of the gender of the composer is considered by women who write music, to test the acuity of contemporary intersectional feminist theory for new “classical” music as it manifests in practice.

Dr Linda Kouvaras, musicologist, composer and pianist, holds a position as Associate Professor at the Melbourne Conservatorium of Music, University of Melbourne; she is presently the Conservatorium’s Associate Director of Research/Research Training. She publishes in contemporary music, with a focus on gender issues in music and post/modernism. Her most recent scholarly publication is ‘(Post?-)Feminism, “New Topicality” and the “New Empathy”: Australian Composers working with the Concrete’ in D. Fabian and J. Napier (eds), Diversity in Australia's Music: Themes Past, Present and for the Future (London: Cambridge Scholars Publishers, 2018: 202– 22) and her monograph, Loading the Silence: Australian Sound Art in the Post-Digital Age (Routledge: 2014) was winner of the 2014 Rebecca Coyle Publication Prize.

DAVID LARKIN SYDNEY CONSERVATORIUM OF MUSIC A STYLISTIC CROSSROADS: SARDANAPALO AND THE REASSESSMENT OF LISZT

Until recently, Liszt’s career as an operatic composer was thought to have ended before his adolescence did, with Don Sanche (1825) his only completed work in the genre. His continued interest in opera is evinced by the many piano paraphrases he produced on the works of Bellini, Wagner and Verdi, but his later operatic projects rarely went beyond preliminary planning and cursory sketches. This picture changed when David Trippett reconstructed a near complete draft of Act I of Sardanapalo (1850-51) and this torso has subsequently been performed, recorded and published.

The excitement attendant on this discovery, which one journalist claimed ‘changes music history’, has not yet translated into a proper scholarly assessment of the Act, aside from Trippett’s account of the reconstruction (2018). The musical style draws on contemporaneous operatic idioms (including a clear quotation from Bellini’s Norma), with additional debts to Mendelssohn as well as many hallmarks of Liszt’s nascent symphonic idiom. The somewhat static dramaturgy suggests that the path to Liszt’s later oratorios was shorter than is usually imagined. This paper will use comparisons with Die Legende von der heiligen Elisabeth (1857-62) to argue for a continuity between Liszt’s abandoned operatic ambitions and his later cultivation of oratorio.

David Larkin, University of Sydney. His work focuses on nineteenth-century 'progressive' composers, especially Liszt, Wagner and Richard Strauss. He has been published in 19th-Century Music, Music and the Moving Image, and various essay collections. In happier times, he was active as a concert reviewer and pre-concert lecturer.

THOMAS LAUE AUSTRALIAN NATIONAL UNIVERSITY/NATIONAL CARILLON NEW BELLS, NEW MUSIC, AND NEW AUDIENCES IN POST- PANDEMIC AUSTRALIA

To mark the fiftieth anniversary of Australia’s National Carillon, an ambitious year-long series of 50 concerts featuring 50 contemporary ensemble works (commissioned from 25 Australia-based composers) was to commence on the anniversary date, April 26th, 2020. The launch was to coincide with the unveiling of major upgrades to the 55-bell instrument, including two new bronze bells cast in England, a new clavier based on the latest international specifications, and 57 new and weightier clappers connected via a revamped wiring mechanism. All together, these improvements promise to significantly expand the dynamic and tonal ranges of the instrument, furthering its expressive capabilities as a solo and ensemble instrument. In February 2020, a ceremonial welcome of the 5-tonne ‘Ngunnawal Bell’ by members of the United Ngunnawal Elders Council went ahead as planned; however, due to pandemic-related restrictions, the upgrade was unable to be completed and all planned concerts were postponed indefinitely. In addition to showcasing works completed thus far, this paper outlines the process of collaboratively reformulating and re-articulating the concert series as a socially circumscribed discourse, one that poignantly reflects—and instigates—our nation's awareness of pressing societal and environmental issues of today.

Dr Thomas Peter Laue is a music performer, conductor, educator, composer, and researcher. Since 2013, he has held positions of Lecturer in Music at the Australian National University School of Music and Senior Carillonist at the National Carillon, Australia. Thomas has been the recipient of various scholarships and awards recognising his academic and artistic achievements. In 2014, he became the first Australian entrant and laureate at the International Carillon Competition ‘Queen Fabiola’ in Mechelen, Belgium, achieving Third Prize at the prestigious competition considered to be the ‘Olympics of the carillon’

THALIA LAUGHLIN MELBOURNE CONSERVATORIUM OF MUSIC REFLECTIONS ON EARLY MUSIC PUBLISHING: MARIE LAURENCIN’S VENUS AND ADONIS

In 1939, the well-known French artist Marie Laurencin (1983-1956) designed seven watercolours for the Éditions de l’Oiseau-Lyre’s publication of John Blow’s opera, Venus and Adonis. Her paintings represent the main characters of the opera: Cupidon, The Shepherdess, The Shepherd, The Huntsman, The Three Graces, and Venus and Adonis; and the seventh illustrates the composer and his wife, The Imaginary Portrait of John Blow and his Lady. Marie Laurencin’s seven watercolours were packaged alongside the full score of the opera and the final product was highly unusual for its time: an early Baroque opera encased by a series of modern art works – an aesthetic approach often used by the owner of the press, Louise Hanson-Dyer (1884-1962). In 1951, Laurencin’s illustration of The Shepherdess also appeared on the Éditions de l’Oiseau-Lyre’s recording of the opera. Despite the prominent position that Laurencin had reached by 1939, her seven Venus and Adonis watercolours remain inexplicably little-known today. Through extensive archival research, this paper examines how these seven watercolours made their way into the Éditions de l’Oiseau-Lyre’s publication of Venus and Adonis, the circumstances of the opera’s publication and recording, and suggests some reasons for how they have become so neglected in the scholarly literature.

Thalia Laughlin is a doctoral candidate researching the work of Les Editions de l’Oiseau-Lyre and Louise Hanson-Dyer, specifically her collaborations with Rose Adler, Marie Laurencin, Margaret Sutherland, Peggy Glanville-Hicks, Yvonne Rokseth, Jeanne Marix, Imogen Holst, and Isabelle Nef. In 2019, Thalia travelled to Paris for archival research at the Bibliothèque nationale de France and the Bibliothèque littéraire Jacques Doucet. She was also the recipient of the Norman Macgeorge Scholarship, the Jim Marks Postgraduate Scholarship, and the Ormond Exhibitions Scholarship, and has presented her research in Vienna, Berlin, Hobart and Melbourne.

ELLAN LINCOLN-HYDE AND JENNY GUILFORD ‘(IN)EQUAL TEMPERAMENT: ENABLING INTERCULTURAL PERFORMANCE COLLABORATION THROUGH PUBLIC INSTALLATION SOUND ART’

This paper shall present the methodologies and project proposals of the (In)Equal Temperament collective, including innovations in just, healthy, and decolonising creative practice.

The concept of equal temperament presents one of the smallest canvases possible for the modern artist. Rather than recognising sound and music as multifaceted, we are presented with the restriction of arbitrary ‘perfection’. Apart from misrepresenting the compositions and performances of historical artists of the Western canon, more importantly it limits the broader appreciation of works and performances by artists who do not (only) use equal temperament. Instead of engaging with different cultural and musical concepts, modern Western practices force this musicking to adhere to the cultural artefact which is ‘equal temperament’.

We as artist/researchers are taking on the challenge of decolonising our own ears, in the deepest recognition that our nation still does not fully acknowledge the peoples whose musicality is the most enduring on earth. Our project is rooted in the belief that the proliferation of equal temperament through Westernised institutions (such as conservatory and music examination models) limits the scope of sonic diversity in the globalised world, whilst also unfairly policing what is conceptualised as permissible sound within Western non-classical cultures.

The (In)Equal Temperament Project was founded by composer/educator Jenny Guilford (MTeach, BMus Unimelb) and researcher/performer Ellan A. Lincoln-Hyde (MLit PKU, MMus, BHMus UniMelb) in 2019. Both alumni of the Melbourne Conservatorium of Music, they are now based in London, UK. Their project seeks, creates and invites dialogue concerning equal temperament, culture, decolonisation and 'just‘ music in combination with innovative technologies. Their aim is twofold: to facilitate deeper cross-genre/cultural collaboration and understanding in mainstream Western musical spaces, and to interrogate and make accessible the concept and restrictiveness of equal temperament for broader audiences.

ALAN MADDOX UNIVERSITY OF SYDNEY RHETORICAL EXPRESSION AND POLITICAL STRATEGY IN ANTONIO CALDARA’S L’INGRATITUDINE GASTIGATA

Antonio Caldara (1670-1736) was admired by Johann Mattheson for his “great knowledge of human affects and emotions”, and is particularly noted for his dramatic sense and mastery of affective expression. While attention has recently been given to Caldara’s role in propagating the dynastic ideology of the Habsburgs following his appointment to the Imperial court in Vienna in 1716, his ability to deploy musical-expressive resources to address the objectives of his patrons was also evident in his earlier Italian career. His opera L’ingratitudine gastigata is a notable case in point. The setting of Francesco Silvani’s libretto which bears Caldara’s name has previously been identified as being for Venice in either 1698 or 1702, or for Rome in 1709; however new evidence suggests that it was instead composed for Austrian Habsburg-ruled Milan in 1711. Here, in an occupied city, against the backdrop of the War of the Spanish Succession, the libretto’s exotic story of barbarous Goths and a Vandal king exiled to Norway challenged the composer to ingeniously adapt his musical material to address both the expressive requirements of the drama and the exigencies of contemporary international politics.

Alan Maddox is Program Leader in Musicology at the Sydney Conservatorium of Music, University of Sydney. Initially trained as a singer, his research interests focus primarily on rhetoric in Italian Baroque vocal music, Australian colonial music, and the history of emotions in the Early Modern period. He is currently working on a large project on Italian composer Antonio Caldara (1670- 1736). He is University of Sydney Node Leader of the ARC Centre of Excellence for the History of Emotions, an affiliate of the University’s Medieval and Early Modern Centre and a past member of the MSA national committee.

DAVID MANMURULU, JENNY MANMURULU, RUPERT MANMURULU, RENFRED MANMURULU, SOLOMON NANGAMU, REUBEN BROWN AND ISABEL O’KEEFFE NEW ENVIRONMENTS FOR EXCHANGING MANYARDI

Performance/Demonstration In July 2019 ceremony leaders from Warruwi, Northern Territory travelled to Mowanjum community festival in Western Australia to exchange manyardi, junba and wangga — indigenous song and dance from Arnhem Land, the Daly and Kimberley regions. After the festival, a cohort of Warruwi and Mowanjum singers along with research collaborators travelled on to Thailand to present and perform at the International Council for Traditional Music World conference, this time as part of a delegation representing Australia. An emerging body of ethnomusicological literature highlights continuity between musical practices handed down and performances in festival settings, recognising public performances at Indigenous cultural festivals as contributing to the reinvigoration of Indigenous cultural expression and strengthening of community capacity (Corn & Gumbula 2004, Bendrups 2008, Doi 2015, Mackley-Crump 2016). In this presentation, David Manmurulu, Jenny Manmurulu, Rupert Manmurulu, Renfred Manmurulu and Solomon Nangamu reflect on their experience sharing their songs and dances at Mowanjum and Bangkok, and the local reception of the performances in community and on social media. The performances had historical precedent: in the 1980s wangga singers and dancers held a Mammurng (exchange) ceremony held for Renfred and in the 1970s George Winungudj (David Manmurulu’s father and Rupert and Renfred’s grandfather) performed at festivals and concerts with the Adelaide quintet (Brown et al. 2018, Harris 2020). Research collaborators Reuben Brown and Isabel O’Keeffe discuss considerations for doing performance-led collaborative research as Balanda in settler-state contexts, including issues relating to representation and sustainability (Treloyn and Charles 2014). The group reflect on the principles of manyardi that the Manmurulu family and Nangamu practice and teach—including the responsibility to participate in performance and to help with intergenerational and cross-cultural knowledge transmission—which help navigate new environments for manyardi.

ERIN MATTHEWS UNIVERSITY OF ADELAIDE BORA – THE PAST, THE PRESENT, THE FUTURE: A STUDY OF INDIGENOUS ACCULTURATION IN LOCKHART RIVER

The Bora initiation ceremonies of Lockhart River, Cape York have been studied in detail by few anthropologists and ethnomusicologists in the past, namely Donald Thomson in the late 1920s, Wolfgang Laade in the 1960s and David Thompson in the 1970s. The argument has been made that Bora as a cultural institution is disappearing with the events of colonialisation, trade and globalisation; I argue that Bora is still alive and well, albeit in a different format, and that it is an object of acculturation that has been changing and adapting before the introduction of European and Chinese settlers. This presentation seeks to briefly relive the history of previous studies and to identify what research still needs to be done for the current generation of the Lockhart River community to help realise their identity and give them the ability to navigate our current and sometimes opposing social worlds through self determination.

Erin Matthews | The University of Adelaide

PHILIP MATTHIAS, JOHN PARSONS, MARSHAL MEPPE-SAILOR AND TOBY WHALEBOAT UNIVERSITY OF MELBOURNE/TOWNSVILLE CITY COUNCIL/UNIVERSITY OF NEWCASTLE THE COMING OF THE LIGHT – MAINTAINING TRADITIONS ON THE MAINLAND

Presentation and performance/demonstration On July 1, 1871, defying tribal law, a Warrior Clan Elder on the Torres Strait Island of Erub, welcomed ashore London Missionary Society clergy and teachers. This date is now highly celebrated across the Torres Strait Islands, and 2021 sees the 150th anniversary of the occasion. Given the significance of the anniversary, within Torres Strait Islander community, there expectation that the event in 2021 will see a reinvigoration of the celebrations. Such celebrations include re-enactments of the landing at Kemus on Erub, hymn singing, feasting, music and dance. In 2015 Helen Fairweather documented in detail a Coming of the Light ceremony in Townsville. Whilst community there had traditionally used an order of service from the official booklet ‘Eucharist: The Coming of the Light Celebration July 1’, the celebration in 2015 departed from that liturgy, giving a window into diasporic alterations from within a local community perspective. This paper investigates, from the perspectives of Islanders from mainland Australia (Townsville, Newcastle and Melbourne) the rich traditions of the Coming of the Light, with specific emphasis on the 2015 documentation, and the will for celebrations to be grounded in traditional Torres Strait Islander culture within mainland Australia in 2021.

John Parsons | The University of Melbourne Marshal Meppe-Sailor | Townsville City Council Toby Whaleboat | University of Newcastle, Australia Philip Matthias | University of Newcastle, Australia

CAMERON MCCORMICK INDEPENDENT SCHOLAR A POLITICAL TURN: REPRESENTATIONS OF THE WAR IN T.S. ELIOT’S FOUR QUARTETS, PICASSO’S GUERNICA AND STRAVINSKY’S SYMPHONY IN THREE MOVEMENTS

Throughout the first three decades of the Twentieth Century, the careers of T.S. Eliot, Pablo Picasso and Igor Stravinsky developed along remarkably similar trajectories: from foremost modernists, through 1920s neoclassicism, before (re)turning to religion, culminating in major religious works in 1930. However, the political course of the 1930s would break this lockstep; whilst all three had remained, at best, politically agnostic until the mid-1930s, the rise of fascism and the Second World War would change this. Perhaps most strikingly, this would cause Picasso not just to become politically engaged, but to create, in Guernica, one of the ultimate expressions of anti-war sentiment. As an air-raid warden, the War was similarly close to Eliot, yet the classical detachment he espoused would see the incendiary fires transformed into purgatorial ones in his Four Quartets. The War seemingly had the opposite effect on Stravinsky: whilst continuing to deny the ability for music to express anything, he would later ascribe a remarkably specific program to his wartime Symphony in Three Movements. This paper will examine the context of these works, alongside the different ways they address fascism and the War; which in turn highlight fundamental differences between their creators, not just aesthetically, but philosophically and politically too.

Cameron studied undergraduate piano at The University of Melbourne with Ian Holtham, before completing Honours in musicology where his dissertation analysing aesthetic similarities in the works of Igor Stravinsky, Pablo Picasso and T.S. Eliot between 1910 and 1925 was awarded First Class Honours. He has since completed a Master of Teaching and works variously in Secondary Education, Piano Teaching and Theatre Production alongside his musicological work. His current research concerns further comparative interdisciplinary analysis.

KATRINA MCFERRAN, GRACE THOMPSON, ANTHEA SKINNER, AND TESS HALL UNIVERSITY OF MELBOURNE USING ONLINE MUSIC GATHERINGS TO SUPPORT SOCIAL INCLUSION FOR PEOPLE WITH DISABILITIES IN AUSTRALIA DURING THE COVID-19 CRISIS

Lockdowns associated with the ongoing COVID-19 crisis have caused disruptions to community music activities around Australia, with many attempting to move their activities online. People with disabilities are disproportionally affected by such lockdowns as a result of compromised immunity and increased reliance on services. However, many disabled people can be considered experts because of their extensive prior experience of being home- bound and/or living with social isolation. This paper outlines an action research (PAR) study exploring the use of online platforms to host a range of music activities in collaboration with people with disabilities and their families. The groups were open to anyone with a disability, chronic illness or mental health condition and the study positioned participants as co-researchers, recognising their prior experiences of social isolation and with accessible online communication. This paper will present our preliminary findings, outlining the ways that online music gatherings can be facilitated during times of increased social isolation experienced by the disability community as a result of COVID-19, focusing on enhancing connectedness, fostering creativity and reducing isolation.

Professor Katrina McFerran is an experienced music therapy researcher in the disability and youth mental health sectors, with a specialisation in music groups. She has managed 3 ARC Projects, as well as numerous smaller-scale projects and is a leader within her faculty as well as a mentor for early career researchers. She has published more than 90 journal articles, 5 books.

Dr Grace Thompson is a music therapy researcher in the disability, child and family sectors with an emphasis on projects where therapeutic music experiences can be translated to everyday life contexts. She has managed several seed funding projects and has collaborated in local and international research council grants.

Dr Anthea Skinner is a musicologist specialising in disability music culture, organology and military music. She identifies as a person with a disability and is a member of the all-disabled band the Bearbrass Asylum Orchestra. She won the 2012 Musicological Society of Australia’s Student Prize for her research on the history of disability music culture.

Dr Tess Hall is a public health professional with ten years of research and policy experience in Australian and international mental health and social systems. Tess holds a MSc Public Health from London School of Hygiene and Tropical Medicine, and a Doctor of Philosophy in Global Public Health from the Nossal Institute for Global Health, University of Melbourne.

JEANETTE MOLLENHAUER INDEPENDENT SCHOLAR POINTS OF CONTACT, ACTS OF TRANSFER: DANCE TRANSMISSION FROM EUROPE TO AUSTRALIA

Susan Leigh Foster (2019:44) writes that dance has ‘the capacity to become responsive to exceedingly different milieux’. In this paper, I explore the post-migration plasticity of dance genres from the Irish and Croatian communities in the nineteenth and early twentieth centuries, concentrating on the ‘re-inscription [of dance] in a new community/social context and resultant change in its signification’ (Desmond 1997: 34). How was dance diffused in the new locale? What meaning did it have in the alien space of Australia? To answer such questions, I address the multiple strategies which were actioned to perpetuate dance in the diaspora, including the involvement of migrant community organisations in tandem with individual pedagogues. Next, I examine the role of dance in the lives of second- generation immigrants who lacked physical memories of ‘home’. For these performers, dance acted as a mnemonic stimulus, eliciting and strengthening affective ties to their cultural heritage, which in turn provided momentum for their continued participation in dance. Thus, the paper uncovers first, the mechanisms of transmission across an extensive geographic interface and second, the salience of dance dissemination and praxis for diasporic individuals and communities.

Jeanette Mollenhauer is an independent dance historian and ethnographer. Her peer-reviewed articles have been published across disciplinary boundaries, including The Journal of Intercultural Studies, Dance Research Journal and History Australia. Her first monograph, Dancing at the Southern Crossroads: A History of Irish Step Dance in Australia 1880-1940, was published in 2020 (Anchor Books Australia). Jeanette serves on the Archives Committee of the International Council for Traditional Music and is the author of two articles about ICTM founder, Maud Karpeles (one collaborative piece about Karpeles’ dance research, one sole authorship about Karpeles as Honorary Secretary), in the forthcoming ICTM Anniversary Volume.

KERRY MURPHY AND MADELINE ROYCROFT MELBOURNE CONSERVATORIUM OF MUSIC LOUISE DYER AND LES SIX: PUBLISHER, FRIEND, PROMOTER, FROM FRANCE TO AUSTRALIA

In 1939, Darius Milhaud hailed Louise Dyer “the Australian fairy Godmother of French Music”. Indeed, in early 1930 she had made a decision, to quote Milhaud, to “devote all her time, [and] all her fortune to the glory of the music of ... France” (Ce Soir, 24 Feb. 1939). Although the initial focus of her publishing house Les Editions de l’Oiseau-Lyre was the complete works of Francoiş Couperin, she later went on to publish music of her contemporaries, including works by Auric, Milhaud and Poulenc, even persuading them to write small compositions for pipeaux as part of her mission to spread the making and playing of pipes amongst school children. Under the recording branch of Les Editions de l’Oiseau-Lyre, she also released compositions by Auric and Milhaud on 78rpm discs.

A prominent member of La Section francaisȩ des amitieś internationales, Dyer was concerned with spreading knowledge of French music to her home country of Australia. She wrote about Les Six in articles for the Australian press in the 1930s, and organised concerts of their music in Melbourne; for instance, a 1925 concert “After the War, or The Contemporary Movement”, featured music by Faure,́ Caplet, Milhaud, Honegger, Koechlin, Satie, Auric, Durey, Honegger, Poulenc and Tailleferre. Some twenty years later, Dyer recorded interviews with Honegger, Poulenc and Sauguet for the Australian Broadcasting Commission. Drawing on primary source material: photos, correspondence and recordings from the Editions de L’Oiseau-Lyre archives, this paper presents Dyer as a fierce and inspirational transnational cultural force in the early twentieth century.

Kerry Murphy is Professor of Musicology at the Melbourne Conservatorium of Music at the University of Melbourne. She was head of Musicology at the Conservatorium for over 20 years. Her research interests focus chiefly on opera, 19th-century French music and music criticism and colonial Australian music history and she has published widely in these areas. She is currently researching the impact of travelling virtuosi and opera troupes to Australia and the Australian music publisher and patron, Louise Hanson-Dyer. She is a founding member and on the steering committee of the International network, France, Musique, Culture and a member of the Australian Academy of Humanities and the Victoria Green Room Awards Opera Panel.

Madeline Roycroft is a final-year PhD candidate in musicology at the Melbourne Conservatorium of Music, University of Melbourne. Her thesis looks at the reception of Dmitri Shostakovich’s music and its intersection with politics in twentieth-century France. Madeline coordinates the Editorial Committee of Context: Journal of Music Research, and has worked as a tutor and sessional lecturer in music history at the University of Melbourne.

KEN MURRAY MELBOURNE CONSERVATORIUM OF MUSIC RANDOM REFLECTIONS; THE GUITAR MUSIC OF IAN BONIGHTON

Ian Bonighton (1942-1975) was a gifted Australian composer and teacher, well known for his close association with Keith Humble and his work as part-time curator at the Grainger Museum from 1970-73. Grainger’s Free Music experiments and the innovative, guitar-led Random Round, were influenced the young composer. In the early 1970s Bonighton wrote at least three pieces with guitar: Variations for two guitars, Reflections I for solo guitar and Reflections II for six guitars and optional percussion. In the composition of these pieces he worked closely with Melbourne guitarists Robert Marshall and Jochen Schubert. Late last year Marshall gifted the score of Reflections II to the Grainger Museum. In this paper I will examine the connections between Grainger’s musical innovations and Bonighton’s guitar pieces, in addition to the collaborative processes that led to the commissioning of these works for guitar. These works represent some of the earliest modernist guitar works by Australian composers. Alongside works such as Keith Humble’s Arcade IV (1969), these are some of the earliest modernist works by Australian composers for the classical guitar.

Ken Murray is a Melbourne-based guitarist, composer and musicologist. He has championed and recorded Spanish music from the early twentieth century, worked extensively with contemporary composers and is active as a performer of Brazilian music. He has performed on the Austrian label Kairos (Italy), Mode Records (USA), Move, Tall Poppies and ABC Classics. His current research interests include Grainger and the guitar, the music of Catalan guitarist/composer Miguel Llobet and contemporary Australian guitar music. He is Associate Professor of Music and Head of Guitar at the Melbourne Conservatorium of Music.

SYLVIA ANTONIA NANNYONGA-TAMUSUZA MAKERERE UNIVERSITY, UGANDA DOUBLE-EDGED SWORD OF COLONIAL ARCHIVES: THE DILEMMA OF DEFINING “INDIGENOUS” MUSIC IN UGANDA

Since 2015 students have had a series of protests, calling for the indigenization of the education curriculum and systems in South Africa, which has resulted in renewed calls to decolonize the education in many universities in Africa. The Department of Performing Arts and Film at Makerere University is in the process of reviewing the Bachelor of Arts in Music program, which must have balanced content and methodologies on both “indigenous” and foreign music cultures. However, there is a dilemma in defining what is “indigenous” music in Uganda. What is indigenous music: 1) in the context of colonial and post-colonial influences; 2) in a culture where information is mostly being shared and stored orally; and 3) in the era of commercializing culture? In grappling with these questions, I find some solace in the music archives, some of which are housed at Makerere University Klaus Wachmann Audio-visual Archive (MAKWAA). However, having their foundation as a colonial project, institutional archives are a double-edged sword. In this presentation, I interrogate, on the one hand how colonial archives participated in colonizing the “indigenous” music and on the other, how they can be used in addressing the dilemma of defining “indigenous” music in Uganda.

Sylvia Antonia Nannyonga-Tamusuza | Makerere University, Uganda

JOHN NAPIER UNIVERSITY OF NEW SOUTH WALES FROM TRADITIONALISTS TO GLOCALISTS (AND BACK): YOUNG SOUTH INDIAN PERFORMERS IN AUSTRALIA

This paper investigates performed identities and acculturation amongst Australians identifying as ‘of South Indian background’. Existing studies have concentrated on the role of classical dance and music in their lives (Ram 2000, Author 2006, Author 2018). This has emphasised a conservative cultural stance, and in some instances focussed on parental ideation rather than second generational agency. It has also presented this group as one that is, using Berry’s model of acculturation (1989), ‘culturally separate’. These studies may be contrasted with the work such as that of Maira (2002) and Sharma (2012) that has given greater attention to the youth culture of South Asians in the US. The current study aims to bridge this gap through a qualitative and phenomenological investigation of artists who have studied or perform classical arts such as Bharatnāț yam or Carnatic music in addition to being active in some form of more contemporary, popularly inflected practice such as Bollywood or Western popular music. Data have been gathered through semi-structured interviews and guided recounts, where each consultant is prompted to recount their immediate preparation for, presentation of, and response to a performance in respectively a traditional and a non-traditional genre. Thematic analysis of interviews, recounts, and performances demonstrates that consultants are adept at moving through positions of cultural separateness and integration, and are socially and spiritually enriched and strengthened by these moves.

My research focusses on the music of India, with a particular emphasis on minority groups: story- teller musicians in Rajasthan and the Kodava of South India. In Australia I have been an active participant in intercultural musicking for over three decades. This work substantially involves the South Asian diaspora, and both my creative activity and personal positioning inform my research in this area. I currently also fulfil the duties of the curiously named Discipline Convenor for Music at the University of New South Wales.

JAAS NEWEN AND CHILKATUFE INDEPENDENT SCHOLAR PANGUI LEF: HIP-HOP MAPUCHE

El Hip-Hop le abrió hasta entonces un mundo desconocido a Jaas Newen. Un mundo callado en los libros escolares y que parecía estar condenado al olvido para siempre. Ella comenzó a cantar en 1994 con su grupo Tormenta Verbal para luego seguir como solista en el 2000. Participo activamebte de las Escuela de Hip-Hop del legendario grupo chileno Panteras Negras el cual le ayudó a Jaas crecer musicalmente. "Mi sentir hacia la naturaleza venía conmigo desde siempre sólo me faltaba un guía para encaminar al rap. Cuando tuve la oportunidad de escribir una canción al respecto junto al aprendizaje del mapuzungun mi vida cambió junto a mi visión política y social. Me fortalecí y he mantenido la misma fuerza desde entonces. Y levanté mi voz para apoyar a mi gente" nos comenta Jaas y agrega: "Sena la justicia social en carne propia y no paré de cantarlas. Ha sido un camino de reconocimiento de identidad, de pararme en frente de todos y decir con orgullo que soy una mujer mapuche y que el silencio de mis apellidos no bastó para silenciar mi sangre". Como muchos mapuche, destinados a vivir una vida en las periferias de la capital después de haber sido despojado de sus tierras, sus abuelos se habían cambiado de apellido para nos ser blanco de la discriminación imperante en la sociedad chilena, principalmente contra los pueblos originarios. El rap no sólo ayudó a Jaas Newen para reencontrarse con sus raices mapuche lo que le abrió la puerta a su mundo ancestral. Desde el año 2019 creó junto a Chilkatufe su nuevo proyecto musical llamado Pangui Lef, Chilkatufe Rapero del puerto de Valparaíso, desde la década de los 90, destaca en sus letras un fuerte mensaje contra el racismo, la justicia social y el reconocimiento de sí mismo en sus propias raíces mestizas fuertemente arraigadas a su pueblo. Nuestra presentación será un fuerte abrazo a nuestra gente, con mensajes claros y rítmicos a través del Hip-Hop acompañados del Selecta Mirkore, creando un ambiente ancestral con sonidos del ghetto.

Hip-Hop opened an unknown world to Jaas Newen. A silent world in school books that seemed doomed to be forgotten forever. She began singing in 1994 with her group Tormenta Verbal and then continued as a soloist in 2000. She actively participated in the Hip-Hop School of the legendary Chilean group Panteras Negras which helped Jaas grow musically. "My feeling towards nature has always been with me, I only needed a guide to guide rap. When I had the opportunity to write a song about it along with learning the mapuzungun my life changed along with my political and social vision, and has maintained the same strength since then. And I raised my voice to support my people ", says Jaas and adds, " I saw social justice in my own flesh and I did not stop singing. It has been a path of identity recognition, of standing in front of of all and saying with pride that I am a Mapuche woman and that the silence of my surname was not enough to silence my blood. " Like many Mapuche, destined to live a life on the outskirts of the capital after being dispossessed of their lands, Newen's grandparents had changed their surname to avoid being the target of the prevailing discrimination in Chilean society, mainly against native peoples. Rap not only helped Jaas Newen to reconnect with her Mapuche roots, which opened the door to her ancestral world.

Since 2019, Chilkatufe, a rapper from the port of Valparaíso, has created a new musical project called Pangui Lef. This project sends a strong message against racism. Social justice and self-recognition stand out in his lyrics, drawing from his people's strong mestizo roots. Our presentation will be a big hug to our people, with clear and rhythmic messages through Hip-Hop accompanied by Selecta Mirkore, creating an ancestral environment with sounds of the ghetto.

Jaas Newen | Independent artist and scholar Chilkatufe | Independent artist and scholar

LORRAINE NUNGARRAYI GRANITES, ALICE NAPANANGKA GRANITES, AUDREY NAPANANGKA WILLIAMS, IDA NANGALA GRANITES AND PAMELA NANGALA SAMPSON YUENDUMU COMMUNITY YAWULYU PUTURLU-WARDINGKI – WOMEN’S SONGS FROM MT THEO

Performance Warlpiri women sing Puturlu yawulyu, from the country around Mt Theo, in the Tanami desert. Memories of loved ones, important sites and ancestral stories merge in this performance.

TIRIKI ONUS, SALLY TRELOYN AND MEGAN MCPHERSON UNIVERSITY OF MELBOURNE BIGANGA BAYIYA (SINGING THE POSSUM): THREE YEARS OF THE RESEARCH UNIT FOR INDIGENOUS ARTS AND CULTURES

Since 2017 the Research Unit for Indigenous Arts and Cultures has sought to build research capacity in its communities through attention to philosophies, diplomacies and reclamations of practice that guide Indigenous creative expression and knowledge creation. The primary modes of this action have been practice-orientated symposia and creative outputs, guided by pre-existing and new relationships with families, community groups, practitioners and researchers from regional and remote Victoria and other regions of Australia. Our action has been guided by a long-term agenda of improving the capacity of the academy to acknowledge and embrace Indigenous knowledges, voice and leadership in research and research training. Our action has also been guided by our individual and shared insights into research in and with Indigenous communities of practice as deeply relational and long- term, and an interest in the role that these processes and qualities might play in transforming our disciplines. In this presentation we reflect on the research activity and impact of the research unit in its first three years alongside the ceremonies and diplomacies that were activated in the making and singing of our foundational research statement - our biganga (possum skin cloak).

Tiriki Onus | The University of Melbourne Sally Treloyn | The University of Melbourne Megan McPherson | The University of Melbourne

RACHEL ORZECH MELBOURNE CONSERVATORIUM OF MUSIC WAGNER IN THE EYES OF THE FRENCH RESISTANCE PRESS, 1941– 1944

Undertaking a study of Parisian press reception in a period where the city was occupied by foreign forces is fraught with challenges; the censored press is not necessarily a reliable indication of widespread views and attitudes, and the clandestine press can be both difficult to source and narrow in its focus. In this paper I examine the traces of clandestine press commentary on Richard Wagner’s music that have survived and are held in the Bibliothèque national de France, as well as offering some insight into how I negotiated the challenges of shaping a narrative from a combination of clandestine and censored press sources.

Two clandestine music periodicals from this time survive, both linked to the Front national de la musique—a branch of one of the Resistance movements during German occupation. In the small number of issues available, there are a number of references to Wagner and Wagnerism which assist in overturning preconceived notions about French attitudes to Wagner during the period of the Third Reich. This paper will explore what we can learn from these kinds of sources in spite of their limitations.

Rachel Orzech is the author of a forthcoming monograph on the Parisian press reception of Richard Wagner during the period of the Third Reich, to be published in University of Rochester Press’s Eastman Studies in Music series in 2021. She completed her PhD in 2017 at the University of Melbourne and the University of Rouen, and was the Editor and Coordinator of Context: Journal of Music Research between 2015 and 2017. She teaches music history and musicology at the Melbourne Conservatorium of Music.

VICTORIA PARSONS SYDNEY CONSERVATORIUM OF MUSIC AN ARMY IN CONFLICT: THE CHANGING MUSICAL AND CULTURAL IDENTITY OF THE SALVATION ARMY IN AUSTRALIA

Almost since its inception, making music within The Salvation Army has become a natural expression of worship, pubic evangelism and Salvationism. For many, participating within traditionalised music-making practices such as brass band, songsters (choirs), and timbral brigades have become synonymous with “being” a Salvationist. The unique sights and sounds of brass bands and songster brigades have become the aural signature of The Salvation Army as these worship groups capture the very essence of Salvationism for many of its members. However, as congregational attendance has lessened over the past thirty years, these music-making practices have slowly diminished in size. As liturgical music tastes have shifted toward a more contemporary band setting, local corps (churches) now incorporate worship music that is non-Salvation Army, removing the demand for traditional music-making practices; ultimately challenging what it means to “be salvo” whilst changing the musical landscape of the Salvation Army in Australia. Yet, as Salvation Army musicians contend with these obstacles, many musicians have found creative ways of reproducing and experiencing their musical heritage in new and innovative forms.

Grounded in ethnographic inquiry, this paper explores how salvationists maintain their ‘salvoness,’ or their social and personal investment in an internally coherent sense of collective identity, through music-making activities and what forms this may take at present.

Victoria Parsons is a PhD candidate in ethnomusicology at the Sydney Conservatorium of Music, University of Sydney. Currently her research explores how salvationists continue to experience, identify, and (re)create their “salvoness” through music-making activities in The Salvation Army Australia.

MELANIE PLESCH MELBOURNE CONSERVATORIUM OF MUSIC FROM BUENOS AIRES TO MELBOURNE: TOWARDS A PERFORMANCE HISTORY OF ALBERTO GINASTERA’S SECOND SYMPHONY (“ELEGÍACA”)

Alberto Ginastera’s Second Symphony, Elegíaca, was written during the Second World War, a time that coincided with the growth of fascist factions in Argentina and the political ascent of Juan Domingo Perón. Dedicated to “the men who die for freedom”, the symphony was premiered in Buenos Aires by renowned conductor and composer Juan José Castro. Strongly opposed to the Peronist regime, Castro eventually left Argentina; between 1952- 53 he resided in Australia, where he was the conductor of the Victorian Symphony Orchestra. The work represents a distinct departure from the composer’s early style, heralding the path that he would take in later years. Even though the symphony was successful at the time, and saw performances in Uruguay, Chile, Cuba and Australia, the composer eventually withdrew it from his authorized catalogue and destroyed all copies. This paper is a first step towards the reconstruction of the performance and reception history of this symphony, focusing on the Buenos Aires première and the heretofore unexamined Melbourne performance.

Melanie Plesch is an Associate Professor of Musicology at the University of Melbourne where she currently serves as Associate Dean (Academic) of the Faculty of Fine Arts and Music. Her research focuses on the construction of meaning in Argentine art music and its intersections with vernacular and popular musics, literature and the visual arts, through a musicological practice that combines topic theory, cultural history and ethnohistory. She has published extensively on Argentine art music, including monographs, edited books, scholarly articles and book chapters. Her research has appeared in The Musical Quarterly, Acta Musicologica, Patterns of Prejudice, among other international journals.

BRIGETTE DE POI THE COMMERCIALISATION OF PUBLIC OPERA IN 17TH-CENTURY VENICE AND ITS INFLUENCE ON COMPOSERS

The conception of public opera in 1637 by Benedetto Ferrari and its subsequent commercialisation has long been regarded a pivotal moment in music history. This study aims to establish a link between the aforementioned commercialisation and a growth in opportunities for composers of the era.

In this presentation, I shall examine how the shift in opera from a private court entertainment to the public theatres stimulated additional opportunities for employment. Building upon existing scholarship, I consider whether such opportunities allowed composers to gain access to previously unrealised financial and artistic success. This will be facilitated by a close examination of the financial realities of two composers who span the timeline of early commercialisation; Claudio Monteverdi and Francesco Cavalli.

I shall make reference to a detailed analysis of primary sources, such as, the surviving letters of Claudio Monteverdi and the documents of Macro Faustini relating to Francesco Cavalli. My analysis seeks to identify a correlation between the commercialisation of opera and the improvement in financial opportunities of composers, arguing that the commercial nature of opera in seventeenth-century century Venice fostered financial and artistic freedoms which allowed an unprecedented level of financial stability for freelance composers.

Brigette De Poi is an Australian mezzo-soprano, recently having completed her Master of Music with Distinction at the Royal Welsh College of Music and Drama. Across this period, Brigette developed an interest in 17th-century Venetian Opera, the court operas of 16th-century Italy, and early Western music traditions of the Notre-Dame school of polyphony. Her graduate research has come to encompass studies in 20th-century music, highlighted by a detailed analysis of Benjamin Britten’s War Requiem. With the dawn of a new chapter in Australia, Brigette plans to build upon her love of 17th-century opera through doctoral studies on the subject.

THOMAS RANN UNIVERSITY OF ADELAIDE THE ARISTOCRATIC CELLO: A PERFORMATIVE BIOGRAPHY OF COUNT MATVEI VIELGORSKY—CELLIST, DEDICATEE, COMMISSIONER, AND IMPRESARIO

This presentation will examine the musical contributions of Count Matvei Vielgorsky (1794–1866), a leading cellist and impresario based in St. Petersburg, through a curated performative approach to understanding associated repertoire and legacy. I will discuss my approach to exploring contrasting elements of Vielgorsky’s artistry as informed by historical findings, to reveal the diversity and innovation that developed in nineteenth- century cello-playing and writing throughout Europe, as well as the performative challenges of interpreting this musical legacy. Vielgorsky was a pivotal and colourful figure who actively performed as soloist and chamber musician in his own salon on Mikhailovsky Square in St. Petersburg, inspiring and commissioning a wide array of musical works from pre-eminent contemporaneous composers. In this presentation, I will focus on my performances of selected musical examples. In doing so, I will seek to demonstrate how the legacy of this historical figure can be mediated through performance to produce a comprehensive biographic portrait. Ultimately, I will show how this performative approach to shaping a musical biography can yield a nuanced and contextualised understanding of Vielgorsky’s impact on future Russian cello schools, and can generate new transcriptions and editions of associated works for use by cellists in the future.

Adelaide-born Thomas Rann has performed as soloist with orchestras including the Melbourne, Adelaide and Queensland Symphony Orchestras and Camerata Menuhin. He has appeared to critical acclaim at diverse venues such as Wigmore Hall, Tonhalle Zurich, Westminster Abbey and the Sydney Opera House. Visiting Fellow at the University of Technology Sydney since 2011, Thomas co-founded the inaugural ensemble-in-residence at UTS, Australia Piano Quartet (APQ). APQ’s activities have included a residency at Shanghai University, collaborations for Sydney Festival and Sydney Opera House (as profiled by ABC 7:30 Report and TedX), and performances for Mauritius Independence Day (Port Louis), and at the Barbican Centre and Wigmore Hall (London). In December 2019, Thomas appeared as guest musician with Teodor Currentzis’ musicAeterna in performances at the Moscow Conservatory and Zaryadye Concert Hall, Moscow. Prior to COVID- 19, he was re-engaged by musicAeterna throughout 2020, including performances at the Salzburg Festival, BBC Proms and Carnegie Hall. Currently a PhD candidate on full scholarship at the University of Adelaide, Thomas’ Masters research at Sydney Conservatorium investigated Israeli cello performance and pedagogy. He also holds a Diploma in Modern Languages in Russian, (Macquarie University) and is proficient at B2 level.

ROSEMARY RICHARDS INDEPENDENT SCHOLAR “COPIED WHILE LYING TO IN A GALE”: ROBERT WREDE’S MANUSCRIPT MUSIC COLLECTION

Nineteenth-century music collections could serve as diaries as well as compilations of repertoire. This paper focuses on a manuscript music collection held by State Library Victoria that was transcribed and annotated by Robert William Wrede [Wredé] (1817–57). Wrede was part of a London family of German extraction involved in music businesses. In Melbourne, his colleagues included John Hodgson, Alfred Langhorne and Joseph Megson. Wrede’s album contains popular songs and dances copied from manuscript and printed sources. His annotations mainly date from 1839 to 1842 when he was travelling by ship to and from Australia and Britain. For example, Wrede commented on the song ‘Es war ein Kő nig in Thule’ from ‘Gő the’s “Faust”’ that it was ‘Copied while lying to in a gale, off the Cape; July, 1840’. Wrede named himself as the composer of a setting for voice and guitar of ‘La Bergère délaissée’. A loose folio contains four unattributed and unfinished compositions titled ‘The Gold Digging Polkas’.

Like with other such collections, study of Wrede’s manuscript music collection reveals facets of his personal biography in addition to aspects of the role of music in his society.

Dr Rosemary Richards is an Australian musicologist, teacher and vocal coach. Her PhD thesis is titled ‘Georgiana McCrae’s Manuscript Music Collections: A Life in Music’, University of Melbourne (2017). For more information, please see https://rosemaryrichards.com/

DAMIAN RICKETSON SYDNEY CONSERVATORIUM OF MUSIC CREATIVITY, CONNECTION AND COVID: NEW MUSIC FOR ISOLATED PERFORMERS

Musicians are like sympathetic strings. Even when separated, one can easily be called into vibration by the distant touch of another.

This paper looks at the creative ways in which composers have responded to the coronavirus pandemic that has muted live music through much of 2020. Despite the shutdown of performing arts, musicians have proven inventive, resourceful and anything but silent. Music created during this period will be inscribed with references to the pandemic and, as with the arts more generally, enable the community to process and reflect upon this extraordinary time.

Focus is directed to two ongoing projects made in response to the pandemic. Matthew Shlomowitz’s Music For Cohabitors comprises short pieces written on request and given as gifts for households forced into lockdown together. Tailored for mixed ages and abilities, the collection presents a sociological response exploring household dynamics through a musical objective. Meanwhile Hectic Resonance is a collection of duets for physically distant performers. Exploring the metaphor of connection, the works offer strategies for musical dialogue when not in the same space.

The two examples reflect a growing body of creative works that have been stimulated by the pandemic and collectively signal future possibilities for the evolution of musical practice in the years to come.

Damien Ricketson is a Sydney-based composer and academic. He is the founder and former Artistic Director of the specialist New Music organisation Ensemble Offspring (1995-2015) and the former Program Leader of Composition at the Sydney Conservatorium of Music, University of Sydney (2015-19). His major staged work The Secret Noise won ‘Instrumental Work of the Year’ (2016) and his opera The Howling Girls (co-created with director Adena Jacobs) won ‘Vocal/Choral Work of the Year’ (2019) in the Art Music Awards and the international ‘Music Theatre Now’ prize (2018). His works have featured in major festivals such as the Sydney, Melbourne and Tokyo festivals.

KHALIDA DE RIDDER UNIVERSITY OF TASMANIA APPLYING LUCIEN CAPET’S BOW DIVISION NOTATION SYSTEM TO REPERTOIRE [LECTURE RECITAL]

At the turn of the 20th Century, French violinist Lucien Capet devised a system for the notation of bow distribution, however its use is virtually unidentified in modern violin playing and teaching. As modern violin practice involves the marking of numerical symbols on the score to indicate left-hand ‘fingerings’ it is necessary to question why no equivalent system is utilised for the training of the right-arm.

The research method adopted in this performance-oriented lecture will demonstrate how to incorporate Capet’s numbered and lettered eight-part bow division notation system into daily analytical practise and teaching. What is proposed, is a tool for tracing one’s own distribution of the bow so finer outcomes may be made habitual for the performance situation. As a teaching tool, one of the main advantages is the possibility of the strokes of a master performer to be documented for the student in a more detailed manner than traditionally adopted. Although aimed at tertiary age students and professionals, I will nevertheless make recommendations for Capet’s system to be implemented in beginner teaching materials such as the Suzuki Violin Method.

Khalida De Ridder is a professional violinist, researcher and teacher based in Melbourne. Originally from remote FNQ she began playing at the age of four, performing recitals throughout Australia, The Netherlands, Denmark and Spain. Awarded performance degrees from the Royal Danish Academy of Music (Copenhagen), Australian Institute of Music (Sydney) she has worked with professional orchestras such as the Arhus Symphony Orchestra (DK), Tasmanian Symphony Orchestra and the Melbourne Chamber Orchestra. As the violinist of Trio Cavallaro in 2020 released her debut album with Italy’s leading classical music label 'Stradivarius Milano Dischi'. Khalida has studied most notably with Michael Malmgreen (DK) and mentored by violinist Guillaume Sutre (Quatuor Ysaye) in Paris. She obtained her doctoral degree in 2020.

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MADELINE ROYCROFT MELBOURNE CONSERVATORIUM OF MUSIC “ALLONS AU-DEVANT DE LA VIE”: SHOSTAKOVICH AND THE FRONT POPULAIRE CAMPAIGN IN 1930S FRANCE

In the early 1930s, the music of Dmitri Shostakovich began to gain popularity outside of the Soviet Union and across Western Europe. As the decade progressed, the French public became acquainted with his symphonies and opera via radio broadcasts, piano recitals and orchestral concerts. However, Shostakovich was not initially known for his art music compositions; instead, he was recognised as the composer of a popular song known by its French title ‘Au-devant de la vie’. Having originally appeared in Shostakovich’s soundtrack to the 1932 Soviet film Counterplan, the song became popular in France among left-wing workers’ choruses and other communal singing groups after Jeanne Perret, a poet and Parti communiste français (PCF) member, created a set of French lyrics in 1934.

This paper will outline the role of ‘Au-devant de la vie’ in the social engagement efforts of the Front populaire, a coalition of French Communist, Socialist and Radical parties that aimed to counter the rise of fascism by uniting left-wing intellectuals with the working classes. I will show how this association made ‘Au-devant de la vie’ instrumental in disseminating Shostakovich’s name in Paris, as its popularity generated public interest in the ensuing live performances of his concert works. Finally, I will demonstrate how the political context in which the song was first introduced led to it developing a performance history in twentieth-century France that was entirely distinct from the composer’s (now better-known) concert and operatic works.

Madeline Roycroft is a final-year PhD candidate in musicology at the Melbourne Conservatorium of Music, University of Melbourne. Her thesis looks at the reception of Dmitri Shostakovich’s music and its intersection with politics in twentieth-century France. Madeline coordinates the Editorial Committee of Context: Journal of Music Research, and works as a tutor and sessional lecturer in music history at the University of Melbourne.

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ROBIN RYAN CRUSE AND CHELSY ATKINS WESTERN AUSTRALIAN ACADEMY OF PERFORMING ARTS/INDIGENOUS ARTS CULTURAL EDUCATOR “MOTHER EARTH IS HURTING”: ADAPTING AN INDIGENOUS LAMENT THROUGH A TIME OF ECOLOGICAL GRIEF

Presentation and performance/demonstration Environmentalist songs that de-settle the colonial mindset are barely acknowledged for lack of commercial relevance. Informed by a study of real-time environmental upheaval on music’s conception and performance (e.g. Cooley, 2019), our narrative traces the evolution of the hip-hop infused lament, Mother Earth is Hurting (2010). Yamatji-Widi singer- songwriter Chelsy Atkins (b. 1986) expresses her birthright in a personal vocal technique that bends and flicks like the renowned didjeridu playing of her father, Mark Atkins. Currently based in Far South East NSW, Chelsy Atkins partners with Discover Your Voice founder Corinne Gibbons to advocate for social change, environmental care, and Indigenous recognition. The pair conducted the cross-cultural children’s choir, One Mob Dreaming, in a part-South Coast language version of Mother Earth at Eden’s inaugural Giiyong Festival (2018). Another trajectory saw Atkins rework this part-language version for inclusion in their online school musical, Search for the Sparkle (2020). In the wake of Black Summer, Atkins revitalised a part-Yamatji language version in close-harmony with leading South Coast musicians, Ricky Bloomfield and Corinne Gibbons. Four videoed performances situate Mother Earth as a flagstone for cultural care of the land and Indigenous ways of knowing. Healthy community and healthy country must go hand in hand.

Robin Ryan | Western Australian Academy of Performing Arts Chelsy Atkins | Indigenous Arts Cultural Educator

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ALINE SCOTT-MAXWELL MONASH UNIVERSITY CAROSELLO: AUSTRALIA’S FIRST TELEVISED ITALIAN VARIETY SHOW AS A PRE-MULTICULTURAL COMMERCIALISED WINDOW INTO THE ITALIAN-AUSTRALIAN POPULAR MUSIC SCENE

On Sunday December 17, 1967, at 5.30pm, viewers of Melbourne’s Channel ATV-0 had the unique opportunity to witness the first foreign-language music show on Australian television, called Carosello. Carosello was a weekly music-variety show sponsored by Italian- Australian furniture supremo, Franco Cozzo, and presenting Italian-Australian singers and musicians performing contemporary Italian popular music. Based on the one surviving recording of this show and extensive research on post-War Italian-Australian popular music-making, the paper examines the musical content and artists who appeared on Carosello and their Italian cultural and other influences. It also frames the show in terms of restrictions placed on foreign-language broadcasting and the commercial imperatives that underpinned all aspects of Italian community entertainment, including Carosello. The paper argues that Carosello’s particular significance was in appearing at a pivotal moment of socio- economic, generational and musical flux for Italian-Australians. As an intriguing new forum that projected Italian-Australian talent to and beyond the Italian-Australian community, Carosello offered hitherto unobtainable mainstream media exposure to young artists seeking a space within the expanding Italian community entertainment scene and, hopefully, the broader cultural mainstream – before they became sidelined into the ethnic-specific media that were introduced with multiculturalism.

Aline Scott-Maxwell is an ethnomusicologist and popular music studies scholar with research specialisations in Indonesian and Australian musical cultures, including the music of migration. She has published extensively on historical and contemporary aspects of Australia’s musical engagement with Asia and on Indonesian and Italian music in Australia. She is an Adjunct Senior Research Fellow in the Sir Zelman Cowen School of Music, Monash University.

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JOHANNA SELLECK MELBOURNE CONSERVATORIUM OF MUSIC FROM STERLING TO CURRENCY: REPRESENTING IDENTITY IN COLONIAL AUSTRALIA THROUGH MUSIC REVIEWS AND CARTOONS

This paper draws connections between music reviews and illustrations (particularly cartoons) in Australian print-media from the late nineteenth century with the aim of gaining insight into issues of gender, class, and nationality. This was a critical time when colonial Australia was seeking to define its own identity as separate from the Motherland. Building on research in my doctoral thesis, music reviews are examined in a broad cultural context and juxtaposed with illustrations, cartoons and satirical comment, drawing mostly on the iconic and widely-influential magazine, The Bulletin. The methodology is situated within the field of Cultural Linguistics (Farzad Sharifian, Monash University), which offers both a theoretical (concepts of ‘cultural cognition’ and the idea of ‘Complex Adaptive Systems’) and analytical (cultural schemas, categories, and metaphors) framework. Complementing this, the work of authors such as Iro Sani and Faith Sathi Abdullah (University Putra Malaysia) in analysing political cartoons testifies to cartoons as ‘cultural artefact’ and as a distinct multi-modal genre within media discourses. This paper will show that, in combination, the two media provide a unique perspective on nineteenth-century Australian culture and conceptualisations of ‘self’ and ‘other’.

Johanna Selleck is a composer, flautist, and musicologist. She holds a PhD in composition from the University of Melbourne, where she is an honorary fellow. Her compositions have been commissioned and performed by internationally-renowned artists both Australia and overseas. Her research is widely published including by Cambridge Scholars Press and in scholarly journals such as Australasian Music Research. Johanna’s music is published by Reed Music, Lyrebird Press, and the Australian Music Centre, and her recordings appear on labels including Move Records and Tall Poppies. Prizes for composition include the Herbert Maggs Award and the Percy Grainger Prize for Composition.

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STEPHANIE SHON MELBOURNE CONSERVATORIUM OF MUSIC “BIOGRAPHICAL MILESTONES”: INTERPRETING SIXTY YEARS OF LARRY SITSKY’S STYLISTIC EVOLUTION IN AUSTRALIA (1959– 2019) THROUGH A COMPARATIVE ANALYSIS OF HIS COMPOSITIONAL SHIFTS

This paper interprets the stylistic changes of established Australian composer, Larry Sitsky, through the categorisation of his compositions (1959 – 2019) into five distinctive ‘periods’. The periods have been identified through an analysis of the distinguishing compositional devices, styles and materials used in Sitsky’s compositions at various stages in his career and explores how these characteristics were influenced by extramusical stimuli and contemporaneous compositional developments. The methodology is situated within discourses of ‘Late Style’ Theory and expands upon the theoretical concepts of ‘metaphysical’ lateness, the intersection of ‘world-historical’ and ‘individual’ lateness, whilst also offering a non-ageist alternative to existing ‘late style’ theories. Drawing on an historical examination of Sitsky’s compositional trajectory and artistic context in Australia from the late 1950s until 2019, I aim to elucidate the stylistic evolution of a refugee composer within the context of a nation that was simultaneously experiencing its own cultural transformation in the post-World War II era.

Stephanie Shon is a Master of Musicology student at the Melbourne Conservatorium of Music where she is working under the principal supervision of Dr. Johanna Selleck. Her thesis considers the music of Australian composer, Larry Sitsky with a particular focus on his compositional shifts and his compositions for solo flute. Stephanie holds a Bachelor of Music (Honours) in performance from the Melbourne Conservatorium of Music, where she studied flute with Margaret Crawford and piccolo with Andrew Macleod.

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MEENA DE SILVA UNIVERSITY OF ADELAIDE BEYCHELLA: HOW BEYONCE’S 2018 COACHELLA PERFORMANCES SHED LIGHT ON BLACK CULTURE

In April 2018, over two weekends at two separate performances, pop singer Beyoncé Knowles performed a set of 26 songs at the Coachella Valley Music and Arts Festival in Indio, California in the US, in a celebration of Black music and culture. Through this research I aim to highlight the ways in which Beyoncé’s 2018 Coachella performances shed light on Black culture through a detailed analysis of the music performed, a visual analysis on the performance, including costume, stage setup and choreography, and an explanation of the importance of representation for marginalised groups on a main stage in the popular music world, and in mainstream media.

The expected outcome of this research is to provide readers with a more meaningful appreciation of the performances in regard to the music, the visuals and their social context and meaning. Topics under discussion will include musical genre study, lyric study, as well as historical content such as the main theme of the performances: Historically Black Colleges and Universities (HBCUs). The Black female image in the media will be discussed, as well as the harms of “colour-blind” stages and audiences.

Meena De Silva is a student at the University of Adelaide, South Australia. She is currently six months into her Master of Philosophy (Research), focussing on Beyonce’s 2018 Coachella performances and how they incorporate Black culture. She is a graduate of the Bachelor of Music (Popular Music and Creative Technologies), focussing on her song writing in the genres of pop and R&B. She achieved a First-Class Honours in 2019, which included a thesis discussing how Beyonce’s 2016 album Lemonade contributed to the Black feminist movement.

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HANNAH SPRACKLAN-HOLL MELBOURNE CONSERVATORIUM OF MUSIC SONGTEXTS IN CONTEXT: NEW LIGHT ON DEVOTIONAL MUSIC IN THE PRIVATE LIVES OF SEVENTEENTH-CENTURY PROTESTANT GERMAN NOBLEWOMEN

For seventeenth-century German Protestants, the making of devotional song was among the principal cultural practices that demonstrated personal piety and signalled a Protestant’s commitment to living an exemplary life and dying an exemplary death. This highly personalised cultural and religious function meant that devotional songs had a significance for private devotion that exceeded its meaning within the contexts of public worship. Devotional song in German constitutes a large repertory from the seventeenth century: the catalogue Das deutsche Kirchenlied lists over 2,000 surviving printed collections.

The songtexts themselves survive not only in printed sources, but also in a large number of manuscripts, many written by Protestant noblewomen. These women were often consorts—spouses for a male ruler or aristocrat—and were required to perform social and cultural roles in which they exhibited models of piety for the family, the court, and the surrounding population. This paper argues that devotional song practice played an important role in noblewomen’s fulfilment of these roles by providing them with a means of self-expression which also complied with the expectations and limitations placed upon them.

Besides writing songs for their own use, women shared songs with other women, published their own songs (or those of their friends or relatives) under their own patronage, and curated and published compilations of devotional songs, carefully selecting and organising these books. A range of cultural practices were thus implicated in the making of devotional song; however, a cursory glance would indicate that, of these, only composing and performing songs were musical activities. Yet all aspects of making devotional song were part of the musicking of seventeenth-century Protestant German noblewomen. As such, these texts form a sizeable and significant body of women’s musical literature from the early modern period that has been hitherto overlooked in musicological discourse.

Hannah Spracklan-Holl is a third-year PhD candidate in Musicology at the Melbourne Conservatorium of Music. Her doctoral research examines the musical and cultural practices of Duchess Sophie Elisabeth of Braunschweig-Lüneburg (1613–1676), with a particular focus on the relationship between gender and politics at middle and north German courts in the middle decades of the seventeenth century and the musical activities of consorts. Hannah was a 2018 Norman Macgeorge Scholar, and a 2018 and 2020 doctoral research fellow at the Herzog August Bibliothek, Wolfenbüttel, for which she was generously supported by the Dr. Günther Findel Foundation. Hannah is also a baroque violinist who performs regularly in Melbourne and interstate.

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JAN STOCKIGT MELBOURNE CONSERVATORIUM OF MUSIC ‘MADAME BOEMA’S SPLENDID SOPRANO VOICE’: THE AUSTRALIAN CAREER OF GABRIELLA ROUBALOVÁ, 1879–1922

While the early and middle careers of the Czech soprano Gabriella Roubalová have been documented, her homeland knew little of her life following her arrival in Australia in 1879. By July 1880 this Czech- and Italian-trained prima donna had made a powerful impression singing principal soprano roles in Melbourne operatic productions. Moreover, she received bouquets from Queen Victoria’s sons when she sang in their presence during the 1880–1881 Melbourne International Exhibition. After closure of the Lyster Opera Company in 1880, Boema turned to recitals and oratorio performances with Melbourne’s major concert- giving societies – the Melbourne Liedertafel and Melbourne Philharmonic Society. As principal soprano, she sang at the consecration of Melbourne’s Catholic Cathedral, and appeared as a soloist in the noteworthy Australian premiere of The Spectre’s Bride by Antonín Dvoř ak, whom she claimed to know personally. In 1901 Boema was appointed ‘Chief Study Teacher in Singing’ to the Conservatorium of Music at The University of Melbourne.

Notwithstanding confusing biographical information, the paper presents an outline of Madame Boema’s life in Australia. It is clear that certain of her personal characteristics, combined with changing musical taste, led to the gradual loss of engagements and her teaching position at the Conservatorium of Music. While reviews in the Australian press during the 1880s testify to her stature as a dramatic soprano, the professional activity of Boema appears to have been on a downward trajectory when her later life became overshadowed by disputes, personal tragedy, and the rise of a generation of superb Australian sopranos. Nevertheless, the final era in the Antipodes of Madame Boema deserves recognition today.

Janice (Jan) Stockigt is a Fellow of the Australian Academy of the Humanities and an Honorary member of the Faculty of Fine Arts and Music where she supervises post graduate candidates. Her research interests are mainly concerned with German and Bohemian sacred music of the Baroque era, as well as the musical life of Melbourne in the Victorian era.

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ROBERT JAMES STOVE SYDNEY CONSERVATORIUM/MONASH UNIVERSITY OUTPOSTS OF THE EMPIRE: STANFORD PUPILS' AUSTRALIAN DIVISION

The crucial importance of Sir Charles Villiers Stanford in training an entire generation of British composers – Holst, Vaughan Williams, Arthur Bliss, Frank Bridge, Samuel Coleridge-Taylor, Ivor Gurney, et al – has long been recognised. But the Australian connections to his pedagogy and patronage are far less known. Not only did he teach several important composers who made Australia their home in adulthood (Edgar Bainton, Eugene Goossens); he also gave active support to the pianistic ambitions of young Grainger – who afterwards turned against him – and he numbered among his later students the similarly Australian-born Arthur Benjamin and Brewster Jones (the latter having recently been given prominent treatment in Rhoderick McNeill’s publications concerning Australian symphonic production). This paper provides a brief look at these students’ dealings with Stanford, in the context of late-imperial culture.

Robert James (Rob) Stove, born in Sydney but since 2001 Melbourne-resident, is the author of César Franck: His Life and Times (Scarecrow Press, Lanham, Maryland, 2012). From mid-2011 to mid-2013 he edited the quarterly magazine Organ Australia, and since 2012 he has been an Adjunct Research Associate at the Sir Zelman Cowen School of Music, Monash University. Currently he is also a PhD candidate at the Sydney Conservatorium. A regular organist, he released in 2018 his first CD, The Gates of Vienna: Baroque Organ Music from the Habsburg Empire (Ars Organi AOR001). His second CD, Pax Britannica: Organ Music by Victorian and Edwardian Composers (Ars Organi AOR002), appeared in August 2019 and includes works by Stanford and Coleridge-Taylor.

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MURIEL SWIJGHUISEN REIGERSBERG AND AARON CORN THE OPEN UNIVERSITY, UK/UNIVERSITY OF MELBOURNE SINGING AND DANCING DORA: THE SAN FRANCISCO DECLARATION OF RESEARCH ASSESSMENT AND ITS IMPLICATIONS FOR INDIGENOUS AUSTRALIAN PARTICIPATION IN ACADEMIA

In July 2020, the University of Melbourne signed the San Francisco Declaration for Research Assessment (DORA). In the Times Higher Education Supplement Melbourne’s DVC-Research, Jim McClusky, writes that the traditional use of research and citation metrics does not: “…capture the more subtle aspects of research quality, can trivialise deep scholarship, vary enormously by discipline and are so far removed from expressing public value they are very limited in usefulness.” This paper explores how DORA, if implemented and evaluated robustly, brings new opportunities for broader participation in the academy alongside a reconceptualisation of what it means to produce ‘valuable’ research. We suggest that the implementation of DORA should not only focus on making responsible use of research metrics alongside the abandonment of citation metrics as the single indicator of research excellence. Here we argue that, to implement DORA well, universities must also take seriously research outputs that are not written, building on epistemological frameworks that are not rooted in European thinking. This in turn will furnish ethnomusicologists with the opportunity to forcefully renew the argument that non- traditional research outputs, which include significant Indigenous contributions to the academy, are capable of fundamentally changing and enhancing the ways in which the academy assesses research quality.

Muriel E Swijghuisen Reigersberg | The Open University, UK Aaron Corn | The University of Melbourne

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JULA SZUSTER ELDER CONSERVATORIUM, ADELAIDE PHILIPP OSTER’S ALBUM: EVIDENCE OF AN EARLY SOUTH AUSTRALIAN MUSIC LIBRARY

In the late 1840s, a theological student Philipp Oster painstakingly copied the text and musical notation for 20 arias and motets for alto voice into an album for his sister Pauline for her confirmation, held at the Lobethal Lutheran Church in the Adelaide Hills. Oster’s teacher at Lobethal was Pastor Gotthold Fritzsche, one of the leaders of the congregation of ‘Old Lutheran’ who fled Prussia in 1841 seeking religious freedom in the newly established colony of South Australia. Fritzsche was a capable musician who established a reputable church choir and was known to have brought with him an extensive library of musical scores, which was undoubtedly Phillip Oster’s source. Philipp Oster’s album, now housed in the Lutheran Archives in Adelaide, contains works ranging from JS Bach to Mendelssohn and provides an insight into the extent of Fritzsche’s music library – one of the first repositories of the Western Canon in South Australia.Historical Musicology 20th Century

Jula Szuster is a Visiting Research Fellow at the Elder Conservatorium, University of Adelaide. Her research interests include music in colonial Australia and 17thCentury Italian baroque music and she has published academic journal papers, book chapters and entries in international music encyclopedias. She is a co-founder and managing editor of the Journal of Music Research Online published by the University of Adelaide. Jula’s membership of professional associations included President of the SA Chapter of the Musicological Society of Australia (1996-2009), and she is a life member of the Australian College of Educators (MACE).

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EMMA TOWNSEND MELBOURNE CONSERVATORIUM OF MUSIC FROM THE TROPICS TO THE SNOW (1964): THE EXPANSION OF WHITE MASCULINE NATION-BUILDING EMOTIONS IN COMMONWEALTH GOVERNMENT FILM SCORES OF THE MID-1960S

In the post-war period the Australian Commonwealth Government created hundreds of nation-building films about Australia and its ‘way of life’, and these films literally depict this nation-building purpose via numerous narratives centred on white men’s public-sphere employment. This paper explores aspects of the emotions and character qualities of this labour in Judy Bailey’s and Eric Gross’s film score to From the Tropics to the Snow (1964).

Music’s role in conveying filmic emotions is well established, while cultural representations have been theorised as processes whereby individual emotions become both collective and political. Consequently, examining musical renderings of characterisations in this score provides an opportunity to highlight and examine onscreen characters’ nation-building work, as well as the shared emotions that the then-Australian government, the Menzies government, sought to shape. I suggest that in mid-1960s Australian government film there was an expansion of white working masculinity to encompass emotionality and expressivity.

Emma Townsend is a PhD candidate at the Melbourne Conservatorium of Music undertaking a thesis focused on mid-twentieth-century Australian women’s composition

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GEMMA TURNER INDEPENDENT RESEARCHERS ABORIGINAL AND TORRES STRAIT ISLANDER SUNG VOICE QUALITIES: POTENTIAL METHODS FOR DESCRIPTION, COMMUNICATION AND ANALYSIS

Song is an important aspect of Australian indigenous language and cultural revitalisation. Voice quality describes the distinctive timbre of a voice and is central to singing with the appropriate style and feeling. Languages are associated with particular voice qualities and linguists have taken preliminary steps to describe those associated with Aboriginal and Torres Strait languages with limited success, perhaps in the absence of an adequate system for doing so. Written song notation does not indicate sung voice quality information, making it of limited usefulness to singers unless recordings are also available. In this presentation two methods of analysing and communicating voice qualities are put forward: the first empirical and the second practice-oriented. In speech, voice qualities can be transient and idiosyncratic which makes analysis difficult and potentially inaccurate. However, songs can provide high quality, stable and reproducible information because of the set patterns of pitch, register and vowel and these can be analysed with software such as PRAAT. Estill Voice training is an evidence-based hearing and doing-based method used worldwide by voice professionals which identifies voice quality through a system of physiological figures. The relative merits of these two systems will be discussed in light of their usefulness in relation to song revitalisation and creation.

Gemma Turner | Independent researcher

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GEMMA TURVEY UNIVERSITY OF WESTERN AUSTRALIA 18TH-CENTURY SOLFEGGI AND THIRD STREAM EAR TRAINING: CREATING A FOUNDATION FOR TEACHING IMPROVISATION TO CLASSICAL MUSIC STUDENTS

The art of improvisation requires the musician to draw on their knowledge-base of melody, harmony and other musical elements to create spontaneously. Improvisation is today commonly associated with jazz, however it was a core feature of European music pedagogy and performance until the mid 19th century. In 17th- and 18th-century Italy, all students of music learnt to sing melodies known as solfeggi, before approaching improvisation exercises. Solfeggi are melodic compositions for voice with bass accompaniment. They played an important role in establishing the necessary melodic knowledge-base required for improvisation exercises. A similar method, known as Third Stream ear training, is currently used by some jazz and contemporary music schools. Like solfeggi, this method involves learning to sing melodies, but from a variety of contemporary music genres. Improvisation has been largely absent from classical music pedagogy for over a century. There is growing interest to reintroduce it using adapted 18th-century and jazz techniques, however there is little research on developing a suitable singing practice to support students. This study presents a comparative analysis of 18th-century solfeggi and Third Stream ear training repertoire and techniques, to identify how to develop a singing practice that can support classical music students approach improvisation tasks.

Gemma Turvey is a professional pianist, composer and educator and has performed nationally and internationally as ensemble leader and collaborator. Gemma established and led Melbourne-based improvising chamber ensemble the New Palm Court Orchestra (NPCO) from 2011–2019. She has produced four studio albums as ensemble director and featured composer, and has also composed for television, short film, independent theatre, public installation and private commissions. Gemma is currently undertaking a research masters in classical improvisation at the University of WA, where she is also a 2020 FABLE Teaching Fellow and Aural Studies Lecturer. Gemma Turvey is a Yamaha Artist.

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MARISOL VARGAS INDEPENDENT ARTIST AND SCHOLAR “IÑ CHE KAY CHE” (HERE AM I THE WOMAN AND THE MAN THAT STILL LIES IN ME): STUDY–RESEARCH THAT EXPLORES THE PERFORMANCE THAT WOULD CHANGE TO AN ART INSTALLATION

Presentation and performance/demonstration During the past few years we have been making contemporary work from our emerging study studio that explores performance that mutates into an art installation. A research- creation process that addresses the theme of the body, Unstable and changing, from a symbolic political point of view, presenting how different and dissonant the original cultures are to the dominant cultures. An emergence between experimental practices in dance research, the specific site, the concern of working with the kinesthetic sense between: body, earth, water, recognition of the other, original peoples, the mystical-the ancestral. Conceived by this art studio, as "an emerging experience to explore" between dance, visual arts, sound, using mixed media, objects and installation, technology, images, creative- text writing-poetry, video-art, body- movement-choreography. Conceived within a visual unit given by the interrelation-interculturality that the object of study and the proposal can describe in more precise terms to clarify the characteristics of the Works carried out. This emerging experience to explore possible performances that would mutate into an art installation that we titled: SOUTH SOUTH, to unite the views of countries in the southern hemisphere of the world, regarding instability, climate change, colonization, decolonization and neo-colonization processes

Marisol Vargas | Independent artist and scholar

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SALLY WALKER UNIVERSITY OF SYDNEY 1:1 CONCERTS: A DIASPORA OF CONCERT HALL REFUGEES FIND NEW PERFORMANCE SPACES

How we need music has been made profoundly clear over these last months. Balcony concerts, online lessons and home recordings prove that what is essential, adapts to survive. Despite cancelled concerts confronting a sense of purpose and capacity to earn an income for many musicians, there is also a by-product of ‘dystopia to utopia’; a chance for a complete reset.

Performing musicians exiled from concert halls due to social distancing policies have been forced to find new performance spaces that defy the corona crisis. Consequently, the 1:1 CONCERTS© have been created, inspired by the work of performance artist Marina Abramović ’s "Listening differently"; one musician, 1 listener at a 2 metre distance experiencing a 10 min. non-verbal 1-to-1-encounter. The Australian bush, goat’s stable and an airport have become 2020’s new concert halls.

A graduate of the University of the Hochschule für Musik und Theater, Munich, the Hochschule für Musik, Theater und Medien, Hanover and in the final stages as Doctoral Candidate at the University of Sydney, flautist Sally Walker is a performer, academic, music educator and is Lecturer in Classical Performance (Woodwind) at the Australian National University. Sally’s research embraces historical performance practice, music and physiology and composer/performer collaborations, resulting in the creation of new works and publications including conference papers (ISME, NACTMUS), conference presentations (Musicological Society of Australia, Performing Wellness Symposium, Australian Association of Hand Therapists’ Conference), articles (Limelight/Resonate) and diverse creative practice research outputs.

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JOHN WHITEOAK SIR ZELMAN COWEN SCHOOL OF MUSIC, MONASH UNIVERSITY “IN THE GYPSY MANNER”: CONTINENTAL MUSIC IN INTER- AND POST-WAR AUSTRALIAN ENTERTAINMENT HISTORY

Between the 1930s and late 1970s, the concept of ‘continental music’ as a repertoire and manner of performance became very significant in Australian cabaret-restaurant, radio and later televised entertainment. ‘Continental’ musical entertainment, furthermore, played an important role in enabling migrant musicians gain a foothold in the music industry (despite Musicians’ Union resistance) and also in preparing mainstream Australia for the post-1970s transformation into a multicultural society. Continental music was what continental-style cabaret-restaurant patrons and radio listeners perceived as the evergreen and newer popular music and light classics of various European countries (and their part-imagined Romani), notably Spain, France, Germany, Italy, Russia or Hungary, and of a type likely to nostalgically please an audience of mixed nationalities while also being appealingly exotic to Anglo-Australian patrons. ‘Continental’ meant imbued with European style and sophistication, as in ‘continental’ venue décor and cuisine. It invariably included Latin music.

This paper, which is partly based on the presenter's experience as an accordionist in 1960s- 1970s continental venues, will define this almost forgotten genre and explain how it proliferated from the end of Australia’s 1920s Jazz Age partly through European migration. However, the main purpose of the paper is to argue for the significance of so-called ‘Gypsy’ or ‘Tzigane’ music performed ‘in the Gypsy manner’ to the popularisation and conventions that became associated with presenting and performing continental music.

Dr John Whiteoak is an Adjunct Professor in the Sir Zelman Cowen School of Music, Monash University with a background in historical musicology, jazz studies and popular music studies. He was Co-General Editor of and the major contributor to the Currency Companion to Music and Dance in Australia and has published very widely on music and dance in Australia (see www.ausmdr.com Publications). His main specialisations since 2003 have been Hispanic and Continental European music and dance influences in mainstream and migrant Australian entertainment. His recent monograph is “Take Me To Spain” Australian Imaginings of Spain Through Music and Dance.

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NATALIE WILLIAMS NORTH PARK UNIVERSITY, CHICAGO CONTEMPORARY COUNTERPOINT, DEFINING HISTORICAL ALLEGIANCES IN TWENTIETH-CENTURY CONTRAPUNTAL PRACTICE

Contrapuntal practice within the twentieth-century literature exhibits a diverse palette of approaches. While advances in pitch organisation progressed throughout the modern era, contrapuntal writing retained historical allegiances to baroque fugal forms. This paper explores the theoretical, aesthetic and philosophical conditions that support an interpretation of contemporary counterpoint as an historically-informed paradigm. This paper suggests that twentieth-century counterpoint, as a compositional technique, maintains strong historical roots within baroque fugal practice. An analysis of contrapuntal works spanning the post-tonal era reveals deeply rooted relationships between contemporary practice and compositional techniques of the past. These relationships transcend post-tonal developments in pitch manipulation. From Ligeti’s micropolyphonic pitch strings, to Reich’s process counterpoint and phase shifting, the serial canons of Webern and Dallapiccola and the aleatoric fugues of Lutosł awski, the plethora of modern compositional techniques renders a clear definition of contrapuntal practice, elusive. Despite such stylistic variation, this paper proposes three constructional criteria which must be present to define a composition as truly contrapuntal. The relationship of dux and comes, and their manipulation and development, is crucial to this definition of counterpoint as a compositional paradigm.

Twentieth-century composers working in all stylistic genres approach contrapuntal writing through the same historical lens. Their collective output defines the technique of contrapuntal writing as an historically-informed practice, intrinsically unchanged through the complex pitch languages of the modern era.

Composer and academic, Dr. Natalie Williams was recently Interim Dean at the School of Music, Art, and Theatre at North Park University in Chicago. Academic teaching positions include the Australian National University and the University of Georgia (USA). Her research focuses on post- tonal music, contemporary counterpoint, music theory pedagogy and the work of women in the creative arts. Natalie holds a Graduate Certificate in Management and a doctoral degree from the Indiana University, Jacobs School of Music. Her music has been commissioned and performed across the globe, by ensembles including the Atlanta Opera, the Berkeley Symphony and the Australian state orchestras.

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MAURICE WINDLEBURN MELBOURNE CONSERVATORIUM OF MUSIC MUSICAL HYPERREALISM: EXPLORING NOAH CRESHEVSKY’S COMPOSITIONS THROUGH JEAN BAUDRILLARD’S IDEAS

Whilst a familiar term in art history, philosophy, and cultural studies, hyperrealism is rarely applied to music. This is in spite of twentieth-century composer Noah Creshevsky’s use of the term to describe his unique compositional process and aesthetic approach. A composer of electroacoustic music and founder of the Brooklyn College Center for Computer Music, Creshevsky has described his musical hyperrealism as a ‘language constructed from sounds that are found in our shared environment (“realism”), handled in ways that are somehow exaggerated or excessive (“hyper”).’ I will summarise the ideas behind Creshevsky’s hyperreal music (which have yet to be discussed in musicological literature) and compare them to the philosopher Jean Baudrillard’s theorisation of the hyperreal. Numerous similarities between Creshevsky and Baudrillard’s ideas will be made evident, although I will focus my discussion around two distinct features of musical hyperrealism: the reuse, or sampling of sounds as simulacra, and the creation of disembodied, transhuman ‘super performers’. In this way, I will explore what hyperrealism is with regards to music.

Maurice Windleburn is a current PhD candidate in musicology and a music history tutor at the University of Melbourne. His dissertation examines the cinematic qualities of John Zorn’s ‘file card’ compositions and the hypertextual connections they have to the artistic figures Zorn dedicates them to. Maurice’s research interests include music and philosophy, experimental and avant-garde music, and the interrelations between music and other artforms. He has previously published an article in SoundEffects – An Interdisciplinary Journal of Sound and Sound Experience and is on the editorial committee for Context – Journal of Music Research.

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JORGE POVEDA YÁNEZ MULT.LOGOS AND EMBODYING RECONCILIATION FROM CANNIBALISING REGIMES TO INDIGENOUS FUTURISM: THE ROLE OF NEW TECHNOLOGIES TO PREVENT MISAPPROPRIATION OF INDIGENOUS DANCES

After multiple cases of misappropriation of indigenous dances, knowledge and cultures, indigenous communities still have to rely on the public outcry to stop third parties from illegitimately exploiting their traditions. Beyond raising awareness of the pervasiveness of these practices, pragmatic tools have to be developed to strengthen the conservation and transmission of traditional cultural expressions in action, such as dances, rituals, and performances with special attention to the digital environments wherein they circulate. To defy the apparent contradiction between technology and indigenous culture, this interdisciplinary research project underscores the insufficiency of the several layers of the legal frameworks wherein indigenous dances are embedded. Simultaneously, theoretical and empirical explorations of new technology within the RITMO centre of the University of Oslo enabled the realisation of how similarity algorithms, motion capture repositories, computer-assisted transmission of dances, interoperable documentation and multimodal archiving could filled the shortcomings on the normative front. These interconnections are suggested to protect the interests and livelihoods of indigenous peoples in relation to their intangible cultural heritage, until new parameters to prevent their misappropriation arise on a global scale.

Jorge Poveda Yánez | MULT.LOGOS and EMBODYING RECONCILIATION

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FRANCIS YAPP AND JOANNA SZCZEPANSKI UNIVERSITY OF CANTERBURY, CHRISTCHURCH, NEW ZEALAND / NGĀ TAONGA SOUND & VISION, WELLINGTON, NEW ZEALAND ARTHUR LILLY AND THE 1916 FESTIVAL OF NEW ZEALAND MUSIC: A SEARCH FOR LANGUAGE AND TRADITION AHEAD OF ITS TIME

Recent research on music making in New Zealand at the turn of the twentieth century has revealed a flourishing musical scene, with orchestras, choral societies, and brass bands all contributing to public musical events (van Rij, 2016; Jane, 2009; Bythell, 2000; White, 1989). While this research has tended to focus on performances and performing ensembles, there has been comparatively less attention paid to the creation of new compositions by local composers.

This paper focuses on the 1916 Festival of New Zealand Music organised by Arthur Lilly (1882–1968). This festival explicitly sought to create a platform for New Zealand composers (such as Lilly). It aimed to foster a national musical tradition—in the wake of nineteenth century European nationalism but several decades ahead of the 'search for a language' by Douglas Lilburn. We argue that although the festival was deemed a failure by critics at the time, it in fact marks an important and hitherto overlooked step in New Zealand's ongoing search for national cultural identity in music. Based on interviews with the Lilly family, archival research, and detailed musical analysis, this paper aims to contextualise the 1916 Festival and Lilly's Life in the musical, cultural, and social milieu of early twentieth-century New Zealand.

Dr. Francis Yapp is Lecturer in Music at the University of Canterbury. His research focuses on the music of the French baroque and on musical life in early twentieth-century New Zealand. Francis was the recipient of the UC College of Arts Early Career Teaching Award in 2017. He is Vice- President (NZ) for the Australian and New Zealand Association for Medieval and Early Modern Studies (ANZAMEMS), Canterbury regional representative for the New Zealand Musicological Society (NZMS) and was the convenor for the 2018 NZMS Conference in Christchurch. He is also active as a performer on baroque and modern cello.

Joanna Szczepanski is the Radio/ Music Collection Team Leader Kaiārahi Tira Kohinga Oro at Ngā Taonga Sound & Vision in Wellington. She collects radio shows, music recordings and sometimes bird calls for Aotearoa's audio visual archive.

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CALISTA YEOH UNIVERSITY OF SYDNEY “WE SING IT THIS WAY, THEY SING IT THAT WAY”: ANALYSING WANJI-WANJI

In this paper, I present a musical analysis of Wanji-wanji, an Aboriginal entertainment ceremony regarded as being of great antiquity by many different Aboriginal people who sing it across Australia. This paper attempts to understand what musical features singers are tapping into when they say “we sing it this way, they sing it that way”. The rhythmic texts of the verses sung by people of vastly different language groups are identical, thus the point of difference may be in relation to pitch, tempo, scale, ornamentation and vocal timbre. In this paper I present my analysis and comparison of performances of Wanji-wanji by two diverse Aboriginal language groups: the Pintupi of the Western Desert and the Gurindji of the Victoria River district. I show that that there are significant differences in melody, particularly in pitch, number of melodic descents and the tonal centre of the two groups, yet the rhythmic text remains broadly the same. It is hoped that this research builds a framework for comparing music from the same or neighbouring regions to understand musical style, and that the results of this study could be of interest to Indigenous composers and performers seeking inspiration and knowledge of Aboriginal musical style.

Calista Yeoh | University of Sydney

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PANEL: MUSIC, DANCE AND THE ARCHIVE: RECLAIMING INDIGENOUS PERFORMANCE HISTORIES

This panel emerges from a project excavating histories of music and dance performance in recent Australian history. During the period 1937-1967, government policies attempted to silence cultural practice in an era of enforced assimilation. But Aboriginal cultural entrepreneurs used public events as activism to continue culture in performances embodying serious and powerful expressions of enduring presence and social salience. This project aims to re-evaluate the artistic legacy of public performances by Aboriginal people (music, dance and associated cultural practices), and to reclaim these rich and hybrid histories for broad cultural benefit. In the first two years of the project, we have brought to light audio-visual recordings, images and sound records of performances by Aboriginal and Torres Strait Islander dancers and musicians. In this panel, we will present scholarly and artistic perspectives on the process of reclaiming historic performances. Our panel will combine short presentations and demonstrations of this recuperative work, featuring Australian as well as international efforts to reclaim Indigenous performance. We will explore how embodied explorations of history can bring archival records to life.

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PANEL: BECOMING BIRD: TRANSCRIPTION, COMPOSITION, PERFORMANCE

OVERALL SESSION

Birds have long inhabited our imaginative worlds, appearing as objects, symbols and subject matter within forms of cultural representation, including music. But what happens when composers, musicians and sound artists approach birds as fellow creatures, transforming the relation through perspectives attuned to the agency of the more-than-human? What kinds of emergent compositional, performance and listening practices might we find when music intersects with the various critical post-humanist currents within the contemporary arts and humanities, which are decentring our ears from a narrow human exceptionalism? And how might the sonic constructs of other species be understood, in both the affective and ethical immediacies of contemporary environments, and in ways which critically revisit birds’ long entanglements with our own histories of listening, sounding, and recording media? This panel foregrounds the creative practices of contemporary musicians and sonic artists who are (re)turning to birds, approaching them variously as sonic agents, inhabitants of complex ecologies, and active collaborators, and encouraging more-than-human-centred perspectives on our own relationships to them as co-inhabitants in shared worlds. Within the post- natural ecologies of Australia and Aotearoa/New Zealand, we find that birds provide a special opportunity to map this connection, as our lives are already so entangled with them. We explore this set of questions through our experiences of, and engagement with, composition and performance in combination with sonic field work, archival research, field recordings and bioacoustics, sound/scape studies, zoömusicology, ecology, ethology and other creature-ologies, drawing these practices and discourses into conversation with the birds themselves.

HOLLIS TAYLOR MACQUARIE UNIVERSITY AUSTRALIAN BIRDSONG TRANSCRIPTION, (RE)COMPOSITION, PERFORMANCE: A FEEDBACK LOOP

Inspiration may visit composers, but more often they must chase it down. In such pursuits, we see a longstanding penchant for appropriating avian vocalisations. Birdsong can provide more than composerly stimulation; it also has currency in key arenas of analytical practice. In my sonic explorations, I engage with Australian pied butcherbird song, the consequence of millions of years of culture. Supplemented by audio clips, this paper demonstrates how their nocturnal solo songs link to the human capacity for music by following my creative practice in the stages of transcription, (re)composition, and performance. Rather than a linear progression, my approach manifests as a feedback loop where each activity is in conversation with and enhances the other. Since I do not set out to improve on pied butcherbird songs but rather to celebrate and commend them, it is key that my (re)compositions closely adhere to the musical achievements of these feathered choristers. I detail how I transcribe birdsong, how it drives my compositional decisions, and how the

124 performances of it by me and others in the concert hall make the sonic constructs of another species available to human audiences.

Violinist/composer, zoömusicologist, and ornithologist Hollis Taylor is an ARC Future Fellow at Macquarie University. She previously held research fellowships at the Institute for Advanced Study in Berlin, the Museum of Natural History in Paris, and the University of Technology Sydney. Supported by a grant from the Australia Council for the Arts, her concerto for recorder virtuoso Genevieve Lacey premiered with the Adelaide Symphony in 2017 and was performed by the London Sinfonia in 2019. Her double CD, Absolute Bird, and monograph, Is Birdsong Music?, were released in 2017. Her practice also takes in sound and radiophonic arts.

ELEANOR BRIMBLECOMBE MACQUARIE UNIVERSITY UNDERSTANDING CLIMATE CHANGE THROUGH THE MUSICAL APPROPRIATION OF AUSTRALIAN BIRDSONGS

My creative practice challenges the notion that music is a uniquely human arena. Listening to the music of birdsong is an invitation to become part of nature for a moment. To a human audience, birdsong not only represents notions of magic, serenity, freedom and beauty, but also concepts of natural life, habitat, culture, communication, ecosystems, and biodiversity. These habitats and natural environments are under threat from a range of issues imposed upon them by humans, including climate change - a cultural problem that has proved difficult for humans to fully comprehend. In this paper I detail my creative process of transcribing bird songs and calls from recordings, and how I incorporate these transcriptions into affective instrumental music that has been informed by acoustic ecology and research on the impact of environmental threats on birds and wildlife in Australia. Music and art have the ability to transport audiences and allow them to engage with challenging concepts, and therefore musicians and artists have been called upon to use their skills to connect with audiences, address climate change, and create a cultural difference.

Eleanor Brimblecombe is an Australian composer and researcher at Macquarie University. She completed her Bachelor of Music with Honours Class I (University of Queensland). Her music has international reach, with performances and offers for publication in Europe, the USA, and Australia. Her electronic soundtrack premiered at Woodford Folk Festival, and her marimba quartet Phycodurus Eques was performed by Heartland Marimba on their US tour. Scheduled 2020 performances include Sunrise at New Year’s Day (Queensland Youth Orchestra’s Wind Symphony) and Magpie Lark (Queensland Wind Orchestra). Brimblecombe derives creative inspiration from insects and birds, and through immersing herself in the natural environment.

SALLY ANN MCINTYRE MACQUARIE UNIVERSITY HUIA TRANSCRIPTIONS: LISTENING BEYOND THE EXTINCT SOUND ARCHIVE

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In this paper I focus on a series of creative works which draw on historical musical notations and written descriptions of the song of the huia (Heteralocha acutirostris), an endemic New Zealand wattlebird of the ancient family Callaeidae, which was driven to extinction at the turn of the 20th Century. The few musical notations of the Huia that exist date from this time, and are preserved as brief - yet retrospectively poignant - details within descriptive passages in accounts by ornithologists and museologists, but are themselves sourced from the more vernacular field listening of those who once lived with the bird. These are not the sounds of the bird itself, but cultural texts: colonial folk notations transcribed directly in the field by anonymous surveyors, or musical interpretations derived from observations of the vocalisations used in the forest by Maori to attract and capture this most sacred of birds. The notations perhaps reveal a hidden history of familiarity, an insight into a world in which the huia was not yet a tragic symbol of loss and extinction, but an everyday forest bird whose pleasant calls might have been whistled absent-mindedly while walking down a bush track. Through harnessing these notations within new works made with obsolete 19th and early 20th media forms, I suggest that creative practice attuned to the archival trace can bring lost histories of listening back into focus, and, in inserting such uncanny and speculative forms of environmental witnessing back into the historic record, enact fragile and fleeting reconstructions which remind the archive that its own memory, too, is full of blanks and erasures.

Sally Ann McIntyre is an Australian-New Zealand experimental sound and radio artist and writer, who lectures at Deakin University, and is currently a postgraduate researcher working on topics in ecological sonic histories at Macquarie University. Working in the space between radio transmission and sound recording technologies, she conducts archival and field research around repressed, erased, lost and forgotten sonic narratives, seeking the environmental poetics of the half-remembered, the missing and unavailable. She has recently been a Creative Fellow at State Library Victoria and an artist in residence at the School of Art at the University of Tasmania, and presented within the visiting artist programmes at CRiSAP (London College of Communication), SARU (Oxford Brookes University), and the School of the Art Institute of Chicago. Her audio work has been released on the labels Consumer Waste, Gruenrekorder, Winds Measure, and/Oar and Flaming Pines. Exhibitions include Das Grosse Rauchen: the Metamorphosis of Radio, (Halle, Germany) Nature Reserves (London, UK), and Ghost Biologies (Hobart, Aust).

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PRESENTER INDEX

Abouhamad, Anthony ...... 26 Hall, Tess ...... 83 Asaasira, Anita ...... 27 Harris, Amanda ...... 123 Atkins, Chelsy ...... 102 Hedt, Alex ...... 54 Barclay, Leah ...... 28 Henry, James ...... 55 Barnes, Ash ...... 56 Hillier, Benjamin ...... 56 Barwick, Linda ...... 123 Hodgetts, Jesse ...... 57 Beetson, Bianca ...... 28 Hooper, Michael ...... 58 Bracknell, Clint ...... 29 Hope, Cat ...... 59 Brimblecombe, Eleanor ...... 125 Howard, James ...... 61 Brown, Reuben ...... 79 Howell, Gillian ...... 62 Buder Gallagher, Nessyah ...... 30 Huebner, Sharon...... 123 Bukenya, Ronnie ...... 27 Ingraham, Mary ...... 63 Busuulwa, Brian ...... 27 Ingram, Catherine ...... 64 Caldwell, Holly ...... 31 Juk, Joloma...... 65 Callaghan, Andrew...... 32 Kan, Tzutu ...... 65 Cameron, Liz ...... 33 Kartomi, Margaret ...... 66 Campbell, Genevieve ...... 34 Kasztelan Chapman, Helen ...... 67 Campbell, Peter...... 35 Kato, Koichi ...... 68 Catanach, Alison ...... 36 Keogh, Brent ...... 69 Chacom, Juan ...... 65 Kertesz, Elizabeth ...... 70 Chapman, Ross ...... 37 Kiernan, Frederic ...... 71 Chen, Daizhimei ...... 38 Kirby, Sarah ...... 72 Chilkatufe ...... 89 Kouvaras, Linda ...... 73 Clarkson, Timothy ...... 39 Larkin, David ...... 74 Collins, Denis ...... 40 Laue, Thomas ...... 75 Corn, Aaron ...... 110 Laughlin, Thalia ...... 76 Crooke, Alexander Hew Dale ...... 41 Lincoln-Hyde, Ellan ...... 77 Crowfoot, Bert...... 63 Maddox, Alan...... 78 Cruz, Pedro ...... 65 Mamour, Mary ...... 64 Curkpatrick, Sam ...... 42 Manmurulu, David ...... 79 Curran, Georgia ...... 43 Manmurulu, Jenny ...... 79 Dass, Jesse ...... 44 Manmurulu, Renfred ...... 79 Davey, Natalie ...... 62 Manmurulu, Rupert ...... 79 Davidson, Jane ...... 41, 49, 71 Matovu, Lawrence ...... 27 Dennett, Jacinta ...... 45 Matthews, Erin ...... 80 Devenish, Louise...... 46, 59 Matthias, Philip ...... 81 Echevarria, Rafael ...... 47 McCormick, Cameron ...... 82 Edwards-FitzSimons, Niall ...... 48 McFerran, Katrina ...... 83 English, Helen ...... 49 McIntyre, Sally Ann ...... 125 Fitzgerald, Jonathan ...... 50 McPherson, Megan ...... 92 Foster, Shannon ...... 123 Meppe- XE "Whaleboat, Toby" Sailor, Fraser, Trisnasari ...... 41 Marshal ...... 81 Freer, Nicholas ...... 51 Merklinger, Tom...... 63 Gibson, Cassandra ...... 52 Migadde, Aloysius ...... 27 Gray, Jack ...... 123 Mollenhauer, Jeanette ...... 84 Green, Christina ...... 53 Murphy, Jacqueline Shea ...... 123 Guilford, Jenny ...... 77 Murphy, Kerry ...... 85

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Murray, Ken ...... 86 Sengooba, Julius ...... 27 Nangala Gallagher, Enid ...... 33 Shon, Stephanie ...... 105 Nangala Granites, Ida ...... 91 Silva, Meena de ...... 106 Nangala Sampson, Pamela ...... 91 Simas, Rosy ...... 123 Nangamu, Solomon ...... 79 Simpson, Nardi ...... 123 Nannyonga-Tamusuza, Sylvia Antonia . 87 Skinner, Anthea ...... 83 Napanangka Granites, Alice ...... 91 Spracklan-Holl, Hannah ...... 107 Napanangka Williams, Audrey ...... 91 Stockigt, Jan ...... 108 Napier, John ...... 88 Stove, Robert James ...... 109 Newen, Jaas ...... 89 Swijghuisen Reigersberg, Muriel ...... 110 Nungarraui Granites, Lorraine ...... 33 Szczepanski, Joanna ...... 121 Nungarrayi Granites, Lorraine ...... 91 Szuster, Jula ...... 111 O'Keeffe, Isabel...... 79 Taylor, Gretel ...... 33 Onus, Tiriki ...... 92, 123 Taylor, Hollis ...... 124 Ormond-Parker, Lyndon ...... 123 Thompson, Grace ...... 83 Orzech, Rachel ...... 93 Tiwi Strong Women's Group ...... 34 Parsons, John...... 81 Townsend, Emma ...... 112 Parsons, Victoria ...... 94 Treloyn, Sally ...... 92 Plesch, Melanie ...... 95 Troy, Jakelin ...... 123 Poi, Brigette de ...... 96 Turner, Gemma ...... 113 Poll, Matt ...... 123 Turvey, Gemma ...... 114 Puac, Ludwin ...... 65 Vargas, Marisol ...... 115 Quiaqain, Santos ...... 65 Walker, Sally ...... 116 Rann, Thomas ...... 97 Whaleboat, Toby...... 81 Richards, Rosemary ...... 98 Whiteoak, John ...... 117 Ricketson, Damian ...... 99 Wilfred, Daniel ...... 42 Ridder, Khalida de ...... 100 Williams, Natalie...... 118 Rodriguez, Danilo ...... 65 Windleburn, Maurice ...... 119 Roycroft, Madeline...... 85, 101 Winmar, Roma Yibiyung ...... 29 Ryan Cruse, Robin ...... 102 Woodland, Sarah ...... 28 Ryan, Trevor ...... 29 Wyatt, Aaron ...... 59 Saunders, Vicki...... 28 Yapp, Francis ...... 121 Scott-Maxwell, Aline ...... 103 Yeoh, Calista ...... 43 Selleck, Johanna ...... 104

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