Pub Date : 2021-07-03DOI: 10.1080/08145857.2021.2004490
Breandán Seosaimh Ó Luain, Anne Forbes
Abstract The socio-political revolution of the 1960s and 1970s, and the simultaneous explosion in the commercialization of popular music, brought a period of rapid growth and change in Irish music, challenging divisions between folk and traditional music in both repertoire and instrumentation. This growth and change were driven by a diverse range of instrumental, structural and stylistic changes, coupled with a global investment in music and live performance as a commodity. Key ensembles such as The Dubliners, Sweeney’s Men, Planxty, The Bothy Band and others explored new timbres while establishing a distinctively Irish, yet individual sound. This article explores the ways in which non-traditional string instruments were integrated into Irish ensembles, the technical and stylistic adaptations that resulted, and the legacy of this formative period in Irish music.
{"title":"Sounds from Foreign Shores: Non-Traditional String Instruments and the Irish Folk Music Movement 1960–1979","authors":"Breandán Seosaimh Ó Luain, Anne Forbes","doi":"10.1080/08145857.2021.2004490","DOIUrl":"https://doi.org/10.1080/08145857.2021.2004490","url":null,"abstract":"Abstract The socio-political revolution of the 1960s and 1970s, and the simultaneous explosion in the commercialization of popular music, brought a period of rapid growth and change in Irish music, challenging divisions between folk and traditional music in both repertoire and instrumentation. This growth and change were driven by a diverse range of instrumental, structural and stylistic changes, coupled with a global investment in music and live performance as a commodity. Key ensembles such as The Dubliners, Sweeney’s Men, Planxty, The Bothy Band and others explored new timbres while establishing a distinctively Irish, yet individual sound. This article explores the ways in which non-traditional string instruments were integrated into Irish ensembles, the technical and stylistic adaptations that resulted, and the legacy of this formative period in Irish music.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"43 1","pages":"78 - 107"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46350506","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/08145857.2021.2006869
Alex Chilvers
Abstract There is an overwhelming tendency for scholars of Polish music to politicize the presence of folk music references when they appear in art music compositions. This has particularly been the case in studies of Frédéric Chopin, where certain myths pertaining to that composer’s extramusical intentions have long dominated how his music was unpacked in musicological literature. In this article, I demonstrate that our understanding of later Polish composers suffers similarly from the politicization of folklore. In an examination of the discourse surrounding both Karol Szymanowski and Henryk Mikołaj Górecki, I argue that a myopic understanding of the compositional possibilities bound up in folk music engagement has limited the scope of our interrogations into their compositional practices. I then reposition folk music as an aesthetic tool in their works that has enabled these artists to negotiate the compositional challenges confronting their respective generations. In addition to improving our understanding of these two composers’ methods, my analyses highlight how folk music models can lend a sense of familiarity and cohesion to the modern musical aesthetic.
{"title":"Foreign Models, Familiar Themes: The Aesthetic Function of Folklore in Works by Szymanowski and Górecki","authors":"Alex Chilvers","doi":"10.1080/08145857.2021.2006869","DOIUrl":"https://doi.org/10.1080/08145857.2021.2006869","url":null,"abstract":"Abstract There is an overwhelming tendency for scholars of Polish music to politicize the presence of folk music references when they appear in art music compositions. This has particularly been the case in studies of Frédéric Chopin, where certain myths pertaining to that composer’s extramusical intentions have long dominated how his music was unpacked in musicological literature. In this article, I demonstrate that our understanding of later Polish composers suffers similarly from the politicization of folklore. In an examination of the discourse surrounding both Karol Szymanowski and Henryk Mikołaj Górecki, I argue that a myopic understanding of the compositional possibilities bound up in folk music engagement has limited the scope of our interrogations into their compositional practices. I then reposition folk music as an aesthetic tool in their works that has enabled these artists to negotiate the compositional challenges confronting their respective generations. In addition to improving our understanding of these two composers’ methods, my analyses highlight how folk music models can lend a sense of familiarity and cohesion to the modern musical aesthetic.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"43 1","pages":"108 - 130"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48542524","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/08145857.2021.2001130
A. McMichael, J. Healy
Abstract Among the multitudes lured to Australia’s shores in the 1850s by the glitter of gold were entrepreneurial musicians who hoped to attract audiences eager for entertainment and culture. The tours of nineteenth-century virtuoso musicians around Europe and the Americas are well-researched, but less so touring musicians to the Antipodean gold rush. While the 1850s gold rush had profound impacts on social, economic and political life in Australia, the impact of gold upon cultural life warrants more attention. Newspapers of the time record many visiting musicians who hoped to profit from the backwash of rivers of gold. This article opens a window onto this world by studying the concert tours around Australia from 1854 to 1858 of Miska Hauser. A European classical musician with elite violin school training, he is notable as the first world-class violinist to tour the Australian colonies. This study draws upon the digital records of colonial newspapers available online from the National Library of Australia. This article analyses the populist concert programmes that Hauser presented to diverse audiences during his indefatigable tours around Australia and explores the extent of his professional and financial success.
{"title":"Classical Musicians in Australia during the 1850s Gold Rush: The Colonial Tour of Miska Hauser, Virtuoso Violinist","authors":"A. McMichael, J. Healy","doi":"10.1080/08145857.2021.2001130","DOIUrl":"https://doi.org/10.1080/08145857.2021.2001130","url":null,"abstract":"Abstract Among the multitudes lured to Australia’s shores in the 1850s by the glitter of gold were entrepreneurial musicians who hoped to attract audiences eager for entertainment and culture. The tours of nineteenth-century virtuoso musicians around Europe and the Americas are well-researched, but less so touring musicians to the Antipodean gold rush. While the 1850s gold rush had profound impacts on social, economic and political life in Australia, the impact of gold upon cultural life warrants more attention. Newspapers of the time record many visiting musicians who hoped to profit from the backwash of rivers of gold. This article opens a window onto this world by studying the concert tours around Australia from 1854 to 1858 of Miska Hauser. A European classical musician with elite violin school training, he is notable as the first world-class violinist to tour the Australian colonies. This study draws upon the digital records of colonial newspapers available online from the National Library of Australia. This article analyses the populist concert programmes that Hauser presented to diverse audiences during his indefatigable tours around Australia and explores the extent of his professional and financial success.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"43 1","pages":"40 - 60"},"PeriodicalIF":0.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44060318","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/08145857.2020.1948727
B. Bartleet, N. Sunderland, Sarah Woodland, Sandy O’Sullivan
This article examines the role that the arts sector plays in supporting and sustaining communities in one of Australia’s remotest regions, the Barkly (Northern Territory). Drawing on findings from a three-year Australian Research Council Linkage project, ‘Creative Barkly’, the article outlines how artistic and creative activities in very remote regions, such as the Barkly, constitute significant cultural, social, and economic value. To illustrate this, the article explores one such example, the annual Desert Harmony Festival, run by Barkly Regional Arts. This example demonstrates how an event such as this can provide a site of diverse intercultural expression that promotes both social and economic linkages and networks and generates cultural vitality in the region.
{"title":"Desert Harmony: Exploring the Cultural, Social, and Economic Value of a Multi-Arts Festival in the Remote Barkly Region","authors":"B. Bartleet, N. Sunderland, Sarah Woodland, Sandy O’Sullivan","doi":"10.1080/08145857.2020.1948727","DOIUrl":"https://doi.org/10.1080/08145857.2020.1948727","url":null,"abstract":"This article examines the role that the arts sector plays in supporting and sustaining communities in one of Australia’s remotest regions, the Barkly (Northern Territory). Drawing on findings from a three-year Australian Research Council Linkage project, ‘Creative Barkly’, the article outlines how artistic and creative activities in very remote regions, such as the Barkly, constitute significant cultural, social, and economic value. To illustrate this, the article explores one such example, the annual Desert Harmony Festival, run by Barkly Regional Arts. This example demonstrates how an event such as this can provide a site of diverse intercultural expression that promotes both social and economic linkages and networks and generates cultural vitality in the region.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"42 1","pages":"196 - 214"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48015057","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/08145857.2020.1945254
J. Troy, L. Barwick
This article aims to re-evaluate Johann Lhotsky’s published sheet music ‘A Song of the Women of the Menero Tribe near the Australian Alps’ to claim it as a distinctively Ngarigu document that speaks to Ngarigu people today. Following a method suggested by Graeme Skinner, we recover additional information, strip out the ‘improvements’ of the arrangers and create a new Ngarigu-oriented reading with what we hope will be ‘real value for song revitalisation’ by providing ‘usable details’ of text, melody and rhythm. We suggest that the evidence tends to substantiate Skinner’s suggestion that Lhotsky’s original publication was more ‘ethnographically honest’ than Isaac Nathan’s revision. We present new conclusions as to who originally performed the Song, and when and where the performance witnessed by Lhotsky took place. We show that Lhotsky’s untranslated text is clearly in an Aboriginal language and provides important clues to its significance to Ngarigu Country. We contend that various musical features of Lhotsky’s publication, while departing from the norms of settler colonial parlour music, bear witness instead to Ngarigu performance practice of the time.
{"title":"Claiming the ‘Song of the Women of the Menero Tribe’","authors":"J. Troy, L. Barwick","doi":"10.1080/08145857.2020.1945254","DOIUrl":"https://doi.org/10.1080/08145857.2020.1945254","url":null,"abstract":"This article aims to re-evaluate Johann Lhotsky’s published sheet music ‘A Song of the Women of the Menero Tribe near the Australian Alps’ to claim it as a distinctively Ngarigu document that speaks to Ngarigu people today. Following a method suggested by Graeme Skinner, we recover additional information, strip out the ‘improvements’ of the arrangers and create a new Ngarigu-oriented reading with what we hope will be ‘real value for song revitalisation’ by providing ‘usable details’ of text, melody and rhythm. We suggest that the evidence tends to substantiate Skinner’s suggestion that Lhotsky’s original publication was more ‘ethnographically honest’ than Isaac Nathan’s revision. We present new conclusions as to who originally performed the Song, and when and where the performance witnessed by Lhotsky took place. We show that Lhotsky’s untranslated text is clearly in an Aboriginal language and provides important clues to its significance to Ngarigu Country. We contend that various musical features of Lhotsky’s publication, while departing from the norms of settler colonial parlour music, bear witness instead to Ngarigu performance practice of the time.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"42 1","pages":"85 - 107"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42326512","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/08145857.2020.1948729
R. Dunlop
The most widespread form of music making in East Timor is singing. Songs are sung by the East Timorese for many of the occasions of daily life and often utilized in many of the rituals associated with life and death and as a means of communicating with ancestors. Ancestral worship is the foundation of the indigenous belief system of the East Timorese and integral to it is lulik. Lulik translated into Tetun (the lingua franca of East Timor) simply means, ‘sacred’ or ‘forbidden’. Lulik is a complex concept, with many layers, and the governance of lulik’s sacred rules and regulations shapes most relationships in East Timorese society. This article examines the role of traditional songs in East Timor, and factors which may affect their survival. In particular the consequences of singing them if they are believed to have lulik connotations. Can trajectories be negotiated through the lulik domain by those who wish to continue singing these songs in culturally appropriate ways? The songs selected are those with lulik implications and were recorded by the author in numerous fields trips undertaken over a fourteen-year period from 2003 to 2016.
{"title":"East Timorese Songs From the Ancestors: Have a Care They may be Lulik","authors":"R. Dunlop","doi":"10.1080/08145857.2020.1948729","DOIUrl":"https://doi.org/10.1080/08145857.2020.1948729","url":null,"abstract":"The most widespread form of music making in East Timor is singing. Songs are sung by the East Timorese for many of the occasions of daily life and often utilized in many of the rituals associated with life and death and as a means of communicating with ancestors. Ancestral worship is the foundation of the indigenous belief system of the East Timorese and integral to it is lulik. Lulik translated into Tetun (the lingua franca of East Timor) simply means, ‘sacred’ or ‘forbidden’. Lulik is a complex concept, with many layers, and the governance of lulik’s sacred rules and regulations shapes most relationships in East Timorese society. This article examines the role of traditional songs in East Timor, and factors which may affect their survival. In particular the consequences of singing them if they are believed to have lulik connotations. Can trajectories be negotiated through the lulik domain by those who wish to continue singing these songs in culturally appropriate ways? The songs selected are those with lulik implications and were recorded by the author in numerous fields trips undertaken over a fourteen-year period from 2003 to 2016.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"42 1","pages":"148 - 160"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42015602","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/08145857.2020.1945252
A. Corn
This article focuses on the formative role of the Aboriginal Artists Agency in building today’s global market for Australian Indigenous artists. From 1976 to 1986, the Agency worked with Australian Indigenous musicians and dancers to undertake many innovative recording and touring projects. This study addresses the Agency’s early innovations in encouraging and supporting the recording and touring aspirations of Australian Indigenous performers across a hitherto unexplored continuum of traditional and popular styles, as well as the Agency’s contributions to catalysing similar breadth in scholarly discourse. The study aims to demonstrate how the Agency’s ambitious program of recording and touring projects with a wide array of prolific Australian Indigenous artists contributed to generating new and diversified market demand for their talents and works both within Australia and internationally.
{"title":"The Aboriginal Artists Agency and the Prominence of Indigenous Music and Dance in the Growth of the Australian Arts Industry","authors":"A. Corn","doi":"10.1080/08145857.2020.1945252","DOIUrl":"https://doi.org/10.1080/08145857.2020.1945252","url":null,"abstract":"This article focuses on the formative role of the Aboriginal Artists Agency in building today’s global market for Australian Indigenous artists. From 1976 to 1986, the Agency worked with Australian Indigenous musicians and dancers to undertake many innovative recording and touring projects. This study addresses the Agency’s early innovations in encouraging and supporting the recording and touring aspirations of Australian Indigenous performers across a hitherto unexplored continuum of traditional and popular styles, as well as the Agency’s contributions to catalysing similar breadth in scholarly discourse. The study aims to demonstrate how the Agency’s ambitious program of recording and touring projects with a wide array of prolific Australian Indigenous artists contributed to generating new and diversified market demand for their talents and works both within Australia and internationally.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"42 1","pages":"215 - 230"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48779994","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/08145857.2020.1951495
J. Hodgetts
Songs of the Ngiyampaa and Wiradjuri people were recorded and stored in archives, locked away from our communities for decades. With the surge of cultural revitalization activity across New South Wales in Australia, the repatriation and analysis of Ngiyampaa and Wiradjuri songs comes with perfect timing. The archived songs are enriching the revitalization process and our song knowledge is being actively passed on through our old people on the recordings. The songs were taken from us as if they were sleeping far away in the clouds, but now Ngiyampaa and Wiradjuri people are making that cloud rain.
{"title":"Yama Karra Paay? When is it Going to Rain? The Regrowth and Renewal of Old Ngiyampaa and Wiradjuri Songs to Empower the Cultural Identity of Ngiyampaa and Wiradjuri People of New South Wales Today","authors":"J. Hodgetts","doi":"10.1080/08145857.2020.1951495","DOIUrl":"https://doi.org/10.1080/08145857.2020.1951495","url":null,"abstract":"Songs of the Ngiyampaa and Wiradjuri people were recorded and stored in archives, locked away from our communities for decades. With the surge of cultural revitalization activity across New South Wales in Australia, the repatriation and analysis of Ngiyampaa and Wiradjuri songs comes with perfect timing. The archived songs are enriching the revitalization process and our song knowledge is being actively passed on through our old people on the recordings. The songs were taken from us as if they were sleeping far away in the clouds, but now Ngiyampaa and Wiradjuri people are making that cloud rain.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"42 1","pages":"108 - 122"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42119620","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/08145857.2020.1948730
J. Kell, Rachel DjÍbbama Thomas, Rona Lawrence, Marita Wilton
Until recently, throughout Arnhem Land in the Northern Territory, Australia, both ceremonial and popular music forms have been almost entirely the domain of men. This article is written by an innovative group of women from this region, who are currently forging new ways to negotiate musical practices, compose, play instruments, sing and perform in public. The Ripple Effect Band are a ground-breaking all-female rock band from the community of Maningrida on the north central coast of Arnhem Land who are using a contemporary music framework to enter a socio-musical space dominated by men. The article will examine the band’s creative processes and how they are negotiating agency as women performing music. The authors will discuss the construction of identity with a particular focus on the role of language and song in the expression of cultural knowledge and the assertion of clan allegiance.
{"title":"Ngarra-ngúddjeya Ngúrra-mala: Expressions of Identity in the Songs of the Ripple Effect Band","authors":"J. Kell, Rachel DjÍbbama Thomas, Rona Lawrence, Marita Wilton","doi":"10.1080/08145857.2020.1948730","DOIUrl":"https://doi.org/10.1080/08145857.2020.1948730","url":null,"abstract":"Until recently, throughout Arnhem Land in the Northern Territory, Australia, both ceremonial and popular music forms have been almost entirely the domain of men. This article is written by an innovative group of women from this region, who are currently forging new ways to negotiate musical practices, compose, play instruments, sing and perform in public. The Ripple Effect Band are a ground-breaking all-female rock band from the community of Maningrida on the north central coast of Arnhem Land who are using a contemporary music framework to enter a socio-musical space dominated by men. The article will examine the band’s creative processes and how they are negotiating agency as women performing music. The authors will discuss the construction of identity with a particular focus on the role of language and song in the expression of cultural knowledge and the assertion of clan allegiance.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"42 1","pages":"161 - 178"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49221597","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/08145857.2020.1957302
Myfany Turpin, Calista Yeoh, Clint Bracknell
Classical Aboriginal culture in Australia consists of many different kinds of ceremonies, including travelling ceremonies that are often shared across linguistic and geographical boundaries. Each of these ceremonies is made up of dozens of different verses. Perhaps the most widely known travelling ceremony is one referred to in some areas as ‘Wanji-wanji’. This was known over half the country and dates back at least 170 years, as evidenced in eleven legacy recordings and fieldwork interviewing more than 100 people across the western half of Australia. Like any oral tradition, the names of such ceremonies vary from place to place and from individual to individual. The extent to which a ceremony was known can thus only be seen through analysis of the music itself, rather than through reference to its names. This study analyses the most widely known verse in this ceremony, which we refer to as the Wanji-wanji verse. We identify the similarities and differences of the Wanji-wanji verse across legacy recordings spanning fifty years across three states. The most significant variation can be seen in the northern and southern peripheries of its ‘broadcast’ footprint. Our fieldwork has involved repatriating audio recordings to their communities of origin and sharing knowledge about the extent to which the ceremony was known. By implication, this activity has equipped custodians with the knowledge and confidence to potentially revive this once immensely popular ceremony.
{"title":"Wanji-wanji: The Past and Future of an Aboriginal Travelling Song","authors":"Myfany Turpin, Calista Yeoh, Clint Bracknell","doi":"10.1080/08145857.2020.1957302","DOIUrl":"https://doi.org/10.1080/08145857.2020.1957302","url":null,"abstract":"Classical Aboriginal culture in Australia consists of many different kinds of ceremonies, including travelling ceremonies that are often shared across linguistic and geographical boundaries. Each of these ceremonies is made up of dozens of different verses. Perhaps the most widely known travelling ceremony is one referred to in some areas as ‘Wanji-wanji’. This was known over half the country and dates back at least 170 years, as evidenced in eleven legacy recordings and fieldwork interviewing more than 100 people across the western half of Australia. Like any oral tradition, the names of such ceremonies vary from place to place and from individual to individual. The extent to which a ceremony was known can thus only be seen through analysis of the music itself, rather than through reference to its names. This study analyses the most widely known verse in this ceremony, which we refer to as the Wanji-wanji verse. We identify the similarities and differences of the Wanji-wanji verse across legacy recordings spanning fifty years across three states. The most significant variation can be seen in the northern and southern peripheries of its ‘broadcast’ footprint. Our fieldwork has involved repatriating audio recordings to their communities of origin and sharing knowledge about the extent to which the ceremony was known. By implication, this activity has equipped custodians with the knowledge and confidence to potentially revive this once immensely popular ceremony.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"42 1","pages":"123 - 147"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45571752","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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