Fine Arts and Music Collected Works - Research Publications
Now showing items 1-12 of 30
Tura Tracks: An evaluation of Tura New Music's regional and remote residencies and touring in 2019
(Queensland Conservatorium Research Centre, Griffith University, 2019)
This report presents an evaluation framework created for Tura New Music’s programs in regional and remote Australia and the findings of a summative evaluation of its work in the remote north-west region of Australia known as the Kimberley. Tura New Music has worked in the Kimberley since 2003, bringing cross-genre, contemporary live music and sound art to remote communities through an annual program of concerts, workshops and residencies, presented in partnership with local organisations.
From imitation to invention: Issues and
Strategies for the ESL Music Classroom
(Australian Council of Orff Schulwerk, 2009-07-01)
For child immigrants and refugees to Australia, school can present a minefield of challenges to navigate, from unfamiliar language to the rules and conventions of Australian school culture. Music offers such children a potent means of expression and connection with others, and is way in which many experience their first feelings of success in school here. However, developing musical creativity in English as Second Language [ESL] settings poses challenges for music educators in building student understanding of the intentions of the tasks. This article discusses some of the arising issues and offers three strategies from the author’s experiences as a music teacher in a Melbourne English Language School.
(University of Exeter, 2018)
Harmony’s semantic links across music and the social domain mean that when evoked in the context of music in peacebuilding, harmony provides both a description of musical action, and an aspirational projection of the desired social outcome. However, in both domains, harmony’s foundational values and implied practices raise questions of how apt it is as a representation, tool, or goal of contemporary peacebuilding. This article seeks to answer these questions. Conceptual in scope, it examines the multiple concepts attached to harmony in the musical and sociocultural domains, and discusses these in relation to peacebuilding, illustrating some of the possible alignments and alliances with examples of cross-community music projects. It offers a heuristic for considering harmony and its values, practices, affordances, and implications from a more critical and nuanced perspective.
Music development and post‑conflict reconciliation in Sri Lanka
Can music development programs such as large-scale public festivals help to repair the sociocultural divisions wrought by war and violent conflict? If so, under what facilitating conditions? This chapter engages with these questions, presenting research into the Sri Lanka Norway Music Cooperation, a partnership between Sri Lankan development NGO Sevalanka Foundation and Concerts Norway, the Norwegian state concerts agency that was funded by the Norwegian Ministry of Foreign Affairs from 2009 to 2018.
Zelenka reception in the nineteenth century: Some new sources
(Association for Central European Cultural Studies, 2015)
This article presents evidence of new sources relating to the transmission and reception of the music of Bohemian composer Jan Dismas Zelenka (1679-1745) in the nineteenth century, which are located in Poland, Russia, Boston and elsewhere. The author speculates about the role of Italian theologian and composer Fortunato Santini (1778-1861) in promulgating Zelenka’s music, and shows that this music was more widely disseminated than previously thought.
Zelenka Reception since the Eighteenth Century: The Role of Emotions
(The University of Melbourne, 2017)
Ever since Camerata Bern first released their recording of Jan Dismas Zelenka’s (1679–1745) trio and quadro sonatas in 1973 (Archiv 2708 027), something of a cult following has formed around the Bohemian composer and his music. An online forum (www.jdzelenka.net) keeps track of most new recordings and notable developments in research, and a regular Zelenka Festival (www.zelenkafestival.cz) now takes place in Prague, usually with a conference attached. Discussions about the composer in both scholarship and the media generally express a sense of admiration and curiosity about his quirky-yet-learned style, and the paucity of biographical sources has led to speculation about his personal life and character (for example, that clues about his alleged homosexuality are encoded into his compositions). Zelenka’s name, however, is hardly ever mentioned in standard music history textbooks.
Wolfgang Horn and Zelenka
(Association for Central European Cultural Studies, 2019)
This paper uses the late Wolfgang Horn’s own reflections about his relationship with the music of Jan Dismas Zelenka as a lens through which to consider broader questions about the nature of the Bohemian composer’s music, its reception history, and music historiography. Based on an interview conducted with Horn during the Zelenka Festival in prague, october 2017, it considers Horn’s legacy as a driver of, and witness to, the rise of Zelenka studies in the 1980s, and the impact of this German scholar on our understanding of Zelenka today. it is not the aim of this paper to present and discuss systematically all the themes that emerged in the analy-sis of the interview with Horn; readers are referred to the author’s phD thesis for those findings. rather, this paper uses that interview as the basis for something of a eulogy for an esteemed member of our scholarly community: a reflection on Horn’s contribution to the field of Zelenka studies and the personal and intellectual questions that his death raised for the author. Because of this, the somewhat informal tone of the spoken paper—presented at the Zelenka Conference in prague, october 2019—has been retained in this written version.
From Dropping Out to Dropping In: Exploring Why Individuals Cease Participation in Musical Activities and the Support Needed to Reengage Them
(American Psychological Association, 2019-06-24)
Continued participation in music has been associated with well-being outcomes, yet many either fail to begin or cease musical participation after limited exposure. The current research examined why individuals cease participating, focusing on identifying barriers to participation and the support needed to reengage in musical activities. A sample of 190 Australian residents (Mage = 26.87; 75.80% female) who had ceased previous musical participation completed an online questionnaire in which they rated the degree to which 15 items reflected their reasons for ceasing musical participation and answered an open-ended question regarding their requirements for reengagement. An exploratory factor analysis of the quantitative responses identified 4 components relating to cessation: "access and opportunity," "activity experience," "obligations," and "difficulty with practicing." A grounded theory analysis concerning the support required for reengagement indicated 4 key themes: "personal investment," "requirements of the musical activity," "personal qualities," and "no interest in reengagement." Collectively, these results provide an in-depth understanding of factors external to music itself as influences on continued musical participation. With implications for facilitators and educators, these results suggest a need for collaboration and interaction between music facilitators and participants.
Reprezentasaun arte fatuk iha kostume kulturál ema Fataluku iha Tutuala, Lautem (Representation of rock art in cultural elements of the Fataluku people of Tutuala, Lautem)
(Swinburne Press, 2018-05-16)
The Tutuala region in far eastern Timor-Leste is one of the richest regions of rock art in island South East Asia. More than 30 sites of rock art on cave walls include hundreds of painted images, estimated to be at least 2000-3000 years old. Traditional life is strong in this isolated region of the small island nation of Timor- Leste. Villagers enjoy cultural practices that have spanned generations, connecting the Fataluku people to their ancestors and stories of creation. Findings of this small research project indicate that cultural elements reflecting motifs of the rock art are still in regular use. Tais, traditional weavings used for ceremonial and practical functions, include the largest number of motifs. Images of the cloud, eagle mouth, horse, three boats and poria leaves regularly appear in tais woven in the area. Stories shared by elders connect the rock art with the images in the tais, as well as sacred objects and items not able to be depicted. A song in the vaihoho style, of unaccompanied call and response, is still sung about the rock art, although this is sacred (lulik) and is unable to be documented for public information. Villagers alsoknow a voton, an ancient singing prayer, in which sailors call for safe passage. While they report that this song does not relate directly to the rock art, its themes connect contemporary villagers with ancestors who came from over the sea and depicted their journeys in drawings in the caves.
Taka lakuna jerasaun iha Timor-Leste: Oinsá mak programa kriativu bele kontribui. (Connecting between generations in Timor-Leste: how creative programs might contribute).
(Swinburne Press, 2018)
Povu Timor-Leste hasoru dezafiu polítiku, ekonómiku, sosiál no kulturál durante tinan atus ba atus, maibé liu-liu durante dékada tolu okupasaun Indonesia ne'ebé violentu, no transformasaun ikus ne'e ba nasaun independente. Timor-oan nia jerasaun foun sai boot iha tempu ne'ebé diferente loos husi sira-nia inan-aman no avó. Sira boot iha demokrasia ho sirkunstánsia di'ak liu no bainhira iha mudansa boot ho ligasaun ba mundu li'ur. Iha potensiál boot atu kompriende-sala no hetan dezligasaun entre ema husi esperiénsia moris diferente, no iha posibilidade atu fratura relasaun sosiál no sosiedade jerál. Artigu ida-ne'e hato'o revee literatura kona-ba programa ne'ebé dezenvolve atu hadi'ak komunikasaun no kompriensaun entre ema husi jerasaun diferente. Artigu ne'e mós introdús pratika entre-jerasaun no dokumenta programa entre-jerasaun ne'ebé hala'o iha Timor-Leste nia li'ur, hamutuk mós ho rezultadu ne'ebé programa sira-ne'e kontribui no prosesu saida mak kauza mudansa ne'e. Autór tau foku partikulár ba programa ne'ebé uza arte partisipativu no kriatividade atu aumenta ligasaun pozitivu entre juventude no sira-nia avó. Posibilidade ne'ebé programa hanesan ne'e oferese povu Timor-Leste bainhira iha transformasaun sosiál no kulturál lalais mak ezamina. Posibilidade sira-ne'e inklui konsiderasaun ba oinsá mak programa sira-ne'e bele kria abordagem iguál no inklusivu, oinsá mak sira bele haforsa ligasaun família no komunidade, no oinsá mak bele suporta transferénsia koñesimentu no aprendizajen foun.