Semester 2 – 2014
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Into the Mainstream Guide to the Moving Image Recordings from the Production of Into the Mainstream by Ned Lander, 1988
Descriptive Level Finding aid LANDER_N001 Collection title Into the Mainstream Guide to the moving image recordings from the production of Into the Mainstream by Ned Lander, 1988 Prepared 2015 by LW and IE, from audition sheets by JW Last updated November 19, 2015 ACCESS Availability of copies Digital viewing copies are available. Further information is available on the 'Ordering Collection Items' web page. Alternatively, contact the Access Unit by email to arrange an appointment to view the recordings or to order copies. Restrictions on viewing The collection is open for viewing on the AIATSIS premises. AIATSIS holds viewing copies and production materials. Contact AFI Distribution for copies and usage. Contact Ned Lander and Yothu Yindi for usage of production materials. Ned Lander has donated production materials from this film to AIATSIS as a Cultural Gift under the Taxation Incentives for the Arts Scheme. Restrictions on use The collection may only be copied or published with permission from AIATSIS. SCOPE AND CONTENT NOTE Date: 1988 Extent: 102 videocassettes (Betacam SP) (approximately 35 hrs.) : sd., col. (Moving Image 10 U-Matic tapes (Kodak EB950) (approximately 10 hrs.) : sd, col. components) 6 Betamax tapes (approximately 6 hrs.) : sd, col. 9 VHS tapes (approximately 9 hrs.) : sd, col. Production history Made as a one hour television documentary, 'Into the Mainstream' follows the Aboriginal band Yothu Yindi on its journey across America in 1988 with rock groups Midnight Oil and Graffiti Man (featuring John Trudell). Yothu Yindi is famed for drawing on the song-cycles of its Arnhem Land roots to create a mix of traditional Aboriginal music and rock and roll. -
Timeline: Music Evolved the Universe in 500 Songs
Timeline: Music Evolved the universe in 500 songs Year Name Artist Composer Album Genre 13.8 bya The Big Bang The Universe feat. John The Sound of the Big Unclassifiable Gleason Cramer Bang (WMAP) ~40,000 Nyangumarta Singing Male Nyangumarta Songs of Aboriginal World BC Singers Australia and Torres Strait ~40,000 Spontaneous Combustion Mark Atkins Dreamtime - Masters of World BC` the Didgeridoo ~5000 Thunder Drum Improvisation Drums of the World Traditional World Drums: African, World BC Samba, Taiko, Chinese and Middle Eastern Music ~5000 Pearls Dropping Onto The Jade Plate Anna Guo Chinese Traditional World BC Yang-Qin Music ~2800 HAt-a m rw nw tA sxmxt-ib aAt Peter Pringle World BC ~1400 Hurrian Hymn to Nikkal Tim Rayborn Qadim World BC ~128 BC First Delphic Hymn to Apollo Petros Tabouris The Hellenic Art of Music: World Music of Greek Antiquity ~0 AD Epitaph of Seikilos Petros Tabouris The Hellenic Art of Music: World Music of Greek Antiquity ~0 AD Magna Mater Synaulia Music from Ancient Classical Rome - Vol. 1 Wind Instruments ~ 30 AD Chahargan: Daramad-e Avval Arshad Tahmasbi Radif of Mirza Abdollah World ~??? Music for the Buma Dance Baka Pygmies Cameroon: Baka Pygmy World Music 100 The Overseer Solomon Siboni Ballads, Wedding Songs, World and Piyyutim of the Sephardic Jews of Tetuan and Tangier, Morocco Timeline: Music Evolved 2 500 AD Deep Singing Monk With Singing Bowl, Buddhist Monks of Maitri Spiritual Music of Tibet World Cymbals and Ganta Vihar Monastery ~500 AD Marilli (Yeji) Ghanian Traditional Ghana Ancient World Singers -
After Four Successful Editions
fter four successful editions the A concepts which inspired the creation of Ten Days on the Island in 2001 have well and truly proved themselves. With performances and works across the artistic spectrum drawn from island cultures around the world, including of course our own, Ten Days on the Island has become Tasmania’s premier cultural event and an event of national and international significance. Under the creative leadership of our Artistic Director, Elizabeth Walsh, I MY ISLAND HOME know that the 2009 event will take us to even greater heights. I would like to thank the Tasmanian Government, our corporate sponsors and Philos patrons, local government and the governments of countries around the world for their continuing support for Ten Days on the Island. They are making a very significant contribution to building and enriching our island culture. SIR GUY GREEN Chairman, Ten Days on the Island 1 he opening bash for 2009 will T centre on Constitution Dock. In addition to Junk Theory, there are free bands, the sounds of Groove Ganesh (see page 24), food stalls, roving entertainment and the first of the amazing Dance Halls will be held just up Macquarie Street in City Hall (see opposite). The CELEBRATE Tasmanian Museum & Art Gallery will be open late so you can see all the shows (see pages 4 & 34) with special performances by the Ruined piano man, Ross Bolleter in the café courtyard… Don’t miss it for quids! HOBART CONSTITUTION DOCK DAVEY STREET 27 MARCH FROM 7.30PM Supported by JUNK TASMANIA t dusk on opening night, in the heart of Hobart at Constitution Dock, a HOBART LAUNCESTON A traditional Chinese junk, the Suzy Wong, will drift by, her sails set and CONSTITUTION DOCK SEAPORT DAVEY STREET 4 & 5 APRIL FROM DUSK filled with moving imagery. -
Hop, Skip and Jump: Indigenous Australian Women Performing Within and Against Aboriginalism
JOURNAL OF RESEARCH ONLINE MusicA JOURNAL OF THE MUSIC COUNCIL OF AUSTRALIA Hop, Skip and Jump: Indigenous Australian Women Performing Within and Against Aboriginalism Introduction KATELYN BARNEY was in The University of Queensland library talking to one of the librarians, James, about my PhD research. He asked, ‘So, what are you researching again?’ and I replied, ‘Well, I’m working with Indigenous Australian1 women ■ Aboriginal and Torres Strait Iwho perform contemporary music, you know, popular music singers’. James Islander Studies Unit looked confused, ‘Oh, so are you going to interview that guy from the band The University of Queensland 2 Yothu Yindi ?’ This was not the first time I had been asked this and inwardly I Brisbane sighed and replied, ‘No, I’m just focusing my research on Indigenous Australian QLD 4072 women’. Streit-Warburton’s words immediately reverberated in my mind: ‘Ask Australia an Australian to name an Aboriginal singer and there is a fair chance that the answer will be Yothu Yindi’s Mandawuy Yunupingu. Ask again for the name of an Aboriginal woman singer and there is an overwhelming chance that the answer will be Deafening Silence. Deafening Silence is not the name of a singer; it is the pervasive response to most questions about Aboriginal women.’ (1993: 86). As Email: [email protected] I looked at James, I wondered if anything had really changed in more than 10 years. The account above highlights how Indigenous Australian women performers continue to be silenced in discussions and discourses about Indigenous Australian 3 www.jmro.org.au performance. -
My Island Home – Christine Anu (Original Lyrics by Neil Murray and Warumpi Band)
Lesson 1 Learning Intention: To listen to and appreciate music/song • Success Criteria: - my enjoyment of the song - my feelings towards the song In this lesson you are going to listen to and watch the music video My Island Home. https://safeYouTube.net/w/pWgr The song My Island Home was written and composed by Neil Murray (1986) for Warumpi Band singer George Burarrwanga. The song references the singer’s home on Elcho Island off the coast of Arnhem Land. My Island Home was then covered by Christine Anu in 1995 and performed at the closing ceremony of the 2000 Olympics in Sydney. R supervisor. Record your responses on an audio recording and return it to your teacher. • Do you like or dislike the song? • What do you like or dislike about the song? • How does the song make you feel? My Island Home Student and Supervisor 21 Booklet Miss Koeferl Reflect on My Island Home - Christine Anu It’s your turn to be a music critic! Think about: • the lyrics • the instruments • the tempo (pace) • any other musical features you noticed. What I liked What I disliked How it made me feel What did you think of the music video? Where would you film My Island Home? Draw your own visuals below: 2 Lesson 2 Learning Intention: To identify the structural parts of a song • I can recognise the verse Success Criteria: • I can recognise the chorus In this lesson, you will be exploring the structure of a song, mainly the verse and a chorus. A song is a musical composition that is made up of music and lyrics (the words) that are sung by a singer. -
Humanities Research Vol XIX. No. 2. 2013
Nations of Song Aaron Corn Eye-witness testimony is the lowest form of evidence. — Neil deGrasse Tyson, astrophysicist1 Poets are almost always wrong about facts. That’s because they are not really interested in facts: only in truth. — William C. Faulkner, writer2 Whether we evoke them willingly or whether they manifest in our minds unannounced, songs travel with us constantly, and frequently hold for us fluid, negotiated meanings that would mystify their composers. This article explores the varying degrees to which song, and music more generally, is accepted as a medium capable of bearing fact. If, as Merleau-Ponty postulated,3 external cultural expressions are but artefacts of our inner perceptions, which media do we reify and canonise as evidential records of our history? Which media do we entrust with that elusive commodity, truth? Could it possibly be carried by a song? To illustrate this argument, I will draw on my 15 years of experience in working artistically and intellectually with the Yolŋu people of north-east Arnhem Land in Australia’s remote north, who are among the many Indigenous peoples whose sovereignty in Australia predates the British occupation of 1788.4 As owners of song and dance traditions that formally document their law and are performed to conduct legal processes, the Yolŋu case has been a focus of prolonged political contestation over such nations of song, and also raises salient questions about perceived relations between music and knowledge within the academy, where meaning and evidence are conventionally rendered in text. This article was originally presented as a keynote address to the joint meeting of the Musicological Society of Australia and the New Zealand Musicological Society at the University of Otago in Dunedin, New Zealand, in December 2010. -
Indigenous Popular Music an Example of Cultural Vitality and a Curriculum Resource
S P E C I A L F E A T U R E Indigenous popular music An example of cultural vitality and a curriculum resource Dr. Karl Neuenfeldt Central Queensland University In Governor-General Bill Hayden’s 1996 Australia Indigenous popular music provides useful examples Day Address, he spoke pointedly and movingly of of cultural vitality in practice as education, as two things related to cultural vitality: a sense of empowerment and as entertainment (Davison and pride within indigenous communities; and, a sense Neuenfeldt 1996). These overlap and many of synthesis between indigenous and non- indigenous Australian musicians, groups and song indigenous Australians. His remarks still hold value writers (such as Archie Roach, Yothu Yindi and even in the present social and political climate in Kev Carmody) combine all three levels in their which there are serious challenges to the music. They present an indigenous musical voice acceptance of tolerance and diversity in Australian previously either absent or muted or cliched within society, and by extension, the education system. Australian society and education curricula. They are Australian examples of an international group Hayden said the processes of pride and synthesis of articulate indigenous spokespersons whose mode are taking place on several levels: the political, the of artistic expression is popular music and whose social and the cultural. The cultural level is work has impacted on how individuals, groups and addressed here, specifically how cultural vitality is even nations imagine themselves and use music to an integral element of indigenous affairs today and forge identity. how it impacts on the broader society through the education system. -
Land, Song, Constitution: Exploring Expressions of Ancestral Agency, Intercultural Diplomacy and Family Legacy in the Music of Yothu Yindi with Mandawuy Yunupiŋu1
Popular Music (2010) Volume 29/1. Copyright © Cambridge University Press 2010, pp. 81–102 doi:10.1017/S0261143009990390 Land, song, constitution: exploring expressions of ancestral agency, intercultural diplomacy and family legacy in the music of Yothu Yindi with Mandawuy Yunupiŋu1 AARON CORN Pacific & Regional Archive for Digital Sources in Endangered Cultures, F12 – Transient, The University of Sydney, NSW 2006, Australia E-mail: [email protected] Abstract Yothu Yindi stands as one of Australia’s most celebrated popular bands, and in the early 1990s became renowned worldwide for its innovative blend of rock and indigenous performance traditions. The band’s lead singer and composer, Mandawuy Yunupiŋu, was one of the first university-trained Yolŋu educators from remote Arnhem Land, and an influential exponent of bicultural education within local indigenous schools. This article draws on my comprehensive interview with Yunupiŋuforan opening keynote address to the Music and Social Justice Conference in Sydney on 28 September 2005. It offers new insights into the traditional values and local history of intercultural relations on the Gove Peninsula that shaped his outlook as a Yolŋu educator, and simultaneously informed his work through Yothu Yindi as an ambassador for indigenous cultural survival in Australia. It also demonstrates how Mandawuy’s personal history and his call for a constitutional treaty with indigen- ous Australians are further grounded in the inter-generational struggle for justice over the mining of their hereditary lands. The article’s ultimate goal is to identify traditional Yolŋu meanings in Yothu Yindi’s repertoire, and in doing so, generate new understanding of Yunupiŋu’s agency as a prominent intermediary of contemporary Yolŋu culture and intercultural politics. -
The Role of the National Recording Project for Indigenous Performance in Australia in Sustaining Indigenous Music and Dance Traditions
Now and in the Future: The Role of the National Recording Project for Indigenous Performance in Australia in Sustaining Indigenous Music and Dance Traditions AARON CORN Abstract: The article investigates the history of the National Recording Project for Indigenous Performance in Australia as a dedicated network of Indigenous performers, and allied scholars and curators, to protect and sustain Australia’s highly endangered traditions of Indigenous music, dance and ceremonies. It will examine how the National Recording Project has developed into an effective community of practice for the making and archiving of Indigenous Australian music and dance recordings in response to grassroots community agency and concerns, and how its annual Symposium on Indigenous Music and Dance has become one of Australia’s premier forums for intercultural exchange. Present challenges to the project’s growth are identified and opportunities explored. Résumé : Cet article étudie l’histoire du Projet national d’enregistrement pour la performance autochtone (National Recording Project for Indigenous Performance) en Australie en tant que réseau d’artistes autochtones, de chercheurs et de conservateurs associés dédié à la protection et au maintien de musiques, de danses et de cérémonies traditionnelles autochtones gravement menacées. L’article examine comment le Projet national d’enregistrement s’est développé et est devenu une communauté de pratique efficace pour la création et l’archivage d’enregistrements de musiques et de danses autochtones australiennes en étant à l’écoute des initiatives et des demandes locales, et comment son symposium annuel sur la musique et la danse autochtones est devenu l’un des principaux forums pour l’échange interculturel en Australie. -
Music Business and the Experience Economy the Australasian Case Music Business and the Experience Economy
Peter Tschmuck Philip L. Pearce Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Music Business and the Experience Economy . Peter Tschmuck • Philip L. Pearce • Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Editors Peter Tschmuck Philip L. Pearce Institute for Cultural Management and School of Business Cultural Studies James Cook University Townsville University of Music and Townsville, Queensland Performing Arts Vienna Australia Vienna, Austria Steven Campbell School of Creative Arts James Cook University Townsville Townsville, Queensland Australia ISBN 978-3-642-27897-6 ISBN 978-3-642-27898-3 (eBook) DOI 10.1007/978-3-642-27898-3 Springer Heidelberg New York Dordrecht London Library of Congress Control Number: 2013936544 # Springer-Verlag Berlin Heidelberg 2013 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Exempted from this legal reservation are brief excerpts in connection with reviews or scholarly analysis or material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’s location, in its current version, and permission for use must always be obtained from Springer. -
Rachel Laing Song List - Updated 28 02 2019
RACHEL LAING SONG LIST - UPDATED 28 02 2019 SONG TITLE ORIGINAL ARTIST VERSION (IF NOT ORIGINAL) 3AM MATCHBOX 20 100 YEARS FIVE FOR FIGHTING 500 MILES (I'M GONNA BE) THE PROCLAIMERS 93 MILLION MILES JASON MRAZ A HORSE WITH NO NAME AMERICA A THOUSAND MILES VANESSA CARLTON A THOUSAND YEARS CHRISTINA PERRI A WHITE SPORTS COAT MARTY ROBBINS ABOVE GROUND NORAH JONES ADORN MIGUEL ADVANCE AUSTRALIA FAIR NATIONAL ANTHEM AHEAD OF MYSELF JAMIE LAWSON AINT NO SUNSHINE BILL WITHERS ALIVE SIA ALL ABOUT THAT BASS MEGHAN TRAINOR ALL OF ME JOHN LEGEND ALL THE SMALL THINGS BLINK 182 ALL TIME LOW JOHN BELLION ANDY GRAMMER ALWAYS ON MY MIND ELVIS AM I EVER GONNA SEE YOUR FACE AGAIN THE ANGELS RACHEL LAING AM I NOT PRETTY ENOUGH KASEY CHAMBERS AM I WRONG NICO & VINZ AMAZING GRACE AND THE BOYS ANGUS & JULIA STONE ANGEL SARAH MCLAUGHLAN ANGELS ROBBIE WILLIAMS ANNIES SONG JOHN DENVER ANOTHER DAY IN PARADISE PHIL COLLINS APOLOGIZE ONE REPUBLIC APRIL SUN IN CUBA DRAGON ARE YOU GONNA BE MY GIRL JET ARE YOU OLD ENOUGH DRAGON ARMY OF TWO OLLY MURS AT LAST ETTA JAMES AULD LANG SYNE AUTUMN LEAVES NAT KING COLE EVA CASSIDY BABY CAN I HOLD YOU TRACEY CHAPMAN BACK TO DECEMBER TAYLOR SWIFT BAD MOON RISING CREEDENCE CLEARWATER REVIVAL BAIL ME OUT PETE MURRAY BASKET CASE SARA BARELLIS BE HERE TO LOVE ME NORAH JONES BE MY SOMEBODY NORAH JONES BEAUTIFUL IN MY EYES JOSHUA KADISON BESEME MUCHO BEST FRIENDS BRANDY BETTE DAVIS EYES KIM CARNES BETTER BE HOME SOON CROWDED HOUSE BETTER MAN PEARL JAM BETTER THAN JOHN BUTLER TRIO BIG DEAL LEANNE RIMES BIG JET PLANE ANGUS & JULIA STONE -
Twang and Trauma in Australian Indige- Nous Popular Music
Politik Nummer 1 | Årgang 23 | 2020 Of country and country: Twang and trauma in Australian Indige- nous popular music Simon Philpott, Reader in Postcolonial Politics and Popular Culture, School of Geogra- phy, Politics and Sociology, University of Newcastle Over the last half century, as part of a wider struggle for recognition, respect, reconcili- ation and justice, Indigenous Australians and others supporting their claims have in- creasingly been heard in popular music. Indigenous musicians are increasingly insistent that white Australia must change. By the time Jimmy Little released his much loved song, ‘Royal Telephone’, in 1963, he had long been Australia’s most prominent Indigenous recording artist. His music was out of the US gospel tradition via Nat King Cole and Jim Reeves. The “royal telephone” of the song describes the direct line between believer and god. With one exception, Little was silent in his music on the plight of Indigenous Australians although his earliest years were spent on a reservation that a large number of people eventually walked ofF, so poor were the living conditions. Little was a rare Indigenous presence in Australian music, respected For his individual talent and probably liked because his work did not raise un- comFortable questions about the past. Liking and respecting individual Indigenous people while disliking and rejecting their culture is something white Australians have successFully psychologically negotiated For decades. For example, Christine Anu’s (1995) cover of ‘My Island Home’ (1987), which celebrates Anu’s love of her Torres Strait island home and was a major hit in the year of its release, Featured as one of the songs in the closing ceremony of the Sydney Olympics, and now has well over 1 million views on Youtube.