— CHAPTER REPORTS —

Hunter

In The Hunter Chapter news for this period we have more matters of life and death to report than of musicological meetings, although plans for future activities are underway. First, there has been a change of office-bearers, with the following elected at the Chapter AGM on 17 June, 2005:

                President: Rosalind Halton

                Secretary: Greg Smith

                Treasurer: Leanne Power

         In March 2005 members of the MSA Hunter Chapter, the Newcastle Conservatorium of Music, and the Newcastle music community were shocked to learn of the death in a road accident of David Jones, for many years Lecturer in Music at Newcastle Conservatorium.

         A brilliant and committed teacher, and noted researcher on the music of Nigel Butterley, David is greatly missed at the Conservatorium. In his address on the occasion of a Memorial concert in honour of David’s work, Professor Robert Constable made the following observations:

In his dealings with students and staff and with the wider musical community, David was inexhaustible in his efforts. You have to be inexhaustible in music education in this country; always there is too little money and resources and it’s no accident that the best music teachers devote huge numbers of hours to the task, not just in face to face teaching but in the administration, the essential follow-up of that teaching. David would work a 70 hour week most weeks of the year and most of that for this university. He was a natural and keen administrator and his systems were always reliable and foolproof. And he loved seeing administrative things work as a result of his efforts, particularly when they would benefit the students and staff.

         David’s Ph.D. thesis on Nigel Butterley’s music was close to completion, and it is planned to submit it posthumously. A recent tribute in the form of a musical, Dreamer or Drifter, composed by Greg Smith to a libretto by 3rd year student Suzanne Daoud, was performed on September 1 in the Newcastle Conservatorium—a humorous and fitting tribute to a witty, generous, and greatly missed friend.

Rosalind Halton

Northern New South Wales

Although planning the 2006 National Conference of the MSA has consumed much of the energies of the chapter’s membership, two successful meetings were held this year. On 20 April Christina Whitley, guest speaker and Ph.D. candidate at UNE, gave an entertaining account of early colonial piano music in her paper entitled “An Overview of piano music and composers in Colonial Sydney: 1840–1890.” Highlights of Christina’s presentation include group participation in a performance of Frederick Ellard’s Volunteer March depicting the “Battle of the Bull” in Sydney’s Domain. On 17 August chapter member Mary Buck presented a paper entitled “Absolutism and the Imagination; Hobbes and Descartes on Music and the human condition.” The paper described a possible approach to listening to and understanding music that is founded in the geometry of Hobbes and Descartes. Mary’s paper was well received by members and the general public with a further hour of discussion and debate following the conclusion of the paper.

         The planning for the 2006 National Conference in Armidale, 27 September to 1 October 2006 is well advanced. Already at this early stage, the Planning Committee has been successful in obtaining a substantial grant for the marketing and promotion of the conference from Armidale Dumaresq Council and a sponsorship/delegate discount rate deal with Qantas and QantasLink. The call for papers and proposals for the 2006 Conference, which is entitled “Music as Local Tradition and Regional Practice” can be found towards the end of this Newsletter (see p. 22).

Jason Stoessel
Secretary/Treasurer, NNSW Chapter

Queensland

The MSAQ has had an exciting year so far with a handful of successful local and national events, and a number of local and international symposia coming up on the 2005 calendar.

         On April 16/17, the MSAQ co-hosted a two-day symposium, titled “Celebration, Appropriation, or Reconciliation: Two hundred Years of Musical Encounters on Australian Soil,” with Queensland Conservatorium Research Centre (QCRC) at the Judith Wright Centre of Contemporary Arts in Brisbane. This symposium was part of QCRC’s project “Encounters: Meetings in Australian Music,” which critically traced the interaction between indigenous and European-based music from 1804 to 2004 with performances of over 60 rarely heard works, film screenings, the symposium, and a unique collection of essays on the topic, still available from Queensland Conservatorium Research Centre, Griffith University.

         On September 11, MSAQ will present its annual student symposium at the University of Queensland and celebrate the launch of the MSA National Workshop 2003 book proceedings, entitled Aesthetics and Experience in Music Performance, edited by MSAQ members Liz Mackinlay, Sam Owens and Denis Collins (see report on the symposium, p. 9, and release notice, p. 24 of this Newsletter).

         From 10 to 13 November, the VIIth International Symposium Cultural Diversity in Music Education (CDIME) will also be held in Brisbane. Over the past twelve years, this conference has become a lively and in-depth platform for debate between practice and academia in this field. A number of MSA members will be participating in the discussions with national and international practi­tioners and scholars on issues such as methodology, context and appropriation in a rapidly expanding area of activities and study. For further information see www.gu.edu.au/centre/qcrc/cdime/

         MSAQ encourages all members of the society to join us for these stimulating events.

Huib Schippers (MSAQ President),
Brydie-Leigh Bartleet (MSAQ Secretary)

South Australia

The SA Chapter has continued its regular seminars held in association with the Elder School of Music at the University of Adelaide. Graham Strahle began the year on 22 March, presenting a thought-provoking paper entitled “Is Classical Music Dead?” Important issues were raised that sparked lively debate. On 19 April, MSASA president Jula Szuster presented a further chapter of her research into music in colonial Adelaide in a paper entitled “Music in 1865: a snapshot of cultural life in Adelaide, not seen in Dureyea’s Panorama.” The paper outlined the extensive musical activity that went on in Adelaide the year in which the well-known photographic panorama of the young city was taken.

         A paper entitled “Negotiating Tradition into the 21st Century: Miki and the Japanese Koto” was given on 24 May by Kimi Coaldrake. It examined Minoru Miki’s Autumn Fantasy in order to understand the way Miki in particular and performers of Japanese instruments more generally address musical and cultural issues to create a new Japanese music that bridges the gap between Japanese musical practice and Western forms. On 21 June, Helen Rusak discussed Elena Kats-Chernin's music theatre composition, Mr Barbecue, in her paper entitled “‘Meat, Metal and Fire’—a masculinist challenge,” which dealt with the operation of a distinctly feminine aesthetic in the work and its links with the expression of masculine tribalism in the Australian barbecue ritual.

         Visiting UK scholar and pianist Roy Howat gave his lecture-demonstration “Updating Debussy Editions” for MSASA on 19 July. Roy outlined a number of problems he had encountered in the editing of Debussy’s piano music for the new Durand-BMG edition and their significance for the philosophy of music editing. Finally, on 23 August, Masters Student Kathryn Hardwick-Franco gave her paper on the workings and significance of music cultures in isolated migrant communities, “Music and identity maintenance for Slovenian people in remote Port Lincoln, South Australia.”

         With a break for the Sydney conference this month, MSASA’s seminar series continues in October.

                 John Phillips
Secretary, SA Chapter

 

Sydney

During the last six month Chapter members have been invited to attend guest lectures by Richard Moyle in April and John Rink in August as well as to a special symposium entitled Perception and Performance of Music. The first was organized by PARADISEC and the Sydney Conservatorium. The other two by the School of Music and Music Education of UNSW and the Australian Music Psychology Society.

         In August we also got together for the annual Graduate Student Symposium which was a particularly successful event with around twenty participants and eight interesting papers on diverse topics indicating the breath and scope of student research undertaken at various Sydney-based institutions. Some of these will be presented at the National Conference at which the Chapter will offer a prize of $250 for the best student paper/presentation. Details of the prize have been announced via the Electronic News Bulletin (ENB) and are also available as part of the Conference information on the Society’s internet site. We wish the very best to all contestants.

Names of presenters and their papers at the Graduate Student Symposium

·  Becky Shepherd: Representations of musical creativity and Radiohead’s OK Computer

·  Megan Evans: Whose line is it anyway? – Ownership issues in popular song recording

·  Alex Pozniak: Music in a Non-Musical Way: Merzbow’s Compositional Use of Noise

·  Sarah Penicka: Stravinsky, Maritain and the ideal Christian artifex

·  Christina Abdul-Karim: The Referential Use of Greek Byzantine Chant in the Music of John Tavener, Ivan Moody, Michael Adamis and Christos Hatzis

·  Stephen Loy: Music, Activism, and Tradition; Louis Andriessen’s Nine Symphonies of Beethoven

·  Justin White: The Use of Latin Rhetoric in Baroque Compositional Technique

·  Emily Pollnitz: Romancing the Australian Parlour: Passion, Patriarchy and Genteel Love Songs, 1880–1900

Dorottya Fabian
Secretary, Sydney Chapter

A report on the Graduate Student Symposium will be found on p. 8 of this Newsletter.

Victoria

A very successful study day was held at the ACU on Tuesday, 24 May. The presenters were as follows:

·    Julia Cornwell (Monash University) Character Transitions from Play to Opera in The Crucible

·    Paul Watt (Sydney Conservatorium) French Connections in the Development of Ernest Newman’s Scientific Criticism

·    Julie Waters (Monash University) Models of Musical Socialist Realism 1948–1953 and Amirov’s Symphonic Mughams

·    Erin McNamara (Victorian College of the Arts) Trombone Performance: Bach, Suite No 1 in G major for cello

·    Christine Mercer (ACU National) “Encounters: Meetings in Australian Music:” 12–17 April 2005, Queensland Conservatorium Griffith University

·    Polly Christie (ACU National) The roles female choral conductors play in contemporary Melbourne

·    Andrew Mathers (Monash University) Commonalities in Expressive Movement Theories and their Relevance to Expressive Conducting

·    Karen Heath (Monash University) The Synchronicity of Music and Gesture: Performance Strategies of Choreographic Music.

         Each of the papers provoked lively discussion.

         On Monday 25 July, Roy Howat gave an informative and fascinating lecture-recital entitled “Debussy’s Preludes Reconsidered.” This well-attended event took place at ACU National and was a great success, both musically and socially.

         On September 3 at Cecil Street Studio, Fitzroy, Brigid Burke gave a lecture-recital entitled “Composition, Contemporary Techniques and the Clarinet.” Although not well attended it was nevertheless a stimulating event.

         The Chapter Conference will take place on Friday and Saturday, 11 and 12 November. Shirley Trembath and Craig de Wilde have agreed to adjudicate the musicology prize. Venue, Recital Hall, ACU for Friday, and Early Music Centre, Melbourne University for Saturday.

         The closing date for papers is 3 October 2005.

Ian Burk
Secretary, Victorian Chapter

— Conference Reports —

MSA Sydney Chapter Graduate Student Symposium

Sydney Conservatorium of Music, Saturday, 27 August

 

The eight papers presented at the Graduate Student Symposium, organised by the Sydney Chapter of the MSA, varied widely in content and subject matter, but all were received enthusiastically by the crowd mainly from UNSW and Sydney University. The day started with a look at the world of rock and popular music. Becky Shepherd examined representations of musical creativity through Radiohead’s seminal album “OK Computer” and was followed by my own presentation on ownership issues in popular song recording. The first session finished with Alex Pozniak’s discussion of Japanese artist Merzbow’s compos­itional use of noise.

         After a brief coffee and cake break, the second session turned to composition and analysis of various twentieth century composers. Sarah Penicka looked at the relationship between Jacques Maritain and Igor Stravinsky and the importance of Christian belief in the works of each. The influence of religion was also taken up by Christina Abdul-Karim in her discussion of the referential use of Greek Byzantine chant in the music of John Tavener, Ivan Moody, Michael Adamis and Christos Hazis. Stephen Loy then turned the focus from religion to politics by examining Louis Andriessen’s “Nine Symphonies of Beethoven” in the context of his social and political motivations.

         After more social interaction during lunch, the final session took a more historical approach, beginning with a discussion of the use of rhetoric in Baroque compositional technique by Justin White, followed by Emily Pollnitz’s look at the social functions of the genteel parlour song in Australia of the late nineteenth century. Her presentation included some live performances that were definitely appreciated by all.

         The papers presented were drawn from recently completed theses, works in progress and draft versions of papers for the upcoming MSA conference. The mood was supportive and relaxed and the general consensus was that a good time was had by all. As there are plans underway to make this day a regular feature of the Sydney Chapter’s calendar I firmly encourage those students who were unable to participate to make the effort to get involved next time: not only is it a good forum to discuss your ideas, but you are also able to meet fellow researchers and see what everyone else is working on, increasing the sense of community that is always there for support.

Megan Evans
Sydney Conservatorium of Music, The University of Sydney

 

MSA Queensland Chapter Annual Student Symposium
and Members’ Day

University of Queensland, 11 September 2005

 

Seven papers were presented at this year’s symposium by undergraduate and postgraduate students on themes broadly based on music’s role and function in diverse contexts. Now a well-established annual event of the Queensland chapter, the lively mix of research interests and the congenial atmosphere fostered by the occasion provide young and emerging music researchers in Queensland with valuable professional experience. The Gordon Spearritt Prize for best student paper is an especially important aspect of the symposium, and the Chapter was privileged to have had Gordon attend the event and present the prize to this year’s winner, Jim Chapman, a Ph.D. student at Queensland University of Technology, for a well-paced and engaging paper entitled “An Approach to the Analysis of Syncretic Compositions in a European/African Cross-Cultural Setting.” This year’s judges, Felicity Baker and Don Lebler provided excellent feedback to participants on the rigours and challenges involved in presentations at professional meetings. The other speakers discussed wide-ranging themes from the social and professional conditions surrounding music among Indigenous Australians, the Queensland Youth Orchestra, Afghani musicians and Cuban song-writers to the variegated creative landscape of a concept known as Systems Thinking, and the mix of influences at work in Japanese video game music of the early 1990s. This year’s symposium was also the occasion of the launch, by MSAQ’s president, Huib Schippers, of Aesthetics and Experience in Music Performance, a volume of essays arising from the 2003 MSA National Workshop held at the University of Queensland, edited by Elizabeth Mackinlay, Denis Collins and Samantha Owens and published by Cambridge Scholars Press. Finally, the excellent organisational skills of MSAQ’s Secretary, Brydie-Leigh Bartleet, ensured the smooth running of the symposium throughout the day.

Denis Collins

 

 

— Forthcoming conferences —

2005 National Conference

 

The 28th National Conference of the MSA, co-hosted by the Sydney Conservatorium of Music, The University of Sydney and the Sydney Chapter of the Musicological Society of Australia, will be held from Wednesday, 28 September to Saturday, 1 October 2005 at the Sydney Conservatorium of Music.

                Featuring over one hundred events, including individual paper presentations, panel sessions, lecture recitals, workshops and study group meetings, the conference is based around the theme of “Music and Social Justice,” although papers on a wide range of topics will be presented. Session themes include Aboriginal song and country; ethical and social justice issues in opera; copyright and ownership; empirical research in music performance, production and construction of contemporary culture; music and social justice projects in the community; music’s role in the industrial and social revolutions of nineteenth century England; song and society; social justice in south-east Asia and the Pacific; music and war; interpretations of Sculthorpe’s music; music and social justice in Australian colonial history; women’s music, feminism and social justice; and contemporary Australian music projects for social justice.

         Plenary session speakers include Dr Mandawuy Yunupingu, who will speak on social justice issues in the music of the Yothu Yindi Foundation, Dr Ian Cross, who will present a keynote address on music and social being, and Associate Professor Guthrie Ramsey, who will present the Alfred Hook Lecture on the music of jazz pianist Bud Powell. Lecture recitals feature musical settings of Rudyard Kipling’s verse performed by baritone Michael Halliwell and pianist David Miller; the social justice poetry and songs of the late Denis Kevans, performed by Sonia Bennett; a discussion of the Latin American New Song movement, with performances by Sue Monk and Justo Diaz; works by William Barton and Sculthorpe performed by didgeridoo virtuoso William Barton and a Conservatorium student string quartet; and a discussion and performance by composer and pianist Benjamin Carson of the piano music of Fred Rzewski, Rick Burkhardt, Ben Carson and others. A closing discussion on music and social change will include plenary session speakers William Barton, Ian Cross, Guthrie Ramsey and other invited panellists.

         We hope you will make the most of other events on offer. In particular, delegates and their guests are invited to attend the Friday evening conference dinner, which will be held at the Imperial Peking Harbourside Restaurant at Circular Quay West, a pleasant twenty-minute walk from the Conservatorium. Enjoy the Imperial’s banquet dinner while you take in the restaurant’s magnificent views of Sydney Harbour and, after dinner, dance to the music of the Conservatorium’s student jazz trio! Dinner tickets ($60 each) are available in advance for delegates and their guests by booking them on the conference registration form, or they can be purchased at the conference registration desk. Numbers are limited, so please book your tickets early to avoid disappointment!

         Another special event is the Hook Lecture reception at the Conserva­torium, which will also feature book launches by Society members and which will be followed by the Hook Lecture. Gleebooks will be displaying a selection of items for purchase throughout the conference in the Conservatorium Atrium and, for those of you who remain in Sydney on the Sunday, discount tickets are available for the Conservatorium’s “Sensational Sunday” concert.

         Complimentary morning and afternoon teas will be provided in the Conservatorium Atrium during the conference and, if you need a break from conference events, a stroll through the Royal Botanic Gardens behind the Conservatorium to Government House, the Sydney Opera House and Circular Quay is highly recommended.

         Conference information and accommodation, an updated draft program and registration form are available from the Society’s website (follow the links to Conferences and Events) or from the conference convenors,

conference@msa.org.au. Conference and Day registrations will also be available each day of the conference at the conference registration desk. A draft of the conference program, current as of September 12, follows.

         See you in Sydney!

Jennie Shaw
Conference co-convenor

Music and Social Justice 

28th National Conference of the Musicological Society of Australia

Presented jointly with the Sydney Conservatorium of Music,

The University of Sydney

Wednesday 28 September – Saturday 1 October 2005

Sydney Conservatorium of Music, Macquarie Street, Sydney

 

Draft Program as of 12 September 2005

 

Wednesday, 28 September

 

9.30 am – 10.15 am Opening Session (Recital Hall East); Chair: Jennie Shaw

         Acknowledgement of Country: Jeff Dunn

         University Welcome: Justice Kim Santow, Chancellor, The University of Sydney

         Sydney Conservatorium of Music Welcome: Kim Walker, Dean, Sydney Conservatorium of Music

 

10.15 am – 11.00 am: Morning break. Complimentary refreshments provided by The University of Sydney Union Music Café, Sydney Conservatorium of Music Atrium

 

11.00 am – 12.00 pm: Plenary Session I (Recital Hall East); Chair: Allan Marett; Discussant: Aaron Corn

         Mandawuy Yunupingu, Yothu Yindi Foundation. Issues of Social Justice in the Music of Yothu Yindi

 

12.00 pm – 2.00 pm: Lunch break, lecture recital and committee meetings

 

12.00 pm – 1.00 pm: Renegotiating Musicology Workshop Meeting (Room 2174); Chair: Aaron Corn

 

1.00 pm – 2.00 pm: Lecture Recital I (Recital Hall West); Chair: Kerry Murphy

         Michael Halliwell, The University of Sydney. Rudyard Kipling: Bard of Empire or dangerous outsider?

                                Baritone: Michael Halliwell; piano: David Miller

 

2.00 pm – 4.00 pm: Parallel Sessions 1a–1d

 

Session 1a. Aboriginal Song and Country (Recital Hall East); Chair: Stephen Knopoff

         Katelyn Barney, The University of Queensland. “We’re women we fight for freedom”: Examining how Indigenous Australian women use contemporary music as a vehicle for expressing social justice

         Lysbeth Ford, Batchelor Institute of Indigenous Tertiary Education, and Frank Dumoo, Northern Territory. Songs and Country

         Margaret Gummow, Canberra, Songs and social justice in Aboriginal Australia: Sing-you-down songs from South Eastern Australia

         Sally Treloyn, The University of Sydney. “Out of the life of the Wanjina”: junba composition/performance through musical analysis

 

Session 1b. Opera I: Carmen and Colonialism (Recital Hall West); Chair: Peter McCallum

         Kerry Murphy, University of Melbourne. Carmen “the limpidezza of sunny lands”

         Elizabeth Kertesz, University of Melbourne. Bringing Carmen home: National identity and early Spanish productions of Bizet's opera

         Michael Christoforidis, University of Melbourne. Carmen's stepdaughters: Spanish entertainers and fin-de-siècle representations of Bizet's opera

 

Session 1c. The Politicisation of Modernism (Verbrugghen Hall); Chair: Richard Toop

         Linda Kouvaras, University of Melbourne. Exploring the "spaces between the notes": The postmodern embodying of the string quartet

         David Bennett, University of Melbourne. Kronos, modernism and the politics of world music

         Stephen Loy, The University of Sydney. Music, activism, and tradition; Louis Andriessen’s Nine Symphonies of Beethoven

         Cecilia Sun, The University of Sydney. Experimenting with politics: Frederic Rzewski’s Attica pieces

 

Session 1d. Japan: Tradition and Modernity (Room 2174); Chair: Lewis Cornwell

         Benjamin Carson, University of California, Santa Cruz. The significance of modernity in musicologies of Osaka and London

         Kimi Coaldrake, The University of Adelaide. Miki’s Autumn Fantasy: Negotiating tradition within contemporary compositional practice.

         Hugh de Ferranti, The University of New England. Taiko Dreaming: Japanese drumming for Australians

         Marika Leininger-Ogawa, The University of Adelaide. Shunsuke’s space: social and musical interaction in a Tokyo live house

 

4.00 pm – 4.30 pm: Afternoon break. Complimentary refreshments provided by The University of Sydney Union Music Café, Sydney Conservatorium of Music Atrium

 

4.30 pm – 6.30 pm: Parallel Sessions 2a–2c

 

Session 2a. National Recording Project Panel (Recital Hall East); Chair: Mandawuy Yunupingu

         Linda Barwick, The University of Sydney. Digital repositories of minority languages and musics: Implications for research practice

         Aaron Corn, The University of Sydney. There is no point admiring the flowers if the roots are starving

         Neparrnga Gumbala, Galiwin'ku Knowledge Centre and University of Melbourne. The role of knowledge centres in Building the National Recording Project for Indigenous Performance in Australia

         Allan Marett, The University of Sydney. Towards a National Recording Project for Indigenous Performance in Australia

 

Session 2b. Eighteenth- and Nineteenth-Century Studies (Recital Hall West); Chair: John Phillips

         Mary Buck, The University of New England. Absolutism and the imagination: Descartes and Hobbes on music and the human condition

         Jennifer Cable, University of Richmond. On the pleasures of the town: An Englishman responds to the influence of Italian opera on the English stage

         Neal Peres da Costa, The University of Sydney. Doing justice to Brahms: the Sonata for cello and piano Op. 38 as it might have been performed by Brahms and his circle

 

Session 2c. Copyright, Ownership and Music Technology (Room 2174); Chair: David Bennett

         David Carter, Griffith University. The day the Net turned Grey: Sampling, copyright law and civil disobedience

         Megan Evans, The University of Sydney. Whose line is it anyway? Ownership issues in popular song recording

         Bruce Johnson, The University of New South Wales. The right to bear arms? Music as Lethal Weapon

 

6.30 pm – 7.30 pm: MSA National Committee Meeting (Room 2135); Chair: Victoria Rogers

 

 

Thursday, 29 September

 

9.00 am – 11.00 am: Parallel Sessions 3a–3d

 

Session 3a. Empirical Research in Music Performance I (Recital Hall East); Chair: Dianna Kenny

         Dianna Kenny and Helen Mitchell, ACARMP, The University of Sydney. Acoustic and perceptual appraisal of vocal gestures in the female classical voice

         Thomas Millhouse and Franz Clement, ACARMP, The University of Sydney. Observations of sung and spoken vowels in the acoustic-auditory domain

         Lynda Moorcroft, ACARMP, The University of Sydney. How do you rate? Controlling vibrato rate in the singing voice

         Elizabeth Willis and Dianna Kenny, ACARMP, The University of Sydney. Adolescent voice: A time of change

 

Session 3b. Contemporary Culture: Production and Construction (Recital Hall West); Chair: Guthrie Ramsey

         Charles Fairchild, The University of Sydney. The grinding gears of a neo-liberal state: Community radio and local cultural production

         Aline Scott-Maxwell, Monash University. Kamahl: Otherness and ordinariness within the mainstream

         Peter Tregear, Fitzwilliam College, University of Cambridge. Musical decadence and degeneracy in popular cinema

         Tony Mitchell, University of Technology, Sydney. Australian hip hop, pedagogy, epistemology and social justice

 

Session 3c. Opera II: Ethical and Social Issues (Verbrugghen Hall); Chair: Nicholas Routley

         Michael Ewans, The University of Newcastle. Do Janácek's operas empower women?

         Mary Ingraham, University of Alberta. Beyond the ‘Cultural Cringe’: Opera in Canada, 1950–1967

         Michael Halliwell, The University of Sydney. Viva la liberta: opera and the law

 

Session 3d. Dualism, Humanism and Sonorism in Recent Music (Room 2174); Chair: Christine Logan

         Kheng Koay, National University of Singapore. Dualism and unification in Sofia Gubaidulina’s String Quartet No. 2

         Marguerite Boland, Canberra. Themes of humanism in Elliott Carter’s compositional aesthetic

         Anya Maslowiec, The University of Sydney. The Polish avant-garde and the birth of ‘sonorism’ considered against the background of political and cultural events

 

11.00 am – 11.30 am: Morning break. Complimentary refreshments provided by the University of Sydney Union Music Café, Sydney Conservatorium of Music Atrium

 

11.30 am – 12.30 pm: Parallel Sessions 4a–4d

 

Session 4a. Empirical Research in Music Performance II (Recital Hall East); Chair: Emery Schubert

         Mara Kiek, Kate Reid, Jonathon Livesey, Dianna Kenny, Pamela Davis, ACARMP, The University of Sydney. The power of the Bulgarian singing voice

         Gemma Turner, Dianna Kenny and Jenny Alison, ACARMP, The University of Sydney. The relationship between spontaneous physical movements and vocal intensity In western contemporary popular singing styles

 

Session 4b. Issues in Music Education (Recital Hall West); Chair: Kathy Marsh

         Nathan Scott, The University of Newcastle. Music, technology and education: The challenges of teaching technology

Jaime Alberts, Boston Conservatory. Sing the revolution: Why music education can and should help change the world

 

Session 4c. Opera III: Opera and Anti-Semitism (Verbrugghen Hall); Chair: Peter Tregear

         John Phillips, Adelaide. Composing hatred? Wagner and antisemitism

         Joseph Toltz, The University of Sydney. Music, an active tool of deception? The case of Brundibar in Terezin

 

Session 4d. Australian Music in the Twentieth Century I (Room 2174); Chair: Victoria Rogers

         Kate Bowan, Australian National University. “… that keen interest we have for the strange and the rare…”: The musical fantasy world of Hooper Brewster-Jones

         David Symons, The University of Western Australia. Before Corroboree: Fresh Perspectives on the Early Works of John Antill

 

12.30 pm – 2.00 pm: Lunch break, lecture recitals and committee meetings

 

1.00 pm – 2.00 pm: Lecture Recital II (Recital Hall West); Chair: Charles Fairchild

         Sonia Bennett, Sydney. Mend the Torn Air (In memoriam Denis Kevans)

             Voice and guitar: Sonia Bennett

 

1.00 pm – 2.00 pm: Music and Technology Study Group – Open Meeting (Room 2174); Chair: Gavin Carfoot

 

2.00 pm – 4.00 pm: Parallel Sessions 5a–5d

 

Session 5a. Empirical Research in Music Performance III (Recital Hall East); Chair: Ian Cross

         Jennifer Barnes, Jennifer Oates and Michael Halliwell, ACARMP, The University of Sydney. The power of the operatic soprano voice

         Joanne Callinan-Robertson and Dianna Kenny, ACARMP, The University of Sydney. An investigation of the Marchesi pedagogical model of head tone

         Sam Ferguson, Andrew Vande Moere and Densil Cabrera, ACARMP, The University of Sydney. Seeing your performance: Enhancing visual feedback technology for musicians with information visualisation

 

Session 5b. Opera III Panel Session: Opera and Social Justice: Composers’ Perspectives (Recital Hall West); Chair: Michael Ewans

         Andrew Schultz, University of Wollongong. "Child don't you study revenge": Voice in Black River

         Alan John, Sydney. Opera, the Opera House, and the elite

         Nicholas Routley, The University of Sydney. How to write Mahabharata: the question of refugees

         Drew Crawford, The University of Sydney. The Eugene Goossens scandal and social stigma

 

Session 5c. Music and Social Justice Community Projects (Verbrugghen Hall); Chair: Peter Dunbar-Hall

         Martin Jarvis, Charles Darwin University. Social justice flows from music in the community: A practical example in the Northern Territory

         Richard Petkovic, Sydney. The beat of Blacktown: Finding, creating with, showcasing and empowering the marginalised

         Eric Usner. New York University. Towards a pedagogy of witnessing: Ethnomusicology, service learning and social justice

 

Session 5d. Australian Music in the Twentieth Century II (Room 2174); Chair: David Symons

         Helen English, The University of Newcastle. Peggy Glanville-Hicks: music and text

         Christine Logan and Cherie Watters-Cowan, The University of New South Wales. Concerns of a twentieth century Australian composer: Margaret Sutherland’s lectures, other writings and private correspondence

 

4.00 pm – 4.30 pm: Afternoon break. Complimentary refreshments provided by The University of Sydney Union Music Café, Sydney Conservatorium of Music Atrium

 

4.30 pm – 5.30 pm: Parallel Sessions 6a–6c

 

Session 6a. Empirical Research in Music Performance IV (Recital Hall East); Chair: Dorottya Fabian; Respondent: Dianna Kenny

         Margaret Osborne, Dianna Kenny and John Cooksey, ACARMP, The University of Sydney. Cognitive-behavioural intervention for performance anxiety in gifted adolescent musicians

         Claire Kahn and Dianna Kenny, ACARMP, The University of Sydney. Enhancing the perception of emotion in music performance: A study of one musician’s attempt to develop the emotional communication of their music performance

 

Session 6b. The State, Church and Social Justice (Recital Hall West); Chair: Kathleen Nelson

         Kelvin Hastie, Sydney. "Wesley's 'humble poor': Social aspects of Methodist music-making in the nineteenth and twentieth centuries

         Bruce Cohen, Humbolt University, Berlin, and University of South Australia. Youth music behaviour and perceived injustices in Berlin

 

Session 6c. Music’s role in the Industrial and Social Revolutions of Nineteenth-Century England (Room 2174); Chair: Elizabeth Kertesz

         Poppy Fay, University of Melbourne. Manchester manufacturers, music and Elizabeth Gaskell's novels of the ‘north’