Pub Date : 2020-07-02DOI: 10.1080/08145857.2020.1945250
Diana James, I. Williamson
The focus of this article is the cross-cultural translation space of bicultural bilingual performance of Inma, traditional Pitjantjatjara song and dance. The article structure reflects the two languages and cultural concepts of storytelling, song and dance in which the Kungkarangkalpa Inma—Seven Sisters performance was presented at the Centenary of Canberra Indigenous Festival in 2013. This method of bilingual bicultural translation of words, song, dance and choreography was intrinsic to the many acts of translation involved in communicating the power, passion and meaning of a traditional Indigenous Inma performance to a western city audience. Inma song and dance conveys the connectivity of people to their Tjukurpa, the Law and Dreaming of their country. The performance space of translation is one in which people choose to share their culture by performing it in language, written or spoken, song, dance or mime, and translation occurs through intermediaries with some knowledge of both cultures who translate each to the other. The authors acknowledge that the acts of translation involved in translocating the desert Inma to the Canberra stage and the presentation of this in the secondary formats of a dialogue at an academic conference and now in a written article are all abstractions from the real performance of meaning in country of the Tjukurpa. Translation is but a reflection of meaning, a narrowing of the breadth of cultural referends of language, time and place. In this case, through several portals: a condensed city performance, a film of this performance, an oral bilingual conference dialogue and now a written account. This article references these portals and incorporates direct and indirect bilingual speech and reflection in an attempt to convey the importance of Inma song and dance in the cross-cultural communication of Indigenous knowledge of country.
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Pub Date : 2020-07-02DOI: 10.1080/08145857.2020.1945253
Clint Bracknell, L. Barwick
Teetering on the fringe of Australian music scholarship and knowledge institutions, research and teaching of local Indigenous musics hold a marginal place, belying the positioning of Indigenous music-makers at the centre of international representations of Australian culture, and the dynamic local connections of Indigenous music-making to Australian landscapes and social realities. Music’s ubiquity and diversity worldwide show its potential as a tool to manage the changing world in societies of the past and present, yet this potential is largely neglected in contemporary Australia, and our theories and evidence base are limited by the narrow western focus within our knowledge institutions. The sheer weight of institutional investment in purportedly superior European musics prolongs Australia’s characteristic cultural cringe and the trivialization of Indigenous cultures. Recent calls to decolonize music education and decentre the study of western classical music ring hollow in the Australian context because, despite the glossy pictures and stated aspirations, there is a big gap at the heart of our music institutions. Addressing this gap requires not just greater inclusion of Indigenous people and their musics, but also, we argue, advocacy for Indigenous self-determination as core business.
{"title":"The Fringe or the Heart of Things? Aboriginal and Torres Strait Islander Musics in Australian Music Institutions","authors":"Clint Bracknell, L. Barwick","doi":"10.1080/08145857.2020.1945253","DOIUrl":"https://doi.org/10.1080/08145857.2020.1945253","url":null,"abstract":"Teetering on the fringe of Australian music scholarship and knowledge institutions, research and teaching of local Indigenous musics hold a marginal place, belying the positioning of Indigenous music-makers at the centre of international representations of Australian culture, and the dynamic local connections of Indigenous music-making to Australian landscapes and social realities. Music’s ubiquity and diversity worldwide show its potential as a tool to manage the changing world in societies of the past and present, yet this potential is largely neglected in contemporary Australia, and our theories and evidence base are limited by the narrow western focus within our knowledge institutions. The sheer weight of institutional investment in purportedly superior European musics prolongs Australia’s characteristic cultural cringe and the trivialization of Indigenous cultures. Recent calls to decolonize music education and decentre the study of western classical music ring hollow in the Australian context because, despite the glossy pictures and stated aspirations, there is a big gap at the heart of our music institutions. Addressing this gap requires not just greater inclusion of Indigenous people and their musics, but also, we argue, advocacy for Indigenous self-determination as core business.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"42 1","pages":"70 - 84"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46388169","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 : 2020-01-02DOI: 10.1080/08145857.2020.1820177
Rachel Solomon
Australia’s most internationally celebrated author of the first half of the twentieth century, Henry Handel Richardson (1870–1946), was at one time an aspiring concert pianist who also had a flair for music composition. Richardson’s accounts of her talents and achievements in music performance during her school days in Melbourne, and then at the Leipzig Conservatorium of Music, have been at best vague and at worst misleading. This article seeks to address the issues relating to Richardson’s musical training, competence, and reasons for abandoning a career of performance, through a comparative analysis with her friend and rival, Marie Hansen. An assessment of their shared and separate musical development in Melbourne and Leipzig calls for a re-evaluation of Richardson’s versions of events and, connectedly, the biographical interpretations that have followed.
{"title":"Henry Handel Richardson and Marie Hansen: Musical Lives in Fact and Fiction","authors":"Rachel Solomon","doi":"10.1080/08145857.2020.1820177","DOIUrl":"https://doi.org/10.1080/08145857.2020.1820177","url":null,"abstract":"Australia’s most internationally celebrated author of the first half of the twentieth century, Henry Handel Richardson (1870–1946), was at one time an aspiring concert pianist who also had a flair for music composition. Richardson’s accounts of her talents and achievements in music performance during her school days in Melbourne, and then at the Leipzig Conservatorium of Music, have been at best vague and at worst misleading. This article seeks to address the issues relating to Richardson’s musical training, competence, and reasons for abandoning a career of performance, through a comparative analysis with her friend and rival, Marie Hansen. An assessment of their shared and separate musical development in Melbourne and Leipzig calls for a re-evaluation of Richardson’s versions of events and, connectedly, the biographical interpretations that have followed.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"42 1","pages":"22 - 41"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08145857.2020.1820177","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43703894","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 : 2020-01-02DOI: 10.1080/08145857.2020.1820180
Jenny Mccallum
The Cocos (Keeling) Islands, a tiny coral atoll in Australia’s Indian Ocean Territory, are home to around 450 Malays and 150 others. Cocos Malays largely identify as Malay and Muslim and have strong connections with the Malay world (Indonesia and Malaysia) as well as the wider Islamic world. They are also Australian citizens, part of its economy and culture, and have migrated in significant numbers to Western Australia and Sabah, Malaysia. This article focuses on two musical practices, zikir and nasyid, that have become particularly interesting in recent decades in terms of the ways they involve Cocos Malays in interactions with these wider systems, in which the distinctiveness of the particular Cocos version of Malay culture is variously emphasized, valued, overlooked, glossed over, or overcome. In this article I examine the significance of these two practices in the diasporic context of Katanning, Western Australia, where such performances of cultural identity are resignified and become involved in larger systems such as the transnational nasyid industry and multicultural agendas at local and state levels. I propose ‘distinctiveness’ as a valuable concept for understanding the way Cocos Malay culture functions as a minority culture because it recognizes the relationship both of difference from and connection with a wider group, holding these two things in tension. Attention to distinctiveness moves us beyond thinking about assimilation on the one hand or cultural preservation and sustainability on the other, to examining a situation in which both difference and belonging are important, and examining the dynamics that govern the value placed on a community’s distinguishing cultural practices.
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Pub Date : 2020-01-02DOI: 10.1080/08145857.2020.1820181
Szymon Paczkowski
In September 1718, Jacob Heinrich von Flemming, the Saxon Field Marshal and the first minister of the Saxon Privy Council, came to Vienna to complete the political negotiations between Austria, Saxony, and Poland that were to lead, inter alia, to the dynastic pact between the Wettins and the Habsburgs. This alliance was embodied in the marriage of Friedrich August (son of August II, king of Poland and elector of Saxony) and Maria Josepha (the eldest daughter of the emperor Joseph I, who died in 1711), which took place in Vienna on 20 August 1719. Flemming spent this time in Vienna not only for the purpose of intense political negotiations, secret meetings, and important public events; he was also actively involved in the social life of the city. He participated in balls, feasts, opera performances, and other entertainments in the salons of the Viennese aristocracy, and he reciprocated the same in his residence. He brought his own private music Capelle from Saxony, which accompanied most social events taking place at his Viennese headquarters. Based on Flemming’s Viennese diaries and other documentation from that time, this article represents the second and final part of a broader study on music and diplomacy through the lens of Flemming’s activities and correspondence. It recreates the musical soundscape surrounding the Saxon marshal in the Austrian capital, showing how Flemming used music as a tool to build trusting relationships (both political and social), and detailing the role the musicians played in fulfilling Flemming’s diplomatic objectives. Archival documents are used to reconstruct hitherto unknown musical aspects of the events surrounding the Vienna wedding of Friedrich August and Maria Josepha, and to provide indications about repertoire performed during Viennese marriage ceremonies of such rank.
{"title":"Music and Diplomacy: The Correspondence of Marshal Jacob Heinrich Flemming and Other Records, 1700–1720. Part II: The Wedding Ceremony of Friedrich August and Maria Josepha in Vienna (1719)*","authors":"Szymon Paczkowski","doi":"10.1080/08145857.2020.1820181","DOIUrl":"https://doi.org/10.1080/08145857.2020.1820181","url":null,"abstract":"In September 1718, Jacob Heinrich von Flemming, the Saxon Field Marshal and the first minister of the Saxon Privy Council, came to Vienna to complete the political negotiations between Austria, Saxony, and Poland that were to lead, inter alia, to the dynastic pact between the Wettins and the Habsburgs. This alliance was embodied in the marriage of Friedrich August (son of August II, king of Poland and elector of Saxony) and Maria Josepha (the eldest daughter of the emperor Joseph I, who died in 1711), which took place in Vienna on 20 August 1719. Flemming spent this time in Vienna not only for the purpose of intense political negotiations, secret meetings, and important public events; he was also actively involved in the social life of the city. He participated in balls, feasts, opera performances, and other entertainments in the salons of the Viennese aristocracy, and he reciprocated the same in his residence. He brought his own private music Capelle from Saxony, which accompanied most social events taking place at his Viennese headquarters. Based on Flemming’s Viennese diaries and other documentation from that time, this article represents the second and final part of a broader study on music and diplomacy through the lens of Flemming’s activities and correspondence. It recreates the musical soundscape surrounding the Saxon marshal in the Austrian capital, showing how Flemming used music as a tool to build trusting relationships (both political and social), and detailing the role the musicians played in fulfilling Flemming’s diplomatic objectives. Archival documents are used to reconstruct hitherto unknown musical aspects of the events surrounding the Vienna wedding of Friedrich August and Maria Josepha, and to provide indications about repertoire performed during Viennese marriage ceremonies of such rank.","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"42 1","pages":"42 - 56"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08145857.2020.1820181","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45210201","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 : 2020-01-02DOI: 10.1080/08145857.2019.1700596
P. Mcmahon
{"title":"The Middle of Life: Vocal Works of Benjamin Britten 1953–1958","authors":"P. Mcmahon","doi":"10.1080/08145857.2019.1700596","DOIUrl":"https://doi.org/10.1080/08145857.2019.1700596","url":null,"abstract":"","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"54 18","pages":"61 - 63"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08145857.2019.1700596","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41285513","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 : 2020-01-02DOI: 10.1080/08145857.2020.1766009
Paul Watt
Carmen is a much-loved opera: it is packed to the rafters with great tunes and it has a relatively uncomplicated plot. It is thus reasonably straightforward to follow, when compared to many other o...
{"title":"Carmen and the Staging of Spain: Recasting Bizet’s Opera in the Belle Epoque","authors":"Paul Watt","doi":"10.1080/08145857.2020.1766009","DOIUrl":"https://doi.org/10.1080/08145857.2020.1766009","url":null,"abstract":"Carmen is a much-loved opera: it is packed to the rafters with great tunes and it has a relatively uncomplicated plot. It is thus reasonably straightforward to follow, when compared to many other o...","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"42 1","pages":"63 - 64"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08145857.2020.1766009","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46747995","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 : 2019-12-09DOI: 10.1080/08145857.2019.1694391
R. Stove
During old age, as photographs confirm, Charles-Marie Widor resembled a bloodhound. At every age, he possessed the temperamental characteristics of that unglamorous but valuable quadruped: loyalty,...
{"title":"Widor on Organ Performance, Practice and Technique","authors":"R. Stove","doi":"10.1080/08145857.2019.1694391","DOIUrl":"https://doi.org/10.1080/08145857.2019.1694391","url":null,"abstract":"During old age, as photographs confirm, Charles-Marie Widor resembled a bloodhound. At every age, he possessed the temperamental characteristics of that unglamorous but valuable quadruped: loyalty,...","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"42 1","pages":"57 - 61"},"PeriodicalIF":0.0,"publicationDate":"2019-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08145857.2019.1694391","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41798105","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 : 2019-07-03DOI: 10.1080/08145857.2019.1696158
M. Talbot
An organist by training and occupation, Christian Michael Wolff lived most of his life in the small Pomeranian town of Stettin (today, Szczecin in Poland), but a period spent in Berlin between 1728...
克里斯蒂安·迈克尔·沃尔夫（Christian Michael Wolff）是一名受过训练和职业的管风琴师，他一生的大部分时间都生活在波美拉尼亚小镇斯德丁（今天的波兰什切青），但1728年期间，他在柏林度过了一段时间。。。
{"title":"Christian Michael Wolff (1707–1789) and his Chorale Preludes for Organ","authors":"M. Talbot","doi":"10.1080/08145857.2019.1696158","DOIUrl":"https://doi.org/10.1080/08145857.2019.1696158","url":null,"abstract":"An organist by training and occupation, Christian Michael Wolff lived most of his life in the small Pomeranian town of Stettin (today, Szczecin in Poland), but a period spent in Berlin between 1728...","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08145857.2019.1696158","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45640004","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 : 2019-07-03DOI: 10.1080/08145857.2019.1696164
R. Leaver
There is a lengthy footnote in Gesner’s 1738 edition of Quintilian’s Institutio Oratoria that describes J. S. Bach in performance; indeed, it is the only eye- or ear- witness account published duri...
{"title":"Bachii, Musici Lips. laus: Bach in a Philological Footnote","authors":"R. Leaver","doi":"10.1080/08145857.2019.1696164","DOIUrl":"https://doi.org/10.1080/08145857.2019.1696164","url":null,"abstract":"There is a lengthy footnote in Gesner’s 1738 edition of Quintilian’s Institutio Oratoria that describes J. S. Bach in performance; indeed, it is the only eye- or ear- witness account published duri...","PeriodicalId":41713,"journal":{"name":"Musicology Australia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08145857.2019.1696164","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42104282","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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