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Symposium Booklet SYDNEY LIVING MUSEUMS PRESENTS SOUND HERITAGE SYDNEY Making music in historic places 28 MARCH 2017 ELIZABETH BAY HOUSE IN PARTNERSHIP WITH 1 9.00am Registration SOUND 9.30am Welcome Dr Caroline Butler-Bowdon HERITAGE (Sydney Living Museums) SYDNEY 9.45am Keynote p4 Musical Soundscapes in the Historic Making music in House Museum historic places Professor Jeanice Brooks (University of Southampton) 28 MARCH 2017 ELIZABETH BAY HOUSE 10.30am Morning tea 10.50am Musical Sources and Contexts p5 Curating the Colonial Musical Museum Dr Graeme Skinner (Honorary Associate, Sydney Conservatorium of Music, University of Sydney) Music from Home: Sydney Living p5 Museums’ sheet music collections and the Scots in Australia Dr Brianna Robertson-Kirkland (University of Glasgow) 11.50am Musical Contexts in Practice p6 The Dowling Songbook Project: Making music matter at Elizabeth Bay House Dr Matthew Stephens (Sydney Living Museums) Listening to the Past – Performing p8 the Past: Restoring the voices of Lanyon Homestead, Mugga Mugga and Calthorpes’ House Dr Jennifer Gall (ANU School of Music) Clockwise from top left: Mrs Macquarie’s cello. Photo © Jenni Carter for Sydney Living Museums; The morning room, Elizabeth Bay House. Photo © Nicholas Watt for Sydney Living Museums; The light fixture in the saloon, Elizabeth Bay House. Photo © Nicholas Watt for Sydney Living Museums; The principal bedroom, Elizabeth Bay House. Photo © Haley Richardson and Stuart Miller for Sydney Living Museums; Plate from Rudolph Ackermann’s The repository of arts, literature, fashions &c, August 1815. Caroline Simpson Library & Research Collection, Sydney Living Museums 9.00am Registration 12.50pm Lunch/introduction to Elizabeth Bay House & tour 9.30am Welcome Dr Caroline Butler-Bowdon 1.50pm Words and Music – p8 (Sydney Living Museums) Elizabeth Bay House Saloon Silence and Listening: An introduction to 9.45am Keynote p4 the sounds and music collection of Rouse Musical Soundscapes in the Historic Hill estate, 1813–1980s House Museum Nicole Forsyth (Sydney Conservatorium Professor Jeanice Brooks of Music, University of Sydney) (University of Southampton) A concert celebrating music making in the 10.30am Morning tea historic home, with Katrina Faulds, Brianna Robertson-Kirkland, Nyssa Milligan, James 10.50am Musical Sources and Contexts p5 Doig, Ian Blake and Sandra France Curating the Colonial Musical Museum Dr Graeme Skinner (Honorary Associate, 2.45pm Afternoon tea Sydney Conservatorium of Music, University of Sydney) 3.00pm Historic Music and Dance p9 Rediscovering Dance and Dance Music Music from Home: Sydney Living p5 in Historic English Houses Museums’ sheet music collections and Dr Katrina Faulds the Scots in Australia (University of Southampton) Dr Brianna Robertson-Kirkland (University of Glasgow) Dancing in Fetters: p10 The culture of convict dance 11.50am Musical Contexts in Practice p6 Heather Clarke The Dowling Songbook Project: Making (Queensland University of Technology) music matter at Elizabeth Bay House Dr Matthew Stephens 4.00pm Building Soundscapes with History p11 (Sydney Living Museums) Pleasure Garden: Listening, through time Dr Genevieve Lacey (recorder virtuoso, Listening to the Past – Performing p8 serial collaborator and artistic director) the Past: Restoring the voices of Lanyon Homestead, Mugga Mugga and Calthorpes’ House 4.30– Closing panel discussion Dr Jennifer Gall (ANU School of Music) 5.00pm Chaired by Ian Innes (Sydney Living Museums) 3 MUSICAL SOUNDSCAPES IN THE HISTORIC HOUSE MUSEUM SOUND Professor Jeanice Brooks, University of Southampton Music is a powerful tool for shaping experiments at Tatton Park, emotion and environment, suggesting Cheshire, based on the house’s HERITAGE and inspiring action, and colouring historic music collections. Music was narrative. These uses, widely familiar an important daily activity for past from film, television and video games, residents, and evoking this activity SYDNEY are relatively common in cultural can help to people the properties in Abstracts & biographies heritage contexts. But outside the visitors’ imaginations, while at the musical museum sector (musical same time providing a powerful 28 MARCH 2017 instrument museums, popular music antidote to the static sense that ELIZABETH BAY HOUSE collections, composer residences) historical settings convey for some music has most often been used to audiences. Better knowledge of create atmosphere or mood, rather the role of music in country house than to evoke former residents’ use architecture, decoration and social of music in specific times and places. life, and of musical links to artefacts The music employed may have no and objects, can provide powerful provenance to the space, and it new interpretive tools and highlight usually functions as a background connections between tangible and element, almost never fully engaged intangible heritage. in interpretation. Music’s role in the BIOGRAPHY human, historical soundscape of the house remains inaudible and ignored. Jeanice Brooks is Professor of Music at the University of Southampton Recently, this situation has begun to (UK). She is co-founder of the change, partly through international Sound Heritage Network, funded partnerships and leadership by the Arts and Humanities from Sydney heritage institutions. Research Council of Great Britain, Professor Jeanice Brooks explores and director of the Austen Family these new developments by Music Books digitisation project. reviewing experiments in recovery She has worked extensively on the and interpretation of the musical musical history and interpretation past of English country houses. of National Trust houses, including Brooks describes the activities of Tatton Park, Killerton House (Devon) Sound Heritage, a research and and Mottisfont (Exeter), as well as interpretation network of academic independent and privately owned music historians, early music historic houses. Her scholarly research performance experts and heritage includes articles on music, collection professionals from the curatorial and and display in 18th- and 19th-century visitor experience domains, before domestic settings. focusing on a series of interpretation CURATING THE COLONIAL MUSIC FROM HOME: SYDNEY LIVING MUSEUMS’ MUSICAL MUSEUM SHEET MUSIC COLLECTIONS AND THE SCOTS IN AUSTRALIA Dr Graeme Skinner, Honorary Associate, Dr Brianna E Robertson-Kirkland, University of Glasgow Sydney Conservatorium of Music, Dr Brianna Robertson-Kirkland BIOGRAPHY University of Sydney discusses the late 18th- and early Brianna Robertson-Kirkland works as Why should we want to eavesdrop 19th-century tradition of collecting both a singer and a researcher and on our musical ancestors? And how and preserving Scottish songs in print. recently completed her PhD research can we reliably reimagine the lived These print editions, including music on the 18th-century castrato singer sonorous world of early Australian treatises intended to teach early 19th- Venanzio Rauzzini and his students, settler colonists, and of their British century music-making practices, were funded by a University of Glasgow homeland relatives? This brief designed for the use of domestic music College of Arts internship scholarship. overview reconsiders the types making by the rising middle class. Earlier this year she gave a talk about of physical and musical artefacts The Stewart Symonds sheet music her research at the sold-out event available to us, the kinds of historical collection, held by the Caroline TEDxGlasglow, a locally organised documentation and other records Simpson Library & Research event licensed by the famous TED that we can access, preconceptions Collection, Sydney Living Museums organisation. She has sung in and prejudices we should abandon, (SLM), contains some of the earliest masterclasses and private lessons with existing tools we can use or adapt, surviving examples of Scottish early music specialists, including Emma and the real and virtual resources music brought to Australia in the Kirkby, Nicholas Clapton and Robert we need to devise and develop to 19th century. This collection provides Toft, and regularly performs lecture- bring the colonial musical museum insight into the Scots musical tradition recitals at conferences and events. to new audiences. that existed in Australia and the type Her research interests span a wide BIOGRAPHY of music being disseminated in the variety of topics, and in September domestic setting through tuition and 2016 she organised an interdisciplinary Graeme Skinner is an Australian more general music making. workshop at the Glasgow Women’s musical historian, and an honorary Library that explored the topic of associate in musicology at Sydney Through an examination of SLM’s women and education in the 18th Conservatorium of Music, University music collections, Robertson-Kirkland century. Brianna received a grant from of Sydney. He is author of the tests previous scholarly assumptions the University of Glasgow’s Ross Fund biography Peter Sculthorpe: the that the Scots did not maintain their to undertake a one-month research making of an Australian composer national identity after emigrating, project examining the SLM sheet (UNSW Press; ebook 2015). In his while also considering Cliff Cumming’s music collections. She will continue to regularly updated research website findings in his 1993 paper ‘Scottish research the role of music education Australharmony (sydney.edu.au/ national identity in an Australian when she embarks on a research paradisec/australharmony) he colony’
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