Melbourne Conservatorium of Music - Theses
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ItemHyper-visibility and under-representation: inclusivity, diversity, and the alternative music scene in Melbourne( 2020)This ethnographic study documents the lived experience of People of Colour (PoC) making alternative and punk music in Melbourne, Australia. Exploring local discourse on cultural diversity, inclusivity and racial difference, I offer previously undocumented Australian perspectives on race and popular music. The study traces issues of whiteness, anti-racism and punk in Australia down to three key components: subculture, genre and capital. Through formal, semi-structured interviews, the study asks how notions of cultural diversity impact alternative music scenes. I argue that PoC in these scenes experience race-based exclusion, both a result of the longstanding erasure of PoC from written histories of Western punk, combined with Australia’s specific position as a white multicultural, settler-colonial nation. In challenging the notion of punk as a white musical tradition, and recognising the specific conditions that foster racism in Australian music scenes, my informants and I discuss how anti-racist values may be meaningfully embodied in local music contexts.
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ItemEdward Goll: Melbourne pianist and teacher: the war years 1914-1918( 2007)This thesis examines the foundational period and early contribution in the Australian career of the prominent concert pianist Edward Goll focussing on the years 1914--1918. The multifarious opposition that Goll faced during the war, mainly arising from contention regarding his nationality, forms the setting of this study which is then juxtaposed against a discussion of Goll’s contribution to music in Australia during that period. The educational value of Goll’s large and catholic repertoire, the benefits of listening to an artist of Goll’s high calibre and the impact and popularity of his concerts were recurrent themes in the press, and were qualities for which he was to be later acknowledged. These aspects of his contribution as a performer are followed by a discussion of Goll’s pedagogical contribution as one of the first pianists to introduce the concept of "weight-touch" to Australia.