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THROUGH the LOOKING GLASS' 6-9 December 2018 Western Australian Academy of Performing Arts Edith Cowan University, Perth, Western Australia

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THROUGH the LOOKING GLASS' 6-9 December 2018 Western Australian Academy of Performing Arts Edith Cowan University, Perth, Western Australia 1 'THROUGH THE LOOKING GLASS' 6-9 December 2018 Western Australian Academy of Performing Arts Edith Cowan University, Perth, Western Australia The 41st Musicological Society of Australia (MSA) National Conference is held in conjunction with the 17th Symposium on Indigenous Music and Dance (SIMD) and the Australasian Computer Music Conference (ACMC). Conference Convenor: Jonathan Paget MSA Convenor: Jonathan Paget SIMD Convenors: Aaron Corn and Clint Bracknell ACMC Convenor: Lindsay Vickery Conference Committee: Helen Rusak (treasurer), Stewart Smith, Nicholas Bannan, Victoria Rogers, Sarah Collins, Cecilia Sun, and Paul Hopwood. ACMC Conference Paper Jury: Jim Barbour, Andrew Brown, Warren Burt, Erik Griswold, Cat Hope, Donna Hewitt, David Hirst, Stuart James, David Kim-Boyle, Charles Martin, Jos Mulder, Robert Sazdov, Diana Siwiak, Ryan Ross Smith, Ian Stevenson, Vanessa Tomlinson, Lindsay Vickery, Ian Whalley. ACMC Music Jury: Andrew Brown, Warren Burt, Louise Devenish, Erik Griswold, Donna Hewitt, David Hirst, Cat Hope, Stuart James, David Kim-Boyle, Charles Martin, Jos Mulder, Robert Sazdov, Ryan Ross Smith, Ian Stevenson, Vanessa Tomlinson, Lindsay Vickery and Ian Whalley. Program Book: Jonathan Paget (layout and editing), Victoria Rogers (editing), Emma Jayakumar (layout), Kathy Wheatley (cover design, “Through the Looking Glass’ illustration by John Tenniel, 1871; photographs copyright to the Western Australian Academy of Performing Arts ). Many thanks to the support of WAAPA staff, particular Sally Hyslop (accommodation, catering, conference bags, and more), Tim Landauer (venue support), Stuart James (website and concerts technical support) and many others. Thanks to the support of the MSA executive, particular Stephanie Rocke, for her hard work behind the scenes on the MSA website and registration portal, among other things. Thanks also to our many student conference volunteers. All abstracts have been peer-reviewed. Edith Cowan University acknowledges and respects the Noongar people, who are the traditional custodians of the land upon which its campuses stand and its programs operate. In particular ECU pays its respects to the Noongar Elders, past and present, and embraces their culture, wisdom and knowledge. 2 CONTENTS I. WELCOME 4 II. CONFERENCE THEME 5 III. KEYNOTE SPEAKERS 14 IV. PANELS AND ROUNDTABLES 19 V. PRESENTER ABSTRACTS 35 VI. PLENARY CONCERTS 100 VII. CREATIVE WORKS: ACMC 113 VIII. CONFERENCE INFORMATION 124 3 I. WELCOME On behalf of the Western Australian Chapter of the Musicological Society of Australia (MSA), and the Western Australian Academy of Performing Arts (WAAPA), Edith Cowan University, I am delighted to welcome conference delegates to Perth. On behalf of Edith Cowan University, I also acknowledge and respect the Noongar people, who are the traditional custodians of the land upon which this campus stands. ECU pays its respects to the Noongar Elders, past and present, and embraces their culture, wisdom, and knowledge. The national conference of the MSA is the most important annual music research conference in Australia. This conference not only represents the 41st Musicological Society of Australia (MSA) National Conference, but also the amalgamation of this event with the 17th Symposium on Indigenous Music and Dance (SIMD) and the Australasian Computer Music Conference (ACMC)—the annual conference of the Australasian Computer Music Association. Together, this has created one of the largest music research conferences ever held in Australia. This conference is also significant for Indigenous music research in Western Australia. The appointment of Associate Professor Clint Bracknell to Edith Cowan University (jointly at Kurrongkurl Katijin, Centre for Indigenous Education and Research at ECU, and the Western Australian Academy of Performing Arts) represents ECU’s first engagement with ethnomusicology, and is of vital importance to the preservation of Noongar music and culture. I am also thrilled to be welcoming so many Indigenous music researchers, as well as a great many Indigenous community research collaborators from around Australia, including the Pilbara, the Kimberley, Arnhem Land, Albany, and regional New South Wales, to name a few. This event is also especially significant for WAAPA as this is the first time that we have hosted an MSA national conference. Over the last several decades, WAAPA has significantly grown its research profile and research training programs in music, with emerging research strengths including music composition, early keyboard, Jazz and contemporary music, and practice-led research. The Western Australian Academy of Performing Arts is also unique within Australia in covering the broadest spectrum of performing arts disciplines—ranging from music (classical, jazz, contemporary, opera, composition) to music theatre, acting, performance, dance, production and design, arts management, and more. We have created a rich and stimulating research environment, where the brightest and most talented aspire to make a difference in their respective fields of artistic endeavour. I also wish to express my thanks to Professor Julie Warn, Executive Dean of the Western Australian Academy of Performing Arts, for her support in hosting this event. My thanks also to the Office of Research and Innovation, and particularly Professor Margaret Jones, and the Deputy Vice Chancellor Research, Professor Caroline Finch, for their generous financial support, which enabled us to bring to Perth such fantastic international keynotes. Finally, my special thanks to the conference committee for all their hard work behind the scenes, including colleagues at the University of Western Australia Conservatorium of Music. This conference has been a labour of love, and a collaborative effort. Finally, my thanks to the delegates for your engagement with the conference. I very much look forward to seeing some of the fantastic papers, to engaging in positive academic discourse, to networking with colleagues, and making new friends. Kind regards Jonathan Paget Conference Convenor A/Prof Jonathan Paget | Associate Dean (Research) President, WA Chapter,Musicological Society Western Australian Academy of Performing Arts | Edith Cowan University of Australia 4 II. CONFERENCE THEME A. The Theme of the Musicological Society of Australia (MSA) National Conference The function of art has been considered a kind of mirroring, wherein art reflects the world (imitation for Aristotle; and a mirror revealing the world's virtues and flaws for Donatus, Cicero, and Hamlet). But like the various types of glass, music (or musicology) can reflect, colour, or distort meaning in a variety of ways. As suggested by the author of Corinthians, our perception can be clouded, such that we see as through a glass darkly. And sometimes, like Alice's fantastical wonderland, music not only holds up a mirror to society, but also reveals something magical. Delegates to the 2018 MSA National Conference are invited to consider how the theme of through the looking glass might apply to music and/or musicology. In what ways can music embed a deeper meaning hidden below the mirrored surface? To what extent do musicological paradigms reveal or distort our perceptions of music and its significations? Topics related to this theme might include: • Music reflecting lived experience; • Music reflecting and/or subverting contemporaneous culture/s or politics; • Explorations of subjectivities and potential distortions inherent within musicological or analytical paradigms; • Investigations of the conjectural nature of musicological knowledge (from HIP studies, to artistic research in music, or other specialised areas); • Post-modern deconstructions or 'readings' of musical works; • Considerations of the mysterious nature of music's power or its social functions, including ethnomusicological studies; • The darkness of colonial histories; • Eco-musicology, music mirroring nature (or vice versa). B. The Theme of the 17th Symposium on Indigenous Music and Dance (SIMD) Reflecting this conference's overarching theme, the Symposium invited proposals for presentations that would explore mystery and power in Aboriginal and Torres Strait Islander song. While Indigenous song is frequently described as powerful, the nature of this power can be elusive and unquantifiable. Today, many songs themselves are elusive and unable to be heard beyond archival recordings, if at all. In this context, presentations were invited to address broad questions including: • Is mystery integral to a song's power and, if so, how? • As song traditions become increasingly endangered, do songs become more or less powerful? • With few records or singers, how much can we really know about critically-endangered song traditions? • How can we, as individuals and communities involved in music revitalisation, be sure that we are engaging appropriately with old songs that may hold unknown power? • How can technology be leveraged to support the maintenance of mystery in Aboriginal and Torres Strait Islander songs? C. The Theme of the Australasian Computer Music Conference (ACMC) The Conference of the Australasian Computer Music Association is holding its annual conference in conjunction with the 41st MSA Conference 6-9 December 2018 at the Western Australian Academy of Performing Arts, Edith Cowan University. The Association invited composers/sound artists, performers, academics, engineers, and technologists to present research and creative works on all aspects of electronic music, but especially
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