261 resultados para Accent
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This is an astrology pack of spoken words speaking the full range of zodiac signs. It is designed for those carrying out astrological readings. This pack is a female voice (English accent) and it is dry.
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This is an astrology pack of spoken words speaking the full range of zodiac signs. It is designed for those carrying out astrological readings. This pack is a female voice (English accent) and it is wet.
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Over the last seven decades, Papua New Guinea (PNG) has grown from a disparate collection of traditional societies loosely governed by its neighbour, Australia, to a thriving, developing state. The story of how PNG came to lose its colonial shackles and gain independence is one of collective endeavour, as the tiny group of Papua New Guineans who gathered in the dusty streets of Port Moresby transformed into the leaders of the new nation. One of them was the young teacher, Ebia Olewale, who in his own journey from the village to the nation experienced many triumphs and tragedies. PNG’s story – from the village to the world – is retold in this book, through the experiences of Ebia Olewale.
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Decentralisation, provincial government, and regional autonomy continue as influential factors in Papua New Guinea’s political economy. The role played in creating PNG’s provincial government system by separatist movements in East New Britain, Bougainville and elsewhere is acknowledged. However, as the Constitutional Planning Committee (CPC) discovered during its program of consultations with the Papua New Guinean people from 1972 to 1974, there was a strong groundswell around the country for district-level governments. This article investigates how the CPC stimulated discussion of this issue through its own activities, and how the people in their discussion groups responded to the CPC’s ‘Discussion Paper on Relations Between the Central Government and Other Levels of Government’.
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In this work we explore and recreate the architecture of the McClelland Gallery by reconstructing the facade as a tyre brickwall. To this we added a second 'protective' skin. At once reaffirming and corrupting the tyres stand in their own right as a multiplied form. The work acts as a monument to car travel, excess and modernist form. In Bunker-de-bunk 2012 we are appropriating both the recycling industry’s method for stacking tyres on trucks while exploiting the ingenuity of tyre recycling in the construction of 'earthship' houses and the edifying beauty of the patterns created in the process.
The tyre walls also critique the pervading architectural authority of the modernist gallery. The structure of the original McClelland building and its geometry of multiple planes and intersected partitions is corrupted and masked by the façade of tyres. We barricade the gallery in an extra layer of tyres as if the building itself were under siege. Bunker-de-bunk 2012 plays on the paranoia of modern institutions and questions the belief systems evident in the formal language of art. It is superstition and faith that brings cultural institutions into being; we all agree to believe.
In Bunker-de-bunk 2012 we appropriate both the recycling industry's method for stacking tyres on trucks while exploiting the ingenuity of tyre recycling in the construction of earthship houses and the edifying beauty of the patterns created in the process.
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Melbourne is the second largest city in Australia with a diverse, multilayered society that reflects its rich musical life. There are many community choirs formed by various cultural and linguistically diverse groups. This paper is part of an ongoing project, well-being and ageing: community, diversity and the arts (since 2008), undertaken by Deakin University and Monash University, that explores the cultural diversity within Australian society and how active music engagement fosters well-being.
The singing groups selected for this discussion are the Skylarkers, the Bosnian Behar Choir, and the Coro Furlan. The Skylarkers and the Bosnian Behar Choir are mixed groups who who respectively perform popular music from their generation and celebrate their culture through music. The Coro Furlan is an Italian male choir who understand themselves as custodians of their heritage.
In these interpretative, qualitative case studies semi-structured interviews were undertaken and analyzed using Interpretative Phenomenological Analysis. In this approach there is an exploration of participants’ understanding of their lived experiences.
The analysis of the combined data identified musical and social benefits that contribute to participants’ sustained well-being. Musical benefits occurred through sharing, learning and singing together. Social benefits included opportunities to build friendships, overcome isolation and gain a sense of validation. Many found that singing enhanced their health and happiness. Active music making in community choirs continues to be an effective way to build community, and cognitive, affective and physical well-being.
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As in many countries, Australia is faced with an aging population. This creates challenges for the maintenance of well-being which can be enhanced by active engagement in society. Music engagement encompasses a range of social participation and has the potential to recognise the contribution of older people to their local communities. Engagement in music by older people (50+) is positively related to individual and community well-being. Music participation can contribute to a better quality of life, particularly in relation to health and happiness. The possible forms of music engagement are myriad.
This paper focuses on two members of a mixed voluntary singing group formed by older residents of an outer suburban community in Melbourne, Australia. This study frames music as a positive way for older people to find a place for personal growth and fulfilment in a singing group. This phenomenological qualitative single case study focuses on two members of a small singing ensemble, the Skylarkers, formed to perform at retirement villages, nursing homes and facilities for senior citizens. In this study, data were gathered by interviews and analysed using interpretative phenomenological analysis.
Two significant themes emerged. The first concerned the nature of the choir and its fluid membership and notions of self-identity. The second theme concerns the validation offered to individual members by active music participation through which they gained a sense of purpose, fulfilment and personal growth. This emphasis is unusual in discussions of community music engagement that ordinarily identify the importance of social connections. Groups such as the Skylarkers provide a place for members to continue their active engagement with music performance and music learning.
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Community arts can provide older people with opportunities to enhance quality of life, provide a sense fulfillment, and create a space for teaching, learning and sharing. Our research question asks how and why do older Australian people active in society engage with craft. This article discusses one particular case study from a larger ongoing joint research project, Well-being and ageing: community, diversity and the arts in Victoria. This project, begun in 2008 has been undertaken by academic researchers from two metropolitan Australian universities in Melbourne, Victoria (Deakin University and Monash University). This research has entailed a number of case studies of individual visual and performing arts community organizations that cater for older people active in community. This phenomenological qualitative case study sought in-depth understandings of the group of découpeurs (all members of the Découpage Guild Australia). Phenomenological research entails an exploration of participants’ lifeworlds, experiences, understandings, and perceptions. The data are reported under three over-arching themes: Learning and Teaching; Being Creative; and Well-being. This study has demonstrated that craft engagement can provide participants with new learning experiences, teaching opportunities in a collaborative community, an outlet for their creativity, and fosters an enhanced sense of self and well-being.
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I coordinated a series of workshops - involving researchers Merinda Kelly, Dr Jondi Keane and David Fitzsimmons - on object, space and performance which led to a major exhibition outcome for participating artists. Specifically I led a workshop with installation artist David Fitzsimmons on spatial practices.
Initiated by Courthouse ARTS and in partnership with Deakin’s School of Communication and Creative Arts Geelong hosted a fringe festival event titled 'The New Wilderness'. This is the an extract from the proposal put forward to both the board at Courthouse ARTS centre and the executive in the Faculty of Arts and Education:
Given the change in the economic foundations and demographics in the region a festival of the arts, centred in Geelong, is timely and, potentially, regenerative. In a series of workshops, events, performances and exhibitions – staged at Courthouse ARTS, open to the community and spanning the first week of September – the focus will be on risk, innovation, subversion and transformation. Incorporating each of these words as prompts one exciting project, The New Wilderness, uses the visual arts, creative writing and the performing arts to engage young people in practice and cross-disciplinary collaboration. With an emphasis on process the project will engage participants in a lab/studio environment over a week. Installation artists and Deakin staff members will facilitate an introduction and workshop on the theme, The New Wilderness, asking that participants respond: firstly in making a series of images and installations that transform space; secondly, in creative writing responses; and thirdly, in a series of short performance pieces interpreting the text, images and spaces created during the week. Participants will be on a time-line and encouraged to interpret and critically engage with the theme, each other and the issues set to transform the region – such as the disappearing manufacturing industry and the vast spaces it leaves behind.
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Children’s engagement with online technologies may seem second nature, yet the impact that the internet has on their lives is shaped by a powerful public policy agenda that largely overlooks children’s interests. Australia’s digital policy framework is dominated by discourses of safety and risk on the one hand and, on the other, neoliberal arguments about the possibilities for economic growth offered by e-commerce. In the midst of such powerful discourses it is difficult for children’s voices to be heard. This paper offers a close textual analysis of the Australian public policy context for regulating cyberspace. Finding a discursive duopoly that overlooks children’s interests, the author identifies two key features of a rights-based approach to challenge the dominant narratives currently serving the interests of the private sector and the State.
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Interpretative Phenomenological Analysis (IPA) has developed internationally into a growing qualitative approach to research in the areas of psychology, health sciences, social sciences, education and also specifically in music education. This chapter focuses on IPA as an experiential approach to research which explores the lived experience of the individual’s perception and how individuals make sense of it in their given context. As with other forms of phenomenological research, IPA takes account of the researcher’s own context and perceptions through a process of interpretation, while analyzing the phenomena under study. IPA offers a framework to undertake research based on the traditions of phenomenology, which uncover meanings and hermeneutics which interpret the meaning; it is idiographic in nature when undertaking data analysis. This chapter provides a narrative on IPA as an appropriate methodology that can be used when undertaking research in education and in particularly music education. As a tertiary researcher of music education I have employed IPA in my research. This chapter attempts to address broad questions in relation to: What is IPA? Where does it come from? How is it used? How does one analyze interview data and construct themes? A brief discussion of the strengths and limitations of the method is posed, giving examples where IPA has been successfully employed in music research. By balancing the tensions between phenomenology, hermeneutics and idiographic approaches, IPA situates music and music education research within the realm of qualitative experiential research. I argue that if more music educators apply IPA to their research, we can look forward to the emergence of new insights from research in music and music education that is rigorous and offers both convergent and divergent analysis, beyond description, using interpretation to explain insights.
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The Australian Curriculum ‘the Arts’ will be implemented across Australia from 2014. This curriculum is expected to replace existing State and Territory curricula where educators are given the opportunity to review, renew, and refresh their practice. Music tertiary educators are faced with opportunities and challenges to effectively prepare and engage pre-service teachers (PSTs) as generalist classroom teachers. This paper focuses on PSTs within the Bachelor of Primary Education course at Deakin University (Melbourne, Australia). Within this course PSTs undertake two Arts units as generalist teachers, in Trimester one where they are introduced to music elements and creative music making. In Trimester two they focus on pedagogical issues and classroom implementation. In 2013, I gained ethical permission to undertake a research project titled “Pre-service teacher attitudes and understandings of Music Education”. This case study draws on semi-structured interview data with music lecturers who taught in Trimester two at Deakin University in 2013 (10 x 3 hour workshops). Using Interpretative Phenomenological Analysis I analyzed and codified the interview data and report on two themes: ways of teaching and creative music making. This paper also highlights the challenges and opportunities sessional staff face when preparing PSTs in music education as generalist teachers.
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Australian Higher Education universities, like many other international universities, have undergone reform and political change. The Bradley review of Higher Education commissioned by the Australian Government (2008) continues to advocate the need to increase the proportion of the population to attain higher education qualifications. The review questions the structure, organisation and financial position of Australia to effectively compete in the global economy. This position paper situates itself at a metropolitan Australian university in Melbourne within the Faculty of Arts and Education with the authors as academics based in the School of Education as Course Directors. We are faced with challenges and dilemmas regarding selecting pre-service teachers, meeting faculty targets and preparing the course structure in relation the new Australian Qualification Framework (2013) and the Australian Teaching Standards Framework (2012). The purpose of this position paper is to share strategies and invite international dialogue in relation to some of these challenges and dilemmas. Using narrative inquiry, reflective practice and document analysis as our methodology, we discuss two secondary programs at Unnamed University (Bachelor of Teaching [Secondary] and Bachelor of Teaching [Science]) as we prepare pre-service secondary teachers for the profession. The university aims to drive the digital frontier in a very dynamic environment that includes open educational resources, new delivery platforms and ways of assessing learners. These developments have initiated new ways of thinking about how to manage issues of teaching and learning with larger and varied cohorts of students.
