'Does the meaning mean a thing?' Johnny Young's hit songs of the 60s-70s

This article challenges the conventional narratives of Australian popular music history, recognising this as an element of a wider cultural history, using the songwriting career of Johnny Young in the late 1960s and early 1970s. In doing so it refers to the actual song content; ways in which songs and their performers were written about at the time they were released; and the way in which these works have subsequently been regarded and discussed in the conventional historical narrative. It also suggests that Young's own crafted persona, as well as the way he and pop music are typically regarded, have veiled the innovative and radical elements of some of his songs, not only the very well-known 'The real thing', but also hits such as, 'Smiley' and 'The star' .

Broken songs and ecology : writing about the Gulf of Carpentaria

Book review of Carpentaria by Alexis Wright.

Baltic winter (amped folk instruments-ethereal and haunting with female vocals)

Baltic Winter - a Slavic mermaid rests upon a rock on the edge of the Baltic Sea. It is night time during the depths of winter. She risks not being able to return to the sea as it could freeze in the time that she drapes the snow crested pine trees with her ethereal calls. Her voice travels through the Medieval forest in search of her nymph . . . will he hear her? Or will her calls only serve to sing her loneliness?

OK . . . now for the technical . . . I wrote this with a documentary in mind. I have used a sampled Finnish/Estonian Kantele, a touch of an acoustic guitar, female vocals, percussion, and a couple of synths.

Minimal similarity in songs suggests limited exchange between humpback whales (Megaptera novaeangliae) in the southern Indian ocean

Comparing humpback whale song from different breeding assemblages can reveal similarities in song due to acoustically interacting males, and therefore indirectly test whether males from different breeding sites are mixing. Northern Hemisphere song comparisons illustrated that whales within ocean basins share similar songs and are subpopulations within a larger population, whereas whales in different ocean basins are isolated populations and therefore do not share songs. During the 2006 breeding season, recordings were collected in Madagascar and Western Australia, and were compared visually plus aurally. Both regions shared one theme, whereas each region had four and six private themes, respectively. This study had a substantially low number of shared themes. The co-occurrence of one theme was interpreted as an indication of limited exchange between these breeding assemblages, and we speculate that limited song similarity is due to inter-oceanic interactions. Male(s) from an Indian Ocean breeding group could be exposed to novel song when they geographically overlap, and acoustically interact, with males from a different ocean basin. Novel song could induce rapid temporal changes as new song content is incorporated, thereby minimizing song similarities between that breeding group and other Indian Ocean breeding groups that were not exposed to the novel song.

Cowboy songs

Cowboy songs: A ride through the lone prairie of the masculine. An ironic wrangle with country and western songs with their rigid take on masculinity - an excerpt from a longer work

Experiencing indigenous East African dance songs : reflections from North West University (South Africa)

After democracy (1994) the doors of teaching and learning in music opened widely to include local indigenous music and culture in South Africa. Since 2005, African music has been a vibrant aspect of the music curriculum within the School of Music, North West University, South Africa. Globally tertiary music educators are challenged to include informal pedagogy of indigenous musics within the formal context of university courses. University music courses in South Africa are still predisposed towards ‘western’ music pedagogies. In October 2012, the School of Music invited a visiting expert in African music and dance to offer onsite teaching and learning of Ugandan dance songs to tertiary students. The initiative to include Ugandan music as part of the teaching and learning workshops on African music at the School of Music was funded by the South African Music Rights Organization. The School of Music has an ongoing policy to invite and include culture bearers to share their skills and expertise with students and academics. Such sharing provides culture bearers the opportunity to transmit much needed skills, which are not often offered by academics. UNESCO (2012) identifies scarce knowledge and skills as intangible heritage.

Songs for community

Songs for community 2 is a series of piano and instrumental music recorded at Deakin University in 2012.

Creating a space and place for culture bearers within tertiary institutions: Experiencing East African dance songs in South Africa

This paper highlights the intersections between formal and informal African music and dance within a tertiary setting. Reflective practice, journaling and survey data within case study methodology provide a snapshot of the teaching and learning that took place at North West University in South Africa in October 2012. I argue for the inclusion of informal pedagogy of indigenous musics within the formal context of university courses. The experience provided a pathway to connect local community and university to celebrate the rich diversity of African music and culture. The teaching and learning experiences served as onsite professional development for tertiary students, music staff and myself.

Explainer: Are Bob Dylan's Songs 'Literature'?

Bob Dylan has won this year’s Nobel Prize for Literature. The media has reported on this surprising choice by asking musicians, poets, and writers if Dylan’s songs are indeed “literature”. Irvine Welsh, the author of Trainspotting (1993), made it clear on Twitter that he didn’t think they were: If you’re a ‘music’ fan, look it up in the dictionary. Then ‘literature’. Then compare and contrast. So are song lyrics a type of literature or, more specifically, poetry? The English poet Glyn Maxwell thinks not. In On Poetry (2011), he writes that “Songs are strung upon sounds, poems upon silence”. Inhabiting silence makes poetry the harder and more important art form. Music, Maxwell writes, makes lyrics seem better than when they appear on the whiteness of the page.