Moncrieff) Determination 2015 (No 4)
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2008 ANZARME Conference Proceedings
Australian and New Zealand Association for Research in Music Education Proceedings of the XXXth Annual Conference Innovation and Tradition: Music Education Research 3 – 5 October 2008 Melbourne, Victoria, Australia 1 All published papers have been subjected to a blind peer-review process before being accepted for inclusion in the Conference Proceedings Publisher Australian and New Zealand Association for Research in Music Education (ANZARME, Melbourne, Australia Editor Dr Jane Southcott Review Panel Prof. Pam Burnard Prof. Gordon Cox Dr Jean Callaghan Dr James Cuskelly Associate Prof. Peter Dunbar-Hall Dr Helen Farrell Dr Jill Ferris Professor Mark Fonder Dr Scott Harrison Dr Bernard Holkner Dr Neryl Jeanneret Dr Anne Lierse Dr Sharon Lierse Dr Janet McDowell Dr Bradley Merrick Dr Stephanie Pitts Dr Joan Pope Assoc. Prof. Robin Stevens Dr Peter de Vries Assoc. Prof. Robert Walker Printed by Monash University Format CD ROM ISBN: 978-0-9803116-5-5 2 CONTENTS Keynote Address: The First Musical Festival of the Empire 1911: 1 Tradition as innovative propaganda Thérèse Radic, University of Melbourne The artist as academic: Arts practice as research/as a site of 15 knowledge Diana Blom, University of Western Sydney Dawn Bennett, Curtin University David Wright, University of Western Sydney Aural traditions and their implications for music education 26 Roger Buckton, University of Canterbury, New Zealand A retrospection of the 1960s music education reforms in the USA 36 Harry Burke, Monash University Through the Eyes of Victor McMahon: The Flute -
Discovering the Contemporary Relevance of the Victorian Flute Guild
Discovering the Contemporary Relevance of the Victorian Flute Guild Alice Bennett © 2012 Statement of Responsibility: This document does not contain any material, which has been accepted for the award of any other degree from any university. To the best of my knowledge, this document does not contain any material previously published or written by any other person, except where due reference is given. Candidate: Alice Bennett Supervisor: Dr. Joel Crotty Signed:____________________ Date:____________________ 2 Contents Statement of Responsibility: ................................................................................................................... 2 Chapter One ............................................................................................................................................ 5 Introduction ........................................................................................................................................ 5 Methodology ....................................................................................................................................... 6 Literature Review ................................................................................................................................ 9 Chapter Outlines ............................................................................................................................... 11 Chapter Two ......................................................................................................................................... -
Marie Collier: a Life
Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family. -
1954, Addio Trieste... the Triestine Community of Melbourne
1954, Addio Trieste... The Triestine Community of Melbourne Adriana Nelli A thesis submitted for the degree of Doctor of Philosophy Victoria University November 2000 -^27 2->v<^, \U6IL THESIS 994.5100451 NEL 30001007178181 Ne 1 li, Adriana 1954, addio Trieste— the Triestine community of MeIbourne I DECLARATION I hereby declare that this thesis is the product of my original work, including all translations from Italian and Triestine. An earlier form of Chapter 5 appeared in Robert Pascoe and Jarlath Ronayne, eds, The passeggiata of Exile: The Italian Story in Australia (Victoria University, Melbourne, 1998). Parts of my argument also appeared in 'L'esperienza migratoria triestina: L'identita' culturale e i suoi cambiamenti' in Gianfranco Cresciani, ed., Giuliano-Dalmati in Australia: Contributi e testimonianze per una storia (Associazione Giuliani nel Mondo, Trieste, 1999). Adriana Nelli ABSTRACT Triestine migration to Australia is the direct consequence of numerous disputations over the city's political boundaries in the immediate post- World War II period. As such the triestini themselves are not simply part of an overall migratory movement of Italians who took advantage of Australia's post-war immigration program, but their migration is also the reflection of an important period in the history of what today is known as the Friuli Venezia Giulia Region.. 1954 marked the beginning of a brief but intense migratory flow from the city of Trieste towards Australia. Following a prolonged period of Anglo-American administration, the city had been returned to Italian jurisdiction once more; and with the dismantling of the Allied caretaker government and the subsequent economic integration of Trieste into the Italian State, a climate of uncertainty and precariousness had left the Triestines psychologically disenchanted and discouraged. -
The Humour Studies Digest November 2020
“Humour at Work: Applications, Industries and Economies” THIS EDITION th 27 Conference of the Australasian 27th AHSN Conference Humour Studies Network Latest News and Information 1 Members’ New Publications 2 Latest News and Information on the Research Student Profile - Amanda Cooper 3 2021 AHSN Conference Research Student Profile – Dear AHSN Members, Alex Cothren 4 Despite the difficulties that we’ve all encountered in the past Members’ New Books th year, we are pleased that the 27 conference of the AHSN No Laughing Matter 5 will be going ahead from 3-5 February 2021, albeit with a few changes to the regular structures. Turkish German Muslims and Comedy Entertainment 6 For the majority of the AHSN’s members, based outside of New Zealand, the conference will be an online event. In order New Books on Humour Studies to make this process as simple as possible, we have decided Explorations in Humor Studies 7 to base the event on a format developed by the Political Humour in Audiovisual Translation 7 Ecology Research Centre (PERC) at Massey University. This is an asynchronous model utilising a pre-recorded video and Review Comments on forum-based discussion which we hope to also supplement The Linguistics of Humor 8 with Zoom sessions where possible. PERC has successfully Documentary on Historic Australian hosted three online conferences using this presentation TV Satire 9 format, and you can see how they worked and what past presentations looked like here and here. New Online Journal Embracing Humour Studies 10 While presenting delegates will be asked to pay a small registration fee to cover technical support and set-up, this EMERGE 2020: Invitation to Audit a Free event will be free of access for non-presenters and general Postgraduate Online Conference 10 members of the public. -
Frenchman's Farm Music Credits
Original Music Composed by Tommy Tycho M.B.E. Music Played by The Sydney International Orchestra Conducted by Tommy Tycho, M.B.E. Recorded by Martin Benge at E.M.I. Studios, Sydney Musical Co-ordination by Ken Laing - Media Music Co-ordination Additional Music Paul Baker ‘Stay With Me’ Performed by Cats Under Pressure Written by Simon Hussey and David Reyne Published by Restaurant Music/Rondor Music Aust. P/L Recorded at A.A.V. Studios ‘Body Heat’ Performed by Martin Munroe Written by Gerry Smith and David Bentley ‘Don't You Make The Same Mistake Again’ Performed by Karen Boddington Written by Peter Blyton and Gerry Smith ‘Don't Panic’ Performed by Peter Blyton Written by Adam Quaid and Phil Graham ‘Raining’ Performed by Barry Tiplady Written by Gerry Smith and Barry Tiplady 'Coming At Ya' Performed by Martin Munroe Written by Gerry Smith Peter Blyton and David Bentley ‘Don't Turn Your Head’ Performed by Chris Lloyd Written by Gerry Smith Peter Ryan & Mel Bradford All Published by and Recorded at Suite Sixteen Pty. Ltd Produced by Suite Sixteen Audio Production Pty. Ltd. David Reyne gets to perform a pop song in the show with Cats Under Pressure, a band he co-founded in 1984, but it didn’t last long, and seems to be have been reformed just to record this track for the film. Reyne has a wiki here. (Below: Reyne singing in the film). Tommy Tycho: Tommy Tycho was a well-known Hungarian-born pianist, conductor, composer and arranger, who specialised in television work, acting as the Seven network's music director for its first fifteen years, from 1956 to 1971. -
JC Williamson (Opera, Comic Opera, Operetta)
AUSTRALIAN EPHEMERA COLLECTION FINDING AID J.C. WILLIAMSON OPERA, COMIC OPERA, OPERETTA PROGRAMS PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA AUGUST 2017 James Cassius Williamson was an American actor who immigrated to Australia in the 1870s. Along with business partners, such as William Musgrove, his theatre company became one of the most dominant in colonial Australia. After his death in 1913 the company, now named J.C. Williamson Ltd. continued under the direction of George Tallis and the Tait brothers (who remained involved in the company until the 1970s). J.C. Williamson continued to be one of the biggest theatre companies in Australia throughout the first three quarters of the 20th century. J.C. Williamson held the license for theatres in Melbourne, Sydney, Brisbane, Adelaide and New Zealand (at times more than one theatre in each city). In 1976 the company closed, but the name was licensed until the mid 1980s. This list includes productions of Gilbert and Sullivan operettas held in J.C. Williamson theatres, as well as those produced by J.C. Williamson and performed in other theatres under venue hire arrangements. CONTENT Printed materials in the PROMPT collection include programs and printed ephemera such as brochures, leaflets, tickets, etc. Theatre programs are taken as the prime documentary evidence of a performance staged by the J.C. Williamson company. In a few cases however, the only evidence of a performance is a piece of printed ephemera. In these cases the type of piece is identified, eg, brochure. The list is based on imperfect holdings and is updated as gaps in the Library’s holdings for these artists are filled. -
In Gear Week 9 24 August 2015.Pub
Serving the Community since 1985 In Gear 2014—2015 ROTARY CLUB OF BEAUMARIS WEEKLY BULLETIN Number 9, 24 August 2015 Presidents Report Next Meetings The past week started slowly and then built up to being TǘǥǢǣǔǑǩ 27 AǥǗǥǣǤ another huge Rotary week. Thursday night we had our SǠǕǑǛǕǢ: TǕǓǛ-LǙ CǘǙǑ very polished speaker John Michael Howson, never TǟǠǙǓ: Mǩ RYLA ǕǨǠǕǢǙǕǞǓ afraid to give us the inside running on the stars and the CǘǑǙǢ: DǑǦǙǔ HǟǞ stories and to give a controversial opinion or two. We AV: CǘǢǙǣ D’AǢǓǩ are always privileged when a person who is in the public CǑǣǘ DǕǣǛ: JǟǘǞ BǕǑǤǩ , TǟǞǩ MǓKǕǞǞǑ sphere so much, agrees to come and speak to us, HǟǣǤ: KǕǢǢǙ GǕǑǢǔ thanks for your time John Michael. TǘǥǢǣǔǑǩ 4 SǕǠǤǕǝǒǕǢ SǠǕǑǛǕǢ: WǑǜǜǩ SǝǙǜǙ TǟǠǙǓ: AǝǒǥǜǑǞǓ VǙǓǤǟǢǙǑ CǘǑǙǢ: MǙǛ HǕǔ AV: Rǟǣǣ PǘǙǜǜǙǠǣ CǑǣǘ DǕǣǛ: MǑǜǓǟǜǝ SǑǧǜ ,HǕǑǤǘǕǢ CǘǙǣǘǟǜǝ HǟǣǤ: MǕǗǑǞ GǜǕǞǧǢǙǗǘǤ TǘǥǢǣǔǑǩ 10 SǕǠǤǕǝǒǕǢ SǕǕ DǕǤǑǙǜǣ Ǡ5 TǕǞ PǙǞ BǟǧǜǙǞǗ FǕǜǜǟǧǣǘǙǠ EǦǕǞǤ It was a special meeting too, as we inducted Chris Wer- AMF MǟǟǢǑǒǒǙǞ @ 938 NǕǠǕǑǞ HǙǗǘǧǑǩ, ner to Rotary membership. Kathy his wife accompanied MǟǟǢǑǒǒǙǞ. Chris; we look forward to you both making a contribution AǢǢǙǦ 7.15 Ǡǝ ǖǟǢ 7.30 Ǡǝ SǤǑǢǤ. whilst enjoying our fellowship and fun. It was great to Tǧǟ ǗǑǝǕǣ ̅ ǖǙǞǗǕǢ ǖǟǟǔ @ $25 ǠǕǢ ǠǕǢǣǟǞ. have so many members and partners at this night, thank DǢǙǞǛǣ ǑǤ ǒǑǢ ǠǢǙǓǕǣ. you for coming. New members Tim Dark and Vivienne BǟǟǛ ǤǘǢǟǥǗǘ RǙǓǘǑǢǔ JǟǞǕǣ Zoppolato were at the meeting too, please make your- selves known to our new members as part of welcoming them to the club. -
Patronage Through Dissemination: Louise Hanson-Dyer’S Patronage of Gustav Holst
2012 © Daniela Kaleva, Context 37 (2012): 77–91. Patronage through Dissemination: Louise Hanson-Dyer’s Patronage of Gustav Holst Daniela Kaleva Gustav Holst has a reputation as one of the most prominent representatives of the English national school of composition from the early decades of the twentieth century. His compositional language was highly original and was influenced by English folk song and Eastern philosophy. Although Holst composed works in a wide range of genres, he is best known for his orchestral suite The Planets. Notwithstanding the great public acclaim of The Planets (which premiered at Queen’s Hall, London, on 15 November 1920),1 his later compositions were less successful with both audiences and critics,2 and he underwent several difficult periods during which he lacked motivation and inspiration for composition. During the last decade of his life, when his popularity was fading, he benefited from the patronage and friendship of Melbourne-born patron and music publisher Louise Hanson-Dyer (see Fig. 1). Hanson-Dyer is known for her award-winning music press and record label Éditions de l’Oiseau-Lyre, established in Paris in 1932, which championed early music, contemporary classical music and young musicians. Although Hanson-Dyer did not engage in direct patronage of Holst by providing funding, or commissioning or publishing his works,5 she nevertheless played an important role in promoting his music in Australia 1 Imogen Holst, A Thematic Catalogue of Gustav Holst’s Music (London: Faber Music, 1974), 125. 2 Michael Short, Gustav Holst: The Man and his Music (Oxford: OUP, 1990), esp. 161, 170, 190. -
Here from There—Travel, Television and Touring Revues: Internationalism As Entertainment in the 1950S and 1960S
64 Jonathan Bollen Flinders University, Australia Here from There—travel, television and touring revues: internationalism as entertainment in the 1950s and 1960s Entertainments depicting national distinctions attracted Australian audiences in the 1950s and 1960s. Touring revues from overseas afforded opportunities to see the nations of the world arrayed on the stage. Each of the major producers of commercial entertainments in Australia imported revues from Europe, Africa, the Americas and East Asia. Like their counterparts in Hong Kong and Singapore, entrepreneurs in Australia harnessed an increasing global flow of performers, at a time when national governments, encouraged by their participation in the United Nations, were adopting cultural policies to foster national distinction and sending troupes of entertainers as cultural ambassadors on international tours. In this article the author explores the significance of internationalist entertainment in mid-20th century Australia, focusing on Oriental Cavalcade, an “East Meets West” revue from 1959 which toured with performers from Australia and Asia. At a time when television viewing was becoming a domestic routine and international aviation was becoming an affordable indulgence, producers of internationalist entertainments offered audiences in the theatre experiences of being away from home that were akin to tourism and travel beyond the domestic scene. Jonathan Bollen is a Senior Lecturer in Drama, Flinders University, Australia Keywords: variety, revue, aviation, tourism, travel, television, internationalism desire to create a national theatre for Australia gathered momentum A in the late-1940s and eventually gained traction.1 Government support for the performing arts was introduced with the establishment of the Australian Elizabethan Theatre Trust in 1954 and the subsequent founding of new national opera, theatre and ballet companies and the National Institute of Dramatic Art, while government investment in venues for the performing arts Popular Entertainment Studies, Vol. -
Manyfaces of Inspiration Conversations on Australian Creativity
William Barton Bruce Beresford Tony Bilson Wendy Blacklock Joan Carden Geoffrey Chard David Clarkson Michael Crouch Rosemary Crumlin Tania De Jong Ross Edwards Robert Gard Stephen Kovacevic Greta Lanchbery Justin Macdonnell David Malouf John McCallum Elisabeth Murdoch Ted Myers Roland Peelman Helena Rathbone Rodney Seaborn John Shaw ManyFaces of Inspiration Conversations on Australian Creativity Dinah Shearing Rachael Swain ANTONY Ken Tribe Googie Withers JEFFREY Martin & Peter Wesley-Smith Many Faces of Inspiration — Antony Jeffrey.indd 1 2/09/10 4:52 PM ntony Jeffrey has worked A in arts management since 1975 when he joined the Australia Council as Music Board director. He was the first general manager of the Australian Chamber Orchestra and for many years has maintained a close association with the orchestra. Prior to that he was commercial manager of the Australian Opera. More recently he was general manager of the Song Company until 2009. He originally trained as an accountant with Price Waterhouse, where he worked in Australia and overseas until his passion for music seduced him into the professional music scene. Since that time, in addition to his executive appointments, he has worked as director or consultant to many arts organisations including the Australian Ballet, Melbourne Theatre Company, Lyric Opera of Queensland, Musica Viva, Australian Brandenburg Orchestra and the Australian Elizabethan Theatre Trust. He has been a leader in establishing philanthropy, corporate sponsor- ship and strategic planning in the arts in Australia, publishing several books in this field, notably 101 Good Ideas for Assisting the Arts. He was appointed a Member of the Order of Australia in 2008 for his services to the arts. -
The Bulletin 452 the Royal Society of New South Wales
The Bulletin 452 The Royal Society of New South Wales ABN 76 470 896 415 ISSN 1039-1843 June 2021 For Your Diary 1294th OGM and Open Lecture • 07 Jul Murray-Darling Basin turmoil: 1295th OGM and past, present, and future Open Lecture Wednesday, 2 June 2021, 6:30 PM • 22 Jul Ideas@theHouse: Music as a Superfood • 04 Nov RSNSW and Learned Academies Forum 2021 Professor Richard Kingsford FRSN Professor of Environmental Science Director, Centre for Ecosystem Science, UNSW (Sydney) Date/time: Wednesday, 2 June 2021, 6:30 PM Venue: Zoom Webinar Entry: No charge Enquiries: via email All are welcome. See page 4 for more information Patron of The Royal Society of NSW Her Excellency The Honourable Margaret Beazley AC QC Governor of New South Wales The Bulletin of the Royal Society of NSW, No. 452 1 From the President During the six weeks since I was elected President, I have been conducting a listening tour with as many Councillors, Members and Fellows as possible. I have also ventured further afield, speaking to former Presidents of the Royal Society of Edinburgh and the Royal Society of London. Looking back over my calendar since 07 April, I counted 30 one-hour interviews — more are scheduled. I am asking for thoughts about the identity and role of the RSNSW in today’s world and am pleased that so many agree on our value as a credible and authoritative space in which to debate the complex challenges confronting society. Another large component of my time has been spent rejuvenat- ing the membership of our Committees.