DOCSLIB.ORG

Monash's Public Sector Management Institute Gets A$1.5M Boost

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Monash's Public Sector Management Institute Gets A$1.5M Boost • Monash's Public Sector ~~ Management Institute gets a$1.5m boost ~ The Federal Government has granted the university 51.S million over the next two and a half years towards expanding tbe recently-eslablished Public. AMAGAZINE FORTHE UNIVERSITY Sector Management Institute witbin tbe Graduate School of Management. Registered by Australia Post - publication No. VBG0435 The grant, announced by the Minister the Minister for Transport and Com­ NUMBER 4-88 JUNE 8, 1988 for Employment, Education and Train­ munications. Senator Gareth Evans. ing, Mr John Dawkins, represents the Professor Chris Selby·Smith will be lion's share of $1.8 million set aside in responsible for health policy and the last budget as the National Public management, and the chairman of the Sector Management Study Fund. Economics department, Professor John Gun lobby's aim: "To According to its director, Professor Head, for tax and expenditure Allan Fels, the primary thrust of the new administration. He will co-operate in the institute will be research, but it wiD also area of tax. law with Professor Yuri involve itself in teaching non-degree Grbich. a former Monash academic, intimidate government courses, providing in-service training for now at the University of New South public sector managers and carrying out Wales Law School. contract research for Australian and The position of Professor of Public foreign governments and private sector Sector Management, concerned with in the frontier society" organisations. effectiveness and efficiency in the public In addition to the successful tender to service, has been advertised. It is ex­ Australian sbooten are travelling down a well"trodden American road, says noted the Commonwealth, the institute has pected that an appointment will be made lua coatrol lobbyist, Joba Crook, la b1s Master of Arts tbesls. also drawn support from the Victorian early in 1989. Like American shooters before them, Prior to the introduction of new laws Government, which has agreed to con­ A large proportion of the money pro­ they have become influential in the at the end of 1972, the Sporting tribute $500,000 over five years to mised to the new institute will be used on shaping of government legislation, and Shooters Association brought out from enable the appointment of a Professor a seeding basis. There is no government recent scenes of shooters demonstrating the UK a former Yorkshire policeman of Public Sector Management. commitment necessarily to continue or in Australian cities could be a sign of who had written a book which disputed "The fact that there was such strong renew funding. things to come. the efficacy of gun control laws. state government support greatly Professor Fels said: uIt is hoped that .. Australians will indeed have to assisted Monash's application to the several parts of the institute'S activities watch out, because there are similarities Federal government. An earlier grant of will be self-funding by the time the between the Australian and the $60,000 a year for two years from the money runs out. There will be some American experience. We were, and to Vice-Chancellor's Academic Develop­ areas, however, where the university will some extent still are, a frontier society." ment Fund, and further support from have to seek renewed funding." said Mr Crook in an interview with I the Dean of Economics and Politics also Uln the past. there has been a dearth Monash Reporter. V gave credibility to our plans," Professor of research into public sector manage­ His thesis, The Development and In­ Fels said. ment by universities. Schools of public fluence oj the Australian and American He said that the institute eventually administration and management have Gun Lobbies I has been accepted, and he would comprise between 20 and 25 tended to downplay the part that effi· already has a working title for the Ph.D academics. This would mean the eient management practices can play in thesis he hopes to begin next year: appointment of about 15 academics achieving government policies. Shooting: The Twentieth Century within the next six months. "In fact. various schools of manage­ Religion. The institute will focus on four main ment have emphasised the private sector "Australia is a melting pot, like areas of study, each headed by a pro­ at the expense of the public sector. America," he says. "We are both, in a fessor. Professor Henry Ergas has been u A key feature of the Monash sense, new cultures with a strong out­ appointed to develop studies of com­ development is that the new institute will door sporting section. munications, especially telecommunica­ be linked with the Graduate School of •• And even though shooters are in the tions. Already. he has been active as a Management, and not hived off into a minority. as we saw in the recent gun member of the government working par­ separate school, cut off from main­ lobby marches, they're prepared to in­ ty which recently reported on the future stream developments . in management timidate state governments." • John Crook of the telecommunications industry to research and funding." While the Victorian gun lobby might His timely appearance legitimised the appear to be a political newcomer. it has stand of the association, says Me Crook. been influencing successive governments When the new laws were introduced by since the late 1950s. Sir Rupert Hamer's government on I January 1973, the restrictions on high­ Former Victorian Premier. Sir Henry powered rifles which had been in place Bolte. a farmer and keen shotgun since 1958, were removed. shooter I presided over the first post-war •'The thing that I discovered was that firearm Act in the state in 1958, Mr intelligent and sophisticated politicians Crook said. became absolutely childish when faced Under the Act, which placed some with the gun lobby." constraints on rifles. 90 per cent of a In 1978, Mr Crook founded Aus· shooter's licence was put into a wildlife tralia's first gun cODtrol organisatioD: fund earmarked for 'research and the Council for Control of Gun Misuse. development' of wildlife reserves - pro­ More recently, he helped form tbe Vic­ jects that included buying back swamps torian Coalition for Gun Control in the from local municipalities for the use of wake of the Hoddle Street killings. duck shooters. However, after eight months of being However. this cosy arrangement constantly frustrated by the coalition's which benefited the shooting fraternity lack of political will, Mr Crook was not considered unusual at the time. established Qun Control Australia' in "The traditional way of thinking was early May and became its founding that the sporting shooter knew every· chairman. thing about ducks. Therefore he was the The new lobby group maintains that it. best one to go to about conservation is essential that gun control is taken out issues because he was interested in the of the political process and placed in the future of his sport. hands of an independent authority "Ifyou go back to those times, politi· which would oversee the issuing of cians didn't think that anybody but the shooters' licences. police and the gun clubs should be con· • Continued page 2 suited on gun laws." In the legal limelight ) The Springvale Legal Service was in the news last month with a contro­ versial visit by the Prime Minister, Mr Hawke, and an official opening by the Victorian Premier, Mr Cain. Mr Hawke chose the service's new the services came from a non-English premises at 5 Osborne Avenue for the speaking background, and with the help launching of the Federal Government's of translators they were able to make Social Justice report. He was greeted by more sense of life in a new country, Mr demonstrators - mainly women and Cain said. children - who drowned out the last of his speech and ensured television news * * * coverage. The Springvale Community Aid and The opening of the building was a Advice Bureau was established in an old more congenial affair. Mr Cain describ­ house at 5 Osborne Avenue in late 1970 ed the Legal Service and its co-tenant. and opened for business in July 1971. the Springvale Community Aid and Ad­ Legal "referral" sessions. started in vice Bureau. as "state-of-the-art" 1972 by Monash Law students, council models for the provision of community and bureau staff. laid the foundations • AbcMt. Mr Hawke k...,. speaking above the uproar. Below. Legal service staff. from left, services. of the Springvale Legal Service. Susanne liden, Susan Miller and (standing) co-ordinator, Adrian Evans, pfctured in the new Over the next 15 years, the bureau and offices with Mr Julian Gardner, director of Legal Aid at the Legal Aid CommiSSion of He commended those who had started Victoria. Photos - Richard Crompton. legal services in Victoria - at Spring­ the legal service grew rapidly and vale. Fitzroy and Heidelberg. developed a wide range of community • "They were not flavor-of-the-month services with local. state and federal in the early 19705, but some of you saw government funding. The two services the need and followed through," he complement each other and are widely said. acknowledged as leaders in their respec­ "Citizens' advice and legal services tive fields in Australia. have grown in number and importance The Legal Service staff come from the around Victoria. Legal Aid Commission of Victoria and "Such services give people more con~ Monash University. About 60 law trol over their lives - guiding them students work at the centre each year. through a bureaucratic maze, helping helping to provide legal advice. referral them to rectify an injustice or discover~ and casework services to several thou­ ing that they are entitled to some form sand clients.
Load more

Recommended publications
  • Forbidden Colours
    476 3220 GERARD BROPHY forbidden colours TASMANIAN SYMPHONY ORCHESTRA Almost every Australian composer born literature, made Sculthorpe (vernacular) and between the end of the First World War and the Meale (international) obvious first generation end of the baby-boomer generation owes even leaders. The upheavals of 1968, and the social their most modest reputation to a half-truth: that revolution that followed in their wake, helped it was only in the early 1960s that our post- convince their students that their Australian colonial music culture caught up with the world identity should derive from looking both inward and produced its first distinctive national school and outward. But to Brophy in the next Gerard Brophy b. 1953 of composers. In press columns, and in his generation, the first to grow up in a multicultural 1967 book Australia’s Music: Themes of a New globalising environment, such a self-conscious 1 The Republic of Dreams 8’32 Society, Roger Covell gave culturally literate pursuit of Australianness came to seem not only Genevieve Lang harp, Philip South darabukka Australians their first reliable list of composers creatively irrelevant, but a failure of imagination. worth following, most of them contemporary. For Brophy, what would once have been Mantras [14’36] And what Donald Peart dubbed ‘The Australian described as a ‘cosmopolitan’ outlook comes 2 Mantra I 3’42 Avant-garde’ owed as much to frustrations of naturally to a contemporary Australian artist. 3 Mantra II 3’10 journalists, academics and conductors with the 4 Mantra III 7’44 deadening local cult of ‘musical cobwebs’ as it Born into an ‘ordinary Anglo-Irish family’ in did to the talents of the new movement’s Sydney’s eastern suburbs, Brophy grew up in 5 Maracatú 11’11 anointed leaders, Peter Sculthorpe, Richard country Coonamble.
    [Show full text]
  • Sydney Opera House Annual Report 2012-2013
    _2012/13 Sydney Opera House Annual Report Celebrating 40 years in 2013 2012/13 Contents 3 Letter to Minister 3 Our History 3 Who We Are 4 Our Mission 5 Elements of Our Strategy 5 Our Values 6 Highlights 7 Awards 8 Chairman’ s Message 10 CEO ’s Message 12 Element 1: Our Stakeholders 14 Element 2: The Building 16 Element 3: Performing Arts 16 Presenting Companies 20 The Opera House Presents 24 Element 4: Visitor Experience 26 Element 5: Our Business Agility 27 Organisation Chart 28 Corporate Governance 30 Trust Members 34 People and Culture 38 Financial Overview 41 Financial Statements 74 Government Reporting 97 Donor Acknowledgement 101 Contact Information 102 Index Cover Image 103 Corporate Partners Sydney Opera House opened in 1973 and celebrates its 40th Anniversary in the 2013 year. 3 Our History Who We Are _1957 _2004 Sydney Opera House is a global icon, the most internationally recognised symbol of Australia and one of the great buildings Jørn Utzon wins Sydney Utzon Room opened – of the world. Opera House design first venue at Sydney competition. Opera House designed We are committed to continuing the legacy of Utzon’s creative by Jørn Utzon. genius by creating, producing and presenting the most acclaimed, imaginative and engaging performing arts experiences from Australia _1959 Recording Studio and around the world: onsite, offsite and online. Work begins on opened. Stage 1 – building the We are one of the world’s busiest performing arts centres, with seven primary performance venues in use nearly every day of the foundations. _2005 year. In 2012/13, 1,895 live performances were enjoyed by more than National Heritage 1.37 million people.
    [Show full text]
  • A Study of Central Characters in Seven Operas from Australia 1988-1998 Anne Power University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1999 Voiced identity: a study of central characters in seven operas from Australia 1988-1998 Anne Power University of Wollongong Recommended Citation Power, Anne, Voiced identity: a study of central characters in seven operas from Australia 1988-1998, Doctor of Philosophy thesis, Faculty of Creative Arts, University of Wollongong, 1999. http://ro.uow.edu.au/theses/1761 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] VOICED IDENTITY: A STUDY OF CENTRAL CHARACTERS IN SEVEN OPERAS FROM AUSTRALIA 1988-1998 ANNE POWER A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy July 1999 Faculty of Creative Arts University of Wollongong II ABSTRACT Composers of Australian operas, in the decade from 1988 to 1998, have responded to social and political events through the medium of central characters. In each of the seven operas in the study, a character becomes the signifier of reflections on events and conditions that affect Australian society. The works selected are Andrew Schultz's Black River, Gillian Whitehead's The Bride of Fortune, Moya Henderson's Lindy - The Trial Scene, Richard Mills' Summer of the Seventeenth Doll, Alan John's The Eighth Wonder, Martin Wesley-Smith's Quito and Colin Bright's The Sinking of the Rainbow Warrior. These operas are studied in three groups to investigate issues that concern voices of women in the contemporary operatic genre, issues of cultural identity and issues of political protest.
    [Show full text]
  • Metamodern Composition: in Search of an Authentic Harmonic Language
    METAMODERN COMPOSITION: IN SEARCH OF AN AUTHENTIC HARMONIC LANGUAGE A. D. K. VOLTZ A thesis submitted in partial fulfilment of the requirements for the degree of Bachelor of Music with Honours in Composition. School of Music, The University of Queensland October 2020 STATEMENT OF ORIGINALITY I understand the University’s rules and policies on referencing and avoiding plagiarism. This thesis is my own work and contains nothing submitted for assessment elsewhere or for another course, at The University of Queensland or any other institution. I have appropriately and fairly accredited the work of others that I have drawn on in the writing of this thesis. I have undertaken the online Academic Integrity Tutorial: (https://www.uq.edu.au/integrity/Login.aspx?ReturnUrl=%25252fintegrity). I have also remained within a 10% margin of the word count pertaining to the relevant content. Name of student: Alexander Donald Kenneth VOLTZ Student number: 44734895 Course code: MUSC4550 Signature of student: Date submitted: 12 October 2020 Time submitted: c. 11:00 Disciplinary action will be taken for students found signing a false statement regarding the above, or who are in breach of the UQ Policy and Procedure Library 3.60.04 Student Integrity and Misconduct 6 Guidelines for Students (http://ppl.app.uq.edu.au/content/3.60.04- student-integrity-and-misconduct#Policy). ii ABSTRACT In this paper I investigate how contemporary art music composers use harmonic language to achieve authentic musical personalities. I believe harmony has an important role to play in the evolution of contemporary art music. Through analysing a portfolio of my compositions, I provide insight into my harmonic techniques and biases.
    [Show full text]
  • Info About April 2017 Repertoire
    General Information About Australian Music Australian choral works with orchestra Given modern Australia’s British roots, it is no surprise that the Choral Society, or its heirs and assigns, survives as a major musical organisation in most capital cities. And as well as merely serving up a diet of Messiahs and Belshazzar’s Feasts, many have commissioned new works. Resident composers since Isaac Nathan, who arrived in 1841, have composed choral works of various kinds; Eugene Goossens’s The Apocalypse of 1954 out-Waltoned Walton but failed to set the world on fire. Subsequent choral-orchestral works have in the main tended to be in the oratorio tradition, often specifically for public ceremonial events, such as Barry Conyngham’s Antipodes for Victoria’s sesquicentennial celebrations in 1985, or Peter Sculthorpe’s Child of Australia for the national Bicentenary in 1988. Others, like Moya Henderson in her recent work based on the Anna Akhmatova ReQuiem, use the choral-orchestral forces to explore important humanitarian and political issues. We purchased our music from this the Australian Music Centre based in Sydney, Australia. http://www.australianmusiccentre.com.au/about The Australian Music Centre (AMC) is the national service organisation dedicated to the promotion and support of both the artform of music and the creators and performers of contemporary classical, improvised jazz, experimental music and sound art in Australia. The AMC’s aims are to increase the profile and sustainability of the sector and to facilitate the performance,
    [Show full text]
  • Pacific Alliance of Music Schools Pams Summit
    PACIFIC ALLIANCE OF MUSIC SCHOOLS PAMS SUMMIT <Balancing the Conventional and Progressive in Music Programs> APRIL 14TH – 17TH 2019 College of Music Seoul National University SEOUL, KOREA Summit Program Contents Summit Schedule 3 The Seoul Experience 5 Campus Map 6 Program Concerts & Showcase 8 Institutions and Delegates 10 Biographies 12 Delegate E-mail Directory & 27 SNU Executive Committee Summit Schedule Sunday, April 14th TIME ACTIVITY VENUE 17:30 Meet at HOAM Lobby & Move to Welcome Reception 18:00 Welcome Reception (Hosted by Soojeong Shin1) Move to HOAM (Bus) Monday, April 15th TIME ACTIVITY VENUE 09:00 Meet at HOAM Lobby & Move to Campus (Bus) 09:20 Refreshments Video in Commemoration of Isao Matsushita 09:30 Brief comments by Kazuki Sawa2 Yangduseok Hall Central Library 09:40 Presentation by SNU MUSIC Dean Sangjick Jun Discussion I: 10:10 Balancing the Conventional and Progressive in Music Programs 11:20 Move to Hoam (Bus) 11:30 Lunch Hoam Faculty House Discussion II: 14:00 Hoam Seminar Rooms Institutional Partnerships in a Global Era 15:45 Move to Campus (Bus) 16:00 Kyujanggak (Royal Library of the Joseon Dynasty) Tour 17:30 Dinner Rakgujeong 18:30 Move to Munhwagwan Attend Concert: 19:00 Munhwagwan Celebrating 60 years of the Department of Korean Music, SNU 20:30 Move to HOAM (Bus) 1 Former Dean of the College of Music and President of SNU Alumni Association 47-7 Bangbae-ro 32-gil, Seocho-gu, Seoul 2 President, Tokyo University of the Arts 3 Tuesday, April 16th TIME ACTIVITY VENUE 09:30 Meet at HOAM Lobby & Move to Campus (Bus) Discussion III: 10:00 Representing the Institution in the Region and Beyond Faculty Club 12:00 Lunch 13:00 Move to MoA (Museum of Art) (Bus) 13:30 MoA Tour with docent Attend Showcase: 14:00 MoA <Traditional and Progressive > I.
    [Show full text]
  • Open Content Licensing: Cultivating the Creative Commons
    Open Content Licensing: Cultivating the Creative Commons Principal Editor Professor Brian Fitzgerald Head of School of Law, Queensland University of Technology, Australia With the assistance of Jessica Coates and Suzanne Lewis Sydney Unversity Press Published in Sydney by Sydney University Press University of Sydney NSW 2006 AUSTRALIA Publication date: March 2007 The material in this publication is based on papers presented at the Open Content Licensing: Cultivating the Creative Commons conference held by the Queensland University of Technology (http://www.qut.edu.au) in Brisbane, Australia in January 2005. This publication is an output of the ARC Centre of Excellence for Creative Industries and Innovation (http://www.cci.edu.au), Queensland University of Technology. Unless otherwise stated, the law and services represented in these papers are discussed as they existed in February 2005. ISBN 10 1-920898-51-4 ISBN 13 978-1-920898-51-9 This work is licensed under an Australian Creative Commons Attribution- NonCommercial-NoDerivs 2.5 License available at http://creativecommons.org/licenses/by-nc-nd/2.5/au/. For more information contact Professor Brian Fitzgerald, Faculty of Law, Queensland University of Technology. List of Contributors Richard Neville Professor Arun Sharma Mark Fallu Professor Barry Conyngham AM Greg Lane Professor Brian Fitzgerald Nic Suzor Professor Lawrence Lessig Professor Richard Jones Professor Greg Hearn Professor John Quiggin Dr David Rooney Neeru Paharia Michael Lavarch Stuart Cunningham Dr Terry Cutler Damien O’Brien
    [Show full text]
  • Final Thesis
    Appendix – Compositions included in this study Date of Title Composer Ensemble Type Instrumentation Composition 1/01/1972322 Doubles for Wind Quartet Colin Brumby Quartet Flute, Oboe, Clarinet, Bassoon 1/01/1972 Pas De deux Malcolm Williamson Duo Clarinet, Piano 2/10/1972 Divertimento Raymond Hanson Wind Quintet Flute, Oboe, Clarinet, Alto Saxophone, Bassoon Horn 1/01/1973 Carrion Comfort Felix Werder Septet Voice (Treble), Flute, Oboe, Clarinet, French Horn, Percussion, Piano 1/01/1973 Chromatalea Haydn Reeder Quartet Flute/ Alto Flute, Clarinet (A)/ Bass Clarinet, Violin/ Viola, Violoncello 1/01/1973 Concert music for five solo Felix Werder Wind Quintet Flute, Oboe, Clarinet, Bassoon, French Horn instruments, op.60 1/01/1973 Portraits of my friends and others Eric Austin-Phillips Quintet Flute, Oboe, Clarinet, Bassoon, Piano 322 Works where only the year of composition has been able to be determined have been given the default date of 01/01/YEAR. The date of composition has been left blank for works that have been unable to be definitively dated at this time. 1/01/1973 Recollections of a Latvian song Ann Ghandar Quartet Flute, Oboe, Clarinet, Piano 1/01/1973 Scherzo Felix Gethen Trio Oboe (or Flute or Violin), Clarinet, Bassoon (or Violoncello) 1/01/1973 Waltz: three instruments in and out Richard Peter Maddox Trio Flute, Oboe, Clarinet of three-quarter time 1/05/1973 Shadows Theodore Dollarhide Wind Quintet Flute, Oboe, Clarinet, Bassoon, French Horn 20/06/1973 5 inventions Frederick Hill Duo Clarinet, Clarinet/ Bass Clarinet 4/09/1973
    [Show full text]
  • Summit 2018 Program April 3-6, 2018
    Summit 2018 Program April 3-6, 2018 Flora L. Thornton School of Music University of Southern California Los Angeles, California PAMS Summit 2018 2 PAMS Summit 2018 Summit Program Contents President Nikias Welcome 4 Dean Cutietta Welcome 5 Summit Schedule 6 The LA Experience 7 Campus Map 8 Summit Contact Info 10 Summit Transportation Options 11 Institutions and Delegates 12 Biographies 14 Delegate Email Directory 28 Notes 29 3 PAMS Summit 2018 4 PAMS Summit 2018 5 PAMS Summit 2018 Summit Schedule Tuesday, April 3rd 5:45pm Hosted Scenic Walk to Townhouse Radisson Hotel (Lobby) 6:00pm Welcome Reception Dean Cutietta Townhouse1 Wednesday, April 4th 10:00am Discussion Session I: Curricular Issues Popovich (JKP) 300 12:00pm Group Photograph Alumni House 12:15pm Lunch University Club (Patio) 2:00pm Discussion Session II: Interacting as Institutions Bovard Auditorium 4:15pm Scoring Program Dialog with Dan Carlin Cammilleri Hall 6:15pm Dinner El Cholo (Patio)2 Thursday, April 5th 10:00am Discussion Session IIIa: Curricular Issues Kaufman (KDC) 204 Discussion Session IIIb: International Representatives Doheny (DML) G24 12:15pm Lunch University Club (Patio) 2:00pm Discussion Session IV: Organizational Issues Tutor (RTH) 526 4:00pm Popular Music Program Dialog with Patrice Rushen Tutor (RTH) 526 5:15pm Fisher Museum of Art Fisher Museum of Art 6:00pm Dinner Fisher Museum of Art 8:00pm Popular Music Showcase Carson Center Friday, April 6th 9:30am Shuttle Departure for “LA Experience” Radisson Hotel Lobby 5:15pm Shuttle Return from “LA Experience”
    [Show full text]
  • 2014 Asia-Pacific Music Summit Program
    Association of Asia-Pacific Music Institutions The Inaugural Asia-Pacific Music Summit 2–5 APRIL 2014 SYDNEY, AUSTRALIA Cover illustration by Liz Steel, www.lizsteel.com Delegates and Institutions CIZHAO WANG Beijing Central Conservatory of Music (Co-host) KARL KRAMER Sydney Conservatorium of Music, University of Sydney (Co-host) ALLAN BADLEY Auckland School of Music, University of Auckland BARRY CONYNGHAM AM Melbourne Conservatorium of Music and Victorian College of the Arts, University of Melbourne ROBERT A. CUTIETTA Thornton School of Music, University of Southern California (USC) YOUNG KIM College of Music, Seoul National University BERNARD LANSKEY Yong Siew Toh Conservatory of Music, National University of Singapore JINNY LIU School of Music, Taipei National University of the Arts ISAO MATSUSHITA Faculty of Music, Tokyo University of the Arts DAVID H. STULL San Francisco Conservatory of Music ADRIAN WALTER AM Hong Kong Academy for Performing Arts SHUYA XU Shanghai Conservatory of Music Programme WEDNESDAY 2 APRIL TIME ACTIVITY VENUE Meet at Sir Stamford hotel, walk to Sydney Opera House for group Sir Stamford Circular Quay, 15:00 photograph. 93 Macquarie Street Opening Event Words of welcome from: – Dr Michael Spence, Vice-Chancellor and Principal, University of Sydney 16:00 Boardroom, Sydney Opera House – Rory Jeffes, Managing Director, Sydney Symphony Orchestra – Tony Grybowski, Chief Executive Officer, Australia Council for the Arts Delegates will give a 5 to 7 minute overview of their institution. 18:00 Walk to Café Sydney, Circular
    [Show full text]
  • 0Kign $Wvvgtng[ U 5Vtkpi 3Wctvgvu %Qorqukvkqpcn
    # ! " #$ % &''( Nigel (Henry) Butterley (b. 1935) is recognised as one of Australia’s foremost contemporary composers. His works span most compositional genres. By making a case for the value of sketch study in the process of musical analysis, the principal purpose of this thesis is to augment understanding of Butterley’s music and in particular, his compositional processes and procedures through the various stages of the genesis of a composition, from the sketch to final score. Butterley’s string quartets, composed between the years 1965 to 2001 provide the basis for this study; these works are contextualised and examined to illustrate his approach to composition in microcosm and also his individual style within the genre of string quartet writing. This study focuses on the examination of preliminary sketches, drafts and holographs, as well as the scores of the completed works. Initially, analysis is based on preliminary sketches; this will be augmented by a formal analysis of the completed works. Traditionally, formal analysis deals with the final product, something that has been created, and in a sense, views a work retrospectively. Sketch study, in contrast, examines the work as it is being created and is concerned with the attendant compositional issues and choices available to the composer and the processes followed as he or she creates the composition. The current work will identify significant common features in all the string quartets, and will trace Butterley’s compositional trajectory through these works demonstrating that individual characteristics of Butterley’s style, emergent as early as 1965, continued to be utilised in 1995 and remain present in the Bagatelle of 2001.
    [Show full text]
  • Historymusicdepartment1 1
    THE HARVARD UNIVERSITY DEPARTMENT OF MUSIC 1991 TO 2011 Compiled and Edited by Lesley Bannatyne 2015 John Knowles Paine Concert Hall. Photo by Shannon Cannavino. Cover photos by Kris Snibbe [Harvard News Office], HMFH Architects, Inc., Harvard College Libraries, Rose Lincoln [Harvard News Office] THE HARVARD UNIVERSITY DEPARTMENT OF MUSIC 1991 TO 2011 Compiled and Edited by Lesley Bannatyne Department of Music Harvard University Cambridge, Massachusetts 2015 Photographs in this volume were provided by the Department of Music unless otherwise noted. Articles are reprinted from the Department’s newsletters, Harvard Crimson and Harvard Gazette. © 2015 President and Fellows of Harvard University 2nd printing January 2017 All rights reserved. CONTENTS Preface vii Chapter One: The Chairs 1 Chapter Two: Undergraduate Studies 11 Chapter Three: Graduate Studies 23 Chapter Four: Musicology 33 Chapter Five: Ethnomusicology 51 Chapter Six: Theory 67 Chapter Seven: Composition 77 Chapter Eight: Performance 97 Chapter Nine: Conferences, Symposia, Colloquia, Lectures 111 Chapter Ten: Concert Highlights 119 Chapter Eleven: Eda Kuhn Loeb Music Library 127 Chapter Twelve: The Building 143 Appendices 151 Index 307 Music Department, 1992 Music Department picnic, late 1990s Appendices i. Music Department Faculty 151 ii. Biographical Sketches of Senior Professors, Lecturers & Preceptors 165 iii. Donors 175 iv. Teaching Fellows 179 v. Curriculum 183 vi. Fromm Commissions 207 vii. Recipients of the PhD degree 211 viii. Faculty Positions Held by Former Graduate Students 217 ix. Recipients of Department Awards and Fellowships 221 x Recipients of the AB degree and Honors Theses 227 xi. Visiting Committees 239 xii. Conferences, Colloquia, Symposia, Lectures 241 xiii. Concerts and Special Events 255 xiv.
    [Show full text]