Australia’s Jindyworobak Composers examines the music of a historically and artistically significant group of Australian composers active during the later post-colonial period (1930s–c. 1960). These composers sought to establish a uniquely Australian identity through the evocation of the country’s landscape and environment, including notably the use of Aboriginal elements or imagery in their music, texts, dramatic scenarios or ‘programmes’. Nevertheless, it must be observed that this word was originally adopted as a manifesto for an Australian literary movement, and was, for the most part, only retrospectively applied by commentators (rather than the composers themselves) to art music that was seen to share similar aesthetic aims. Chapter One demonstrates to what extent a meaningful relationship may or may not be discernible between the artistic tenets of Jindyworobak writers and apparently likeminded composers. In doing so, it establishes the context for a full exploration of the music of Australian composers to whom ‘Jindyworobak’ has come to be popularly applied. The following chapters explore the music of composers writing within the Jindyworobak period itself and, finally, the later twentieth-century afterlife of Jindyworobakism. This will be of particular interest to scholars and researchers of Ethnomusicology, Australian Music and Music History.
Australia's Jindyworobak Composers examines the music of a historically and artistically significant group of Australian composers active during the later post-colonial period (1930s-c. 1960).
In this way the book not only presents a developmental picture of Antill's works, but also demonstrates why they have made him one of Australia's most prominent musical creators of the post-colonial period.
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5. See Michael Halliwell, National Identity in Contemporary Australian Opera (London: Routledge, 2018), pp. 15–34. 6. See 'The “New Complexity” and Australian Music: The Debate', in Graeme Skinner and Caitlin Rowley (eds) The Composer ...
In 1964 Sculthorpe was commissioned to write his first opera for the opening of the Sydney Opera House – a highly prestigious commission for a young composer. Over the next eight years, in search of an appropriate Australian subject and ...
the reduction of the time-lag between important musical developments overseas and in Australia. ... true to themselves and the society (local and international) for which they are writing ... it is reasonable to say that the best works ...
... Australia's Jindyworobak Composers David Symons For more information about this series, please visit: www.routledge.com/RoutledgeResearch-in-Music/book-series/RRM Music in Religious Cults of the Ancient Near East John Series Page.
49 Dalle Pezze and Salzani, Essays on Boredom and Modernity, 31, 14. 50 Auerbach, Imperial Boredom, Location 340. 51 For a definition of situational and existential forms of boredom, see Toohey, Boredom: A Lively History.
Similarly focusing on a personal collection, Lohman highlights newspapers as valuable sources for musical research. ... Blasdale Clarke elaborates how Keller established a new prototype for historical dance research that expanded to ...
Noise (as noise music) is a genre of electronic music featuring distortion and loud volumes. Noise music has precedents in the first avant-garde movements such as Italian futurism (i.e. Russolo's intonarumori) and American ...