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Chapter Reports

Report from the 24th National Conference

Forthcoming conferences and Events

IMS Matters

Update on Musicology Australia

Submissions to Registers

In memoriam david galliver (1925-2001)

Eulogy

The death of David Galliver early in July removes from our midst one of the most significant figures in the musical life of South Australia, chiefly during the eighteen years in which he was the Elder Professor of Music at Adelaide University (1966-1984.)

In his later years David wrote a pamphlet entitled Church Music in South Wales (1850-1950): the Seatons of Margam and Port Talbot. Besides being an eloquent study in local history, this little work was written as a measure of his gratitude to the musicians of South Wales who first guided his steps into the music of the Church and into singing, which he was to pursue in his professional life. It also emphasises the Catholicism which remained dear to his heart throughout his life.

He was educated at Shrewsbury, and after a period of service in the Navy he went to New College, Oxford, from 1947 to 1950, where he studied languages (French and German). Many experiences in his early years provided echoes in his subsequent career in Australia. One of these was his participation in a production of Mozart’s Idomeneo at Oxford in which he sang the part of Idamante at the invitation of Professor Westrup. Idomeneo was one of the few works he undertook at the University of Adelaide with Georg Tintner conducting.

He became a favourite tenor in England, remembered for his performances in the Bach Passions, Mozart’s operas and Elgar’s Gerontius which he once performed before the Pope under the direction of Sir John Barbirolli. His first appearance in Adelaide was at the 1964 Festival when the first Australian performance of Britten’s War Requiem was given by Sir Bernard Heinz. It as one of his great successes. He subsequently gave many performances of the music of Britten and Tippett, including the song-cycle Winter Words and the Conservatorium performance of Britten’s Spring Symphony with David Swale, who also remembers his virile performance of Janácek’s Diary of One who Vanished with Nancy Thomas and off-stage choir.

Two years after the War Requiem he succeeded the South Australian, John Bishop, as Elder Professor of Music at Adelaide University. In view of Bishop’s great popularity and outstanding contributions to music-making and education and his connection with the Festival, this was a hard act to follow. It came at a time when the musical world was being inundated by musical information and when the whole discipline expanded as it had never done before, affecting not only scholarship but the way in which music was played and heard. To the new professor it was inevitable that a self-respecting music department in a major university should take heed of these developments. Other Australian universities followed his progress with interest.

For those who had regarded the Conservatorium as a place chiefly concerned with performance teaching, the expansion into areas of scholarship met with disapproval. Yet it would be a mistake to misinterpret his intentions, and his own keen participation in singing teaching and performance should have discouraged such an attitude. It was typical that his own musicological essays are very largely concerned with matters of performance. It would perhaps be more truthful to say that he was concerned to develop the aspect of study in a situation where there had previously been very little.

For David Galliver, music was always something that you are rather than something that you do-which made him seem a little fuzzy to the career people who were pressing around him. In some respects he seemed to articulate with difficulty, and perhaps this contributed to the idea that he did not care about the doing part. He was above all the scholar with the golden voice. This and his wonderful blend of knowledge and experience was something that he gave unstintingly to his pupils, to his project groups, and to the people he directed in his various performances. These often consisted of rarely heard music which he gave with the Bach Choir and the Pro Canto Singers. Those who knew him best respected him most and there was no trace of meanness in his dealings.

The scholarly concept of musical projects for second and third year students was something which he borrowed from Bernard Rands at the University of York. It was a new deal for learning, since it began from the concept that teacher and learner embarked together on a musical investigation rather than that an authority disgorged information onto the student. The emphasis was on what you can research together with experienced guidance rather than on what is handed over to you. It was time-consuming, but many students became adventurous and articulate as never before. Naturally, when resources reduced and the emphasis turned from educational values to financial returns this concept gradually dried up and became irrelevant compared with passing quickly through a charted course.

Musicology as such had Andrew McCredie to guide it and to make Adelaide a centre for international conferences. One way and another, Adelaide students were in contact with some of the most prominent scholars, composers and performers on the international scene. Composition became one of the streams in a new curriculum. It was guided at first by visiting composers of repute, but with government assistance a post was provided for a composition lecturer of which Richard Meale was the incumbent. The visit of Peter Maxwell Davies for some months in 1966 may be mentioned as a sensational landmark in the introduction of avant-garde concepts to Adelaide students, and they greeted it with enthusiasm-a leap forward into new worlds of sound which was also implemented by the new interest in electronic music promoted also by Peter Tahourdin and Tristram Cary.

David himself promoted new views on music theory with lectures on Schenker’s analysis-a subject furthered by his successor in office, Professor Heribert Esser. Also kept in mind was the new subject of Ethnomusicology, by now perhaps considered of greater relevance than historical musicology. The late Catherine Ellis, later Professor of Music at New England, established the Centre for Aboriginal Studies towards the end of the Galliver period.

In later years he withdrew increasingly from the University, living in retirement with Gabby and his family at Port Elliot. Here he involved himself in the modest musical and church life of the South Coast. Many of those who worked with him and studied with him will appreciate his virtues both as a man and musician and look back with gratitude to the many new and adventurous ways in which he enriched their lives.

Bibliography

David Galliver’s Church Music in South Wales (1870-1950): the Seatons of Margam and Port Talbot (ETU Publications, Adelaide University, South Australia, 1997), mentioned above, provides a background to his early life and training.

Werner Gallusser’s entry in the New Grove contains a bibliography of his articles up to 1974. These were concerned entirely with 17th-century singing techniques: vocal colour in Caccini’s music, coloratura techniques (gorgia), and bel canto-a considerable contribution to the Early Music approach to music which in practice was only grudgingly acknowledged by the department at this time. This article has been removed, perhaps unfairly, from the Second Edition.

Miscellanea Musicologica: Adelaide Studies in Musicology, volume 15, subtitled Conspectus Carminis: Essays for David Galliver (Adelaide, 1988) contains an article entitled “A Letter to David Galliver” by Annie Barnes which gives a fascinating commentary on his life in the post-war years in Oxford and in Europe among other things.

From Colonel Light into the Footlight: the Performing Arts in South Australia from 1836 to the Present (edited by Andrew McCredie; Pagel Books, Adelaide, 1988) contains references to many aspects of David Galliver’s work.

David Swale

Chapter Reports

South Australia

The SA Chapter is enjoying a busy year of regular seminars in addition to hosting the National MSA Study Weekend and AGM on 22-23 September 2001 and the annual postgraduate prize day, in memory of Naomi Cumming, on 1 December 2001.

On 20 March, John O’Donnell presented a paper entitled “Fauxbourdon, music ficta, and Josquin’s Planxit autem David”, in which the application of musica ficta leads to the recognition of a class of false octave and unisons hitherto not considered to be part of the 16th-century musical language.

Graham Strahle presented a paper at the 29 May meeting, entitled “Beyond the notes: Evidence from the 17th Century English sources for adding expression and ornamentation in musical performance”. On 26 June, Malcolm Gillies delivered a paper on “Music for Strings, Percussion and Celestra: Bartok’s ultimate masterwork?”. Mark Smith presented a paper on 24 July entitled “Reconstructing Bach’s Music for the Funeral of Prince Leopold” in which it was proposed that much of the music of the St Matthew Passion was first composed for a funeral service in 1729.

On 28 August, following the AGM of the SA Chapter, Shelley Brunt - the Naomi Cumming Postgraduate Prize winner for 2000-presented a paper on “Audience, Performers, Participants: Restructuring the Approach of Observ­ational Research”.

At its 24 July meeting, the SA Chapter noted the sad passing of David Galliver, Emeritus Elder Professor of Music and SA Chapter member.
Jula Szuster,
President, SA Chapter

Victoria

The 24th National MSA Conference, held in Melbourne in April, was the major musicological event in Victoria this year. The conference was extremely successful and the opportunity to meet with other musicologists from around the country and the world and exchange ideas was invaluable, both intellectually and socially. We trust that the stimulus it provided to Victorian musicology will continue well into the future. Following the conference the Victorian Chapter would like to welcome a number of new members; there are now 96 members on our mailing list, although all are not necessarily fully financial.

A practice session was held on August 21 for the seven Victorian members giving papers at the forthcoming National Festival of Women's Music in Canberra. These ‘dry-run’ sessions are often organised prior to conferences by the Chapter to allow paper-givers the opportunity to try out (and time) their papers in front of a sympathetic audience.

The main activity for the chapter for the rest of the year will be the 2001 Chapter Conference, scheduled to take place on Saturday 17 November at the Early Music Studio of the University of Melbourne. As usual, this will also incorporate the AGM and the awarding of the Musicology Prize of $250 for the best student paper.

At the Annual General Meeting of the British Academy (5 July, 2001) it was announced that Jan Stockigt’s book Jan Dismas Zelenka (1679-1745): A Bohemian Musician at the Court of Dresden (OUP, 2000) was awarded the Derek Allen Prize. This Prize was established in 1976 in memory of the late Derek Allen, formerly Fellow, Secretary and Treasurer of the Academy, for outstanding published work in one of the three fields in which Mr Allen had a particular interest: numismatics, Celtic studies and musicology.
Sue Cole,
Secretary, Victorian Chapter

Western Australia

In 2001 the WA Chapter has held three meetings in conjunction with the UWA Honours and Postgraduate Students’ Seminar held in the School of Music.

In first semester we welcomed two visiting MSA members who gave two very different papers which provoked much interest and subsequent discussion.

On March 19 Daniela Kaleva spoke on the melodrama sections in three German incidental music settings of Racine’s play Athalie by JAP Schulz, GJ (Abbe) Vogler and Mendelssohn, analysing the melodramas at the end of the third act of the play and their function within the structure of the scene as treated by the respective composers.

On April 9, Jamie Kassler gave a paper entitled “Musicology and the Problem of Sonic Abuse”, which aimed to draw the attention of musicologists to the problem of the abuse people suffer voluntarily through self-inflicted noise or involuntarily through the noise inflicted by others-on the basis that musicology is unique as a field that explores, and discourses about, different ways of hearing the sonic event called ‘music’.

In second semester, on August 6, Steve Laitz, Assistant Professor of Music at Eastman School of Music, University of Rochester, New York, spoke on ‘The Invigoration of Musical Analysis’, a topic which tackled head-on the problem of ‘relevance’ of the analytical process and its many methods and strategies, and how these may be made more meaningful to musicians, teachers and music lovers.

The Honours/Postgraduate Seminar has continued in 2001 with mostly weekly meetings to which MSA members are invited and has covered a wide range of papers and progress reports on research topics ranging from baroque studies and performance practice to aspects of 20th-century composition, including Australian music. One of our Seminar members (and a newly joined MSA member), David Gething, who is undertaking research on the French 'grand motet' of the 17th century under the supervision of David Tunley, will be attending the Colloque Internationale Lalande to be held at the Bibliotheque municipale de Versailles from October 4-6.
David Symons,
President, WA Chapter

reports from the 24th national Conference

University of Melbourne, 18-22 April 2001

From the Conference Committee

The 24th National Conference of the Musicological Society of Australia was held at the Faculty of Music, University of Melbourne and brought together 200 musicologists from across Australia, and the world, including over 120 papergivers. It was an especial pleasure to welcome our four keynote speakers: Richard Taruskin (University of California, Berkeley), Kay Dreyfus (Monash University), Annegret Fauser and Tim Carter (both now at University of North Carolina, Chapel Hill) and we thank them not only for their thought-provoking addresses, but also for their generous participation in the conference as a whole. Their addresses were highlights of the conference, and along with the stimulating papers given in some 40 sessions spanning the length of the conference demonstrated the variety that exists in the musicological discipline today.

Special events included the opening reception at the Grainger Museum, coinciding with the launch of the exhibition “Propagandist of a Timeless Art: Percy Grainger and Early Music”, the launch of the Naomi Helen Cumming Foundation and her book The Sonic Self and the lunch-time concert Federation! An enjoyable night was had by all who attended the conference dinner in the historic dining hall of Trinity College, where good food and wine were interspersed by dancing to spectacular live music by performers such as Hartley Newnham and Ken Murray.

The conference was marked by the inaugural meetings of the Think-Tank on Indigenous Music and Dance Research and the Gay and Lesbian Study Group, both of which welcome initiatives have led to the establishment of ongoing groups within the MSA.

Heartfelt gratitude is due to the Conference Convenor Kerry Murphy for her leadership, inspiration and generous steering of the conference. Thanks also to the organisational team: in particular the extraordinary work done by Conference Administrator Liz Kertesz and Steering Committee Members Jennifer Hill and Peter Campbell (who also acted as Conference Treasurer), and to all the student volunteers who helped in a myriad of ways to keep the conference running smoothly. We are deeply grateful to Warren Bebbington, Dean of the Faculty of Music, for generously funding the conference, and to the Faculty’s administrative and academic staff for their support. Finally, thank you to all speakers, session chairs and delegates for attending MUSICology 2001 and making it such a successful conference!
Kerry Murphy and Elizabeth Kertesz
for the Conference Committee

Indigenous Music Think-tank Outcomes

Proposed Constitutional Amendments

In accordance with the discussions held at the Indigenous Music Research Think-tank (Melbourne, 18 April 2001) and as directed by the National Committee at its meeting of 20 April 2001, I have convened an Indigenous Music Research Working Group of the MSA in order to prepare draft amendments to the MSA constitution.

The working group consisted of Linda Barwick (Chair, ICTM National Committee of the MSA), Aaron Corn, Elizabeth Mackinlay (National Committee member), Stephen Wild (Past President), and Chris Wainwright (National Secretary, pro tem.).

We are pleased to offer for your consideration the following proposals to amend the Society's Mission Statement and the Constitution:

Notice of motion to be put to the Annual General Meeting of the MSA, Adelaide, Sunday, 23 September 2001

Motion: That the MSA Mission Statement (as published in the Draft Strategic Plan, the MSA website and the current brochure) be amended as follows [additional material in italics]:

The Musicological Society of Australia exists to foster greater understanding and valuing of music, musical thinking and musical life by:

• Providing an Australian forum for communication about music;
• Encouraging excellence in music research and research training;
• Facilitating the dissemination of the outcomes of music research;
• Recognising the fundamental importance of Indigenous musics in Australia.

Proposed: Stephen Wild Seconded: Elizabeth Mackinlay
Draft constitutional amendment
[Additional material in italics. Add to: Article II, Purposes:]

The purpose of the MSA shall be:

• To advance musicology by all possible means; 
• To encourage and assist co-operation between institutions interested in musicology;
• To promote and encourage training to the highest possible level of persons involved in work of a musicological nature;
• To publish and assist in the publication of the results of musicological research;
• To organise conferences or congresses on themes appropriate to musicology;
• In collaboration with the performers and owners of Indigenous musics, to promote and support greater understanding and appreciation of Indigenous musics in Australia.

Proposed: Linda Barwick Seconded: Aaron Corn

Discussion of the proposed amendments

These amendments to the Mission Statement and the Constitution have the intention of formalising the MSA’s commitment to Indigenous Music research. Far from being purely symbolic, these commitments will be put to immediate practical use in the Society’s publicity material, in development of a professional code of ethics and in its contributions to public debate.

The Musicological Society of Australia is the only professional music-related body in the Australia, and indeed the world, that can effectively facilitate and guide research into Australian Indigenous musics. MSA members have of course been active in this field of research since the inception of the Society, and Musicology Australia is seen internationally as a leading journal in the publication of research on Australian Indigenous musics. In recent years, the Society has been increasingly successful in attracting Indigenous presenters to its confer­ences. However, much more remains to be done.

Adoption of a commitment to Indigenous music research in the mission statement and the constitution will:

• Facilitate the MSA’s ability to recruit Indigenous members;
• Facilitate the MSA’s ability to enlist the support and involvement of Indigenous organisations in Indigenous music research;
• Enhance the MSA’s credibility in contributions to public policy formation in the area of Indigenous music research.

The MSA’s formal acknowledgement of traditions of Indigenous music making that predate European settlement of Australia, and of the central and continuing role of music, in both traditional and contemporary genres, in sustaining all aspects of Indigenous Law, is a logical extension of existing policy. This policy, “to recognise the Indigenous custodianship of country where MSA public events are held, and acknowledge the continuing significance of Indigenous culture in Australia”, already has practical application in the Constitution under Article VI, By-Law 2d of the Constitution, which states that “Indigenous custodians will be recognised at the principal place of all National MSA public events in a manner appropriate to MSA and to those custodians.”

Furthermore, the members of the Indigenous Music Research Working Group believe that the fundamental importance of Indigenous music as performance and as expression of sustaining creative and social principles provides an inspiring model for contemporary production of music and knowledge about music in Australia. We all carry out our contemporary creative and interpretive work on country that has generated and been sustained by musical performance over many millennia.

Proposed MSA Code of Ethics

The Indigenous Music Research Working Group was also asked to investigate the development of a code of ethics and guidelines for researchers. We suggest that this should form part of a more general MSA ethics policy, which will clearly require a significant consultative process.

The formulation of an MSA Code of Ethics will provide a real benefit to the increasing number of MSA members who undertake professional work outside Universities (to incorporate, for example, as part of contractual agreements with clients), as well as to those of us within Universities attempting to persuade our University Ethics Committees to adopt discipline-appropriate ethics policies (rather than the current imposition of sometimes inappropriate models drawn from quantitative and/or experimental research ethics).

It goes without saying, perhaps, that for the development of ethics or protocols concerning Indigenous music research, it is essential that consultative committees include the informed and active participation of appropriate Indigenous people or organisations.
Linda Barwick.

The text of the above item is taken from Linda’s letter to MSA members, sent in July 2001. The referendum ballot form is enclosed with the current mailout. - Ed.

Gender and Sexuality Group of the MSA (GSG/MSA)

A meeting was held at the April 2001 conference, provisionally to establish a Gay & Lesbian Studies Group (as outlined in the previous Newsletter). Discussion led to agreement that, because of the size of the MSA and the lack of an existing group studying other gender topics, we should instead establish a broader Gender & Sexuality Group open to all interested MSA members.

This founding session had 15 attendees; it is worth noting that the gay & lesbian paper session had approximately 25-30 attendees. So far, 20 people have asked to participate in the group’s E-mail list; I expect that number will at least triple as members interested in women's studies get involved. In addition to this report, we hope to report on activities at least annually for the Newsletter, and an introduction to the group will eventually be put on the MSA Web page.

We have asked the national committee for the time and space for a two-hour meeting of the GSG to be scheduled at each year’s national MSA conference. This meeting may involve business, discussions, or separate presentations (whose content will not be subject to the MSA Program Committee). We also asked that 'special interest' groups, which include this group and the group devoted to indigenous music and dance research, not have paper sessions or meetings scheduled to conflict with each other.

Potential projects for such a group include: presentations or publications; conferences or mini-conferences; prizes for papers; outreach to graduate students; communications with similar groups, such as the Committee on the Status of Women and the Gay & Lesbian Study Group of both AMS or SMT, in addition to women's or gay & lesbian study groups in other disciplines; and, hopefully, parties.

Plans include setting up an E-mail discussion list among those who signed up at this meeting; this list will be open to all MSA members (and may be advertised on an MSA E-mail discussion list, which I believe should also be established). I originally planned on setting up this list myself; unfortunately, as my Australian job has been deferred, that will be delayed for some time. Anyone who wishes to sign up for this list, or who has the wherewithal to set up such a list in the meantime, may contact me at <pattinello@conmusic.usyd.edu.au>.
Paul Attinello

New Pacific-Wide Musicology Association

A meeting was held at the April 2001 conference to begin discussion of a new Pacific Rim musicology society (as outlined in the previous Newsletter). Ten people attended; discussion was fairly broad, and indicated that brainstorming, founding and establishment of such a project will be a matter of some years’ time. An important change to the proposal handed out at the meeting was to expand the focus from tertiary institutions to include independent scholars.

Participants pointed out that connections could be made to Hawaii (especially the East West Center, University of Hawaii) and the Philippines. A more complicated issue is that there are colleagues in practically the same situation as those of the Pacific in other geographical areas, especially South Africa, around the Indian Ocean, and in eastern South America. We have not found a convenient way of naming an organisation that includes those countries (although an interesting suggestion was to call it the Other International Musicological Society, or OIMS). I believe that the geographical purview should be clarified by the name, which is difficult to settle; it was suggested that words related to coasts or ideas of periphery might be useful.

The most critical discussion posed the question: given existing institutions, do we need another organisation? Organisations that could supplant or help such a project, other than the IMS, include ICTM (International Council for Traditional Music) and ISME (International Society for Music Education). The ICTM may be working away from its ‘traditional music’ limitations; the ISME has large conferences and extensive activity in the Asia/Pacific region (especially its subsidiary group the Asia/Pacific Music Education Society). Some thought that instead of a new society it might be better to go for either regular joint regional conferences of existing societies, or the creation of a geographically defined interest group, perhaps of the IMS or ICTM. We will continue to work on all of these possible expressions of a Pacific-or-larger musicological identity, under the assumption that whichever ones are successful may support the other ones.

We will currently aim for a large joint regional conference, to include Pacific-wide, South American and Asian scholars, in a few years. Perhaps the MSA can help organise one of these conferences. There should also be further discussion/brainstorming sessions at Atlanta 2001, Newcastle, Leuven and Kyoto 2002, among others.

Plans include setting up an E-mail discussion list among those who signed up at this meeting. As with the Gender & Sexuality Group, I planned on setting up this list myself, but this is now uncertain. Anyone who wishes to sign up for this list, or who has the wherewithal to set up such a list in the meantime, may contact me at <pattinello@conmusic.usyd.edu.au>.
Paul Attinello

Report on Special General Meeting:

“The MSA in the 21st Century:

Scope, Strategy and Structure”

University of Melbourne, 8.00 pm, 19 April 2001

Present: Royston Gustavson (convenor), Nicholas Routley (chair); Paul Attinello, Linda Barwick, Ashley Brown, Sue Cole, Aaron Corn, Craig De Wild, Michael Ewans, Dorottya Fabian, Reis Flora, Anne-Marie Forbes, Jennifer Hill, Allan Marett, Kathy Marsh, Kathleen Nelson, John Phillips, Anne Power, Melinda Sawers, Jennie Shaw, Natalie Shea, Adrian Thomas, Sally Treloyn, Shirley Trembath, David Tunley, Paul Watt, Stephen Wild, Carol Williams

Apologies: Elizabeth Mackinlay, David Symons, Jula Szuster

Items for Discussion (compiled by Royston Gustavson)

1. What do MSA members want their society to be?

2. a. What do MSA members want their society to do?
   b. What should be the MSA’s key outputs and outcomes?

3. What linkages should we have with other musicological societies/ musical societies/ universities?

4. Prioritise what we want to be, what we want to do, and who we want to link with.

5. How does all of this fit into a strategy?

6. What are our goals within the next 12 months and in five years time?

7. Exactly how are we going to achieve these goals given our financial constraints and the fact that almost all our membership is chronically overworked?

8. What is the best structure to enable MSA to implement its strategy?

Discussion

• Nicholas opened the meeting by stating that the Draft Strategic Plan was an issue to be discussed. It provides guidelines for future directions for the society but these are open-ended. He stated that groups within the MSA (eg Gay and Lesbian group and Indigenous Think Tank sessions at this conference) are increasingly active in engaging in many of the issues which Royston wishes to address. Nicholas questioned the usefulness of creating specific goals and timelines in the context of this discussion.

• Royston initiated debate by asking whether we think of ourselves as music scholars or musicians. There was a range of responses from those present. These related to a desire not to separate music scholarship from performance. Music research was seen to operate both through traditional forms of scholarship and through performance, with a number of strands connecting this “inner core” of music research with other disciplines (ME). It was seen to be inappropriate to separate musicology from the lived experience of those who are performing and composing music (LB).

• There was a discussion of whether MSA has been devoting energies only to particular forms of musicology but this was disputed by many of those present who talked about the diversity of forms of musicology enacted by the MSA and the inclusiveness of the organisation. Forms of outreach and connections with other disciplines and music bodies (eg IASPM, MCA) have been evident in the last two conferences (CDW, PA, KM, AM). RG spoke about the importance of the MSA linking with disciplines other than music, for example history, fine arts, anthropology, sociology and philosophy.

• Possibilities for creating connections with other community organisations were put forward. LB outlined the opportunities created by tapping into indigenous communities’ desire to link with researchers in order to record and disseminate their music. Posters advertising the MSA’s support for developing an understanding of indigenous music could be placed in indigenous organisations and links could be created with indigenous websites. CW discussed the usefulness of offering membership to people working in major Australian music performance and entrepreneurial organisations eg Musica Viva, thus creating links. JS discussed the forging of links on an individual basis, with the approval of the national executive and the extensive possibilities of exploring web links.

• LB reported on the initiatives discussed by the Indigenous Think Tank, including those already minuted; a preamble supporting indigenous music research in the MSA constitution and the dissemination of this in indigenous communities; and the Ray Keogh Prize for the best presentation relating to indigenous music (jointly administered by the University of Sydney and MSA). The funding of indigenous co-presenters by scholarships (as an extension of the current student conference scholarships) was seen as desirable.

• PA reported on the new Gender and Sexuality group of the MSA and plans for dissemination, including an email discussion list; website information; annual updates on the MSA newsletter and request for time to be made available in national conferences.

• There was a lengthy discussion regarding the declining conditions in university music departments and the need for advocacy by the MSA. SW pointed out that this had been done in the case of the music department at UNE but that legally the society could not act as a lobby group. However, it could act as the provider of expert testimony to support advocacy (ME), for example via the Academy of the Humanities.

• It was noted that because of attrition of the academic music community a large body of the work of the MSA was being carried out by people who do not have jobs in universities and their needs also must be taken into consideration.

• This led to a discussion of the growing workload of the national executive and officers of the MSA which is becoming untenable. JP and KM described the current difficulties for the executive and the need to delegate jobs to the national committee, perhaps with further devolution of positions (as with the membership secretary and business manager devolving from the original secretary’s position). AMF stated that this has been a long-standing problem. This issue was to be further addressed at the national committee meeting.

Summary

(By NR)

1. The society is what it is because of the commonalities of the study of music. There will never be agreement about what we all do but the society is an umbrella which encompasses what we do in diverse ways and diversity is both accepted and welcomed.

2. We are agreed that the society should develop outreach in practical ways, for example, as suggested by LB and CW in relation to indigenous groups and music performance and entrepreneurial organisations.

3. The group agreed to consider the necessary changes and to make the constitutional changes for this.

Kathy Marsh

Forthcoming Conferences and Events

MSA Study Weekend and AGM 2001

“THE PERFORMER AND THE SCHOLAR”

Elder Conservatorium-School of Performing Arts, Adelaide University
Saturday, 22 September - Sunday, 23 September 2001

The SA Chapter of the MSA, in conjunction with the Elder Conservatorium-School of Performing Arts, will host the 2001 MSA Study Weekend and National AGM at Adelaide University, Saturday-Sunday, 22-23 September 2001.

The 2001 weekend will again consist of a series of open discussions among participants and conclude on the Sunday afternoon with the national AGM. We have entitled the weekend “The Performer and the Scholar” with the intention of putting our minds together about the ways in which, at the broadest level, music scholarship, or simply ‘thinking about music, relates to the act of ‘making music’-and the commonalities and divergences observable in this interaction at a cross-cultural level.

Keynote speaker will be John Rink (Professor at the Department of Music, Royal Holloway, University of London), who will be returning to Australia for a two-week lecture tour-MSA members will remember his insightful keynote address at the Perth conference in July 1999. John Rink has written and edited numerous books and articles on Chopin and is also highly regarded for his work in the field of performance studies (The Practice of Performance, CUP 1995), as well as on improvisation and its role in composition. His keynote address will be entitled “The Problem of Performance.”

Further information will be found in MSA Newsletter No. 54, March 2001, pp. 38ff. The Draft Program has been reprinted here with some minor alterations.

Contact details
MSA Study Weekend, c/- Elder Conservatorium, Adelaide University SA 5005
Jula Szuster (Convenor): <Szuster.Jula@saugov.sa.gov.au>
John Phillips (Secretary): <jphil@chariot.net.au>
Helen Rusak (Treasurer): <onechance@ozemail.com.au>
Chris Wainwright (Travel and accommodation coordinator):
<cmwain@ozemail.com.au>

Registration
Waged $30, unwaged $20.

Forms were enclosed with the previous Newsletter No. 54, or contact John Phillips or Chris Wainwright

DRAFT PROGRAM

Saturday 22 September

9.15 am Welcome by the Elder Professor of Music, Charles Bodman Rae, Adelaide University
Indigenous Welcome
Opening Address by Kimi Coaldrake (Associate Professor, Elder Conservatorium, Adelaide University)

10.00 am “The Problem of Performance.” Keynote address by John Rink (Professor; Dept. of Music, Royal Holloway, University of London)
11.15 am Morning tea
11.30 am Discussion 1: “Musicology and music making in the Western tradition”. Chair: John Rink
12.30 pm Lunch
2.00 pm Discussion I (concludes)
3.00 pm Discussion II: “Popular and classical performance scholarship: similarities and differences.” Chair: John Whiteoak
4.00 pm Afternoon tea.
NB: Wagner’s Parsifal (Adelaide Festival Theatre, a 10-minute walk from campus) begins at 4.30 pm.
4.15-5.15 pm Discussion II (concludes)

Sunday 23 September

10.00 am Discussion III: “Cross-cultural study of music.” Chair: Steven Knopoff
11.00 am Morning tea
11.15 am Discussion III (concludes)
12.15 pm Lunch
2.00-4.30 pm MSA National Annual General Meeting, 2001
John A. Phillips,
Secretary, SA Chapter

POSTGRADUATE STUDENT SYMPOSIUM

Canberra School of Music, ANU, 28-30 September 2001

The ACT Chapter of MSA in conjunction with the Canberra School of Music will host a Postgraduate Student Symposium from 28-30 September 2001. All postgraduate and honours students in music are invited to participate.

The symposium will include student performances, compositions and musicology papers. Scheduled in the symposium are keynote speakers, a musical soiree and a barbecue in the country (transport will be arranged).

Intending participants are invited to submit presentation proposals in 200 words.

The deadline for proposals was Friday, 31 August. Contact:
Dr. Stephen Wild,
Canberra School of Music,
Australian National University,
Canberra, ACT 0200.
E-mail: <Stephen.Wild@anu.edu.au>

Acceptances and a detailed program of the Symposium will be distributed in
early September.

Accommodation

Suggestions for budget accommodation are as follows:

Canberra Bed and Breakfast
VIP Backpackers
1 800 300 488
www.canberrabackpackers.com.au

City Walk Hotel
02-6257-0124

Canberra YHA Hostel
02-6248-9155
Stephen Wild

MSA 25th NATIONAL CONFERENCE 2002

Call For Papers

The 25th National Conference of the Musicological Society of Australia will be held at the Conservatorium of Music, Newcastle, 3-6 October 2002.

The conference themes will be:

• Research through Performance
• Music and Society
• Structure and Context
• Music and Technology

The Conference Committee is calling for expressions of interest in delivering either papers (20 minutes length, with ten minutes’ question time) or lecture-demonstrations (40 minutes length, including all musical illustrations) addressing any of these four themes.

The themes of this conference are designed to crystallize discussion of four issues, which are of major importance to members of this society. There has been considerable discussion in recent MSA forums of relationships between performers and scholars; the Conservatorium at Newcastle has a strong tradition of exploring very close links between academic and practical studies.

Accordingly we invite members to focus in this Conference on Research through Performance, focusing on the ways in which performance may itself be a medium for research. (Three members of the staff at Newcastle, Michael Ewans, Rosalind Halton and Ian Cook, will introduce and present research performances as part of the Conference Program).

Another theme, which is the subject of ongoing debate in MSA, is the relationship between Music and Society. We invite contributions under this rubric both from ethnomusicologists and from all who wish to explore the roles which music has played and is playing in the social and political fabric of western cultures.

Under the rubric Structure and Context we invite exploration of the many forms of analysis which may unfold different structural patterns in music, and the contexts in which they can and should be located.

Finally, the Newcastle Conference will address perhaps the most significant issue confronting musicians and musicologists in the twenty-first century - the rapidly developing and changing relationships between Music and Technology. The Conference will devote both paper sessions and a plenary panel discussion to this theme.

Deadline for submission of abstracts and proposals is 1 March, 2002.
By E-mail (preferred): <murh@cc.newcastle.edu.au>
By fax: +61 49 21 8958 marked for the attention of Dr R. Halton
By post: Dr Rosalind Halton, Faculty of Music, Auckland St, Newcastle, NSW 2300, Australia.

DRAFT Program

WEDNESDAY, 2 OCTOBER

Evening Registration
Reception (with background music)

Thursday, 3 October

Morning Papers including guest plenary
Lunchtime Baroque concert
Afternoon Papers/demonstrations
Early evening Eastman Woodwind performance
…later Gender & Sexuality Forum, followed by
Indigenous Forum

Friday, 4 October

Morning Papers, including panel discussion on Research
through Performance
Afternoon Papers/demonstrations
National Committee Meeting
Music Technology forum
Evening Opera

Saturday, 5 October

Morning Papers/demonstrations including guest plenary
Afternoon Free
Evening (vineyards) Conference dinner with music

Sunday, 6 October

Morning Papers; AGM
- Close by lunchtime -
Michael Ewans, Convenor,
25th National Conference

7th International Conference on Music Perception & Cognition - ICMPC7 Sydney

July 17-21, 2002, School of Music and Music Education,
University of New South Wales, Sydney

First Call For Papers

ICMPC7 is the world conference on music psychology and related disciplines. It will be sponsored by the Asia-Pacific Society for the Cognitive Sciences of Music (APSCOM) and hosted jointly by the Australian Music and Psychology Society (AMPS), the University of New South Wales and the Macarthur Auditory Research Centre Sydney (MARCS). ICMPC7 will include the first formal meeting of the Asia-Pacific Society for the Cognitive Sciences of Music (APSCOM).

Conference Aims

The focus of ICMPC7 is inter-disciplinary presentations, discussion and dissemination of new research relating to music perception and cognition. The conference will have relevance for university and industry researchers and graduate students working in all areas of psychology and music including the following:

• Psychology: psychophysics, developmental psychology, speech and language, neuropsychology, artificial intelligence, computer technology.
• Music: music education, music performance, musicology, composition, music therapy, ethnomusicology, music technology.

Submissions are invited for:
1. Spoken papers
2. Poster papers
3. Demonstration papers
4. Symposia

Conference Themes

Submissions relating to all areas of psychology and music noted in the Conference aim are welcome. In addition, proposal for symposia, in which two or more researchers present papers on a special interest area are also encouraged. Possible symposia proposals might include, for example:

• Art meets science
• Music and the brain
• Interferent sounds
• Comparative and evolutionary biomusicology
• Music therapy
• Applications of psychological research to music teaching and learning
• Creativity in music
• Music performance
• Speech and music
• Infants, development, sound and music
• Ethnomusicology
• Philosophy's contribution to music psychology
• Music and communication
• Other

The submission form can be downloaded or you can request a paper copy by writing to Kate Stevens, ICMPC7, MARCS, University of Western Sydney-Bankstown, Locked Bag 1797, South Penrith 1797, NSW Australia, or send an email to <icmpc7@uws.edu.au>, giving your full postal address.

Conference Information

http://www.icmpc.org/ Make sure you seek the information available there but not included in this MCA notice.

Deadline

Structured abstracts and four-page paper submissions for 7th ICMPC must be received by November 15, 2001. Notification of acceptance will be made by January 15, 2002 and revised and final papers for inclusion in the Proceedings will be due March 1, 2002. Abstracts can be sent by electronic mail to <icmpc7@uws.edu.au>. Submission forms and computer disks should be sent to ICMPC7 Conference Secretariat, MARCS, University of Western Sydney, Bankstown, Locked Bag 1797, South Penrith 1797, NSW, Australia.

Synergy: Art, Health and Design World Symposium

Sydney, October 13-16 2002

Call For Papers, Performances

Synergy: Art, Health and Design World Symposium invites expressions of interest from cultural and art spaces, groups and individuals who wish to participate in the World Symposium by presenting historical and contemporary work of artists or communities working in the context of health.
Limited space has been organised within the symposium’s venue for the presentation of performances, visual arts and design documentation. Presentation within the venue of the symposium should be sent as a response to the call for papers.
This expression of interest focuses on exhibitions and events that will happen in other venues, throughout Australia, to coincide with the symposium. Events that precede or continue after the symposium are encouraged.

Further information

Please contact Marily Cintra, Symposium Convenor on (02) 9828 6313. Postal address: The Arts for Health Research Centre PO Box 3390, Liverpool, NSW 2170, Australia. Telephone: (02)9755 7404 Facsimile (02)9828 6318 E-mail: <synergy@placemaking.com.au> or www.placemaking.com.au

ISME Commission On The Education Of The Professional Musician: Call For Papers And Presentations

“The Preparation of the Musician as a Reflective Practitioner”,
Seminar August 5-10, 2002, Stavanger, Norway, and
ISME 2002 World Conference, 11-16 August 2002, Bergen, Norway.

The Commission particularly welcomes papers/presentations within the above-mentioned theme that relate to the three themes of the International Society for Music Education (ISME) 2002 World Conference in Bergen:

• across borders and musical cultures,
• across music education and other disciplines
• across virtualities and realities.

The ISME Commission on the Education of the Professional Musician will focus upon the above topic during both its 2002 Commission Seminar and its special sessions at the ISME World Conference in Bergen. Through papers, presentations and discussions, the Commission wishes to explore methods of preparing professional musicians in both indigenous and conservatory training traditions which:

• emphasize the importance of the musician as a human being, and professional development as a life-long, continuous process;
• encourage the professional musician to evaluate and reflect on his/her work as practitioner;
• embrace the notion of the musician as enabler and teacher, as well as performer;
• focus on a dynamic interaction between institutions and the communities and societies in which they exist; and
• reach beyond societal boundaries, to global interaction and collaboration, relative to music and how it is learned and performed.

Papers and presentation descriptions will be distributed to all participants prior to the Commission meeting. Therefore, presentations at the Commission meeting will be limited to summaries only, followed by short responses prepared by Commission members and open discussions. Submissions may be either a formal research paper or a description of a project or other activity which relates to the themes of the meeting. Submissions will be judged by the Commission on quality, relevance, and suitability.

Information

Further information can be obtained from http://www.isme.nl/43.shtml
For the ISME World Conference in Bergen see: http://www.uib.no/isme2002

Address for Proposals

All proposals are to be sent preferably in digital form as attachment to E-mail in Word 5.1 to <Hakan.Lundstrom@mhm.lu.se>. Paper versions are also welcome to the address: Dr. Håkan Lundström, Chair, ISME Commission for the Education of the Professional Musician, Malmö Academies of Performing Arts, Box 8203, SE-200 41 Malmö, Sweden. Phone: +46-40-325451; Fax: +46-40-325480.

Deadline

The title of the proposed paper/presentation and a 1-2 page abstract in English must be submitted by September 20, 2001. All submissions will be answered on or before December 1, 2001. Selected presenters will then be requested to provide the full text in English no later than February 15, 2002.
(Submissions courtesy of Chris Wainwright)

IMS MATTERS

1. 17th Congress of IMS
The International Musicological Society will hold its 17th Congress at the Catholic University in Leuven, Belgium, from 1 to 7 August, 2002.
Eight symposia will be presented on the following themes:

• Hearing, Performing, Writing
• The Dynamics of Change in Music
• Who Owns Music?
• Musica Belgica
• Musical Migrations
• Form and Invention
• Instruments of Music: From Archaeology to New Technologies
• Sources

Program Committee Chair: Barbara Haggh: <haggh@glue.umd.edu>

Local Arrangements Committee: Patrick Lenaers: <Patrick.Lenaers@arts.kuleuven.ac.be>

2. The MSA is the Australian member association of the IMS
You are encouraged to take out or renew your membership of IMS. For details see: webpage <http://ims-online.ch>, or E-mail <imsba@swissonline.ch>.
Among the benefits of membership are receipt of IMS newsletters and the IMS journal Acta Musicologica.

3. SIMS04
The next intercongresssional symposium of the IMS will be held at Monash University, Melbourne, 12-18 July 2004. A Festival of Music will also be held throughout the week, with concerts related to the Symposium themes.

Like SIMS88 held in Melbourne in 1988, SIMS04 will probably be co-hosted by the Musicological Society of Australia and the International Council for Traditional Music, and possibly also the International Association of Popular Music. Royston Gustavson, Craig De Wilde, Stephen Wild and Robyn Holmes are among members who have agreed to be main SIMS04 organisers.
Proposed themes are:

• Indigenous Identities along the Pacific Rim
• Poietics, Listening, Analysis
• Race, Ethnicity, Class and Gender as Categories of Analysis
• Music in Diaspora
• Acoustics, Design, Ergology and Classification of Musical Instruments
• Meaning and Style in Popular Music
• New Music since 1990

Please contact <margaret.kartomi@arts.monash.edu.au> if you wish to propose other themes or have other comments to make about the symposium or festival of music.
Margaret Kartomi
Director-at-Large, IMS

MSA Administration Crisis

As members were informed by letter in early July, Kathy Marsh, elected National Secretary of the MSA at last year’s AGM, resigned from the position for personal reasons in May of this year. We warmly thank Kathy for her excellent work and wish her well with her family and many projects.

At present, the National Secretary role is being staffed by the current elected Membership Secretary, Chris Wainwright, with advice and assistance from John Phillips, former National Secretary, current Business Manager and Newsletter Editor. However, both Chris and John are heavily overburdened by these extra duties, and will be unable to continue them past this year’s AGM (September 23). While willing to continue as Newsletter Editor, John Phillips will also be stepping down from the appointed role of Business Manager at this time, and here too a replacement will need to be found.

Without the key position of National Secretary the MSA will not be able to continue to perform its many tasks for musicology in this country, and squander resources built up by strong administrative initiatives over recent years.

The duties of National Secretary were discussed at some length at both National Committee and Special General Meetings at the Melbourne Conference in April of this year. A document (follows) was read from at the former, and a number of its suggestions acted upon. Nonetheless: even with a great deal of farming out of specific tasks among committee members, a central presence, with the capacity to oversee the MSA’s many activities and resources and to coordinate and delegate tasks, is indispensable. It is unfair, and longer-term even dangerous, for the Society to expect this always to devolve onto the same people. The task is not huge, and not unmanageable, particularly with the greater sharing of duties among Committee members already initiated.

While Chris Wainwright was kind enough to take over the National Secretary role following Kathy’s departure, and John Phillips has agreed to take on the position for a further interim period for 2001/2, it remains urgent that a suitably situated and motivated candidate is found for the term 2002/3 willing to take on this crucial, but very rewarding and productive role.

The ensuing document, Staffing the MSA, likewise sent to members in July, has been included here in order to give an outline as to the way in which the MSA’s administration might best be managed in the future.
Chris Wainwright & John A Phillips

Staffing the MSA: A Possible Future Path

Statement presented at the MSA National Committee Meeting,
University of Melbourne, April 20, 2001

Although great advances in the management and streamlining of tasks within the MSA Executive have taken place over the past two or three years, recent developments reveal that this role is still too large for one person to comfortably manage on an honorary basis.

While the Society does not have the money to pay a professional administrator, it is also clear that the administrative tasks are closely linked to policy-making, which demands that we have one executive officer in a central coordinatory role.

Recent developments have included the splitting off of the administration of individual memberships from the task list of the National Secretary, but there are a number of further tasks that can readily be detached from that portfolio. A practicable distribution of these tasks among the members of the National Committee is greatly to be desired.

More than anything, the Secretary must maintain a PROACTIVE role in the Society’s affairs.
The following are essential tasks:
1) Mail distribution among MSA Executive members
2) Management and execution of initiatives
3) Oversight, delegation and coordination of tasks within the National Committee, among Society officers, and with professional printers, etc.
4) Maintenance of E-mail lists
5) Preparation of meeting agendas
6) Drawing up of voting and ballot forms

The following are tasks currently incumbent on the Secretary which could readily devolve onto other members of the National Committee:
1) Institutional administration
2) Institutional mailouts
3) Individual mailouts
4) Web site liaison

It is my belief that the role of the Secretary should be primarily managerial, involving proactive oversight, delegation, and coordination-that is a large enough task for any one person on an honorary basis.
John Phillips

Update on Musicology Australia

Production of Volume 24, 2001 is well underway and will be published in November.
Articles accepted for publication are:

• Frank Murphy: “Stéphane Grappelli and the Hot Club Quintet: The Post-War Recordings”
• Timothy Stevens: “The Red Onion Jazz Band at the 1963 Australian Jazz Convention”
• Nicole Edwards “Ligeti’s Études pour piano (premier livre): A Fusion of Tradition and Experimentation”

The journal will also carry reviews of books on Indigenous music in the life and ministry of the Uniting Church; an edition of the songs of Henry Handel Richardson, and Jan Stockigt’s biography of Zelenka. Penny Souster, senior commissioning editor at Cambridge University Press, will also be offering a feature on ‘Musicology in the marketplace’.
As always, articles and reviews are warmly welcomed for consideration for publication. My address is 57 Forster Street Heidelberg, VIC 3081, <pwatt@cambridge.edu.au>.
Paul Watt,
Ed., Musicology Australia

Miscellaneous Notices

Martin Warrigal 1935 (?) - 2001

It is with great sadness that I write to inform members of the recent death of Martin Warrigal, a leading songman in the wangga tradition. MSA members may remember Warrigal’s performance of wangga at the SIMS88 conference in Melbourne, where he was accompanied by Robert Daly on didjeridu. He also co-authored an article with Allan Marett and Robert Daly in Musicology Australia 1991/Vol XIV.

Although illness has prevented him from singing for several years, Warrigal’s contributions to the ceremonial and cultural life of Port Keats, Peppimenarti and other centres in the Daly region will be keenly missed. I also wish to acknowledge my personal debt to this generous musician and teacher for the knowledge he has imparted to me over more than a decade. The use of the European names of deceased people is not strictly avoided in the Daly region.
Allan Marett

New Music Journal on the Internet

A new refereed Internet publication has now hit the electronic airwaves. Music Business Journal has been conceptualised and developed in order to increase the global understanding of all issues pertaining to the music industry. The publication serves to facilitate the sharing of information and knowledge across a wide range of music industry activities, and over many international territories. Contributors include music industry practitioners, journalists, educators, and the general public with a broad interest in this global business and entertainment activity. Contributions are welcome and invited from all corners of the globe. Further information can be obtained by contacting the website address-www.musicjournal.org-and via the Australasian represent­ative to the editorial board, Craig De Wilde, at Monash University-<craig.dewilde@arts.monash.edu.au>, telephone (03) 9905 5093.
Craig De Wilde

Stephen Wild appointed Vice-President of ICTM

Stephen Wild, past president and long-term active member of the MSA National Committee, was elected Vice President of ICTM at the World Conference in Rio earlier this year. He replaces Allan Marett, who retired from the ICTM Board at the same time. As a Board member of ICTM Stephen remains our representative within the ICTM and ex-officio member of the MSA National Committee. We thank Allan Marett warmly for his highly pro-active role as MSA ICTM representative.
Stephen Wild & Ed.

Register of Graduate Theses in Music

Much work has been done recently by Jaki Kane, Chris Wainwright, Brett Chapman and Paul Watt, in transferring the Society’s Register of Graduate Theses to the website.
Owing to Jaki’s ill-health, submissions on the following form should currently be sent to: Chris Wain­wright, National Secretary p. t., fax (08) 8297 2040; E-mail <cmwain@ozemail.com.au>, or post to Chris at 11 Hillsley Avenue, Everard Park SA 5035.
Ed.

SUBMISSIONS TO REGISTERS

This is to remind members to submit details of their publications during 2000 (calendar year) for inclusion in the Register of Members’ Publications, which currently being transferred to the MSA’s website. Also due are details of undergraduate theses in music completed during 1999. Details should be sent directly to the MSA’s Website Coordinator, preferably by e-mail:
Brett Chapman, 144 Bellevue Avenue, Rosanna VIC 3084
E-mail: Brett.Chapman@riotinto.com

Register of Graduate Theses-in-Progress

ISSN 0155-0543